Art and the I
Ching, The
Chinese Book
of Changes
The I Ching, Yi Jing, Chinese Book of Changes is an
ancient Chinese text that consists of stacks of lines and
broken lines. There are 64 hexagrams, stacks of six
made up of two trigrams, stacks of three lines, the top
being the outer and the bottom the inner trigram.

There are three lines in a trigram, long and unbroken
yang male energy or broken yin female information and
structure, energy reception. There are eight trigrams in
pairs of polarization: Heaven (the Gothic and Romantic
temper in art and music vs. Earth (the Realistic), Wind
(the Classical) vs. Thunder (the Expressionistic),
Waterpit (the Baroque) vs. Flame (the Cubist), Lake
(the Symbolist) vs. Mountain (the Impressionist).

In art and music, the long top yang line of the Heaven,
Wind, Mountain, and Flame trigrams represent the
leading note of music, the leading brush of art.  The
broken top yin line of the Lake, Thunder, Earth and
Waterpit trigrams represent the tonic chord and scale in
music, an assembly of structures in space and time in
art.  The long unbroken middle yang line of the Heaven,
Wind, Waterpit and Lake trigrams represents boundless
musical harmony and harmonious artistic compostion.  
The broken middle yin lines of the Flame, Mountain,
Thunder, and Earth trigrams represent individual musical
notes on individual instruments, blobs of color, globs of
clay, etc.  The long yang bottom line of the Lake,
Thunder, Flame, and Heaven
trigrams represents the energy of music and art, the on
going process, while the broken yin bottom line of the
Mountain, Earth, Waterpit, and Wind represents the
musical score, the work of art that stores artistic

The top line can also represent the human brain.  A long
yang line can be the anterior cerebrum, the executive
function and ego maintaining Frontal Lobes, and the
broken yin lines, the association areas of the posterior
cerebrum, the Parietal, Occipital, and Temporal Lobes
(associations and complexes of ideas).

The middle yang long line can stand for the whole
oriented, meaning oriented Right Hemisphere, and the
broken yin line, the particular fact oriented Left
Hemisphere of the cerebrum.  The bottom yang long line
can be the energy and feeling oriented brain stem,
hypothalamus, and amygdala, and the broken yin line
can be information processing in the hippocampus and
the cerebral cortex itself.  Thus, the three lines of the
trigram are the front to back, side to side, and down to
up axial directions within the brain.

The brain can be divided into four quarters: Left
Hemisphere Frontal Lobes (Ego, Adult Self), Right
Hemisphere Frontal Lobes (Parent, Superego), Right
Hemisphere Parietal Occipital Temporal Lobes (Egg,
Anima, Deep Id), Left Hemisphere Parietal Occipital
Temporal Lobes (Child, Id-Libido).  These four quarters
of the upper brain are Mountain= Ego Brain,
Wind=Super Ego Idealism Brain, Waterpit=Egg
automatic order and mechanism brain, Earth=Child Id
Libido sensation and observed expression brain.  This is
the upper information pole yin brain of the broken
bottom line trigrams

The deep brain stem brain splits into Flame, deep
support to the ego Mountain, Heaven, deep support to
idealistic Wind, Lake, deep support to automatic order
Waterpit, and Thunder, deep support to Earth.  Flame
tends to the wakeful and Lake to dreams and sleep.  
Flame tends to excitation and Lake to rest and the
parasympathetic aspect of the autonomic nervous
system, digestion of food, blood to the viscera.  Lake
tends to absorb and Flame to awaken.

The top line of the trigram is also the writer, storyteller
that breaks into the yin of the audience and the
language community.  The middle line of the background
that breaks into the yin of the central character, the
energy of the action and the telling that breaks into the
yin of description and information.

The primitive plain chant is belongs to Flame, the more
complex Gothic polyphony to Heaven, scores for song
and dance to Mountain, scores for classical opera to
Wind.  The music of Mozart largely to Waterpit and
Beethoven back to Heaven and Wagner to Lake and
Berlioz to Earth and Schoenberg to Thunder, Jazz to
Flame again.  Thus, we move from classical to baroque
and then to back to neoclassical and to both realistic
and romantic, from romantic to symbolist and nationalist
and from realistic to impressionistic and
post-impressionistic, expressionistic, cubist, surrealist.

                   Heaven Trigram
          Romantic, Gothic, Surrealist

                   Wind Trigram
     Renaissance, Classical, Neoclassical

Flame         Mountain              Waterpit          Lake
Cubist      Impressionist          Baroque     Symbolism
     Mannerist                              Nationalism
                  Earth Trigram
               Realism, Naturalism

                  Thunder Trigram
              Expressionism, Pop

This approach to things demonstrates a hidden structure
that underlies all existence.  There is a paradoxical
depth that underlies the surfaces known to science.  
This paradoxical depth has not been completely
explored with the development of relativity and quantum
mechanics.  In fact these developments of physics have
only scratched the surface.  Underneath the relativistic
cosmos of public space and time lies a hidden realm of
monadology inhabited by an infinite number of infinitely
free creative infinitesimals that exist in endless creative
time.  It is these phenomenological units of pure
becoming that create the private threads of time that
twist together and attach to the public life of the space
time complexes that we call animals, plants, and

Before all things is uncreated mass energy that endures
through endless becoming before space and time it is
the source of public space and time.  Out of this Shiva,
out of the Vishnu, out of this endless flux comes the
creative improbable, the creative moment of infinitesimal
being here and now time, the Brahma moment that is
the Pneuma, the creative spirit, the jiva soul.  Always,
this creative moment can chose between the hell of
attachment to local quantum events and separation from
other existence, isolation in local time and space and
local worlds of emergent pleasure, or detachment and
union with the greater whole, the Holy Spirit.  

This mass, this Christmas moment, this Christ Child
represents the entrance of the true God, the God of the
Ultimate future, the God of the endless coming of the
kingdom of the ultimate future into the creative now.  
This is the God of the transcendent improbable that is
the infinite extension of the infinitesimal now.

Refer to Una Sancta, Volume 24, Number 2, Brooklyn,
NY, 1967, pp. 3 -19 "Theology and The Kingdom of
God," Wolfhart Pannenberg, on page 6, Pannenberg
writes "We begin with the simple observation that God's
being and existence cannot be conceived apart from his
rule. Or, to put it in the language of the philosophy of
religion, the being of the gods is their power.  To believe
in one god means to believe that one power dominates
all...Jesus proclaimed the rule of God as a reality
belonging to the future.  This is the coming was Jesus' understanding that God's
claim on the world is to be viewed exclusively in terms
of his coming a restricted but important sense,
God does not yet exist.  Since his rule and his being are
inseparable, God's being is still in the process of coming
to be.  Considering this, God should not be mistaken for
an objectified being presently existeing in its
fulness....we should not be surprised or embarrassed
that God cannot be 'found" somewhere in present

James P. Carse wrote in "Finite and Infinite Games,"
Free Press, Macmillan, 1986, p. 95, "Just as infinite
players can play any number of finite games, so too can
they join the audience of any game.  They do so,
however, for the play that is in observing, quite aware
that they are the audience.  They look, but they see that
they are looking." " Infinite play remains invisible to the
finite observer.  Such viewers are looking for closure,
for the ways in which players can bring matters to a
conclusion and finish whatever remains unfinished.  They
are looking for the way time has exhausted itself, or will
soon do so.  Finite players stand before infinite play as
they stand before art, looking at it, making a poiema of

Brian Swimme writes in "The Universe is a Green
Dragon," Bear & Company, 1984, "rather than having a
universe filled with things, we are enveloped by a
universe that is a single energetic event, a unified,
multiform, and glorious outpouring of being." (p. 40)

Our current scientific game takes place in the Earth,
Mountain, and Thunder trigrams of the great endless
game of the Yi Jing.  We must not forget the creative
game that is the Heaven trigram and the coming
together game of the Lake trigram and the shining forth
game of the Flame Trigram and the penetrating ideal
game of the Wind trigram.  What we become in this
local world does not limit what we can generate in the
greater game beyond.

There is no limit to the infinite improbable and the
infinitesmal's ability to penetrate that improbable to its
deepest core.  The Father-Mother person is the ultimate
future as the transcendent power of the penetration, the
Son is the creative infinitesimal freedom of the here and
now as it chooses the infinite game over the finite, that
moment we call "prophet," "Christ," "Krishna," or
"Buddha," and the Holy Spirit is harmony generated, the
holy sphere formed of an infinity of infinitesimal pieces
joined in loving union as one concordant whole, there is
no end to that infinite game, that "nirvana." "kingdom of
heaven," "brahman" game, there is no miracle
impossible to its improbable probable eternal within the
eternal energy of the endless creative flux.  The game
of the trigrams is inclusive of all trinities, Christian,
Buddhist, Jain, Atheistic, Marxist, and Hindu: Brahma,
Vishnu, Shiva; Sanga, Dharma, Buddha; Tamas, Rajas,
Sattva; Quantum Mechanics, Thermodynamics,
Relativity; Thesis, Antithesis, Synthesis; Father, Son,
and Holy Spirit; Osiris, Isis, and Horus; Sky Father,
Earth Mother, and Frutification; Spirit, Law, and Body.

Carse, in "Finite and Infinite Games," is describing an
opposition that is similar to the opposition of Heaven and
Earth in the trigrams of the Yi Jing (I Ching) and also
similar to the opposition of Confucian and Daoist values.
The infinite game is a way of life that emphasizes Daoist
values of avoidance of status and cultivation of nature.  
The finite game, as described by Carse, is rich in the
social titles and social values important to Confucian
philosophy.  In essence, the finite game is the
competitive world of the realist temper, of the broken
yin lines of the Earth trigram.  The infinite game is the
long boundless unbroken yang lines of the Heaven
trigram, of the romantic temper.

Our interpretation of the Yi Jing (I Ching), given in this
site, attempts to avoid the Earth trigram, the Confucian
value, the finite game twist to the interpretation of the Yi
Jing that are rooted in Confucian and Neoconfucian

Fritjof Capra, in his book "The Tao of Physics," Bantam
Books, 1976, discusses the relevance of Chinese
thought to modern particle physics.  Capra notes that
although Taoism (Daoism) was deeply influenced by the
Yi Jing, most of the extant commentaries on the Yi Jing
come out of Confucianism and Neoconfucianism (p. 100).
The I Ching is a classical Chinese text
dating back to the beginnings of the
Chinese Empire.  It has had more influence
on the development of the unique Chinese
point of view then any other text.  It is
composed of 64 hexagrams like the
following:    __________  (first trigram)
    ___________ (second trigram)