The study of digital gua involves archaeology, philology, history, mathematics and easy to learn, which is a complex and difficult topic in the study of easy learning, and it is also a frontier problem of easy learning. Clarifying the formation, evolution, significance, and relationship between the number of gua and the zheng fa is of great academic significance for discussing the origin of yixue. Since the middle and late period of the last century, the academic circles at home and abroad have made various explorations from different angles with the help of excavated materials, and have achieved fruitful results. However, due to the long age and incomplete written materials unearthed, many problems have still not been solved and are difficult to solve for a while. Limited by the information and profession at their disposal, the contemptible people have not dared to set foot in this field of research for many years. In writing this humble article, it is impossible to make its own explanation of the problems existing in the Institute of Digital Gua, the main purpose is to explain the origin of Yixue Xiangshu and its value and significance in the process of forming the Zhou Yi text by combing and interpreting the digital gua found in the excavation and the existing achievements of the predecessors.
First, easy counting comes from zheng
Numbers originate from the daily production and life of the ancestors. In ancient times, productivity was extremely low, the simple labor and primitive life of the ancestors did not need to be calculated, and numbers and counting were still in their infancy. However, with the further improvement of productive forces, the fruits of labor and various things are increasing day by day, in order to better coordinate and stabilize the various relations in society and eliminate social disputes caused by the uneven distribution of benefits, a number of events came into being. However, early numbers did not deviate from the concrete physical form and became an abstract symbol, often associated with concrete visible things, or appeared in the form of concrete things, such as knotted rope memories are the expression of early Chinese numbers. The oracle bone "number" word, the original meaning of the meaning of knotted rope, knotted rope is for memories. The "Explanation of Words" states: "Counting, counting also." "With the large number of concrete physical figures in production and life, the numbers gradually got rid of the concrete physical objects and were abstracted into a symbol or text. Archaeology has found that abstract numerical symbols were used very early in ancient China, the earliest numbers appeared at the site of Jia Lake in Wuyang, Henan, and the tortoise shell is engraved with the word "eight", which is the earliest ancient number seen so far, belonging to the Neolithic Age. [2] Later, the characters "five" were found at the Banpo site in Xi'an, and the characters "one", "two", "three", "six", "seven" and "eight" were found at the Yanshi Erlitou site in Henan. [3] The advent of abstract numbers is used not only in ordinary life and production, but also in witchcraft that foresees the future. Because the productivity at that time was very low and science was extremely underdeveloped, the ancestors could not make reasonable explanations for some natural phenomena, social phenomena and human physiological phenomena themselves, resulting in the worship of heaven or god, believing that there was a supreme heaven or god in the underworld, which not only dominated everything in nature, but also determined the fate of mankind. When people are repeatedly hit by unexpected droughts and floods, earthquakes, diseases, wars and other natural and man-made disasters, they have the desire to use divine will to predict and eliminate sudden disasters, hoping to achieve the purpose of seeking benefits and avoiding harms. In the process of transforming the number from the physical form to the abstract symbol, its simplicity, symbolism and universality are increasingly revealed, and because the specific things of the number refer to things, the change of the number is often consistent with the change of things, so it is gradually deified by the ancients as an elusive, theosophical symbol, becoming a tool and mark of the book. The ancestors used this deified number symbol to pray to the gods and predict the good fortunes of the future. Therefore, as with various methods of communicating with people and gods, such as astrology, dream, wind, turtle, and grass, it became one of the most popular methods of astrology in early ancient China.
Regarding the relationship between numbers and easy occupation, The Han Dynasty Bangu has long been discussed. He said: "Since the drama painting gossip, from the beginning of the count." (Book of Han, Li Luzhi) According to the meaning of Ban Gu, gossip begins with numbers. Yan Shigu's ancient note said: "The number of all things arises because of gossip." Liu Shuyue: "The Zhi begins with the number of words, and Yan Yun counts from the number of the gua feiye." "This is the earliest record of the origin of gossip in numbers. But exactly how gossip originated in numbers, we don't know. Until the last century, the discovery of a large number of digital gua gradually confirmed the academic value of Bangu's theory. In the 1950s, Mr. Li associated the number symbols on the Western Zhou oracle bones with the two "odd characters" composed of numbers at the end of the Chinese Ding inscription with the "nine" and "six" of the Zhou Yi, but did not specify how to connect. [4] It was Mr. Zhang Zhengxiu who directly regarded the unearthed number symbols as a tribute. In 1978 and 1980, Mr. Zhang Zhengxiu published articles proposing that the number symbol in the bronze inscriptions of the early Zhou Dynasty was a digital gua, and 43 cases of digital gua were confirmed from archaeological data. [5] Later, Mr. Zhang Yachu and Mr. Liu Yu published articles agreeing with Mr. Zhang's views and collecting 36 cases of Shang Zhou digital gua materials. [6] Mr. Li Zero collected, collated, and verified the numbers that had been published before 1993, and a total of 94 cases were obtained. [7] Ji Xusheng composed the "Ancient Character Easy Gua Table", which also has 164 cases of digital gua. [8] It is particularly noteworthy that in recent years, studies have found that the numerical trigram order of the pottery auction in Xiren Village, Xi'an is consistent with the order of the trigrams of "Shi", "Bi", "Xiao Animal", "Footsteps", "Ji Ji", and "Wei Ji" in the present "Zhou Yi", and is considered to be an important evidence that "numbers are gua".
Although it is still impossible to make a reasonable explanation for the special situations of two numbers, four numbers, and five numbers, the view that the numbers are based on the content of the basket has become less and less accepted by people. Because there are many excavated numerals with inscriptions related to Zheng Zhan: one is an inscription with the word "曰", such as "曰囟御", "曰隗", "曰其口鱼", etc.; one is an inscription without the word "曰", such as "Feng", "Well", "Li" and so on. Some scholars believe that the words after the word "曰" should be trigrams or content similar to and related to the nature of trigrams. And those inscriptions that do not have the word "曰" are likely to be the names of the gua or at least the words related to the names of the gua. [9] More importantly, the word "Zhenji" was found inscribed on the excavated digital turtle carapace,[10] which is closer to the Zhou Yi text. The zhou yi often uses the word "zhenji", such as "tun" gua jiu five; "need" gua gua ci, nine five; "bi" gua 62, 64; "lu" gua 92; "no" gua chu six, etc., all use "zhen ji". The numerical use and arrangement of the unearthed Warring States Jian numeral gua are more standardized and regular than other found number trigrams, and are closer to the numbers of the Zhou Yi Zheng fa. For example, the numbers seen in TianxingGuanjian, BaoshanJian, Gelingjian, etc. all have two groups of six numbers, and there are also the characters of Zheng Zhan, which are divided into pre-words, life words and astrology, mostly with the content of asking diseases, bodies, officials, homes, etc.[11] So the figures unearthed are a kind of gua, which cannot be doubted. Of course, the number gua is different from the yi gua, it is not a symbol composed of yin and yang, but a symbol composed of numbers. Or that it is not converted to a yin-yang symbol, but is the predecessor of the yin-yang symbol.
Throughout the excavations of the number gua, from one to eleven eleven natural numbers, were used by the ancients to hold the scale, but their frequency of use was different. According to the statistics of Mr. Zhang Zhengxiu, there were 32 cases of numerical gua at the beginning of the week, with a total of 168 numbers, involving one to eight characters, and the number of occurrences was: one, 36 times; two, 0 times; three, 0 times; four, 0 times; five, 11 times; six, 64 times; seven, 33 times; eight, 24 times. The number of occurrences is the highest in six, one or two, 64 times and 36 times, respectively, while two, three and four are all 0 times. Mr. Zhang believes that the reason why there are no two, three or four numbers recorded in gua paintings may be because "the numbers of ancient Chinese characters, from one to four, are all accumulated horizontal paintings,...... It is easy to mix with each other and is extremely difficult to distinguish, so two, three, and four are literally removed and merged into adjacent even or odd numbers, so we see that there are more six words and one word, and six words are especially the absolute majority. [12] Later, Mr. Zhang discovered that the numbers two, three, four, and nine were also used. [13] Mr. Li Zhi proposed that the early Chinese Yi Zheng, from the Shang Dynasty, the Western Zhou Dynasty, and the Spring and Autumn Warring States, were represented by six numbers of one, five, six, seven, eight, and nine, two, three, and four were deliberately omitted, and ten was the next digit, so it can be considered that they represented a decimal number combination. [14] Judging from the excavated materials, before and after the zhou yi was written, a large number of figures were used in the zhengzhan, which proved the relationship between the early zhengfa and the numbers. In the Spring and Autumn Period, Han Jian has a passage that helps us understand this problem, he said: Turtle, elephant also; Things are born and then there are elephants, and then there are images, and then there are nourishments, and then there are numbers. ("Zuo Chuan, Fifteen Years of The Duke of Qi") This passage is an expression of the relationship between Bu and Zheng, And Zheng and Number. As far as Bu and Zheng are concerned, after Bu Xian Zheng, the number of Zheng is derived from the sign of Gui Bu. For example, Du's note: "The tortoise is shown by the elephant, the zheng is told by the number, and the elephant number is born, and then there is the occupancy." Kong Yingda said: "The elephant is born and then there are numbers, and the numbers are born because of the elephants." If the gua of yi is born of numbers, it is first plucked and then obtained. It is like being born from numbers also. (Spring and Autumn Left Commentary, vol. XIII) According to Du and Kong's explanation, the image of all things predates the number of all things, and the number of all things is based on the image of all things. This is the basis for the turtle elephant to predate the number of baskets and the number of baskets to the turtle elephant. In fact, the image of the turtle sign can also be counted. And guibu has five trillion, zhao is also called elephant, five trillion is five elephants, five elephants belong to the five elements, can be used one, two, three, four, five show it. And easy to use six, seven, eight, nine, the ancients said "turtle long and short" is this meaning. Jia Gongyanshu's "Zhou Li Zhanren" notes the clouds: "The turtle elders, with their turtle knowledge of 12345, the number of heavens and earth knows the book; the number of easy to know 7896 is the end of the number." Kong Yingda wrote in the "Four Years of Zuo Chuan Zhengyi Gong Gong": "The elephant, the form of the initial birth of things, the numbers, the shape of things nourishing." All things have an image first, but there is nourishment, and the number is born from the image. The turtle is long with the sign of gold, wood, water, fire, and earth, so it is long, and the basket is short by the last number of seven eight nine six strategies. This allows us to see the connection between the number of guibu and the number of guibu, that is, the number of the zi is based on the number of the guibu. In other words, six, seven, eight, and nine are made up of one, two, three, and four. Zheng Zhu 'Yi' said: "There are five qi in heaven and earth. The second of the five elements, one is water, the number of days is also; the second is fire, the number of earth is also; the third is wood, the number of days is also; the fourth is gold, the number of earth is also; the fifth is earth, and the number of days is also. These five are yin and yang, so they are united. Earth six is heaven and one horse, heaven seven is earth two couples, earth eight is heaven three horses, heaven nine is earth four couples, earth ten is heaven five horses also. The two and five yin and yang each have a combination, and then the qi is obtained, and the shihua line is also done. In this sense, the early zheng was originally from the turtle elephant, and the early zheng originated from the number, and the two are not contradictory.
As far as the number and the number are concerned, Han Jian summarizes it as "筮, the number also." "Revealing the relationship between the number and the number: On the one hand, it shows that the early zheng method is the premise of the generation of the number of the basket, and that there is a number of the number and its meaning, and the number can change from the general meaning of the number to the tool of the question and the symbol for recording the result of the question. If there is no basket, the number is only a symbol in the general sense, and it cannot become a discourse and symbol with the meaning of the question. On the other hand, the early Zhengzhan took the calculation and recording of numbers as the main content, that is, the numbers that characterized specific objects in daily life were first deified, and then the numbers were randomly obtained in some way, and then the numbers were used to predict good fortune and good fortune. The core and essence of the early zhengfa is the number and the meaning it symbolizes, and the key to the formation and application of the zhengfa lies in the number, which became an indispensable tool for the early zhengzhan and a mark for recording the results of the zhengzhan. If there are no numbers, there is no early grammar. As far as Yi itself is concerned, there are first the number of the number of the basket, the number of the basket, and then there is the image of the gua, and the elephant is born from the number. The discovery of the number gua provides strong evidence for the view that it is easy to start from the number of the number and the image originates from the number.
The "number" of the number 卦 is 筮 number, similar to the number of the basket in the Great Yan Zheng method, which plays the same role in the process of walking the yarrow, and is the symbol of the Zheng Zhan and the symbol of foretold auspiciousness, so the early number Zheng method and the Great Yan Zheng method should have some kind of commonality. Perhaps the Great Yan Zheng Method evolved from the Digital Gua Zheng Method, which is the predecessor of the Great Yan Zheng Method. Many scholars have made creative and meaningful explorations in this regard, that is, to use newly unearthed zhengzi materials to compare with the da yan zheng method, or to interpret the number gua with the da yan zheng method. The results showed that the number of flutes unearthed, from the early period to the Warring States, the numbers used were getting closer and closer to the number of large yanzheng, thus indicating that the great yanzheng method was originally based on the number of guazheng method. This comparative approach does make sense and provides a new argument for exploring the connection between the early Zheng method and the Great Yan Zheng method. However, the early zheng method used a lot of numbers, while the large yanzheng method only used four digits, obviously the early number zheng method was not a large yanzheng method, and it was difficult to explain some problems of the early digital zheng method with the large yanzheng method.
So, how exactly was the early zhengfa used? The existing excavated documents are not recorded. To this end, various hypotheses have been proposed to explain the early numerical gua zheng method. Some scholars use ethnological data to discuss the early Bagua Zheng method, using the western League Wa "Si Shuai Baoke" divination method, Sichuan Liangshan Yi "Lei Fuzi" divination method analogy, that Bagua originated from the number of bu. [15] Some scholars have used the Dunhuang scrolls of the Zhou Gong Bu Fa to explain the early Zheng Fa. [16] Some scholars have proposed that there are two kinds of digital gua zheng method, A and B, and the difference between the two zheng methods lies in whether there are seven or not. [17] Some scholars have used the "turtle belly stones" unearthed from Jiahu Lake to introduce three early counting methods: "odd even divination method", "odd even arrangement method", and "yin and yang zheng gua method". [18] These insights were instructive for the study of early numerical methods, but due to the limitations of excavated data, there are often deficiencies of one kind or another. In other words, the early script remains a mystery.
However, if we place the numbers of the digital gua in the field of view of the activity of the zhengzhan, we can still find some clues to the early digital zheng method. According to the excavated data, the numbers have one digit, two digits, three digits, four digits, five digits, six digits, and at most six digits. One-digit number, two digits, such as the seven, five, eight, eight and six numbers excavated from the Yangshao Cultural Site in Banpo Village, Xi'an, the fifth, sixth, and 15th numbers excavated from the Yangshao Cultural Site in Jiangzhai, the fifth, seventh, eighth, and third numbers carved in the Erlitou cultural pottery in Henan, the numbers two, three, five, and six on the bone artifacts and antlers excavated from the Qingdun Songze Cultural Site in Hai'an County, Jiangsu Province, and the numbers one, two, three, and six on the oracle bones excavated in Zhouyuan [19]. Three digits, such as 816, 666, 851, 586, etc. [20], four digits, such as the bones unearthed in Xiaotun Village, Anyang, Henan, there are four numbers such as "6776", "6116", "8765" and other four numbers. [21] Five digits, such as the five-stroke line symbol engraved on the bronze urns unearthed at the end of the Yin Dynasty,[22] are more commonly used and will not be repeated here. This is difficult to explain with the Great Derivative Method. In fact, if we consider each digit to have a specific auspicious meaning, we can explain that it is composed of different numbers and meanings. Specifically, in the ancestors, in addition to counting the numbers, the numbers of the numbers have the common meaning of odd and even yin and yang, yang good and yin and evil. The ji ji is inferred from the fact that the concept of yang, good, yin and evil is not used in the figures found, such as the excavation of Xiaotun Nandi in Anyang, Henan: 776766, Zhenji. [23] Although we do not know the meaning of each number in the number of gua numbers, the numbers recorded according to the number gua are six and seven, indicating that the six and seven in the Yin people's field of vision at this time are auspicious numbers. The Warring States Chu Jian used one, six, and eight more, and also said "Heng Zhen Ji", "Zhen Ji" or words that were beneficial to something, which also showed that the Warring States Chu people at this time regarded one, six, and eight as auspicious numbers.
The early zheng method did not exceed six digits, and the six numbers had different meanings in the zheng zhan when they were different from the different patterns of guibu. With the help of a certain tool, the zhenger randomly takes the number and infers the auspiciousness based on the number obtained by the zhengzhan. If taking one digit can achieve the purpose of prediction, there is no need to take the second, third, or four or five or six digits. If taking one digit cannot explain the result of the question, you can take the second place, or the third, fourth, fifth, or sixth digit. The props used may not be exactly the same in different eras and different regions of the same era, perhaps to represent ten or more grass or bamboo sticks, or to represent six physical objects representing six numbers. Three pairs of tortoise shells were found in the tombs of Dadunzi site in Pixian County, Jiangsu Province, two of which contained 6 bone cones,[24] two tortoise shells were found at the Liu Lin site in PiXian County, Jiangsu Province, containing more than 10 sand grains,[25] and two tortoise shells excavated from the Dawenkou tomb in Shandong Province also contained more than 10 sand grains each. [26] These bone cones and sand grains, placed in the tortoiseshell, are supposed to be tools for the occupation of the tortoiseshell, as evidenced by the custom of holding the empty shell of the turtle shell in the east-east Asian region. According to the excavated figures, most of the figures are six digits, and it can be inferred that the use of six digits is more. Its tool is most likely to be six physical objects engraved with numbers, or it may be engraved with a different number on the six faces of a physical object. Hubei Jiangling Wangjiatai unearthed Qin Jian "Guizang", the divination tool is a six-sided engraved number of wooden dice and counting chips, which can be regarded as the remains of early ancient digital occupation. [27] The excavated Warring States Baoshan Jian, Tianxing Guan Jian, and Geling Jian record that the tools of zhengzhan are "Daying", "Dayang", "Lacquer Yarrow", "New Long Thorn", "Long Reed", etc.,[28] indicating that during the Warring States period, the Chu people popularly used bamboo sticks or grass as baskets. Rolling the dice is a method of number accounting, and one number is obtained for each roll, and six numbers can be obtained for six times. Counting with bamboo sticks or yarrow is another method of counting. Place these bamboo skewers or yarrows in a turtle shell, or in a bamboo tube. By shaking the turtle shell or bamboo tube six times, take six numbers. The dice are similar to the bamboo skewer or yarrow method. A single digit is accounted for in one digit; two digits are obtained in two digits; three numbers are obtained in three digits; four digits are occupied in four digits; five times are five digits in five digits.[29] Six times are given six digits in six digits. This explains why the numbers are made up of so many different numbers. Therefore, although we do not know what kind of tools were used in the early digital basket method and how to obtain numbers for accounting, one thing is certain, it will never be as complicated as the big yanzheng method, it must be relatively simple, otherwise the problems of one number, two numbers, and four numbers in the early number gua zheng method cannot be explained.
The three digits and six digits in the number are mostly related to the odds of zheng. The results of one fortune will often make people suspicious, and two results will appear, if both are auspicious, it is easy to decide the auspicious. But if it is auspicious and fierce, it is not known where to go. The results of three fortunes, or two evils and one auspiciousness, or two auspicious and one fierce, are easy to decide. The Book of Rites and Quirries says, "Bu Zheng is no more than three." According to the understanding of some scholars, "Bu Zheng is not more than three" means that Bu Zheng can be used once, twice, three times, and three times. [30] Three people occupying one thing at the same time should be the same as one person occupying three times, and the Shangshu Hong Fan says: "When the person is immediately a prophecy, three people are occupied by the words of the two." This means that if three people are used at the same time to divinate, then from the possession of two people, that is, two people speak of auspiciousness, then they are judged by auspiciousness; and when two people speak fiercely, they are judged by fierceness. Whether one person occupies one thing three times or three people occupy one thing at the same time, the multitude wins, and the so-called "auspicious murderer, the virtuous victor also" in this "Genealogical Dictionary". In all kinds of modern competitions, two wins in three sets originate from this. Among the numbers, one to eleven 10 natural numbers, two, three, four, and ten are used less, while one, five, six, seven, eight, and nine numbers are used relatively more. The number is six digits, the six digits are from the three digits, and the multiple of three is six. At first, each digit had its own meaning, while the three or six digits only represented the number of zheng occupations, and its meaning was only meaningful in the comparison of three or six zheng occupations. With the repeated use of three or six digits, the meaning of the three and six digits as a whole is gradually fixed. Some use a few words to express meaning. Such as the preface "Yue Di Yu", "Yue Kui", "Yue Qi Yakou Fish"; "Feng", "Well", "Li" and so on. The number of three digits and six digits is mostly, which is obviously related to the three paintings of Yizhi and the six paintings, that is, the easy to take the three paintings and the six paintings are based on the numbers.
Second, easy to image from the number of baskets
The repeated use of the early zheng method would repeatedly combine the same numbers. For the convenience of prediction, the People of Zheng gave the same number a fixed meaning, and then reduced the number to a fixed symbol. According to the statistics of relevant scholars, the number of uses has also changed according to the times. The Shang Dynasty and the Western Zhou Dynasty all used one, five, six, seven, eight, and nine, and the shang used the most, the most used were six, seven, and eight, and the western Zhou used the most one, six, and eight. The Warring States Heavenly Star View Chu Jian used one, six, eight, and nine, Bao Shan Jian used one, five, six, and eight, and the two Janes used the most. [31] Among the numbers, one and six are used most frequently, so some scholars believe that one and six are parity symbols: one is odd and positive; six is even and is a negative number. One and six are the predecessors of the yin and yang symbols, and the later "Zhou Yi" symbols are derived from the numbers one and six. The ancient way of writing six is ∧, which contains two, four, and six numbers and becomes a symbol. Merchants used eight, and at the beginning of the Week they also used eight, and later the Zhou people added nine to the number of flutes, which were connected with one and seven, and changed from eight to nine. Thus one and six are transformed into nine and six. [32] Some scholars have described this process in detail: "When the number of baskets is recorded with only one or six numbers, the specific values of one and six have been reduced to secondary, and can even be ignored, while the nature of the number has risen to the primary, that is, as the representative of all odd and even numbers, it has become a special number for recording the number of baskets." This is a key process in the evolution from concrete numbers to abstract symbols (筮象). ...... Although the numbers of one and six have evolved from specific numbers to representatives of all odd and even numbers in the number, and have been abstracted into symbolic symbols, their numerical titles have not disappeared in the Yi Gua, and the "six" in the Gua paintings of the I Ching is still called "six". [33] Therefore, some scholars have proposed that the formation of yin and yang symbols in the Zhou Yi has generally gone through the process from ∧, -----to ---、—— and then -,-to--and-to----.━.━. [34]
We believe that the idea that one, six, and eight are the prototype of the yin and yang symbols of Zhou Yi is justified. But the question is, is the "Zhou Yi" symbol from the number gua, or from the "Lianshan Yi" and "Guizang Yi"? This is something worth pondering. According to the Zhou Li, "The three Yi methods of the Great Bu Palm, one known as "Lian Shan", the second known as "Guizang", and the third known as "Zhou Yi", all of which are eight and sixty and four. Zheng Xuan's note: "The three easy gua, the other number is the same, and its name is different." Every eight, the other is the most important. "Zhou Yi Justice" quotes Zheng Xuan's "Yi Zan" Yun: "Xia Yue "Lian Shan", Yin Yue "Guizang", Zhou Yue "Zhou Yi". "The difference between Xia Shang's Wednesday Yi is that "Zhou Yi" occupies nine and six, while "Lian Shan" and "Guizang" occupy seven or eight. According to the "Qiankun Chisel degree", the "Ten Thousand Shapes Sutra" is quoted: "Ying was born in Yindi. That is to say, at least the Shang Dynasty had used the yarrow before the Zhou Yi was written, and there was already a great Yan Zheng method. More importantly, at the time of Yin Zhou, although the number of various kinds of baskets prevailed and the methods tended to be diversified, there were already ready-made yin and yang symbols of "Guizang". As the Wen King of the Western Bohou of the Shang Dynasty, it was impossible and unnecessary to perform "Zhou Yi" in the Middle Kingdom, and it was impossible and unnecessary to sacrifice the near and far, repeat the work, hollow out and sort out and integrate the popular numbers, and change the numbers into yin and yang symbols. Another important piece of evidence is the discovery of vertical yin and yang symbols similar to the four and five paintings of the Zhou Yi on the excavated instruments of the late Yin Dynasty and the beginning of the Zhou Dynasty. Therefore, the Yin and Yang symbols of Zhou Yi cannot be directly evolved from the number gua.
Judging from the Shang Dynasty numbers found in the excavations, there are more characters of six, seven and eight, eight and six are even numbers, the oracle bone writing is similar, six is broken, that is, eight and six are connected, and the "Shuowen" says: "Six, easy number, yin change to six, positive at eight, from eight." "One and seven" are both odd numbers, and the oracle bone of "seven" is "+". "+" is composed of horizontal "one" and vertical "-", "—" in ancient arithmetic chips are one, but also ten,[35] so it can be regarded as seven is composed of two ones, the Shuowen said: "Seven, Yi Zhi Zhengye, from one." "Seven from one, Yi Wei Qian Chi Du" cloud: "Easy to change into one, one change into seven." "It is in conjunction with Xia's "Lian Shan" and Shang's "Guizang" with seven or eight. The Lian shan was lost, and the Guizang part was rediscovered,[36] and its yin was written ∧, so the yin of the Guizang should have originated from the number eight or six. The yang write one, which should be derived from seven or one. The Guizang uses "one" and "∧" as yin and yang symbols, and in order to explain the nature of the function of the Zhengfa, it refers to yin and yang in seven or eight.
Warring States Chu Jian and Fuyang Han Jian "Zhou Yi" Yin Yan Zuo, Yang Ya Zuo Yi, Ma Wang Dui Shu Yin Ya Zuo ┘ └, Yang Ya Zuo Yi. , - The way of writing is slightly different, but the meaning of yin and yang is the same. Although, the symbols of the Zhou Yi represent yin and yang in one and eight, and the names nine and six are different from the Guizang. However, we can still see the intrinsic connection between Zhou Yi and Guizang. As mentioned earlier, the maximum numbers used in Yin Zhoushi are one, six, seven, and eight. "Guizang" takes one and six as yin and yang symbols, and "Zhou Yi" takes one and eight as yin and yang symbols, the difference is that six and eight, as mentioned earlier, six and eight are connected, all are even numbers, and there is very little difference in writing, so "Zhou Yi" takes one and eight as yin and yang symbols when transformed from "Guizang". The Guizang refers to Yin as eight, and the Zhou Yi symbol is written as eight, which can be regarded as evidence that the yin of the early Zhou Yi book is directly derived from the Guizang. The "Guizang" calls yin and yang as seven or eight, and the "Zhou Yi" calls the yin and yang nine six, in order to show that the nine-six becomes occupied, and the title refers to the popular number of the Zhou Dynasty at that time, so it is called one as nine, in order to indicate that the author of the "Zhou Yi" innovated in symbols, which is different from the "Guizang" of the Shang Dynasty. In this sense, it can be said that one, six (or eight) is the predecessor of the yin and yang symbol, but it is not necessarily the predecessor of the yin and yang symbol of Zhou Yi. The formation of the yin and yang symbols of "Zhou Yi" is more derived from "Guizang". Of course, when we say that the Zhou Yi symbol does not directly originate from the number gua, it does not mean that the Zhou Yi symbol has nothing to do with the number gua.
In fact, whether it is unearthed Wang Jiatai's "Guizang", Chu Jian 'Zhou Yi', and Han Chu Jian Shuai's "Zhou Yi" yin yao symbol writing method seems to contain traces of some kind of number, but there is no difference from the meaning of the virtual and real symbols in the "Zhou Yi" seen in this book, basically getting rid of the original numerical meaning and becoming a yin and yang symbol. As the Book of Hearts says: "The yin and yang of yi are drawn into chapters by six paintings." The song is soft and upright. [37] "The song sentence is soft and the sentence is upright" points out the characteristics of the yin and yang symbols: the yang symbol is upright, while the yin symbol is curved. Therefore, whether it is the ∧ of the unearthed "Guizang", or the Fuyang Hanjian and the Mawangdui Yi- are all Yi Zhiyin symbols.
Third, it is a lexical view
The compilation of the Gua Yao Ci was completed on the basis of the Bu Ci and the Zheng Zhan Zhi. Many scholars have discussed the relationship between zhou yi and bu ci, and through the comparison of gua yan ci and bu ci, they found that many of the gua yan ci and bu ci of zhou yi are similar in both content and form. The taiwanese scholar Qu Wanli once used a large number of facts such as the Yi Gua Gua painting and the order of oracle bone inscriptions, the Yi Gua Yin and Yang and the Bu Ci as texts, and explained that Yi Gua was attacked by Gui Bu. [38] Yu Yongliang compared Yi Ci and Bu Ci from the perspectives of syntax and idioms, and believed that Yi Ci imitated Bu Ci. [39] Judging from the documents unearthed today, there is some truth in the claims of Qu and Yu. What is even more convincing is that the Fuyang Shuanggudui Hanjian "Zhou Yi" excavated in 1977 has a bu ci after the gua yi, which on the one hand indisputably shows that the "Zhou Yi" that was used as a zheng at that time is the same as gui bu; on the other hand, it also provides an argument for proving that the gua yan ci ben is in bu ci. The word bu originates from the turtle sign, which is an elephant. In this sense, the easy word is originally from the image, at least the sign is one of the important bases for the formation of the easy word.
At the same time, the compilation of the Gua Yao Dictionary was closely related to some popular fulfillment of the Zheng Zhan words at that time. The author has absorbed the words of Zheng Zhan before the Zhou Yi, as mentioned earlier, one is a text with the word "曰", and the other is a kind of text without the word "曰". In particular, the word "Zhenji" was found engraved in the digital gua,[40] and the words "Zhenji" were often used in the present "Zhou Yi", and the words "Xi Jiu and Xi Liu" were engraved in the digital gua, [41] the current "Zhou Yi" had the name of "Xi Kan", and the Chu Zhu Jian and the present "Zhou Yi" had the title of "nine" and "six". At the same time, the author of "Zhou Yi" fixed some of the fulfilled words of "Zhou Yi" and polished them, and became part of the Gua Yan words. As Mr. Gao Heng said: "The People of Zheng recorded their events, selected those who were strange or repeated, and wrote them under the Sixty-Four Gua Gua Yao of the Book of Zheng, thinking that they would learn from the time and gradually accumulate, and then become part of the Gua Yan words of the Zhou Yi. [42] In addition, there are also the creations of compilers, that is, "to take the old texts of the Zhengren and supplement them, and to compile their observations of things, their experiences involved in the world, and their philosophical insights into the book." Its method of expression, either through direct narration, or metaphor, or with historical stories",[43] completed the writing of the Zhou Yi text.
So, how does the easy word stand? In other words, why is one word written here and another, and the sixty-four words are distinguished by their own unique meanings. According to the explanation of today's "Genealogical Dictionary", the Gua Yao symbol is not only a mark that people use for divination, but also an important basis for the system of words, that is, the "Zhou Yi" is written into a book, first there are Gua Yan symbols, and then there are literary words, and the words are made according to the yixiang symbols, the so-called "guanxiang system words". For example, the first yao is the ding foot, the second three and four yao are the ding abdomen, the fifth yao is the ding ear, and the upper yao is the ding xuan, so the view is the name of the ding. Another example is the Gua Xiang, the upper and lower two are yang, the middle four are yin, and the outer reality is virtual, which is the Yikou, so the view is named Yi. Another example is the upper and lower yang of the gua elephant, the middle three are yin, and one is yang, which is the bite of one thing in the mouth, that is, the "Yi Zhong" said that "there is something in the Yi that is eaten". Another example is the "Tai" 卦 "small to large", "No" 卦 "big to small" are the original "Tai" and "No" gua xiang. "Tai" from the bottom up, the three yangs under the upward trend, the three yin in the upper part of the fading trend, the yang for the large, the yin for the small, so it is called "small to big". On the contrary, "No" has a tendency to fade in the three yangs, and there is a rising trend under the three yins, so it is called "big to small". This kind of "visual discourse" can be seen everywhere in the Zhou Yi scriptures, which can be deduced and verified, and has regularities to follow, which is credible.
It is worth noting that the author of the Zhou Yi guan xiang is not in accordance with strict logic, that is, it is not achieved that if there is the same image, there must be the same word, and if there is the same word, there must be the same image. Guan Xiang is a word that refers to the easy word to the elephant. Symbolic words are only roughly corresponding, and in many cases they are more arbitrary, and lack of coherence before and after, which is the characteristic of visual terms. If we understand the guanxiang words as one-to-one correspondence between the words of the elephants, and interpret the scriptures in this way, the result will inevitably go against the original meaning of the Yi author and fall into the quagmire of the cumbersome and far-fetched Interpretation of the Han Confucian Scriptures.
IV. Conclusion
Through the above discussion and exploration of the number of gua, the following views are proposed, and I ask you for advice:
First, the number of the number is a record of the tool of the zhengzhan and the result of the zhengzhan, which has certain characteristics of the yin and yang symbols, and the transformation of the number of the odd yin and yang into the number of the zheng has evolved into the yin and yang symbols. The three-digit zheng number and the six-digit zheng number correspond to the bagua three paintings and the sixty-four gua six paintings, which are the prototypes of the yin and yang symbols that are easy to learn, and the image of easy learning is derived from the number of the basket. However, numbers are not yin and yang symbols after all, but only signs or results of early zhengzhan. The number 卦 is not a gua in the strict sense, although the interpretation of easy gua can explain some problems, but it is not a gua symbol composed of yin and yang symbols after all. Therefore, blindly using easy gua to explain and attach to the number of gua, it is far-fetched.
Second, from an application point of view, the procedure of the digital gua zheng method is roughly the same as that of the big yan zheng method. By using numerical comparisons, we can see the connection between the two and the trajectory of the development of the easy-to-learn zhengfa, that is, the yixue zhengfa has undergone a process from simple to complex, from rough to refined. More importantly, we can conclude from this that Yixue originated from Zheng. However, the essential difference between the early Zheng method and the Great Yan Zheng method should not be confused. The number of the method is the oldest set of zheng method, although we do not know what tools to use how to operate, but from its use of a large number, it can be concluded that the method of the basket occupation must be relatively simple, when the number is obtained by a certain method, without converting the number into yin and yang symbols, you can directly infer the auspicious. The Great Yan Zheng method uses few numbers, and after obtaining the numbers, it needs to be converted into the yin and yang symbols of the gua, with the words attached, and then inferred to the auspiciousness. It is precisely because of the difference between the two that after the popularity of the Great Yan Zheng Method, the digital Gua Zheng method has not disappeared, such as the discovery of the digital gua on the Warring States Jian, which is an example.
Third, the formation and shaping of the Zhou Yi text has undergone a process of development. From the symbol, it is abstracted from the number to the yin and yang symbol. Gua Xiang originates from the record of the number Zheng Zhan, and the digital Gua As a record of The Gua Xiang is the prototype of the Gua Xiang. The numbers obtained by repeated zhengzhan are normalized, and then transformed into yin and yang symbols, that is, gua xiang. The formation of the gua elephant went through three stages: zheng-number-yin and yang symbols. The Da Yan Zheng method is an evolution of the early digital Gua Zheng method, and the process of xingyi roughly repeats and reappears the process of the formation of the gua xiang. The yin and yang symbols of "Zhou Yi" may not have evolved from the digital gua, and may borrow more from the symbols of "Guizang". From the text, yi ci is the word of zheng zhan, yi ci is originally in the elephant, the elephant of the turtle sign and the bu ci are important sources of easy words, and the fulfilled words of the zheng are another important source. Whether it is the words of Gui bu or the choice of zheng ci, they all take the "Zhou Yi" symbol as an important scale, that is, the so-called "guanxiang words". The process of stereotyping the Text of Zhou Yi is more complicated, and after studying the documents unearthed in Chudi, Chen Renren analyzed that the text experienced three ways of "only using Yi Gua", "Practical Zheng Zhan" and "Classic Text" proposed that "the shaping of the classic text of Zhou Yi was completed in the context of the coexistence of these three easy ways",[44] and his views were reasonable and convincing.
Fourth, there may be differences in the numbers that are popular in different regions and in different eras, whether it is the meaning of the numbers or the tools and methods used by the zhengzhan. The use of statistical methods to explore some of the figures of different regions and eras is not necessarily the most scientific method, and the research results may not be completely in line with historical facts. However, we should see that no matter which region or era the digital gua is distributed, when there is a commonality, there is no choice but to use this method to explore the common characteristics of the digital gua.
[1] National Social Science Foundation of China Key Project: "Research on the History of Elephant Numbers", Approval No. 11AZX004.
[2] Henan Institute of Cultural Relics, "Report on the Second to Sixth Excavations of jiahu Neolithic Site in Wuyang, Henan", Cultural Relics, No. 1, 1989.
[3] See Shi Shangang, Heluo Culture and China's Easy Learning, Henan People's Publishing House, December 2009, p. 35.
[4] Li Xueqin, "On the Characterd Oracle Bones Unearthed Outside Xiaotun in Anyang", Cultural Relics Reference Materials, No. 11, 1956.
[5] Zhang Zhengxiu, "Trial Interpretation of Yi Gua in Bronze Inscriptions of the Early Zhou Dynasty", Journal of Archaeology, No. 4, 1980.
[6] Zhang Yachu and Liu Yu, "Several Problems of talking about the Zheng Method from the Shang Zhou Bagua Numeral Gua Gua", Archaeology, No. 2, 1981.
[7] See Li Zero, "The Examination of Chinese Fangshu Zhengkao", Zhonghua Bookstore, 2006, pp. 206-215.
[8] Ji Xusheng, "Yi Gua Materials in Ancient Texts", Edited by Liu Dajun, "Studies on the YiXue of Elephant Numbers" (Third Series), Bashu Book Society, 2003.
[9] Xing Wen, "Several Problems in the Formation of Digital Gua and Zhou Yi", ed. by Zheng Jixiong, "New Interpretation of Zhou Yi Classics", National Taiwan University Publishing Center, 2010, pp. 71-74.
[10] Xiao Nan, "Anyang Yin Ruins Found "Yi Gua" Bu Jia", Archaeology, No. 1, 1989.
[11] Li Zero, Chinese Fangshu Zhengkao, pp. 219-220, Zhonghua Bookstore, 2006.
[12] Zhang Zhengxiu, "Trial Interpretation of Yi Gua in The Bronze Inscription of the Early Zhou Dynasty", Journal of Archaeology, No. 4, 1980.
[13] Cao Dingyun, "The Newly Discovered Yin Zhou 'Yi Gua' and Its Significance", Archaeology and Cultural Relics, No. 1, 1994.
[14] See Li Zero, "The Examination of Chinese Fangshu," Zhonghua Bookstore, 2006, pp. 206-215.
[15] Wang Ningsheng, "The Origin of Bagua", Archaeology, No. 4, 1976.
[16] Zhang Zhengxiu, "Trial Interpretation of Yi Gua in Bronze Inscriptions of the Early Zhou Dynasty", Journal of Archaeology, No. 4, 1980.
[17] Li Xueqin, "Tracing the Origins of Zhou Yi", Bashu Book Society, 2006, p. 231.
[18] Song Huiqun and Zhang Juzhong, "Turtle Elephants and Numerical Phenomena: From the "Turtle Belly Stones" at the Jiahu Ruins on the Origin of Elephant Number Thinking", Edited by Liu Dajun, "Collection of Great Yi", Bashu Book Society, 1998.
[19] See Xu Xitai, "Discussion on the Relationship between Numbers and Zhou Yi", Zhou Yi Zonghenglu, Hubei People's Publishing House, 1986.
[20] Zhang Zhengxiu, "Trial Interpretation of Yi Gua in Bronze Inscriptions of the Early Zhou Dynasty", Journal of Archaeology, No. 4, 1980.
[21] Zhang Zhengxiu, "Easy to Discern", "Zhou Yi Zonghenglu", Hubei People's Publishing House, 1986.
[22] See Zhang Yachu and Liu Yu, "Several Problems of talking about the Zheng Method from the Shang Zhou Bagua Numeral Gua Gua", Archaeology, No. 2, 1981.
[23] See Xiao Nan, "The 'Yi Gua' Bu Jia Found in The Yin Ruins of Anyang", Archaeology, No. 1, 1989.
[24] Nanjing Museum: "Excavation Report of Dadunzi Site in Sihu Town, PiXian County, Jiangsu Province", Journal of Archaeology, No. 1, 1962.
[25] Nanjing Museum, "The Second Excavation of the Neolithic Site of Liu Lin in PiXian County, Jiangsu Province", Journal of Archaeology, No. 2, 1965.
[26] Shandong Cultural Relics Administration Office: Dawenkou Cultural Relics Publishing House, 1974.
[27] Jingzhou Regional Museum, "Qin Tomb No. 15 Wangjiatai, Jiangling", Cultural Relics, No. 1, 1995.
[28] Yan Changgui, "The Compilation of Concise Interpretations of the Celestial Star Guan Bu Zheng Sacrifice", Collection of Simplified Numerology and Historical Geography Theory, pp. 126-155
[29] The five-digit trigram has not been found, but according to scholars, there were five-digit trigrams in ancient times. See Ji Xusheng, "Yi Gua Materials in Ancient Texts", Edited by Liu Dajun, "Studies on the Study of The Study of Elephant Numbers and Yi Studies" (Third Series), Bashu Book Society, 2003.
[30] Zhang Yachu and Liu Yu, "Several Problems of the Shang Zhou Bagua Numeral Gua On the Zheng Method", Archaeology, No. 2, 1981.
[31] Han Ziqiang, "Fuyang Hanjian Zhou Yi Study", Chen Guying, ed., "Taoist Cultural Studies" (No. 18), Life, Reading, and Xinzhi Sanlian Bookstore, 2000.
[32] Zhang Zhengxiu, "Sixty-Four Gua Treks in the Book of The Book of Books", Cultural Relics, No. 3, 1984.
[33] Lou Yulie, "The Primitive Image of Yi Gua Yao", Journal of Peking University (Philosophy and Social Sciences Edition), No. 1, 1986.
[34] Zhang Liwen, "Annotated Translation of Zhou Yi of the Book of Shuai", Zhongzhou Ancient Books Publishing House, 1992, pp. 12-13.
[35] See Li Zero, "The Examination of Chinese Fangshu," Zhonghua Bookstore, 2006, p. 205.
[36] There is ambiguity in academic circles as to whether The Guizang of Qin Jian was unearthed by Wang Jiatai before Zhou Yi, and the author believes that Qin Jian Guizang predates Zhou Yi. See the humble work "The Easy Learning Value of the > Unearthed by the Wangjiatai Qinjian <", Zhou Yi Research, No. 2, 2001.
[37] Liao Mingchun, "Interpretation of the Book of Shu "Heartfelt"," see Liao Mingchun, "Preliminary Investigation of the Book of Shu Yi Chuan", Wenshizhe Publishing House, 1998, p. 272.
[38] Qu Wanli, "Yi Gua Originates from Gui Bu Kao", huang Shouqi and Zhang Shanwen, eds., Zhou Yi Research Papers, Beijing Normal University Press, 1987.
[39] Yu Yongliang, "The Era of Yi Gua Yan Ci and Its Author", Proceedings of the Institute of Historical Linguistics, Vol. 1, 1931.
[40] See Xiao Nan, "The 'Yi Gua' Bu Jia Found in The Yin Ruins of Anyang", Archaeology, No. 1, 1989.
[41] See Xiao Nan, "Yi Gua Bu Jia Found in Anyang Yin Ruins", Archaeology, No. 1, 1989. See also Pu Maozuo's "Study of Chuzhu Shu Zhou Yi", Chapter 3: The Discovery of Archaeological Yi, Shanghai Ancient Books Publishing House, 2006, 440.
[42] Gao Heng, Notes on the Ancient Classics of Zhou Yi, Zhonghua Bookstore, 1984, p. 11.
[43] Gao Heng, Notes on the Ancient Classics of Zhou Yi, Zhonghua Bookstore, 1984, p. 11.
[44] Chen Renren, "From the Perspective of Yi Literature Unearthed in Chudi< The Early Form of Zhou Yi > Texts", Zhou Yi Research, No. 3, 2007.