'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 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.

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.

This article offers a thorough analysis of the core proposition in Xunzi's 'Jiebi' (Dispelling Obscurations) chapter concerning the nature of cognition: 'How does a person know$33 Through the mind. How does the mind know$34 Through xu (openness), yi (unity), and jing (stillness).' It systematically elucidates the dialectical relationship among these three concepts, their epistemological significance, and their roots in high antiquity, revealing the systematic rigor and precision of pre-Qin cognitive theory.

This article offers an in-depth reading of the twelve characters 'Frost's Descent — welcome the bride; ice thaws — gradually cease; every ten days — one conjugal union,' tracing their origins through the Rites of Zhou, the Record of Rites, and other pre-Qin classics, and analyzing the marriage-season restrictions, yin-yang philosophy, agrarian-political considerations, and conjugal temperance they encode, with the aim of reconstructing the core of the pre-Qin ritual-thought system.

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.