Now, let’s discuss the aesthetics of the Book of Changes. Many people approach this topic with trepidation. One perspective elevates it to profound and inscrutable heights, while another dismisses it as utterly worthless.
The Book of Changes originates from a fundamental diagram—the Taiji symbol. The expansion of the Taiji symbol gives rise to the Bagua. The Bagua is further categorized into the Innate Bagua and the Acquired Bagua. The Innate Bagua was created by Fu Xi.
Interestingly, when we say someone is “spreading bagua news” today, it means they are disseminating unreliable information, even equivalent to spreading rumors. Had Fu Xi known that the term “Bagua” would carry such negative cultural connotations (referring to gossip), he surely would not have created the Bagua diagrams. When people say “let’s bagua bagua,” it seems to imply they can freely discuss unreliable news. A phrase like “Who’s gossiping about whom?” instantly casts the subject as untrustworthy and unreliable, akin to discussing unsubstantiated hearsay.
But if that’s truly the case, is it feasible for us to discuss the aesthetics of the Book of Changes? Exploring the Book of Changes from an aesthetic perspective certainly is possible, although such explorations are indeed relatively few.
So, what is the Book of Changes? The Book of Changes is the foremost among the classics, or at least among the Six Classics (The Book of Songs, The Book of Documents,The Book of Rites, The Book of Changes, The Book of Music, and The Spring and Autumn Annals).
How do we grasp its essence?
发表回复
要发表评论，您必须先登录。