In our subsequent discussion of images as beauty, if the first section deals with “in heaven, it forms images; on earth, it takes shape,” and the focus lies on the topic between form and image, then what is the topic discussed here? It is the beauty of symbols. And our symbols—indeed, Chinese characters as symbols—are profoundly fascinating. For example, in some remote mountainous areas or villages, there remains a practice: if someone in a family falls ill or faces trouble, they might invite a Taoist priest or a spirit medium to perform a ritual—drawing a talisman.
Pay attention: in the early stages of Chinese writing, weren’t characters believed to startle heaven and earth and move gods and spirits? Was it not said that grains fell from heaven and ghosts wept at night? Later, when questioning heaven, once words donned that mask—the mask of written symbols—they already embodied that very essence. It is not about pretending to be divine or mystical; they already are divine, already are spirits. Thus, sorcery plays a role here. This is why Nietzsche said that what we now discover in science was actually preemptively infused by religion and art. Infused with what? With the boundless heavenly questions within our hearts. Did Qu Yuan not write the “Heavenly Questions”? Indeed. Essentially, we seek to understand the truth of the world, to reach its ultimate nature, to transition from this shore to the other—to achieve the unity of our ideals and reality. It is all the same idea.
Why is creation inexhaustible? The same applies to creative work. Hence, this involves symbols. Symbols essentially mean that when you face them, as seen in the lower part of the “Xici Zhuan” (Appended Judgments), “In ancient times, when Bao Xi (Fu Xi) ruled the world, he looked upward to observe the images in heaven.” Isn’t that the same as observing celestial phenomena? Star signs, weather patterns, cloud formations, and so on. He looked downward to observe the patterns on earth. Thus, observation involves both external and internal perspectives, combined harmoniously. He observed the patterns of birds and beasts to categorize the virtues of earth and comprehend the virtues of the divine to classify the sentiments of all things.
As mentioned earlier, “The great virtue of heaven and earth is giving life.” True virtue is the attribute of life. Therefore, in the upper part of the “Xici Zhuan,” it is said: “The sages had the means to perceive the profundities of the world and analogized them through descriptions.” Whenever we need to describe something, don’t we resort to descriptions? Descriptions are expedient measures, for what is beyond form is called the Dao—elusive and intangible. But we use metaphors, fables, reiterated words, and spontaneous expressions to empathize and understand. What are fables? They use external narratives to express the elements I wish to convey within—that is the essence of fables, often conveyed through stories.
In the West, the concept of “image,” as in symbolic representation, is emphasized. Hence, it is called “image.” The first aspect is the imitation of symbols. The “Xici Zhuan” states: “The changes of heaven and earth are emulated by the sages.” This emulation by the sages is achieved through which means? Through the yaos—the intersecting lines. The character for “learning” (学) itself implies imitation. But the outcome of imitation is enlightenment. Thus, “to learn is to awaken”—this is profoundly significant.
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