Hexagram 62小過Small Exceeding
Small affairs may be pursued; great affairs may not. The bird on the wing leaves behind its sound — better to descend than to ascend. The practical question is not how to make the large move work but whether the small excess on the side of caution can be sustained long enough for the situation to clarify.
60-second read
Small Exceeding is the hexagram for moments when the situation will tolerate small adjustments but not grand ones. The hexagram statement is unusually balanced: there is progress, but only in firm-correctness; small affairs may be undertaken, great affairs may not; the bird leaves behind its sound — better to descend than to ascend. The Xiang commentary makes the prescription practical: err on the side of reverence in conduct, on the side of grief in mourning, on the side of frugality in expenditure. The discipline is to recognise when slight excess on the cautious side is the correct posture and the corresponding ambition for greatness is the mistake.
The hexagram
小過：亨，利貞。可小事，不可大事。飛鳥遺之音，不宜上，宜下，大吉。
Small Exceeding: progress and attainment. Advantage in firm-correctness. Small affairs may be done; great affairs may not. The bird on the wing leaves behind its sound — not fit to ascend, fit to descend. Great fortune. — Translation by YiGram Editorial from the classical Chinese
“Hsiâo Kwo indicates that (in the circumstances which it implies) there will be progress and attainment. But it will be advantageous to be firm and correct. (What the name denotes) may be done in small affairs, but not in great affairs. (We seem to hear the notes of) a bird on the wing, leaving behind it the message — 'It is better to descend than to ascend.' (In that way) there will be great good fortune.”
— James Legge, The Sacred Books of the East: The I Ching (1882), public domain.
The six lines
Click any line on the hexagram to read its passage. Use ↑ and ↓ after focusing the hexagram to step through the six positions.
飛鳥以凶。
A bird on the wing — evil.
“The first SIX, divided, shows (a bird) flying — (and ascending) till the issue is evil.”
— Legge (1882)
Line 1 is the yin at the bottom of the lower trigram Gen (mountain) — the position where the actor still has the option to remain at rest and where, in this hexagram, the temptation is to take flight too early. The line is the shortest in the reading and the most severe. 飛鳥以凶 — a bird on the wing, evil. The hexagram statement has already named the rule: not fit to ascend, fit to descend. Line 1 names the most common violation of that rule at its earliest moment, when the actor has the least information and the smallest justification for the upward move.
In decision terms this is the line of the founder who announces the Series B targets in the same memo as the seed-round product launch; the executive who accepts the keynote slot before the project that earned the invitation has shipped; the writer who pitches the second book on the basis of the first chapter of the first. The hexagram is not condemning ambition; it is naming a structural mismatch between the actor's altitude and the supporting structure beneath them. The bird that lifts off from line 1 has no thermal under it. The instruction implicit in 飛鳥以凶 is to stay grounded until the structure beneath the move is strong enough to carry the altitude the move requires.
過其祖，遇其妣，不及其君，遇其臣，無咎。
Passes by the grandfather, meets the grandmother; does not reach the ruler, meets the minister. No error.
“The second SIX, divided, shows its subject passing by his grandfather, and meeting with his grandmother; not attempting anything against his ruler, but meeting him as his minister. There will be no error.”
— Legge (1882)
Line 2 is the centred yin in the lower trigram and the most subtle line in the hexagram. The image is a precise calibration of who the actor reaches and who the actor lets pass. 過其祖 — passes by the grandfather; 遇其妣 — meets the grandmother. The senior figure is acknowledged but not engaged; the more accessible figure one rank below is where the actual meeting happens. The same logic repeats with the political pair: 不及其君 — does not reach the ruler; 遇其臣 — meets the minister. The line names the work of getting the right level right, neither over-shooting toward authority the situation does not yet warrant nor under-shooting toward irrelevance.
For decision-makers this is the line of the right-sized request. The founder seeking warm introductions calibrates to the partner who will actually take the call rather than the brand-name principal who would politely deflect; the executive seeking a stakeholder ally identifies the lieutenant whose support is genuinely available rather than the C-suite figure whose calendar is symbolic. The line is explicit that the result is 無咎 — no error, no blame — not 元吉 or 大吉. The fortune of line 2 is the fortune of the move that did not over-reach. It is small-exceeding in its purest form: a one-rank adjustment in who the actor engages produces the correct outcome where targeting the obvious senior would have produced silence.
弗過防之，從或戕之，凶。
Takes no excessive precaution. Someone follows and may strike — evil.
“The third NINE, undivided, shows one, who, while others are exceeding, does not take precautions against them, and is in consequence smitten by some of them. There will be evil.”
— Legge (1882)
Line 3 is the yang at the top of the lower trigram and the line where the hexagram inverts its standard advice. Where most lines warn against excess, line 3 warns against insufficient excess on the cautious side. 弗過防之 — does not over-prepare the defence; 從或戕之 — and so someone follows and strikes. The line is the Yijing's canonical statement that under-preparation in a small-exceeding situation is itself a form of error. The hexagram's whole posture is that slight over-investment on the side of caution is correct; line 3 names what happens when the actor refuses that posture and treats the situation as if it were a normal-distribution risk.
For decision-makers this is the line of the operator who ran the security review at the minimum acceptable depth, the lawyer who drafted the contract with the standard indemnity rather than the strengthened one, the executive who took the compliance training at the surface level. The strike that follows is not a freak outcome; it is the structurally predictable consequence of treating a Small-Exceeding context as if it were Hexagram 11 — Peace. The instruction is to invert the normal cost-benefit calculation. In the territory of 小過, the small excess of caution is the cheap insurance the situation is asking the actor to buy. Refusing it is the mistake the line names as 凶 — evil.
無咎，弗過遇之，往厲必戒，勿用永貞。
No error. Does not exceed — meets the situation as it is. Advance is perilous, must be on guard. Do not use perpetual firm-correctness.
“The fourth NINE, undivided, shows its subject falling into no error, but meeting (the exigency of his situation), without exceeding (in his natural course). If he go forward, there will be peril, and he must be cautious. There is no occasion to be using firmness perpetually.”
— Legge (1882)
Line 4 is the shi line of the hexagram — the actor's own position — and the instruction is the precise complement of line 3. Where line 3 warned against insufficient caution, line 4 warns against the corresponding over-correction. 弗過遇之 — does not exceed; meets the situation as it is. The hexagram's small-excess posture is right at the structural level but wrong as a permanent operating mode. The actor who has been erring on the cautious side for long enough must now drop the excess and meet what is actually in front of them, because the same posture that protected against line-3's strike becomes its own form of error if it hardens into a permanent stance.
The final clause is unusually direct for the Yijing. 勿用永貞 — do not use perpetual firm-correctness. The line is explicit that the discipline of small exceeding has a half-life. A founder who institutionalises the slight excess of caution that got the company through a difficult quarter will find that the same caution has become the bottleneck six months later; an executive who maintained the slight over-investment in reverence that helped through a leadership transition will discover the reverence has hardened into deference and is now blocking the company's next move. The line's correction is to meet the situation as it is, not as it was, and to release the small excess once the conditions that justified it have passed. 必戒 — must be on guard — names the discipline of recognising when the protective posture has expired.
密雲不雨，自我西郊。公弋取彼在穴。
Dense clouds, no rain — from our western suburbs. The duke shoots and takes the bird that is in the cave.
“The fifth SIX, divided, (suggests the appearance of) dense clouds, but no rain, coming from our borders in the west. It also (shows) the prince shooting his arrow, and taking the bird in a cave.”
— Legge (1882)
Line 5 is the ruler line, and the image it carries is one of the most evocative in the hexagram — the same dense-clouds-no-rain phrase that opens Hexagram 9. 密雲不雨 — the conditions for the release have gathered, but the release has not arrived. The actor at the ruling position has accumulated the resources, the authority, the political capital that would normally produce a major move, and the move is not yet possible. The second image is the corrective: 公弋取彼在穴 — the duke shoots and takes the bird that is in the cave. The arrow finds the small target close to the ground; the great expedition does not yet launch.
For decision-makers this is the line of the senior who has accumulated power and discovers that the situation will only metabolise small applications of it. The CEO whose board has finally aligned around the strategic pivot and who must nevertheless restrict the first quarter's moves to a tightly-scoped pilot; the principal investor whose fund has the capital for the major check and whose discipline is to write the small bridge first. The bird-in-the-cave image is precise. The target is real; it is reachable; it is the correct thing to take; it is also small and close. The line is the hexagram's ruling-position confirmation that the small-exceeding discipline applies even to the actor who has earned the right to act at scale. Hold the dense clouds. Take the close bird. The rain is not yet due.
弗遇過之，飛鳥離之，凶，是謂災眚。
Does not meet, exceeds; the bird departs from it — evil. This is called calamity and error.
“The topmost SIX, divided, shows its subject not meeting (the exigency of his situation), and exceeding (in his natural course). (It suggests the idea of) a bird flying far aloft. There will be evil. The case is what is called one of calamity and self-produced injury.”
— Legge (1882)
Line 6 is the topmost line and the picture of what happens when the small-exceeding posture is carried past its boundary. The first line warned against the bird that lifts off too early; the sixth line shows the bird that flies past the point where descent is still possible. 弗遇過之 — does not meet, exceeds; 飛鳥離之 — the bird departs from it. The departing bird is the inverse of the line-1 ascending bird. Line 1 took off into the wrong altitude; line 6 has flown out of the situation altogether. The hexagram's most severe phrase closes the line. 是謂災眚 — this is called calamity and self-produced injury. 災 is external calamity; 眚 is the actor's own error compounding it.
For decision-makers the line is the structural lesson the entire hexagram has been building toward. The actor who refused to meet the situation as it is — the founder who would not scale back the ambition when the runway shortened, the executive who would not release the protective posture when the transition completed, the senior who would not restrict the first quarter to the close bird in the cave — flies past the recoverable horizon. The line names this as both calamity and self-injury precisely because the external bad outcome and the actor's own choice are now indistinguishable. Read with the Xiang commentary's prescription — err on the side of reverence, on the side of grief, on the side of frugality — line 6 points at the structural lesson. The cheapest moment to prevent the bird-departing outcome was every earlier line; by the top of the hexagram the bird is gone.
PostureSmall excess on the cautious side · over-confident success
Small Exceeding is the structural complement of Hexagram 61 — Inner Truth. Where Hexagram 61 holds two yang lines at the centre between yin at the extremes — solid interior, receptive frame, the wind passing over the lake — Hexagram 62 inverts the arrangement: two yin at the centre, yang at the extremes. The lower trigram Gen (mountain) sits still; the upper trigram Zhen (thunder) moves above it. TheTuan compresses the image: 小者過而亨也 — the small one exceeds, and this brings progress. The hexagram’s entire posture is that the small move serves the situation better than the great one, and that slight excess on the side of caution is preferable to slight excess on the side of confidence.
The hexagram statement is balanced and precise. 可小事，不可大事 — small affairs may be done; great affairs may not. The instruction is not to refuse action; the instruction is to scale the action to what the situation will metabolise. The bird-on-the-wing image — 飛鳥遺之音，不宜上，宜下 — provides the operative test: not fit to ascend, fit to descend. When the actor is uncertain which direction the move should take, the hexagram is explicit. Descend. TheXiang then makes the prescription practical and threefold: 行過乎恭，喪過乎哀，用過乎儉 — err on the side of reverence in conduct, on the side of grief in mourning, on the side of frugality in expenditure. The whole hexagram is the Yijing’s instruction layer for what to do when the small excess on the cautious side is the cheap insurance the situation is asking the actor to buy.
Failure modesBird flying too early (line 1) · missing the meeting (line 6)
The dominant failure mode is the line-1 ascending bird — the actor who treats the small-exceeding context as if it were a Hexagram 14 (Great Possession) or Hexagram 34 (Great Power) moment and takes the upward move before the structure can carry the altitude. The line is the shortest and most severe in the reading: 飛鳥以凶, a bird on the wing — evil. The secondary failure mode is the inverse at line 6: 弗遇過之, does not meet, exceeds — the actor who refused to release the cautious posture at line 4, refused to take the close bird at line 5, and has now flown past the recoverable horizon. The hexagram names this as both 災 — external calamity — and 眚 — self-produced error, the two indistinguishable at this altitude. Both failures share a root: an actor who read the “progress and attainment” clause of the hexagram statement and ignored the “small affairs only” clause that follows.
Application & adjacentQuestion shape · Hexagram 61 pair · The descending bird
A note on the question shape this hexagram answers best. Small Exceeding rewards questions framed around situations where the scope of the contemplated move is the live variable — a product launch that could be staged or shipped at once, an organisational change that could be incremental or sweeping, a market entry that could begin with a regional pilot or a national roll-out, a relationship negotiation that could ask for a small concession or the larger structural revision. It is less useful for questions about whether to act at all; for that frame, re-read with Hexagrams 5 — Waiting — or 25 — No Embroiling. Small Exceeding presumes action is appropriate. The hexagram is the instruction layer for sizing the move correctly once the decision to move has been made.
The canonical adjacent reading is Hexagram 61 — Inner Truth — the structural complement in the King Wen sequence. Where Hexagram 61 holds two yang at the centre and names the discipline of structural sincerity (the wind passing over the lake), Hexagram 62 inverts the arrangement and names the complementary discipline of structural caution (the bird that does not ascend). The two together form a self-symmetric pair: the two yin held by yang at the centre of 61 is mirrored by the two yang held by yin at the centre of 62. Read with the Xiang’s prescription — 行過乎恭，喪過乎哀，用過乎儉, err on the side of reverence, grief, frugality — the pair tells a clean story: in Hexagram 61 you build the trust the receivers will read across; in Hexagram 62 you scale the expression of that trust to what the situation can carry. Founders and executives who keep both hexagrams in view tend to over-deliver in small ways and under-promise in the large.
The bird-on-the-wing image is the hexagram’s operational centre. The hexagram statement frames it as a rule of direction: 不宜上，宜下，大吉 — not fit to ascend, fit to descend, great fortune. The decision-relevant translation is that when the move’s direction is uncertain, the descending move is correct. The CEO weighing whether to expand or consolidate descends to consolidation. The founder weighing whether to raise more or extend the current runway descends to extension. The executive weighing whether to claim more authority or formalise the authority already exercised descends to formalisation. The line-5 ruler’s arrow takes the close bird in the cave; the line-1 ascending bird produces only evil. The hexagram is consistent across all six positions: the descending move is the move the situation is asking for.
SynthesisYiGram Editorial
Each Western line of reading approaches Small Exceeding from a different angle. James Legge transliterates 小過 as “Hsiâo Kwo” and frames the hexagram within his Confucian moral lens — the canonical instruction against attempting great affairs when the configuration supports only small ones, and the bird-on-the-wing as a parable of proper humility. Richard Wilhelm’s symbolic-philosophical posture reads the hexagram as “Preponderance of the Small” — the great image of a situation in which the smaller energies are dominant and the discipline of meeting that situation in its own register rather than overreaching toward greatness. A reading in the lineage of Carl Jung’s 1949 foreword would treat 62 as a marker of a psychic configuration in which the conscious ego must defer to the smaller-but-decisive movements of the unconscious, with the bird image carrying the warning against inflation. Bradford Hatcher’s linguistic project (below) abandons all three framings and returns to the semantic field of 小過 itself — smallness, exceeding, slight transgression, the full vocabulary range of measured excess. None of these readings is quoted on this page; the synthesis is YiGram Editorial’s characterization of each tradition’s posture, written so a reader can triangulate the field without us reproducing copyrighted text.
Reception historyLegge · Wilhelm · Baynes · Jung
The Western reception of the I Ching has two main lines. The first is James Legge’s 1882 missionary translation in the Sacred Books of the East series — methodical, Victorian, framed around Confucian moral readings. It is the public-domain anchor reproduced above. The second is Richard Wilhelm’s 1923 German translation, prepared in Qingdao in collaboration with Lao Naixuan — sympathetic, philosophical, closer to Daoist intuitions. Cary F. Baynes rendered Wilhelm into English in 1950, with a foreword by Carl Jung that introduced the book to Western psychology as a window onto synchronicity and the unconscious.
We cite these two lines by name to credit the reception history and to help search systems and readers resolve the entities; the Wilhelm/Baynes text itself and Jung’s foreword remain in copyright and are not quoted on this page. A more recent academic-linguistic line is represented by Bradford Hatcher’s Yijing project (1990s–2010s), which appears in the next section under his explicit redistribution permission.
Bradford HatcherVerbatim · © 2011
Hatcher organizes each hexagram around six short clusters of keywords that sketch the field of decision and association the Chinese name opens onto. For Hexagram 62 小過, his clusters are:
Laws of averages, averageness, many too many; mediocrity, anonymity, triviality Overdevelopment, overpopulation, odds against one among many; self as a detail Humility, lowering expectations; settling for little or less; truth in scale, smallness Realism, ordinary reality, everyday suchness, nothing special, place in big picture Instinctual intelligence in species subject to predation, vulnerability, heedfulness Watchfulness, vigilance, care(fulness), conscientiousness, awareness of finitude
Hatcher’s framing is vocabulary-centred rather than narrative — the reader is invited to feel the semantic shape of the Chinese name through the spread of English fragments. For his longer notes and the full glossary entry, read the complete passage on hermetica.info.
Quoted verbatim from Bradford Hatcher, Yijing Hexagram Names and Core Meanings (Version 12.1, 2011), hermetica.info/GuaMing.htm. © Bradford Hatcher, 2011. Reproduced under the author’s explicit permission to redistribute his work intact, with copyright notice. Bradford Hatcher (d. June 2020); site maintained to preserve his work.
SynthesisYiGram Editorial
Read across the four Chinese traditions, Hexagram 62 names a very specific working posture: a situation in which small adjustments serve and great moves do not, and the corresponding discipline of erring on the side of caution while the conditions clarify. The Wings give the canonical reading: the small one exceeds and brings progress; the yielding gains the centre, so small affairs are fortunate; the firm has lost its place, so great affairs cannot succeed; the bird’s ascending is against the grain while its descending goes with it. Wang Bi sharpens the structural reading: 小過 is not a hexagram about timidity but about scope, and each line names a specific altitude at which the small-excess posture is correct or has been violated. Zhu Xi reframes the hexagram around the bird imagery itself — the most concrete decision rule in the Yijing’s upper canon — and stresses that the line-5 dense-clouds-no-rain image is the ruler’s confirmation that the small-exceeding discipline binds even authority at its peak. The divinatory manual Bushi Zhengzong reads 62 strictly as the marker for scope-of-move decisions: launch size, hire size, spend size, scope of organisational change. The unified posture across all four sources is the same: Small Exceeding is a discipline for sizing the move to what the situation will metabolise, refusing the upward bird, and accepting the small target close to the ground.
Yi ZhuanTuan + Xiang · Ten Wings
The Ten Wings are the canonical Confucian commentary stratum embedded in the received Yijing. For Hexagram 62 the two most directly relevant Wings are the Tuan Zhuan (彖傳, the Judgement Commentary) and the Xiang Zhuan (象傳, the Image Commentary).
Tuan 彖傳: 小過，小者過而亨也。過以利貞，與時行也。柔得中，是以小事吉也。剛失位而不中，是以不可大事也。有飛鳥之象焉，飛鳥遺之音，不宜上宜下，大吉，上逆而下順也。
Small Exceeding: the small one exceeds, and this brings progress. Exceeding with the advantage of firm-correctness — moving with the time. The yielding gains the centre — therefore “small affairs fortunate”. The firm has lost its place and is not central — therefore “cannot be done in great affairs”. There is the image of a bird in flight; “the bird leaves behind its sound, not fit to ascend but fit to descend, great fortune” — ascending is against the grain, descending is with it.
Xiang 象傳: 山上有雷，小過。君子以行過乎恭，喪過乎哀，用過乎儉。
Thunder above the mountain — Small Exceeding. The noble person accordingly errs on the side of reverence in conduct, on the side of grief in mourning, and on the side of frugality in expenditure.
The Tuan does the structural work: the yielding-at-the-centre configuration is what makes small affairs fortunate, and the firm-having-lost-its-place is what makes great affairs impossible. The same Wing turns the bird-on-the-wing image into a rule of direction — 上逆而下順, ascending against the grain, descending with it — which is the hexagram’s operative test for every decision the actor faces. The Xiang compresses the whole hexagram into a three-clause ethical instruction: 行過乎恭，喪過乎哀，用過乎儉 — err slightly on the side of reverence in conduct, on the side of grief in mourning, on the side of frugality in expenditure — treating the small excess on the cautious side as the noble person’s default posture inside this hexagram. Translations by YiGram Editorial from the classical Chinese.
Classical commentariesWang Bi · Zhu Xi · Bushi Zhengzong
Wang Bi (Zhouyi Zhu, 3rd century) reads Hexagram 62 as a hexagram about scope rather than about timidity. For Wang Bi the analytical centre is the pair of lines that name the bird directly — line 1 and line 6 — which together bracket the hexagram’s entire decision rule: the bird that lifts off too early at line 1 mirrors the bird that flies past the recoverable horizon at line 6, and the interior lines describe specific altitudes at which the small-excess posture is correct or has been violated. The hexagram’s decision logic, in Wang Bi’s reading, is the precise mapping of scopes at which slight excess on the cautious side becomes either the cheap insurance the situation requires or the rigidity that has outlived its usefulness.
Zhu Xi (Zhouyi Benyi, 1188) reframes the hexagram around the bird imagery itself, which he treats as the most concrete operative rule in the Yijing’s upper canon. For Zhu Xi the line-5 dense-clouds-no-rain image is the ruler’s structural confirmation that the small-exceeding discipline binds even authority at its peak. The corollary is that the actor who occupies a position of accumulated power must still take the close bird in the cave rather than the upward expedition; the line-5 fortune is the fortune of a ruler whose self-restraint matches the hexagram’s posture.
The Bushi Zhengzong (Qing-dynasty divinatory manual, 1709) reads 62 practically: a hexagram drawn in answer to a question about the scope of a contemplated move — launch size, hire size, spend size, the depth of an organisational change, the scale of a market entry. The manual is explicit that 62 is not a verdict against action but a calibration of action. The practical recommendation tracks the line position the question lands at: stay grounded at line 1; calibrate the meeting one rank down at line 2; invest in the small excess of preparation at line 3; release the cautious posture once it has expired at line 4; take the close bird at line 5; recognise that line 6 has already flown past the recoverable horizon.
Translations and paraphrase by YiGram Editorial from the classical Chinese. We do not reuse any modern third-party English rendering of these commentaries.
These method notes are not required to read the hexagram. They organize the traditional six-line structure for readers who want to see the rule layer beneath the plain-language reading.
Palace: Dui (metal), wandering-soul generation (游魂). Binary, bottom-up: 001100. Lower trigram: Gen (mountain). Upper trigram: Zhen (thunder). Shi line: 4. Ying line: 1.
The line branches, bottom-up, follow the Gen-below / Zhen-above najia composition for Small Exceeding: 辰 (line 1), 午 (line 2), 申 (line 3), 午 (line 4), 申 (line 5), 戌 (line 6). Read against the Dui palace, whose element is metal, the six-relatives assignments are: line 1 辰 (earth) — parents (父母); line 2 午 (fire) — officials (官鬼); line 3 申 (metal) — siblings (兄弟); line 4 午 (fire) — officials (官鬼); line 5 申 (metal) — siblings (兄弟); line 6 戌 (earth) — parents (父母).
The shi line at position 4 carries officials (午, fire), the element that controls the Dui palace’s own metal — the actor stands in a position structurally pressured by the controlling element, which is what makes the line-4 instruction necessary: meet the situation as it is, do not over- extend the protective posture into permanent firm-correctness. The ying line at position 1 carries parents (辰, earth), the element that generates the palace’s metal. Read as a structural pair, the shi-ying axis of Small Exceeding says that the actor occupies a position pressured by the controlling element while the receiving position is the generative ground beneath it. The structural correlate of the Xiang’s small-excess prescription: the cautious posture is rooted in the generative position one rung lower than the actor stands, and the controlling pressure at the actor’s own position is what makes the small-excess discipline necessary in the first place.
For a cast, this static layer records the palace, generation label, shi and ying positions, each line's branch and six-relative, moving-line positions, transformed hexagram, and the use-spirit selected by question category. The public page keeps that structure as a method note rather than as default reading text.
Audit status: unaudited_draft. The static-layer tables are pulled from the standard 京房纳甲 sequence and have not yet been cross-checked against the three reference texts named in the methodology. Errors should be reported against the v0.1.0 rule version in the GitHub rules directory.
For the full pipeline (how the static layer reaches the AI interpretation), see Methodology → Najia engine.
Sources
- Classical text of the Yijing (周易) — hexagram and line statements (卦辭 / 爻辭) from the received Zhou-dynasty edition. Public domain.
- James Legge, The Sacred Books of the East, Vol. XVI: The Yi King, Oxford University Press, 1882. Public domain.
- Zhu Xi (朱熹), Zhouyi Benyi (周易本義), 1188. Public domain.
- Wang Bi (王弼), Zhouyi Zhu (周易注), 3rd century. Public domain.
- Bushi Zhengzong (卜筮正宗), Qing-dynasty divinatory manual, 1709. Public domain.
- Tuan Zhuan (彖傳) and Xiang Zhuan (象傳), two of the Ten Wings (十翼). Public domain.
- Bradford Hatcher, Yijing Hexagram Names and Core Meanings (Version 12.1, 2011). © Bradford Hatcher, 2011. Reproduced under the author’s explicit permission to redistribute his work intact, with copyright notice; this page quotes the “Key Words” subsection only and links readers to the full original for the longer notes. Bradford Hatcher (d. June 2020).
All Chinese-to-English translations on this page are by YiGram Editorial, working directly from the classical Chinese. We do not reuse third-party modern English translations of any of the listed Chinese sources. Read the full source policy in the methodology page.
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