• (The)Study of the Eastern Classic
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• no.43
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• pp.233-258
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• 2011

This paper is about Zhuzi(朱子) writings entitled Yixueqimeng("易學啓蒙"). There are only four research articles on Yixueqimeng("易學啓蒙"), although it had taken important role in the process of formation of Zhuzi(朱子) study of changes, comparing with 30 different kinds of research on his works after this Yixueqimeng("易學啓蒙"). In line with this, the author intends to make this paper as a full-scale research article on Zhuzi(朱子) work - Yixueqimeng("易學啓蒙"). Zhuzi(朱子) exposes the meaning of the Xiangshuyixue(象數易學), to wit, the emblem and numerology of Emblem and Numerology in interpreting Zhouyi("周易") again by accepting Hetu("河圖") and Luoshu("洛書"). When discussing the Zhouyi("周易"), Yiliyixue(義理易學) had drawn supports from Wangbi(王弼) Deyiwangxianglun(得意忘象論). Likewise, Zhuzi(朱子) tried to ruminate upon the meaning of the Hetu("河圖") and Luoshu("洛書") through the Yixueqimeng("易學啓蒙"). As he interprets all things through Hetu("河圖") and Luoshu("洛書"), these two systems of emblem have become essential. Even in Shifa(筮法), he elicited Dayanzhishu(大衍之數) from Hetu("河圖") and Luoshu("洛書") so that he related the divination rule to Hetu("河圖") and Luoshu("洛書"). By doing so, Zhuzi(朱子) concatenates Dayanzhishu(大衍之數) to Hetu("河圖") and Luoshu("洛書") too. Furthermore, by interpreting Yongjiu(用九) and Yongliu(用六), which belong to Qiangua(乾卦) and Kungua(坤卦) as prognostication that will be referred to when all six-line symbols are changed, he had made a great contribution to the history of Zhouyi("周易") study. Zhuzi(朱子) is responsible for a sizable part of the history of Zhouyi("周易") study as much as Wangbi(王弼) and Chengyi(程?). Of course, there are some parts where efforts were made in vain, however, the method to interpret the Zhouyi("周易") have developed day by day owing to the efforts of Zhuzi(朱子).

• Journal for History of Mathematics
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• v.23 no.2
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• pp.75-87
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• 2010

This Chinese classic on divination can be a textbook for the interpretation of the living cosmos. In ancient the Chinese used to interpret correspondence between human and the cosmos with HADO-NAGSEO and the Eight Trigrams for divination. We will study a mathematical principle of Ancient China in the Chinese classic on divination.

• Journal of Korean Medical classics
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• v.8
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• pp.30-45
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• 1995

• Journal of Haehwa Medicine
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• v.3 no.2
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• pp.103-124
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• 1995

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.119-129
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• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• 중국학논총
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• no.55
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• pp.51-66
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• 2017

颐斋在『颐斋乱藁』中记录了自己对周易进行学习的内容.他从1760年(庚辰)32岁开始正式在白羊寺的众多庵堂里进行研读, 历经３年, 于1763年(癸未)7月23日离开白羊寺.之后, 他与金时粲, 徐命膺, 沈定镇, 韩晚裕, 李得显等人一起对周易进行了讨论, 并将自己的见解记录下来.他留下的注释书有 『皇极经世书解』 『朱子明筮赞解』, 『阳九阴六用数图』, 『经世天地始终之数图』, 『经世四象体用之数图』, 『易学啓蒙解』 等. 还有 『读易学啓蒙』, 『论易吟』, 『大易吟』 等３首与周易相关的诗.本论文则通过这３首诗对颐斋的周易特色进行阐明, 其特色大致可以概括为受容, 继承并发展了朱熹的主张.但他对周易的理解, 就像他所说的'通过象和数可以进行更好地理解'那样, 与义理相比, 他更关心象数, 实际上关于象数的注释和讨论也更多.因此, 虽说周易从象数易和义理学方面发展为图书易和儒家易, 并由朱熹完成了象数易和义理易的大统一, 但颐斋可以说则是一位以义理易和儒家易为基础, 十分看重象数易的易学者.

• The Journal of Korean Philosophical History
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• no.25
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• pp.197-222
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• 2009

In this treatise, the researcher closely examined the I-Xue(易學) compiled and edited by YulGok(栗谷) with a focus on the concept, namely Communication(疏通). I-Xue(易學) compiled by YulGok(栗谷) adopted the discourses of I-Xue(易學) or changes in the Song Dynasty of ancient China, and engrafted his own logics, dubbed Liqizhimiao(理氣之妙), thereunto. In YulGok(栗谷)'s I-Xue(易學), Liqizhimiao(理氣之妙) expresses a state of exchanging information and Communication(疏通), and, at this time, Communication(疏通) encompasses not only the meaning of communication between two heterogeneous factors but also the broader meaning of Communication(疏通) that embrace the Communication(疏通) between heaven and human beings. In his theories in relation to Tiyongyiyuan(體用一源) and Heluoxiangshulun(河洛象數論), YulGok(栗谷) also applied the logic of Communication(疏通). Although YulGok(栗谷) admits the general theory that substance and function have the same source, which understands principle and phenomenon as two forms of existence, he tried to place emphasis more on the aspect of Communication(疏通) by interpreting Li(理) and Xiang(象) in terms of the issues concerned with Li(理) and Jian(踐). In his theory concerned with Magic Squares and Circles, Images and Numbers, such a standpoint is being applied likewise. By emphasizing the fact that Hetu("河圖") may turn out to be Luoshu("洛書"), and vice versa, YulGok(栗谷) stressed that there are communicative relations that are required in order to communicate ideas to one another. In YulGok(栗谷)'s I-Xue(易學), the logic of Communication(疏通) is culminated with the discourse of Tianrenjiaoyu(天人交與). YulGok(栗谷), in his book Ishuce(易數策), uses such expression as Tianrenjiaoyuzhimiao(天人交與之?), and, at this time, he used this expression bearing Liqizhimiao(理氣之妙) in mind. The reason for using the expression, such as Jiaoyu(交與), in lieu of Heyi(合一) is that YulGok(栗谷) tried to emphasize such relations as that heaven and humans are required for interrelated relationship. Tianrenjiaoyu(天人交與) is an expression to indicate the close relationship between heaven and human beings, meanwhile, however, YulGok(栗谷) puts more emphasis on human efforts than those that of heaven. The reason for introducing human as the subjective figure in the Tianrenjiaoyu(天人交與) is that YulGok(栗谷) tried to stress practical efforts of humans.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.