Location

To reach Gangneung

Incheon International Airport -> Seoul Station -> Gangneung Station:

The easiest way to reach Seoul Station from Incheon International Airport is to take the Airport Railroad, which takes approximately one hour.

Gangneung is located on the east coast of the Korean Peninsula. The most convenient way to travel from Seoul to Gangneung is by taking the KTX high-speed train, which takes approximately two hours from Seoul Station to Gangneung Station.

Gangneung Tour Map

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OJukHeon – Birthplace of the famous Korean scholar Yulgok.

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OJukHeon is the birthplace of the prominent artist Sin Saimdang (1504-1551) and her second son, the renowned scholar Yi Yi (1536-1584, pen name: Yulgok).
It comprises a two-bay wooden-floored hall finished with a traditional Korean parquet on the left and a one-bay underfloor-heated room, which is where Yi Yi was born, on the right. The room is known as “Room of the Dragon Dream,” as it is said that Sin Saimdang dreamt of a black dragon rising from the sea and flying into the house before giving birth to Yi Yi.
Additional photos are available here.
The following excerpt helps elucidate his philosophy. It is adapted from *Yulgok Yi Yi's Idea of Peace* by Youngwoo Han (https://hdl.handle.net/10371/142701) and was translated by Professor Hyunho Shin, the presenter of this short course.
Yulgok created various types of *Hyangyak (鄕約)* during his service and retirement in the provinces, but their characteristics differed from those of Juja (朱子), a famous scholar in NamSong dynasty (1127-1279) in China. While Juja's *Hyangyak* primarily emphasized moral education, Yulgok's *Hyangyak* focused on mutual support within an economic community. This is why the traditional economic community organization called *Gye (契)* was incorporated into *Hyangyak*. Furthermore, not only noblemen but also the sons of concubines and commoners sought to overcome the limitations of the status system by participating in *Hyangyak*.
It goes without saying that efforts to reconcile disputes between the Eastern and Western political factions aimed to achieve political harmony—that is, political peace. Therefore, the reason King Yeongjo and King Jeongjo implemented the *Tangpyeong* policy to overcome party strife in the late Joseon Dynasty was rooted in Yulgok's policy. Rather than promoting equal harmony, the *Tangpyeong* policy acknowledges that each faction comprises both virtuous and flawed individuals.
However, Yulgok's concept of peace is philosophically grounded and reflects his unique perspective. It is based on the original theory of selfishness. Philosophically, achieving peace is challenging within a dichotomous worldview that strictly divides all things into good and evil. How can good and evil be blended and harmonized? Therefore, good and evil are recognized as absolute opposites. Peace is only possible when understood as a relative concept, acknowledging that elements of evil can exist within good, and elements of good can exist within evil.
This characteristic is central to Yulgok's Li-Chi (理氣) theory, which explains the principles of the universe and human personality through the concepts of reason (Li) and energy (Chi). The general cosmology and personality theory of Neo-Confucianism regard reason as the existence of an ideal Li (理), interpreting it as absolutely pure and good. In contrast, energy is understood to exist in the form of Chi (氣), embodying both good and evil. When discussing the relationship between Li (理) and Chi (氣), Li is considered superior to Chi; this argument is known as the *Ju-Ri (主理)* theory.
When Juri theoreticians apply this theory to the study of personality, they interpret it by substituting the human mind for Li (理) and Chi (氣). For example, the four moral virtues, known as the Four Beginnings (四端)—such as the virtue of humanity—are considered inherently good because they originate from Li (理). In contrast, the seven emotions—joy, anger, sadness, fear, love, hatred, and desire—referred to as Seven Emotions (七情), originate from Chi (氣). Consequently, these emotions are viewed as having both positive and negative aspects.
According to this theory, the Four Beginnings (端) and the Seven Emotions (七情) share certain similarities but are fundamentally opposing concepts. Therefore, when applying this theory to classify people, those dominated by the Four Beginnings are considered saints, while those dominated by the Seven Emotions are viewed as ordinary individuals who have not yet matured. A person exhibiting only the Seven Emotions would be regarded as evil. Consequently, it is challenging for adults, ordinary people, and artists to achieve equal harmony—that is, peace. In particular, literature and art, which primarily express the realm of the Seven Emotions, are not regarded as entirely positive.
However, Yulgok's Li-Chi (理氣) theory offers a different perspective. According to Yulgok, Li (理) and Chi (氣) are two distinct concepts in form, but they are not independent of each other. Instead, they are considered to contain energy within themselves and to be interrelated. This theory is known as Li-Chi dual monism (理氣二元的一元論). In other words, Li and Chi appear to be two separate entities, yet they are fundamentally one. The way these two become one is that Li unites with Chi because Chi always supports Li, resulting in their unity. This concept is often described as Li mounting on Chi when Chi is activated. However, the degree to which Li and Chi are mixed varies slightly from person to person; some individuals are kinder, while others are less so. Nevertheless, there are no perfectly good or perfectly bad people.
Yulgok incorporated this cosmology into his theory of personality and explained the relationship between the division and the Seven Emotions (七情) as follows: the division and the Seven Emotions are not opposing concepts; rather, the Seven Emotions are intertwined with the division, and the Seven Emotions also encompass the division. Therefore, among the Seven Emotions, joy (喜), sadness (哀), love (愛), and desire (欲) correspond to the humanity aspect of the division. Anger (怒) and hatred (惡) align with the righteousness aspect, while fear (懼) corresponds to the courtesy aspect of the division.
Conversely, to invert this theory, the following applies: Among the divisions, benevolence, representing a unified heart, corresponds to Seven Emotions's sadness (哀); righteousness, regarded as the division's shameful heart, aligns with hatred (惡) in Seven Emotions; and courtesy (禮), the division's declining heart, is associated with fear (懼) in Seven Emotions.
Yulgok went a step further, arguing that there was no need to view Seven Emotions negatively from the outset, as it is a natural emotion rooted in human nature. Therefore, it was reasonable for Seven Emotions to have its own distinctions.
Yulgok engaged in extensive correspondence with his close friend *Sunghorn (成渾)*, exchanging dozens of letters to discuss his theory. He supported and justified his arguments by providing examples drawn from real-life observations and experiences. One such example involved comparing the relationship between Li (理) and Chi (氣, vital energy) to that of water and a bowl. When water is placed in a bowl, it moves only when the bowl itself moves; the water does not move independently. In this analogy, the bowl represents Chi, and the water represents Li. However, since the water and the bowl move simultaneously, Yulgok concluded that Li and Chi are inseparable and function as one.
The debate over the Li Chi (理氣) theory is complex and difficult to prove scientifically, making it challenging to definitively determine which theory is correct. This issue remains unresolved even in modern science. However, it is important to adopt a realistic perspective when distinguishing between cosmology and personality theory. Would viewing good and evil as a strict dichotomy promote peace, or would it be more conducive to peace to understand good and evil as a dual monism, as Yulgok proposed? The answer is clear: Yulgok's philosophy is more inclusive and ultimately more conducive to peace.

SeonGyoJang

When the Korea Broadcasting System (KBS) selected the top 10 traditional Korean houses of the 20th century in 2000, this house was recognized as the finest example.
Its original form has been well preserved for over 300 years, making it an important tangible cultural asset in Korea. It plays a central role in the GyeongPo Lake area, alongside GyeongPoDae, representing the culture of Gangneung.
Additionally, it serves as a significant cultural tourism resource for Gangneung City.
Additional photos are available here.

March 1st Independence Movement Memorial Tower

A park is built to commemorate the independence movement in the Gangneung area on the road to the Gashiyeon Wetland under GyeongPoDae.

This park, which is located where you can see the best view of GyeongPo Lake, is where the roar of the independence movement 100 years ago is delivered.

Gangneung's March 1st Independence Movement was centered on newly educated young people and Methodists, and took place more than six times on five occasions, starting on April 2, a month after the Independence Movement began in Seoul in 1919.

In the park, the Gangneung March 1 Independence Movement Memorial Tower, built in 1999, stands tall, followed by statues of more than a dozen independence fighters in Gangneung.

GyeongPoDae Pavilion

GyeongPoDae Pavilion, located on a small hill north of GyeongPo Lake, is one of the eight scenic sites of northeastern coast. The pavilion shape and design changed over time before settling on the current design. The pavilion has five pillars in the front and on the side, with a gabled roof line, a common design in Korean architecture.

The inside of GyeongPoDae Pavilion is decorated with calligraphy and poems written by many famous scholars of the Joseon dynasty, including both King Sukjong and Yulgok Yi Yi. The pavilion is surrounded by a pine tree forest, and is famous for its view of the moon reflecting off the waters of the lake below, which gave the pavilion its name. The pavilion was originally built in another location in 1326 but was moved to its current location in 1508.
Since ancient times, it has been said that five moons are observed at GyeongPoDae pavillon. These include the moon floating in the sky, the moon reflected in the sea, the moon reflected in the lake, the moon reflected in a tilted glass, and the moon reflected in the eyes of a lover sitting face to face. If you are alone tonight, only maximum four...
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Gramophone & Edison Science Museum

Charmsori Gramophone & Edison Science Museum combines a music museum focused on sound with a science museum focused on inventions by Thomas Edison.
There are more relics of Edison than the Edison Museum in the United States.
Opened in 1982, the museum offers over 30 years of history and tradition with over 5,000 collections including music related items and inventions by Edison.
Some of the main facilities include four large exhibition halls, a large music room and an observatory with a view of Gyeongpo Lake on the third floor. Edison Museum on the first two floors has three exhibition halls with inventions, artifacts, daily supplies and more.
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GyongPo Beach

Located 1 kilometer away from Gyeongpodae Pavilion and 6 kilometers from downtown Gangneung, GyeongPo Beach is a sand bank formed between GyeongPo Lake and the ocean.

This beach has a beautiful sandy shore that extends to a length of 1.8 kilometers and shallow waters, making it a popular beach attraction. By the beach is a lush pine forest where visitors can enjoy forest bathing.
Other activities to enjoy around the area include the cultural art fair that takes place at the beach stage every summer, riding a bike along GyeongPo Lake, and hiking the nearby mountains and valleys.

Gyungpo Lake - This page is under construction.

Heo Gyun - Heo NanSeolHeon Bithplace

Heo is the family name. Gyun and Namseolheon are the frist names.
Heo Gyun was the author of the famous Korean classical novel *Hong GhilDong-jeon*.
Heo Nanseolheon (1563–1589) was a distinguished female poet, painter, and calligrapher. She was the elder sister of Heo Gyun.

Heo Gyun - the author of the famous Korean classical novel *Hong GhilDong-jeon*
*Hong GhilDong-jeon* is the name of a Korean classical novel, which means the story of Hong GhilDong.
"I can't call my father a father..." This line is from *Hong GhilDong-jeon*, a famous classical Korean novel written by Heo Gyun. *Hong GhilDong-jeon* highlights the problems inherent in the social identity system. The story can be summarized as follows:
Born the son of a concubine—or, alternatively, as a son-in-law—Hong GhilDong leaves his home because he cannot endure his family's contempt. He subsequently forms a righteous organization called Hwalbindang. As a just leader, he punishes corrupt officials, confiscates their property, and redistributes it to the poor. Eventually, he settles in the Yuldo Kingdom and becomes its king.
Interestingly, according to numerous records, Hong GhilDong was a real person, and the primary location where he organized the Hwalbindang was in the JangSeong-gun area of Jeolla Province in South Korea. There is a Hong GhilDong Memorial Park there, which suggests that Heo Gyun based his novel *Hong GhilDong-jeon* on the activities of this historical figure.
Another interesting fact is that there is a tomb for Hong GhilDong in Okinawa, Japan. Okinawa was formerly known as the Ryukyu Kingdom. In the novel *Hong GhilDong-jeon*, it is said that Hong GhilDong crossed into Yuldo Kingdom and became its king, which has led us, as novelists, to speculate that Yuldo Kingdom in *Hong GhilDong-jeon* might be Ryukyu kingdom. The names Yuldo and Ryukyu have similar pronunciations.

*Hong GhilDong-jeon* storytelling

statues.

We can meet them at GyongPo Lake.

at GyongPo Lake.

Statue of Hong GhilDong.

Heo Nanseolheon - a distinguished female poet, painter, and calligrapher of the Chosun dynasty.
Heo Nanseolheon (1563–1589) was a distinguished female poet, painter, and calligrapher. She was Heo Gyun's elder sister. Although she was renowned for her poetry in China and Japan, only 213 of her works have survived to the present day. A posthumous collection of her works is titled *Nanseolheon Jip*.
Heo Nanseolheon was born here in 1563 as the third daughter of Heo Yeop. Despite the conservative climate of the Joseon period, she was raised in a liberal household and actively engaged in literary pursuits alongside her brothers. Her father taught her to write, and she studied poetry with her younger brother, Heo Gyun.
At the age of eight, she gained acclaim as a prodigy after composing Inscriptions on the Ridge Beam of the White Jade Pavilion in Gwanghan Palace. Her elder brother, Heo Bong, affectionately described her as “my friend at school.” After marrying Kim Seong-rip at approximately 15 years old, Heo endured the loss of both her young children, a tragedy further compounded by a subsequent miscarriage. In 1585, at the age of 23, she wrote Dream of a Mulberry Grove on a Broad Mountainside), a work that foreshadowed her own death. She passed away in 1589 at the age of 27.
Heo’s works reflect the contradictions of Korean society as well as her own personal misfortunes. Their characteristics are as follows: first, her poetry is imbued with the unresolved loneliness of a woman and the pain of losing two young children. In particular, her poems express both love and desire for her husband alongside feelings of mourning for her children.
Secondly, her works highlight the incompetence of the ruling classes, their exploitation of ordinary people, and the injustice of discrimination based on social status.
Thirdly, Heo dreamed of escaping reality, perceiving herself as a type of Taoist immortal (seonin 仙人). No fewer than 128 of her 213 works express a desire to leave the mortal world and enter the realm of immortals. It appears that she was deeply fascinated by Taoist philosophy regarding immortals and was skeptical of her own lonely, marginalized existence within the male-dominated society during the Chosun dynasty.

Painting named Angan Bigeum

Heo Nanseolheon painted this piece in a pictorial style during her childhood.
The title of this painting translates to "I Look at the Flying Beast Flying Freely." The painting depicts a figure, presumably a father holding a cane, and a young girl holding hands as they watch a bird in flight. The girl is believed to represent Heo Nanseolheon and can be interpreted as another aspect of her identity. The girl in the painting raises her hand and gazes longingly at the flock of birds soaring high above.
The painting is written in Chinese characters called "Hankyun Goin." This means to look at the writings of old people in a leisurely manner. As I look at the writings of old people, I envy a bird that flies freely in the sky. The painting conveys a sense of suffocation and frustration with reality and is interpreted as expressing her yearning for a life and freedom of expression on her own terms.
During the Joseon Dynasty, when women were not even given names, let alone an education, some were born geniuses but lived short and tragic lives. It was extremely rare for a woman to be depicted in a literary painting during the Joseon Dynasty. This painting, believed to be the first to portray a girl rather than a boy, was more pioneering than the real landscape or genre paintings, which only emerged in the late Joseon period, as it featured an actual scene in the background.
Although she was married, she endured ongoing conflicts with her mother-in-law, as well as difficulties caused by her husband’s frequent involvement with Korean geisha. As we study Nanseolheon’s intricate brushstrokes, we sense the sorrow of both a young woman and a mother.
At the age of 27, overwhelmed by the contradictions of Joseon's feudal society and the turmoil within her family, Heo Nanseolheon lost her will to live. Although she was not physically ill, she suddenly bathed, changed her clothes, and left a poem resembling a will for her family. Just before her death, she burned all of her works, instructing that her poems and writings at home be incinerated.

However, her younger brother, Heo Gyun, deeply regretting the loss of her talent, preserved them. After her death, he sent the collection to the poet Zhu Jibun in the Ming Dynasty in China, who published them under the name Nanseolheon. The works became bestsellers in China at that time.
Among the 300 poems, prose pieces, and essays, 213 poems have been preserved.

Peony

It is said to have been painted by Henan Seolheon. Measuring 98.8 by 48.9 cm, the artwork was displayed in the calligraphy room of the National Museum of Korea from April to July 2018. It is currently part of the museum’s permanent collection.

Poet named 'mourn the loss of'

This poem was originally written in Chinese characters, and its Korean translation is provided here. The Korean version was translated into English by Professor H. Shin, the presenter of this short course.