“After outlining the general structure of the I Ching, we now turn to specific manifestations of its aesthetic dimension. The first such manifestation lies in the relationship between divination and art. At this point, allow me to interject an observation: Cai Yuanpei and others advocated replacing religion with aesthetic education. In truth, transcendence manifests in several realms—religion possesses it, philosophy embodies it, and art channels it. Even science contains abstract, metaphysical elements that touch upon the transcendent, though empirical science operates purely within the physical realm.
I recall Nietzsche’s words: ‘What we identify as “discoveries” in science today were, in fact, pre-inserted into the world by religion and art.’ When first uttered, this was considered outrageous—proof of Nietzsche’s madness. Yet today, we recognize its profound insight.
Why? Consider a simple example: the unearthed Sword of Goujian (King of Yue), the Simuwu Ding, the Zenghouyi chime bells from Hubei, or the Sanxingdui and Jinsha artifacts from Sichuan. Did their creators understand science? Chemistry? The periodic table? Metallurgy? No. Yet how did they produce the geometrically precise jade artifacts of Sanxingdui, the golden masks with foil thin as a cicada’s wings? How was such sophistication achieved?
The answer lies in religion and art—forged through ritual and shamanic practice. It was transcendence, pre-inserted into their craft. Today, science merely reveals the elemental composition and principles behind these bronzes, chime bells, and golden artifacts.
So, when we practice calligraphy—an art form—we, too, must infuse it with this transcendent dimension. Only then does it become truly meaningful.”
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