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Generally the aesthetic consciousness of Zen has inclinations for the conciseness, the uncommon signification and the natural expression. The aesthetic consciousness of Zen in the category of the buddhistic poetics has another inclination - for the imagination based on the worldview of Buddhism-Zen. Kim Dal-Jin's poetry possesses these four elements of the aesthetic consciousness of Zen. The method of la miniature in Kim Dal-jin's poetry is based on the aesthetics of Zen. The poetic subject creates the buddhistic cosmology with the method of la miniature. The poetic subject focuses on the small things. And he finds the great things in the small things. The analogical imagination based on the Buddhism creates the infinite cosmos and the mystically transcendent other. In comparison with those things, the poetic self is very small being in the narrow space. Such consciousness generates the feelings of confinement. While poetic subject's imagination considers the world as an illusion. In such imagination based on the buddhism, there is no consistent reality in the world. Because everything is circulating in the world. The world is illusion made by the circulation. But such imagination never falls into nihilism. The poetic subject's faith in the principle of circulation represses the nihilism. And the faith makes the feelings of confinement powerless. Such poetics of Kim Dal-jin has important meanings in the history of korean modern poetry. The poetics of Kim Dal-jin is supposed to have given the prefiguration to the buddhistic poetics of Cho Jee-hoon which is appraised as a representative of 1930's buddhistic poetics. The poetics of Kim Dal-jin and that of Cho Jee-hoon have the aesthetic consciousness of Zen in common. Those poetics have influenced the poetics of many descendant poets, and have contributed to making a consistent trend of poetics succeeding the traditional Zen poetry.