above: Kên / Keeping Still, Mountain
below: Kên / Keeping Still, Mountain
The image of this hexagram is the mountain, the youngest son of heaven and earth. The male principle is at the top, because it strives upward by nature; the female principle is below, since the direction of its movement is downward. Thus there is rest because the movement has come to its normal end.
In its application to man, the hexagram turns upon the problem of achieving a quiet heart. It is very difficult to bring quiet to the heart. While Buddhism strives for rest through an ebbing away of all movement in nirvana, the Yi Jing holds that rest is merely a state of polarity that always posits movement as its complement. Possibly the words of the text embody directions for the practice of yoga.
KEEPING STILL. Keeping his back still
Still Life with Chinese Lantern flowers.
True quiet means keeping still when the time has come to keep still, and going forward when the time has come to go forward. In this way rest and movement are in agreement with the demands of the time, and thus there is light in life.
The hexagram signifies the end and the beginning of all movement. The back is named because in the back are located all the nerve fibres that mediate movement. If the movement of these spinal nerves is brought to a standstill, the ego, with its restlessness, disappears as it were. When a man has thus become calm, he may turn to the outside world. He no longer sees in it the struggle and tumult of individual beings, and therefore he has that true peace of mind which is needed for understanding the great laws of the universe and for acting in harmony with them. Whoever acts from these deep levels makes no mistakes.
Mountains standing close together:
The heart thinks constantly. This cannot be changed, but the movements of the heart - that is, a man's thoughts - should restrict themselves to the immediate situation. All thinking that goes beyond this only makes the heart sore.
1. Hendrikus Anthonius Dievenbach (1872 - 1946), was a Dutch artist.
In 1910 he settled in the village of Laren, North-Holland.
Henri Dievenbach was a traditional painter who was particularly inspired by his direct environment.
Apart from farmer's interiors he made portaits of fellow-villagers. In his later life he painted especially beautiful still lifes and flower pieces, like this coloured lithograph with Chinese Lanterns.