A comparative study of the unearthed Qin and Han meridian relic documents and 『Lingshu·Jingmai』 on the circulation of the six Yang meridians-centered on the Lao Guan Shan lacquer figure-

( Ouyang Fang-lan ) 대구한의대학교 제한동의학술원 2021 제한동의학술원논문집 Vol.19 No.1

In this paper, we analyze the contents of the six Yang meridians in the Mawangdui medical textiles, the 『Zú Bì ShíYī MàiJiū Jīng(足臂十一脈灸經)』, the 『YīnYáng ShíYī MàiJiū Jīng(陰陽十一脈灸經)』, the Zhangjiashan medical text 『Hàn Jiǎn Mài Shū(张家山汉简 『脈書』)』, the Shuangbao Mountain lacquer figure, the Laoguan Mountain lacquer figure, and the 『Shí èr Mài(十二脈)』 of the Laoguan Mountain medical text, which have been excavated since the 1970s. Through comparison, the meridians carved with white lines on the Lao Guan Shan lacquer figure are different from the “twelve meridians” in the 『Huáng Dì Nèi Jīng(黃帝內經)』’s Classic of Internal Medicine, and it is believed that the formation process of meridians developed from the “eleven meridians system” to the “twelve meridians system” It is believed that the development of the meridians from the “eleven-meridians system” to the “twelve-meridians system” is a result of the inconsistent naming of the early meridians, the irregular number of meridians, and the development of the meridians from a linear one-way flow to the uninterrupted circular movement of the 『Huáng Dì Nèi Jīng(黃帝內經)』. The “eleven meridians system” of the early meridian theory was not a manifestation of the fact that the meridian theory was not yet well developed, but a result of the influence of the ancient philosophical concepts of the time, “the unity of heaven and figure”, “the six heavens and the five piles of the earth” and “the unity of heaven and figure” thinking. This concept had a significant impact on the formation of the early meridian theory and has been a constant in the development of meridian theory, which can be identified as one of the biggest factors influencing the development of meridian theory. The “Hand Sanyang meridians” has its own characteristics in the naming of the early meridians, and is unstable compared to the development of the naming of the Foot Sanyang meridians. The order of the use of “Dà(大)”, “Tài(泰)” and “Tài(太)” in the naming of the meridians reflects the sequence of the development of the ancient script. The word “(鉅)巨Jù” in 『YīnYáng ShíYī MàiJiū Jīng(陰陽十一脈灸經)means “big” and is a dialect expression used in the Qi-Song region. The order of the meridians named in the meridian literature is recorded first after the foot meridians hand meridians, the foot meridians are longer than the hand meridians circulation route, the circulation distribution is more extensive, the main disease is more, the foot meridians is more important than the hand meridians. The “eleven meridians system” of the Mawangdui medical text is not a manifestation of the imperfect development of the meridian theory. but is influenced by the mathematical concept of “heaven, six and earth, five”, which considers heaven as yang, earth as yin, heaven as six and earth as five. With this concept, eleven meridians were created. The lack of the foot three yin meridians in the “ten meridians system” of the Shuangbao Mountain lacquer figure is not a sign of slow development of the foot three yin meridians, but because the foot three yin meridians represent the death wait, which is a sign of death. On the contrary, during the Western Han Dynasty, the imperial nobility prayed for immortality. and believed that the Governor’s Vessel had the function of nourishing health and promoting longevity, so a Governor’s Vessel was added. The development of the twelve channels of the 『Líng Shū·Jīng Mài(靈樞·經脈)』 was influenced by the ancient “Twelve of Heaven”, which changed the number of channels from 11 to 12. It can be seen that the development of meridian theory has not been smooth and has been influenced by the impact of ancient philosophical views and cultures and the different doctrines of different medical schools. This is a reflection of the development of the meridians and the incorporation of the superficial parts of the body into the route of the meridians, which is probably due to the need for the Lao Guanshan lacquer figure to be used as a teaching tool and to provide a more intuitive explanation. The development of the meridians from independent, straight lines to circular channels of movement “like rings without end” was influenced by the concept of “the unity of heaven and figure”, believing that the figure meridians should run uninterruptedly, like the sun and moon, in accordance with the laws of nature. The change in the direction of the flow of the meridians led to the confusion of the “branch” and “straight” routes of the foot-sun meridian of the 『Líng Shū·Jīng Mài(靈樞·經脈)』. There are only a few branches in the Mawangdui medical text, but there are 23 meridians in the 『Líng Shū·Jīng Mài(靈樞·經脈)』, which shows the rapid development of meridian branches. The function of this branch of the foot sun “into the anus” of the Laoguanshan lacquer figure is shown as the relationship between the circulation distribution of the meridians and the disease symptoms. By the time the 『Líng Shū·Jīng Mài(靈樞·經脈)』 became available with the proliferation of branches, the clinical significance was less evident, and it is presumed that the branches existed at this time more to supplement the significance of the twelve meridian theory. The question of the origin of the meridians and acupuncture points has been the focus of academic debate, and the excavation of the Laoguanshan lacquer figure has provided new evidence to resolve this academic question. The “Twelve meridians” represented by the white lines of the Laoguanshan lacquer figure are important for studying the development of the “Eleven meridians” in Mawangdui to the “Twelve meridians” of the 『Líng Shū·Jīng Mài(靈樞·經脈)』. This transitional stage in the development of early meridian theory is of great significance, and the Laoguanshan lacquer figure can fill the theoretical gap in this stage.

‘쓰레기-치유’를 위한 문학 윤리

우찬제 문학과환경학회 2020 문학과 환경 Vol.19 No.2

In solving the problem of the garbage the ethics of the people is as important as the political endeavors or technological innovations. If we can produce less garbage, rather than struggling how to dispose of or recycle the produced garbage, the economic and ecological benefits would be enormous. Among the many ways to approach the issue of the ethics of the people, the literary approach is culturally meaningful and has proved powerful in promoting ethical consciousness. In this paper, I’d like to discuss ethical ideas that some works of the Korean writers present to solve the problem of garbage in three aspects. First, Korean writers articulate the ethics of “life without waste” and the importance of controlling excessive desires. They criticize the surplus production and consumption of the capitalist society, which causes enormous amount of unnecessary garbage. They think we can reduce the garbage by controlling our desire, the very source of this “surplus” culture, which is in line with the ethics of traditional Buddhism. Secondly, they propose a new perspective that garbage is not an object to be disposed but an object to be cured. This approach gives us a new insight by allowing us to see garbage from the point view of garbage. Thirdly, they present a new ecological attitude toward garbage based on the Korea’s traditional idea of the unity of heaven�earth-humankind. If people practice this idea of symbiotic and circulatory life, garbage would be reduced dramatically. The ethics of “garbage healing” is a viable ethic for our “old future.” 쓰레기 문제를 해결하기 위한 정책적 노력이나 과학기술적 해법 못지않게 시민 윤리가 중요하다. 발생된 쓰레기를 재활용하거나 처리하는 문제 이전에 쓰레기를 덜 배출하게 된다면, 경제적 생태적 측면에서 이득이 크기 때문이다. 쓰레기를 감량하기 위한 시민 윤리는 여러 측면에서 접근할 수 있지만, 그 중 문학 상상력을 통한 접근 방안은 문화적으로 의미심장하다. 문학 작품이 시민의 덕성을 함양하는데 유의미하다는 것은 이미오래 전부터 논의되었다. 본고에서는 한국문학 작품에 나타난 상상력이 쓰레기 문제 해결에 어떤 윤리적 메시지를 주고 있는가를 세 가지 측면에서 논의했다. 첫째, 한국문학은 욕망의 조절과 ‘낭비 없는 삶’의 윤리에 대한 관심을 표명한다. 자본주의 전개 이후잉여 생산, 잉여 소비, 잉여 소유로 인해 쓰레기가 과잉 생산되는 경향에 있으므로, 잉여의 원동력인 욕망을 조절해 낭비를 줄이면 쓰레기를 줄일 수 있다는 생각이다. 이는 전통적 불교 생태학의 윤리와도 통한다. 둘째, 한국문학은 쓰레기가 폐기의 대상이 아니라치유의 대상이라는 윤리를 제안한다. 인간의 관점에서 쓰레기를 사유하지 않고, 쓰레기의 관점에서 상상하여 치유되고 재활용될 수 있다는 상상력을 펼친다. 이는 쓰레기 재활용 정책 홍보에도 활용될 수 있으며, 공유 가치 창출에도 기여할 수 있는 문학 윤리이다. 셋째, 심층적으로는 한국의 전통적 사유인 천-지-인 합일 사상에 입각한 쓰레기 다시 바라보기의 윤리이다. 생태적으로 순환하고 공생하는 환경에서라면 쓰레기가 발생하지 않거나 현저하게 줄어들 수 있다. ‘쓰레기-치유’의 문학 윤리는 ‘오래된 미래’의 윤리이기도 하다.

Unity of Sentiment and Scene

Lee, Sang-hae 국민대학교 동양문화디자인연구소 2011 Journal of Oriental Culture&Design Vol.3 No.1

Through the cases of 1) outdoor pavilions, study halls and Confucian Academies and 2) Changdeokgung Palace and Rear Garden in Korea, this study maintains that from early on Koreans developed a philosophy of architecture as one with nature, and ultimately one with human beings. Under the Confucian system of thought, architecture formed in this way represents the unity of “sentiment” and “scene.” The unity of sentiment and scene represents movement beyond the state of projecting the individual world view on the object to reach the state of expressing the world view sought by the individual in the projected object. This association of architecture with human virtue leads to the state of unity of heaven and humankind, where the subject and object are one. This is the highest state, which enables architecture and nature to achieve harmony and coexist.