브루스 리 무도철학에 내재된 실전성의 의미

Abstract

This study aims to analyze Bruce Lee’s philosophy of martial arts, reflected in his life as a martial artist in depth and to investigate the meaning of combativeness, implied in his martial arts. He utilizes the ways of life presented by the ideas of Taoism and Zen Buddhism as instrumental apparatus to actively cope with the changes that modern martial artists encounter. His attempt did not simply stop at the combination of martial arts and philosophy of martial arts. Bruce Lee realized the limitations of the traditional martial arts, and the direction proposed by him, in which modern martial artists should proceed was an attempt to re-establish modern martial arts based on the philosophy of martial arts that seeks constant change and continuous self-growth, not simply a formative change of martial arts. Thus, Bruce Lee’s conclusion was the martial artist philosophy of ‘using no way as way’ and ‘having no limitation as limitation.’ This study could draw the following conclusions, concerning the meaning of combativeness, implied in Bruce Lee’s philosophy of martial arts. First, Bruce Lee observed the problems of the traditional martial arts from a pragmatic perspective, accepting the revolutionary and radical philosophy proposed by Taoism and came to find the solution in an efficient approach with simplicity and directness as key points. Second, Bruce Lee aimed at the totality through integration from the global point of view, instead of partial characteristics through the Yin and Yang theory and accordingly, presented martial arts with a new concept, not confined to a single form of martial arts. Third, as he attained the stage where the theory of ‘no-mindedness’ through constant training, he came to be able to express himself honestly. Bruce Lee was an avant-garde martial artist who refused the idea and form of the traditional martial arts that lost combativeness and has been fixed, looked for and insisted on a new style and value of martial arts and a Renaissance man of martial arts, who attached importance to human movement and expression rather than customs and tradition.