The Fundamental Theories of I Ching and Their Implications for Modern Society

The I Ching (Book of Changes) serves as the foundation of Chinese philosophy. Its objective truths have allowed it to be widely applied in traditional Chinese society, influencing thought, politics, economics, and culture. By elucidating ancient understandings of the cosmos, yin and yang, and systemic relationships, I Ching demonstrates parallels with modern physics, making it a vital subject for further study.

The theoretical framework of I Ching originates from two ancient diagrams: the Hetu (River Map) and Luoshu (Luo River Writing). These diagrams represent cosmological principles and astronomical observations. According to legend, during the time of Fuxi, a dragon-horse emerged from the Yellow River bearing the Hetu. Fuxi interpreted the diagram to create the "Earlier Heaven" Eight Trigrams. Later, during Yu the Great’s flood control efforts, a divine tortoise surfaced from the Luo River with the Luoshu on its shell. This inspired Yu's successful water management and the division of the land into nine regions. These two diagrams symbolize the cosmic and terrestrial realms. In the Luoshu, yin numbers are reversed, and yang numbers rotate forward, forming the Taiji (Supreme Ultimate), a foundational theory of the I Ching. The rotation of Taiji mirrors the evolutionary dynamics of the Milky Way galaxy.

I. Taiji

The traditional Taiji diagram comprises a black yin pole, a white yang pole, and interlocking small black and white circles within each pole. The diagram carries profound and intricate meanings in traditional Chinese culture, which can be understood on macroscopic and microscopic levels.

On the macroscopic level, Taiji embodies perceptible objects characterized by duality. This mirrors Hegel's dialectical principle of thesis, antithesis, and synthesis. The opposing yin and yang forces coexist in unity, forming an integrated whole imbued with the concept of “balance.”

As Laozi states in the Dao De Jing: "All things carry yin and embrace yang. Harmony is achieved through the blending of these forces" (1). Similarly, in The Analects of Confucius, Zigong asks, "Who is better, Master Zai or Master Shang?" Confucius replies, "Master Zai exceeds the mark, while Master Shang falls short. Excess and deficiency are equally undesirable" (2). These examples illustrate the notion of balance embedded in Taiji.

On the microscopic level, Taiji describes the composition of matter. The yang pole corresponds to the macroscopic material elements, while the yin pole represents more subtle, microscopic forces. As the I Ching posits: "The Taiji gives rise to the Two Forces (yin and yang); the Two Forces give rise to the Four Images; the Four Images give rise to the Eight Trigrams" (3). This structure underpins the universal applicability of I Ching, as it fundamentally explains the composition of particles.

The small circles within yin and yang, known as the “eyes of yin and yang,” signify that each contains elements of the other. These circles, upon magnification, are themselves mini-Taiji diagrams, representing the particles that constitute yin and yang. This recursive subdivision reflects the infinite layers of microstructures forming the universe.

II. Yin and Yang Lines (Yao)

The yin and yang lines (yao) evolve from Taiji and represent specific manifestations of matter. Yin lines symbolize the intangible, microscopic forms of matter, while yang lines denote macroscopic, tangible forms. Together, these lines describe the internal structure and external morphology of objects.

The I Ching organizes these lines into trigrams: Qian, Kan, Gen, Zhen, Xun, Li, Kun, and Dui. Each represents an element of the natural world:

Qian: Energetic and forceful, symbolizing heaven.

Kan: Deep and downward-moving, symbolizing water.

Gen: Immovable, symbolizing mountains.

Zhen: Violent and transformative, symbolizing thunder.

Xun: Subtle and pervasive, symbolizing wind.

Li: Radiant and outwardly beautiful, symbolizing fire.

Kun: Stable and nurturing, symbolizing earth.

Dui: Harmonious and joyful, symbolizing lakes.

By combining these trigrams into hexagrams, I Ching provides a comprehensive framework for interpreting daily life and guiding human action.

III. Numbers in I Ching

Numbers play a central role in the application of I Ching. The text categorizes odd numbers as yang and even numbers as yin. As stated in The Ten Wings: "Heaven is one, Earth is two; Heaven is three, Earth is four; Heaven is five, Earth is six; Heaven is seven, Earth is eight; Heaven is nine, Earth is ten" (4). These numerical attributions reflect the yin-yang dichotomy.

Xu Shen, a scholar of the Eastern Han Dynasty, offers similar insights in Shuowen Jiezi:

One: Represents the origin and unity of creation.

Two: Denotes the division of yin and yang.

Three: Symbolizes the integration of Heaven, Earth, and humanity.

Four: Represents stability and equilibrium in all directions.

Five: Reflects the intersection of yin and yang.

Six: Indicates cosmic harmony (liuhe).

Seven: Represents transformation and change.

Eight: Suggests division and differentiation.

Nine: Denotes the ultimate state of yang.

Ten: Completes the spatial framework of four directions and a central point.

IV. Applications of Numbers in Traditional Chinese Life

Numbers play a crucial role in traditional Chinese culture, influencing musical instruments, agricultural tools, and literature. Unlike Western culture, where numbers primarily quantify objects, Chinese philosophy imbues numbers with profound connections to nature and the cosmos.

The Bamboo Flute

The bamboo flute, one of the most iconic traditional Chinese instruments, exemplifies the integration of numerical philosophy in its creation. Chinese music is based on five core tones (gong, shang, jiao, zhi, and yu), with the gong tone corresponding to the Western "C" note. Achieving the perfect gong tone posed a significant challenge to musicians for centuries.

As previously mentioned, the number nine represents the pinnacle of yang energy, or "old yang," and was considered the most important number in the ancient Chinese numerical system due to its closeness to "heaven." Ancient musicians used 9×9=819 \times 9 = 819×9=81 as the foundational measure for the gong tone. They selected a unit derived from 81—8.1 inches—to determine the ideal length of the bamboo flute, establishing the standard for the gong tone.

To create the other four tones (shang, jiao, zhi, and yu), ancient musicians applied the "three-part division" method (san fen fa). This method involves dividing a tone into thirds and either adding or subtracting a third to produce new tones, symbolizing the transformation inherent in the interaction of yin and yang. The calculation proceeds as follows:

• Gong: 9×9=819 \times 9 = 819×9=81

• Zhi: Multiply 81×2/3=5481 \times 2/3 = 5481×2/3=54

• Shang: Multiply 54×4/3=7254 \times 4/3 = 7254×4/3=72

• Yu: Multiply 72×3/4=4872 \times 3/4 = 4872×3/4=48

• Jiao: Multiply 48×4/3=6448 \times 4/3 = 6448×4/3=64

  
  

These five tones were arranged by their numerical values, creating the harmonious pentatonic scale (gong, shang, jiao, zhi, and yu). This intricate system illustrates how ancient Chinese numerical philosophy guided the design of musical instruments and their tonal structures.

Numerical Philosophy in Literature

The influence of I Ching's numerical principles extends to literature. In Zhou Ruchang's Dream of the Red Chamber: A Brief Lecture (7), he analyzes how the structure of the novel reflects the philosophy of numbers. The novel is composed of 108 chapters, divided into 12 sections of nine chapters each. Zhou notes that the story is divided into two halves: the first 54 chapters depict prosperity, while the latter 54 chapters illustrate decline. This duality mirrors the yin-yang interplay, as 54 equals 9×69 \times 69×6, where nine represents "old yang" and six signifies "old yin." Their product, 6×96 \times 96×9, symbolizes the harmonious union of yin and yang.

The novel's symmetrical structure, with its intricate interplay of opposites—flourishing and fading, joy and sorrow—resonates deeply with the numerical principles of the I Ching, underscoring the text's influence on Chinese literary traditions.

These examples demonstrate how the numerical insights of the I Ching permeated various aspects of ancient Chinese life, offering a framework that bridged abstract philosophical principles with tangible cultural creations.

V. Connections Between I Ching and Modern Development

The microcosmic interpretation of the Taiji diagram aligns closely with the composition of matter. In the 19th century, British chemist John Dalton refined earlier scientific knowledge to propose the modern atomic theory. Dalton identified the atom as consisting of a dense nucleus surrounded by negatively charged electrons, which generate an electric field. From this perspective, the Taiji diagram objectively reflects the fundamental structure and components of an atom. The nucleus corresponds to the yang element in Taiji, while the surrounding electrons and their associated electric field correspond to the yin element. The "eyes of yin and yang" in the diagram symbolize that even microscopic particles are composed of subparticles, consistent with modern physics' ongoing exploration of whether particles can be further subdivided. Thus, the Taiji diagram suggests that subatomic particles may also consist of yin and yang components, contributing to their stability.

The numerical theories of I Ching connect numbers with natural principles, offering insights into their universal significance. The conceptual framework used to create the bamboo flute, rooted in I Ching, demonstrates how its ideas can be applied to contemporary life. Mathematics, as a discipline, was developed to abstractly model natural phenomena, a concept that aligns with I Ching’s purpose. The shared goals of mathematics and I Ching—understanding nature and its principles—imply that the philosophical concepts of I Ching could find practical applications in mathematics and other scientific fields.

In 1930, Liu Zihua drew from I Ching and his astronomical knowledge to align celestial bodies with the Eight Trigrams. Inspired by the I Ching statement, “Kun corresponds to Earth, Kan to the Moon, and Li to the Sun” (8), Liu mapped the trigrams to celestial bodies: Zhen to Jupiter, Dui to Mars, Qian to Saturn, Xun to Venus, Gen to Mercury, with Li for the Sun, Kan for the Moon, and Kun for the Earth. Using this system, Liu successfully predicted the existence of a tenth planet, which he detailed in his publication Eight-Trigram Cosmology and Modern Astronomy: Predicting a New Planet and the Lunar Gestation Period (9).

The I Ching’s Eight Trigrams provide an in-depth analysis of the characteristics and properties of all things, aligning closely with the fundamental objectives of physics. Physics seeks to understand the nature of matter, a goal that parallels the I Ching’s focus on analyzing and interpreting the properties of phenomena. Humanity’s early use of natural energy—starting with fire—represents this alignment. The Li trigram, associated with fire, signifies external, easily accessible energy, underscoring fire’s foundational role in human civilization.

Looking forward, the I Ching’s Kan trigram, which symbolizes water and energy contained within, suggests that future energy sources may lie in water. This concept finds support in modern chemistry, as seen in the reaction of water gas:

​C+H2​O→CO+H2​

Here, hydrogen, rich in energy, illustrates the potential for water to serve as an energy source.

The striking parallels between I Ching and scientific discoveries suggest that its ancient wisdom continues to offer valuable insights. By abstracting nature into comprehensible systems, I Ching provides a unique framework for understanding and exploring natural laws. Its principles align with the scientific pursuit of truth, offering a philosophical lens through which to direct future scientific advancements.

In conclusion, the I Ching embodies a unique perspective on understanding the universe and humanity’s place within it. Its principles can serve not only as a philosophical guide but also as a practical tool for scientific innovation, aiding in the exploration of new frontiers in human knowledge and development.

Conclusion

The I Ching encapsulates ancient Eastern wisdom, abstracting natural phenomena into a coherent philosophical system. Its principles offer unique perspectives for scientific inquiry, emphasizing the interplay of dualities and the interconnectedness of all things. By revisiting its theories, modern science may uncover new pathways for understanding the universe and humanity’s place within it.

References

Laozi. (2017). Dao De Jing (Nanchang Press).

Confucius. (2015). The Analects (Trans. Chen Xiaofen & Xu Ruzong). Zhonghua Book Company.

Zheng, H. (Ed.). (2016). Complete Works of the I Ching. Guangming Daily Press.

Zheng, H. (Ed.). (2016). Complete Works of the I Ching. Guangming Daily Press.

Xu, S. (2018). Shuowen Jiezi (Trans. Tang Kejing). Zhonghua Book Company.

Laozi. (2017). Dao De Jing (Nanchang Press).

Zhou, R. (2007). Dream of the Red Chamber: A Brief Lecture. Zhonghua Book Company.

Zheng, H. (Ed.). (2016). Complete Works of the I Ching. Guangming Daily Press.

Liu, Z. (1989). Eight Trigrams Cosmology and Modern Astronomy. Sichuan Science and Technology Press.