동아시아 적석단총에 나타난 삼원오행론과 선도제천문화의 확산

정경희 ( Jung Kyung Hee ) 국제뇌교육종합대학원 국학연구원 2020 선도문화 Vol.29 No.-

This paper is a study on the Sundo(仙道) thought and regional changes of the ‘Circle(圓)·Square(方)·Octagon(八角)’ symbol and the ‘3·7·5·9 staircase’ symbol in the stone mound altar·tomb of the East Asia with the perspective of Korean Sundo culture that is different from the perspective of Chinese ritual culture and the perspective of Western or Northern shamanism. Korean Sundo culture is based on the Ki(氣) philosophical worldview called ‘the idea of the five natural elements of the three dimensions(三元五 行論)’. It is the theory on ‘the creation and regression of the being’, that is, ‘One-Three(One Ki氣-Three Ki三氣, Chun天·Ji地·In人, Circle圓· Square方·Triangle角)’ is the substance of all beings and the cosmic life particle, becomes phenomena(materialization) and the phenomena converge again into the dimension of the substance through the process of ‘1·3 ↔ 2 ↔ 4↔ 8’. The creation and regression process of the being had symbolized by various statues(象) and numbers(數), and reflected in Altar(壇)·Shrine(廟)·Tomb(塚) and jade artifacts of Baedalkook(倍達國). The ‘Circle·Square’ symbol and the ‘3 staircase’ symbol of the representative Heaven Ritual facility of Baedalkook, ‘the hilly Heaven Ritual facilitiy with a moat(‘three layer-circle·square-moat’ typed stone-mound altar·tomb)’, was the expression of the theory of One-Three一·三(One Ki-Three Ki, Chun·Ji·In, Circle·Square· Triangle), the core onthology of Korean Sundo and Jigam(止感)·Josig(調 息)·Geumchog(禁觸) Sundo discipline. The stone-mound altar·tomb system during Baedalkook period led to the coexistence and combination with the Dolmen system during Dangun Joseon(檀君朝鮮) period. By the third century B.C., it was resurrected in the west side of Mt.Baekdu(白頭). In Goguryeo(高句麗), it regained its status as a representative Heaven Ritual facility, and was prominent in the west side of Mt.Baekdu, Korean Peninsula, and Japanese archipelagos. Since the third century B.C., The stone-mound altar·tomb system in the west side of Mt.Baekdu, the Korean peninsula and the Japanese archipelago succeeded the original form of Baedalkook and showed some diversification within ‘the idea of the five natural elements of the three dimensions’. In addition to Circle(圓)·Square(方) symbol, Octagon(八角) symbol appeared newly. Also in addition to 3 staircase symbol, 7·5·9 staircase symbol appeared newly. On the other hand, ‘4 staircase symbol’, the deformation form by the theory of ‘the five natural elements of Yin and Yang(陰陽五行論)’ had appeared in China.

음양중오행론에 대한 고찰- 유라시아 고대사상의 원형 회복과 현대적 계승

조인정 한국유라시아연구원 2024 유라시아문화 Vol.11 No.-

이 글은 기존 음양오행론의 유래와 그에 내재된 문제점을 심층적으로 분석함으로써, 한민족 고유의 음양중오행론을 고찰하는 데 목적을 둔다. 음양중오행론은 한민족의 고유한 철학적 전통을 반영하면서, 음양오행론과 삼원오행론의 철학적 통찰을 통합하여 발전된 독창적인 사상으로, 음양의 대립적 관계를 ‘중(中)’이라는 개념을 통해 조화시키는 것을 핵심으로 한다. 본 연구는 음양중오행론이 단순히 이론적 틀에 그치지 않고, 음과 양 사이에서 균형을 이루며 더 포괄적이고 유연한 세계관을 제시하는 철학적 도구로서의 역할을 수행함을 강조한다. 특히, 음양중오행론이 현대 사회에서 발생하는 환경적, 경제적, 사회적 갈등과 같은 복잡한 문제들을 해결하는 데 있어서 중요한 역할을 할 수 있음을 논증한다. 더 나아가, 인간이 천지인 삼원 구조에서 ‘중(中)’의 역할을 수행하는 주체로서 조화와 변화를 이끌어내는 위치에 있음을 재조명한다. 이 연구는 음양중오행론이 동아시아 철학의 지평을 넓히는 데 기여할 뿐만 아니라, 현대 사회의 다양한 문제 해결에 있어서 중요한 철학적 기반을 제공할 수 있음을 밝히고자 한다. 이를 통해, 음양중오행론은 한민족의 철학적 전통을 현대적으로 재해석하고, 보다 지속가능한 발전과 조화를 이루는 데 있어 중요한 사상으로 자리매김할 수 있을 것이다. This study aims to examine the indigenous Korean philosophy of Eumyang-Jung-Ohaeng-(Yin-Yang-Middle-Five Elements) by analyzing the origins and inherent problems of the traditional Eumyang-Ohaeng (Yin-Yang-Five Elements) theory. The Eumyang-Jung-Ohaeng theory reflects the unique philosophical traditions of the Korean people, integrating and advancing the philosophical insights of both the Eumyang-Ohaeng and Samwon-Ohaeng (Three Origins-Five Elements) theories. The core of this theory lies in harmonizing the opposing forces of Yin and Yang through the concept of ‘Jung (Middle),’ offering a more comprehensive and flexible worldview. This research emphasizes that the Eumyang-Jung-Ohaeng theory serves not only as a theoretical framework but also as a philosophical tool capable of addressing complex modern issues such as environmental, economic, and social conflicts. Furthermore, it reexamines the role of humans as the central figures who perform the ‘Jung (Middle)’ function within the triadic structure of Heaven, Earth, and Humanity, driving harmony and change. This study seeks to broaden the horizon of East Asian philosophy through the Eumyang-Jung-Ohaeng theory and demonstrates its potential as a critical philosophical foundation for resolving various contemporary challenges. Through this approach, the Eumyang-Jung-Ohaeng theory can be reinterpreted in a modern context, positioning itself as a significant philosophy for achieving sustainable development and harmony.

‘신유림(낭산)’의 선도제천문화와 그 성격 변화 과정 연구

박주연 국제뇌교육종합대학원대학교 국학연구원 2024 선도문화 Vol.36 No.-

본 연구는 신라 천년고도 경주 낭산을 한국선도적 관점에서 고찰한 연구이다. 초기 낭산(신유림)은 신라의 대표적인 소도(蘇塗)로 나타나는데, 삼산오악제가 시행되면서 중악, 삼산과 같은 최고의 지위에 오르게 된다. 진평⋅선덕여왕대에는 제석신앙의 성행 으로 제석신앙의 성소인 수미산으로 전화한다. 본 연구에서는 이러한 변화의 이면에 ‘선도제천문화’와 ‘선⋅불습합적 제석신앙’이 자리하고 있었음을 고찰하였다. 낭산(신유림)은 소도신앙인 전불시대칠가람지 중 하나였는데, 실성왕대에 이르러 김씨왕족의 성산으로서 자리잡게 되었다. 낭산은 중고기 김씨왕실의 왕경오악의 중악으로 기능하였고 중대에는 삼산의 핵심이 되었다. 삼산오악제는 한국선도기학의 ‘삼원오행론’을 사상적 기반으로 하며 홍산문화 우하 량 모신묘의 십자형 구도를 제도적 원형으로 하는 ‘선도제천산’제도였다. 배달국의 선도제천에서 출발하여 단군조선-북부여-신라로 이어진 ‘선도제천문화’가 중고기 이후 김씨왕실에 이르러 김씨족의 삼신산이었던 낭산에서 그대로 체현되었다. 김유신의 ‘호국삼신녀’설화는 선도제천의 신격이 우주의 근원적 생명력을 의미하는 마고삼신에서 호국적 의미의 삼신녀로 비소(卑小)화한 전승을 보여준다. 하지만 이 ‘호 국삼신녀’전승은 낭산이 ‘선도제천산’임을 알려주는 중요한 가치를 지닌 기록이다. 또한 김씨족의 왕권강화를 위한 이데올로기로 기능한 제석신앙은 배달국 이래 ‘선도 제천문화’의 상징인 삼성신앙(환웅신앙)이 불교 내 호법천신신앙으로 화한 선⋅불습합 의 대표적인 사례이다. 선덕여왕의 장지가 조영되고, 통일 후 낭산에 창건된 사천왕사는 ‘선⋅불습합적 제석 신앙’의 성전사원으로 호국사찰의 중심터전으로 자리매김한다. 제석신앙의 원형을 선도제천으로 규정할 수 있는 요소들은 다음과 같다. 첫째, 제석 신앙이 성행한 진평왕대∼신문왕대와 ‘선도제천산’제도인 삼산오악제의 시행 시기가 동시대라는 점이다. 둘째, 제석신앙의 신격인 제석이 선도제천의 신격인 삼성(환웅)의 불교적 변형태라는 점이다. 셋째, 사천왕사의 가람배치에 나타난 오방사상이 한국선도 기학의 핵심인 삼원오행론에 기반하고 있다는 점이다. 요컨대 낭산에 나타난 ‘선도제천 산’제도와 ‘선⋅불습합적 제석신앙’의 배후에는 한국선도의 삼원오행사상에 기반한 ‘선도제천문화’가 자리하고 있었다. This research is on Mt. Nangsan in Gyeongju, the capital city of Shilla Kingdom, viewed from Korean SunDo. At the beginning of Shilla, Mt. Nangsan(ShinYooRim, a forest where the gods played) seems to have been a representative sanctum. It was upgraded to the supreme status like the Middle Rugged Mountain and Three Major Mountains with the practice of the Samsan Oak (Three Major Mountains and Five Rugged Mountains) system. During the reign of King JinPyeong and Queen SeonDeok, Mt. Nangsan transformed into Mt. Sumisan, a sanctum of Indra belief by its prevalence. This paper probed that there are ‘SunDo Heaven Ritual culture’ ‘Indra SunDo-Buddhism fusion’ behind belief of by way this and transformation. Mt. Nangsan(ShinYooRim) was one of the seven temples, sanction belief, before the introduction of Buddhism, settled as the royal family Kims’ sacred mountain during the reign of King SilSung. It functioned as the Middle Mountain of Kims’ royal family’s Five Rugged Mountains in Gyeongju in the middle ancient period and became the center among the Three Major Mountains. The Samsan Oak system is based on the theory of the ‘Five Natural Elements of the Three Dimensions’ of Korean SunDo energy study. It is ‘SunDo Heaven Ritual Mountain’ system which has taken the cruciform of Uharyang goddess’ shrine of Hongsan Culture as a systemic archetype. ‘SunDo Heaven Ritual culture’ started from BaeDal country and has passed down through DanGunJoSeon, North BooYeo and Shilla. Then it was embodied in Mt. Nangsan, the royal family Kim’s mountain. The Indra belief functioned as an ideology for strengthening royal family Kim’s sovereignty, it was a representative example of transformation from Samsung belief (Hanwoong belief), the symbol of ‘SunDo Heaven Ritual culture’, to buddhistic heaven’s gods belief, Korean SunDo-Buddhism fusion. Kim YooShin’s legend of ‘three guardian goddess for the kingdom’ shows that divinity in ‘SunDo Heaven Ritual’ was diminished from MgGo Mt. Samsin which meant the original life force of the universe to three Mt. goddesses which only defense the country. However, it is a record that has an important value which says Mt. Nangsan is a ‘mountain for SunDo Heaven Ritual’. Besides, Queen SeonDeok’s burial ground was made there. After the Three Kingdom-unification, SaCheonWangSa Temple built in Mt. ‘Indra of for belief of has had holy temple Nangsan status a SunDo-Buddhism fusion’ and the central temple of defense of the country. I finalize the elements which can be prescribed as the prototype of Indra belief is SunDo Heaven Ritual as follows. First, it is the same period that Indra belief was prevailing from King JinPyeong to King ShinMoon falls the same time with the period of performing Samsan Oak system, ‘SunDo Heaven Ritual system’. Second, Indra, the divinity of Indra belief is the Buddhistic transform of Samsung (Hanwoong), the divinity of SunDo Heaven Ritual mountain. Third, Korean traditional Five Direction Idea which appeared in the placement of SaCheonWangSa temple is based on the the theory of the five natural elements of three dimensions, the essence of Korean SunDo energy study. To sum up, in the background of ‘SunDo Heaven Ritual mountain system’ shown in Mt. Nangsan and ‘Indra belief of SunDo-Buddhism fusion’, there was SunDo Heaven Ritual culture based on the world view of SamWon Ohaeng theory.

홍산문화 女神廟에 나타난 ‘삼원오행’형 ‘마고7여신’과 ‘마고 제천’

정경희(Jung, Kyung-Hee) 비교민속학회 2016 비교민속학 Vol.0 No.60

홍산문화의 기반 문화인 선도문화의 요체는 우하량 단․묘․총 유적 및 총에서 출토된 옥기 유물과 같은 제천 유적․유물에 잘 나타나 있다. 이중에서도 특히 묘(여신묘)는 제천의 신격을 여신, 그것도 등신대의 3배․2배․1배 크기로 3구분되는 총7구의 여신으로 표현하는 바, 홍산문화시기 선도 제천의 성격을 명확하게 보여주는 선도문화의 시금석이다. 우하량 여신묘는 십자형 구조였으며 여신상 또한 등신대의 3배․2배․1배 크기로 3구분된 7여신상이 십자형으로 배치되고 있었는데, 이러한 십자형의 의미는 선도기학적 세계관인 ‘삼원오행론’에 잘 나타나 있다. 선도 전통에서는 모든 존재의 본질이자 우주의 근원적인 생명력인 일기․삼기의 ‘물질화(현상화)’ 과정을 신화의 방식으로 표현하는 전통이 있어왔다. 곧 일기․삼기를 ‘마고여신(하느님․삼신, 마고․삼신할미)’으로 표현하고, 또 이러한 일기․삼기가 분화하여 물질화(현상화)하는 과정을 마고가 궁희․소희를 낳고 다시 궁희․소희가 4천녀․4천인을 낳아 4천녀․4천인의 단계에 이르러 기․화․수․토로 이루어진 물질계(현상계)가 만들어지는 것으로 표현하였다. 여기에서 마고, 궁희․소희, 4천녀와 같은 여신(‘마고 7여신’)은 물질계를 이루는 4대 원소인 기․화․수․토의 보이지 않은 차원, 곧 물질화 이전의 단계에 대한 상징임을 알게 된다. 또한 일기․삼기(마고)의 분화 과정은 ‘입체 十字形’, 또는 ‘입체 球形’의 형태로 표상화되었다. 이것이 ‘마고신화’이며 선도기학적으로는 ‘삼원오행론’으로 개념화된다. 이러한 마고신화(삼원오행론)의 ‘마고7여신’이 여신묘의 7여신으로 나타났으니 여신묘의 7여신을 ‘삼원오행형 마고7여신’으로 이름해보게 된다. 이러할 때 여신묘의 ‘마고 7여신’이란 보이지 않는 생명氣의 차원일 뿐 물질(현상) 세계에서의 구체성을 지닌 특정의 인격신이 아니며, 따라서 여신묘에서 행해진 제천의 본질도 우주의 근원적 생명氣과 사람속의 생명氣의 합일을 추구하는 천인합일(신인합일, 인내천)의 수행임을 알게 된다. 반면 중국학계는 홍산문화를 중국문화의 원류로 인식, 여신묘나 여신신앙에 대해서도 후대 중국 왕조의 천인분리(신인분리)적 제의 체계나 제의 방식을 투영, 천인합일(신인합일, 인내천)과 정반대의 해석을 하였다. 여신묘나 단․묘․총은 물론 홍산문화 전반에 대한 연구가 한단계 깊어지기 위해서는 선도문화, 특히 그 본질인 천인합일(신인합일, 인내천)에 대한 이해가 선행되어야 할 것이다. The key of Sundo仙道 Culture, the cultural foundation of Hungshan Culture(Baedalkook倍達國) is the remains and relics of ‘Sundo Heaven rituals 祭天’ like Altar壇․Shrine廟․Tomb塚 and jade tools. Especially the godship of Shrine(Goddess Shrine) in Uharyang牛河梁 remains is 7Goddess clay statues that are classified into three categories of 3times-sized, 2times-sized and life-sized of human. These 7Goddess accurately show the character of Sundo Heaven rituals in the period of Hungshan Culture. Goddess Shrine of Uharyang is the cruciform building and 7Goddess statues are arranged crosswise. The meaning of these cruciform symbol is written in the idea of the five natural elements of the three dimensions(三元五行論), the core theory of Korean Sundo. In Sundo tradition, the differentiation(materialization) processes of One Ki氣-Three Ki, the primal Ki of the cosmos used to be symbolized to myth.[Mago myth]. That is to say, One Ki-Three Ki is symbolized to ‘Mago goddess’. And the differentiation(materialization) processes of One Ki-Three Ki into ‘Ki氣․ fire火․water水․earth土, 4 elements of the material world is symbolized that Mago goddess gives birth to 2 daughters, Gung-hee and So-hee and Gung-hee and So-hee give birth to 4 daughters, 4 heavenly maid. These 7Goddess, i.e. Mago․Gung-hee and So-hee․4 heavenly maid is just the symbol of the pre-differentiation(materialization) stages of the material world. In addition, the differentiation(materialization) processes of Mago is represented to cubic globular shape and a plane figure of it is cruciform.[the idea of the five natural elements of the three dimensions三元五行論] These 7Goddess of the idea of the five natural elements of the three dimensions are nothing but 7Goddess of Goddess Shrine. Thus we can understand that ‘Mago 7Goddess of Goddess Shrine’ is only invisible and primal Ki of the cosmos, not a personal God and the essence of Sundo Heaven rituals in Goddess Shrine is Sundo practice pursuing for the unification of primal Ki of heaven and inner Ki of human, i.e. ‘Unification of heaven(God) and human天人合一’. On the other hand, Chinese scholars misread Sundo Heaven rituals in Goddess Shrine as ‘Separation of heaven(God) and human天人分離’ conversely.

한국선도의 "일,삼,구론(삼원오행론)"에 나타난 존재의 생성,회국론 -한국선도의 수행 이론

정경희 ( Kyung Hee Jung ) 한국동서철학회 2009 동서철학연구 Vol.53 No.-

연구논문 : 한국선도의 "삼원오행론" -"음양오행론"의 포괄-

정경희 ( Kyung Hee Jung ) 한국동서철학회 2008 동서철학연구 Vol.48 No.-

중국의 "음양오행론(陰陽五行論)"과 한국선도(韓國仙道)의 "삼원오행론(三元五行論)"

정경희 ( Kyung Hee Jung ) 한국동서철학회 2008 동서철학연구 Vol.49 No.-

홍산문화 ‘곰(맥)-마고삼신-매’ 표상의 기원과 변천

정경희 ( Jung Kyung Hee ) 국제뇌교육종합대학원 국학연구원 2021 선도문화 Vol.30 No.-

Around B.C.7000 of the late Neolithic Period, Ki(氣)-energy symbols such as ‘Goddess, conceptus(胎芽), animal totem’ were widely seen in Northeast Asia. The animal totems in Liaodong(遼東) areas were mainly ‘Bear·Hawk etc’ since the early Neolithic Period, while the animal totems in Liaoxi(遼西) areas were ‘Lizard·Pig·Deer·Hawk etc’. Around B.C.4000 of Hungshan Culture, Ki-energy symbols of Liaodong and Liaoxi areas were completely renewed in form and meaning. That was just ‘Bear(Maek)-Goddess(Magosamsin)-Hawk’ symbol in Niuheliang(牛河梁) Shrine(Goddess Shrine) and stone mound tombs around Goddess Shrine. This symbol expressed ‘Suseung-Hwagang(水昇火降) thought’, the essence of the idea of the five natural elements of the three dimensions(三元五行論) of Korean Sundo(韓國仙道). ‘Suseung-Hwagang’ means primarily the law of circulation of human Ki-energy. On the other hand, it also means ‘Jocheon(朝天)’ thought that the energy of the human body is returned to the ultimate Ki-energy of the universe(Magosamsin) after his death. This symbol, which expresses the idea of Suseung-Hwagang and Jocheon, shows the full-fledged development of the Sundo Heaven rituals(仙道祭天) culture. Since the early Neolithic period in Northeast Asia, there have been various animal totems such as Lizard·Pig·Deer·Hawk etc, but by Hungshan Culture, Bear·Hawk, which were the representative animal totems of Liaodong area, were raised to the representative animal totem regardless of Liaodong and Liaoxi areas. This suggests that the Bear-totem tribe, Maek tribe(貊族) has become the hegemon of Northeast Asia. Around B.C.4000, the political and social changes in which Baedalkook(倍達國) was opened and Maek tribe(Ung tribe(熊族) + Hwanung tribe(桓雄族), present-day Korean People) of Baedalkook entered Liaoxi area led to that change. Unlike the stereotype of ‘Bear(Maek)-Magosamsin-Hawk’ across the Northeast Asia, which encompasses the Liaodong and Liaoxi areas after the opening of Baedalkook, the traditional lizard·crocodile totem of Huaxia tribe(華夏族) was renewed as Dragon totem by the descendants of the Ung (Maek) tribe who migrated from Baedalkook to Zhongyuan中原 areas in the Yellow River areas. And the ‘Dragon(龍)-Phoenix(鳳)’ symbol was created during the fight between Huaxia tribe and Dongyi tribe(東夷族). In addition, traditional lizard·crocodile and tiger symbol of Huaxia tribe were absorbed into the Chinese Taoism, resulting in ‘Dragon(龍)-Tiger(虎)’ symbol and ‘Dragon(龍)- Xiwangmu(西王母)-Tiger(虎)’ symbol. ’Bear(Maek)-Magosamsin-Hawk’ symbol of Maek tribe and ‘Dragon-Magosamsin-Phoenix’ symbol of Maek tribe influenced by Chinese culture, were not totems but rather Sundo symbols of ‘Suseung-Hwagang and Jocheon’ thought. It is not the right approach for the Chinese academic community to look at ‘Bear(Maek)-Magosamsin-Hawk’ and ‘Dragon-Magosamsin-Phoenix’ symbols of Maek tribe as the viewpoint of ‘Dragon-Phoenix’ symbol of Huaxia tribe that they are familiar with.

동북아 고고학에 나타난 배달국의 선도제천문화와 민족종교의 원형 회복

정경희 ( Jung,Kyung Hee ) 국제뇌교육종합대학원 국학연구원 2021 선도문화 Vol.31 No.-

Altar(壇)·Shrine(廟)(the Great Mother Goddess Shrine母神廟)·Tomb (塚) and jade tools(玉器) that is the sign of Hungshan Culture were clearly shown that the ancient culture of Late Neolithic Age∼Chalcolithic Age that lasted in Liaodong(遼東)∼Liaoxi(遼西) area around B.C. 4000∼B.C. 2400 was Sundo Heaven Ritual(仙道祭天) Culture of Baedalkook(倍達國) led by Maek(貊) race(Yemaek濊貊, Korean). In the current korean academia, there is a lack of awareness of Sundo Culture of Baedalkook, and the tendency to view the starting point of korean history as Dangun-Chosun(檀君朝鮮) and the essentials of korean culture as Shamanism rather than Sundo Culture. Regarding the contents of Shamanism, the perception of korean academia is based on Folk-Shaman Culture and Ethnic Religions of later korean society. However, Folk-Shaman Culture and Ethnic Religions of later korean society were just a later transformation of ancient Sundo Culture, not a prototype of ancient Sundo Culture. The prototype of Sundo Culture was formed during Baedalkook period, and as time passed, it changed into Folk and Shaman Culture, and again Folk and Shaman Culture changed into Ethnic Religions since the modern era. In this article, based on the archaeological achievements of Northeast Asia, I first presented the prototype of Sundo Heaven Ritual Culture of Baedalkook and then suggested the process of transition to Folk-Shaman Culture and Ethnic Religions in the later period. Particularly, I considered Sundo Heaven Ritual Culture of Baedalkook in two ways, ① Sundo discipline for Cheonin-Habil(天人合一, unification with heaven) through Sundo Heaven Ritual [Sungtong性通], ② Sundo social practice for Hongik-Ingan(弘益人間, Benefiting the world) Jase-Ihwa(在世理化, Edifying with reason) through Sundo Politics(Sundo Emperor天子-Feudal lords諸侯 system) [Gongwan功完]. Through these considerations, we can understand that korean Folk-Shaman Culture and Ethnic Religions had the task of accurately recognizing the originality of Sundo Heaven Ritual Culture as the first starting point of korean history and restoring the originality.

한국선도 수행으로 바라본 중국도교의 내단(內丹) 수행

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2012 선도문화 Vol.13 No.-

The basic ontology of Korean Sundo is the theory of One-Three-Nine (一·三·九論)[the theory of the five natural elements of the three dimensions(三元五行論)]. In this theory, it is considered that the substance of being is ``One Ki氣[Three Ki: Chun天(Information or Naught無·空), Ji地(Material) and In人(Energy)]``. It functions to harmonize with the separation and confrontation between Yin and Yang in the phenomenal(physical) world. The ``One Ki(Three Ki)`` of human is situated in the three hypogastric center(丹田) of human body, i.e. the lower hypogastric center, the middle hypogastric center and the upper hypogastric center and the core of them is the middle hypogastric center(heart). On the other side in the theory of the five natural elements of Yin and Yang(陰陽五行論) of Chinese Taoism, both the substance and the phenomena of being is Yin and Yang uniformly. In Neidan(內丹, Inner alchemy) discipline of Chinese Taoism, Yin and Yang of human is situated in the lower hypogastric center(Yin) and the upper hypogastric center(Yang). In comparison with Korean Sundo discipline, the weight of the middle hypogastric center(heart) is weakened. Consequently we can understand that Chinese Neidan discipline is the ``Yin and Yang discipline``, i.e. the two dimensions discipline, although it is professed for ``Jing(精)·Ki(氣)·Shen(神) discipline``, i.e. the three dimensions discipline. When the weight of the middle hypogastric center(heart) is weakened, the lower hypogastric center becomes the core of the discipline naturally. Because the completion of three hypogastric center has sequent order, in other words ``the lower hypogastric center→ the middle hypogastric center → the upper hypogastric center``. For Chinese Neidan discipline, centering around the lower hypogastric center, it causes the tendency of focusing on the function of the upper hypogastric center, operating inner Ki of human body, improving bodily powers, and weakening of social practice.