岩画中的中医学“生”思想起源研究
|
摘要
回顾中医学发展的历史,我们可以看到中医学自《黄帝内经》成书之日起,即建成了自己的理论大厦,理论结构构建的任务基本实现。中医学发展数千年,直至今日仍保持着高度的生命力。作为中国古代科技的重要组成部分之一,我们将中医学与其他中国古代科技发展轨迹进行比较之后,发现一个重要的现象：中医学没有发生哥白尼式的革命,也就是革命式的变革。这一特点也一直被用来说明中医学何以能够保持持久、旺盛的内在生命力的这一理论现象。中医学,总的来说,是一门以治疗、预防生理疾病和提高人体生理机体健康为目的的学问。中医学建立之初的目的和其在后续发展中逐渐形成的最高追求都可以用一个字——“生”——来概括,对此,古圣先贤已给我们进行了很好的总结,《汉书·艺文志》中说：“方技者皆生生之具”。
“生”思想是中医学理论体系中的重要组成部分。中医学,在理论建设的过程中形成了独特的宇宙观与人生观,在本体论上独具特色,在认识论上形成了至今仍有极高价值的思想。通过研究,学者们指出中医学的理论、实践始终紧紧围绕着一个主题——“生”的观念——而展开。中国哲学说“生”是天地万物生化之本。首先,“生”是起点,万物皆有起始阶段,就好比老子所说之“婴儿”；其次,“生”也是过程,中医学“调和阴阳”,以求“阴平阳秘”,其间创造了很多良方妙药、治则治法；再者,“生”还是目的,长生久视是很多人的追求与向往；最后,“生”也是结果,一切医学的实践,尤其是中医学的临床实践,其根本目的在于延长人的生命,提高人的生活质量,至于致病的疾病是否被攻克,中医学反倒不是那么在乎,只要人体协调,疾病与人共存也是可以被接受的。由此可见,“生”是世间万物流转的全过程,每个阶段、任一事物都通过“生”来体现存在的价值。
先秦典籍中有关“生”的思想相当丰富,从文献的角度来看,中医学“生”思想深受先秦哲学“生”思想的影响。对此,前人已做大量的工作。但是,从岩画这一重要的史前历史文明的遗存中寻找中医学“生”思想来源这一方面的研究到目前为止还基本上是空白。联合国教科文组织说,99%的史前文明是岩画。岩画是文字诞生之前很重要的一种记录和传播信息的载体。古代先民们利用广布于天地之间的岩石为画布,将思想、情感勾勒在岩石表面,虽历经千年的风雨侵袭,时至今日仍毫无掩饰的展现在后人的面前。今天的我们可以通过那看似粗陋的技法、不规则的画面布局、含义多样的符号与图案,来了解古代先民的思想、哲学、生活与社会。中医学“生”思想的发生学研究也应该从这一重要的文化宝库中寻找相应的线索。
中国现已发现的岩画虽然不是世界上创作年代最久远的,但关于岩画的最早的文献记载却在我国。北魏郦道元所著之《水经注》开岩画记载之先河。后世许多文献中都可以找到大量的有关岩画的记载,在各种地方志中关于岩画的记载更加丰富。岩画是记录史前先民精神的产物,通过内容的分析,笔者发现岩画所反映的内容都是与“生”息息相关的内容。岩画中有着丰富的自然岩画,比如动植物类岩画,同时还存在着大量的人面岩画、生产生活岩画、符号化的图案岩画,这些内容与人的生命、生活有着密切的联系。生命始终是岩画的主要内容之一。岩画中已经出现了“生”思想的起源,并且已经形成了一定的思维模式与特点,这对后世文化的发展起到了重要的奠定性的作用。
岩画崇尚生命,形成了独特的生命思想,这是中华生命文化的起源阶段,也是中医学“生”思想的重要渊源之一。通过比对发现,岩画中一些草形或树形图案与“生”字的起源有密切的关系。男女交媾图案与生命崇拜图案对中医学以生命为贵思想的产生起到了积累的作用。
在思维方式方面,岩画中已经开始出现全景式图案的创作,这所体现的正是整体恒动性的思维特点。岩画中出现的符号图案已经开始具有固定的内涵,且在一定范围内达成共识,从具象到意象的转变在岩画的创作过程中已经开始产生。
岩画中反映生命的图案数量很多,并且已经开始有意识的将“生命”置于一定的关系中。关于“天与生命”关系的认识在岩画中已有所体现,并且岩画中还展现了天人关系转变的过程,这与中医学“生”思想中天人观转变的内容有一定的互渗性。
岩画中关注天象的传统展现了先民们关于天象与生命关系的认识,其中已经出现了朴素的阴阳观,中医学所认识的生命存在方式在岩画中也能找到经验和理论来源。
Since the Huangdi Neijing was finished, which provided the foundation for the traditional Chinese medicine (TCM) throey, the TCM exhibited its vitality until now. Compared with the other Chinese ancient science and technologies, there was no actual revolution in the development of TCM. TCM, aimed to prevent or cure physical or psychological disorders, seek to the creation of life, healthcare and the pursuit of longevity of life. So-called, the most value of the nature is life.
The thought of life is an important part of TCM. Based on the thought of life, TCM developed its world outlook、outlook on life、ontology and theory of knowledge. Life is the beginning for the nature, just like the baby said by Laotzu; life is the process, in which TCM crate many good treatment to achieve the balance between the Yin and Yang; life is the goal which was seek by many people; life is the result of clinical practice, which aim to improve the people's life. So, life is the process of the motion of the universe, which incarnate the basic value of nature.
There was abundant record of life theory in the ancient codes and records of Pre-Qin. The life thought of TCM was influenced deeply by the life thought of philosophy of Pre-Qin. Tri-fold Evidence Methodology told that the remains of the prehistoric civilization was the an important source for the study of TCM's life thought. The United Nations Educational, Scientific and Cultural Organization (UNESCO) said that 99% of prehistoric civilizations were the rock arts. The rock art was the significant dissemination for media and information record. The ancient people record their thoughts and feelings on the surface of rocks. Though existed in the nature for thousands years, we can get a close touch with the ancient people's thoughts, philosophy, life and society from the simple technique, anomalous distribution and abstract designs. There must be some important resources for the study on TCM's life thought.
The earliest record of rock arts was the Shui jingzhu by Daoyuan Li in China. We can find many records in the books after, especially in the local chronicles. Rock arts record the ancient people's life, face & body, animals and plants and symbols. Life was always the major content of rock arts, which influenced on the developing of the culture after.
Rock arts uphold life, which was identical with the TCM' s theory. Through comparison, some grass or tree rock arts were connected with the character "Sheng". The copulation rock arts and baby rock arts contridute to the thought of adoring life.
In the study of thinking patterns, we found the rock arts began to represent the overall thinking characteristic. The symbols began to have the fixed connotation. The changes from reproduction to image were appeared in the rock arts.
There are many rock arts referring to the life, and put the life in the relationship net. The rock arts began to discuss the relationship between nature and people, and the relationship had changed, which must have a further influence on the views heaven and man
Rock arts had the tradition to record the Celestial Phenomena and began to understand the relationship between the Celestial Phenomena and life, which contained the unvarnished Yin-yang Theory. The mode of existence of life from the TCM perhaps oriented from the rock arts.
“生”思想是中医学理论体系中的重要组成部分。中医学,在理论建设的过程中形成了独特的宇宙观与人生观,在本体论上独具特色,在认识论上形成了至今仍有极高价值的思想。通过研究,学者们指出中医学的理论、实践始终紧紧围绕着一个主题——“生”的观念——而展开。中国哲学说“生”是天地万物生化之本。首先,“生”是起点,万物皆有起始阶段,就好比老子所说之“婴儿”；其次,“生”也是过程,中医学“调和阴阳”,以求“阴平阳秘”,其间创造了很多良方妙药、治则治法；再者,“生”还是目的,长生久视是很多人的追求与向往；最后,“生”也是结果,一切医学的实践,尤其是中医学的临床实践,其根本目的在于延长人的生命,提高人的生活质量,至于致病的疾病是否被攻克,中医学反倒不是那么在乎,只要人体协调,疾病与人共存也是可以被接受的。由此可见,“生”是世间万物流转的全过程,每个阶段、任一事物都通过“生”来体现存在的价值。
先秦典籍中有关“生”的思想相当丰富,从文献的角度来看,中医学“生”思想深受先秦哲学“生”思想的影响。对此,前人已做大量的工作。但是,从岩画这一重要的史前历史文明的遗存中寻找中医学“生”思想来源这一方面的研究到目前为止还基本上是空白。联合国教科文组织说,99%的史前文明是岩画。岩画是文字诞生之前很重要的一种记录和传播信息的载体。古代先民们利用广布于天地之间的岩石为画布,将思想、情感勾勒在岩石表面,虽历经千年的风雨侵袭,时至今日仍毫无掩饰的展现在后人的面前。今天的我们可以通过那看似粗陋的技法、不规则的画面布局、含义多样的符号与图案,来了解古代先民的思想、哲学、生活与社会。中医学“生”思想的发生学研究也应该从这一重要的文化宝库中寻找相应的线索。
中国现已发现的岩画虽然不是世界上创作年代最久远的,但关于岩画的最早的文献记载却在我国。北魏郦道元所著之《水经注》开岩画记载之先河。后世许多文献中都可以找到大量的有关岩画的记载,在各种地方志中关于岩画的记载更加丰富。岩画是记录史前先民精神的产物,通过内容的分析,笔者发现岩画所反映的内容都是与“生”息息相关的内容。岩画中有着丰富的自然岩画,比如动植物类岩画,同时还存在着大量的人面岩画、生产生活岩画、符号化的图案岩画,这些内容与人的生命、生活有着密切的联系。生命始终是岩画的主要内容之一。岩画中已经出现了“生”思想的起源,并且已经形成了一定的思维模式与特点,这对后世文化的发展起到了重要的奠定性的作用。
岩画崇尚生命,形成了独特的生命思想,这是中华生命文化的起源阶段,也是中医学“生”思想的重要渊源之一。通过比对发现,岩画中一些草形或树形图案与“生”字的起源有密切的关系。男女交媾图案与生命崇拜图案对中医学以生命为贵思想的产生起到了积累的作用。
在思维方式方面,岩画中已经开始出现全景式图案的创作,这所体现的正是整体恒动性的思维特点。岩画中出现的符号图案已经开始具有固定的内涵,且在一定范围内达成共识,从具象到意象的转变在岩画的创作过程中已经开始产生。
岩画中反映生命的图案数量很多,并且已经开始有意识的将“生命”置于一定的关系中。关于“天与生命”关系的认识在岩画中已有所体现,并且岩画中还展现了天人关系转变的过程,这与中医学“生”思想中天人观转变的内容有一定的互渗性。
岩画中关注天象的传统展现了先民们关于天象与生命关系的认识,其中已经出现了朴素的阴阳观,中医学所认识的生命存在方式在岩画中也能找到经验和理论来源。
Since the Huangdi Neijing was finished, which provided the foundation for the traditional Chinese medicine (TCM) throey, the TCM exhibited its vitality until now. Compared with the other Chinese ancient science and technologies, there was no actual revolution in the development of TCM. TCM, aimed to prevent or cure physical or psychological disorders, seek to the creation of life, healthcare and the pursuit of longevity of life. So-called, the most value of the nature is life.
The thought of life is an important part of TCM. Based on the thought of life, TCM developed its world outlook、outlook on life、ontology and theory of knowledge. Life is the beginning for the nature, just like the baby said by Laotzu; life is the process, in which TCM crate many good treatment to achieve the balance between the Yin and Yang; life is the goal which was seek by many people; life is the result of clinical practice, which aim to improve the people's life. So, life is the process of the motion of the universe, which incarnate the basic value of nature.
There was abundant record of life theory in the ancient codes and records of Pre-Qin. The life thought of TCM was influenced deeply by the life thought of philosophy of Pre-Qin. Tri-fold Evidence Methodology told that the remains of the prehistoric civilization was the an important source for the study of TCM's life thought. The United Nations Educational, Scientific and Cultural Organization (UNESCO) said that 99% of prehistoric civilizations were the rock arts. The rock art was the significant dissemination for media and information record. The ancient people record their thoughts and feelings on the surface of rocks. Though existed in the nature for thousands years, we can get a close touch with the ancient people's thoughts, philosophy, life and society from the simple technique, anomalous distribution and abstract designs. There must be some important resources for the study on TCM's life thought.
The earliest record of rock arts was the Shui jingzhu by Daoyuan Li in China. We can find many records in the books after, especially in the local chronicles. Rock arts record the ancient people's life, face & body, animals and plants and symbols. Life was always the major content of rock arts, which influenced on the developing of the culture after.
Rock arts uphold life, which was identical with the TCM' s theory. Through comparison, some grass or tree rock arts were connected with the character "Sheng". The copulation rock arts and baby rock arts contridute to the thought of adoring life.
In the study of thinking patterns, we found the rock arts began to represent the overall thinking characteristic. The symbols began to have the fixed connotation. The changes from reproduction to image were appeared in the rock arts.
There are many rock arts referring to the life, and put the life in the relationship net. The rock arts began to discuss the relationship between nature and people, and the relationship had changed, which must have a further influence on the views heaven and man
Rock arts had the tradition to record the Celestial Phenomena and began to understand the relationship between the Celestial Phenomena and life, which contained the unvarnished Yin-yang Theory. The mode of existence of life from the TCM perhaps oriented from the rock arts.
引文
[1]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,19.
[2]陈兆复.岩画：人类早期的视觉表达[J].西南民族大学学报.2003,24(12),12-16.
[3]王国维.《水经注校》[M].上海：上海人民出版社,1984,35.
[4]岑家梧.《中国原始社会史稿》[M].北京：民族出版社,1984,47.
[5]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,208.
[6]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,208.
[7]王天军.西域岩画与古代狩猎岩画[J].西安体育学院学报.2003,20(3),1-3.
[8]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[9]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[10]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,190.
[11]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,187.
[12]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,186.
[13]《黄帝内经素问·宝命全形论》[M].北京：中医古籍出版社.2003,59.
[14]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[15]王玉民.将军崖岩画古天象图新探[J].自然科学史研究.2007,26(1),30-43.
[16]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,190.
[17]张其成.易学与中医[M].广西：广西科学技术出版社.2007,28.
[18]《黄帝内经素问·生气通天论》[M].北京：中医古籍出版社.2003,13.
[19]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,18.
[20]《黄帝内经素问·至真要大论》[M].北京：中医古籍出版社.2003,180.
[21]Campbell Grant. The Rock Art of the North American Indians [M]. Cambridge University Press.13.
[22]蒋学熙.温泉县的“达摩”石迹足印[J].新疆日报1988年4月30日.
[23]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[24]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[25]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[26]《黄帝内经素问·天元纪大论》[M].北京：中医古籍出版社.2003,134.
[27]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,21.
[28]《黄帝内经素问·上古天真论》[M].北京：中医古籍出版社.2003,10.
[29]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,550.
[30]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,3.
[31]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[32]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[33]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,261.
[34]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,261.
[35]张其成.易学与中医[M].广西：广西科学技术出版社.2007,17.
[36]梁启超.清代学术概论[M].北京：中国人民大学出版社.2006,11-12.
[37]邱仁宗.医学巫源说和医学起源问题[J].中华医史杂志.1981,20(1)：6-9.
[38]张其成.易学与中医[M].广西：广西科学技术出版社.2007,18-19.
[39]《黄帝内经素问·气血论》[M].北京：中医古籍出版社.2003,111.
[40]《黄帝内经素问·金匮真言论》[M].北京：中医古籍出版社.2003,16.
[41]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,61.
[42]张其成.易学与中医[M].广西：广西科学技术出版社.2007,29.
[43]《黄帝内经素问·宝命全形论》[M].北京：中医古籍出版社.2003,60.
[44]《黄帝内经素问·生气通天伦》[M].北京：中医古籍出版社.2003,13.
[45]《黄帝内经灵枢·顺气一日分为四时》[M].北京：学苑出版社.2008,750.
[46]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,61.
[47]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,21.
[48]《黄帝内经素问·血气形志》[M].北京：中医古籍出版社.2003,58
[49]《黄帝内经素问·至真要大论》[M].北京：中医古籍出版社.2003,180.
[50]《黄帝内经灵枢·逆顺肥瘦》[M].北京：学苑出版社.2008,
[51]《黄帝内经素问·举痛论》[M].北京：中医古籍出版社.2003,82.
[52]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[53]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[54]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[55]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[56]郑彦卿,陈朝辉.凿刻在石头上的历史[M].宁夏：宁夏人民出版社.2008,41.
[57]庞宇舟.花山岩画壮医学内涵探析.光明中医[J].2008,4(2),1871-1873.
[58]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[59]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,268.
[60]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,269.
[61]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,269.
[62]王振复主编.《中国美学范畴史》[M].山西：山西教育出版社.2006,11.
[63]李霞.《生死智慧——道家生命观研究》[M].北京：人民出版社.2004年,97-98.
[64]薛公忱.儒道佛与中医药学[M].北京：中国书店.2002,337.
[65]郑志明.道教生死学[M].北京：中央编译出版社.2008,4.
[66]杨天佑.《云南原始崖画》[M],云南民族民间美术展览办公室编,1987年,67.
[67]张介宾.《类经附翼·医易义》[M].北京：人民卫生出版社.1982,391.
[68]《黄帝内经素问·六节藏象论》[M].北京：中医古籍出版社.2003,70.
[69]《黄帝内经素问·六节藏象论》[M].北京：中医古籍出版社.2003,72.
[70]张其成主编.中医哲学基础[M].北京：中国中医药出版社.2004,205.
[71]《黄帝内经素问·上古天真论》[M].北京：中医古籍出版社.2003,9.
[72]《黄帝内经素问·天元纪大论》[M].北京：中医古籍出版社.2003,132.
[73]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,144.
[74]《黄帝内经素问-六微旨大论》[M].北京：中医古籍出版社.2003,145.
[75]卢翠敏.《黄帝内经》与医学地理学之关系溯源[J].中医药学刊.2001,19(6),568-569.
[76]支军.《黄帝内经》历史医学地理思想初探[J].南京中医药大学学报.2004,5(2),78-81.
[77]张其成主编.中医哲学基础[M].北京：中国中医药出版社.2004,306.
[78]《黄帝内经灵枢·岁露论》[M].北京：学苑出版社.2008,650.
[79]《黄帝内经灵枢·顺气一日分为四时》[M].北京：学苑出版社.2008,750.
[80]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,67.
[81]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,143.
[82]《黄帝内经灵枢·行针》[M].北京：学苑出版社.2008,617.
[83]《黄帝内经素问·五常政大论》[M].北京：中医古籍出版社.2003,154.
[84]《黄帝内经素问-阴阳应象大论》[M].北京：中医古籍出版社.2003,22.
[85]郑红斌.《黄帝内经》脾主四时理论探讨[J].浙江中医药大学学报.2009,33(1),1-5.
[86]《黄帝内经素问·离合真邪论》[M].北京：中医古籍出版社.2003,63.
[87]《黄帝内经素问·离合真邪论》[M].北京：中医古籍出版社.2003,64.
[88]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,678.
[89]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,679.
[90]张舜清.儒家“生”之伦理思想研究[M].北京：中国社会科学出版社.2010,61.
[91]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,143.
[92]王强芬,邹明亮.论阴阳五行在中医饮食养生中的作用[M].中医杂志.2010,51(6),52-53.
[93]严健民.远古中医学史[M].北京：中国古籍出版社,2006年,34.
[94]转引甄志亚.中医学史[M].北京：人民卫生出版社,2008年：23.
[95]梁启超.清代学术概论[M].北京：中国人民大学出版社,2006,11-12.
[96]何裕民.走出巫术丛林的中医[M].上海：文汇出版社,1994,90.
[2]陈兆复.岩画：人类早期的视觉表达[J].西南民族大学学报.2003,24(12),12-16.
[3]王国维.《水经注校》[M].上海：上海人民出版社,1984,35.
[4]岑家梧.《中国原始社会史稿》[M].北京：民族出版社,1984,47.
[5]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,208.
[6]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,208.
[7]王天军.西域岩画与古代狩猎岩画[J].西安体育学院学报.2003,20(3),1-3.
[8]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[9]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[10]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,190.
[11]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,187.
[12]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,186.
[13]《黄帝内经素问·宝命全形论》[M].北京：中医古籍出版社.2003,59.
[14]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[15]王玉民.将军崖岩画古天象图新探[J].自然科学史研究.2007,26(1),30-43.
[16]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,190.
[17]张其成.易学与中医[M].广西：广西科学技术出版社.2007,28.
[18]《黄帝内经素问·生气通天论》[M].北京：中医古籍出版社.2003,13.
[19]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,18.
[20]《黄帝内经素问·至真要大论》[M].北京：中医古籍出版社.2003,180.
[21]Campbell Grant. The Rock Art of the North American Indians [M]. Cambridge University Press.13.
[22]蒋学熙.温泉县的“达摩”石迹足印[J].新疆日报1988年4月30日.
[23]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[24]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[25]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,265.
[26]《黄帝内经素问·天元纪大论》[M].北京：中医古籍出版社.2003,134.
[27]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,21.
[28]《黄帝内经素问·上古天真论》[M].北京：中医古籍出版社.2003,10.
[29]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,550.
[30]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,3.
[31]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[32]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,260.
[33]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,261.
[34]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,261.
[35]张其成.易学与中医[M].广西：广西科学技术出版社.2007,17.
[36]梁启超.清代学术概论[M].北京：中国人民大学出版社.2006,11-12.
[37]邱仁宗.医学巫源说和医学起源问题[J].中华医史杂志.1981,20(1)：6-9.
[38]张其成.易学与中医[M].广西：广西科学技术出版社.2007,18-19.
[39]《黄帝内经素问·气血论》[M].北京：中医古籍出版社.2003,111.
[40]《黄帝内经素问·金匮真言论》[M].北京：中医古籍出版社.2003,16.
[41]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,61.
[42]张其成.易学与中医[M].广西：广西科学技术出版社.2007,29.
[43]《黄帝内经素问·宝命全形论》[M].北京：中医古籍出版社.2003,60.
[44]《黄帝内经素问·生气通天伦》[M].北京：中医古籍出版社.2003,13.
[45]《黄帝内经灵枢·顺气一日分为四时》[M].北京：学苑出版社.2008,750.
[46]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,61.
[47]《黄帝内经素问·阴阳应象大论》[M].北京：中医古籍出版社.2003,21.
[48]《黄帝内经素问·血气形志》[M].北京：中医古籍出版社.2003,58
[49]《黄帝内经素问·至真要大论》[M].北京：中医古籍出版社.2003,180.
[50]《黄帝内经灵枢·逆顺肥瘦》[M].北京：学苑出版社.2008,
[51]《黄帝内经素问·举痛论》[M].北京：中医古籍出版社.2003,82.
[52]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[53]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[54]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[55]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,259.
[56]郑彦卿,陈朝辉.凿刻在石头上的历史[M].宁夏：宁夏人民出版社.2008,41.
[57]庞宇舟.花山岩画壮医学内涵探析.光明中医[J].2008,4(2),1871-1873.
[58]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,258.
[59]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,268.
[60]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,269.
[61]陈兆复.中国岩画发现史[M].上海：上海人民出版社.2009,269.
[62]王振复主编.《中国美学范畴史》[M].山西：山西教育出版社.2006,11.
[63]李霞.《生死智慧——道家生命观研究》[M].北京：人民出版社.2004年,97-98.
[64]薛公忱.儒道佛与中医药学[M].北京：中国书店.2002,337.
[65]郑志明.道教生死学[M].北京：中央编译出版社.2008,4.
[66]杨天佑.《云南原始崖画》[M],云南民族民间美术展览办公室编,1987年,67.
[67]张介宾.《类经附翼·医易义》[M].北京：人民卫生出版社.1982,391.
[68]《黄帝内经素问·六节藏象论》[M].北京：中医古籍出版社.2003,70.
[69]《黄帝内经素问·六节藏象论》[M].北京：中医古籍出版社.2003,72.
[70]张其成主编.中医哲学基础[M].北京：中国中医药出版社.2004,205.
[71]《黄帝内经素问·上古天真论》[M].北京：中医古籍出版社.2003,9.
[72]《黄帝内经素问·天元纪大论》[M].北京：中医古籍出版社.2003,132.
[73]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,144.
[74]《黄帝内经素问-六微旨大论》[M].北京：中医古籍出版社.2003,145.
[75]卢翠敏.《黄帝内经》与医学地理学之关系溯源[J].中医药学刊.2001,19(6),568-569.
[76]支军.《黄帝内经》历史医学地理思想初探[J].南京中医药大学学报.2004,5(2),78-81.
[77]张其成主编.中医哲学基础[M].北京：中国中医药出版社.2004,306.
[78]《黄帝内经灵枢·岁露论》[M].北京：学苑出版社.2008,650.
[79]《黄帝内经灵枢·顺气一日分为四时》[M].北京：学苑出版社.2008,750.
[80]《黄帝内经素问·八正神明论》[M].北京：中医古籍出版社.2003,67.
[81]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,143.
[82]《黄帝内经灵枢·行针》[M].北京：学苑出版社.2008,617.
[83]《黄帝内经素问·五常政大论》[M].北京：中医古籍出版社.2003,154.
[84]《黄帝内经素问-阴阳应象大论》[M].北京：中医古籍出版社.2003,22.
[85]郑红斌.《黄帝内经》脾主四时理论探讨[J].浙江中医药大学学报.2009,33(1),1-5.
[86]《黄帝内经素问·离合真邪论》[M].北京：中医古籍出版社.2003,63.
[87]《黄帝内经素问·离合真邪论》[M].北京：中医古籍出版社.2003,64.
[88]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,678.
[89]《黄帝内经灵枢·刺节真邪》[M].北京：学苑出版社.2008,679.
[90]张舜清.儒家“生”之伦理思想研究[M].北京：中国社会科学出版社.2010,61.
[91]《黄帝内经素问·六微旨大论》[M].北京：中医古籍出版社.2003,143.
[92]王强芬,邹明亮.论阴阳五行在中医饮食养生中的作用[M].中医杂志.2010,51(6),52-53.
[93]严健民.远古中医学史[M].北京：中国古籍出版社,2006年,34.
[94]转引甄志亚.中医学史[M].北京：人民卫生出版社,2008年：23.
[95]梁启超.清代学术概论[M].北京：中国人民大学出版社,2006,11-12.
[96]何裕民.走出巫术丛林的中医[M].上海：文汇出版社,1994,90.