《茅山誌》Vol. 1

This passage records an imperial edict from the Han dynasty conferring exalted titles upon Lord Mao (Mao Ying, a key patriarch of the Shangqing Daoist tradition). Structured in six parallel couplets following the pattern "For your... We now reward with...", the edict commends Lord Mao's spiritual achievements and bestows corresponding ritual implements:

From youth, Mao Ying practiced asceticism in the northern mountains, willingly enduring hunger and cold—cutting his hair, fasting, and wearing coarse hemp ropes while single-mindedly pursuing the Dao (the Way). Crossing mountains and rivers to seek enlightened masters, he ultimately obtained authentic Daoist transmission. Moved by his utmost sincerity, the Celestial Emperor conferred upon him the title "Perfected Being of the Great Origin" (Taiyuan Zhenren) and appointed him "Divine Lord of the Eastern Peak and Director of Destinies" (Dongyue Shangqing Siming Shenjun), a position governing the sacred mountains of the east and human lifespans.

The Celestial Emperor bestowed six treasures in succession: First, a jade battle-axe and green banner, granting him authority to subdue demons and command ten thousand spirits. Second, a violet yak-tail staff and ornate crown, enabling him to summon countless numinous beings and control mountain mists. Third, an embroidered feathered cape and vermilion flying skirt, assisting his unimpeded travel between celestial realms. Fourth, a dragon chariot and tiger carriage for soaring through the void to reach the heavenly courts. Fifth, a curved-canopy jeweled parasol and jade pavilion with emerald chambers for meditation within the nine-layered celestial palaces. Sixth, twin flaming pearls and a luminous moon pearl granting direct access to the highest Shangqing (Upper Clarity) realm and communion with supreme deities.

Each treasure corresponds to specific stages of Lord Mao's cultivation: enduring bitter frost, renouncing familial ties, and perilous quests for the Dao. These honors simultaneously affirm his "pure heart and lofty serenity" and symbolize the supernatural powers attained at the pinnacle of spiritual realization. The "nine bestowals" (jiuxi)—historically the highest imperial honors for meritorious officials—are here adapted into a Daoist framework as celestial rewards for perfected beings.

The Records of Mount Mao document the investiture rituals within the Daoist celestial hierarchy, primarily describing how the three Mao brothers—Mao Gu, Mao Ying, and Mao Zhong (later revered as the "Three Mao Perfected Lords")—received their immortal appointments.

The first section details the celestial rewards bestowed upon deities: brocade banners and feathered insignias with white plumes and black shafts could summon the Six Yin Jade Maidens (female divine beings) as attendants; the immortal music of phoenix calls, golden bells, and jade chimes harmonized the spirit (Shen); while feasts of purple fairy fruits and jade nectar in golden cups granted longevity equal to the Three Luminaries (sun, moon, and stars). These honors corresponded to the deities' merits in universal salvation and steadfast cultivation.

The second section specifically records the Mao brothers' appointments: The Supreme Elder Lord (Taishang Laojun, Daoism's highest deity) dispatched emissaries bearing violet-silk edicts (celestial decrees) to proclaim their offices. The eldest brother, Mao Gu (courtesy name Jiwei), was titled "Lord of Stabilized Records," governing terrestrial immortals (Dixian) from his seat at Mount Juqu in Danyang (present-day Mount Mao), where he oversaw human morality. The youngest brother, Mao Zhong (courtesy name Siwei), received the title "Flower of the Nine Palaces of Earthly Immortals," administering the Three Offices (Heavenly, Earthly, and Water Officials). His duties included instructing novice Daoists, supervising female cultivators, and regulating natural resources like river systems and precious metal deposits.

The text mentions the "Director of Destinies" (Siming), a divinity overseeing lifespans; "Jade Youths and Maidens" as celestial attendants; and "Taiwei" and "Taiji" (Supreme Ultimate) as heavenly palace names. These appointments reflect the Daoist concept of "heaven-human resonance," where cultivators' virtuous deeds (De) are recognized by the celestial court and rewarded with corresponding divine authority.

This passage documents important historical records of Maoshan Daoism during the Northern and Southern Dynasties period, along with official correspondence between emperors and Daoist masters.

The account of Maoshan (the birthplace of the Shangqing lineage of Daoism) mentions: The mountain contains jade nectar and immortal herbs, where dragon mushrooms and celestial plants grow, emitting light at night—all unique products of Mount Liangchang (an ancient name for Maoshan). Here, the northern path connects to the entrance of a grotto-heaven, guarding the gate of the yin palace. Practitioners should diligently cultivate the Dao, maintaining harmony between movement and stillness.

A postscript notes that this text was inscribed in 522 CE (the third year of the Putong era of the Liang Dynasty) on the Jiuxi Stele located south of Huayang Cave on Maoshan, later recorded in the Jianwen Jinshi Chapter.

Several significant official documents follow:

In an imperial edict responding to Tao Hongjing (the renowned Daoist master known as the Hermit) seeking mountain reclusion, Emperor Wu of Qi wrote: "Having relinquished worldly attachments to devote yourself to Daoist practice, you pursue the realm of purity and emptiness—the mountain's tranquility perfectly suits your aspirations. May you fulfill this noble ambition. Should you require anything, make your request known." The emperor granted ten bolts of silk and twenty candles, with an additional decree providing five jin of premium poria cocos and two dou of white honey monthly for his consumption (materials commonly used in Daoist alchemical practices).

Tao Hongjing's eloquently composed memorial resigning from office cites historical precedents: invoking the ancient recluses Xu You from Emperor Yao's era and the Four Haos of Shangshan from the Han Dynasty, he clarifies that his earlier government service was never motivated by worldly glory, having always yearned for reclusion. Now finally fulfilling this wish to withdraw to the mountains, he writes movingly of shedding tears by the riverbank at his departure, with boats prepared and no further chance to express his lingering devotion to the sovereign.

The artistic exchange between Emperor Wu of Liang and Tao Hongjing reveals their calligraphic discourse: The emperor critiques Wang Xizhi's (Yishao) brushwork, judging the Essay on Yue Yi as overly forceful (possibly inauthentic) and the Admonitions of the Grand Preceptor as excessively delicate, lacking seasoned vigor. Tao's reply notes that only Zhou Xi's calligraphy at the Secretariat remains passable, advocating the theories of Zhong Yao and Wang Xizhi—though regretting his advanced age prevents deeper study of these subtle arts.

These documents illustrate imperial reverence for eminent Daoist adepts, the literati's yearning for reclusive spirituality, and the elevated status of calligraphic art during this period.

This passage primarily discusses insights into the art of calligraphy. The author mentions receiving five divine brushwork pieces (referring to calligraphy with sacred connotations), where every character warrants careful appreciation, with even the strokes containing profound skill. The more one examines them, the more exquisite they appear—so marvelous as to defy verbal description.

With humility, the author states that while they have always revered master calligraphers like Zhong Yao and Wang Xizhi, they now hold these works in even higher esteem. They are currently practicing by copying portions of these pieces, though the task remains incomplete. Some calligraphic texts, though rich in content, do not align with their specialized focus; they hope to concentrate on studying exemplary classics like the Discourse on Yue Yi and Admonitions of the Grand Preceptor to transcribe essential scriptures and commentaries.

The second part emphasizes technical aspects of calligraphy: if the brush is not held correctly, the strokes lack sharpness; if gripped too loosely, the characters appear weak. Strokes that are too short seem bloated, while overly extended sweeps and downward strokes make the structure loose. Characters spaced too closely appear cramped, while excessive spacing looks scattered. Too little ink results in a parched look, while too much makes the writing heavy and clumsy. These are all natural principles.

Excellent calligraphy should exhibit: rhythmic brushwork with rises and pauses, structural harmony following established rules, balanced ink tones—neither too dark nor too light—and well-proportioned strokes with equal bone strength (firmness). It should appear both gentle and restrained yet brimming with vitality, pleasing to the eye. Mastering the Six Scripts (the six character-formation methods: indicative, pictographic, phonetic compounds, associative compounds, mutually explanatory, and loan characters) requires diligent study. Just as Cheng Miao developed clerical script and Zhang Zhi became a calligraphy master through long-term accumulation, only such sustained effort allows one to truly grasp the essence of calligraphy. The author mentions that from youth until now ("吾少来乃至不"—the original text is incomplete)....

This passage records the author's insights on calligraphic art and collecting experiences, conveying several core perspectives:

The author criticizes those who casually scribble cyclical date markers on paper, considering such frivolous behavior worthy of contemporary ridicule and future generations' derision. He emphasizes that true calligraphic art transcends mere technical skill or the pursuit of empty fame (what he calls "dust on the Dao-heart"), requiring instead a purified state free from worldly desires.

Regarding the work Essay on Yue Yi, the author suspects his collection might contain copies rather than original pieces, though he hesitates to draw definitive conclusions. He candidly admits that while having some discernment in calligraphic appreciation, his expertise remains imperfect. Particular mention is made of Wang Xizhi's (courtesy name Yishao) "flying white" script style—though unable to authenticate its genuineness, he could perceive its astonishing brushwork vigor.

The author recalls viewing Wang Xizhi's catalog at Ma Cheng's residence, which included over ten modern-style works like Exhortation to Advancement and Ode to the Goddess of the Luo River, plus two ancient-style Quick Access Chapters. He laments these precious ink treasures may already be scattered. During that period, the court often bestowed mounted calligraphic models on nobility and officials—the author received five scrolls himself, considering this a profound honor.

In closing, the author modestly states that while broadly learned, his knowledge lacks depth. He once suffered from lacking quality calligraphic models, even considering assuming an archival position. Reflecting on life's brevity, he observes how disgraceful it would be to wallow in sensory pleasures (the "five desires") without pursuing higher realms. This passage reveals an ancient literatus' reverent attitude toward calligraphic art and his pursuit of self-cultivation.

[Note: I've maintained specialized Daoist terminology where applicable (e.g., "Dao-heart" for 道心) while rendering the calligraphy-specific content in natural English. The translation preserves the original's reflective tone and structural flow, with cultural concepts like cyclical dating and "flying white" script appropriately contextualized.]

This passage documents the authentication and cataloging of ancient calligraphic works. The general meaning is as follows:

After the Wuyi period (an ancient musical pitch-name, here referring to a specific era), with state affairs becoming increasingly demanding, the author felt inwardly ashamed to approach these precious texts in his leisurely capacity. Now he ventures to classify these calligraphic works, hoping the enlightened will recognize his sincere intentions.

The text details the authentication process: some works share similar handwriting but cannot be confirmed as by the same artist, while others require analysis of stroke characteristics to distinguish individual styles. The author emphasizes that calligraphic authentication shouldn't be rushed—one must maintain cautious neutrality.

Specific mentions include two works by Ren Jing (a calligrapher) and several famous pieces by Wang Xizhi (style name Yishao, Eastern Jin dynasty master), such as the Huangting Jing (Yellow Court Classic) and Yue Yi Lun (Discourse on Yue Yi). Volume 23 primarily contains eight works attributed to Wang Xizhi, though the author notes the Yue Yi Lun, while vigorous in brushwork, lacks careful execution with some damaged characters. In contrast, the Taishi Zhen (Admonitions of the Grand Preceptor) and Dayayin (Ode to Noble Virtue) show meticulous craftsmanship, albeit somewhat restrained—as if composed on a fan's surface.

Finally, four works are identified as not genuine Wang Xizhi pieces, with two suspected to be copies by Wang Xianzhi (style name Zijing, Wang Xizhi's son), including the Zhi Lian Li and Li Gu Fang. The entire passage exemplifies the rigorous methodology and attitude of ancient calligraphic authentication.

This passage primarily discusses the authentication of several ancient calligraphic works. It begins by listing eleven pieces, ten of which have been confirmed as not being authentic works by Wang Xizhi (known as Youjun), but rather later imitations or pieces written by others. These include: one piece dated to the second year of Huangchu period (in the style of Wang Xizhi by a later hand), the "Epitaph for Miu Xi" (written by Xu Xiansheng), "Embracing Sorrow" (by Zhang Cheng), "May 11th" (written by Wang Min but stained with oil), "Still Remembering Huang and Qi", "Thus Lingering" (clumsy imitations by later hands), "No More Unfolding" (by Wang Xianzhi), "Changing Months Again" (by Zhang Yi), "Zhong Yao's Note Dated May 15th" (also by Wang Min), and "Cough Remedy" (by Xie An).

The discussion then turns to works attributed to Zhong Yao and Wang Xizhi, noting that among existing scrolls claimed as authentic, most are later copies with only two or three lines slightly resembling Zhong Yao's style. Over twenty pieces bearing characteristics of Zhong Yao's brushwork are mentioned. The author expresses intention to mount these works into an album, though requiring time for proper arrangement.

The concluding section evaluates several master calligraphers: Wang Xizhi (Yishao) is regarded as the most accomplished, achieving perfect synthesis; Zhong Yao (Yuanchang)'s clerical script is deemed unparalleled; while Zhang Zhi (Boying) is honored as the "Sage of Cursive Script." The author emphasizes the importance of distinguishing authenticity, warning that failure to do so would lead later generations astray in a fog of forgeries. True understanding of calligraphic essence should prompt superficial imitators to lay down their brushes in reflection.

(Note: "Youjun" refers to Wang Xizhi, "Yishao" was his courtesy name; "Yuanchang" was Zhong Yao's courtesy name; "Zijing" was Wang Xianzhi's courtesy name; "Boying" was Zhang Zhi's courtesy name—all being renowned calligraphers of the Wei-Jin period.)

This passage primarily discusses the transmission and appreciation of calligraphic art, addressing the circulation of works by master calligraphers such as Wang Xizhi (Yishao), Wang Xianzhi (Zijing), and Zhong Yao (Yuanchang).

The author laments that people of his time revered only Wang Xianzhi's calligraphy while overlooking the artistic achievements of Zhong Yao and Wang Xizhi. He argues that truly sublime calligraphy does not lose its value with the passage of time, yet few in his era could still appreciate these masterpieces. The author particularly admires two connoisseurs, Hong Yuan and Sikuang, believing they possess the discernment to truly understand these artistic treasures.

The text mentions that the author has collected several calligraphic copies but worries about their accuracy, especially concerning deviations in brushwork from the originals. He expresses a desire to find highly skilled artisans to reproduce a few lines from Zhong Yao’s authentic works, believing such calligraphy should endure for eternity.

Regarding Wang Xizhi’s calligraphy, the author notes that his works before his tenure in Wuxing were still unrefined, with his finest pieces created during his time in Kuaiji (around the tenth year of the Yonghe era). After resigning from office, Wang Xizhi rarely wrote himself, often delegating the task to others, making it difficult for later generations to distinguish authenticity. Many mistakenly attributed these proxy works to his later years. Following Wang Xizhi’s death, his son Wang Xianzhi, at seventeen or eighteen, imitated the style of these proxy calligraphers, resulting in a manner resembling his father’s. The author believes that through meticulous textual research, the true nature of these calligraphic works can now be clarified for all.

Wang Xizhi (courtesy name Yishao) in his later years never faced criticism for his calligraphy. Yet I've heard that recently someone attempted to imitate Ruan Yan's (a Southern Dynasty calligrapher) brushwork, producing works so convincing they blurred the line between authentic and forged. Recently, while comparing my efforts to Guo Mo's (likely a contemporary calligrapher) works, though I could approximate the forms, I failed to capture the spiritual resonance of his brush techniques. Among my previous collections, only one or two pieces with rigorous brushwork remain worthy of mounting. I remain ever grateful for your previous generosity—might I inquire whether another blessing may come before year's end? This lies wholly in Heaven's will; I dare ask but dare not demand.

Emperor Wu of Liang's rescript to Tao Hongjing (styled Recluse Master) regarding the presented "Zhou's Records of Mystical Communion":

We have examined your memorial and the surviving texts of Master Zhou. The revealed truths therein shine with clarity, perfectly aligning with prior prophecies—truly a marvel of profound mystery. These four volumes of "Records of Mystical Communion" shall temporarily remain in the palace archives. Having perused their contents, We find nothing but cause for admiration. Twentieth day of the twelfth month.

Tao Hongjing's memorial presenting "Zhou's Records of Mystical Communion":

Your servant reports: In late October last year, sudden manifestations of Zhou's (likely referring to Zhou Ziliang, Tao's disciple) spiritual communion occurred. As this coincided with our purification retreat (zhai), immediate reporting proved impossible. Now I've compiled the complete account into four volumes for presentation. I alone bear blame for my dull-witted skepticism in failing to perceive these heavenly signs earlier—my remorse knows no bounds, and I stand ready for punishment. The detailed account has been orally recorded by Yuanwen (likely Tao's disciple). I beg Your Majesty's forgiveness for your servant's obtuseness. Respectfully submitted.

(This record from Volume One of "Maoshan Chronicles" documents Tao Hongjing reporting his disciple's extraordinary spiritual experiences to Emperor Wu of Liang. It references Daoist concepts like "revealed truths" (zhenyan) and "talismanic verification" (fuyan)—mystical prophecies and their manifestations attained through specialized cultivation. "Purification restrictions" (zhaijin) denote periods when Daoist practitioners observe purity practices, abstaining from worldly affairs during dedicated spiritual training.)