한국문화와 역의 삼재론

Abstract

In reality, universal numbers-Principle of Iching may or may not be embodied as a culture. numbers-Principle, which is not culturally embodied, can only be said to be a prototype as possible. On the other hand, culturally embodied numbers-Principle can be said to be the prototype of culture as a reality. Furthermore, when the original form of this culture is accompanied by historical permanence, it can be mentioned as a cultural characteristic of the country. In this paper, I looked at Korea’s representative cultural heritage from the perspective of three basis theory(三才論) in Iching. First, we looked at the national flag, Taegeukgi(太極旗), which can be said to be the face of the nation. The second was to focus on Dangun(檀君) mythology in terms of the historical structure of the Korean people. Third, we looked at the Korean word Hunminjeongeum(訓民正音). Through consideration, the method and philosophical implications of applying the theory of three basis in Korean culture were derived. The Taegeukgi(太極旗)’s Taegeuk(太極) yinyang(陰陽) and four gwae(卦) patterns used the symbolic original form as they were, and at the same time, took four gwae(卦) of Geongongamri(乾坤坎離), located in the middle. In the case of DangunDangun(檀君) Story and Hunminjeongeum(訓民正音), three basis theory(三才論), Cheonjiin(天地人) and Cheoninji(天人地), are used as a temporal and spatial composition. In the case of Dangun(檀君), the story was composed of the time flow of Cheonjiin(天地人) after setting the space of Cheoninji(天人地). In the case of Hunminjeongeum(訓民正音), it is a revolutionary idea to create letters by spreading the spatial universe of Cheoninji(天人地) in the specific area of language. The idea of changing the two-division letter to three-division method is a representative example of the active use of the philosophy of three basis theory(三才論) in culture. Above all, I think the most important philosophical implication of the three basis theory(三才論) inherent in culture lies in understanding human status. In the three basis theory(三才論), humans can be divided into humans(Ordinary people) from heaven and earth, humans(gunja:君子) who learn to combine them with the virtues of heaven and earth, and humans (magnanimous man) who actively participate in the harmony of heaven and earth. In this way, when divided into the human image of Birth, learning, and participation in relation to heaven and earth, it is meaningful that the humans of Hunminjeongeum(訓民正音) and Dangun(檀君) Myth have an active meaning of emphasizing subjective participation beyond the dimension of Birth.