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’.
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Dear Alex The Daoist method is the psychological ability to perceive the underlying ‘essence’ of reality. We must ‘see through’ the haze that defines ordinary perception and directly penetrate the ‘Dao’. It is the ability to ‘give-up’ all accrued fabrication and let the ‘naturalness’ of the ‘Dao’ to shine through! In a sense, it is easier to ‘give-up’ the world of delusion to re-gain a direct perception of the Dao! There should be no undue ‘effort’ as this might generate yet another barrier – but there should also be an appropriate effort to ‘breakthrough’ delusion so that the qi-energy flow of the body becomes unhindered and unified in its progression around the body. This is a ‘direct’ Daoist method that penetrates all sixteen chapters of the manual of Zhao Bichen. This ability does not eradicate Zhao Bichen’s wisdom – but actually confirms it. Even if each of the sixteen-steps are ‘penetrated’ directly – then ALL of the wisdom contained therein is automatically realised without any undue effort, contradiction of paradox. Grand Master Liao Kong taught that the sixteen-steps can realised back-to-front. What did he mean? Well, if the sixteenth stage is spontaneously ‘realised’ (due to conducive past and present conditions), then all the other fifteen stages automatically manifest and fall into place. Most do not understand or accept this teaching in the West. This is due to a general misunderstanding of Chinese history and culture in general, and a lack of genuine Daoist knowledge in-particular. It is nothing special but requires regular exposure to the milieu of everyday inner and outer Chinese spiritual culture – which at its deepest levels is purely ‘universalist’ in nature. This is because the ‘essence’ of the spiritual universe belongs to all life in the cosmos regardless of which cultural orientation manages to reach and penetrate its essence. However, as we are dealing with the ancient culture of China – this is culture that we must familiarise ourselves with. With Metta
Adrian Dear Alex The ideogram ‘無’ (Wu2) is found on the Bronze Inscriptions written like this: This is said to represent a person with a) ‘long-sleeves’, or b) ‘something held in the hands.’ This is an ancient symbol referring to someone ‘dancing’ - which was developed into this ideogram ‘𣞤’. Later, this concept settled into this ideogram ‘無‘ which was best thought to represent all the required meanings. This is constructed using a ‘person’ (人 - ren2), together with the particle representing the number ‘twenty’ (廿 - nian4) - which is thought to be a contraction of the more familiar ‘二十’ (Er Shi) - or ‘two times ten’. Added to this is the particle meaning ‘fire’ (火 - huo3). This looks like ‘twenty people fight a fire and put it out.’ In other words, through appropriate effort – the ‘fire’ ceases, or a ‘fire’ is ‘extinguished.’ In the old days, however, it appears that this ideogram originally referred to ‘not dancing’ or to ‘a dance-like movement that has stopped’. The connection could be that a person putting-out a fire ‘dances around’ - with suitable fire-fighting objects held in his or her hands – until the problem is ‘removed.’ This interpretation is more likely than the alternative image involving a ‘dancer who has ceased to move’ and who is ‘standing still like statue.’ The situation is ‘resolved’ when the fire is extinguished – whereas a dancer ‘who is yet to finish’ the performance resolves nothing! Whatever the case, bringing a problem to a definite conclusion is the meaning of ‘無’ (Wu2). Within everyday Chinese language usage, this ideogram is routinely used to mean ‘no’. The ideogram ‘爲’ (wei2) is a variant form of ‘為’. This is an ancient concept that dates back to the Oracle Bones Inscriptions that denote ‘action’, ‘governance’, ‘administration’ and ‘guidance’ in the world. This is why ‘爲’ (wei2) represents a ‘definite course of action that is to be taken as a physical inevitability.’ The left-hand particle is ‘戈’ (ge2) and denotes a Chinese halberd weapon or dagger-axe affixed to a long-pole. A central particle is ‘大’ (da4) which means ‘great’ or that ‘bigger than the average human with arms and legs stretched-out.’ The ideogram of ‘弓’ (gong1) is also present which can refer to the weapon of a ‘bow’ (or an ‘elephant’s truck’). Next, we find the particle for ‘fire’ (火 - huo3). All this symbolism is taken to mean that a ‘person holding a halberd’ - ‘戈’ (ge2) - ‘guides an elephant’ [大’ (da4) plus ‘弓’ (gong1) denotes the ‘elephant’ as in that ‘large’ animal which possesses a ‘trunk’] through a ‘fire’ or ‘burning’ [‘fire’ (火 - huo3)] area - to safety. This means, therefore, that Wu Wei (無爲) - although literally meaning ‘non-action’, or ‘no activity’, etc – probably does refer to physical ‘inactivity’ as in ‘doing nothing’ when decisive action is required in the world of dust. Taijiquan, for instance, is a martial art premised upon ‘Wu Wei’ and yet is comprised of ample physical movement. The mind, of course, is ‘still’ even if the body is ‘moving’ or at ‘rest’. Within Daoist terminology, however, ‘pure’ mind is also considered a ‘peaceful’ or ‘still’ mind and is represented by the ideogram ‘清’ (qing1). The left-hand particle is ‘氵’ which is a contraction of ‘水’ (shui3) which refers to ‘water’ - whilst the right-hand particle is comprised of ‘青‘ (qing1). This right-hand particle is constructed from the particle ‘生’ (sheng1) which denotes a ‘plant growing out of the ground’ - and the particle ‘丹’ (dan1) [Cinnabar] which refers to dyeing material a blue-green colour. Interestingly, ‘清’ (qing1) refers to a calm state of mind which is ‘still’ like a pristine body of water which ‘clearly’ reflects the ‘blue-sky’ and the ‘green-mountains.’ This state is brought about by cultivating the ‘丹田’ (Dan Tian) - which is hinted at with the presence of ‘丹’ (dan1). Another term routinely found within Daoist texts is that of ‘靜’ (jing4) which denotes ‘silence’, ‘stillness’, ‘devoid of noise’ and ‘motionless’, etc. The left-hand particle is ‘青’ (qing1) - see above (although probably now designated ‘jing1’ for phonetic purposes) – whilst the right-hand particle is ‘爭‘ (zheng4) and refers to ‘striving’, ‘hard-work’ and the ability ‘to fight’ for what one requires or believes in. This particle is actually written as ‘two hands working a plough.’ The two Daoist terms referring to ‘stilling the mind’ - ‘清’ (qing1) and ‘靜’ (jing4) - are united together by both containing the particle ‘青‘ (qing1). This particle is constructed using ‘生’ (sheng1) which denotes a ‘plant growing out of the ground’ - and ‘丹’ (dan1) [Cinnabar] which refers to dyeing material a blue-green colour. Within Daoist terminology, however, 丹’ (dan1) refers to the three energy-transformation centres which exist throughout the body – the lowest two-inches below the navel, the middle at the solar plexus and the upper in the forehead between the eyes.
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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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