《上清含象鉴剑图》

Composed by Sima Chengzhen of White Cloud, Tiantai.

The “Four Regulations” method relies entirely on marvelous techniques; extraordinary events that one might encounter only once in a thousand years can be obtained only with the aid of the crow’s shadow. The mirror is able to contain light, reflect objects, and reveal forms and appearances. Although people can see its form, they rarely understand its system of symbolizing heaven and earth and communicating with the spirits.

The marvelous quality of the mirror lies in this: internally it is condensed, firm, and solid, quiet and peaceful; externally it is bright, clean, and lustrous, so that a person looking into it can clearly see himself. It reflects the myriad things yet does not store them within itself. The mind of the perfected person (one who has attained the Dao) thereby becomes even more manifest; the mirror reveals forms and shadows and can also cause the subtle transforming appearances to reappear. This is the so-called Dao (the Way) of maintaining chastity and rectitude while discerning clearly, as well as the manner in which the spirits manifest with uprightness. Of treasures worthy of being held and cherished, none is more important than the mirror: it enables one both to see oneself and to observe the myriad things.

This mirror is round on the outside and square on the inside, taking as its model the images of heaven and earth. Within the mirror are arranged the yao images and gua images, fully presenting the transformations of Yin-Yang. The essence of the sun is symbolized by the Li trigram representing the sun, and the essence of the moon by the Kan trigram representing the moon; the movements of the stars and the transformations of the Five Phases (wuxing) run through the Seven Luminaries (the sun, the moon, and the five planets of Metal, Wood, Water, Fire, and Earth). Thunder and lightning are placed at the Mao position, using the Zhen trigram to symbolize thunder; heaven and the abyss are placed at the You position, using the Dui trigram to symbolize the marsh. Cloud Qi (vital energy) is distributed according to the Bagua (Eight Trigrams), and the seasonal markers operate according to the four seasons—these all serve to express the patterns of celestial phenomena.

The orientations of the mirror circulate and are laid out like water, pouring into the secluded and distant places of the four directions. Internally is placed the Lianshan gua image, used to mark the Five Sacred Mountains. The Qi of mountains and marshes communicate with each other, and the myriad things are thereby able to manifest; this is the manner of expressing the patterns of the earth. The inscription consists of four sentences whose principles correspond to the Three Powers of heaven, earth, and humanity; by extending according to this format, one can comprehend the meaning contained therein. This employs writing to explain the patterns of human affairs. Therefore it is called the Hanxiang Jian (Mirror Containing Images), probably summarizing these meanings. The inscription is carved on the box, allowing one to carefully observe the symbols presented by this object.

Golden Turtle on Green Ground

Preface to the Jingzhen Sword

The Jing (essence) of Yang manifests as “Jing,” while the Qi (vital energy) of Yin operates through “Zhen,” and so it is called “Jingzhen,” expressing that it possesses both the Jing (essence) and Qi (vital energy) of Yin-Yang. From this it may be known that the material of the object itself accords with the images engraved upon it, and that Qi (vital energy) and form can likewise communicate with one another; when the moment of its use is fitting, it can display majestic spiritual power and produce efficacious responses.

The principle of employing spirits in place of one’s own physical form is already found in the standard liturgies (Keyi) of Daoism; yet the principles for subduing ghosts and demons and crushing evil influences are seldom seen in special designs of ritual implements. This is why the face of this sword accords with Yin-Yang and why its engraved images take their models from heaven and earth. In celestial imagery, the Kui star and Tiangang form the sword’s tip; in terrestrial imagery, thunder and lightning stand for the sword’s edge. Where Tiangang arrives, what cannot be subdued? When thunder and lightning rage, what cannot be destroyed? Worn upon the person, it can guard both the inner and the outer; employed against affairs, it can, according to the circumstances, exert the power of commanding humans and ghosts.

Imperial Commentary and Poem by Emperor Xuanzong of Tang

The emperor commented: “The presented Mingzhao precious swords and other items have been received. They contain the radiance of the sun and moon and bear the symbols of the Bagua (Eight Trigrams), sufficient to let brightness continue benevolent longevity and also able to make the divine sword of Fengcheng display its splendor. That you cherish and wear them makes me feel ashamed; therefore I have composed a poem in four rhymes.”

The precious sword’s brightness illuminates heaven and earth; the divine sword’s form accords with Yin-Yang.

The sun and moon attach themselves and their radiance appears; the stars and constellations array themselves into patterns.

It illuminates appearance and reveals material quality; worn on the body, it can serve as personal protection.

Henceforth constantly appreciate and enjoy it, long preserving De (Virtue/Power) and longevity.

Memorial on Presenting the Hanxiang Jian Cast by Celestial Master (Tianshi) Sima

Your servant has heard that when mountains and rivers meet a suitable opportunity they can still manifest auspicious omens; when plants and trees accord with the times they too sometimes present auspicious signs. How much more so that your servant is fortunate to have been born in a flourishing dynasty and has long resided in a stable and prosperous environment; should a marvelous object be obtained, it naturally ought to be presented to the court.

Memorial on Presenting the Hanxiang Jian Cast by Celestial Master (Tianshi) Sima

I have heard that even the mountains, rivers, and Five Sacred Peaks, when they meet with a fitting moment, can still manifest auspicious omens; that grasses and trees, following the fortune of the times, may at times display lucky signs. How much more so for me, born into a flourishing dynasty and long dwelling among gatherings of the people: if I obtain something extraordinary, I ought to present it to the court.

I previously obtained a Hanxiang Jian, a “Mirror Containing Images” that encompasses the myriad phenomena of heaven and earth, which the Tang Celestial Master (Tianshi) Sima cast for Emperor Minghuang. It has been handed down through my family for generations and treasured for many years. This mirror is round on the outside, modeled on Heaven, and square on the inside, modeled on Earth. It employs the Kan and Li trigrams to correspond to Water and Fire, and likewise to the sun and moon; it uses cloud-qi to represent mountains and rivers; on the right it marks the positions of Heaven and the abyss, and on the left it displays the majesty of thunder and lightning. The Bagua (Eight Trigrams) are arranged in full, encompassing the four cardinal directions and the four intermediate corners. It embraces the great Dao (the Way) between Heaven and Earth, and with its power overawes evil spirits and demons. For this reason it is called “Containing Images,” so as to answer to the Supreme One. The design of the mirror is secretly preserved among the Daoist Keyi (liturgy) scriptures (the Mysterious Liturgies), and related records are also found in the Daozang.

I reflect that I come from a household of woodcutters and fishermen, of ordinary endowment, yet I have been fortunate enough to receive Confucian instruction and to enjoy a peaceable governance like that of Yao and Shun. This mirror truly ought not remain hidden any longer; it should be presented openly. Therefore I respectfully submit it together with this memorial, daring to trouble the imperial ear. I am filled with trepidation and awe, waiting in fear and trembling upon the Emperor’s command.

In the tenth month of the second year of Jingde, your servant Wu Ji presents this memorial.

The Method of Casting Sword-Mirrors and the Medicinal Materials Required

To cast swords and mirrors, one must use superior iron that has been refined a hundred times. However finely the iron is refined, if one does not have silver obtained by refining cinnabar together with “gou-iron” (the material used to refine and combine with the finest iron), it cannot be called a superior sword. Tradition holds that the divine swords and divine mirrors of high antiquity originated when the Yellow Emperor Xuanyuan obtained the method from Lord Shenxu; it was then transmitted to Zuoqiuzi, Jingye, Ganjiang, Lord Qixiao of Wu and Yue, and others, all of whom understood the methods for making numinous mirrors and spirit swords. Later generations, unless they refine cinnabar into silver and then combine it with refined iron, will find it difficult to complete the casting.

Nowadays one first uses fire to refine cinnabar into silver, then refines the iron, and mixes the two together. One selects the year, month, day, and hour, and follows the preceding diagrams to make the sword-mirror; one must also draw an unfolded plan according to the dimensions. Sword-mirrors differ in size, and their manufacture each has its own measures and rules.

The Method of Refining Cinnabar into Silver

Take half a jin of superior mountain-and-marsh silver, half a jin of cinnabar, half a jin of lead powder, and half a jin of mercury.

Pound the aforementioned materials evenly with a pestle, place them in a porcelain container, and wrap the outside with a layer of dough about three fingers thick. Put this into a steamer filled with sand and steam it for seven days. After cooling, take it out; it will have become superior silver. Then seal it tightly in a clay vessel, place it in an ash pit, and nourish the fire for fourteen days. When the period is complete, refine it with a fire of five jin, take it out, cover it with salt, and blow air to aid combustion. In this way a precious treasure is produced.