• Journal of Haehwa Medicine
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• v.22 no.1
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• pp.23-36
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• 2013

J$\bar{i}$n ji$\acute{e}$(根結) has been recognized as one of a meridian pathway. If you want to study a defense qi(衛氣) and nutrient qi(營氣)'s nature, function and operation, you could find a relationship of J$\bar{i}$n ji$\acute{e}$(根結) and the defense qi(衛氣). We proposed that, especially, J$\bar{i}$n ji$\acute{e}$(根結) has got a close relationship with a operation of the defense qi(衛氣). The ji$\acute{e}$(結) of three yang(三陽) located in ears and eyes, that are a starting point of the defense qi(衛氣) operation in the daytime and a one of five sense organs(五官). Gin, Liu, Zou and Ru (根, 溜, 注, 入) of the three yang(三陽) distinguished between the three yang(三陽) in the extremities. and in the symptoms of a disease of the three yang(三陽) on the bolt - leaf - hanges(關闔樞) theory, Greater yang(太陽) is related to the skin and flesh, Yang brightness(陽明) is related to the flesh and Lesser yang(少陽) is related to the muscle or bone. These skin, flesh, muscle and bone belonged to the five bodies(五體). The five bodies(五體) have relationship with the defense qi(衛氣)'s operation and function part. The ji$\acute{e}$(結) of three yin(三陰) located in neck, chest and abdomen. If we could catched the concepts on the ji$\acute{e}$(結) of three yin(三陰) and The Gin, Liu, Zou, Ru and ji$\acute{e}$(根, 溜, 注, 入, 結) position of three yang(三陽) altogether, we could suggested the theory of the entire area completed in the surface of body. so the defense qi(衛氣)'s protecting function of the whole body surface is achieved. In the symptoms of a disease of the three yin(三陰)'s the bolt - leaf - hanges(關闔樞) theory, greater yin(太陰) and reverting yin(厥陰)'s symptoms indicates the defense qi(衛氣)'s main action of a chest and abdomen. And lesser yin(少陰)' symptoms is about a vessle, that is not to mention on the five bodies(五體) of the three yang(三陽)'s symptoms, so here is mentioned the relationship of the defense qi(衛氣) and the five bodies(五體) strengthened. In the "J$\bar{i}$n ji$\acute{e}$ chapter(根結編) of Lin Shu(靈樞)", as the meridians of the foot (足經) was described, except the meridians of the hand(手經), it is reasonable to infer that the defense qi (衛氣) is relevant to the meridians of the foot(足經) than the meridians of the hand(手經).

• Journal of architectural history
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• v.18 no.2
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• pp.65-83
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• 2009

This research was to analyze the direction ideas of residential Feng Shui. In ancient China residential places were been established by Xiangzhai(相宅) and Buzhai(卜宅) usages. And ancient Chinese always considered geographical features of mountains and waters for setting up their living places. Geographical features were also considered importantly ih representative residential Feng Shui books, Zhaijing(宅經) and Yangzhaisanyao(陽宅三要). In Zhaihing, 24 direction ideas are co-related with Fagui(八卦) and GanZhi(千支) theories, and they are most important residential Feng Shiui direction theories. The basic thoughts of 24 direction ideas of Zhaijing were already formed in Qin(秦) dynasty and modified in early Han(漢) dynasty. In Zhaijing, residential places were splited into Yangzhai(陽宅) and Yinzhai(陰宅) according to YinYang's Qi directions. Those were actually formed from meticulous observations on changing processes of YinYangWuXing(陰陽五行)'s Qi(氣). Constantly changed Qi of YinYangWuXing were studied by old chinese people from the observations on the sun, the moon, the five stars, the Great Bear, and ErShiBaXiu(二十八宿). The origin of Zhaijing's direction ideas is the direction system of ShiPan(式盤) in Qin and Han dynasty. On ShiPan TianGan(天干) Dizi(地支) Fagui TianDiRenGui(天地人鬼) were arranged very systematically into four and 24 directions. DongxiSizhai(東西四宅) theories of Yangzhaisanyao had edited more lately than Zhaijing(宅經), and formed according to Fagui(八卦)'s YinYang(陰陽) principles. But the basic ideas is same with Zhaihing's. It proves that residential Feng Shui theories were constantly improved and modified. And both residential Feng Shui direction ideas of Zhaijing and Yangzhaisanyao are the gentral ideas in old china. The point of that ideas is Sky's four or 24 directions are correspndence with the earth's. It came from the traditional thoughts that Heaven, Earth, and mankind are c0-related and influenced each other according to Qi's changing processes. Gather up above mentioned, the direction ideas of residential Feng Shui is a systematic thoughts of old chinese for harmonizing Tian-Di-Ren-Gui, and is their specific methods for harmonizing the nature's Qi, mankind and spirits.

• Journal of the Daesoon Academy of Sciences
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• v.20
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• pp.125-168
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• 2009

Deasoon ideas are doctrine of Deasoonjinrihoe, which was founded by Ilsoon Gang, religious thinker in the late of Josun Dynasty. This study aims at examining influences of Confucius ideas implicit in Deasoon ideas and finding out their meaning in the modern society. Ilsoon Gang considered Confucianism very important when he forms his Deasoon ideas and after all, he included Confucius ideas to Deasoon ideas to develop his own religious theory. The meanings of Deasoon ideas in the modern world are as follows: First, Deasoon's harmonious ideas on yin and yang can be a healing method to solve conflicts and confrontations of the modern society. Second, Deasoon's harmony between God and humans and ideas on human dignity is helpful to solve human isolation that the modern society faces. Third, Deasoon's ideas that human's hostility and grudge must be healed teaches loves and co-existence to humans. Fourth, Dotongjinkyeong, which is Deasoon's ideal world, is the world where communication between an individual and the whole, God and humans, a human and a human, and humans and the nature perfectly are harmonized.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.242-251
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• 2012

Geomancy accepts with a pre-requisite that human beings adapt themselves to nature as an organism, because people and environment, bodies and space have the homogeneity which can not be divided by a dichotomy. The homogeneity as a structure alive implies a deep relationship with biorhythm and the change of space, and is regarded as a concept and role significant on the coordination. In other words, applying the element in the geomancy could be interpreted as a work giving a new meaning and spirit on a creation of space and furniture coordination. Harmony and balance shown in design concepts have a relationship with the meaning on Yin-Yang and the Five Elements theory. In addition, the characteristic in each element is suggested as an example applying the concept of geomancy through furniture coordination for each space in the chapter 4.

• The Journal of Korean Medicine
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• v.26 no.4
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• pp.162-167
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• 2005

According to the principle of ascending water and descending fire, water has the property of wetting downward, which is the opposite of fire, which has the property of blazing upward. Thus, they work differently according to their innate properties. Nature and the human body maintain harmony through the interaction of ascending water and descending fire. When applied to the human body, the heart and kidney are the center of this principle. In other words, the heart above is the fire and the kidney downward is water. When the heart-fire harmonizes downward, the kidney becomes warm, enabling genuine vital functions to be active. When the kidney yin moves upward, the heart receives the nourishing yin to harmonize nutrients and blood. Thereby, physiological functions become normal throughout the blood meridians. However, in the ascending kidneywater and descending heart-yang of the heart and the kidney, the liver and lung are the major functional organs. In other words, the liver through the dispersing and raising yang functions moves water, which is the vital essence of the kidney, upward. And the lung, through the astriction?clearing of the lung and descending Qi?dispersing functions, moves the heart-fire downward. These functions are deeply related with changing seasons; thus, these functions can be explained with the ascending kidney-water and descending heart-yang of the five viscera.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• Journal of the Korean Society of Costume
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• v.30
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.

• Journal of Korean Medical classics
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• v.31 no.3
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• pp.123-142
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• 2018

Objectives : This paper aims to study the I-Ching perspective in Shanghansuyuanji. Methods : Key words associated with I-Ching was searched in Shanghansuyuanji and analyzed its meaning and categorized thematically. Results & Conclusions : 1. Qianhuang symbolized Shaoyang, The Power of the Great hexagrams, Jueyin Peace hexagrams, Taiyin Gen Earth, Yangming Kun Earth, Shaoyin Return hexagrams, but didn't symbolize Taiyang, making it not uniform. 2. Qianhuang explained physiology focusing the change of YangQi with I-Ching perspective. This is possible because Shanghanlun thought that much of YangQi and I-Ching set a high value on Yang. 3. Qianhuang explained pathology such as insomnia, epigastric fullness, splenic constipation syndrome, Taiyinbing syndrome, somnolence, thirst, YinYang exchange with I-Ching perspective, it is meaningful because it enriches medical YinYanglun. 4. Qianhuang explained prescriptions such as Daqinglongtang, Zhenwutang, Shizaotang, Fuzixiexintang, Dachaihutang, Baihutang, a comparison between Daqinglongtang and Xiaoqinglongtang with I-Ching perspective. This is helpful to grasp the image of prescriptions. 5. Qianhuang explained nature of drugs such as Guizhi, Fuling, Fuzi, Qiandan, Rougui with I-Ching perspective, and it combines well with the features of I-Ching with drugs efficacy. 6. Qianhuang explained diseases of the six Meridians curing time with I-Ching perspective. This shows diseases of the six Meridians recover when Corresponding Qi is vigorous or Conflict Qi appears, and it is persuasive. For reasons mentioned above; Shanghansuyuanji is meaningful as Shanghanlun commentary.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.

• Journal of Korean Medical classics
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• v.33 no.3
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• pp.21-36
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• 2020

Objectives : This paper aims to understand the meaning of '少陰人 心之範圍' and to determine its clinical implication. Methods : First, the meaning of the verb '範圍' was examined in 『IChing·XiCi(周易·繫辭傳)』 from where it originated. Based on the findings, the meaning of '心之範圍' in the context of the nature and emotion[性情] of So-eumin as explained in the 『DongUisusebowon(東醫壽世保元)』 was further investigated. Moreover, the clinical significance of the observation of '心之範圍' in relation to determining prognosis was discussed in regards to 'visceral syncope[藏厥]' and 'exuberating yin separating yang[陰盛隔陽]' which come under the severe symptoms[危證] category in the disease pattern of So-eumin. Results : '範圍' as mentioned in 『IChing·XiCi(周易·繫辭傳)』 refers to the process of creating a framework that takes after the tendencies of the patterns of change of the external world that influences mankind. The objective of this process is to prepare for the excessiveness and insufficiency of the change that happens in the external world so as to ultimately protect all existences. The workings of '範圍' could be assumed on a personal level as well. As the nature and emotion of So-eumin is closely related to the purpose and object of '範圍', Yi Jema suggested that through observing whether the So-eumin exhibits '心之範圍' or not, that it could be determined whether his/her innate nature is being properly exercised or not. Conclusions : Whether one's agitation calms down or not even for a moment is the criteria for determining prognosis of the entire disease, while its calming-down relies on proper functioning of '心之範圍'. The way to determine this is through observation of the manifest attitude of the So-eumin. If the So-eumin displays a poised and autonomous[綽綽卓卓] attitude even for a moment, it could be understood as the '心之範圍' process being properly functioning, indicating the overall direction to be heading towards relief of the sense of instability, allowing for a positive outlook on treatment.