The I Ching E-Book

Anon

• Herausgeber: Amber Books Ltd
• Kategorie: Religion und Spiritualität
• Sprache: Englisch

Seitenzahl: 163

Veröffentlichungsjahr: 2014

Beschreibung

The 2,500 year old Yi-jing or I Ching, translated as the Book of Changes, is an ancient Chinese work of divination and prophesy. Dating from the 4th century BC, it is traditionally consulted by performing complex routines of dropping bundles of dried grass stalks. The particular patterns formed when six stalks are dropped are represented by 64 symbols called hexagrams, which show every possible combination of broken and unbroken stalks. The Book of Changes tells how to interpret the hexagrams to decide which is the best approach or action in a given situation.
I Ching: The Ancient Chinese Book of Changes features the 64 hexagrams and their successive interpretations, including the Judgment, written by King Wen in the 12th Century BCE, The Commentary and The Image (both attributed to Confucius, 6–5th Century BCE), and The Lines, written by King Wen’s son. Accompanying The Lines are present-day interpretative texts.
Beautifully produced in traditional Chinese binding and with a timeless design, this book will allow anyone fascinated by the traditional philosophies of the East to follow in the footsteps of Confucius and use the I Ching to predict their destiny.

Leseprobe

This digital edition first published in 2012

Published by Amber Books Ltd United House North Road London N7 9DP United Kingdom

Website: www.amberbooks.co.uk Instagram: amberbooksltd Facebook: amberbooks Twitter: @amberbooks

Copyright © 2012 Amber Books Ltd

ISBN: 978-1-909160-08-8

Text: Original translation and modern commentary by Neil Powell, adapted by Kieron Connolly Project Editor: Sarah Uttridge Design: Rick Fawcett

All rights reserved. With the exception of quoting brief passages for the purpose of review no part of this publication may be reproduced without prior written permission from the publisher. The information in this book is true and complete to the best of our knowledge.

All recommendations are made without any guarantee on the part of the author or publisher, who also disclaim any liability incurred in connection with the use of this data or specific details.

The I Ching

The Ancient Chinese Book of Changes

Introduction

T

he I Ching (also known as the Book of Changes) is one of the oldest and most respected oracles in the world. In its present form it can be traced back three thousand years, and even then it was old, being based on more primitive oracles. It

has survived intact through the centuries because wise men in every age have held it in high esteem as a source of profound wisdom and valuable guidance, both in the search for spiritual enlightenment and in the conduct of material affairs. Its elusive magic has captivated some of the greatest minds the world has known, from that corner-stone of traditional Chinese society, Confucius, down to C. G. Jung. Today it is probably more widely known and more frequently consulted by people in all walks of life than at any previous time.

The I Ching is constructed around 64 six-line figures whose English name is hexagrams. These are made up of all the possible permutations of a broken line and an unbroken line in combinations of six. All phenomena are the result of the interaction between positive, creative, masculine yang forces, and negative, passive, feminine yin forces. Yang is represented by the unbroken lines and yin by the broken lines which go to make up each hexagram. In this way the 64 hexagrams can be said between them to symbolise all the stages of change and flux operating in the universe, and the texts of the I Ching describe these changes and apply them to the preoccupations of mankind.

The hexagrams on the following on pages are each accompanied by several texts. The first text, called The Judgment, is the oldest. It was composed by King Wen, founder of the Chou dynasty, after he had been imprisoned by the last Shang Emperor, Chou Hsin. The second text, the Commentary, is one of the later interpretations attributed to Confucius, though he is unlikely to have written it himself. The third text, The Image, is another Confucian commentary. It is intended to explain how the sensible person who follows the I Ching’s advice – generally referred to as the ‘superior man’ – would act at such a time. The final group of texts, one attributed to each of the six lines of the hexagram, were composed by King Wen’s son, the Duke of Chou, who destroyed the Shang dynasty in 1027 BC. These short and often enigmatic lines were written about forty years after King Wen’s text.

To each of these groups of texts, the author has appended some explanation.

4

易

经

I Ching Book of Changes Simplified Han

易

經

Traditional Han

5

How to consult the I Ching

T

he I Ching can be consulted in three ways. The first involves the use of a bundle of 50 sticks, the second requires three coins, and the third

uses six specially marked wands. Of these methods, the oldest and most venerated is the 50 sticks technique.

The 50 Sticks Method

You need 50 narrow, wooden sticks, each about a foot long. Traditionally these are dried yarrow stalks, but pieces of bamboo will do.

Your copy of the I Ching should be kept on a shelf fairly high above the floor, and wrapped in a clean piece of cloth, preferably silk. When you consult the book, it should be placed on a clear table and unwrapped, the book lying on the silk. The sticks should be kept in a simple box on the same shelf.

In ancient China, the seat of wisdom and judgment lay in the north and those giving audience always faced south. You should place your table in the northern part of the room and approach it from the south. Lay the sticks in front of the book and light a small incense burner beside them.

Before consulting the I Ching, you should make three kowtows to the floor and, while kneeling, pass the 50 sticks three times through the incense smoke.

Compose in your mind the question you want to put to the oracle. Remember that the I Ching does not tell the future, but offers advice on how to act in the present to make the best of the future.

1. Take one of the 50 sticks and put it aside. It will not be used again but is included in the bundle to make up the significant number 50.

2. Using your right hand, divide the sticks into two heaps.

3. Take one stick from the heap on your right and place it between the ring finger and little finger of your left hand.

4. Remove sticks four at a time from the heap on your left until there are four or less left. Place these remaining sticks between the left hand middle finger and ring finger.

5. Remove sticks four at a time from the heap on your right until there are four or less left. Place these remaining sticks between the index finger and middle finger.

You will now find that the sticks held between the fingers of your left hand total either 5 or 9 (l + 1 + 3, 1 + 3 + 1, 1 +2 + 2, or 1 + 4 + 4). Put these sticks to one side.

Gather together all the discarded sticks (totalling 49 minus the 5 or 9 you have just laid aside) and work through the process of dividing again, starting with stage 2.

When you have done this you will find a total of either 4 or 8 sticks between the fingers of your left hand (1 + 1 + 2, 1 + 2 + 1, 1 + 4 + 3, or 1 + 3 + 4). Put these sticks aside.

Gather the discarded sticks together once more, omitting the two small heaps of 5 or 9 sticks and 4 or 8 sticks. Now divide the sticks a third time, starting with stage 2.

At the end of all this you will have, in addition to the discarded sticks, three small heaps. The first will contain 5 or 9 sticks; the second 4 or 8 sticks, and the third also 4 or 8 sticks. Look up the three numbers you have:

5 + 4 + 4                   Old Yang line 9 + 8 + 8                   Old Yin line 5 + 8 + 8                   Young Yang line 9 + 8 + 4                   Young Yang line 9 + 4 + 8                   Young Yang line 5 + 4 + 8                   Young Yin line 5 + 8 + 4                   Young Yin line 9 + 4 + 4                   Young Yin line

The line that corresponds to your three numbers is the bottom line of your hexagram. Note it down. To arrive at the second line up from the bottom you must gather together your 49 sticks and once more work through the stages of dividing and counting.

This must be done a further four times to arrive at the six lines of a complete hexagram.

If your hexagram is made up of just Young Yin             and Young Yang              lines, read the hexagram’s Judgment, Commentary, and Image. Ignore the Lines, which are not appropriate. But if your hexagram contains one or more Old Yin              or Old Yang               lines, read the Judgment, Commentary, and Image, followed by the Lines.

6

Each of the four types of line is given a ‘Ritual Number’ from 6 to 9:

6

7

8

9

This is why the passage referring to each of the six lines of a hexagram begins ‘In the third line, SIX…’, or ‘In the fifth line, NINE…’. Six and Nine are the Ritual Numbers of Old Yin and Old Yang lines.

If your hexagram has one or more of these significant lines, you can take your consultation a stage further. The old lines are also known as moving lines, because they are thought to be in a state of change and about to become their opposites. An Old Yin line can be changed into a Young Yang line, and an Old Yang line can be changed into a Young Yin line, giving you a second hexagram. Read the Judgment, Commentary, and Image of this hexagram and it will throw extra light on your original question.

The Three Coins Method

This is a quicker but shallower technique. In this method, the toss of three coins gives us the lines of the hexagram. As with the yarrow stalks, the first toss gives the bottom line, and so on upward. On Chinese coins, the inscribed side is given a value of 2, the blank side 3. If you use western coins, ‘heads’ is valued at 3, ‘tails’ at 2. So a toss of three coins can give you totals of 6, 7, 8 or 9, indicating respectively Old Yin, Young Yang, Young Yin, and Old Yang.

The Six Wands Method

You need a set of six wands about 8 inches (200mm) long, 1 inch (25mm) wide, and ⅛ inch (3mm) thick. Each wand should be coloured black on one side and on the other side black with a 1½ inch band of white across the middle.

When a wand falls with the all-black side up, this counts as an unbroken, yang line               When a wand falls with the white stripe up, this counts as a broken, yin line

Shuffle the six wands behind your back while concentrating on your question and roll them onto a table in front of you.

Straighten them into the form of a hexagram, starting with the wand closest to you, which will

represent the bottom line. The second closest will be the second line up, and so on.

When you can see which hexagram you have cast, look it up in the text. The Judgment, Commentary, and Image will answer your question.

However, the six wands methods does not offer ‘moving lines’, so the Lines cannot be taken into account, and you cannot obtain a further hexagram.

Interpreting the Moving Lines

The occurrence of moving lines not only adds significance to the original hexagram but carries you on to a second hexagram. For example, assume you divided and counted the sticks as instructed and came up with this result:

5 + 4 + 8 9 + 8 + 4 5 + 4 + 8 9 + 4 + 4 5 + 8 + 4 5 + 4 + 8

This gives you Hexagram No 8, Pi, Seeking unity. But suppose you came up with this:

5 + 4 + 8 9 + 8 + 4 9 + 8 + 8 9 + 4 + 4 5 + 8 + 4 9 + 8 + 8

This will still give you Pi, but it includes two ‘moving’ lines – the bottom line and the fourth line up. Read the Judgment, Commentary, and Image accompanying Pi, followed by the texts for the first (reading from the bottom up) and the fourth line.

Now, change the two moving lines into their opposites. In both cases here an Old Yin line will become a Young Yang. You now have a second hexagram, No 17, Sui, Allegiance.

It may also be worthwhile discovering what happens if the moving lines are changing at different times. If the Old Yin in the bottom line changes into a Young Yang first, you will obtain hexagram No 3, Chun, Initial difficulties. But if the Old Yin in the fourth line changes first, you will obtain hexagram No 45, Ts’ui, Congregation.

7

1.

乾

I Ch’ien

Creative Principle

乾

THE TRIGRAMS

ABOVE:Ch’ien Heaven, the creative

BELOW: Ch’ien Heaven, the creative Ch’ien represents what is great, penetrating, advantageous, correct and firm. It is the originator, the creative. The hexagram consists entirely of yang lines, with the qualities of creativity, virility, activity and strength. There is no weakness or yielding. It is a double image of the trigram heaven (or origination). It embodies the inner creative power of the lower trigram, representing that of man, and the outer creativity of the upper trigram, that of heaven.

THE JUDGMENT

Ch’ien works sublime success. Perserverance brings favourable results to he who is firm and unyielding.

COMMENTARY

Vast is the great originator. All things owe their beginning to it, and it contains all the meanings embodied in its name: the clouds move and the rain falls everywhere; all things appear in their developed form. The initiated comprehend the relationship between beginning and end, and how each of the six lines reaches its accomplishment at the appointed time. At the proper hour, they mount the chariot drawn by these six dragons and drive across the sky.

Ch’ien transforms everything, developing its true nature as heaven determines, preserving great harmony in union. The initiate appears, high above all things, and everything under heaven enjoys true repose.

THE IMAGE

The movement of the heavens reveals transcendent power. The superior man, therefore, makes himself strong and indefatigable.

THE LINES

In the bottom line, NINE signifies:

The dragon lies concealed in the deep. Action at such a time would be unwise.

The superior man is represented by a dragon, symbolising energy in nature. The time of action is near, but the wise man bides his time.

In the second line, NINE signifies:

The dragon appears in the field. It is a favourable time to see the great man.

Although the superior man may begin in a subordinate position, his purpose will raise him to a state of power, where others will benefit from it.

In the third line, NINE signifies:

The superior man is active all day long. At nightfall his mind is still full of care. Danger, but no reproach.

The great man’s importance grows, but he must not allow ambition to destroy his integrity. Remaining aware of what lies ahead, he will avoid all pitfalls.

In the fourth line, NINE signifies:

The flight across the abyss is not sure. He who is resolute suffers no reproach.

The great man can launch himself into the world or retire into contemplation. As long as he is true to his nature, he will not be blamed for anything.

In the fifth line, NINE signifies:

The dragon flies across the heavens. It is a favourable time to see the great man.

All nature is in accord. The great man has made his choice, and everyone watches him as he reaches the height of his achievement.

In the sixth line, NINE signifies:

The dragon flies too high. There will be cause for repentance.

Here is a warning not to aspire too high, allowing arrogance to isolate the great man from the rest of mankind.

8

2.

坤

K’un

The Passive Principle

坤

THE TRIGRAMS

ABOVE: K’un Earth, the passive

BELOW: K’un Earth, the passive K’un represents also what is great, penetrating, advantageous, correct, and having the firmness of the mare. The hexagram consists entirely of yin lines – feminine, yielding, and shaded. It is the diametrical opposite of Ch’ien in structure but complements it in character: male and female, heaven and earth, spirit and matter, the creative and the passive principle, are nothing but two aspects of the same whole.

THE JUDGMENT

K’un brings supreme success through steadfast acceptance. When the superior man takes the initiative in action he will go astray; if he follows, he will find his true leader. lt is advantageous to find friends in the west and south, and to relinquish friends in the north and east. Quiet perseverance brings good fortune to the superior man.

COMMENTARY

The creativity of K’un is complete: all things owe their birth to it, and it obediently accepts the influences of heaven, supporting and containing everything. The mare is an earthly creature: she moves about without restriction, mild and docile, strong and well-favoured. So should the superior man behave.

THE IMAGE

K’un denotes the great capacity and sustaining power of the earth. The superior man, therefore, employs his virtue in supporting all men and all things.

THE LINES

In the bottom line, SIX signifies:

He treads only on hoarfrost, but solid ice is near.

The wise man, finding that his steps take him on to newly frozen water, retraces his path and bides his time until the ice is strong enough.

In the second line, SIX signifies:

Straight, square, great; line, plane, solid. Purposeless, the work still goes forward.

Allowing himself to be carried forward by the progress of nature, the superior man proceeds toward his destiny.

In the third line, SIX signifies:

Although the line is hidden, it persists; who serves a king should do his work and not seek fame.

The wise man isn’t leaves fame to others. He does not impose his ideas on others, but perseveres at his tasks, confident that true virtue will be recognised.

In the fourth line, SIX signifies:

A tightly tied sack. No praise, but no reproach.

The sack keeps its secrets. The wise man keeps himself to himself, whether in solitude or in the midst of the world’s turmoil.

In the fifth line, SIX signifies:

A yellow undergarment: Supreme good fortune.

Yellow is the colour of the earth and symbolises sincerity. An undergarment is not shown off. One in a high but subordinate position should be discreet.

In the sixth line, SIX signifies:

Dragons fight in the field. Their blood is black and yellow.

When one attempts to fight a way into a position higher than that to which one is entitled, both sides will suffer injury.

9

屯

10

3. 屯 Chun

Initial Difficulties

THE TRIGRAMS

ABOVE: K’an deep dangerous water

BELOW: Chen thunder and awakening The sign for Chun represents a new shoot, struggling to burst its way through the soil in the first days of spring. The lower trigram, Chen, represents upward movement, and its image is thunder. The upper trigram, K’an, has a downward movement and its image is rain. There is chaotic confusion: the air is filled with thunder and rain; but the thunderstorm brings release from tension, and everything is calm again.

THE JUDGMENT

Initial difficulties are followed by supreme success, the result of acting firmly and correctly. Nothing should be attempted without appointing those who can provide appropriate assistance.

COMMENTARY

In Chun we see the intercourse begin of Ch’ien the strong and K’un the weak, and the difficulties that arise. Motion in the midst of danger leads on to success. By the action of the thunder and rain, all the space between heaven and earth is filled up. But the time is still full of disorder and obscure: nothing can be predicted with confidence. It is advantageous to appoint deputies and helpers, but