Starting from the mathematical structure of Taiji, the Two Modes, Four Images, and Eight Trigrams in the Book of Changes, this article systematically explores the information-carrying capacity of Bazi and Qimen Dunjia as divinatory systems. Through analysis of Yin-Yang, the Five Phases, the Hetu and Luoshu, and other classical mathematical foundations, it seeks to provide a unified perspective for measuring and comparing the information volume of these two arts.

A thorough exploration of the principles behind Qimen Dunjia's capacity for 'multiple judgments from a single chart.' Through holographic cosmology, multidimensional coordinate systems, the symbolic system of universal correspondences, and the shifting of Taiji focal points, this article dissects the core mechanisms of what is regarded as the highest art of divination in ancient China.

'An in-depth analysis of the core differences between the "Life Chart" (Mingpan / Zhongshen Pan) and the "Hourly Chart" (Shi Pan / Shijia Qimen) in Qimen Dunjia. Exploring from the dimensions of temporal scope, analytical logic, application range, and philosophical essence, this article reveals the dialectical relationship between fate and contingency in Yixue divination.'

A line-by-line reading of the second chapter of the Upper Xici. The sage's four acts -- establishing the hexagrams, observing the images, appending the statements, clarifying fortune and misfortune -- run in exact reverse order to the noble person's four acts -- observing the images, savoring the statements, observing the changes, savoring the divination. The four clauses "is the image of..." form a chain tracing effect back to cause; "the repose in which he dwells" echoes the Doctrine of the Mean's "dwelling in ease, awaiting the Mandate"; and the chapter closes by quoting the top line of hexagram Da You, "From Heaven comes its aid," gathering the whole into the two words compliance and good faith. Grounded in Confucian and Daoist thought, and drawing on the Analects, Mencius, Laozi, Zhuangzi, Xunzi, and the Zuo Tradition, it explores how the noble person finds repose between Heaven and Earth and acts amid change.

This essay offers an in-depth reading of the passage on 'the imagery of music' (sheng yue zhi xiang) in Xunzi's 'Discourse on Music,' elucidating how musical sounds embody character-qualities that correspond to heaven, earth, and the myriad things, and situating the discussion within Master Xun's Confucian vision of transforming human nature through ritual and music.

This article offers a deep reading of Yushui (Rain Water) among the Twenty-Four Solar Terms, drawing on pre-Qin Confucian and Daoist philosophy, etymology, and astronomical phenology. Through an examination of the original meanings of the characters "雨" (rain) and "水" (water), the astronomical positioning of the sun at 330° of celestial longitude, and the three phenological signs of the term, combined with Laozi's teaching that 'the highest good is like water,' Guanzi's view of water as the origin of all things, and the Book of Changes' vision of Heaven-One begetting water and clouds moving to bring forth rain, the essay reveals the virtue of water and the meaning—between Heaven and humanity—of spring rain nourishing all things.