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confucius
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Etymology of the ideogram Lu.10
The complex composition of the ideogram used to describe the tenth hexagram is rather controversial. Its structure, as it is in use nowadays – combining a character designating the body with the ideogram used to describe Fu.24 (to come back, to return) – has very few conclusive explanations because Lu.10 is the end result of historical mixtures and obscure mutations.
When used as is, as is the case these days, the ideogram describes the idea of a shoe, of some sort of footwear. From that tool used to protect the feet comes the idea of walking, particularly to walk on something. Lu.10 is also featured in the entry level of Kun.2.
The canonical character used to describe Lu.10 was the equivalent of the character now used to express the idea of rituals, a derivative still current these days. The affinities that Lu.10 has with the feet can be observed in three different contexts:
1. Spiritually. During the ceremonies of the cult of the ancestors, the return of the departed was witness able by his leaving footprints in ashes produced by incense used for that very purpose.
2. Socially. The Kow tow, the ritualistic bowing in front of the feet of a superior (as with the emperor) by touching the ground three times with the forehead.
3. Culturally. The predominant fetish that the Chinese have for the feet.
Rituals and the act of returning (coming back), analogous as ideas, are also homonyms in the context of the Yi Jing.
Every time Lu.10 is mentioned in the canonical text of the Yi Jing, it is always in the first line: that is an influential level where is featured the image of the foot, as if to have one understand that the feet are the bases of good conduct essential at such a level. The only other place where Lu.10 is encountered outside the canonical text is also the only place where it means ritual: in the Great Image of Da Zhuang.34.
On the silk manuscript found at Ma Wang Dui Lu.10 is written using the ideogram intended for the idea of rituals.
Confucius
The complex composition of the ideogram used to describe the tenth hexagram is rather controversial. Its structure, as it is in use nowadays – combining a character designating the body with the ideogram used to describe Fu.24 (to come back, to return) – has very few conclusive explanations because Lu.10 is the end result of historical mixtures and obscure mutations.
When used as is, as is the case these days, the ideogram describes the idea of a shoe, of some sort of footwear. From that tool used to protect the feet comes the idea of walking, particularly to walk on something. Lu.10 is also featured in the entry level of Kun.2.
The canonical character used to describe Lu.10 was the equivalent of the character now used to express the idea of rituals, a derivative still current these days. The affinities that Lu.10 has with the feet can be observed in three different contexts:
1. Spiritually. During the ceremonies of the cult of the ancestors, the return of the departed was witness able by his leaving footprints in ashes produced by incense used for that very purpose.
2. Socially. The Kow tow, the ritualistic bowing in front of the feet of a superior (as with the emperor) by touching the ground three times with the forehead.
3. Culturally. The predominant fetish that the Chinese have for the feet.
Rituals and the act of returning (coming back), analogous as ideas, are also homonyms in the context of the Yi Jing.
Every time Lu.10 is mentioned in the canonical text of the Yi Jing, it is always in the first line: that is an influential level where is featured the image of the foot, as if to have one understand that the feet are the bases of good conduct essential at such a level. The only other place where Lu.10 is encountered outside the canonical text is also the only place where it means ritual: in the Great Image of Da Zhuang.34.
On the silk manuscript found at Ma Wang Dui Lu.10 is written using the ideogram intended for the idea of rituals.
Confucius