조선후기~대한제국기 양안 연구의 현황과 전망

김인걸 서울대학교 규장각한국학연구원 2010 한국문화 Vol.51 No.-

Analyzing and interpreting Yang’an registers, scholars have fiercely argued with each other over their own differences of perspectives, as we can see from the debate that continued between scholars supporting the theory of ‘Internal development’ and scholars behind the theory of ‘Small-scale peasants as the Majority,’ or the debate that occurred over determining the nature of the Gwangmu-era Yang’an register. Such debates were caused because of the scholars’ difference in opinions viewing the nature of a particular period's history, but also because of all the different levels of understanding here and there regarding the general nature of the Yang'an registers themselves. The Kyujanggak Institute of Korean Studies has been engaged in a task of recategorizing Yang’an registers and assorting them with the registers’ internal structure, in order to revitalize discussions over the general nature of the Yang'an registers. In this article, current status of the ongoing efforts, the perspectives of previous studies, and future prospects in this area of study, are all examined. Previous analyses of the Yang’an registers mainly concentrated upon examining the Gyeongja-year register, the Gwangmu-era registers and the Yang’an registers created in ordinary local Eub units. Yet, Yang’an registers created by the land owners or taxpayers show us a much wider variety of formats and contents in terms of land ownership, land management and the utility of the Yang’an registers. In this article, the characteristics of such Yang’an registers are examined, and future options of utilizing them are also speculated upon. Analyzing and interpreting Yang’an registers, scholars have fiercely argued with each other over their own differences of perspectives, as we can see from the debate that continued between scholars supporting the theory of ‘Internal development’ and scholars behind the theory of ‘Small-scale peasants as the Majority,’ or the debate that occurred over determining the nature of the Gwangmu-era Yang’an register. Such debates were caused because of the scholars’ difference in opinions viewing the nature of a particular period's history, but also because of all the different levels of understanding here and there regarding the general nature of the Yang'an registers themselves. The Kyujanggak Institute of Korean Studies has been engaged in a task of recategorizing Yang’an registers and assorting them with the registers’ internal structure, in order to revitalize discussions over the general nature of the Yang'an registers. In this article, current status of the ongoing efforts, the perspectives of previous studies, and future prospects in this area of study, are all examined. Previous analyses of the Yang’an registers mainly concentrated upon examining the Gyeongja-year register, the Gwangmu-era registers and the Yang’an registers created in ordinary local Eub units. Yet, Yang’an registers created by the land owners or taxpayers show us a much wider variety of formats and contents in terms of land ownership, land management and the utility of the Yang’an registers. In this article, the characteristics of such Yang’an registers are examined, and future options of utilizing them are also speculated upon.

从乡人禓到阳(陽)戏-兼说祭祀戏剧与观赏性戏剧的关系问题

康保成 한양대학교 동아시아문화연구소 2012 동아시아 문화연구 Vol.51 No.-

Yang Xi is one kind of Nuo Xi. Xiangren Nuo, which was recorded in the Fellow Villager of Analects of Confucius, was recorded as Xiangren Yang in the Jiaote Sheng of Book of Rites(≪礼记․郊特牲≫). When the character “禓”(Yang) of Xiangren Yang pronounces yáng, it is, no matter in grapheme or pronunciation, similar to the other character “阳(陽)” (Yang) of Yang Xi. Thus, the character “阳(陽)”(Yang) of Yang Xi originated from the “禓”(Yang) of Xiangren Yang. The Yang Xi in Southwest China has three kinds of performing forms, and they are Puppet Xi(傀儡戏), Entertaining‐gods Xi (酬神戏) which are played by sorcerer or witch, and Entertaining‐human Xi (以娱乐功能为主的小戏). It is obvious that Yang Xi is a typical case that analyzes the relationship between primitive belief and Xiju and, the one between Sacrifice Xiju and Aesthetic Xiju. Seeing from this case, it is positive that Aesthetic Xiju has evolved from Sacrifice Ritual. “阳戏”是傩戏的一种。《论语․乡党》篇中的“乡人傩”,在《礼记․郊特牲》中记为“乡人禓”。而当“乡人禓”之“禓”读[yáng]的时候,无论字形、读音,都与“阳戏”之“陽”(陽)相近。故“阳戏”之“陽”(陽)即来自“乡人禓”之“禓”。中国西南地区的阳戏有三种表演形态,即傀儡戏、巫优扮演的酬神戏和以娱乐功能为主的小戏。可见阳戏是剖析原始宗教与戏剧关系、祭祀戏剧与观赏性戏剧关系的一个典型个案。从这一案例看,祭神仪式演进成为观赏性戏剧是完全可能的。

양근환의 생애와 독립운동

윤소영 한국민족운동사학회 2019 한국민족운동사연구 Vol.0 No.101

황해도 연백 노비 출신의 양근환(1894~1950)은 1916년 일본대학 전문부 정치과에 입학했으며, 1921년 2월 16일 일본 도쿄에서 조선인 참정권운동을 벌이고 있던 민원식을 도쿄스테이션 호텔 314호실에서 처단했다. 민원식은 호텔에서 즉사했으며 양근환은 살인죄로 무기형을 선고받고 두 차례 감형을 받은 끝에 1933년 2월에 출감했다. 양근환에 대한 연구는 2011년에 장신에 의한 시론적 학술연구가 있는 정도인데, 장신은 이 논문에서 양근환의거는 우발적인 것이었다고 결론지었다. 이글은 선행연구를 비판적으로 검토하면서 1920년 전후 도쿄 유학생 독립운동의 자장 안에서 양근환 의거를 재조명하고 양근환의 생애를 살펴보고자 한다. 양근환 의거는 3.1운동 후 본격적으로 등장한 자치운동(참정권운동)에 대해 절대독립노선을 견지하고 있던 도쿄의 조선인 유학생 사회의 의지를 대변하여 일어났다. 양근환은 주변 유학생들의 도움을 받았지만, 민원식 처단은 양근환이 단독으로 계획적으로 거행한 것이다. 재판정에서 양근환과 양근환 측 변호사가 내세운 ‘우발적’이었다는 주장은 형량을 줄여 사형을 면하기 위한 전술적인 선택으로 봐야 할 것이다. 실제로 양근환은 법정에서 민원식에게 벼루를 던졌다고 증언했지만, 거사 후 처음으로 민원식의 호텔 방에 들어온 호텔 측 종업원은 벼루는 그대로 탁자 위에 있었다고 진술한 점, 민원식에게 양근환이 자신의 이름을 속인 점, 민원식을 면담하기 전에 단도를 준비하는 등 사전계획이 있었고, 친구인 이은종과 신현성에게 거사의 의지를 전했다는 점, 거사 후 자신의 행동을 ‘見義不爲는 無勇(의를 보고도 실천하지 않음은 용기가 없는 것)’이라 한 점, 형기를 만료하고 출옥한 후에도 자신의 행동에 대해 추호의 후회도 하지 않는다는 진술 등은 양근환 의거가 계획적으로 결행되었음을 방증하는 사실이다. 양근환의 민원식 처단에 대해 당시 도쿄 유학생 사회, 중국과 미국의 독립운동가들은 격찬을 하며 “의거”로 반겼다. 도쿄 유학생들은 변호사 섭외와 비용 부담, 양근환의 재판 참관, 옥바라지, 양근환 가족을 돌보는 등, 헌신적으로 양근환과 그의 가족을 돌보았다. 이것은 그의 거사가 비록 단독 거사이지만 유학생들 모두의 총의를 받아 거행되었음을 의미하는 것으로 해석할 수 있다. 1933년 양근환의 출감 후 1945년까지의 그의 삶은 근황 정도가 알려져 있지만, 친일 행적은 보이지 않는다. 1945년 해방 후 양근환은 ‘혁신탐정사’를 조직하여 친일인물 조사와 적발, 독립국가 건설을 위한 정치운동에 적극 투신하다 1950년 한국전쟁의 와중에 실종, 죽음을 맞이했다. 양근환 의거는 2.8독립운동과 3.1운동의 성과가 자칫 참정권운동으로 왜곡되려는 상황 속에서 이를 저지하고 한국인의 절대독립론 강화에 결정적인 역할을 한 독립운동으로 자리매김해야 할 것이다. Yang Keun-hwan (1894~1950), a slave from Yeonbaek, Hwanghae Province, entered the department of politics at Nihon University on April 1916. Yang Keun-hwan stabbed Min Won-sik, who was campaigning for the Korean suffrage movement in Tokyo, with a knife on February 16, 1921, in Tokyo Station Hotel Room 314. Min Won-sik died instantly in the hotel, and Yang was sentenced to death for murder. Since then, his sentence has been shortened twice and released in February 1933. This article critically examines previous research and attempts to reexamine Yang Geun-hwan's independence movement within the scope of the Tokyo Korean Student Independence Movement around the 1920s and examine Yang's life. Yang Geun-hwan's execution of the pro-Japanese Min Won-sik was represented by the will of the Korean student community in Tokyo, who maintained absolute independence for the self-government movement (the suffrage movement) that emerged after the 3.1 movement. Yang was helped by the surrounding Korean students, but the civil action was carried out by Yang Geun-hwan alone. The claim that Yang Geun-hwan and Yang's attorneys have been “accidental” should be seen as a tactical choice to reduce the sentence and avoid the death penalty. In fact, Yang testified that the court threw a ink stone to Min, but the hotel employee who entered the room after the incident stated that the ink stone was on the table, that he had deceived his name, He had planned in advance, and told his friends Lee Eun-jong and Shin Hyun-sung that he was willing. After killing Min, Yang said, "It is not courageous that human beings see justice and do not practice it." He said he never regretted his behavior even after his sentence expired. This fact proves that Yang Geun-hwan's plan was executed intentionally. Yang killed Min at the time, and the Korean student community in Tokyo and Korean independence activists in China and the United States greeted him as "patriotic deed". Korean students in Tokyo devoted themselves to Yang Geun-hwan and his family, including attorney at law and paying fees, attending Yang's trial, and taking care of his family. This can be interpreted as meaning that his virtues were carried out by gathering the will of all Korean students. His life from 1933 to 1945 after Yang was released from prison is known for his daily life, but his pro-Japanese activities are not seen. After liberation in 1945, Yang Geun-hwan organized an “Innovation Investigator” and actively participated in the investigation and discovery of pro-Japanese figures and the political movement to build an independent nation. He died and disappeared during the Korean War in 1950. Under the situation that the results of the 2.8 Independence Movement and 3.1 Movement would tend to be distorted into pro-Japanese suffrage movement, Yang Geun-hwan should be positioned as an independence movement that played a decisive role in reinforcing Korean independence theory.

양양의 3.1만세 운동사 고찰 - 유림을 중심으로 -

양언석 ( Yang Eeon-seok ) 강원대학교 강원문화연구소 2021 강원문화연구 Vol.44 No.-

양양은 대표적인 유림(儒林) 고을로, 3.1만세운동의 성지(聖地)이다. 만세운동의 성지가 된 것은 오랜 역사와 문화에서 찾아 볼 수 있다. 역사적으로 고찰해 보면, 양양은 삼국시대 화랑들의 중심수련장이었고, 불교의 성지로 一心을 통해 역경을 극복하였던 공동체 의식에서 찾아볼 수 있다. 양양 만세운동은 우리나라 어느 지역보다도 그 규모가 크고 격렬하였고, 3.1만세운동의 정신을 보여준 진수였다. 종교와 신구세력의 이해와 관계 없이 군민이 하나 되어 새로운 역사를 만들었던 만세운동은 민족의 자긍심과 양양인의 정신이다. Yang-yang was a typical Confucian society, known as a sacred place of The March 1 Independence Movement, which can be found in history and culture. In a historical aspect, Yang-yang was a training center of the code of Silla Hwarangdo during the epoch of the three Kingdoms and a sacred place of Buddhism, one of whose philosophy is il-sim(一心), which encourages the sense of community, serving for overcoming hardship in the country. These kinds of cultural spirit affected Korean Independence Movement. The Independence Movement in Yang-yang was big and intense, showing the essence of The March 1 Independence Movement in Yang-yang. Without any clash between religion, old and new generations, that the united residents participated in The March 1 Independence Movement showed national pride and became the cornerstone of Yang-yang’s spirit.

양양 불교설화 속에 보이는 원효와 의상의 역학관계

이한길 한국구비문학회 2006 口碑文學硏究 Vol.0 No.23

The dynamic relationship of Wonhyo and Eusang in Buddhism folktale of Yang-yang countryLee, Han Kil(Kangnung National University)I investigated Buddhist priest, Wonhyo and Eusang who were had lived in Silla Dynasty to study historical persons of Yang-yang country. Wonhyo established the Younghyul temple, and Eusang did the Raksan temple. I thought that these temple has done a great role to develop the culture of Yang-yang. The important point looking for the local culture, I think, maybe is on the study of folktale. Because local folktale has been built up on the lives of local persons. So I investigated the local folktale on Wonhyo and Eusang in relation to Raksan temple. Having red the headline of the folktale of Wonhyo and Eusang. I found out that Wonhyo had become not aware Kwaneum-Bosal(Kwaneum Buddhist saint), on the other hand Eusang had become aware her. But Wonhyo had not become aware Kwaneum, but had met her really. on the hand Eusang had become aware Kwaneum, but had not met her. In spite of this difference, Eusang has been the superior position to Wonhyo. It seems to base on the superior of the Raksan temple than the Younghyul temple.Reading the context of Wonhyo's folktale, It has been the fallen iamges overlapping Wonhyo. He made fun of the woman cutted the rice plants. got angry the woman washed the garments. There were only a bad image of Wonhyo. Paradoxically speaking, the common people liked this fallen Wonhyo‘s faces more than the sublime Eusang’s faces. On base of Yang-yang people'love to Wonhyo, the folktale〈영혈사 영천, the mystic spring in the Younghyul temple〉was made up. This story was that the mystic spring in the Younghyul temple had under-streamed down the Hongryeon hermitage in Raksan temple. Wonhyo‘s sanctity is showed in this folktale. Yang-yang people had hoped Wonhyo locating more the superior position than Eusang. 필자는 양양군의 문화에 관심을 갖고 양양군의 역사적 인물들을 살펴보는 과정에서 우선 삼국시대의 양대 고승인 원효와 의상에 주목했다. 이들이 창건한 낙산사와 영혈사가 양양의 문화를 형성하는데 큰 역할을 했다고 판단했기 때문이었다. 한 지역의 문화를 살피는데 있어 가장 근간을 이루는 것은 그 지역의 설화일 것이다. 그래서 낙산사를 사이에 두고 형성된 원효와 의상의 설화부터 살펴보기로 하였다. 설화의 소표제에서 연상되는 것은 관음보살을 알아보지 못한 원효와 관음보살을 알아 본 의상이라는 대립항이었다. 그러나 실제적으로 관음보살을 만난 것은 원효였지 의상은 아니었다. 그럼에도 불구하고 원효보다는 의상을 우위에 두는 소표제는 아마도 낙산사의 성세와도 관련이 있지는 않을까 추측된다.

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.

근대 이후 한국의 양명학 연구

한정길 ( Han Jeong-gil ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.47

이 글은 근대 이후 한국의 양명학 연구 성과를 검토하고, 새로운 연구 방향과 방법을 모색한 것이다. 근대 이후 한국의 양명학 연구는 다음과 같은 몇 가지 특성을 지닌다. 1) 양명학을 마음 공부의 측면보다는 경세의 측면에서 읽어내고 있다. 2) 양명학을 주관유심주의로 읽어내려는 조류가 형성되지 않았다. 이것은 중국의 양명학 연구 경향과 비교할 때 특징적이다. 3) 근대 이후 각 시대마다 다양한 방면에서 나타나는 사회문제들에 대한 해법을 양명학에서 찾고자 했다. 4) 양명학의 전개를 중국-한국-일본의 동아시아 지평에서 조명하려는 관점이 형성되었다. 한국의 양명학 연구가 취할만한 방향과 방법으로 다음 몇 가지 사항을 제안하고자 한다. 1) 양명학을 동아시아의 지평에서 보다 폭 넓게 연구할 필요가 있다. 동아시아에서 양명학이 전개된 양상을 폭 넓게 살피기 위해서는 양명학의 이론이 변이를 일으키는 내적 과정만이 아니라, 그것의 외적 배경이 되는 한·중·일의 특수한 정치문화와 사회문화 및 심리양태와의 연관 속에서 조명할 필요가 있겠다. 2) 양명학의 공부와 경세 두 측면을 통일적으로 다룰 필요가 있다. 양명학에 관한 기존의 연구들은 內聖과 外王의 두 측면 가운데 한쪽에 치우친 감이 있다. 이러한 한계를 극복하고 양명학에 대한 균형 있는 시각을 갖기 위해서는 양명학을 공부와 경세의 통일이라는 시각에서 읽어낼 필요가 있다. 3) 양명학에 관한 연구주제를 다양화할 필요가 있겠다. 이를 위해서는 현대 사회의 문제점을 냉철히 직시하고, 그에 대한 대응방안을 끊임없이 모색해야 한다. 이러한 분투 과정에서 양명학이 새롭게 되살아날 수 있을 것이다. 연구주제와 관련하여 특기할만한 것은 근래 束景南 선생이 『陽明年譜長編』을 출간함으로써 양명학 연구에 새로운 사유와 공간을 열어주었다는 점이다. 이 저술은 양명 자신과 그 사상에 관한 방대한 자료들을 수집하고 세밀하게 고증하여, 錢德洪의 『양명선생연보』를 전면적이고 체계적으로 수정한 책이다. 앞으로의 양명학 연구는 기본적으로 이 『陽明年譜長編』을 토대로 진행될 것이다. 그 이전에 얼마동안은 이 『長編』 자체와 束景南의 양명학 이해를 탐구대상으로 삼을 필요가 있겠다. This article examines the achievements of Yang-ming Studies in Korea since the modern era and sought new research directions and methods. Since the modern era, Korean Yang-ming studies have several characteristics. 1) They understand Yang-ming studies, in terms of governance, rather than aspects of mind study. 2) There was no tendency to read Yang-ming studies as a subjective spiritualism. This is characteristic when compared with China's Yang-ming studies trend. 3) They wanted to find a solution to various social problems in Yang-ming studies since the modern era. 4) In the Korean Yang-ming studies, the viewpoint of studying the development process of Yang-ming studies in the East Asian horizon of China-Korea-Japan was formed. I would like to suggest some points in the direction and method that Korean Yang-ming Studies can take. 1) It is necessary to study Yang-ming Studies more broadly in East Asian horizons. In order to do this, it is necessary to study Yang-ming Studies not only in the internal process of its theory variation, but also in relation to the particular political culture, social culture, and psychological aspects of Korea, China and Japan that are the external background of it. 2) In both aspects of mind study and governing, it is necessary to study Yang-ming Studies in a unified way. Previous research on Yang-ming Studies was biased toward self-discipline rather than ruling the world. In order to overcome these limitations and have a balanced view of Yang-ming Studies, it is necessary to read it from the perspective of unification of mind study and governing. 3) It is necessary to diversify the study subject of Yang-ming Studies. To this end, we must constantly look at the problems of modern society and look for ways to solve them. What is remarkable about the research topic is that Professor Shu Jing-nan(束景南) has recently opened a new thought and space in Yang-ming Studies by publishing “陽明年譜長編”. This book is a comprehensive and systematic revision of Qian de-hong(錢德洪)'s “陽明先生年譜” by gathering and thoroughly examining the vast amount of data about Yang-ming himself and his thoughts. Future research on the annals of Wang Yang-ming will be based on this “陽明年譜長編”. For some time before that, it is necessary to investigate the understanding of Shu Jing-nan(束景南) on Yang-ming Studies as well as the study of “陽明年譜長編” itself.

향인양(嫦人陽)에서 양희(陽戱)까지 -제의연극과 관상용 연극의 관계 문제에 대하여

강보성 ( Bao Cheng Kang ) 한양대학교 동아시아문화연구소 (구 한양대학교 한국학연구소) 2012 동아시아 문화연구 Vol.51 No.-

양희(陽戱)는 나희(儺戱)의 한 종류다. 향인나(鄕人儺)는 『논어·향당(論語·鄕黨)』편에 수록되어 있고 『예기·교특성(禮記·郊特牲)』에도 "향인양(鄕人陽)"에 관한 기록이 있다. 향인양의 양(陽)자가 yang으로 발음되는 것은 양희에서 양자의 발음과 같다. 그러므로 양희의 양은 향인양의 양(陽)으로부터 비롯되었음을 알 수 있다. 중국 서남 지역의 양희는 세 가지 공연 형식으로 이루어져 있다. 천희(天戱)라고 하는 인형극 및 신에게 감사제로 바치는 연극[酬神戱]과 같이 법사나 무당에 의한 제사 연극과 오락을 위주로 하는 간단한 연극이다. 분명한 것은 양희는 원시 신앙과 희곡과의 관계 및 제사 연극과 관상용 연극과의 관계를 살피는데 전형적인 사례라는 것이다. 이러한 관점에서 볼 때, 양희는 제사 연극으로부터 진화한 관상용 연극이라는 사실을 분명히 알 수 있다. Yang Xi is one kind of Nuo Xi. Xiangren Nuo, which was recorded in the Fellow Villager of Analects of Confucius, was recorded as Xiangren Yang in the Jiaote Sheng of Book of Rites(≪禮記·郊特牲≫). When the character "楊"(Yang) of Xiangren Yang pronounces yang, it is, no matter in grapheme or pronunciation, similar to the other character "陽" (Yang) of Yang Xi. Thus, the character "陽"(Yang) of Yang Xi originated from the "陽"(Yang) of Xiangren Yang. The Yang Xi in Southwest China has three kinds of performing forms, and they are Puppet Xi(傀儡戱), Entertaining-gods Xi (酬神戱) which are played by sorcerer or witch, and Entertaining-human Xi (以悟樂功能爲主的小戱). It is obvious that Yang Xi is a typical case that analyzes the relationship between primitive belief and Xiju and, the one between Sacrifice Xiju and Aesthetic Xiju. Seeing from this case, it is positive that Aesthetic Xiju has evolved from Sacrifice Ritual.

운기론의 육기와 삼음삼양 연구: 오운육기와 기상학적 관점에서

최우진 ( Woo Jin Choi ) 경락경혈학회 2014 Korean Journal of Acupuncture Vol.31 No.3

Objectives : The purpose of this study is to understand the meaning and the yin-yang properties of the six qi and the three yin and three yang as well as to understand the relationship between the six qi and the three yin and three yang. Methods : As the concept of six qi is the six climatic influences after all, I tried to grasp the yin and yang properties of the six qi on the basis of the meteorology and Yun Qi theory. Based on this I studied the concept and properties of the three yin and three yang.Results and Conclusions: (1) Among the six qi, cold and heat refer to temperature, dryness and dampness to humidity, and wind and ministerial fire to atmospheric pressure. Wind is an ascending air current while ministerial fire is a descending air current. Therefore, wind, heat, and dampness are the yang, and ministerial fire, dryness, and cold are the yin. (2) Three yin and three yang represent changes of ying and yang of all things following six qi changes. Simple deviation of qi can be described by yin and yang, but consequent changes in form required further developed concepts of three yin and three yang. In other words, the changes of the form caused by wind, heat, and dampness are namely reverting yin, lesser yin, and greater yin respectively, while the changes of the form caused by ministerial fire, dryness, and cold are expressed as lesser yang, yang brightness, and greater yang respectively.

『管子』의 陰陽五行論

이명재 단국대학교 동양학연구원 2017 東洋學 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.