The ninth issue concerns the influence of the Book of Changes (Yijing) on literature and art. Primarily, concepts such as Great Harmony (Taihe), celestial patterns (tianwen), human culture (renwen), and imagery (xiang), introduced in the Qian hexagram, form the foundation of Chinese philosophical and aesthetic theory. Secondly, discussions on yin and yang, strength and softness, advance and retreat, opening and closing, the transformation of square and round, and spirit (shen) serve as the direct theoretical basis and source for Chinese aesthetics. This is why it is revered as the foremost among the classics and the origin of many others—no trivial matter.
Consider this passage from the Tuanzhuan (Commentary on the Decisions), which we mentioned earlier: “Great indeed is the originating power of Qian! All things owe their beginning to it. It commands the heavens. Clouds move, rain falls, and all things flow into their forms. The brilliant sun completes its course, and the six positions (of the hexagram) are realized in time. Mounting six dragons in their seasons, it drives through the heavens.” The “six positions” refer to the six lines—do you see? All six lines are dragons. In the Qian hexagram, there are six dragons, but their positions differ, and so do their states. “The six positions are realized in time. Mounting six dragons in their seasons, it drives through the heavens.” The dragon appears predominantly in the Qian hexagram. Although the Zhen hexagram is associated with the dragon in the zodiac, dragons rarely appear elsewhere. The dragon is primarily positioned in the heavens because it is a triphibian creature—symbolizing aquatic, terrestrial, and aerial life. Today, we metaphorically call ourselves descendants of the dragon. Whether dragons truly existed in ancient times is debatable. The eminent Taiwanese scholar Fu Peirong has long argued that dragons were real, living creatures in ancient China. Otherwise, he asks, why would Confucius, after visiting Laozi and seeking his wisdom, describe him as “Laozi, majestic as a dragon”? Metaphors, after all, are used to convey the unfamiliar through the familiar.
“The Way of Qian transforms, and each being finds its true nature and destiny. Preserving harmony and Great Harmony brings favorable perseverance. Emerging first among the myriad things, it brings peace to all nations.” Herein lies the vital spirit (jing qi shen) of literature and art—infused through the Qian hexagram and formed by the Kun hexagram. Kun represents the earth, the source of all things. Recall the sequence in the Xugua Zhuan (Orderly Sequence of the Hexagrams): first came heaven and earth, then the myriad things; from the myriad things came man and woman; from man and woman came husband and wife; from husband and wife came father and son; from father and son came ruler and subject; and from ruler and subject came brothers. Thus, human conduct becomes orderly, free from chaos and error.
Once we infuse this spirit of the Zhouyi into our practice of writing, we will no longer confine ourselves to the five major script styles—not even the composite calligraphy developed by Zhang Gongzhe. Yet the spiritual, aesthetic, and expressive traditions preserved in each script style will flow through your brush. In this way, your innovations will not remain superficial but carry profound depth.
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