Throughout the entire “I Ching,” whether we speak of the Two Forms (Yin and Yang), the Four Symbols, the Eight Trigrams, the 64 Hexagrams, or the 384 Yao Images, all are manifestations of “xiang” (imagery). Thus, each hexagram includes both the “Great Treatise on the Imagery” and the “Lesser Treatise on the Imagery,” which are divided into upper and lower sections. When Confucius composed the “Ten Wings” (commentaries on the I Ching), the “Treatise on the Judgments” (Tuan Zhuan) was divided into upper and lower parts, as were the “Treatise on the Imagery” (Xiang Zhuan) and the “Great Treatise” (Xi Ci Zhuan), making six treatises in total. Adding the “Treatise on the Words of the Text” (Wen Yan Zhuan), the “Sequence of the Hexagrams” (Xu Gua Zhuan), the “Discussion of the Trigrams” (Shuo Gua Zhuan), and the “Miscellaneous Notes on the Hexagrams” (Za Gua Zhuan), we have a total of ten treatises. Among these, the one that truly forms a philosophical system is the “Great Treatise” (Xi Ci Zhuan), which provides a comprehensive exposition of the Zhouyi. The “Treatise on the Words of the Text” is also highly important, as it focuses exclusively on the Qian (Heaven) and Kun (Earth) hexagrams. Since Qian and Kun give birth to the six other trigrams, this treatise offers a systematic, line-by-line interpretation of each Yao image in these two hexagrams, providing a thorough explanation.
Originally, Chapter 3 of my discussion was intended to explore the cultural beauty of the I Ching, which includes this very aspect. However, due to time constraints, we cannot delve into it fully. From an aesthetic perspective, the most crucial element is the “Treatise on the Imagery” (Xiang Zhuan). Therefore, today we will use this time to focus on the Xiang Zhuan. Whether this will enable everyone to gain a comprehensive understanding is another matter, but through this rapid overview, we have touched upon the “Ten Wings” and ventured into the source of our culture. For you, this will require gradual digestion and understanding, integrating it with your daily studies, reflections, and creative experiences, including your own explorations. Even if it does not lead to profound insights, it should at least serve as a reference and inspiration, fostering a shared direction for our discussions.
Now, let us discuss the imagery of the hexagrams. The upper section of the “Great Treatise” (Xi Ci Zhuan) of the I Ching mentions how the sages established the hexagrams. Our ancient sages, such as Fuxi who created the Eight Trigrams, and King Wen of Zhou who expanded them into the 64 Hexagrams and provided their judgments, established these hexagrams by observing the images. They appended judgments to clarify the auspicious and inauspicious outcomes. As we all know, the “appended judgments” (Xi Ci) are explanations of the hexagrams, with each hexagram receiving its own interpretation. In ancient times, these judgments were used to prognosticate the future, assessing whether there were risks ahead, which was the primary perspective from which they were explored.
As the saying goes, “Since ancient times, the noble person, while at home, observes the images and ponders the interpretations.” It is important to understand that the ancients did not view the I Ching as we do today—as something unattainably profound or mysterious. For them, the noble person, while at home, would observe the images within the I Ching—that is, study them, as we would say—and ponder the interpretations.
发表回复
要发表评论，您必须先登录。