Clarity,
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I appreciate your detailed reply.Then 1 and 2 becoming engine for all that happens afterwards and looking at them suggesting we look at the beginning and the end. Where it all comes from and where it all arrives.
Qian and Kun are always dancing around each other. The globe is one projection of a model of the outcome of that dance. And so while it may be possible to construct a theory around the extra text from how you have presented it it does seem a bit tenuous. Maybe others can offer support to what you have said to substantiate your proposal. Personally, I find the 4 themes given in the extract posted by surnevs as more compelling reasons for explaining the 6 lines changing and the resultant dynamics they represent.So what is the conneciton with the original topic... To understand the answer to what happens when Qian changes to Kun and , and/or the other way around we have to understand what that means and is it different then any other hexagram changing. And it is. So a possible theory of why there is extra text can come from there. May not be the real reason, but if it brings us to more interesting and useful representations of the world around all the better.
Point #2 explains that 6 lines changing at once in Hex 1 and Hex 2 is 'different than any other hexagram changing' all of their 6 lines. This is clear, in my understanding, because the 7th statement in each hexagram exists, and originates way back in the mists of time, way before there is any known reference to the Yi-globe.
It's good that you have found a model that you can readily relate to. I did spend some time a few years back studying and exploring the Yi-globe. I liked the 3 dimensional perspective of the model and the sense of relationship and proximity that it produces, however it all seemed just a bit too complicated. I couldn't really relate to the complexity that went with it when making divination. I think it provides a workable visual model for study of 'life, the universe, and everything'. Perhaps, I never spent enough time with it for a deeper relationship to develop as yours has and continues to be.For me I like to look stuff through the globe now. If its too fancy for someone, they can find simpler and more logical ways to find what texts to read, as you have done. And if they use it rarely enough and only in emotionally charged situation it should work reasonably well in most cases(not all). Although in that case there will also be countless other sources of info that will be there providing same ideas from all directions.
Why pass? I'm certain there is no need to. Maybe starting a separate thread will begin the promotion of the Yi-globe that you are now advocating for following changing lines.And here comes the time to start promoting the Yi Globe as the best way to follow the changing lines and... !
But I will pass this time around.
Having said that, I still struggle in the context of this thread, to see how it accommodates the 6 changing lines in Hex 1 and Hex 2.
HOLDING TOGETHER
Six at the top:
b) “He finds no head for holding together.”
Therefore he also fails to find the right end.
This line takes its position above the ruling yang
line. While the lower yielding lines find their head
in this yang line, the
yin line at the top has no head to follow and must
therefore go astray, particularly because it stands at
the top of the trigram K’an, danger.
The expression “no head” occurs also in the
hexagram of THE CREATIVE. There it has a
favorable meaning, because the hexagram has
nothing but strong lines, and thus the expression
signifies humility. Here it is unfavorable, because
the line is yielding. A yielding element with “no
head” bodes ill, because there is nothing to steady it.
Good fortune.
When all the lines are nines, it means that the whole
hexagram is in motion and changes into the
hexagram K’un, THE RECEPTIVE, whose
character is devotion. The strength of the Creative
and the mildness of the Receptive unite. Strength is
indicated by the flight of dragons, mildness by the
fact that their heads are hidden. This means that
mildness in action joined to strength of decision
brings good fortune.
Yet this is Wilhelm and his teachers view, though. I have high respect for their material, but I do view line 6 very differently. But the idea seems the same - all line moving is just text that makes sense in context of all line moving, nothing more. : )
While the reason they are for 1 and 2 has to be found elsewhere and as already mention in my view, that may have much practical and unconnected reasons to the hexagrams themselves,
Yes. I get all that. Nothing new really, from my perspective.
But where does the Yi-Globe come into it? What is it bringing to the party with respect to 6 changing lines for hex 1 and 2?
Keep it simple, please. Focus on giving one paragraph. That is probably enough space to give a precis that will answer those two questions for me.
Yes.... the other hexagrams all spring from Qian and Kun, so these two are different - Mum and Dad !!. Qian is the Creative Force and Kun the Receptive so I can see the flow from Heaven to Earth. However doesn't that downward cone shape theory apply for all aspects of Qian ( 0,1,2,3,4,5 or 6 changing lines) flowing to Kun. Whether or not there are 6 changing lines there is no differentiation displayed in the Yi-globe? The electric motor runs / the pouring down happens irrespective of the number of changing lines.Shows Qian and Kun as different then the others. All comes from Qian in a Cone shape downwards, all arrives at Kun.
If you imagine this as a construction of flowing water, all pouring down from Qian downwards and after arriving at Kun disapearing below, visually will be very easy to recognize. Nothing else will look the same, so one can say this is worthy of its own text/representation.
Not saying that is what they meant, though, but I assume something like this was what Hans_K meant, as after all the engine and all was his idea. I just suggested another representation for it that was already here before.
Yes.... the other hexagrams all spring from Qian and Kun, so these two are different - Mum and Dad !!. Qian is the Creative Force and Kun the Receptive so I can see the flow from Heaven to Earth. However doesn't that downward cone shape theory apply for all aspects of Qian ( 0,1,2,3,4,5 or 6 changing lines) flowing to Kun. Whether or not there are 6 changing lines there is no differentiation displayed in the Yi-globe? The electric motor runs / the pouring down happens irrespective of the number of changing lines.
Yes, Hans made the original connection to an electric motor which I thought was a good analogy. Are you just linking his image of an electric motor and fitting it wholesale over the Yi-globe model, rather than being able to link the 6 changing lines to some other specific characteristic of the Yi-globe?
I don't doubt that I might be missing something important regarding connection to a specific characteristic. I have looked hard to identify this in your posts, so please let me know if that is the case.
Hi Tihia VitarWell... Imagine something happens that makes you sad... You go in the street and you see a happy elephant dancing. Suddenly you feel better, the problem doesn't seem so big and the elephant is soo funny, that for a time your understanding and reactions to the situation changes.
***
We have Kun. You are in peace.
Something happens, now we are at 64. You don't align with it. You are still in harmony, kinda, with yourself, but not with the environment. As you don't get why it happens, how to align with it or how to move from there.
Then we get to Qian(as the head). New information comes along. In this case in the form of a dancing elephent.
Assimilating that with time you get back to alignment with everything in 63.
Now you are at Kun in peace.
Something happens. Now again we are at 64. You don't align with it. You are...
The middle pillar here goes +-+-+-+-+- creating a dynamo getting everything else to move and interact and flow.
There are other similar 'movements' on the surface, month hexagrams being one, but that is the 'inner one'.
There is much, much more, just need to know what direction one wants to look at it from.
That is a wise move indeed. Engaging everyday with our dancing elephants is something we should all do from time to time.Hi Tihia Vitar
You quote my post and then do not refer to it and additionally fail to answer my questions. That shows disrespect.
It's clear to me that you are switched onto transmit and not receive mode. However you do not wish to transmit on radio frequency Yi-globe any more it seems.
So I will peacefully withdraw and go to a place where I can best view and engage with my dancing elephants. You may have this field to yourself now. It is clear that you have much to say, however I'll leave it all with you to choose the direction in which you would most like your creative juices to flow.
Others may wish to join you there.
Good Luck
Both the texts to All Lines Nines and All Lines Sixes in these first two hexagrams refer to devotion being restored at source.
The top line in The Creative shows an arrogant dragon who has lost his way and is breaking up. So All Lines Nines restores the Path through creating a flock of dragons without a head.
The top line in The Receptive (2) shows belligerent dragons fighting in the wilderness – they have lost their devotion. So All Lines Sixes speaks of everlasting devotion being favourable. Devotion sustains the source of the virtue.
At the hour around midnight it is the beginning of the new day yet still the previous night. This is to be without a head. Similarly spring begins the year without a head, and at the same time completes the year over its end. This is the power of the dragons without a head.
See a flock of dragons without a head!
This idea is not easy to grasp, but not difficult to understand.
The idea being not easy to grasp makes it easier to understand.
This illustrates a case of having no-beginning and no-ending. It can be extended to all people and situations, ten-thousand in all. Now there is good fortune!
Yin and Yang take their cue from one another, alternating in an endless cycle – there is nothing The Creative does not influence nor The Receptive bless. All the lines illustrate the ultimately mysterious mixing together of Yin and Yang, heaven and earth.
62 hexagrams being a mix of yin and yang resonates strongly. I have just been musing over Tuck Chang's comments, that I have posted above. He is ok with saying 6 line yang changes to take on yin qualities, however 6 line yin changes cannot take on yang qualities.A straightforward explanation came to me recently: The two first hexagrams are the only ones with pure Yang or pure Yin. All of the other 62 hexagrams are mixed in yin and yang.
That Yin should find a place in the first hexagram Ch´íen or Yang should find a place in K'un - the second hexagram - would be wrong because, then either of these two hexagrams would be what they are.
From this, it follows that "all lines changing" neither for Ch´ien nor for K´un can be interpreted as the hexagram being its opposite... I mean: normally when all the lines are changing you read the Omen in the evolved hexagram (well, OK, 'normally' can be discussed) but as the evolved hexagram for Ch´ien would be K´un and the other way around would be to say that Yin could be an interpretation for Yang and Yang could be an interpretation for Yin. And this is what would be wrong about it...
Clarity,
Office 17622,
PO Box 6945,
London.
W1A 6US
United Kingdom
Phone/ Voicemail:
+44 (0)20 3287 3053 (UK)
+1 (561) 459-4758 (US).