Hexagram 55豐Abundance
Abundance is genuinely present and the turn is structurally adjacent. The hexagram statement is direct: do not be anxious; be as the sun at midday. The discipline is to use the brightness fully while it is at noon, recognise that midday darkness can still be screened by a thick enough tent, and refuse the empty-house ending where the form of abundance is preserved after the household has already emptied out.
60-second read
Abundance is the hexagram for the moment when the peak is genuinely present and the turn is structurally adjacent. The hexagram statement is direct: do not be anxious; be as the sun at midday. The Tuan immediately qualifies the peak — the sun at midday then declines; the moon full then is eclipsed; even heaven and earth wax and wane with the times. The line texts walk through how abundance is squandered: the screened midday darkness of line 2 where the noble person sees the Bushel constellation through the tent at noon, the broken arm of line 3, the empty-house ending of line 6 where the household is screened off and three years pass without anyone seen.
The hexagram
豐：亨，王假之，勿憂，宜日中。
Abundance: progress. The king reaches it. Do not be anxious. It is fitting to be like the sun at midday. — Translation by YiGram Editorial from the classical Chinese
“Făng intimates progress and development. When a king has reached the point (which the name denotes) there is no occasion to be anxious (through fear of a change). Let him be as the sun at noon.”
— 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.
初九：遇其配主，雖旬無咎，往有尚。
Meeting his matched counterpart. Though of the same kind, no error. Advancing wins approval.
“The first NINE, undivided, shows its subject meeting with his mate. Though they are both of the same character, there will be no error. Advance will call forth approval.”
— Legge (1882)
Line 1 is the yang at the bottom of the lower trigram Li — the first stage inside the abundance arc, the position where the actor encounters the structural counterpart whose alignment will define how far the brightness can travel. 遇其配主 — meeting the matched counterpart, the 配主 being the partner of equal rank whose pairing is the basis for the upward movement. The line is structurally honest: both lines are yang, both are of the same character, and the conventional reading would expect that two like-kind lines either repel or interfere. The line is direct that the like-kind pairing does not produce error here, and that the advance from this position is met with approval.
The decision-relevant translation is the line of the matched first move. For founders this is the co-founder whose temperament matches the actor's own, the early hire who shares the actor's working register; the line is explicit that the like-kind pairing — the kind business books typically warn against in the name of cognitive diversity — is the correct first move at line 1 of Abundance. The reason is structural: the abundance arc is moving upward and the early stages benefit from frictionless alignment rather than productive disagreement. The fortune of 往有尚 — advancing wins approval — is conditioned on accepting the matched counterpart as the legitimate first step rather than over-engineering the early collaboration.
六二：豐其蔀，日中見斗，往得疑疾。有孚發若，吉。
Abundance screened by a thick tent-cover. At midday he sees the Bushel constellation. To advance brings suspicion and resentment. Stir up sincerity to break through. Fortune.
“The second SIX, divided, shows its subject surrounded by screens so large and thick that at midday he can see from them the constellation of the Bushel. If he go (and try to enlarge his connections), he will make himself to be viewed with suspicion and dislike. Let him cherish his feeling of sincere devotion that he may thereby move (the mind of his ruler), and there will be good fortune.”
— Legge (1882)
Line 2 is the centred yin in the lower trigram and the line where the hexagram's central paradox first surfaces. The image is precise and disorienting: 豐其蔀，日中見斗 — the tent is so thick that at noon the noble person sees the Bushel constellation, the seven stars of the Northern Dipper that should only be visible at night. Abundance is present; the sun is at midday; the actor's own structural screen blocks the brightness so completely that the stars of midnight become visible at noon. The line names the screened-midday condition as the hexagram's first failure mode.
The decision-relevant translation is severe and specific. For executives at peak influence this is the line of the leader whose own internal apparatus — the layered staff, the protective screens that institutional power accretes — has thickened to the point where the daylight of the actual situation cannot reach the decision-maker any more. The instruction does not say tear down the tent; line 2 reads it as structurally given. The instruction is 有孚發若 — stir up sincerity to break through. The actor's authentic conviction, expressed plainly to the ruler-position, is the only thing that pierces the screened darkness. Going outward — 往 — produces suspicion; staying with the authentic interior signal produces fortune. For founders past Series-C this is the line of the CEO who has to bypass the senior staff layer and speak directly to the board chair.
九三：豐其沛，日中見沬，折其右肱，無咎。
Abundance screened by a banner so wide that at midday he sees only the faintest stars. He breaks his right arm. No blame.
“The third NINE, undivided, shows its subject with (the screen) of so large and thick a banner that at midday he can see from it the small stars. He breaks his right arm; but there will be no error.”
— Legge (1882)
Line 3 is the top of the lower trigram and the line where the screened-midday image sharpens further. The banner — 沛 — is the formal large-scale fabric carried in procession, wider than the simple tent of line 2 and more institutional in its blocking. At midday the actor sees only 沬, the faintest pinpoint stars at the edge of vision; the brightness is structurally there and structurally inaccessible. The line then introduces the broken arm: 折其右肱 — the right arm is broken. The right arm is the actor's primary instrument of action in the early Chinese frame, the implement of authority. The line is explicit that the structural condition of line 3 is one where the instrument of action is removed mid-arc.
The decision-relevant translation is unusually charitable for so severe an image. 無咎 — no blame — is the closing judgement on the broken arm. The instruction the line carries is structural: when the actor's screened position is one where the primary instrument of action has been damaged or removed, the correct response is to accept the no-blame framing and to refuse the temptation to compensate by acting through the broken instrument anyway. For founders this is the line of the executive whose chief lieutenant has just resigned at the worst possible moment, or whose primary go-to-market channel has just collapsed; the line is direct that the loss is structurally given and that pushing through it forces an error the no-blame framing would otherwise prevent. The brightness will return when the screen lifts; the actor's discipline is to wait without forcing the broken-arm action.
九四：豐其蔀，日中見斗，遇其夷主，吉。
Abundance screened by a thick tent-cover. At midday he sees the Bushel constellation. He meets his equal-rank counterpart. Fortune.
“The fourth NINE, undivided, shows its subject in a tent so large and thick that at midday he can see from it the constellation of the Bushel. But he meets with the subject of the (first) line, undivided like himself. There will be good fortune.”
— Legge (1882)
Line 4 is the yang at the bottom of the upper trigram Zhen and the line where the screened-midday image of line 2 returns at a higher altitude. The tent is the same; the Bushel constellation visible at noon is the same; the structural condition of the actor's own apparatus blocking the daylight is the same. The difference is what arrives in the second clause. 遇其夷主 — the actor meets the 夷主, the matched counterpart of equal rank. The same 配主 image that line 1 named is now re-encountered at the upper trigram, and the line resolves to 吉 — fortune.
The decision-relevant translation is the line of the structural exit from the screened midday. For executives the line is direct that the way out of the institutional screen is not to clear the screen unilaterally — line 2 already named the cost of that move — but to encounter the matched peer whose rank and orientation re-establish the conditions under which the daylight reaches the decision-maker. For founders this is the board peer whose understanding matches the actor's own, the senior advisor whose alignment is structural rather than situational; the line is explicit that the meeting with that counterpart is itself the fortune. The screened condition does not need to be dismantled. The line is one of the hexagram's two clean exits — the structural pair to line 5 — and it requires the actor to recognise the counterpart when they appear rather than to read them as another piece of the screening apparatus.
六五：來章，有慶譽，吉。
Brilliant people come. There is celebration and praise. Fortune.
“The fifth SIX, divided, shows its subject bringing around him the men of brilliant ability. There will be occasion for congratulation and praise. There will be good fortune.”
— Legge (1882)
Line 5 is the ruler line and the second of the hexagram's clean exits. 來章 — brilliance comes; the 章 character names the patterned excellence of people of evident ability, the senior collaborators whose own brightness can be brought into the actor's field. The line is conditioned not on the actor's own brilliance — the ruler position is a yin line, structurally receptive — but on the actor's capacity to bring brilliance toward them. 有慶譽 — celebration and praise; 吉 — fortune. The line is one of the most generous in the hexagram and the cleanest picture of how abundance is preserved across its arc.
The decision-relevant translation is the line of the ruler-by-attraction. For executives at peak influence this is the precise opposite of the line-2 screened darkness: where line 2 fails because the actor's own apparatus blocks the external daylight, line 5 succeeds because the actor's ruling position attracts the external brilliance that the apparatus would otherwise screen out. The discipline is to keep the seat open. For founders this is the CEO who recruits the senior operator whose track record exceeds the actor's own, the chair who brings the strategic advisor whose authority exceeds the chair's own institutional rank. The fortune of 來章 is conditioned on the ruler's capacity to receive rather than to dominate; line 5 is the structural argument for the receptive senior who knows that the abundance arc is preserved by the brilliance attracted, not by the brilliance owned.
上六：豐其屋，蔀其家，闚其戶，闃其無人，三歲不覿，凶。
He makes his house abundant. He screens off his household. He peeps through the door — silent, no one there. For three years no one is seen. Evil.
“The topmost SIX, divided, shows its subject with his house made large, but only serving as a screen to his household. When he looks at his door, it is still, and there is nobody about it. For three years no one is to be seen. There will be evil.”
— Legge (1882)
Line 6 is the topmost line and the I Ching's most severe picture of the collapsed peak. The image is sustained and graphic. 豐其屋 — the house is made grandly abundant; 蔀其家 — the household is screened off behind the grandness; 闚其戶，闃其無人 — peep through the door, silent, no one is there; 三歲不覿 — for three years no one is seen. The exterior form of the household has been preserved and amplified; the interior has emptied out completely. The screen of line 2 has thickened to the point that the actor has not only blocked the external daylight but has also blocked the internal life of the household itself.
The decision-relevant translation is severe and corrective. 凶 — evil — is unambiguous and final. For executives this is the line of the leader who has preserved the external markers of authority — the title, the office, the public-facing institution — while the actual relationships, the actual team, the actual customers have already emptied out behind the screen. The three-year time-frame is the I Ching's unusual specificity about how long the empty-house condition persists once it has set in. The line is honest that the cheapest moment to prevent the line-6 ending was at line 2, when the screen was first noticed; by line 6 the household has been silent long enough that the recovery path is no longer in view. For founders this is the company whose external valuation persists while the underlying engineering organisation has already left. The corrective is upstream of line 6 in every case.
PosturePeak abundance · midday shadow adjacent
Abundance puts Li (fire, brightness) below and Zhen (thunder, movement) above — brightness with movement. The Tuan compresses the image into the canonical pair: 明以動，故豐 — brightness with movement, therefore Abundance. The hexagram is naming the rare structural conjunction where genuine clarity of vision is coupled with genuine forward motion; both elements are present at peak strength and they are aligned. The hexagram statement is one of the I Ching’s most direct declarations of arrival: 王假之，勿憂，宜日中 — the king reaches this point, do not be anxious, be as the sun at midday. The peak is real; the abundance is not aspirational.
The same Tuan then immediately qualifies the peak with the I Ching’s canonical waxing-waning frame: 日中則昃，月盈則食 — the sun at midday then declines; the moon full then is eclipsed. 天地盈虛，與時消息 — heaven and earth, fullness and emptiness, wax and wane with the times. The midday shadow is structurally adjacent to the noon itself; the moment of peak abundance is also the moment from which decline becomes inevitable. The whole hexagram is the I Ching’s instruction for how to inhabit the noon deliberately — how to use the brightness while it is at full strength, how to recognise the screened-midday darkness when the actor’s own institutional apparatus begins to block the daylight, and how to refuse the empty-house ending where the form of abundance is preserved after the household has emptied out behind the screen.
Failure modesScreened midday (line 2) · empty house (line 6)
The dominant failure mode is the line-2 screened midday. The actor stands at noon; the brightness is structurally available; the actor’s own institutional apparatus — the layered staff, the protective calendar, the formal procedural surfaces that accrete around peak influence — has thickened into a tent so dense that the noble person sees the Bushel constellation at midday. The seven stars of midnight are visible at noon. The hexagram is graphically explicit that the screen is the failure; the brightness has not gone anywhere. The catastrophic terminal mode is the line-6 empty house:豐其屋，蔀其家 — the house made grandly abundant, the household screened off behind the grandness. The peeping through the door reveals silence;三歲不覿 — for three years no one is seen. The external form of the household has been preserved and amplified while the interior has emptied out. Both failures share a root: an actor at peak who reads the hexagram statement’s “do not be anxious” clause as a permission to stop watching the structural conditions, when the Tuan’s waxing-waning qualifier was the entire point.
Application & adjacentQuestion shape · Hexagram 56 pair · Peak vs displacement
A note on the question shape this hexagram answers best. Abundance rewards questions framed around a specific peak that is genuinely present — a company at the height of its market traction, an executive at the peak of institutional influence, a founder whose product has reached the moment of public recognition, a leader whose authority has compounded to the point where the structural turn is now visible. It is less useful for questions about whether the abundance is real; for that question, re-read with Hexagram 14 — Great Possession — which names the discipline of stewardship under sustained material wealth. Abundance presumes the peak; the hexagram is the instruction layer for what to do at it.
The canonical adjacent reading is 旅 — Hexagram 56, The Wanderer — the King Wen reverse pair. Where 55 names the actor at peak abundance whose discipline is to keep the noon from collapsing into screened darkness, 56 names the same actor displaced from the household into the road, holding dignity with few attachments. Read together they form the canonical peak/displacement dyad: in Hexagram 55 the household is at its most abundant and the screen is the failure; in Hexagram 56 the household has been left behind and the discipline is to carry the inner posture of the noble person on the road. The pair argues that the actor at peak abundance who refuses to anticipate the displacement — who treats the noon as permanent — lands at the line-6 empty house; the actor who reads both hexagrams together accepts the structural turn as built into the peak itself and moves from one to the other with the inner posture intact.
The line-4 matched-counterpart and the line-5 attracted- brilliance positions are the hexagram’s two operational exits from the screened-midday condition. Both are conditioned on the actor’s recognition that the apparatus accreted around peak influence is itself the screen. The decision- relevant move is twofold. If you are the leader inside the thickening institutional tent, the instruction is line 4: recognise the matched peer when they arrive and let the encounter restore the channel the apparatus had screened out. If you are the senior whose authority is compounding to the point where peak abundance is genuinely available, the instruction is line 5: keep the seat open so the brilliance of others can be attracted into the field rather than owned. Both exits depend on accepting the structural fact that abundance preserved as a possession collapses into the line-6 empty house; abundance preserved as a field continues to attract the conditions that produced it.
SynthesisYiGram Editorial
Each Western line of reading approaches Abundance from a different angle. James Legge transliterates 豐 as “Făng” and frames the hexagram within his Confucian moral lens — the canonical instruction for the king at his ritual peak and the waxing-waning frame read as the political reading of sovereign abundance under heaven’s mandate. Richard Wilhelm’s symbolic-philosophical posture reads the hexagram as “Abundance” or “Fullness” — the great image of clarity coupled with movement at peak strength and the discipline of inhabiting the noon deliberately. A reading in the lineage of Carl Jung’s 1949 foreword would treat 55 as a marker of psychic fullness at peak individuation, with the screened-midday darkness read as the shadow that the actor’s own conscious abundance produces around itself. Bradford Hatcher’s linguistic project (below) abandons all three framings and returns to the semantic field of 豐 itself — abundance, plenty, largeness, prosperity, and the structural conditions in which fullness contains its own turn. 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 55 豐, his clusters are:
Busyness, hustle, confusion, crowding, overcommitment; a culmination or zenith Prosperity, affluence, riches, profusion, confusion, multiple choices, complexity Information or sensory overload; immediacy, urgency; maximum, peak, climax Call for dispatch, executive decision, selection, focus, summary or snap judgment Tunnel vision of daytime stars a.k.a. polarized light; curtains, tall buildings, maze Many demands on the attention, awareness narrowly apportioned, circumscription
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 55 names a very specific working posture: a peak that is genuinely present and structurally adjacent to its own turn, and the corresponding discipline of using the brightness fully while it is at noon. The Wings give the canonical reading: brightness with movement is what makes Abundance; the king reaches this point; the sun at midday then declines and the moon full then is eclipsed; heaven and earth wax and wane with the times. Wang Bi sharpens the structural reading: 55 is not a hexagram about avoiding decline but about the precise relationship between peak strength and the screen that peak strength produces around itself, and the line-by-line texts walk through the screened-midday image as the central diagnostic. Zhu Xi reframes the hexagram around the ritual referent of the king’s formal arrival at the ancestral hall — 王假之, the king reaches it — and stresses that the line-5 attracted-brilliance is the structural exit that preserves the peak across its arc. The divinatory manual Bushi Zhengzong reads 55 strictly as the marker for peak conditions in commercial, institutional, and personal arcs — not as a fortune-telling claim about continued ascent. The unified posture across all four sources is the same: Abundance is a discipline for inhabiting peak conditions deliberately, recognising the screen that the actor’s own apparatus produces, and refusing the empty-house ending where the form of abundance persists after the household has emptied out.
Yi ZhuanTuan + Xiang · Ten Wings
The Ten Wings are the canonical Confucian commentary stratum embedded in the received Yijing. For Hexagram 55 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: 豐，大也。明以動，故豐。王假之，尚大也。勿憂，宜日中，宜照天下也。日中則昃，月盈則食，天地盈虛，與時消息，而況於人乎，況於鬼神乎。
Abundance: greatness. Brightness with movement — therefore Abundance. “The king reaches it” — esteeming greatness. “Do not be anxious, fitting to be like the sun at midday” — fitting to illuminate all under heaven. The sun at midday then declines; the moon full then is eclipsed; heaven and earth, fullness and emptiness, wax and wane with the times — how much more for human beings? How much more for the spirits?
Xiang 象傳: 雷電皆至，豐。君子以折獄致刑。
Thunder and lightning both arrive — Abundance. The noble person accordingly decides litigation and carries out punishments.
The Tuan does the structural work twice. The first move names the hexagram’s definition: 明以動 — brightness with movement — is what produces Abundance, the simultaneity of clear vision and forward motion that the lower-trigram Li and upper-trigram Zhen combine to create. The second move immediately qualifies the peak with the waxing-waning frame that the entire hexagram then unfolds: 日中則昃，月盈則食. The qualifier’s closing rhetorical pair — 而況於人乎，況於鬼神乎, how much more for human beings, how much more for the spirits — is one of the Wings’ rare moments of explicit emotional pressure: the actor at peak abundance is being told directly that the waxing-waning structure applies to him no less than to heaven and earth themselves. The Xiang then compresses the ethical instruction into a four-character phrase that surprises on first reading: 折獄致刑 — decide litigation and carry out punishments. The thunder-and-lightning image is read as the clarity-plus-decisiveness configuration the judicial actor needs to use abundance fully at its noon: the brightness illuminates the case; the movement carries the judgement through. Translations by YiGram Editorial from the classical Chinese.
Classical commentariesWang Bi · Zhu Xi · Bushi Zhengzong
Wang Bi (Zhouyi Zhu, 3rd century) reads Hexagram 55 as a hexagram about the structural relationship between peak strength and the screen that peak strength produces around itself. For Wang Bi the analytical centre is the repetition of the screened-midday image at line 2 and line 4 — the same tent, the same Bushel constellation visible at noon, the same condition of the actor’s own apparatus blocking the daylight. The difference between the two lines is what arrives next: at line 2 the corrective is the actor’s authentic interior signal stirring sincerity through the screen; at line 4 the corrective is the meeting with the matched counterpart whose rank re-establishes the channel. The line-6 empty house, in Wang Bi’s reading, is the structural terminus that follows when neither line 2 nor line 4 produces the corrective in time.
Zhu Xi (Zhouyi Benyi, 1188) reframes the hexagram around the ritual referent of the hexagram statement’s opening phrase — 王假之, the king reaches it. For Zhu Xi the 假 character names the formal arrival of the sovereign at the ancestral hall, the moment of the ritual’s peak performance, and the hexagram statement is read as the I Ching’s instruction for the conduct of the peak ritual itself. The line-5 attracted-brilliance is Zhu Xi’s structural centre: the ruler whose own position is yin and receptive attracts the patterned excellence of others into the ritual field rather than dominating it from the centre. The fortune of 來章 concentrates the hexagram’s operational exit at the seat of attraction rather than at the seat of ownership.
The Bushi Zhengzong (Qing-dynasty divinatory manual, 1709) reads 55 practically: a hexagram drawn in answer to a question about peak conditions — a business at its most expansive, an executive at the height of institutional authority, a personal arc at the moment of public recognition. The manual is explicit that 55 is not a fortune-telling claim about continued ascent; the cast applies whether the question is asked from a rising or a cresting position, and the practical recommendation tracks the line position the question lands at: meet the matched counterpart at line 1; stir sincerity to break through the screen at line 2; accept the broken-arm constraint at line 3; recognise the matched peer at line 4; attract brilliance at line 5; recognise that line 6 names a household whose interior has already left, where the corrective is upstream and the present line is the warning.
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), fifth-generation (五世). Binary, bottom-up: 101100. Lower trigram: Li (fire). Upper trigram: Zhen (thunder). Shi line: 5. Ying line: 2.
The line branches, bottom-up, follow the Li-below / Zhen-above najia composition for Abundance: 卯 (line 1), 丑 (line 2), 亥 (line 3), 午 (line 4), 申 (line 5), 戌 (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) — officer-ghost (官鬼); line 3 亥 (water) — siblings (兄弟); line 4 午 (fire) — wealth (妻財); line 5 申 (metal) — parents (父母); line 6 戌 (earth) — officer-ghost (官鬼).
The shi line at position 5 carries parents (申, metal), the element that generates the Kan palace’s own water — the actor stands on the generative ground that produces the palace’s nature, which is what makes the line-5 attracted-brilliance instruction possible: the ruling position is structurally fed by the element that produces it. The ying line at position 2 carries officer-ghost (丑, earth), the element that overcomes the palace’s water. Read as a structural pair, the shi-ying axis of Abundance says that the actor occupies the generated-by-parents position while the receiving position carries the overcoming pressure of the screened-midday darkness the line-2 text spells out. The structural correlate of the Xiang’s 折獄致刑: the judicial clarity required to decide litigation at peak abundance is rooted at the shi position, where the parental generation supports the ruling seat against the officer-ghost pressure rising from the second line.
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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