Dear J Thank you for your email. I wonder what the Yijing says about our interaction? This would be a good experience in aligning the text with material conditions - a process mediated by our own 'intentions'. Of course, material conditions and intentions continuously change - but the Yijng text remains constant. The efficacy of translation merely allows us to peer into the historicity of the text - to a lesser or greater accuracy. Indeed. 'words' are the business we are engaged in - and a question lingers as to whether it matters how these words are generated and received. An open-ended enquiry might allow for possibilities of 'being' that are firmly closed-off by precise answers. This is 'why' the individual lines of the Yijing 'move' and 'transform'. All Best Wishes Adrian
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The Mawangdui Tomb, was discovered in Changsha (Hunan) and excavated between 1971 – 1974. This Han Dynasty burial complex was sealed around 168 BCE. Amongst the many interesting finds is the ‘却谷食气篇’ (Que Gu Shi Qi Pian) - which covers the subject of ‘eating grain to boost qi-energy' - and the ‘导引图’ (Dao Yin Tu) or the ‘Stretching and Loosening Diagrams’, etc. The latter document is made of silk and contains forty-four distinct human figures painted on the surface with each holding a martial arts posture designed to strengthen inner and outer -energy! Today, these postures are found within many traditional martial arts styles – including Taijiquan, Bagua Zhang and Xingyi Quan – and are more commonly referred to as ‘qigong’ (气功) or ‘Breathe Self Cultivation.’ These exercises were not new in 168 BCE, and appear to be an expression of a well-known spiritual and physical self-cultivation exercise. Essentially, the bones are aligned so that the bodyweight is dropped down into the ground through the centre (marrow) of the bones so that the practitioner becomes ‘rooted’ to the ground and very difficult to move by pressure exerted from the outside. As the musculature is relaxed – the breathing is deep and full with the lower, middle and upper lung capacity being inflated without hindrance. This boosts the amount of oxygen available by a tremendous amount. All transitional moves are performed with the inward breathe – whilst the completed moves are finished at the point of the end of the outward breathe. The body moves with the inward breathe and becomes ‘still’ with the completion of the outward breathe. Now, the bodyweight stimulates the bone marrow as it ‘drops’ down into the floor through the centre of the bones. This strengthens the bones and enhances the manufacture of red blood cells. The bodyweight hits the floor (rooting the practitioner) and automatically ‘rebounds’ off of the floor and travels back up the centre of the bones to the top of the head (within advanced practice – the bodyweight both ‘drops’ and ‘rises through the centre of the bones simultaneously and without paradox or hindrance). This is a natural consequence of living in a gravitational field. This ‘rebounding’ force is the inner force that Masters use to move around their skeletal-frame (mediated by the musculature) so that it can be ‘emitted’ at any point at any time. This type of ‘inner’ power is dependent upon a) an aligned skeletal frame, b) a ‘gravitational field’ and c) a permanent an expansive ‘awareness’ of ‘a’ and ‘b’. It is not dependent upon the power generated by ‘contracting’ localised batches of muscles (i.e ‘external’ power) and once mastered continues to exist at exactly the same level of magnitude regardless of the state of fitness or well-being of the body. It is the transitioning from the easier ‘external’ method of generating force to that of the ‘internal’ method that is very difficult to achieve and which takes very careful instruction and long-term practice, etc. Drawing the Bow is a very old and effective method of training the mind and body. Do not be fooled by its apparent simplicity. Confucian scholars, as part of the tests for the ‘Official’ examination, had to fire the arrow from the bow with equal efficiency (and accuracy) from both sides of the body. That Is, holding the bow with the left-hand whilst pulling the bow-string and steadying and firing the arrow with the right-hand – and holding the bow with the right-hand whilst pulling the bow-string and steadying and firing the arrow with the left-hand. Like the hexagrams of the ‘Classic of Change’ (Yijing) - the Confucian scholar builds their shooting-posture from the ground upward – or from the ‘root’ upwards. Every section of the body is carefully ‘positioned’, ‘placed’ ‘moved’ and ‘re-set’, etc. Every moment of ‘stillness’ and ‘movement’ are performed only from the manifestation of a deep and full inward and outward breathe – as all movement is ‘breathe’ led just as it is ‘intention’ led. Breathe and ‘intention’ are the perfect integration of ‘mind’ (intention) and ‘body’ (breathe). Prior to taking the Official examinations, Confucian scholars would spend years studying the Five Classics and Four Books – whilst spending hours per day wielding the Chinese long-sword (Jian) and firing the bow and arrow. Many training Masters would not let their students even ‘hold’ a real weapon until they had demonstrated the mastery of the ‘daoyin’ (or ‘qigong’) equivalent! There is also evidence that the ’inflation’ of the body-cavities with ‘breath’ (qi-energy) - so that the body tissue takes on the buoyancy of an inflated ball – as found within the techniques that comprise the martial art of Taijiquan, is a very clever psychological and physical preparation for ‘firing the bow’. This would suggest that as the ‘Taiji’ concept appears in the ‘Classic of Change’, it would logically follow that ‘Taijiquan’ is a very advanced (internal) martial art developed for the use of training potential Confucian Scholar-Officials. When Taijiquan is mastered correctly, the required mind and body skills resemble that of a master of archery. Preparation for all Taijiquan self-defence techniques is performed with the building of a robust-intensity as found when a bow is at full draw! When a Taijiquan practitioner ‘emits’ massive force – this robust-intensity is suddenly ‘released’ and dissipates before being re-built yet again! This general (but important) building and releasing of inner (and outer) force explains why there are so many variants of drawing the bow. Generally, speaking, drawing the bow whilst standing in a high horse-stance and firing the arrow on an even level at shoulder height – is for Confucian scholars training for the Official examinations – whilst switching the weight onto a singly left or right-knee – whilst the arrow is fired into the sky at a 45 degree-angle is usually a preparation for Chinese soldiers training for ‘long-distance’ shooting. The point is that drawing and firing the bow is viewed as just as important as shooting a real bow as the exercise opens all the eight inner-energy channels and unites them into a single entity. Just as the mind is ‘stilled’ so all the eight inner-energies channels are reconciled into a single and all-embracing reality. The ‘still’ mind expands so that the inner awareness becomes all-embracing and appears to envelop the entire surrounding environment. The bow is picked-up, the bow is drawn and the arrow is fired – and at no point does the bow, arrow, or firing activity exist outside the perceiving mind. The many types of ‘drawing the bow’ methods demonstrate just how widespread and diverse this practice must have been throughout Old China. Drawing the bow combines the microcosmic orbit – or circulation of qi (vital force) and jing (essential nature) - as emphasised within the seated ‘neidan’ practice, and the macrocosmic orbit of the same energy as cultivated throughout the various modes of Chinese martial arts practice. The seated meditation of ‘neidan’ focuses upon the internal energy traveling from between the anus and the genitalia up the spinal-column to the centre of the top of the head with the inward breathe – whilst the same internal energy is taken from the top of the centre of the head and down the centre of the front of the body and back to the starting-point (between the genitalia and anus). The Governing Vessel travels from the spot between the genitalia and the anus and travels up the spine to the top of the head and then down the centre of the face the upper jaw just behind the two front teeth. The tongue touches the palate and connects the Governing Vessel to the Conception Vessel that starts in the upper-tongue and traverses down the centre of the front of the body to the starting-point situated between the genitalia and anus. As you can sees, the full inward breathe only follows the Governing Vessel up to the top of the head – whilst the outward breathe takes the energy flow down to the top jaw of the mouth and completes the stimulation of the Governing Vessel. This same outward breathe continues downward into (and through) the Conception Vessel (which begins in the lower jaw area of the mouth) which is shorter than the Governing Vessel by about one-third the length. This is the essence of the microcosmic orbit which extends laterally (either side of the spinal-column) and sinks a few inches into the depth of the body tissue with practice. When drawing the bow this practice (usually associated with ‘neidan’) is maintained but is augmented by the ‘opening’ all eight energy channels - which includes those traveling down the legs and arms. This can happen within seated ‘neidan’ practice by extending the scope of the conscious awareness during practice (which opens all the energy channels) and integrates the micro and macrocosmic orbits – but is assisted by the physical movements of the legs and arms utilised during the performing of the technique of ‘drawing the bow’. In the latter case, the inward breathe includes the entire posterior of the body (from the heels to the top of the head) - with the outer breathe covering the full anterior of the body (from the top of the head and back to the heels). This dynamic movement can add a new dimension to a practitioner’s inner and outer fitness! Obviously, the physical foundation varies between the seated practice of ‘neidan’ and the standing practice of drawing the bow. In the former the foundation is the bottom and the sides of the legs that directly touch the floor, whilst in the latter it is the soles of the feet. Although in essence this should not distract the mind from manifesting in the ten directions, this difference also implies that the drawing the bow method, despite its inner developmental component, has its practical roots within self-defence and martial arts practice. The sole of the foot is a platform for which the entire body can be traversed through the environment drawing a very powerful (gravitational-related) force from the environment which is channelled through the (mind) and body, and be used in self-defence as well as in the development of psychological and physical health. In other words, the type of body-foundation varies simply because a different part of the body is in continuous union with the ground. Whereas seated ‘neidan’ is best suited to a quiet, peaceful and isolated area, drawing the bow could well be used as a health-giving leisure activity, a ‘testing’ vehicle (as in the State examinations) and on the battlefield, etc. Much of this difference in application emanates from the fact that in one practice the adherent remains ‘sitting-down’ whilst in the other the adherent is also in the upright position and standing on his or her two-feet. In the cash of injury or disability to the lower part of the body, then both ‘neidan’ and ‘drawing the bow’ can manifest as practices which see the adherent comfortably ‘seated’ upon a chair or similar raised platform (within some types of Daoist practice, ‘neidan’ can be performed whilst sitting on a wooden device which ‘stimulates’ various key ‘pressure points’ between the anus and genitalia). Despite the obvious difference in physical technique, there should be no substantive difference in conscious awareness or spiritual development. Indeed, one practice should (and must) reflect the other.
Humanity exists in a psychological-physical space defined as being situated under the divine sky (乾 - qian2) and above the broad earth (坤 - kun1). Humanity stands on the broad earth and is covered by the canopy of the divine sky! This is recorded in the Zhouyi (周易) - or ‘Changes of the Zhou Dynasty’. This Classical text is better known in China as the ‘Yijing’ (易經) - or ‘Change Classic’, etc. Indeed, existence in this text is presented as an interaction of the forces of ‘light’ and ‘dark’ which manifest in the first two hexagrams as 1) ‘䷀’ (乾 - qian2) - ‘Yang’ (light) and 2) ‘䷁’ (坤 - kun1) - ‘Yin’ (dark). These two hexagrams interact in such a manner so as to produce the further 62 hexagrams which comprise the ‘Book of Change’ – each individual hexagram of which contains the root of the other 63 hexagrams within its constantly ‘moving’ six-lined structure of ‘broken’ and ‘straight’ lines (with each transitioning into its opposite when the conditions dictate). For Daoist self-cultivation, this is a blue-print for the mind and body – and all the changes needed to purify these structures and transform its functionality from the mundane to the supramundane. Nothing in reality (and physical existence) goes beyond the divine sky or the broad earth and these concepts must be thoroughly studied and understood. The hexagram ‘乾’ (qian2) - ‘divine sky’ - is comprised of two particles. The left-hand particle is ‘龺’ (Zhuo) - but this is constructed from ‘十日十’ - with ‘十’ (shi2) referring to the number ‘ten’ or the concept of ‘completeness’, and ‘日’ (ri4) meaning ‘day’, ‘sun’, ‘light’ and ‘every day of the month’, etc. When all three are combined there is ‘completion - sunlight – completion' (龺) or that which ‘gives rise to all things through the power of light, heat and positivity’! The right-hand particle is ‘乞’ (qi3). This is comprised of two particles. The top particle is ‘人’ (ren2) meaning ‘person’ or ‘people’, etc. The lower particle is ‘弓’ (gong1) referring to the use of the ‘bow and arrow’. When all this data is assembled together - 乾’ (qian2) or the ‘divine sky’ suggests an individual (or group) that have mastered the bow and arrow. This in-turn suggests that a complete inner and outer mastery has been attained. This concept is represented by the ability to shoot the arrow ‘correctly’ from the ‘bow’, so that mind, body and environment are unified in a perfect moment of eternal awareness that cannot be shaken. Out and out light re-produces itself without end – like a bow that never ends its draw – or which never needs to be drawn – such is the perfect positioning and readiness of its archer! Although physical ‘light’ originates from the external sun – the spiritual ‘illumination’ sought after by the ancient Daoists emerges entirely from the inner being – and yet as both are pure ‘yang’, it seems that both possess exactly the same source of purity and continuous re-becoming (hence ‘longevity’). The ideogram 坤’ (kun1) - 'broad earth' - is comprised of the left-hand particle ‘土’ (tu3) which is traditionally thought to represent a potter’s wheel upon which is a lump of clay. Whereas ‘乾’ (qian2) or the ‘divine sky’ can be associated with the male reproduction fluid (and the explosive nature of the conceiving moment), the ‘clay’ or ‘soil’ as envisioned within this concept is that of absorbing (feminine) fertility! This ‘soil’ or ‘earth’ is highly fertile and able to reproduce the plant life required for humanity to exist. Just as agriculture and farming are genuine scientific art-forms – so is the act of conceiving, growing, birthing, protecting and educating a child. The idea of ‘clay’ is clever as it suggests that out of one substance (I.e., ‘earth’) - another structure can emerge! A clay-filled soil not only gives rise to the food that feeds humanity and its domesticated animals – but the dirt can be transformed into something completely different (such as a cup or a plate, etc) providing it first passes through the hands of a skilled artisan! Although highly practical in concept, this also refers to the highly skilled guidance of a Daoist Master who ‘moulds’ the inner and outer structures of his or her disciples! The right-hand particle is ‘申’ (shen1) and stands for ‘lightning’. This is comprised of a) 工 (gong1) the sound of thunder (shocking and sudden – like an unexpected attack) b) 弓 (gong1) the shape of lightning (like that of the ‘bow’) and c) 口 (kou3) the sound of thunder (like an open mouth ‘shouting’ or ‘scream’) which all suggests that lightning ‘申‘ (shen1) implies the presence and arrival of the great and guiding divine spirit (神 - shen2)! When combined together - 坤’ (kun1) - strongly suggests discipline and self-mastery through the attention of detail. Attention to detail is the doorway through which the divine spirit enters the earth (and travels through its populations). Without self-discipline the earth cannot be mastered and nothing can be ‘transformed’.
It is the general academic opinion in China, Japan, America and Europe, that Zhao Bichen designed his main Daoist ‘neidan’ self-cultivation manual along the lines of the extant literature of the Wu Liu School. This suggests a direct technical link between the Wu Liu School (transmitted by Grand Master Liao Kong to Zhao Bichen in 1920) with the Qianfeng School founded by Zhao Bichen post-1920 – as a vehicle for disseminate the Wu Liu Teachings. Charles Luk (1898-1978#0 translated this manual into English after meeting Zhao Bichen around 1936 – but it was not published in the West until 1970. As Charles Luk was concerned that most Westerners would find the unfamiliar Chinese Daoist terms difficult to understand, he entitled his English translation as ‘Taoist Yoga’. Of course, this is Zhao Bichen’s Chinese-language manual known as ‘(性命法訣明旨’ (Xing Ming Fa Jue Ming Zhi), or ‘'The Secret Cultivation of Essential Nature and Eternal Life’. Although the Qianfeng School possesses a number of other training manuals – it is this book which conveys what Zhao Bichen considers are the ‘Sixteen Steps’ required to be mastered to transition a student from the beginning level to the middle level - and finally to full immortality. Like the ‘Classic of Change’, however, each of the sixteen steps contains the essence of the other fifteen positions – with entire training universe being ‘fluid’ and fully ‘adaptable’. Some people travel through these stages of training very quickly (in an instant), or take years slowly and carefully mastering each step one at a time. As sixteen can be divided four times in sixty-four – each of the sixteen stages of Qianfeng training has four hexagrams associated with it. Training stage one, for instance, is associated with hexagrams 1, 17, 32 and 64 and so on. A dedicated practitioner must sit and study the ‘Yijing’ (or ‘Zhouyi’) and integrate the wisdom contained within the hexagrams of Yijing with that experience gained from practicing each of the sixteen Qianfeng training stages. This approach is a ‘hidden’ aspect of the old Wi Liu School passed-on to Charles Luk by Zhao Bichen – to me by Richard Hunn (1949-2006). When I told Master Zhao Ming Wang about this practice (we use in the UK) – he was taken aback and was surprised we knew about it! This probably explains why Richard Hunn always emphasised the study of the ‘Book of Change’ - even at the very beginning of my Ch’an training with him. The Founders of the Wu Liu School – Wu Shouyang (and his Disciple) Liu Huayang – both penned a number of Daoist training manuals well-known in China. When compared with the content and style of Zhao Bichen’s ‘Taoist Yoga’ manual – it is obvious that the Qianfeng School is a natural lineage extension of the Wu Liu School. Zhao Bichen made use of the Wu Liu habit of composing manuals comprised of disciples ‘asking questions’ and Masters providing ‘answers’. The reliance upon – and approach to ‘neidan’ practice - is identical and does not vary.
Dear Alex Remember the Book of Changes. The hexagrams build the situation from the base-upwards – this is how a firm foundation is achieved. There is no doubt – only an ongoing construction and continuous transformation. Interestingly, this repetitive process also leads – quite naturally – to a deconstruction – which is ‘correct’ if timely. This is like eradicating ‘tension’ from the mind and body all at once – without hesitation of discrimination. The energy channels are ‘opened’ and ‘united’ in an instance. The mind is ‘pure’ and ‘shines’ brightly in the Ten Directions! Although as human-beings – we must build the hexagram line by line from the ground to the sky – the ‘situation’ each hexagram defines as ‘existing’ in the physical universe includes the condition of the inner mind and body, as both are ‘physical’ things regardless of their assumed ‘spiritual’ connotations. Seeing into this in a spontaneous manner is not an error providing this ‘direct’ method does lose track of the ‘expedient’ method or what this process involves. We must be instantaneously aware of the six-lines of the hexagram – whilst ‘penetrating’ exactly what this orientation of ‘yin-yang’ implies and means. Working on the assumption that genuine ‘insight’ (shen) equals ‘enhanced’ ‘vital force’ (qi) and essential nature (jing) - then all is as it should be. This is the ‘unification’ of the three great treasures that cannot be broken! Doubt drives us on, and security of knowledge and confirmation of achievement removes this ‘doubt’! There is nothing to worry about – and yet all is ‘uncertainty’ for many beings blindly stuck in the cycle of becoming. Although ‘humility’ is essential for growth – it is also true that when the right moment arrives – we must ‘strike’ with the certainty (and ruthlessness) of a venomous snake! With Metta
Adrian This ideogram can be found on the Oracle Bone Inscriptions – that is the oldest strata of the writing system of ancient China (dating to around 1,600 BCE and the beginning of the Shang Dynasty). Although future archaeology might well reveal an even earlier strata dating from the Xia Dynasty (c, 2205 BCE - 1766 BCE, etc). I say this because the Book of Change (易經 - Yi Jing) is also known as the ‘Zhou Yi’ (周易) or ‘Zhou Changes’ - that is the ‘Book of Changes’ prevalent during the Zhou Dynasty’ (1046 BCE –256 BCE). However, according to Chinese-language historical texts, it is stated that there were two older versions of the Book of Changes. Whereas the ‘Zhouyi’ is associated with the Zhou Dynasty, the divination manual entitled ‘Return to the Store-House' 归藏 - Gui Zang) is associated with the earlier Shang Dynasty, whilst the ‘Connecting the Mountains’ (连山 - Lian Shan) divination manual is believed to date to the archaic Xia Dynasty (c. 2070 BCE – 1600 BCE). Although the names of these manuals are recorded as ‘existing’ at one time, no known copies have as yet been discovered. The earliest example of the ‘内’ (nei4) ideogram appears on the Oracle Bones Inscriptions and is represented in the following manner: This is considered to represent the ‘open’ door of a tent – or possibly the ‘inner’ door (or ‘material screen’) that can be ‘seen’ deep inside the heart of the tent – through the open outer-door of the exterior of the tent. The door has been located and this indicates the ‘way’ into the interior of the tent. Entering a nomadic-type tent was not as easy as would be thought. Out of requirements for self-defence and security, when the exterior door-flaps of the tent were closed and secured – the ‘way-in’ was not easily discernible. Out of ‘politeness’, no one enters the tent of another without a formal invitation followed by a clear ‘physical’ confirmation. This was a serious social interaction involving one family within a tribe (or clan) imposing upon the hospitality and protection of another. Although the outer-door of the tent might be ‘open’, this does not necessarily imply that a visitor is ‘welcome’ through the ‘inner’ door to the sacred ‘heart’ of the tent. As civilised behaviour is the essence of gaining ‘entry’, nothing can be taken for granted. Overtime, the ideogram ‘内’ (nei4) slowly evolved to represent an entirely different (but related) situation. The outer particle ‘冂’ (jiong1) represents the geographical boundaries of an established city. (Sometimes, this particle is also used to represent the ‘enveloping sky’ - perhaps the sky under which the original ‘tent’ symbolism was set. This reading might well link the ‘earlier’ interpretation to the ‘later’ development). The inner particle is ‘入’ (ru4), and represents a ‘pointed-arrow’ that when fired easily ‘penetrates’ deep into the target! This is why ‘入’ (ru4) is used to represent the concept of ‘to enter’. When all circumstances and conditions are ‘correct’ - then nothing can prevent the ‘entry’ being successful. Such a success is so profound that it is considered a ‘force of nature’. When these two particles are combined to form ‘内’ (nei4) - the meaning is generated which states that the ‘boundaries of a city are easily penetrated’. This means that all the external defences are by-passed without difficulty or negated with ease. This suggests that the ‘internal’ methods used to achieve this success are far superior to the ‘external’ defences that have been compromised with ease.
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AuthorAdrian Chan-Wyles (內丹 - Shi Da Dao) - Qianfeng Lineage: Zhao Bichen (1860-1942), Charles Luk (1898-1978) and Richard Hunn (1949-2006). Acknowledges Master Zhao Ming Wang (赵明旺) of Beijing as the ONLY Lineage Head of the Zhao Family Lineage of Qianfeng Daoism in China and the world. Archives
February 2024
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