한의학의 음양론적 인체관과 음양개념의 은유적 이해

이충열(Choong Yeol Lee) 한의병리학회 2014 동의생리병리학회지 Vol.28 No.5

In Korean Medicine (KM), the Yin-Yang doctrine is still used as a theoretical tool for understanding and explaining the clinical experiences. However, as the traditional culture declined in East Asia and the scientific culture took over, there was an increased negative view on the Yin-Yang doctrine, and thus a heightened distrust over KM. For KM to survive in an unfamiliar culture of science, a novel outlook on the Yin-Yang doctrine is needed. In this sense, I consider a thoroughly medical take on the Yin-Yang doctrine to be most important. The focus needs to be on the goals of medicine: this includes riddance of any discourses on Yin-Yang that cannot contribute to the goals, and an enhancement of the Yin-Yang concept as a rational and scientific terminology. One way to achieve this is by understanding Yin-Yang as a type of metaphor. The Yin-Yang doctrine that is utilized in KM corresponds well to the conceptual metaphor suggested by Lakoff and Johnson. As a metaphor, the Yin-Yang concept plays a role in structuring the target domain, that is life phenomena, metaphorically. Through the Yin-Yang metaphors, the life phenomena are understood as the Yin-Yang phenomena, and are systematically organized by the subcategories contained in the Yin-Yang doctrine. Understanding Yin-Yang as a metaphor is a good way to enhance the Yin-Yang concept and doctrine as a rational terminology and method.

주자학 음양론과 통일교 사상 비교연구

주재완(Jaewan Joo) 한국종교학회 2014 宗敎硏究 Vol.74 No.1

This paper compares neo-Confucian yin-yang theory with Unificationism centering on the following concepts of yin-yang theory: yin-yang relation, yin-yang change, and Taiji. Unificationism has the terms similar to these concepts. Yin and yang in yin-yang theory and yangsung and umsung in Unificationism are very similar relational categories. The oppositedependent relationship in yin-yang theory is similar to the harmony of correlatives in Unificationism. Although Unificationism does not discuss yin-yang change explicitly, it has such concept implicitly. The harmony of correlatives and the ‘give-and-receive action’ in Unificationism involves the meaning similar to yin-yang change. Taiji as the whole Li in yin-yang theory is parallel with the creation principle of God in Unificationism. Taiji with the Li of yin-yang causes the yin-yang phenomena, so does the creation principle of God with yangsung and umsung dual characteristics.

풍물춤에 내재된 음양사상

문진수 ( Moon Jin-Su ),이미영 ( Lee Mi-young ) 한국무용예술학회 2013 무용예술학연구 Vol.40 No.1

The structure of Korean traditional culture is composed of philosophical principles of yin and yang and samjae theories. Therefore, it is impossible to understand the structure correctly without understanding of lines. To apprehend ideas and philosophical reasons of Pungmul dances, the hidden structure and characteristics of thought in the Pungmul dances should be analyzed by disclosing through what process cultural principles were founded. With this view, the instrument system and yin-yang principles in Pungmul exorcism were assorted as instrument system and the structure of the Five Elements based on yin-yang structure and yin-yang ideas based on instrument structure, and Yin-yang ideas and others in Pungmul dances were broken down into classes. The result is as follows. First, yin-yang principles based on instrument system and instrument system that comprises Pungmul dances are composed of metalstructure as yang and leather structure as yin. Through oppositive distinction and synthesization of instruments, characteristics of instruments were brought into harmony, and this made an synergy effect. Second, at the instrument system examined with understanding of the structure of the Five Elements, soe represents fire(火), jing for trees(木), sogo for soil(土), janggu for metal( ), and buk for water(水). Third, according to yin and yang of the instrument structure, Pungmul dances with yang(陽) structure such as soe dance and jing dance have ring structure. Pungmul dances with features of yin(陰) such as jangu dance and buk dance have string structure. Sogo dance does not fall into both structures of yang(陽) and yin(陰). It is closely related to human body and hangs between structures of musical instrument and dance, freely crossing the line between dance and music and having neutralization effect and both features of yin and yang. As a result, it has emerged as the center of the Five Elements. Fourth, yin-yang structure based on classification of Pungmul dances showed several principles; a principle of repeated circulation of yin and yang(回陰回陽) based on the classifications, a principle of a dance whose movement circulates between the left and the right and hence makes a cycle(陰陽同體), a principle of two structures separated from one(陰陽二體), a principle of three divided structures from yin and yang(陰陽三才) and others. In conclusion, the aesthetic features of yin-yang idea in Pungmul dances that expands from yin-yang theory to three divided structures and return in the harmony of the Five Elements makes peculiar Korean beauty.

『黃帝內經』의 ‘陰陽’과 ‘太陽·少陽·少陰·太陰’의 의미 고찰

이옥윤(Ok Youn Lee),정윤임(Yun Im Jung),배고은(Go Eun Bae),권영규(Young Kyu Kwon) 한의병리학회 2014 동의생리병리학회지 Vol.28 No.6

The purpose of this study was to examine how the term Yin-Yang and Sasang categorized in the book『Huangdineijing』. In order to investigate how the terms are used, we reviewed the text including the terms expressed in the manner of [(Yin/Yang) within (Yin/Yang)] and [Sasang]. We found three forms of expressions; [(Yin/Yang) within (Yin/Yang)], [Sasang], [(Sasang) within (Yin/Yang)]. Two paragraphs of [(Yin/Yang) within (Yin/Yang)] was found in one chapter, two paragraphs of [(Sasang)] was found in two chapters, and three paragraphs of [(Sasang) within (Yin/Yang)] was found in three chapters. We found five types of relation between [(Yin/Yang) within (Yin/Yang)], [Sasang], and five phases in 『Huangdi neijing』 as follows; ① Yang within Yin, lesser Yang, and wood ② Yang within Yang, greater Yang, and fire ③ ( ), ( ), and extreme Yin ④ Yin within Yang, lesser Yin, and metal, and ⑤ Yin within Yin, greater Yin, and water. And, as for the [(Yin/Yang) within (Yin/Yang)] and [(Sasang) within (Yin/Yang)], the classification criteria for Yin-Yang were brightness, abdomen/back or lumbar. The order of Sasang with the description form of [Sasang] or [(Sasang) within (Yin/Yang)] in 「Siqi Tiaoshen Dalun」 and 「Liu Jie ZangXiang Theory」 was lesser Yang, greater Yang, greater Yin, and lesser Yin, which is based on the meridian system or a plant-shaped change order. We discussed the results and its implication for the analysis of medical classics with the consideration of previous studies on Yin-Yang theories in 『Huangdi neijing』.

세포막 활동전압에서 陰陽의 상호관계

박선영(Sun Young Park),김호현(Ho Hyun Kim) 한의병리학회 2013 동의생리병리학회지 Vol.27 No.5

This study was undertaken to apply the yin-yang theory in action potential. In order to apply the yin-yang theory in action potential, nature of yin and yang, interrelation of yin and yang and action potential in cell were reviewed. According to the yin-yang theory, inner cellular space corresponds to yin, but outer cellular space corresponds to yang. If we classify ions in intracellular fluid or extracellular fluid by nature of yin and yang, potassium(K+) corresponds to yang within yin(陰中之陽), protein(Pr-) corresponds to yin within yin(陰中之陰) in intracellular fluid, and sodium(Na+) corresponds to yang within yang(陽中之陽), chloride(Cl-) corresponds to yin within yang(陽中之陰) in extracellular fluid. Double donnan equilibrium and equilibrium potential were caused by intracellular anion(Pr-) and extracellular cation(Na+) are related with mutual rooting of yin and yang(陰陽互根) and opposition of yin and yang(陰陽對立). The influx and efflux of ion through cell membrane means waxing and waning of yin and yang(陰陽消長), the change of membrane potential means yin-yang conversion(陰陽轉化) during action potential.

김수영의 「풀」에 나타난 음양적(陰陽的) 상상력

이종옥(Lee, Jong-Ok) 한국문학회 2013 韓國文學論叢 Vol.65 No.-

본고는 김수영의 시 「풀」에 나타난 음양(陰陽)적 상상력에 주목하면서 논의를 시작하였다. 이러한 논의를 하게 된 이유는 김수영 시의 특징을 해명하기 위한 각축이 「풀」을 통해 개진되었다할 만큼 중요할 뿐 아니라, 반복적 대립을 통해 드러나는 '풀'의 활동은 음양(陰陽)의 사이클을 닮음으로써 작품자체가 '음양적 상상력'을 유발시키는 세계이자 상징이기 때문이다. 김수영의 「풀」은 부사와 동사에서 드러나는 변역(變易)과 더불어 풀↔바람, 눕다↔일어나다, 울다↔웃다 등에서 나타나는 동사의 역동성은 음양(陰陽)의 대립적 운동성과 일맥상통할 뿐만 아니라 일음일양(一陰一陽)의 양상과 동일한 것이다. 김수영의 시 「풀」에서 음양(陰陽)적 상상력의 핵심은 '눌린 만큼 용출하는 木(풀)의 동정(動靜)운동'이다. 자연에 존재하는 모든 사물은 발전적 변화를 일으킬 때 방해요소인 '억압'과 전진하려는 모습인 '분발(반발)'이 모순 → 대립 → 조화를 반복하는 동정(動靜)운동을 한다. 김수영의 「풀」에서 보이는 동정(動靜)운동은, 바람(陽)은 풀(陰)을 만나기 위해 하강(억압)하고 풀(陰)은 바람(陽)을 만나기 위해 상승(분발)하는 가운데 교감(조화)한다. 음양(陰陽)조화의 결과는, 새로운 탄생이 아니면 성장(발전)이다. 이는 '풀'의 운동성이 불러일으키는 생명감'의 원천은 음양(陰陽)적 상상력이었음을 증명하는 것이다. 「풀」에 투영된 음양(陰陽)적 상상력은 '억압' - '분발(반발)' - '교감(감응)' 등 '풀'의 동정(動靜)운동 중에 생성되는 이미지를 통하여 실존적 존재의 성장 혹은 희망을 포착하게 해 주었던 것이다. 화자의 시선이 줄곧 '풀'의 운동성을 응시함으로써 소묘적 회화성 속에 내재된 발화의 진실은 실존적인 존재의 성장(발전)을 통하여 삶의 주체'로 거듭나는 것임을 명료하게 보여 줄 수 있었다. 음양오행(陰陽五行)적 관점은 「공자의 생활난」으로부터 시작된 김수영의 유가적 시창작 태도가 마지막 작품에도 나타나고 있음을 확인할 수 있게 해 주었다. 이는 모더니즘 시인이라 불리는 김수영이 전통을 부정하는 시인이 아닌 전통 계승적인 창작활동을 하였음을 보여주는 것이다. 이러한 점은 김수영의 문학은 물론, 한국현대시사에서 갖는 의미도 적지 않다. This study pays attention to the imagination of Yin-Yang for several reasons. First, Kim, Soo-young's poem, "Grass," is important in that most discussions to explain his poetic characteristics have been conducted around that poem. Next, his works themselves are both the world and symbols which promote 'an imagination of Yin-Yang' in that the same nouns and verbs, which resemble the cycle of Yin-Yang characterized by circulation and repetition, are repeated continuously. Particularly, though the dynamics shown in the transformation of 'lying -> crying -> laughing' and the repetition or the comparison of 'lying↔ standing up' or 'crying ↔ laughing' has the form of one-Yin and one-Yang, and it is consistent with the Yin-Yang's movement of repetition and comparison, it is hard to find explanations about his poetic world which are suggested in terms of Yin-Yang The core of the imagination of Yin-Yang described in "Grass" is the movement within stillness. Everything in the universe encompasses both 'promotion,' the shape of progress, and 'repression,' the disturbing factor, when they make developing changes; they do a movement within stillness which is characterized by the repetition of 'contradiction → comparison → harmony.' His poem "Grass" shows a movement within stillness in that both Yin and Yang consensually respond to each other, while, on the one hand, "wind" (Yang) intends to descend (repression) to meet "grass" (Yin), on the other hand, "grass" (Yin) intends to ascend (promotion) to meet "wind" (Yang). The result of the harmony (connection) between Yin and Yang is a new birth or growth and development. In this sense, it can be thought that, on the basis of the imagination of Yin-Yang, Kim, Soo-young suggested the possibility of existential beings' growth and development through struggles in lives encompassed in images of 'repression,' 'promotion (resistance),' and 'consensual response (responsive action).' The imagination of Yin-Yang reflected in "Grass" enables us to see the essence of life that is expressed in his inner world. In this context, "Grass" shows his perception of reality or the response to the reality embedded in the image of grass field. The poetic speaker in "Grass" continuously gazes the movement of 'grass.' It implies that the reality which the poet tries to reveal is human struggles in real lives. Thus, the tranquility of existential beings is inevitable result. That is, what his inner world pursues is to rebirth into a new subject that can secure a sense of safety. Additionally, the perspective of Yin-Yang and Five Element Theory that is based on I Ching is meaningful in that it proves that Kim, Soo-young's Confucian attitude of poetic creation, which was derived from Confucius' hard living, was continued to his final work. It suggests that, though he is called a modernism poet, he created his works in terms of the succession of the tradition, not in terms of the denial of the tradition. These points are meaningful in Kim, Soo-young literature and the history Korean poem.

『중화경(中和經)』에 나타난 음양오행사상(陰陽五行思想)

장재진 ( Jang Jae-jin ) 사단법인 퇴계학부산연구원 2019 퇴계학논총 Vol.34 No.-

구한 말 甑山 姜一淳(1871-1909, 이하 甑山)에 의해 成篇된 『中和經』은 儒家의 전통경전에 내재된 내용들을 전승하면서 佛敎와 道敎의 핵심적인 사상을 함의한 경전으로 보인다. 본고에서는 『中和經』의 내용 중에서 ‘陰陽五行’의 性理에 대해 摸索함으로써 수천 년간 전승되어 온 陰陽五行이 『中和經』에서 어떠한 特徵과 意義를 내포하고 있는가에 대해 考察하고자 함에 論旨를 두었다. 『中和經』에서 언급되고 있는 陰陽의 性理와 五行의 性理에 대해서 살펴보았다. 甑山의 思想은 易學의 思想을 根幹으로 하고 있으므로 陰陽과 五行의사상은 易의 理致를 설명하는 방편으로 가장 근간이 된다. 『中和經』이 甑山에 의해 成篇된 경전이지만, 漢文으로만 구성되고 章과 節의 구분이 없어서, 구체적인 번역과 해설이 담긴 『中和經解義』를 중심으로 論意를 전개했다. 본고를 통해서 甑山이 제시한 ‘陰陽五行’의 개념에 함의된 後天思想, 즉 유토피아니즘을 摸索함으로써 전통적인 陰陽五行의 개념이 『中和經』에서는 어떻게 언급되었는가를 알아보았다. 이는 甑山思想의 中核을 이루는 骨幹이 여타의 사상보다도 陰陽五行에 있음을 알 수 있는 계기가 될 것이다. 『中和經』에 나타난 陰陽五行의 性理와 이의 作用을 정리해 보면 다음과 같은 결론을 얻는다. 첫째, 陰陽五行의 이론을 통해서 宇宙의 現象과 造化에 대한 始原적인 내용과 앞으로 도래할 것이라고 여겨지는 이상세계에 대한 原理가 제시되었다. 둘째, 陰陽五行의 起源과 由來에 대해서 神話的 전승과 歷史的 전승이라는 다른 두 견해가 있는데, 甑山은 陰陽五行의 始原이 역사적인 전승임을 비유적으로 강조했다. 셋째, 陰陽의 性理에 대한 설명을 ‘陰陽의 始作’에서부터 ‘陰陽과 天地’, ‘陰陽의 作用’, ‘陰陽의 理致’, ‘陰陽造化의 妙理’ 으로 구분지어 상세하게 설명했다. 이를 설명함에 있어서 陰陽의 用으로서의 개념으로 天地, 鬼神, 幽明, 屈伸, 生死, 魂魄, 精氣, 器 등의 용어와 유사한 것으로 인식했다. 넷째, 五行의 性理를 설명함에 있어서 ‘五行의 造化’, ‘五行의 體用’, ‘五行의 質神’, ‘五行과 五事’, ‘五行과 五倫’과 같은 전통적인 五行의 적용분류를 따르기는 했지만, ‘五行生成’에 있어서 순서나 ‘五行方位’의 配屬에 다른 기준이 다르게 적용되었다. 다섯째, 陰陽과 五行을 함께 사용한 陰陽五行의 내용을 보면 『書經』의「洪範」과는 상이한 내용으로 구성된 『中和經』의 「洪範」을 통해서 ‘水火木金土’의 屬性을 설명했다. 理致로서의 天이나 形像으로서의 天이 天으로 존재하는 이유에 대해서 陰陽五行의 原理를 벗어남이 없고 天地와 陰陽이 곧 一物이라고 말한다. 이는 陰陽과 五行의 理致가 곧 天地의 作用이며 一物임을 말하는 것이다. 여섯째, 마지막으로 陰陽五行과 無相克은 甑山思想에서 陰陽五行의 精髓가 들어있는 내용이라고 할 수 있다. 여기서 甑山은 전통적인 陰陽과 五行의 이론에서 다섯 가지 요소들의 역할이나 구성과 달리 특이한 이론을 주장하고 있다. 즉, 火에서 水가 나와서 無相克의 세상이 열린다는 내용이다. 일반적인 五行의 이론에서 水火의 관계는 克 또는 侮의 관계로 작용해 왔다. 水의 기운이 강하면 水가 火를 克하고, 火의 기운이 강하면 火가 水를 侮하는 구조가 적용되었다. 甑山이 제시한 無相克의 이론은 陰陽五行의 性理와 作用을 말함에 있어서 伏羲八卦와 正易八卦의 圖像에 드러난 법칙을 『玄武經』 「申符」를 통해서 갈무리하고 있다. 伏羲八卦에서는 2兌와 7艮의 자리는 火의 자리이다. 正易八卦의 圖像에서 이 자리가 1巽과 6震으로 바뀌어 水의 자리가 되어버렸다. 이로써 火에서 水가 나와서 天下에 無相克의 이치가 실현되는 이상세계가 열린다는 것을 암시하고 있다. 왜냐하면 周易의 63괘와 64괘는 水火旣濟와 火水未濟의 象으로 새로운 세계로의 전환을 상징하고 있기 때문이다. 『中和經』을 통해서 이상세계의 새로운 지평을 열고자 한 甑山思想이 종교적인 교세의 성립과 확장을 통한 사회구조의 변화만을 제시한 것이 아니라, 陰陽五行을 토대로 한 학문적인 이치를 제시함으로써 이상세계의 구상을 모색했다는 점을 밝힘으로써 향후 『中和經』연구에 대한 논의의 선편을 제시하고자 한다. In late Joseon dynasty, Gang Il-sun(1871-1909, also known as Kang Jeungsan) wrote Junghwagyeng(中和經), a scripture which describes a religious syncretism of mainly Confucianism, adapting core ideas from Buddhism and Taoism. In this article, we looked through the principle of Yin and Yang and the five elements in Junghwagyeng, which was inherited in thousands of years, as contemplating how the characteristics and meanings of such principles are implied in the scripture. We scrutinized the human nature and natural laws of Yin and Yang, which is referred as a concept, including “Beginning of Yin and Yang,” “Heaven and Earth in Yin and Yang,” “Action of Yin and Yang,” “Logic of Yin and Yang,” and “Exquisite principle of balance in Yin and Yang” in Junghwagyeng. Moreover, we further studied the human nature and natural laws of the five elements, which can be found in “Harmony in the Five elements,” “The thing and its functions of the Five elements,” “The five elements and the Five works,” “Logic of Five elements,” “The Five elements and the Five moral rules,” “Point of the compass of the Five elements,”and “Formation and process of the Five elements.” As the thoughts of Jeungsan derived from the thoughts of 'the theory of Change', we searched how traditional principles of Yin and Yang and the Five elements were referred in Junghwagyeng, mostly in line with the idea of Later Heaven, a Utopianism as Jeungsan suggested. As a result, we got a conclusion as follows, in the human nature and natural laws of Yin and Yang and Five elements and its work. First, the scripture suggests an origin of the phenomena of universe and harmony and the principle of future utopia by establishing the theory of Yin and Yang and the five elements. Second, there are two major different views regarding the origin and genesis of Yin Yang and Five elements: the one is mythical inheritance and the other is historical inheritance, and it seemed that Jeungsan put an emphasis on historical inheritance of the origin. Third, the book specifically describes the principle of Yin Yang in different categories, “Beginning of Yin Yang,” “Heaven and Earth in Yin Yang,” “Action of Yin and Yang,” “Logic of Yin and Yang,” and “Exquisite principle of balance in Yin and Yang.” Fourth, when it comes to explaining the principles of the Five elements, the scripture follows traditional categories, including “Harmony in the Five elements,” “The thing and its functions of the Five elements,” “The five elements and the Five works,” “Logic of Five elements,” “The Five elements and the Five moral rules.” However the standards were applied differently as for “Point of the compass of Five elements,”and the procedure of “Formation and process of the Five elements.” and the used categories were unlike. Fifth, in regards to the subject matter of the principles of 'Yin Yang and Five elements', the contents in “Hongbeom(洪範),” one of the chapters in Junghwagyeng, were far different from “Hongbeom(洪範),” chapter in Seogyeong(書經), as it explains such principles through the features of “Five elements(水火木金土).” Sixth, lastly the principles of non-mutual conflict(無相克) as well as 'Yin Yang and Five elements' is essence to Jeungsanism. Jeungsan insisted that the world of non-mutual conflict(無相克) should arrive when Water(水) comes out from Fire (火), not focusing on the five whole elements or their roles. His theory is explained in “Sinbu(申符),” one of the chapters in Hyeonmugyeong (玄武經), supported by the principles of "FuXi" Eight trigram(伏羲八卦) and Jeong Yeok Eight trigram(正易八卦). In I-Ching, number 63 and 64 gua(卦) in the hexagram symbolize the transformation to the new world by means of the aspects of the mechanism of (Jiji, 水火旣濟) and the mechanism of (Weiji, 火水 未濟). We’d like to suggest further discussions of Junghwageyong by ascertaining the theoretical grounds of the scripture. Throughout Junghwagyeong, Jeungsanism not only tried to open new horizons for ideal world and propose the new way to change social structure by establishing and expanding its religious foundation, but also contemplate how to design an ideal world by suggesting its principles based on the principles of Yin Yang and Five elements.

『管子』의 陰陽五行論

이명재 단국대학교 동양학연구원 2017 동양학 Vol.69 No.-

This paper examines the distinct features of Yin-Yang and Five Elements(陰陽五行) in Guanzi(管 子). Yin-Yang(陰陽) and Five Elements(五行) respectively represented natural phenomena at the beginning, but became abstract and a ruling ideology going through the Warring States period. It began from Guanzi(管子)’s The thought of seasonal proper policy(時令思想) that Yin-Yang and Five Elements became a ruling ideology. In Guanzi, most of political actions a king takes and social systems for the purpose of national prosperity and military power and the stability of public welfare were related to Yin-Yang and Five Elements. As for the theory of Yin-Yang and Five Elements in Guanzi, first, Guanzi’s The thought of seasonal proper policy can be said to be the idea for the benefit of people that related the theory of Yin-Yang and Five Elements to increased agricultural production aiming at stabilization of public welfare, and reflects the principle of Yang-reward and Yin-punishment(陽德陰刑). Second, Guanzi’s The thought of seasonal proper policy can be said to be The theory of heaven and humans response(天人感應論) that includes The intimate theory(災異說) in the relationship between the heaven and humans. Yet, the focus is on the heaven. Third, Yin-Yang and Five Elements became abstract in Guanzi for the first time. As for seasons, Yin-Yang and Five Elements were assigned, and regarding color, taste, sound, number, bearing, weapon and others, Five Elements were assigned. However, the ten celestial stems were not divided into Yin-Yang, so Yin-Yang cannot be seen to be combined with Five Elements. Fourth, the differences in the contents of each chapter related to the theory of Yin-Yang and Five Elements prove the view that writers and the year of writing each chapter of Guanzi can be different. Guanzi’s theory of Yin-Yang and Five Elements became one of main frames of Chinese philosophy later being transmitted to Yeossichunchu(呂氏春秋), Huainanzi(淮南 子), Chunchubeonro(春秋繁露), Baekhotongeui(白虎通義) and etc. 본고는 『管子』에 보이는 陰陽五行論의 특징을 고찰한 것이다. 陰陽과 五行은 처음에는 각각 자연현상을 나타냈으나, 春秋戰國時代를 거치면서 抽象化되고 통치 이념화의 과정을 거친다. 陰陽五行의 통치 이념화는 『管 子』의 時令思想에서 시작되었다. 『管子』에서는 富國强兵과 民生安定를 목적으로 君主가 행하는 대부분의 정치행위와 사회제도를 陰陽五行과 연계시켰다. 『管子』에 나타난 陰陽五行論을 살펴보면 첫째, 『管子』의 時令思想 은 민생안정을 목적으로 陰陽五行論을 농업생산증대에 연계시킨 爲民思想이라고 할 수 있으며 陽德陰刑 사상을 반영하고 있다. 둘째, 『管子』에서의 天은 자연적 天보다는 의지적 天에 가깝다고 볼 수 있다. 따라서 天人 關係로 보면 災異說을 포함하는 天人感應論이라고 할 수 있으며 그 무게 중심은 하늘에 있다고 할 수 있다. 셋째, 陰陽과 五行은 『管子』에서 최초로 抽象化되었다. 계절에 대해서는 陰陽과 五行이 배속되고, 色·味· 音·數·方位·兵器 등에 대해서는 五行이 배속되었다. 그러나 天干을 陰陽으로 구분한 것이 아니기 때문에陰陽과 五行이 결합되었다고 볼 수는 없다. 넷째, 陰陽五行論과 관련된 각 편의 내용적인 차이는 『管子』의 저자와 저술연대가 篇 별로 다를 수 있다는 說을 뒷받침한다. 『管子』의 陰陽五行論은 이후 『呂氏春秋』, 『淮南子』, 『春秋繁露」, 『白虎通義』 등으로 전승되면서 중국철학의 주요 골격 중의 하나가 되었다.

东亚古代文化中的阴阳理论之嬗变

刘萍 대진대학교 대순사상학술원 2004 대순사상논총 Vol.18 No.-

When people discuss the continental cultural elements in the ancient East Asian culture, people always attach great importance to the two major cultures of Confucianism and Taoism, but offer little explanation to the significant influence of the theory of yin and yang, the important philosophical base of the two major cultures. The theory of yin and yang, existing as the theoretical source at a profounder level, possesses philosophical connotations that are always embedded into the mainstream of thought, religions and customs, displaying its unique glamour in its unique way. Its influence is more than that, however. It has exerted far-reaching influence on and is of significant importance to the development of the ancient culture of East Asia. This article aims at exploring this field of study. After the erudite scholar of The Five Classics made a voyage to the east in the early sixth century, The Book of Changes, the most important Chinese ancient classic expounding the theory of yin and yang, started to circulate among the Japanese court, via Baiji in the Korea Peninsula. As a result, the theory of yin and yang found its way to Japan. Examining the spreading channels, we learn that the theory’s dissemination was largely related to the activities of Buddhist monks. Shoutoku Prince, regent of Japan at the time, was himself an enthusiastic supporter of Buddhism and was excelled in the study of The Book of Changes and the theory of yin and yang. In the Twelve Ranks System and Seventeen-article Constitution promulgated by Shoutoku Prince, the influence of the theory of yin and yang and of the theory of the five elements can be visibly discerned. This obviously proves the sublime status of the Chinese theory of yin and yang in Japan, thanks to the victory of the political clique that adored Buddhism. In the shaping course of ancient Japanese culture, the theory of yin and yang served as an important philosophical source of its development. Mythology based on Kojiki and Nihon Shoki, two earliest Japanese books that exist today, record mythological stories about the emergence of the Japanese nation. The notion about the birth of heaven and earth and the forming of Japanese Shinto, expressed in the mythological stories, not only tell us the source and historical progress of the Japanese nation but also the nation’s world outlook in the transition from barbarian period to civilized period, as well as the basis for its philosophical thinking. All these were marked with profound influence of the Chinese theory of yin and yang. The theory of yin and yang, as one of the ancient Chinese academic thoughts, was accepted asa political belief when it first spread to Japan. The emergence and establishment of both the Mikado system and the centralized regime in ancient Japan drew largely on the theory of yin and yang and adopted it as an important philosophical basis to deify and aggrandize the “imperial power” so as to protect the authority of the imperial ruling and consolidate the established regime. Following the continuous strengthening and expansion of the centralized state power, the theory of yin and yang was further employed, and gradually “hidden”in Japanese culture with the passage of time, finally becoming the edge tool of ancient Japanese Mikados in exercising political power and controlling the country.

장자(莊子) 음양(陰陽) 개념의 특징 -역전(易傳)과의 비교를 통해서

임채우 ( Lim Chae-woo ) 한국동서철학회 2016 동서철학연구 Vol.0 No.81

Zhuang Zi and Yi Zhuan are writings of Confucianism and Taoism representing works from the Age of Civil Wars to Early Han Dynasty. Recently, there theories that Yi Zhuan (易傳 Changes) has been written by Lao-Zhuang has been on the rise. This article critically contemplates this theory from the perspective of Yin-Yang Philosophy, and compares the Yin-Yang Theory with Yi Zhuan, as well as analyzing their features. In Yi-Zhuan, it views Yin-Yang itself as the enlightenment, and constructs the metaphysics based on the Yin-Yang Philosophy. Zhuang Zi alludes to the Yin-Yang as the principle, which explains the movement changes of phenomenal world; however, the notion of enlightenment transcending the Yin-Yang Philosophy is postulated as the ultimate noumenon, and regards it as the ideology of Zhuang Zi Philosophy. Although they influence one another in comparisons of Yin-Yang theories in Zhuang Zi and Yi Zhuan, they can be identified; Zhuang Zi and Yi Zhuan has different critical minds of philosophy, therefore the statement that the Yin-Yang Philosophy in Yi Zhuan derived from Zhuang Zi cannot be established. The Yin-Yang theory illuminating the origin and movement of an object derives from the structure of 64 gua (卦), 384 yao (爻) from Yi Ching (卦爻 Classics of Change), and further revivification is impossible in Yi Ching itself. On the other hand, the question of enlightenment is sought out as a transcendental universal exceeding beyond the differentiation of Yin and Yang. This signifies the legacy of theory of metaphysical noumenon in Taoism that exceeds reality to inquire the question of ultimate origin.