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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At this Telegram LINK there are a number of very good e-books regarding the Dao - which includes Meditation, Herbalism, Qigong, Taijiquan, and TCM. Most documents are in PDF or EPUB format.
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.
Working from Chinese language source materials, the term ‘Zhouyi’ (周易) only refers to the manual of philosophical speculation and divination-guidance as formulated and used during the Western Zhou Dynasty (1134-772 BCE), whereas the term ‘Yijing’ ((易经) refers to the similar manuals said to have existed during the Xia Dynasty (2205-1766 BCE) and the Shang Dynasty (1783-1122 BCE) - as well as all additional information integrated into the ‘Zhouyi’ after the Western Zhou all the way up to the Han Dynasty (206 BCE-220 CE), etc. Therefore, whereas the Zhouyi should refer only to the divination ritual of consulting turtle plastron and ox scapula bones as a means of communication with the ‘divine ancestor’ said to abide somewhere in the sky – the term ‘Yijing’ strictly speaking, at least within Chinese academia, refers to the ‘entire’ genre of divination manuals before, during and after the Zhou Dynasty. Whereas the ‘Zhouyi’ can be viewed as a specific chronological expression of the entire Chinese tradition of the ‘divination manual’ writing (i.e., ‘Yijing’) - the over-all term of the ‘yijing’ does not always refer to the ‘Zhouyi’. During the Xia (夏) Dynasty – the divination manual was known as the ‘连山’ (Lian Shan) - and during the Shang (商) Dynasty the equivalent manual was referred to as the ‘归藏’ (Gui Cang). These two earlier expressions of ‘wise destiny’ have not yet been found in their entirety, despite interesting archaeological discoveries hinting at their existence (such as the 1993 Hubei find – thought to be associated with the ‘Gui Cang’, for instance). Taken together, these divination manuals are known as the ‘三易’ (San Yi) or ‘Three Changes’ within Chinese academia. Therefore, the term ‘Zhouyi’ refers only to the divination practices of the Western Zhou, and the development of transitioning the paraphernalia of the divining process into book form. This appears to have been in progress around 800 BCE – with Confucius (and his students) able to access a copy during his lifetime (551–479 BCE). In other words, the thousands of turtle plastron (under-shells) and ox scapulae that had been used over the decades for divination purposes and stored in vast libraries, had been accessed, logically assessed and transitioned into the sixty-four hexagrams, hexagram titles, hexagram sequence and commentaries affixing the three-hundred and eighty-four constituent lines. The basis of each hexagram (six-lined construct) is the straight line and the broken line arranged in three pairs of two, or two pairs of three (trigrams), etc. With each hexagram including a brief explanation of the situation it represents, how this condition was arrived at, and what action might be expected to improve the situation, etc. During the following approximately one thousand years, the so-called ‘Ten Wings’ (十翼 - Shi Yi) are slowly added to the original text of the ‘Zhouyi’ (said to have been named by the Eastern Han scholar – Zheng Xuan [康成] using the term to describe how these extra texts ‘support’ and ‘uplift’ the original text like ‘wings on a bird’) - transforming it into a manual of Yin-Yang (陰陽) interpretive science (collectively, the ‘Ten Wings’ are also referred to as the ‘Yizhuan’ [易传] or ‘Change Treatises’). It is believed that Confucius (孔夫子 - Kong Fu Zi) [551-479 BCE] either wrote all, some or part of these texts, or was responsible for ‘editing’ a pre-existing text relating to the Yijing at one-point during his life. This association is taken for granted in China even though it is also acknowledged that more evidence is required to explain this convention. Part of the ‘Ten Wings’ were written before Confucius lived, some were written during his lifetime, whilst others were written hundreds of years after his passing. However, it is not unreasonable to assume a historical connection between Confucius and the Yijing. The ‘Ten Wings’ seven distinct chapters divided into ten parts: 1) Tuan Zhuan (彖傳), Upper, Treatise on the Judgements of the Hexagrams, Part I 2) Tuan Zhuan (彖傳), Lower, Treatise on the Judgements of the Hexagrams, Part II 3) Xiang Zhuan (象傳), Upper, Treatise on the Symbolism, Part I 4) Xiang Zhuan (象傳), Lower, Treatise on the Symbolism, Part II 5) Xi Ci Zhuan (繫辭傳), Upper, Treatise on the Appended Words, Part I 6) Xi Ci Zhuan (繫辭傳), Lower, Treatise on the Appended Words, Part II 7) Wen Yen Zhuan (文言傳), Treatise on the Elaboration of the Words 8) Shuo Gua Zhuan (說卦傳), Treatise on the Discourse on the Trigrams 9) Xu Gua Zhuan (序卦傳), Treatise on the Sequence of the Hexagrams 10) Za Gua Zhuan (雜卦傳), Treatise on the New Sequence of the Hexagrams Prior to this development, the ‘Zhouyi’ advocates that first Hexagram ‘乾’ (Qian) or (assertive) ‘divine sky’ - interacts with the second Hexagram ‘坤’ (Kun) or (receptive) ‘broad earth’ very much in the context of ‘male’ and ‘female’ interaction in the natural world (thus creating a child through conception). Through the combination of hexagram one and two – the foundations are laid for the manifestation of the other sixty-two hexagrams in a ‘new life’ (and explains why the arrangement of the hexagrams are referred to as ‘post-natal’ [後天 Hou Tian] or more cryptically as ‘latter divine sky’ or ‘heaven’. This may be compared to the term ‘pre-natal’ [先天 - Xian Tian or ‘earlier divine sky’ or ‘heaven] which refers to a ‘pure’ and ‘idyllic’ non-aging existence in the womb which Daoist practitioners aspire to return to through their self-cultivation techniques)! All this ideology is developed further in the ‘Ten Wings’ - but it is interesting to observe that the Zhouyi in its core text – recognised the necessity of describing a physical being existing in the real world – and not an abstract being floating around in the spiritual world. This demonstrates that the ‘Zhouyi’ was logically premised upon an observation of material nature and the need to reproduce the species – a model that only later developed into a manual specialising in ‘Yin-Yang’ science. This process can be viewed as a ‘refinement’ of interpretation with the ‘male’ aspect being evolved into ‘yang’ (light) and the female aspect being evolved into ‘yin’ (lack of light). This seems to indicate that the Chinese scholars developed an understanding that ‘light energy’ was the underlying power to all physical reality – and that the ‘intensity’ (or ‘lack’ of intensity) of the presence of light dictated the type of material world humanity inhabits! Light exists literally in the outside world – but also exists figuratively inside the hearts and minds of humanity. Light flow can either be diminished by selfish thoughts and actions – or enhanced by selfless thoughts and actions! Each of the sixty-four hexagrams (and three-hundred and eighty-four lines) suggest ways for maximising inner and outer light – whilst dispelling inner and outer darkness! This is how the ‘Zhouyi’ became the ‘Yijing’. The literature associated with the Zhouyi-Yijing is comprised of the ‘本经’ (Ben Jing) and the ‘傳’ (Zhuan). The ‘Ben Jing’ is the ‘source classic’ or the ‘original’ and ‘foundational’ text associated with ‘Book of Change’. The ‘Zhuan’ (or ‘treatise’) - by way of comparison – refers to any and all subsidiary material built-up and around the ‘core text’ and used to explain, clarify and expand upon the original concept. The sixty-four hexagrams and three-hundred and eighty-four lines, together with their immediate commentaries comprises the ‘Ben Jing’ (source classic), whilst the ‘Ten Wings’ (十翼 - Shi Yi) serve as the subsidiary ‘treatises’ (傳 - Zhuan). Added to this body of knowledge should be the content of the Xia and Shang Dynasty divination manuals. It is an interesting speculation as to whether the work of the Confucian scholar ‘Yang Xiong’ (揚雄) [53 BCE-18 CE] - namely the ‘太玄經’ (Tai Xuan Jing) or ‘Grand Mystery Classic’ - which ingeniously makes use of a ‘tetragram’ system comprised of ‘straight’, ‘broken’ and ‘double-broken’ lines – should be included in the genre of ‘Yijing’ studies. A problem stems from the fact that Yang Xiong was associated with the short-lived ‘Xin’ (新) Dynasty (9-23 CE) - which temporarily usurped the Han-throne! When the Han Dynasty was restored, anything to do with the Xin Dynasty was attacked, destroyed and/or supressed. Yang Xiong’s otherwise interesting divination manual was never properly associated with ‘Yijing’ studies. Chinese Language References:
https://baike.baidu.com/item/易经 https://baike.baidu.com/item/周易/6219 https://zhuanlan.zhihu.com/p/83565371 English Language Reference: Chung Wu PhD: The Essential s of the Yi Jing, Paragon, (2003), Page xxi (I exchanged letters a few years ago with this true gentleman). If You make an in-depth study of the symbolism associated with the 'Yijing' - or 'Book of Changes' - you will develop an intuitive understanding and comprehension of these diagrams even if you cannot read the Chinese language script! The hexagrams, trigrams, yin-yang roundels and five phases ideology are all designed to convey deep and profound insight into the inner and outer state of a) existence and b) reality. In ancient China only around 10% of the population could read and write. This means that 90% could not understand the complex ideograms - but they could be trained to understand the symbolic language designed to present the highest understanding humanity in China had been able to develop at the time, whilst focusing the mind and directing the physical body. This symbolic acts very much like a modern computer language that transfers immense amounts of data from the mind of the teacher into the mind of the disciple! The 'Book of Change' itself - with its sixty-four hexagrams - acts very much like a 'random access memory' (RAM) which oddly enough, is one of the names used to describe 'god' in ancient Indian philosophy! Original Chinese Language Article:
https://www.wang1314.com/doc/topic-20941322-1.html 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’.
Translator’s Note: During the latter years of the Zhou Dynasty (475 – 221 BCE), in a time of tremendous political and cultural upheaval, a number of philosophical schools arose that usually developed a single (but ‘all-embracing’) theory that sought to explain the totality of reality. The Yin-Yang (dark-light) School was one (c 300 BCE), whilst the ‘Five Phases’ of qi (气) transformation theory developed from a chapter contained in the Classic ‘Book of History’ (書經 - Shu Jing) - which is believed to date from the far earlier Shang Dynasty (1783 – 1122 BCE). There were many others that varied in popularity, efficacy and understandability. However, During the Earlier and Latter Han Dynasties (202 BCE – 220 CE), those theories which remain viable and enduring were ‘integrated’ so that one theory supported, explained and enhanced another, without end, favour or discrimination. Physical matter is viewed as being comprised of a certain ‘frequency’ of qi-energy consolidation and resonance (with the various objects of physical reality being themselves a sub-frequency of this consolidation of qi-energy). Qi-energy was also considered the basis of human consciousness (or ‘spirit), it being a more rarefied manifestation of universal energy. From this primordial mixture of ‘light’ (yang) and ‘dark’ (yin) qi-energy the divine sky and broad earth was developed. Indeed, the yin and yang theory were found to be all-encompassing and could be used to explain even the ‘eight trigram’ (八卦) symbolism as found explained throughout the Classic ‘Book of Change’ (周易 - Zhou Yi). Although developed much later, the theory of yin-yang interaction and transformation proved to be highly adaptable throughout the entire genre of Chinese philosophical thought. By adopting a certain physical posture with the outside of the body, and providing the mind-set is calm and all-embracing, the way the qi-energy flows through the internal organs and bones of the inner body will be stimulated, enhanced and strengthened. This is exactly the technique that Hua Tou is conveying in this article. ACW (15.6.2021) During the end of the Eastern Han Dynasty, three outstanding medical scientists were born in China, known collectively as the "Three Magic Doctors of Jian'an" within the history books. Among them, Dong Feng (董奉) lived in seclusion at Lushan, leaving behind the popular ‘Apricot Forest’ (杏林 - Xing Lin) tales; Zhang Zhongjing (张仲景) wrote the "Treatise on Typhoid and Miscellaneous Diseases" (伤寒杂病论 - Shang Han Za Bing Lun), which is rigorous in theory and practical law, with both hailed as "Medical Sages" (医圣 - Yi Sheng) by later generations; whilst Hua Tuo (华佗) immersed himself deeply amongst the hidden culture of the people and travelled extensively throughout the Central Plains – climbing high mountains and exploring isolated peaks, traversing great rivers and exploring hidden valleys. The wisdom he acquired from the Great Sages he encountered on this journey allowed him to generate many medical miracles involving clinical diagnosis and treatment of ailments afflicting the internal and external body, as well as issues involving gynaecological and paediatric treatments. He is especially famous for his ‘Chuang Ma Fei San’ (创麻沸散) hemp-based method of ‘numbing’ the body (Clinical Anaesthetics) and laparotomy. Indeed, so famous are these Great Doctors that later generations of healers were often praised as being "Hua Tuo's rebirth" and "Yuanhua (元化) rebirth" (someone who ‘cures’ by profoundly understanding the ‘source’ of the illness), which shows the profound influence of those who possessed genuine medical knowledge within Chinese culture. Hua Tuo is known not only as a great medical scientist, but also a great health care expert. The Book of the Later Han · entitled ‘Hua Tuo Biography’ (华佗传 - Hua Tou Chuan) - states that when Hua Tuo was “One-hundred-years-old, he still maintained a magnificent appearance – with people considering him a genuine Immortal". It is also said that he lived to be 150-years-old – and that he stopped aging altogether when he reached 60-years-old! This is stated in the ‘He Fa Tong Yan’ (鹤发童颜) record. His disciples Wu Pu (吴普) and Fan A (樊阿) also lived to be more than 100-years-old. This being the case, what is the secret of health maintenance as developed and practiced by the genius doctor Hua Tuo? There is a story. It is said that when Hua Tuo was young, he went up a mountain to collect medicine. When he climbed halfway up the mountain, he found a cave. In the cave, two elderly Sages with white hair and long beards were talking about medicine. He stood outside the cave and listened attentively. Later, the two Immortals not only taught Hua Tuo many wonderful medical skills, but also passed him a set of fitness exercises that imitated the postures of the tiger (虎 - Hu), deer (鹿 - Lu), bear (熊 - Xiong), ape (猿 - Yuan), and crane (鹤 - He). These exercises are now recorded in the famous book entitled "Five Birds and Beasts Play" (五禽戏 - Wu Qin Xi). Due to the different living habits of these five animals, their activities have their own characteristics. They may be majestic and bold, or light and agile, calm and heavy, or changeable and unreasonable, or fly high independently. People are advised to imitate their postures as a form energy-boosting exercise, which indirectly exercises joints and viscera. It is through the movement of the limbs that the circulating energy of the whole body can flow smoothly, so that diseases are cured for longevity attained. Chinese medicine believes that ‘Wu Qin Xi’ is an effective exercise for health preservation. Modern medicine has also proved that ‘Wu Qin Xi’ is a set of medical gymnastics that stretches the muscles and joints of the whole body. While exercising the joints of the whole body, it can not only improve lung function and heart function - improving the oxygen supply to the myocardium - but also improves the cardiac excretion power which promotes the normal development of tissues and organs. As far as ‘Wu Qin Xi’ is concerned, it is not a set of simple gymnastics, but a set of advanced health-generating Qigong (气功) methodology. In this set of health-generating qigong, Hua Tuo organically combines the movement of the limbs with breathing, relaxation, correct posture and advanced awareness - and through the guidance of correct ‘intention’ - the body's rebellious qi and impure blood are returned to a normal and ‘pure’ state that promotes health. The older name for this type of profound exercise is ‘Dao Yin’ (导引) which emphasises ‘stretching’ the inner and outer body, whilst ‘guiding’ the inner and outer energy with an exact precision that builds health and a robust strength of mind and body. This is why ‘Taiji (太极), Xingyi (形意), Bagua (八卦) - and other fitness techniques of later generations - all have some association with this method. At the end of the Eastern Han Dynasty, the medical scientist Hua Tuo lived in an era when the theory of yin and yang (阴阳) and the five phases (五行 - Wu Xing) prevailed. Hua Tou explained "The theory of yin and yang and the five phases are models for defining and explaining everything in the world, and they integrate perfectly. When finally fixed and fully developed both these theories were absorbed into traditional Chinese medicine, whilst still being used in other fields. However, there was a time when the five phases ideal was first formulated, that some people ‘forget’ or ‘abandoned’ the yin and yang system. The reason is that the five phases are very profound and can explain all physiological and pathological phenomena in their own right – without the need to explicitly refer to the yin and yang system – even though the yin and yang continue to operate within the five phases!” Therefore, as Hua Tuo's compilation of ‘Wu Qin Xi’ is from the time of the emergence of the ‘five phases’ - it should be inspired by this theory – at least in its surface structure - and indeed it is! Firstly, Hua Tou specifically applied the theory of the five phases to the structural (outer) practice of health preservation (with the yin and yang theory continuing to operate ‘behind the scenes’). Secondly, according to the classification of the five phases in the "Internal Classic" (内经 - Nei Jing), the animal's form and spirit characteristics are analysed, and five animals (with special significance) are selected as objects of study. Hua Tuo has obviously made a deep and profound study of the "The Yellow Emperor's Internal Classic" (黄帝内经 - Huang Di Nei Jing) and is proficient in the theory of the five phases as used within Chinese medicine and the theory of energy-flow channels, internal organs and qi and blood. Hua Tuo said: "The yin and yang are the foundation of the divine sky and broad earth; whilst the five phases are the continuity of yin and yang. If there is no yin and yang, then there cannot be a divine sky and a broad earth, and without the five phases, there cannot be yin and yang. Heaven and earth manifest the five phases as Yin and Yang, and human beings have blood and five internal organs within the body that are directly linked to these outer processes. Hua Tuo realized that these physical exercises, when performed regularly and correctly, can reach deep inside the body structures and processes from the outside, and remove all blockages of muscular tension whilst ridding the mind of any unnecessary worries or concerns. The postures are so constructure that qi-energy that has become ‘blocked’ (as if stuck in the depths of a valley with no means of escape) is ‘shook-up’ so that the momentum of the inner circulation begins to strongly glow again! It is as if these animal postures provide different and varying gravitational forces on the outside of the body which stimulates the qi-flow on the inside of body – creating a strong ‘pulse’ throughout the system that is self-sustaining like a ‘water-wheel’! Shaking the body between each posture copies the behaviour of all the animals included. As a form of meditative study, Hua Tou used to sit and carefully watch each animal in its natural habitat to gain a better understanding of its natural mand and body manifestation. This is how he realised that each of the five animals' manifests in accordance with one of the five phases. From this observation it is understood that each animal represents one internal organ. According to the analysis of the internal organ theory of Chinese medicine – specifically the "five animals and five internal organs diagram" - (五禽五脏对应图 - Wu Qin Wu Zang Dui Ying Tu) there are five animals: tiger, deer, bear, ape, and bird. They are representative of the five phases of wood, water, earth, fire, and metal – this in-turn corresponds to the inner organs of the liver, kidney, spleen, heart, and lung (which are defined as the five internal organs). People should imitate the attitudes, postures and movements of each animal, an outer process of self-cultivation which indirectly exercises the internal organs, the so-called "Through adopting an external physical posture – the inner body is penetrated and transformed.” (超乎象外得其寰中 - Chao Hu Xiang Wai De Qi Huan Zhong). Here is a clear explanation of the fitness mechanism of Wu Qin Xi: through the movement of the limbs, the muscles, tendons, bones, and joints of the whole body are strengthened, and the inner energy is invigorated to achieve the function of strengthening the inner and outer body; At the same time, it can regulate the liver, kidney, spleen, heart and lungs as well as other internal organs, and play a self-cultivation role in opening the chest and regulating qi, dredging the energy channels, cure diseases and aid longevity. Modern medical research has proved that Wu Qin Xi is an effective exercise method. It can improve the function of the nervous system, improve the inhibitory and regulatory functions of the brain, and is beneficial in the repairing and regeneration of nerve cells. It can also improve lung function and heart function, improve myocardial oxygen supply, and promote the normal growth of tissues and organ repair. At the same time, it can also enhance the gastrointestinal activity and secretion function, promote digestion and absorption, and provide nourishment for all body activities. Chinese Language Sources:
http://blog.sina.com.cn/s/blog_60ca1b670102vvr6.html 跟着动物学功夫---名医华佗五禽戏 转载2015-09-22 21:38:38 东汉末年在我国诞生了三位杰出的医学家,史称“建安三神医”。其中,董奉隐居庐山,留下了脍炙人口的杏林佳话;张仲景撰写《伤寒杂病论》,理法谨严,被后世誉为“医圣”;而华佗则深入民间,足迹遍于中原大地和江淮平原,在内、外、妇、儿各科的临证诊治中,曾创造了许多医学奇迹,尤其以创麻沸散(临床麻醉药)、行剖腹术闻名于世。后世每以“华佗再世”、“元化重生”称誉医家,足见其影响之深远。 华佗不仅是位了不起的医学家,同时又是一位了不起的养生专家,《后汉书·华佗传》有华佗“年且百岁,而犹有壮容,时人以为仙”的记载,也有说他寿至一百五六十岁仍保持着六十多岁的容貌,而且是鹤发童颜的记载。他的弟子吴普、樊阿等也都活到了100多岁。那么神医华佗的养生秘诀是什么呢? 有这样一个故事,据说华佗年轻时一次上山采药,爬到半山腰时发现了一个洞穴,洞内有两位白发长须的仙人正在谈论医道,他就站在洞外听,直听得入了神。后来两位仙人不仅向华佗传授了许多奇妙的医术,还传给他一套健身功法,模仿虎、鹿、熊、猿、鹤的姿态去运动,这就是著名的“五禽戏”。由于这五种动物的生活习性不同,活动的方式也各有特点,或雄劲豪迈,或轻捷灵敏,或沉稳厚重,或变幻无端,或独立高飞。人们模仿它们的姿态进行运动,正是间接起到了锻炼关节、脏腑的作用。而正是通过肢体的运动才得以全身气血流畅、祛病长生。中医认为,五禽戏是一种行之有效的养生运动。现代医学也研究证明,五禽戏是一套使全身肌肉和关节都能得到舒展的医疗体操。它在锻炼全身关节的同时,不仅能提高肺功能及心脏功能,改善心肌供氧量,还能提高心脏排血力,促进组织器官的正常发育。就五禽戏本身来说,它并不是一套简单的体操,而是一套高级的保健气功。在这套保健气功里,华佗把肢体的运动和呼吸吐纳有机地结合到了一起,通过气功导引使体内逆乱的气血恢复正常状态,以促进健康。后代的太极、形意、八卦等健身术都与此有若干渊源。 东汉末医学家华佗所处的时代,是阴阳五行学说盛行的时代,“阴阳五行学说作为解释世界上一切事物的解释模式,最终在医学中被固定和继承了下来,而在其它领域则已逐渐消失。其原因是阴阳五行学说较为正确地说明了那些生理通病理现象。”所以,华佗编创五禽戏,应该是受到五行理论的启示,是五行理论在养生实践活动中的具体应用。其次,依据《内经》五行归类法,分析动物的形神特征,选取五种具有特殊意义的动物作为模拟对象。华佗对《黄帝内经》研究甚深,精通中医五行学说和经络、脏腑和气血理论。华佗说:“阴阳者,天地之枢机;五行者,阴阳之始终。非阴阳则不能为天地,非五行则不能为阴阳。故人者,成于天地,败于阴阳也,由五行逆从而生焉。天地有阴阳五行,人有血脉五脏。华佗意识到运动可以通达内外,通过对形体的“动摇”,就可以使脏腑内的“谷气得消”,使“血脉流通,病不得生”,所以,他依据《内经》五行归类法,在选择五禽的时候,从分析动物的形态与动作特征入手,有针对性地选取具有特殊意义的动物及其特征性的动作作为模拟的对象,每一禽戏归属五行的某一类,主一脏之调养。根据中医学的脏腑学说分析,从“五禽五脏对应图”来看,虎、鹿、熊、猿、鸟五种动物分属于木、水、土、火、金五行,对应于肝、肾、脾、心、肺、五脏。人们模仿它们的动作和神态进行锻炼,正是间接地起到了锻炼脏腑的作用,所谓“超乎象外,得其寰中”是也。这里清楚地阐明了五禽戏的健身作用机理:通过肢体的运动以使周身肌肉、肌腱、骨骼、关节功能加强,旺盛精力从而达到强身健体功能;同时还可以调节肝、肾、脾、心、肺等内脏,起到开胸理气、疏经通络、祛病长生的健身作用。现代医学研究证明,五禽戏是一种行之有效的锻炼方法。它能锻炼和提高神经系统的功能,提高大脑的抑制功能和调节功能,有利于神经细胞的修复和再生。它能提高肺功能及心脏功能,改善心肌供氧量,促进组织器官的正长发育。同时它还能增强肠胃的活动及分泌功能,促进消化吸收,为机体活动提供养料。 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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