Hexagram 29: The Deep

Turner's brushwork dissolves a steamboat into swirling chaos—sea, snow, and storm merge until no boundary holds. The paddle-steamer barely registers at the composition's center, engulfed by water and wind that spiral in violent vortex. He painted this around 1842 after reportedly having himself lashed to a ship's mast during a storm to witness the experience directly. The painting offers no safe vantage point; viewers inhabit the maelstrom itself, surrounded by forces that obliterate orientation. Water and vapor erase the line between sea and sky.

Zhou Dynasty diviners called this configuration Kan (坎), the Abysmal—Water (Kan) doubled, danger upon danger. The character depicts a pit or chasm, a hole one falls into repeatedly. When this hexagram appeared in divination, it signaled not single crisis but serial peril, situations where escaping one danger leads directly into the next. Turner's storm captures this precisely: each wave conquered reveals another rising behind it, exhaustion compounding as the ordeal extends. Ancient texts describe Kan as "water flowing without filling," perpetual passage through what cannot be grasped or controlled.

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The Judgment text states: "The Abysmal repeated. If you are sincere, you have success in your heart, and whatever you do succeeds." Sincerity here means flowing like water rather than rigidly resisting—the steamboat survives by moving with the waves' force, not against it. Song Dynasty commentary notes that water always finds its way downward through obstacles; faced with repeated danger, one must adopt water's patient persistence. Turner's composition lacks solid ground or stable reference—everything flows and churns, yet the vessel at center maintains forward momentum. The painting teaches dangerous passage, not safe harbor.

The Image Text offers unexpected counsel: "Water flows on uninterruptedly and reaches its goal. The superior person walks in lasting virtue and carries on the business of teaching." Constancy through repetition becomes the method—water wears stone through persistent movement, not force. Turner painted tempests throughout his career, returning obsessively to the theme of nature's overwhelming power. In the I-Ching's sequence, the Abysmal follows Preponderance of the Great: after critical mass strains structures (28), one enters sustained danger requiring fluid adaptation (29). The storm will not abate. The only way is through.