Between Emulation and Resemblance: A Fundamental Inquiry into the Microcosm of the Dao of Change

II. The Multiple Dimensions of Xiàng in Pre-Qin Thought

Xiàng (image/resemblance) is an extremely core and complex concept in pre-Qin thought. To deeply understand "The Xiang are those that resemble this," we must examine the multi-layered meanings of xiàng in different contexts.

First Layer: Celestial Images (Tian Xiang). The Zuo Zhuan, Duke Zhao, Year 1: "The affairs of Heaven always present images (tian shì héng xiàng)." Eclipses, comets, and rainbows—these are all celestial Xiang. In the pre-Qin era, observing images to keep time was a paramount political activity. The opening of the Book of Documents, Yao Dian, states: "He then commanded Xi and He, to diligently follow the vast Heaven, to calculate and present the images of the sun, moon, and stars, and respectfully grant the time to the people." (Nai mìng Xi Hé, qīn ruò hào tiān, lì xiàng rì yuè xīng chén, jìng shòu rén shí.) This was the systematic observation and emulation of celestial images.

Second Layer: Material Images (Wù Xiàng). The Xi Ci Shang states: "The sage perceived the intricacy of all under Heaven, and modelled it by its forms, resemblances (xíngróng), and images (wù yí), hence they are called Xiang." Here, xiàng functions as a verb—to use similar forms to analogize the profound complexity of all things under Heaven, making them cognizable and communicable.

Third Layer: Hexagram Images (Guà Xiàng). Each of the eight trigrams has its image: Qian is Heaven, Kun is Earth, Zhen is Thunder, Xun is Wind, Kan is Water, Li is Fire, Gen is Mountain, Dui is Lake. These images are highly condensed summaries of the fundamental elements of the natural world. The Shuo Gua Zhuan details the expansion of these images:

"Qian is Heaven, roundness, ruler, father, jade, metal, cold, ice, great red, good horse, old horse, lean horse, piebald horse, wood fruit."

A single Qian hexagram can symbolize so many things! This demonstrates that Xiàng is not a rigid one-to-one mapping, but rather an associative network based on mutual affinity.

Fourth Layer: Conceptual Images (Yì Xiàng). This is the most abstract layer. The Xi Ci Shang states: "Writings do not exhaust words, and words do not exhaust meaning. Then, is the sage’s meaning not visible$12 The Master said: The sage establishes images (lì xiàng) to exhaust meaning." This passage is profound—language and writing cannot fully convey the sage’s intent, but Xiang can. Why$13 Because Xiang is not linear logical deduction, but holistic intuitive presentation. When a hexagram image is placed before one, a person of understanding can grasp subtle meanings that words cannot convey.

Wang Bi provided a brilliant exposition on this in his Zhou Yi Lüe Li, Ming Xiang (Clarifying Images):

"The Xiang are that which emits meaning. Words are that which clarifies the Xiang. To exhaust meaning, nothing is better than Xiang; to exhaust Xiang, nothing is better than words. Words arise from Xiang, thus one can trace words to observe the Xiang; Xiang arises from meaning, thus one can trace the Xiang to observe the meaning. Meaning is exhausted by Xiang, Xiang is manifested by words."

Wang Bi further suggests the progression of "forgetting the Xiang once the meaning is grasped, and forgetting words once the Xiang is grasped"—this thinking is entirely consistent with Zhuangzi's idea of "forgetting the trap once the fish is caught" (De yú wàng quán). However, we must note: Wang Bi’s "forgetting the Xiang" is a development of Wei-Jin Metaphysics (Xuan Xue). In the original context of the pre-Qin Xi Ci, the Xiang was not a tool to be transcended, but the legitimate vehicle for the sage’s meaning. "The Xiang are those that resemble this"—the Xiang faithfully resembles the Dao of Heaven and Earth; it is an entity worthy of reverence in itself.