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The purpose of this study is to analyze the invocation part(1st section) of Buddhist monk's dance in terms of Toegye's four-seven discourse, and to provide important materials available for all dance artists. For this, I utilized LMA(Laban Movement Analysis), particularly Effort/Shape. The methodology for the study is to review dance literatures and related theses. The results of my analysis were verified by two CMAs(Certified Movement Analyst). The video recording made on October 30, 2003 at The Training Center for Important Intangible Cultural Properties in Seoul, was used for the reference. The video material shows 24 phrases of Chung Jae-man style of Buddhist monk's dance. The results of the study are as follows: First, ‘Bound Flow', ‘Direct Space' and ‘Sustained Time' were observed in the invocation part(1st section) of Buddhist monk's dance. This is thought to be the intrinsic value of Toegye's Sangsungsungbub(Constant Awareness) and solemn mindstate in the movements of the invocation part. The Sangsungsungbub and solemn mindstate are in accord with the internal practice and method which express the deliberation of the Gyung(Respect) cultivation. As for the Shape, ‘Shape Flow' and ‘Shaping' were observed in the movements. This is judged to be the refined physical state evident in the movement of the invocation part. The refined physical state is in accord with the Guhgyung(Constant Proper Physical Mental State) cultivation of Toegye. Second, 'Shape Flow' was mainly observed in the movements of the invocation part of Buddhist monk's dance. This is considered to be emotional penetration that is Cheukeunjisim(Compassionate Nature) by love originating from benevolence originating from love. Third, ‘Shape Flow' was accentuated in the invocation part(1st section) of Buddhist monk's dance. This is considered to be the expression of images of love that is Cheukeunjisim and the emotion of love.