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.

'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.

This article takes as its core text the 'Ox Mountain' chapter from the Gaozi section of the Mengzi, and draws upon a wide range of pre-Qin philosophical sources to analyze the argumentative structure for innate human goodness, the mechanisms by which external forces damage the heart-mind, and the philosophical foundations and cultivation methods of the theory of innate goodness.

This article offers an in-depth philological investigation of the passage from the Xici Shangzhuan (Great Commentary on the Yijing): 'The junzi, when at rest, contemplates the images and savors the texts; when about to act, observes the transformations and savors the divination.' It restores how the pre-Qin junzi attained existential security through apprehending the 'order' (xu) of the Yi, and internalized cosmic order into personal cultivation through an attitude of aesthetic 'savoring' (wan).

This article explores Chushu (End of Heat) from the perspectives of pre-Qin Confucian and Daoist philosophy, etymological origins, and astronomical phenology, revealing the wisdom shared between 'heat ceases at this point' and 'knowing where to stop, one finds stability.' Through analysis of the character chu (to stop), the hawk's ritual offering of birds, the onset of heaven and earth's solemnity, and the grain's ascent as a return to origins, the article illuminates the ancient way of measured restraint and reverent remembrance.