Alchemy and Chinese Traditional Culture

Author: Zhang Rongming
Publisher:
Publishing Date: 2004-08-01
Features:
1. In ancient destiny arts, apart from the regular Five Elements (referring to the standard pairing of Heavenly Stems and Earthly Branches with the Five Elements, such as Heavenly Stem Jia and Yi belonging to Wood, Earthly Branch Hai and Zi belonging to Water, etc.), there is also a "Na Yin Five Elements." This "Na Yin Five Elements" typically combines the 60 Jia Zi cycle with the Five Pitches and Twelve Laws. The four characters from the 60 Jia Zi cycle represent a special Five Element, with the following rhyme:
Jia Yu Yi Chou (Sea of Metal), Bing Yin Ding Mao (Furnace of Fire), Wu Chen Ji Si (Great Wood), Geng Wu Xin Wei (Roadside Earth), Ren Shen Gui You (Sword-Edge Metal), Jia Xu Yi Hai (Mountain-Top Fire), Bing Zi Ding Chou (Brook of Water), Wu Yin Ji Mao (City-Top Earth), Geng Chen Xin Si (White Willow Metal), Ren Wu Gin Wei (Willow Wood), Jia Shen Yi You (Spring of Water), Bing Xu Ding Hai (House-Top Earth), Wu Zi Yi Chou (Thunderbolt Fire), Geng Yin Xin Mao (Pine and Bamboo Wood), Ren Chen Gin Si (Long River of Water), Jia Wu Yi You (Sand of Metal), Bing Zhong Ding You (Mountain-Bottom Fire), Wu Xu Yi Hai (Plain Wood), Geng Zi Xin Chou (Wall of Earth), Ren Yin Gin Mao (Gold Foil Metal), Jia Chen Yi Si (Repeating Light), Bing Wu Gin Wei (Heavenly River of Water), Wu Shen Yi You (Great Post Earth), Geng Wu Xin Hai (Hairpin Metal), Ren Zi Gin Chou (Mulberry Wood), Jia Yin Yi Mao (Great Stream of Water), Bing Chen Ding Si (Sand of Earth), Wu Wu Yi You (Heavenly Fire), Geng Zhong Xin You (Pomegranate Wood), Ren Xu Gin Hai (Great Sea of Water).
It is necessary to point out here that this versatile "Na Yin Five Elements" had already formed in the Han and Wei dynasties and was not introduced later with the emergence of the Eight Characters destiny art. The famous Qing scholar Qian Daixin conducted detailed research on this: The Five Elements of the 60 Jia Zi cycle are recorded in Shen Cunzhong's Bi Tan and Tao Jiucheng's Ce Geng Lu, but the sources cited only books from the Tang dynasty onwards, and many are unreliable. Qian had long been skeptical until he read Ba Pu Zi which stated: "According to Yu Ce Ji and Kai Ming Jing, they use the Five Pitches and Six Substances to determine a person's destiny. Zi and Wu belong to Geng, Mao and You belong to Ji, Yin and Shen belong to Wu, Chou and Wei belong to Xin, Chen and Xu belong to Bing, and Si and Hai belong to Ding. A single word reveals the 'Gong' and 'Earth' aspects. Three words reveal the 'Zhi' and 'Fire' aspects. Five words reveal the 'Yu' and 'Wood' aspects. Seven words reveal the 'Shang' and 'Metal' aspects. Nine words reveal the 'Jiao' and 'Wood' aspects." Yu Ce Ji and Kai Ming Jing were written by people from the Han and Wei dynasties, and it was then known that Na Yin was indeed an ancient method. The Na Yin Five Elements were originally an ancient practice. So, how did it come about? Qian Daixin believed that the origin of Na Yin lay in "Na Jia," which involved matching the Ten Heavenly Stems with the Eight Trigrams:
- Qian na Jia, Kun na Yi,
- Zhen (Youngest Son) na Geng, Xun (Youngest Daughter) na Xin,
- Kan (Middle Son) na Wu, Li (Middle Daughter) na Ji,
- Gen (Youngest Son) na Bing, Xue (Youngest Daughter) na Ding.
He also matched the Twelve Earthly Branches with the Eight Trigrams:
- Qian na Jia Zi, Wu na Wu Wu,
- Kun na Yi Wei, Xu na Kun Chou,
- Zhen na Geng Zi, Wu na Xin Chou,
- Kan na Wu Yin, Li na Ji Mao,
- Gen na Bing Chen, Xue na Ding Si.
Qian Daixin believed this "Na Jia" method was already popular during the Spring and Autumn period: "Jing Junming and Yu Lingsheng used it to interpret the I Ching. Spring and Autumn Annals records: 'When the Zhou historian divined for Chen Jingzhong, he got 'Guan' and 'Pi,' knowing he would replace the Jiang surname. The Confucian scholars said that six-four Xin Wei, Wei represents the sheep, Xun represents the youngest daughter, hence Jiang—this shows that the arrangement of Heavenly Stems and Earthly Branches on the Eight Trigrams was an ancient practice."
Next, Qian Daixin detailed the derivation of Na Yin from Na Jia, pointing out: "Na Yin also matches the 60 Jia Zi cycle with the Five Pitches. With the rotation of the three periods, they mutually correspond as 'Gong,' but in reality, they are based on the Heavenly Stems and Earthly Branches of the six trigrams—Zhen, Xun, Kan, Li, Gen, and Xue. The Five Pitches start with 'Gong,' which represents Earth. The Heavenly Stems and Earthly Branches of Zhen, Xun, Kan, Li, Gen, and Xue are thus the origin of the Five Pitches, belonging to Earth in terms of action and to 'Gong' in terms of pitch, which is the 'single word' revelation. Wu to Geng, Yi to Xin, Bing to Wu, Ding to Ji, Jia to Bing, and Yi to Ding, each separated by three positions, hence the 'three words' revelation. Bing to Geng, Ding to Xin, Jia to Wu, Yi to Ji, Ren to Bing, and Kun to Ding, each separated by five positions, hence the 'five words' revelation. Jia to Geng, Yi to Xin, Ren to Wu, Kun to Ji, Geng to Bing, and Xin to Ding, each separated by seven positions, hence the 'seven words' revelation. Ren to Geng, Kun to Xin, Geng to Wu, Xin to Ji, Wu to Bing, and Ji to Ding, each separated by nine positions, hence the 'nine words' revelation. Earth's pitch leads to 'Zhi,' while Fire and Water have slight pitch, and Metal and Wood have more pronounced pitch. Earth is first, Fire second, Water third, Metal fourth, and Wood fifth—the order of the Five Pitches from subtle to prominent. The sequence starts with one, the 'single word' is 'Gong,' representing Earth's pitch, which remains as the pitch mother. After eight positions, it returns to Wood, making twenty-four, and then transitions to Metal, using 'Shang' as the mother. Metal transitions to Water, using 'Zhi' as the mother. Fire transitions to Water, using 'Yu' as the mother. Water transitions to Wood, using 'Jiao' as the mother. Their sequences of mutual generation and rotation are all the same as those of 'Gong' pitch. For all 60 Jia Zi, they complete 120 cycles and return to the beginning, mutually corresponding as 'Gong,' in an endless loop, all rooted in Na Jia."
The quoted text is somewhat complex, but it greatly helps understand the origins and development of Na Yin Five Elements.
1. On (Eyebrows):
Shuowen Jiezi says: "Mao (eyebrows) are the hair above the eyebrows." Shi Ming says: "Mao are charming." Ancient face-reading believed eyebrows were the glory of the eyes, indeed a symbol of dignity. If the eyebrows are broad, clear, long, evenly parted, and full at both ends, high on the forehead, then such eyebrows are of the highest quality. Eyebrows occupy a small area on a person's face, but lying above the eyes, they reveal much. The Qing dynasty book Xiang Li Heng Zhen summarized eyebrows as follows:
- Green eyebrows entering the hairline, reaching high official rank.
- Eyebrows like a crescent moon, wealth and food without end.
- High and prominent eyebrows, great authority and wealth.
- Long and hanging eyebrows, long life is certain.
- Lustrous eyebrows, easy to obtain official posts.
- Eyebrows like a crescent moon, surpassing intelligence.
- Long eyebrows surpassing the eyes, loyal and with wealth.
- Fine eyebrows, either virtuous or noble.
- Eyebrows entering the hairline, clever and bright.
- Eyebrows like a bow, kind and not aggressive.
- High and straight eyebrows, destined for a clean position.
- Clear and long eyebrows, fame across the four seas.
- Clear and colorful eyebrows, solitary and lofty.
- Uneven eyebrows, early return to poverty.
- Sweeping eyebrows like brooms, fleeting kindness.
- Short eyebrows than eyes, solitary nature.
- Eyebrows like a crescent moon, good deeds and chastity.
- Red and yellow hues, prosperity and joy.
- Eyebrows not covering the eyes, wealth and people scattered.
- High eyebrow ridges, long exposed to storms.
- Scattered and thick low eyebrows, lifelong poverty.
- Connected eyebrows, difficult to full lifespan.
- Eyebrows with fine hair, firm lifespan.
- Broken forehead lines, many hardships.
- Long eyebrows than eyes, harmonious brothers.
- Broken eyebrows, scattered brothers.
- Short and insufficient eyebrows, scattered and lonely.
- Inverted eyebrows, discordant brothers.
- Wavy forehead lines, more women than men.
- Elegant eyebrows with harmonious spirit, must enjoy tranquility.
- Fine eyebrows, many skills.
- Black spots in the middle of eyebrows, must have skills.
- Eyebrows like a crescent moon, fame spreads far.
- Long eyebrows than eyes, five to six brothers.
- Eyebrows like brooms, eight to nine brothers.
- Equal to eyes, one or two brothers.
- Shorter than eyes, few brothers, even if a pair, not of the same womb.
Ancient face-reading books also provided detailed illustrations and analyses of various types of eyebrows, such as:
- Jing Qing Mao (Clear Mao), Jian Dao Mao (Sword Mao),
- Short and Elegant Mao, Zi Fu Mao (Eight-Face Mao),
- Xuan Luo Mao (Spiral Mao), Long Mao (Dragon Mao),
- San San Mao (Scattered Mao), Luo Han Mao (Buddha Mao),
- Sao Zhou Mao (Broom Mao), Su Duan Mao (Sparse Mao),
- Jian Mao (Sword Mao), Qian Qing Hou San Mao (Clear Front, Sparse Rear Mao),
- Liu Ye Mao (Willow Leaf Mao), Jiao Jia Mao (Interwoven Mao),
- Gui Mao (Ghost Mao), Shi Mao (Lion Mao),
- Yi Zi Mao (One-Zi Mao), Xie Yue Mao (Crescent Mao),
- Xiao Sao Zhou Mao (Small Broom Mao), Wo Chan Mao (Caterpillar Mao),
- Hu Mao (Tiger Mao), Qing Mao (Clear Mao),
- Jian Du Mao (Broken Mao), Da Duan Cu Mao (Very Short Mao), etc.
Face-reading books believed: "To examine officials, look at eyebrows; to examine scholars, look at eyes." They also said: "Fame lies in the eyebrows." In the early Tang dynasty, Cen Wenben was highly talented. Emperor Taizong appointed him as Zhongshu Shilang and co-authored Zhou Shi with others. The records state: "When the emperor was in Jiuzhong Palace, Yuan Tianfang examined Cen Wenben and said: 'Your skin is as smooth as tender bamboo, your eyebrows surpass your eyes—someday your literary fame will surpass the world.'" This shows that if one aims to achieve fame and fortune through writing, one must have well-formed eyebrows.
Good eyebrows have color, "like Yao's eyebrows with eight colors, Zhongfeng Master's eyebrows with five colors, ancient eyebrows with hidden colors, Dongfang Manqian's eyebrows with purple colors; thus, when discussing colorful eyebrows, they are rare in face-reading. Monks and Taoists who possess them become masters; scholars who possess them hold high offices; commoners who possess them enjoy prosperous offspring and wealth. If eyebrows have color, even if other facial features are not harmonious, they can stabilize one's destiny."
So, what state qualifies as having colorful eyebrows? Face-reading books described it very specifically: "Eyebrows are charming, the brilliance of the eyes, the splendor of the face. Those with three or four layers of color are rare; those with one layer have a deep, bright color, with (undulations) and (spiritual light); or fine and elegant in thickness, or clear and deep in subtlety, with layers of (undulations), as if soaring in dance at a glance—indicating wealth and longevity. From the Wei and Jin dynasties onwards, Feng Shui (Kan Yu) art flourished, with new masters emerging and countless works being produced. By the Tang and Song dynasties, Feng Shui split into two major schools. According to records, later practitioners of land divination divided into two factions: one was the Ancestral Temple Method, originating in Fujian, with a long history, and became popular during the Song dynasty when Wang Cui promoted it. Its theory focused on stars and hexagrams, with (Yang mountain, Yang direction) and (Yin mountain, Yin direction) not conflicting. It purely used the Five Elements in hexagrams to determine life-and-death relationships. This school spread in Zhejiang but is now rare in Sichuan. The other was the Jiangxi Method, pioneered by Yang Yunsong, Zeng Wendi, and their followers like Rui Daju and Xie Ziye, who were particularly skilled in it. Its theory focused on form, tracing the origin and positioning the direction, emphasizing the matching of dragon mounds, sand, and water, disregarding other taboos. This school is now widely practiced across Jiangnan and northern China. Feng Shui art, in general, falls into the two schools of form and direction. Those speaking of form are now called Luan Tou (Mountain Heads); those speaking of direction are now called Li Qi (Theory of Qi). During the Tang and Song dynasties, people followed different sects, establishing their own schools and not using each other's methods. Simply put, there are the two major factions of Jiangxi and Fujian. The former focuses on mountain shapes and terrain, using the matching of dragon mounds, sand, and water to determine auspicious and inauspicious fates, hence the Form School, also known as the Luan Tou School. It is said that the founders were Yang Yunsong and Zeng Chuan (or Di), with later followers like Rui Daju and Xie Ziye. The latter focuses on Li Qi and star hexagrams, using the Eight Trigrams and Five Elements to determine life-and-death and auspiciousness, hence the Direction School, also known as the Li Qi School. The origins of the Li Qi school are very ancient, and it became widely practiced during the Song dynasty when Wang Jin promoted it. By the Ming and Qing dynasties, the Luan Tou school had clearly gained dominance over the Li Qi school, and the saying that "Jiangnan and northern China all follow it" is not purely exaggerated. Since Feng Shui art split into factions, each naturally established its own flag and attacked the other. The faction that believed in Luan Tou and form often criticized Li Qi and star hexagrams as vain: "The Five Elements of the Nine Stars are unreliable, and auspiciousness and inauspiciousness are uncertain"; "If water bends with sentiment, it is auspicious even without stars"; "If mountains are slanted and broken, even if they match hexagrams, what use are they?" The faction that believed in Li Qi and star hexagrams was not to be outdone, often retorting: "Without understanding hexagram examples, how can one bury the dead? You have misled countless people." They also argued from a theoretical perspective: "Form is observed with the eyes, but Qi must be analyzed with theory." If each faction attacks the other's weaknesses with such vigor, it becomes difficult to reach mutual understanding. Therefore, some Feng Shui masters emerged to moderate between the Luan Tou and Li Qi schools, saying: "Luan Tou without Li Qi is not accurate, and Li Qi without Luan Tou is not effective—originally, they are meant to be combined. This merely means Luan Tou and Li Qi are mutually indispensable. If one leans too heavily on one side, there will be 'inaccuracy' and 'ineffectiveness.'" The Qing scholar Zhang Xinyan further elaborated: "Those who do not understand Luan Tou cannot speak of Li Qi; those who do not understand Li Qi cannot speak of Luan Tou. Those skilled in Luan Tou naturally master Li Qi; those skilled in Li Qi naturally master Luan Tou. Beyond Luan Tou, there is no Li Qi; beyond Li Qi, there is no Luan Tou. This is equivalent to saying that as long as one masters Luan Tou theory to the extreme, one can naturally integrate and comprehend Li Qi theory. And vice versa."