I Ching Hexagrams:Bì Trigram

In the Zagua Zhuan (Commentary on Miscellaneous Hexagrams), the hexagram “Bì” (贲) is described as “without color,” meaning it lacks embellishments. However, according to the Xuguazhuan (Commentary on the Sequence of Hexagrams), it is described as “adorned with decoration,” indicating that it involves the use of embellishments. The hexagram “Bì” explores the relationship between the “substance” and the “decoration,” or the essence and the appearance, through these two contradictory concepts of “without color” and “adorned.”

The Bì hexagram is composed of the Li (離) and Gèn (艮) hexagrams.

In terms of hexagram symbolism, the five hexagrams that represent tangible forms include Qián (天, Heaven), Kūn (地, Earth), Kǎn (水, Water), Gèn (山, Mountain), and Duì (泽, Marsh). Among these, the Gèn hexagram, which symbolizes the mountain, is the most concrete and solid. In contrast, the Li hexagram, symbolizing fire, stands out for its brilliance and artistry. Thus, the Gèn and Li hexagrams represent essence and appearance, respectively. Generally speaking, the understanding of things begins with their appearance and gradually progresses to their essence, which is why the Li hexagram is placed at the bottom, and the Gèn hexagram is placed at the top in the Bì hexagram.

Looking at the two components of the hexagram, the lower trigram, Li, consists of two strong (yang) lines and one soft (yin) line, symbolizing the essence of strength and the decoration of softness. The upper trigram, Gèn, consists of two soft (yin) lines and one strong (yang) line, symbolizing the essence of softness and the decoration of strength. In the lower trigram, the three lines emphasize decoration over substance, hence symbolizing culture; while in the upper trigram, the three lines emphasize substance over decoration, thus symbolizing solidity.

In terms of the lines of the hexagram, Liu Si (sixth line, fourth position) and Liu Er (sixth line, second position) both represent decoration of strength with softness. Only the top line, Shàng Jiǔ (uppermost line), represents decoration of softness with strength.

The phrase “Bì, Héng, xiǎo lì yǒu yōu wǎng” (贲，亨，小利有攸往) encapsulates the idea of achieving smooth progress through decoration. Every thing has an essence, but without embellishment, it cannot achieve harmony or success. Excessive decoration, however, risks damaging the essence. Therefore, one must decorate only moderately, not focusing on outward appearance to the detriment of the core essence. Decoration can enhance the beauty of things but cannot add to their substance, thus the phrase “small benefit, proceed with caution.”

The story Mai Dù Hái Zhū (买椟还珠), as recorded in Han Feizi, illustrates this point. A man from the state of Chu wanted to sell pearls, so he made an exquisite wooden box and decorated it more beautifully than the pearls themselves, hoping to attract attention. A merchant from the state of Zheng came to purchase the pearls but ended up buying only the box, returning the pearls. The phrase “Buy the box, return the pearls” mocks the Chu man for focusing on the external decoration, neglecting the true value of the pearls, and thus losing sight of what truly matters.

Initial Nine (Chū Jiǔ)

“Embellish its toes. Abandon the cart and walk on foot.”

In the Chū Jiǔ line, the strong (yang) line is placed at the bottom of the hexagram, symbolizing a person with clear and strong virtues, yet in a position where they are not in a place of power or influence. The person is not yet valued or entrusted with responsibility, so they must start from the ground up, working diligently at the grassroots level. The toes, being at the very bottom of the body, represent the foundation of movement. This suggests that the person must build their strength and position gradually, starting from humble beginnings.

In the hexagram, the lower trigram Li consists of two strong (yang) lines and one soft (yin) line. This represents the essence of strength and clarity. Chū Jiǔ symbolizes a person whose strong principles and actions are not yet recognized, and who, although capable, must take a modest and gradual approach. In the text, the reference to “abandoning the cart and walking on foot” suggests the need to forgo shortcuts or quick methods in favor of steady, grounded progress.

Example Interpretation: Confucius said, “Do not seek to hurry, do not pursue small gains. To hurry is to not reach your goal. To chase after small benefits means bigger things will be lost.” This illustrates the importance of slow, steady progress rather than rushing to achieve results, which may lead to superficial accomplishments without lasting success. A person of integrity, represented by Chū Jiǔ, will not be tempted by quick success or shallow gains but will instead focus on long-term goals with patience and persistence, embodying the “abandon the cart, walk on foot” mindset.

Six Two (Liù Èr)

“Value its beard.”

The “beard” refers to the area near the mouth, symbolic of the ability to act or speak with authority. The imagery of the “beard” suggests that the individual is in a position to follow guidance or act in a supportive manner. Positioned below Jiu San (Nine Three), the hexagram shows that the individual with the soft (yin) line in the second position must wait for the strong (yang) actions of Jiu San before taking action themselves. The soft line does not act independently but follows the lead of the stronger line above it, indicating the idea of being in harmony with external guidance.

In the context of the hexagram, the “beard” represents an adornment to the mouth—just as the external behavior must follow the internal moral intent, the action of the second line is dependent on the stronger actions of the third line. This suggests that true virtue and action come from internal integrity and not merely from external appearances or rituals.

Example Interpretation: Confucius said, “If a person is not benevolent, how can they follow the rites?” “Rites” here are external actions or behaviors, and they must be rooted in the internal morality of “benevolence” (仁). The external form is meaningless without the inner moral intent to support it. Thus, just as the second line “values its beard,” following the actions of Jiu San, external actions (like rites) must align with the internal moral will. If they are disconnected, they lose their legitimacy, as Confucius argued, “What is the meaning of rites or music if they are reduced to mere objects, like jade and silk or bells and drums?” Without the moral intent behind them, external rituals lose their true purpose.

Nine Three (Jiǔ Sān)

“Brilliant and glistening, enduring integrity brings good fortune.”

The Jiǔ Sān (Nine Three) line represents a strong (yang) line surrounded by three soft (yin) lines—Liù Èr (Six Two), Liù Sì (Six Four), and Liù Wǔ (Six Five). This configuration signifies that this line is heavily adorned or “embellished” by external softness, hence the phrase “brilliant and glistening” (bèn rú, rú rú). While the external embellishments enhance its appearance, they also present the danger of overwhelming or obscuring its inner essence. Only by steadfastly adhering to its core principles of strength and clarity can the line maintain its integrity and achieve favorable outcomes, encapsulated in the phrase “enduring integrity brings good fortune” (yǒng zhēn jí).

Example Interpretation: Consider a beauty pageant winner crowned for her stunning appearance, an embodiment of “brilliant and glistening.” If she fails to grasp the importance of “enduring integrity,” focusing solely on outward beauty while neglecting to cultivate inner virtues and skills, she risks being perceived as superficial and lacking depth. True respect and admiration come from a harmonious balance of external appeal and internal substance.

Six Four (Liù Sì)

“Brilliant yet simple, riding a white horse. Not a raider, but a suitor.”

The phrase “brilliant yet simple” (bèn rú, pó rú) refers to the transition from elaborate decoration to plain authenticity. The imagery of the “white horse” (bái mǎ hàn rú) suggests a pure and noble pursuit. The line describes a moment of discernment—initially, the upper position (Liù Sì) is hesitant to respond to Chū Jiǔ (Initial Nine), fearing it might be an adversary (“raider”). However, upon recognizing Chū Jiǔ as a suitable match (“a suitor”), it willingly forms a connection.

In the context of the Yìjīng (I Ching), lower lines typically seek upper lines, requiring patience, as seen in other hexagrams like Tún (Difficulty at the Beginning), where Liù Èr (Six Two) waits “ten years” to align with Jiǔ Wǔ (Nine Five). Conversely, upper lines pursuing lower ones must act promptly, as shown in this hexagram, where Liù Sì rides the “white horse” to meet Chū Jiǔ.

Example Interpretation: Han Yu (768–824), a prominent writer during the Tang Dynasty, rejected both the superficiality of ornate poetry and the esoteric detachment of Buddhist teachings. Instead, he championed plain yet elegant classical prose and Confucian ideals that emphasized worldly responsibility. His efforts, akin to the ethos of “brilliant yet simple,” sought to redirect cultural trends towards substance over ornamentation. While his influence was not immediately transformative, it laid the foundation for significant intellectual and literary developments in later generations.

Six Five (Liù Wǔ)

“Noble like a hill and garden. Five bolts of silk, small spears. Stinginess. Ultimate success.”

The Liù Wǔ (Six Five) line, a soft (yin) line, is placed in the center of the upper trigram, symbolizing a ruler with the virtues of gentleness and fairness. The image of the “hill and garden” (qiū yuán) reflects a ruler in a secluded, natural setting, far from the bustling palace—symbolic of the Gèn hexagram, which represents mountains and remote areas. The Liù Wǔ line represents a ruler who embodies the virtues of flexibility and correctness, and it is balanced by the strong (yang) line of Jiǔ Jiǔ (Nine Nine), which decorates the Liù Wǔ ruler with the qualities of strength and clarity.

The phrase “five bolts of silk, small spears” suggests that while the ruler offers a modest gift—five bolts of silk as a symbol of respect or tribute—this is not a grand or lavish offering. The ruler’s attempt to invite a sage from the mountains back into society may seem a bit stingy or insufficient, yet the ultimate success (“ultimate success”) is achieved because the ruler returns to the essence of simplicity and sincerity. Over-embellishment or excessive decoration is avoided in favor of focusing on genuine substance.

Example Interpretation: After the Jin Dynasty moved south, the northern tribes ruled the north but still “decorated their hills and gardens” by employing Han officials. While the northern aristocrats did not live as comfortably as those in the south, and their approach seemed modest (“five bolts of silk, small spears”), they did not fall into empty philosophical discussions. Instead, they grounded their rule in practical governance and the study of classic texts, eventually catching up and unifying the southern regions. This aligns with the saying “stinginess, ultimate success.”

Upper Nine (Shàng Jiǔ)

“White embellishment. No blame.”

At the final position of the hexagram, Shàng Jiǔ (Upper Nine) forms a perfect balance with Liù Wǔ (Six Five), with the strong (yang) line decorating the soft (yin) line, representing the return to essence after excessive embellishment. “White embellishment” (bái bèn) indicates that the decoration has reached its peak and is now returning to the core principles, symbolizing purity and clarity. In this phase, the overemphasis on decoration fades, allowing the true nature of things to emerge.

The hexagram’s principle suggests that while substance is important, it must be complemented by decoration, but excessive decoration can undermine the essence. Bì starts with embellishments enhancing the essence, but in the end, these embellishments return to their source, completing the process of aligning the outer appearance with inner truth.

Example Interpretation: This is akin to the idiom “xǐ jìn qiān huá” (洗尽铅华), which means “to wash off the heavy makeup,” often used to describe someone—such as a former entertainer—who leaves behind a life of superficial glamour and returns to a more simple, peaceful existence. It symbolizes the return to purity and authenticity after a period of excess or embellishment.