Zhang Ling

Poet Ko Kai Gansu in western China native poetry is unique in contemporary poetry, he built the local critics the world has gradually attracted the attention and win a higher rating. His poems are so local three parts: First, the genre painting of the show; Second, nostalgia, nostalgic singing; three home search for consciousness. Kay's world of high thick native, intact. Poetry, philosophy and anthropology with a high ideological. The local pocus written by GanSu local poet GaoKai are distinctive among the pocus of the prensent age in the western regions of China. And the critics have paid a good deal of attention to his local world, and they set a high value on his works. There are three parts in his local world. The first is to present genre painting before our eyes. The second is to chant local emotion and gloomy mood. The last is to pursue the home consciousness. The world of GaoKai's native land is profound and integrated . His pocus are of a high level of thought in philosophy and anthropology

This paper argues that the Zhuangzi’s famous dream passages are not merely literary devices or skeptical tools, but the foundation of a coherent philosophical project dismantling the pragmatic, utilitarian worldview. This knowledge-application (zhi-yong 知—用) system, which reduces all value to function, rests on the unexamined assumption that our awakeness possesses a monopoly on reality. Zhuangzi attacks this foundation directly through philosophy of dream. By grounding the dream’s transformative power in the metaphysics of qi 氣 and establishing an existential parity between dreaming and waking, he reveals our waking certainty to be a ‘Great Dream’ built on the biases of chengxin 成心. The iconic butterfly dream thus becomes an experiential gateway to new realms of co-existence and no-self. This framework ultimately resolves the apparent contradiction of the ‘dreamless True Person’, who represents not a rejection of the dream, but the successful culmination of its deconstructive power.