Yijing Research by Larry Schulz

Image result for "lai zhide"

Famed Yijing scholar Lai Zhide (Lai Chih-te, 1525–1604) of the Ming Dynasty was heralded for his in-depth investigation of the hexagram graphics and collection of a vast array of charts on the subject. His book has been in print, in many editions, continually since.

Dr. Larry Schulz wrote his dissertation on Lai, and has made his thesis “Lai Chih-te and the Phenomonolgy of the ‘Classic of Change’ (I Ching)” as well as more recent articles about the hexagram order available at his own website.

Review: A Companion to Yi Jing Numerology and Cosmology by Bent Nielsen

A Companion to Yi Jing Numerology and Cosmology: Chinese Studies of Images and Numbers from the Han (202 BCE–220 CE) to Song (960–1279 CE)

Bent Nielsen
Routledge, 2003, paper 2015
Paper, 391 pp
ISBN 9781138862678
Also available in hardcover and eboook

A better title for this splendid book might have been A Quite Comprehensive Encyclopedic Companion to the Yijing. Despite the focus on Han-Song dynasties, devotees of any era or type of Yijing studies will find this book invaluable. The author, Bent Nielsen, professor of Asian Studies at the University of Copenhagen, has drawn from a good range of source material in covering the many schools of Yijing thought.

The book entries cover the gamut of Yijing topics, from the towering personalities such as Wang Bi and Yu Fan, to intriguing theories such as the Six Gateways (liu men), to obscure terms like the “Hexagrams of the Returning Souls” (gui hun gua), and to numerous explanatory charts and tables. The entries are in alphabetical order in pinyin, with traditional characters and translation.

A Companion assumes a certain level of familiarity with Yijing terms. One hates to quibble about such a wonderful book, however, given all the time periods, ideas, terms, and languages involved, a thorough index with cross-references would have been a nice addition. A small example: the word jing is explained as meaning “classic,” however, there is no entry or cross-reference under “classic.” Another example: the ideas of influential Ming dynasty Yijing writer Lai Zhide (1525–1604) feature in entries such as about hexagram order (guaxu) and “laterally linked hexagrams” (pangtonggua), yet there is no entry for Lai himself, presumably because he is from a later century beyond the scope of the book. We can only hope that Nielsen or another scholar will soon tackle creating the  companion to this Companion, one that will cover pre-Han and post-Song Yijing topics.

This book is highly readable on its own, or as a companion to others. Nielsen’s work is to be commended, and the publisher is to be thanked for issuing these new, affordable paper and ebook editions.

Review: Shchutskii’s Researches on the I Ching

Researches on the I Ching

Iulian Shchutskii
Translated by William MacDonald, Tsuyoshi Hasegawa, with Hellmut Wilhelm, and introductions by Gerald Swanson and N.I. Konrad, and N.A. Petrov
Princeton University Press,  2017
paper, 324 pages
ISBN 978-0691605999

Iulian Shchutskii’s groundbreaking  Researches on the I Ching remains an inspiring work for anybody with an interest in the Yijing’s history, traditions, structure, and significance. While some of Shchutskii’s conclusions may be outdated given subsequent research and archeological discoveries, it is nevertheless still a very valuable book, written in a very approachable style, with much significant information and analysis.

Researches on the I Ching was originally written as Shchutskii’s doctoral thesis, defended in 1937. It was posthumously published in Russian in 1960, and in English in 1979. It has been out of print for a number of years. The publishers of the original English edition, Princeton University Press, is reissuing it as part of its print-on-demand program for classic works.

Part One of the book includes Shchutskii’s own introduction, a chapter on Western studies on the Yi, and a chapter on Eastern studies. In Part Two, Shchutskii gives in-depth analysis of questions about the Yijing’s content, history, place in literature, structure, dating, differentiation of strata, and the range of traditional interpretation and influence.

Shchutskii was born in 1897; his life story gives a picture of a gifted scholar with a sense of humor who met with an untimely end in a Stalinist camp in the late 1930s. Researches on the I Ching has an extensive introduction to the English edition by Gerald Swanson, an introduction to the Russian edition by N.I. Konrad, and a biographical sketch of Shchutskii by his friend N.A. Petrov. These introductions are compelling and valuable in their own right.



Review: Book of Changes: The Original Core of the I Ching by Lars Bo Christensen

Book of Changes: The Original Core of the I Ching
by Lars Bo Christensen
CreateSpace 2015
paperback, 392 pages
ISBN-13: 978-1508848400
audio edition available
Excerpt available as
I Ching: The Core Kindle Edition

The Book of Changes by Lars Bo Christensen is a compendium of material suitable for close study of the Zhouyi. The book has discussion of the historical backdrop of the Zhouyi, including selections from the Zuozhuan, one of the earliest texts that mentions the Zhouyi. Hexagrams are presented in Chinese with English translation and concordance, including discussion of the meanings of specific characters that allows the reader to follow Christensen’s thought process. Frequently occurring characters are  provided in a separate glossary.

The Zhouyi translation is repeated at the end of the book, for easy access for divination purposes, along with the author’s terse summary of hexagrams and line meanings. Instructions are given for yarrow stalks and coins. (It should be noted that, taking advantage of the flexibility of self-publishing, the author has since issued I Ching: The Core Kindle Edition, described as a “simpler and more handy alternative” aimed at general readers who may not be as interested in his in-depth analysis of the Chinese text.)

This translation is helpful for anyone exploring details of the core Zhouyi text, and can be used in conjunction with Richard Rutt’s Zhouyi, Richard Kunst’s thesis notes (available online), Stephen Field’s Duke of Zhou Changes, Bradford Hatcher’s online I Ching works, and Edward Shaughnessy’s many books on the Yi. As a concordance, it draws from much prior scholarship and is much more topic- and era-specific than earlier Riitsima/Karcher concordances.

The book has a few problems in editing and formatting. One is that in the solo translation in the back, the paired hexagrams are not on facing pages. This is unfortunate, as Christensen has some important discussion of the pairings in an earlier chapter, and it would have been helpful to be able to compare the hexagram pairs without having to turn pages. Another puzzling choice: the Zuozhuan section is supplied in Chinese, with Christensen’s English summary and comments, but without full translation.

Overall, the Book of Changes: The Original Core of the I Ching is a good choice for the serious student of the Zhouyi; the tools it provides will help readers take an even closer look at the text, even if they do not have specialized language training.

Book Review: I Ching: The Essential Translation by John Minford

minford i chingI Ching:
The Essential Translation of the Ancient Chinese Oracle and Book of Wisdom

John Minford
Viking, 2014 , $39.95
Hardcover, 855 pp
ISBN 978-0-670-02469-8.
Also available in paperback, audio, and ebook

When it comes to the Yijing, it is wonderful to encounter translations and commentaries that are done with a love for the book, rendered in approachable ways, yet rooted in solid thinking and research. John Minford has created an Yijing that is monumental and multilayered in so many ways.

The book is constructed of two halves, each with its own translation. The first part is titled the “Book of Wisdom” and contains the complete Yijing text along with Minford’s extensive commentary. For this, Minford draws from a number of sources including the eighteenth-century Daoist Liu Yiming, contemporary philosopher and Daoist Chen Guying, and Professor Mun Kin Chok. Minford draws as well from Wang Bi, James Legge, and others, and from Chinese poetry. Minford uses Latin translations of the oracles (e.g., Transire magnum flumen for “To cross a Great Stream”) and the trigram descriptions within the Great Images (Coelum in medio montis for “Heaven within the Mountain”). He explains that he has done so in order to evoke a “timeless mood of contemplation” and to connect between Chinese and European traditions of self-cultivation. The hexagrams are here numbered with roman numerals.

The second part is the “Bronze Age Oracle,” and contains the Zhouyi core text and Minford’s comments. Hexagram names are given in ancient script and pronunciation, and numbered with arabic numerals. For this section’s distinct flavor, Minford draws on contemporary research into the ancient Zhouyi—pre-Daoist, pre-Confucian, pre-Buddhist. The translations are distinct from Part One, giving the reader a chance to mull on the lengthy history of the Yijing and the evolution of how people thought about it and used it. To contrast the two sections, here is Line One from Hexagram 6 Conflict:

Part One: The matter / Does not endure, / Non diu durabit / There is some slight talk. / Ultimately / All is Auspicious / In fine optimum.

Part Two: Service / Cut short. / Slight complaint. / Auspicious Conclusion.

Minford states that his is not “a scholarly translation for specialists” but for lay readers to use the book in consultation. However, this does not mean that it is superficial in any manner. It has the hallmarks of a mature scholar’s wide-ranging insights, and melds information from many commentary traditions, including Daoist and Confucian, into something unique.

The main sections of the book are supplemented by a very helpful annotated bibliography grouped by topic, a list of names and dates (without Chinese characters), an extensive glossary, and index.

Minford’s book is not perfect, though. With so much material, at some point book design becomes an issue. Citing the already great number of pages for his book, Minford elected to make seventy pages of detailed notes available online at the author’s website. Reading the notes is interesting in itself, to follow his thinking, or to read poems and other quotes that he decided to remove from the main work. In addition, while centered lines for the original text create a sense of poetry and great esteem for the original text, they are somewhat harder to read. Double-spacing is used to distinguish the Zhouyi layer and is enhanced by a seal-style graphic, but all of these conspire to use up lavish amount of space that further contributes to rendering this book a bulky 850 pages at 1.2 kg (close to three pounds).

In his I Ching: The Essential Translation, John Minford has created a multilayered, insightful work that deserves much contemplation.


I Ching Calligraphy Art by Wang Dongling

wang-dongling-i-chingWang Dongling, one of China’s leading calligraphers, has an art exhibit of I Ching-based calligraphy.

The China Daily wrote: “At the exhibition being held at the Tiamiao temple on Monday, titled Between Heaven & Heart, Wang will display a piece work of “chaos calligraphy” in which he rewrote in white paint the Chinese divination classics I-Ching, or Book of Changes, on a 32-meter-long glass board. The script, regardless of its unrecognizable style, brings a renewed visual experience of which people focus on the rhythm of lines instead of the meaning of characters.”

Wang has exhibited and taught around the world.

Review: The Duke of Zhou Changes

field duke of zhou changes yijingThe Duke of Zhou Changes: A Study and Annotated Translation of the Zhouyi
Stephen Field
Harrassowitz Verlag, 2015
Softcover, 283 pages
58 € (approx. US$62)
ISBN 978-3447104067

Hidden behind this plain, yellow cover is an Yijing treasure-trove. Stephen Field, a professor of Chinese and an Yijing researcher, has created a book that will appeal to all levels of Yijing readers. He creates a compelling read out of viewing the Yi through the life of the Duke of Zhou, who, according to legend, was instrumental in its formation. This method leaves out the layers of later interpretation and commentary by focusing on the oldest layer, the Zhouyi. Others have used this approach (Richard Rutt’s Zhouyi, Greg Whincup’s Rediscovering the I Ching, and so on), but Field’s version stands out for creating what almost feels like a gripping historical novel about the epic story of the early Zhou dynasty.

Part One of The Duke of Zhou Changes is an introduction giving a concise history of ancient China, from prehistory through the Zhou; an overview of the field of divination and mythical and historical origins of the Yijing. Part Two consists of the Zhouyi hexagram texts, which Field has uniquely formatted in tables that inform the reader of the varied sub-elements within the texts. The head of each table has the Chinese name of the hexagram written in bronze script (jinwen), the hexagram number, the hexagram figure, and then the pinyin romanization and English translation.

The balance of each table is devoted to the hexagram texts. Field has numbered the Judgement text “0” and subsequent line texts 1–6. Additionally, a corresponding visual cue for each line is given: the numbers for yang lines  are printed in black ink on a white square, and yin line numbers are white on a black square. The texts are then subdivided into three elements: Omen, Counsel, and Fortune, in the following manner for Hexagram 6:

Omen: There are prisoners, frozen with fear.
Counsel: It is time to see the great one. It is not good to ford the great river.
Fortune: There is good fortune now, but in the end there will be misfortune.

Field then gives explanations of the meaning of the hexagram name, along with historical and cultural information. For instance, “Bundle the offering” in Hexagram 12 is explained as “This omen depicts a common form of sacrificial offering: steamed food wrapped in leaves.” Field further explains the class differences between this kind of offering when done by a commoner versus that by a noble, done with a bronze cauldron.

Part Three of the book instructs the reader in how to cast and interpret hexagrams, whether using yarrow, coins, or an eight-coin method. Rounding out the book are a glossary, bibliography, index, and finding chart.

As Field’s translation of hexagram names differs from others, a cross-reference chart, or in the index by number in addition to name, would have been helpful. For example, Hexagram 36 is indexed as “Calling Arrow-Bird, The” followed by the Chinese characters, and then by the hexagram number (in Wilhelm/Baynes the hexagram is titled Ming I—Darkening of the Light). At first glance, the index seems good enough, but with use, lacks the level of detail one might wish for deeper research. An example: Hexagram 19 Wailing, is interpreted as being about mourning rituals, but that topic is not found in the index.

There is a lot to chew on in this book, particularly when compared with later “Confucian” commentaries. Hexagram 52, as an example, is dramatically different than traditional readings that take it to mean “stillness” and as inspiration for self-cultivation and meditation.  Field instead takes the hexagram theme to be “obstructions” in various parts of the body.

The book is quite expensive, which will unfortunately limit its reach to academic libraries and to online purchases. It is deserving of a wider readership.

Stephen Field nicely captures the ancient layers of the Yijing in a way that makes it greatly useful for all audiences. The Duke of Zhou Changes is highly readable, clearly laid out, compact, well-organized, easy to dip into, and an interesting read.

Review: The Designer’s Book of Change

designers book of change i chingThe Designer’s Book of Change: The Ancient Wisdom of the I Ching for Today’s Designers.
by C.G. Garant
Green Dragon Books, 2002, US$25
Paperback, 130 pp.
ISBN 9780893343934

There have been many trends in interpreting ancient Chinese books such as the Yijing. One is to view the text through the “lens” of a specific theme or occupation. The Designer’s Book of Change does just this, as have numerous other titles from the same publisher (formerly Humanics Press).

“Designer” in this case has nothing to do with the specifics of graphic art, fashion, or home decor trends. Rather, the author, C. G. Garant, a professor of design education, has given careful thought to how the Yijing conforms with meaningful and universal principles of design, from the cosmic to the local. He writes, “….design creates the structure upon which the expansion of awareness, i.e. consciousness, is experienced. Design is the vehicle that actively transports our consciousness from one symbol to the next and from one pattern to another across dimensions.”

The hexagram entries each take up two pages: on the left page, a large, handwritten character for the hexagram name, hexagram figure, number, name, trigrams and nuclear trigrams. On the right page is a poetic interpretation of the hexagram, followed by a discussion of the hexagram’s meaning.

The introductory thirty pages present Garant’s ideas on how design underlies everything. His interpretations of hexagrams are not formulaic in any manner, and offer thoughtful insights that nicely blend philosophy and practice. An example from Hexagram 41 Sun:

“It is imperative that designers attempt to refrain from immediate and self-centered gratification, but rather focus on cultivating the mind so that the harmony between meaning and purpose can be truly felt and experienced.”

Garant’s prior books are The Tao of Design and The Tao of Circles. The Designer’s Book of Change is a refreshingly interesting and relevant take on an ancient classic. While it may be of particular interest to those involved with creative, problem-solving kinds of work, it is worth taking a look at for those with general interest in the Yijing.

“360º I Ching” — Art by Walter De Maria

“The late artist Walter De Maria was known for making sculptures with enormous mounds of dirt and even bolts of lightning. Presented as a sort of enigmatic puzzle, “360° I Ching” measures nearly 10,000 square feet in its newest incarnation, sprawling over two large galleries at Dia:Beacon, the museum for minimalist and monumental art in upstate Beacon, N.Y. The work, surrounded by an aura of mystery and quiet contemplation, opens Sunday and will remain on view through summer 2017.”

View the complete article at the Wall Street Journal.

Review: The Classic of Changes in Cultural Context, by Scott Davis

The <i>Classic of Changes</i> in Cultural Context: A Textual Archaeology of the <i>Yi jing</i>The Classic of Changes in Cultural Context: A Textual Archaeology of the Yi jing
Scott Davis
Cambria Press, 2012
US$114.99; ebook editions starting at $8.99
Hardcover, 308 pages
ISBN 9781604978087

The Zhouyi—the core layer of the Yijing—is of unknown origin and authorship, and consists of the sixty-four hexagram figures and their brief texts. The significance of the sequence of hexagrams  is one of its lingering mysteries: all that is clear is that the hexagrams are arranged in graphically related pairs, some of those pairs are in special position, and that the texts only occasionally relate clearly between paired hexagrams. Any further organization of the hexagram order remains unknown, and, in fact, it has long been considered by some to be random.

In The Classic of Changes in Cultural Context, Scott Davis presents a radical idea: that there is a complex underlying matrix to the Zhouyi order upon which textual imagery, placement in the received order, and the graphic figures of the hexagrams are all carefully arranged. Davis uses anthropological structural analysis to frame his theory and to link the Zhouyi to the larger questions of how the early Chinese cultural world was constructed.  This matrix was of great significance at the time of its creation, and, was possibly used for other literary works before its meaning was lost. Davis gives examples of various substructures to the matrix: hexagrams arranged by decades relate to an idealized lifespan; mirrored arrangments of hexagrams with “Great” and “Small” in their names such as Hexagrams 9 and 14 (Small Domestication and Great Wealth, respectively); images such as wine being placed in significant positions, and so on.

The Classic of Changes presents fascinating ideas that challenge long-held presumptions about the Yijing. The book is not, however, an easy read, and could have used more reader-friendly exposition as well as a glossary for specialized terminology. Readers may benefit by first reading Davis’ 2011 article, “Structural Analysis in the Context of Ancient Chinese Text and Culture” (available online through the Zhouyi Center) in which he lays out his argument more concisely, making the case for using both image and text in building an understanding of the Zhouyi’s structure.

The book is available in hardcover and ebook. It is indexed, and has a helpful second index for the hexagrams by number (the first index includes hexagrams by name, but omits the numbers, and the second index gives numbers but not the names). One disappointment, particularly considering the price of the book, is that the illustrations were not prepared at higher resolutions.

The Classic of Changes in Cultural Context is recommended for serious students of the Yijing, early Chinese cultural history, and for those who are searching for fresh departures on old material. Davis’ work is a reminder that a) we are limited in what we know about early China, b)  that we tend to look at things from our own limited perspectives, and c) that we at times are limited by traditional views.