《儒门崇理折衷堪舆完孝录》Vol. 4

Can these things really all be called inauspicious signs? Claims such as “Opening the Celestial Aperture,” “The White-Day Mirror Chart’s Cycle,” “The Mysterious Chart’s Cycle,” and “The Heavenly Blessing Scripture’s Cycle” are even more seriously confusing to the world and deceiving people. Their proponents invent elaborate labels to make their claims sound sensational. When speaking of good fortune, they use names such as “Heavenly Emolument,” “Heavenly Blessing,” “Heavenly Virtue,” and “Heavenly Wealth,” continually stirring up people’s desire for gain. When speaking of danger, they use names such as “Heavenly Grief,” “Heavenly Resentment,” “Heavenly Calamity,” and “Heavenly Disaster,” leaving people fearful and unsettled. If asked how these claims relate to the Five Phases, generation and control, or the waxing and waning of Yin-Yang, there is no reason in them at all. Is the reasoning of the Luo River Writing not trustworthy enough? Do the Purple-White Nine Stars—a divinatory system derived from the Nine Palaces and nine colors—have some separate set of principles?

Where there are things, there are images, and so each of the Nine Palaces has its own color. Where there are images, each has its own attributes, and the principles of the nine colors are established accordingly. Where there are directions, stellar Qi comes to rest in each palace, and the cycle continues unceasingly through day and night. When stellar Qi arrives, it moves both forward and backward, and the changes of winter and summer transform into one another. Since Heaven and Earth exist, Heaven, Earth, and humanity stand together as the Three Powers; thus each of the Three Cycles governs its corresponding season. The flow of Qi also has continuity and return: the Six Jia, formed from combinations of the Heavenly Stems and Earthly Branches, cycle among themselves and eventually return to their starting point.

Chen Xiyi (Chen Tuan) therefore explained the principles through diagrams. At the winter solstice, Jiazi begins in the Kan Palace and proceeds through the Nine Palaces, showing Yang Qi beginning to grow. At the summer solstice, Jiazi begins in the Li Palace and moves backward through the nine colors, showing Yin Qi beginning to emerge. In this way, the waxing and waning of Yin-Yang can be discerned, and the generation and control of the Five Phases have a clear basis. To abandon principles that have already been explained and boast of secret methods never taught to others is like painting human figures: it is hard to deceive people with things everyone can see. But when painting demons and monsters, it is easy to frighten people with things they have never seen.

I have tried to use the Luo River Writing to explain the principles of the Nine Palaces and Eight Trigrams, and to reveal the patterns of generation and control among the Five Phases and the waxing and waning of Yin-Yang. Would not biased, false claims that evade sound principles be exposed at once? Alas, the state selects scholars through examination essays on the Confucian classics, leaving them no time to attend to this kind of learning. That is why such claims have had the chance to multiply and confuse people’s minds. If one can calmly observe the forms of the four cardinal directions and five positions, understand the distinct attributes of Metal, Wood, Water, and Fire, and then examine how stellar Qi circulates, flies about, and lies hidden, weighing the effects of its advance and retreat, waxing and waning, then even the rising and descending of the Qi of Heaven and Earth, and the bending and extending of the Qi of spirits and ghosts, cannot exceed the principles encompassed by this diagram. I therefore set out below, in order, the main points of this subject.

One White is located in the Kan Palace. Its phase is Water, and it is Yang Water.

One White Water is born in Shen, declines in You, flourishes in Zi, and enters the tomb in Chen. It is in a state of extinction in the Xun and Si directions. Metal is its Seal Star, Earth its Seven Killings, Wood drains its Qi, Fire is its Wealth Star, and Water is of the same kind. Winter is the season when One White Water is in command; in spring it is at rest and weakened, in summer it is constrained, in autumn it receives support, and when Earth is strong in the four seasons it is controlled. If the Heavenly Stems and Earthly Branches of the year, month, day, or hour belong to Metal or Water, then it is considered to have Qi. Being in a place of birth and flourishing is auspicious; being in a tomb or place of extinction is inauspicious.

Two Black is located in the Kun Palace. Its phase is Earth, and it is Yin Earth.

Two Black Earth is born in Shen, declines in You, flourishes in Wu and Si, and enters the tomb in Chen. It is in a state of extinction in the Xun and Si directions. Fire is its Seal Star, Wood its Seven Killings, Metal drains its Qi, Water is its Wealth Star, and Earth is of the same kind. The four seasons are when Two Black Earth is in command; in autumn it is at rest and weakened, in winter it is constrained, in summer it receives support, and in spring it is controlled. If the Heavenly Stems and Earthly Branches of the year, month, day, or hour belong to Fire or Earth, then it is considered to have Qi. Being in a place of birth and flourishing is auspicious; being in a tomb or place of extinction is inauspicious.

Three Blue is located in the Zhen Palace. Its phase is Wood, and it is Yang Wood.

Three Blue Wood is born in Hai, declines in Zi, flourishes in Yin and Mao, and enters the tomb in Wei. It is in a state of extinction in the Kun and Shen directions. One account states that it has Qi when it encounters the month, day, or hour; being in a place of birth and flourishing is auspicious, while being in a tomb or place of extinction is inauspicious.

Water is the Seal Star of Three Blue Wood, Metal its Seven Killings, Fire drains its Qi, Earth is its Wealth Star, and Wood is of the same kind. Spring is the season when Three Blue Wood is in command; in summer it is at rest and weakened, in the four seasons it is constrained, in winter it receives support, and in autumn it is controlled. If the Heavenly Stems and Earthly Branches of the year, month, day, or hour belong to Water or Wood, then it is considered to have Qi. Being in a place of birth and flourishing is auspicious; being in a tomb or place of extinction is inauspicious.

Four Green is located in the Xun Palace. Its phase is Wood, and it is Yin Wood. Another account holds that it moves in reverse and is born in Wu.

Four Green Wood is born in Hai, declines in Zi, flourishes in Yin and Mao, and enters the tomb in Wei. It is in a state of extinction in the Kun and Shen directions. Water is its Seal Star, Metal its Seven Killings, Fire drains its Qi, Earth is its Wealth Star, and Wood is of the same kind. Spring is the season when Four Green Wood is in command; in summer it is at rest and weakened, in the four seasons it is constrained, in winter it receives support, and in autumn it is controlled. If the Heavenly Stems and Earthly Branches of the year, month, day, or hour belong to Water or Wood, then it is considered to have Qi. Being in a place of birth and flourishing is auspicious; being in a tomb or place of extinction is inauspicious.

The Five Yellow belongs to Earth. When the Earth position is disturbed, this is called “clashing with Earth.” The Five Yellow is born in Shen, declines in You, flourishes in the hours of Wu and Si, enters the Tomb in Chen, and loses its Qi in the Xun and Si directions. When it encounters Fire, Fire generates Earth, so this is called “Resource.” When it encounters Wood, Wood overcomes Earth, so this is called “Killer.” When it encounters Metal, Earth generates Metal, so this is called “Drain.” When it encounters Water, Earth controls Water, so this is called “Wealth.” When it encounters Earth, its own kind lends support, so this is called “Peer.” When Earth is strong in the four seasonal transitions, the Five Yellow is in season. It is weak in autumn, constrained in winter, supported in summer, and controlled by Wood in spring.

In years, months, days, and hours when Fire and Earth are strong, the Five Yellow has force. It is auspicious in places where it is born or flourishing, and inauspicious in places of Tomb or extinction.

The Six White is located in the Qian direction. Its Five Phase is Metal, and it is Yang Metal. It is born in Si, declines in Wu, flourishes in Shen and You, enters the Tomb in Chou, and loses its Qi in Yin and the Gen direction. When it encounters Earth, this is Resource; Fire, Killer; Water, Drain; Wood, Wealth; and Metal, Peer. It is in season in autumn, weak in winter, constrained in spring, supported when Earth is strong during the four seasonal transitions, and controlled by Fire in summer.

In years, months, days, and hours when Earth and Metal are strong, the Six White has force. It is auspicious in places where it is born or flourishing, and inauspicious in places of Tomb or extinction.

When the Seven Red encounters Wood, this is Wealth; when it encounters Metal, Peer. It is in season in autumn, weak in winter, constrained in spring, supported when Earth is strong during the four seasonal transitions, and controlled by Fire in summer. In years, months, days, and hours when Earth and Metal are strong, the Seven Red has force. It is auspicious in places where it is born or flourishing, and inauspicious in places of Tomb or extinction.

The Seven Red is located in the Dui direction. Its Five Phase is Metal, and it is Yin Metal. Another account holds that it moves in reverse and is born in Zi. It is born in Si, declines in Wu, flourishes in Shen and You, enters the Tomb in Chou, and loses its Qi in Yin and the Gen direction. When it encounters Earth, this is Resource; Fire, Killer; Water, Drain; Wood, Wealth; and Metal, Peer. It is in season in autumn, weak in winter, constrained in spring, supported when Earth is strong during the four seasonal transitions, and controlled by Fire in summer.

In years, months, days, and hours when Earth and Metal are strong, the Seven Red has force. It is auspicious in places where it is born or flourishing, and inauspicious in places of Tomb or extinction.

The Eight White is located in the Gen direction. Its Five Phase is Earth, and it is Yang Earth. Another account holds that it lodges in Yin.

Things belonging to Earth are born in Shen, decline in You, reach their peak during the Wu and Si hours, enter the tomb in Chen, and have their Qi exhausted in the Xun and Si directions. If Fire appears in the year, month, day, or hour, it is Earth’s seal star, indicating that Earth’s Qi has a root and receives support. Being in a place of birth and flourishing is auspicious; being in a place of tomb or extinction is inauspicious.

The Eight White Star is located in the Gen direction (northeast) and belongs to Yang Earth among the Five Phases. Another view holds that Earth’s Qi resides in Yin.

Things belonging to Earth are born in Shen, decline in You, reach their peak during the Wu and Si hours, enter the tomb in Chen, and have their Qi exhausted in the Xun and Si directions. Fire is the seal star; Wood is the Seven Killings; Metal drains Qi; Water is the wealth star; and Earth provides support through its own phase. The months of the four seasons, when Earth is in command, mark the star’s peak. In autumn it rests, in winter it is confined, in summer it is affected by the Qi of wealth, and in spring it is overcome by Wood Qi.

If the year, month, day, or hour belongs to Fire or Earth, this indicates that Earth’s Qi has a root and receives support. Being in a place of birth and flourishing is auspicious; being in a place of tomb or extinction is inauspicious.

The Nine Purple Star is located in the Li direction (south) and belongs to Fire among the Five Phases.

Things belonging to Fire are born in Yin, decline in Mao, reach their peak during the Si and Wu hours, enter the tomb in Xu, and have their Qi exhausted in the Qian and Hai directions. Wood is the seal star; Water is the Seven Killings; Earth drains Qi; Metal is the wealth star; and Fire provides support through its own phase. Summer is when the star is in command and at its peak. In the months of the four seasons it rests; in autumn it is confined; in spring it is affected by Metal Qi; and in winter it is overcome by Water Qi.

If the year, month, day, or hour belongs to Wood or Fire, this indicates that Fire’s Qi has a root and receives support. Being in a place of birth and flourishing is auspicious; being in a place of tomb or extinction is inauspicious.

Translator’s note: The rules for the Yin and Yang phases of the Five Phases as they proceed in forward or reverse order are based on the pairing of the heavenly stems and earthly branches. As for the stars and baleful influences of the Nine Palaces, Wood, Metal, and Earth each have Yin and Yang forms, while Water and Fire each have only one. At the beginning of creation, only Water and Fire stood in opposition. Therefore, the tomb and extinction positions discussed above are all inauspicious.

The Five Phases are assigned according to the pairing of the Heavenly Stems and Earthly Branches, with distinctions between Yin and Yang and between forward and reverse cycles. Yet among the Five Phase attributes of the stars and Sha in the Flying Stars of the Nine Palaces, Wood, Metal, and Earth are each divided into Yin and Yang types, while Water and Fire each have only one type. This arrangement is unreasonable. Before Heaven and Earth were separated, when all things first emerged, only Water and Fire stood in opposition. Thus, in the Earlier Heaven Bagua, Water and Fire correspond to the gates of the sun and moon; in the Later Heaven Bagua, they correspond to the two extremes of the winter and summer solstices. Since Water and Fire are not divided into two types, Wood, Metal, and Earth should not each be divided into two types either.

Yang has greater force, while Yin has less; Yin follows Yang, just as a wife follows her husband. Therefore, when discussing the Five Phases’ birth, flourishing, tomb, and extinction, one should not further divide them into forward and reverse cycles. For example, the traditional account says that Wu Earth is born in Yin and Ji Earth in You. But the fundamental principle of the Five Phases is that Earth lies where Fire and Metal meet—that is, at the transition from summer to autumn. From this point the seasons turn in succession, and all things continually grow and ripen. On this basis, Earth should properly be said to be born at Kun-Shen, the Shen position in the southwest.

The Five Phase principles governing the directions of the Nine Palaces’ Purple-White stars are the same: Earth lies between Fire and Metal at the transition from summer to autumn, when the seasons turn and all things grow and ripen. Therefore, Earth should be understood as being born at Kun-Shen.

Explanation of the Directional Chart of the Nine Palaces’ Purple-White Stars

I believe there was good reason for the ancients to regard the Purple-White stars as auspicious. Six White is in the Qian position, in the northwest. Qian is Heaven’s gate and pivot; it corresponds to “opening” among the seasonal phases. One White is in the Kan position, in the north. It symbolizes the first stirrings of Yang and corresponds to “rest.” Eight White occupies the eldest position, symbolizing that all things have beginnings and endings; it corresponds to “birth.” Nine Purple is in the Li position, in the south. It symbolizes facing the light and administering affairs; it corresponds to “illumination.”

By contrast, Three Green faces the path of the sun and moon, while Seven Red lies in the direction of harsh decay. Both carry signs of disturbance and harm. Four Green symbolizes plants just beginning to sprout and gradually growing strong. Two Black, meanwhile, suggests Yin receiving and ushering away Yang, and thus carries meanings of obstruction and decline.

Five Yellow occupies the center. The central position symbolizes the ruler; its phase is Earth, and it governs the four directions, with its authority extending everywhere. Those who encounter it are struck down, and those who offend it are destroyed. Thus, among the stars and Sha regarded by various schools as most inauspicious, none is more so than Five Yellow. Like Tai Sui, the year’s presiding deity in traditional calendrical arts, Five Yellow may only be accommodated; it must not be offended. This is the account of the fixed positions of the Nine Stars.

The “Central Palace star” also merits discussion. Ancient calendrical systems called it the “Grand Duke” (the star deity who governs the sequence of the year). When fixed in the Central Palace, it is governed by the Five Yellow star. As it flies each year to the different directions, however, Water, Wood, Fire, and Metal stars may take turns governing it. These stars successively hold authority over the year and preside over the seasons; the Five Yellow star is not the only Grand Duke. The old gives way and the new takes over: this is the pattern by which the Dao operates.

For this reason, the fortunes and misfortunes associated with the Central Palace star each year are especially significant. If a house’s mountain-facing direction or position coincides with this star, the resulting disaster is less severe when they generate or harmonize with one another, and more severe when they overcome or clash with one another. Today, people know only to avoid the Grand Duke, but do not realize that the star discussed here is the true Grand Duke to watch for. If a house’s mountain-facing direction or position is occupied by this star, and the year, month, day, and hour also clash with or overcome it, the harm will be great.

Situations to avoid when the Nine Palace stars and baleful influences occupy a direction:

• “Hidden Establishment Sha”: as when a minister seizes the ruler’s throne.
• “Overcome Sha”: as when a weak guest faces a strong host.
• When two stars occupy opposite directions and clash, this is called “Piercing Heart Sha.”
• When a Metal star shares a position with another Metal star, this is called “Crossed Swords Sha.”
• When the Five Phases of Metal, Earth, and Wood share a position, this is called “Fighting Oxen Sha.”
• When the Qi of a Five Phase falls into a tomb position, this is called “Six Arrests Sha.”

When opening a mountain, establishing a facing, or renovating a direction—that is, when breaking ground, determining a house’s orientation, or repairing a particular direction—even if a Purple-White auspicious star is present, one must consider whether it has received Qi. If it has, its auspicious influence is stronger; if not, that influence is weaker. One must also examine whether it encounters baleful influences such as entering a tomb position. This is what is meant by the saying, “Baleful influences lie hidden among auspicious stars, though few know it.”

These are only examples of prohibitions concerning stars and baleful influences. To work through all their variations, one must first assign the Twelve Earthly Branches to the Bagua directions: Zi to Kan, Chou and Yin to Gen, Mao to Zhen, Chen and Si to Xun, Wu…

The star-and-malefic prohibitions mentioned earlier were only examples. To trace all the variations involved, first assign the twelve Earthly Branches to the directions of the Eight Trigrams: Zi belongs to Kan; Chou and Yin to Gen; Mao to Zhen; Chen and Si to Xun; Wu to Li; Wei and Shen to Kun; You to Dui; and Xu and Hai to Qian.

For example, when the One White Star flies to the Mao position, the Six White Star to the Hai position, the Eight White Star to the Si position, or the Nine Purple Star to the Li position, each is considered to be in a “punishment palace.” When the One White Star flies to the Wu position, the Six White Star to the Shen position, the Eight White Star to the Si position, or the Nine Purple Star to the Chou position, each is considered to be in a “harm palace.” The star malefics in any of the Nine Palaces may be subject to the Three Punishments or Six Harms.

One must also examine the directions of the “Four Void” for the year, month, day, and hour, and use them to assess how strong or weak the auspicious and inauspicious forces are. In the Jiazi cycle—a ten-day cycle of Heavenly Stems and Earthly Branches beginning with Jiazi—the Xu and Hai directions are void. Any useful spirit or malefic spirit that falls in these directions becomes trapped and powerless. For example, in a Jiazi year, the Xu and Hai directions are void from the first through the eighth month, while the Shen and You directions are void from the ninth through the twelfth month.

When Xu and Hai are void in the Jiazi cycle, take an yang branch as void on yang days and a yin branch as void on yin days; apply the same reasoning to years and months. With one or two layers of void, the force is halved; with three or four layers, it disappears entirely. Broadly speaking, void in the year affects the qi of a ten-year period and is therefore most significant; void in the month ranks second, and void in the day or hour ranks below that. Once the cycle has passed, the void directions can be used.

Even when punishment, harm, or emptiness occurs, continue examining the relationships of generation and support, restraint and transformation among them. If a palace subject to punishment represents a benefactor or official rank, the punishment may be transformed into authority and power. If a palace subject to harm represents rank and income or the traveling horse, the harm may also come to serve a useful purpose.

An empty palace becomes full when it receives generation and support; when it encounters transformation through conjunction, it changes. Here, “generation” refers to the generating cycle of the Five Phases: Water generates Wood, Wood generates Fire, Fire generates Earth, Earth generates Metal, and Metal generates Water, in a repeating cycle. “Support” means assistance from the same kind, as Water supports Water and Wood supports Wood. “Restraint” refers to the controlling cycle of the Five Phases: Water restrains Fire, Fire restrains Metal, Metal restrains Wood, Wood restrains Earth, and Earth restrains Water, in a repeating cycle of mutual control.

“Transformation” includes transformation through the conjunction of Heavenly Stems and through the Three Combinations of Earthly Branches. Among the Heavenly Stems, Jia and Ji transform into Earth, Yi and Geng into Metal, Bing and Xin into Water, Ding and Ren into Wood, and Wu and Gui into Fire. This is called transformation of the Heavenly Stems. Among the Earthly Branches, Hai, Mao, and Wei combine and transform into Wood; Yin, Wu, and Xu into Fire; Si, You, and Chou into Metal; and Shen, Zi, and Chen into Water. This is called transformation through the Three Combinations of the Earthly Branches. Transformation of the Heavenly Stems is based on the numbers of generation and completion in the Hetu diagram: the pairings one and six, two and seven, three and eight, four and nine, and five and ten. Transformation of the Earthly Branches follows naturally from the energetic pattern of birth, peak, and tomb within each Three Combination. Words cannot exhaust the meaning of these principles; an experienced person must examine them carefully.

Illustrated Explanation of the Three-Yuan Annual White-One Starting Method

In a Jiazi year of the Upper Yuan, begin with One White at the Central Palace. The Jiazi year in the seventeenth year of the Hongzhi reign was an Upper Yuan year.

In a Jiazi year of the Middle Yuan, begin with Four Green at the Central Palace. The Jiazi year in the forty-third year of the Jiajing reign was a Middle Yuan year.

In a Jiazi year of the Lower Yuan, begin with Seven Red at the Central Palace.

The Three Cycles method is a way of calculating the fortunes of a given period by shifting directions and transforming the movement of Qi. It is regarded as a profound pattern in which the movement of Qi has circulated without interruption since Heaven and Earth were opened. The Way of Change in the Changes begins when the One divides into Two, then proceeds from Two to Three. When Three and Five interweave and combine, the Three Cycles method takes shape: that is, the method of shifting palaces and changing Qi. Since this transformation has been in continuous motion ever since Heaven and Earth were opened, how could it not have begun from the One?

The One White Star, one of the Nine Palace Flying Stars, resides in the Kan Palace, the northern palace of dark mystery. In arts of calculation it is called Taiyi; in the image of the Return Hexagram in the Changes of Zhou, it is called the Root of Heaven. Thus the First Cycle’s Jiazi begins here, and after three rounds it returns here again—a truly subtle pattern. Anyone who can glimpse its key, as Shao Yong put it, is as if seeing Fuxi with their own eyes. Calculations of months, days, and hours proceed from this same foundation.

Establishing the Configuration of the Three Cycles’ Annual White Star Method

The following lists the sequence of the Heavenly Stems and Earthly Branches used in the Three Cycles arrangement, and indicates the Cycle to which each Jiazi year belongs:

Jiazi, Yichou, Bingyin, Dingmao, Wuchen, Jisi.

The Jiazi year in the seventieth year of Hongwu belongs to the Middle Cycle. Gengwu, Xinwei, Renshen, Guiyou, Jiaxu, Yihai.

Bingzi, Dingchou, Wuyin, Jimao, Gengchen, Xinsi.

The Jiazi year in the ninth year of Zhengtong belongs to the Lower Cycle. Renwu, Guiwei, Jiashen, Yiyou, Bingxu, Dinghai.

Wu Zi, Ji Chou, Geng Yin, Xin Mao, Ren Chen, Gui Si.

The seventeenth year of Hongzhi belongs to the Lower Cycle. Renwu, Guiwei, Jiashen, Yiyou, Bingxu, Dinghai.

Wu Zi, Ji Chou, Geng Yin, Xin Mao, Ren Chen, Gui Si.

The Jiazi year in the seventeenth year of Hongzhi belongs to the Upper Cycle. Jiawu, Yiwei, Bingshen, Dingyou, Wuxu, Jihai.

Gengzi, Xinchou, Renyin, Guimao, Jiachen, Yisi.

The Jiazi year in the forty-third year of Jiajing belongs to the Middle Cycle. Bingwu, Dingwei, Wushen, Jiyou, Gengxu, Xinhai.

Upper, Middle, and Lower Cycles: Renzi, Guichou, Jiayin, Yimao, Bingchen, Dingsi.

Upper, Middle, and Lower Cycles: Wuwu, Jiwei, Gengshen, Xinyou, Renxu, Guihai.

The nine rows use colors to mark, in sequence, how the numbers rotate through the palaces. In the Upper and Lower Cycles, green is paired with red; in the Middle Cycle, black is paired with yellow. Other corresponding colors include blue-green, purple, and white. The Qian, Dui, Gen, Li, Kan, Kun, Zhen, Xun, and Center listed in each row are the names of the nine palace positions. Each row shows the sequence matching colors to the nine palaces.

The author’s note says that establishing the calendar and setting out the seasons are among the first duties of an emperor. When presenting the calendar for the coming year, one should first prepare a memorial to the throne, then burn the completed calendar in a sacrificial offering to the Supreme God. The memorial should explain that ordinary people may not know how to seek good fortune and avoid misfortune. The court must therefore determine the favorable and unfavorable times of the year, days, and months, and issue the calendar throughout the realm. If calculations of the stars prove inaccurate, the compilers are willing to accept responsibility for the error so that the people do not suffer harm.

The author argues that some date-selection specialists today disregard the calendar and regulations of the reigning court, yet readily teach people claims they say were secretly transmitted. He asks how these people’s merit, virtue, and learning could surpass the calculations overseen by the court, or the methods used by specialist officials to observe the heavens and determine the solar terms. He points out that the principles underlying the Imperial Observatory, the government bureau responsible for observing the heavens and compiling the calendar, do have a lineage. Although the Yelü school’s theories are extensive, following its own way can seriously mislead others. The calendar begins with a diagram for the whole year and also includes a separate diagram for each month. There are too many charts for individual days and hours to publish in full, so those who know how to derive them are left to calculate them by the established method. The author criticizes people who disregard the laws of the state and introduce heterodox claims that do not accord with the orthodox tradition. He therefore sets out the relevant arguments one by one, so readers can distinguish sound principles and consult them in practice.

The “Illustrated Explanation of the Method for Starting the Monthly White in the Three Cycles” describes how to calculate the monthly white in the Three Cycles—that is, how to determine each month’s color and position as it moves through the nine palaces. In the Upper Cycle, in years of the Zi, Wu, Mao, and You branches, the first month begins with Eight White in the central palace, and the second month is Seven Red. In the Middle Cycle, in years of the Chen, Xu, Chou, and Wei branches, the first month begins with Five Yellow in the central palace.

In the years of the Upper Period (Shangyuan)—Zi, Wu, Mao, and You—the first month begins with Eight White in the central palace, and the second month moves to Seven Red.

In the years of the Middle Period (Zhongyuan)—Chen, Xu, Chou, and Wei—the first month begins with Five Yellow in the central palace, and the second month moves to Four Green.

In the years of the Lower Period (Xiayuan)—Yin, Shen, Si, and Hai—the first month begins with Two Black in the central palace, and the second month moves to One White.

When laying out the arrangement, the palaces are ordered in reverse, while the stars fly in sequence.

Why are the three periods divided by month? Because the year of Chou follows the year of Zi, and the year of Yin follows the year of Chou. This is the order in which the Upper, Middle, and Lower Periods rotate in succession. When the year of Mao arrives, why does the cycle return to the Upper Period? The Luoshu has only nine palaces, while a year has twelve months. Three years contain thirty-six months, exactly four groups of nine. In other words, after the nine palaces have made four circuits, they return to their original positions. Thus, the first month of the year of Zi begins with Eight White, and the first month of the year of Mao also begins with Eight White. The same pattern recurs in the year of Wu, after the years of Mao, Chen, and Si. The remaining years can be worked out in the same way.

Determining the Monthly Palaces of the White Stars in the Three Periods

The table below is used to determine the White Star and palace for each month in the three periods. For the years of Zi, Wu, Mao, and You, the months are arranged in this order: the tenth, first, twelfth, eleventh, second, third, fourth, fifth, sixth, seventh, eighth, and ninth months. For the years of Chen, Xu, Chou, and Wei, they are arranged in this order: the seventh, eighth, ninth, tenth, first, twelfth, eleventh, second, third, fourth, fifth, and sixth months. For the years of Yin, Shen, Si, and Hai, they are arranged in this order: the fourth, fifth, sixth, seventh, eighth, ninth, tenth, first, twelfth, eleventh, second, and third months.

The verses that follow list the sequence of palaces associated with each star from One White through Nine Purple: One White corresponds to Dui, Gen, Li, Kan, Kun, Zhen, Xun, Center, and Qian. Two Black begins in the Gen palace and proceeds in sequence; Three Blue begins in the Li palace and proceeds in sequence; Four Green begins in the Kan palace and proceeds in sequence; Five Yellow begins in the Kun palace and proceeds in sequence; Six White begins in the Zhen palace and proceeds in sequence; Seven Red begins in the Xun palace and proceeds in sequence; Eight White begins in the central palace and proceeds in sequence; and Nine Purple begins in the Qian palace and proceeds in sequence. Dui, Gen, Li, Kan, Kun, Zhen, Xun, and Qian are the directional positions of the Eight Trigrams (Bagua); the central palace is the center of the nine palaces. One White through Nine Purple are the star names used in Nine Star practice for laying out the arrangement.

The annual influences (the year’s fortune within the monthly cycle, and the qi governing the whole year) govern good and ill fortune for the year. Their corresponding directions remain fixed. Though important, they cannot determine fortune on their own. Monthly spirits and influences, calculated by month and affecting directions, move and rotate from month to month. When they arrive at a mountain or face a direction, their effect on fortune is more direct. It is therefore necessary to determine the relative strength of the various Five Phases influences before deciding which to use and which to avoid.

In terms of the Five Phases’ intrinsic qi—the flourishing qi that matches the mountain’s or facing direction’s phase—Wood mountains are suited to spring months, Fire mountains to summer months, Metal mountains to autumn months, Water mountains to winter months, and Earth mountains to the seasonal transition months.

In terms of the Five Phases’ advancing qi, whose influence gradually grows stronger, Wood mountains are suited to winter months, Fire mountains to spring months, Earth mountains to summer months, Water mountains to autumn months, and Metal mountains to the seasonal transition months.

In terms of the Five Phases’ wealth qi—the influence of the phase that generates one’s own in the Five Phases cycle—Metal mountains are suited to spring months, Water mountains to summer months, Fire mountains to autumn months, Earth mountains to winter months, and Wood mountains to the seasonal transition months.

In terms of the Five Phases’ retreating qi, whose influence gradually weakens, Water mountains should avoid spring months, Wood mountains summer months, Earth mountains autumn months, Metal mountains winter months, and Fire mountains the seasonal transition months.

In terms of the Five Phases’ “ghost months,” the months that restrain the phase of a mountain or facing direction, Fire mountains are suited to autumn months, Earth mountains to winter months, and Wood mountains to the seasonal transition months.

In terms of the Five Phases’ retreating qi, Water mountains should avoid spring months, Wood mountains summer months, Earth mountains autumn months, Metal mountains winter months, and Fire mountains the seasonal transition months.

In terms of the Five Phases’ ghost qi, the influence that restrains the phase of a mountain or facing direction, Earth mountains should avoid spring months, Metal mountains summer months, Wood mountains autumn months, Fire mountains winter months, and Water mountains the seasonal transition months.

One must also consider the “Purple-White” stars—the Fengshui stars such as One White, Six White, Eight White, and Nine Purple—to determine what is favorable or unfavorable. A Wood mountain favors One White, because One White generates Wood, though its influence is weaker in spring and in the four seasonal months. A Wood mountain also favors Eight White as its wealth star, though Eight White is weaker in autumn and spring. A Wood mountain disfavors Six White as its ghost star, but Six White has little influence in winter and summer. It also disfavors Nine Purple as a star that drains its energy, though Nine Purple has little influence in the four seasonal months and in winter.

A Water mountain favors the support of Six White, though Six White is weaker in winter and summer. It also favors Nine Purple as its wealth star, though Nine Purple is weaker in the four seasonal months and in winter. Eight White serves as its ghost star, but has little influence in autumn and spring.

A Metal mountain favors the support of Eight White, though Eight White is weaker in autumn and spring. It disfavors One White for draining its energy, though One White has little influence in spring and the four seasonal months. It also disfavors Nine Purple as its ghost star, but Nine Purple has little influence in the four seasonal months and in winter.

An Earth mountain favors the support of Nine Purple, though Nine Purple is weaker in the four seasonal months and in winter. It also favors One White as its wealth star, though One White is weaker in spring and the four seasonal months. It disfavors Six White for draining its energy, though Six White has little influence in winter and summer.

A Fire mountain favors Six White as its wealth star, though Six White is weaker in winter and summer. It disfavors One White as its ghost star, though One White has little influence in spring and the four seasonal months. It also disfavors Eight White for draining its energy, but Eight White has little influence in autumn and spring.

In general, when an auspicious spirit is controlled or drained, its power weakens; when an inauspicious spirit is controlled or drained, it has difficulty exerting its influence. One must also examine how the stars change in relation to the month’s Earthly Branch, Heavenly Stem, and na yin classification. For example, in a Jiazi year, One White pairs with Bingzi and its na yin classification remains Water, so it is still treated as Water. Six White pairs with Yihai, whose na yin classification changes to Fire, so it should be treated as Fire. Eight White pairs with Bingyin, whose na yin classification also changes to Fire, so it should be treated as Fire. Nine Purple pairs with Gengwu, whose na yin classification changes to Earth, so it should be treated as Earth.

The twelve months governed by the Grand Duke of Jupiter in each year each have their own corresponding direction, which is then matched with the eight directions. Some people nowadays simply say that One White belongs to Water, Six White to Metal, Eight White to Earth, and Nine Purple to Fire, then use this to judge good and bad fortune. Small wonder that their predictions so often fail.

I believe the fixed directions of nature’s workings between Heaven and Earth are these: the north belongs to Water, the south to Fire, the east to Wood, and the west to Metal. This is the fundamental, constant arrangement of the Five Phases. If we judge good and ill fortune solely by saying that “Nine Purple belongs to Fire,” how could our predictions fail to prove wrong?

I believe that north as Water, south as Fire, east as Wood, and west as Metal form the Five Phases’ fixed basic arrangement. Yet in actual practice, the Five Phases shift with the year and change with the month; the movements and transitions of each month also differ. The Book of Changes says, “Through change, things become accessible; through accessibility, they endure.” If everything remained fixed, how could it be called the creative transformation of nature? These, however, are ordinary principles, with nothing forced or far-fetched about them, and they never cease, even for a moment. Those who understand these principles should infer related situations from them and use that understanding to decide what to accept or reject.

Diagram and Explanation of the Three Periods’ Daily Stars

This section explains how to arrange the daily stars according to the “Three Periods.” “Daily stars” means marking dates with the numbers of the Nine Stars. The “Three Periods” divide the year into the Upper Period, Middle Period, and Lower Period. After the Winter Solstice, the yang arrangement is used, with the Nine Stars placed according to its rules. The twelve solar terms span 180 days and are divided into three periods:

The Upper Period comprises the Winter Solstice, Minor Cold, Major Cold, and Beginning of Spring. On a Jiazi day, begin with One White; on the following Yichou day, place Two Black.

The Middle Period comprises Rain Water, Awakening of Insects, Spring Equinox, and Clear and Bright. On a Jiazi day, begin with Seven Red; on the following Yichou day, place Eight White.

The Lower Period comprises Grain Rain, Beginning of Summer, Grain Full, and Grain in Ear. On a Jiazi day, begin with Four Green; on the following Yichou day, place Five Yellow.

Continue in sequence to determine the star governing that day. Then place that star in the central palace and distribute the stars in order across the eight directions.

After the Summer Solstice, the yin arrangement is used. The twelve solar terms again span 180 days and are divided into three periods:

The Upper Period comprises the Summer Solstice, Minor Heat, Major Heat, and Beginning of Autumn. On a Jiazi day, begin with Nine Purple; on the following Yichou day, place Eight White.

The Middle Period comprises End of Heat, White Dew, Autumn Equinox, and Cold Dew. On a Jiazi day, begin with Three Blue; on the following Yichou day, place Two Black.

The Lower Period comprises Frost’s Descent, Beginning of Winter, Minor Snow, and Major Snow. On a Jiazi day, begin with Six White; on the following Yichou day, place Five Yellow.

Arrange the ruling stars in reverse order, identify the star governing the day, and place it in the central palace. Then distribute the stars in sequence to the eight directions. This is the method for setting up the Yang configuration after the Winter Solstice; the configuration number is determined from the day’s cyclical designation and direction.

The cyclical designations used for the solar terms Winter Solstice, Rain Water, and Grain Rain are: Jiazi, Yichou, Bingyin, Dingmao, Wuchen, Jisi; Gengwu, Xinwei, Renshen, Guiyou, Jiaxu, Yihai; Bingzi, Dingchou, Wuyin, Jimao, Gengchen, Xinsi.

The cyclical designations used for Minor Cold, the Waking of Insects, and the Beginning of Summer are: Renwu, Guiwei, Jiashen, Yiyou, Bingxu, Dinghai; Wuzi, Jichou, Gengyin, Xinmao, Renchen, Guisi.

Jiawu, Yiwei, Bingshen, Dingyou, Wuxu, Jihai; the cyclical designations used for Major Cold, the Spring Equinox, and Grain Full are: Gengzi, Xinchou, Renyin, Guimao, Jiachen, Yisi.

A further group of cyclical designations is then listed: Dinghai; Wuzi, Jichou, Gengyin, Xinmao, Renchen, Guisi; Jiawu, Yiwei, Bingshen, Dingyou, Wuxu, Jihai. The cyclical designations used for Major Cold, the Spring Equinox, and Grain Full are: Gengzi, Xinchou, Renyin, Guimao, Jiachen, Yisi; Bingwu, Dingwei, Wushen, Jiyou, Gengxu, Xinhai.

The cyclical designations used for the Beginning of Spring, Pure Brightness, and Grain in Ear are: Renzi, Guichou, Jiayin, Yimao, Bingchen, Dingsi; Wuwu, Jiwei, Gengshen, Xinyou, Renxu, Guihai.

The terms “red,” “green,” “black,” “yellow,” “blue-green,” and “purple” below name the colors of the Nine Stars. “Center” refers to the central palace, while Xun, Zhen, Kun, Kan, Li, Gen, Dui, and Qian are the directions associated with the Eight Trigrams. The text lists, in turn, how the remaining stars are arranged in the eight directions after each star enters the central palace; this is used to determine the flying-star positions.

For this configuration, determine the ruling star of the day by proceeding in sequence; for the next configuration, determine it in reverse order. In both methods, first place the ruling star in the central palace, then distribute the stars in sequence to the eight directions.

After the Summer Solstice, the Yin configuration is used, with the configuration number determined from the day’s cyclical designation and direction. Jiazi, …

In this method, the upper cycle is arranged by locating the “Star Ruling the Day” in sequence, while the lower cycle locates the “Star Ruling the Day” in reverse order. In both methods, the Star Ruling the Day is first placed in the central palace, then flown in sequence to the eight directions.

After the Summer Solstice, the Yin configuration is used, and the number of the configuration is determined from the date’s stem and branch. The dates listed below, from Jiazi to Guihai, follow the sequence of the sixty stem-branch combinations.

Expressions in the original such as “Summer, Settling, Frost,” “Solstice, Heat, Descending,” “Minor White, Establishing,” “Heat, Dew, Winter,” “Great, Autumn, Minor,” “Heat, Division, Snow,” “Frost, Cold, Great,” and “Descending, Dew, Snow” are interspersed among the sixty stem-branch dates. They may be names of solar terms or related markers; here they are retained as in the original, without further interpretation.

The following terms, such as “Blue-Green,” “Black,” “Yellow,” “Red,” and “Green,” are color markers. They are followed in turn by the sequence of the central palace and the eight directions—the Bagua positions of Xun, Zhen, Kun, Kan, Li, Gen, Dui, and Qian—used to fly the configuration.

The commentary quotes Chen Xiyi’s Wang Yaochi’s Formula for Choosing Auspicious Dates in the Three Cycles, which says: Around the Winter Solstice, Yang energy begins to emerge. At this time, begin with Jiazi and proceed in sequence through the palaces. At the Rain Water solar term, begin from the seventh palace; at Grain Rain, return to the Xun palace and proceed from there.

The “Method for Selecting Auspicious Dates by the Three Origins in the Wang Key Manual” says: Around the winter solstice, when Yang Qi first begins to grow, start from the palace where the Jiazi day falls, then move forward one palace at a time. At the Rain Water solar term, begin from the seventh palace. At Grain Rain, return to the Xun palace—the southeast direction among the Eight Trigrams—and continue the calculation. Around the summer solstice, when Yin Qi first begins to grow, start from the ninth palace. Around the End of Heat, continue moving the palaces by this same method; there is no need to doubt it. At Frost’s Descent, begin Jiazi in the sixth palace, then proceed in order according to the twelve Earthly Branches, moving forward or backward as appropriate.

The date-selection methods used by various schools are often confused. Only this “Method for Selecting Auspicious Dates by the Three Origins” presents the changes in the forward and backward movements of Yin and Yang as a coherent sequence, in keeping with the ancient method of shifting palaces with the solar terms and carrying Qi’s cycles forward.

When selecting a date, the day’s stem and branch are most important. One must consider whether they accord with the chosen mountain orientation and the person for whom the date is selected. For example, in spring, the Qi of Wu and Ji days is weak and cannot exert its effect. In the Yin month, a Si day forms the Three Punishments; in the Mao month, a Chen day forms the Six Harms. A year’s Grand Duke of Jupiter is especially inauspicious when also clashed, a condition called “Great Defeat.” A Chou day in the Wei month is always a time of ruin. Days marked by the inauspicious patterns called Food, Hidden, Extinguished, and Sunken are also unsuitable. Even if an auspicious Purple-White star is present, it cannot make such a day auspicious.

After the winter solstice, use the Yang Dun method, calculating in the direction of Yang Qi’s movement. Change the configuration every five days and divide the sequence into three origins. Older editions classify Chen, Xu, Chou, and Wei days as the Middle Origin; this text corrects that classification.

Upper Origin: When a Jia or Ji day falls on a Zi, Wu, Mao, or You day, begin with One White at the Jiazi hour.

Middle Origin: When a Jia or Ji day falls on a Yin, Shen, Si, or Hai day, begin with Seven Red at the Jiazi hour.

Lower Origin: When a Jia or Ji day falls on a Chen, Xu, Chou, or Wei day, begin with Four Green at the Jiazi hour.

Arrange the sequence in order, identify the time star governing that moment, place it in the central palace, then fly it in sequence to the eight directions.

In summer, when a Jia or Ji day falls on a Yin, Shen, Si, or Hai day, begin with Seven Red at the Jiazi hour. For the Lower Origin, when the day falls on Chen, Xu, Chou, or Wei, begin with Four Green at the Jiazi hour. Then, in the same way, place the governing time star in the central palace and fly it in sequence to the eight directions.

After the summer solstice, use the Yin Dun method, calculating in the direction of Yin Qi’s movement. Change the configuration every five days and divide the sequence into three origins. Older editions classify Chen, Xu, Chou, and Wei days as the Middle Origin; this text corrects that classification.

Upper Origin: When a Jia or Ji day falls on a Zi, Wu, Mao, or You day, begin with Nine Purple at the Jiazi hour.

Middle Origin: When a Jia or Ji day falls on a Yin, Shen, Si, or Hai day, begin with Three Blue at the Jiazi hour.

On a Jiazi day in the lower Yuan cycle, when it falls on a Chen, Xu, Chou, or Wei day, begin the count from the Jiazi hour: the Six White Star enters the central palace. Then arrange the stars in reverse order to determine the star position for the corresponding hour. Place that star in the central palace, then fly it forward through the eight directions in sequence.

After the Winter Solstice, use the yang Dun method. Determine the configuration by the hourly White Star, beginning the count from the Jiazi hour. Do not calculate it by rotating through the “Five Zi” cycles; the old edition contains an error here.

When the One White enters the central palace, the sequence of its flight is: Xun, Zhen, Kun, Kan, Li, Gen, Dui, Qian.

When the Two Black enters the central palace, the sequence of its flight is: Qian, central palace, Xun, Zhen, Kun, Kan, Li, Gen, Dui.

When the Three Blue enters the central palace, the sequence of its flight is: Dui, Qian, central palace, Xun, Zhen, Kun, Kan, Li, Gen.

When the Four Green enters the central palace, the sequence of its flight is: Gen, Dui, Qian, central palace, Xun, Zhen, Kun, Kan, Li.

When the Five Yellow enters the central palace, the sequence of its flight is: Li, Gen, Dui, Qian, central palace, Xun, Zhen, Kun, Kan.

When the Six White enters the central palace, the sequence of its flight is: Kan, Li, Gen, Dui, Qian, central palace, Xun, Zhen, Kun.

When the Seven Red enters the central palace, the sequence of its flight is: Kun, Kan, Li, Gen, Dui, Qian, central palace, Xun, Zhen.

When the Eight White enters the central palace, the sequence of its flight is: Zhen, Kun, Kan, Li, Gen, Dui, Qian, central palace, Xun.

When the Nine Purple enters the central palace, the sequence of its flight is: Xun, Zhen, Kun, Kan, Li, Gen, Dui, Qian, central palace.

The commentator notes: Tongshu (almanacs and books on choosing auspicious dates) prescribe that, for determining the hourly White Star, Chen, Xu, Chou, and Wei belong to the middle Yuan, while Yin, Shen, Si, and Hai belong to the lower Yuan. This is incorrect. In the ancient method of the Three Yuan, calculations using the Nine Palaces and flying stars must pass through three sixty-year Jiazi cycles before returning to their original positions. For example, the first Jiazi cycle naturally begins from the One White in the Kan Palace; the second begins from the Seven Red in the Dui Palace; and the third begins from the Four Green in the Xun Palace. Each configuration follows on from the previous one according to a fixed rule. The later reverse-Dun configurations use the same method: the first Jiazi cycle begins from the Nine Purple in the Li Palace. Assigning Chen, Xu, and Chou to the middle configuration does not accord with this rule.

After the Summer Solstice, use the yin Dun method. Determine the configuration by the hourly White Star, also beginning the count from the Jiazi hour. Do not calculate it by rotating through the “Five Zi” cycles; the old edition contains an error at this point.

When the Nine Purple enters the central palace, the sequence of its flight is: Xun, Zhen, Kun, Kan, Li, Gen, Dui, Qian, central palace.

When the Eight White enters the central palace, the sequence of its flight is: Qian, central palace, Xun, Zhen, Kun, Kan, Li, Gen, Dui.

Seven Red (the Seven Red Star) begins in the Dui Palace, then proceeds through Qian, Center, Xun, Zhen, Kun, Kan, Li, and Gen. Six Gen begins in the Gen Palace, then proceeds through Dui, Qian, Center, Xun, Zhen, Kun, Kan, and Li. Five Yellow begins in the Li Palace, then proceeds through Gen, Dui, Qian, Center, Xun, Zhen, Kun, and Kan. Six Kan begins in the Kan Palace, then proceeds through Li, Gen, Dui, Qian, Center, Xun, Zhen, and Kun. Seven Red begins in the Kun Palace, then proceeds through Kan, Li, Gen, Dui, Qian, Center, Xun, and Zhen. Eight White begins in the Zhen Palace, then proceeds through Kun, Kan, Li, Gen, Dui, Qian, Center, and Xun. Nine Xun begins in the Xun Palace, then proceeds through Zhen, Kun, Kan, Li, Gen, Dui, Qian, and Center.

Also, the practice of treating Chen, Xu, Chou, and Wei as the central periods when making these calculations probably arose from using the “Monthly White Method” to calculate the “Hourly White,” and was then passed down, becoming an error. The ancients believed that calculating the cycles of heavenly fortune day by day and year by year was cumbersome and difficult, so they devised this simplified method. In calculating the Monthly White, the Zi year is taken as the Upper Period and the Chou year as the Middle Period because the twelfth month of a Zi year is followed directly by the first month of a Chou year. For example, if Six White enters the central palace in the twelfth month of a Zi year, then in the first month of the Chou year, Five Yellow advances one position and takes the center in place of Six White. This method pairs the Twelve Earthly Branches with the Nine Palaces.

The Hourly White, however, must be calculated according to the sequence of the sexagenary cycle, with a new period beginning every five days. Starting from the Jiazi day, the Jiazi hour completes one full cycle only on the Jisi day. Therefore, the Zi day should belong to the Upper Period, while the Si day should properly belong to the Middle Period. This method pairs the sixty hours with the Nine Palaces. Moreover, Yin Dun and Yang Dun—the methods of laying out a chart according to the Yin-Yang directions of movement in Qimen Dunjia—differ in whether they proceed forward or in reverse, and are far removed from the Monthly White Method. Applying the Monthly White Method to the Hourly White is therefore unreasonable, so it is corrected here.

It is like using the method for calculating months to calculate the hours: if the first day is set as a Jiazi day, the second day should be a Bingzi day, not another Jiazi day. If the first day starts with One White and proceeds forward, the second day should reach Four Green, not Seven Red. If the first day starts with Nine Purple and proceeds backward, the second day should reach Six White, not Three Green. Only this method of calculation accords with the system of the “Twelve Palaces.” Otherwise, how could the Zi day be assigned to the Upper Cycle and the Chou day to the Middle Cycle?

Brief Discussion of the Method for Determining the Tai Sui Star

The Tai Sui star is associated with calamities that are difficult to avoid, and various baleful influences may also bring danger. By calculating according to the Three Cycles—the Upper, Middle, and Lower—you can identify the directions afflicted by baleful influences. If a residence is afflicted, there may be a death followed by another death in the same family. Everyone has heard of the Tai Sui star, and dangerous days may occur in any year. It moves through the months in sequence; its method of calculation is subtle, but it follows no fixed, unchanging rule or standard procedure.

For example, in the Upper Cycle Jiazi year, One White enters the Central Palace and flies in sequence through the Nine Palaces. Starting from the Zi position, we find that Six White occupies it. Next, Six White is moved into the Central Palace and the sequence is followed forward, revealing that One White falls in the Li Palace. The method is as follows: first place the ruling star of the year’s Three Cycles in the Central Palace, then follow the Nine Palaces to the Tai Sui’s own palace and note which star occupies it. Move that star into the Central Palace, then proceed forward to find where the ruling star of the year falls. Since the ruling star enters the Central Palace each year, it is called the “Tai Sui star.”

For instance, in the Upper Cycle Jiazi year, One White enters the Central Palace. Counting forward to Kan, the position of the Tai Sui for that year, gives Six White. Then place Six White in the Central Palace and follow the sequence forward to locate One White; the result is that One White falls in the Li Palace. The Li Palace contains the character Wu, so you must then check month by month which palace the character Wu occupies, and trace One White and Wu together to the palace they reach. Only then have you identified the true Tai Sui star. Some diviners today call the direction opposite Tai Sui the Tai Sui star. That direction is actually “Year Breaker,” not the Tai Sui star discussed here.

In Zi years, the Grand Year (Tai Sui, the direction occupied by Jupiter) is in Kan; in Chou and Yin years, it is in Gen; in Mao years, in Zhen; in Chen and Si years, in Xun; in Wu years, in Li; in Wei and Shen years, in Kun; in You years, in Dui; and in Xu and Hai years, in Qian.

When using monthly palace shifting (a method of calculating star positions by month) to identify inauspicious periods, one must also avoid the direction occupied by the Grand Year.

For example, when the One White Star reaches the Li palace, the Gen direction will also be affected when the calculation advances to the second month.

Take the Jiazi year of the Upper Cycle as an example. The second month is the Dingmao month. Move the character “Mao” into the central palace, then calculate through the Nine Palaces in sequence: the character “Wu” falls in the Gen palace. In Zi, Wu, Mao, and You years, the Eight White Star begins in the central palace in the first month; in the second month, the Seven Red Star begins there, and the stars then fly forward in sequence: Eight White reaches the Qian palace, Nine Purple the Dui palace, and One White returns to Gen. Thus, the “Wu” character calculated by the monthly system also falls in the Gen direction. The two coincide in the same mountain position, which the text regards as extremely inauspicious.

What harm comes from the Water and Fire Grand Years meeting? The text says they bring repeated bereavement (successive deaths in the family within a short period) and calamity.

For example, in the Jiazi year of the Upper Cycle, the One White Star is the Grand Year Star. In the third month, Six White occupies the central palace; after the stars fly forward, One White reaches the Li palace. Li belongs to Fire and Kan to Water. This is called “Water entering the realm of Fire,” which the text says leads to repeated bereavement.

When the Water Star meets the Metal palace, it may bring sexual misconduct and calamity within the household. It may also lead to grave consequences, such as a wife being harmed or the eldest son suffering injury.

Again, take the Jiazi year of the Upper Cycle: One White is the Grand Year Star. In the first month, Eight White occupies the central palace; after the stars fly forward, One White reaches the Dui palace. This is Water entering the Metal palace, which the text says brings sexual misconduct. Kan corresponds to the middle son, so it also says this will bring calamity to the household of the second son.

When the Grand Year reaches a particular direction, people are constrained by it and cannot live in peace. When Water and Earth meet, the text says they bring troubles such as epidemics and sores.

Again, take the Jiazi year of the Upper Cycle: in the second month, Seven Red occupies the central palace; after the stars fly forward, One White reaches the Gen palace. This creates a meeting of the Water and Earth Grand Years, which the text says will bring epidemics and sores.

A meeting of Water and Fire may also lead to financial loss, and someone may even hang themselves. When Water and Fire meet, snakes and dogs may also suffer.

For example, in the Jiazi year at the beginning of the Upper Cycle, the seventh month places the Two Black Star in the central palace among the Nine Palaces. As the stars fly in sequence, the One White Star moves to the Xun Palace in the southeast. This is called “Water entering the Wood sector”: the Water phase falls into a direction belonging to Wood. In the fourth month, the Five Yellow Star occupies the central palace. After the stars fly in sequence, the One White Star moves to the Kan Palace in the north. This is called “Water entering the Water sector”: the Water star falls into a direction belonging to Water.

These configurations do not count as major calamities unless they are also accompanied by relations of punishment and overcoming.

When Fire and Wood punish and harm one another, events are sorrowful. When Fire meets Metal, there may be a birth, but injury to the fetus is also indicated.

When Fire meets Earth, illness is likely and may even lead to premature death. Water clashing with Fire is especially inauspicious, as it can harm infants.

When Wood meets Water, someone may be killed or injured because of a disturbance involving wind. When Wood meets Metal, imprisonment is likely, with little chance of escape.

When Wood meets Earth, there may be fractures or injuries, or illness in the back. When Wood meets Fire, harm comes quickly, like a cut from a blade.

When Metal meets Metal, life may be cut short, and violent misfortune is common. When Wood meets Wood, goiters or tumors may develop, or madness may arise.

When Earth meets Earth, blindness or muteness may result. The correspondences among the Five Phases and the signs of illness are interconnected.

Examine these cases further using “Palace Suspension and Transformation,” a method for judging fortune and misfortune by combining changes in the palaces, and the outcomes will become clear.

This is a general assessment of the Tai Sui star, illustrating the basic principles behind the correspondences and transformations of the Five Phases. It shows that the Nine Stars’ generating, overcoming, restraining, and transforming depend on the patterns of change among the Five Phases and the eight directions. These patterns shift and transform into one another, yet ultimately follow the same principle. Years and months form the framework for making judgments and are certainly important; days and hours are just as consequential and should not be overlooked. When these are considered alongside the cyclical changes of fortune and qi, and the transformations in Qimen Dunjia, the divination examples that lack a sound basis can be discarded, and fabricated heresies will collapse of their own accord.

Mencius said, “When the meaning of the classics is set straight, the people will not engage in deviant conduct.” Are not the principles conveyed by the Hetu and Luoshu the very classics that set heretical claims straight? My learning is shallow; I have simply arranged and recorded the material above in accordance with the classics and commentaries, for later writers to consult.

The sixth scroll of Record of Correcting and Reconciling Geomancy in Service of the Ru School and the Principle of Filial Piety is complete. Scroll seven continues the material arranged above, for later generations to carry on.

“Using fengshui to shape destiny” means using the Five Planets to calculate a person’s fate. Planetary fate calculation mainly judges fortune and misfortune according to whether the celestial bodies are auspicious or inauspicious. The method of shaping destiny through fengshui also examines their auspicious or inauspicious qualities, then uses this assessment to arrange matters so as to welcome good fortune and avoid harm. The difference is that astrologers place particular importance on the Palace of Wealth, while the destiny-shaping method gives little weight to wealth or official rank. Astrologers fix the Palaces of Destiny and Body at the mao hour, whereas the destiny-shaping method fixes them according to the hour chosen for the procedure. These differences are small, but the principles used by astrologers are also worth knowing, so a summary is included here.

The Territories Assigned to the Palaces

This verse matches the twelve zodiac signs with ancient regions and provinces: Aquarius corresponds to the land of Qi and Qingzhou; Capricorn to the land of Yue and Yangzhou; Sagittarius to the land of Yan and Youzhou; Scorpio to the land of Song and Yuzhou; Libra to the land of Zheng and Yanzhou; Virgo to the land of Chu; Gemini to the Three Rivers and the land of Zhou; Leo to the land of Qin and Yongzhou; Cancer to Yizhou and the land of Wei; Yin-Yang to the land of Zhao; Taurus to the land of Lu and Xuzhou; and Pisces to the land of Wei and Binzhou.

The Degrees Assigned to the Stars

The next verse lists the degrees associated with each star: twelve degrees for the Wood Dragon, nine for the Metal Dragon, sixteen for the Earth Badger, five for the Sun Rabbit, six for the Moon Fox, eighteen for the Fire Tiger, and nine for the Water Leopard. It then lists degrees for various stars, item by item, including Wood, Metal, Earth, the Sun, the Moon, Fire, and Water, together with their associated animal names.

Here, “degrees” are units used in ancient astronomy and astrology to divide the celestial regions and mark the positions of the stars. These correspondences are used to calculate where the celestial bodies are located. The original includes expressions such as “nian si mu ban”; their pronunciation is retained here without emendation.

Where the Degrees Fall

The final verse explains where the degrees fall: the first degree is always in a certain place, the second in “cun,” the third in “wei,” and the fourth in “gong.” It also mentions the palaces where the second and thirteenth degrees fall, as well as statements about the fourth degree sharing a station and the seventh degree being in the Well Mansion. “Station” refers to the position where the sun, moon, or stars travel or remain.

Nine and four are present; they meet at the four cardinal directions.

Fifteen and ten return once more to …

Only when the three are in their proper places are the four palaces truly established.

Two together pass through the palaces by thirteen degrees.

All are here; the two palaces draw close to one another.

Four stars move along the same degree; the Seven Lunar Mansions are here.

Nine and four are present; they meet at the four cardinal directions.

Fifteen and ten return once more to …

The Sun’s Degrees of Motion

At the Start of Spring, begin counting from one; at Rain Water, reach seven. At the Waking of Insects, advance six degrees; at the Spring Equinox, reach three. At Pure Brightness, descend to nine; at Grain Rain, remain at six. At the Start of Summer, reach eight degrees in the Stomach Mansion; at Grain Fullness, advance eight degrees. At the Grain in Ear, advance eleven degrees; at the Summer Solstice, reach nine. At Minor Heat, advance thirteen degrees; at Major Heat, reach twenty-nine. At the Start of Autumn, reach ten degrees in the Willow Mansion; at Limit of Heat, reach five. At White Dew, reach two; at the Autumn Equinox, reach seventeen. At Cold Dew, reach thirteen; at Frost’s Descent, reach ten. At the Start of Winter, advance two degrees; at Minor Snow, reach two. At Major Snow, reach six; at the Winter Solstice, reach four. At Minor Cold, advance ten degrees; at Major Cold, reach two degrees in the Ox Mansion.

The Moon’s Degrees of Motion

To know the degrees of motion of the Moon, begin counting from the lunar term corresponding to the Rooftop Mansion. At Major Snow, it reaches six; at the Winter Solstice, four. At Minor Cold, it advances ten degrees; at Major Cold, it reaches two degrees in the Ox Mansion.

The Moon usually travels thirteen degrees each day, passing through two palaces in succession every three days. It passes through the Kui Mansion and the Stomach Mansion, then reaches the Net Mansion; it passes through the Well Mansion and the Willow Mansion, and stops at the Extended Net Mansion. The Moon takes the Wing Mansion as its starting point and moves along the Twenty-Eight Lunar Mansions; it passes through the Chamber Mansion as the first day of a cycle, then carefully seeks out the Winnowing Basket Mansion. The position of the Oxherd Mansion must be recorded especially carefully; the degrees of the celestial circuit must not be mistaken.

On Degrees at Dawn and Dusk

“Twilight degree” refers to the You sector, one of the directions associated with the twelve Earthly Branches. For anyone born between the first and the fifteenth or sixteenth day of the lunar month, the count begins from the You sector: with each passing double-hour, the Moon advances by one degree. The You, Xu, and Hai double-hours are counted forward in sequence; the nine double-hours of Shen, Wei, Wu, Si, Chen, Mao, Yin, Chou, and Zi are counted backward.

“Dawn degree” refers to the Mao sector. For anyone born between the fifteenth or sixteenth and the thirtieth day of the lunar month, the count begins from the Mao sector: with each passing double-hour, the Moon advances by one degree. The nine double-hours of Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai are counted forward in sequence; the three double-hours of Yin, Chou, and Zi are counted backward.

From the first through the fourth day, the Moon moves fastest, traveling a little more than fourteen degrees in a day and night.

From the fifth through the eighth day, the Moon moves more steadily, traveling a little more than thirteen degrees in a day and night.

From the ninth through the nineteenth day, the Moon moves more slowly, traveling a little more than twelve degrees in a day and night.

From the twentieth through the twenty-third day, the Moon moves somewhat faster, traveling a little more than thirteen degrees in a day and night.

From the twenty-fourth through the thirtieth day, the Moon moves very quickly, traveling a little more than fourteen degrees in a day and night.

Degrees of the Celestial Bodies’ Movements

The Sun travels one degree each day, passes through one sector each month, and completes one circuit of the celestial sphere in a year.

The Great Yin (that is, the Moon) travels thirteen degrees each day, passes through one sector every two and a half days, and completes one circuit in a month.

When Jupiter moves direct, it sometimes travels one degree in five days. It passes through one sector each year and completes one circuit in twelve years.

When Mars moves direct, it sometimes travels one degree in a day and a half. It passes through one sector every two months and completes one circuit in two years.

When Saturn moves direct, it sometimes travels one degree in ten days. It passes through one sector every twenty-eight months and completes one circuit in twenty-eight years.

When Venus moves direct, it sometimes travels one degree each day. It passes through one sector each month and completes one circuit in a year.

When Mercury moves direct, it sometimes travels one degree each day. It passes through one sector each month and completes one circuit in a year.

Zi Qi (Purple Qi) advances one degree every twenty-nine days, passes through one palace every twenty-nine months, and completes a circuit of the heavens every twenty-nine years.

Yuebo (Lunar Apogee) completes a circuit of the heavens in one year.

When Chenxing (Mercury) moves direct, it sometimes advances one degree a day, passes through one palace a month, and completes a circuit of the heavens in one year.

Zi Qi advances one degree every twenty-nine days, passes through one palace every twenty-nine months, and completes a circuit of the heavens every twenty-nine years.

Yuebo advances one degree every nine days, passes through one palace every nine months, and completes a circuit of the heavens every nine years.

Luohou (Ascending Node) advances one degree every eight days, passes through one palace every eighteen months, and completes a circuit of the heavens every eighteen years.

Jidu (Descending Node) advances one degree every eighteen days, passes through one palace every eighteen months, and completes a circuit of the heavens every eighteen years.

The nine stars listed above—the Sun, Moon, Jupiter, Mars, Saturn, Venus, Mercury, Qi Star, and Yuebo Star—move direct in their degree positions but retrograde through the palaces. Luohou and Jidu alone do the opposite: they move direct through the palaces but retrograde in their degree positions.

Jupiter, Mars, Saturn, Venus, and Mercury may slow down, halt, become hidden, or move retrograde. They may also appear in the morning or evening, and these phenomena must be taken into account in calculations. The Moon’s position must also be calculated carefully: after the new moon, it moves in the evening; after the full moon, it moves in the morning.

Method for Determining the Life Degree

The Moon is the body star. The degree to which the Moon has moved is the degree occupied by the ruler of the body degree.

Add the birth hour to the palace occupied by the Sun, then count forward in sequence. The palace reached when you arrive at the Mao position is the Life Palace.

For example, if the Sun is in the Zi Palace and the birth hour is You, add the You hour to the Zi Palace and count forward to the Wu position. The Mao hour corresponds to the Wu position, so the Wu Palace is the Life Palace. Since the Sun rises at the Mao hour, Mao is used as the reference point for the Life Palace.

Next, match the Sun’s degree with the corresponding degree in the opposite palace. The result is the Life Degree.

For example, if the Sun has moved to the sixth degree of the Xu Lodge in the Zi Palace, the fifth degree of the Xing Lodge in the opposite Wu Palace is the Life Degree. If the Sun has moved to the third degree of the Nü Lodge in the Zi Palace, the fourth degree of the Liu Lodge in the opposite Wu Palace is the Life Degree. The rest follow the same method.

The twelve palaces, in order, are the Palace of Life, the Palace of Wealth, the Palace of Siblings, the Palace of Property, the Palace of Sons and Daughters (the Palace of Children), the Palace of Servants, the Palace of Wives and Concubines, the Palace of Illness, the Palace of Travel, the Palace of Official Career, the Palace of Blessings and Virtue, and the Palace of Appearance.

To determine the twelve palaces, proceed in sequence by moving backward through the palace positions. For example, if the Palace of Life is in Yin, the Palace of Wealth is in Si, the Palace of Siblings is in Zi, the Palace of Property is in Hai, the Palace of Sons and Daughters is in Xu, the Palace of Servants is in You, the Palace of Wives and Concubines is in Shen, and the Palace of Illness is in Wei. Determine the remaining palaces in the same way.

How to Determine the Degree for the Limit Cycle

The Life Degree—the stellar degree corresponding to the Palace of Life—indicates which limit cycle a given age falls into according to the numbered line of its palace.

For example, if the Life Degree falls at the fifth degree of a stellar mansion, it is on the fifth line of the Wu palace on the star chart. The Palace of Servants is in You, the Palace of Wives and Concubines is in Shen, and the Palace of Illness is in Wei; determine the other palace positions in the same way.

If the Life Degree falls on the fifth line of the Wu palace on the star chart, this indicates that the limit cycle begins at age fifteen. If it falls below the third, fourth, or fifth degree, the limit cycle begins at age eleven. If it falls at the eleventh, twelfth, or thirteenth degree of the Zhang mansion, the limit cycle begins at age twenty. In general, the earliest starting age is eleven and the latest is twenty. It is convenient to calculate the starting limit degree by degree from the star chart; determining it with a measuring instrument is difficult.

Mnemonic for Calculating the Years

“Fifteen and ten; examine eleven closely.

Fifteen is the highest position, with only eight years of provisions.

Seven together with six and six; five years in strength.

Together with half of four years, determine it to the finest detail.”

This mnemonic lists the numbers and rules used to calculate the years of the limits and to determine which years correspond to each degree. “Fifteen,” “eleven,” “eight years,” “seven,” “six,” “five years,” and “half of four years” are the values to refer to in the calculation.

Mnemonic for the Degrees of Progression

The degrees covered in each limit cycle are determined by how far the stellar degree extends. Usually, it advances three degrees per year; in some cases, it advances two degrees per year, totaling ten degrees over three years. If it advances more than four degrees per year, add one more degree after three years. When it advances three degrees per year, subtract one degree over the course of three years as the standard rule. There is also a method for cases in which it advances seven degrees per year: subtract one degree each year.

Each major limit is set at five years, with each year divided into six degrees of motion. This must be calculated precisely.

By following this method to calculate the annual periods, one can clearly determine the auspicious and inauspicious influences of each year.

The methods described above for dividing the limits into years all follow the preceding examples. Only the method for calculating the fifteen-year span of the Life Palace belongs to the ancient method, and should not be constrained by the rules given earlier. For example, if a limit begins at age eleven and the Life Palace governs ten years, or three degrees more, then one advances three additional years before moving one degree. If the limit begins at age twenty, the Life Palace governs nineteen years, amounting to about twenty-six or twenty-seven degrees; in other words, one degree advances every year and a half. Calculate other cases in the same way.

The depth of the degrees traversed by the Life Palace, and the degrees through which the annual limits pass in each palace, are called the “Heaven-Measuring Ruler.”

The method for determining the Life Palace and the Heaven-Measuring Ruler described above are both basic methods for establishing the Life Palace. With the Life Palace method, add the Mao hour to the palace and degree occupied by the Sun, then count to the birth hour; the result is the Life Palace. With the Heaven-Measuring Ruler, add the birth hour to the palace and degree occupied by the Sun, then count to the Mao hour; the result is also the Life Palace. Though the two calculations proceed differently, they produce the same result. Checking each palace in turn is cumbersome, so using the Heaven-Measuring Ruler and counting by finger positions is more convenient. Thus, the Heaven-Measuring Ruler alone is sufficient: count from the birth hour to the Mao hour to determine the Life Palace.

However, the Heaven-Measuring Ruler counts only by fixed positions and cannot distinguish each initial degree individually, so the result may sometimes differ by one or two degrees. To calculate precisely down to minutes and seconds, one must also include the degrees of each palace. Astrologers use the same system of birth hours as geomancers, so there is no need to be bound by differing terminology.

Observations

The stars referred to here include the Sun, Moon, Jupiter, Mars, Saturn, Venus, Mercury, Qi, Bo, Luo, and Ji, as well as designations such as Literary Eminence, Distinguished Rank, Official Seal, Longitude and Latitude, Post Horse, Three Primordial Constituents, Four Primordial Constituents, Official-Promoting Star, Salary Spirit, Auspicious Spirit, Rank, the Ten Heavenly Stems, and Transformative Luminaries.

“Sha” refers to a class of inauspicious stars, including Luxun, Suijia, Tianyi, Yutang, Doushao, Guaqi, Tangfu, Guoyin, as well as Yangren, Jianfeng, Tianxiong, Dici, Feilian, Dishա, Wangshen, Sixiao, and Sifu.

“Palace ruler” refers to the Five Phase or the Sun and Moon associated with each palace: the Zi and Chou palaces belong to Earth; the Yin and Hai palaces to Wood; the Mao and Xu palaces to Fire; the Chen and You palaces to Metal; the Si and Shen palaces to Water; the Wu palace to the Sun; and the Wei palace to the Moon.

“Degree ruler” refers to the ruling star associated with the degrees of each lunar mansion. The text first lists the Jiao, Dou, Kui, and Jing degrees as belonging to Water, and the Kang, Niu, Lou, and Gui degrees as belonging to Metal. It then gives another set of correspondences between palaces and the Five Phases. Next, it lists the degree rulers of the twenty-eight lunar mansions: Jiao, Dou, Kui, and Jing belong to Water; Kang, Niu, Lou, and Gui to Metal; Di, Nü, Wei, and Liu to Earth; Fang, Xu, Mao, and Xing to the Sun; Xin, Wei, Bi, and Zhang to the Moon; Wei, Shi, Zui, and Yi to Fire; and Ji, Bi, Shen, and Zhou to Water.

“Strong palaces” refers to the palaces of destiny, official career, property, wife and concubines, children, and good fortune. The wealth palace is also included. Some accounts consider the wealth palace secondary to the other strong palaces, since its relationship to the palaces of destiny and official career is different.

“Weak palaces” refers to the palaces of siblings, servants, illness, appearance, and travel. Some accounts also consider the travel palace closer to a strong palace because it stands opposite the palace of destiny.

“Essence” refers to the static foundation, that is, the original star chart: setting out the Seven Luminaries (the Sun, Moon, and five planets) and the Four Residuals (four hidden luminaries in divination), then examining the palaces they govern, including destiny, official career, good fortune, property, wealth, wife and descendants, as well as the stars Wenkui, Jinghui, Sanyuan, and Siyuan.

“Application” refers to dynamic change: the degree rulers and major and minor periods associated with the stars as they travel around the celestial sphere, as well as the effects of inauspicious stars when the eleven luminaries of the current year and the Grand Duke of Jupiter pass through each palace.

“Generation” refers to mutual generation, as when Wood generates Fire. The original text then mentions the stars associated with property, wealth, wife and descendants, Wenkui, Jinghui, Sanyuan, and Siyuan.

“Generating” refers to the Five Phases generating one another: Wood generates Fire, Fire generates Earth, Earth generates Metal, Metal generates Water, and Water generates Wood. If other stars generate and support the stars associated with one’s body and destiny, official rank and blessings, land and wealth, or spouse and children, this is considered auspicious.

“Overcoming” refers to the Five Phases overcoming one another: Wood overcomes Earth, Earth overcomes Water, Water overcomes Fire, Fire overcomes Metal, and Metal overcomes Wood. The stars associated with one’s body and destiny, land and wealth, spouse and children, or official rank and blessings are especially inauspicious when other stars overcome and restrain them.

“Restraining” refers to something being overcome but then receiving the power to constrain what overcomes it: Metal overcomes Wood, but Fire restrains Metal; Fire overcomes Metal, but Water restrains Fire; Water overcomes Fire, but Earth restrains Water; Earth overcomes Water, but Wood restrains Earth; and Wood overcomes Earth, but Metal restrains Wood. The passage also says that stars associated with official rank and blessings should not be overcome by other stars.

“Transforming” refers to using the generating power of the Five Phases to resolve their overcoming relationships: when Metal overcomes Wood, Water can resolve it; when Water overcomes Fire, Wood can resolve it; when Wood overcomes Earth, Fire can resolve it; when Fire overcomes Metal, Earth can resolve it; and when Earth overcomes Water, Metal can resolve it.

“Opposing” refers to the opposing correspondences between the Earthly Branches: Zi and Wu, Chou and Wei, Yin and Shen, Mao and You, Chen and Xu, and Si and Hai stand opposite one another. If the opposition is auspicious, the result is auspicious; if inauspicious, the result is inauspicious.

“Combining” refers to the Earthly Branches forming three-part combinations: Shen, Zi, and Chen combine; Yin, Wu, and Xu combine; Si, You, and Chou combine; and Hai, Mao, and Wei combine. If a combination is auspicious, the result is auspicious; if inauspicious, the result is inauspicious.

“Facing” refers to stars turning toward or converging on a particular place. For example, the Sun and Moon, the stars of official rank and blessings, land and wealth, literary distinction, longitude and latitude, and the Three Abundances may face toward a place; or a single ruling star may hold authority and face toward it.

“Turning away” refers to numerous stars departing from the object under discussion and being distributed in the opposite position. For example, Jidu and Luohou may block the southeast while the life limit passes through the northwest; or Jidu and Luohou may block the other stars in the northwest, causing them to face elsewhere.

“Back-back” refers to the positions of the stars moving away from the life limit. For example, stars such as Ketu and Rahu obstruct the celestial bodies in the southeast while the life limit—the boundary of the palace used to calculate a person’s fate—falls in the northwest; or these stars obstruct the celestial bodies in the northwest while the life limit falls in the southeast. The Sun and Moon being positioned away from the other stars, with the other celestial bodies also fallen and low, likewise counts as “back-back.”

“Front-front and back” has two interpretations. One is based on palaces: with the Zi palace as the center, the Chou palace is in front and the Hai palace behind. The other is based on stellar degrees: with the degrees of the Horn mansion as the center, the Neck mansion is in front and the Chariot mansion behind. When calculating the stages through which the life limit moves, judge good and ill by the front-to-back order of the palaces; when discussing stellar configurations, judge fortune and misfortune by the front-to-back order of the stellar degrees. One must also distinguish the order of the celestial bodies when they share a palace from their order when they occupy the same degree.

The text later says that when the Sun and Moon share a palace, the Moon should be in front of the Sun—for example, when the Moon is in the Well mansion and the Sun is in the Net mansion. It also says that when Venus and Mercury meet in the Wall mansion, Mercury should not fall behind Venus—for example, when Mercury is in the Well mansion and Venus is in the Net mansion. There are also distinctions in the order of celestial bodies when they overcome one another: if Saturn is in the Well mansion and Mercury in the Net mansion, the calamity is relatively slight; if Saturn is in the Net mansion and Mercury in the Well mansion, it is more severe. In general, stars that generate and support me should be behind, while those that overcome and restrain me should be in front; other cases can be judged by the same principle.

“Facing-facing” refers to a celestial body located ahead of the life limit. For example, if the life limit is in the Yin palace and a celestial body is in the Mao palace, this is called “facing across a palace”; if the life limit is in the Winnowing Basket mansion and a celestial body is in the Tail mansion, this is called “facing across a degree.” Facing across a palace has a lighter effect, while facing across a degree has a stronger one.

“Sending-sending” refers to a celestial body located behind the life limit. For example, if the life limit is in the Yin palace and a celestial body is in the Chou palace, this is called “sending across a palace”; if the life limit is in the Winnowing Basket mansion and a celestial body is in the Tail mansion, this is called “sending across a degree.” Sending across a palace involves a greater distance, while sending across a degree involves a shorter one.

“Brightness” refers to a star occupying a bright, favorable position. For someone born during the day, the Sun, Jupiter, Saturn, Mercury, Qi, Ji, and Bo are considered to face the light. For someone born at night, the Moon, Mars, Venus, and Luo are considered to face the light. When stars associated with such matters as the self and destiny, land and wealth, official standing and good fortune, the celestial coordinates, travel, the Three Origins, or emoluments occupy favorable positions, they are regarded as auspicious stars functioning well.

“Dimness” refers to a star occupying a dark, unfavorable position. For someone born at night, the Sun, Jupiter, Saturn, Mercury, Hei, Ji, and Bo are considered stars turned away from the light. For someone born during the day, the Moon, Mars, Venus, and Luo are considered stars turned away from the light. If these stars govern matters such as the self and destiny, land and wealth, or official standing and good fortune, and stars such as Wen Kui and Ming Jia are also out of position, this is inauspicious.

“Rising” refers to the Sun and Moon occupying their rising directions. The Sun is in the east, which favors those born during the hours of Yin, Mao, Chen, Si, Wu, or Wei. The Moon is in the west, which favors those born during the hours of Shen, You, Xu, Hai, Zi, or Chou.

“Setting” refers to the Sun being in the west when a person is born at night, or the Moon being in the east when a person is born during the day. If the Sun or Moon also governs matters such as official standing and good fortune, the self and destiny, land and wealth, or spouse and children, this is called “the Sun out of pattern”: the Sun’s position does not fit the configuration.

“Forward progression” refers to the Five Planets—Jupiter, Mars, Saturn, Venus, and Mercury—moving in their proper sequence, with each planet generating the next and no other stars intruding or disrupting them. This is an auspicious sign. For example, the sequence Wood, Fire, Earth, Metal, Water is auspicious because each phase generates the next.

“Reverse progression” refers to the Five Planets moving in the opposite sequence, overcoming one another, while many other stars mingle with and disturb them. This is an inauspicious configuration. For example, when Water, Fire, Metal, Wood, and Earth come together and mutually overcome and contend with one another, the result is ominous.

“Decline” refers to the Five Phases being weak in particular seasons: Earth declines in spring, Metal in summer, Wood in autumn, and Fire in winter; Water declines in the Earth months at the end of each season, when Earth is strong. The palaces of Decline, Illness, Death, Extinction, Womb, and Nourishment are also places of weakness. If the stars described above govern key matters in a destiny chart and fall into a position of decline, this is especially inauspicious.

Here, “flourishing” means that a Phase is thriving in its season: Wood flourishes in spring, Fire in summer, Metal in autumn, Water in winter, and Earth at the end of each season. In the Twelve Stages of Growth, “Birth,” “Crown and Belt,” and “Emperor’s Prosperity” are also considered flourishing positions. All of these are auspicious star positions and palaces. Most important is that the star selected as the “key star” (the star examined most closely when judging fortune and misfortune) lies in a flourishing position.

“Concealment” means that Rahu and Ketu—stars used in Daoist astrology to calculate fortune and misfortune—obscure other stars. For example, for someone born during the day, the stars may be obscured in the northwest; for someone born at night, they may be obscured in the southeast.

“Eclipse” means that the Sun or Moon shares a palace with Rahu or Ketu. If someone is born during the day on the new moon (the first day of the lunar month), or at night on the full moon (the fifteenth day), and Rahu or Ketu is present, this is called an “eclipse.” Therefore, the Life Palace and Body Palace should not be placed at the stellar degrees occupied by the Sun or Moon.

“Opposition” means a clash and overcoming between opposite palaces. For example, Fire in the Zi position and Water in the Wu position, or Wood in the Chou position and Metal in the Wei position, oppose and overcome one another; these are inauspicious. Other cases can be understood by analogy.

“Restraint” means that a key star is overcome. For example, Wood may be selected as the key star but be overcome by Metal, or Earth may be selected as the key star but be overcome by Wood. A key star may govern matters such as the body and life, office and career, blessings and virtue, property, wealth, spouse, or children. When a key star is overcome by another star, this is considered inauspicious.

“Facing” means that the stars face the direction of the Life Palace. For example, if many stars gather around the south, the Life Palace is placed in the south; if a group of stars faces north, the Life Palace is placed in the north. Likewise, if Rahu and Ketu block the stars in the east, the Life Palace is placed in the east; if they block the stars in the west, it is placed in the west. These are all called “facing.”

“Flanking” means forming a trine and illuminating a palace. For example, the Sun and Moon may flank and illuminate the Body Palace, Life Palace, Office and Career Palace, Blessings and Virtue Palace, Property Palace, Wealth Palace, or Spouse Palace. Stars associated with blessings and prosperity can also flank and illuminate these palaces. Likewise, when palaces such as Property and Wealth flank and illuminate the Body and Life Palaces, the Office and Career Palace, the Blessings and Virtue Palace, or the Spouse Palace, this too is called “flanking.”

“Flanking” means that two stars stand on either side of a target, forming a protective embrace. For example, the Sun and Moon may flank the palaces of body and fate, official rank and good fortune, land and wealth, or wife and children. The stars of good fortune and rank, or of land and wealth, may also flank these palaces. Such flanking by stellar bodies is considered auspicious.

“Assisting” means providing support and aid. It is considered favorable when the principal stars of body and fate receive assistance before or after them from the auxiliary stars; when the stars of official rank and good fortune receive support from the Sun and Moon on either side; or when stars related to land and wealth, wife, and children are supported by the Sun and Moon.

“Dividing” means that Rahu and Ketu, stellar bodies in Daoist astrology, separate the other stars into two groups. For example, they may divide the stars of civil and military office, or place the literary stars in the east and the martial stars in the west. They may also separate the Sun and Moon so that both shine clearly, or distinguish the stars of official rank and good fortune so that they are upright and strong.

“Converging” means that many stars gather in the same palace and degree. For example, the Eleven Luminaries—the eleven stellar bodies used in astrology—may converge in the places of body and fate, official rank and good fortune, or land and wealth. It is better still if the stars move smoothly, generate one another, and neither overcome nor contend with one another.

“Leading” means that a star lies ahead of its target and guides it. Stars associated with the Sun and Moon, official rank and good fortune, land and wealth, or wife and children may all lead from the front. Literary stars such as the Literary Laurel, the First in the Examinations, and the Official Seal are also considered auspicious when they lead from the front and occupy a suitable position. Here, “far apart in degree” means that there should be a relatively wide interval between the stars ahead and behind.

“Following” means that a star lies behind its target and follows it; the distance between them should be short. When Metal and Water accompany one another, Water should be in front and Metal behind. When Wood and Fire accompany one another, Fire should be in front and Wood behind. When Earth and Metal accompany one another, Metal should be in front and Earth behind. The reasoning is that the star behind can generate and support the one in front, whereas the star in front cannot in turn generate the one behind.

“Cutting off” refers to the stars Luo (Luohou) and Ji (Jidu) intercepting the other stars. Sometimes they cut the stars off in the southeast, in which case a person born then is classified as a day birth; sometimes they cut them off in the northwest, in which case the person is classified as a night birth. Another example is when Luo and Ji stand on opposite sides, cutting the literary stars off in the east and the martial stars in the west.

“Leakage” refers to the auspicious stars brought out by this cutting off. For a day birth, when the Sun, Jupiter, Saturn, Mercury, the Dark Star, Ji, and other stars fall in yang palaces and yang degrees, this is called “day-birth leakage.” For a night birth, when the Moon, Mars, Luo, Venus, and other stars fall in yin palaces and yin degrees, this is called “night-birth leakage.”

“Guarding” refers to the palaces occupied by the body and life. The stars that meet in the palace occupied by the body palace or life palace are used to judge a person’s status and fortune.

“Boundary crossing” refers to a position that straddles a palace boundary, lying partly on either side. For example, the second degree of the Tail Lodge lies in the Mao palace, while its third degree enters the Yin palace: the same lodge thus crosses the boundary between two palaces. Another example is the ninth degree of the Emptiness Lodge in the Zi palace, followed by the first degree of the Danger Lodge, also in the Zi palace: here, the degrees differ even though they lie in the same palace. The stars governing the body, life, official position, fortune, and other matters should fall at stable, well-established degrees; they should not fall on degrees at a boundary crossing.

The methods for establishing and interpreting these eight categories form the outline of star-and-destiny divination and the guiding principles for students. They should be studied carefully and absorbed into the heart.

End of volume seven of Complete Record of Filial Conduct through Geomancy, a Balanced Exposition Upholding Principle in the Confucian Tradition.

Editor’s note: In the original, “Twelve Principles” has been changed to “Eleven Principles” based on the context; “field rules” has been changed to “fields and wealth,” also based on the context.

Complete Record of Filial Conduct through Geomancy, a Balanced Exposition Upholding Principle in the Confucian Tradition, volume eight

A Brief Preface to Simple Burial Rites

I have heard that a gentleman would not slight his own parents in order to save the wealth of people throughout the world. How, then, could one fail to give one’s parents a proper and generous burial? Yet the vital essence of the earth’s veins in Yin-house geomancy is confined to a single thread; therein lies the mystery of Nature’s creation. Nowadays, officials and wealthy households in the world often pursue lavishness for its own sake, displaying it to the living. Some even damage the earth’s original true Qi by digging into it. This is truly regrettable. I now set out below several maxims on burial and tomb construction from the worthy sages of the past, so that benevolent people and filial children may follow them.

Preparing the coffin

Zhu Xi said: Oil fir is the best wood for a coffin, xiang wood is next, and tu fir comes after that. The coffin should be square and straight, slightly wider at the head and narrower at the foot. It need only be large enough to hold the body; it should not be made tall or imposing. A filial child may adopt these guidelines as circumstances allow.

Making the Coffin

Zhu Xi said: Oil fir is the best wood for a coffin, xiang wood is next, and tu fir comes after that. The coffin should be square and straight, slightly wider at the head and narrower at the foot. It need only be large enough to hold the body; it should not be made tall or imposing. It may be made with projecting eaves and raised feet. Coat both its interior and exterior with ash lacquer, spread one or two inches of charcoal dust on the bottom, and place a Seven-Star Board above it—a board inside the coffin, usually pierced with seven holes. The materials used inside the coffin include linmi, oil putty, and bitumen, also called pine resin, rosin, pine sugar, or yunxiang. Using nails and metal rings may not be appropriate. What follows does not represent Zhu Xi’s view.

Hu Yong said: In Xunmeng, Peng Zhitang wrote that sealing a coffin with pine resin is suitable in the north, but in Jiangnan it may attract ants. Nails and metal rings also draw in water, making the wood prone to decay. Peng Zhitang must have had grounds for this view, and it deserves closer examination.

Liu Zhang said: In burial, the coffin and the outer casket—the case that encloses the coffin—are the objects closest to the body, so a filial child should prepare them with care. If the wood is chosen only when a death occurs, suitable timber may be hard to find in the rush, and the ash lacquer may not adhere securely. In hot weather, too, it may be difficult to keep the body for long. In ancient times, a ruler had his inner coffin and outer casket made as soon as he took the throne, and had them lacquered in advance once a year. Some people today also prepare their own burial caskets during their lifetime. This follows the ancient practice and does not count as making arrangements for a death in advance. Oil fir and xiang wood are the best choices for a coffin. It should not be made tall or imposing for appearance’s sake: it need only fit the body, and the outer casket need only fit the coffin. Both should be wrapped in cloth inside and out, and the lacquer should be applied securely.

Note: The Seven-Star Board inside the coffin is a piece of wood sized to fit the coffin, pierced with seven holes.

Arranging the Burial

Zhu Xi said: The burial should take place three months after death, and a suitable burial site should be chosen in advance.

Master Cheng said that choosing a burial site means judging whether the land is suitable. It is not, as Yin-Yang practitioners claim, a way to predict fortune and misfortune. When the land is suitable, the spirits of the ancestors can rest peacefully, and their descendants will prosper. This is like tending a tree’s roots so that its branches and leaves flourish naturally. If the land is unsuitable, the opposite will follow.

How can one judge whether land is suitable? The color and sheen of the soil, and the abundance of its plants, are all signs. Ancestors and descendants share the same vital current: when the ancestors are at peace, their descendants are at peace too; when the ancestors are in danger, their descendants are affected as well. This, too, is part of the principle.

Are those who cling to taboos not being overly attached when they fixate on the auspiciousness of a burial site’s direction and the date of the burial? Worse still, some think not of giving their ancestors a peaceful resting place, but only of securing benefits for their descendants. This is especially far from the filial purpose behind burying one’s ancestors.

Only the “Five Hazards” must be carefully avoided: ensure that the burial site will not later become a road, a town, a ditch, or a pond; that it will not be seized by someone in power; and that it will not be disturbed by cultivation. Another record says the “Five Hazards” mean avoiding ditches, roads, and villages, and keeping away from wells and storage pits.

Master Qiu Wenzhuang said that claims in geomancy that one can use it to attain great wealth and status are not credible. Yet burying one’s ancestors where vital energy gathers broadly accords with the principle Cheng Yi described: the roots and branches are connected. Earlier Confucian scholars often adopted this practice. Zhu Xi once surveyed a burial site in advance with Cai Jitong. His disciples carried provisions and bore the coffin on foot, taking six days to arrive. This shows that they, too, chose burial grounds with care.

When discussing how to choose a site, Zhu Xi said one should first examine the strength of the mountain’s main ridge, whether its vital energy gathers or disperses, the depth of the soil and water, whether the grave site is properly aligned, and whether the terrain is whole and strong. Only then can the merits of different burial grounds be compared. If later generations choose a burial site by following Zhu Xi’s advice, taking into account the signs Cheng Yi described, such as lush, glossy vegetation, and guarding against the “Five Pitfalls”—several unfavorable conditions to avoid in a burial site—they may be able to make a more suitable choice.

Choosing the Date and Digging the Grave

The Family Rituals says that the head of the household leads the attendants in digging the grave at the chosen site. The earth dug from beyond the four corners is placed outside the grave; the earth from the center is placed to the south. A marker is set beyond each of the four corners, and two markers are set at the southern entrance. The phrase “place the earth from beyond the four corners outside” means that the soil dug from outside the four corners is put farther out; “place the earth from the center to the south” means that soil dug from the middle is placed to the south.

Sacrificing to Houtu

The Family Rituals says to make an offering to Houtu, the deity who governs the land. But because it might be presumptuous for the head of the household to preside personally, a distant relative or guest is chosen to deliver the announcement to Houtu, dressed in clean, formal ritual attire.

The ritual officiant leads the attendants in setting up the offering place to the left of the central marker, facing south. They set out a wine cup and pour the wine, then arrange dried meat and pickled vegetables in front of it. A basin and towel are also placed on each side: the eastern set is for the person making the announcement to wash, and the western set is for the attendants.

Ritual Procedure

The person making the announcement stands facing north, with two attendants behind him. The ceremony then begins: bow, kneel and rise, kneel and rise again, then stand. The person making the announcement and the attendants each wash their hands at the designated place.

After choosing the burial site, the person making the offering stands facing north, with two attendants behind him. To begin the rite, he bows, makes two prostrations, and rises. Then he and the attendants wash their hands together. The person making the offering goes to the incense table and kneels. One attendant kneels facing west, holding a wine ewer; the other kneels facing east, holding a wine cup. The person making the offering pours wine from the ewer into the cup, sets down the ewer, takes the cup, and pours the wine onto the ground as an offering. He then pours more wine and places it before the spirit tablet.

After bowing, the person making the offering rises and steps back a little. An attendant kneels to his left, holding a prayer board—a board on which the prayer text is written—and reads the text aloud. When he has finished, the prayer text is burned together with paper money. Finally, the person making the offering bows, makes two prostrations, and rises. The rite is complete.

The prayer reads: On this day, in this month and year, [official title] [surname] respectfully reports to the spirit of the local land of this mountain. A burial site is now being prepared for my father (or mother), at [mountain name and orientation]. May the spirit protect us so that no misfortune occurs hereafter. We respectfully offer pure wine, dried meat, and meat sauce, and humbly pray that the spirit will partake of them.

Note on textual history: Ancient ritual codes do not use the title “Houtu.” It appears in the Tang dynasty’s Kaiyuan Rites. Sima Guang’s Book of Rituals was based on the Kaiyuan Rites, and Zhu Xi’s Family Rituals in turn drew on the Book of Rituals. Their funeral rites for excavating a grave, burial, and tomb offerings all make offerings to Houtu. However, “Houtu” is an honorific title corresponding to “August Heaven,” and its use by ordinary households seems presumptuous. Zhu Xi’s Complete Works of Master Wen illustrates that offerings were made to the spirit of the land. For this reason, I propose replacing “Houtu” here with “spirit of the land.”

After the offering rite is complete, remove the altar, tables, and other ritual objects, then begin digging the grave.

Sima Wengong said that people today bury the dead in two ways. In one, they dig a grave straight down and secure the coffin suspended within it. In the other, they cut a passage in from the side, excavate a chamber, and place the coffin inside. According to ancient ritual, only the Son of Heaven could build a tomb with a side passage. Everyone else should dig straight down and secure the coffin suspended in the grave. People today should follow this practice as well. The grave should be narrow and deep: a narrow grave is less likely to collapse, and a deep one is harder for grave robbers to reach.

The author holds that burying the dead deeply to prevent grave robbery was the definite teaching of worthy men in earlier times, and should serve as a rule. Geomancers, however, have another view: they say graves should be shallow so they can receive favorable geomantic influences. The Dragon Vein—the flow of energy through the mountains in geomancy—may run high or low, and the soil and local ground conditions may be deep or shallow. Zhu Xi once said that in the Zhangzhou and Quanzhou region, coffins were buried only halfway underground, with earth heaped over them to form a mound, because digging even slightly deeper would reach water. Burial practices, then, cannot be treated as one-size-fits-all.

Before the Song dynasty, gold, silver, and other treasures were often buried with the dead, inviting grave robbers to dig up tombs and plunder them. The court’s ritual regulations now forbid burying such treasures with the dead, so the danger of grave robbery has naturally diminished. Not using treasures as burial offerings best accords with ritual. In the Wu region, families would even cut up a deceased person’s clothes beforehand, also to deter theft. If one wishes to show filial devotion to one’s parents, the essential thing is to choose an auspicious burial site. Why insist that gold and silver are needed to show proper care for one’s loved ones? Burying treasures with the dead does not truly honor them; it may instead invite grave robbery. To do so is foolish.

Making a lime-lined enclosure

Once the grave pit has been dug, first spread a layer of charcoal dust across its bottom and tamp it down until it is two or three inches thick. Then mix lime, fine sand, and yellow earth, and spread the mixture over it, using three parts lime to one part each of sand and earth. Tamp this layer until it is two or three feet thick. Next, use thin wooden boards to make a partition for the lime mixture, shaped like a table, with a space in the middle for the coffin and its surrounding walls. The partition should be about four inches higher than the coffin and should rest on the layer of compacted earth.

Then fill the space around it in layers with charcoal dust, lime, fine sand, and yellow earth, separating them with thin wooden boards: the charcoal dust goes on the outside, and the other three materials on the inside. Make the bottom layer as thick as before. Once it has been filled and tamped down, gradually withdraw the boards, then add more charcoal dust, lime, and the other materials above, tamping each layer until it is level with the coffin walls.

Charcoal dust can block tree roots and keep out water and ants. Lime mixed with sand becomes hard; mixed with earth, it binds together. Over many years, these materials will solidify into a single layer of stone, making it difficult for mole crickets, ants, or grave robbers to get in.

Cheng Yi said: “The ancients buried the dead so that the transformed remains would not come into direct contact with the soil. Even precious objects today are carefully sealed away to prevent damage or contamination. How, then, should we treat the bones of our forebears? People with shallow understanding simply want what is out of sight to be out of mind. Some argue that the body should decay as quickly as possible. Do they really understand the principles of sincerity, reverence, and trustworthiness? The aim was never to prevent the body from changing. While it has not yet decayed, it should be sealed away and protected carefully; that is how the matter should be handled.”

Lime and Sand

Pack lime and sand firmly around the coffin and outer coffin, and spread charcoal dust along the sides of the grave pit.

Zhu Xi replied to Liao Zihui: “The key to the burial method you asked about is to understand the principles of sincerity, reverence, and trustworthiness. The aim is not to keep the body from decaying forever, but to seal it away and protect it carefully while it has not yet decayed. The method is to pack lime and sand firmly around the coffin and outer coffin, and spread charcoal dust along the sides of the grave pit.”

Zhu Xi wrote in reply to Liao Zihui: You asked about methods of burial. Some people later took to coating the outside of the wooden outer coffin with tar, but this seems to offer no particular benefit. You can first spread a layer of charcoal fragments about two inches thick across the bottom of the grave pit, then tamp it down and join it to the charcoal already laid there. Once it is level, set the outer coffin on the charcoal, and lay more charcoal around its sides. Then spread the other three materials as described earlier.

The commentary explains that an outer coffin—the case placed around the coffin itself—is not essential. If one is used, a wooden or brick outer coffin is preferable; a stone one should never be used. Stone readily gathers moisture, just as the stone bases beneath pillars grow damp before rain. A stone outer coffin is also very heavy, and if it collapses over time, it might crush the remains. For these reasons, it is best to avoid one.

The space inside the outer coffin should also be packed tightly with ash and sand.

“Inside the outer coffin” here means the spaces around and beneath the coffin, between it and the outer coffin; “outside the outer coffin” means its exterior. Pack ash and sand firmly beneath the outer coffin, around the coffin, and above it. Once the space is full, put on the outer-coffin lid, spread another layer of ash and sand over it, and lay charcoal fragments about an inch thick on top. Then tamp down the earth until the grave pit is filled. Ash and sand keep ants and termites out, so the thicker the layer, the better.

Someone asked, “Can lime mixed with sandy soil be used outside the outer coffin?” Zhu Xi said, “Use only pure charcoal powder outside the outer coffin. Inside it, pack in lime mixed with sand and gravel.” Someone else asked, “Can lime be used on its own?” Zhu Xi replied, “Lime alone may not be firm enough; it must be mixed with fine, sifted sand. Over time, the lime and sand will combine and harden like stone. Pack charcoal powder tightly around the stone outer coffin, on all sides and above and below, to a thickness of about seven or eight inches. This blocks dampness and flooding, and keeps out tree roots; roots turn aside when they encounter charcoal. This shows the uses of charcoal and lime. Charcoal is lifeless, so roots will not grow into it. The Baopuzi says that charcoal buried underground will remain unchanged even after a thousand years.”

If living things are placed in a tomb, they will inevitably decay over time and attract mole crickets and ants. This is no way to make long-term provision for the deceased. The ancients placed many objects in tombs when burying the dead. In my view, although the rites prescribed in the ceremonial texts are complete, they give too little thought to preventing harm. In the end, one should focus only on long-term protection: keep the soil from touching the body directly, and simplify all the other rites.

I recently heard the late King of Jixi say that he had seen a tomb in which lime was used for burial; when the grave was later moved, the lime had hardened into stone. Charcoal fragments can keep roots growing in from outside at bay; a local person saw this firsthand when moving a relative’s grave. Therefore, the area around the sand and lime must be packed firmly, with no gaps, to ensure it is secure.

These three points above are all Zhu Xi’s views.

Use three parts lime to one part each of yellow earth and fine sand. Sift and mix them, sprinkle with diluted wine from a watering can, then ram the mixture down firmly.

A commentary note mentions that the custom at the time was to cook glutinous rice flour into a porridge and use it to bind the materials.

Some scholars have found that, even today, people can cook glutinous rice flour into a porridge and mix it into sanhetu, a building material made by combining several substances. This can also bind the materials firmly, and may be used.

Carving the Tomb Inscription

Prepare two stones. Use one as the cover stone and carve on it: “The tomb of [name], [official title].” If the deceased held no office, carve his courtesy name instead, as in “Lord [surname], [courtesy name].”

Use the other stone as the base stone, and carve on it the deceased’s status and life story: [official title and name]; his personal name and courtesy name; his native prefecture and county; his father’s name; his mother’s family name and the title she was granted; the year, month, and day of his birth; the offices he held and when he was transferred; the year, month, and day of his death; the village, hamlet, mountain, and orientation of his burial site; the family name and identity of the woman he married; the number of his sons and the offices each held; the officials or other men his daughters married; and the number of his grandsons, their names, and their offices, as well as the number and names of his granddaughters.

For a woman’s tomb inscription, if her husband is still alive, the cover stone should give his official title and name, followed by “the tomb of Lady [family name],” using the title she was granted. If she had no title, give her husband’s name. If her husband has died, the cover stone should read “Lady [family name], wife of Lord [surname and courtesy name].” The base stone should record her birth and death dates, along with any title she received through her husband’s or son’s achievements. If she received no title, omit this.

At burial, place the two stones with their inscribed faces toward each other, bind them securely with iron chains, and bury them in front of the grave, about three or four feet below ground. This is intended to account for possible changes to the terrain over time and the chance that someone might disturb the grave by mistake. If the tomb inscription is discovered first, people may recognize the name of the person buried there and perhaps rebury the remains.

Some scholars have found that in Fujian it is customary to place the tomb inscription inside the grave, near the head of the coffin. This is not very suitable. In Zhejiang, the stone is placed in front of the grave, which is more appropriate. Still, it is best to place it in front of the grave, three or four feet below ground.

“Burying” here means lowering the coffin into the grave.

First lay wooden poles across the protective ash lining around the coffin. Pass four ropes through the rings beneath the coffin without tying them, lower the coffin onto the poles, then pull out the ropes. Take a piece of folded fine cloth or raw silk, place it beneath the coffin, and lower the coffin onto it. Leave the cloth or silk beneath the coffin, cutting away only the excess. If the coffin has no rings underneath, first use ropes to lower it onto the poles and pull out the ropes, then place fine cloth or raw silk beneath it as described above. Another method is to sling ropes directly beneath the coffin, lay their ends on the poles, then remove the ropes and replace them with cloth padding.

When lowering the coffin, carefully control the force to keep it from tilting, falling, or swaying. The chief mourner and the deceased’s brothers should weep and call out, watching the process in person. Once the coffin is in place, straighten the coffin covering and the inscribed banner identifying the deceased, so that both lie flat and properly aligned.

Someone asked: If a coffin has no rings underneath, there is concern that the ropes will be difficult to pull out, so the method described above is used. But if the coffin does have rings, why not lower it directly with ropes, then pull the ropes out after it rests on the poles and replace them with cloth or silk? The answer: This is probably also because the ropes may be difficult to pull out. Nowadays, some people make both ends of the rope into slip loops and use such ropes to lower the coffin; this is quite secure and may be adopted in accordance with local custom. Bricks placed beneath the coffin at the four corners of the grave chamber can also make it easier to pull out the ropes used to lower it.

Covering the Ash Lining Inside and Out

First measure the ash lining, then make a thin wooden board sized to fit snugly between its four walls. Place the board over the coffin, seal the gaps with putty, and then add the outer cover.

Note: The method in the original book is to pour in asphalt to a depth of about three inches, then add the outer cover. Nowadays asphalt is not used; stone slabs are substituted, and no outer cover needs to be added over the slabs. In some places, people use several layers of porcelain bowls filled with a mixture of glutinous rice porridge and lime. This is also very sturdy and may be used.

Filling Firmly with Ash

Mix the three-part ash mixture, blended in the proper proportions, and spread it over the top; then spread charcoal dust. The ash and charcoal dust at the bottom, outside and inside the outer coffin, around it, and above it must all be laid to twice the prescribed thickness. Sprinkle them with wine, then tread them down gently. Since there is concern that the coffin might be shaken, do not tamp the material forcefully. Instead, lay it on more thickly and let it compact naturally.

Next, fill in the earth and tamp it down. For every chi or so of soil added, tamp it lightly once, taking care not to shake the coffin. Then make an offering to the Earth Deity (the god of the land) on the left side of the tomb.

Prayer

On this day, in this month and year, the person making the offering, whose identity is as recorded earlier, respectfully addresses the Earth Deity of this mountain: A tomb is now being built for a certain official, a certain person. May the deity protect him so that he suffers no misfortune in the future. We respectfully offer clear wine, dried meat, and meat paste, and invite the deity to partake.

The person making the offering returns to their place, bows twice, and then removes the offerings.

Liu Zhang says: Since the bodies of one’s parents are buried here, an offering must be made to the Earth Deity so that the deity may be at peace.

Placing the Burial Objects and Other Items

When the earth has been filled halfway to the burial chamber, place the mingqi (burial objects representing items the deceased used in life), the lower tent, the bundle, the bamboo basket, and the jar in the side chamber of the tomb.

Mingqi are wooden models of carriages, horses, servants, and attendants, holding objects that represent the items used in daily care, such as towels and bedding. They are made in imitation of the objects the deceased used in life, but on a smaller scale. Under the regulations of the time, officials of the fifth and sixth ranks used thirty items; those of the seventh and eighth ranks used twenty; officials who did not hold court rank used fifteen; and commoners used ten.

The lower tent includes curtains, cushions, mats, chairs, tables, and similar items, likewise made smaller than those used in life.

The bundle is a bamboo-woven wrapping used to hold dried meat left over after the funeral offerings.

A commentary on the Rituals says that a bundle is made of grass, and that this is what the ancients meant by “grass wrapping.” A commentary on the Record of Rites says that the bundle is a wrapping for things such as fish and meat, while the padding is material placed inside a container to hold its contents.

Fill five bamboo grain containers with the five grains.

Sima Wengong says: These days, it is enough to put each kind of grain in a separate small jar, with five sheng of each.

Liu Zhang says: The Jixi Li records that three grain containers held the same amount as a gui, an ancient ritual vessel for grain, and were used for millet, glutinous millet, and wheat. The commentary says that these grains were all soaked in hot water. The spirits partake of offerings not to satisfy their hunger; this practice expresses respect.

According to the commentary on the Yili, a grain container is a vessel for offerings, with the same capacity as a gui. The commentary on the Analects says that it is made of bamboo and holds one dou and two sheng.

Use three ceramic jars for wine, vinegar, and meat paste.

On examination, these items are also known among the common people as “granary and treasury,” but they are no longer used today. In central Fujian, some people use two ceramic bottles: one holds the five grains and is called the “granary”; the other holds copper coins or paper money and is called the “treasury.” In our locality, neither is used.

Zhang says that jars and bottles should not be placed in the tomb, since they can make it damp; feathers should not be placed there, since they can decay and lie close to the corpse; gold should not be placed there, since after many years it might give rise to strange phenomena; and cinnabar, realgar, and alum should not be placed there, since their properties are fierce and drying, leaving the soil parched and unable to nourish. The ancients placed mingqi—symbolic objects for burial—in tombs, but over time these would inevitably attract insects. If these items must be used, it is better to dig a separate pit beside the grave pit and place them there.

Sima Wengong says: Once the grave soil has been filled halfway, dig a side chamber beside the grave pit for the items beginning with the mingqi, put them inside, and seal the entrance to the chamber with wooden boards.

Liu says: Someone asked about the meaning of “ritual objects for the dead” (mingqi), the ceremonial items buried with the deceased. According to the commentary on the Record of Ritual, this means conducting the funeral in keeping with ritual, without treating the dead as though they were alive. To treat them entirely as dead would show a lack of love for one’s family and be inhumane; that must not be done. To treat them entirely as living would show a failure to understand what is appropriate and be unwise; that too is unsuitable. Thus, although the ritual objects are provided in full, they cannot actually be used. They are called “ritual objects for the dead,” perhaps because they are to be treated as one would treat spirits.

Someone asked: When excavating a side chamber in a tomb to hold burial objects, one might worry that water will collect in the empty tomb and be difficult to drain. Would it be appropriate to place the tomb inscription inside the chamber and bury it there? Liu replied: This reflects the ancients’ reluctance to regard their loved ones as truly dead, but in practice it serves no purpose. What is more, foods such as dried meat decay, breed worms, and attract ants, making them even less suitable. They should not be placed in the tomb. It is enough to bury the ritual objects.

Comment: In the customs of Fujian, people excavate a side chamber for the ritual objects and also carve wooden figures such as golden roosters, jade dogs, cypress people, and Earth Gods. These may damage the earth’s vital veins, draw water into the tomb, and encourage worms and ants, causing harm instead. It is best not to use any of them. If a filial son insists on preparing the burial according to ritual, there is no need to take pains over carving: paper-mâché substitutes made from paper mulberry will do. After the burial is complete, when making offerings to the earth and announcing the burial at the grave, burn them in front of the tomb as one would burn paper money. This may be more convenient. I earnestly advise gentlemen of benevolence and filial devotion to consider this carefully.

Burying the tomb inscription stone:

If the tomb is on level ground, first lay a layer of bricks south of the passage into the tomb, place the inscription stone on the bricks, then build bricks around it and cover it with bricks. If the tomb is on a steep hillside, dig a hole four or five feet deep a few feet south of the tomb and bury the stone in the same way.

Finally, fill the hole with earth and stones, then tamp it down firmly.

The earth above the ground should also be about one foot thick. It must be tamped repeatedly with a rammer until it is firm.

Commentary: Some people in the countryside build hollow tombs out of bricks. These tombs are often tall and hollow, so over time they can easily collapse and sink. This is highly unsuitable. More lime concrete—a building material made from lime, sand, clay, and other ingredients—should be used, and it should be tamped firmly into place.

Inscribing the Spirit Tablet

The person presiding over the ritual sets a table before the spirit seat, which holds the deceased’s spirit tablet, and faces toward the left. An inkstone, brush, and ink are placed on the right side of the table, along with a washbasin and hand towel.

At the start of the ritual, the host stands facing the table. Those responsible for washing, reading the prayer, and inscribing the spirit tablet—the act of writing on it and adding the final dot to the character for “spirit tablet”—all wash their hands. The ritual officiant responsible for bringing out the tablet opens the box containing the wooden spirit tablet, removes it, and lays it flat on the table. After washing his hands, the person who will inscribe it stands to the right of the table.

The recessed area in the center of the wooden spirit tablet should have its inscription written in advance by someone else, leaving only the white powdered area on the tablet’s face blank. In the character for “spirit tablet,” the final dot is originally omitted, so that the character is written as “king.” At this point, the person performing the inscription adds a dot above it, turning “king” into “spirit tablet.” This is called “inscribing the spirit tablet.” The officiant carries the wooden tablet to the spirit seat and sets it in place. The soul banner, a piece of silk symbolizing the deceased’s soul, is then put away, and the spirit banner, symbolizing the deceased’s bodily form, is placed in its box behind the spirit tablet.

After burning incense and pouring wine, the officiant kneels, followed by the host and the others. When the officiant has finished reading the prayer, it is not burned. Everyone rises and returns to their places, then bows and performs four prostrations, rising after each, before finally standing upright. The host makes two bows to the person who inscribed the tablet, who responds with four bows.

Commentary: Why is the recessed area of the spirit tablet inscribed in advance by someone else, so that the person who adds the final dot only has to mark the white area during the ritual? The person performing this act is often a respected person of high standing or an elder, and writing on the spot might be inconvenient. This is therefore a practical expedient. Confucian ritual texts do not record this practice.

Format for Inscribing the Spirit Tablet

The recessed area is laid out for a father’s tablet. The person performing the inscription need only add the final dot to the character for “spirit tablet.”

On the front of a recessed-style spirit tablet, write the following for the father: “The late honorable gentleman, formerly an official of [title], surname [surname], personal name [name], courtesy name [courtesy name], of the [ordinal] rank, spirit tablet.” For the mother, write: “The late lady, bestowed with the title [title], of the [surname] family, personal name [name], of the [ordinal] rank, spirit tablet.” On a powder-faced-style spirit tablet, write for the father: “Spirit tablet of the illustrious deceased father, Lord of the [official title and posthumous honorific],” and for the mother: “Spirit tablet of the illustrious deceased mother, lady bestowed with the title [title], of the [surname] family.” At the lower left of either tablet, write: “Offered in worship by the filial son [name].” If the deceased held no official post, use a title denoting his status; for example, for the father write: “Spirit tablet of the illustrious deceased father, retired scholar and lord.”

Prayer text

On [day] of [month] in [year], your bereaved son [name] respectfully reports to his father, Lord [official title, bestowed title, and posthumous honorific]: Your body has been laid to rest in the tomb, and your spirit has returned to the hall of your home. The spirit tablet has now been made. We respectfully pray that your revered spirit will leave its former abode and settle in this new one, taking this tablet as its dwelling. When offering this prayer for the mother, replace “bereaved son” with “mourning son.”

The term zhunxi means burial. Zhun means “thick,” and xi means “night.” “Thick night” evokes a long night, so the expression is used to refer to burial.

After the prayer is recited, carry the spirit tablet up to the carriage, with the box containing the soul banner placed behind it. Today, it is common for the host to hold the spirit tablet in his arms and return by sedan chair. The belief is that this gives the spirit a place to reside, and this reasoning is sound.

Once the attendants have removed the spirit seat, the procession sets out. The relatives, from the host downward, arrange themselves with men on the left and women on the right. Those in heavier mourning walk at the front, and those in lighter mourning follow behind. When they are about a hundred paces from the grave, elders depart by carriage or on horseback, and the younger generation also travels by carriage or on horseback; where there is water, they go by boat. One male descendant remains behind to keep watch until the earth has been filled in firmly and the tomb sealed.

Someone asked: Why is the spirit tablet—the tablet that enshrines the soul of the deceased—inscribed only after the burial rites, and why does the filial son carry it home while leaving the work of building up the earth into a grave mound to someone else?

The answer was: The dead should be served as though they were alive. Now the deceased’s body lies buried in the earth, while the soul rests in the spirit tablet. So the filial son hurries to carry the tablet home and settle the soul there. The work of building up the grave mound is left to relatives within the mourning circle or to the deceased’s disciples.

Once, when Confucius attended a funeral, he too entrusted the work of covering the grave with earth to his disciples. Later, heavy rain threatened to cause the grave mound to collapse. Zigong returned and told Confucius, who wept and reproached the disciples, saying, “The ancients did not repair graves.” By “did not repair graves,” he meant that graves were built sturdy and firm from the outset, so there was no need to repair them. He did not mean that a collapsed grave should be left unrepaired. The custom people speak of today—returning to the grave three days later to inspect it—comes from this story.

Building the Grave Mound

A Grave Four Feet High

The Tangun records that after Confucius buried his parents together at Fang, he said, “I have heard that the ancients built graves but did not raise them into mounds. Now I, Kong Qiu, travel in all directions, so the grave must be made recognizable.” He therefore raised the mound to a height of four feet. ○ This account holds that Confucius’s grave mound at Fang was four feet high, and that later generations adopted this measurement as the standard.

A small stone stele should be set up before the grave, also four feet high, with a base about one foot high.

Sima Wengong said: Under the regulations in force, the dimensions and number of steles and stone figures used at graves are prescribed according to rank. But burial rites should take the long view for future generations. When they see these objects, how could they know whether the grave conceals a great deal of gold and jade? Such things bring the deceased no benefit and may instead invite misfortune. For this reason, the regulations allow people of high rank to use the same specifications as those of lower rank, while people of lower rank may not exceed the specifications for the high-ranking. In view of this, it would be better to do without these objects altogether.

According to Wen Gong, a separate small stele should be erected. It should be made of white stone, more than one chi wide, with roughly the upper two-thirds of its shaft carved in the shape of a gui tablet—pointed at the top and square at the bottom. Like the cover of a tomb epitaph, its face should briefly record the deceased’s lineage, name, and life. The inscription should begin on the left side of the face, continue around the back, and extend to the right side, completing a full circuit. A woman’s stele should be erected after her husband has been buried. Its face should follow the style of her husband’s epitaph cover, and it should be carved on a separate stone.

After examining the ancient institutions, our dynasty established regulations for tombs. The burial plot of a first-rank official could extend to ninety paces, with ten paces deducted for each lower rank. Those below the seventh rank could have no more than thirty paces, and commoners no more than nine. A first-rank official’s mound could be one zhang and eight chi high, with two chi deducted for each lower rank. Those below the seventh rank could have no more than six chi. Stele designs also varied by rank: first-rank officials used a dragon-head crown, showing two intertwined dragons; second-rank officials used a qilin design; and third-rank officials used designs of the Tianlu or Bixie. All had tortoise-shaped stone bases. Officials from the fourth through seventh ranks used a round stele crown and a square base. The height, length, and width of stone figures and animals likewise decreased with each rank. Stone figures, stone animals, and wangzhu—stone pillars along the tomb approach—were all subject to regulations by rank, which can be consulted in the laws. People of high rank may use the specifications of a lower rank; people of low status, however wealthy, may not use those reserved for the high-ranking. For the sake of their descendants, those unable to remove all furnishings that exceed their status may still reduce them as appropriate.

Sima Wengong said: In ancient times, when people had achieved great deeds and possessed high virtue, the court would have their names engraved on bells and ceremonial vessels and enshrine them in the ancestral temple. At their burial, only a tall stone tablet was set up before the coffin. It was only after the Qin and Han dynasties that literati began composing praises of the dead and carving these writings on stone tablets. After the Southern Dynasties, some also began burying inscriptions in tombs; these came to be called tomb epitaphs.

If the deceased truly was a person of virtue, his reputation would naturally spread, and later generations would praise him. His name would endure and could not be obscured. Why would he need an inscription to prove it? If the deceased was not virtuous, then even if the writing were elegant and pleasing, forcibly describing his achievements as equal to those of Lü Wang (Grand Duke Jiang) and his virtue as equal to that of Zhongni (Confucius) would only invite ridicule. Who would believe it? A stone tablet stands beside the path to the tomb, where people can at least see it. A tomb epitaph, however, is buried underground and no one can see it unless the tomb is opened. Emperor Wen of Sui had a son who died at the age of four. The boy’s attendants asked to erect a stone tablet for him. Emperor Wen said, “If you wish to seek a reputation, a single volume of history is enough. Why erect a tablet? It will only serve as a stone to weigh down someone else’s tomb.” These words were truly apt.

Since it is now impossible to avoid writing tomb epitaphs, one should simply record truthfully the deceased’s native place, family background, official posts, and the events of his life. Before the tomb of Jizha stands a stone that people say Confucius inscribed in seal script. Alas, the stone bears only the words, “Tomb of Jizha, Prince of Yanling of the State of Wu,” yet later generations know that he was a worthy man. Why write so much? Today, if we carve only a person’s name before the tomb, people will naturally know who he was.

Appendix: The Epitaph for Master Wen’s Father

My late father was named Song, courtesy name Qiaonian, and surname Zhu. He was from Wuyuan in Huizhou. My great-grandfather was named …###

My late father was named Song, with the courtesy name Qiaonian. His surname was Zhu, and he came from Wuyuan in Huizhou. My great-grandfather was named Zhen, and my grandfather Xun; both my grandmothers had the surname Wang. My father was named Sen, and my mother’s surname was Cheng. For three generations, no one in our family held office. Because of my late father, my parents were later posthumously granted the titles Gentleman Eligible for Appointment and Lady.

My late father was born on the wu-shen day in the intercalary second month of the fourth year of the Shaosheng era. He was naturally most devoted to his parents, with lofty aspirations and outstanding integrity. His writing and conversation often contained startling insights. In the eighth year of the Zhenghe era, he received an appointment through the Tong Shangshe qualification and was made a Di-gong Lang and county commandant of Zhenghe in Jianzhou. When my grandfather, the Gentleman Eligible for Appointment, died, my father could not return home because of official duties, so he buried him where he was serving. Thereafter, as he traveled and served in various places in Fujian, he began studying the Great Learning and the Doctrine of the Mean under disciples of Yang Shi of Guishan.

My late father was later transferred to serve as county commandant of Youxi in Nanjianzhou, then to supervise tax collection at Shijing Town in Quanzhou. In due course, he was promoted to Left Assistant in Government. In the fourth year of the Shaoxing era, he was summoned to take an examination and appointed Corrector in the Palace Library. After my mother died, he observed mourning for three years. When the mourning period ended, he was summoned to give an audience response, appointed Promoter of Education, and promoted to Assistant Compiler and Vice Director of the Department of Finance in the Ministry of Revenue, while also serving as Collator in the Historiography Institute. He successively served in the Office of Meritorious Officials and the Ministry of Personnel, while retaining his post at the Historiography Institute. For his contribution to compiling the histories, he was promoted to Gentleman for Memorials; on the basis of his years of service, he was then promoted to Gentleman for Deliberation. The chancellors Zhao Zhongjian and Zhang Zhongxian both praised and appreciated my father, but before they could appoint him to a suitable post, they left office.

Qin Hui therefore came to resent my father. At the time, my father had also led his colleagues in forcefully arguing that peace negotiations would be harmful, which made Qin even angrier. He appointed my father prefect of Raozhou. Before taking up the post, my father requested instead to be made administrator of the Chongdao Abbey in Taizhou. On the xin-hai day in the third month of the thirteenth year of the Shaoxing era, he died at his lodging south of the city of Jianzhou, aged forty-seven. His surviving writings were compiled in twelve volumes as the Weizhai Collection.

My late father married a woman of the Zhu family from the same commandery, daughter of the recluse Zhu Que. She was granted the title Lady and died twenty-seven years after my father. His son, Xi, served as a Left Di-gong Lang and was appointed compiler in the Privy Council. His daughter married Liu Zixiang, a Right Di-gong Lang and registrar of Changting County. His grandsons were named Shu, Ye, and Zai; his granddaughters were named Xun and Dui. They were all still young at the time.

Before his death, my late father had intended to be buried at Wufu in Chong’an. The following year, the family buried him beside Lingfan Monastery in his native place. I, Xi, was then still young and inexperienced, and the site I selected was unsuitable. Fearing that my father’s remains could not rest in peace, in the sixth year of the Qiandao era, on the fifth day of the eighth month, I moved his grave to the foot of Goose Peak at Baishui in his native place.

Remembering my father, I weep in anguish, with grief that pierces to the bone. I think of how he was unable to fulfill his own wishes before he died, and how I lack his talent and virtue and cannot fully bring his accomplishments to light. I have therefore carefully recorded his family background, official appointments, and deeds, and summarized the main events of his life. I have written this epitaph and buried it in the tomb, and intend to ask someone to compose an inscription for the path leading to it. Heaven above, your kindness is without end! How bitter the grief!

This concludes Volume Eight of the Confucian Exposition of Principle and Reconciliation of Geomancy: A Record of Fulfilling Filial Duty.