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흔들의자의 양식 변천 연구(2) -쉐이커rocker, 위커 rocker, 플랫폼 rocker 양식을 중심으로-
임승택,정우양,Lim, Seung-Taeg,Chung, Woo-Yang 한국가구학회 2006 한국가구학회지 Vol.17 No.3
These series articles were written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. In the first article of the series reports we already described the theoretical background of rockers and the Windsor and the Boston style among the American classic rockers from the eighteenth to the twentieth century. This article contained the characteristics of the styles of the Shaker rocker, the Wicker rocker, and the Platform rocker. The three periods associated with furnituremaking in the Shaker sect are; the Primitive Era, which lasted from 1790 to 1820; the Classical Era, from 1820 to 1860; and the Final Phase, from 1860 to 1935. The important skills the Shaker needed to make the Shaker rocker are woodturning joinery, seat braid weaving and steam bending for the slats. The Wicker rocker continues to be extremely popular furniture style as the wicker proved equally effective for translating the ornate vine-like motifs popular among Art Nouveau proponents. The Wicker rockers were developed for child's, gentleman's and lady's, and it represents the most diverse forms among the above mentioned styles. However the rocker skates were often clumsy and took up too much room, preventing the chair from being shoved close to the wall and out of the way. These problems were overcome by the Platform rocker. The most important innovation was the technical development of a stationary base, which allowed the chair to rock noiselessly, without skating along the floor. The Modernism of the modern furnitures in America and Europe were affected by the characteristics of the Shaker rocker, the Wicker rocker, and the Platform rocker.
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흔들의자의 양식 변천 연구(1) - 흔들의자의 이론적 배경과 윈저 Rocker 및 보스톤 Rocker의 양식 -
임승택,정우양,Lim, Seung-Taeg,Chung, Woo-Yang 한국가구학회 2006 한국가구학회지 Vol.17 No.2
This study understands rockers of today and supplies basic data of design and manufacture studying pattern change of rockers arisen in West, there is the purpose. Also, this study is investigated by dividing theoretical background of rockers, 7 kinds of American traditional rockers and European rockers from 18th century to opening part of 20th century and contemporary rockers since 20th century. The theoretical background and the style of 2 rockers (Windsor rocker, Boston rocker) were investigated to study the stylistic changes of rockers. Originally a rocker was invented by a European farmer around 1700. It developed to a household which equip practicality and comfortablness in the United States than Europe. Early rockers in a primal form appeared in the 1740s in the United States. American early rockers connected skate to established chair bridge. Rockers are deep connection with family's emotion. Rockers can provide playing functions for children and medically treating functions for adults. Windsor Rockers developed by attaching skate is mammy bench and according to shape of back form bow or hoop-back rocker, birdcage rocker, comb-back rocker. Windsor Rockers formed peculiar American tradition of craftsman furniture through structure that have a unique back of a chair and round seat. Boston Rockers were the first chairs made by mass production method. They show a particular shape with S-curve style seat and rectangular crest at the upper part of the back. Often Crests were decorated by stenciled pattern with curled leaves such as rosettes and scrolled designs.
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상좌부의 마음전개(路心, vīthicitta) 이론에 대한 고찰 - 5가지 감각의 문(五門)을 중심으로 -
임승택(Lim Seung-Taek) 보조사상연구원 2003 보조사상 Vol.20 No.-
This paper aims to illuminate the cognitive process(vīthicitta) in Abhidhammatthasangaha which is the main primer for the study of abhidhamma used throughout the Theravada Buddhist. This text consists of nine chapters, of which I concentrate my effort on the first chapter and the fourth chapter. Chapter I is the Compendium of consciousness(citta), which defines and classifies consciousness into the 89 or 121 types. Chapter IV explores the nature of the cognitive process. I think that these two chapters are related with each other. So the cognitive process theory of chapter IV should be understood in reference to classification of the 89 or 121 types of consciousness in chapter I. The theory of cognitive process is the research about the occurrence of the consciousness. And the classification of the 89 or 121 types of consciousness results from arranging consciousness in spatial order(āvacara). But the classification of 89 or 121 types of consciousness can be explained from the cognitive point of view, and it makes little difference in an opposite case. Therefore we can say these two theories of consciousness have the systematic relationship. In the past, the theory of 89 or 121 types of classification of consciousness has already been arranged in Dhammasangani and some other texts (approximately B.C. 1). But the theory of cognitive process theory hasn't accomplished until Abhidhammatthasangaha (A.D. 11). Therefore it is only in Abhidhammatthasangaha that we can ascertain the relationship of these two theories of consciousness. As a result, it is possible that the classification of Dhammasangani in itself has already forecasted the theory of cognitive process appeared in Abhidhammatthasangaha. This is why I have compared these two theories in detail to demonstrate this point. In this study, I have come to a conclusion that these two have been in complementary cooperative relationship for the correct understanding with each other.
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임승택 ( Lim Seung-taek ) 동아시아불교문화학회 2020 동아시아불교문화 Vol.0 No.41
이 논문은 니까야에 나타나는 무아 즉 anattan의 격변화 사례를 통해 무아를 가르친 붓다의 본래 의도가 무엇이었는지를 확인하고자 하였다. 니까야에 나타나는 anattan의 용례 중 가장 일반적이면서도 대표적인 사례는 제1격인 단수 주격 anattā이다. 그런데 이 경우의 anattā는 대부분 서술성 명사로 사용된다는 점에 특징이 있다. 예컨대 “물질현상(色)은 무아이다.”라거나 “눈(眼)은 무아이다.”라는 경구가 그것이다. 이 용도가 각별히 주목되는 이유는 anattan의 실제 의미가 무아(無我)인가 혹은 비아(非我)인가의 문제를 놓고서 발발한 논란을 해소할 수 있다는 점에서이다. 서술성 명사로서의 anattā는 주어에 해당하는 오온 따위가 자아 혹은‘나’와 무관하다는 사실만을 드러낸다는 점에서 무아든 비아든 어느 쪽을 취하더라도 그 의미는 마찬가지이다. 한편 무아에 의해 부정되는 대상은 일차적으로 자아(attan)이다. 그러나 니까야의 설명 방식에 따르면 anattan는 ‘나(ahaṃ)’와의 동일시에 대한 거부일 뿐이다. 예컨대 오온 따위에 대해 ‘나의 것’이 아니며 ‘나’라든가 ‘나의 자아’가 아니라는 방식으로 반복해서 언급된다. 이것은 1인칭 화자로서의 ahaṃ 즉 ‘나’에 대한 자각이야말로 무아의 실제 내용이 된다는 결론에 도달하게 한다. 일체의 것에 대해 ‘나’일 수 없다는 방식으로 자기 동일시를 거부해 나가는 과정이란 곧 ‘나’에 대한 긍정에 다름이 아니기 때문이다. 본 연구는 바로 이 부분을 집중적으로 조명하고 있다는 점에서 무아에 관한 선행 연구들과 구분되는 독자적 의의를 지닌다고 할 수 있다. This study is based on the result of the search about the usages of selflessness or anattan appearing in Nikāyas with the program Digital Pali Reader. Through this work, I want to clarify what Buddha's original intention was in teaching selflessness or anattan. The common use of Selflessness or anattan is the singular nominative form or the first case which is anattā. In this case, anattā is characterized grammatically as the subject in a sentence, but it is actually being used as the descriptive noun. “Material phenomenon (色) is anattā.” and “Eye (眼) is anattā.” are examples of sentences which use anattā as descriptive nouns in Nikāyas. Anattā, which is used as a descriptive noun, has only a passive meaning or passive voice construction because it is used to deny self-identity. The primary object negated by the expression of anattā or selflessness is usually regarded as attā or self. In fact, however, the focus of anattā is not on selflessness, but on denial of identity with ‘I’ or ahaṃ from the five khandas or empirical elements like body (色), feelings(受), perceptions(想), etc. For example, there are many passages that describe khandhas or empirical elements as not mine or mama, not ‘I’ or ahaṃ, not myself or me attā. This study has its own significance in that it identifies that the actual meaning of anattā is the denial of the identity with ‘I’ from the empirical elements in Nikāyas instead of selflessness.
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임승택(Lim, Seung-taek) 대한철학회 2012 哲學硏究 Vol.122 No.-
불교명상은 문제시되는 현상이나 병증에 대한 마음지킴(mindfulness)을 통해 있는 그대로의 사실만을 자각하도록 유도한다. 그리하여 그러한 현상이나 병증에 대한 내면의 저항과 갈등을 저하시키거나 혹은 그러한 현상자체로부터 이탈시켜 다만 관찰자로 남아있게 하는 전략을 취한다. 이러한 대처 방식은 인지치료라는 현대 심리치료의 주요 흐름과 맥락을 같이하는 동시에, 자신과 세계에 대한 앎을 바탕으로 하는 인문치료의 원리와 그대로 일치한다고 할 수 있다. 이와 같은 불교명상이 인문학의 한 갈래에 속한다는 사실에 대해서는 큰 이의가 없을 것으로 판단된다. 그러나 인문치료에 관련한 그간의 논의에서 불교명상이 본격적으로 언급된 적은 많지 않았다. 따라서 본고는 인문치료적 관점에서 불교명상의 의미와 역할을 소개하는 데 주력하였다. 이러한 작업은 인문치료의 방향성을 분명히 하고 또한 이것의 외연을 확장하는 데 기여할 수 있을 것이다. Buddhist meditation takes the strategy to encourage the meditater to focus on the phenomena in question with mindfulness. This method has been found to reduce inner conflicts and the resistance against those phenomena, and could make the meditater get out of those phenomena as an observer. This is similar to the principles of cognitive therapy which is the main flow of modern psychotherapy. In addition, it can be stated that this is consistent with the principles of Humanities therapy which is based on the knowledge about the man himself. I believe that Buddhist meditation belongs to a branch of the Humanities therapy. But the discussions about Humanities therapy have not paid attention to Buddhist meditation until this time. Therefore, this paper focuses on revealing the meaning and the role of Buddhist meditation from the view point of Humanities therapy. I think this research will contribute in expanding the area of Humanities therapy, and also in giving shape to the methods of the Humanities therapy.
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