周易 蹇卦의 원의와 유교 경전화 과정: 地下의 서적과 紙上의 서적을 통해 본 周易 六十四卦 卦爻辭의 형성과 전개 Ⅰ

Abstract

This thesis is a method to inquire into and compare the text excavated from underground since the twentieth century with the current text, which is intended to consider in the center of hexagram Jian (蹇) how 64 hexagram and line statements in Zhouyi (周易) was formed and developed through from Pre-Qin dynasty and Han dynasty to the current text. Of excavated text Zhouyis, the oldest is Shangbo Zhouyi (上博本: the Chu bamboo slips Zhouyi collected by Shanghai museum), which is narrated in Chu (楚) dynasty character, one of the classical chinese in ‘warring states’ period. That is to say, it is referred to as the classical chinese Zhouyi. Compared with it, Mawangdui Zhouyi (馬王堆本: the Silk Manuscript Zhouyi excavated at Mawangdui), Fuyang Zhouyi (阜陽本: the Han bamboo slips Zhouyi excavated at Fuyang) and Xiping Shijing Zhouyi (熹平石經: the stone classics in the 4th year of Emperor Xiping's reign during the Han Dynasty) are texts written in Lishu (隸書: clerical scripts). From that point of view, this is referred to as the common character of Han dynasty Zhouyi. The current text had multi-levered succeeded to the texts of the common character system in Han dynasty. From this, the comparative study for these text reminds us of the debate the common character of Han dynasty which occurred in the ancient Han dynasty. In reality, comparing hexagram and line statements of Jian, there are some parts which reveal fundamental difference from contents. Jian means limping in leg, which was derived from this and has been used as the comment, hardship or difficulties. Though Jian has a negative meaning like this, it is composed of a positive content that from hexagram and line statements of Jian, one has a great difficulty in energetic activities going outside, but comes back, having a reputation or becoming a wealthy status or a leading figure on the contrary. In such a meaning, this hexagram can be symbolized as ‘reversal’. By the way, comparing the original of each text, there are two big differences. One is six in the second (六二), while the other is nine in the fifth (九五). From the point of literal differences, as for the former, it is written in Jin (今) in Shangbo Zhouyi and Mawangdui Zhouyi whereas it is written in Gong (躬) in Xiping Shijing and the current text. As for the latter, it is written in Bu (不) in Shangbo Zhouyi, whereas it is written in Peng (朋) in Mawangdui Zhouyi, Xiping Shijing and the current text. When this is seen from the point of content difference, the former is changed into Gong from Jin, which means that the content is basically changed from the private interest of the individualistic vassal’s adversity and one’s overcome, to the public interest of his sacrifice for the king or royal family. In case of the latter, its content is completely changed from hopeless and tragic ending to hopeful and positive one by being changed into Peng from Bu. Though there are several causes why this kind of fundamental change occurred within hexagram Jian of Zhouyi, it is guessed that they had something to do with the process to strengthen the national status and role as ruling ideology of confucianism since Han dynasty as well as the movement to pursue the consistency of content or canonification in Zhouyi.