이병헌(李炳憲) 『수화개벽설(水火開闢說)』의 역학사상과 시대인식 연구

Abstract

This paper aims to explore the characteristics of ideas on yixue 易學 and his perception of history and times in Japanese colonial era scholar Jinam Lee Byung-hun (1870-1940)’s yixue theory. Lee Byung-hun grew up with traditional Confucian studies, but in his 30s, he was absorbed in Western studies, and later recognized the religious role of Confucianism and immersed himself in the Confucian religious movement. In his later years, he was absorbed in the study of the Zhouyi 周易, and Suhwa Gaebyeokseol 水火開闢說 was his last work left at the age of 70 in 1939. This work borrows Shao Yong 邵雍’s theory of yixue, but contains Lee Byung-hun’s own theory of yixue. He suggested yuan 元, yun 運, hui 會, and shi 世 theories based on the four seasons, 12 months, and 24 seasons. This paper analyses where Lee Byung-hun’s own theory of yixue is based and what its characteristics are. His theory contains ideas about acceptance of Western scientific knowledge and the identity of the theory of the changes in Confucian classics, especially the Zhouyi. Lee Byung-hun’s theory of yixue is basically based on the principle of the order of changes in the natural world, but ultimately explores the rise and fall of human history and civilization history. He presented the 12 stages of East and West history development through the 12 sessions, which is likened to 12 months in a year. Along with the start of a new cycle of changes, gaebyeok 開闢, he mentioned the activities of Dongguk 東國 and Dongyi 東夷, the roots of Joseon, as the starting point and main body of Eastern civilization. And gradually, with the development of material civilization and democracy in the West, he approached critically the development of murder machines and the side effects of war and slaughter brought by the convenience of material civilization. His frame on yixue encompasses a view of the future, specifically referring to the environmental problems that the pursuit of convenience can bring. This paper analyzes Lee Byung-hun’s historical perceptions, and contemporary tasks shown by his frame on yixue, and explores the message this sends to us today.