| Author: | Unknown |
| Title Orig: | 性命雙修萬神圭旨 |
| Orig Lang Code: | zh |
| Country: | Ming dynasty (China) |
| Language: | Chinese |
| Genre: | Neidan, Daoism, Buddhism |
| Published: | 1615 |
| Native Wikisource: | 性命圭旨 |
| C: | 性命圭旨 |
| P: | Xìngmìng guīzhǐ |
| W: | Hsing4ming4 kui1-chih3 |
| J: | Sing3ming6 gwai1zi2 |
| Y: | Singmihng gwāiji |
| Kanji: | 性命圭旨 |
| Kana: | せいめいけいし |
| Romaji: | Seimei keishi |
| Hangul: | 성명규지 |
| Hanja: | 性命圭旨 |
| Rr: | Seongmyeong gyuji |
The (Chinese: 性命圭旨, Principles of Inner Nature and Vital Force) is a comprehensive Ming dynasty (1368-1644) text on ("internal alchemy") self-cultivation techniques, which syncretistically quotes sources from the Three teachings of Daoism, Confucianism, and Buddhism (particularly the Yogachara school), and is richly illustrated with over fifty illustrations that later texts widely copied. The classic has been republished for over four centuries, from its first woodblock edition in 1615 to digital versions in the present.
(Chinese: 性命雙修萬神圭旨, Principles of the Joint Cultivation of Inner Nature and Vital Force and of the Ten Thousand Spiritual Forces) is the full title of the (tr. Darga 2008: 1106). (Chinese: 雙修) denotes the "joint cultivation" of ("inner nature") and ("vital force"), which is the objective of Neidan schools (Esposito 2008: 906). Although the promulgates the (Chinese: 雙修, "joint cultivation") of and, it does not attach much importance to physiological practices and emphasizes the spiritual aspects of inner transformation (Darga 2008: 1107).
Both titles use the common Chinese word (Chinese: 性命, "life"; 8.9 average occurrences per million characters of text, Bishop 2016), and the rare, if not nonce, word (Chinese: 圭旨).
Unlike, is found in Chinese dictionaries. For instance, the unabridged monolingual (Comprehensive Chinese Word Dictionary), which is lexicographically comparable to the Oxford English Dictionary, defines three meanings for xingming:
The English translation equivalents of the title's and are informative.
(Chinese: [[Wikt:性|性]]):
(Chinese: [[Wikt:命|命]])
As its title suggests, the is
principally concerned with the "endowment" (often translated as "nature") and "vitality" (often translated as "life" or "life-span") of human life. Essentially, and together compose the most fundamental energy that animates the human body, and the purpose of this treatise is to return the secondary energies of the body to the primordial purity of this primary energy. (Little 2000: 348)
Compare the translation equivalents of and :
(Chinese: [[Wikt:圭|圭]])
The Qing scholar You Tong's preface to the 1670 says this (Chinese: 圭) character, composed of (Chinese: 土, "earth; soil; land") doubled, is a pun for the Inner Alchemical (Chinese: 黃庭, Yellow Court), see the Yellow Court Classic (Needham and Lu 1983: 231, referring to the word's "Neo-Confucian cloak").
(Chinese: [[Wikt:旨|旨]]):
Most Chinese characters are classified as phono-semantic compound characters, which combine a radical that suggests word meaning and a phonetic that roughly indicates pronunciation. The first meanings of and above are illustrative. (Chinese: [[Wikt:珪|珪]], written with the "jade" radical ⺩ and Chinese: 圭 phonetic), is an old variant character for (Chinese: 圭, "jade tablet or scepter"). (Chinese: 指, with the "hand" radical Chinese: 扌 and Chinese: 旨 phonetic; "finger; point (out), indicate; purport, aim; meaning, significance", Kroll 2017: 606) is an interchangeable variant character for (Chinese: 旨).
Scholars have translated the Chinese title in many ways:
These translations generally follow accepted philosophical meanings of (e.g., inner, human, spiritual nature) and (life, lifespan, vitality); while diverging on how to render (jade, talismanic, authoritative, superior, or untranslated) and (pointers [{{lang|zh|指}}], decrees, directions, principles). Kohn and Darga translate the full title .
The origins of the are obscure, but since it quotes several Ming dynasty writers, such as Luo Hongxian (1504-1564), it can be dated to the late 16th century (Little 2000: 349).
After its first edition in 1615, the was frequently republished; notably 1622 during the Ming dynasty, 1669 and 1670 during the Qing dynasty (1644-1912), in Ding Fubao's 1922 (Chinese: 道藏精華錄, Record of the Essential Splendors of the Daoist Canon), and in the Beijing White Cloud Temple's 1989 edition (Darga 2008: 1006). The text includes four prefaces, written by She Yongning (Chinese: 佘永寧, fl. 16th-17th century, dated 1615), Zou Yuanbiao (Chinese: 鄒元標 1551–1624, estimated 1622), You Tong (Chinese: 尤侗, 1618–1704, dated 1669), and Li Pu (Chinese: 李樸, ?- 1670, dated 1670) (Darga 2008: 1107).
The book's author remains unknown. These four early prefaces all say the text was written down by master Yin Zhenren's (Chinese: 尹真人, "Perfected Yin") gaodi: either literally (Chinese: 高弟, "high-level disciple; senior disciple") or the disciple's proper name Gao Di (Chinese: 高弟 or Chinese: 高第; compare other Gao Dis). The identities of both this master and his disciple are ambiguous (Darga 2008: 1106).
The name Yin Zhenren (Chinese: 尹真人, "Perfected [Master] Yin") combines the Chinese surname Yin with the standard Daoist ("Perfected Person") honorific term for a transcendent.
One authorial hypothesis is that Yin Zhenren conceivably dictated the through planchette writing or spirit writing. The Daoist Canon contains several texts supposedly produced from spirit-writing. Some examples are the (Chinese: 道迹靈仙記, Record of the Traces of the Dao Left by Numinous Spirits and Immortals), the (Chinese: 鳴鶴餘音, Echoes of Cranes' Songs), and the (Chinese: 徐仙翰藻, Literary Masterpieces of the Xu Immortals) (Despeux 2008: 428). If the was produced through spirit writing, two possible Daoist masters surnamed Yin are Yinxi (Chinese: 尹喜), a legendary gatekeeper who persuaded Laozi to write the before leaving China to travel West, and Yin Zhiping (Chinese: 尹志平, 1169–1251), the second patriarch of Quanzhen School Daoism (Burton-Rose 2009: 11).
Besides the, another Neidan text retrospectively attributed to Yin Zhenren or Yin Pengtou (Chinese: 尹蓬頭, "Disheveled Yin") is the (Chinese: 廖陽殿問答編, Questions and Answers of the [Eastern Cloister of the] Liaoyang Hall). Min Yide (Chinese: 閔一得) edited it around 1830 from a manuscript preserved in the Qingyang Daoist Temple in Chengdu (Needham and Lu 1983: 224, 234).
's lexical components are (Chinese: [[wikt:高|高]], "high; tall; eminent; surname"), (Chinese: [[wikt:弟|弟]],"younger brother; junior; [{{transl|zh|dizi}} {{lang|zh|弟子}}] disciple"), and (Chinese: [[wikt:第|第]], "indicator of ordinal numerals; sequence, order; rank, grade"). (Chinese: [[wikt:高弟|高弟]], "brilliant disciple; high-level student") and (Chinese: [[wikt:高第|高第]], "high-ranking [especially in [[Imperial examination|imperial civil-service examinations]]]") were sometimes used interchangeably.
She Yongming's first edition 1615 preface explicitly refers to (Chinese: 尹真人高弟弟子, "Yin Zhenren's disciple Gao Di"—using the name Di (Chinese: 弟) and (Chinese: 弟子, "disciple"). Both You Tong's 1669 (Chinese: 尹真人高弟) and Li Pu's 1670 (Chinese: 尹真人之高弟) descriptions can alternatively be read as "high disciple" or as "Gao Di". Zuo Yuanbiao's1622 forward (Chinese: 尹真人高第) writes Gao's given name as Chinese: 第 instead of Chinese: 弟. Needham and Lu translate Gao Di (Chinese: 高第) as a proper name (1983: 231).
One scholar tentatively identifies the disciple Gao Di with a Ming dynasty scholar. The 1739 History of Ming (257) records that Gao Di (Chinese: 高第) received a degree in 1589 and opposed the eunuch dictator Wei Zhongxian (Skar 2002: 198).
The syncretistic is notable for comprehensive explanations, numerous woodcut illustrations, and explicit depictions of the nine stages of transformation. The wide-ranging is praised by the historians of Chinese science Joseph Needham and Lu Gwei-djen as, "a treatise of substantial size which might be regarded as the of physiological alchemy [{{transl|zh|neidan}}]." (1983: 229).
The text is divided into four (Chinese: 集, "collections of writings; books"): (Chinese: 元, "primary"), (Chinese: 亨, "go smoothly"), (Chinese: 利, "benefit") and (Chinese: 貞, "loyal"), which is a Classical Chinese allusion to the first sentence of the commentary on Hexagram 1 (Chinese: 乾, "force; creative"): "The Creative works sublime success, furthering through perseverance" [{{lang|zh|乾元亨利貞}}]. (tr. Wilhelm and Baynes 1967: 4). These four books present an overview of basic principles.
Book 1 has twenty-three (Chinese: 說, "explanations; discourses; narrations") that outline the foundations of Internal Alchemy. Books 2-4 give diverse (Chinese: 口訣, "secret oral instructions") that explain practices in more detail; each book contains three main chapters, organized in correspondence with the Quanzhen (Chinese: 九節玄功, Mysterious Practice in Nine Stages) of internal alchemical transformation. All four books contain (Chinese: 圖, "illustrations; diagrams; charts") accompanied by short texts, frequently in the form of rhymed poems (Darga 2008: 1107). The textual organization "outlines the adept's progress in four clear parts." Book 1 begins with defining basic concepts and clarifying terms; Book 2, called "nourishing the original source," deals with cultivating and strengthening one's physical energies; Book 3 establishes an active relationship between the physical and the heavenly, described as the "union of [the trigrams] (☰) and (☰)"; Book 4 describes liberation from the world, when the Sacred Embryo develops and grows, "goes beyond all, and merges with emptiness". (Kohn 2000: 545).
The quotes from Confucian, Lao-Zhuang, Daoist, and Buddhist sources.
One of the main concerns of the is to lead the adept through the multitude of alchemical methods and writings to the core of the true path of . This core is to be sought at the basis of all phenomena and is proof of the undivided unity and the unchanging nature of the Dao. The author approaches this core from a variety of perspectives, employing a wealth of concepts but always returning to the central theme. He does not give any practical instructions for practicing inner alchemy, however; in fact, he dissociates himself from specific exercises, as these belong to the phenomenal domain from which he tries to lead away his readers. (Darga 2008: 1107)
In the Quanzhen lineages the is usually classified as belonging to the (Chinese: 北宗, Northern Lineage) or the (Chinese: 中派 Central Branch) of Ming and Qing . Its ideas are mainly based on Zhang Boduan's (Chinese: 張伯端, 987?-1082) (Folios on Awakening to Reality / Perfection) and Li Daochun's (Chinese: 李道純, fl. 1288–1292) (Chinese: 中和集, The Book of Balance and Harmony), and are also closely related to other Quanzhen School texts. (Darga 2008: 1107).
Despite the 's detailed coverage of Daoist Internal Alchemy, such as a "wonderful list of the chief varieties of the 'three thousand six hundred' techniques [{{transl|zh|pangmen}} ({{lang|zh|旁門}}, lit. "side door", "improper means"]" practiced by men and women adepts, many Western sinologists have misconstrued it. John Dudgeon (1895) mistook the text for a manual of gymnastics, while Richard Wilhelm and Carl Jung (1931) used it "iconographically without much understanding" (Needham and Lu 1983: 231). Wilhelm and Jung's The Secret of the Golden Flower used four illustrations— without citing the source—to depict the stages of meditation, for example, the uncredited Ying'er xianxing (Chinese: 嬰兒現形, Revealing the Sacred Embryo) illustration is on the first edition cover, although the book does not mention the Internal Alchemical ("sacred embryo, embryo of sagehood") concept.
The following four sample illustrations demonstrate the text's comprehensive treatment of Internal Alchemy. Two examples depict alchemical reaction-vessels and culturally symbolic animals, and two others show Daoist "inner landscape" diagrams of the human body.The first two examples, called the "Illustration of Bringing Together the Four Symbols" and "Illustration of the Marriage of the Dragon and the Tiger" both depict Chinese mythical animals and an alchemical cauldron, either round vessels with three legs or rectangular ones with four. In Outer Alchemy, the laboratory cauldron was originally used to heat elixir ingredients, while in later Outer Alchemy, Daoist practitioners semantically extended the word to mean the metaphorical cauldron allegedly located in the lower of the human body, wherein an adept cultivated the Three Treasures of Jing ("Essence"), Qi ("Breath"), and Shen ("Spirit").
The Four Symbols are mythological creatures appearing among the Chinese constellations along the ecliptic, and viewed as the guardians of the four cardinal directions. The Black Tortoise (an entwined tortoise and snake) of the North shown on the bottom, represents water and the kidneys; the Vermilion Bird of the South on the top, represents fire and the heart; the Azure Dragon of the East on the right, represents wood and liver; and the White Tiger of the West shown on the left, represents metal and the lungs (Little 2000: 349). This directional representation of top as bottom and right as left is inverted, "like so much else in physiological alchemy" (Needham and Lu 1983: 58).
This Four Symbols illustration shows the symbolical animals of the four directions surrounding and influencing the bodily alchemical crucible, here labeled (Chinese: 真意, "realized will"). The realized will is explained in the text as "the prime of the trigram [({{lang|zh|乾}}, ☰,) three unbroken {{transl|zh|yang}} lines], the mother of the heavens and the earth, the root of and, the source of water and fire, the ancestor of the sun and moon, the font of the three materials [the heavens, the earth, and humanity], and the progenitor of the Five Phases." (Little 2000: 349). In the top right inscription, the word (Chinese: 無漏, "not leaking"; or [Buddhist] "passionless", from Sanskrit) refers to that which "normally 'leaks out' through the sense-organs and other parts of the body" (Needham and Lu 1983: 252)
The "Illustration of the Marriage of the Dragon and the Tiger" (tr. Little), or "The Love-Making of Dragon and Tiger" (tr. Needham and Lu), title uses (Chinese: 交媾, have sexual intercourse; mate"). The Azure Dragon, symbol of, and the White Tiger, symbol of, are shown infusing their energies into the alchemical crucible. A girl dressed in blue-green robes rides the dragon, symbol of within, while a white-faced boy rides the tiger, symbol of within . (Needham and Lu 1983: 104). These images suggest the trigrams (Chinese: 離, ☲, two unbroken lines enclosing a broken line) and (Chinese: 坎, ☵, two broken lines enclosing an unbroken line), which represent toxic mercury and lead, the two fundamental elements transformed in Inner Alchemy. (Little 2000: 349). The dragon and tiger symbolizing the Yang and Yin was shown on many old Chinese numismatic charms and amulets (Needham and Lu 1983: 95).
The last two examples, called the Illustration of Broad Illumination and the Illustration of Reverse Illumination—or "Universal Radiance" and "The Glory of Reversion" (Needham and Lu)—show the inner landscapes of the anterior and posterior human body.
The front Illustration of Broad Illumination depicts a meditator sitting cross-legged, and shows three circles. His right hand holds a hare enclosed in a circle, symbolizing of the mythological moon rabbit, and his left hand holds a crow enclosed in a circle, an ancient symbol of the three-legged sun crow. On his forehead the three-character phrase (Chinese: 和性命, "to join endowment and vitality") is enclosed in another circle. These three circles represent the and energies of the body to the left and the right, and their union in the center. The crescent shown on the meditator's abdomen represents the alchemical reaction vessel in the lower ("cinnabar field; energy center") (Little 2000: 348). However, the 1615 first edition more complexly pictured the crescent above a rectangle and a crucible in the lower (see Wellcome Collection under External links). According to Needham and Lu, this illustration shows "the triumphant adept with the sun in one hand and the moon in the other, Yin and Yang united" within the elixir; and in this context, and the in means "vital internal warmth", thus, could be thought of as production centers of "animal heat" (1983: 95, 38).
The back Illustration of Reverse Illumination shows the vertebral column, which is flanked by the (anatomically misplaced) "kidneys" in the lower back; which are respectively labeled as (Chinese: 龍火, "dragon fire") on the right, a symbol of energy within the side of the body, and (Chinese: 虎水, "tiger water") on the left, a symbol of energy within the side of the body. The head circle, which corresponds to the "to join endowment and vitality" above, encloses the word (Chinese: 元神, "original spirit"), one of the sanyuan (Chinese: 三元, "three origins"), along with the (Chinese: 元精, "original essence" and yuanqi (Chinese: 元氣, "original breath"). (Little 2000: 348-349).0
This Reverse Illumination drawing shows twenty-four "vertebra", labeled with the traditional Chinese medical acupoint names for fourteen of the twenty-eight points on the (Chinese: 督脈) Governing Vessel, from GV-1 (Chinese: 長強, Long and Strong) to GV-14 (Chinese: 大椎, Great Vertebra), between the coccyx and the anus. This location is associated with the ancient Daoist sexual theory of male avoidance of ejaculation, called Huanjing bunao (Chinese: 還精補腦, "returning the semen to replenish the brain"); Daoist physiologists imagined that unejaculated (Chinese: 精, " semen; [medical] essence of life") could rise up the spine into the brain in order increase health and longevity (cf. the Indian susumna channel). The common method of preventing ejaculation was to apply pressure on the perineum, halfway between the anus and the scrotum, resulting in retrograde ejaculation redirecting semen into the urinary bladder, where it was subsequently voided. (Needham and Lu 1983: 231)
Click to enlarge, more images here.