by A celestial relationship
Published in: Osservatore Astrologico – no 5 January 1986
Preface
In an article published a few decades ago, I aimed to explore the differences between the predictive systems of ancient China and the Western astrological model. The Chinese system relies on trigrams, hexagrams, and their numerical associations, while the Western model emphasises the micro-macrocosmic relationship. This relationship is based on the symbolic links between a person’s birth or an event and the celestial and terrestrial reference systems, including planets and the division of the sky (domification).
Trigrams and hexagrams derive from a binary system of Yin and Yang, yielding a complex framework of correspondences. In this system, whole and broken lines form a symbolic foundation of meanings that align with various natural and human phenomena. The trigram and hexagram represent the celestial essence of the earthly spectacle, allowing us to make predictions about future events with remarkable accuracy.
This vaunted precision often leaves Western scholars bewildered. Shao Yung, a sage from the Sung Dynasty (960-1279), indicated significant past and future events in Chinese history spanning 129,600 years, beginning in 2357 BC, in his major work, The Book of Great Philosophy 1. However, even prophetic visions have their limitations over such extensive timeframes, as they address events that are completely outside the prophet’s experience and understanding, making it difficult to interpret them fully. Similarly, an astrological prediction covering a long period, crafted using the methods of mundane astrology, is akin to a boat without a helmsman.
However, the essential point is as follows: we have always been drawn to the motto “astra inclinant, sed non obligant” (the stars incline us, but they do not bind us). This idea of having the potential for freedom, which liberates us from strict determinism, is quite comforting. Astrological interpretation reflects this notion by suggesting that we can direct the energy of a significant planetary transit towards personal growth, or understand it on a mental level rather than a physical one. But is this truly the case?
In his book “The Philosophy of Freedom,” Steiner argues that anything that acts according to its own nature is free. In contrast, anything that relies on the influence or actions of something else is compelled. He uses the example of a stone: when an external force throws it, it follows a natural parabolic path. He then imagines what would happen if the stone were capable of thought:
This stone, now conscious only of its own effort and by no means indifferent in its behaviour, will believe itself to be completely free and to continue its motion for no other reason than because it wills it. This is the human freedom that everyone believes they possess, and which consists solely in the fact that men are aware of their desires, but unaware of the causes that determine them.
— Op. cit., p. 13
True freedom is not about believing we can do whatever we want; rather, it is about committing to our true nature and understanding the root cause of our individuality. As beings existing in a four-dimensional reality—three spatial dimensions plus time—we experience our existence as a sequence of events. Tomorrow is like a shapeless block of clay that, within the limits imposed by the human condition, we believe we can shape as we wish. In reality, we are complete only when we become aware of our entire timeline. That means that time transforms into a spatial dimension, allowing us to view our lives in their entirety, unchanged from the beginning.
Given this perspective, can we still consider ourselves free? The answer is yes, if our choices lead us to pursue our true nature, without falling into the deterministic questions this view might suggest. Even when individuals lack awareness, there is still the freedom that comes from believing they can control their own destinies. In both scenarios, the crucial factor remains whether we understand our original causes or remain ignorant of them.
I hope this introduction effectively justifies the existence of divinatory systems that operate with such high accuracy, as is the case here. However, achieving such accuracy requires a deep understanding of a wide range of correspondences, along with a certain degree of intuitive wisdom. The text I am proposing is meant to be introductory and should be complemented by reading a previously published article on this site titled “King Wen and the Magic Square.” In the near future, I will expand the theoretical section by exploring two divinatory methods that utilise trigrams, hexagrams, and elements.
The Symbolism of the Celestial Empire
Is there a common criterion that justifies the validity of different astrological systems? Predictive methodologies developed in contexts that differ from the Western astrological model could create conflicting patterns; however, this is not necessarily the case. Setting aside the influence of cultural differences on methodology, it is evident that all divination practices consider the interdependence and contemporaneity of phenomena as valid evidence. Therefore, rather than viewing these systems as incompatible, I would argue that they offer distinct perspectives that highlight complementary aspects of human experience.
The ancient Chinese systems of the Ho Map and the Lo Map (also known as Ho Lo Li Shu, or in the West, I Ching Astrology) present a fascinating example of divinatory architecture grounded in the symbolism of the seasons. The tools used in this form of Astrology, which does not actually consider the stars, are the Hexagrams. These Hexagrams consist of combinations of whole and broken lines, representing the dynamic interplay between the opposing forces of yin and yang. This duality is familiar to Western astrologers, who recognise it in the alternating male and female zodiac signs. Through the All-Pervading Universal Principle and subsequent differentiations, the cycle of the 64 Hexagrams is created (see Figure 1).
By superimposing the spaces from the bottom to the top, we follow an order that transitions from the gross manifestation (terrestrial) to the celestial one. That involves using white spaces to represent whole lines and black spaces for broken lines. As a result, we obtain the 64 Hexagrams that are enclosed between Kkienn, representing the Creative Act, and Kkunn, symbolising Receptivity (see figure 2).
In astrological terms, the union of the Sun and the Moon represents the creative marriage between the Masculine and the Feminine along the spiral of life, manifesting in a variety of ways. But why are there six successive divisions? In Western numerology, the number six symbolises the double ternary, which signifies the stabilisation of creative power—referred to as the Seal of Solomon. This symbol encompasses both the order of the Macrocosm and its microcosmic reflections.
The Zodiac consists of six masculine signs and six feminine signs, and the sextile aspect connects zodiac signs of the same polarity. The number six serves to “close” the system of the Hexagrams, adhering to the laws of harmony and cooperation among the parts.
The application of birth data to the Hexagram system allows us to determine the Birth Hexagram, which represents the integration of creative and formative modalities within an individual. In Chinese cosmology, humans are seen as the children of Heaven and Earth. The two upper and two lower lines of the Hexagram symbolise heavenly and earthly influences, while the middle lines depict the human being situated between these primordial forces.
The Book of Changes (I Ching) provides a valid astrological framework by converting the universal concepts of yin and yang into the natural laws governing the seasons, reflecting a terrestrial expression of celestial realities. Similarly, in Western astrology, these concepts are affirmed, albeit in a logically different manner. The binary scheme of positive-negative and masculine-feminine forms the basis for the various differentiations along the zodiacal ecliptic, while domification translates celestial realities into the context of planetary life.
The Ho Lo Li Shu method aims to integrate human existence within both universal and earthly contexts by pairing the trigrams of Heaven and Earth. The eight trigrams are derived from the third division of the All-Pervading Universal Principle (see Figure 1). These trigrams govern the primordial relationships among the forces of the universe. In this astrological system, the trigrams of Heaven and Earth represent the celestial and terrestrial influences present at the moment of birth, and symbolise the four seasons and their transitional phases.
The layout resembles a horoscope chart in spatial orientation (Figure 3).
In the East (Ascendant), we find the Li trigram (meaning “to separate”), which consists of a yin line flanked by two yang lines. This configuration symbolises the creative force that fertilises the earth, representing the vitality of spring. In the South, at the Middle Heaven, we have the Kkienn trigram (meaning “to rise”), which is characterised by full yang, signifying the height of summer.
To the West is the Kkann trigram (meaning “to dig a grave”), which signifies a return to the involutional hemicycle. Here, a yang line is positioned between two yins, indicating the fading of light. Finally, in the North, we find the Kkunn trigram (meaning “docile”), representing pure yin during winter, where inactivity prevails. This trigram framing method originated with Fu Hsi, who lived around 2852-2738 BC, according to Chinese sources.
It is important to note that each trigram has an opposite complementary one.
There is another model, similar to the one used in the Ho Lo Li Shu, in which the trigrams are arranged differently, even though the orientation of the cardinal points remains unchanged (Figure 4).
This method can be traced back to King Wen (1231-1125 BC), a vassal of the last emperor of the Yin dynasty. He described it in the I Ching as follows:
“All living things originate in Cenn, which corresponds to the East. They find harmony in Sunn, corresponding to the Southeast. Li represents luminosity and makes all things visible to one another; it is the Kwa (combination) that represents the South. Kkunn symbolises the earth, which nourishes all living things. Tui corresponds to the middle of autumn. Kkienn is the Kwa of the Northwest. Kkann represents water, the Kwa of the North, symbolising misery to which all living things ultimately return. Kenn is the Kwa of the Northeast, where all living things are born and come to an end.”
In the Ho Lo Li Shu, Fu Hsi’s sequence is called the “Early Heaven” sequence. It represents the celestial state as it exists before manifesting on Earth. In Western astrology, it parallels the celestial state of planets without any influence from domification. On the other hand, King Wen’s “Later Heaven” sequence reflects the earthly realisation of this celestial condition, embodying the actualisation of the Way of Heaven.
This latter system is fundamentally numerological, with each trigram (as illustrated in Figure 4) assigned a number from 1 to 9.
Interestingly, this numerical arrangement matches the magic square of Saturn in Western tradition. Both systems yield the same result—15—when you sum the digits of the rows and diagonals (Figure 5).
The first number associated with Saturn is 3, symbolising the order of magnitude of the magic square. It occupies a central position on the left at the East point (representing spring and birth) within the King Wen sequence. The central number, 5, is derived by di-viding the third number of Saturn (15, the solution of the square) by the first number.
The general formula for the solution of all magic squares is:
S = n(n² + 1)/2.
An equivalent formula is:
S = (n³ – n)/2 + n,
where S is the solution, and n is the first number, that is, the one that determines the order of magnitude (3).
Let us now focus on the polarity of the trigrams in the tables of King Wen and Fu Hsi. By connecting the trigrams, numbered sequentially from 1 to 9 in King Wen’s table, we see an alternation between positive and negative signs. If we apply the same numbering to Fu Hsi’s table, with 1 corresponding to the North, we find that positions 1 to 4 display negative signs, while positions 6 to 9 show positive signs.
In both cases, the polarity of the opposite trigrams is consistently complementary. However, in King Wen’s table, the complementarity of the yin and yang lines is not always upheld. This complementarity holds only for the trigrams arranged in a cross formation (odd-numbered trigrams, which consist of three yang lines and three yin lines). For the trigrams arranged diagonally (even-numbered), on the 2-8 axis, there are five yin lines and one yang line, while on the 4-6 axis, there are five yang lines and one yin line.
What conclusions can we draw from this complex numerical interpolation? At first glance, it is clear that the “celestial” symmetry of Fu Hsi’s table has been redistributed according to the order of the magic square. In King Wen’s table, the only symmetrical hexagrams are positioned at the beginning and end of the numerical sequence, corresponding to the North and South points, respectively.
A magic square is a symbolic grid that establishes the determinism of an event, as it represents the point where the spatial and temporal coordinates intersect. According to the rules of the magic square, any event (such as a birth) is located at the intersection of active forces (represented by the cross of odd numbers) and passive forces (represented by the diagonal of even numbers). These formative forces determine the appearance and timing of an incarnation in accordance with celestial and terrestrial laws.
- Cit. in Da Liu – I King Numerology – Rome 1982, p. 16 ↩︎
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