The Back-Pushing Diagrams (Li Chunfeng, Yuan Tiangang)

茫茫天地，不知所止。日月循環，周而復始。自從盤古迄希夷，虎斗龍爭事正奇。悟得循環真諦在，試於唐後論元機。

This hexagram corresponds to the "Qian" trigram, with both upper and lower parts being Qian. All six lines are pure yang, making it the first hexagram of the Zhou Yi. The hexagram statement says "Originality, Greatness, Advantage, and Constancy," and the image commentary states "Heaven's movement is vigorous; the superior man thus perseveres without ceasing." This conveys the meaning of firm strength and continuous creation. It is most appropriate to serve as the opening of the entire book. The first two lines of the prophecy say: "The vast heavens and earth cannot see where they end; the sun and moon travel, completing a cycle and then beginning again." These four lines do not refer to a single dynasty or event, but instead establish the principle of "cyclical recurrence" as the fundamental premise of the entire work. The meaning of the ode is: Starting from "Pangu," the creator of the world, and counting through to Chen Tuan, the reclusive master of the early Song dynasty, there have been many contenders and strange events throughout history. If one truly understands the principle of the rise and fall of dynasties, one may then proceed to analyze the hidden mechanisms of each dynasty following the Tang dynasty. "Yuanji" refers to "Xuanji," which was changed due to taboo avoidance. The original version used this image as the general introduction to the entire work, not tied to any specific historical event.

累累碩果，莫明其數。一果一仁，即新即故。萬物土中生，二九先成實。一統定中原，陰盛陽先竭。

The current image corresponds to the "Gou" hexagram, with the lower trigram "Xun" representing wind and the upper trigram "Qian" representing heaven, symbolizing wind beneath the sky. A single yin line emerges among five yang lines, indicating the initial appearance of yin. The Commentary on the Judgment explains this as "a soft line encountering a strong line," representing an unexpected meeting and the beginning of yin energy. The analogy of fruit trees is used: branches bear fruit in succession, with countless fruits; each fruit contains only one kernel. The fruit ripens and falls, then bears new fruit, which is both new and continues the old. "One fruit, one kernel" was traditionally interpreted as one dynasty and one ruler, while "both new and old" refers to the succession of imperial power. The verse states: all things grow from the earth, and at the second nine, they first bear fruit; the world unifies, the Central Plains become stable, but yin energy grows stronger, while yang energy begins to wane. The meaning of "two nines" is not uniformly interpreted; some believe it refers to the number of years the Tang dynasty ruled, while others think it refers to the number of emperors in the imperial line. Traditional interpretations use this image to summarize the fate of the Li Tang dynasty, with the final line often associated with the rule of female emperors.

日月當空，照臨下土。撲朔迷離，不文亦武。參遍空王色相空，一朝重入帝王宮。遺枝撥盡根猶在，喔喔晨雞孰是雄。

The original image corresponds to the hexagram "Dun" (Retreat). The lower trigram is "Gen" (Mountain), and the upper trigram is "Qian" (Heaven). Heaven is on top of the mountain, and the yang energy retreats, hence the name "Dun," meaning retreat or withdrawal. The first two lines of the prophecy describe the sun and moon hanging in the sky, illuminating the earth. However, this is a case of character dissection and combination: the characters "sun," "moon," and "kong" (sky) together form "Zhao," the name created by the female emperor of the Tang dynasty. The last two lines use the allusion from the "Ballad of Mulan" about the male and female rabbits being difficult to distinguish. "Not literary but martial" refers to the person not specializing in literary governance but also possessing military prowess, and it also contains the character "wu" (martial). The praise states that she once extensively studied Buddhism, understood the concept of emptiness of form, and then re-entered the imperial palace. Although the old branches were completely removed, the roots remained. In the morning, the roosters crow, but which one is the male? "Kong Wang" is an alternative name for the Buddha. The last line was traditionally interpreted as a reversal of the phrase "a hen crowing at dawn." The old interpretation uses this image to refer to Wu Zhou, the empress of Emperor Gaozong of Tang, who entered the palace from the temple of Jingye, eventually ascending the throne.

飛者不飛，走者不走。振羽高岡，乃克有後。威行青女實權奇，極目蕭條十八枝。賴有猴兒齊著力，已傾大樹仗扶持。

The original image corresponds to the "Pu" hexagram. The lower trigram is "Kun" (Earth), and the upper trigram is "Qian" (Heaven). The heavenly energy rises upward, while the earthly energy descends downward, and they do not communicate, hence the name "Pu," which signifies a state of blockage and stagnation. The prophecy says: those that can fly cannot take flight, and those that can walk cannot move forward; only by spreading wings and ascending the high hill can the descendants be preserved. The first two lines were traditionally interpreted as alluding to human names through flying creatures and beasts. The last two lines draw upon the meaning of "Phoenix calling from the high hill" in the "Poetry Classic: Da Ya: Juan A," implying that the lineage is sustained through this. The commentary says: authority is wielded by the female ruler, and the power she holds is unexpected; looking around, eighteen branches are all withered; fortunately, a group of "monkeys" support it together, and the already fallen tree is barely held up. "Qing Nu" originally refers to the goddess of frost and snow, but here it is used to denote the female ruler. "Eighteen branches" combines the characters "ten," "eight," and "son" to form "Li," referring to the Li Tang royal family. "Big tree" is used metaphorically to represent the imperial lineage. Traditional interpretations associate this image with Wu Hou's regency, the decline of the royal family, and Zhang Jianzhi's group restoring Zhongzong to the throne.

楊花飛，蜀道難。截斷竹簫方見日，更無一史乃平安。漁陽鼙鼓過潼關，此日君王幸劍山。木易若逢山下鬼，定於此處葬金環。

The original image corresponds to the "Observation" hexagram, with the lower trigram "Kun" (Earth) and the upper trigram "Xun" (Wind). Wind moves across the earth, sweeping through all things, hence the name "Observation," symbolizing the act of observing and displaying to the world, and looking up with sincerity. The prophecy says: willow fluff drifts across the sky, and the roads in Shu are difficult; only by cutting off the bamboo flute can the sun be seen, and only by removing the character "shi" can safety be achieved. "Willow fluff" is a homophone for the surname "Yang," and "difficult roads in Shu" uses the title of Li Bai's poem. The third line is a character dissection, removing radicals such as the bamboo head to reveal the character "sun"; different scholars have dissected different characters. The old interpretation of "one shi" is read together with "an" to form a reference to two rebellious generals from the two surnames. The eulogy says: the war drums from Yuyang pass over Tongguan, on this day the emperor fled to Jianmen Mountain; "mu" and "yi" combine to form "Yang," "shan," "xia," and "gui" combine to form "wei," and when these two meet, they bring about the burial of the golden ring. "War drums from Yuyang" comes from Bai Juyi's "The Song of Everlasting Sorrow," and "golden ring" refers to the nickname of the concubine. The old interpretation uses this image to refer to the An Lushan Rebellion, Emperor Xuanzong's flight to Shu, and the events at Mawei.

非都是都，非皇是皇。陰霾既去，日月復光。大幟巍巍樹兩京，輦輿今日又東行。乾坤再造人民樂，一二年來見太平。

The original image corresponds to the "Splitting Apart" hexagram. The lower trigram is "Kun" (Earth) and the upper trigram is "Gen" (Mountain). Five yin lines are below, eroding the single yang line that remains, with the mountain attached to the earth and about to collapse, hence the name "Splitting Apart." It signifies the meaning of something peeling away completely, with only one yang remaining. The prophecy says: a place that was not originally a capital has become the capital, and a person who was not supposed to be emperor has become emperor; when the gloom dissipates, the sun and moon shine again. The first two lines are traditionally interpreted as the imperial court temporarily serving as the capital and the crown prince governing from outside. The last two lines use celestial phenomena to symbolize the restoration of the country's prosperity. The praise says: a great banner is raised high in the two eastern capitals, and the emperor's carriage returns east today; the heavens and earth seem to have been recreated, with the people in peace and happiness, and peace is seen within a couple of years. "Nianyu" refers to the emperor's carriage, "Qiankun Zaozao" is an idiom from the Tang dynasty used to praise the achievements of restoring the country, and "two capitals" refer to Chang'an and Luoyang. The old interpretation uses this image to refer to the emperor Suzong ascending the throne in Lingwu, and Guo Ziyi and others recapturing the two capitals.

旌節滿我目，山川局我足。破關客乍來，陡令中原哭。螻蟻從來足潰堤，六宮深鎖夢全非。重門金鼓含兵氣，小草滋生土口啼。

The original image corresponds to the hexagram "Jin" (Progress). The lower trigram is "Kun" (Earth), and the upper trigram is "Li" (Fire), representing the sun. The sun rising above the earth gives the name "Jin," symbolizing the gradual increase of light and the growing brightness of the day. This contrasts with the original image, which describes the transition from order to chaos. The prophecy states: banners, flags, and symbols fill the eyes, while mountains and rivers block the way. A guest breaking through the gates suddenly arrives, causing the Central Plains to weep. "Guest" refers to foreign troops, and "banners and symbols" signify the military power of the regional warlords. The praise says: small ants have always been sufficient to break a long dike; the six palaces are locked, and the old splendor has turned to nothing. Within the many palace gates, the sound of gongs and drums carries a deadly aura. Grass grows, and the characters "earth" and "mouth" combine to form "tou." The last line is a typical example of splitting and recombining characters, and when read with "grass," it forms the name of a foreign tribe. The old interpretation uses this image to refer to the event in the Guangde era when the Tibetan forces entered Chang'an and the emperor fled to Shaan County.

攙槍血中土，破賊還為賊。朵朵李花飛，帝曰遷大吉。天子蒙塵馬首東，居然三傑踞關中。孤軍一駐安社稷，內外能收手臂功。

The original image corresponds to the hexagram "Great Possession." The lower trigram is "Heaven" (Qian), and the upper trigram is "Fire" (Li). Fire in the sky illuminates everything, hence the name "Great Possession," implying great abundance and the need for vigilance. The prophecy says: the comet's ominous light stains the Central Plains with blood; those who go to suppress the rebels turn around and become rebels themselves; the falling blossoms of the plum tree (Keli) indicate that the emperor says migration is the greatest good fortune. "Changan" is another name for the comet, considered a sign of military calamity by ancient people; "plum blossoms" symbolize the Li Tang royal family; "the emperor says to migrate" means the emperor flees. The commentary says: the emperor is in disarray and flees eastward; three heroes occupy the pass of Hangu; a single isolated army settles the state, with internal and external forces in harmony, achieving the effectiveness of a limb obeying the will of the body. "Being in disarray" is a euphemism for the emperor's flight; "arm's length power" means the coordination between above and below is unimpeded. The old interpretation uses this image to refer to the Jinyuan Uprising during the reign of Emperor Dezong, when Zhu Ci usurped the title, and the emperor fled to Fengtian. Li Sheng and others retook the capital with a small force.

非白非黑，草頭人出。借得一枝，滿天飛血。萬人頭上起英雄，血染河山日色紅。一樹李花都慘淡，可憐巢覆亦成空。

This image corresponds to the hexagram "Dui" (Lake). Both upper and lower parts are Dui, which represents a lake and also a mouth and tongue. The Commentary on the Judgment explains "Dui" as "say" or "joy," meaning happiness. However, two lakes joined together may bring joy, but Dui also symbolizes destruction and conflict involving speech, so this image actually depicts warfare. The prophecy says: it is neither white nor black, but yellow; the character for grass with a person above it appears; borrowing a branch causes blood to spill across the sky. The first two lines use color contrast and character dissection to form a surname. The third line refers to rising from the grass roots. The praise says: a hero rises above a million people, his blood staining mountains and rivers, even the daylight turns red; a whole tree of plum blossoms appears pale, lamenting the fall of the bird's nest, ultimately ending in emptiness. "A tree of plum blossoms" continues the image, still referring to the Tang dynasty. "Nest overturned" uses the idiom "when the nest falls, no egg remains intact" and also rhymes with the name of the rebel leader, forming a double meaning. Old interpretations associate this image with the uprising of Wang Xianzhi and Huang Chao after the reign of Ganyu, leading to the decline of the Tang dynasty.

蕩蕩中原，莫御八牛。泅水不滌，有血無頭。一後二主盡升遐，四海茫茫總一家。不但我生還殺我，回頭還有李兒花。

The present image corresponds to the "Confusion" hexagram. The lower trigram is "Kan" (water), and the upper trigram is "Dui" (lake). The lake is on top of the water, yet the water leaks down below, leaving the lake empty of water, hence the name "Confusion." It signifies being trapped in hardship and being constrained, as well as the meaning of words not being believed. The prophecy says: "The vast central plain cannot resist the 'Eight Oxen'; the waters of crossing cannot wash away impurities, there is blood but no head." The two characters "Eight Oxen" form the character "Zhu" when combined vertically, which is an example of a character dissection method. The latter two lines also use dissection and combination, but the characters pointed to by various schools are not consistent. Old interpretations either associate it with the real name of a rebel general or with the name given to him by the court. The eulogy says: "One empress dowager and two monarchs have successively passed away; the vast world ultimately becomes one family. Not only did they kill the person who gave me life, but later they also turned their back on the Li family's flowers." "Shengxia" is a euphemism for the death of an emperor, and "Li erhua" still refers to the remnants of the Tang dynasty. Old interpretations use this image to refer to Zhu's replacement of the Tang dynasty, the founding of the Later Liang dynasty, and the internal strife among his father and son.

五人同卜，非祿非福。兼而言之，喜怒哀樂。龍蛇相鬥三十年，一日同光直上天。上得天堂好遊戲，東兵百萬入秦川。

The original image corresponds to the "Cui" hexagram. The lower trigram is "Kun" (Earth), and the upper trigram is "Dui" (Lake). The lake water gathers on the earth, and all things converge, hence the name "Cui," meaning gathering. However, if gathering is not proper, it leads to contention, which aligns with the meaning of this hexagram. The prophecy says: five people asked the same question, and the result was neither official rank nor fortune; when taken together, it refers only to joy, anger, sorrow, and joy. The first two lines were previously interpreted as splitting the characters, but the characters combined by different scholars vary. The last two lines suggest the gathering of good and bad fortune, joy and sorrow, which cannot be expressed in a single word. The commentary says: dragons and snakes have been fighting for thirty years, until one day "Tongguang" rose straight to the sky; once in heaven, they only played around, while a million troops from the east advanced into Qinchuan. "Tongguang" is a double meaning, referring both to the era name of the Later Tang Zhuangzong and to the description of flames rising into the sky. "Qinchuan" refers to Guanzhong. The old interpretation uses this image to refer to Later Tang Li Cunxu's defeat of the Liang dynasty and his subsequent rise to the throne, but later he indulged in music, entertainment, and hunting, eventually leading to chaos and disorder.

塊然一石，謂他人父。統二八州，已非唐土。反兆先多口，出入皆無主。繫鈴自解鈴，父亡子亦死。

The original image corresponds to the hexagram "Xian" (Attraction). The lower trigram is "Gen" (Mountain), and the upper trigram is "Dui" (Lake). Mountains and lakes communicate through the air, and the mutual interaction of these two energies is called "Xian," meaning "attraction." The term "Xian" comes from the character "Gan" (sensation) with the heart radical removed, symbolizing a natural, unforced feeling of mutual resonance. The prophecy states: a single stone standing alone calls another person its father; governing sixteen states, which is no longer the territory of the Tang dynasty. "A single stone" highlights the surname "Shi" (stone), using an object to denote a surname. "Calling another person father" is taken from the "Book of Songs · Wang Feng · Ge Lei," here directly accusing someone of taking a usurper as a father. "Sixteen states" refers to the sixteen states. The commentary says: the prelude to rebellion is widespread gossip, and during entry and exit there is no master. The person who tied the bell must also untie it; when the father dies, the son also dies. "Tying and untying the bell" comes from a Buddhist story, symbolizing that calamities are brought about by oneself and must be borne by oneself. The old interpretation uses this image to refer to Shi Jingtang of the Later Jin dynasty ceding the Yanyun sixteen states and serving a northern ruler, as well as the death of the emperor and the fall of the state.

漢水竭，雀高飛。飛來飛去何所止，高山不及城郭低。百個雀兒水上飛，九十九個過山西。惟有一個踏破足，高棲獨自理毛衣。

The original image corresponds to the hexagram "Obstruction." The lower trigram is "Mountain" (Geng), representing a stop, while the upper trigram is "Water" (Kan), symbolizing water and danger. The danger is present before the mountain blocks the way, hence the name "Obstruction," signifying the difficulty of proceeding and the wisdom to know when to stop. The prophecy states: the Han River dries up, and the birds fly high; they fly back and forth but do not know where to rest, and the high mountains are not as low as the city walls. "The Han River drying up" uses the name of the river as a double entendre for the state's name, indicating its fate is nearing an end; "bird" is a common method of using a bird to refer to a surname. The fourth line describes the reversal of high and low, indicating a disorderly situation. The commentary says: one hundred birds fly over the water, ninety-nine pass over the west of the mountain; only one breaks its foot, and remains alone, perching high to groom its feathers. "West of the mountain" can refer to a direction or be read as the region of He Dong. The last line depicts the state of dispersion among the crowd, with only one remaining, confined and self-contained. Old interpretations associate this image with the short-lived Han dynasty, and its descendants later occupying a small area in He Dong to preserve themselves.

李樹得根芽，石榴漫放花。枯木逢春只一瞬，讓他天下競榮華。金木水火土已終，十三童子五王公。英明重見太平日，五十三參運不通。

The original image corresponds to the hexagram "Modesty." The lower trigram is "Gen" (Mountain), and the upper trigram is "Kun" (Earth). The mountain, though lofty and majestic, is situated beneath the earth, hence the name "Modesty." It signifies internal fullness and external humility, as well as the virtue of self-restraint. The prophecy says: The jujube tree has just begun to sprout roots, while the pomegranate flowers are already blooming all over the sky; a withered tree regains life only for a moment, and now let all people compete for glory. The first two lines contrast two types of plants, and traditional interpretations suggest each represents a surname, but different scholars have various opinions. The last two lines refer to the brief revival followed by continued competition among heroes. The praise says: The five elements of metal, wood, water, fire, and earth have already cycled through their phases; thirteen children and five princes; an enlightened ruler sees the return of peace, with fifty-three visits but the fortune remains unsmooth. "The five elements have completed their cycle" is traditionally interpreted as matching the five dynasties, suggesting the end of the five dynasties; "fifty-three visits" refers to the story from the "Avatamsaka Sutra" where the Bodhisattva Samantabhadra visits fifty-three teachers. Here, the meaning is reversed, indicating that although efforts are made, the right time has not come. Traditional interpretations associate this image with the end of the Five Dynasties and the transition from the Later Zhou to the early Song dynasty.

天有日月，地有山川。海內紛紛，父後子前。戰事中原迄未休，幾人高枕臥金戈。寰中自有真天子，掃盡群妖見日頭。

The original image corresponds to the hexagram "Small Overstep." The lower trigram is "Gen" (Mountain), and the upper trigram is "Zhen" (Thunder), representing thunder on a mountain. The sound of thunder is greater than usual, yet its reach is limited, hence the name "Small Overstep." This signifies that small matters can be overcome, and it is appropriate to be humble rather than to ascend. The prophecy states: "In the heavens there are sun and moon; on the earth there are mountains and rivers. Within the sea, there is turmoil and unrest; the father is behind, while the son is in front." The first two lines use the positioning of heaven and earth as a metaphor, while the latter two lines describe a reversal of order, with succession and contention recurring, which was the common situation during the Five Dynasties period when fathers were succeeded by their sons. The praise says: "The warfare in the Central Plains has not ceased until now; how many can rest soundly while lying on weapons? The world naturally has a true sovereign; after eliminating all demons, the sun will rise." "Huanzhong" refers to the world, and "ri tou" follows from the previous mention of "the heavens have sun and moon," using the rising sun as a metaphor for the establishment of a new dynasty. The old interpretation uses this image to refer to the end of the Five Dynasties period when many warlords ruled independently, and it was used to predict the rise of Emperor Taizu of Song, who replaced the Zhou dynasty and subdued the various states.

天一生水，姿稟聖武。順天應人，無今無古。納土姓錢並姓李，其餘相次朝天子。天將一統付真人，不殺人民更全嗣。

The image corresponds to the hexagram "Gui Mei" (Return of the Bride). The lower trigram is "Dui" (Lake), representing a marsh and a young maiden, while the upper trigram is "Zhen" (Thunder), representing thunder and a young man. The maiden follows the young man to marry, hence the name "Gui Mei." It signifies movement through speech and the return of a woman, symbolizing the idea of various states submitting to a central power. The prophecy states: "Heaven produces water, and the person possesses a noble and martial quality; following the heavenly way and conforming to the people's will, there is no distinction between ancient and modern times." The phrase "Heaven produces water" comes from the numerical system of the "Zhou Changes" (I Ching) associated with the River Diagram. Water resides in the north and one is its generating number; traditional interpretations suggest this refers to the Song dynasty inheriting the mandate of heaven through the water element. The praise says: Those who surrendered their land and submitted were the Qian and Li families, and the other states followed in order to pay homage to the Son of Heaven; Heaven entrusted the unification of the realm to the True Person, without killing the surrendered rulers and preserving the descendants of the surrendered states. "Natu" refers specifically to the act of surrendering land without battle to submit to the central authority, and "True Person" is a respectful title for the ruler who has received the mandate. Traditional interpretations associate this image with the Wu Yue Qian clan and the Southern Tang Li clan who surrendered to the Song dynasty, and the early Song dynasty was known for not killing surrendered rulers.

聲赫赫，干戈息。掃邊氛，奠邦邑。天子親征乍渡河，歡聲百里起謳歌。運籌幸有完全女，奏得奇功在議和。

The original image corresponds to the hexagram "Li" (Fire). Both upper and lower trigrams are "Li," representing fire and the sun. The "Commentary on the Judgment" explains "Li" as "attachment," meaning the sun and moon are attached to the sky, and all grains and grasses are attached to the earth. This conveys the meaning of continuous brightness and softness attached to the upright and correct. The prophecy says: great prestige and power, the weapons of war are put down; clearing the war clouds from the borders, and establishing peace in the state and its cities. "Border clouds" refer to the war atmosphere at the borders, and "dian" means to settle and stabilize. The praise says: the emperor personally leads the army, having just crossed the Yellow River, and within a hundred miles, people rejoice and sing songs; in the planning, there is a "complete woman," and the remarkable achievement lies in the peace negotiations. The term "complete woman" has had various old interpretations, some believing it refers to a person's name through character dissection, others thinking it refers to the inner support within the palace. The last sentence, "remarkable achievement lies in the peace negotiations," serves as a reversal, which is the main intention of the entire praise. Old interpretations associate this image with Emperor Zhenzong of Song personally leading an expedition to Chanzhou and concluding an alliance with the Khitan.

天下之母，金刀伏兔。三八之年，治安鞏固。水旱頻仍不是災，力扶幼主坐靈臺。朝中又見釵光照，宇內承平氣象開。

The image corresponds to the "Travel" hexagram, with the lower trigram "Gèn" representing mountain and the upper trigram "Lí" representing fire. Fire on a mountain is not stationary but moves, hence the name "Travel." It signifies a person traveling abroad, being gentle and harmonious, and shining brightly. The prophecy says: "The mother of the world, the golden knife and hidden rabbit; in the year of three eights, the country will be stable and secure." "Golden knife" combined with "Mǎo" forms the character "Liú," and "hidden rabbit" refers to "Mǎo" in the twelve earthly branches, which belongs to the rabbit. These two references confirm each other, indicating a太后 of the surname Liú. "Three eights" is interpreted in old texts as either the number of years a woman ruled or the age, but the meaning is not clear. The praise says: "Continuous drought and flood, yet not real calamity; someone supports the young ruler to ascend the platform; within the court, the light of hairpins shines, and the peaceful rule of the country begins." "Platform" originally refers to an observatory for watching the sky, but here it is used to refer to the throne. "Hairpin light" uses female ornaments to refer to a female ruler governing. Old interpretations associate this image with the case of Emperor Renzong of Song, who ascended the throne as a child, and his mother, Empress Dowager Zhangxian of the surname Liú, ruling the court.

眾人嚚嚚，盡入其室。百萬雄師，頭上一石。朝用奇謀夕喪師，人民西北盡流離。韶華雖好春光老，悔不深居坐殿墀。

The original image corresponds to the hexagram "Ding" (Tripod). The lower trigram is "Xun" (Wind), representing wood and wind, while the upper trigram is "Li" (Fire), representing fire. Wood with fire on top symbolizes the image of cooking, hence the name "Ding." It signifies the removal of the old to take in the new, and the nourishment of virtuous people through cooking. Reforming and changing systems aligns with the meaning of "Dingxin" (renewal). The prophecy says: people are clamoring and arguing, all entering his discipleship; a million strong troops, with a stone pressing upon their heads. "Yinyin" describes the appearance of many voices arguing, a phrase from the "Book of Documents." "A stone on the head" was traditionally interpreted as a wordplay, with different interpretations among scholars. One interpretation uses the stone pressing on "shi" (troops) to symbolize a military defeat. The praise says: in the morning, a strange strategy was used, but by evening, the entire army was lost; the people in the northwest region were all displaced; although spring is beautiful, it is already old, regretting not having remained deep within the palace steps. "Dianchi" refers to the steps in front of the palace, symbolizing the court. Traditional interpretations associate this image with the events of Emperor Shenzong of Song during his implementation of new policies and military defeats in the northwest.

朝無光，日月盲。莫與京，終彷徨。父子同心並同道，中天日月手中物。奇雲翻過北海頭，鳳闕龍廷生怛惻。

This configuration corresponds to the hexagram "Not Yet Completed." The lower trigram is "Kan" (Water), and the upper trigram is "Li" (Fire). Fire burns above and water moistens below, but they do not interact. All six lines are out of their proper positions, hence the name "Not Yet Completed," signifying that matters are still unfinished and caution is needed at the end. The prophecy states: the court has lost its brightness, and the sun and moon are both blind; no one can match him, ultimately only wandering. "No one can match him" comes from the "Zuo Zhuan," where "Jing" means great, implying that no one can rival him, which is a paradoxical expression. "Sun and moon blind" uses the obscured heavenly phenomena to symbolize the court's loss of clarity. The ode says: father and son share the same heart and path, treating the sun and moon in the middle sky as objects in their hands; strange clouds pass over the head of the Northern Sea, and within the Phoenix Terrace and Dragon Hall, sorrow arises. "Phoenix Terrace and Dragon Hall" refers to the palace and court, while "strange clouds" coming from the north suggests calamity originating from the north. Traditional interpretations associate this image with the reign of Emperor Huizong, where powerful ministers of father and son succeeded each other in power, and northern border troubles followed.

空厥宮中，雪深三尺。吁嗟元首，南轅北轍。妖氛未靖不康寧，北掃烽煙望帝京。異姓立朝終國位，卜世三六又南行。

The original image corresponds to the "Meng" hexagram. The lower trigram is "Kan" (Water), representing danger and peril, while the upper trigram is "Gen" (Mountain), symbolizing obstruction and stillness. A spring emerges from beneath the mountain, yet its direction is uncertain, hence the name "Meng," signifying the state of a child who has not yet begun to learn, waiting for someone to enlighten him. The prophecy says: "The palace is empty and desolate, with snow accumulating three feet deep; pitifully, the country's sovereign has ended up going in opposite directions." "Empty palace" indicates that the palace has been looted and left empty, while "snow three feet deep" points to the event occurring in winter. "Going in opposite directions" comes from the "Zhan Guo Ce" (Strategies of the Warring States), symbolizing a situation where one's actions are contrary to one's intentions. Here, it also refers to the imperial carriage heading north while the people look southward in longing. The praise says: "The evil forces have not been subdued, and the world is not at peace; looking northward to sweep away the smoke of war, gazing back at the imperial capital from afar; a man of different lineage is established in the court, ultimately seizing the throne; the dynasty lasts for thirty generations, yet it moves southward again." "Thirty generations" refers to the old saying of "Thirty generations of the Zhou dynasty," meaning the calculation of the number of generations of the ruling family. The old interpretation uses this image to refer to the Jingkang Incident, the northward migration of the two emperors, and Zhang Bangchang's usurpation of the throne. Afterward, the Song dynasty moved south.

天馬當空，否極見泰。鳳鳳淼淼，木〈構〉大賴。神京王氣滿東南，禍水汪洋把策干。一木會支二八月，臨行馬色半平安。

The original image corresponds to the "Huan" hexagram. The lower trigram is "Kan" (Water), and the upper trigram is "Xun" (Wind). Wind moves upon water, causing waves to scatter, hence the name "Huan." It signifies the dispersal followed by reassembly, and the dispersal of a group leading to good fortune. The prophecy says: The Star of Movement soars in the sky; when misfortune reaches its extreme, good fortune appears. The Phoenix is distant and mysterious, and a single tree can be greatly relied upon. The third line of the original text repeats the word "Feng" twice, and the character "Gou" is enclosed in sharp brackets, which are traces left by transmission. These are recorded as they are without alteration or supplementation from other sources. "When misfortune reaches its extreme, good fortune appears" uses the principle from the "Zhou Yi" (I Ching) that "Pu" and "Tai" are interdependent, indicating that when chaos is at its peak, order will follow. The commentary says: The imperial aura of the capital is concentrated in the southeast region, with vast waters of calamity, yet people still seek help with their plans. A single tree can support until the month of February and August, and when departing, half of the horse's color is peaceful. "A single tree" was traditionally interpreted as a character split to imply a surname, while "February and August" may refer to a month or a number of years. Traditional interpretations associate this image with the Southern Migration of the Song Dynasty and its situation of partial security in the southeast.

似道非道，干沉坤黯。祥光宇內，一江斷楫。胡兒大張撻伐威，兩柱擎天力不支。如何兵火連天夜，猶自張燈作水嬉。

The original image corresponds to the "Strife" hexagram. The lower trigram is "Kan" (Water), and the upper trigram is "Qian" (Heaven). Heaven moves westward while water flows eastward, moving in opposite directions, hence the name "Strife." It signifies disputes without intimacy, even with sincerity, ultimately leading to misfortune. The prophecy says: "It seems like the Way but is not the Way; the Qian energy descends and the Kun energy darkens; auspicious light covers the heavens, but a boat's oar breaks in the river." The first line "Seems like the Way but is not the Way" was traditionally interpreted as concealing the name of a minister in power, using a method of reversing word meaning to hide the name. "Qian descends and Kun darkens" indicates disorder in heaven and earth. "A broken oar in the river" depicts the collapse of river defenses, showing the inadequacy of the natural barrier of the Yangtze River. The commentary says: "The barbarians greatly display their military might, and even the two pillars supporting the sky cannot hold on; why, in the midst of war and fire, do they still light lamps to play with water?" "Two pillars supporting the sky" symbolizes the key ministers supporting the precarious situation. The last two lines contrast revelry with the danger of national collapse, highlighting the main point of the commentary. Traditional interpretations associate this image with the late Southern Song dynasty, when a powerful minister was in charge and northern forces launched a large-scale southern campaign.

山崖海邊，不帝亦仙。二九四八，於萬斯年。十一卜人小月終，迴天無力道俱窮。干戈四起疑無路，指點洪濤巨浪中。

The original image corresponds to the hexagram "Tong Ren" (Union). The lower trigram is "Li" (Fire), and the upper trigram is "Qian" (Heaven). Fire ascends upward, sharing the same characteristic as Heaven, hence the name "Tong Ren." It signifies harmonious union with others and the meaning of achieving success through unity. The prophecy states: on mountain cliffs and seaside, without becoming an emperor one can become a deity; the numbers two, nine, four, and eight continue until ten thousand years. The first line uses terrain to indicate the location of the event, and "not emperor yet deity" is a euphemism for death. The phrase "two nine four eight" has been interpreted by old scholars as either a year count or an age count, but there is no consensus. The commentary says: "Eleven people of divination" end in the small month, returning to heaven is no longer possible, and all paths are exhausted; war breaks out everywhere, suspicion has no way out, and one can only point to the great waves and torrents. "Eleven people of divination" is a character dissection, splitting the strokes and recombining them into a surname and given name, but different schools have different interpretations. The final line concludes with throwing oneself into the great waves, with a very heavy tone. Old interpretations associate this image with the fall of the Southern Song dynasty at the Yashan cliffs, where the emperor and ministers drowned in the sea, leading to the end of the Song dynasty.

北帝南臣，一兀自立。斡離河水，燕巢捕□。鼎足爭雄事本奇，一狼二鼠判須臾。北關鎖鑰雖牢固，子子孫孫五五宜。

The image corresponds to the hexagram Zhen (Thunder). Both upper and lower trigrams are Zhen, which represents thunder and movement. The Commentary on the Judgment says, "Thunder shakes a hundred miles," indicating the meaning of vigorous movement and the sense of fear leading to self-reflection. The prophecy states: facing north as an emperor, facing south as a minister; the single character "wu" standing alone; the water of the Wulan River, catching fish in the nest of a swallow. The character "wu" was traditionally interpreted as the combination of upper and lower parts forming the character "yuan," using a method of splitting characters. The "Wulan River" refers to the Wulan River in the north, the birthplace of northern tribes. The last character is blurred and cannot be identified, so it is left as a question mark, following the example of the original text. The praise says: three parties competing for dominance, events are inherently surprising; the outcome between one wolf and two rats is decided in an instant; although the northern pass is strong and secure, descendants should follow the number five. "One wolf and two rats" refers to the competing parties using animals as symbols, while "five" may refer to generations or years. Traditional interpretations associate this image with the rise of northern tribes and the unification of north and south by the Yuan dynasty.

時無夜，年無米。花不花，賊四起。鼎沸中原木木來，四方警報起邊垓。房中自有長生術，莫怪都城澈夜開。

The image corresponds to the hexagram "Yù" (Joy). The lower trigram is "Kūn" (Earth), and the upper trigram is "Zhèn" (Thunder). Thunder emerging from the earth causes all things to flourish and rejoice, hence the name "Yù." It signifies both harmony and joy, as well as preparation. The Image Commentary says that ancient kings composed music to honor virtue. The prophecy states: the order of time is confused, as if there were no night; the harvest is poor, with no grain in the granaries; flowers do not bloom as flowers, and bandits arise everywhere. These four lines describe the disorder through layers of imagery: day and night, harvest, and plants. The last line points out the cause of the chaos. The praise says: the Central Plains are like boiling water, with "mu mu" standing side by side; alarms from all directions arise from the borders; within the palace, there is the secret art of longevity, so it is no wonder the capital remains open all night. The term "mu mu" is traditionally interpreted as a split character implying a surname, but different scholars have different interpretations. "Border gai" refers to the border regions. The last two lines contrast the ruler's obsession with alchemy with the laxity of palace security. The old interpretation uses this image to refer to the collapse of government in the Yuan Dynasty and the rise of warlords.

惟日與月，下民之極。應運而興，其色曰赤。枝枝葉葉現金光，晃晃朗朗照四方。江東岸上光明起，談空說偈有真王。

The image corresponds to the hexagram "Jie" (Release). The lower trigram is "Kan" (Water), representing water and danger, while the upper trigram is "Zhen" (Thunder), symbolizing thunder and movement. Thunder and rain arise, causing all fruits and plants to split open, and thus the danger is dispersed, hence the name "Jie." It signifies the meaning of pardoning mistakes and forgiving sins, and resolving difficulties to achieve peace. The prophecy says: only the Sun and the Moon are the ultimate standards for the people below; arising in accordance with the heavenly mandate, its color is red. The characters "Sun" and "Moon" combined form the character "Ming" (brightness). "Its color is red" corresponds to the surname Zhu (red), and when viewed together with the split characters and homophones, this is the key to the image. The ode says: branches and leaves all shine with golden light, shining brightly in all directions; on the east bank of the river, brightness rises, and a true king emerges amidst discussions of emptiness and verses. "Discussions of emptiness and verses" are Buddhist terms, indicating that the person had once lived as a Buddhist monk in his early years; "the east bank" points out the place of origin. The old interpretation uses this image to refer to the rise of Ming Taizu from the eastern region and his establishment of the dynasty.

草頭火腳，宮闕灰飛。家中有鳥，郊外有尼。羽滿高飛日，爭妍有李花。真龍游四海，方外是吾家。

The original image corresponds to the hexagram "Constant." The lower trigram is "Xun" (Wind), and the upper trigram is "Zhen" (Thunder). Thunder moves and wind spreads, aiding each other and continuing without end, hence the name "Constant," symbolizing enduring and unchanging, like a gentleman who remains steadfast in his position. The prophecy says: "There is a grass head above and a fire foot below; palaces and towers turn to flying ashes; there is a bird at home, and a nun in the outskirts." "Grass head and fire foot" refers to splitting and combining characters, with the old interpretation suggesting they form the character "Yan" (swallow). "A bird at home" also refers to a character split. "A nun in the outskirts" indicates the former ruler, having abdicated, leaving the country and becoming a monk or nun. The commentary says: "When the wings are fully grown, the time for high flight arrives; even the plum blossoms are competing in bloom; the true dragon roams the four seas, and the outside world is my home." "Wings fully grown and high flight" follows from "a bird at home." "Outside world" refers to the realm of monks and immortals beyond worldly affairs, and the final line concludes with a statement of withdrawal from the world, corresponding to "a nun in the outskirts." The old interpretation uses this image to refer to the uprising at the Yan王府, the burning of the palace, and the former ruler fleeing as a monk.

枝發厥榮，為國之棟。皞皞熙熙，康樂利眾。一枝向北一枝東，又有南枝種亦同。宇內同歌賢母德，真有三代之遺風。

The original image corresponds to the hexagram "Ascending." The lower trigram is "Xun" (Wind), representing wood, and the upper trigram is "Kun" (Earth), representing land. Wood grows from the earth and gradually becomes taller, hence the name "Ascending." This reflects the meaning of accumulating small growths to achieve great height and advancing in accordance with virtue. It aligns perfectly with the original image that uses trees as a metaphor. The prophecy says: branches sprout and flourish, becoming the pillars of the state; broad and joyful, harmonious and peaceful, bringing happiness and benefit to all people. "Hao Hao Xi Xi" is adapted from the "Mencius" "The people of a sage ruler are Hao Hao," describing the atmosphere of a well-governed era. The praise says: one branch reaches the north, one the east, and another the south, all of the same kind; the people of the world sing in unison the virtue of the virtuous mother, truly embodying the style of the Three Dynasties. The first two lines use branches to symbolize the division of the royal family, while the last two lines praise internal governance. "Three Dynasties" refer to Xia, Shang, and Zhou, which are the standards of good governance in the minds of ancient people. Old interpretations associate this image with the initial division of the princes by the Ming dynasty and the consolidation of rule during the reigns of Ren and Xuan, while "virtuous mother" traditionally refers to the imperial empress dowager at that time.

半圭半林，合則生變。石亦有靈，生榮死賤。缺一不成也佔先，六龍親御到胡邊。天心復見人心順，相剋相生馬不前。

The image corresponds to the hexagram "Well." The lower trigram is "Xun" (Wind), representing wood, and the upper trigram is "Kan" (Water), representing water. Water is on top of wood, like using a桔槔 to draw water up, hence the name "Well." It symbolizes the well providing sustenance without end and the well remaining unchanged even when the city changes. The prophecy says: half of the character "Gui" and half of the character "Lin" combine to indicate a change; stones also have spirit, bringing honor when alive and disgrace when dead. The first two lines each take half of the radicals and combine them, forming a type of character called "xi bian he wen" (split-half combination). Old interpretations differ on the resulting character; the old interpretation of "stone also has spirit" was thought to refer indirectly to the surname of a military official. The praise says: missing one part makes it incomplete, yet it secures the initiative; six dragons personally drove the chariot to the border of the Hu people; the heavenly will reappears, and people's hearts follow suit; there is both mutual control and mutual generation, yet the horse will not move forward. "Six dragons" refers to the emperor's chariot, and "reaching the Hu border" means personally leading an expedition and falling into the enemy's court. The last line concludes with the five elements' generation and control, indicating a tangled fate and being stuck between advancing and retreating. Old interpretations used this image to refer to the event of Emperor Yingzong's northern captivity at the Mudu incident and his later return to the south and restoration to the throne.

當塗遺孽，穢亂宮闕。一男一女，斷送人國。忠臣賢士盡沉淪，天啟其衷亂更紛。縱有胸懷能坦白，乾坤不屬舊明君。

The image corresponds to the hexagram "Great Excess." The lower trigram is "Xun" (Wind), representing wood, and the upper trigram is "Dui" (Lake), representing marsh. The marsh water overflows the trees, causing the beams to bend and break, hence the name "Great Excess." It signifies excessive yang strength, extraordinary events, and the need for independence and fearlessness. The prophecy states: the remnants of those in power have corrupted the palace; one man and one woman have destroyed another's country. "Dangtu" refers to those in power, borrowing from the old prophecy of the Han and Wei periods, "The one who replaces the Han will be the high one on the road." Here, it refers to those currently in power. "One man and one woman" refers to eunuchs and wet nurses colluding internally. The commentary says: loyal ministers and virtuous men have all sunk into obscurity; heaven awakens their hearts, yet chaos becomes even more rampant; even with open hearts, the heavens no longer belong to the former virtuous king. "Tian qi qi zhong" is a phrase from the "Zuo Zhuan," and its wording also rhymes with the era name. The "ming" in "jiu mingjun" refers both to virtue and to the state name, making it a double entendre. The old interpretation uses this image to refer to the excess of eunuchs and wet nurses in the Ming dynasty, leading to the collapse of the government.

馬跳北闕，犬敖西方。八九數盡，日月無光。楊花落盡李花殘，五色旗分自北來。太息金陵王氣盡，一枝春色占長安。

The original image corresponds to the hexagram "Following." The lower trigram is "Zhen" (Thunder), representing movement and action, while the upper trigram is "Dui" (Lake), symbolizing joy and contentment. Movement brings joy, and joy leads to following, hence the name "Following." This hexagram signifies adaptability to changing circumstances and the importance of following the right time, which is of great significance. The prophecy states: A horse jumps over the northern palace, and a dog howls wildly in the west; the numbers eight and nine have been exhausted, and the sun and moon have lost their light. The term "eight and nine" has been interpreted in the past as either years or generations. The last sentence combines the characters "sun" and "moon" into the character "ming" (light), implying that the dynasty's fortune is about to end, using both character dissection and cryptic language. The verse says: The willow flowers have fallen, and the pear blossoms are also withered; banners of five colors are arranged, coming from the north; it is lamentable that the imperial aura of Jingling has vanished, while a single spring color remains in Chang'an. The mention of "willow flowers" and "pear flowers" together has traditionally been interpreted as referring to a single dynasty. The "five-colored banners" depict a chaotic array of flags, indicating troops coming from the north. "Jingling" and "Chang'an" are paired to contrast the two capitals, showing a shift in power. Traditional interpretations associate this image with the fall of the Ming dynasty to the Li Zicheng rebels, the collapse of the Ming court, and the entry of northern forces into the capital.

黃河水清，氣順則治。主客不分，地支無子。天長白瀑來，胡人氣不衰。藩籬多撤去，稚子半可哀。

The current image corresponds to the hexagram "Xun" (Wind). Both upper and lower parts are Xun, which represents wind and wood. The "Commentary on the Judgment" explains "Xun" as "entering," indicating the meaning of reiterating commands and the gentle and compliant nature of mutual penetration. When Xun is pure, the wind spreads everywhere without limit. The prophecy says: the Yellow River's water becomes clear, and when the destiny is favorable, governance is achieved; the distinction between host and guest is unclear, and there is no "Zi" in the earthly branches. "Clear Yellow River water" has been regarded since ancient times as a sign of the emergence of a sage; "confusion between host and guest" refers to the distinction between internal and external, Chinese and barbarian, being blurred; "no 'Zi' in the earthly branches" is interpreted by old explanations either as a character dissection or as the lack of descendants, with varying interpretations. The praise says: a long white waterfall flows down, and the destiny of the Hu people does not decline; many fences are removed, and half of the young children are mournful. The first line is traditionally interpreted as "Tian Chang Bai" read together, referring to the Changbai Mountains, the place of origin in the north, using a place name in the prophecy; "removal of fences" refers to the withdrawal of border defenses and the abandonment of borders. Old interpretations use this image to refer to the Qing dynasty's establishment of rule in the Central Plains, with its origin in the Changbai Mountains area.

頭有髮，衣怕白。太平時，王殺王。太平又見血花飛，五色章成裡外衣。洪水滔天苗不秀，中原曾見夢全非。

The hexagram corresponds to "Xiaoxu" (Small Accumulation). The lower trigram is "Qian" (Heaven), and the upper trigram is "Xun" (Wind), representing wind moving across the sky. The accumulation is still small, and the hexagram statement says "dense clouds without rain," indicating insufficient power to achieve results and a temporary halt in the accumulation. The prophecy says: hair remains on the head, and the clothes fear white; in times of peace, kings kill each other. The first two lines are interpreted in various ways, with some suggesting that the hair and white clothes refer to the clothing of the two parties. The last two lines describe internal conflict and self-destruction, with the repeated use of "king kills king" creating a sharp and cold tone. The praise says: in peaceful years, blood again flies; the five-colored patterns become the inner and outer garments; great floods overwhelm the land, and the crops cannot mature; the Central Plains have seen old dreams completely vanish. "Five-colored patterns" refers to a separate system of clothing regulations, and "great floods overwhelm the land" comes from the "Book of Documents · Yao Classic." Old interpretations considered this a double meaning, implying a surname. Old interpretations used this image to refer to the internal turmoil during the Qianlong and Jiaqing periods of the Qing dynasty.

西方有人，足踏神京。帝出不還，三臺扶傾。黑雲黯黯自西來，帝子臨河築金臺。南有兵戎北有火，中興曾見有奇才。

The original image corresponds to the hexagram "Family." The lower trigram is "Fire" (Li), and the upper trigram is "Wind" (Xun). Wind arises from fire, and education and influence spread from within to outside, hence the name "Family." It signifies that by properly governing the family, the world can be stabilized. The prophecy says: someone from the west, with feet on the capital; the emperor leaves and does not return; the ministers of the Three Stars support the situation when it is in danger. "Shenjing" refers to the capital, and "Santai" originally refers to a star, which ancient people associated with the positions of the Three Dukes. Here, it is used to refer to the ministers who assist the ruler. The praise says: dark clouds gather from the west, the imperial son comes to the riverbank to build a golden platform; there is warfare to the south and to the north; during a time of revival, remarkable talents were also seen. "Black clouds coming from the west" describes the direction of military disaster, while "building a golden platform" uses the story of Yan Zhao Wang who built a golden platform to attract talents, implying that the place of departure becomes a center for gathering people. The last line leaves a chance for a change in a critical situation. Old interpretations associate this image with the situation during the Qing Xianfeng period when foreign troops entered the capital, the emperor left, and later there was the revival led by various ministers.

纖纖女子，赤手禦敵。不分禍福，燈光蔽日。雙拳旋轉乾坤，海內無端不靖。母子不分先後，西望長安入覲。

The original image corresponds to the "Benefit" hexagram. The lower trigram is "Zhen" (Thunder), and the upper trigram is "Xun" (Wind). Wind and Thunder complement each other, with wind being fierce and thunder swift, thus benefiting each other. It is called "Benefit" because it signifies the virtue of moving towards goodness and correcting faults. The prophecy says: a weak woman, barehanded, resisting foreign enemies; not distinguishing between misfortune and fortune; the lamp's light obscuring the sunlight. "Barehanded resistance against enemies" refers to relying on spirit without real strength, while "lamp obscuring the sun" means a small light conceals a great one, symbolizing the transfer of power to the palace and the resulting confusion in court affairs. The praise says: a pair of fists rotating heaven and earth, the country without end experiencing unrest; mother and son not distinguishing order, looking westward to Chang'an and entering the court. "A pair of fists rotating heaven and earth" describes one person controlling the entire situation, "mother and son not distinguishing order" refers to both palaces acting together; "looking westward to Chang'an and entering the court" means the imperial carriage moving westward, with ministers rushing to the court. Old interpretations associate this image with the situation of a female ruler in the late Qing dynasty and the Gengzi Incident, when both palaces fled westward.

漢水茫茫，不統繼統。南北不分，和衷與共。水清終有竭，倒戈逢八月。海內竟無王，半凶還半吉。

The original image corresponds to the hexagram "Wu Wang" (No Pretense). The lower trigram is "Zhen" (Thunder), representing thunder, and the upper trigram is "Qian" (Heaven), representing heaven. When heaven's thunder moves, all things return to their proper nature, hence the name "Wu Wang," meaning no false action, movement with strength, and also implying "misfortune without cause." The prophecy says: "The Han River is vast and boundless." It should not have inherited the throne, yet it did; the north and south will not be divided again; the ruler and subjects will work together in harmony. "Not inheriting but succeeding the throne" means taking the position without following the old lineage, which is the key point of the entire image. "Working together in harmony" is taken from the "Book of Documents" (Shang Shu) "Tong Yin Xie Gong He Zhong." The praise says: "Although the water is clear, it will eventually dry up; the act of turning one's weapon against the enemy occurs in the eighth month; the whole country has no ruler; half is dangerous, half is still fortunate." "Clear water will eventually dry up" corresponds with the previous image "Clear Yellow River," using water to symbolize the era. "Turning one's weapon against the enemy" comes from the "Book of Documents·Wu Cheng" "Qian Tu Dao Ge," referring to turning against the enemy in battle. "The whole country has no ruler" directly states the vacancy of the throne. Old interpretations often associate this image with the abdication of the Qing dynasty and the beginning of the Republic, but the specific years mentioned by different scholars vary.

門外一鹿，群雄爭逐。劫及鳶魚，水深火熱。火運開時禍蔓延，萬人後死萬人生。海波能使江河濁，境外何殊在目前。

The original image corresponds to the "Shihhe" hexagram. The lower trigram is "Zhen" (Thunder), representing thunder, and the upper trigram is "Li" (Fire), representing lightning. Thunder and lightning combine to produce a clear and prominent effect. When something is held in the mouth, it must be bitten through before it can be joined, hence the name "Shihhe." This signifies the removal of obstructions and the clarification of punishment and law. The prophecy states: there is a deer outside the gate, and many heroes compete to chase it; calamity affects both the hawk and the fish. The people are plunged into water and fire. "Chasing the deer" refers to the anecdote from the "Records of the Grand Historian: Biography of the Marquis of Huayin" that "the Qin lost its deer, and the world competed to chase it," symbolizing the struggle for supremacy. "Hawk and fish" comes from the "Book of Songs: Grand Odes: Dry Streambank," which originally describes all things in their proper places, but here it is used inversely to indicate that both the upper and lower beings suffer together. The praise states: when the fire era begins, calamities spread, some people die in the tens of thousands, while others are saved in the tens of thousands; the waves of the sea can muddy the rivers; what happens abroad is no different from what happens here. "Fire era" refers to the upper trigram of fire. The last two lines mean that distant calamities soon reach the near. Old interpretations use this image to refer to large-scale warfare in recent times, with different interpretations among various schools.

鳥無足，山有月。旭初升，人都哭。十二月中氣不和，南山有雀北山羅。一朝聽得金雞叫，大海沉沉日已過。

The original image corresponds to the hexagram "Yi" (Nourishment). The lower trigram is "Zhen" (Thunder), representing thunder, and the upper trigram is "Gen" (Mountain), representing mountain. Thunder lies beneath the mountain, with the upper part stationary and the lower part moving, resembling the action of chewing, hence the name "Yi." It signifies the importance of being cautious in speech, moderating diet, and maintaining proper conduct for good fortune. The prophecy states: "A bird without feet, the moon on the mountain; the rising sun, people weeping." The first two lines are typical examples of character dissection and combination: removing the foot from "bird" and adding the moon to "mountain" form the character for "island." The character "Xu" originally consists of "jiu" and "sun," relating to the sun, and together they imply a distant corner of the sea. The commentary says: "In the twelfth month, the climate is unbalanced; the southern mountain has a bird, the northern mountain spreads its net; once the golden rooster crows, the vast sea is still, and the sun has already passed." "Southern mountain has a bird, northern mountain spreads its net" is a reference to an ancient folk song about setting traps, indicating being surrounded on all sides. "Golden rooster" is traditionally associated with the zodiac year, while "the sun has already passed" describes the sunset and also corresponds to the earlier mention of the rising sun. Old interpretations associate this image with conflicts between the eastern neighbor in recent times, but different schools of thought differ in their dating.

一二三四，無土有主。小小天罡，垂拱而治。一口東來氣太驕，腳下無履首無毛。若逢木子冰霜渙，生我者猴死我雕。

The original image corresponds to the hexagram "Gǔ" (Guilt). The lower trigram is "Xun" (Wind), and the upper trigram is "Gen" (Mountain), indicating wind beneath the mountain. Over time, things decay and become corrupted, hence the name "Gǔ." It signifies the meaning of revitalizing the people, cultivating virtue, and rectifying accumulated evils before taking action. The prophecy says: "One, two, three, four; without land but with a master; a small Heavenly Gang; governing by idleness and achieving order." "Heavenly Gang" originally refers to the star at the end of the handle of the Big Dipper. Taoist tradition counts thirty-six Heavenly Gangs, but here it is said to be small, which is a form of emphasis. "Governing by idleness" comes from the "Book of Documents · Wu Cheng," meaning governing without active intervention and achieving peace throughout the land. The praise says: "A mouth coming from the east, its fire too arrogant and fierce; no shoes on the feet, no hair on the head; if it meets 'wood and son,' frost and ice will dissolve; the one that produces me is the monkey, the one that kills me is the hawk." "Wood" and "son" combined form the character "Li" (Plum), which is a form of character dissection. "Monkey" and "Hawk" refer to the zodiac animals and birds for marking years, similar to the previous mention of "wood and son," all being cryptic expressions. The meaning indicated by this image has been interpreted in various ways throughout history, with no definitive conclusion. Here, only the literal meaning and rhetorical devices are discussed, without making arbitrary associations.