• Journal of Digital Convergence
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• v.11 no.8
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• pp.349-358
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• 2013

This thesis is a study on Zhuang-zi's theory of self-cultivation. "Mind" is an important concept in Zhuang-zi's philosophy. According to Zhuang-zi "mind" has dual character and its basic state includes the mind which is in keeping with Tao and the mind which is not. They separately refer to mind's natural state(靈府靈臺 之心) and unnatural state(成心). The former is compatible and harmonious while the latter is contradictory. The accomplishment of mind eventually means transcending unnatural mind and attaining mind's natural state. To realize natural mind, Zhuang-zi propose xinzhai(心齋)and zuowang(坐忘).

• Sijohaknonchong
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• v.26
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• pp.7-24
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• 2007

The poetic world of Jeong Wan-yeong, Baeksu in pen name, is commonly said to be a mirror of the Oriental world of thoughts. However we haven't had any scientific article to support this point. My research is aimed to verify this point. The conclusions of my research are as follows : First, each persona in his sijo work complies to nature, revealing himself in harmony with the principles of nature, and lost in nature. Second. Baeksu, in his sijo works, regards two conflicting ideas as complementary ones, which was called the theory of 'Bangsaeng(方生)' by Chung-tze(莊子), and was called the theory of Origin(緣起說) by Buddhist philosophers. Third, Baeksu located his home town in a space of the supernatural world. which is similar to that of 'Muhayujihyang(無何有之鄕)'called by Chung-tze. From these points, it can be said that the ideas of Chung-tze and Buddhist philosophers are deeply permeated in his sijo works.

• 한국체육학회지인문사회과학편
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• v.51 no.4
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• pp.23-31
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• 2012

The purpose of this study was to inquiry implication of physical education based on the Zhaung Zi's philosophy. In order to investigate this purpose, I analyzed the text of Zhaung Zi. The result of the study was as followed. Zhaung-Zi oriented ideal image of human beings who has attained the stage of play(遊). He is an acquaintance (至仁), a man of god(神人), a true man(眞人). The purpose of physical education in Zhuang-Zi is paly(遊) which play well naturally. 'play is the gaming and play in which we can see the true face of the world and ourselves and can become on with the object in the world. Forget-enjoyment(至樂) of victory, records, and results are the purpose of physical education which can be found in Zhuang-Zi. The methods of physical education is the whole mind(專一), xixium(虛心), the feast of mind(心齋), forgetting everything(坐忘) etc. Physical education is to harmonious study with nature not artificially. The relation between teacher(coach) and student(player) is a relationship of mutual respect and consideration. The teacher(player) have to find the potential ability of student and he can help student realize potential ability of them.

• (The)Study of the Eastern Classic
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• no.34
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• pp.339-362
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• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.