獨占企業의 動態的 最適化 : 狀態變數에 跳躍이 있는 경우를 중심

양용선 崇田大學校 大學院 1986 국내석사

조직성과에 대한 변혁적 리더십의 효과에 관한 연구: : 협동조합을 중심으로

양용선 충주대학교 경영행정대학원 2012 국내석사

본 연구는 외생변수인 조직특성 변수(자산현황, 분류, 근무부서)가 내생변수인 변혁적 리더십과 조직유효성(직무만족, 조직몰입)에 어떠한 상관관계가 있는지 분석하고자 하였다. 그동안 협동조합에 관련된 변혁적 리더십 연구가 전무한 상태로서 타 기관을 대상으로 연구한 문헌을 바탕으로 변혁적 리더십과 조직유효성에 대한 가설을 제시하였다. 본 연구가 연구대상으로 하는 표본은 지역농업협동조합이며 지역농업협동조합장의 변혁적 리더십이 조직성과인 직무만족과 조직몰입에 미치는 영향에 관한 연구이다. 이러한 목적을 달성하기 위하여 표본추출은 전국에 소재한 지역농업협동조합 4급 이하 중견직원을 대상으로 설문을 실시하였다. 총 184부를 배포하여 184부를 회수하였다. 수집된 wkfyms 구조방정식 모형을 활용하여, AMOS 18과 PASW Statistics 18 패키지 프로그램을 이용하여 통계처리 하였다. 본 연구의 가설은 농업협동조합의 조직특성이 변혁적 리더십에 미치는 영향과 변혁적 리더십이 조직유효성에 미치는 영향에 대하여 다음과 같은 연구 가설을 설정하였다. 가설 1. 협동조합에 있어서 조직특성은 변혁적 리더십에 영향을 미칠 것이다. 가설 2. 협동조합에 있어서 변혁적 리더십은 조직성과에 정(+)의 영향을 미칠 것이다. 가설 3. 협동조합조직원의 직무만족도는 조직몰입도에 정(+)의 영향을 미칠 것이다. 추가가설: 협동조합조직원의 개인특성에 따라 변혁적 리더십과 조직성과는 개인특성에 따라 차이가 있을 것이다. 본 연구 결과는 다음과 같다. 첫째, 협동조합의 조직특성 변수들 중 변혁적 리더십에 영향을 미치는 변수로는 자산현황, 분류, 근무부서가 채택 되었다. 실증분석 연구결과 분류는 변혁적 리더십에 경로계수추정치 -2.883 수준으로 유의수준 5% 수준에서 유의한 영향을 미치는 것으로 나타났다. 자산현황 및 근무부서는 기각되었다. 즉, 가설1은 부분 채택되었다. 둘째, 협동조합의 조직유효성에 영향을 미치는 변수로서 변혁적 리더십이 채택 되었다. 실증분석 연구결과 변혁적 리더십이 직무만족에 경로계수추정치 .204 수준으로 유의수준 5% 수준에서 유의한 것으로 분석되었다. 즉 변혁적 리더십은 직무만족에 유의적인 영향을 미치고 있는 것으로 채택되었다. 변혁적 리더십이 조직몰입에 경로계수추정치 .216 수준으로 유의수준 1% 수준에서 유의한 것으로 분석되었다. 즉 변혁적 리더십은 조직몰입에 유의적인 영향을 미치고 있는 것으로 채택되었다. 셋째, 협동조합의 조직성과간의 영향으로 조직몰입도에 영향을 미치는 변수로서 직무만족이 채택 되었다. 실증분석 연구결과 직무만족이 조직몰입에 경로계수추정치 .537 수준으로 유의수준 1% 수준에서 유의한 것으로 분석되어 채택되었다. 추가분석을 통한 추가가설 결과 성별, 결혼여부, 직급은 기각되었으며 연령은 유의수준 1% 수준에서 유의한 것으로 채택되었다. 연구결과를 통해 변혁적 리더십이 조직유효성에 유의한 영향을 미치는 것을 알수 있으며, 조직특성인 농업협동조합의 유형 분류에서 유의한 영향을 미치는 것으로 나타났다.

한지공예산업 발전을 위한 디자인 경영전략 연구

양용선 전주대학교 문화산업대학원 2013 국내석사

현대사회는 기술과 정보의 발전으로 세계화됨으로써 인간의 정서와 감성 등 사회 전 분야에 걸쳐 다양성이 요구되는 시대이다. 한국은 오랜 역사와 전통에서 비롯된 다양한 문화적 자산을 가지고 있어서 문화산업을 진흥시키는 데에 매우 유리한 여건을 가지고 있다. 고유의 정서와 전통을 바탕으로 한 한지공예산업의 발전은 긍정적인 국가 이미지를 창출하고 독창적인 ‘한국적 디자인’의 방향을 제시하여 민족문화의 정체성 확립 및 국가 이미지를 널리 알리는데 중요한 단서를 제공할 것이다. 그러나 한지공예산업은 한지 수요 감소로 업체의 영세성 및 생산성, 경제성의 저하로 점점 사양화 되고, 산업화로 인한 경제발전과 더불어 현대공예상품과 공산품에 밀려 그 위치가 사라지고 있다. 현대사회는 기계화, 정보화의 발달로 소득이 증가함에 따라 소비자의 라이프스타일도 변화하고 있다. 이러한 변화로 생활패턴과 주거환경이 향상되었지만 한지공예산업은 이에 적절히 대응하지 못하여 침체되었다. 이러한 현실에서 한지공예산업이 발전하기 위해서는 한지공예의 본질적 의미와 시대적 요구 사항에 맞게 객관적으로 해석하는 태도가 절실하다. 한지공예산업은 우리의 문화적 의식과 전통을 실질적으로 보여주는 중요한 산업으로 새로운 패러다임의 디자인 경영 전략을 통한 개선이 필요하고 생각된다. 전통 솜씨와 기술을 현대적 라이프스타일에 맞게 우리의 전통이 담긴 정체성, 고유성, 창조성을 겸비하여 세계시장에서 경쟁력 있는 제품으로서 세계시장 진출에 손색이 없는 전통공예품 개발이 필요하다. 따라서 한지공예 특성에 따른 체계적인 분석과 현대적인 디자인 요소가 더해진 디자인 개발과 전통공예의 취약점인 마케팅의 개선이 시급하다. 본 연구의 목적은 한지공예산업의 발전을 위해 디자인 경영을 접목함으로써 영세한 한지공예업계를 현대적 개선과 전략으로 발전시켜서 대중화 될 수 있도록 하고자 함이다. 현재, 한지공예의 영역은 산업으로서 미비한 단계이지만 디자인 경영전략을 통하여 현대적인 디자인의 상품개발과 적극적인 마케팅을 통하여 세계적인 한국의 전통문화상품개발의 터전을 마련함으로써 고부가가치화를 실현할 수 있다. 본 연구는 한지공예의 시스템, 디자인, 브랜드, 마케팅 개발의 필요성을 인식하고, 현황 및 특성을 파악하여 한지공예산업 발전을 위한 디자인 경영전략을 연구하고 한지공예를 산업화 할 수 있는 방법을 제시하였다. In the modern time, technology and information are developed globally, and diversity is demanded in all of the spheres of human feeling and sensibility. Korea holds not only a variety of cultural assets originating from old history and tradition but also a good condition for promoting cultural industry. The development of Hanji handicraft industry on the basis of inherent emotion and tradition will create affirmative national image, and it will present creative 'Korean-style design' direction and offer important clue to the establishment of the identity of ethnic culture and publicity of national image. But, Hanji handicraft industry is on the decline, and businesses go through small scale, low productivity, and ineffective economy after decreased consumption. In addition its position falls down due to the modern handicrafts and industrial products after industrialization and economic development. In the modern time, mechanization and informationization leaded to income increase. So customers developed their life styles. Though this change promoted life pattern and residence circumstances, Hanji handicraft could not respond to it and sank into a slough of stagnation. On the purpose of developing Hanji handicraft industry, it is important to interpret the industry, appropriate to essential meaning and timely demand. Hanji handicraft is an important industry, for it shows our cultural recognition and tradition actually, and it has to be improved through design management strategy. It is necessary to hold identity, originality, and creativity which contain our tradition by making traditional skill and technology, appropriate to the modern life style, and to develop the modernized traditional handicrafts, the most competitive in the world markets. Designs have to be developed, by analyzing them on the basis of Hanji handicraft traits and by adding the modern design factors. Marketing, a weak sphere of traditional handicraft, has to be improved.

뇌손상자의 이야기 이해와 산출

양용선 나사렛대학교 재활복지대학원 2006 국내석사

후천적으로 뇌손상을 입은 성인 환자들은 언어를 사용하는 능력에 손상을 입어, 말하기, 알아듣기, 읽기, 쓰기 등 다양한 의사소통에 어려움을 보인다. 또한, 뇌손상의 위치에 따라 다른 의사소통 특징을 나타내기도 한다. 언어사용이 대화적 또는 문장단위 수준이상으로 이루어져야 하는 단계의 성인에 대한 언어능력평가는 어휘와 구문의 정확성을 따지는 것 보다는 상대방 발화에 대한 이해와 효율적으로 전달할 수 있는가의 평가가 더 유용하다(Brookshire & Nicholas, 1994; Nicholas & Brookshire, 1993; Yorkston & Beukelman, 1980). 그럼에도 불구하고 진단도구 내에서의 산출 및 평가가 이루어져 환자의 특성에 따라 객관적인 내용전달의 능력을 제시할 수 없으며, 간단한 질문에 대한 대답 및 ‘예-아니오’에 대한 단순한 이해 능력에 대해서 평가되어졌다. 이에 최근 임상에서 체계적인 의사소통전달로써 담화의 한 종류인 이야기 다시 말하기의 유용성에 대한 논의가 활발하다. 뇌손상환자들은 손상반구에 따라서 우뇌 손상과 좌뇌 손상으로 분류된다. 이들은 담화에 있어 모두 어려움을 보인다. 특히, 좌뇌 손상의 경우 유창성실어증으로 진단된 환자는 조음 및 문장 구조에서의 말 산출과 유창성, 문법, 억양, 리듬, 발음에 대해서는 양호하나, 발화의 내용이 빈약하여 의미착어 및 음소착어를 보이며, 정확하지 않은 낱말 형태와 표현이 나타나는 경우가 많다. 또한, 타인의 발화를 듣고, 이해하는 능력이 저하되어 타인의 질문과 무관한 대답을 하거나, 자신의 발화를 인식하여 수정하는데 어려움을 가지고 있다. 같은 좌뇌 손상 중 실어증으로 진단되지 않은 경미한 손상일 경우에도 언어영역의 손상으로 인하여 언어사용에 어려움을 느낀다. 우뇌 손상의 경우에도 너무 말이 많거나 많은 단어를 사용하여 말을 하는 특징이 있으며, 말은 매우 길지만 분명한 목적, 구조가 없는 듯 들리며 요점을 말하는데 어려움이 있다(신명선 외, 2005). 따라서 본 연구에서는 뇌손상은 있지만, 이야기 다시 말하기 과제 수행이 가능한 세 집단으로 좌뇌 손상 집단에서 유창성실어증으로 진단 받은 집단, 경미한 좌뇌 손상으로 실어증 진단을 받지 않은 집단, 우뇌 손상 집단을 설정하고, 정보 전달 분석방법인 CIU분석방법을 사용하여, (1) 뇌손상위치에 따라 이야기 다시 말하기 산출 능력(CIU비율, 분당 CIU수, 분당 낱말수)에 차이가 있는가? (2) 이야기 이해 능력에 차이가 있는가? (3) 이야기 산출 능력과 이해 능력 수행 간 유의한 상관관계가 있는가를 알아보고자 하였다. 이야기 산출 능력은 세 가지 이야기에 대하여 대상자에게 들려준 후 이야기 다시 말하기를 통하여 산출한 자료를 CIU(Correct Information Unit)분석방법을 사용하여 분석하였다. CIU란 문맥상 명료하며, 주제 혹은 과제에 적합하고 정확한 정보를 제공 하는 낱말로 전체 낱말 중 CIU의 비율과 분당 CIU수를 통해 정보전달의 질적인 면을 평가하였으며, 분당 낱말수를 통하여 발화의 양을 평가하였다. 뇌손상부위와 정도에 따라 나눈 세 집단 간 수행수준의 차이를 알아보기 위하여 일원분산분석(One-Way ANOVA) 및 Tukey 사후검정을 시행하였다. 연구 결과, CIU비율, 분당 CIU수, 분당 낱말수 모든 산출 평가치에서 경미한 좌뇌 손상 집단이 가장 덜 손상된 것으로 나타났다. 사후 검정 결과, 유창성실어증 집단이 경미한 좌뇌 손상 집단과 우뇌 손상 집단과 유의한 차이를 보였으며, 경미한 좌뇌 손상 집단과 우뇌손상 집단은 유의한 차이를 보이지 않았다. 경미한 좌뇌 손상 집단과 우뇌 손상 집단의 정보 전달 효율성 및 어휘산출량은 비슷한 수준의 정보를 전달 할 수 있는 것으로 나타났다. 다음으로 이해과제의 능력을 살펴보기 위하여, 각 이야기에 대해 사실적 질문 세 문제, 추론적 질문 세 문제에 답하도록 하였다. 연구 결과, 경미한 좌뇌 손상 집단이 가장 놓은 점수를 보였으며, 사후분석 결과, 이해과제 점수에서 유창성실어증 집단은 경미한 좌뇌 손상 집단 및 우뇌 손상 집단과 유의한 차이를 보였으나, 경미한 좌뇌 손상 집단과 우뇌 손상 집단 간은 유의한 차이를 보이지 않았다. 마지막으로 산출과제와 이해과제의 상관을 살펴보기 위하여, 각 집단 별 이해 능력과 산출 능력의 Pearson 상관관계를 분석하였다. 연구 결과, 경미한 좌뇌 손상 집단은 모든 지표에서 산출 능력과 이해 능력 간 상관관계는 유의하지 않은 것으로 나타났으며, 우뇌 손상 집단은 대부분의 지표에서 이해 능력과 산출 능력 간 상관관계가 유의한 것으로 나타났다. 유창성실어증 집단은 사실적 질문만이 분당 CIU수와 유의한 상관관계가 나타났다. 이상의 연구 결과를 통하여 뇌손상 위치와 종류에 따른 이야기 다시 말하기 산출 능력 및 이해 능력에 대한 특성을 알 수 있었다. 이 결과는 이야기 다시 말하기를 이용한 CIU 분석방법으로 뇌손상자의 이야기 말하기 평가를 적용할 수 있음을 보여준 것이다. 더 나아가 언어 중재 시 이야기 말하기 과제의 활용을 유도하여 참고자료로 이용될 수 있을 것이다. Adult patients with acquired brain damage find it difficult to communicate with others. The purpose of this study was to examine whether the location of the damaged part of the brain made any differences to the story-retelling productionion (CIU rates, number of CIU per minute and number of words per minute) of three different groups of patients who were injured in the brain yet able to retell stories, whether that made any differences to their story comprehension and whether there was any significant correlation between their story production and story comprehension. One group was injured in the left brain and diagnosed with fluency aphasia, and another was mildly injured in the left brain and not diagnosed with fluency aphasia. The third was injured in the right brain, and CIU(Correct Information Unit) scoring system was employed, which was assessing information conveying. The findings of the study were as follows: First, concerning story production, the group who suffered mild damage in the left brain were injured the least in terms of every evaluation item involving CIU rates, number of CIU per minute and number of words per minute. The fluency-aphasia group was significantly different from the groups with mild injury in the left brain and with right-brain damage. There was no gap between the groups with mild injury in the left brain and with right-brain injury, which showed that the groups with left- and right-brain damage were similar in terms of information efficiency and amount of vocabulary and could convey a similar level of information. Second, regarding story comprehension, the group that suffered mild injury in the left brain scored highest. The fluency-aphasia group was significantly different from the groups with mild left-brain damage and with right-brain injury, but there was no significant disparity between the groups with mild left-brain damage and with right-brain injury. Third, as to correlation between story comprehension and production, there was no significant correlation between the two in the group with mild left-brain injury, but the two were significantly correlated to each other in the group with right-brain damage. In the event of the fluency- aphasia group, just realistic questions had a significant correlation to their number of CIU per minute. The above-mentioned findings of the study illustrated that CIU scoring system could be one of effective ways to evaluate the story retelling of brain-damaged people. Also, the findings of the study might contribute to furthering the application of story-retelling task in the course of language intervention.

龍珠寺 大雄寶殿 丹靑樣式의 考察 : 紋彩에 반영된 宮闕裝飾 要素의 分析을 중심으로

양용선 동국대학교 문화예술대학원 2009 국내석사

Yongjusa-Temple was established at 1790. This temple was established in order to invoke a heavenly bliss and protect the royal tombs of Jangjo[莊祖, 1735~1762] which are father of Jeongjo. The Buddha hall of Yongjusa(Temple) relatively is the size which is elegant. This building was created above stylobate which uses high terrain. The sculpture of wooden construction of this building is gorgeous, shows the form where the internal decoration is beautiful. Currently, this building lost old is being beautiful because the external decoration being repaired in recent times. But the preservation condition of painting decoration the inside is good. The transient period painting form which pulls the form change modern is preserved like that. The decorated patterns of this building are the colostrum from painting the Buddhist temple, or, they are to be rare. The patterns which become popular specially from the peony, the pomegranate, the national flower and Great Absolute etc, at that time Korea royal palace were mainly decorated. This decorations suggest strongly this Buddhist temple being erected from national dimension. The painting of this building is presumed as the work of the painters of Dohwaseo(圖畵署) of the Joseon Dynasty. Like this trace appears much from technique of the pattern which decorates and painting. First of all, the decoration technique of the pillar is different rapidly with painting technique of the Buddhist temple. To pillar top of the main temple of the Buddhist temple is depicted with the silk pattern of the wrinkle the form which falls. The fact that but, to the pillar of the royal palace construction will not decorate principle. The there is not any decoration on as many as the pillar tops of Buddha hall of Yongjusa(Temple). As a result, this being the royal palace form, is the element which is the possibility of knowing. Also the omission of silk pattern is one of the royal palace painting technique. The silk pattern is important design at the Buddhist temple construction decoration of Korea. But to this building the silk pattern did not decorate. As well, this means of the pattern of royal palace painting is reflected as well strongly. Also, the Great Absolute pattern which is added in the complex pattern which is decorated in end part of the long wooden infrastructure is the important element. The Great Absolute pattern at the Buddhist temple painting is a decoration pattern which almost does not appear. But is a pattern which appears frequently from building painting of the royal palace or painting of the royal tomb grave. The Great Absolute pattern symbolizes the creation and an origin of all things. This design that the Sung Confucianism philosophy is implied is the result where the decoration element of the Korea royal palace is reflected. Also the ink line drawing technique which comes to draw on the center of the girder only is the decoration technique which appears the royal palace. In addition, the peony which is depicted to the Buddha hall of Yongjusa(Temple) internal here and there, also the national flower and pomegranate pattern is an element which is rare from Buddhist temple painting, but are the patterns which become popular on a large scale from the royal palace. As mentioned above, the patterns which decorate on the Buddha hall of Yongjusa(Temple) inside show the quality where the royal palace decoration element is reflected much. This the subject of the painters main temple not yet anger was the painters of the Buddhist temple knows the painters of the royal palace to suggest the thing. This the subject of the painter who paints the Buddha hall was not the painters of the Buddhist temple, the painters of the royal palace was to suggest the thing. By the way, the responsible person of the royal palace painters was Kim Hongdo at that time. He as the responsible person of the Royal Palace painters was the person which participates to Yongjusa(Temple) establishment enterprises. Consequently, painting of the main temple is a possibility becoming the evidence which is indirect about the opinion that the Buddhist painting of three time period of the main temple inside is the work of Kim Hongdo.

『楞伽經』의 如來藏 硏究

양용선 동국대학교 2019 국내박사

Laṅkāvatāra-sūtra is widely recognized as a scripture that combines Yogācara thought with Tathāgata-garbha thought. This article suggests that Laṅkāvatāra-sūtra makes the fundamental or the ultimare of Tathāgata-garbha thought. Specifically among Tathāgata-garbha thought that is explained in Laṅkāvatāra-sūtra, ‘tathāgata-nairātmya-garbha’ is summarized Tathāgata-garbha thought of Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra and Śrīmālā-devī-siṃha-nāda-sūtra, ‘ālaya-vijñāna called Tathāgata-garbha’ and ‘tathāgata-garbha-hṛdaya’ combiens Tathāgata-garbha thought independently developed in Laṅkāvatāra-sūtra with Teaching which is eight-vijnana・five-dharma・three-svabhava etc mentioned in Yogācara thought. The explanation about ‘tathāgata-nairātmya-garbha’ in Laṅkāvatāra-sūtra is that first, nitya-dhruva-śiva-śāśva citta-dātu which is in the body of whole sattva is tainted with filth called āgantu-kleśa but originally is Tathāgata-dharma-kāya complited nitya-sukha-ātma-śubha. Second, The intention of speaking is neither in śāśvata-vāda that tīrthika suggests, nor in uccheda-vāda of śrāvaka-pratyekabuddha and a person who is bewildered by śūnyatā. Especially ‘tathāgata-garbha’ is summarization of Tathāgata-garbha thought in Śrīmālā-devī-siṃha-nāda-sūtra and Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra. Modern scholar’s focus is on this. But they suggest that ‘tathāgata-garbha’ is explaind by dharma-dhātu one-way theory of Yogācara thought, also is pratītya-samutpāda-dharma of saṃskṛta and ultimately is tathatā appeared by the śūnyatā. According to Laṅkāvatāra-sūtra, their argument of such as that is just uccheda-vāda of a person who is bewildered by śūnyatā. That’s why ‘tathāgata-garbha’ is asaṃskṛta-dharma that originally possess aśūnya buddha-dharma. There are many gātha that describes citta-dhatu as Ātman in sagāthaka of Laṅkāvatāra-sūtra. And Mahā-parinirvāṇa-Sūtra explains that all sattva has an everlasting and unchanging buddha-dhātu in their bodies. Tathāgata-garbha-sūtra explains this state of all sattva as nine parables, Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra explains that all sattva has aśūnya citta-dhātu which is surrounded by āgantu-kleśa. Tathāgata-garbha-sūtra declared all sattva in this state as ‘tathāgata-garbha’, which translates as ‘people having tathāgata’. Śrīmālā-devī-siṃha-nāda-sūtra explains all sattva who have asaṃskṛta tathāgata-dharma-kāya doesn’t take off peel of āgantu-kleśa is ‘tathāgata-garbha’, which translates as ‘people having tathāgata-dharma-kāya’. In the result, This means that Ātman・buddha-dhātu・citta-dhātu・tathāgata-dharma-kāya in the body of all sattva is aśūnya asaṃskṛta-dharma. So Mahā-parinirvāṇa-Sūtra describes that if you insist whole dharma is just nairātmya・anitya・dukha, your claim is uccheda-dṛṣṭi of foolish people, If you insist whole dharma is just ātma・nitya・sukha, your claim is śāśvata-dṛṣṭi of tīrthika. In anūna-anadhika-sūtra, all sattva having asaṃskṛta tathāgata-dharma-kāya, Namely is aśūnya citta-dhātu in one's own body, is devided into three categories according to the form of āgantu-kleśa's existence. It is dividing sattva into three categories to let you know that all sattva is ‘bauddha-gotra’, which translates as ‘jina-ātmaja’. This is why buddha declared all sattva ‘tathāgata-garbha’, which translates as ‘people having tathāgata-dharma-kāya’. Especially tathāgata-dharma-kāya is buddha-ratna which saṃgha-ratna bauddha-gotra takes as the ultimate śaraṇa in anūna-anadhika-sūtra and Śrīmālā-devī-siṃha-nāda-sūtra and Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra. To express all sattva as ‘tathāgata-garbha’ is to show that tathāgata-dharma-kāya in all sattva is nitya-dhruva-śiva-śāśva śaraṇa. The intention to say ‘tathāgata-garbh’ in anūna-anadhika-sūtra is in that saṃgha-ratna bauddha-gotra is equal and always be eternal in the future. It is because he believes in citta-dhātu as āśraya and relies on tathāgata-dharma-kāya as buddha-ratna at nāsrava-dharma-dhātu. Finally To describe all sattva as ‘tathāgata-garbha’, is hoping that traya-ratna will always show up and tathāgata‘s family lineage will not be cut off. To sum up. to let you know that nitya-dhruva-śiva-śāśva citta-dhātu in all sattva's body tainted with āgantu-kleśa is tathāgata-dharma-kāya complited nitya-sukha-ātma-śubha, There are the expressions that all sattva is ‘bauddha-gotra having tathāgata-dharma-kāya’ in Tathāgata-garbha-sūtra. Furthermore Laṅkāvatāra-sūtra suggests ‘paramārtha-śūnyatā’ is beyond uccheda-dṛṣṭi of person bewildered by śūnyatā. It is because this is not ‘itara-itara-śūnyatā’ explained in Cūḷa-suññata-sutta, also is not staying at acitta which makes ālambana of tathatā appearing by śūnyatā explaind in Madhya-anta-vibhāga-bhāṣya. Namely, ‘paramārtha-śūnyatā’ means that bauddha-gotra acquires buddha-jñāna・ārya-jñāna and remove whole kleśa. here, ārya-jñāna of bauddha-gotra widely is aśūnya citta-dhātu which he believes in, narrowly is asaṃskṛta tathāgata-dharma-kāya which he relies on. This has the same meaning as that ‘śūnyatā of tathāgata-garbha’ in Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra means removing āgantu-kleśa by ārya-jñāna which is not divided with aśūnya buddha-dharma. from this point of view, ‘tathāgata-nairātmya-garbha’ means that ‘tathāgata’ is tathāgata-dharma-kāya, or aśūnya asaṃskṛta-dharma and ‘garbha’ only is saṃskṛta-dharma, or śūnya. For the first time, ‘eight-vijnana’ is mentioned in Laṅkāvatāra-sūtra. Among eight-vijnana, ālaya-vijñāna is not only considered vijñāna that is neither created nor disappeared by anāsrava-kleśa but also as vijñāna that appears or vanishes by sāsrava-kleśa. This anāsrava ālaya-vijñāna is identified as ‘tathāgata-garbha’ in Laṅkāvatāra-sūtra. Specifically the anāsrava-ālaya-vijñāna equated with tathāgata-garbha is kartṛ of three bhava and six gati, also is hetu of śukha・aśukha-dharma. And hetu is the asaṃskṛta-dhātu that kartṛ makes āśraya of, and kartṛ is the saṃskṛta-gotra which makes āśraya of asaṃskṛta-dhātu. Even though the hetu is originally clean, because kartṛ is tainted with gantu-kleśa looks as if dirty. So tīrthika obessed with ātma-vada has śāśvata-dṛṣṭi and person bewildered by śūnyatā has uccheda-dṛṣṭi. This is also evidenced by what Laṅkāvatāra-sūtra emphasizes that if who suggests ālaya-vijñāna with jāti-lakṣaṇa disappears, his argument becomes uccheda-vāda of bewilded person. Especially anāsrava-ālaya-vijñān identified with tathāgata-garbha, is not only buddha-dhātu・citta-dhātu・tathāgata-dharma-kāya in the body of all sattva, but also pratyātma-ārya-jñāna which bodhisattva-icchantika makes āśraya of. Bodhisattva-icchantika doesn’t stay nirodha-samāpatti of śrāvaka-pratyekabuddha and furthermore doesn’t stay acitta of people bewilded with śūnyatā. It is because he makes āśraya of pratyātma-ārya-jñāna. Śrāvaka-pratyekabuddha seeing only pudgala-nairātmya try to stay at nirodha-samāpatti, or people bewilded by śūnyatā as just looking at dharma-pudgala-nairātmya try to stay at acitta After recognizing vijñapti-mātratā. That’s why they become vaināśika cutting off tathāgata‘s family lineage. On the other hand, bodhisattva-icchantika makes āśraya of pratyātma-ārya-jñāna after removal of sāsrava-kleśa enters into nirodha-samāpatti at the sixth stage, or at the eighth stage enters acitta After recognizing vijñapti-mātratā. nonetheless by prajñā he doesn’t have any śāśvata-dṛṣṭi mistaking it for Nirvāṇa, by prajñā doesn’t have any uccheda-dṛṣṭi trying to get out of saṃsāra. So he practices Nirvāṇa of Non-Abidingentering into saṃsāra with leaving anāsrava-kleśa Without staying nirodha-samāpatti and acitta. Bodhisattva-icchantika who practices Nirvāṇa of Non-Abiding achieves Nirvāṇa of Bodhisattva which makes ālambana of tathatā by the disappearance of consciousness deluded uccheda-dṛṣṭi and śāśvata-dṛṣṭi at the eighth stage. Realizing samyag-jñāna, or pratyātma-ārya-jñāna, he goes on to work for sattva by mana-maya-kāya making āśraya as this. Yogācāra school regards just tathatā as pariniṣpanna-svabhāva and it regards samyag-jñāna as clean aspect of paratantra-svabhāva. On the other hand, Laṅkāvatāra-sūtra regards not only tathatā but also samyag-jñāna as pariniṣpanna-svabhāva. This means that bodhisattva-icchantika deviate from śāśvata-dṛṣṭi by making ālambana as tathatā and deviate from uccheda-dṛṣṭi by making āśraya as samyag-jñāna. Especially Laṅkāvatāra-sūtra explains that Nirvāṇa of Non-Abiding which make āśraya of samyag-jñāna is tathāgata-garbha-hṛdya. For the same reason as above, it emphasize that anāsrava-dharma-dhātu, which makes ālabana of tathatā, also belongs to pariniṣpanna-svabhāva. There are gātha explaing that realizing tathatā by samyag-jñāna is rising above citta-mātra in sagāthaka. This means that citta-mātra is either sāsrava-citta or anāsrava-citta. In the eighth stage, rising above citta-mātra is not staying acitta After recognizing vijñapti-mātratā spoken in Yogācāra school. Rather, it is the conversion of sāsrava-citta to anāsrava-citta, this is, sāsrava-citta disappears and anāsrava-citta appears. Finally, bodhisattva-icchantika who makes āśraya of asaṃskṛta samyag-jñāna becomes tathāgata-arhata-samyaksaṃbuddha who has complited nitya-sukha-ātma-śubha. It is because he practices Nirvāṇa of Non-Abiding without giving rise to śāśvata-dṛṣṭi mistaken for Nirvāṇa and uccheda-dṛṣṭi trying to get out of saṃsaras. Futhermore Laṅkāvatāra-sūtra emphasizes that because samyag-jñāna which observes and realizes tathatā always stays, tathāgata-arhata-samyaksaṃbuddha always stays, too. For the same reason as above, Laṅkāvatāra-sūtra emphasizies that bodhisattva-icchantika doesn’t just stay in the third meditation which makes ālambana of tathatā, but also practice the fourth meditation of tathāgata, categorizing ten anāsrava dharma-dhātu into four meditation. Here the third meditaton by prajñā is to realize tathatā which vikalpa does not happen after realizing anutpattika-dharma-kṣānti that whole dharma is niḥsvabhāva. The fourth meditation by karuṇa, on the other hand, is working for sattva by mano-maya-kāya who makes āśraya of samyag-jñāna. In other words, this means that at ten anāsrava dharma-dhātu which makes ālambana of tathatā, bodhisattva-icchantika who makes āśraya of samyag-jñāna by prajñā deviate from śāśvata-dṛṣṭi mistaken for Nirvāṇa, also throw away uccheda-dṛṣṭi trying to get out of saṃsaras by karuṇa, just in time complites nitya-sukha-ātma-śubha after practicing Nirvāṇa of Non-Abiding. Finally traya-ratna always appears and tathāgata‘s family lineage doesn’t cut off anywhere. It is because saṃgha-ratna, or bauddha-gotra achieves buddha-ratna, or tathāgata-arhata-samyaksaṃbuddha, staying at dharma-ratna, or ten anāsrava dharma-dhātu. This is the reason to explain Tathāgata-garbha thought in Ratna-gotra-vibhāga-mahā-yāna-uttaratantra-śāstra and Nirvāṇa of Non-Abiding of bodhisattva-icchantika who throw away uccheda-dṛṣṭi of Yogācāra bewildered by śūnyatā in Laṅkāvatāra-sūtra. Especially this is what in Laṅkāvatāra-sūtra widely recognized as a scripture that combines Yogācara thought with Tathāgata-garbha though, Tathāgata-garbha thought is not explained accessorily on the basis of Yogācara thought as morden scholars, but rather is explained for overcoming uccheda-dṛṣṭi of Yogācāra thought.

<俱舍論>의 行相(ākāra) 硏究

梁容瑄 동국대학교 2010 국내석사

The aspect(&#257;k&#257;ra, 行相) is an important concept in studying the Buddhist epistemology and the theory of Buddhist practice of Sarv&#257;stiv&#257;da(有部). The aspect mentioned in epistemology is one of conditions that enables mind(心) and mental states(心所) to associate with each other in the perception process, and having an aspect (s&#257;k&#257;ra, 有行相) is another name of mind and mental states. In the theory of Buddhist practice, the sixteen aspects(&#7779;o&#7693;&#347;&#257;k&#257;ra, 十六行相) are the sixteen analytical cognition processes to practice with the object of the Four Truths(四諦) during preparatory practice(加行位). The presence of the form(&#257;k&#257;ra, 形相) has been a standard to distinguish Sarv&#257;stiv&#257;da(有部) from Sautr&#257;ntika(經量部) since the 8th century in India. The epistemology of Sarv&#257;stiv&#257;da is called An&#257;k&#257;raj&ntilde;&#257;nav&#257;da(無形相知識論), and the epistemology of Sautr&#257;ntika is called S&#257;k&#257;raj&ntilde;&#257;nav&#257;da(有形相知識論). Meanwhile, among the direct disciples of Xuan Zang(玄&#22872;) in China, Sammat&#299;ya(正量部) claims perception without &#257;k&#257;ra(無行相), and Sarv&#257;stiv&#257;da asserts the perception with &#257;k&#257;ra(有行相). India and China have different methods to categorize schools, because they have different definitions and understandings about the aspect. In India and China, the classification according to the presence of the form(&#257;k&#257;ra, 形相) does not seem to fully reflect the Buddhist epistemology and the theory of Buddhist practice of Sarv&#257;stiv&#257;da and Sautr&#257;ntika. The only difference is shown in definitions of the aspect. Accordingly, this study aims to explore the Buddhist epistemology and the theory of Buddhist practice of Sarv&#257;stiv&#257;da presented in the Abhidharmako&#347;abh&#257;&#7779;ya and to correctly understand the meaning and role of the aspect. Sarv&#257;stiv&#257;da considers that a subject of cognition(能緣) is mind and mental states. Mind and mental states exist as individual substances(別體) and perceive an object at the same moment. Having an aspect(s&#257;k&#257;ra, 有行相), along with ‘having a support(有所依)’, ‘having an object(有所緣)’ and ‘being associated(相應)’ are different names for mind and mental states. This aspect means cognition(graha&#7751;a, 行解) of a subject to grasp an object and variety(prak&#257;ra, 品類) of a grasped object. From the point of view of cognition, the aspect means a form(相) of a subject to grasp, and from the point of view of variety, the aspect are a general characteristics(總相) of an object grasped by mind and specific characteristics(別相) of an object grasped by mental states. The general characteristics and specific characteristics are the form(形相) appeared in mind and mental states like a mirror image(影像) of an object. The object perception by a subject means that the form(形相) of an object appears in a subject such as mind and mental states. According to Sarv&#257;stiv&#257;da, the form(形相) coexists with an object and shares its fate. However, the form(形相) belongs to a subject[s&#257;k&#257;ra, 有行相] and does not belong to an object[an&#257;k&#257;ra, 無行相]. The reason for this is that unlike a mirror, mind and mental states go through the cognition process(grahana, 行解). With cognition, mind are associated with mental states. Mind and mental states are equally united with each other in five ways. The reason of five equalities or identities(五義) include support, object, aspect, time and substance. The subject, mind and mental states, perceives the same object one by one at the same time under the same support and the same aspect. As for the cognitive forms(行解之相), the consciousness(識) is to discern, the sensation(受) is to agree willingly, the idea(想) is to grasp characteristics, the emotional and volitional impulses(思) is to manage and the discernment(慧) is to perceive analytically. Regarding the same object, the mind(心) recognizes general characteristics(總相) and mental states(心所) identify specific characteristics(別相). The general characteristics are one of the conditions to associate mind with mental states, and the general and specific characteristics recognized by association of mind and mental states are cognitive content. Consequently, the aspect to associate mind with mental states is the form of an object which appears in a subject. According to Sarv&#257;stiv&#257;da, the aspect means the cognitive process(grahana, 行解) of a subject, and in case of the discernment(慧), the aspect means analytical cognition(簡擇). Meanwhile, Vasubandhu(世親), from the point of view of Sautr&#257;ntika, defines the aspect as variety(prak&#257;ra, 品類) that grasps an object. He describes that the aspect is variety(prak&#257;ra, 品類) of an object in order to associate mind with mental states, and then it is possible to reach the state of having an aspect(s&#257;k&#257;ra, 有行相). This view of Vasubandhu differs from that of Sarv&#257;stiv&#257;da. Therefore, Sanghabhadra(衆賢) reconfirms that the aspect is analytical cognition of the discernment(慧), or a subject’s cognition. He proves the realization of having an aspect as follows : the aspect is the discernment(慧), and other mental states perceive an object through association with the discernment(慧). In such a process, like the before-direct spirits-root(無間滅意根), the discernment(慧) rises along with other mental states, so it is possible for the discernment(慧) to reach the state of having an aspect. In such case, the discernment (慧) is an aspect, a subject and an object. The other mental states, which are associated with the discernment(慧), are subjects and also objects of cognition. As an object of cognition, all the other dharmas are mere objects. The aim of the practice of the sixteen aspects(&#7779;o&#7693;&#347;&#257;k&#257;ra, 十六行相) is a direct comprehension(abhisamaya, 現觀) of the Four Noble Truths(四聖諦). That is, the sixteen aspects is analytical cognition that observes by the sixteen varieties(prakara, 品類) in order to understand the Four Truths correctly and cure defilement with the discernment(慧). The practice of Sarv&#257;stiv&#257;da starts from the consideration of those who practice the precepts, after learning the Four Truths. Those obtain the state of tranquillity(止) through the contemplation of the repulsive state(不淨觀) and mindfulness of breathing(入出息念), and they practice mindfulness(念住) to attain the state of contemplation(觀). They observe a body(身), feeling(受), mind(心) and dharma(法), based on peculiar characteristics(自相), according to the four aspects, such as Uncleanness(不淨), Suffering(苦), Impermanence(無常) and No-soul(無我), and then cure false views, including Cleanness(淨), Pleasure(樂), Constant(常) and Soul(我). Also, according to common characteristics(共相), they observe with the four aspects: Impermanence(無常) of all created things; Suffering(苦) of all defiled things; the Emptiness(空) of all things and No-soul(無我) of all things. They practice the sixteen aspects(十六行相) for a long time, observing the Four Truths(四諦) for the first time through preparatory practice(加行位) The Truth of Suffering(苦諦) are observed by Impermanence(非常), Suffering(苦), Emptiness(空) and No-soul(非我), and the Truth of Origin(集諦) are observed by Causes(因), Arising(集), Successive appearances(生) and Efficient conditions(緣). The Truth of Extinction(滅諦) are observed by Extinction(滅), Calmness(靜), Excellence(妙) and Salvation(離), and the Truth of Path(道諦) are observed by Path(道), Truth(如), Abstaining(行) and Definitive release(出), and then the false views of the Four Truths are cured. The Path of Seeing(見道) removes spiritual sufferings, five false views and doubts, through direct comprehension of the four Noble Truths of the upper and the lower world over the sixteen moments. The Path of Practice(修道), as for the path of supramundane path(出世間道), observing the four Noble Truths, repeatedly practices the sixteen aspects for a long time, or as for the mundane path(世間道), observes each higher state of the following three states, the state that hasn't reached yet the first stage of meditation(未至靜), the four absorption stages(四靜慮) and the four stages of meditation without forms(四無色定), based on the three aspects, Calmness(靜), Excellence(妙) and Salvation(離), and observes each lower state of them based on the three aspects, Roughness(&#40612;), Sufferings(苦) and Obstacles(章), and finally removes the defilement of the lower states of each state. The state of practice completion(無學道) gives wisdom eradicated all defilements(盡智) to realize the four facts: all-knowing about sufferings; breaking the origin of sufferings; finding clear evidence of extinction of sufferings and completion of the path. Also it gives the non-arising wisdom(無生智) to realize the following facts: all sufferings were recognized and no more sufferings were left to be known; and the path is completed and no more paths were left to be practiced.