• Journal of Korean Philosophical Society
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• v.117
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• pp.35-55
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• 2011

This article purports to clarify the doctrinal characteristics of the $Yog{\bar{a}}c{\bar{a}}ra$ school's hermeneutic interpretations of the "theory of the three turns of the Dharma Cakra" in the Saṃdbinirmocana-sūtra through early Indian $Yog{\bar{a}}c{\bar{a}}ra$ treatises such as the $Yog{\bar{a}}c{\bar{a}}rabb{\bar{u}}mi-vy{\bar{a}}kby{\bar{a}}$ and the. $Vy{\bar{a}}khy{\bar{a}}yukti$. It will probe how these interpretations apply co the theory of two truths or that of three natures($trisvabh{\bar{a}}va$) among the main doctrines of the $Yog{\bar{a}}c{\bar{a}}ra$ school. Especially, the peculiar characteristic of the "theory of the three turns of the Dharma Cakra" is such chat the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ in the lineage of $Praj{\bar{n}}{\bar{a}}p{\bar{a}}ramita-s{\bar{u}}tras$ is regarded as incomplete, as the early school of Madhyamaka represented by $N{\bar{a}}g{\bar{a}}rjuna$ is conceived of as belonging to the second period of turn. Speaking of the further details of the "theory of the three turns of the Dharma Cakra", the $Yog{\bar{a}}c{\bar{a}}ra$ school subdivides the realm of saṃvṛti satya in $N{\bar{a}}g{\bar{a}}rjuna^{\prime}s$ theory of two truths; that is, it divides the saṃvṛti into merely linguistic existence and actual existence, and the thus-created structure of the theory of three natures on the basis of ocher-dependent nature(paratantra-$svabh{\bar{a}}va$) makes it possible to establish the doctrinal system of the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ that is not subject to "nihilism or ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ attached to evil." In effect, the above hermeneutic interpretation of the "theory of the three turns of the Dharma Cakra" is inherited into the structure of the $abh{\bar{u}}taparikalpa$ in the $Madhy{\bar{a}}nta-vibh{\bar{a}}ga$ so that, as seen in the commentary of Sthiramati, it is ascertained to apply to later doctrines through its secure establishment. To summarize its characteristics succinctly, firstly the $abh{\bar{u}}taparikalpa$ newly established as a saṃvṛti-satya is set up as the other-dependent nature, which is seen to have been set up particularly in order to sublate both the $Sarv{\bar{a}}stiv{\bar{a}}da^{\prime}s$ realist "view of being" and the Madhyamaka's "view of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$" that impairs the ocher-dependent nature as a samvṛti-satya. In other words, according to the five kinds of views suggested in Sthiramati's commentary, the three natures are seen to be presented as the fundamental truth in order to unify all the doctrinal systems available ever since the beginning of Buddhism. Then, the theory of three natures is established principally on the basis of the $abh{\bar{u}}taparikalpa$, while the two truths of the $Yog{\bar{a}}c{\bar{a}}ra$ school are clearly ascertained to have been embedded in the structure of the $abh{\bar{u}}taparikalpa$. In fact, this might be understood to reflect the unique ontological view of reality or truth in the $Yog{\bar{a}}c{\bar{a}}ra$ School.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Journal of Korean Philosophical Society
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• v.116
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• pp.225-256
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• 2010

The two school $M{\bar{a}}dhyamika$ and $Yog{\bar{a}}c{\bar{a}}ra$ act as a representative of $Mah{\bar{a}}y{\bar{a}}na$ Buddhism in India. But the two school disputed with each other insisting ${\acute{s}}{\bar{u}}nyat{\bar{a}}-v{\bar{a}}da$ and $vij{\tilde{n}}aptim{\bar{a}}trav{\bar{a}}da$ separately. To introduce the disputation shortly is as follow. $N{\bar{a}}g{\bar{a}}rjuna$ explained the world and truth by two truth theories(二諦說) which carry out truth of a word and the dimension(spiritual enlightenment) which is absolute(ultimate) to it being lokasaṁvṛtisatya(世俗諦) about the truth which can be expressed verbally, and which is phenomenon-like (everyday) at paramaarthasatya(勝義諦). By the way, lokasaṁvṛtisatya and paramaarthasatya are actually distinction of the recognition which is not an ontological distinction. That is, lokasaṁvṛti(世俗) is paramaartha(勝義) as it is the time of seeing by the eyes of those who have realized. The two truth theories of $N{\bar{a}}g{\bar{a}}rjuna$ was developed logical more precisely by his successors. With an everyday language, the position of Candrakīrti(月稱) that it cannot be expressed as the position of $Bh{\bar{a}}vaviveka$(淸辨) that paramaarthasatya can be expressed logically is opposed to each other, and dissociates by $Sv{\bar{a}}tantrika$(自立論證派) and $P{\bar{a}}rsagika$(歸謬論證派). Confrontation of $Sv{\bar{a}}tantrika$ and $P{\bar{a}}rsagika$ is the dispute about the ability of s which is the highest truth to be proved logically. The $P{\bar{a}}rsaga$ of Candrakirti thinks that people exist truly, and is because it claims not existing in the world where a favorite thing is actually actual. However, $Bh{\bar{a}}vaviveka$ proved Sunyata(空性)을 positively based on the reliance to language and logic. Also the mokṣa of $M{\bar{a}}dhyamika$ is not recovery of original condition of $vij{\tilde{n}}apti$ which is pure in itself as $Yog{\bar{a}}c{\bar{a}}ra$ saying, as well as obtaining a thing which is dravya-sat as $Sarv{\bar{a}}stiv{\bar{a}}din$ saying. The mokṣa of $M{\bar{a}}dhyamika$ means a condition of liberated from karma and pains through extinction of $prapa{\tilde{n}}ca$ and discrimination by realizing the real aspect of all dharma which is said by pratītyasamutpāda, $praj{\tilde{n}}apti$, niḥsvabhāva, ${\acute{s}}{\bar{u}}nya$, $madhyam{\bar{a}}pratipad$.

• Journal of Korean Philosophical Society
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• v.130
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• pp.381-414
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• 2014

This paper aims to elaborate on the foundation of the colonialism, which comes from Natural Laws by John Locke and the extermination of the indigenous. John Locke develops his political doctrines considering Natural Laws as the logical, metaphysical supposition. He assumes Natural Laws to be the logical presupposition, but is interested in North America. This is evidently seen in his works according to research outcomes. His 'possessive individualism' discusses exclusion and extermination, on the bound of natural laws and natural state. The person without possessive rights is excluded, the people without effective farming is forfeited. Then acculturation is the justifying of slavery and suggestive of extermination. In the possessive individualism of bourgeois society, that is, private property, man is annulled aboard. That is colonialism comes from, which destroys all the cultures but its own cultures. It is Locke who is the first thinker of the imperial. In the thought of Locke found we in profane terminology projected for the world imperial. After Locke, colonialism has been appeared in the guise of racism in the eighteen century, especially in the universal history of system of philosophy, sometimes in the face of orientalism on all sides. The ideas of colonialism and imperialism have been absolutely for the West. In the totally administered society nowadays, the hope of redemption has been made impossible from the origin. From the beneath, operated and practiced the program of deletion of race, its ethnic cleansing is a mere case. Locke's thought for the human rights is consisted of property and freedom in mankind, but it ground baits for its bloodied symposium with words and consults. 'Our word is our weapon', this is wording of one ethnic that is in nearing extermination.

• The Southeast Asian review
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• v.28 no.1
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• pp.53-82
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• 2018

The $14^{th}$ general election which should be held by August 2018 has been a dominant factor for Malaysian politics, economy, social changes and foreign policy in 2017. UMNO, the dominant party within the ruling governmental coalition, has focused on securing Malay support, voters which made them to sought political cooperation with PAS, Malaysia's Islamist opposition party. A consequent event followed by the strategic ties between the two parties is the rise of political Islam in Malaysia though PAS' 'Islamization' or 'desecularization' has never been adopted by UMNO. The rise of political Islam and Malay support have become the most important factor for the next election, which increasingly enhanced the role of 3R of Malaysia politics; Race, Religion, and Royalty. The Pakatan Harapan (PH), the newly formed opposition coalition without PAS, has elected Mahathir Mohamad, the former Prime Minister, as its candidate for prime minister. Malaysian economy and foreign policy seem to be subordinated to politics. Stabilizing ringgit and restoring economic growth enabled the Najib's government to reveal 'election budget' for 2018. Najib has spoken out Islam-related international issues including the Rohingya crisis and Jerusalem issue. It is to some extent the extension of domestic politics. The rise of political Islam will be a highly influential not only in the coming election but in the political and social development in the aftermath of the election.

• The Journal of Korean Philosophical History
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• no.39
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• pp.143-168
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• 2013

The purpose of this paper is to study the succession and method of five-masters of southern school in transmitting the internal alchemy in Taoism which is established by Zhang Bo-duan. In history, the internal alchemy is divided into a few schools but all of them are under the umbrella of Zhang Bo-duan's alchemy. The five master's method has been consistent from Zhang Bo-duan to Seok Tae to Seol Do Gwang based on three reasons. First, they lived long while practicing the method. Second, they learned the method from their direct master secretly. Third, they kept practicing the individual method while staying in the secular world rather than in a religious body. I limit three of them Zhang Bo-Dan, Seok Tae, Seol Do Gwang as figures who practiced the pure internal alchemy. Thus I argue that the method stayed only for 200 years, arising from the late Dang Dynasty and disappearing in 1911, when Seol Do-Gwang was dead. This method can be instructed only to the appropriate figure, and the specific steps of method are taught through the oral instruction so that this method cannot be wide spread. Based on the fact that the time of practicing method is quite long and it needs intensive and constant efforts, it is difficult for a mundane person to practice and cope with the training. Jin Nam and Baek Ok Seom are believed that they belonged to the school of Shin So. Baek Ok Seom is regarded as a figure that made efforts to unite the school of Wei and the internal alchemy. However, he made lots of fabrication and discrepancy. Thus I state that Jin Nam and Baek Ok Seom need to be out in the succession and method of five masters of southern school in Taoism. Their changed method in quality needs to be organized in a new genealogy.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.

• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.37-67
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• 2023

This paper aims to examine the loyalty and filial piety pursued by Taoists, focusing on the concept of loyalty and loyalty shown in Wenchang Filial Piety Classic and General Collection of Jingming on Loyalty and Filial Piety. After the Han Dynasty, the concept of loyalty and filial piety became the representative virtues that led the country and society to follow the ideology of Confucius as the dominant ideology. This applied to everyone from emperor to each individual. Taoism had different reasons for promoting the concept of loyalty and filial piety and these even varied from sect to sect, but generally, Taoism could also be said to emphasize loyalty and filial piety. Depending on the sect of Taoism, filial piety might be valued on its own or filial piety might be valued in conjunction with loyalty. In particular, defining Taoism was criticized for "forgetting the desirable behavior required in the human network of the world and severing relationships with various objects encountered in life." In this respect, the concept of loyalty and filial piety in General Collection of Jingming on Loyalty and Filial Piety, could be observed to emphasize 'filial piety' in conjunction with 'loyalty', and this shows the influence of Confucius' concept of loyalty and filial piety. At the same time, this shows the concept of loyalty and filial piety as reimagined by Taoism. The most fundamental aim of Taoism is to pursue immortality. However, as a prerequisite for becoming such a god, loyalty and filial piety, were practiced alongside 'gentleness' and 'humanity and trustworthiness.' Here, the Taoist emphasis on 'loyalty and filial piety', 'gentleness', and 'humanity and trustworthiness' is essentially the same as in Neo-Confucianism. However, seeking to become an immortal through these values represents a motivation that is different from Neo-Confucians who denied the pursuit of immortality. In this paper, loyalty and filial piety as understood and practiced by Neo-Confucian scholars will be compared with the same concepts in the Taoist context and the findings will be summarized via three categories. First, in the Taoist model longevity and the pursuit of immortality are seen as being closely related to filial piety. The reason why achieving longevity and pursuing immortality was considered closely related to filial piety is because this is a modified and enhanced reimagining of the Neo-Confucianist concept of loyalty and filial piety. The other is that Taoism's concept of loyalty and filial piety is richly supplemented with content about 'interactions between heaven and humankind.' When filial piety is practiced in this context, the principle of responding to the gods of heaven and earth is emphasized. At the same time, Taoism presents consequences for insufficient filial piety to parents or insufficient loyal to the king; disasters will be brought down by heaven. Finally, it is argued that the practice filial piety is necessary and should extend not only to parents to all phenomena in the world without distinguishing based on one's degree of intimacy to those phenomena.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).