干宝易学的两大理论支柱:卦气说与八宫说

임림 성균관대학교 유교문화연구소 2011 儒敎文化硏究(中文版) Vol.0 No.16

This paper is mainly to discuss a famous Eastern Jin Dynasty scholar Gan Bao who used the Gua-qi theory and Eight-palace theory to establish a translation system of Zhou Yi. The view of this paper is that, after the period of Han Dynasty emperor Xuan, Gua-qi theory was became the main doctrine of image-number Yi-ology. Gua qi theory also became the first important pillar of Gan Bao’s Yi-ology. Gan Bao succeeded and developed Gua qi theory. His most important contribution was to highlight the intension of the twelve Yao of Qian and Kun. Gan Bao unscrambled the connotation of the twelve Yao of Qian and Kun, through the twelve Xiao-Xi-Gua of Fu, Ling, Tai, Da Zhuang, Guai, Qian, Gou, Dun, Pi, Guan, Bo and Kun. Another basis of his doctrine was Eight-palace theory. This theory in the Eastern Jin dynasty became the important theoretical underpinnings of Gan Bao’s thoughts. On this field, Gan Bao’s innovation was to create the Shi-yue theory. Shi-yue theory is according to the Shi-Yao’s properties of Yin or Yang, and then to establish 64 hexagrams which among Eight-palace to match a month. This is a further development of Eight-palace theory. Through two support parts of GAN Bao’thoughts on Yi-ology, GAN Bao made a further extended and deepened to the learning of Gua-qi and Eight-palace theories as well as creatively to noted his exegesis about Zhou Yi. Therefore, GAN Bao let his theory of Yi-ology to be unique in his style. 本文着力探讨了东晋象数易学之巨擘的干宝以卦气说和八宫说为基础确立起的易学解读体系。本文认为,汉宣帝之后,汉代易学的主流学说乃是以卦气说为核心的象数学说,卦气说的语境成为其后象数易学的大语境,这一学说也成为了干宝易学的第一大理论支柱。干宝创造性地继承并发展了孟喜卦气说,他的发展在于凸显乾坤十二爻的内涵,透过乾坤十二爻,干宝以复、临、泰、大壮、夬、乾、姤、遁、否、观、剥、坤这十二消息卦来创造性地解读了乾坤十二爻的内涵,使卦气消息的底蕴得以更加丰富。干宝易学第二大理论支柱是京房八宫说。八宫说是笼罩于卦气说氛围下,以六十四卦分属于八宫中的揭示卦与卦之间本原与派生关系的系统卦变学说和包罗万象的筮占之学。这一学说亦是干宝易学的重要理论资源。干宝在八宫说领域的新建树凸显于其明确推出的世月说。干氏世月说是依据世爻的阴阳属性确立了分属于八宫当中的六十四卦所值的各月,这也是干宝在对两大支柱理论的融会贯通下对京房八宫说的进一步发展。干宝通过以上两大理论支柱的架构,对卦气、八宫理论做出进一步的延伸与深化,且创造性地与《周易》诸象数易学体例进行整合熔铸,挺显了独具一格的“干氏易学”。

「악기(樂記)」 인성론의 맹(孟),순(荀) 종합적(綜合的) 특성(特性)

박동인 ( Dong In Park ) 퇴계학연구원 2007 退溪學報 Vol.122 No.-

주역참동계 의 ‘월체납갑설(月體納甲說) 연구

김광현 한서대학교 동양고전연구소 2024 동방학 Vol.0 No.51

역학의 관점에서 참동계 를 주목하는 연구자는 월체납갑설을 참동계 역학의 특징이라고 본다. 참동계 는 자신의 역을 ‘대역’이라고 천명하고 있기도 하고, 한대 금문역학의 납갑법을 수용하면서도 이를 변형해 월체납갑법을 제시하고 있다. 참동계 가 금문역학자들과 다른 월체납갑법을 제시한 것은 연단의 과정에서 화후[불떼기]의 과정을 천체의 운행과 일치하려 하기 때문이다. 월체납갑법 한 달 동안 변화하는 달의 모양을 괘상에 배당하고, 이를 화후의 과정에 기준점으로 삼았다. 이를 위해 참동계 는 “坎離爲易說”과 “日月爲易說”을 제시하면서 건곤으로 천지의 공간적 구조를 상정하고, 이 공간에 운행되는 해와 달의 운행을 음양, 즉 감리괘로 상정한다. 이 공간에서 일어나는 해와 달은 운행을 표현하기 위해 乾坤坎離괘를 사정괘로 삼았으며, 이를 한 달에서 운행에 적용하였기에 월체납갑설이 제시된 것이다. 이는 금문역학이 坎離震兌를 사정괘로 삼는 것과는 전혀 다른 것이다. 이러한 점에서 참동계 는 금문역학의 납갑법을 계승하되 자신만의 월체납갑법으로 전환한 것이다. 천지라는 공간에 해와 달이라는 음양 두 기의 운행을 포착하기 위해 제시한 용어가 바로 ‘대역’이다. Researchers focusing on the I Ching (Yijing) perspective of the “Cantongqi” identify the theory of Yue Ti Na Jiathe (月體納甲說) as a distinctive feature of its system. The “Cantongqi” declares its divination method as 'The theory of Great Change' (大易) and presents a unique the theory of Yue Ti Na Jiathe (月體納甲說) while incorporating and modifying the traditional Han dynasty clerical script (隸書, 今文) I Ching's Na Jia Theory(納甲說). The reason the “Cantongqi” proposes a different theory of Yue Ti Na Jia(月體納甲說) compared to the clerical script (隸書, 今文) I Ching practitioners is to align the process of fueling the fire (火候) in alchemy with the celestial movements. The theory of Yue Ti Na Jia(月體納甲說) corresponds the changing phases of the moon over a month to the hexagrams, using these as reference points in the fire timing process. To achieve this, the “Cantongqi” introduces the theories of “Kan and Li as the I Ching” (坎離爲易說) and “Sun and Moon as the I Ching” (日月爲易說), positing the spatial structure of heaven and earth as represented by Qian (乾) and Kun (坤), and the movements of the sun and moon as Yin and Yang represented by Kan (坎) and Li (離) hexagrams. In this spatial structure, the sun and moon's movements are expressed using Qian, Kun, Kan, and Li as the primary four hexagrams and applied within a month's cycle, thereby presenting the theory of Yue Ti Na Jia(月體納甲說) . This approach is fundamentally different from the clerical script (隸書, 今文) I Ching which uses the advance and retreat of Kan and Li as four primary hexagrams. In this respect, the “Cantongqi” inherits the clerical script (隸書, 今文) I Ching's assignment method but transforms it into its own theory of Yue Ti Na Jia(月體納甲說). The term 'the theory of Great Changes' (大易) is used to capture the movements of the two Yin and Yang energies, the sun and moon, within the space of heaven and earth.

심약의 문학사상

양승덕 전북대학교 인문학연구소 2019 건지인문학 Vol.0 No.26

In the theory of literary origin, Shen-yue argued that poetry originated from “Zhi”(志) and began with a native person and had a lyrical function. In the theory of literary development, the cardio thoracic concocted the theory of “Qiu Xin Si bian”(求新思 变) while at the same time grasping the context of poetry development. In literary creationism, Shen-Yue raised “San Yi Shuo”(三易說) in addition to the theory of easy, which was the guiding principle of the poetry creation at the time, where the poets of Qi-Liang(齊梁) Dynasty, combined the frequently heard words, easy-to-understand letters with the plain biography, and created a poem with a strong, natural, clean, and elegant appearance while paying attention to easy.

혜강 『성무애락론』에서 감정의 음악미학적 함의

정용환(Yong Hwan Chung) 철학연구회 2014 哲學硏究 Vol.0 No.107

In this essay, I clarify the aesthetical implication of Ji Kang’sarousal theory of emotion by analyzing the relation between sound andemotion in his book of Sheng wu ai le lun 聲無哀樂論. First, I arguethat his theory does not negate all of relations between sound andemotion although it criticizes Confucian theory that sound has emotionof sadness and pleasure. His concept of sound does not include lyricsand dances but does musical notes and voices. He suggests that yue 樂including lyrics and dances has emotion of sadness and pleasure. Inthis context, the conceptual distinction between sound and music showsus the reason why sound cannot have emotion of sadness and pleasurebut music can. Second, he thinks that sound is objective property andemotion is subjective property. If we say that sound has emotion, itcommits the fallacy of disagreement between name (ming 名) andreality (shi 實). Confucian theory that sound has sadness and pleasurecommits the fallacy. Finally, he suggests that sound can arouseemotion although it is objective reality. Sound having pitch, timbre andtone makes listener to have mood of cheerfulness, gloom and so on. He considers the sound that arouses stable mood as good but thesound that arouses uneasy mood as bad. Yue 樂 can arouse emotion,sentiment, and preference by its lyrics and dances. He thinks that Yuecontributes to cultural and political prosperity of nation by developingethically good emotion.

先秦 儒家 人性 談論의 軌跡

姜信碩(Kang Shin-seuk) 중국어문학연구회 2011 중국어문학논집 Vol.0 No.70

The 〈XingQingLun(性情論)〉 as a form of wooden script is closely related to the Confucius"s school Disciples. This work is a description on the human nature written by a original Confucian(儒家). The concept of ‘Xing(性)’ in this works(〈XingQingLun(性情論)〉) reveals in human nature. It is not really same to ‘Xin(心)’, doesn"t totally decide that also. On the other hand ‘Qing(情)’ is all caused by ‘Xin(心)’. and It is a ‘Xinzhi(心志)’ for human to get through studying by actual life. This article"s author recognized that learning such as ‘ShiShuLiYue(詩書禮樂)’ is an essential to become a saint. Through this study, the 〈XingQingLun(性情論)〉 in Shanghai museum Bamboo Manuscripts(上博楚書) may be assumed that offers a bridge concept on human nature between Confucius(孔子), Mencius(孟子) and 告子, 荀子 Qin(秦) dynasty.

『周易參同契』의 納甲法과 그 해석에 관한 연구

정길영(Chung, Gil-Young) 한국도교문화학회 2022 道敎文化硏究 Vol.57 No.-

본 논문은 『周易參同契』에서 煉丹과정에 納甲法을 도입해 ⽕候를 설명하게 된 배경과 이유를 밝히고, 『參同契』의 納甲法이 易學史에서 발전해 나가는 과정을 살펴보았다. 商代 이후 발전해오던 曆法이 漢代에 이르러 太初曆으로 체계를 이루면서 孟喜에 의해 卦氣易學이 기틀을 이루고, 京房에게 전해지면서 64卦에 天⼲과 地⽀를 배당하는 納甲法이 탄생되었다. 東漢 말기의 魏伯陽은 『參同契』에 納甲法을 도입하여 달의 차고 이지러짐에 따라 煉丹에서 ⽕候의 시기를 설명하였다. 魏伯陽은 한 달간 달의 位相 변화에 따라 달빛이 나타나거나 사라지는 天⼲의 ⽅位에 의한 ⽉體納甲說을 통해 京房의 納甲法에 대한 타당성을 밝히고, 煉丹術의 ⽕候를 時⾠으로 표현하기 위해 京房에 의해 배당된 地⽀를 사용하였다. 虞翻 등이 이러한 『參同契』의 納甲法을 주석하였고, 朱熹는 『參同契』의 ⽉體納甲說이 邵康節의 先天圖와 부합한다고 보았다. 그리고 다수의 易學者들이 納甲圖를 남겼다. 胡⼀桂가 달의 位相 변화를 기준으로 작성한 納甲圖는 離卦와 坎卦를 中宮이 아닌 陽의 작용을 하는 東⽅과 陰의 작용을 하는 西⽅의 중앙에 각각 배치함으로써 ⼋卦의 배치가 先天⼋卦⽅位圖와 일치하고 있다. 반면에 惠棟과 朱伯崑의 納甲圖는 해와 달에 해당하는 離卦와 坎卦를 中宮에 두고 天⼲의 ⽅位를 기준으로 나머지 여섯 卦를 배치하였기 때문에 先天⼋卦⽅位圖와 다른 배치를 보인다. 그리고 彭曉와 兪琰은 『參同契』의 내용을 요약한 그림을 남긴 바 있는데, 나중에 작성된 兪琰의 그림이 煉丹에서 ⽕候의 시기를 설명하고자 했던 『參同契』의 내용과 太陰太陽曆의 체계를 잘 표현하고 있다. This paper explained the background and reason for introducing the method of Na Ji(納甲) in Alchemy to Zhouyi Cantongqi(周易參同契), and examined the process of developing that in the history of Yiology. After the Shang Dynasty, the calendar developed and the Tai Chu Li(太初曆) was established as it reached the Han Dynasty. Then the Qua Qi Yi Xue(卦氣易學) was established by Mengxi(孟喜), and that was passed down to Jing Fang(京房), the method of Na Jia(納甲) was created to allocate the Heavenly Stems(天⼲) and the Earthly Branches(地⽀) for Sixty-Four Hexagrams(六⼗四卦). At the end of the Xi Han(西漢) Dynasty, Wei Bo Yang(魏伯陽) introduced the method of Na Jia(納甲) to Cantongqi(參同契) for explaining the time for the adjusting the fire in Alchemy as a change in the shape of the moon. Wei Bo Yang(魏伯陽) was revealed the validity of the Jing Fang(京房)’s Na Jia(納甲) through the direction of Heavenly Stems(天⼲) that the moon light appear or disappear due to the change in the lunar aspects, this is called the Theory of Yue Ti Na Jia(⽉體納甲說). And then Earthly Branches(地⽀) allocated by Jing Fang(京房) was used to represent in time for the adjusting the fire in Alchemy. Later on, Yu Fan(虞翻) and others annotated on method of Na Ji(納甲) in Cantongqi(參同契), and Zhu Xi(朱熹) thought that the Theory of Yue Ti Na Jia(⽉體納甲說) in Cantongqi(參同契) was consistent with the Xian Tian Tu(先天圖) by Shaokangjie(邵康節). And a number of Yiology researcher left a diagram of Na Ji(納甲). A diagram of Na Ji(納甲) by Hu Yi Gui(胡⼀桂) is consistent with a diagram of Xiantian Bagua Fangwei(先天⼋卦⽅位圖) because he drew a diagram based on the change in the lunar aspects and placed the Li(離) and Kan(坎) in the center of the east and west, respectively, not in the center palace. On the other hand, a diagram of Na Ji(納甲) by Hui Dong(惠棟) and Zhu Bo Kun(朱伯崑) are different from a diagram of Xiantian Bagua Fangwei(先天⼋卦⽅位圖), because he placed the Li(離) and Kan(坎) in the center and placed the remained six Gua(卦) based on the direction of Heavenly Stems(天⼲). In addition, Peng Xiao(彭曉) and Yan Yu(兪琰) left a diagram summarizing the contents in Cantongqi(參同契), a diagram created at a later by Peng Xiao(彭曉) expressed well the contents in Cantongqi(參同契), which was intended to explain the time of the adjusting the fire in Alchemy, and the system of luni-solar calendar is well represented.

上博楚簡 <性情論>에 대한 釋文考釋 ― 第16簡부터 第22簡까지, 楚簡本(濮茅左, 裘錫圭)의 견해를 중심으로

강신석 중국어문연구회 2009 中國語文論叢 Vol.0 No.40

The <XingQingLun(性情論)> as a form of wooden script is closely related to the Confucius's school Disciples. This work is a description on the human nature written by a original Confucian(儒家). The concept of ‘Xing(性)’ in this works(<XingQingLun(性情論)>) reveals in human nature. It is not really same to ‘Xin(心)’, doesn't totally decide that also. On the other hand ‘Qing(情)’ is all caused by ‘Xin(心)’. and It is a ‘Xinzhi(心志)’ for human to get through studying by actual life. This article's author recognized that learning such as ‘Shi Shu Li Yue(詩書禮樂)’ is an essential to become a saint. Through this study, the <XingQingLun(性情論)> in ≪Shanghai museum Bamboo Manuscripts(上博楚簡)≫ may be assumed that offers a bridge concept on human nature between Confucius(孔子), Mencius(孟子) and Qin(秦) dynasty.

上博楚簡 <性情論>에 대한 考釋 ― 第1簡부터 第8簡까지, 楚簡本(복茅左, 구錫圭)의 註釋을 중심으로

姜信碩 중국어문연구회 2007 中國語文論叢 Vol.0 No.34

The Xingqinglun(性情論) as a form of wooden script is closely related to disciples of Confucius's school. This work is a description of human nature written by an original Confucian(儒家). The concept of 'Xing(性)' in this work(Xingqinglun(性情論)) reveals human nature. 'Xing(性)' is not same as 'Xin(心)', does not totally define it either. On the other hand, 'Qing(情)' is all caused by 'Xin(心)'. 'Xinzhi(心志)' can be obtained by humans through studying it in actual life. The author of this article recognizes that learning such as ShiㆍShuㆍLiㆍYue(詩ㆍ書ㆍ禮ㆍ樂) is essential to becoming a saint. Through this study, the Xingqinglun(性情論) in Shanghai Museum Bamboo Manuscripts(上博楚簡) may be assumed to offer a bridge concept on human nature between Confucius(孔子), Mencius(孟子) and the Qin(秦) dynasty.

先秦 楚나라 竹書本에 나타난 人性論 ― <性情論> 23 - 28간에 대한 考釋

강신석 중국어문연구회 2011 中國語文論叢 Vol.0 No.51

The <XingQingLun(性情論)> as a form of wooden script is closely related to the Confucius's school Disciples. This work is a description on the human nature written by a original Confucian(儒家). The concept of 'Xing(性)' in this works(<XingQingLun(性情論)>) reveals in human nature. It is not really same to 'Xin(心)', doesn't totally decide that also. On the other hand 'Qing(情)' is all caused by 'Xin(心)'. and It is a 'Xinzhi(心志)' for human to get through studying by actual life. This article's author recognized that learning such as 'ShiShuLiYue(詩書禮樂)' is an essential to become a saint. Through this study, the <XingQingLun(性情論)> in ≪Shanghai museum Bamboo Manuscripts(上博楚書)≫ may be assumed that offers a bridge concept on human nature between Confucius(孔子), Mencius(孟子), 告子, 荀子 and Qin(秦) dynasty.