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Three trends of Shao Yong’s Yixue in the Song Dynasty
Author: Li Zhen (School of Philosophy, Chinese Academy of Social Sciences)
Source: “History of Chinese Philosophy” 2025 Issue 2
Abstract: The Yixue system proposed by Shao Yong of the Northern Song Dynasty, which focused on “Afterday Picture” was highly valued by scholars in the Song Dynasty, and many people have been praised by scholars in the Song Dynasty. The two Song scholars’ comments on Shao Yongyi’s learning were developed in the following three aspects: Zheng Zi, Chao Zhi, and Zhu Zhen interpreted the numbers of Shao Yongyi’s learning in the Hanyi’s logic, and emphasized the “wonderful and varied” in this; Shao Bowen, Wang Xi, and Zhu Zi were more in the Songyi’s colors, paid attention to the connotation of Shao Yongyi’s learning, and explored the “natural and simplified principles” in this; the school of arts led Shao Yongyi to the calculation to form a destined historical view. The difference between Han and Song dynasties and the difference between learning and art became the basic thread of Shao Yongyi’s development in the two Song dynasties and later generations.
Keywords: Shao Yong, Han Yi, Song Yi, theorem
Shao Yong of the Northern Song Dynasty used the “Afterday Picture” as the focus of “Afterday Picture” to refresh the various characteristics of traditional Yi from the most basic level, which can be said to the large number of iconic Yi in the Song Dynasty and the relativity of the Han Song Yi. This historical position won not only Shao Yong’s personal achievements, but should be regarded as a school-like result. Due to the many differences and differences between students who presented the scene, Shao Yongyi learned from the Northern Song Dynasty to the Southern Song Dynasty and Shao Yongyi’s learning process of gradually building a school of continuous enrichment of its connotations. Assessing this complicated history has the main meaning of fully mastering Shao Yongyi’s learning.
The comments made by scholars in the Song Dynasty about Shao Yongyi’s learning were mostly developed in the three directions of Hanyi, Songyi and art, especially the two in the past. The confrontation and interaction between different and confrontation not only breaks down the basic threads developed by Shao Yongyi, but also shows the transformation path of Hanyi to Songyi as a whole.
1. The Hanyi commentary of Shao Yongyi learning
Shao Yongyi learning has a compatible or communicable reproduction and complexity: whether it is a scholar who works in traditional Hanyi or a scholar who has a stronger self-view of Song Yi, they all saw their own thought resources in Shao Yong, and they all made distinctive comments on it from their own perspectives. Under the Hanyi Sui, the statements of Zheng Zu and Chao from the Northern Song Dynasty and Zhu Zhen from the Southern Song Dynasty are the most representative.
Zheng of the same era as Shao Yong was a student who had developed the Shao Yixue earlier and profoundly. Zheng Jie also worked as a school student in Liu Mu and Shao Yong.The price of is known as the historical case of later generations because of the “require” Shao Yong’s hexagram. The author once said that the real boss of Zheng Jie, Ye Qiukun: How could she be destroyed in the knowledge show? Did the author eat the characteristics of the story? The 官网 was learned from the perspective of changing the hexagram rather than forming the hexagram. This hexagram change perspective represents the ordinary understanding of the learners at that time. (1) Now, hexagram changes are actually a kind of study with the classical style of Hanyi. The duality of Qiankun in Hanyi is its background color, so it is said that Qiankun is the beginning of the hexagram, rather than the Ethereum as the foundation of Qiankun; what is more concerned about is how to describe the wrong and complicated process of change, rather than how to summarize the truth of change. Zheng Yu discovered Shao Yongyi from the perspective of hexagram change. The important thing to confess that he was to understand Shao Yong under the constraints of Han Yi. It is precisely in this meaning that the record of “Dream Creek Enquiry” on the transformation method of Zheng Jue Gua specially highlights the four words “Qian Kun Error” (2) to see its characteristics and theme. This represents a tagged purpose of Hanyi.
The relationship between Zheng Yu and Zheng Yu shows the differences between Shao Yong and Han Yi from the perspective of hexagram. Chao later said that the important thing is to associate Shao Yong and Han Yi from the perspective of hexagram. Chao said that he was born in the Huaxia Wen family. In order to learn “broaden the genius of many people, especially the vocational school” (3), he studied the Han people of the sect leader Meng, Jing, Zheng and Yu in Yixue, and denounced Wang Bi, saying that “it is impossible for Xiao Wang to be in one day to be inclusive” (4). As a master of Hanyi who was a handful of Master of the Northern Song Dynasty, Chao Zhizhi admired Shao Yong throughout his life, and this is worth noting. It seems that he confessed that Shao Yong’s academic skills have a certain kind of integrity in Chao Zhizhi’s eyes. In fact, it’s exactly like this. In Chao’s opinion, the difference between Shao Yong’s teachings is that he accurately describes the process of change, especially able to adapt to the rhythm of the natural seasons, which is exactly the goal of the Hanyi Gua Qi. In “The Preface to the Reflection of Yi Xuanxing”, Chao said that:
Wen Gong also wrote “Xuan Qi” by writing “Taishi Yu”. The meaning is more diligent, but it is not clear in a brief manner. Then he got the “Xuantu” of the chief teacher Kang’s “Xuantu”, which sets stars and diffuses, distinguishes the weather and nights, and the “Yi” and “Xuan” are very clear in the middle. (Volume 10 of “Songshan Collection”, page 3 to page 4)
Chao said that Shao Yong’s “Taixuan Jingyi Picture” understood the changes in stars, climate, and night, which enabled Sima Guang’s brief “Xuanxian”. (5) Here, Shao Yongyi, who is a combination of hexagrams and lines, is clearly regarded as a hexagram. (6) Shao Yong extended the hexagram to a new level, and Hanyi reached Shao Yong and saw more and more. This is the origin of the origin of Chao’s thoughts, who is a scholar of Hanyi. It is precisely in this meaning that Chao saidIt is proposed that only those who are familiar with the Jingfang Yi study can “can say “Shao Kang’s Yi” (Volume 18 of Songshan Collection, page 6); and the following recommendations of “Jian Yi Tang Record” should also be understood in the meaning of Han Yi:
Senior Teacher Kang’s teacher is outstanding in talent, but he does not give a pillow at night. However, he has been studying the “Yi” for thirty years, and he has three talents, and the wonders of the transformation and enlightenment are very clear. (Volume 16 of “Songshan Collection”, page 11)
From the main theme of Chao Shuai’s academic performance, the “miscellaneous changes” here is not a reference to the hexagram change, but it should be mainly about the hexagram atmosphere. However, as a macro-viewing positioning, the six-character “the wonderfulness of mismatch” does not harm the six words “the wonderful thing about the transformation” covers the two aspects of hexagram change and hexagram atmosphere, and combines the overall characteristics of Shao Yongyi in the eyes of Hanyi students: the achievements of Shao Yong’s learning are in detail engraving the reconciliation of changes. This understanding is in-depth different from the “natural tidy principles” that Zhu Zi and others read on Shao Yong later.
Zhu Zhen, who was named after the southward transition, was another town of Hanyi Mathematics in the Song Dynasty. Its comments on Shao Yongyi were different from the above two digits. The important thing was to be expanded from the perspective of the image. In the famous “Entering the Book of Changes”, Zhu Zhen made the following judgments on the learning of the Five Sons of the Northern Song Dynasty and Liu Mu: Therefore, Yong wrote the book “The Emperor’s World”, Mu Chen’s 55% of Liuhe, Dun wrote the “Tong Shu”, Cheng’s “Yi Ji”, and compiled the “Taihe” and “Gongwu”. Some people understand their phenomena, some people discuss their numbers, some people convey their differences, some people understand them at the same time, and they sing and reconcile them to form the inside and outside. (The first volume of “Tongzhitang Interpretation”, page 194)
From Zhu Zhen’s special study of the silence in the notes of “Hanshang Yiqiu” was just as Ye Qiuguan was still thinking, the program began to be recorded again. Judging from Jiabin’s attitude, his “both both understand” here refers to Zhang Qiu, which means that as long as Zhang Qiuyi learns to achieve the combination of image, number, and rebellion; while Shao Yong, Cheng Xi and other schools “may discuss their numbers TC: