《重陽全真集》Vol. 1

Interpretation

This passage records several poems and dialogues by Wang Chongyang (styled Chongyangzi), the founding patriarch of the Quanzhen (Complete Perfection) school of Daoism, revealing the early cultivation philosophy of Quanzhen Daoism. While seeking alms in Ninghai Commandery (present-day Yantai area) of Shandong, Wang Chongyang inscribed these verses on large scrolls to enlighten his disciple Ma Yu (later known as Dan-yang Zhenren).

The first set of poems, Forming Transcendent Kinship, uses the line "one nephew, two sons, and one Shan-tong" to refer to his four disciples (Ma Yu, Tan Chuduan, Liu Chuxuan, and Qiu Chuji), forming a spiritual family of five that transcends worldly ties. The verses depict them as pure and free as the bright moon and gentle breeze, attaining through cultivation the carefree state where "east, west, south, and north all revolve in perfect harmony." The second poem explicitly urges them to abandon the physical body—this "temporary corpse" (a Buddhist term for the illusory body)—and jointly cultivate the field of the pure heart, ultimately reaching the Dragon Flower Assembly (a Daoist gathering of immortals).

The poem Sun Gong Seeks Instruction emphasizes that cultivation requires discarding worldly distinctions between wisdom and folly. Facing the "three luminaries" (sun, moon, and stars), one must return to the primordial nature (Taichu, the Great Beginning), attaining freedom and ease through rectifying the heart-mind. It concludes with the goal of alchemical transcendence.

Answering Zhan Gong’s Question on Buddhism First, Daoism Later clarifies the Quanzhen principle of "harmonizing the three teachings," asserting that Buddhism (Shi) and Daoism are fundamentally one, as both require recognizing the heart-mind and realizing one’s true nature. Using metaphors like "colt" and "mischievous monkey" to describe restless thoughts, it states that only when the mind is settled can the lamp of wisdom dispel confusion.

Lü Gong Seeks Advice Before Resigning from Office compares cultivation to "walking on thin ice over an abyss," urging caution. It advises Lü Gong to first cultivate the "three paths" (likely referring to the Three Treasures: Jing, Qi, and Shen) before retiring from official duties, waiting until his merits are complete before withdrawing from the world. The "four falsities" in the poem denote worldly temptations like wine, lust, wealth, and anger.

Collapse ▲

Interpretation

These passages from the Chongyang Quanzhen Ji reveal the teachings of Wang Chongyang (Master Chongyang), patriarch of the Quanzhen (Complete Perfection) school, on Daoist cultivation. The first section presents essential practice methods: devote oneself wholeheartedly to spiritual refinement, tempering one's nature within a state of serene clarity. When the inner mind becomes luminous as the bright moon, the lamp of wisdom naturally ignites, attracting genuine masters to guide one's transcendence—ultimately enabling ascension to the jade mountain peak as an immortal.

When Lord Wang (likely referring to disciple Wang Chuyi) inquired about the "Five Gates" practice, he received this response: Upon the mountain of five aggregates (symbolizing the human body), open the five sensory gates (eyes, ears, nose, tongue, body), allowing Jing (essence), Qi (vital energy), and Shen (spirit) to merge like seamless jade peaches. Perceive the innate luminous nature and maintain contemplative stillness, preserving the true self as unclouded jade. When external phenomena align with the azure heavens, prolonged concentration makes one eternal as the moon suspended in emptiness. Finally, the azure youth (immortal attendant) will present the Golden Elixir's wondrous method—yet this requires returning to primordial origins for realization.

When Lord Ma (probably Ma Yu) asked about the Dao of equality, the answer came: Engage with others as precisely as observing a celestial compass; recognize others' faults as if examining oneself. May all beings' spiritual awareness become as transparent as your own mind—thus naturally attuning with celestial deities. The supreme wonder lies in comprehending one's nature like observing the sun and moon (the raven and toad in Daoist cosmology). This constitutes the true cultivation secret: practicing accordingly leads directly to the celestial court.

When Sister Zhang (likely a female disciple) sought guidance, numerical symbolism conveyed the path: Nine-petaled golden flowers (the ninefold refined Golden Elixir) bloom eternally; eight streams of jade nectar (the eight extraordinary meridians' Qi) flow spontaneously. Seven gates (orifices) become unobstructed; four emblems (azure dragon, white tiger, vermilion bird, black tortoise) return to stillness. A single divine elixir rectifies the path; twin silver threads (Yin-Yang energies) knot primordial beginnings. When radiance blazes forth, celestial secrets become clear—infinite joy accompanies Dao-realization.

The Mirror Polishing passage uses metaphor: Rather than polishing bronze mirrors, polish your heart-mirror instead. This mirror reflects both distant vistas and profound depths, piercing through fame and wealth to attain true purity, revealing emptiness's essence without sinking into oblivion. When spiritual light ignites the firing process (Neidan's temperature regulation), myriad hues manifest from the heights. Recognize this mysterious treasure (the original mind)—hung in the bright hall (third eye), it illuminates past and present.

Harmonizing with Falling Blossoms expresses transcendent detachment: Neither impulsively pursue ascension nor tightly shut the jade-grotto heaven (inner realm). Long weary of worldly fame and profit, consistently disdain human disputes. Understand that mind-cultivation values prudence—why flaunt Daoist robes ostentatiously? Let fallen petals beyond the gate weather wind and rain—who comprehends the realm of Xi-Yi (the inaudible and invisible described by Laozi)?

On Red-White Peonies employs floral allegory: Silk-cut blossoms of crimson and snow rest upon azure gauze canopies. Their fragrance diffuses without distinction; though natures differ, each stands upright. Mortals long lost the three isles' (Penglai, Fangzhang, Yingzhou) immortal seeds—let none discriminate. Watch as I gather both hues now, treading rosy clouds in place of rainbow luan-birds to ascend.

Finally, In Praise of Reverend Chi's Commentary on the Daode Jing honors: Following Laozi's five-thousand-character classic, the nameless Dao's mystery eludes transmission. The single Qi (vital energy) enfolds heaven-earth's transformations—this demands silent contemplation of its true meaning.

Collapse ▲

Interpretation

The first passage reveals the mysteries of celestial and terrestrial operations: The essence of heaven and earth is contained like marrow within bones, where the cycle of seasons and passage of years conceal profound secrets. The Five Phases (Wood, Fire, Earth, Metal, Water) manifest the patterns of Yin-Yang transformation, while the sun and moon (the Two Luminaries) have held the creative power of transformation since their initial separation from primordial chaos. These profound principles cannot be fully expressed in words, for nature conceals mysteries known only to immortals.

When Immortal Liu came seeking guidance on cultivation, he received this revelation: Those who truly comprehend life's essence see through worldly illusions, remaining detached like drifting tumbleweeds. Practice need not cling to formalities like incense offerings—what matters is awakening inner spiritual wisdom, allowing one's original radiance to illuminate all directions. Progressing step by step in this manner, one may ultimately transcend the mundane like a lotus rising untainted from mud.

When Elder Xing asked whether beginning cultivation at seventy-two was too late, the response clarified: Spiritual practice knows no age—even a centenarian's start isn't belated, provided the mind transforms in the present moment. Should complete enlightenment elude this lifetime, the path continues in future incarnations. At life's end, maintaining right mindfulness is paramount, gathering the combined power of the Three Lights (sun, moon, stars). Cultivation means continually shedding habitual tendencies—only by releasing attachments can one obtain spiritual treasures.

A warning for practitioners: Some cultivate with petty cleverness, mistaking adamantine resolve (symbolizing steadfast devotion) for foolish obstinacy. Outwardly feigning transcendence while inwardly degenerating daily, they neither grasp the essentials of mind-nature nor penetrate true Dharma gates. Having vainly abandoned family ties, they ironically accumulate negative karma instead.

The poem dedicated to fellow cultivators Liu, Jiang, Zhang Yizhong describes: Since studying the Dao with Zhang Liang, I've roamed famous mountains and sacred sites—crossing clear streams and stone ravines, watching cloud-wrapped peaks unfold like painted screens. The myriad lanterns of human dwellings shine as beautifully as wildflowers. Now bound for Mount Zhongnan's Azure Cloud Cavern to continue practice, forgive my unannounced departure.

Of spring rain it is said: This sweet downpour celebrates peace while heaven pities human suffering. Rosy clouds form a celestial canopy as the Three Lights pierce through. The harmonious Qi of heaven and earth nourishes all growth—washing the mind to reveal greater stillness, polishing the Dao-eye to heightened clarity. How I long to lean on bamboo staff and ascend the empyrean, sharing jade cups of clear wine with transcendents!

Instruction for dull disciples emphasizes: While the wise take joy in Dao-study, the simple require rigorous tempering. One must kindle the heart-lamp to dispel ignorance, forging oneself like tempered steel. Those who heed teachings with sincere devotion may roam carefree like Patriarch Wang Chongyang (Wang Zhe), unfettered as clouds and wild cranes.

The final teaching about the alms-begging iron gourd states: To dissolve karmic obstructions (black smoke), one must refine Jing-Qi-Shen (the Three Treasures) at Mount Badu (sacred Daoist site). With settled mind...

Collapse ▲

Interpretation

To seek the profound mystery in the silence of emptiness, why must one go to bustling places? It is as unreasonable as searching for gold in wood or trying to grow lotus flowers in fire.

If you wish to grasp the true essence of cultivation (the "knife and spoon method" refers to the precise measurement of alchemical ingredients, symbolizing the key to practice), may you emulate Patriarch Wang Chongyang (also known as Wang Feng), who accumulated merit (the "iron jar coins" represent the spiritual capital of virtuous deeds) through refining the elixir in an iron vessel.

The poem Inscribed on the Carefree Pavilion states:

"Carefree, so carefree—

even the pines and bamboos laugh at worldly attachments.

Once this state is attained,

white clouds naturally gather at the cave door of the cultivator,

and emerald waters need not encircle the mountain's waist.

Scholars obsessed with fame sigh in vain over the world's turbidity,

while poets who play with words merely amuse themselves.

Those who truly understand cultivation

cast aside illusions like 'tortoise hair and rabbit horns' (a Buddhist term for unreal phenomena)."

In Yang Gong Seeks Answers, the response is:

"The human body (a dignified seven-foot frame) is but a temporary illusion,

and clothing and food merely sustain this shell.

Do not boast of extraordinary appearance,

thinking it can achieve the golden body of a Buddha (the majestic form described in scriptures).

Upon enlightenment, one penetrates the wondrous functions of all directions,

understanding the true meaning of Bodhidharma's journey east (the 'perfect cause' refers to the fulfillment of karma).

When cultivation reaches the stage where transformations are unimpeded,

it is time to turn the Dharma wheel (spread the teachings) widely in the human realm."

Advising Younger Brother, the Military Judge, on the Method of Peace and Joy teaches:

"To attain true peace and joy,

the mind must be pure and untainted.

Amid noise, do not let your vital Qi (energy) be harmed;

in tranquility, preserve your spirit (Shen).

Naturally, you will perceive the marvel of the three lights (sun, moon, and stars)

and harmonize with the springtime of the four seasons.

Outwardly radiant, inwardly truly at peace—

ordinary people who cultivate this way unknowingly become immortals."

The poem To My Elder Brother admonishes:

"Which sibling can fathom the mystery of 'gold in water' (referring to innate Qi)?

Each has their own karmic opportunity for practice (the years 'Ji Mao' and 'Ren Chen' denote different astrological cycles).

See how I have already withdrawn to clouds and waters—

I urge you, elder brother, to relinquish fame and gain.

When will affection and resentment be seen through?

The prison of dust wears away at us daily.

Do not be trapped by worldly hills;

the Penglai paradise holds higher realms."

Regarding how cultivators address hunger and cold, Wang Chongyang points out:

"Begging, drawing talismans (Fulu), and selling medicine—

these three are not true cultivation.

Without genuine inner work,

external busyness only depletes Qi.

If you do not seek the mystery within your true nature,

where else can the primordial essence be found?

Only by witnessing the eternal spring within yourself

can you truly transcend the six dusts (sights, sounds, smells, tastes, touch, and thoughts) and attain carefree liberation."

Lord Wang Seeks Liberation for Living Beings states:

"Knowing Lord Wang can extend compassion to all,

for the lives of beings are fundamentally no different.

Only their forms vary—

let birds and beasts alike be granted vitality.

Benevolence towers like mountains,

grace flows vast as rivers.

Accumulate hidden virtue, and blessings will surely follow;

longevity as an immortal is recorded in the celestial registers."

Though Inscribed on Master Ma's Temple is not elaborated upon, the title suggests it is a poem praising the Daoist temple of the immortal Ma Gu (a revered female Daoist transcendent). Such inscriptions often extol the serenity of the temple or the lofty state of cultivation.

Collapse ▲

Interpretation

This passage comes from Wang Chongyang's Complete Perfection Anthology (Chongyang Quanzhen Ji), the founder of the Quanzhen (Complete Perfection) school of Daoism, which expounds the essentials of cultivation through poetic form. The first poem depicts the immortal realm as perceived by practitioners: when paying homage to perfected beings (zhenren), one gazes upon the mist-wrapped Kunlun Mountains (sacred Daoist peaks), where exquisite spiritual energy (qi) fills heaven and earth. The carefree monastic life, like drifting clouds and wild cranes, surpasses adornments of gold and white jade—there's no need to envy the scenery of Zhongnan Mountain, for the realm of immortals offers unconstrained freedom everywhere.

Regarding "the dragon and tiger coupling" (longhu jiaogou, a Neidan [internal alchemy] term denoting the harmonization of yin and yang energies), the poem clarifies that the key lies not in external forms but in maintaining inner clarity. When breath becomes steady and the heart-mind (shen) settles peacefully, the natural balance of yin and yang will emerge. Simply by rectifying one's thoughts with sincerity, treating all things equally, and preserving purity, one's true nature will manifest. This state spontaneously reveals perfect luminosity, guiding practitioners to gather the Golden Elixir (jindan) and jade mushrooms (symbols of internal alchemy).

In response to Master Sun's question about Confucianism, Buddhism, and Daoism: the three teachings share the same essence, originating from a single root. Those who truly awaken to the Dao (Dao) understand the points of convergence and divergence among them—their minds expand like clear skies illuminated by sunlight. The spiritual realm of Daoist practitioners resonates with the rhythms of heaven, earth, and stars; through pure cultivation, they penetrate the nature of emptiness.

Explaining "original nature" (benxing), the text uses gemstone metaphors: human nature resembles gold, jade, or luminous pearls. Though obscured by worldly dust, continuous cleansing and polishing will eventually restore its primordial radiance. This deathless, undimmed state of clarity is our original face.

Later verses employ everyday objects to symbolize the Dao: the hollow wooden fish (a Buddhist percussion instrument) hanging suspended represents transcendence beyond cause and effect; seemingly indolent practice appears lax but actually preserves true nature; temple bells marking yin and yang hours subtly reflect Daoist temporal cosmology. The collection concludes with the fragrance of clear barley porridge, embodying the taste of the Dao in simple living. Throughout, concrete imagery conveys Quanzhen's core principles of "the unity of three teachings" (sanjiao heyi) and "dual cultivation of nature and life" (xingming shuangxiu).

Collapse ▲

Interpretation

Wang Chongyang (founder of the Quanzhen School of Daoism) depicts realms of spiritual cultivation and life insights in these poems:

The first poem portrays immortals drinking celestial nectar: Jade fragments and silver spoons gently scoop divine brew, as golden boys (attendant youths in Daoist lore) reverently present jade-pool dew. Upon drinking, their five viscera radiate snowy light, bodies and minds eternally refreshed.

The second uses watchtower drums to symbolize life's brevity: The plaintive drumbeats at dusk and dawn, the epidemic-dispelling rhythms sounding on schedule. Each night's passage urges our fleeting century, admonishing seekers to awaken early rather than regret at fifth watch daybreak.

The third extols the virtue of bell towers: Jiang Gong's bell tower embodies the Three Treasures (Dao, scriptures, and masters), its pure tones resounding through the ten directions. All beings, great and small, hearing these chimes aspire to the true path, ultimately attaining perfection.

The fourth discusses Chan-Dao relations: In Chan one perceives Dao's emptiness, through Dao one transcends Chan's attachments. The superior adept harmonizes both - when the Dao-mind clarifies, Chan's essence becomes crystalline, enabling true transcendence.

The fifth paints the Azure-White Hall's paradise: Hall springs run deep and clear, window light weaves golden lotuses (sacred Daoist symbols). Amidst pervasive fragrance, luminous pearls emerge, symbolizing adepts ascending azure voids.

The sixth reveals cultivation essentials: Awaken your innate radiance, extinguish worldly attachments. Master the Three Treasures of Jing (essence), Qi (vital energy), and Shen (spirit) until your primordial awareness achieves completion. Comprehending these mysteries transforms mortal frames, setting feet upon the immortality path.

The seventh describes garden wanderings: Strolling through gardens seeing dewdrops roll on lotus leaves, jade pendants on bamboo tips, the shifting seasons' scenery. Though seemingly grasping origins, true Dao remains beyond words.

The eighth emphasizes practice orientation: Cultivation requires discerning true directions (cardinal metaphors for right/wrong paths), seeing through the body's illusory nature. Ultimately one ascends snow-clad summits, emblematic of Dao's purest realms.

Collapse ▲

Interpretation

On Mount Hongxia, one seeks true enlightenment (samyaksambodhi, referring to ultimate awakening in Buddhism) while comprehending the Great Dao (Dao) in the void. This mystical state resembles the vitality of spring sunlight, yet also echoes the karmic connections within moonlit shadows. There’s no need to cling to the cypress tree before the courtyard (symbolizing external forms), for one’s innate nature is the true foundation of cultivation.

An elder monk once inquired about the true meaning of life and death. The cultivator replied: "In this lifetime, I have realized great wisdom (mahā), with body and mind resonating in harmony with the cosmos. I climb the peaks on the path of awakening, advancing ceaselessly along the way of bodhi (enlightenment). Spiritual clarity flows pure as a white lotus, while true nature transcends all worldly phenomena. Henceforth, I rise beyond the cycles of birth and death, returning to the eternal realm of prajñā (wisdom) and pāramitā (the other shore)."

A virtuous friend once asked how to cultivate and assist the path. The answer was: "Do not drown in mundane trivialities; maintain purity while delving deeply into the scriptures, constantly illuminating the mind with wisdom. Like a farmer meticulously tending his fields, persistently uproot the weeds of affliction. When merit and virtue (De) reach perfection, the fruits may be offered to the highest truth (Vairocana, the Dharma-body Buddha)."

Master Su requested resignation from office in pursuit of leisure. The poem pointed out: "True leisure is known only to the immortals of Penglai. They wander with boundless clouds and mist as companions, forming bonds with the wind and moon in midair. When wisdom becomes all-pervading, liberation arises naturally; if awakening comes, one should let go without delay." He was thus advised to cast aside worldly status and come discuss the Dao of longevity together.

On dreams: "By day, playful wandering draws one close to external things, yet in the depths of night, dreams reveal what is real. The seven corporeal souls (po, seven aspects of the soul in Daoism) are easily lured by demons, while the three corpse-entities (sanshi, three malevolent spirits residing in the body) often deplete the spirit (Shen). One must rein in the ‘monkey-mind’ and ‘galloping thoughts,’ guarding the spirit with strict vigilance—otherwise, how is this borrowed body’s indulgence by day any different from its entanglements in dreams?"

For the virtuous friend Lü, a gāthā on the Diamond Sutra was composed: "The opening ‘mahā’ (vast) verses are most essential, followed by penetrating the six-syllable mantra. Raise the sword of wisdom to open prajñā (wisdom), only then transcending life and death to reach the other shore. Recognize the original mind to see true nature, understanding that lead and mercury (neidan terms) blend like honey. One who grasps the true meaning within may soar beyond the mundane world (Sahā)."

Master Yu inquired about the practice of abstaining from grains since youth. The response clarified: "This cultivation’s foundation lies in inner refinement (Jade Capital Mountain refers to the upper Dantian), with no need to dwell on external changes. Nourished by true Qi (true water), the spirit (Shen) drifts free as white clouds. When practice reaches completion, transcendence arises naturally; lead and mercury fuse to form the Dao-body. Only when external impurities are wholly purified does inner radiance shine forth."

On attaining leisure: "A lucid heart untouched by affliction, a tranquil nature wielding wisdom’s blade. Sever worldly thoughts like cutting tangled hemp, revealing in the void a moonlike clarity."

Collapse ▲

Interpretation

This poetic passage reveals the cultivation insights of Wang Chongyang (Daoist name Chongyangzi), patriarch of the Quanzhen (Complete Perfection) tradition, presented in several core sections:

The first section depicts the practitioner's transcendent state: having split open primordial chaos to discover true nature, he now keeps company with the solitary moon and wandering clouds, roaming the Penglai immortal isles in search of celestial peaches. When jesters threaten to steal his straw sandals, he responds that he has already risen above the three poisons (greed, anger, and delusion), his mind luminous as the full moon, his nature flowing like a refreshing breeze. Though temporary hardships may arise, he ultimately circulates endlessly like the Eastern Sea.

The second section answers Marshal Yan's inquiry about longevity: cultivation resembles the precise timing of a watchtower drum, requiring harmonization of the five visceral energies (Wuqi) and practicing during the Zi-Wu hours (Jia-Geng) to expel the three corpse worms (Sanpeng). One must leap free from the worldly fire pit to find the true path to Penglai's immortal realm, where one may sit securely on jade terraces sipping divine nectar (Qionggong).

The third section addresses Master Song's cultivation doubts: mind refinement is key—a clarified heart naturally comprehends all things. Dantian (three fields) cultivation resembles greeting morning dew, while cinnabar (Neidan) circulation feels like bathing in dawn winds. Crimson and white radiance interplay as emptiness and form mutually generate, ultimately revealing the wondrous existence within supreme emptiness.

Subsequent verses unveil cultivation's essence: true practice lies not in form but in realizing "true compassion" (the Dao's origin). Like a red-robed Daoist wandering mountains or a black-hatted sage entering fire pools with ease. Images of white horses pulling golden chariots and blue oxen plowing jade fields symbolize the miraculous phenomena (auroras piercing heavens, dragons cradling infants) born from Yin-Yang harmony.

The conclusion emphasizes that supreme cultivation (great vessel practice) transcends ornate appearances, coalescing genuine Qi and precious cinnabar (Neidan) amidst clear winds and bright moon. Constant self-reflection (examining past appearances) must balance with adaptive responsiveness (grasping new manifestations), until alchemical mastery (one complete cycle) is cast toward azure skies, revealing wondrous emptiness. Alchemical terms like dragon-tiger intercourse (Yin-Yang union) and crimson phoenix with black tortoise (water-fire equilibrium) depict the moon illuminating jade peaks (referencing the Three Mao Immortals) as the ultimate fulfillment.

The final line reveals cultivation's truth: only upon witnessing one's heavenly true nature does original self-awareness dawn. Thus liberated from worldly dust to become a guest beyond clouds, no longer bound to red earth—all fruits of having long ago subdued the heart's flames.

Collapse ▲

Interpretation

This scripture reveals the essential techniques of Neidan (internal alchemy) practice. Mercury (referring to the primordial Shen/spirit) is naturally fluid like quicksilver; through cultivation, it settles into stillness, circulating the Golden Elixir within luminous perfection. The key lies in grasping the Mysterious Pass (the core of the Dantian/energy center) — no forced effort is needed, for refining the body to pure Yang naturally dissolves Yin energies. Here Wood (liver Qi) generates Fire (heart fire), which then refines Metal within Water (kidney's primordial Qi). These marvelous transformations are known only to the practitioner.

When the primordial Shen gathers, it takes form; when dispersed, it becomes Qi — free and unhindered like clouds in a clear sky. When the Embryonic Immortal (Neidan) manifests through proper methods, one attains transcendence. There's no need to obsess over the Golden Tiger (lung Qi) or Jade Dragon (liver Qi) in the Dantian; simply allow Lead (primordial Qi) and Mercury (Shen) to intermingle, harmonizing Yin-Yang until crimson radiance appears above the crown.

When distracting thoughts dissolve and the heart-moon shines bright, it's like a divine vessel reaching shore. Make Fire-Water (heart-kidney) mutually nourish and Wood-Metal (liver-lung) unite, discerning the positions of Lead-Mercury while balancing the Azure Dragon and White Tiger (liver-lung energies). Thus cultivated, the Golden Elixir forms in emptiness like jade filaments.

True practice requires no forced seeking. Simply rectify body and mind, observe the Zi-Wu (Governor and Conception vessel) circulation, and witness the Ding-Ren (water-fire balance) phenomenon. When five-colored light appears, the profound mechanism reveals itself. Seizing this wondrous emptiness becomes the ultimate verification.

Breath regulation emphasizes subtlety, nurturing a luminous pearl in the Dantian. Let child (kidney Qi) follow mother (heart Shen) as Qi and Shen merge, generating extraordinary radiance. The secret lies in mastering Yin-Yang conjugation, harmonizing ascending and descending energies. Best practiced in mountain solitude while visualizing the bright moon alone.

Initial cultivation resembles planting jade lotuses in the Jade Pool, eventually blossoming into pristine flowers. Having understood the mysteries before, now one comprehends Wuwei (non-action). Having transcended seasonal cycles, one dwells eternally in the Ever-Spring paradise.

Practice follows the Nine Yang Diagram (cultivation formula) — understanding its principles liberates one from creation's constraints. Fools toil in vain, while sages perceive the mystery of "creation from nothingness." Attaining the state where "being is non-being, non-being is being," one directly accesses the celestial court.

Mastering these methods prevents falling into the three wretched realms. Abandon former mundane attachments, daring to practice within the fire (of alchemy)...

Collapse ▲

Interpretation

Wang Chongyang expounds the core cultivation principles of Quanzhen (Complete Perfection) Daoism in these poems. The first passage describes the state of refining the Great Elixir (Neidan/internal alchemy): when practice reaches the supreme realm, one transcends material constraints, becoming eternally radiant like the sun and unfading as the jade groves of the moon, ultimately merging freely with the realm of emptiness.

He criticizes hypocritical practitioners, pointing out that true cultivation isn't about displaying abilities before others. Some understand neither Confucian principles nor Buddhist practice, yet vainly seek liberation while immersed in wine, lust, and worldly pursuits. In truth, worldly existence isn't inherently flawed—it's the forced pursuit of the Dao that creates unnecessary attachments.

The poems emphasize the unity of the Three Teachings, asserting that Confucianism, Buddhism, and Daoism share fundamental truths. Upon comprehending these profound mysteries, one transcends material obsessions and maintains the original pure heart-mind. Such practitioners resemble the eternal Zhenren (Perfected Persons), destined to ascend riding clouds and mist.

Genuine seekers should withdraw from worldly entanglements to contemplate profundity in solitary practice. There's no need to forcibly pursue immortality—maintaining serenity and purity naturally aligns one with the sages' path. Cultivation resembles refining true gold through fire; it requires no artificial carving to achieve perfection.

The final poems advise practitioners to take the inner observation of heart-mind as their teacher while studying ancient wisdom, yet preserving their unique cultivation characteristics. Through dual cultivation of compassion and purity, one suddenly awakens to the wondrous truth of emptiness. Terms like "mercury and lead" (Neidan terminology for Yin-Yang energies) and "ninefold refinement" (the nine stages of internal alchemy) describe different stages of inner cultivation.

Wang Chongyang uses his own experience to illustrate how practice must endure seasonal trials, just as true gold requires fiery tempering. Authentic cultivation lies not in outward appearance but inner awakening. Calling himself "simple and foolish," he embraced plain robes and modest meals to shatter attachments—this return to fundamental simplicity embodies the true essence of Daoist practice.

Collapse ▲

Interpretation

The "One-Character to Seven-Character Poems" employ a unique laddered structure to reveal core Quanzhen (Complete Perfection) cultivation principles through five themes: tea, wine, sensual desire, wealth, and anger.

First, tea. Like jade-sprouts emerging from the void of wisdom, its crystalline clarity refreshes the spirit (Shen) and summons rosy clouds—embodying the Daoist ideal beyond worldly praise. Li Bai's poetic inspiration from one cup and Lu Tong's bodily ease after seven bowls mirror the golden elixir (Jindan) process. When golden kettles boil jade stamens, the swirling infusion resembles blossoming golden flowers, symbolizing the wondrous circulation of Qi during Neidan (internal alchemy) practice.

Wine, however, erodes teeth, clouds consciousness, depletes primordial Qi, and shortens lifespan. Half-drunk, sorrows surge; fully intoxicated, heartache grips. It breeds reckless arrogance and shamelessness. Eternal sobriety—free from calamities—alone leads to the "Nine-Nine" Golden Elixir path.

Sensual desire invites misfortune while dissipating the body's golden essence (Jing) and jade fluids. It shatters vital energies (Jing-Qi-Shen), corrupts virtue (De), empties the three Dantian (energy centers), disrupts the Five Phases' harmony, extinguishes innate spirituality, and exhausts vitality. Only through purified desire comes enduring peace.

Wealth often becomes karmic tinder—purchasing sensual pleasures and wine-induced disasters, sacrificing virtue (De) for woe. Accumulated riches transform into Three Realms' suffering, with hellish retribution inescapable. Even prosperity cannot evade samsara. Contentment alone brings unhindered freedom.

Lastly, anger—this spirit-wounding, stomach-harming madness. It turns eyes crimson with "seven orifices smoking," betraying both Daoist essence and mortal laws. Conflict breeds chaos through posturing. Serenity alone opens noble realms.

The seven-character "Ode to Wine" paints monastic life: cloud-companionship where clear wine nourishes Qi and calms Shen. Banquet dialogues unveil Confucian-Buddhist-Daoist truths; a single cup holds spring's essence. Understanding the Pavilion of Spontaneity's vista reveals the liberated form beyond form. In wordless darkness, one walks with clear breezes; in profound stillness, dwells with the bright moon. Strange fragrances hover in emptiness as emerald mists rise tiered. Maintaining purity without greed, drunken sleeve-dancing approaches original authenticity.

"Quanzhen Hall" deciphers its name: These two characters demand silent contemplation. Why need grass huts against storms or tiled roofs through seasons? A simple hut suffices—truth lies in preserving innate nature. Here shines Quanzhen's emphasis: inner transcendence outweighs external forms, with heart-mind cultivation paramount.

Collapse ▲

Interpretation

These passages from the Chongyang Quanzhen Ji (Collected Works of Chongyang on Complete Perfection) elucidate the essential techniques and spiritual states of Quanzhen (Complete Perfection) cultivation. Let me explain them section by section:

The first section discusses transcending physical limitations. Though practitioners still inhabit this mundane body composed of the "four illusions" (earth, water, fire, and wind), they must transform it into an instrument for Dao cultivation. Upon waking from sleep, one should feel an expanded mental horizon, with Qi (vital energy) circulating smoothly without leakage and Shen (spirit) gathered inward without dissipation. The inner light of wisdom illuminates the "three luminaries" (sun, moon, and stars), while accumulated merit helps transcend the six sensory defilements. Even when external disturbances pile up like firewood, the cultivator's mind remains serene like extinguished flames.

The second section records Lü Dongbin seeking instruction. True cultivation doesn't lie in superficial rituals like bowing to Buddhas or burning incense, but in inner awakening. External phenomena are illusory combinations—one must recognize the inner "true self" (Zhenren). Through Wuwei (non-action) practice, the original nature manifests. Like pure white thread and radiant Golden Elixir (Jindan), harmonizing Yin-Yang achieves the immortal path. Ultimately, one attains the pristine state of a lotus emerging from water, with every aspect revealing celestial qualities.

The third section answers Master Cheng of Wenshan about Neidan (internal alchemy) practice. Human Jing (essence), Qi, and Shen originate from the "three lights" (sun, moon, stars), but become obscured upon entering mortal form. True cultivation isn't about superficial techniques like water-fire ascension or dragon-tiger interaction, but inner contemplation of one's nature. By unifying Shen, Jing, and Qi to merge the three lights, one finds the shortcut to forge the Golden Elixir within.

The fourth section details practical methods: stabilize the lower Dantian (energy center) to kindle true fire; strengthen primordial Qi through practice; sequentially open the three passes to form the Golden Elixir. Maintain purity without worldly attachments. In moments, merge with the Dao—instantly balancing Yin-Yang—thus transcending hunger, cold, and mortality, with immortal youths bearing purple edicts to welcome one into transcendence.

The final passage shares cultivation insights: use wisdom's blade to sever delusions and worldly ties. Through practice, illuminate the mind-heart, complete Jing-Qi-Shen, and reveal the original face. The five viscera radiate brilliance; the forged Golden Elixir manifests vivid crimson—these mark the signs of accomplished cultivation.

Collapse ▲

Interpretation

This passage contains several Daoist cultivation poems that reveal the spiritual attainments and insights of Wang Chongyang, the founding patriarch of the Quanzhen (Complete Perfection) tradition, who bore the Daoist name Chongyang Zhenren (True Man of Double Yang).

The first poem depicts a perfected being ascending mountain peaks while holding magical lingzhi mushrooms, entering immortal realms. The phrase "red dragon stirring the sea" symbolizes the fusion of heart fire (represented by the Li trigram) and kidney water (represented by the Kan trigram). Terms like "wooden horse," "water tiger," "golden elder," and "yellow matron" are Neidan (internal alchemy) terminology referring respectively to liver-wood, kidney-water, lung-metal, and spleen-earth energies. These images describe the Neidan process of harmonizing the Five Phases (Wood, Fire, Earth, Metal, Water) and the copulation of lead and mercury (representing yin and yang qi).

The second poem portrays fellow cultivators discussing the Dao over tea, using tea drinking as a metaphor for spiritual practice. The "seven cups of tea" represent progressive stages of cultivation, through which one tastes the "flavor of Chan" (meditative states), achieving mental emptiness and transcendence beyond worldly concerns.

The third poem, written in ancient style, depicts sublime cultivation landscapes. "Travelers of three mountains" refers to seekers visiting the mythical Penglai, Fangzhang, and Yingzhou islands, while "birds of nine marshes" symbolizes recluses. "Divine water" denotes saliva in Daoist practice, and "purple-gold cavern" metaphorically indicates the Muddy Pellet Palace (upper Dantian), describing internal visions during meditation. The concluding line "no self, no action, no leakage" expresses the state of dissolving ego-attachment and attaining the leak-free (defilement-free) cultivation realm.

Among the regulated five-character verses, "Early Journey" portrays a cultivator's determined pursuit of the Dao, transcending fame and wealth day and night. "Ode to Ninghai Army" praises the pure environment of Daoist temples, with "peaches of immortality" symbolizing the cultivation goal of longevity. The final four characters "clear and thorough cultivation" encapsulate the essential teaching—one must achieve lucid and penetrating awakening to the Great Dao.

Collapse ▲

Interpretation

This passage originates from Wang Chongyang's Complete Perfection Anthology (Chongyang Quanzhen Ji), containing multiple cultivation poems that reveal the essence of Quanzhen Taoist Neidan (internal alchemy) practice. Here's a modern interpretation:

The first poem advises practitioners to wield the sword of wisdom to sever worldly attachments. "Horse-yard broom" symbolizes mundane distractions, while "lotus in watery regions" represents emotional entanglements. When cultivation reaches the stage of "golden blossoms blooming in the rabbit garden" (yang emerging from yin) and "jade stamens unfolding in the cock's palace" (yin manifesting within yang), one's innate Buddhahood (original luminous mind) becomes apparent.

The second poem depicts spiritual awakening through daily objects like temple bells and wooden fish at Xiangyan Monastery. The "fiery incense burner" signifies heart fire, while "water contained in precious vases" represents kidney water. Harmonizing these four elements (essential aspects of cultivation) allows penetration of the Three Vehicles' teachings (progressive stages of practice).

The third poem instructs monastic practice: maintaining mental clarity through Amitabha recitation (focused concentration), illuminating like the three lights (sun, moon, stars), practicing the six paramitas (generosity and other perfections), and realizing true suchness through prajna wisdom.

The fourth poem uses metaphor to explain cultivation's crux: the human body resembles a treasure gate (the mysterious pass), guarded by golden boys and jade maidens (yin and yang qi). Through opening and closing (breath regulation), purple lingzhi mushrooms (the Golden Elixir) spontaneously grow.

The fifth poem unveils Neidan principles: during elixir formation, the three treasures (Jing, Qi, Shen) consolidate while six paramitas manifest. Though phenomena appear chaotic, each has its foundation. Through specific methods (inverting the Five Phases), jade nectar (kidney essence) transforms into golden waves (pure yang qi).

The sixth poem describes meditative states: clear breathing and tranquil mind. Jade nectar descends through the "tall tower" (throat) while golden elixir refines in "twin watchtowers" (kidneys). When the three Dantian connect, crimson flames and purple light (internal visions) appear.

The seventh poem emphasizes mind cultivation: using spiritual light (innate radiance) to dissolve material desires while harmonizing with seasonal yin-yang cycles. Understanding inversion techniques (the immortal-making reversal process) naturally leads to fulfillment.

The eighth poem employs alchemical terms like "yellow sprouts" (primordial qi) and "white snow" (pure Shen), depicting the union of the "charming maiden" (li fire) and "infant" (kan water). The "knife-point measure" (yin-yang balancing) is identified as the primary method.

The ninth poem outlines practice stages: first ascending the precious platform (foundational training), manifesting true spirituality through pure cultivation, opening wisdom's eye, and employing inversion methods to transcend rebirth.

The final pentasyllabic verse advises Dengzhou's magistrate using Confucian imagery like "virtuous rain and benevolent winds," reflecting Quanzhen's syncretic philosophy that equates enlightened governance with spiritual illumination.

These poems embody Quanzhen's core doctrine of "dual cultivation of nature and life" (Xingming Shuangxiu), richly employing Taoist terminology of yin-yang, Five Phases, and golden elixirs through metaphorical alchemical processes. Wang Chongyang advocates finding the Dao in daily life—his verses encompass mountain retreats and social education, showcasing early Quanzhen's distinctive cultivation characteristics.

Collapse ▲

Interpretation

Wang Chongyang (founder of the Quanzhen [Complete Perfection] school of Daoism) expresses his realization of the Daoist cultivation state in this poem. Having achieved spiritual fulfillment, he sees through worldly disputes of right and wrong—as if opening the true eye of Dao, transcending the gate of dualistic judgments. Now like a bird soaring freely, he's no longer bound by earthly constraints, nor concerned about becoming an underground spirit after death. The three sacred mountains (likely Penglai, Fangzhang, and Yingzhou, the abodes of immortals) enjoy eternal spring, while all worldly disputes prove unworthy of contention.

He describes the ideal state of a cultivator: eyes appearing dim, ears seemingly deaf, indifferent to mundane clamor. He advises against clinging to empty rituals and recommends responding to events with equanimity. Neither forced veneration of sages nor worldly praise and blame should matter. All phenomena are illusory; the nature of all things is emptiness. Even if wives and daughters seem as precious as a thousand pounds of iron, or descendants as valuable as ten thousand measures of copper—these are but attachments to illusions. People drown in dark desires while boasting of achievements, accumulating negative karma that chokes virtuous seeds. Though bodies appear robust, hearts drift like rootless tumbleweed. How many understand life's origin? Who remembers ancestral teachings? They fear hell after death but ignore the path to celestial palaces. Obsessed with wealth and lust, they blind and deafen themselves. Only by practicing impartial compassion can one enter the rainbow-hued clouds of immortality.

In the poem dedicated to fellow cultivator Wang Zirong, Wang Chongyang praises this Daoist companion's refined virtue and ability to transcend worldly dust. Using cultivation metaphors like "nine distractions expelled from the household" (eliminating mental clutter) and "three poisons [greed, hatred, delusion] cast from the chest," he describes advanced practice. When inner treasures (neidan [internal alchemy]) illuminate the heart-field, and refined elixirs strengthen kidney Qi, ancestors who comprehend creation's mysteries will harmonize with divine principles. Don't crave illusions beyond the Three Realms (of desire, form, and formlessness), nor pursue loftier peaks. Manifest true nature atop Mount Kunlun while hearing mysterious tones from the Linwu Grotto-Heaven (a Daoist paradise). Only when inner reflection returns to the primordial source may one strike the jade bell (symbolizing Dao-realization).

Collapse ▲