Hexagram 36明夷Darkening of Light
Brightness has gone into hiding. The institution, the regime, or the cultural moment is hostile to the actor's direct expression of judgement and capacity; the disciplined move is the deliberate concealment of the light so that it survives the period until conditions turn. The hexagram grants advantage only in firm-correctness held under difficulty — the King Wen and Qi Zi postures of integrity preserved through the dark.
60-second read
Darkening of Light is the hexagram for the moment when the actor's brightness — their judgement, their integrity, their capacity — is in conditions hostile to its direct expression. The hexagram statement is six characters: 利艱貞 — advantageous to be firm and correct in difficulty. The image is the sun sunk beneath the earth; the bright fire of Li held under the dark of Kun. The discipline named by both Tuan and Xiang is the same: conceal the brightness, hold the inner correctness, survive the period without being broken by it. King Wen wrote in prison; Qi Zi feigned madness. The light is preserved by being hidden.
The hexagram
明夷：利艱貞。
Darkening of Light: advantageous to be firm and correct in difficulty. — Translation by YiGram Editorial from the classical Chinese
“Ming Î indicates that (in the circumstances which it implies) it will be advantageous to realise the difficulty (of the position), and maintain firm correctness.”
— James Legge, The Sacred Books of the East: The I Ching (1882), public domain.
The six lines
Click any line on the hexagram to read its passage. Use ↑ and ↓ after focusing the hexagram to step through the six positions.
明夷于飛，垂其翼。君子于行，三日不食，有攸往，主人有言。
Darkening of the Light in flight; its wings drooping. The noble person in his going: three days without eating. Wherever he goes, the host will speak against him.
“The first NINE, undivided, shows its subject, in the cases symbolised, flying low, with drooping wings. When the superior man (is revolving) his going away, he may be for three days without eating. Wherever he goes, the people there may speak (derisively of him).”
— Legge (1882)
Line 1 is the yang at the bottom of the lower trigram of fire — the brightness still intact but already aware that the conditions above are hostile, and already moving to leave. The image is exact: 明夷于飛，垂其翼 — the darkening light in flight, wings drooping. The actor is escaping but cannot escape conspicuously; the flight is necessarily a low one, and the cost is named without sentiment. Three days without eating. Wherever the noble person goes, the host will speak against him. The line is the I Ching's most honest picture of the first stage of disengagement from a hostile regime — the part where the actor is correct to leave and where the leaving will not be pleasant.
For decision-makers this is the line of the executive who recognises early that the new board has turned, the founder who sees the writing on the wall in the cap table before anyone says it aloud, the operator who decides to leave the institution before the institution makes the decision for them. The hexagram is not promising that the early move will be applauded; the line is explicit that the host will speak against him. The instruction is to take the cost — the lost meals, the unfavourable references, the period of being misunderstood — as the price of preserving brightness intact rather than letting it be confiscated. Founders who learn to read line 1 cleanly save three later positions. Drop low. Move quietly. Accept the talk.
明夷，夷于左股，用拯馬壯，吉。
Darkening of the Light: wounded in the left thigh. Saved by the strength of a stout horse. Fortune.
“The second SIX, divided, shows its subject, in the case symbolised, wounded in the left thigh. He saves himself by the strength of a (swift) horse; and is fortunate.”
— Legge (1882)
Line 2 is the centred yin in the lower trigram — the position the Tuan commentary explicitly assigns to King Wen. The injury has arrived but in the left thigh — a wound that is real but not disabling, severe enough to threaten mobility but survivable if the actor moves quickly. The image of the stout horse is precise: the rescue comes not from negotiation or appeal but from the actor's having prepared a means of escape that is faster than the regime's reach. The fortune is granted because the wounded actor has the horse, and uses it.
For decision-makers this is the line of the operator who has been damaged by the hostile institution but who had the runway, the network, or the second job lined up before the damage arrived. The wound is real — the reference is compromised, the equity is partly stripped, the role has been reduced — and the line is honest that the loss is not recovered. What the line names as fortune is the survival of the actor's working capacity into the next position. The decision-relevant translation is to invest in the stout horse before line 2 arrives: the relationships outside the hostile system, the savings independent of the compromised institution, the credibility that does not depend on the regime's endorsement. Actors who land at line 2 with no horse are forced to negotiate from the wound. Actors who land at line 2 with a stout horse take the wound, mount, and leave.
明夷于南狩，得其大首，不可疾貞。
Darkening of the Light: hunting in the south. He captures the great chief. Do not be in a hurry to make all correct.
“The third NINE, undivided, shows its subject, in the case symbolised, hunting in the south, and taking the great chief (of the darkness). He should not be eager to make (everything) correct (all at once).”
— Legge (1882)
Line 3 is the topmost yang of the lower fire trigram — the brightness at its strongest, paired with an opening to act. The image is unmistakable: 南狩 — hunting in the south, the direction of the bright Li trigram itself; 得其大首 — capturing the great chief, the principal source of the darkness. The actor has the moment when the hostile regime's leadership is exposed and can be removed. The hexagram is explicit that the capture is available. The warning that follows is what distinguishes line 3 from the later lines: 不可疾貞 — do not be in a hurry to make everything correct at once.
For decision-makers this is the line of the incoming executive who inherits the position to clean up the predecessor's regime, the activist investor who has finally taken the board, the senior figure whose moment to remove the toxic leader has actually arrived. The line grants the capture; what it warns against is the sweep. Hostile institutions accumulate dependent structures, captive personnel, contractual entanglements, and cultural memory that cannot all be reset in one motion without producing a backlash that returns the darkness in a different form. The instruction is to take the chief and to let the rest of the correction proceed at the speed at which it can actually be absorbed. Founders and executives who hit line 3 typically discover that the cleanest correction at the top permits a patient correction below — and that the patience is what makes the brightness last past the moment of victory.
入于左腹，獲明夷之心，于出門庭。
Entering into the left belly, grasping the heart of the darkening light, going out from the gate and courtyard.
“The fourth SIX, divided, shows us how its subject is (informed about) the heart of the subject of 'the darkening of the light,' and gets to know the (state of) mind of the (subject of the) topmost line. (He thereupon) quits the gate and courtyard (of the lord of darkness).”
— Legge (1882)
Line 4 is the shi line — the actor's own seat — and the position at which the hexagram's earliest insider gets close enough to the centre of the darkness to read it accurately. 入于左腹，獲明夷之心 — entering into the left belly, grasping the heart of the darkening light. The image is intimate and unflattering: the actor is on the inside of the hostile regime, close enough to its decision-making core to see what is actually being intended at the top. The line then names the only correct response: 于出門庭 — going out from the gate and courtyard, leaving the institution while leaving is still possible.
For decision-makers this is the line of the senior insider who has seen what the leadership actually plans — the C-suite hire who finally reads the unredacted memos, the board member who walks out of the executive session knowing what the chair will do, the operator who has been admitted to the room where the truly hostile choices are made. The hexagram is explicit that the line-4 actor has access; what it grants no licence for is the use of that access from inside. The instruction is the leaving — to quit the gate and courtyard the moment the heart of the darkness has been clearly seen. Founders who land at line 4 typically describe the recognition as a single conversation; the right move is the resignation that follows it. Actors who try to remain at the centre of the darkness to fix it from within usually become its instrument instead.
箕子之明夷，利貞。
The darkening of the light of Qi Zi. Advantageous to be firm and correct.
“The fifth SIX, divided, shows how the subject of the 'darkening of the light' was (exemplified) by Khî-tsze. It will be advantageous to be firm and correct.”
— Legge (1882)
Line 5 is the ruler position and the line the entire hexagram is organised around. The reference is named explicitly: 箕子 — Qi Zi, the relative of the tyrant Zhou who survived the hostile court by feigning madness, hiding his light so completely that the regime had no use for his persecution. The line is the only one in the hexagram to grant 利貞 — advantageous to be firm and correct — repeating the hexagram statement at the ruler position. The image is precise. Qi Zi did not flee like line 1, did not flee wounded like line 2, did not capture the chief like line 3, did not even leave the court like line 4. He stayed. He pretended to be mad. He preserved his brightness by making it invisible.
For decision-makers this is the line of the actor who cannot leave the hostile institution — the principal whose departure would damage the people they protect, the senior figure whose absence would be filled by a worse occupant, the operator whose role is the last functioning piece of a captured organisation. The hexagram is explicit that the only firm-correctness available at this altitude is the Qi Zi posture: appear less capable than you are, refuse to display the judgement that the regime would punish, hold the inner correctness without expressing it. The cost is severe. The actor will be misjudged by everyone who does not know the strategy, including allies. The line grants no other path. Founders and senior executives who land at line 5 typically describe the position as the hardest year of their career, and as the year that preserved what later years rebuilt.
不明，晦。初登于天，後入于地。
No brightness: obscurity. First ascending to the sky, afterward entering into the earth.
“The topmost SIX, divided, shows the case where there is no light, but (only) obscurity. (Its subject) had at first ascended to (the top of) the sky; his future shall be to go into the earth.”
— Legge (1882)
Line 6 is the topmost line and the portrait of the darkness itself rather than of the noble person inside it. 不明，晦 — no brightness, only obscurity. The line gives the cleanest picture in the I Ching of a regime whose own light has expired. 初登于天 — at first ascending to the sky; the hostile power had its moment of seeming command, the appearance of legitimacy, the visibility that made it feared. 後入于地 — afterward entering into the earth. The same power collapses into its grave. The hexagram closes by stating, without commentary, that the darkness which has dominated lines 1 through 5 is itself temporary and structurally finite.
The decision-relevant translation is severe and clarifying. The line is not advice to the noble person; it is a description of the regime the noble person has been surviving. Founders, executives, and operators inside hostile institutions often misread the duration of the darkness — believing it will last because it has lasted — and exhaust their light trying to outlive a power whose own collapse is built into its trajectory. Line 6 is the I Ching's instruction to budget for the fall as carefully as the rise. The institution that ascended to the sky will enter the earth; the only question for the actor at lines 1 through 5 is whether their preserved brightness will still be operational when the descent arrives. The hexagram closes by handing the line-5 Qi Zi survivor the implicit reward — the darkness ends, and the brightness that has been hidden through it remains.
PostureBrightness hidden · survival until conditions turn
Darkening of Light is the structural inversion of Hexagram 35 — Progress. Where Hexagram 35 puts Earth below and Fire above — the sun rising above the earth, brightness made visible and advancing — Hexagram 36 puts Fire (離) below and Earth (坤) above. The configuration is exact: the bright fire has been sunk beneath the dark earth; the light is held under the obstruction; the noble person’s capacity for direct expression has been structurally removed from the field by the conditions above it. The hexagram is explicit about what the field permits. Not brightness. Not visibility. Not the open assertion of judgement or integrity. Only the firm-correctness held under difficulty — 利艱貞 — that the hexagram statement names in its six terse characters.
The Tuan names the two postures the hexagram hands the actor: 文王以之 — King Wen used it — and 箕子以之 — Qi Zi used it. Both are historical figures the early Yi Jing redactors treated as exemplary. King Wen was imprisoned by the tyrant Zhou and, according to tradition, composed what became the received Yi Jing in his cell — the canonical image of brightness preserved through external persecution by turning the imprisonment itself into the work. Qi Zi, the tyrant’s own relative, hid his light by feigning madness so that the regime had no use for executing him — the canonical image of brightness preserved by making it invisible to those who would otherwise destroy it. The Xiang then compresses both into a single ethical instruction: 君子以蒞眾，用晦而明 — the noble person, when overseeing the multitude, uses obscurity yet remains bright. The whole hexagram is the I Ching’s instruction for how to survive a period the actor cannot openly resist, with the integrity that will outlast it intact.
Failure modesFlying low with drooping wings (line 1) · ascended then fell (line 6)
The dominant failure mode is the inverse of the line-1 instruction. The line is explicit that the early flight will be unpleasant — 三日不食, three days without eating; the host will speak against the noble person — and the failure mode is the actor who reads that cost as evidence the flight is wrong and stays inside the hostile regime hoping the cost will be lower if they wait. It will not. By line 2 the wound is in the thigh and the actor needs a stout horse they may not have invested in. By line 4 the actor is inside the regime’s left belly and the only correct move is the exit they could have taken cheaper at line 1. The secondary failure mode is the line-6 misreading — the actor who confuses the regime’s rise (初登于天) with permanence, exhausts their brightness trying to outlast a power whose own collapse is structural, and is no longer operational when 後入于地 arrives. Both failures share a root: an actor who reads the hexagram’s advantage in firm-correctness as a license to remain visibly bright, rather than as the instruction to conceal the light until the darkness completes its own descent.
Application & adjacentQuestion shape · Hexagram 35 pair · Wen Wang / Qi Zi as decision archetypes
A note on the question shape this hexagram answers best. Darkening of Light rewards questions framed around a specific hostile context the actor is operating inside — a corrupt institution whose leadership has turned against the actor's work, a regime change that has revoked the conditions of safe direct expression, a cultural moment that punishes the actor's judgement, a board or chief who is no longer aligned with the operator's mandate. It is less useful for vague questions about whether the actor's situation is generally difficult; for that question, re-read with Hexagrams 29 — Abyss — or 47 — Oppression — depending on whether the difficulty is repeated danger or material constraint. Darkening of Light presumes a directional hostility from a power above. The hexagram is the instruction layer for what to do once the brightness is no longer welcome in the field.
The canonical adjacent reading is Hexagram 35 — Progress — the line-by-line inversion in the King Wen sequence. Where Hexagram 35 names the discipline of visible advancement with alignment to the source of brightness, Hexagram 36 names the discipline of hidden survival when the source of brightness has been obstructed. The two together form the complete instruction for managing institutional altitude: in Hexagram 35 you advance in the daylight because the field rewards the advance; in Hexagram 36 you conceal the light because the field punishes it. Read with the Xiang’s prescription — 用晦而明, use obscurity yet remain bright — the pair tells one continuous story about whether and when to make one’s capacity visible. Founders and executives who keep both hexagrams in view tend to read the institutional weather more accurately than those who treat brightness as an unconditional virtue.
The two historical figures the Tuan names — King Wen and Qi Zi — are the hexagram’s decision archetypes, and they map onto distinct modern postures. King Wen is the figure of the actor whose external situation has already closed (the imprisonment is real) and whose survival strategy is to make the constrained position itself the substantive work. The modern correlate is the executive who turns the period of forced inactivity into the strategic document, the founder who uses the unwanted sabbatical to build the next thing, the operator whose period of being unable to act becomes the period in which they finally see. Qi Zi is the figure of the actor whose external position is still intact but whose continued visibility would be fatal — the senior figure who must remain in the hostile court because their absence would be worse for those they protect. The modern correlate is the principal who stays in the captured institution to keep the worst occupant out of their chair, and who hides the judgement that would otherwise be used against them. The hexagram grants both postures the same advantage in firm-correctness; what it forbids is the attempt to be neither — to remain visibly bright in a field that has stopped permitting brightness.
SynthesisYiGram Editorial
Each Western line of reading approaches Darkening of Light from a different angle. James Legge transliterates 明夷 as “Ming Δ and frames the hexagram within his Confucian moral lens — the discipline of the noble person whose brightness has been driven underground by an unjust ruler, with King Wen and Qi Zi as the canonical historical exemplars. Richard Wilhelm’s symbolic-philosophical posture reads the hexagram as the “Darkening of the Light” in the more general sense — the great image of brightness obscured and the discipline of inner luminosity maintained under outward shadow. A reading in the lineage of Carl Jung’s 1949 foreword would treat 36 as a marker of the psyche’s period of necessary descent — the eclipse of the conscious light by unintegrated material whose patient survival is itself the analytic work. Bradford Hatcher’s linguistic project (below) abandons all three framings and returns to the semantic field of 明夷 itself — concealment, camouflage, covert intelligence, going underground, the full vocabulary range of brightness deliberately hidden. None of these readings is quoted on this page; the synthesis is YiGram Editorial’s characterization of each tradition’s posture, written so a reader can triangulate the field without us reproducing copyrighted text.
Reception historyLegge · Wilhelm · Baynes · Jung
The Western reception of the I Ching has two main lines. The first is James Legge’s 1882 missionary translation in the Sacred Books of the East series — methodical, Victorian, framed around Confucian moral readings. It is the public-domain anchor reproduced above. The second is Richard Wilhelm’s 1923 German translation, prepared in Qingdao in collaboration with Lao Naixuan — sympathetic, philosophical, closer to Daoist intuitions. Cary F. Baynes rendered Wilhelm into English in 1950, with a foreword by Carl Jung that introduced the book to Western psychology as a window onto synchronicity and the unconscious.
We cite these two lines by name to credit the reception history and to help search systems and readers resolve the entities; the Wilhelm/Baynes text itself and Jung’s foreword remain in copyright and are not quoted on this page. A more recent academic-linguistic line is represented by Bradford Hatcher’s Yijing project (1990s–2010s), which appears in the next section under his explicit redistribution permission.
Bradford HatcherVerbatim · © 2011
Hatcher organizes each hexagram around six short clusters of keywords that sketch the field of decision and association the Chinese name opens onto. For Hexagram 36 明夷, his clusters are:
Light, clarity, wisdom, intelligence + hidden, prevented, concealed, suppressed Discreet, cloaked, dampened, camouflaged, disguised, censored; go underground Banking, long-term investment, placing assets in durable forms, burying treasure Turning down the flame, banking the coals; withdrawing one’s consent & support Covert intelligence, stealth operations, cloak & dagger scenarios, shadow warriors Self-suppression, repression, making ordinary, dumbing down shrewdly, veiling
Hatcher’s framing is vocabulary-centred rather than narrative — the reader is invited to feel the semantic shape of the Chinese name through the spread of English fragments. For his longer notes and the full glossary entry, read the complete passage on hermetica.info.
Quoted verbatim from Bradford Hatcher, Yijing Hexagram Names and Core Meanings (Version 12.1, 2011), hermetica.info/GuaMing.htm. © Bradford Hatcher, 2011. Reproduced under the author’s explicit permission to redistribute his work intact, with copyright notice. Bradford Hatcher (d. June 2020); site maintained to preserve his work.
SynthesisYiGram Editorial
Read across the four Chinese traditions, Hexagram 36 names a very specific working posture: a period during which the actor’s brightness is in conditions hostile to its direct expression, and the corresponding discipline of concealing the light until the conditions turn. The Wings give the canonical reading: brightness has entered the earth; cultured-bright within, yielding-compliant without; the noble person, when overseeing the multitude, uses obscurity yet remains bright. Wang Bi sharpens the structural reading: the six lines map specific altitudes of the hostile situation — the early flight, the wounded escape, the captured chief, the insider’s departure, the Qi Zi posture at the ruler position, the darkness’s own collapse — and the firm-correctness named by the hexagram statement is the only thread that holds across all six. Zhu Xi reframes the hexagram around the two named historical postures, treating King Wen and Qi Zi as the canonical models for external constraint and internal concealment respectively. The divinatory manual Bushi Zhengzong reads 36 practically as the marker of hostile institutional conditions — regime change, corrupt leadership, periods of cultural reversal — and explicitly warns the consulter against visible resistance from a position that does not yet support it. The unified posture across all four sources is the same: Darkening of Light is a discipline for preserving brightness through a period the actor cannot openly resist, with the integrity that will outlast it intact.
Yi ZhuanTuan + Xiang · Ten Wings
The Ten Wings are the canonical Confucian commentary stratum embedded in the received Yijing. For Hexagram 36 the two most directly relevant Wings are the Tuan Zhuan (彖傳, the Judgement Commentary) and the Xiang Zhuan (象傳, the Image Commentary).
Tuan 彖傳: 明入地中，明夷。內文明而外柔順，以蒙大難，文王以之。利艱貞，晦其明也，內難而能正其志，箕子以之。
Brightness enters the earth — Darkening of Light. Cultured-bright within, yielding-compliant without — by this enduring great trouble, King Wen used it. “Advantageous to be firm in difficulty” — concealing his brightness; with inner difficulty yet able to correct his will, Qi Zi used it.
Xiang 象傳: 明入地中，明夷。君子以蒞眾，用晦而明。
Brightness enters the earth — Darkening of Light. The noble person accordingly, when overseeing the multitude, uses obscurity yet remains bright.
The Tuan does the structural work: the fire-below / earth-above configuration produces the brightness that has been entered into the earth; the cultured-bright within and yielding-compliant without is the canonical I Ching picture of internal integrity paired with external accommodation. The Wing then assigns the two postures the hexagram authorises to specific historical figures — 文王以之, King Wen used it (the cultured-bright within, enduring great trouble from without); 箕子以之, Qi Zi used it (the inner difficulty paired with the corrected will). The Xiang compresses the whole hexagram into a four-character ethical instruction: 用晦而明 — use obscurity yet remain bright — treating the concealment of capacity as the substantive content of the discipline rather than as a compromise of it. Translations by YiGram Editorial from the classical Chinese.
Classical commentariesWang Bi · Zhu Xi · Bushi Zhengzong
Wang Bi (Zhouyi Zhu, 3rd century) reads Hexagram 36 as a hexagram about altitude under hostility rather than about hiding as such. For Wang Bi the analytical centre is the progression from line 1’s drooping-winged flight to line 5’s Qi Zi posture: the lower lines name the postures available to actors who can still leave the field, the upper lines name the postures available to actors who cannot. The line-6 closing image of the darkness ascending to the sky and afterward entering the earth is, in Wang Bi’s reading, the structural guarantee that makes the whole discipline rational — firm-correctness held under difficulty is fortunate because the difficulty is itself finite. The hexagram’s decision logic is the precise mapping of postures by which an actor preserves their operational brightness through the period until the inversion arrives.
Zhu Xi (Zhouyi Benyi, 1188) reframes the hexagram around the two historical figures the Tuan names — treating King Wen and Qi Zi as the canonical models the hexagram’s six lines are organised around. For Zhu Xi the King Wen posture (external constraint, internal composition of the work) is the framing of the hexagram statement’s 利艱貞; the Qi Zi posture (continued presence inside the hostile court with brightness concealed) is the framing of the line-5 利貞. The hexagram’s repeated grant of advantage in firm-correctness is, in Zhu Xi’s reading, the same instruction at two altitudes: hold the inner will straight whether the external situation has imprisoned you or has installed you at the centre of the regime you cannot openly oppose.
The Bushi Zhengzong (Qing-dynasty divinatory manual, 1709) reads 36 practically: a hexagram drawn in answer to a question about a hostile institutional period — corrupt leadership, regime change, the actor’s role under a power that has turned against them, the conditions of working visibility being revoked. The manual is explicit that 36 is not a commentary on the actor’s moral standing; the cast applies whether the actor is the wronged party, the heir to a hostile inheritance, or the operator inside a captured institution. The practical recommendation tracks the line position the question lands at: drop low and accept the talk at line 1; mount the stout horse at line 2; capture the chief but pace the correction at line 3; quit the courtyard at line 4; hold the Qi Zi posture at line 5; budget for the darkness’s own fall at line 6.
Translations and paraphrase by YiGram Editorial from the classical Chinese. We do not reuse any modern third-party English rendering of these commentaries.
These method notes are not required to read the hexagram. They organize the traditional six-line structure for readers who want to see the rule layer beneath the plain-language reading.
Palace: Kan (water), wandering-soul generation (游魂). Binary, bottom-up: 101000. Lower trigram: Li (fire). Upper trigram: Kun (earth). Shi line: 4. Ying line: 1.
The line branches, bottom-up, follow the Li-below / Kun-above najia composition for Darkening of Light: 卯 (line 1), 丑 (line 2), 亥 (line 3), 丑 (line 4), 亥 (line 5), 酉 (line 6). Read against the Kan palace, whose element is water, the six-relatives assignments are: line 1 卯 (wood) — offspring (子孫); line 2 丑 (earth) — officials (官鬼); line 3 亥 (water) — siblings (兄弟); line 4 丑 (earth) — officials (官鬼); line 5 亥 (water) — siblings (兄弟); line 6 酉 (metal) — parents (父母).
The shi line at position 4 carries officials (丑, earth), the element that controls the palace’s own water — the actor stands at the position where the pressure on the palace is most directly registered, which is the structural correlate of the Qi Zi posture: the actor’s seat is precisely the seat at which the hostile regime’s power lands. The ying line at position 1 carries offspring (卯, wood), the element the palace’s water generates, marking the receiving position as the actor’s own future generativity. Read as a structural pair, the shi-ying axis of Darkening of Light says that the pressure is on the actor while the future the actor preserves is held at the lowest line — the structural correlate of the Xiang’s 用晦而明: the obscurity is held at the shi while the brightness that will survive the period is rooted at the ying beneath it.
For a cast, this static layer records the palace, generation label, shi and ying positions, each line's branch and six-relative, moving-line positions, transformed hexagram, and the use-spirit selected by question category. The public page keeps that structure as a method note rather than as default reading text.
Audit status: unaudited_draft. The static-layer tables are pulled from the standard 京房纳甲 sequence and have not yet been cross-checked against the three reference texts named in the methodology. Errors should be reported against the v0.1.0 rule version in the GitHub rules directory.
For the full pipeline (how the static layer reaches the AI interpretation), see Methodology → Najia engine.
Sources
- Classical text of the Yijing (周易) — hexagram and line statements (卦辭 / 爻辭) from the received Zhou-dynasty edition. Public domain.
- James Legge, The Sacred Books of the East, Vol. XVI: The Yi King, Oxford University Press, 1882. Public domain.
- Zhu Xi (朱熹), Zhouyi Benyi (周易本義), 1188. Public domain.
- Wang Bi (王弼), Zhouyi Zhu (周易注), 3rd century. Public domain.
- Bushi Zhengzong (卜筮正宗), Qing-dynasty divinatory manual, 1709. Public domain.
- Tuan Zhuan (彖傳) and Xiang Zhuan (象傳), two of the Ten Wings (十翼). Public domain.
- Bradford Hatcher, Yijing Hexagram Names and Core Meanings (Version 12.1, 2011). © Bradford Hatcher, 2011. Reproduced under the author’s explicit permission to redistribute his work intact, with copyright notice; this page quotes the “Key Words” subsection only and links readers to the full original for the longer notes. Bradford Hatcher (d. June 2020).
All Chinese-to-English translations on this page are by YiGram Editorial, working directly from the classical Chinese. We do not reuse third-party modern English translations of any of the listed Chinese sources. Read the full source policy in the methodology page.
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