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0. <Tao> relabeled *Wu Chi* at Ain. 1. <Tao-Teh> relabeled *T'ai Chi* at Kether. 2. No change at Chokmah or Binah. 3. No at change Daath. 4. At Chesed the trigram *Ken* (which AC has at Netzach) labeled *Wood*/mu (one of the 5 Elements associated with *ken*). *Wood* is, in China, traditionally associated with the planet Jupiter. 5. At Geburah the trigram *Tui* (which AC has at Chesed) labeled *Metal*/chin (one of the 5 Elements associated with *tui*). Although *Metal* is, in China, traditionally associated with the planet Venus, Mars also seems entirely compatible and appropriate. 6. *Li* at Tipereth labeled *Fire*/huo (5 Elements correspondence). *Li* is traditionally called *Fire* with Sol as one of its symbols. 7. At Netzach the trigram *Chen* (which AC has at Geburah labeled <Fire>) labeled *[elemental] Earth*/t'u (one of the 5 Elements associated with *chen*). *Chen* is related to Venus as it is the arousing energy of Spring. 8. *Sun* at Hod labeled *ch'i * [signifying breath/prana].
9. *K'an* at Yesod labeled *Water*/sui (5 Elements correspondence). *K'an* is traditionally called *Water* with Luna as one of its symbols. 10. *K'un* at Malkuth labeled *[planetary] Earth/ ti. The resulting Tree is very satisfying from a Chinese aesthetic standpoint and also in terms of the usage of TTC, I Ching, esoteric Taoism and the Neo-Confucian school. It strikes me that tui/ken & sun/chen are perfect balances in order with the relationship of yin & yang at the top of the pillars and the mirror image antimony they offer. Further considering the planetary correspondences, the resulting Tree seems extremely satisfying. It is important to note the above commentary does not apply to the interpretation of the Holy Book Liber Trigrammaton. For more information on Chinese correspondences in the English language, I recommend Joseph Needham's multi-volume Science and Civilization in China (esp. vol. II and vol. V: nos. 2-5) and C.A.S. Williams' Outlines of Chinese Symbolism and Art Motives.
Primary Sources
Crowley's Drawing: This illustration is taken from a sketch of the Trigrams on the Tree, from Crowley's copy of the Legge Yi King. Although difficult to make out here, it can be seen that A.C. overdrew several of the lines as he pondered the placement. -- from the microfilm copy that survives in the OTO archives. The paucity of sources available for his study is illustrated by another marginal note, in disagreement with an ethnic theory offered by Legge: "Wooden Legge!".