The Eight Trigrams (bā guà) constitute one of the foundational structural vocabularies of the I Ching corpus within the Seba depth-psychology library, appearing across commentarial, hermeneutical, and comparative-mythological registers. Richard Wilhelm and Cary Baynes establish the canonical framework for Western scholarship, articulating the trigrams as paired cosmic images — Creative (Qiān), Receptive (Kūn), Arousing, Gentle, Abysmal, Clinging, Keeping Still, and Joyous — arranged in two primary orders: the Primal (Fu Hsi) Arrangement and the Inner-World (King Wen) Arrangement. These orders are not merely classificatory schemata but cosmological maps of temporal unfolding, familial generation, and the dialectic of yin and yang. Hellmut Wilhelm deepens this reading by demonstrating how each trigram concentrates affective, elemental, and psychological attributes. Wang Bi’s commentary, as rendered by Lynn, foregrounds the trigrams’ logical syntax: their animal correspondences, bodily organs, and relational dynamics illuminate the deep grammar underlying hexagram formation. Ritsema and Karcher reframe the trigrams within a phenomenological vocabulary of cyclic time and elemental action. Campbell’s comparative perspective anchors the Eight Trigrams within a world-mythological context by linking the Great Extreme’s bifurcating logic to Indian cosmogonic parallels. The central tension across the corpus concerns whether the trigrams function primarily as symbolic images evoking psychological states or as formal operators within an abstract numerical-cosmological calculus — a question that animates the entire hermeneutical tradition.