Interpreting and Investigating the Chapter: 'The Sage Perceived the Profundities of the World' — The Primordial Code of *Xiang* and *Yao*
This paper deeply investigates the core proposition, 'The Sage perceived the profundity (Ze) of the world,' within the *Xi Ci Zhuan* (Commentary on the Appended Judgments) of the *Zhou Yi*, analyzing the original Pre-Qin semantics of 'Ze,' 'Xiang' (Image), and 'Yao' (Line). It focuses on explaining the cognitive leap of the Sage through 'looking up and observing down,' transforming deep textures (Ze) into external simulations (Xiang), and reveals the intrinsic connection between the 'Yao' and ancient ritual systems, thereby reconstructing the foundation of Yi learning theory.
II. "Depicting What is Appropriate for the Things" (Xiàng Qí Wù Yí) — Taking Images and Suitability
"Xiàng qí wù yí" is the second step immediately following "nǐ zhū qí xíng róng."
"Xiàng" here is a verb, meaning "to draw a likeness," "to describe," or "to take an image from." In Classical Chinese, "xiàng" (像, likeness) and "xiàng" (象, image/archetype) are often interchangeable. Shuowen defines "xiàng" as "the great beast of Southern Yue." By extension, it refers to anything visible with a form. However, "xiàng" emphasizes the action of "likeness" or "comparison."
"Wù yí"—this is a term well worth scrutinizing. Wù means myriad things; yí means appropriate, suitable, or fitting. Used together, "wù yí" means the appropriate state for each thing, and the suitable position and relationship for each thing. The Zhouli (Dì Guān, Dà Sī Tú) states: "By the methods of soil suitability (tǔ yí), distinguish the names and things of the twelve types of soil." Here, tǔ yí means the products suitable for growth in each type of soil. By extension, "wù yí" means the inherent law and relational pattern that is appropriate for each thing.
Therefore, "xiàng qí wù yí" means: To depict the state and relationship appropriate for each thing by means of taking images.
Combining "nǐ zhū qí xíng róng" and "xiàng qí wù yí": the Sage first compares the external forms (xíng róng) of myriad things, and then further depicts the internal appropriate relationships (wù yí), ultimately forming the "Xiang" (Image).
This process reveals a profound epistemological principle: The Xiang is not a simple imitation of any single concrete thing, but rather a "typified expression" extracted through the comprehensive comparison of the forms (xíng róng) and the appropriatenesses (wù yí) of myriad things.
For example, why are the Xiang of the Qian trigram associated with Heaven, with firmness, with vigor, with the ruler, with the father, with the horse, with the head, with metal, and with jade$11 These seemingly disparate things are grouped under the same Xiang because they share the same wù yí—firmness, dominance, being in the superior position, and ceaseless motion. The Sage "perceived" this underlying texture (zé) hidden within Heaven, ruler, father, and horse. Through "simulating their outward forms" (nǐ zhū qí xíng róng) and "depicting what is appropriate for the things" (xiàng qí wù yí), he finally fixed this shared texture with the symbol "Qian" and the graphical representation "☰." This is the birth of the Xiang.