Victor Yakovlev (Moscow)

Gua arrangement in the Mawangdui version of the “Book of Changes”1.

Belief and knowledge admirably concord in the Chinese “Book of Changes”, that is one
of the oldest texts existent. People in ancient times cherished their creed and appreciated
wisdom. When they performed with proper solemnity a divination ritual, they strived to get
knowledge, pertaining to things concrete, they had to do, or duties, they had to perform. They
also believed that the more systematic their knowledge is, the more it is true.
The “Book of Changes” helped to make the vast knowledge, stored in the course of
tradition and transmitted from generation to generation, more systematic. The keepers of
tradition knew that this book contained general principles of classification and its series, and they
used this knowledge successfully.
The character fu 孚, met in the “Book of Changes” and close in its meaning to the word
“belief”, is used several times in gua judgments in a you fu 有孚 formular, which can be
translated as “there is fidelity”, “one may rely on [the route taken]”, “no doubt”, “sure thing”.
Besides that, the character was included in gua name 中孚 “Zhong fu” (“Safety of the Middle”;
hexagram No. 61).
The expression “you fu” (“one may rely on it”) is applicable to the core system of the
“Book of Changes”, to its numerical symbols. Their sequence follows the principle of continuity.
Continuity, uninterruptedness, constancy are parts of the term’s fu meaning. The process of
acquiring knowledge, of its application, ever continues.
The Mawangdui order of numerical symbols, which we consider here, testifies that a kind
of theory of numbers was continuously transmitted in the course of the long history of the
corresponding tradition in China. We also hope that the meticulous study of “I ching”, begun in
the West at the time of Leibniz with the aim to demonstrate a harmony between faith and reason
in case when faith relies on reason, will continue.
A question of the order of the sixty four six-linear symbols, that are in the ancient
Chinese “Book of Changes” (“I ching” or “Zhou yi”) has much to do with the problem of
integrity of its contents, with that of whether the seemingly loosely composed text is (or is not)
intrinsically and may (or may not) outwardly be strictly ordered. Is not the wisdom of the Book
harmoniously and universally systematic?
As to the order of the hexagrams, it is evident, that they are in pairs: complementary,
when the lines are symmetrically arranged, reflective otherwise (in the most part of the cases).
A strict and remarkably beautiful arrangement is also known, being ascribed in its three-
linear form (from which the six-linear one developed) to the legendary ruler of old, and called
Fuxi, or Paoxi, or Taihao.
The order was demonstrated to the world by Shao Yung (1011 — 1077), a scholar,
refused admittance into neo-Confucian orthodoxy.
Anyway, it seems to be useless to apply the order immediately to the text; it looses then
its coupled appearance. But in numbering we gain perfect continuity, not in the names of the
hexagrams, though.
Nevertheless, we believe in the intrinsic integrity of the text, in the existence of rules or
arithmetical principles of its integration that must be represented by a regular gua order, if not
basic or initial one, then derivative of the latter.
Let us take as a basic the most simple and regular order, demonstrated by the Primary
Heaven Arrangement (xian tian tu 先天圖), namely the one attributed to Fuxi.

1
Published in Russian as: В. М. Яковлев. К вопросу об истоках последовательности чисел-символов (гуа 卦) в
мавандуйском варианте «Книги Перемен». — In: XXXIX научная конференция «Общество и государство в
Китае». Ученые записки Отдела Китая. Вып. 1. Москва, «Восточная литература» РАН, 2009. С. 420 — 433.
Earlier: О порядке чисел — символов (гуа) в мавандуйском варианте «Книги Перемен». — In: Разум и вера.
Межвузовский сборник. Издательство Петрозаводского университета. Петрозаводск, 1998. С. 119 — 133.

1
 We suppose also, that the order of the sixty four gua (all of which are in the “Book of
Changes”), preserved from the time immemorial till Shao Yung, is that of departure for a hidden
or broken order in canonical “I ching”, which text is transmitted at least from Former Han
dynasty.
Here we shall not suggest the way of reconstruction of the order, eroded in the course of
2
time , but we believe, that any regular arrangement yet unknown, and discovered later as having
been existent, may serve to be a link in a hypothetical chain of arrangements, useful or necessary
for reconstruction of such a sequence, leading from an initial order to a more correct
arrangement, than that, which is usually seen in the canonical text of “Zhou yi”.
In this perspective, a version of the “Book of Changes” discovered by Chinese
archaeologists in 1973 at Mawangdui 馬王堆 (Chang sha 長沙, Hunan province)3, where the
gua order is completely different from the usual one, is of much importance. (See Table I). The
principle of combining trigrams in this arrangement is evident4. So far, as trigrams on the left are
repeated eight times in succession, the eight sequences of eight symbols can be arranged
vertically. Such arrangement is analogous to the square arrangement of Shao Yung. (See Table
II).
Trigrams to the right (or lower on the silk scroll of Mawangdui) could be arranged
uniformly in line, if the hexagrams, derived by doubling their basic trigrams, were not moved to
the first place in the sequence of eight.
Here is the sequence:
(a) 

In the columns of the left (or upper) trigrams their order is also uniform:

(b) 
This second order is different from the first one, therefore the Mawangdui arrangement of
hexagrams appears to be more complicated, than the Shao Yung arrangement, where the
sequences of the upper (arranged in line) and the lower trigrams (arranged vertically) are
identical.
If we put every trigram, which is in the even position in the (a) sequence, under its
immediately preceding neighbouring one, or place the last four symbols of the (b) sequence —
under the fist four, we obtain a matrix of the Mawandui arrangement:



The (a) sequence is derived, when we read the matrix vertically first, (b) sequence, when
we read a line first. The (a) sequence we call a couple chain, because it is a sequence of pairs of

2
See: Яковлев В. М. Принцип последовательности символов чжоуской «Книги Перемен» (Principle of Gua
succession in the “Book of Changes” of the Chou time). — International Congress of Asian and North African
Studies. Proceedings. Vol. 2. Moscow 2007. P.p. 621 — 627.
3
Mawangdui bo shu “liu shi ssu gua” shi wen. — Wen wu, 1983, №3.
4
Sequence of hexagrams in the Mawangdui manuscript is, for example, demonstrated by E. L. Shaughnessy in his
“I Ching: the Classic of Changes translated with an introduction and commentary”. Ballantyne Books. New York,
1996. P.p. 28 – 29. In parallel to it the names and positional numbers of gua, as they are in the received text of
“Zhou Yi”, are given. More systematically the Mawangdui order of hexagrams is described in: Richard Rutt.
Opening a new field for dragons: Edward L. Shaughnessy’s Mawangdui Yijing – a review article [First published in
‘The Oracle: Journal of Yijing Studies’ Vol. 2, No. 8 (February 1999), p.p. 38 – 47; also:
http://www.biroco.com/yijing/mawangdui.htm].

2
complementary (xiang 相) trigrams; the (b) sequence we call ordinary or unitary chain. It
evidently is a basic one for the Mawangdui hexagram arrangement.
Let us compare it with the decreasing Fuxi arrangement:

(c)
       
a b c d e f g h

       
a' b' c' d' e' f' g' h'

If we consider relative positions of complementary trigrams as a constitutive feature of

the order, we see, that in the Mawangdui chain they are equidistant, while in the Fuxi chain they
retreat from one another symmetrically. By this token we may call the Mawangdui trigram
arrangement ‘parallel-complementary’, and Fuxi arrangement — ‘parting-complementary’ or
‘symmetrical-complementary’.
Furthermore, the trigrams a b c d of the Fuxi chain are so related to the a' b' c' d'
trigrams of the Mawangdui chain as e f g h of the former one to h' g' f' e' trigrams of the latter
one.
Also in a circular xian tian tu or Primary Heaven Arrangement the complementary
trigrams occupy diametrically-opposite positions (see Figure I). The same particularity as to the
Mawangdui arrangement was noted by A. M. Karapetyanz [see 3], though such circular
arrangement may appear self-evident.
For the sake of the diametrical complementarities of trigrams in a circular arrangement of
the Mawangdui eight trigrams sequence the latter must be divided into two tetrads (yang 陽 and
yin 陰) along the S-curved line (a sinusoid), passing through the circle. Evidently, it seems to be
so suitably divided already, and again connected in the way, we find it now. And if such circular
arrangement was actually used for the purpose of divination or for the space and time ordering,
then the S-route passage was undoubtedly proper to it. It ensues from what we said afore, that the
initial Mawangdui chain of trigrams was, probably like the following one:

(d)
       
a b c d e f g h

Let us call it the “unfolded Mawangdui chain”. If we substitute mutually positions of the
first (a) and the last (h) trigrams, and then also of (d) and (e) in the middle, we obtain Fuxi
arrangement from kun 坤 to qian 乾.

(e)
       
Contrariwise, if we interchange (b) and (g), and then also (c) and (f), we receive the same
Fuxi order inverted, or arranged from qian to kun.
Replacements, we have done, are not casual. We are interchanging those trigrams that
match one another, or are mutually complementary, and occupy symmetrical positions. The
unfolded Mawangdui chain is transformed or restructured in this manner into Fuxi chain by two
ways, dependant on what vector (direction of numerical sequence) we choose (see Figure 3).
It may be apt to notice, that the Mawangdui chain is an equidistant or well balanced
arrangement of the natural sequence of the binary numbers, which are represented by linear gua
symbols. We hope to have the right to suggest, that Fuxi trigrams arrangement is basic or
primary one, of which the Mawandui arrangement is derivative. In the first place, the former is
more simple and can be obtained, following the principle of the Great Ultimate (taiji 太極),

3
according to which ‘complete’ or ‘broken’ lines, constituent for the symbols, are repeated four
times each in the first (or lower) position, twice each in the second one, and alternate in the third
one. Such principle is demonstrated by Shao Yong, and is differently illustrated by his
contemporary, also a Sung Confucian, Zhou Dong-yi (1017 — 1073)5. In the second place this is
more orderly arrangement. The chain represents a natural series of binary numbers, put down as
linear symbols6. They can be replaced by commonly used numbers 0 1 2 3 4 5 6 7. Couples of
numbers, corresponding to trigrams that are complementary (☷☰ ☶☱ ☵☲ ☴☳), sum up to
7.
In the third place, an order, which is different from the initial regular one, but can be
reduced to it, must be considered its modification; not vice versa. It is possible to readjust a
sequence, that is not entirely correct, yet contains some regular pattern in it, but the rule of order
must have been known once, or a priori. Even for the case, it had been lost. It does not seem to
be possible to deduce the rule of Fuxi arrangement from the Mawangdui one, as the latter
contains a different rule.
To make clear, what kind of a rule it is, let us consider the “Yin–yang Table of Trigrams
of the Primary and the Later Heaven Arrangement” (xian hou tien yin yang gua tu, see Table 3)
and compare both parts of it.7
The eight trigrams in both parts of the Table are subdivided into yin and yang trigrams
according to whether they flank a ‘dark’ or a ‘bright’ part of the circle in the Primary and the
Later Heaven arrangements, though it would be appropriate to identify as yin and yang the
‘great’ and ‘small’ yin and yang, i. e. greater or smaller even and uneven numbers of the natural
order (say, 0 2 4 6 – yin; 1 3 5 7 – yang) in the Primary Heaven arrangement. The term ‘Earlier
Heaven’ was coined, we suppose, because at earlier time the Sun used to be in Taurus at the
moment of vernal equinox; ‘Later Heaven’ appeared, because the equinoctial point moved later
to Aries. However, it would be proper to designate as yin and yang the first and the second
halves of the Earlier Heaven’s chain of trigrams, and after that to distinguish the even and
uneven numbers in each part, while applying well established terms of the “Book of Changes”
and its Commentary (Yi zhuan), such as “great” (da 大) and “small” (xiao 小), “hard” (gang 剛)
and “soft” (rou 柔).

As to the yin–yang attribution, the Mawangdui matrix is absolutely identical to the Later
Heaven arrangement, and, in addition to this similarity, it specularly reflects the part of the
“Primary and Later Heaven yin–yang gua chart”. And if we arrange the first half of the Table so
that the identical pairs of trigrams stand in a line, we also obtain the Mawandui Matrix (see
Table 3a).
What is the rule of apportioning yin and yang trigrams in the Later Heaven arrangement?
The number of the ‘complete’ lines in the yin trigrams is either two or zero (i.e. even), in the
yang trigrams it is uneven (one or three). Or if we count the ‘elements’ (i.e. strokes) constituting
the lines (a part of the broken line is such an ‘element’, as well as the whole or complete line),
then yin trigrams will be composed of an even number of such elements, while yang trigrams
consist of uneven number of the “elements’. Therefore the following numeral values were
ascribed to the Later Heaven trigrams:

(f)
       

5
The “Great Ultimate” may be understood as a kind of entity, capable to differentiate, possessing all qualities of a
sphere, and equivalent to ‘Cosmos’ of antique philosophers.
6
Their identity with numbers represented by combinations of 1 and 0 was suggested to G. W. Leibnitz, who
discovered binary calculation, by Joachin Bouvet, a jesuite missionary in China, to which suggestion the famous
philosopher totally subscribed.
7
Cheng Gao. Yü zuan Zhou yi zhen zhong. Juan 19 — 20. S. l., 1715.

4
 3 5 5 5 4 5 4 6

Magical sense was imparted to the number of gua lines or a number of strokes of the
character. This number was taken into consideration in divination8.
One may suggest that the Mawangdui trigram arrangement was obtained by the way of
transforming of the Fuxi trigrams arrangement under the influence of the Later Heaven
arrangement (Figure 4). The structure of this latter one is nearer to the Fuxi trigrams
arrangement, than to the Mawangdui order of trigrams. The principle of complementarities in the
Later Heaven arrangement is not followed strictly, neither diametrically, or in rectangular
chords. Instead we see the principle of symmetrical-complementary gua arrangement (which is
found in the Zhou yi) deviated only in the single case of zhen ☳ and sun ☴, which should be
interchanged, in order to eliminate the deviation. Both trigrams symbolize Wood element in the
system of Five Phases (wu xing). They are placed immediately to each other; the more easily to
make amendment.
Whoever invented the asymmetrical version of the Later Heaven arrangement
(traditionally it is ascribed to Wen-wang of Zhou), he might have displaced the said trigrams, in
order that all uneven trigrams flanked the ‘bright’ semicircle, and that zhen trigram, which
covers rather large and heavily charged functionally range of notions, would mark the point of
vernal equinox, while li trigram, symbolising the element of Fire and summer heat, points to
South and designates summer solstice.
The version of scheme, that needs no correction, is retained in Tibetan tradition9.
With the above stipulation one can see in the Later Heaven arrangement the same Fuxi
sequence, broken only by kun and gen trigrams (both symbolizing the Earth element of the Five
Phases) of the South-West — North-East axis, which exactly corresponds to the S-line,
disconnecting two parts of the chain in the Primary Heaven arrangement. Probably, this route of
celestial commotion is meant in the “Book of Changes”, when it says: “It is favourable to find
friends in the West and South, to forego friends in the East and North”10.
In the beginning of the last century Leopold de Saussure, a French sinologist, argued, that
the South-West point is functionally identical to the centre of the cosmogram, or to some
metaphysical or ritually significant location. This is the element, which corresponds also to the
earth planet of Chinese traditional astronomy, that is, to Saturn11.
The Later Heaven arrangement, probably was composed – apart of the influence of the
Five Phases philosophy – as an adaptation of Luo shu tabula (Magic square of 3), in which the
central number and those at the extremes of the a fore mentioned axis were associated with the
Earth element. Also every number of those, surrounding the centre, had their correspondents
among the trigrams of the Later Heaven arrangement.
Evidently, if the Mawangdui sequence of trigrams and the Later Heaven arrangement are
derivations from the Fuxi initial eight trigrams chain, they are not purely mathematical transfor-
mations of the latter, but in considerable extent are conventional.
Judging the influence of the Five Phases system and of the Luo shu canon on the Later
Heaven arrangement, we do not see here a bare apposition of one paradigm upon another, but
come across a deeply symbolical and, probably, sacred reordering of the picture of the world, a
restructuring of interrelations between the constituent layers of the universal being and the
reassignment of functions to them. This is a pertinent question of transition from the pre-Zhou
(probably, Shang) to the after-Zhou world view.
8
Cp.: Антология древней китайской эзотерики. Числа превращений дикой сливы мэй-хуа. Киев, 1993. С. 27;
Da Liu. I Ching Numerology. Based on Shao Yung’s “Plum Blossom Numerology”. N. Y., 1973.
9
See: Govinda, Lama Anagarika. Die innere Struktur des I Ging. Das Buch der Wandlungen. Aurum-Verlag.
Freiburg im Breisgau, 1983. S. 84 — 85.
10
The I Ching or Book of Changes. The Richard Wilhelm Translation rendered into English by Cary F. Baynes.
Routledge & Kegan Paul. London e. a., 1983, 11.
11
Saussure, Leopolde de. Le système cosmologique Sino-Iranien // Journal Asiatique. Paris, 1923. T. CCII, № 2.

5
 Apart from the fact, that the Mawandui arrangement of hexagrams is constructed by way
of successive combining of trigrams, it also displays some other affinities with the square
arrangement of Shao Yung: carrying the duplicated trigrams (qian-qian, kun-kun and so on) in
one line out (in the Shao Yung’s arrangement they range diagonally in a natural way; similar for
both arrangements is also the presence of identical (or same) trigrams in all aligned hexagrams
and those, that are in columns (as a result of successive combination of trigrams in the
Mawandui arrangement).
One can hardly doubt that the duplicated trigrams (the hexagrams composed of the two
similar trigrams) were carried out later than the order lacking this peculiarity was derived, and
that the arrangement had more regular appearance some time (see Table 4).
A question of priority between Fuxi — Shao Yung and Mawangdui hexagrams
arrangement comes not only to that of a generic relatedness of the Mawandui chain of trigrams
and that belonging to Fuxi. In theory on might assume, that even the former chain of trigrams
should be considered as later derivation, the hexagrams arrangement on its basis could be created
earlier than the Fuxi — Shao Yung’s order. Less probable, that it appeared later and
independently of the latter, and that its inventors ignored this initial order, though it already
existed.
The solution of the problem depends, in its turn, on that, in which way the Mawandui
arrangement could have been composed. If it were obtained on the basis of the Mawangdui
matrix (g):

aa ea ba fa ...
(g)
a eb bb fb ...
b

such algorithm is more complicated than that of the Fuxi — Shao Yung’s arrangement and is
likely to have appeared later.
In case it is taken to be built on the basis of the unfolded Mawandui chain and then plied
similarly to the coupling of two hands, finger after finger, the priority also seems to be better
given to the Fuxi — Shao Yung’s arrangement, because the completion of the hexagrams
sequence follows there the same rule as the derivation of the trigrams sequence. In other words,
an earlier appearance of the Mawangdui arrangement in case of its later hypothetical derivation
is less probable, than that of the Fuxi — Shao Yung arrangement, but it has greater probability,
than in the first assumed case. Most likely it was built on the bases of the divided Mawangdui
chain on the model of the Fuxi — Shao Yung arrangement12. But this suggests, that this latter
came to Shao Yung from rather deep antiquity and existed even before the Former Han dynasty,
to which period the discovered silk scroll is related.
The case that the Mawangdui order of trigrams was built on the basis of the Mawangdui
chain of trigrams also seems to be more probable than that it could be obtained by way of
resettling the Fuxi – Shao Yung’s square arrangement. Yet such resetting is possible in principle
and even useful for the demonstration of how initial order works and is developed, how can be
applied the appropriate rules to it; and how the Mawangdui and the Fuxi – Shao Yung
arrangements are interrelated.

12
As to the succession of derivation of different gua orders of the «Book of Changes”, we find no firm standing in
literature. In particular, S. Camman, whose “I ching” studies show much of insight, suggests, that the Later Heaven
trigrams arrangement had not appeared earlier than the Fuxi order. At the same time he is prone to think that the
question of which set of trigrams and hexagrams emerged earlier and in what way cannot be satisfactorily answered
apart from suggestion that the existent arrangement of trigrams of Fuxi “in fact represents a relatively late stage of
development.” — S. Camman. Some early chinese symbols of duality. — In: History of Religions. Vol. 24, No 3,
Febr. 1985, p. 220. From my part, I have a strong feeling, that the supposed “late stage of development must be
shifted back much earlier than pre-Zhou time.

6
 The arrangement, in which the duplicated trigrams were not yet shifted to the opening the
line position (Mawangdui arrangement II; see Tables 4 and 5), is transformed into order, created
on the basis of disjointed chain (and it can be called parallel, or equidistant, complementary
order — or Mawangdui arrangement III; see Table 6) by way of shifting the columns, that are in
even positions, to fill the right part of the square, preserving their succession.
This order (let us designate it as a proto-Mawangdui order), in its turn, can be
transformed, by way of turning the right half of the square arrangement around its virtual axis or
inverting it, into one, based on the unfolded Mawangdui chain, (the Mawangdui arrangement
IV). Then the similar procedure must be applied in a vertical sense; now to the lower half of the
square (see Table 7).
Next, rewriting gua, that are in columns, horizontally or in lines, we obtain Mawangdui
arrangement V, similar to the Shao Yung square arrangement.
Being expressed by customary numerals, the Mawangdui arrangement II displays quite
definite properties: 1) all numbers of each column can be arranged in an unbroken sequence, not
even a single number in the series missing; 2) all numbers of each line can be ordered in an
arithmetical progression with the difference of 8; 3) the numbers, symmetrically in column, give
4 by subtraction, while those in lines give 32 by the similar operation.
The unfolded Mawangdui order and that of Fuxi – Shao Yung, both produce equal sums
of symmetrically placed numbers in each line and each column. These properties of the
Mawangdui arrangement testify in favour of the Shao Yung square transformation hypothesis.
The fact of the availability of different gua orders and of their interrelatedness remind the
legend of two more “modes of Changes”, distinct from Zhou Yi, that is — Lian-shan and Gui-
zang. Until the recent discoveries it was believed, that if these Changes versions ever actually
existed, nothing, or next to nothing remained of them. Non-the-less, students advanced
suppositions, for instance, as to where there were particular texts or solely different systems of
divination [7, p. 63 – 65]13.
Emergence of the Mawangdui version of the “Book of Changes” certifies that different
modes of textual “I ching” formation are not to be excluded, as well as different traditions, where
such texts preserved.
May be, there were distinct views of the world order, expressed by sets of symbols in
different systems of temporal-spatial orientation. Divination and forecasting was, probably, only
one of the multiple functions of the cultural complex, pertaining to the text.
A legend recounts that Lian-shan version was a legacy of Shen-nung, one of the three
wise rulers at the dawn of the Chinese civilization; it tells also, that the emperor was buried at
Changsha14. Can not the Mawangdui version found nearby be related to the tradition, traces of
which had been lost?
It was known of the Gui-zang system, that its initial or capital hexagram (or trigram) was
kun, which represents zang — a storehouse, repository or treasury, into which everything, that is
born, returns. It seems to be likely, that kun has a key or crucial significance in the Later Heaven
arrangement, in which symbolism the sacred role of the supreme ruler is emphasized.
The tradition of divination and time reckoning in Changes, which had chosen this
particular Later Heaven arrangement ma be linked with the story about the Yellow Emperor —
Huangti as a founder of imperial power in the Ancient China, who lived after Fuxi and Shen-

13
See [5]. But in 1993 during the excavations of Qin time burial at Wangjiatai village (Jingzhou district, Hubei
province) a divination text written on bamboo strips of board and testified by Chinese students as “Guizang” (see
[14; 18]). In particular, table of content together with hexagrams remained. Part of the gua names (evidently, the
most part) coincides with those, that are in “Zhou Yi”, as well as, in general, shapes of gua. It is true, that to a
severed line of “Zhou Yi” gua here corresponds (like in Chu version of the same book) a broken line. In the
sequence of hexagrams, which differs from that in “Zhou Yi”, can be seen no regularity. To tell the truth, there is
preserved symmetrical or complementary pairity now and then. The table of content is given commented in: Pu Ma-
zuo “Chu zhushu “Zhou Yi” yanjiu”. Shanghai guji, 2006. See [16; also 14 and 18].
14
Ibidem.

7
nung. Also the Later heaven arrangement may happen to be the latest synthesis of the old
symbolical wisdom in that marvellous part of the world.
Thus, the Mawangdui gua sequence demonstrates antiquity of a mathematically regular
order of hexagrams, which was believed to appear during Sung period (960 — 1279). This order
should by right be placed near the time of compiling of Zhou Yi at least, or even at more early
antiquity than the time of ascendance of Eastern Zhou dynasty (the end of the second millennium
B. C.).
Mawangdui chain’s of trigrams algorithm:
Let us impart to the Fuxi trigrams values of natural numerals, corresponding in decimal
numeration to their binary counterparts. In other words, let us present sequence (e) as a
succession of numbers 0 1 2 3 4 5 6 7,

(h)
       
0 1 2 3 4 5 6 7

i. e. as an arithmetical progression with a difference of 1.

Let us designate then the numbers of this increasing row by letters of Latin alphabet —
from a till h:

(i) 0 1 2 3 4 5 6 7
a b c d e f g h

For the presented sequence the following equation will be true (and this can be easily
demonstrated by substituting numbers for letters):

a + h = b + g = c + f = d + e
And also
a + h + b + g = c + f + d + e

Replacing in the latter formula letters by numbers and superscribing trigrams

corresponding to them, we get:

( j)
       
0 7 1 6 2 5 3 4

i. e. a sequence very close to that in the Mawangdui scroll. To make the affinity complete, it is
enough to change positions of trigrams in the two extreme couples of them, solely for sake of an
alternation of even and uneven numbers:

( k)
       
7 0 1 6 2 5 4 3

Also true will be the equation for the “disjointed Mawangdui chain of trigrams” (a):

h + b + c + e = a + g + f + d,

where even and uneven symbols keep their previous range by couples.

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







Table 1.

       
       
       
       
       
       
       
       
       
       
       
       
       
       
       
    
Table 2.
  

☷ ☰ ☴ ☳ ☴ ☳ ☴ ☳
☴ ☳ ☵ ☲ ☲ ☵ ☵ ☲
☲ ☵ ☶ ☱ ☱ ☶ ☶ ☱
☱ ☶ ☷ ☰ ☷ ☰ ☷ ☰

Table 3 – 3a

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 Drawing 1 Drawing 2

Drawing 3 Drawing 4

Table 4 Table 5

Table 6 Table 7

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