《玄元十子圖》

The Vernacular Interpretation of "Portraits of the Ten Disciples of Mysterious Origin":

Yin Wenzi studied the Dao (the Way) of Laozi, wearing the Mount Hua crown (symbolizing transcendence of worldly affairs) to manifest his aspiration. The Dao he pursued remained unshackled by mundane concerns, unadorned by external trappings, solely dedicated to universal peace and the people's prosperous livelihood. He considered insults no disgrace, mediated civil disputes, and opposed warfare. Traveling through various states, he advised rulers above and instructed commoners below, always maintaining his concern for the people. He authored two chapters of "The Book of Yin Wenzi".

Wenzi (given name Xin Jian, also known as Jiran) hailed from Kuiqiu Pushang and became Laozi's disciple. When King Ping of Chu asked him: "I hear you've received Laozi's true transmission—could you explain it?" Wenzi replied: "Correct evil with Dao-De (the Way and its Virtue/Power), pacify chaotic times. When virtue runs deep, the world finds peace—the key lies with the ruler. Accumulated virtue builds kingdoms; accumulated resentment brings ruin. This is why Yao and Shun flourished, while Jie and Zhou perished." Later traveling through Wu and Yue, Fan Li became his disciple. When the King of Yue planned to attack Wu, Fan Li dissuaded him: "My teacher said: weapons are instruments of calamity; warfare violates Dao-De. Using sinister schemes and deadly weapons to contend for profit is the lowest strategy." The king ignored this and ultimately failed. Wenzi declined high positions and riches, retreating to Mount Yuyu in Wuxing's Yuying region, where legend says he ascended on clouds to immortality. Local sites include Tongxuan Temple and Shengyuan Temple, with the mountainside featuring "Cloud-Ascension Rock". His twelve-chapter work earned him the Tang Dynasty title "Perfected of Penetrating Mysteries", with his text canonized as "The Scripture of Penetrating Mysteries".

Cuiquzi, a Zhou Dynasty worthy official, asked Laozi: "Without governing the world, how can people's hearts be settled?" Laozi answered: "Above all, don't agitate human hearts. When suppressed, hearts sink into dejection; when fulfilled, they soar in exhilaration—swinging between extremes like torture victims. Fierce as fire, cold as ice, they can shift the four seas in moments. In stillness, they run deep as abyssal waters..."

The "Portraits of Ten Mysterious Sages" text comprises three sections, each detailing the deeds and philosophies of different Daoist figures. Here's a modern interpretation:

The first section discusses the confusion of human hearts:

The Yellow Emperor first attempted to restrain people's hearts through benevolence and righteousness, but by the Three Dynasties period (Xia, Shang, Zhou), the world had fallen into great disorder. People became suspicious of one another, engaging in deception where good and evil became indistinguishable and truth and falsehood blurred, leading to moral decay. When everyone pursued cleverness and the common people exhausted their mental energies, harsh laws and punishments emerged. The root of this chaos lay in forcibly restraining human hearts. Observing this decline of Dao (the Way) and De (Virtue), Laozi used Cui Ju's question as a warning to the world.

The second section recounts the story of Bai Juzi:

Bai Ju, a Zhou dynasty official and disciple of Laozi, encountered an executed criminal in Qi state. He removed his official robe to cover the corpse, weeping to the heavens: "You, oh you! When great calamity befalls the world, you become its first victim!" He believed that only after establishing concepts of honor and disgrace do problems appear, and that hoarding wealth inevitably leads to conflict. Ancient rulers credited achievements to the people while taking blame upon themselves, whereas contemporary rulers obscured truth to deceive the masses, created impossible standards to condemn them, and increased burdens to punish them. When people have no recourse, they resort to deception—all consequences of poor governance. Bai Ju's philosophy originated from Laozi's teachings.

The third section describes Liezi:

Lie Yukou, a native of Zheng state, lived in reclusion for forty years without anyone recognizing his worth. He first studied under Huzi, then learned from Lao Shangshi while befriending Bo Gaozi. After nine years of rigorous cultivation, he could ride the wind. His disciple Yan Hui once asked: "Is seeking the Dao meant for gaining wealth and honor?" Liezi replied: "It was precisely because tyrants Jie and Zhou despised the Dao while prioritizing profit that they lost their kingdoms." Liezi authored eight chapters of writings.

This passage introduces several important figures in Daoism and their philosophical contributions, while also recounting the background of the Illustrations of the Ten Disciples of the Mysterious Origin (Xuanyuan Shizi Tu).

The first section discusses Liezi, revered in Daoism as the "Perfected Lord of Empty Virtue" (Chongxu Zhide Zhenren), whose writings are honored as the Classic of Empty Virtue (Chongxu Zhide Zhenjing). In Puchang, Zhengzhou (modern Kaifeng), stands the Liezi Temple marking his former hermitage.

The second part recounts the story of Shicheng Qi (also called Shichengzi), a Zhou dynasty recluse who traveled far to seek Laozi's guidance on self-cultivation. Laozi taught him: "The great Dao encompasses all things, profound beyond measure. Those who truly attain the Dao grasp the fundamental, transcending material concerns while their spirit remains unbound." These words brought Shicheng Qi profound realization.

The third section introduces Zhuangzi (given name Zhou, courtesy name Zixiu). A native of Meng County in the Song state, he served as a minor official overseeing lacquer gardens while developing profound scholarship rooted in Laozi's teachings. His hundred-thousand-character writings frequently employ allegorical tales. When King Wei of Chu offered him wealth to become prime minister, Zhuangzi declined using the metaphor of a sacrificial ox—preferring liberty over gilded constraint. The Tang dynasty honored him as "Perfected Lord of Southern Florescence" (Nanhua Zhenren), with his works titled True Scripture of Southern Florescence (Nanhua Zhenjing).

The concluding portion details the creation of Illustrations of the Ten Disciples. The artist Zhao Mengfu recalls knowing Master Du (Daoist name Nangu) since childhood. This master resided at Shengyuan Abbey (traditionally regarded as the hermitage of Wenzi), where he commissioned Zhao to paint portraits of Laozi and ten disciples accompanied by biographical accounts elucidating Laozi's Dao. Zhao completed this work on New Year's Day, 1286 (23rd year of the Zhiyuan era).

Notes:

1. The "Ten Disciples" refer to Laozi's principal followers

2. "Sacrificial ox" symbolizes material privilege at the cost of freedom

3. Shengyuan Abbey's frequent miraculous phenomena established its reputation as an immortal's sanctuary

The Dao has no fixed form, and the Supreme Sage has no fixed name. Precisely because it lacks an unchanging essence, it can transform endlessly, reaching realms beyond ordinary comprehension.

That Primordial Dao Ancestor (referring to Lord Lao, Laozi) exists as the supreme being, present even before the emergence of the Celestial Emperor. We know not whose descendant he truly is, yet he became the source of all things in heaven and earth (the "Mother of All Under Heaven"). We know not how to name him. People only recognize the Laozi with concrete form who appeared during the Shang and Zhou dynasties, unaware of the Laozi without beginning or form, let alone comprehending the ultimate Laozi who predates even the concept of "beginninglessness."

It is said Laozi lived through nine hundred years spanning both Shang and Zhou dynasties. Were there not more than just ten disciples like Guan Yinzi who personally witnessed this "dragon-like, unfathomable" sage? Surely there were other unknown witnesses. Academician Zhao Ziang of the Jixian Academy, based on records of ten sage-like disciples from classical texts, created the "Portraits of the Ten Mystic Sages," intending for Dao cultivators to follow the sage's path by contemplating these sacred images and reciting their teachings. Whether one becomes a true seeker of the Dao ultimately depends on oneself.

As the Book of Odes states: "Grasping the axe handle to chop wood, the model lies before your eyes." On New Year's Day of the Dade Bingwu year (Yuan Dynasty era name), Daoist disciple Du Daojian of Dangtu reverently composed this colophon.