The text of the Book as the spatial coordinate grid

Russian researcher Spirin V.S. in his studies of ancient Chinese classical texts proposed a hypothesis of the existence of “easy” and “difficult” texts which had two-dimensional, detailed in the plane, and three-dimensional, detailed in the space, structures. The Ancient Chinese “Book of Changes” I Ching relate to the three-dimensional classical text. In the text of I Ching among the hieroglyphs denoting names of hexagrams we can also distinguish a group of so called “structure hieroglyphs”. Unlike other hieroglyphs they in addition to conveyance of the meaning also carry indication on certain geometrical structure. These hieroglyphs from the text of the “Book of Changes” include:....

The way of reconstruction of three-dimensional geometric model of spatial representation in hieroglyphics is the application the basic elements of these hieroglyphs on the structure of the Diagram of the “Supreme Ultimate”.

Plotting these elements of ancient Chinese hieroglyphics with the structure of the Diagram of the “Supreme Ultimate” in the I Ching is not a single or accidental instance, it is confirmed in Ming Tzu’ philosophical text in which the spatial characteristics of ancient Chinese hieroglyphs are associated with the description of the man’s qualities: “deep-well – deep-well” his (a man’s) order, “very strict – very strict” his ability of thorough knowledge of himself, “separate – separate” his sequence, “joyful-joyful” his following the Tao.” Such structures are widespread in the Islamic and Chinese art of calligraphy where the words, their meaning and visual three-dimensional geometric model compose the art form.

Geometric pattern created by hieroglyphs correlates with the volumetric sound pattern which manifests itself in homophonous or similar sounding words. Confucian philosopher Dong Zhongshu in his book “A Heavy Dew of the Spring and Autumn Annals” wrote: “Perfect men of wisdom in ancient times listening to loud sounds of nature (xiao) comprehended through them the Sky and the Earth and called these sounds as titles (hao). Thus the title (hao) expresses the sound (xiao) and comprehension (xiao)”. The examples of this rhythmic pattern in Chinese language are the concept of the Tao in the meaning of the "way" and the concept of the Tao in the meaning of the "mirror symmetry", in Arabic language it is “a pupil” and “a man” in Ibn Arabi’s philosophy.

The geometric pattern and the sound pattern are accompanied by the mathematical pattern. In Chinese culture numerical schemes He Tu and Lo Shu should be considered as such mathematical patterns. Let us follow the logical reorganization of these schemes in order to clarify their role in the formation of three-dimensional space:

Bilateral inversion Lo Shu reflects two principles of mirror symmetry under the laws of which hexagrams are formed from trigrams. The first rule is the mirror symmetry with the opposite disposition of elements reflected in the mirror. The second rule is a simple duplication when items are doubled without inversion. In ancient China this kind of symmetry was shown by “magic mirrors”.

This mathematical structure is confirmed by some archaeological artifacts. The ornaments at the bottom of the ceramic dish of Dasi culture (Ancient China, beginning of the 4^th century BC) and on Persian carpet for prayer (Iran, 16^th century).

The reconstruction of the ornament and its comparison with the matrix of prime numbers.

It is important to note that this symmetry is described in the I Ching and it is opposed to another type of symmetry which archaeological artifacts correspond to the Mesopotamian culture. Changing of symmetry of this geometric pattern indicates altering cosmos into chaos.