Julian Schutsky. Shchutskyyulian Konstantinovich

-Czartoryski. My father was a forestry scientist. Mother is a music teacher. In his youth he was interested in music.

In 1920, Yu. K. Shchutsky began working at the Asian Museum of the Academy of Sciences, where he worked his way up from a 3rd category research fellow to a scientific curator of the museum, and then, after the reorganization of the museum in 1930 into the Institute of Oriental Studies of the USSR Academy of Sciences, he became a scientist specialist and s. 1933 - Scientific Secretary of the Chinese Cabinet of the Institute.

In 1928, on the recommendation of V. M. Alekseev, Yu. K. Shchutsky was sent by the Academy of Sciences to Japan to purchase Japanese and Chinese books and become familiar with the research activities of Japanese sinologists. He spent four and a half months in Japan, living in Osaka at a Buddhist temple.

Together with B. A. Vasiliev (1899-1946), another outstanding student of V. M. Alekseev, he wrote a textbook in 1934 Chinese language(baihua).

Yu. K. Shchutsky was a member of the temporary commission on the romanization of Chinese writing under the All-Union Central Committee of the New Alphabet and constantly participated in the work of a group for the study of syntax at the Leningrad Research Institute of Linguistics. The most significant result of his linguistic research was the article “Traces of stadiality in Chinese hieroglyphs” (1932). .

Known mainly for his classical translation and interpretation of the Book of Changes, one of the canons of the Chinese Pentateuch. Shchutsky defended his research on the “Book of Changes” two months before his arrest as a doctoral dissertation. His translation and research of the “Book” (published in 1960) is recognized as one of the most fundamental sinological works of the 20th century. In 1979 the book was translated into English language and published in the USA and England.

In 1922, he translated Ge Hong's treatise Baopu-tzu, now lost. On this occasion, his teacher V. M. Alekseev dedicated the following comic poem to Shchutsky from only monosyllabic words, imitating Chinese poetry:

He is shaven, his cheeks are silk - swearing.
The eye is small - the gaze is so sharp...
Fra Schutz is a monster among us:
Ge Hong was crushed by him.

Shchutsky and E. I. Dmitrieva

In 1922, in Petrograd, 25-year-old Shchutsky met 35-year-old E.I. Dmitrieva (by her husband Vasilyeva), known as the heroine of the famous hoax - “Cherubina de Gabriak”. A number of poems by Dmitrieva are addressed to Shchutsky. Since 1911, E. I. Dmitrieva devoted herself to anthroposophy. As one of the leaders of the St. Petersburg Anthroposophical Society, she often traveled on public affairs to Germany, Switzerland and Finland. Apparently, this was the reason for the persecution to which she was subjected in the 20s.

On his way to a Japanese business trip in the fall of 1927, Shchutsky stopped by the exiled Dmitrieva in Tashkent, and on his advice, she created a cycle of poems on behalf of the Chinese poet Li Xiang Zi (“the sage from the house under the pear tree”; her first pseudonym was “E. Li” ), exiled to a foreign land. On the way back, shortly before Dmitrieva’s death, in September 1928, Shchutsky also visited her.

In 1935, he recalled about Elizabeth: “The late E. I. Vasilyeva (Cherubina de Gabriak) had no less influence on the development of my poetic tastes, who, moreover, actually made me a person. Despite the fact that years have passed since her death, she continues to be the center of my consciousness as the moral and creative ideal of a person.” Subsequently, it was the Japanese mission of 1927-1928. became one of the reasons for the execution of Shchutsky as a “spy.”

Addresses in Petrograd - Leningrad

Essays

Shchutsky Yu. K. Taoist in Buddhism. - Oriental Notes, vol. 1, L., 1927
Shchutsky Yu. K. Main problems in the history of the text “Le Tzu”. - Notes of the College of Orientalists, vol. 3, no. 2, 1928
Shchutsky Yu. K. Traces of stadiality in Chinese hieroglyphs. - Japhetic collection, vol. 3, L., 1932
Shchutsky Yu. K. Doctoral dissertation. Chinese classic "Book of Changes". Experience in philological research and translation. L., 1937
Shchutsky Yu. K. Chinese classical “Book of Changes”. M., 1960, 1992, 1993, 1997
Shchutsky Yu. K. Tao and Te in the books of Lao Tzu and Zhuang Tzu. - From magical power to moral imperative: the category of de in Chinese culture. M., 1998
Shchutskii, Iulian. Researches on the I Ching. Princeton: Princeton University Press, 1979. Translated from the Russian by William MacDonald and Tsuyoshi Hasegawa

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Literature

Kobzev A.I. // Shchutsky Yu. K. Chinese classic "Book of Changes". - 2nd ed. correct and additional / Ed. A. I. Kobzeva. - M.: Science, 1993
Alekseev V.M. Note on scientific works and scientific activity professor of sinology Yulian Konstantinovich Shchutsky. // Alekseev V. M. Science of the East. M., 1982. P.89-93.
Alekseev V. M. Comments on the translation of Yu. K. Shchutsky “Baopu Tzu” // Alekseev V. M. Science of the East. M., 1982. P.93-94.
Alekseev V. M. Comments on the book-dissertation of Yu. K. Shchutsky “The Chinese classic “Book of Changes” // Alekseev V. M. Science of the East. M., 1982. P.371-388.
Gryakalova N. Yu. Unknown script of Blok. - Alexander Blok: Research and materials. L., 1987.
Gryakalova N. Yu. Poems by E. I. Vasilyeva, dedicated to Yu. K. Shchutsky // Russian literature, 1988, No. 4, p. 200-205.
Elesin D.V. On the biography of Yu. K. Shchutsky (1897-1938) // 25th Scientific Conference “Society and State in China”. Part I, M., 1994.P.72-77.
Bankovskaya M.V. “Memo” - as a reminder (to two dates in the biography of Yu. K. Shchutsky // Petersburg Oriental Studies. 1997. Issue 9. P.476-500.
Glotser Vladimir. Cherubina’s last pseudonym // Petersburg Oriental Studies. 1997. Issue 9. P.522-525.
Menshikov L. N. Yu. K. Shchutsky - poet and translator of Chinese classical poetry // Distant Echo: An Anthology of Chinese Lyrics (VII-IX centuries) / Translated by Yu. K. Shchutsky. St. Petersburg, 2000. P.7-22.

Notes

Excerpt characterizing Shchutsky, Yulian Konstantinovich

“Ah l chere amie,” answered Princess Marya, “je vous ai prie de ne jamais me prevenir de l"humeur dans laquelle se trouve mon pere. Je ne me permets pas de le juger, et je ne voudrais pas que les autres le fassent [Ah, my dear friend! I asked you never to tell me what state of mind the priest is in. I will not allow myself to judge him and would not want others to judge him either.]
The princess looked at her watch and, noticing that she had already missed the time she should have used to play the clavichord by five minutes, she went to the sofa with a frightened look. Between 12 and 2 o'clock, in accordance with the routine of the day, the prince rested, and the princess played the clavichord.

The gray-haired valet sat dozing and listening to the prince's snoring in the huge office. From the far side of the house, from behind the closed doors, difficult passages of Dussek's sonata were heard twenty times repeated.
At this time, a carriage and britzka drove up to the porch, and Prince Andrei got out of the carriage, dropped off his little wife and let her go ahead. Gray-haired Tikhon, in a wig, leaned out of the waiter's door, reported in a whisper that the prince was sleeping, and hastily closed the door. Tikhon knew that neither the arrival of his son nor any unusual events should have disrupted the order of the day. Prince Andrei apparently knew this as well as Tikhon; he looked at his watch, as if to see if his father’s habits had changed during the time during which he had not seen him, and, making sure that they had not changed, he turned to his wife:
“He’ll get up in twenty minutes.” “Let’s go to Princess Marya,” he said.
The little princess gained weight during this time, but her eyes and short lip with a mustache and smile rose just as cheerfully and sweetly when she spoke.
“Mais c"est un palais,” she said to her husband, looking around, with the expression with which one speaks of praise to the owner of the ball. “Allons, vite, vite!... [Yes, this is a palace! – Let’s go quickly, quickly!...] - She , looking around, smiled at Tikhon, her husband, and the waiter who saw them off.
- C "est Marieie qui s" exercise? Allons doucement, il faut la surprendre. [Is this Marie exercising? Hush, let's take her by surprise.]
Prince Andrei followed her with a courteous and sad expression.
“You have grown old, Tikhon,” he said, passing, to the old man who was kissing his hand.
In front of the room in which the clavichord could be heard, a pretty blond Frenchwoman jumped out of a side door.
M lle Bourienne seemed distraught with delight.
- Ah! “quel bonheur pour la princesse,” she spoke. - Enfin! Il faut que je la previenne. [Oh, what joy for the princess! Finally! We need to warn her.]
“Non, non, de grace... Vous etes m lle Bourienne, je vous connais deja par l"amitie que vous porte ma belle soeur,” said the princess, kissing the Frenchwoman. “Elle ne nous attend pas?” [No, no, please ... You are Mamzel Bourien; I already know you from the friendship that my daughter-in-law has for you. Isn’t she expecting us?]
They approached the door of the sofa, from which they could hear the passage being repeated again and again. Prince Andrey stopped and winced, as if expecting something unpleasant.
The princess entered. The passage broke off in the middle; a cry was heard, the heavy feet of Princess Marya and the sounds of kisses. When Prince Andrei entered, the princess and princess, who had only met briefly once during Prince Andrei’s wedding, clasped their hands and pressed their lips firmly to the places they had been in in the first minute. M lle Bourienne stood near them, pressing her hands to her heart and smiling piously, apparently as ready to cry as to laugh.
Prince Andrey shrugged his shoulders and winced, as music lovers wince when they hear a false note. Both women released each other; then again, as if afraid of being late, they grabbed each other by the hands, began to kiss and tear off their hands, and then again began to kiss each other on the face, and completely unexpectedly for Prince Andrei, both began to cry and began to kiss again. M lle Bourienne also began to cry. Prince Andrei was obviously embarrassed; but it seemed so natural to the two women that they were crying; it seemed that they did not even imagine that this meeting could take place otherwise.
- Ah! here!…Ah! Marieie!... – both women suddenly spoke and laughed. – J"ai reve cette nuit... – Vous ne nous attendez donc pas?... Ah! Marieie,vous avez maigri... – Et vous avez repris... [Ah, dear!... Ah, Marie!... – And I saw it in a dream. – So you weren’t expecting us?... Oh, Marie, you’ve lost so much weight. - And you’ve gained so much weight...]
“J"ai tout de suite reconnu madame la princesse, [I immediately recognized the princess,] - inserted m lle Burien.
“Et moi qui ne me doutais pas!...” exclaimed Princess Marya. - Ah! Andre, je ne vous voyais pas. [But I didn’t suspect!... Oh, Andre, I didn’t even see you.]
Prince Andrei kissed his sister hand in hand and told her that she was the same pleurienicheuse [crybaby] as she always was. Princess Marya turned to her brother, and through her tears, the loving, warm and gentle gaze of her large, beautiful, radiant eyes at that moment rested on the face of Prince Andrei.
The princess spoke incessantly. Every now and then a short upper lip with a mustache would fly down for a moment, touch, where necessary, the ruddy lower lip, and again a smile would be revealed, shining with teeth and eyes. The princess told an incident that happened to them on Spasskaya Hill, which threatened her with danger in her position, and immediately after that she said that she had left all her dresses in St. Petersburg and would wear God knows what here, and that Andrei had completely changed, and that Kitty Odyntsova married an old man, and that there is a groom for Princess Marya pour tout de bon, [quite serious,] but we’ll talk about that later. Princess Marya still silently looked at her brother, and in her beautiful eyes there was both love and sadness. It was clear that she had now established her own train of thought, independent of her daughter-in-law’s speeches. In the middle of her story about the last holiday in St. Petersburg, she turned to her brother:
– And you are determined to go to war, Andre? – oia said, sighing.
Lise shuddered too.
“Even tomorrow,” answered the brother.
– II m"abandonne ici,et Du sait pourquoi, quand il aur pu avoir de l"avancement... [He leaves me here, and God knows why, when he could get a promotion...]
Princess Marya did not listen to the end and, continuing the thread of her thoughts, turned to her daughter-in-law, pointing at her belly with gentle eyes:
- Maybe? - she said.
The princess's face changed. She sighed.
“Yes, I guess,” she said. - Ah! It's very scary…
Lisa's lip dropped. She brought her face closer to her sister-in-law's and suddenly began to cry again.
“She needs to rest,” said Prince Andrei, wincing. – Isn’t it true, Lisa? Take her to your place, and I’ll go to the priest. What is he, still the same?
- Same, same; “I don’t know about your eyes,” the princess answered joyfully.
- And the same hours, and walks along the alleys? Machine? - Prince Andrei asked with a barely noticeable smile, showing that despite all his love and respect for his father, he understood his weaknesses.
“The same clock and machine, also mathematics and my geometry lessons,” Princess Marya answered joyfully, as if her geometry lessons were one of the most joyful experiences of her life.
When the twenty minutes that were needed for the old prince to get up had passed, Tikhon came to call the young prince to his father. The old man made an exception to his lifestyle in honor of his son’s arrival: he ordered him to be allowed into his half while dressing before dinner. The prince walked in the old fashion, in a caftan and powder. And while Prince Andrei (not with that grumpy expression and manners that he assumed in the living rooms, but with that animated face that he had when he talked with Pierre) entered his father, the old man was sitting in the dressing room on a wide, morocco upholstered chair, in a powder room, leaving his head in Tikhon’s hands.
- A! Warrior! Do you want to conquer Bonaparte? - said the old man and shook his powdered head, as much as the braided braid in Tikhon’s hands allowed. “At least take good care of him, otherwise he’ll soon write us down as his subjects.” - Great! - And he stuck out his cheek.
The old man was in good spirits after a pre-dinner nap. (He said that after lunch there is a silver dream, and before lunch there is a golden dream.) He joyfully glanced sideways at his son from under his thick, overhanging eyebrows. Prince Andrei came up and kissed his father in the place he indicated. He did not answer his father’s favorite topic of conversation - making fun of the current military people, and especially Bonaparte.
“Yes, I came to you, father, and with my pregnant wife,” said Prince Andrei, watching with animated and respectful eyes the movement of every feature of his father’s face. – How is your health?
“Unhealthy, brother, there are only fools and libertines, but you know me: busy from morning to evening, abstinent, and well, healthy.”
“Thank God,” said the son, smiling.
- God has nothing to do with it. Well, tell me,” he continued, returning to his favorite hobby, “how the Germans taught you to fight with Bonaparte according to your new science, called strategy.
Prince Andrei smiled.
“Let me come to my senses, father,” he said with a smile, showing that his father’s weaknesses did not prevent him from respecting and loving him. - After all, I haven’t settled in yet.
“You’re lying, you’re lying,” the old man shouted, shaking his braid to see if it was braided tightly, and grabbing his son’s hand. - The house is ready for your wife. Princess Marya will take her and show her and talk a lot about her. This is their woman's business. I'm glad for her. Sit and tell me. I understand Mikhelson’s army, Tolstoy too... a one-time landing... What will the Southern Army do? Prussia, neutrality... I know that. Austria what? - he said, getting up from his chair and walking around the room with Tikhon running and handing pieces of clothing. - Sweden what? How will Pomerania be transferred?

Yulian Konstantinovich Shchutsky- orientalist; Doctor of Philology, professor,born August 23, 1897. INIn 1922 he graduated from Petrograd University in the department of Chinese studies. This is followed by intensive research and teaching work in various scientific and educational organizations.In 1935 he received the degree of Candidate of Philological Sciences without defense. Doctoral dissertation: “The Chinese classical “Book of Changes.” Experience in philological research and translation” (finished in 1935, published in 1960). Shchutsky began his study of Taoism in 1922 by translating and commenting on Ge Hong’s treatise (IV century) “The Teacher Embracing Simplicity” (“Baopu Tzu”). He studied in detail the fundamental categories of "Tao" and "Te", their relationship, Taoist-Buddhist syncretism, problems of the classical text "Le Tzu". In 1924-1925 he began teaching the course “Introduction to Daology” at Leningrad University.In 1937 he prepared a monographic study of the “Book of Changes” (“I Ching”), which lies at the basis of Chinese philosophical thought. He viewed the worldview of the “Book of Changes” as a complete system. I was ready to begin a series of monographic studies on the philosophers Lao Tzu, Le Tzu, Zhu an Tzu and Wang Yang-ming. In the history of Russian philosophy, Shchutsky remained as the founder of “Yijing studies” and a pioneer in the study of Taoism.

Yulian Konstantinovich ShchutskyHe knew the Japanese and Chinese languages perfectly, down to dialects, as well as the languages of other peoples of the East. Many European languages as well as Latin. I was on a business trip to Japan, where I lived at a Buddhist temple.

From left to right: Konrad, Vasiliev, Alekseev, Shchutsky. Konrad, friend and neighbor of Academician Alekseev, was arrested in 1938. Sinologists Boris Aleksandrovich Vasiliev and Yulian Konstantinovich Shchutsky, Alekseev’s best students, were arrested in 1937 and both were shot

V. M. Alekseev and Yu. K. Shchutsky. 1925

I look into myself with countless eyes
Planets and moons and icy stars,
And I rush into myself with all-colored rays,
I am building a bridge not made by hands into the soul.
Either burned by lightning, or by candles,
I was fading and the grapes were pouring
Done with swords and speeches.
The past is like a comet's tail behind me...
And rejoicing from the vastness of the world,
I fall and fly into the sun,
And the past is my comet-gunpowder
Explodes into sheaves of which
The melted double of the soul rises,
Like the echo of the thunder of cherubic choirs.
Everything was. Everything is given. But everything is on the decline.
Built by wisdom, the world fell to dust.
And the will of matter was enchanted by the pipes,
Sounding like thunder in the Divine worlds.
And the demon of decay, clothed in rough
And the deceitful cloak of substances, which has forgotten about the gifts,
Scares us children by showing his teeth,
And the coldness of spaces gives birth to fear in souls.
But remember that minds live in your mind
All the stars and all the planets, all the suns, earths and moons.
Patiently study the consonances of matter,
And in the harmonious choir of stars, form words for them.
Touch the paths of the planets like silver strings -
And the Light will then explode the plains of darkness.

ShchutskyYu. K.

In 1937, Shchutsky brilliantly defended his doctoral dissertation on the monograph “The Chinese Classical Book of Changes,” completed two years earlier. A August 3, 1937Yulian KonstantinovichShutsky was arrested and convicted under the infamous 58article.Shchutskywas declared a member of the "anarcho-mystical terrorist" organization "Order of the Templars" and on the night of February 17-18, 1938was shot.

Thus the life of an outstanding scientist was cut short...But his unsurpassed work lives on. The Book of Changes in its significance for both Chinese and world culture is on a par with the Bible, Avesta, Aristotle's Code...
This is an extremely important historical monument, reflecting the worldview of the ancient Chinese both in philosophical and ideological terms, and in everyday life.

Professor (1935). Candidate of Linguistics (1935, without defense), Doctor of Philology (1937).

Yulian Konstantinovich Shchutsky

Date of Birth	August 23 (September 4)
Place of Birth	Ekaterinburg, Perm province, Russian empire
Date of death	18th of Febuary(1938-02-18 ) (40 years)
A place of death	Leningrad
A country
Occupation	sinologist

Biography

In the early 1920s he was a member of one of the Petrograd anthroposophical circles.

In May 1923, I read the report “Confession of Tao by Ge Hong” in the category of India and the Far East of the RAIMK.

Together with B. A. Vasiliev (1899-1937), another outstanding student of V. M. Alekseev, he wrote a Chinese language textbook (baihua) in 1934.

He is shaven, his cheeks are silk - swearing.
The eye is small - the gaze is so sharp...
Fra Schutz is a monster among us:
Ge Hong was crushed by him.

Shchutsky and E. I. Dmitrieva

| 03.03.2015

At the end of March, “Last Address” plans to install the first memorial signs on the facades of houses in St. Petersburg, and among the first people to whom a memorial plaque will be installed is a world-famous philologist-orientalist, translator of the “Chinese classical “Book of Changes””, Professor Yulian Konstantinovich Shchutsky.
Yulian Konstantinovich was born in 1897 in Yekaterinburg, graduated from Petrograd University in 1921, worked at the Institute of Oriental Studies and the State Hermitage. He was arrested on August 2, 1937, six months later, on February 18, 1938, he was sentenced by the Visiting Session of the Military Collegium of the Supreme Court of the USSR on a standard charge under article on counter-revolutionary activities 58-8-11 to capital punishment. He was shot on the day the verdict was announced, although for a long time, even after rehabilitation in 1956, the date of death was attributed to the 40s. Most likely, the reason for the reprisal was his trips to Japan and China and contacts with Japanese and Chinese scientists.

This is what his relative Vadim Prozersky, Doctor of Philosophy, professor at St. Petersburg State University, wrote to us about Shchutsky: “Yulian Konstantinovich Shchutsky belongs to the galaxy of those people who created and were created by the Russian spiritual Renaissance of the Silver Age. Like a true Renaissance man, he was uomo universale. So deep and broad was his nature, so much did he love life and could comprehensively embrace it, that it is very difficult to write briefly about him. He was a composer, artist, poet, philosopher, linguist, who spoke all European and many Asian languages, both written and unwritten, the scientific knowledge of which was lost after his death. Shchutsky’s scientific talent was highly valued by the community of scientists, and his teacher, the famous academician sinologist Vasily Mikhailovich Alekseev, according to the testimony of his daughter Marianna Alekseeva-Bankovskaya, considered Yulian Konstantinovich his best student and had no doubt that thanks to him the further rise of the world level that had The St. Petersburg and Leningrad school of oriental studies reached this time.
Shchutsky’s human charm attracted many people to him; it also captivated the wonderful poetess Elizaveta Vasilyeva (Dmitrieva), known in literary circles as the mysterious Cherubina de Gabriac. The cycle of poems that she dedicated to Julian, close to her and distant, and he to her, could form an entire poetic anthology.
During the years of his short life (1897–1938), Yulian Konstantinovich managed to publish a number of scientific works and poetic translations, which were later republished. Here are some of them: “From Chinese lyricists”, “Anthology of Chinese lyric poetry of the 7th-9th centuries. according to R.Ch.”, “Taoist in Buddhism”, “Main problems in the history of the text “Le Tzu””, “Traces of stages in Chinese hieroglyphs”, “Textbook of the Annamese language”.
Shchutsky devoted many years to studying, translating and commenting on one of the most difficult to understand monuments of Chinese literature and philosophy - the Book of Changes. This work became his life's work and brought him posthumous world fame. Many times his work “I Ching. The Chinese classic "Book of Changes" was republished in our country and in other countries, as it was recognized as the best translation available in European languages.
Most of what he wrote remained in manuscripts: notes, linguistic, literary and philosophical works. They were confiscated during the arrest in 1937 and disappeared irrevocably into the bowels of the NKVD.
The outstanding Russian scientist Yulian Konstantinovich Shchutsky was executed on February 18, 1938. His burial place is believed to be

Yu.K.Shchutsky. Chinese Classical Book of Changes I-Ching

Text prepared by: Vladimir Alpert

Introduction

This introduction is addressed to the non-Sinologist reader. It is necessary as a kind of guide to the work proposed below; it should orient the reader in questions without which the “Book of Changes” itself will not be understood and, moreover, it will not be clear why the author undertook the translation and study of the monument, so little on the speaker's first glance to the modern reader. In addition, it is in this introduction that the basic terminology of the monument should be presented and explained, which will be constantly used below and without which it is impossible to do without in a special work on the “Book of Changes”.

We undertook this work because, while studying materials on the history of Chinese philosophy, we were constantly faced with the need to preface the study of each philosophical school preliminary studies of the “Book of Changes” - the main and starting point of the reasoning of almost all philosophers of ancient China.

"The Book of Changes" is in first place among classic books Confucianism and in bibliographic reviews of Chinese literature. This is understandable, since bibliology and bibliography in feudal China were created by people who received a traditional Confucian education. The bibliographers of old China unshakably believed in the tradition (not primordial, but quite old), which dated the creation of the “Book of Changes” to such ancient times that no other classical book could compete with it in chronological primacy, although in fact the “Book of Changes” is not at all the most the oldest of the monuments of Chinese writing, and this has been established by Chinese philology.

However, regardless of tradition, regardless of Confucianism, the “Book of Changes” has every right to take first place in Chinese classical literature, so great is its significance in the development of the spiritual culture of China. She exerted her influence in a variety of areas: in philosophy, and in mathematics, and in politics, and in strategy, and in the theory of painting and music, and in art itself: from the famous plot of ancient painting - “8 horses” - to the incantatory inscriptions on an amulet coin or an ornament on a modern ashtray.

Not without annoyance, but also not without pleasure, we must give the “Book of Changes” undoubtedly first place among other classical books and as the most difficult of them: the most difficult both to understand and to translate. The Book of Changes has always enjoyed the reputation of being a dark and mysterious text, surrounded by a vast, sometimes highly dissenting literature of commentators. Despite the grandeur of this two-thousand-year-old literature, understanding some passages of the “Books of Changes” still presents almost insurmountable difficulties - the images in which its concepts are expressed are so unusual and alien to us. Therefore, let the reader not complain about the writer of these lines if some places in the translation of this monument do not turn out to be clear upon first reading. You can only console yourself with the fact that Far East The original Book of Changes is not as easily understood as other Chinese classics.

In order to help the reader as much as possible, we will dwell here on the plan of our work, on the external description of the content of the “Book of Changes” and on its most important technical terminology.

Our work is divided into three parts: the first of them sets out the main data achieved in the study of this monument in Europe, China and Japan. The second part is a condensed presentation of the data we obtained during the study of thirteen main problems associated with the “Book of Changes.” The third part is devoted to translations of the book.

The text of the “Book of Changes” is heterogeneous both in terms of its constituent parts and in terms of the written signs themselves in which it is expressed. In addition to the usual hieroglyphs, it also contains special icons consisting of two types of traits, xiao. One type consists of entire horizontal features: they are called yang (light), gan (intense), or most often, according to the symbolism of numbers, ju (nines). Another type of features are horizontal features interrupted in the middle: they are called yin (shadow), zhou (pliable), or most often, according to the symbolism of the numbers lu (six). Each icon contains six such traits, placed in a variety of combinations, for example: , etc. According to the theory of the “Book of Changes”, the entire world process is an alternation of situations arising from the interaction and struggle of the forces of light and darkness, tension and compliance, and each of these situations is symbolically expressed by one of these signs, of which there are only 64 in the “Book of Changes”. They are seen as symbols of reality and are called gua (symbol) in Chinese. In European sinological literature they are called hexagrams. Hexagrams, contrary to the norm of Chinese writing, are written from bottom to top, and in accordance with this, the counting of features in a hexagram begins from the bottom. Thus, the first line of the hexagram is considered to be the bottom one, which is called the initial one, the second line is the second from the bottom, the third is the third from the bottom, etc. The top line is not called the sixth, but the top (shan). The features symbolize the stages of development of a particular situation expressed in the hexagram. The places from the bottom, initial, to the sixth, top, which are occupied by features, are called wei (positions). Odd positions (initial, third and fifth) are considered positions of light - yang; even (second, fourth and top) - positions of darkness - yin. Naturally, only in half of the cases does the light line end up in the light position and the shadow line in the shadow position. These cases are called the "relevance" of traits: in them the force of light or darkness "finds its place." In general this is considered a favorable arrangement of forces, but is not always considered the best. Thus, we get the following scheme: Positions Names Predisposition

6 Upper Darkness

5 Fifth Light

4 The Fourth Darkness

3 Third Light

2 Second Darkness

1 Initial Light

Thus, a hexagram with complete “appropriateness” of features is the 63rd, and a hexagram with complete “irrelevance” of features is the 64th.

Already in the most ancient comments to the “Book of Changes” it is indicated that eight symbols of three traits, the so-called trigrams, were originally created. They received certain names and were attached to certain circles of concepts. Here we indicate their styles and their main names, properties and images.

From these concepts we can conclude how the theory of the “Book of Changes” considered the process of emergence, being and disappearance. The creative impulse, plunging into the environment of meon - performance, acts, first of all, as an excitement of the latter. Then comes his complete immersion in meon, which leads to the creation of the created, to its abiding. But since the world is a movement, a struggle of opposites, the creative impulse gradually recedes, the creative forces are clarified, and then, by inertia, only their cohesion remains for some time, which ultimately leads to the disintegration of the entire current situation, to its resolution.

1. Qian (creativity) fortress sky

2. kun (fulfillment) dedication earth

3. zhen (excitement) mobility thunder

4. kan (dive) danger water

5. gen (stay) inviolability mountain

6. sun (thinning) penetration wind

7. whether (clutch) clarity fire

8. blow (permission) joyfulness pond

Each hexagram can be considered as a combination of two trigrams. Their mutual relationship characterizes this hexagram. At the same time, in the theory of the “Book of Changes” it is generally accepted that the lower trigram refers to the inner life, to the advancing, to the created, and the upper - to the external world, to the retreating, to the collapsing, i.e.

External, receding, collapsing

Internal, advancing, creating

In addition, the hexagram is sometimes considered as consisting of three pairs of lines. According to the theory of the Book of Changes, there are three cosmic potencies operating in the world - heaven, man, earth:

There is also a symbolism developed in the fortune-telling practice of Yijingists for individual positions of the hexagram.

In society: 1. Commoner; 2. Servant; 3. Nobleman; 4. Courtier; 5. King; 6. The perfect person.

IN human body: 1.Feet; 2. Shins; 3. Hips; 4. Torso; 5. Shoulders; 6. Head.

In the animal's body: 1. Tail; 2. Hind legs; 3. Back of the body; 4. Front part of the body; 5. Front legs; 6. Head.

Shchutsky and E. I. Dmitrieva

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Shchutsky and E. I. Dmitrieva