The divination texts of the Yijing have lost many of their original images.

乾：為日、河、海、山、陵、南、順。坤：為水、江、淮、河、海、魚、淵、雲、虛（同墟）、薪、逆、北。震：為武、旗、鴻、隼、鳥、箕子、南、射、爵、樽食、鶴、君、伐、姬（周姓）、甕、胎（卽孕）、舟船、飛、翼、老夫、商旅、公（父同）、口、神、襦、缶、瓶、辰、簋、登、狩、乘、華、羽、東北、萌芽、翰、髮、袂。巽：為母、齊、姜、少姜、寡、隕、落、羸、蠱、石、隙、袽。

Qian: represents the sun, the river, the sea, the mountain, the hill, the south, and obedience. Kun: represents water, the river, the Huai River, the sea, fish, the deep pool, clouds, emptiness (same as 'xu', meaning ruins), firewood, reverse, and the north. Zhen: represents military power, the flag, the wild goose, the falcon, birds, Ji Zi, the south, shooting, the drinking vessel, the food, the crane, the ruler, the act of cutting down, the Ji surname (the royal surname of the Zhou dynasty), the jar, pregnancy, the boat, flying, the wing, the old man, merchants, the father (same as 'fu'), the mouth, the deity, the short robe, the jar, the bottle, the hour, the ritual vessel, the ascent, the hunting, the carriage, the flower, the feather, the northeast, the sprout, the flying bird, the hair, and the sleeve. Xun: represents the mother, the state of Qi, the Jiang surname, the young Jiang, the few, the falling, the falling off, the weak, the chaos, the stone, the gap, and the broken silk cloth.

坎：為大首、肉、土、眾、胏、楫、西、脯、鬼、矢、夫。離：為枯、星、東。艮：為火、鳥、鴂、隼、面、簪、須、祖、臣、臣妾、角、啄、豚、負、何、壽、貴、邑、邦、床、西北、斯析、貝、金、觀、光、明、龜、視。兌：為月、華、老婦、魯、資斧、牙。右從《易林》尋得失傳之象，共百廿一；又有為《易林》所無，祗見於《左傳》者一象：震為輹（詳卷七）。

The trigram Kan represents: a large head, flesh, soil, a multitude, dry meat with bone, a boat oar, the western direction, dried meat, a ghost, an arrow, and a husband. The trigram Li represents: withered things, stars, the eastern direction. The trigram Gen represents: fire, birds, the nightingale, the falcon, the face, a hairpin, beard, an ancestor, a minister, a minister's wife, a horn, a beak, a pig, to carry, to bear, longevity, honor, a city, a state, a bed, the northwest, to split, a shell, metal, observation, light, brightness, a tortoise, and sight. These are one hundred and twenty-one lost images derived from Jiao's Forest of Changes. Additionally, there is one image not found in the Forest of Changes but mentioned in the Zuo Zhuan, which is Zhen representing the hub of a chariot (see volume seven of this book).

共百廿二象，至漢魏皆失傳。除姬、旗、姜數象可釋《左傳》外，餘無一字不與《易》有關，可據以更正昔儒誤解誤象，如撥雲霧而見青天，如闇夜之逢華燭也。至其所推廣之象，奇詭百出，如一一列舉，雖數倍於孟氏逸象而不能盡也。

The total number of images amounts to one hundred and twenty-two. By the Han and Wei dynasties, all of them had been lost. Except for a few images such as Ji, Qi, and Jiang, which can only be used to explain the Zuo Zhuan, all the others are related to the Zhou Yi and can be used to correct previous misunderstandings and misinterpretations of the classic text. This is like clearing away clouds to see the blue sky, or encountering a bright candle in the dark. As for the parts of the Yi Lin that continue to elaborate on these images, they are even more strange and intricate. If we were to list them all, even a text several times longer than the lost Yi Xiang of Mengzi would not be sufficient.

而尤要者，《易林》視本象與對象不分，由是易用旁通之處始明；《易林》以覆象與正象雜用，妙不可階，由是易用覆象之處，其神妙亦漸解；推之半象大象，無不皆然。初觀其辭，妙義環生，玲瓏剔透，不可端倪，若焦氏用象，獨擅天機；及推求其例，無不源本於經，無絲毫之逾越規矩也。昔人知《太玄》擬易，故往往卽玄首以解經，而不知焦氏《易林》之亦擬易也。嗚呼！後之人有究心易數者乎？愚以為《太玄》其階。有究心易象者乎？《易林》其數也。

It is especially important to note that the "Forest of Changes" by Jiao Yanshou treats the image of the primary hexagram and the image of the opposite hexagram (the parallel hexagram) as one, not distinguishing between them. This makes it possible to understand clearly the use of the parallel hexagram in the "Zhou Changes." Furthermore, the "Forest of Changes" combines the image of the reversed hexagram (the entire hexagram viewed upside down) with the normal image, using them skillfully in a way that is beyond comparison. Thus, the mysterious and profound use of the reversed image in the "Zhou Changes" becomes gradually understandable. When extending this to half-images and full-images, the same principle applies. At first reading the hexagrams of the "Forest of Changes," the meanings are intricate and transparent, leaving one puzzled, as if Jiao Yanshou alone had grasped the secret of the images. But when one carefully examines his method and examples, it becomes clear that everything is based on the classic text, without ever going beyond the established rules. Previously, people knew that Yang Xiong's "Tai Xuan" was modeled after the "Zhou Changes," so they often used the "Tai Xuan" "Shou" (the beginning) to interpret the classic text. But they did not realize that Jiao Yanshou's "Forest of Changes" was also modeled after the "Zhou Changes." Alas! Are there any later scholars who are willing to study the numerical aspects of the "Zhou Changes" diligently? I believe the "Tai Xuan" is the first step for them. Are there any who are willing to study the symbolic images of the "Zhou Changes" diligently? Then the "Forest of Changes" is their entrance.