• Industry Promotion Research
• /
• v.1 no.1
• /
• pp.151-157
• /
• 2016

Nowadays Chinese society advocates a kind of principal thinking, which Chinese call it "harmony". The entire Chinese society is trying to build a so-called "harmonious society", that is, people live in harmony with the natural environment and carry out sustainable development; people live in harmony with others and build harmonious social relationships; people live in harmony with themselves and cultivate self-morality and enhance national self-quality. It can be seen that the word "harmony" runs through this thinking all the time. This paper aims at viewing Chinese people's philosophy in Ming Dynasty from the Piaohailu. Likewise, the starting points of the paper are also these three aspects which are people's relationships with nature, others and themselves. Based on this angle, it tries to conduct a simple analysis and study by taking Korean official Cui Pu's Piaohailu as the main historical data.

• Journal of the Daesoon Academy of Sciences
• /
• v.27
• /
• pp.283-317
• /
• 2016

This research is an attempt to detail the multi-layered ethical characteristics of 'mutual beneficence', shown in the principle of 'guarding against self-deception' in Daesoon Thought while focusing on its major differences as well as the similarities with Kantian and Utilitarian ethical views. In these Western ethical perspectives, the concept of self-deception has received a considerable amount of attention, centering on the context of natural rights and contract theory. Meanwhile, in Daesoon Thought, 'guarding against self-deception' is presented as one of the principal objectives as well as the method or deontological ground for practice. It further encompasses the features of virtue ethics oriented toward the perfection of Dao. Here, the deontological aspect is interlinked with the concept of cultivation and the pursuit of ethics and morals. Hence this makes it a necessary condition for achieving the perfection of Dao, and likewise renders the practice of 'guarding against self-deception' more active through facilitating mutual relations based on the expansion model wherein human nature is characterized as possessing innate goodness. With regard to the tenet of 'resolution of grievances for mutual beneficence,' this concept is presented as a positive ground for practicing virtues toward others without forming grudges. Furthermore, as long as it reveals the great principle of humanity built on conscience, it will come to harmonize practitioners with others and spirits in an expression of beneficence. Moreover, originating in the Dao of Deities, guarding against self-deception is expressed as a form of life ethics and can be suggested as a new alternative for the model of virtue ethics proposed by Nussbaum. All in all, there is a natural causal relationship by which 'guarding against self-deception' in accord one's own conscience and the principle of humanity as a pursuit of perfect virtues in Dao result in the fulfillment of mutual beneficence. This readily akin to how gravity causes water to flow from high ground to low ground. Consequently, these relational features of mutual beneficence can serve an effective alternative to the Western ethical views which also address the need to overcome the egoistic mind which is liable to self-interest and alienation.

• (The)Study of the Eastern Classic
• /
• no.41
• /
• pp.91-120
• /
• 2010

In this paper, I tried to analyze the image of bamboo from Chang Hyun-kwang's poetry. Especially I focused on defining the symbolic meaning of bamboo as a poetic material. To achieve this, I inspected his view of world and politic life. He considered his contemporary period as 'ethically corrupted' world. During his life time, he served for three kings and also suffered from the fires of war four times. That means, he had to undergo the political unrest and national crisis during his life time. Due to the chaotic state of affairs, all the people were busy pursuing their own interests. It made Chang had no choice but retiring from active life. While Chang revealed his attitude to life through writing poetry, he used the image of bamboo as a completion of one's mature character. And the image of bamboo what he used was somewhat different from general one. Chang used the image of bamboo in two ways. The one is seeking live in retirement, and the other is chasing completion of his own mature character in academic way.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.405-428
• /
• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.