《青天歌註釋》

The vernacular interpretation of "Commentary on the Song of Azure Heaven"

This "Song of Azure Heaven" is a work by the Daoist master Qiu Chuji (also known as Changchunzi). The entire song consists of thirty-two lines, corresponding to the celestial order of the thirty-two heavens described in the Scripture of Salvation (Duren Jing). In the preface, the commentator Hunranzi states that he often recites this song, admiring its concise language and profound principles, as it offers a direct path to cultivating perfection and attaining the Dao. The song is divided into three sections: the first twelve lines discuss the foundation of refining the heart and nurturing one's nature, the middle twelve lines describe the practice of returning to one's original destiny, and the final eight lines depict the mystical state where nature and life merge, leading to a profound transformation. Sadly, most people treat it as an ordinary song without grasping its deeper meaning, hence this commentary was written to enlighten future practitioners.

[Interpretation of the Main Text]

The opening lines, "Let no floating clouds obscure the azure heavens," serve as the guiding principle of cultivation. Here, the "azure heavens" symbolize the innate nature of a person, while "floating clouds" represent distracting thoughts. Practitioners must maintain a pure and tranquil mind in daily life, keeping their thoughts clear and preventing selfish desires from obscuring their true nature (the original, innate self). If the mind is not self-controlled and is swayed by external things, it is like floating clouds blocking the azure sky.

The line "All phenomena stand solemn, subduing a hundred evils" means that when one's innate nature is restored, all negative energies naturally dissipate, and body and mind achieve harmony and unity. At this stage, the myriad energies in the body merge into a single Qi, and the myriad spirits unite into a single Shen (referring to the integration of Jing, Qi, and Shen). Conversely, if one fails to restrain anger and desires, they will be disturbed by demonic influences (referring to various negative energies).

The line "When I first opened the vastness, heaven and earth were clear" describes the state of one who has attained the Dao: seeing through the illusion of the physical body and understanding the essence of life. At this point, the mind becomes as clear as the newly opened heavens and earth, and the body's energy channels (metaphorically called "ten thousand doors and a thousand gates") flow smoothly and peacefully, reaching the harmonious state of "all under heaven returning to benevolence."

(Note: Confucian terms such as "restraining the self and returning to propriety" and "all under heaven returning to benevolence" are borrowed here in a Daoist context, referring to the inner harmony achieved through cultivation.)

This scripture teaches that practitioners of the Dao must maintain the purity of their original nature, remaining as innocent as an infant. When the mind abides in emptiness, the vital Qi (qi) of life naturally stabilizes, and the energy flows unimpeded throughout the body. The Kun hexagram from the Book of Changes speaks of "yellow center penetrating principle"—this refers precisely to such a state of inner harmony, where sublime energy fills the entire being, just as all things find peace when heaven and earth are serene.

However, when evil thoughts arise, they obscure clarity like dark clouds covering the sky, disturbing all nine orifices and hundred bones of the body. At such moments, one must immediately awaken awareness, gather the wandering Shen (spirit), and return to the original heart-mind. If one indulges the desires of eyes, ears, nose, and tongue, external things will enslave them—their true nature becomes veiled by clouds while the ocean of cravings churns ceaselessly. The Dao De Jing warns that opening the gates of desire brings lifelong unrest, just as Chan Buddhism cautions "fear not the arising of evil thoughts, but rather the delay in awakening to them." Mencius lamented how people search frantically for lost chickens or dogs, yet fail to seek their own lost heart-mind.

Thus, Dao cultivators must maintain constant vigilance, sweeping away distractions like a gale cleansing the three realms and ten directions. Whether in motion or stillness, they preserve unwavering integrity, undisturbed by external conditions. Facing temptations, their resolve remains steadfast, free from deluded thoughts. Master Yin Xi taught that one should respond to all phenomena with original nature, not with the deluded mind. The Diamond Sutra similarly instructs that the mind should not dwell on form, sound, smell, taste, touch, or mental phenomena—it should abide nowhere yet give rise to the heart-mind. Confucius likewise emphasized abiding in one's proper station. When thoughts are upright, wisdom flows unimpeded, the Three Treasures (Jing, Qi, and Shen) return to their rightful places, and the ten directions become pure and unobstructed.

Ultimately, when dark clouds disperse, the original face appears—like moonlight illuminating countless households, everywhere manifesting the Dao. Then one realizes the state of "eternal truth abiding alone," where the entire being merges completely with the Dao.

This continues the preceding passage, saying: since one has already made the Three Realms and ten directions (the Desire Realm, Form Realm, Formless Realm, and the eight directions plus above and below) pure and clear, naturally not a single thought arises; the true nature then abides constantly, its wondrous function runs through the whole body, and the stars and moon all display their light. This is the way of inner-scape zuowang (inner observation, quiet sitting, and self-forgetfulness), as the Duren Jing says that the various heavens return to their positions, and as Yanzi was repeatedly empty (content in emptiness and lack, with a mind not stuck to things).

Only “beneath the moon” can one play the flute; this refers to the place in the body where, at the zi hour of the winter solstice, one yang first stirs and Gui is born (the sprouting of prenatal Jing and Qi). At that time one must quickly set to work to gather it. “One ringing sound shakes Hua and Yi” refers to returning the wind and blending: using Shen to exhale Qi back into the cavity, one blows the holeless flute within the body, and one ringing sound vibrates inside and outside.

The following discusses the work of cultivating life. “Beneath the moon” is the place in the body where, at the zi hour of the winter solstice, one yang activates, that is, the time when Gui is born. At this time one urgently sets to work to gather it; then with Shen one exhales Qi, causing Qi to return into the cavity, blows out a sound, outwardly closes the doors, harmonizes the pitch pipes (musical pitches, a metaphor for breath and fire timing), and blends the hundred spirits. This is blowing the holeless flute within the body, issuing one ringing sound that shakes Hua and Yi. Unless one encounters a true master’s oral instructions, this cannot be known.

In “Startling awake the jade youth of the East,” “startling awake” means the steaming rises from below upward; “the East” refers to Jia wood generating fire at the Yin position; “the jade youth” refers to flowing intention and flying Shen; “seeking the mystery in the water palace” means seeking the wondrous mystery at the water palace. In “riding backward on a white deer, speeding like a star,” “riding backward” refers to reverse movement; “the white deer” refers to refining Jing and transforming it into white Qi; “taking from Kan to fill Li” means taking the yang within Kan to fill the yin within Li. Overall, when making the elixir and entering the chamber, the lord of nature (the mind-spirit) governs the interior; flowing intention sinks into the water palace, and the steaming remains at the middle root. When the yang fire gradually grows strong, it moves the upper gate’s mechanism; from the Yin branch to Si, circulate Wu earth to supervise and advance the yang fire, driving the golden Jing straight through the three passes and up into the Southern Palace to replenish the yin within Li and complete the Qian image. It must be as swift as a racing star.

“Lingering” refers to gradual control from above downward; “turning to another kind of music” means that the six yang lines converge in Qian (the image of pure yang). Since yang has no principle of ultimate permanence, one yin is born beneath the five yang. From this point one should exercise gradual control, from Wu to Hai, using Ji earth to withdraw the yin tally; from the Golden Gate it descends through the Magpie Bridge and Flower Pond, pours abundantly into the Chonglou and Jianggong, and is sent directly to the Kun palace earth cauldron. “Emerging from being and entering nonbeing” refers to going out of and into being and nonbeing; “not the sheng, not the jue” means it is neither the sheng nor the jue—it is the image of no-image.

Only one bright pearl is formed, round as the full moon; this is not something the sounds of the sheng or jiao (ancient instruments) can compare with.

“The three-foot yun’ao (ancient instrument) with its twelve hui (twelve marker positions)” continues the preceding idea of “do not turn to ordinary music,” and hence it says “three-foot yun’ao.” This means that the three great medicines of Jing (essence), Qi (vital energy), and Shen (spirit) return into the cauldron, wondrously combine, and congeal the true (the Three Flowers gather at the cauldron). In the time of a single breath (one respiration), one can recover the creative transformation of the twelve months of a year. What the alchemical scriptures call “clustering years into months, clustering months into days, clustering days into hours” means that within a single hour one uses only the two hou (the two timings of the fire) to circulate the Zhou Tian (microcosmic orbit) talisman fire. Gather the medicine and enter the chamber to carry out the work of internal refinement. Blending, fusing, and refining, one forms the sacred embryo. This is called “through kalpas of years, the Hunyuan (primordial undifferentiated) is carved” (using the prenatal Hunyuan Qi to carve and refine over a long period, causing the Five Qi to pay homage to the Origin). The Duren Jing (Scripture of Universal Salvation) says: “Within, regulate the Five Qi; blend the hundred spirits; after ten revolutions return the spirit; the ten thousand Qi all become immortal.” Therefore Liaozhenzi said: “The great medicine is the three kinds—Jing, Qi, and Shen; naturally mother and child are intimate with each other; the returning wind blends them and returns to the true body; the work of refining is renewed day by day.” This is what it refers to.

The jade resonance tinkles, cutting off Zheng sounds (licentious and improper music), like a sky without floating haze; the light and pure Qi penetrates everywhere, reaching the human heart, and the four Qi are clear and bright.

This continues the meaning of “the Hunyuan is carved” above; hence it says “the jade resonance tinkles.” This is the merit of being refined by true fire, shedding the defilements of former days. Thereupon Shen is harmonious and Qi is harmonious, pure and harmonious like Shun’s Shao (the Shao music of Yu Shun). From this point on, the licentiousness of Zheng music is cut off. One feels that the earth within my body (the central spleen-earth) has all transformed into green jade, without mixed colors. Naturally it pervades and reaches the human heart. The Duren Jing says: “Golden Truth shines dense; flowing echoes fill the cloud camp; jade sound gathers Qi; numinous wind assembles smoke.” This is exactly the meaning. If not for true transmission and practical work, how could one know such subtle wonders?

What I have obtained from the “One” (the Dao-One, the prenatal One Qi) is that ghosts and spirits assist me, and demons do not offend; I enter the earth and ascend to heaven, transcend past and present, and responsive transformation is up to me.

This means that the Dao of the elixir is perfectly accomplished and transformation is free and unconstrained. Thus the universe lies within me, and the ten thousand transformations return to the body. Having reached this stage, Yin-Yang is set in motion by me, and the Five Phases are commanded by me. Wind and rain are summoned by me; thunder is called forth by my command. Therefore I manifest a great body filling every mote of dust, and conceal a small body that bears Mount Sumeru (a metaphor for a vast mountain). Thus ghosts and spirits can no longer offend.

This passage describes the state and realization attained upon reaching advanced stages of Daoist cultivation:

The first paragraph explains that when practitioners comprehend the profound mysteries of heaven and earth, they transcend the limitations of time and space, attaining boundless freedom of transformation. At this stage, both body and mind are liberated from worldly attachments—neither craving glory and wealth nor suffering humiliation. Such a realm can only be reached through the resolute determination of a true spiritual warrior.

The second paragraph depicts the inner spiritual realm of an accomplished cultivator. Like admiring pure white snow within a gourd (symbolizing the inner spiritual world), the mind becomes immaculate and luminous. This mirrors Zhuangzi's concept of "radiance born from an empty room," referring to this state of pristine clarity. Master Yin Xi similarly taught that liberation from worldly distractions leads to union with the Dao. Such a state resembles the sublime music of "Spring Snow," soaring beyond the Three Realms (the realms of desire, form, and formlessness).

The third paragraph describes the marvelous unity of form and spirit (Xing-Shen) achieved at the highest stages, where one merges completely with the Dao. Like a flute without holes or a zither without strings, though seemingly formless, it embodies the supreme Dao. The Celestial Worthy of Primordial Beginning (Yuanshi Tianzun) teaches that the true Dao cannot be seen or heard. Practitioners must transcend all tangible barriers to directly realize the essence of the Great Dao.

The concluding paragraph summarizes that awakened adepts perceive life's dreamlike nature, attaining the state of "shattered emptiness." Whether day or night, they constantly experience the Dao's profound truth, like pure resonances echoing through celestial grottoes and blessed realms. This ultimate state reveals the most pristine Dao-nature (Jinzhen, Golden Truth).

This scripture expounds the realm of attaining perfection through Dao cultivation and the essential methods of practice. Those who achieve the true Dao attain an indestructible vajra body, perceiving all conditioned phenomena (referring to artificially constructed things) as illusory as dreams, bubbles, or shadows. Upon reaching this supreme wondrous state, celestial music resonates within the body day and night, filling the entire grotto-heaven (the Daoist term for immortal abodes).

It then warns later practitioners: even with unparalleled worldly achievements and extraordinary literary talent, if one fails to receive the transmission of the true Dao, all remains empty and insubstantial. Those who indulge in worldly affairs without awakening will endlessly cycle through the dreamlike illusions of floating life, unable to transcend birth and death. Only a "great man" (one with resolute determination) can maintain unwavering faith, penetrate the profound mysteries, and sever worldly attachments—once awakened, they ascend directly to the formless heavens (the highest celestial realm in Buddhism, beyond material form).

The cultivation method requires both internal and external refinement: inwardly nurturing the spirit (Shen) and vital energy (Qi), while outwardly blending with the mundane world without revealing one's brilliance. Thus, one may dwell in the secular world while the heart already transcends it, ultimately standing shoulder-to-shoulder with immortals and buddhas. This is no empty claim!