《真誥》Vol. 17
About this page. The original text of 《真誥》 Vol. 17 (Taixuan 太玄部, 20 volumes) is shown in Classical Chinese as transmitted in the Kanripo (Kyoto University) edition. An English interpretation of the 16 passages on this page accompanies it: select a passage or press “Interpretation” to show it. All texts in English
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Source textInterpretation
This scripture passage comes from the Zhengao (Declarations of the Perfected), a work by the Southern Dynasties Daoist master Tao Hongjing. It primarily discusses the fundamental differences between Dao cultivators and ordinary people, as well as the supreme state of unity with heaven, earth, and nature attained by those who realize the Dao.
Dao cultivators find contentment in a life of quiet poverty and simplicity, focusing single-mindedly on their practice in humble thatched huts. They harmonize their spirit (Shen) and vital energy (Qi), nurture their physical form, and safeguard the inner divine presence. How can such practitioners be compared to worldly people who dwell in ornate palaces, indulge in feasts with bells and drums, and clothe themselves in fine silks? The Great Canopy Heaven (the highest Daoist celestial realm) and earthly prisons are ultimately illusory—thus the sages of antiquity chose to renounce worldly pleasures in pursuit of the great Dao (the Way). Laozi preferred to remain in a state of primordial simplicity rather than engage in excessive cleverness and calculation—how much more should this apply to us ordinary beings?
The commentary through the term xuanxuan (profound mystery) further elaborates: Dao cultivators take the winds from all directions as their bellows, regard heaven and earth as their embankments, view the four seas as mere jars, and see the nine provinces as chaff. They fuse the differences of all things into a single crucible, refining them through the steaming and tempering of Yin and Yang energies. This cultivation is like a potter shaping vessels, capable of containing qualities both hard and soft, clear and turbid, breathing in rhythm with nature. The appearance of divine creatures like the Nine Transcendent Beasts demonstrates the cultivator’s ability to command spirits and grasp the mysteries of the Dao. Their practice continues unceasingly yet never reaches an end—no worldly thing can fill their vast heart-mind, the light of the sun and moon cannot illuminate their vision, and even the four seas and eight wastelands seem cramped beneath their feet. They can freely transform and even contain the boundless universe within something as small as a mustard seed, attaining the jade treasure realm of the Celestial Worthy of Jade Dawn (a high Daoist deity) and the supreme divine power of the Great Emperor of Taiwei.
Finally, the text cites ancient sage-kings as examples: to wander the realm of supreme harmony with one’s heart-mind merged with the Dao was a feat only rulers like Yao and Shun could achieve; to roam without boundaries with one’s spirit dancing in step with creation was an inheritance only sages like Fuxi could claim. Just as the twenty-five-stringed zither could only be played to divine effect by a master like Shi Kuang, and the skill of archery could only be displayed with precision by legendary marksmen like Hou Yi and Feng Meng, this passage uses metaphor to illustrate that Dao cultivation requires exceptional aptitude and attainment—it is not something ordinary people can easily achieve.
The text depicts various wondrous phenomena and historical allusions, using mythological tales to symbolize the profound mysteries of Yin-Yang transformations between heaven and earth. Xihe (the sun goddess) bathes the sun in the Sweet Abyss, while the Golden Crow (mythical solar bird) governs light and shadow from the Fusang Tree (legendary solar perch). The River Goddess removes her jade pendant by the waterside, as Ehuang and Nüying (consorts of Emperor Shun) ride the winds across Xiao-Xiang. Horned dragons battle in secluded springs, Fanqiu loses his steed in Huaiyang, the Spirit Isle drifts southward with ocean currents, and the Eastern Mountain gazes upon the Celestial Emperor's abode. Divine steeds like Hualiu compete with giant turtles, while the River Deity sends prophetic dreams to the King of Song.
Through comparative imagery, it illustrates how even vast landscapes yield to human endeavor: though Lake Dongting stretches endlessly, a knife-edged boat can cross it; though Mount Lushan's cliffs appear insurmountable, one can traverse them before noon; and though the Min Mountain's thousand-ren precipices loom perilously, tightening the horse's girth to climb Mianzhu ensures safe passage, just as Anle safely returned to Jin. The Liao Sea may encircle the sky like celestial moats, yet Gongsun's separatist regime in Liaodong would swiftly collapse without resistance. As for places like Flying Pot, White Horse, Jimo, and Celestial Mountain, or the sources of the Three Rivers and Nine Tributaries—these merit even less remark.
The latter section shifts to historical records: Emperor Qin Shi Huang constructed a pontoon bridge across the Wei River at Chang'an, measuring six zhang in width, 380 paces in length, with 68 spans. During the Han Dynasty, a Water Control Office north of the bridge supervised 1,500 workers under the Metropolitan Governor. After Dong Zhuo destroyed the bridge, Emperor Wu of Wei (Cao Cao) rebuilt it at three zhang wide—the present structure. Finally, it mentions bells as auspicious omens, prophesying that six golden bells would appear during the Jin dynasty's reign. However, the commentator Huang Min later inserted this as baseless conjecture, completely contradicting facts. The author specifically notes this was fabricated after six bells emerged from Mount Huo's collapse in the 12th year of Yixi (416 CE), a laughable attempt to flatter Emperor Wu of Song (Liu Yu).
The Epang Palace built by Emperor Qin Shi Huang was located twenty li southwest of Chang'an City. This grand palace stretched one thousand paces (approximately 1.38 kilometers) from east to west and three hundred paces (about 414 meters) from north to south, capable of holding over ten thousand people in its halls and accommodating a hundred thousand in its courtyards. Qin Er Shi (Huhai) was later assassinated by Zhao Gao at the Yichun Palace (three li south of Epang Palace) and buried beside the Epang Palace. The poet Sima Xiangru once described this area as "desolate tombs left untended," referring precisely to this site.
After unifying the empire, Qin Shi Huang confiscated weapons from all regions and melted them down to cast twelve colossal bronze statues (each weighing approximately a thousand dan), which were distributed among various palaces. These statues remained in Chang'an during the Han Dynasty. In the Eastern Han, Dong Zhuo destroyed ten of them to mint coins, while the remaining two were relocated to the front of the Eastern Palace near Qingmen Gate. Emperor Ming of Wei (Cao Rui) attempted to transport them to Luoyang but abandoned the effort at Bacheng due to their immense weight—they remain there to this day, positioned south of Bacheng's main road. One statue bears an inscription on its chest: "In the 26th year of Qin Shi Huang's reign, the empire was unified, the feudal system abolished, and commanderies established, with standardized laws and measurements," said to have been composed by Chancellor Li Si and General Meng Tian.
Regarding Qin artifacts: four bianzhong (chime bell racks) from the ancestral Qin temple were preserved in Emperor Gaozu of Han's temple. Emperor Ming of Wei transported two to Luoyang, where they are now stored in Shangfang's southern Bronze Camel Lane. The bronze bells from Emperor Zhao of Han's Pingling Mausoleum and Emperor Xuan of Han's Duling Mausoleum originally resided in Chang'an. General Xiahou Yuan attempted to move them to Luoyang but failed due to their weight—they remain south of Qingmen Gate's main road, with Emperor Zhao's bell to the west and Emperor Xuan's to the east.
Hongmen (site of the famed "Hongmen Banquet") lies ten li north of Qin Shi Huang's mausoleum. The Book of Han records this as where Zhang Liang helped Liu Bang escape danger. Concerning the post-Qin division of territories: Xiang Yu enfeoffed Liu Bang as King of Han ruling Hanzhong, while dividing Guanzhong into three kingdoms—Zhang Han as King Yong (capital at Feiqiu, modern Huaili), Sima Xin as King Sai (capital at Yueyang, modern Wannian County), and Dong Yi as King Zhai (capital at Gaonu County, northwest of Xianyang). Later, Liu Bang marched from Hanzhong to swiftly conquer these three kingdoms, described in the Book of Han as "seizing the moment, sweeping through the Three Qins like rolling up a mat." Ruins of these three capitals can still be identified today.
This account contains several key elements:
First, it describes the historical background of Duling (Emperor Xuan of Han's mausoleum). In his youth, Emperor Xuan relied on the Xu family and was later buried south of Du County, with the Leyou Temple constructed north of Quchi Pond. Forty-five prominent families from east of Hangu Pass were relocated to accompany the emperor's tomb. The mentioned Quchi Pond is the same "Quchi Isle of the Winding River" referenced in Sima Xiangru's "Lament for the Second Emperor."
The text then explains that the preceding ten records were all transcribed by Yang Xi (an important figure in the Shangqing Daoist tradition) from Pan Yue's (styled Anren) "Records of Guanzhong," written in running script on white stationery with exceptionally elegant calligraphy—likely just casual excerpts.
Several mystical experiences follow: Crimson clouds appeared in the east accompanied by chanting voices reciting "The little fish remains uncooked in the cauldron, while I grieve beneath the mountain crag" (lines from a poem in the Donghua Palace); another verse "Reins held, opening the plain homeland, the River Spirit has gone before" (from the "Hymn to the Divine"); and on the 24th day of the eleventh month, sudden recitation was heard from the Cavern Chamber (a Neidan term referring to the upper Dantian), as if within crimson curtains (an experience during meditation practices of the Three Cavern Chamber Perfected techniques).
The account then records several correspondences: A letter acknowledging the recipient's repentance and sincere spiritual practice, signed "Zhang Sheng bows his head"; another mentions "Lord Xu" traveling north soon with regrets about missing a meeting, including a yellow longevity charm (a Daoist protective talisman) as gift, also signed "Zhang Sheng bows his head."
Finally, it documents that on the 27th day of the fourth month in the third year of Xingning era (365 CE), Yang Xi dreamed of a woman in feathered robes delivering two short letters. Upon waking, he remembered fragments but most content was forgotten. He also dreamed of entering an antechamber while burning incense (both dreams relate to letters from Celestial Master Zhang. The "Zhang Sheng" mentioned likely refers to the Celestial Master Zhang, avoiding direct naming out of reverence. Another parallel appears in the Master's commentary on "Laozi's Inner Explanation" where he signs "Your subject Sheng bows his head"—possibly also the Master's correspondence).
This passage records the dream encounters of Xu Yufu (an important figure in the Shangqing Daoist tradition) with immortal beings. In the first vision, Xu appears wearing vermilion official robes and a traditional cage-style hat, holding two jade tablets inscribed with azure characters (ritual Daoist implements), being summoned to assume the position of "Attendant of the Morning Emperor" (a celestial office serving the Heavenly Emperor). Yang Xi (patriarch of the Shangqing school) interprets this as Xu's predestined immortal appointment from thirteen years prior, though Xu was then still unfamiliar with celestial court etiquette.
On the midnight of the twenty-ninth day of the fourth month, Xu dreams of sitting with Lady of Southern Peak (Wei Huacun, a prominent female immortal of Shangqing) and Zhou Yishan, the Purple Yang Perfected Being. Xu inquires about the "Guarding the One" technique (a Daoist meditation practice focusing on divine visualization), but Zhou tactfully declines, explaining that Xu already possesses a perfected body requiring no such foundational methods. Zhou mentions his own master Su Lin (styled Zixuan), subtly hinting at regional divisions even among immortals (Zhou being from Runyin in the north while Xu hails from Wu territory).
On the ninth day of the fourth month during the Wuyin night watch, Xu dreams of ascending a towering mountain crowned with thousands of magnificent palaces surrounded by water on all sides. At the summit, he witnesses a white dragon several hundred feet long flying eastward, its radiance illuminating the sky as a white-robed celestial maiden appears in the eastern direction. These meticulously recorded visions likely foretell Xu's impending celestial appointments and spiritual attainments. The mentioned "azure registers" (qinglu) refer to the blue talismanic documents used in Daoist ordination rituals, while "Attendant of the Morning Emperor" signifies the prestigious immortal office indicating Xu's imminent elevation to important celestial duties.
This scripture depicts a wondrous vision of the celestial realm. A cultivator witnesses a white dragon in the sky, with a maiden entering and exiting the dragon's mouth three times. Suddenly, an elder appears on the right, dressed in embroidered robes, wearing a lotus crown, and holding a red nine-section staff. When the cultivator inquires about the maiden moving through the dragon's mouth, the elder explains she is the Jade Maiden of Great Purity (Taishu Yünü) Xiao Zifu, who is absorbing dragon qi to refine her form.
The cultivator then asks the elder's identity, to which he replies that he is the Immortal Duke of Penglai, Luo Guangxiu, guardian of the Penglai celestial mountain, who has come specifically to meet him. When the cultivator inquires about riding the white dragon, the Immortal Duke explains this dragon is reserved as a celestial vehicle for four perfected beings (Zhang Youshi, Shi Qing'an, Xu Yufu, and Ding Weining) - serving as their official mount like bureaucratic carriages in the human realm, to be used in rotation.
The Immortal Duke then invites the cultivator and the Jade Maiden of Great Purity to sit upon the mountain gazing northward while partaking of celestial wine and delicacies. Soon the four perfected ones arrive in a new chariot drawn by blue oxen - each appearing at different ages: Zhang Youshi around fifty, Shi Qing'an thirteen or fourteen, Xu Yufu looking as he does in the mortal world, and Ding Weining thirty-four or thirty-five, all wearing simple robes and headscarves. The Immortal Duke specially notes that Xu Yufu is the Lord's (referring to Laozi) teacher-friend, Zhang Youshi his Changshan disciple, and Shi Qing'an a disciple of Lady Gouyi (a Daoist immortaless).
Finally, the Immortal Duke requests each of the four perfected ones to compose a poem dedicated to the Lord (Laozi) to demonstrate their literary brilliance. This passage vividly illustrates the hierarchical order, cultivation methods, and interpersonal networks within the Daoist celestial bureaucracy.
The immortal lord (Gong) presented each of the four visitors with a sheet of blue paper and a writing brush. Upon receiving these implements, the four expressed concern about the limited time. Shi Qing'an was the first to compose his poem:
"Spiritual peaks tower in the realm of Great Radiance,
Sheer cliffs pierce the celestial clouds.
Purple mists suffuse the Divine Continent,
We ride whirlwinds astride white dragons.
Four companions journey together,
Paying homage eastward to Lord Sanglin.
Though Guangxiu is most senior in years,
His essence remains indistinct as if unborn—
Only by age do we honor him."
Next, Zhang Youshi composed:
"Journeying north beyond the Great Desert,
I come to Penglai's immortal towers.
Purple clouds encircle numinous palaces,
Incense smoke spirals upward in plumes.
How splendid is Guangxiu the immortal,
Long dwelling in the seat of discourse,
Seated side by side with perfected beings.
Together we watch white dragons soar—
When shall we four loosen our sashes,
Baring our hearts to become true friends?
May we meet joyfully at the High Dawn assembly."
Then Xu Yufu recited:
"Wandering among wondrous towering peaks,
Rinsing in the clear waves of Canglang.
Gazing afar at Penglai's immortal isle,
Its summits pierce the ninefold heavens.
Purple lingzhi mantle crimson cliffs,
Jade planted on four-tiered terraces.
Luminous blossoms scatter freely,
Divine chambers glow with radiant light.
Transcending beyond the Seven Awakenings,
I freely gather heaven and earth's essence.
Content within this square inch of heart—
What need have I for a white dragon's glory?"
Finally, Ding Weining composed:
"Mysterious peaks rise from Canglang's waves,
Golden chambers illumine numinous towers.
Lord Luo upholds extraordinary ways,
Wandering serenely between being and non-being.
Though form sinks in northern frigid realms,
Three hun souls dwell in the ninefold heavens.
Colleagues lead each other forward,
Honoring my advanced years and virtue.
Young Shi Qing'an, not yet understanding
The proper reverence for worthies,
Dares mock the immortal lord of Penglai,
Calling Guangxiu by name alone.
I dare ask the enlightened lord—
How will you respond to this youth's literary flourish?"
After all four had presented their poems, the immortal lord read them and laughed: "Each verse reveals its author's nature. Shi's talent is brilliant but frivolous; Zhang's disposition is harmonious yet obscure; Xu's thought is thorough but skeptical; Ding's manner is straightforward yet slow to respond. Frivolity weakens the true qi (primordial energy); obscurity obstructs the Dao's comprehension; skepticism scatters the spirit; slowness dulls resonance—these are distinct obstacles on the path. Should each recognize his own delusion and awaken to original truth, progress need not be slow. As Guan Lu, disciple of the Prefect Lord, said: 'A doubting mind cannot commune with the divine.'"
When the poetic critique concluded, the group descended the mountain together. At the foot of the path, they again encountered the immortal maiden who had guided them earlier.
This passage recounts the mystical experiences and dream revelations of several Daoist practitioners at Mount Meng (a sacred Daoist site).
They descended the mountain either riding white dragons or on foot, having made a pact to reunite twenty years later at the Palace of Seven Endeavors. During their descent, they encountered Registrar Xu (an official in charge of documents), and they left behind four liters of wine on the mountain, though its taste was sour and astringent. The mention of "Taiping Family Wine" possessing medicinal properties for treating digestive ailments hints at the importance of dietary regulation in Daoist cultivation.
The text particularly emphasizes the essential practice of "guarding the One—take care not to lose it," referring to the focused preservation of the innate True One Qi (vital energy). Lady Ziwei (a Daoist immortal) revealed to them through a dream that these experiences were the result of their inner True Qi resonating with the spiritual energy of Heaven and Earth, and that the free flight of their spirit was a sign of successful cultivation. She instructed them that such miraculous occurrences should only be secretly shared with close disciples and must not be publicly disclosed.
The passage concludes with a dream experienced on the twenty-third day of the tenth month: within the Great Cavern Chamber of Mount Meng (a Daoist grotto-heaven for cultivation), they saw the walls inscribed with mysterious writings, with Senior Administrator Xu also present. These writings likely alluded to Daoist talismans (fulu) or esoteric cultivation methods, though they would be incomprehensible to ordinary people.
The recurring character "某" (mǒu) in the text, according to annotations, may refer to Yang Xi (a Daoist immortal) referring to himself. The recorded dates suggest these events likely occurred in the year of Yichou or Yinyear, reflecting the Daoist tradition of emphasizing the correspondence between time and space.
This passage records a dialogue scene between Daoist practitioner Xu Changshi (Xu Xun) and several mysterious figures. Among the robed individuals, one named Zhao Shutai mentioned having previously met Xu in the Wu region. As they sat conversing, Xu was seen writing at his desk, later inquiring whether they could comprehend his writings.
The text references essential cultivation methods of the "Dao of sun and moon" (riyue zhi dao) and mentions specific alchemical timing terms like "the period of water and fire" (shuihuo zhi qi) and "the day of great wood" (damu zhi ri). It particularly emphasizes that Daoist cultivation requires diligent study—there exists no path of spontaneous enlightenment without learning. When questioned about the meaning of "Guo," the explanation clarifies it refers to the walled cities within grotto-heavens and blessed lands (dongtian fudi), not burial mounds; "Qian" denotes the beginning of reverential practice; while "Sheng" symbolizes achievements made under the sun.
The latter section praises Master Xu's reclusive cultivation state, noting his extraordinary spiritual insight manifested since youth. It mentions that Yang Jun (Yang Xi) followed Xu Xun into mountain seclusion at sixteen, and by nineteen could practice solitary cultivation—demonstrating his early devotion to the Dao. This dialogue occurred in the sixth lunar month, possibly hinting at an important temporal node for alchemical practice.
This passage is a letter written by the renowned Eastern Jin dynasty Daoist Yang Xi (a key figure in the Shangqing lineage) to Xu Mi (courtesy name Sixuan, an official who rose to the position of Court Gentleman for Service and held the Daoist title Lord Xu). The content comprises three main sections:
The first section describes Yang Xi's cultivation insights: Since withdrawing from worldly affairs to practice Daoism, he has been moved to tears whenever gazing at the eastern clouds at dawn. Envisioning the serene majesty of celestial palaces (xuangong), he aspires to ride the eight directional winds to sweep away mental distractions. He prays that the divine power of the Six Heavens (the Daoist cosmological realm of desire) may suppress demonic obstacles, allowing pure faith to flow through the Three Realms (heaven, earth, and humanity), and that the boundless mysteries of the Dao may eternally resonate through infinite transformations.
The second section recounts mystical experiences: Yang Xi mentions how Xu Mi frequently appeared in his dreams before departing on a journey, leaving handwritten traces as evidence. These subtle synchronicities made moments feel like millennia to Yang Xi. Though receiving revelations, he admits their profound subtleties remain partially unfathomable, prompting awe at their arcane depths. He notes his recent secret recordings of these dream revelations (originally written on fine hemp paper after passing spiritual tests, now preserved as copies).
The third section concerns mundane matters: Yang Xi reports that Xu Mi's third daughter's illness has slightly improved but not fully cured, while expressing concern about a spreading epidemic. Subsequent paragraphs (partially damaged in the original) detail administrative affairs—matters forwarded to Assistant Magistrate Zheng through Clerk Xie, and arrangements for the Liu family's funeral rites. The letter concludes with gratitude for Xu Mi's gift of silk to make summer clothes for Yang Xi's elderly mother, though he humbly considers such kindness excessive.
Note: The "Six Heavens" refer to the six desire-realms in Daoist cosmology; "Three Primes" (sanyuan) denote the celestial, terrestrial, and aquatic officials; "Eight Winds" signify both natural winds and metaphorical distractions in cultivation. The recurring term "dunshou" (kowtow) reflects standard epistolary etiquette of the period.
These passages are excerpts from multiple letters written by the Daoist priest Yang Xi of the Eastern Jin Dynasty to Xu Mi (an important figure in the Shangqing tradition), primarily concerning daily affairs and Daoist cultivation practices.
In humble tones, Yang Xi expresses his inability to reciprocate Xu Mi's profound kindness, even feeling unworthy of the gifted silk fabrics. He mentions living a life of sufficient simplicity, with his material needs for sustenance already met, and specifically returns the silk. He describes his cultivation environment as pure and undisturbed—though his dwelling is comfortable, he must soon depart and cannot remain long.
The letters frequently employ honorific phrases like "kowtowing" (顿首) and provide detailed updates on his practice: completing morning incense offerings before returning home for quiet cultivation, personally attending to matters in the evening, overseeing farmland harvests, and arranging for meal supervision. He also notes that the "Cloud Mushroom Method" (云芝法, a Daoist dietary longevity technique) cannot be sent by letter but must be delivered in person.
Particularly noteworthy is the discussion of the term "attendant" (侍者) in correspondence etiquette: while Yang Xi held the role of Xu Mi's scripture master (经师, transmitting sacred texts), he maintained reverent language in his letters, reflecting the unique master-disciple protocols within Daoism. The closing notation "To the Honorable Chief Clerk Xu" (长史许府君侯) follows official document conventions, indicating these private exchanges on cultivation were transmitted through formal bureaucratic channels.
This passage records several correspondences from the Taoist classic Zhengao (Declarations of the Perfected), reflecting the daily exchanges and cultivation practices among Taoist practitioners of that period.
The first letter mentions copying scriptures to present as a gift and inquires whether the recipient has taken the "Insect-Control Pill" (a type of Taoist elixir). Initially, the pill causes symptoms like feverishness in the head and churning in the abdomen, but after six or seven days, the body adjusts without further issues. The writer, Xi, states that he will continue taking it as prescribed.
The subsequent letters are Xi’s exchanges with a zhubu (a Taoist administrative position). He expresses longing for fellow practitioners living in solitude far away, reminiscing about the comfort of past gatherings. He also mentions plans to cultivate on East Mountain but lacks a horse, asking if he might borrow one from the recipient. The phrase "jinbai" (respectfully stated) appears frequently, a common polite closing in letters of the time.
A notable passage describes a visit from Xu Dongxing, during which Xi felt ashamed for failing to moderate his drinking and eating. Finally, he mentions compiling a register of over fifty practitioners and drafting a preface, believing it would inspire more seekers of the Dao. He promises to organize and send the relevant materials.
Annotations in parentheses explain that these letters were Xi’s replies to a changshi (a high-ranking Taoist position) while he was stationed in the county, with some possibly missing their opening sections. The last note clarifies that one was written in the capital as a reply, at a time when the changshi likely served in the hujunfu (military headquarters). These letters offer a genuine glimpse into the elixir experiences, cultivation activities, and interpersonal interactions of Taoist practitioners during that era.
This passage consists of correspondence fragments between Eastern Jin dynasty Daoist Yang Xi and Xu Mi (courtesy name Chief Clerk), primarily discussing scripture transcription and biographical compilation matters.
Yang Xi mentions having prepared paper and brushes to personally transcribe scriptures, specifying the use of white stone ears (likely referring to a special type of paper or writing material) and cautioning that these materials should not be casually shown to others. From the annotations, this section may involve secret transmissions related to the "immortal method of stone boiling" or the "Five Lords' Essence Technique" (Daoist cultivation practices).
The letters frequently mention the compilation of historical figures' biographies. Yang Xi notes that the Book of Han provides insufficient detail about Sima Jizhu (a renowned Han dynasty occultist) and suggests consulting Ji Kang's Biographies of Noble Scholars. He specifically transcribes Ji Kang's account of Sima Jizhu's life and eulogy, intending to submit it to Xu Mi for review.
Regarding the Daoist scripture Dongfang Xianjin Jing (Scripture of the Advanced Chamber), Yang Xi states that the transcription is complete and can be collected. He repeatedly emphasizes these tasks, fearing oversight. Annotations indicate these sections were written on red stationery.
Later in the correspondence, Yang Xi explains that rainy weather prevented his visit to Xu Mi, proposing to discuss matters in person once the skies clear. The letter concludes with the respectful closing "with bowed head," inquiring after Xu Mi's health, and is signed "Yang Xi, with deepest bows," addressed to "Chief Clerk Xu, Lord of the Manor" (i.e., Xu Mi).
In another discussion, Yang Xi praises Sima Jizhu's profound and mysterious scholarship, suggesting his biography should be placed at the beginning of the volume. He mentions that Lord Dongqing (a revered deity in the Shangqing tradition) also held Sima Jizhu in high esteem while expressing admiration for the lofty realm of Mount Weiyu (a famed Daoist mountain). Yang Xi reports progress on the biographical compilation, inquiring about the list of seventy-two noble scholars (echoing Confucius' seventy-two disciples) and proposing that meditation could provide inspiration if the number falls short. He emphasizes that these materials require gradual refinement and should not be hastily disclosed, adding that he will personally transcribe a copy for Xu Mi's review.
Finally, the text cites historical precedents for the "seventy-two" motif: Kong Anguo's record of Confucius' seventy-two disciples, Liu Xiang's Biographies of Immortals documenting seventy-two transcendents, Huangfu Mi's Biographies of Noble Scholars listing seventy-two recluses, and Chen Changwen's Records of Elders chronicling seventy-two worthies—demonstrating the special significance of this number in both Confucian and Daoist traditions.
This passage consists of correspondence fragments between Yang Xi (revered in Daoism as "Lord Protector of Life"), a key figure of the Shangqing (Highest Clarity) tradition during the Eastern Jin dynasty, and his associates, primarily discussing the compilation of Biographies of Immortals (Shenxian Zhuan) and daily cultivation practices.
Regarding the Biographies of Immortals, the text mentions an original record documenting seventy-two Daoist adepts from Chenliu (modern Kaifeng region, Henan), though the manuscript lacked a title and was likely stored in a case. Yang Xi explained that they must await the descent of the "Lord Protector of Life" to confirm these immortals' names, noting the need to consult Dongqing (referring to the Daoist deity Donghua Dijun, the Emperor of Eastern Florescence). He repeatedly revised the manuscript, considering this biographical work profoundly significant. However, it ultimately failed to circulate, possibly because the Director of Fate (the deity governing human lifespans) prohibited the disclosure of celestial secrets.
Concerning cultivation practices, the letter describes taking "powdered elixir" (san, a type of alchemical medicine) for three days, resulting in physical and mental clarity, with instructions for proper bodily regulation. It also mentions preparing meditation spaces for mountain recluses and offering cattle as ritual tribute.
The frequent use of formal salutations like "kowtow" (dunshou) indicates this was official correspondence. The closing notes the sudden death of a practitioner named Shi Sheng, reflecting the prevalence of abrupt fatalities among cultivators at the time. These contents vividly portray the cultivation lifestyle and scripture compilation processes within the Shangqing tradition during the Eastern Jin period.
This text is a letter written by the Eastern Jin Daoist Yang Xi to Xu Mi, who held the high-ranking position of Chief Clerk (长史), discussing dream experiences and matters concerning spirits and ghosts. The letter repeatedly employs the reverential phrase "dunshou dunshou" (顿首顿首, "kowtow and kowtow") to show respect for the recipient.
Yang Xi begins by mentioning that he has carefully reviewed Xu Mi's account of his dreams and the performance of the "shangzhang" (上章, a Daoist ritual for averting disasters). He suggests these dreams may have been caused by "zhuqi" (注气, perverse energies in the body) or "wangliang" (魍魎, mischievous spirits), but believes the ritual should resolve them. He advises against placing too much faith in dreams and recommends maintaining an ordinary state of mind.
The letter reveals that Yang Xi himself frequently dreams of the deceased "xiaoyuan" (小掾, referring to Xu Mi's son Xu Hui, who once served as a minor official). Though Xu Hui appears and speaks as he did in life, Yang Xi worries that discussing such supernatural encounters might invite ridicule, so he usually avoids mentioning them. He notes that after Xu Hui's death, he dreamed of him over a dozen times each month, sometimes even seeing his form vividly while lying down.
Regarding items Xu Hui had gifted him—such as cloth, blue paper, and incense beads—Yang Xi considers these part of "left-path delusions" (左道虚妄之说, unorthodox and baseless practices) and thus prefers not to dwell on them. He also mentions a prophecy concerning a "Jiashen year" (甲申年) but is uncertain whether it refers to 384 or 444.
In closing, Yang Xi acknowledges that while these supernatural phenomena are real, most people distrust them, making detailed discussion unwise. He asks Xu Mi to burn the letter if he finds its contents absurd. The letter reflects the ambivalence of elite Eastern Jin Daoists toward the unseen—grounded in personal experience yet wary of worldly skepticism.
The Zhengao (Declarations of the Perfected) records how the immortal Yang Xi—a central figure in the Shangqing (Highest Clarity) tradition—received divine revelations through dream transmissions. Many aristocratic practitioners who traveled to cultivate the Dao heard of Yang Xi's ability to manifest spiritual beings. Believers flocked to seek his guidance, while skeptics mocked and slandered him. The scripture specifically mentions this episode as a cautionary tale for those harboring doubts.
This passage from Zhengao's seventeenth scroll describes the process by which celestial truths were transmitted to the human realm through extraordinary means (dream visions). Daoist tradition holds that certain "mediary officials" (liaisons between heaven and earth) with spiritual sensitivity could commune with deities during sleep, recording heavenly teachings. The mention of "sealed documents" alludes to the originally esoteric and treasured nature of these revelations.
Source text: Kanripo 漢籍リポジトリ（KR5d0036）; Licence: CC BY-SA 4.0 · Report an error / feedback