• Journal of Korean Philosophical Society
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• v.131
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• pp.223-244
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• 2014

In this paper, the author interprets Juyeok (The Book of Changes) as a philosophical book on self-culture instead of a book on divination. Juyeok, originally, was a book on divination written to tell fortunes; however, it has been a rich source producing the discourse of the humanities. This is because it has a unique system of linguistic symbols. Gwae-Hyo (Hexagrams and Horizontal Lines) system of Juyeok has a number of symbolic features, and there is too much room for new philosophical, cultural interpretations. Thus, Juyeok can be applied to any information and events, and it can, accordingly, help solve the problems of life we are facing. Moreover, Juyeok's unique characteristics are revealed very well in active intervention of persons who read and interpret it. Carl Gustav Jung is the very person who argued that one should interpret Juyeok through this active intervention. In the foreword of Juyeok translated by Richard Wilhelm, he mentions a possibility of the interpretation of Juyeok applying 'synchronicity.' According to him, Juyeok is a material not to predict the future or tell the fate ordained, but to look back on oneself or find the solutions of problems oneself. It allows the inquirer to interpret Gwae-Hyo-Sa (Explanations) not simply through the result of fortune-telling but the act of telling one's fortune. He applies 'synchronicity' to the finding of answers to one's problems in the given Gwae-Hyo-Sa. Synchronicity refers to 'the principle of non-causal relationship explaining a phenomenon of meaningful coincidence.' Here, simultaneity, unlike contingency the principle of causality refers to, means 'meaningful coincidence.' He presents a theory that the divination signs derived from Gwae-Hyo-Sang (Images) through synchronicity is a reflection of the psychology of the unconscious the fortune-teller or a man who receives the results of the divination signs has under certain circumstances on the outside. This is because Jung interprets it like this because the way of communication of Juyeok using symbolic language is not direct but indirect. Juyeok's system of symbolic language aims not at delivering objective knowledge, but the reader's self-transformation. This point can be applied in clinical philosophy. People who suffer from agony and pain in their daily lives may find meaningful and helpful advice for themselves no matter what Gwae-Hyo-Sa they choose in Juyeok. This is because it was originally hidden in their inner space and just revealed concretely through Gwae-Hyo-Sang or Gwae-Hyo-Sa in Juyeok. In this sense, we connect the meaning Gwae-Hyo-Sang or Sa contains from Juyeok to their circumstances, read counsel or advice needed ourselves and make it our own to be able to have power to change and help ourselves. And at this very point may be evaluated as an important role of Juyeok.

• Journal of Korean Medical classics
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• v.26 no.2
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• pp.25-45
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• 2013

Objective : Through the comparison of the Eumyang(陰陽) theory between Hwangjenaegyeong(黃帝內經) and Juyeok(周易) Gyesajeon(繫辭傳) written by Gongja(孔子), the philosophical background of Hwangjenaegyeong(黃帝內經) and the position of Eumyang theory in the ancient academic society can be clearly understood. Method : The similarities and differences of the Eumyang theory in Hwangjenaegyeong(黃帝內經) and Juyeok(周易) Gyesajeon(繫辭傳) are categorized and analyzed comparing both texts. Results & Conclusion : Hwangjenaegyeong(黃帝內經) and Juyeok(周易) all recognized Eumyang movement as the most important and basic principle of the change of the universe. In the relationship between Eum(陰) and Yang(陽), the key of harmonization of them is to keep and practice the virtue of each others. The plentiful expression of Juyeok(周易) Gyesajeon(繫辭傳) about the relationship of Eumyang is helpful to understand and apply the concepts of Eumyang to daily life. The other hand, Hwangjenaegyeong(黃帝內經) as medical text, concentrates upon the explanation about the movement and circulation of Gi(氣) between Eum and Yang.

• (The)Study of the Eastern Classic
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• no.32
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• pp.363-390
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• 2008

In this article, the author studied the relationship between the Sovereign and the follower in Juyeok which contained some eliments, such as Eum-Yang, Soseong 8 gyae, Daeseong 64 gyae. In Juyeok, the 'Sovereign 5 hyo' (1) shows distinctiveness in basic characteristics whether they are Eum or Yang(high level classification), (2) shows characteristics of Soseong-gyae to which they belong(middle level classification), (3) shows different characteristics according to Daeseong-gyae's circumstances(low level classification). Five Yanghyo are regarded as male sovereign having masculinity, whereas five Eumhyo are female sovereign with femininity. Gungyae is the most 'sturdy type leader' who possesses dignity and has good judgement. Taegyae, the blessing type leader, holds affection and calmness within sturdiness. Rigyae is gorgeous and passionate 'enthusiastic type leader'. Jingyae, the pioneering leader, bravely starts ascending in Eum-dominant atmosphere. Songyae has the virtue of hesitancy and concession, known as the leader of humbleness. Gamgyae always stay low and calm, regarded as a leader of sense. Gangyae shoots up from the earth, meaning a leader of strong will. Gongyae, embracing type leader, is straight and square, though it tries to embrace everything. Daeseong-gyae(64gyae) is formed by Soseong-gyae piling another Soseong-gyae. The characteristics of Soseong 8gyae are embodied in two-level form, the top(inner gyae) and the bottom(outer gyae). Simultaneously, the whole characteristics of 대성괘 are embodied. The Sovereign should show his/her leadership based on the 'characteristics of Daeseong-gyae'. These characteristics are the contingency from 'contingency leadership'. In other words, they are preconditions which leaders ought to admit.

• Korean Journal of Acupuncture
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• v.23 no.4
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• pp.59-65
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• 2006

Objectives : By comparing the correspondence of Three Eums and Yangs (三陰三陽) to calendr in ${\ulcorner}Somun\;Make'ae{\lrcorner}$ with twelve principal divinatory symbols, this paper intends to explain the exterior and interior of meridian system using the phenomena of the trigrams from Juyeok(卦). It also tries to relate the phenomena of the trigrams with the characteristics of the original Gi (本氣) of Three Em and Yangs tough the interpretation of Three Eums and Yangs assigned to twelve principal divinatory symbols. Methods : This paper compares the correspondence of Three Eums and Yangs to calendar in ${\ulcorner}Somun\;Make'ae{\lrcorner}$ with twelve principal divinatory symbols. By this, it traces the making of the exterior and interior relationship between Taeeum (太陰)-Yangmyeong (陽明), Soeum (少陰)-Taeyang (太陽), and Gworeum (厥陰)-Soyang (少陽) through the phenomena of trigrams assigned to Three Eums and Yangs. It also interprets Three Em and Yangs assigned to twelve principal divinatory symbols, using the original Gi of the six atmospheric influences(六氣). Results and Conclusions : Three Eums and Yangs in ${\ulcorner}Somun\;Make'ae{\lrcorner}$ signify the six meridians of the leg. Soeum (少陰) is assigned to October in ${\ulcorner}Somun\;Make'ae{\lrcorner}$ but it is more appropriate to assign it to July. If Soeum (少陰) is assigned to July, Three Eums and Yangs have phenoma of the trigrams with Em and Yang lines (陽爻) counter to each other, and can be explained as the exterior and interior relationship. lastly, in case of Three Eums and Yangs assigned to twelve principal divinatory symbols, the phenomena of the trigrams can be interpreted as the original Gi of Three Eums and Yangs.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.139-173
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• 2018

In the study of Guunmong, which is one of the representative classical $17^{th}$ century novels of the Joseon Dynasty, interpretations through The Book of Change(Juyeok) have recently emerged. It is necessary to more concretely investigate the themes of the research. The writer Kim man-jung wrote the work in an exile situation. In that time he composed a poem using Chinese letters with meaning connected to The book of Change. In particular, the discourse of Bok-gwae(復卦, ䷗) concentrating on the meaning of recovery might be a basis to construct the inner world of the work. The sentence of 'Bok goes well' in The Book of Change suitably match up with the hero's life in Guunmong. In addition the sentences of 'There is no illness in going and coming. So it will be no faults if friends arriver' can be applied to the meeting between the hero and heroines of Guunmong. The general declarations of The Book of Change are appropriate for explaining the contents of Guunmong. There are six Hyos that make up Gwae. The Hyos, from the first one at the bottom to the fifth one up above, connect to the characters of Guunmong. The phrase of 'Not going far away' regarding to the first Yang Hyo can be connected to Yang So-yu, hero of Guunmong. The phrase of 'Recovering beautifully' with regard to the second Eum Hyo can also be realized in the life of Jeong Gyeong-pae and Ga Chunun, two heroines of the work. The phrase of 'Danger owing to frequently recovering' regarding the third Eum Hyo can be applied to the position of Gye Seom-weol and Jeok Gyeong-hong. The phrase of 'Going middle with recovering alone' regarding the forth Eum Hyo can be matched with Sim Yo-yeon and Baek Reung-pa. The phrase of 'No regrets during an intense recovery' with regard to the fifth Eum Hyo is applicable to Yi So-hwa and Jin Chae-bong. The phrase of 'Boding of a confused recovering' regarding the sixth Eum Hyo is related to the writer's situation. The boding of confused recovering is owing to anti-royal road. The contrast between the royal road and the anti-royal road reflects Confucianism and Buddhism, dream and reality, and Yang So-yu in a dream and Seong Jin, who is same hero, in reality. Moreover, the structure of Guunmong which is organized in the form of reality-dream-reality, has a basis in this contrast. Considering these relationships, we can say the classical novel Guunmong is a fable of Bok-gwae. The work is a hopeful narration of an effective recovery that the writer anticipated in exile.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.52-71
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• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.