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The Purpose in “Nanjing Yishu” – Using the hexagram order as the middle part
Author: Yang Lang (Qinghua University)
Source: Wen Ya: Zhang Feng, Confucianism and the Construction of the Family”, edited by Zhou Jingyao, published by Guangliang Sun in May 2016
Time: Confucius was in the 2568th year of Dingyou, June 8th, Ji Chou
Jesus July 1, 2017
“Nan Zheng Yishu” is not a very respectable work. Among Zhang Feng’s academic works, its position is not as good as “The Interpretation of the Discussion” and “The Statement of Mencius”. In the works of the Song Dynasty, it cannot be compared with “Cheng Ji” and Zhu Zi’s “Benyi”, and its influence is even worse than that of his father Zhang Jun’s “Purple Verse”. One of the historical consequences caused by this situation is that this book is gradually relaxed. Now, this book only contains five volumes: “Xi Zi” Volume 1, “Shi Ji”, “Xu Gua”, and “Xu Gua”. [1] Only by worrying about such a simplified article, it is natural that we can understand Zhang Feng’s Yixue’s Complete Learning, but this does not affect our discovery of the uniqueness left in this book. Moreover, “Shiru” to “The Legend of the Cong” are the components of “Yi Ji”, so we have relatively independent nature. The annotations of these words can bring a lot of key understandings of Yi Xue, and what we discuss in this article is a key point.
There is a passage in “Xii Xiao” that is well known: “In ancient times, the king of the Bao family was the whole country. He looked up to the sky and looked down to the earth, and observed the text of birds and beasts and the appropriateness of the earth. He took the body nearby and took the objects far away. So he started to create the Eight Trigrams to communicate the virtues of the gods and to sing the feelings of all things. He made the trench and used the trench to make the trench, and used the trench to make the trench.” This is a story about Mi Xi’s situation of looking up to see the Eight Trigrams, and then it was a specific production (“set to be the trench and made the trench”), and this production was taken from the trench. Next, from “The Bao Bian family was not, the Shen Yuan family made it” to “all officials and even all the people are easy to observe, and the clues are all things in ancient times, and each production has its corresponding hexagram – expressed by “finishing clues”. The focus of this passage of text is to explain the relationship between the production of civilization and the corresponding relationship between the hexagrams – what kind of subtle and certain connection does “contact and make the Internet” have with the separation hexagrams, “book contracts” and the granular hexagrams? “Nan Yishu” also reappears in this way. But the key point of this article is not here, but a relatively less plain problem in this text, which is related to history.
In Zhang Feng’s eyes, the passage of “Xiang” not only talks about the origin of Yi Gua and civilization production, but also tells the orderly history of the progress of civilization. Finally, Mi Xi painted the hexagram, used as a net snail (take the zodiac sign), and then Shen Yuan was excited and used as a plow (take the zodiac sign).) “The sun is the city” (take the simplified simplicity), and then the Emperor Huang rises up, hanging his clothes and governs (take the simplicity of the universe). Until here, articles describe the production according to an accurate historical coordinate, which requires all the critics to view from “network” to “hungry clothes and govern” as a sequence of historical processes, rather than a series of random or occasional historical events. However, although the exact order of this production cannot be denied, it does not seem that teachers and scholars must explore the profound meaning of this order. Most of them only regard this as a straightforward historical fact. They pay attention to the relationship between the Internet and the direction of the hexagram, the leek and the leek, the market and the sakura, the clothes and the universe. href=”https://sites.google.com/view/sugardaddy-coding”>博官网, while the sequence of the direct network, leek, market, clothes (and the corresponding relatives of the distance, leek, shike, and Qiankun Zugua) is not within the focus of the eye. [2] But in “Nanhua Yishu”, Zhang Feng focused his own vision here. From “network” to “piercing”, the actual sacred life contains the process of this kind of human history:
The food produced by heaven produces sperm; the food produced by earthly products produces gas. At the beginning of the life of people, they fight with birds and eat meat and drink blood. They are not just wasteful gifts, but the lustful wind is nourishing. The sages were worried about it, so they used plows and hoes to teach them how to grow, so that the land can nourish their energy.
“Punish the cracked birds and eat the blood of the birds and birds”, this is the life state of the people after making “network” to “get harm to it” and “become peace of mind”, and this state will inevitably lead to “delusional style”, so the sages make plows to nourish the people’s atmosphere. Therefore, the history from “network” to “piercing” is certain from the perspective of the social process, but in terms of the sage’s dedication, it is appropriate. If you know that farming is poor and your life is abundant every day, you will be able to “change everything with nothing” and “get what you have”. The reason why Emperor Huang Shun was treated with clothes hanging down and was that the Mixi Shenyuan was built to teach the stakes, and the plows were used to cultivate the stolen waters, and the plows were used to cultivate the stolen waters, and the market was used to buy and sell the stolen waters. People know that food is full of desire and desire, and people have goods and wealth and desires to become more and more prosperous. Emperor Huang Shun could not understand its changes, and the customs of sages and slandering and invasion arises. This is no other. They use their food to pack a hot clothes, live without any teachings… So the sage made clothes to quilt to open the people of the country. Therefore, the hanging collar is a garment, its color is mysterious and looks like a Tao, its folds are a garment, its color is a garment, its color is a garment… So that people can know that there are kings and ministers, fathers and sons, and there are distinctions between high and low, so that all the flying plants, mountains, rivers, ghosts and gods are all at peace with their own parts.
There is the constant progress of social life from “network” to “pier”, as for “market”, and then to “clothes”, but this kind of life must also lead to the reproductive ills of the customs. The sages must be able to understand this, so as to safeguard and educate the people. Therefore, Zhang Feng saw the double appearance of Yi Dao here. On the one hand, it was the orderly progress of social life. There seemed to be a kind of divine will – “helping it by heaven”. On the other hand, it was the tacit understanding between the saints and this divine will, and with their own energy, it helped to become the divine way – “transformed by gods.”
If Zhang Feng’s above description of the orderly progress of civilization or is only guided by those that are sure to be historical time coordinated (Mi Xi, Shen Yuan, Huang Di, Lu, Shun) in the article, then for those subsequent articles that lack time coordinated, when Zhang Feng still focused on the orderly nature of a historical process, it would undoubtedly show that his gesticism has a strong thinking orientation. In “The Book of Changes”, Kong Yan believed that from “hanging clothes and governing the whole country” to “book contract” was the “nine things” of “Huang Emperor Shun took the Yi hexagram to control the image”. As for the connotation or profound meaning of the order of the nine things in the text, he has not seen it. Zhang Feng saw the meaning of the preface of the “Nine Things”, which is similar to the previous paragraph, and it is difficult to hide the determination of historical progress and the good intentions of the sages. The purpose of making “clothes” is to “realize the people who want to get close to the distance without looking”, but “the obstacles in the Sichuan road will be a little less prosperous”. As long as you use the benefits of a boat and a car, you can “view the whole country like one, and China like one person.” However, Song Weitong held his footsteps, hesitated for half a minute, put down his suitcase, and followed the sound to find and lack it to cause weight to lead to the distance, so he needed to “swallow the cow and ride a horse”. There are both boats and oars and carriages. Although it is conducive to the people’s travel, it can also attract “thugs”, so it has to be “a heavy blow”. Life is so convenient, safe and guaranteed, so
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