《甘水仙源錄》Vol. 10
About this page. The original text of 《甘水仙源錄》 Vol. 10 (Dongshen 洞神部, 10 volumes) is shown in Classical Chinese as transmitted in the Kanripo (Kyoto University) edition. An English interpretation of the 24 passages on this page accompanies it: select a passage or press “Interpretation” to show it. All texts in English
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The tenth volume of Ganshui Xianyuan Lu (Records of Immortal Sources from Sweetwater) contains an inscription commemorating the construction of Jingzhou's Kaiyang Abbey. This stele text, composed by Hanlin Academician Zhang Ben, documents the founding of the abbey.
On the sixteenth day of the second lunar month in the spring of the Dingyou year (exact year unspecified), the Daoist priests of Kaiyang Abbey in Jingzhou, introduced by Grand Master Zhang Zhisu—superintendent of Changchun Abbey in Yanjing—arrived at Zhang Ben's doorstep at dawn. Dressed in black robes and holding white bamboo slips, they paid their respects with solemn ceremony. They explained that Kaiyang Abbey had originally been established through the virtue (De) of their late master, the Tongxuan Grand Master (Yang Zhidao), and that Changchun Zhenren (Qiu Chuji) had personally bestowed its name in recognition of his merit. Now that their master had passed away, his disciples felt the weight of their responsibility deeply, fearing day and night that they might fail to uphold his legacy. Thus, they had come to request Zhang Ben to compose this inscription, hoping it would endure for posterity.
The inscription details the life of Tongxuan Grand Master: his secular surname was Yang, given name Zhidao, and he hailed from Lingquan in Macheng County, Luanzhou. In the Gengxu year of the Jin dynasty's Mingchang era (1190), he renounced worldly life to pursue the Dao (Way), receiving initiation under Master Langran. After three years, he began wandering the land as a mendicant. He once secluded himself in Wuqing for three years of rigorous practice. Later, while passing through Huizhou's Lingyan Mountain, he endured unjust treatment without protest. Recognizing the mountain's suitability for cultivation, he dug barefoot into the stone to carve out a cave, persevering for a decade until he completed the famed "Dripping Water Cave" (so named for the spring that welled up within it). In the Dingmao year of the Taihe era (1207), officials and local gentry of Huizhou's Shenshan County, moved by his virtue, invited him to establish Taiqing Abbey. During the Zhenyou period (1213–1217), he wandered further to the Xingping region. Eventually, with support from officials such as Yanjing Provincial Advisor Guojianu and Jingzhou Governor Wang Zhongwen, he founded Kaiyang Abbey.
(Note: "Tongxuan Grand Master" was an honorific title conferred by the Jin dynasty; "Changchun Zhenren" refers to Quanzhen Patriarch Qiu Chuji; "enclosed retreat" denotes a Daoist's secluded cultivation space; "cloud and water" symbolizes the itinerant life of a wandering priest.)
In the Dingchou year (1217), a petition was submitted to the prefectural government to designate a twenty-li north-south by three-li east-west vacant plot in Su Family Village as land for a Daoist temple. This terrain was flanked by Dragon Ridge to the left and Hun River to the right, backed by Iron Mountain in front and connected to Sculptor Peak behind. The authorities granted permission for free cultivation and construction. Initially overgrown with brambles, the Daoists felled trees, fired bricks, transported stone, while inwardly transforming the people through Xuandao (the Mysterious Way of Daoist practice), and outwardly leading disciples through exemplary hard labor. Within a decade, they completed the Sanqing Main Hall (enshrining Daoism's highest deities, the Three Pure Ones), with the western Cloud Hall for scripture lectures and eastern fasting quarters. Soaring eaves and upturned corners created majestic architecture, while guest quarters were arranged in serene elegance. Vegetable gardens were cultivated around the complex, orchards planted, purple gates reflecting rosy clouds and dense foliage filtering sunlight—truly an earthly paradise. Over ten qing of farmland was cleared, ensuring ample grain for the several hundred temple residents.
When the Changchun Zhenren (Qiu Chuji) returned from the Western Regions bearing imperial edicts, the community paid homage. Changchun named this place "Kaiyang" (Opening Yang). Yang's nature embodies benevolence, radiance, strength, and vitality, yet its waxing and waning follows temporal currents. The Yijing's Hexagram Bo (Peeling) at the sixth five line shows Yin at its zenith, while Fu (Returning)'s single Yang line has yet to sprout—this is Yang constrained. At Qian (Heaven)'s topmost nine line, excessive rigidity risks fracture, like scorching sun eventually burning out—this is Yang overabundant. "Kaiyang" precisely signifies preserving robust luminosity to accomplish creation's work—aligned with springtime, vitality, gentle warmth, and the Middle Way. Having transcended emptiness yet avoiding the precipice of decline, this name honors both Changchun Zhenren's profound subtlety and the temple's balance of firmness and flexibility.
Abbot Tongxuan Daozhang (Daoist Master of Penetrating Mystery), born surnamed Chong, came from an unbroken patriline. By his generation, four generations of accumulated hidden virtue (Yin De) had borne fruit: six brothers—eldest Bohe, second Daoyi, third Zhijian, Tongxuan as fourth, fifth brother Boyi managing ancestral rites, and a youngest brother deceased young. Excepting Boyi, all took Daoist vows. Tongxuan possessed principled integrity and clear discernment, yet practiced humble self-restraint, his brow ever radiating equanimity, treating all with sincere candor.
This Daoist master (referring to Master Tongxuan) never hesitated to spend his wealth, always stepping forward when others faced difficulties. When hosting wandering Daoists from all directions, he willingly emptied his purse and granary without regret. Throughout his life, he never hoarded personal savings, and his disciples numbered over three hundred. On the third day of the twelfth lunar month in the Renchen year, feeling slightly unwell, he left behind a gatha before peacefully departing this world. His disciples built a shrine east of the Daoist temple to enshrine him, and to this day, annual rituals continue in his honor.
The inscription reads: He was as open and radiant as the morning sun illuminating the heavenly gate, and the founding of Tongxuan Temple perfectly embodied his virtuous nature (De). Now that the master has ascended in feathery transformation (yuhua), the temple remains a place of harmony and peace. The inscription reminds the world: Excessive rigidity invites calamity, while extreme weakness loses vitality. Only by maintaining the balance of Yin-Yang can one endure like the gentle warmth of spring. These maxims, carved in stone, will forever guide future generations.
The stele inscription at Shunde Prefecture’s Tongzhen Temple, composed by Grand Councilor Song Zizhen, expounds on the origins of Daoist thought: The teachings of Daoism, tracing back to Laozi as its progenitor, center on the "Great One" (Taiyi, the cosmic origin) and "Constant Non-Being" (chang wu you, the eternal void). Through inner cultivation in stillness and non-action (Wuwei), and overcoming hardness with softness in conduct, one may penetrate the root of heaven and earth and the principles of all things. This doctrine not only nurtures the self and family but also stabilizes the state—far from being mere empty speculation.
Yet later generations gradually strayed from the true path: During the Qin and Han dynasties, it devolved into occult arts and elixirs (Waidan); in the Wei-Jin period, it became abstract metaphysics; by the Sui-Tang era, it was reduced to prayers for blessings and disaster aversion, leaving the true essence of the Daode Jing neglected. It was not until the Zhenglong era of the Jin dynasty that Patriarch Wang Chongyang founded the Quanzhen (Complete Perfection) tradition in Guanzhong, though initially overlooked. After the Yuan dynasty’s founding, his disciple Qiu Chuji (Master Changchun) gained imperial favor and oversaw Daoism nationwide, rapidly spreading Quanzhen teachings—from a single follower to hundreds, thousands, and eventually tens of thousands.
This passage documents the founding history and architectural layout of Tongzhen Temple. Initiated by Li Zhirou (Daoist name: Tongchen Zhenren) from Mingshui (present-day Yongnian, Hebei), this Daoist temple initially developed around a City God Temple. In 1221 (the Xin-si year), Li Zhirou purchased land in the southwest corner of the prefectural city to expand the temple, beginning with just a single scripture lecture hall. Later, upon receiving orders from the Quanzhen patriarch Yin Zhiping (Daoist name: Qinghe), he traveled to Zongsheng Palace on Mount Zhongnan, entrusting temple affairs to his younger brother Li Zhiyong and disciple Han Zhijiu.
With support from local official Zhao Boyuan (military commissioner of Anguo Commandery), the temple gradually expanded: a Sanqing Hall was built in the eastern section to enshrine the Three Pure Ones (Yuqing Yuanshi Tianzun, Shangqing Lingbao Tianzun, and Taiqing Daode Tianzun), while an Ancestral Hall honoring the Quanzhen Seven Masters (Wang Chongyang and his six disciples) was constructed in the west. Subsequently, forty buildings were added including a vegetarian hall, abbot's quarters, meditation rooms, kitchen, and dormitories, housing twenty-one sacred statues across sixty acres of land. A vegetable garden was also cultivated south of the temple to sustain the monastic community.
The text particularly highlights Li Zhirou's spiritual journey: his father Li Zhiwei had studied under the Kaixuan Zhenren Li Zhishi, making Li Zhirou a Quanzhen disciple by lineage. After obtaining Qi cultivation techniques in his youth, he spent twelve years in seclusion at Xianweng Mountain and Guangyang Mountain until hearing of Qiu Chuji (Daoist name: Changchun) answering the imperial summons southward. Such accounts not only trace the temple's origins but also exemplify Quanzhen's tradition of master-disciple transmission.
This passage records the deeds of several important Quanzhen (Complete Perfection) Daoist masters during the Jin-Yuan period and the establishment of their temples. It primarily recounts the missionary activities of Master Tongzhen (his Daoist name) in the Zhongnan Mountain region and the founding process of Taiqing Temple.
The text begins by describing a Daoist master in the Yanshan region (near present-day Beijing) whose profound and mysterious Daoist methods appeared effortlessly mastered in his hands. Later, he wandered extensively before finally settling in Zhongnan Mountain, where his reputation grew daily. The imperial court honored him with the title "Zhenren" (Perfected Person) and bestowed golden ceremonial robes. Under his guidance, many cultivated virtue and attained the Dao, with his influence spreading through both urban and rural areas. He presided over the construction of over a hundred temples, hermitages, and cloisters, always adhering to "Tongzhen" (Penetrating the True) as his guiding principle.
The text mentions that Master Tongzhen shared the same hometown as the author and gained the appreciation of Li Zhichang (Daoist name Zhenchang), the grand master of Quanzhen Daoism, who conferred upon him the title "Master Tongzhen." Later, when Zhang Zhijing (honorary name Chengming Zhenren) presided over Daoist affairs, he appointed Master Tongzhen to administer Daoist matters in four regions: Shunde, Mingzhou, Cizhou, and Weizhou.
The latter part describes the founding of Taiqing Temple. In this geomantically auspicious location north of the Qiashui River, south of Liangshan Mountain, and east of the Yellow River, there had previously been no renowned temples. Master Ma Zhixuan traveled thousands of miles from Yanjing (Beijing) and Jimen to request documentation of Taiqing Temple's history. The temple was established by Master Qiao (a title of respect for accomplished practitioners), whose Daoist name was Qiandao, courtesy name Deguang, a native of Pingyang in Shanxi province. Naturally serene and fond of mountain forests, he entered Guanzhong in his youth, where he received the true transmission from Ma Danyang (one of the Seven Masters of Quanzhen). Later, he lived in seclusion among commoners and gained the appreciation of Liu Haoqian, an official from the Ministry of Revenue. One day, while traveling with fellow Daoist Li Qingxu... (the subsequent content is missing).
At the northeastern corner of the old city's Zhao Family Garden, someone once gazed toward Mount Hua and sighed: "Where could be better than this place for cultivating truth?" Hearing this, the garden's owner donated the land. Thus practitioners built thatched huts here to dwell—this occurred in the seventeenth year of the Dading era (Jin dynasty). Later, the humble shelters expanded into a Daoist temple, with craftsmen competing to contribute their skills. Soon majestic halls and sacred statues were completed, along with guest quarters, kitchens, storerooms, and stables—all tragically lost in subsequent warfare.
The temple's reconstruction was undertaken by two Daoist masters: Elder Xi Zhen (Jizhitong) and Refiner of Yang (Zhangzhidong). Between the Bingchen and Xinchou years (a mere five or six years), the complex regained its splendor: vermilion pillars gleamed anew, bell and chime tones resonated purely, and devotees flocked in continuous streams. Where rubble and thorns had lain, the site's former glory was restored—chiefly through Magistrate Bai Houyu's leadership and local devotees like Du En's assistance.
This moves me deeply: Human hearts are innately good, yet virtuous action requires timely opportunity. In eras when worldly pursuits dominate and snares abound, discerning individuals must withdraw—precisely why the Quanzhen (Complete Perfection) tradition arose. Should anyone judge practitioners' sincerity by surface appearances alone, they perceive merely virtue's outward form.
If people emulated Quanzhen adherents—honoring teachers, embodying the Dao, extending familial piety and brotherly respect from households to the state—then achieving the benevolent governance of antiquity's Three Dynasties (Yao, Shun, and Yu) and the people's contentment would be effortless. The crux lies in rectifying the heart-mind (zhengxin) and maintaining sincere intent (chengyi), as the Great Learning teaches. This record was composed on the Wuxu day of the first lunar month, Renzi year.
(Note: Quanzhen Daoism, emerging during the Jin-Yuan period, emphasizes combining Neidan (internal alchemy) cultivation with ethical practice. "Three Dynasties" refers to the idealized governance of Yao, Shun, and Yu. "Rectifying the heart-mind with sincere intent" originates from the Confucian classic Daxue as foundational self-cultivation principles.)
Mount Heng is one of China's renowned Five Sacred Mountains. Historical records indicate that Emperor Shun of antiquity once conducted royal inspections here. Later generations built a temple on its highest peak, Damao Peak, for ceremonial worship, hence the area became known as the "Divine Summit." Less than sixty li east of the Divine Summit (in ancient times, thirty li equaled one she), there lies a place called Stone Gate, where a valley named Ear Valley boasts fertile land. Towering ridges shelter it from the north, while a winding stream flows southeastward, its murmuring waters ideal for bathing and irrigation. Surrounding peaks like Thousand Gold and Iron Crown are clearly visible, with scenery shifting through the seasons—mist and foliage alternately thick and sparse—creating such enchanting views that it's rightly deemed an earthly paradise.
The Quanzhen Daoist priest Chongxianzi established a Daoist temple here named "Abyss of Serenity" (Yuanjing Guan), making the mountain's natural splendor the temple's backdrop. Originally from Wuchuan, Chongxianzi had intended to travel south to spread teachings and guide others. Local officials like Zhang Wei revered him deeply and, upon hearing his profound Daoist wisdom, sought to build him a lavish temple. But Chongxianzi said, "A thatched hut and a bowl of rice suffice—why chase extravagance? My only regret is lacking a hall to venerate the sacred, leaving disciples no place for incense and reverence." Moved, the people pledged their support. In the year Jichou, Zhang Wei donated thirty acres of fertile land as the temple's foundation, followed by a steady stream of contributions of money and grain.
Construction progressed with astonishing speed, as if aided by divine forces. Within three months, the main hall was completed, flanked by a lecture hall to the west and a kitchen to the east, all enclosed by sturdy walls. The complex was neither extravagant nor crude, perfectly adhering to Daoist principles. Though it couldn't rival the gilded structures of cities, its harmony with the surrounding landscape lent it an air of transcendent purity.
Chongxianzi was naturally virtuous and had practiced vegetarianism since childhood. During the Dading era of the Jin dynasty, his fellow villager Lingzhenzi, recognizing his spiritual potential, introduced him to Daoism. Lingzhenzi himself was a senior disciple of Ma Danyang (one of the Seven Masters of Quanzhen), ensuring an orthodox transmission. Chongxianzi immersed himself in secluded cultivation, attaining insight swiftly. After meeting the immortal Qiu Chuji (Changchun Zhenren), he further mastered the essential techniques of spiritual practice.
This passage primarily documents the biographical accounts of two Daoist figures and the construction of a Daoist temple.
The first section recounts the deeds of Chongxianzi (Chen Zhiyi). Originally from Qintai in Danzhou, he later cultivated his practice at Qingxu Temple on Gegong Mountain. At the age of eighty, he underwent "transformation" (the Daoist term for passing away) and was posthumously honored as Perfected Dongxu. He advocated not only for self-cultivation but also for establishing temples widely to benefit the masses. Twenty years later, fearing their master's achievements might fade into obscurity, his disciples commissioned an inscribed stele to record his life.
The second section describes the construction of Shenqing Temple. This temple was built under the direction of Master Tongxuan, Liu Zhichun (also known as Yunyangzi), in a location of exceptional natural beauty: to the east lay Wutai Mountain and the Hutuo River, to the southwest were Guoshan and Zhengyang Mountain, to the south stood Jinshan and Tianya Mountain, and to the north was Yanmen Mountain. The temple complex included main halls such as the Sanqing (Three Pure Ones) Hall and the Qizhen (Seven Perfected) Hall, as well as shrines dedicated to the True Officials and mountain deities. Supporting facilities included a meditation hall (Yuntang), abbot’s quarters (Zhangshi), a vegetarian kitchen (Zhaichu), and storage rooms—all adorned in resplendent gold and green, surrounded by pines and scholar trees.
The text emphasizes that an outstanding Daoist temple must occupy a scenic landscape to remain aloof from worldly distractions while also possessing dignified architecture to propagate the teachings—a rare combination. What made Shenqing Temple renowned was not only its superb location and magnificent structures but also the presence of a highly virtuous abbot like Liu Zhichun.
This passage recounts the founding history of the renowned Daoist temple "Shenqing Guan" (Temple of Divine Clarity). In the region of Xinzhou's Guoxian County (present-day Yuanping, Shanxi), local residents had long maintained devout worship of Daoism. Initially, Wang Pu of Tuyang and regional governor Yan Zhen collaborated to establish the temple, inviting Master Yunyangzi to oversee its construction. After years of effort, the temple was completed and bestowed the name "Shenqing Guan" by the revered Qinghe Zhenren (a title for an accomplished Daoist master).
In the spring of the Yiwu year (1235), Qinghe Zhenren passed through the Xin-Guo region while returning from Zhongnan Mountain. Master Yunyangzi led local elders and officials to welcome him. The Zhenren resided at Shenqing Guan for over a month before incorporating this temple into the Fen-Jin regional temple network, making it the first temple under his direct jurisdiction. Shortly afterward, the Zhenren returned to Changchun Palace, while Yunyangzi appointed Yang Zhiying as the temple abbot.
In the ninth month of the Gengzi year (1240), Yunyangzi accompanied Master Qi Qingzhen to Yanjing (Beijing) to request the Zhenren's assistance in relocating the remains of Patriarch Chongyang (Wang Chongyang, founder of the Quanzhen tradition) to Liujiang Village. Yunyangzi reported to the Zhenren: "Having received my master's teachings, I've managed Shenqing Guan's affairs for several years. Now with the halls complete and practitioners settled, I hope to record this history lest our accomplishments be forgotten." Later, through the introduction of Changchun Palace's Master Bao Zhen (Zhang Defang), he requested the inscription of this commemorative stele.
The author praises Yunyangzi as a man of simple sincerity and gentle temperament, possessing magnanimity and unsullied virtue. Though unassuming among others, he was widely recognized by elders across the land as one who had attained the Dao. Shenqing Guan's flourishing owes both to its exquisite mountain-and-water surroundings and particularly to Yunyangzi's virtuous leadership. This seems heaven's deliberate arrangement—a blessed land specifically prepared for those who embody the Dao. Now with magnificent halls and thriving teachings, Yunyangzi claims no personal credit, attributing all achievements to the Zhenren's guidance.
Founding contributors like Wang Pu and Yan Zhen deserve remembrance. Shenqing Guan's distinction lies in combining three exceptional qualities: sublime natural environment, grand temple architecture, and the guidance of profoundly virtuous masters. Such perfect convergence remains rare, destined—with the great patriarchs' blessings—to endure as an eternal sanctuary between heaven and earth, radiating the Dao's fragrance through generations.
This account describes the twists and turns in the construction of Yuqing Abbey (a Daoist temple) and the literati's reflections on the process.
As the newly built Yuqing Abbey in Qianyang County of Longzhou neared completion, the original plan was to invite Chang Yuanheng, magistrate of Yan'an, to compose an inscription for the commemorative stele. Unexpectedly, warfare broke out in the northwest, forcing the project to halt. Later, an official named Niange Gongziyang passed through the area and discovered that although the temple complex had taken impressive shape—with solemn halls, tranquil gates and altars, lush pine and cypress trees, and the Qian River flowing northward to form spectacular cliffs and rapids, creating an otherworldly atmosphere reminiscent of immortal realms—the stone tablet remained blank.
Upon inquiring with the temple abbot, he learned that the prepared inscription had been damaged during the turmoil of war, its characters now blurred beyond recognition. Niange Gong sighed: "The stele was polished long ago, and the essay completed—why has it not been erected?" Upon learning it was due to wartime disruptions, he promised to help reconstruct the missing text and arrange for craftsmen to re-engrave the tablet.
The text notably cites the proverb "To build a mountain nine ren high, only one basket of earth is lacking," expressing regret over how close the project came to falling short of completion. Through this episode, author Li Bangxian not only documents the hardships of Yuqing Abbey's construction but also reveals the literati's dedication to cultural preservation—their determination to safeguard this historical memory despite the ravages of war.
This account describes the cultivation experiences of Master Pucha, a Quanzhen (Complete Perfection) Daoist practitioner, in the Shimen area of Qianyang County, Shaanxi. Master Pucha chose a serene plot of land several acres in size by the Qian River to build his hermitage for spiritual practice. His virtuous character and diligent cultivation earned him deep reverence from local villagers. Gradually, many Daoist priests (referred to by their traditional attire of "feathered robes and yellow caps") came to build dwellings nearby, willingly serving him like disciples of the ancient recluse Gengsang Chu from the Zhuangzi.
One day, Master Pucha addressed the gathering: "While we dwell idly in this scenic place enjoying such blessings, rather than keeping it solely for personal cultivation, why not establish a Daoist temple to pray for the people's welfare?" Following his guidance, the disciples began soliciting donations from local communities. People near and far responded enthusiastically—the wealthy contributed funds while the poor offered labor—quickly gathering all necessary construction materials. The temple halls and deity statues were soon completed, later receiving the imperial designation "Yuqing Residence" (Jade Purity Abode).
Shortly thereafter, Master Pucha passed away suddenly yet peacefully, his countenance remaining lifelike in death. Disciples like Yu Shanqing, moved by their master's virtue, created a statue to honor him. The text also records a dialogue between the author and an official: initially questioning whether large-scale temple construction aligned with the Daoist principle of "tranquil Wuwei (non-action)," the author was reminded of Laozi's teaching that "the sage constantly seeks to save others, therefore abandoning none," illustrating how Master Pucha acted from compassionate intention to benefit all beings.
This narrative demonstrates how early Quanzhen practitioners integrated personal cultivation with service to society, while documenting the founding process of Daoist temples. The "feathered robes and yellow caps" represent typical Quanzhen attire, while the reference to Gengsang Chu—an enlightened hermit from the Zhuangzi—symbolizes the disciples' devotion to Master Pucha.
This stele inscription records the deeds of Qiu Chuji (Daoist name Changchunzi), patriarch of the Quanzhen (Complete Perfection) school of Daoism, and his disciple Pan Dechong (Daoist name Chonghe Zhenren). The main ideas conveyed are:
People possess varying natural endowments - those with profound spiritual roots easily comprehend the Dao (the Way), while those with shallow foundations require external forms like divine statues to cultivate reverence, gradually enriching their inner cultivation. Daoist practitioners don't pursue superficial extravagance, but rather guide spiritual practice according to human needs. Just as repairing a slightly damaged vessel demonstrates a noble person's virtue, so too does helping others perfect their cultivation.
The inscription details how in 1220 (the year Jimaо), Qiu Chuji accepted Genghis Khan's invitation to lead eighteen disciples westward to spread Daoist teachings. Among them, Pan Dechong excelled in qin music and was listed as a disciple of the "Qin and Texts" discipline. During their eastward return at Gailibo (in modern Inner Mongolia), Qiu Chuji instructed his disciples at night: "After wartime chaos leaves people displaced, establishing Daoist temples and delivering sentient beings becomes our urgent task." Later, when Qiu Chuji resided in Yanjing (modern Beijing), thousands of aspiring practitioners sought his guidance.
Remembering his master's teachings, Pan Dechong purchased land in Guangyangfang in 1232 (the year Renchen) to establish the "Changchun Retreat." This fertile land with lush forests became home to a main hall enshrining the Celestial Venerable, side halls, lecture halls, purification chambers (zhaijiao), abbot's quarters, and other complete facilities. Disciples like Han Zhi and Guo Zhi'an continued his work, even constructing a qin platform behind the main hall. The text notably mentions two famous qin instruments from the imperial collection - "Spring Thunder" and "Jade Resonance" - the latter lost during the 1215 (Zhenyou era) fall of the Jin dynasty's central capital.
This record demonstrates the Quanzhen school's missionary philosophy of "establishing temples to deliver people" and the architectural standards of Daoist temples, providing valuable historical material for understanding Daoism's development during the Song-Yuan transition period.
This passage records the story of Pan Dechong (courtesy name Zhonghe), a Daoist priest of the Yuan dynasty, who established the "Qingyi Guan" (Temple of Purity and Ease). A native of Zizhou in Shandong, Pan displayed extraordinary signs from birth—his mother carried him for nineteen months before delivery, and he remained mute until age seven when he suddenly spoke upon meeting a Daoist monk seeking alms. The monk declared him a "vessel of the Dao" (one endowed with spiritual potential). Though betrothed, Pan secretly fled to Bin Du Guan in Qixia to become a disciple of the Changchun Zhenren (Eternal Spring Perfected Being). Later overseeing Daoist affairs in Hedong, he resided at Chunyang Shang Gong (Upper Palace of Pure Yang) and was known by the Daoist name "Jiufeng Laoren" (Old Man of Nine Peaks).
Pan chose the optimal southwest location in the city for his temple, which was inscribed "Qingyi" by the Qinghe Zhenren (Pure Harmony Perfected Being, Yin Zhiping). The temple's design embodied rustic mountain charm: vegetable gardens sustained daily needs, cultivated flowers and trees delighted visitors, a qin platform served for emotional expression, courtyard trees brought joy, and seasonal blooms attracted guests. Far from urban clamor, visitors felt liberated from worldly constraints.
The text critiques those chasing fame and wealth—their minds ensnared by desire, their lives consumed by pomp and exhausting travel. In contrast, figures like Pan, who renounced worldly pursuits to cultivate themselves in tranquility, truly grasped life's essence. The Qinghe Zhenren's naming of the temple as "Qingyi" precisely conveyed this transcendent ideal. Finally, the passage was carved onto a stele to admonish future visitors.
The inscription by the Vast Daoist Master of Mysterious Metropolis, Chonghe Zhenren (True Man of Harmony), reads:
How magnificent stands this serene and refined Daoist temple, gathering the purest Qi (vital energy) between heaven and earth! When auspicious clouds enveloped the mother of the True Man, he descended to the mortal realm. Endowed with the Qi of the Great Dao from birth, he transcended worldly dust, dwelling freely among the palaces of immortals, following the traces of transcendent beings like Qiao and Song. The stone altar reflects the high-hanging bright moon; morning dew lies heavy as spring fills the courtyard with flourishing blossoms. Here, far from the clamor of fame and profit like Penglai's fairy isle, one need not toil in the dusty world, having escaped the cage of mundane affairs. The qin platform has transmitted noble character through the ages, while my aging brush feels unworthy to inscribe this new temple's memorial.
Regarding the reconstruction of Huaqing Palace:
In my youth while accompanying my late father, the Right Department official, during our service in Chang'an, we once passed by Huaqing Palace. Strolling through its corridors, I read stone inscriptions left by renowned scholars since the Tang and Song dynasties, witnessing the vicissitudes of the temple's fortunes. Though not matching its golden age, the basic layout of towering pavilions, terraces and waterside galleries remained intact. Later, when Mongol armies swept south and populations fled eastward, temples everywhere suffered devastation—particularly severe in the strategic Qin region where Huaqing Palace became a wilderness of overgrown ruins.
In the guichou year (1253 CE), commissioned for a westward journey, I passed the site again expecting complete ruin, but found buildings restored in perfect order with even grander scale. Now there stand eight main halls: Sanqing (Three Pure Ones) Hall, Ziwei Hall, Imperial Portrait Hall, Four Saints Hall, Three Officials Hall, Ancestral Masters Hall, Zhenwu Hall, and Jade Maiden Hall; two towers: Chaoyuan Pavilion and Scripture Repository; and two hot springs: Nine Dragons Pool and Lotus Pool. Additionally arranged in proper order are bell and drum towers, Lingguan Shrine, Star Altar, Cloud Chamber, vegetable gardens, and waterwheels—all freshly painted as if never damaged, indeed surpassing former splendor.
Upon inquiry, the supervising Daoists Zhao Zhigu and others recounted: In the spring of xinchou year (1241 CE), their master Elder Qingping Zhao Zhiyuan, after attending Patriarch Qinghe's funeral rites at the ancestral temple in Mingzhou, passed by Mount Li. Surveying the devastation, the elder grieved over the temple's ruin and resolved to lead restoration. He guided disciples in clearing thorns, polishing stone foundations, firing tiles, and rebuilding walls. Fellow Daoists from all directions, hearing the news, came joyfully with their skills to assist, volunteering enthusiastically for reconstruction.
This passage documents the construction process and significance of a Daoist temple, recounting how the Quanzhen (Complete Perfection) Patriarch (Xianshi) led his disciples in restoring Huaqing Palace:
The initial restoration proved extremely arduous—straightening leaning walls, replacing rotten timber, repairing broken sections, and refurbishing faded decorations. Only through the patronage of Grand Tutor Yila Gong and Field Marshal Tian could the project continue. When the Patriarch passed away before completion, his disciple Zhang Zhijing took over. After Zhang's death, other disciples like Zhigu, though limited in capability, persevered tirelessly for fifteen years until final completion.
Li Ye Renqing (styled Fenglongshan Hermit) recorded this history in 1261 (the second year of the Zhongtong era) at the disciples' request. The text vividly describes Huaqing Palace's grandeur—its towering interconnected structures winding through ancient vines and trees, still preserving imperial retreats from the Han and Tang dynasties. More importantly, it served as a sanctuary welcoming visitors from all directions: feeding the hungry, warming the cold, and offering rest to the weary.
The conclusion emphasizes that without the Patriarch's transformative power of Qingjing Wuwei (clarity and non-action), how could the temple have been rebuilt? Without the disciples' total dedication, how could the Daoist lineage continue? Therefore, this chronicle of restoration was specially inscribed on stone to eternally commemorate their virtue and merit.
Note: "Seven Perfected" refers to Quanzhen's seven patriarchs; "Huaqing" denotes Shaanxi's Huaqing Palace; "Zhongtong" was Kublai Khan's reign era name.
This passage recounts the historical lineage of the "Seven Perfected Ones" (Qizhen), the seven patriarchs of the Quanzhen (Complete Perfection) tradition, in their mission to save humanity. It describes how in ancient times, human hearts were pure and unadorned, with all beings living in natural harmony—much like tree branches and wild deer following their innate nature. Yet as the world declined and hypocrisy prevailed, without the guidance of perfected beings (zhiren), humanity became increasingly lost in delusion.
Throughout history, sages have repeatedly emerged to save the world: during the Yellow Emperor's era there was Guangchengzi (a legendary Daoist immortal), during the Zhou dynasty there was Laozi (referred to as "Hunyuan"), and during the Warring States period there was Zhuangzi (called "Nanhua" and "Chongxu" in Daoist texts). By the Jin-Yuan transition period, Wang Chongyang (the founding patriarch of Quanzhen) established the Complete Perfection tradition, while Qiu Chuji (the Elder Immortal Changchun) propagated the true Dao during the Yuan dynasty's founding. Through their teachings, countless people preserved their authentic nature. Even those suffering from war, famine, or imprisonment found rebirth through their grace.
The salvific merit of the Seven Perfected Ones embodies heaven's benevolent heart. Just as heaven sends enlightened rulers to stabilize the world, it also sends perfected beings like Qiu Chuji to assist heaven's mandate. Though the Seven Perfected have now ascended to immortality, their teachings continue through their disciples, their radiance enduring like the sun and moon. Even without written records, their sacred deeds would never be forgotten—how much more so now that detailed biographies preserve their legacy.
The author concludes with humility, acknowledging that despite advanced age, they still study these profound principles. Among them, the mysterious theories of the "empty boat and spiritual wind" (a metaphor for the Dao's natural flow) and the "daily renewal and transformation" represent the most sublime mysteries within the sublime.
This passage records the journey of Yuan Dynasty Daoist master Yu Dongzhen (Old Man Dongzhen) who was invited to Beijing. In early March of the wuxu year, Wu Gong, the "Myriarch of the Capital Keys," sent envoys bearing gifts and a letter to Changchun Temple, inviting this revered master to spread teachings in the capital. On April 15th, Wu Gong personally arrived with carriages to escort him.
The text describes Yu Dongzhen as a native of Ninghai in Shandong who renounced worldly life in childhood. For over fifty years he cultivated the Dao (the Way) in the Guanzhong region, living in seclusion with sparse worldly contact. His ascetic discipline and lofty virtue (De) were widely celebrated, and he had once been appointed by the imperial court to oversee Zhongtaiyi Temple in Bianjing. After wartime upheavals forced his southward migration, he eventually settled at Changchun Temple in Yanjing, where he commanded deep reverence. Local Daoists admired how his rigorous practice resembled serving the divine (Shen), while commoners who witnessed his bearing felt as if they were seeing an immortal descend to earth.
When Yu Dongzhen prepared to depart, the Changchun Temple community clung to him reluctantly—some even attempted forceful persuasion. The author employs metaphor: just as the ocean loses none of its radiance when deprived of a single pearl, so too would Changchun Temple remain undiminished without this master; yet carrying this pearl elsewhere would illuminate new regions. Particularly in the Bai Xi region (modern Hebei), where simple folk customs prevailed and local officials championed Daoism first, the transformative power of a virtuous teacher could reshape traditions as easily as turning one's palm.
The account concludes with a moon metaphor: the moon never chooses which waters to reflect upon, yet wherever it appears, its light graces all surfaces. This implies that realized masters like Yu Dongzhen naturally radiate teachings like moonlight—effortlessly illuminating all beings without deliberate intent.
The passage depicts a gathering of Daoist adepts bidding farewell to the White Dew Perfected One (Bai Xi Zhenren), along with their reflections on the path of cultivation.
Just as water cannot escape the radiance of moonlight, the human heart can only comprehend the Dao (the Way) in moments of perfect stillness. Those who truly understand the Daoist teachings carry a bright moon within their hearts. Human nature is like water—all things under heaven share the same essence. Why then should the White Dew Perfected One still harbor doubts about cultivation? Hearing these words, even the elder practitioners set aside personal distractions and treated one another with noble courtesy, hosting a farewell banquet where poems were composed in his honor.
Zhang Ben presented his verse:
The White Dew Perfected One embarks on a distant journey,
Local officials personally drive his carriage in respect—
Wealth and honor cannot stir his pride.
Who would have thought this recluse, hidden like a leopard in mist,
Would suddenly take flight like a wild goose through the clouds?
At the farewell feast, all linger with reluctance,
Gazing at the willows veiled in smoke by the roadside pavilion,
While catkins fill the sky, deepening the sorrow of parting.
Li Zhichang (Daoist name Zhenchang) wrote:
Amid spring's parting hour,
Peach blossoms fade as willow catkins swirl.
Watching your carriage vanish into the distance,
When shall we meet again,
O Perfected One like Ding Lingwei (legendary immortal)?
Wu Zhang (Daoist name Ding'an) added:
Your resolve is firm—no words can detain you,
You set forth on distant travels with the spring scenery.
When autumn winds whiten your hair,
Even the mountain apes and cranes will grieve for you.
Feng Zhiheng (Daoist name Fengyi) lamented:
At the farewell feast, we clasp hands again and again,
Yet the east wind cannot dispel this sorrow.
Once accustomed to courtyard cranes' cries,
Today you fly alone like a wild duck.
When shall we wander north of the garden once more?
When will you return to reclusion in Zhongnan?
Stirred by your departure, my homesick heart
Composes verses of return to the mountain breeze.
Duan Tianchang (of Hedong) wrote:
Long have you dwelled in Bianliang's Daoist abodes,
Yet as a true immortal, you find refuge everywhere—
Like moonlight reflected in shifting waters,
Or a lone cloud drifting freely across the heavens.
Cranes mourn the cold night by deserted orchid tents,
While your ancestral temple awaits your spring return.
Do not forsake Zhongnan's ancient pact—
Come back soon to gaze upon its emerald peaks.
Finally, Li Ding (Daoist name Xuzhou) composed a preface at the Temple of Immortal Encounters in Ganhe Town, Zhongnan Mountains:
Like a rooster's crow dispelling darkness at dawn,
Or zither notes nourishing all living things,
The supreme principle of the cosmos is vast and boundless,
Filling the space between heaven and earth.
This passage recounts the mystical connection between Sweet Water (a miraculous water source) and the transmission of Dao by Wang Chongyang, the founding patriarch of the Quanzhen (Complete Perfection) tradition (revered as Patriarch Chongyang). The text begins by posing a profound question: Why can seemingly minor triggers—like a single cup of water—initiate transformative events? The author reveals that this water embodies extraordinary metaphysical principles.
Historical records show that since the Zhenglong era (1156-1161) of the Jin dynasty, the Quanzhen lineage had passed through three or four generations. Disciples who attained the authentic Dao (zhen dao) through this tradition—starting with masters like Qiu Chuji, Liu Chuxuan, Tan Chuduan, and Ma Yu—numbered in the hundreds or even thousands. Countless beings received deliverance through the sect’s salvific rituals, and its temples spread across the land. The author emphasizes that all who dispel mental obstructions may find fulfillment within this radiant Great Dao (Da Dao).
Tracing the origin, everything began when Wang Chongyang encountered two immortals (Zhongli Quan and Lü Dongbin) by the Sweet Water and drank a cup of celestial nectar. Later, the Zhenren (Perfected Person) Yu Shanqing of the Dongzhen (Cavern of Perfection) lineage built a temple here to commemorate the event, inspiring literati to compose poems in its honor. When the Daoist Li Hefu (styled Tianle) requested a preface, the author expounded on water’s profundity: while water is life’s foundation, ordinary water differs from miraculous water in their "constancy" versus "transformative" nature—just as the "Greed Spring" cannot corrupt noble minds, whereas ancient sacred waters enabled the physician Bian Que to attain divine skill. Such wondrous metamorphosis reflects the Dao’s hidden workings, principles the patriarch fully grasped, awaiting the right moment to manifest. Like a crane’s cry summoning resonance, this cosmic correspondence transcends human coercion.
(Note: The "Qiu-Liu-Tan-Ma" quartet represents four core figures of the Seven Quanzhen Masters; "ascending to perfection" (dengzhen) denotes achieving immortality; "redeeming the dead and reviving the living" refers to salvation rituals; "Zhenren Yu of Dongzhen" indicates Yu Shanqing, an early Quanzhen luminary.)
This passage records the eulogies by several literati of the Jin-Yuan period regarding the legendary encounter of Quanzhen patriarch Wang Chongyang (Daoist name Chongyangzi) with immortals at Gan River, where he received Daoist transmission. Let me analyze it section by section:
Shang Ting (Grand Master for Proper Service) writes in his preface: The miraculous efficacy of Gan River waters is no coincidence. Since ancient times, countless people have drunk from this river, yet only our patriarch attained the Dao here. As the Yijing states, "The wonder of the divine Dao lies in meeting the right person"—this perfectly describes the situation. Respectfully composed during the Lantern Festival, 1261.
Zhang Wei (official of Shaanxi Branch Secretariat) versifies: Just as Zhang Liang encountered the immortal Huang Shigong at Xiapi Bridge to receive military texts, Wang Chongyang met extraordinary beings here who imparted celestial secrets. Renouncing his warlord past, he awakened to his errors and ultimately received initiation from two immortals (said to be manifestations of Zhongli Quan and Lü Dongbin) at Gan River. The poet expresses his own aspiration to build a thatched hermitage here after enduring life's hardships.
Meng Panlin (Hanlin Academy attendant) praises: The Gan River encounter opened the Quanzhen lineage—this seemingly chance meeting concealed celestial design. Like clouds forming effortlessly over mountain peaks or pearls taking shape naturally, the two immortals personally transmitted cultivation secrets to Wang Chongyang, granting him sudden enlightenment. Now Quanzhen teachings spread universally, transforming the world like the endless metamorphosis of seas into mulberry fields.
Li Ting (prefectural school instructor) depicts: The crystalline Gan River nourishes ancient moss where immortals once lingered. After drinking the celestial jade nectar, Wang Chongyang immediately comprehended the Great Dao (symbolized by seven golden lotuses representing opened orifices). Though immortal traces fade, after millennia the cranes shall return.
Wang Bowen (judicial commissioner) metaphorizes: Though Gan River's source could fill but a ritual libation cup, its waters here become an ocean—symbolizing Quanzhen's growth from small机缘 (chance encounter) to grand tradition.
These poems all center on the pivotal Quanzhen legend of "Gan River encounter," employing historical allusions and natural imagery to extol the sacredness of Wang Chongyang's enlightenment and teaching transmission. Frequent Daoist terms like "jade nectar" and "golden lotus" reference the essence and stages of Neidan (internal alchemy) practice.
The Records of Immortal Springs at Ganshui contains several poems describing the miraculous properties of the Gan River water in the Zhongnan Mountains and stories of Daoist practitioners attaining enlightenment through drinking it.
The first poem claims these mountain springs surpass even the famed Dan Well of Goulou Mountain (where Ge Hong refined his elixirs) and the Chrysanthemum Pool of Nanyang (renowned for its purity). It asks who now possesses the determination of Patriarch Chongyang (Wang Chongyang, founder of Quanzhen Daoism) to taste this crystalline water from the orthodox lineage.
Wang Liyong, an imperial academician, describes an ancient immortal (likely Zhongli Quan) with beard bristling like halberds and piercing cold eyes, majestic as the Star of Longevity from Han dynasty lore. This elder already possessed celestial affinity when a ritual master awakened him further. A single gourd of miraculous water opened the gate to profound mysteries, drawing veneration from across the Central Plains to the ancestral temple (Chongyang Palace). The poem recounts how multitudes trapped in kalpic calamities found deliverance through these waters.
A Luoyang official's verse explains cultivation requires both inner and outer refinement—like jade concealed in stone or the Mysterious Pearl (Daoist term for primordial Qi) hidden in deep waters. When Haichan (Liu Haichan, Five Dynasties adept) glimpsed Chongyang, he achieved immortality, proving water's nature holds the key to realization. The Gan River springs need not envy Caoxi's waters (Chan Buddhist holy site), nor the "drinking the whole Western River" koan—the true orthodox stream flows beneath the Bridge of Immortal Encounters.
The Zhongnan waters flow ceaselessly toward the Central Plains, merging with the Wei River to reach the Eastern Sea. The poet laments ordinary men cannot discern water's mysteries—only when the immortal (Wang Chongyang) rode clouds to earth could one taste this draught more intoxicating than fine wine.
Other officials' verses share a common theme: though the vast Dao seems distant, one sip of this heaven-sent water brings sudden awakening. Rather than exhausting oneself seeking transcendence elsewhere, drinking from Gan River offers the swiftest path to sagehood. While the Daode Jing has circulated for millennia, the authentic transmission remains elusive—found not in texts but in these living waters.
This collection of poems gathers praises from various Daoist figures regarding Wang Chongyang's (founder of the Quanzhen [Complete Perfection] school) celestial encounter at Gan River. The verses describe how Wang met the immortal Lü Dongbin (Pure Yang Perfected Being) by the Gan River at Zhongnan Mountain, receiving esoteric cultivation secrets that led to the establishment of the Quanzhen tradition.
The first poem observes how Emperor Wu of Han's search for immortality and Prince Qiao's pursuit of transcendence were ultimately futile, contrasting them with Wang Chongyang's genuine celestial encounter at Gan River. The second depicts a destitute scholar (Wang) receiving alchemical secrets of lead and mercury (Yin-Yang energies in Neidan [internal alchemy]) from an immortal, attaining sagehood and proving the reality of the "transmuting iron to gold" art. The third extols how Wang transformed Daoist practices across the land, with disciples like Perfected Being Danyang and Perfected Being Changchun establishing Quanzhen—where the joy of cultivation surpasses all worldly honors.
Subsequent poems continue celebrating this divine encounter: one describes an artist capturing the scene of immortals drinking from Gan River; another notes how Louguan Terrace (sacred Daoist site), though majestic, no longer hosts immortals—only Gan River witnesses the Five Patriarchs' achievements. After receiving Lü Dongbin's transmission, Wang's teachings flourished like jade trees in celestial seas or lotuses in the mortal world. The eternal Gan River nourished countless golden lotuses (symbolizing Quanzhen disciples). Wei Zhiyi concludes: the immortal palace at Gan River remains veiled in purple clouds while Quanzhen teachings spread universally, as all cultivation accomplishments ultimately stem from this sacred spring's nourishment.
Note: "Lead and mercury" symbolize Yin-Yang energies in Neidan practice; "samadhi" refers to meditative absorption; "passing the flame" metaphorizes Dharma transmission; "golden lotuses" commonly represent accomplished practitioners in Daoism.
This passage consists of two main sections: the first contains two poetic eulogies honoring Daoist patriarchs, while the second provides a postscript to the Ganshui Xianyuan Lu (Records of the Immortal Source at Sweetwater).
The first poem, composed by Sun Deyu—a Daoist administrator of Anxi Circuit (modern Xi’an, Shaanxi)—expounds that the transmission of Daoist truth follows celestial design, likening it to the secret revelation of sacred diagrams at the Purple Temple (Zijigong) and the nurturing of the mystical cauldron (referring to alchemical practice). The verse suggests that Master Tao (possibly Tao Hongjing) need not marvel at the far-reaching dissemination of Daoist teachings, just as the medical arts of the legendary physician Bian Que spread widely. Since receiving the authentic transmission at Sweetwater (where Patriarch Chongyang encountered immortals), the immortal Dao’s influence has permeated the Central Plains.
The second poem, written by disciple Zhang Haogu, laments how the Daoist philosophy of Zhuangzi (referred to as "Zhengpu’s Nanhua") had long been obscured until the emergence of Patriarch Chongyang (Wang Chongyang, founder of the Quanzhen tradition) revived its glory. It describes how the patriarch received divine revelation at Sweetwater, attaining resonance with perfected beings (immortals)—like golden lotuses blooming in drunken ecstasy—thereby rekindling the profound Daoist ethos.
The postscript explains that Zhang Haogu’s master, Celestial Master Tianle (Li Daoqian), while propagating the Dao across Shaanxi and Sichuan, meticulously compiled key documents tracing Quanzhen’s historical rise. These materials—including over ninety stele inscriptions and biographies—record the deeds of Quanzhen’s eminent adepts and the histories of its temples. To preserve these scattered, rarely seen texts, they were systematically organized into the Ganshui Xianyuan Lu. "Sweetwater" denotes the site of Wang Chongyang’s celestial encounter, while "Immortal Source" signifies Quanzhen’s orthodox lineage. This compilation mirrors the Song Dynasty scholars’ Yiluo Yuanyuan Lu, which documented Neo-Confucian transmission. After six months of collation, the work was prepared for woodblock printing. The editor affirms its significance in promoting Daoism and upholding orthodox teachings, offering inspiration to earnest spiritual seekers.
This book not only reveals the great spiritual achievements of our predecessors in cultivating the Dao, but also conveys the profound devotion generations of realized masters held for the Dharma. Without ever leaving their chambers, they comprehended the mysterious heart teachings of the Supreme Venerable Sovereign (Xuanyuan, referring to Laozi, the progenitor of Daoism). Such paths of cultivation will forever provide worthy teachers for us to learn from. The transmission of Daoist practice flows from distant origins, with enlightened adepts emerging in every era. Future generations will view today's practitioners just as we now regard the ancients—who can say more extraordinary cultivators won't appear in times to come? As long as we continue compiling and editing these records, the transmission of the Dharma will never be broken.
These words were written on the sixth day after the Winter Solstice in the year Jichou, with the author reverently bowing and recording them as the concluding remarks to the tenth volume of the Ganshui Xianyuan Lu (Records of Immortal Sources from Sweet Waters).
Source text: Kanripo 漢籍リポジトリ（KR5c0373）; Licence: CC BY-SA 4.0 · Report an error / feedback