帛書 『易傳』 象數易學에 관한 연구

다국어 초록 (Multilingual Abstract)

The Mawangdui Silk Texts(馬王堆帛書), texts of Chinese philosophical and medical works written on silk, were found buried in Tomb no.3 at Mawangdui in the city of Changsha, Hunan, China in 1973.
The western tomb, Tomb no.2, was the burial site of the first Marquis of Dai, Li Cang(利蒼). He died in 186 B.C. The Han Dynasty had appointed Li Cang as the chancellor of the Kingdom of Changsha. This tomb had been plundered several times by grave robbers.
Tomb no.3 was directly south of Tomb no.1, and contained the tomb of a man in his thirties who died in 168 BC. The occupant is believed to be a relative of Li Cang and his wife(Xinzhui(辛追)). This tomb contained a rich trove of military, medical, and astronomical manuscripts written on silk.
Xinzhui's tomb was the best preserved tomb by far of the three tombs. A complete cosmetic set, lacquered pieces and finely woven silk garments with paintings are almost perfectly preserved. Her coffins were painted according to Chu customs and beliefs with whirling clouds interwoven with mystical animals and dragons. The corpse was bound tightly in layers of silk cloth and covered with a wonderfully painted T-shaped tapestry depicting the netherworld, earth and heavens with Chinese mythological characters as well as Xinzhui. There was also a silk painting showing a variety of exercises researchers call the forerunner of Tai ji(太極). They include some of the earliest attested manuscripts of existing texts such as the Zhou Yi(周易), two copies of the Tao Te Ching(道德經), one similar copy of Strategies of the Warring States(Zhan Guo Ce(戰國策)) and a similar school of works of Gan De(甘德) and Shi Shen (石申) and previously-unknown medical texts, such as Wushi'er Bingfang(五十二病方). Scholars arranged them into silk books of 28 kinds. Together they count to about 120,000 words covering military strategy, mathematics, cartography and the six classical arts of ritual, music, archery, horsemanship, writing and arithmetic.
The texts were buried in tomb number three at Mawangdui (which was sealed in 168 BC), and were hidden until their late-20th-century discovery. Some were previously known only by title, and others are previously-unknown commentaries on the Zhou Yi(周易) attributed to Confucius. In general, they follow the same sequence as the received versions, which were passed down by copying and recopying texts collected and collated during the fifth century AD. However, in some important aspects they differ noticeably from the received texts known before their discovery.
The Chinese characters in the silk texts are often only fragments of the characters used in later traditional versions. Many characters are formed by combining two simpler characters: one indicating a general category of meaning, and the other to guide pronunciation. Where the traditional texts have both components, the silk texts frequently give only the phonetic half of the character. There are several hypotheses to explain this: The scribe may have been too lazy to write the full form of many characters.
The earlier of two silk texts or the text from which it was copied may have been a scribe taking dictation as quickly as they could write. The scribe wrote down the part of each character that indicates its pronunciation, with the intention of later recopying the text with the appropriate meaning components for the abbreviated characters.
Among the texts discovered in December, 1973, at Mawangdui in Changsha, Hunan, was by far the earliest manuscript text(copied about 175 BC) of the Zhouyi, together with various commentaries, some known—such as the Xici(繫辭)— and others —Ersanziwen(二三子問), Yizhiyi(易之義 or Zhong(衷)), Yao(要), Muhe(繆和), and Zhaoli(昭力)—not heretofore known.
The Mawangdui Han mu wenwu(Cultural Relics from the Mawangdui Han Tomb), which included complete photograps of the text of the sixty-four hexagrams and also that of the Xici, that it seemed possible to begin working with the manuscript. Despite the great anticipation with which scholars learned of this discovery, it was not until twenty years later, 1993, that this manuscript was finally published, and even at that only incompletely. When, in 1994, volume 3 of Daojia wenhua yanjiu(道家文化硏究) appeared with complete transcriptions of all but one of commentarial texts included in the manuscript.
The complete photograps and transcriptions of the text of the Mawangdui Silk Texts were completed in 2014.( Qiu Xigui(裘釋圭)), ed. Changsha Mawangdui Han mujianbo jicheng(長沙馬王堆漢墓簡帛集成), Beijing: Zhonghua, 2014.)
The Yi Zhuan(易傳) in Silk Manuscripts(帛書) are not works of the same person at the same time. They were written approximately daring the period from the early Pears ti middle time of the Warring States or a little later than that but not the early years of the Han Dynasty. Some scholars argue that the five pieces Yizhiyi , Yao, etc. were written later than the Three Tuan, namely Tuan(彖), Xiang(象), Wenyan(文言), they are works of interpreting Yi Ching of Confucians during the transition period from the Qin to the Han dynasty or in the early years of the Han and are related to Xun(荀子) theory, these documents provide us important historical materials for studying the formation and development of Yi Ching theory at the beginning of the Han Dynasty and the studies of classics of the Han Dynasty.
By analysing Yi Zhuan in Silk Manuscripts, it is argued that Yi Zhuan in Silk Manuscripts is not a organic system and its value is incomparalole with Yi Zhuan in General Edition.
A general sector of yìxué(易學) is traditionally divided into xiàngshǔ (象數) and yìlǐ(義理). Zhōuyì(周易) has then developed what are perceptible and cognizable into xiàng象 and shǔ數. Xiàngshǔyìxué(象數易學) is a study that interprets Yi-Jing(易經) around xiàng(象) and shǔyì(數). This is one of the important ways of interpreting Yi-ching.
This paper is a study of the xiàngshǔyì(象數易) of the Yi Zhuan(易傳) in Silk Manuscripts(帛書).
What discussed in this article are includes an order of arrangement of sixty-four hexagrams of the eight trigrams or the eight hexagrams (八卦) superposition, which is an external feature of the Yi Ching in Silk Manuscripts. And the style of study of interpreting Yi Ching and its position in the history of Yi Ching theory.
The Yi Zhuan in Silk Manuscripts encompasses key interpretations of xiàngshǔyì such as wuxing theory(五行說), fire water theory(火水說), and mutual theory(互體). This paper, in particular, analyzes the Guaqi theory(卦氣說, a theory elucidating the correspondence between the seasonal points and lines of the hexagrams) of The Yi Zhuan in Silk Manuscripts. ‘Gua(卦)’ in Guaqi theory refers to 64gua(卦) of Yi Ching and ‘qi(氣)’ has a dual meaning to refer to the twenty-four seasonal divisions(節氣) and Yin and Yan(陰陽). Guaqi theory is a basic theory expounded by experts at Yi of the Han Dynasty from the approach of philosophical hermeneutics. Championed by MENG Xi(孟喜), brightened by JIAO Gan(焦贛) and JING Fang(京房), deepened by Yi Wei( 易緯), expanded by MA Rong(馬融), XUN Shuang(荀爽), and ZHENG Xuan(鄭玄), and culminated by YU Fan(虞翻), this theory manifested related Yi learning(易學) experts’ cosmic as well as ultimate humanistic concern. What discussed in this article shows that the Guaqi theory was used as the main Yi-Ching interpretation method in Yi Zhuan in Silk Manuscripts, not by MENG Xi and JING Fang. And Guaqi theory in Yi Zhuan in Silk Manuscripts were the core of the notion of ‘time(時)’ as an ancient Chinese doctrine of a kind of cosmic unlike the Han Dynasty, which was a kind of prophetic-mixed divinity that fused the mixing of Yin and Yan disasters theory.
In the six types of Yi Zhuan in Silk Manuscripts, the word ‘Guaqi’ is not used. However, the Guaqi theory has already been revealed in the Yi Ching interpretation, and it was an important interpretation ‘method’ of Pre-Qin's xiàngshǔyì(先秦象數易學) to make man's work clear by reasoning of the heavenly way. It can be said that this ‘method’ was for the humanism of the heavenly way, and it was the preparation of the Guaqi theory which was the mainstream of xiàngshǔyì.
Xiàngshǔyì was originally developed as a way to fortunetelling or divination. However, in this paper, xiàngshǔyì refers to Yijing's character system(interpretation of divinatory trigrams(卦辭) and commentary on any of the 384 lines of the hexagrams in the Yijing(爻辭)) is interpreted with xiàng and shǔyì of any Gua(卦). Therefore, it is a kind of interpretation of Yijing.
The Mawangdui Silk Xici, Ersanziwen , Yizhiyi or Zhong, Yao, Muhe, and Zhaoli, It preserves a large amount of rare Xiàngshǔyìxué data. These data show us the important contents of the pre-Qin dynasties, and show the tradition and the relationship between it and Xiāngshǔyìxué of the Han dynasty people. They belong to a different system with Yi Zhuan in General Edition but there is mutual permeance between them. Its humanistic spirit epbodies the valne implications of actual world and ideal world. ‘He(和, harmony)’ is the ideal of value of human world, ‘He He(和諧, harmonious combination)’ is the gist of humanistic spirit of Yi Zhuan in Silk Manascripts which stipulates the relation of ‘revering heaven and respoecting people’ between Man and Nature.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 帛書 周易 硏究 개괄 1
• 2. 연구 목적과 방법 16
• Ⅱ. 帛書 六十四卦의 象數的 特徵 25
• 1. 帛書 六十四卦의 外形 構造 25
• 1) 帛書 六十四卦의 抄寫 구조의 몇 가지 특징 25
• 2) 帛書 六十四卦 抄寫의 假借字 32
• 2. 帛書 六十四卦의 重卦 36
• 3. 帛書 六十四卦의 卦序 48
• 1) 통행본 역경의 卦序 50
• (1) 序卦의 해석 50
• (2) 孔穎達의 二二相, 非覆卽變 55
• 2) 邵雍의 先後天 卦序와 方位 59
• (1) 邵雍 先天學의 橫圖와 圓圖 61
• (2) 邵雍 後天學의 卦圖 78
• 3) 帛書本 卦序 83
• (1) 帛書 六十四卦 上卦와 歸藏易 84
• (2) 帛書 六十四卦 下卦와 連山易 91
• (3) 帛書 六十四卦 卦序와 說卦 제3장 97
• Ⅲ. 帛書 易傳과 象數易學 106
• 1. 帛書 易傳의 종류와 구성 107
• 2. 帛書 易傳의 獨創說 114
• 1) 孔子의 晩年喜易과 以德代占 115
• 2) 火水說 120
• 3) 五行說 126
• 4) 龍德說 138
• 3. 帛書 易傳의 象數體例 143
• 1) 取象取數說 143
• 2) 卦變과 互體 148
• 3) 旁通說 157
• Ⅳ. 帛書 易傳의 卦氣說 161
• 1. 卦氣說의 定義 161
• 2. 孟喜京房의 卦氣說 164
• 1) 四正卦12卦說 164
• 2) 6日 7分說 173
• 3. 백서 역전의 卦時說 175
• 1) 卦時 177
• (1) 損益卦時 180
• (2) 八卦卦時 181
• 2) 爻時說 182
• 4. 백서 역전의 卦時說의 특징 187
• Ⅴ. 결론 192
• 參考文獻 197
• Abstract 216

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