There are four types of characters , , , , in oracle bone inscriptions, which are similar and their usage is crossed. Previous scholars did not identify the above four characters as the same character. Through the analysis of philology, the above four characters are identified as monosyllabic variants. In this paper, we believe that these four characters are a word pronounced “si”, indicating that both hands hold a pestle to poke meaning. However, the specific corresponding text of these four characters has not been found. In addition, the so-called phenomenon of “two persons co-divination” is also discussed, and it is considered that whether there is a phenomenon of “two persons co-divination” in oracle bones inscriptions lacks definite evidence and needs to be discussed.

Compound characters in oracle bone inscriptions refer to the form of two or three oracle bone characters combined together. These characters, formed after combination, are called compound characters and represent one of the structural features of oracle bone scripts. The phenomenon of compound characters is prevalent among river names in oracle bone inscriptions. Based on this observation, we propose that the formation of river names in oracle bone inscriptions was initially the combinations of geographic names and rivers, and these compound character forms have generally gone through a development process from separate characters to compound characters. Through the study of the structure formation of river names in oracle bone inscriptions, a deeper understanding of the people’s perceptions of river systems and geographical environments during the Shang Dynasty can be obtained, as well as the relationship between geographic names and rivers.

The so called “special characters”, is the characters that intended to represent a particular meaning. The concept of “special characters” has been developed for a long time, and as early as the Southern Tang Dynasty, Xu Kai’s (徐锴) interpretation of “lang (郎)” in the “Shuowen Jiezi Xizhuan 《( 說 文解字繫傳》)” already had the meaning of “special characters”. The Qing dynasty scholar Wang Yun (王筠) also discussed “special characters” many times. “Special characters” are exist more or less in various periods of Chinese characters, and “special characters” have appeared as early as the existence of oracle-bone inscriptions. This paper preliminarily sorts out the “special characters” in the oracle-bone inscriptions, and then groups these “special characters” and briefly sorts out the configuration of each group of characters, in order to have a comprehensive understanding of the development of “special characters” in the oracle-bone inscriptions. On the basis of analyzing their use in combination with the example and context, the “special characters” in the oracle-bone inscriptions are compared with the “special characters” in Dongba script, and it is found that these “special characters” have distinctive characteristics when used. The “special characters” in the oracle-bone inscriptions are often accompanied by partial changes in the shape structure, and the frequency of their use is unbalanced. When “special characters” are used, there is often a situation where a character represents a phrase, the use of “special characters” is often limited by superordinate level semantics and it will gradually be unified into a glyph in the later stage. Finally, combined with the production and development process of Chinese characters, we find that the production of “special characters” is a natural manifestation in the process of writing development, which is closely related to the context of the use of oracle-bone inscriptions and the thinking habits of primitive ancestors.

The problems of misinterpretation, lack of text, absence of text, derivation of text, reverse text and sentence reading errors in some of the texts inscribed in the opera tablets of the Ming Dynasty in the south of Shanxi are caused by many reasons, such as unclear grammar and style of writing, unclear cultural words, no recognition of homophone characters and similar characters, no recognition of different characters, or indistinct and vague characters in the topographic films. By checking the topology, combining the handed down documents and unearthed documents, correct the misword, supplement the missing text, correct the missing text, correct the derived text, correct the inverted text, correct the sentence reading, indicate the wrong cause, correct the explanation text, in order to provide more accurate and reliable text information for the academic research.

The words for the moon phase in the inscriptions on bronze wares in the Zhou dynasty are open to different interpretations, and the calculation of the moon phase dates clarifies the ambiguities of the bronze moon phase words. Calculation of the time interval between the calendar solunar dates in two bronze ware inscriptions can be made, because the calendar solunar dates (gan-zhi 干支) were in a constant cycle of 60 days. Calculation of the date interval between the two moon phases on the same two bronze ware inscriptions also can be made , because the moon phase is also in cycles. The narrative tradition in the inscriptions of the Shang and Zhou dynasties includes a date series: the day in the solunar cycle, the month and the year of a king’s reign, and the day in the moon phase cycle. By comparing whether the two intervals meet or not, one can verify whether the bronze moon-phase idioms are meaningful, and it can also be confirmed whether the chronology of the kings of Zhou compiled by the previous scholars is resonable and create a new chronology through iterative calculation. The time intervals calculated in this paper chronicle every imperial event from the Zhou dynasty to the Shang dynasty, which rebuild a new chronology for the Xia, Shang, and Zhou dynasties. All modern attempts are hindered by a basic assumption, that the bone calendar of the Shang Dynasty is the same as the bronze calendar of the Zhou Dynasty, but it is completely different from the bronze calendar of Zhou, when reading the Bronze Annals (this paper) alongside the Bone Annals (last paper) and as seen in Table 24. In addition, although the inscriptions related to the lunar phases are extremely difficult to understand, through computation, the records of three lunar eclipses on bronze vessels in the Zhou and Shang dynasties are newly recognized, which helps to reconstruct a new chronological list of the kings of Zhou.

본고는 역사학, 도상학, 서예학적 관점에서 공의석굴(鞏義石 窟)의 북조시기 조상제기(造像題記)를 심층적으로 고찰했다. 특 히 조상제기의 내용에 치중한 선행연구와 달리 조상제기의 필 법, 결구, 장법, 풍격 등에 대해 전면적이고 상세한 분석을 진 행해 다음과 같이 객관적으로 유의미한 결론을 도출해 냈다. 먼저, 본고는 역사적 분기와 조상제기의 구체적 특징을 종합 적으로 고찰해 공의석굴의 북조시기 조상제기를 단순히 역사적 분기로 구분한 선행연구의 한계를 극복하고 조상제기의 서풍에 대한 분석을 처음으로 진행했다. 둘째, 공의석굴은 지리적으로 특수한 위치에 있어 북조시기 조상제기의 서풍에서 다원적이고 다층적인 양상을 발견할 수 있다. 즉 여러 왕조의 교체, 문화의 다원화, 지역적 특성과 같 은 요소가 작용해 서풍의 다양성을 표출하고 있음을 증명했다. 셋째, 공의석굴의 북조시기 조상제기에서 위비체(魏碑體)는 줄곧 주류를 차지했고, 동시에 주변의 다양한 요소들을 받아들 여 탈중앙화 경향이 강하게 표출해 예술적 가치가 높은 서풍을 구현해 냈다. 마지막으로, 공의석굴 북조시기 조상제기의 필법, 결구, 장법, 풍격을 치밀하게 고찰해 다소 소박하지만 천진난만한 조상제기 의 서풍을 규명해 냈다. 당시 유행한 복고풍의 예서, 남조 서풍 의 영향 등으로 인해 장엄한 ‘낙양체(洛陽體)’나 연미한 남조의 ‘이왕(二王)’과는 구별되는 공의석굴 만의 지역적 자연미를 표 출하고 있음을 객관적으로 정리했다.

The four angels standing on the four corners of the earth and the four winds of the earth by season are a same concept in a Shang Oracle Bone inscriptions. By the Yellow River in middle China, there are easterly winds during spring, southerly winds during summer, westerly winds during autumn and an northerly winds during winter. For example, when the Shang people saw the monsoon coming from the east for several days, they believed it shows that the angel of the east had come here, and announced that spring had come and they started farming. Even today the farmers are not only based on the calendar’s date to farm, also check up the new temperature keep for several days. Similarly when the southern monsoon comes and keeps, the Shang people know it is summer. However, due to seasonal lag, May, June, July, August and September are the warmest months in the middle China, it is not generally recognized that the four seasons on the calendar are equal. Two unearthed Shang bone tablets record the names (features) of the four angels on the four corners of the earth and their four winds of the earth, but so far wrongly explaining seven out of the eight characters in the bone script which name the four-end-wind inscription bone tablet. This paper deciphers the following bone scripts: The character Vibrate震 ( ), pictured that a mouth ( ) issues three forces ( ), which means shouting, the god shouting means thunderclap, the dog’s shouting means shock to awe, the belly’s shouting means pregnancy and birth娠. The character for sprout, separating out, spearing out and exploding out is depicted as Xi 析 ( ) , depicting an axe ( ) to a tree ( ). Thus, on the famous four-end-wind inscription bone tablet, the first inscription says 東方曰析，風曰震 “the east angel names Xi ‘dawn or budding’, the spring wind means thunder or birth (or the spring wind angle names thunder)”. The character Assist襄 ( ) is a picture of a host ( ) around two aliens (夷， ) and walk (行 ), it means the host helps the aliens to walk around his land. The picture is also seen as a Multiracial Zone, like a soil in which several grasses root togerther, thus it means Soil 壤. And the multi-race fusion leads culture prosperity, thus it means Rich and Varied 穰. The character Grow 長 ( ) is a person figure with long hair, in which the plant grows in a way similar to the man hair grows. One of the strategies is for the scribe to create a narrative picture (Chinese character) on the parable of the most familiar thing (for example, human body parts). Thus, the second inscription reads 南方曰襄，風曰長 “the south angel names Rich or Assistance, the summer wind means growth”. The character Dye 染 ( ), depicting a tree 木 ( ) with hatching 彡 ( ), it means the tree with multicolors, or dye is made from plants. The character Bride-kidnapping 彝 ( ), depicting two hands holding a girl with her arms back, it means marriage and extends the meaning of the cardinal law. In other perspective, it means Capture, Receive and Harvest 收 ( ). One shape is with two functions in Chinese characters. Thus, the third inscription says 西方曰染，風曰收 “the west angel names Dye or Color, the autumn wind means harvest”. The character Hug, Pack, Wrap and Womb 勹（ ）is a figure of a woman bows down and hugs a baby but the baby is omitted. Similarly a script for riding a horse is depicted as Yi 夷 and Qi 騎 ( ， ， ), the horse is omitted. The character Destroy毀 ( ), composed of an honoust man ( ) under the hand-mallet ( ). Thus, the fourth inscription says 北方曰包，風曰毀 “the north angel names Pack or Seed, the winter wind means destruction”. The first three pairs of characters Sprout-Birth, Enrich-Growth, Colour-Harvest are mutual glossing, the last pair of characters Pack-Destroy is in opposite, which forms a cycle.

Modern attempts to decipher the Shang bone scripts have been hampered by the fundamental assumption that the scripts are recordings of the sound of the language and not ideas. Some phonetic “translations” could be proposed without the possibility of verification, and some graphic “translations” without meanings are seen as the names of sacrificial rituals by previous scholars. Actually, a character is derived from a thought, and the thought is derived from a figuration, while the figuration itself is derived from the graphed object or event. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Based on the bone scripts being ideograms, several bone scripts used frequently for the names of the day were assumed to be the moon phases; thus, the time interval between two corresponding days with its moon phase was calculated for verification. Extensionally, according to the time interval between the two days, and the moon phase recorded on the bone tablets (or bronze wares) and the chronological table of the kings of Shang compiled by the pre vious scholars, the assumptions of the moon phase characters are attested by the calculations of the numbering days of the solunar date. Solunar dates (Chinese: Gan-Zhi 干支) were used to record dates with a cycle of 60 days. Conversely, on consideration of the dates and moon phases for the bone inscription events, the prevous chronology is improved with iterative methed, and we propose new chronology for Shang kings. In addition, through computation, three records of a lunar eclipse on the Shang bronze inscriptions and on the Zhou bronze vessels are newly recognized, which helps to reconstruct the years of the kings of Shang and of the kings of Zhou; the Shang bone calendar’s New Year started from the summer solstice of the year, from the full moon of the lunar phase and from the dawn of the day.

This article explores the socioreligious background of the Shang dynasty oracle bone inscriptions from an unconventional perspective by analyzing the use of oracular language in epigraphic texts found on slightly later ritual bronze vessels. While this phenomenon has so far received little scholarly attention, the author argues that the cross-contextual occurrence of oracular terminology indicates a relationship between the two types of epigraphic texts and the social discourses from which they were created. Drawing on parallel passages in other bronze inscriptions, the author examines the precise meanings of the two most common oracular phrases and proposes that they belonged to a technical terminology that shared fundamental conceptual characteristics with later legal jargon. Addressing the communicative intention behind their use, the author points out that oracular language is generally placed in prominent positions in bronze inscriptions and appears in various highly ritualized and ceremonial interactions between humans and the ancestral spirits. Based on these observations, the author concludes that the bronze inscriptions support the view that the Shang dynasty oracle bone inscriptions were written for administrative and specialized purposes and were embedded in a much wider network of communication practices between humans and supra-human powers.

Human sacrifice in the Shang Dynasty (1600 BC – 1046 BC) refers to the practice of killing of human beings in rituals such as slaves, war prisoners as offerings to divine patrons and ancestors. The reason for this is the worship of the ancestors and the sacrifice of slaves to the gods to expand the ranks of their ancestors in another world. This paper aims to demonstrate that the Shang culture was based on human sacrifice to the wife of a king of Shang called Female Ancestors(xianbi 先妣) and the focus of this article is qualified xianbi of enjoying sacrifice in oracle inscriptions of Shang Dynasty. This research shows that xianbi had a quite high status in Shang dynasty, they enjoyed the same species of human sacrifices and animals with male ancestors(xianwang 先王). These results are evidence showing that the status of men and women were equal in the royal system of Shang Dynasty.

The people of Shang Dynasty were superstitious, advocating ghosts and gods. They liked divination to ask the gods for anything, and used this to judge the good and bad. Therefore, ‘disaster’ and ‘auspicious’ are two very important aspects of divination. For the words about disaster in oracle-bone inscriptions, the predecessors have done more systematic studies. However, there is relatively little systematic research on words related to ‘auspicious’. So this paper focuses mainly on the words that few scholars have discussed before, and compares their glyphs, meanings, modified things and grammatical aspects between oracle-bone inscriptions and bronze ones. After the systematic comparison and analysis, it draws the following conclusions. First, in terms of the glyphs and meanings, the components and combinations of the words in the oracle-bone inscriptions are mostly stable, but the meaning extension method is simple and very imperfect. Second, in terms of the types of things modified, and in comparison with the category of the bronze inscriptions, that of the oracle-bone ones is more and more detailed, and at the same time, the focus of the oracle-bone ones is different from the ‘person’ to which the bronze ones pay attention as the focus of them is on the ‘event itself’. Last, in terms of grammatical functions, the words are more independent in the oracle-bone inscriptions than in the bronze ones, having the usage of single-word sentences. But they cannot be used as attributives, and the stability of grammatical functions is not as good as that in the bronze ones. Through the analyses and conclusions above, this paper shows the synchronic distribution, the diachronic development, and the characteristics of the words in the oracle-bone inscriptions in a comprehensive way. It also demonstrates the ideology and culture of Shang Dynasty and Zhou Dynasty, which can be summed up as ‘from the theocracy-centered to the ruled-by-men’.

It is at present generally believed that there was only 疾 but not 病 in the disease-related oracle bone inscriptions. This implies that there was no distinction between the two characters in the late Shang Dynasty, and that their concepts were not thoroughly understood in the Yin and Shang dynasties either. It was not until the middle of the Warring States period that the word 病 began to gradually replace the word 疾. In the early years of the Western Han Dynasty, the word 病 had a slight advantage. Since the Eastern Han Dynasty, the meanings of 疾病 (disease) and 生病 (to catch a disease) have been basically used instead of 疾. However, from the oracle bone inscriptions, there are about two kinds of characters: 、 and . These different types of hieroglyphs indicate different situations. The word 疾 in oracle bone inscriptions has not merely different glyphs but different concepts of human diseases as well. Therefore, this paper intends to trace back to the concept and usage of 疾 and 病 in the late Shang Dynasty from the shape of the word 疾 in oracle bone inscriptions, and to the evolution of the meanings of 疾 and 病 in ancient literature.

국립문화재연구소는 고대부터 조선초기까지의 금석문 2,940건에 대한 탁본 이미지, 개요, 판독문, 해석문을 DB화하고 웹사이트(한국금석문종합영상시스템http://.gsm.nricp.kr) 를 구축하여 2006년부터 서비스하고 있다. 그동안 이 사이트는 금석문 연구자들에게 유용하게 활용되는 한편 자료 업데이트, 탑재된 정보에 대한 오류 수정 등 지속적인 관심과 요구를 받아 왔다. 또한, 2013년 문화재청은 전국 금석문 목록조사 결과에 의해 우리나라에 11,500여건의 금석문이 소재되어 있다고 밝힌 바 있다. 이런 점들을 종합적으로 고려하여 연구소는 올해부터 ‘한국 금석문 학술정보 구축’을 시작하였다. 금석문만이 지니고 있는 역사적 가치와 학술적 활용성이 크기 때문에 이 과제의 추진을 지지하고 성원하는 연구자들도 많지만, 반면에 그렇지 않은 이들도 적지 않다. 이에, 본 논문은 금석문이 역사적으로 어떻게 인식되고, 연구되어 왔는지에 대한 고찰을 통해서 금석문의 중요성과 금석문 학술정보 구축의 필요성을 환기시키고자 하였다.

The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

‘率’ has only one shape in Yin-Shang scripts. However, from the early to middle Western Zhou Dynasty, there appear several other variants with components of ‘止’, ‘彳’, ‘’, ‘’, ‘行’, ‘’, respectively: ‘’, ‘’, ‘’. In the Chu bamboo slips, ‘’ with the component of ‘’ is common, and there also exists ‘’ with that of ‘行’. Based on these observations, this article demonstrates that, in bronze inscriptions and Chu bamboo slips, ‘’ and its provincial variants all together express the meaning of military leadership, which is supported by consistent data from the early Western Zhou Dynasty to the Warring States Period. From the late Western Zhou Dynasty, the four dots in ‘率’ begin to be omitted or interchanged with ‘行’ and ‘止’. However, ‘’, ‘’ and other variants are all active verbs denoting ‘to lead’ and ‘to command’ in a war. Looking at ‘率’ found in Chu bamboo slips makes it clear that its main shape is ‘’ which is also used as an active verb denoting ‘to lead’. From its shape and meaning, it is seen to be equivalent to ‘’ in Jinwen and Shuowen. All the abovementioned character shapes containing ‘止’ are, in fact, variants of ‘’. However, the characters of ‘’ and ‘’, which only contain ‘行’ and lack ‘止’, have a different meaning in Jinwen and Chu bamboo slips from those containing the radical of ‘止’ such as ‘’ and ‘’. The former is passive verbs denoting ‘to be led’ and ‘to follow’. This group of variants is equivalent to ‘率’ in the pre-Qin period, which seems to be a consistent rule in the pre-Qin script.

The intent of this paper is to introduce a method of deciphering oracle bone characters; specifically the interpretation of the Compound Ideograph. Utilizing this method, the article applies known characters to hypothesizing the expression of unknown characters. This view of Chinese characters comes from such work as I Ching or Classic of Changes and Shi-poem or Classic of Poetry, where the figurative mean and depiction of a realistic scene or parable are captured and symbolized within a pictorial representation or ideograph. By returning pictographic combinations to the realistic scene, all the meanings of an ideograph are derived from the scene and scene’s parable. The following explains the correlation between the combinations with the intended meaning. The ideographs are shown in that the first part is the pronunciation sound in Chinese while the second part in italics is the scene combined pictographs. [1] The English character of Bow for shooting arrows is borrowed figuratively to express “to bend the knee or body, as in reverence, submission”, “to cause to bend; make curved”, and is extended to Bowl to denote the Container figure like a bow. [2] The character of Sol means the sun, and its scene maps a lonely man like the sun without partners around, so Sol is used to denote solitary (alone, lone), sole (single), etc. in its figurative sense. [3] The Chinese character Gou-ear (句) is a scene of the ear with an ear-hook. Gou-ear means the hook in ear’s figurative sense, for a man uses his ear as a hook, or an ear looks like a hook on the wall. In another perspective, Gou-ear depicts Be-hooked, meaning Arrest, Capture, or Chain-up. When an ancient encounters a hook or a man stooping to work, and tries to tell others about it, he may say a tool like the ear (projecting out of the head) or a man working like the ear (figure), which is similar to saying that it looks like a bow in the West. [4] A character Fu-man:tiger (赴) is made of a tiger and man, reading ‘the tiger is like a man standing up’. A scene-parable of the tiger standing suggests “pounce, jump”, extending its meaning to “go to like a tiger jump, dedicate on”. It is a man determinative ideograph: the tiger is determined by a man standing. ‘Man is read as his feature: standing’ is called semantic loan. Similarly, Yue-man:deer (跃), means a deer like a man standing, also meaning a leap. Xiong-man:pig (熊) means a bear; a pig standing is like the bear. [5] A character Lian-ear:mouth (聯) is a narrative scene of the mouth-ear-mouth, words to words through the ear, telling a narrative story of people that are connected in the ear in the wild restricted visibility, which is derived to the connection, union, and contact. [6] Dong-kid (動) means a move, a scene of a boy (semantic loan), for a child’s behavior is the non- stop action for a moment. [7] A character Yu-pup:gape (欲) is a scene of the mouth opened up, which maps ‘want’. Man’s want means wish, man’s want from heart or by nature is hard to draw and ancient Chinese oracle priest to draw ‘animal’s want’, which was used metaphorically to mean the very wish, appetite, and desire (sex, material). Overall, an ideo-character is a narrative picture or story which tells thoughts or ideas, not record language words, and then is pronounced the glyph in it later. Thus the character creates the word.

Integration of Jinshi Inscriptions in Korea (《韓國金石文集成》) is the latest and the most huge academic achievement in Korea in recent years. The authors are Im Segwon and Yi Youngtae. The compilation style is very logical. And the textual research include annotations and translations correspond with the rubbing, It’s also practical and easy to handle. However, lots of mistakes exist in the book. The article divides the mistakes into three groups: mistakes of the figures of characters (mistakes of recognition, non-recognition and lack of characters), mistakes of punctuations and technical operation mistakes. The article cites 14 supports. Finally, the basic research is able to be helpful for future studies of stone inscription.

이 논문은 제3차, 4차, 5차 교육과정기의 교과서를 통해서 갑골문 학습의 양상을 밝히고, 당시 갑골문 학습의 문제점을 밝혀 낸 것이다. 제3차, 4차, 5차 교육과정기에는 분석 대상의 교과서들이 單體字 위주로 甲骨文 한자를 제시하고 있다. 合體字는 본디 會意字와 形聲字의 造字 原理를 제시할 수 있음에도 불구하고 갑골문으로 제시 된 合體字는 會意字와 形聲字의 조자 원리를 제시하지 않았다. 또한 대부분 ‘중학교 한문 교과서’의 주로 초기 단원 또는 ‘중학교 한문1’에서 甲骨文을 제시하고 있다. 이는 초기 학습에 字源을 제시할 목적으로 제시한 것일 뿐이다. 상형자의 특징을 보여 주고 한자의 변천 과정과 함께 제시하여 字源 을 통해서 한자를 익히도록 했다. 제5차 한문과 교육과정 해설에서는 ‘內容體系(한문과 교육의 구 조)’가 처음으로 분류 제시되었다. 內容體系는 ‘漢字, 漢字語, 文章’으로 체계화되었으며, 그에 따라 교과서의 소단원에서 ‘본문 이해’의 구성을 ‘한자의 짜임(구조), 한자어의 짜임(구조), 문장의 구조’ 로 제시하였다. 그러나 매 소단원의 한자의 짜임은 楷書를 위주로 ‘한자의 짜임’을 반복 제시하였다. 오히려 甲骨文에 따른 자원 교육은 앞서의 제3, 4차 교육과정기보다도 감소되었다. 제3, 4차 교육과 정기 교과서의 갑골문 제시는 한자의 자원을 보여주기 위한 것으로 제시되었으나, 합체자의 회의자 나 형성자의 자원을 제시하지는 못했다. 제5차 교육과정기 교과서는 ‘한자의 짜임’을 내용체계에서 체계화했으나, 자원 제시 및 자원 해설과 자체 변천 과정 제시는 이전 보다 약화되었다. 제3, 4, 5차 교육과정기의 자원 제시는 체계성이 부족함이 밝혀졌다.

Citing Zhouyi has formed a considerable number of allusive forms in Stone Inscriptions from WeiJin, Southern and Northern Dynasties to Sui Tang and the Five Dynasties, many of which has disappeared from the Chinese Dictionary. This paper mainly collates the allusive forms of citing Qian、 Zhun and Meng in Stone Inscriptions, and interprets the meanings of the allusive forms which are not in the Chinese Dictionary, and differentiates the meanings of the allusive forms in the Chinese dictionary.

四柱命理學은 시간의 吉凶을 해석하는 학문이다. 그렇다면 처음 四柱의 年月日時라는 시간 의 기록은 언제부터 시작되었으며, 여기에 吉凶의 의미가 부여된 것은 어느 때부터일까. 고대 인들은 天文을 통해 일 년과 四時라는 시간의 기점을 만들었다. 특히 해와 달의 변화를 관측 하여 만든 시간의 의미는 신화를 통해 10개의 태양으로 표현되었는데, 이는 태양숭배 사회인 商나라에서 통치 전반에 영향을 미치는 중요한 가치체계가 되었다. 그들은 10일을 旬의 단위 로 사용하였고, 10개의 태양과 12달을 의미하는 글자를 혼합하여 60干支로 조합된 달력을 만 들었으며, 天干의 명칭으로 조상의 묘호를 삼아 제사를 지내었다. 甲骨文에서 時는 해의 밝기 나 생활관습에 따라 이름 지어졌으며, 달과 윤달은 朔望의 순서에 따라 숫자로 매겨지고, 年 은 거의 기록되지 않았다. 干支는 날의 표기부호로만 사용되었는데, 甲骨文 卜辭의 신탁과 그 것의 실현 여부를 대조하여 庚, 乙, 辛, 丁, 甲의 날이 점차 길한 날로 인식되었다. 길한 날은 조상들의 묘호와 제사의 이름이 되었으므로, 점차 미리 점을 치지 않아도 天干을 통해 길한 날을 알 수 있게 되었다. 商代의 날짜 표기 부호인 干支는 고대를 거쳐 축적된 天文學的 지 식과 商代의 甲骨文化 속에서 시간에 吉凶의 의미를 부여하는 단초가 되었다.