 Underlying his view was a different understanding of the formation of the Yijing. Unlike other Yijing commentators, Zhu did not see the classic as an evolution from divination to philosophy. For him, the sixty-four hexagrams are the foundation of the Yijing because they are symbols of the constant changes in the natural and human worlds. This pictorial depiction of transformation—started by Fu Xi and completed by King Wen and the Duke of Zhou—was later turned into a discussion of cosmology and morality by Confucian scholars. As a result, the Yijing ceased to be a pictorial description of the awesome and awe-inspiring transformation in the universe; it became merely another text (like the Book of Poetry and the Book of History in the Confucian canon) that taught morality to kings, nobles and government officials (Hon 2008).