• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.1-52
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• 2021

The Naejeong, the inner court, which is one of the structures found in the temple complexes of Daesoon Jinrihoe. It serves the function of leading and controlling the operation and direction of Korean religions in general. Considering that the dictionary meaning of 'Naejeong' is 'a place to manage the affairs of the state from inside a palace,' the name and function of the structure appear to be in harmony. However, in the Daesoon Jinrihoe context, it is said that the name 'Naejeong (內庭 'Neiting' in Chinese)' is related to a verse from a Daoist scripture. It has not been revealed whether or not the scripture is historical, and what contents or contextual meanings it contains. This study tries to pursue this matter and introduce the original source of the Naejeong in Daesoon Jinrihoe as likely coming from Qianbapinxianjing (前八品仙經, The Former Scripture of the Eight Phases That Reveal the Means to Acquire Immortality). This scripture was compiled in Lüzu-quanshu(呂祖全書, The Entire Collection of Ancestor Lü). This text and its contextual meanings will also be examined. The origin of Qianbapinxianjing dates back to either the late Ming Dynasty or the early Qing. In those days, there existed a group of literati who worshipped Ancestor Lü because he had saved people and taught the art of immortality. The group organized Daoist Spirit-Writing Altars (鸞壇道敎) and invoked the spirit of Ancestor Lü. They were said to have been taught through messages received from spirit-writing sessions (降乩) with Ancestor Lü and several Daoist scriptures were composed by them in this manner. At Immortals-Gathering Pavilion (集仙樓) of Wandian (萬店) in Guangling (廣陵), China, some literati in that group conducted a spirit-writing session with Ancestor Lü between 1589 and 1626, and they produced a scripture which contained the passage, "A crow and a rabbit gather in the middle valley (烏兎結中谷) while a turtle entwined with a snake is in the inner court (龜蛇盤內庭)." They titled the scripture, The Five Movements and Filial Piety (五行端孝). This passage symbolically expresses the accomplishment of immortality in Neidan (internal alchemy) which, within the human body, combines the two energies of yin and yang which are Water and Fire in the Five Movements scheme. This kind of cultivation is said to be achieved only by maintaining the highest possible degree of filial piety. In this context, the Naejeong where a turtle is entwined with a snake (龜蛇合體) was a term that symbolically depicted a place wherein one transforms into an immortal through cultivation. The Five Movements and Filial Piety was included in Qianbapinxianjing after it had been compiled with the other scriptures containing Ancestor Lü's teachings. In 1744, Qianbapinxianjing was included in Lüzu-quanshu, the entire 32-volume collection of Ancestor Lü and printed for the first time. This underlies the belief in Ancestor Lü (呂祖信仰) which embraces the idea of the redemption of people, teaches the arts of immortality, and features Daoist Spirit-Writing Altars, filial piety, the art of Neidan, and the combination of Water and Fire.

• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Journal of the Daesoon Academy of Sciences
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• v.21
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• pp.199-254
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• 2013

대순사상은 인간의 행위와 정신적 틀, 즉 몸과 마음을 닦고 세상을 다스리며 백성을 평안하게 하는 도리를 설파하고 있다. 우주 공간의 질서와 깊은 연관을 맺는 이러한 도리는 인간 자신의 인지(認知)와 심신 수양의 내용을 포함하며, 사람이 사회와 우주자연과의 관계를 어떻게 처리해 나갈 것인지에 관한 문제도 다루고 있다. 따라서 대순사상을 인문이라는 관점에 입각하여 분석해 볼 필요가 있다. 이탈리아에서 시작된 서양의 인문주의와 비교해 볼 때, 중국 전통의 인문정신은 인류 개체의 창조력과 그 성과를 인정하고, 인격적 수양과 개선을 주장하며, 사회의 조화를 강조하는 한편, 인류가 반드시 천지인의 조화로운 관계 속에서 개체와 전체의 생존을 파악해야 함을 강조한다. 이러한 인문정신은 『전경』에서도 찾아볼 수 있다. 그 하나가 모악산과 단주(丹朱)에 대한 서술인데, 모악산은 산 즉 '간'(艮)괘이며 단주는 적색에 상응하니 곧 '리'(離)괘가 된다. 이 두 괘가 서로 조합하면 '비(比)'괘가 되며, 『주역』의 비괘와 연관하여 서로 간의 모순을 없애고, '바둑'을 두는 기법을 거울삼아 심성을 다스리며, 인격을 완성하고, 인신이 조화를 이루도록 하며, 사회를 안정시킬 것을 말한다. 대순 신앙의 최종 목표는 지상천국을 건설하는 것인데, 이런 목표를 실현하기 위해서는 인격수양을 그 출발점으로 삼아야 한다. 인격수양의 목표는 바른 도인이 되기 위한 것이며, 이를 위해서는 수도 공부를 해야만 한다. 수도는 춘추시기 노자 이래로 유구한 문화적 전통을 지닌 것이지만, 대순진리회는 한국사회 역사의 경향과 현실의 필요에 부응하여 수도 이론을 새롭게 수립하였다. 이를 살펴보면, 대순진리회는 수도자가 '성(誠), 경(敬), 신(信)'에 힘쓰는 품격 함양을 매우 중시한다. 또 도인들이 가정의 화목에 힘써야 하며, 솔선수범하는 도인으로서 사회의 모범이 되어야 한다고 말한다. 이렇게 볼 때, 대순진리회는 '인도'(人道)를 함양함을 강조하고 있으며, 이것은 전통적인 유가에서 말하는 '수신, 제가' (修身, 齊家)의 정신과 그 의미가 맞닿아 있다. 또한 중국 도교의 '선도(仙道)를 이루고자 하면 먼저 인도(人道)를 행하라'는 사상적 취지와도 일치한다. 대순진리회에서 수도의 최종 목표는 도통이다. 도통은 수도자가 매우 높은 경지에 이르게 되었을 때 가지는 특수한 능력과 정신의 경지이다. '도통'에 대한 기록은 『장자·제물론』, 『문자』의 「부언편>(符言篇) 등에서 찾아볼 수 있는데, 대순진리회가 말하는 도통은 중국의 도가 전통에 보이는 도통과도 연관되지만 강한 인륜수양(人倫修養)적 특색을 지니고 있다는 점에서 차이가 있다. 이것은 대순진리회가 가지는 중요한 인문적 함의라 하겠다. 대순진리회는 수도 공부로써 광제창생·보국안민·지상천국건설의 사회적 이상을 실현하고자 한다. 조화로운 사회적 관계를 수립하기 위한 토대는 대순진리회의 종지 첫 번째인 음양합덕이다. 음양합덕은 대순진리의 인문 취지의 이론적 기초를 형성하는 사상이다. 음양합덕의 철학적 사고는 종지 두 번째인 신인조화(神人調化)의 이상으로 이어진다. 신인조화는 『상서·순전』(尙書·舜典)의 신인이화(神人以和)에서 그 사상적 연원을 찾아 볼 수 있다. 다만 신인이화가 율려 조화의 '결과'를 표현한 것이라면, 신인조화에서 중시하는 것은 '과정'이며 인간과 신의 상호작용이라는 점에 그 특징이 있다. 신인조화를 이루기 위해서는 공부를 해야 하며, 그 배후에는 인본(人本)의 사상이 깃들어 있다. 그것은 종지 세 번째인 '해원상생'의 내용에서 더욱 명확하게 드러난다. 신인조화가 인간과 신의 관계를 조화롭게 하는 것을 말한다면, 해원상생은 인간과 인간의 관계를 조화롭게 하는 것을 말한다. 또 다른 한편으로는 긴 역사의 과정 속에서 맺힌 원을 풀어 우주의 기운을 잘 통할 수 있게 하고 인간 사회의 정상적인 교류를 이루도록 한다. 이러한 내용은 사회적인 인문적 관심과 배려를 다분히 포함하고 있는 것이다. 대순진리회의 종지 네 번째인 도통진경은 수도의 가장 높은 경지를 말하는데, 이러한 이념은 노장 일파의 도가 학자들이 말한 순박한 본성으로 회귀하자는 정신에서 그 원류를 찾을 수 있을 것이다. 또한 이는 한진(漢晉)시대 이래 중국 도교가 추구했던 '진경' 의 의미와도 합치된다. 그러나 시대와 환경이 다름으로 인해, 대순진리회의 '진경'은 사회생활의 의미까지 내포한다. 비록 대순진리회의 경전이 인본(人本)을 명확히 밝히고 있지는 않으나, 대순진리회의 요의(要義) 중 하나인 인존사상은 대순진리회의 인문정신을 말해주는 것이다. 인존사상의 직접적인 기능은 평안(平安)으로서 삶을 이롭게 하는 것이다. 대순진리회는 우주대원의 진리를 '도'라 하였는데 이러한 '도'는 중국의 도가에서 말하는 '도'와 동일하며, 여기에는 '안(安)'의 의미가 포함되어 있다. 대순진리회의 신조 중 '안심', '안신'은 마음을 정(靜)하게 하고, 몸을 편하게 하는 것으로 볼 수 있지만, 심신의 공포와 두려움을 떨쳐내어 안전과 보호를 얻는다는 의미도 있으므로 결국 평안이 전제가 된다. 이렇듯 대순진리회에서는 '평안에 대한 희구'를 근본으로 하여 신앙인들이 열심히 수도에 정진하고 있다. 대순진리회가 인류 평안을 기본으로 하는 종교라는 점에서, 반드시 세인들의 환영을 받을 것임을 믿어 의심치 않는다.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Korean Journal of Psychosomatic Medicine
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• v.7 no.1
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• pp.116-123
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• 1999

Objectives : The authors attempted to assess how much the mechanism of dissociation affects somatization disorder patients psychopathologically, and explore the relationship between sexual or physical abuse and somatic symptoms in somatization disorder patients. Methods : The authors administered the Dissociative Experiences Scales-Korean version(DESK) and Dissociative Disorders Interview Schedule to 25 patients with somatization disorder and 51 normal subjects. Results : There were no significant demographic differences between patient and control groups. The mean score of DES-K for patient group was 18.2, and 10.0 for the control group. The percentage of the individuals with high scores(20 and over) was 36.0 in the patient group and 7.8 in the control group, respectively. The percentage of the individuals with sexual and/or physical abuse was 16.0 in the patient group and zero in the control group. Our results showed that DES-K scores were not influenced by the factor of age or religion in either group, but the scores of the patients with somatization disorder were significantly higher than those in the normal subjects. Conclusion : There was an implication that the mechanism of dissociation affects issues of psychopathogenesis and psychopathology in Korean patients with somatization disorder, even though they have different sociocultural backgrounds in comparison to Western patients. The authors suggest it is useful to focus attention on childhood abuse and dissociation in the evaluation and dynamic psychotherapy of patients with somatization disorder.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• Journal of the Daesoon Academy of Sciences
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• v.43
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• pp.139-177
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• 2022

The only text that aids in the understanding of Songs of the Dao of Great Gods (大化神道歌詞), which was established by Yun Jin in 1984, is Mok-wun daegyeong (木運大經, The Great Scripture of Wood-Destiny) published by Oh Yeol-gyun in 1976. This scripture includes five songs: Wun-hoe dongbang-ga (運回東方歌, Songs of Destiny-Returning to the East), Gung-eul-ga (弓乙歌, Songs of Gung-eul), Dodeok-sa (道德詞, Morality Poems), Palguae-gugung byeon-yeok-ga (八卦九宮變易歌, Songs on the Changes of the Eight Trigrams and Nine Palaces), and Nakdang-ga (樂堂歌, Songs of the Paradisiacal Lands). Songs of the Dao of Great Gods, which is prone to embracing Daoist characteristics, is meant to be sung upon the realization of the Later World, the ideal earth. This is expressed as spring. In addition, we can easily find key terms such as Sampung-ga (三豊歌), Yangbaek-segye (兩白世界), Gung-eul-ga (弓乙歌), Gunggung-euleul (弓弓乙乙), Yanggung (兩弓), Euleul (乙乙), Gung-eul seonin (弓乙仙人), Samin-ilseok (三人一夕), Yijae-jeonjeon (利在田田), Gung-eul jiri (弓乙之理), Naenggeum-bugeum (冷金浮金), Seokjeong-gon (石井昆), Yangbaek (兩白), Sampung (三豊), and Sodumujok (小頭無足), all of which appear frequently in traditional prophecies and the faiths they have inspired. The precise meaning of these terms has yet to be revealed. Furthermore, Songs of the Dao of Great Gods contains lyrics prophesying that the return of the wood-destiny of the East and emphasizing the destiny of 3-8 wood as based on the Yellow River Chart (河圖). Songs of the Dao of Great Gods, originated the term, the World of Paradisiacal Lands (樂堂世界), and prophesyed that the wood-destiny of the East would return to create a new world that took Korea as its center. The text emphasized wood-destiny, symbolized by spring, and argued that the Dao of Great Gods could be ascetained from the principle of water-producing wood (水生木) found in the Eastern study of changes (易學) as approached by Choi Su-Wun (水雲), the founder of Donghak (東學).

• The Journal of Korean Philosophical History
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• no.31
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• pp.53-86
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• 2011

Taoism exercised its influence and has made much progress apparently under the aegis of the Tang dynasty. But since the external alchemy, a traditional way of eternal life that they have pursued, met the limitation, they were placed in a situation where they needed to seek a new discipline. From this period to the early North Song dynasty, three religions have established the unique theoretical systems of their own theory of ascetic practices. They showed their own unique formats as follows. Neo-Confucianism established the theory of moral training, Buddhism did the theory of ascetic practices and Taoism had theory of discipline. By this time, a person who claimed the Intermixture of Three Religions composed the new system of theory of ascetic practice by taking advantage of other religions and putting them into his own view. Chen tuan established the theory of internal alchemy of Taoism and was the most influential figure in the world of thought since North Song dynasty. He clearly declared that he accepted the merits of other religions in his theory. He added I Ching of Confucianism in I Ching of secret of Taoism to stop the logical gaps during the process of disciplines in Taoism and took ascetic practices on mind of Buddhism into his system while he sought a way to integrate the dual structure of body and mind. The theory of Chen tuan's internal alchemy was training schema with stages of 'YeonJeongHwaGi', 'YeonGiHwaSin', and 'YeonSinHwanHeo' based on the concepts of vital, energy and spirit. The internal alchemy practice that Chen tuan was saying started from the practice of Zen to keep the mind calm with the basis of fundamental principles of interpretation of book of change according to Taoism. When a person reached the state to be in concert with all changes at the end of the silence and be full of wisdoms, he finally returned to the state of BokGwiMuGeuk by taking the flow of subtle mind and transforming it into energy. He expressed this process by drawing 'MuGeukDo'. Oriental philosophy categorized human into 'phenomenal existence' and 'original existence'. The logic of theory of ascetic practice has been established from these 'category of existence'. It would be determined whether it will return to 'original existence' or be stepped up from 'phenomenal existence' according to how the concept of 'self' or 'I' was made. Chen tuan who established the theory of internal alchemy in Taoism has established the unique theory of internal alchemy discipline and system of intermixture of three religions in this aspect. Today is called 'era of self-loss' or 'era of incurable diseases' caused by environmental pollution. It's still meaningful to review the theory of discipline of Chen tuan's connecting the body and the soul to heal the self, and keep life healthy and pursue the new way of discipline based on it.

• Journal of Korean Philosophical Society
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• v.145
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• pp.91-117
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• 2018

This paper aims to clarify the similarities and differences between the Zhouyi and artificial intelligence. The divination of the Zhouyi is rooted in the oldest system of human knowledge, while artificial intelligence stands at the cutting edge of modern scientific revolution. At first sight, there does not appear to be any association that links the one to the another. However, they share the same ground as seen from a semiotic standpoint because both of them depend on the semiotic system as a means of obtaining knowledge. At least four aspects can be pointed out in terms of similarities. First, artificial intelligence and the Zhouyi use artificial language that consists of semiotic signs. Secondly, the principle that enables divination and artificial intelligence lies in imitation and representation. Thirdly, artificial intelligence and the Zhouyi carry out inferences based on mathematical algorithms that adopt the binary system. Fourth, artificial intelligence and the Zhouyi use analogy as a means of obtaining knowledge. However, those similarities do not guarantee that the Zhouyi could arrive at the scientific certainty. Nevertheless, it can give us important insight into the essence of our civilization. The Zhouyi uses intellect in order to get new information about the unknown world. However, it is hard to know what kind of intellect is involved in the process of divination. Likewise, we do not know the fundamental character of artificial intelligence. The intellect hidden in the unknown subject is a mystic and fearful existence to us. Just as the divination of the Zhouyi inspires the sense of reverence toward the supernatural subject, we could not but have fear in front of the invisible subject hidden in artificial intelligence. In the past, traditional philosophy acknowledged the existence of intellect only in conscious beings. Nonetheless, it becomes evident that human civilization ushers into a new epoch. As Ray Kurzweil mentioned, the moment of singularity comes when artificial intelligence surpasses human intelligence. In my viewpoint, the term of singularity can be used for denoting the critical point in which the human species enters into the new phase of civilization. To borrow the term of Shao Yong(邵雍) in the Northern Song Dynasty, the past civilization belongs to the Earlier Heaven(先天), the future civilization belongs to the Later Heaven(後天). Once our civilization passes over the critical point, it is impossible to go back into the past. The opening of the Later Heaven foretold by the religious thinkers in the late period of Joseon Dynasty was a prophecy in its own age, but it is becoming a reality in the present.