楊上善과 王冰 注釋을 通한 醫學理論의 比較論的인 硏究 (Ⅱ)

金基郁,朴炫局 대한한의학원전학회 2001 대한한의학원전학회지 Vol.14 No.2

This dissertation examines methods and contents of the annotations for 'Huang Di Nei Jing'(『黃帝內經』)' and compares annotations for the 'Huang Di Nei Jing' by 'Yang Shang Shan(楊上善)' with those by 'Wang Bing(王冰)'. It is accomplished in terms of the two comparative examinations laying stress on the cosmic dual forces, the Five Elements, the four seasons, Taoism, the internal organs, and organic diseases based on the medicine of internal meridian. The results are characterized as follows: Generally about 'Ming Men Xue Shuo(命門學說)', it was concentrated on the theory of the 'Ming(明)' and the 'Qing(淸)' dynasty except 'Nan Jing(『難經』)' and it was lacking in the theory of 'JinㆍTang(晋ㆍ唐)'. It was said that 'Ming Men(命門)' is eyes in 'Ling ShuㆍGen Jie(『靈樞ㆍ根結』)', while it was said that the left one of the kidney is kidney and the right one is 'Ming Men' in 'Nan Jing'. So there was a heated controversy. But according to 'Yang Shang Shan', he combined the two theories into one in such way that he asserted that kidneys are eyes and eyes are 'Ming Men'. He also asserted that stomach was the source of living activity. He deepened and developed the meaning of 'Wei Qi(胃氣)' in 'Nei Jing', and made a theoretical foundation for posterity. Therefore he made the theory of 'Nei Jing' logical, systematic, and practical. 'Wang Bing' rejected the hermit in Taoism. He got out of mysterious things and turned toward reality. His annotations had a great influence on many of the scholars who studied 'Huang Di Nei Jing'. So he had a greater influence of clinical medicine. 'Wang Bing' deeply did research in the theory of viscera. He understood very well how important the vitality of the five viscera is in order to study the process of the diseases of viscera, because the physiological effect of the five viscera is changed according to the difference of 'BonZhangZiKi(本臟之氣)'. He suggested that 'ChenGye(天癸)' was a product combined with 'GyeSu(癸水)' and 'ChenJinZiKi(天眞之氣)' and that vitality and gloominess were the index of growth and maturity of the living creature. He also asserted 'KiKyungPalMac(奇經八脈)'. One of 'KiKyungPalMac', 'ChoungImMac(衝任脈)', managed the growth of living creature and living creatures can live by the flourishing vitality of kidney and the circulation of 'ChoungImMac' 'Wang Bing' explained that stomach worked in the 'ZhongCho(中焦)' and kidney was related to 'HaCho(下焦)'. And he interpreted 'ShinZhenBulHui(神轉不回)' in connection with 'SaSiOHang(四時五行)', 'Sin(神)' was the delicate activity of life, and The meaning of 'Zhen(轉)' is working continuously, so the existing state of a living creature was manifested by 'Zhen'. He worked relating the nature with the human spatiotemporal. 'Wang Bing' classified the causes and the processes of a disease into four 'NeYouSoSheng(內有所成)', 'WeiYouSoSheng(外有所成)', 'ByengShengWuNei(病生于內)', 'ByengShengWuWei(病生于外)'. This classification had great influence on posterity and was connected with 'San Yin Xue Shuo(三因學說)'. He is the first man who had a different opinion of the diseases by coldness and fever. He asserted that the process of the diseases by coldness and fever took a few days after contracting a new discase and that it is different from the a febrile disease by 'BokSa(伏邪)', 'Wang Bing' emphasized that the diseases of kidney resulted from the deficiency of blood, although old physicians, who were concerned with heart, liver, and lungs, thought that the process of the deficiency of blood was not related to kidney. So far, I have comparatively examined medical ideas between 'Yang Shang Shan's annotations for 'Huang Di Nei Jing Tai Su' and Wang Bing's annotations for 'Huang Di Nei Jin Su Wen'. This study has some difficulty approaching what the two medical practitioners intended to do because the times when they lived are very far from today. But it is worth studying their medical ideas because both of them were p

『황제내경소문주(黃帝內經素問注)』의 도가서(道家書)인용에서 나타난 왕빙(王氷)의 현학사상(玄學思想)고찰 -『장자(莊子)』등을 중심으로

김도훈 ( Do Hoon Kim ) 대한한의학원전학회(구 대한원전의사학회) 2011 대한한의학원전학회지 Vol.24 No.2

For the purpose of understanding Wang-bing`s idea, which was influenced by Taoism and Hyeon-hak(玄學), I investigated the quotations of Taoism Books such as Jang-ja(莊子) in the Hwangje-Naegyeongsomunju(黃帝內經素問注), and came to the following conclusions. In the process of writing notes on the Hwangje-Naegyeongsomun, Wang-bing quoted Taoism Books such as Jang-Ja 10 times at 8 passeges which suggest the idea of Hyeon-hak. Through this annotating process, he suggested the vision of the Hyeon-hak idea which pursued the harmony of system and human nature. In the process of the annotating, he expressed the way of sage who practicing the caring of one`s own health. And he emphasized on body and perfectly preserving of nature of oneself. Wang-bing especially emphsized on cultivating of one`s mind while he insisting one`s human nature. This means he pursued one`s nature under the actual system, which was different from general Taoism. It was Hyeon-hak idea. So we can interpret Wang-bing as a sucessor of Hyeon-hak philosophers of Wi-Jin(魏晋) period.

추방된 존재들을 향하는 카메라 : 왕빙 영화의 인물 연구

이선우 ( Lee¸ Sun Woo ) 부산대학교 영화연구소 2021 아시아영화연구 Vol.14 No.2

동시대 중국 다큐멘터리 감독 왕빙의 작품에 등장하는 인물들이 처한 상황을 경제, 정치, 사회 문화적 측면으로 나누어 살펴보고자 한다. 왕빙은 중국의 급속한 경제 발전 과정에서 배제되어 일종의 희생양이자 주변인으로 밀려난 인민들의 삶을 추적함으로써 모국의 이중성을 비판한다. 왕빙의 인물들은 주권 권력에 의해서 배제되고 버림받았다는 점에서 아감벤이 벌거벗은 생명의 의미로 사용한 호모 사케르의 관점에서 이해할 수 있다. 왕빙은 성공적으로 자본주의에 적응한 도시의 화이트칼라가 아니라, 그저 지금보다 조금 더 나은 삶을 꿈꾸며 일자리를 찾아 나선 시골 사람들에게 관심을 보인다. 그의 영화에는 자본주의와 자유주의로 상징되는 현대화의 흐름에 섞여들지 못하고 아예 그 밖으로 내몰렸음에도 희망을 버리지 못하는 사람들이 무수히 등장한다. 또한, 1950년대 우익 인사로 몰려 사막의 수용소로 보내진 지식인들을 둘러싼 중국의 비극적 역사에 대해서도 지속적인 관심을 보인다. 이러한 수용소라는 공간의 특수성은 합리적이지 않은 이유로 사회로부터 철저하게 유리된 사람들이 수용된 정신병원이라는 공간으로도 확장된다. 중국의 한 정신병원에 수감된 사람들의 일상을 관찰하는 과정에서 우리는 가족과 사회로부터 버림받은 채, 살아있지만 살아있지 않은 존재가 되어 버린 인물들의 상황을 마주하게 된다. 왕빙의 작업은 중국이라는 구체적인 공동체의 특수성에서 출발했지만 영화에 담긴 함의는 오늘날 전 세계에서 주체성을 박탈당한 채 살아가는 수많은 존재들에 대한 담론으로 확장 가능하다는 점에서 더욱 의미가 있다. This study examines the situation faced by the characters in the works of contemporary Chinese documentary director Wang Bing in economic, political, and socio-cultural aspects. Wang Bing criticizes the duplicity of his motherland by tracking the lives of the people who were excluded from China’s rapid economic development and deported to the margins of society. Wang Bing’s characters were excluded and abandoned by sovereignty. In this respect, they can be understood from the perspective of Homo Sacer, which Agamben used as the meaning of naked life. Wang Bing is not interested in the white collar of cities that has successfully adapted to capitalism, but in rural people who have just dreamed of a slightly better life than now. In his film, there are countless people who cannot mix with the flow of modernization symbolized by capitalism and liberalism and cannot give up hope even though they are driven out of this flow. He also continues to show interest in China’s tragic history surrounding intellectuals who were sent to desert camps accused as right-wing in the 1950s. The specificity of this camp also extends to the space of psychiatric hospital where people are confined for unreasonable reasons. In the process of observing the daily lives of people imprisoned in a psychiatric hospital in China, we encounter the situation of people who have been abandoned by their families and society and fail to enjoy a normal life. Wang Bing’s work started from the specificity of China, but the implications of the film are more meaningful in that it can be expanded to discourse on numerous living beings deprived of their identity and independence around the world today.

영화 <천당의 밤과 안개>가 중국을 응시하는 방식에 대한 고찰

陳性希 ( Jin Sunghee ) 중국어문연구회 2020 中國語文論叢 Vol.0 No.98

This writing investigated how aesthetic form contains life and existence of a thing pictured based on ethical view and cultural imagination through a film Night and fog in Zona. To this end, first of all, the author looked into why Korean film critic and director Jung Sung-il chose Chinese documentary filmmaker Wang Bing and explored process of making film by Wang Bing. And through films made by Wang Bing in pursuit of cinema verite, the thesis studied what cultural implications Chinese contemporary reality and daily lives of Chinese ordinary people have. In addition, the author discussed what ethical vision the ‘performative documentary’ Night and fog in Zona suggests in encountering unfamiliar other persons in the global era. It can be said that Night and fog in Zona is a film that provides ethical vision about meeting with the others through emotion between a director and a thing pictured. This is because we can reflect how we should set distance between I and the others, what kind of ethical imagination should be driven to feel non-visible existence of the others. This reflection is based on esthetics of waiting to contain times of characters shown on the films, and attitude towards film where Jung Sung-il deeply saw a thing pictured as it was, but he did not depend on a structure to see a thing pictured.

논문(論文) : 왕빙(王氷)의 『노자(老子)』이해에 관한 고찰(考察)-『황제내경소문주(黃帝內經素問注)』를 바탕으로

김도훈 ( Do Hoon Kim ) 대한한의학원전학회 ( 구 대한원전의사학회 ) 2006 대한한의학원전학회지 Vol.19 No.4

왕부지(王夫之) 역학사상(易學思想)에 관한 연구 -「서괘전(序卦傳)」과 괘변론(卦變論) 비판(批判)을 중심으로-

진성수 ( Sung Su Chin ) 한국한문고전학회 2007 漢文古典硏究 Vol.14 No.-

The significance and limits of Wang Fu-zhi`s thought on I-Ching can be understood more clearly with qi yi yuan lun (氣一元論), the core idea of his philosophy. The meaning of his thought can be classified into three parts. Firstly, Wang Fu-zhi meant to rehabilitate the learning of Chinese Classics(經學) having its roots in ideology and value of orthodoxy Confucian school during the transitional period from Ming to Qing and his thought was formed in the process of transition, from li-centered to qi-centered value system. Secondly, Wang Fu-zhi succeeded and developed Zhang Zai`s qi philosophy, established yi qi (一氣) as a moving noumenon(本體) and completed qi de yi xue (氣的易學) based on qi yi yuan lun (氣一元論). Thirdly, Wang Fu-zhi established a new methodology for I-Ching, qian kun bing jian(乾坤竝建) and cuo zong he yi(錯綜合一). To see the whole aspect, therefore, qian kun bing jian(乾坤竝建) should always be considered. In short, Wang Fu-zhi criticized xiang shu yi(象數易) of Han Dynasty and asserted that there would be any other principle or explanation since qi, substance of the universe, develops itself through self-cuo zong bian hua(錯綜變化). Human beings` yi li and the principle of history and reality are completed by uniting human beings` zhan(占) and xue(學).

한대(漢代) 이전의 의적(醫籍)을 통한 "포제(포制)"의 연구

김성철 ( Sung Cheol Kim ),하홍기 ( Hong Ki Ha ),김기욱 ( Ki Wook Kim ) 대한한의학원전학회(구 대한원전의사학회) 2011 대한한의학원전학회지 Vol.24 No.4

We derived following result by organizing research about processing of medicinal of before Han(漢) dynesty. The human being intake of natural substance for the purpose of treatment was what happened later than the use of natural substance as food. According to the record of by the early years of Shang(商) dynasty, we can assume that we cooked food with water and fire. The reason why there is no appearance of common production that can be included under the name of ``Tang Ye(湯液)`` in the medical record discovered from Ma Wang Dui(馬王堆) is because ``Tang Ye`` was yet developed. However, as the presentation of format of medicine process, there was gradual formation of medicinal fluid concept. There are quite of records on major details of cloth manufacture like washing and selection、grinding、processing of medicine from the recordings of 『Wu Shi Er Bing Fang(五十二病方)』, 『Yang Sheng Fang(養生方)』, 『Za Liao Fang(雜療方)』 discovered at Ma Wang Dui. It used words like ``Ze(擇)``, ``Qu(去)`` for the selection and ``Jiu(酒)``, ``Zhuo(濯)`` for the wash as a process method before cloth manufacture. When filter the processed medicine, it used words like ``Zhuo(捉)``, ``Suo(索)``, ``Jun(浚)`` and used ``Yin Gan(陰乾)``, ``Bao(暴)``, ``Yang(暘)`` for dry. The ``cutting(切削)`` that crushes the medicine used different names based on the properties of medicines. The most frequent crush is ``Ye(冶)`` and it means the powered medicine after dry. There was thermal process of mild fire(微火) and heating of ``Wen(溫)``. There are many states of medicine seen from the medical record discovered at Ma Wang Dui so they can be said as original medicine. 藥末劑 is relatively commercialized type then. Here, it includes later 湯劑 but there was no name such as ``decoction(湯)`` or ``decoction of medical ingredients(湯液)``. Also, ``Fu Ju(부咀)`` is the transformation of what was `` Fu Qie(父且)`` at 『Ja Liao Fang』 of medical books of Ma Wang Dui with time flow. The original meaning of ``Fu Qie(父且)`` is ``Fu Zu(斧俎)`` and it means the crushing medicine with axe. The most important thing among the medical books of Han dynasty is 『Shen Nong Ben Cao Jing(神農本草經)』 and 『Shang Han Za Bing Lun(傷寒雜病論)』 of Zhang Zhong Jing(張仲景). 『Shen Nong Ben Cao Jing』 mentioned the dry method of medicine, collection and process production time, cooked and uncooked use of medicine and there are several types of medicine. Other than those, it mentioned ``Seven methods of combining herbs(七情合和)`` to address cautions for combining medicines. Therefore, the ``processing of medicinal`` in east Han dynasty period entered the theoretical step. However, there is only little recording on cloth manufacture of detailed medicine. From the 『Shang Han Za Bing Lun』 of Zhang Zhong Jing, the development in the way of ``processing of medicinal`` reveled the cloth manufacture for each medicine. This tradition is continued until today and so it presents the development of purpose of ``processing of medicinal`` is to greatly present the effect of medicine and to reduce the side-effect.

양상선(楊上善)과 왕빙(王氷) 주석(注釋)의 비교론적(比較論的)인 연구(硏究) (1)

김기욱,박현국 대한한의학원전학회 ( 구 대한원전의사학회 ) 2001 대한한의학원전학회지 Vol.14 No.1

明堂臟腑圖에서 기원한 肝臟圖 29종의 비교

趙學俊(Jo Hak-jun) 대한한의학원전학회 2016 대한한의학원전학회지 Vol.29 No.2

Objectives : The goal of this paper is to research what affected diagrams of liver originated from Mingtangzangfutu while they were changed. Methods : Diagrams of liver in Traditional Chinese and Japanese medical books had been gathered as many as possible. After they were divided into ones which were originated from Mingtangzangfutu and the others, diagrams originated from Mingtangzangfutu, were again classified into 4 filiations according to Huang Longxiang(黃龍祥)’s standard. Apart from his classification, they were analysed by 4 form factors, e.g. shape, number, veins and petiole of leafs. Results : Reliability of this methods had been confirmed by the correspondence with Huang’s 14 standard books, before 29 diagrams of liver were derived from 33 books including 13 books that Huang had already suggested. The lobes of liver in most of diagrams resembled 7 lanceolate or long oval leafs, or a maple leaf with 6 indentations, 4 left lobes and right 3 ones. In most of diagrams, veins of leafs were described variously, and petioles of leafs were drawn more shortly or longer. Analysing 29 diagrams by 4 form factors proved that Huang’s classification had crossing features among 4 filiations. This phenomenon implied the painters or doctors drawing diagrams might not convince if the shape of liver was correct or not. Although veins and petiole of leafs in diagrams of liver could be compared with tissues in liver in modern human anatomy, diagrams were not been affected by dissection from Yuan(元) to middle Qing(淸) dynasty. Conclusions : Lingshu(靈樞), Nanjing(難經) and Wang Bing(王冰) would had constantly acted on 29 diagrams of liver, since diagram of liver originated from Mingtangzangfutu, appeared first in Zhenjiujuying(鍼灸聚英). But they did not come from dissection during same periods.

明堂臟腑圖에서 기원한 肺臟圖 29종의 비교

조학준(HakJun Jo) 한국의사학회 2016 한국의사학회지 Vol.29 No.1

Objectives : The goal of this paper is to research what affected diagrams of lung originated from Ming Tang Zang Fu Tu during the time they were changed in. Methods : Diagrams of lung in Traditional Chinese and Japanese medical books had been collected as many as possible. Besides being grouped by Huang Longxiang (黃龍祥)’s classification, they were analysed by 4 form factors, e.g. shape, number, veins and petiole of leafs. Results : Reliability of this methods had been checked on by the correspondence with Huang’s 14 standard books, before 29 diagrams of lung were selected from 33 books including 13 books that Huang had already made his proposal. The lobes in most of diagrams resembled 6 lanceolate or long oval leafs, or a maple leaf with 5 indentations. In most of diagrams, veins of leafs were described variously, more or less than 9 nodes often drew in petioles. Conclusions : Suwen (素問), Nan Jing (難經) and Wang Bing (王冰) would had steadily worked on 29 diagrams of lung, since diagram of lung stemmed from Ming Tang Zang Fu Tu, went out into the world in Zhen Jiu Ju Ying (鍼灸聚英). But they were not drawn through dissection during same periods.