The purpose of this study is examining a circulation and conflict of concepts and logics of the Choson-ness by analysing the Choson national character and Choson aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The Choson aesthetic consciousness by raising in this period, which is connected with the discourse of national character, carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the Choson aesthetic consciousness in the process of a discussion. For the most representative examples are ``the white-clad folk`` and ``the beauty of sorrow``. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the Choson-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the Choson-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period`s discourse about Choson aesthetic consciousness is that Choson national character makes the dehistoricization and depoliticization.