《上清靈寶大法(二)》Vol. 6
About this page. The original text of 《上清靈寶大法(二)》 Vol. 6 (Zhengyi 正一部, 43 volumes) is shown in Classical Chinese as transmitted in the Kanripo (Kyoto University) edition. An English interpretation of the 12 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
The Grand Method of the Highest Clarity and Numinous Treasure, Scrolls Six and Seven: A Plain-Language Reading of “The Section on Jade Writs and Numinous Chapters”
This passage belongs to the “Jade Writs and Numinous Chapters” category of the Lingbao methods. It uses talismanic chapters with prescribed numbers of characters and writing styles, together with a quiet chamber, purified water, and a formal petition, to gather Qi and focus the spirit, and to wield ritual power against harmful forces.
Talismanic Characters and Practice
The text lists a series of numinous sounds and taboo characters, many of them damaged and marked with “▲,” such as “Kui…” and “Shangshi, Shangli… Shangtang.” In Daoist liturgies, such characters are often not ordinary words. They may conceal the revered names of deities or the taboo names of Heaven, Earth, the sun, and the moon, or they may be talismanic forms written secretly within a particular lineage. Outsiders cannot readily read them; they must be used according to instruction from a master and the rules of the ritual tradition.
The practice, according to the original text, is as follows:
Write a total of forty-nine characters in cinnabar ink on thin, pale-yellow paper or silk. Enter a quiet chamber and focus the mind. Either cut the paper into small round pieces, or burn the talisman to ash and mix it evenly with clean water. Then discreetly invoke the Highest One’s purified water, as prescribed in the ritual, and drink it.
Here the Jade Writ is a talisman meant to be taken internally. Unlike a talisman worn on the body or posted somewhere, it is prepared with purified water and consumed in a quiet chamber with a focused mind. The ritual thus brings “registering Qi and gathering spirit” into the practitioner’s body.
The Meaning of the “Oral Petition”
The “oral petition” is a spoken or written form used by a Daoist priest to submit a request to the powers above. Its tone is usually humble. Its general meaning is as follows:
“I, your servant, respectfully submit this petition. I dwell in the lower realm and possess an ordinary mortal body. Fortunately, through karmic ties from past lives, I have encountered the true wind—the teaching of the right Way. I should cultivate my body and spirit within, and dispel evil and delusion without, assisting Heaven and Earth in their great transformation and upholding the order of Dao and De. Yet my ordinary mind is clouded, and I have not understood the signs of Qi—its movement and its responses. Now I have encountered the Lingbao Jade Writ, which can register Qi and gather spirit. Therefore, I perform this practice in a pure hall, take the talisman, and ask for Qi.
“Reverently, I consider the Highest One: formless and nameless, the supremely true Great Dao, who first established the roots of Yin and Yang and the embryo of Heaven and Earth. May you look with compassion upon later students in their ignorance, and widely bestow the primordial, righteous Qi. May it flow into my limbs and bones and permeate my five organs and six bowels. May I gain unobstructed sight and, when wielding ritual power, cut down all demons and evils. May the Three Calamities not harm me, may all matters go smoothly, and may I soon encounter a perfected person and receive the true method.”
The closing words are standard ritual language: “With deep awe and trepidation, I bow my head and prostrate myself twice, respectfully submitting this oral petition for your hearing.”
This is a typical petition asking for Qi and protection when wielding ritual power. It accompanies the later instruction to drink a talisman written in cinnabar ink with forty-nine characters.
The Final Passage on “Jade Rites” and Numinous Sounds
The author says that the essence of the Jade Rite—the rite of the Jade Writ—cannot be fully expressed in words or grasped through reasoning. The Dao’s wondrous presence and absence cannot be confined to outward forms. Yet once ritual methods have been established, these numinous sounds must be interpreted and put into practice so that the true transformation can be carried out. For this reason, talismanic and character manuals are indispensable to the transmission.
The author also mentions other editions that record taboo names for Heaven and Earth, the sun and moon, and the Jade Emperor, written in damaged or concealed characters in the original. Titles such as “Daoist Technique Rectifier” and “General Liang Gao of the Hui Tiao” also appear. This shows that taboo characters and signatures can differ between manuscripts of the same section. Practitioners should follow the edition transmitted to them and must not alter it arbitrarily.
Background for Reading the Passage
The Lingbao methods emphasize purification rituals, the salvation of people, numinous writings, and Jade Writs. They stress universal salvation and the exercise of ritual power.
A Jade Writ is a numinous chapter written according to prescribed rules on jade, paper, or silk. Here, it is used chiefly for self-cultivation and requesting Qi.
A taboo name is not spoken directly when invoking a Celestial Master, the sun and moon, or the Jade Emperor. An alternative or altered character is used to avoid disrespect and prevent improper use.
In liturgical language, “registering Qi and gathering spirit” means using talismanic chapters and petitions to draw the primordial One Qi into the body and concentrate the mind, making it possible to perform ritual methods.
This passage comes from a register of secret taboo names in the Lingbao tradition, accompanied by an editor’s note. It uses many special character forms or “▲” in place of taboo names that should not be written casually. The plain-language explanation is as follows.
Categories of taboo names (many forms are transmitted secretly within particular lineages and are not translated character by character here)
- Dou taboo names (the taboos of the Northern Dipper): Secret names corresponding to the seven stars of the Northern Dipper. The register records seven names, including Kui and other specialized forms, used as taboo designations for the individual stars in ritual practice. They are associated with the Yupian dictionary and systems of astronomical star names.
- Tai taboo names: Taboo names used for the Three Terraces, an asterism.
- The inner taboo names of the Three Heavens, and the multitudes of the Three Heavens: Secret names within the Three Heavens. In Daoism, the Three Heavens often refer to levels of the celestial realms, such as the Desire, Form, and Formless Realms, or the heavens of Shangqing.
- Hidden taboo names: These include names such as Fang Zhong Biao De. They belong to the category of true taboo names of the Three Heavens and are virtue-names used in inner and outer correspondences during the visualization of deities and the warding off of calamities.
- True taboo names: Names such as Qiao Guang Yin, associated with the Three Masters, or patriarchs who transmitted the teachings.
- True-formula taboo names and Tianyou taboo names: Secret formula-names for divine generals such as Tianyou Zhenjun.
- Taboo names of the Five Sacred Peaks and the Three Paths: Secret names associated with the mountain deities of the Five Sacred Peaks and the Three Paths of the underworld.
- Taboo names of the Six Ding and Six Jia: Secret names of the Six Ding and Six Jia divine generals, commonly used when commanding spirit officials.
- The inner taboo names of the Ladies of the Divine Tiger: Inner taboo names of the consorts in the retinue of the revered Divine Tiger deities. The register lists the surnames He, Qiao, Hou, Wei, Zhang, and Liu, along with Jiang Rengui and other designations, all belonging to the lineage of the Great Sage Divine Tiger.
- Taboo names of the Great Sage Divine Tiger: A series of names in the “Shang-” form, such as Shang Shi and Shang Li, as well as names including Cui Shuxuan, Lu Jiquan, Deng Hengwen, and Dou Yangguang, also known as Yang.
- Taboo names for recitation or inscription: Names of heavenly beings such as the True One of Taiyi, the True One of Taichu, and the true immortals and perfected beings. These are names of heavenly beings recited aloud or written on proclamations when establishing taboo names. Where the register marks “three,” this usually indicates that three characters or three categories are used together.
- Another group of true taboo names: These include Dongxuan Qian.
- Taboo names of the North Pole: These include Huan Ning, the Long-lived One appointed by Heaven, and are associated with the taboo name of the Supreme Emperor.
- Taboo names of Taiyi: Secret names of the Lord Taiyi, with many characters omitted as “▲” in the register.
- Taboo names of thunder and rain: Secret names used in rites to summon thunder and command rain.
Together, these amount to 165 characters and are recorded in the “Jade Tablet” format. A separate silent memorial, a written petition not proclaimed publicly, is copied in the second section.
The editor’s discussion: why the wording seems “plain and superficial”
The editor argues that the seven names from Kui to Piao are star names in the Yupian dictionary and astronomical works. The inner taboo names of the Three Heavens, the hidden taboo names of the Three Heavens, and the secret names of the various heavens, however, concern “the sounds within Heaven,” not ordinary words of the human world. Only when they accord with heavenly sounds can they bring about communion; this is the principle of resonance and invocation. Heaven and Earth are the visible forms of the Dao, while primordial Qi is the Dao’s foundation. Before the One divided, there was neither form nor name. Before Heaven and Earth first separated and written signs were established, the Dao could not be named. Later, forms appeared in Heaven and shapes took form on Earth; the ruler of Heaven was at first called only the “Supreme Emperor.” Later, sacred writings revealed secret teachings, and after “the void was refined by fire and Qi was gathered into script,” talismans and diagrams gradually appeared. Only in the middle antiquity, when religious teachings were established, were these translated into worldly writing. Heavenly beings then received titles, constellations received names, and celestial texts came into being. This section should therefore not be read merely as an ordinary list of star names: the taboo names center on sound, Qi, and resonance, not on the apparent simplicity or complexity of their written forms.
Note: The places marked “▲” in the original deliberately conceal characters, which cannot be restored in this edition. Many of the ancient characters in the text are transmitted within particular lineages and are not in common use or readily found in ordinary dictionaries. Practitioners should learn them through oral instruction from a teacher and should not attempt to interpret them on their own.
Plain-language interpretation
I. The Hidden Names of Heaven and Earth and the Forty-Nine Characters
Places in the world each have their own distinctions, so the scriptures contain hidden names for the various heavens: these are the titles of the heavenly emperors and perfected beings. To state the names of heaven and earth outright would be to impose another name on the fundamentally “nameless.” Even when such names have a basis, they should not be disclosed casually, or discerning people will surely ridicule you.
The forty-nine characters collected here from ancient Lingbao methods are merely the names of stars and divine beings from after heaven and earth had become distinct and the scriptures and proclamations had appeared. If one carelessly claims, on the strength of names found here and there in ritual manuals and scriptures, that heaven and earth have surnames and personal names, it is just the sort of sophistry attributed to Taixi.
Ancient methods also describe a practice of “internal refinement”: write forty-nine characters in red on a jade slip, place it in a small bottle, and seal the bottle with seven he of pure earth. At dawn, recite an incantation and blow the Qi of the five directions into the bottle. Beginning on a jiazi day, continue until the second jiazi day; then take out the jade slip, burn it, and ingest it. The ancient method calls this “refining the treasure storehouse internally.” Since I have now received the oral transmission and formally accepted and worn the jade slip, I will not list this practice separately. It also relies too heavily on physical procedures and is not a direct, swift path. But since it appears in the old books, I dare not omit it, and so I have appended its outline here.
II. The Radiant Luminaries of the Three Mornings
The sun and moon hang in the sky; the Dark Ladle (the Northern Dipper) stands at the center, setting the guiding framework. The Five Planets—Metal, Wood, Water, Fire, and Earth—bring Yin-Yang into harmony and govern the primordial order. Their radiance shines throughout the six directions. Through them, the Three Powers—Heaven, Earth, and humanity—are established, and all living things draw on them for life. Humans receive the Qi of the balanced center and form upright bodies. Only by nurturing and refining Shen and Qi, restraining indulgence and pleasure, becoming still outwardly and clear within, and aligning one’s actions with the measures of Heaven can one gather and absorb their radiance, summon and draw in their numinous light, take it into the body to bathe and refine the hundred spirits, and extend it throughout the world so that the common people receive its blessing. Spreading Qi like clouds and writing talismans are merely secondary matters.
If clear Qi is absent from the heart and mind, and muddled feelings fill the numinous chamber, then even obtaining divine texts and secret incantations, or meeting face to face with the Three Mornings, will accomplish nothing.
(From this passage, we can see that Master Jin attained the Dao; his words are most profound.)
The Divine Lord of Fate, Dongqing, said: “In the past, Lord Wang was given the Supreme Clarity, Dark Truth, Upper…” (the text continues).
Plain-Language Interpretation
The scripture describes a practice from the Shangqing Lingbao tradition. Through purification and fasting, practitioners visualize the sun and moon inside the mouth: the sun by day and the moon at night.
Key points for visualization: Imagine the sun and moon as rings. The sun is red, with a violet glow and nine rays; the moon is yellow, with a white glow and ten rays. After visualizing them, swallow the “liquid” formed from their radiance. Practice diligently and continuously, without being bound to a set number of repetitions.
Even when not deliberately practicing this visualization, one may let the sun and moon rest in the Mingtang on the face, around the space between the eyebrows: the sun on the left, the moon on the right. Let their radiance connect with the Qi of the pupils in both eyes. This method gathers and circulates vitality to generate Jing, harmonizes the Hun and Shen, and is attended by the Six Ding and guarded by celestial troops. It belongs to the Way of the Highest Perfected.
The Taishang Xuanzhen Jing requires practitioners to make a solemn vow before beginning. Only after carrying out the practice may they hear of higher methods such as those involving jade pendants and golden bells. Ji Wei, younger brother of Mao Jun and known by the taboo name Xi, completed the practice after three years of prolonged fasting. He attained it through wholehearted, solitary contemplation. Only after divine radiance shone upon his body was he given the scriptures. This Way of the Mysterious Truth is essential yet uncomplicated. Those who transmit it often keep it hidden in a pouch, revealing it only to the discreet and trustworthy.
The Inner Method of the Red Lord of Southern Peak, transmitted by the Perfected One of Great Emptiness before the Supreme Scripture of Mysterious Truth appeared:
On the fifth day of each month, at midnight during the Zi hour, visualize the sun within the heart. Let the sun enter through the mouth and illuminate the heart completely, until it merges with the sunlight. When the practice is complete, the heart should feel warm and a rosy glow should shine across the face. After practicing for some time, recite the incantation:
Great radiance nurtures essence; within, refine the cinnabar heart.
Its brilliance joins and shines; the divine Perfected come in search.
After reciting, swallow saliva nine times. Repeat the practice on the twenty-fifth and twenty-ninth days of the month. It can make one perceptive and clear-minded, and open and unblock all the body’s vital passages. The face will take on the lustre of jade, and the body the sheen of gold. After fifteen years of practice, Taiyi will send a jeweled carriage to welcome the practitioner to the Great Empyrean. Practice diligently; do not restrict it to the days listed above. (This passage comes from the Taishang Xiaomo Jing.)
The upper method of “imbibing the forms of the sun and moon” taught by the Perfected One of Donghua is as follows: men visualize the sun, women the moon, practicing every morning without fail. This can make one intelligent and clear-minded, bring forth radiance in the five viscera, refine the Hun and Po, and bring harmony to the six bowels. It is a Way to long life and immortality.
The Lady of Southern Peak said: The palaces of Great Fangzhu are the places where the Azure Lord regularly resides. Above them dwell many heavenly Perfected and High Immortals, nobles of the Supreme Ultimate, and officials in charge of destinies. There, too, people practice a method for imbibing the rays of the sun and moon. Even those who have attained the Dao and become Perfected continue this visualization, simply holding the images directly in mind.
Note: Terms in the text such as Mingtang, Six Ding, Taiyi, Great Empyrean, Hun, and Po belong to the language of Daoist cultivation and its immortal hierarchy. The specific practices should be understood in light of a teacher’s transmission and precepts; this passage offers only a plain-language explanation of the scripture’s meaning.
This scripture describes the Daoist practice of inner observation and visualization. The practitioner begins by visualizing a copper-coin-sized sphere of red light in the heart, imagining nine solar rays ascending from the heart to the throat, passing through the teeth before returning to the stomach. Maintain this visualization until the inner landscape of heart and stomach becomes vividly clear, then exhale and rinse the mouth thirty-nine times. Practicing this three times daily for one year eliminates disease, five years makes the body radiant, and eighteen years leads to attainment of the Dao—reaching the state where one casts no shadow in sunlight while gaining power to dispel ghosts and calamities.
For nighttime practice, visualize the moon at the Muddy Pellet Palace (the crown of the head), with ten white lunar rays descending from the brain to the throat, bypassing the teeth to return directly to the stomach—a method mirroring the solar visualization. This technique, transmitted by multiple perfected beings from the Scripture of Great Wisdom, ensures protection when practiced long-term. The text emphasizes that this sun-moon visualization is simple yet potent: uninterrupted practice eradicates the Three Corpses (malevolent spirits believed to dwell within the body), all ailments, and pathogenic Qi, refining the hun (ethereal soul) and subduing the po (corporeal soul).
Another method follows: visualize one's own form as if seated opposite, with sun and moon illuminating the face—the sun on the left, the moon on the right, each nine inches away. After completing the visualization, lightly tap the teeth three times and silently recite the incantation: "Primal Beginning's highest perfection, paired luminaries of twofold mystery; to the right gather the seven po, to the left embrace the three hun. May my divine radiance unite with the spirits in eternal abiding." Then tap the teeth twenty-one times and swallow saliva seven times. This technique of the Imperial Lord refines the body and controls the souls, clarifying the spirit for immortality.
Finally, the Purple Texts of Highest Clarity records the "Method of Swallowing Solar Qi" (also called Scripture of the Red Elixir's Golden Essence, Stone Radiance, and Water-Mother's Jade Womb), an advanced practice. The text specifies these methods were secretly transmitted by celestial beings to Perfected Yang, to be shared only with destined recipients. Immortals accomplish a thousand tasks daily without fatigue—proof of the extraordinary efficacy of diligent Dao cultivation. Such a path to longevity must not be overlooked.
To practice the method of absorbing the Sun’s essence, face east as the Sun is just rising. Knock the teeth together nine times, then softly recite the incantation.
The Sun’s soul is called “Emperor at the Sun’s Center,” and its courtesy name is “Sun Soul.” The sixteen-character incantation is: “Scarlet radiance shines through the hidden; green light reflects in returning clouds; the Scarlet Child, the dark whirlwind; the fiery image.” After reciting it, form the firm-fist mudra, a Daoist practice gesture made by curling the fingers into a fist. Visualize the five-colored flowing clouds at the Sun’s center drifting toward you and drawing you in; then imagine the sunlight and flowing clouds entering your mouth together.
The Supreme Clarity Purple Book on the Method of Swallowing the Moon’s Essence records that this practice is usually performed facing west as the Moon is just rising. Knock the teeth together ten times, then softly recite the incantation.
The Moon’s soul is called “Lady at the Moon’s Center,” and its courtesy name is “Moon Soul.” The twenty-four-character incantation is: “Gentle, fragrant splendor; veiled, serene, and subtle; numinous orchids in lush bloom; joined, delicate shoots of pure gold; clear, radiant countenance; unadorned brilliance.” After reciting it, close the eyes and form the firm-fist mudra. Visualize the Moon’s five-colored essence-light entering the mouth together. Then imagine a ball of yellow Qi in the moonlight, as large as an eye, called “Flying Yellow”: it is the essence of the Moon’s luminous jade womb. By practicing this art, one can become an immortal who roams the Sun and Moon.
These methods come from texts such as the Upper Scripture and the Declarations of the Perfected. They belong to the practices of the highest perfected beings—advanced immortals who have attained the Dao—and serve as gateways to the higher Dao. If the mind is not yet clear and the spirit not yet settled, there is no reason to expect them to work. Those whose abilities have not yet reached this level can first practice somewhat more accessible methods, such as visualizing spirits and inviting Qi—visualizing deities and welcoming vital energy. These practices are close to ordinary cultivation; practiced with focus, they are enough to establish a connection with the Perfected. Even so, they still rely on concrete images and ritual forms. The method of drinking the light of the Dipper is described below.
Method of drinking the Dipper’s light: On the seventh, seventeenth, and twenty-seventh days of each month, choose a clear night with a bright Moon and a limpid sky. At dusk, face the Northern Dipper, burn incense, and form the Dipper mudra, a hand gesture used in Northern Dipper rites. The practice may be performed from the hour of the Dog through the hour of the Dragon. Knock the teeth together seven times, reciting one character with each knock: “Kui, Gui, Yu, Xing, Bi, Zhen, Piao.” These are the names of the seven stars of the Northern Dipper. First exhale turbid Qi three times, then recite: “Mighty and numinous, divine light of the seven stars, within and without, auspicious and steadfast; unite with me. Swiftly, in accordance with the statutes and commands.”
After reciting the incantation, visualize the light of the seven stars dividing into seven streams that flow down into your mouth, and drink them in seven swallows. Then rinse the mouth and swallow the saliva to calm the mind and spirit. Next, bow in reverence and recite: “Divine light, pour into the five viscera and six bowels; preserve the true and dispel the impure. Swiftly, in accordance with the statutes and commands.” With sustained practice, if a response occurs, one may dream of the Sun, Moon, and stars, of dragons and tigers, or of thunderbolts and brilliant flashes of light. These are regarded as gateways to further cultivation.
Method of receiving the Sun’s light: Before sunrise, burn incense in the early morning and face east. Regulate the breath and settle the mind and spirit as you wait for the Sun to appear, remaining focused in visualization.
The Method of Absorbing Sunlight
At sunrise, face the sun and bow twice. Focus your gaze intently on it, assume the proper ritual posture according to the prescribed procedure, and make this invocation upward:
“I invoke the Imperial Lord in the Sun and the immortals of the solar palace. May you send down your numinous radiance to infuse my body. May the Five Viscera flourish and my body shine with light.” Silently recite the sixteen-character formula of the “Sun Soul,” draw the sunlight into the body, and swallow it until the abdomen feels full. Then bow twice again and withdraw. There is no fixed number of times to draw in the light, inhale, and swallow.
The Method of Absorbing Moonlight
At dusk, as the moon is about to rise, face its light, settle your Qi and keep your spirit present, then bow twice. Focus your gaze intently on the moon, assume the proper ritual posture according to the prescribed procedure, and make this invocation upward:
“I invoke the August Lord in the Moon and the immortals of the lunar palace. May you send down your numinous radiance to infuse my body. May the Five Viscera flourish and my body shine with light.” Silently recite the twenty-four-character formula of the “Moon Po,” draw the moon’s white light into your mouth, and swallow it until you feel full. Then bow twice again and withdraw. Practice from the first appearance of the new moon until the full moon. After the full moon, the Yin force wanes and its light diminishes, so in principle practice should cease. Resume the following month according to the same method.
On the Three Lights and the Central Dipper
My learning is shallow, and I am not capable of understanding profound principles. I have gained only a little insight from discussions with teachers and fellow practitioners and from the canons of the tradition. I dare not remain silent, and hope to investigate the matter together with fellow students.
The Three Mornings, also called the Three Lights, are the three celestial wonders: the sun, moon, and stars. The stars are too numerous to describe in full. Beyond the imperial seat, the Northern Dipper alone is held in highest regard. It governs all the constellations, sets the celestial order aright, and is the source of generation and transformation. Just as the throat and tongue serve as the organs of speech, the Dipper is the vital pivot among the stars. Together with the sun and moon, it forms the Three Lights.
Once the Great Ultimate had begun, clear Qi became Heaven, while the brightness of refined Qi became the sun, moon, and stars. The Dipper alone revolves at the center of Heaven. Below, the Five Sacred Peaks and Four Great Rivers, the regions of the Nine Provinces, all people and living creatures, mountains, rivers, and plants depend on it to take root. They arise through it. Without it, Heaven could not set the celestial order aright; without it, people could not shape their bodies.
Those who pursue the highest learning, when their hidden Qi rises and merges with the void, understand the mystery within mystery and awaken to the Way within the Way. They unite with primordial Qi and become one with it; they have no need to draw in radiance or gather Qi. This, however, is not a practice commonly undertaken by ordinary people.
When magical arts arose, what art did not draw on the Three Lights? What method could be separated from the Central Dipper? Those who come close to the highest Way sit in stillness, keep their spirit present, draw in radiance, and absorb Qi; even after attaining perfected status, they must continue to practice diligently. Those of lesser attainment burn incense, gaze upon the celestial images, recite incantations, and perform talismanic rites.
Although light remains constrained by physical form, sincere and undivided intent can still resonate with it. Another method for seeking Qi (vital energy) calculates that the sun moves one degree every twelve double-hours, while the moon passes through two lunar lodges every five days, tracking the accumulation of minutes and seconds and calculating the intercalary periods. As for the Dipper’s guiding asterisms—the positions of the Northern Dipper, Tiangang, and other stars—the method has the River Chief lodge align with Xu, Tiangang point toward Chen, and the lunar general be placed at the hour. Each month, one calculates from the solar term at the midpoint, observes where the Piao star points, and then faces that direction to draw in breath. Though these methods seem to explain every mystery, they cannot on their own serve as the proper path to attaining the method. This is not what the Upper Scriptures value.
The orthodox method of the Heart of Heaven centers on the Three Luminaries—the sun, moon, and stars. It is a way to answer the needs of the age, dispel demons, spread transformation, and establish merit. None of the Three Luminaries used in this method may be omitted. Rules for directions and orientation, hand gestures, and stepping are there to ensure that study proceeds in proper order without skipping stages. They belong to a complete method and work in conjunction with talismans and ritual water. Those who grasp the essential principles can achieve results; do not dismiss them as commonplace. The key still lies in whether one’s intent is undivided.
As for using Sanskrit in incantations to the sun and moon, that practice arose only after being passed down in later generations. The Upper Scriptures contain no Sanskrit sounds, and many predecessors have debated the matter. In recent times, practitioners of Lingbao methods have wanted to establish a school of their own and refused to speak of them alongside Zhengyi registers, the talismanic tradition of the Zhengyi school. They therefore omit discussion of the Three Luminaries from Lingbao, judging their name too similar to the Heart of Heaven and thinking it offers no novelty to impress disciples who inherit the teachings. Yet how could Lingbao dispense with the Three Luminaries? The dome of heaven is not too high, nor do the stars shine too far away. Would people living between them truly be cut off from them? In practical terms, obtaining their Qi seems difficult; reason, however, shows that it is attainable.
This can be seen among other creatures. Snails and clams draw in the moon; over time, its vital radiance penetrates their shells, and they produce bright pearls. The rhinoceros gazes at the stars and moon, until their halos enter its horns and take the form of stars or the moon. If insects and animals, though lacking awareness, can obtain the radiant essence of the Three Luminaries, can it be through incantations, formulas, or directions? Rather, their minds are free of thought and worry, undisturbed and uncluttered. They see the moon and draw in the moon; they behold the stars and gaze upon the stars. They are wholly focused and undivided, so what is high or distant is no barrier. How much less should human beings, the most spiritually endowed of all creatures, fall short of insects and animals?
Plain-Language Interpretation
Question: Does the Lingbao tradition also have purification rituals? What are they like?
Answer: Lingbao purification rituals are divided into three kinds: large, medium, and small. A small ritual corresponds to a small calamity, a medium ritual to a medium calamity, and a large ritual to a great calamity. There is no need to ask in detail about the liturgy for a large ritual; here I will discuss only the small ritual.
The small ritual is called “Samadhi.” Samadhi is a symbolic designation or term in the Lingbao tradition, like “Jade” in “Jade Sound” or a precious scroll. Samadhi is the name of a purification ritual. To perform a Lingbao purification ritual, one must first build an altar and establish the offering rite, just as in a Quanzhen purification ritual, and then carry out the prescribed liturgy.
Question: Does the Lingbao tradition also have musical scriptures? What are they like?
Answer: Lingbao musical scriptures are the musical pieces and scripture passages used during purification rituals and offerings. In Lingbao liturgy, music and scripture passages accompany one another to praise the deities and guide those taking part in the ritual. The musical scriptures follow set forms and must adhere to the liturgical manual; they cannot be changed at will.
Question: Does the Lingbao tradition also have the “Pacing the Void” rite? What is it like?
Answer: Lingbao’s “Pacing the Void” is a rite in which Daoist priests walk around the altar during purification rituals and offerings. It has fixed steps, routes, and incantations, and is performed alongside musical pieces. It symbolizes ascending into the void and paying homage to the perfected ones. It must follow the prescribed liturgy and must not be performed incorrectly.
Question: Does the Lingbao tradition also have a rite of paying homage to the perfected ones? What is it like?
Answer: Lingbao’s rite of paying homage to the perfected ones is performed during purification rituals and offerings to venerate the Celestial Worthies and Perfected Lords. It follows a set form and must adhere to the liturgical manual. Accompanied by music and “Pacing the Void,” it expresses reverence. It may take place at the altar or in a hall, as specified by the liturgy.
Question: Does the Lingbao tradition also have a rite for building an altar? What is it like?
Answer: The Lingbao altar-building rite is the procedure for constructing an altar and establishing the offering rite before a purification ritual or offering. The altar’s size and orientation must follow the liturgical manual. Sometimes a new altar is built; at other times, an existing altar complex is used. The liturgy often uses phrases such as “build the altar” and “use the proper altar,” indicating that the altar need not always be newly constructed.
Question: Does the Lingbao tradition also have a rite for tying the cords? What is it like?
Answer: Lingbao’s rite of tying the cords is the procedure for tying cords and hanging talismans during purification rituals and offerings. The cords bear talismanic writing, used to mark the times and directions, and must not be handled carelessly. The rite follows a set form and must adhere to the prescribed liturgy.
Question: Does the Lingbao tradition also have a rite called “Welcoming the Wind”? What is it like?
Answer: Lingbao’s “Welcoming the Wind” is the procedure for playing music and sounding the instruments during purification rituals and offerings. It follows a set form and must be properly prepared and arranged. It must not be abridged, lest it violate the solemn intent of the Lingbao tradition and interfere with the descent of the gods and Buddhas.
Question: Does the Lingbao tradition also have a rite of making a formal petition? What is it like?
Answer: Lingbao’s rite of making a formal petition is the procedure for presenting petitions and reports to the deities during purification rituals and offerings. Sometimes a red silk cloth is used for talismanic writing, with the time and direction recorded on it. The rite must be conducted with due solemnity; ordinary, mundane objects must not be used as a makeshift substitute.
Question: Does the Lingbao tradition also have a rite for using the proper altar? What is it like?
Answer: “Using the proper altar” in the Lingbao tradition means holding a purification ritual at an existing altar complex rather than building a new one. The liturgy often uses phrases such as “build the altar” and “use the proper altar,” indicating that the altar complex may either be newly constructed or already in place, provided it is complete and its interior and exterior are properly integrated, with suitable provision for cold and heat.
Question: Does the Lingbao tradition also have a rite called “Altar as if Real”? What is it like?
Answer: Lingbao’s “Altar as if Real” means that the altar complex must be as solemn as a proper ritual altar. Whether building an altar, tying the cords, or using an existing altar, the altar complex must be made complete, with its interior and exterior properly integrated, before the purification ritual can be performed.
Question: Does the Lingbao tradition also have a rite of submitting a report? What is it like?
Answer: Lingbao’s rite of submitting a report is the procedure for making a formal report to the deities at the beginning of a purification ritual or offering. Incense must first be burned. The rite takes place alongside altar construction and the tying of the cords, expressing reverence.
Question: Does the Lingbao tradition also have a rite of reciting petitions? What is it like?
Answer: Lingbao’s rite of reciting petitions is the procedure for chanting formal petition texts during purification rituals and offerings. It must be preceded by the formal report and take place alongside altar construction and the tying of the cords, expressing reverence.
Question: Does the Lingbao tradition also have a rite called “As if Real”? What is it like?
Answer: “As if Real” in the Lingbao tradition means that the altar complex and liturgy must be like a genuine altar and genuine ritual procedure; they must not be handled carelessly. Whether building an altar, tying the cords, or using an existing altar, the altar complex must be made complete, with its interior and exterior properly integrated.
Question: Does the Lingbao tradition also have a requirement to “know cold and heat”? What is it like?
Answer: In the Lingbao tradition, “knowing cold and heat” means that the altar complex must be integrated inside and out and make suitable provision for cold and heat, so that those conducting the purification ritual are physically and mentally at ease. Whether building an altar, tying the cords, or using an existing altar, the altar complex must be made complete.
Question: Does the Lingbao tradition also have the principle of “integrating the interior and exterior”? What is it like?
Answer: In the Lingbao tradition, “integrating the interior and exterior” means that the inside and outside of the altar complex must be arranged in harmony, so that those conducting the purification ritual are physically and mentally at ease. Whether building an altar, tying the cords, or using an existing altar, the complex must be made complete and its interior and exterior properly integrated.
Question: Does the Lingbao tradition also have doors and gates? What are they like?
Answer: Lingbao’s doors and gates are the doors and panels that must be installed in the altar complex to make it more complete. Whether building an altar, tying the cords, or using an existing altar, the complex must be made complete.
Question: Does the Lingbao tradition also have an altar complex? What is it like?
Answer: In the Lingbao tradition, the altar complex is the ritual space used for purification rituals and offerings. It must be complete, integrated inside and out, and suitably arranged for cold and heat before the ritual can be performed.
Question: Does the Lingbao tradition also have liturgical texts? What are they like?
Answer: Lingbao liturgical texts are the manuals for purification rituals and offerings. Two versions are preserved: one speaks of building an altar, while the other refers to using the proper altar. This shows that the instructions do not apply exclusively to newly built altars.
Question: Does the Lingbao tradition also have a procedure for building a new altar? What is it like?
Answer: In the Lingbao tradition, building anew means constructing a new altar complex. The liturgy often uses phrases such as “build the altar” and “use the proper altar,” indicating that the altar may either be newly built or already in place.
Question: Does the Lingbao tradition also have a procedure for using an existing altar? What is it like?
Answer: Using an existing altar in the Lingbao tradition means holding a purification ritual at an altar complex that is already in place. The liturgy often uses phrases such as “build the altar” and “use the proper altar,” indicating that a new structure is not always required.
Question: Does the Lingbao tradition also have ritual attendants for music and instruments? What are they like?
Answer: Lingbao’s musical attendants are the ritual officers responsible for playing music and sounding the instruments during purification rituals and offerings. They must be properly prepared and arranged, and the procedure must not be abridged, lest it violate the solemn intent of the Lingbao tradition.
Question: Does the Lingbao tradition also have a rite of making a formal petition? What is it like?
Answer: The Lingbao rite of making a formal petition is the procedure for presenting petitions and reports to the deities during purification rituals and offerings. Sometimes a red silk cloth is used for talismanic writing, with the time and direction recorded on it. The rite must be conducted with due solemnity.
Question: Does the Lingbao tradition also use red silk? What is it like?
Answer: In the Lingbao tradition, red silk refers to the red silk cloth used during purification rituals and offerings. Talismanic writing may be inscribed on it, recording the time and direction. It must be treated with due solemnity; ordinary, mundane objects must not be used as a makeshift substitute.
Question: Does the Lingbao tradition also use talismanic writing? What is it like?
Answer: Lingbao talismanic writing refers to the Fulu and seal script used during purification rituals and offerings. It is sometimes written on red silk, with the time and direction recorded on it, and must be treated with due solemnity.
Question: Does the Lingbao tradition also have a procedure for recording the time? What is it like?
Answer: In the Lingbao tradition, recording the time is the procedure for noting the time during purification rituals and offerings. The time may be written on a red silk talisman, which must be treated with due solemnity.
Question: Does the Lingbao tradition also have a procedure for recording directions? What is it like?
Answer: In the Lingbao tradition, recording directions is the procedure for noting the orientation during purification rituals and offerings. The directions may be written on a red silk talisman, which must be treated with due solemnity.
Question: Does the Lingbao tradition also have ordinary, mundane objects? What are they like?
Answer: In the Lingbao tradition, ordinary, mundane objects are commonplace and unrefined items. They must not be used as makeshift substitutes during purification rituals and offerings; the rites must be conducted with due solemnity.
Question: Does the Lingbao tradition also have the principle of “no deception”? What is it like?
Answer: In the Lingbao tradition, “no deception” means that one must not cheat or make do carelessly. Purification rituals and offerings must be conducted with due solemnity, without using ordinary, mundane objects as makeshift substitutes.
Question: Does the Lingbao tradition also have a rite called “Welcoming the Wind”? What is it like?
Answer: “Welcoming the Wind” in the Lingbao tradition is the procedure for playing music and sounding the instruments during purification rituals and offerings. It must be properly prepared and arranged, and must not be abridged.
Question: Does the Lingbao tradition also have instrumental music? What is it like?
Answer: In the Lingbao tradition, instrumental music is the procedure for playing music and sounding the instruments during purification rituals and offerings. It must be properly prepared and arranged, and must not be abridged.
Question: Does the Lingbao tradition also have sung introductions? What are they like?
Answer: Lingbao sung introductions are the ritual procedures for musical pieces and sung introductions during purification rituals and offerings. They must be properly prepared and arranged, and must not be abridged.
Question: Does the Lingbao tradition also have a requirement for proper preparation and arrangement? What is it like?
Answer: In the Lingbao tradition, proper preparation and arrangement means making ready and arranging the ritual elements. Music, instrumental performance, sung introductions, and the like must be properly prepared and arranged during purification rituals and offerings, and must not be abridged.
Question: Does the Lingbao tradition also have a preference for simplicity? What is it like?
Answer: In the Lingbao tradition, a preference for simplicity means wanting to abridge the rites or conduct them carelessly. Purification rituals and offerings must not be abridged or handled carelessly; they must be properly prepared and arranged, lest they violate the solemn intent of the Lingbao tradition.
Question: Does the Lingbao tradition also have the solemnity of the Lingbao tradition? What is it like?
Answer: The solemnity of the Lingbao tradition refers to the solemn character of its liturgy. During purification rituals and offerings, the rites must be properly prepared and arranged, not abridged, lest they violate this solemn intent.
Question: Does the Lingbao tradition also have the descent of the gods and Buddhas? What is it like?
Answer: The descent of the gods and Buddhas in the Lingbao tradition refers to the deities descending during purification rituals and offerings. If the solemn intent of the Lingbao tradition is violated even slightly, this may run counter to the purpose of inviting the gods and Buddhas to descend.
Question: Does the Lingbao tradition also have Samadhi? What is it like?
Answer: In the Lingbao tradition, Samadhi is the name of the small purification ritual and a symbolic designation or term used in the Lingbao tradition. Samadhi is a term for a symbol used in the Lingbao tradition, like “Jade” in “Jade Sound” or a precious scroll. Samadhi is the name of a purification ritual. To designate a purification ritual as Lingbao, one must first build an altar and establish the offering rite, just as in a Quanzhen purification ritual, and then carry out the prescribed liturgy.
By acting in ways that benefit people, dispensing medicine and talismans, driving out wicked influences and rescuing people from calamity, one can set out on the path of returning to the Real and follow an upright master. Only then can one rise to the August Heavens and have one’s name entered in the Jade Palace. At that time, one’s name can be removed from the register of the dead and entered in the register of the living. Yet today some teach people the postures of sorcerers and mediums, and at night they perform improper arts such as curses and prayers. These practices conform neither to the rules of the Zhaijiao altar nor to the rites for presenting petitions and performing morning cultivation. To imagine that they can remove a name from the register of the dead and enter it in the register of the living is utter folly.
The Orthodox Teaching of the Void Emperor and the unadorned tradition of the transcendent have never abolished the ancient codes and rites; therefore, they graciously welcome people who wear official caps and hairpins. Once admitted to the liturgical tradition, one should wear a star crown and feathered robe, hold the prayer tablets and arrange the altar, enter the chamber of quietude, burn incense, pay homage to the Primordial Ones, and present petitions. One should act as though respectfully facing one’s sovereign and parents, as though standing in the presence of Heaven’s awe-inspiring majesty. Every advance and retreat should follow proper form, and morning cultivation should follow its prescribed method. Calmly and deliberately, one settles Qi and preserves Shen; in a state between waking and dreaming, one joins with the true spirits, and in the Great Void one sends forth a single thought. When presenting petitions, one must first pray for the ruler’s long life, then pray for the ascent of the nine generations of ancestors. Filial piety and loyalty, observance of ritual and adherence to the law: these are the foundations of the liturgical tradition. The gateways of the Great Dao are upright and free of wickedness. How could they involve wrapping the head in red silk and wielding blades to chop at objects? To call this “taking part in the Dipper rite” is to mislead people gravely.
Those people, however, cite sixteen words from the Purple Writ concerning “the red radiance of the soul,” twenty-four words concerning the “lunar soul,” and the names of the Dipper stars from Kui to Piao. They instruct people to face objects and summon Qi, then insert these practices into the forty-first section of the “Prayers for Blessings and Repentance,” calling them the Way of the Three Radiances Revealed by Lingbao and claiming that they are the true Qi of the Three Realms. They neither investigate the source of these teachings nor explain why they avoid the names of the Three Lights and the Three Mornings in order to make themselves seem original. Can the Qi of the sun, moon, and stars properly be called the true Qi of the Three Realms? After the Dipper rite in the eighteenth section, they also include paying homage to the Primordial Ones and preserving Shen, as in the rite for presenting petitions. This should not immediately follow the Dipper rite. The text also includes a talisman for ascending beyond the fierce winds, “the completion of paying homage to the Primordial Ones of the Three Heavens,” the establishment of residences in the Celestial Bureau, the elevation of names in the chamber of quietude, daily meetings with the ranks of immortals, and the division of Shen to govern affairs. All of this is exceedingly bizarre. Its account of the diagram of Western Tortoise Mountain distorts the meaning of how the source and currents of the Jing and its methods unfold, and much of what it describes departs from the original principles. From the practices of preserving Shen and taking part in the Dipper rite onward, the method identifies them as…
The Great Method of the Shangqing Lingbao (II): A Plain-Language Interpretation
On the Claim of the “Seven Lingbao Scriptures”
The claim that there are “Seven Lingbao Scriptures” is not appropriate. The middle section of this scripture already contains material of the kind known as the “Seven Scriptures and Eight Wefts.” This passage was copied from the section headings of an older edition and incorporated here; it is now listed as Section Six. Students should examine the evidence calmly, so that the true and the false can be distinguished. They must not mix other schools’ teachings into this book; only then can they follow the intent of the scripture.
Section on the Upright Qi of the Five Phases
Taking the Names of the Dipper Stars (the names of the stars of the Northern Dipper)
Method: Write in cinnabar on yellow silk and mix with yellow wax (to make a talisman or pill). Use a count of “seven times nine” (often interpreted as forty-nine days’ worth). Take one each day, swallowing it with clear, purified water to calm the mind. After seven times seven days (forty-nine days), wisdom will increase, the eyes will become clear and see well, and one will be able to recite ten thousand words without forgetting them upon speaking.
The Six-Character Method for Treating Illness
Method: Write in cinnabar on yellow paper. It can treat all illnesses.
The Method of Taking the Six Ding Within by Means of Written Characters (the Six Ding are the names of spirit generals employed in Daoist practice)
Method: Write in cinnabar on yellow paper. Make one talisman for every two characters, for a total of three talismans containing six characters. After waking from sleep in the fifth watch on the seventh day, take the top two characters and swallow them with purified water. When you first hear someone speak, draw in your breath and swallow. Repeat the method after another seven days. This is called “taking the Six Ding within.” Practice it each month. Once the required number of days has passed, when you encounter someone troubled by an evil ghost, silently recite the characters once and keep your eyes closed for a long while. The Six Ding will tell you in your heart that most of what the person says is caused by ghosts and demons. Details such as clothing colors and numbers of people will also match the facts in each case. (The names of the Six Ding should be listed here, but much of the original text is missing.)
The Six Jia Method for Expelling Demons (the Six Jia are a system of spirit generals paired with the Celestial Stems)
Method: When minor, low-ranking demon spirits have caused trouble, write in cinnabar and burn the writing together with a coin. The Six Generals will immediately drive the evil spirits away into the sea, or one may receive a strange response in a dream. (The names of the Six Jia should be listed here, but much of the original text is missing.)
Shang Shi, Shang Li, and other one-character methods for treating illness by means of talismans (many of the original characters are damaged)
Method: These are used for injuries caused by poisons, swellings, red eruptions, and various illnesses of the five viscera and other parts of the body. Write the character on the affected area, or take it internally or apply it externally. No more than three characters are needed for relief.
The Method of Taking Written Characters on the Dark Day
Method: On the dark day (the last day of the lunar month), recite the characters until the total reaches one hundred thousand repetitions. Present a memorial that ascends to the Three Heavens; a response will then appear in the world below.
Preventing Harm and Manifesting De (the method of reciting characters on the first day of the lunar month)
Method: This is a method of reciting characters on the first day of the lunar month. (The specific characters are damaged in the original and should be checked against a complete edition.)
Note: Many characters in this passage have worn away during copying. Damaged passages should not be filled in conjecturally. The names of the stars, the full names of the Six Ding and Six Jia, the various “Shang” characters, and the characters in “Preventing Harm and Manifesting De” should be checked against other volumes of the Great Method of the Lingbao or other Dunhuang and Daoist Canon editions.
Plain-Language Interpretation
Essential Instructions for Practice
This method should be practiced on the first day of each lunar month. Recite it ten thousand times; after about three months of consistent practice, signs of efficacy may appear. When faced with any calamity, silently recite it thirty-two times, and the calamity will dissipate on its own.
The Forty-Nine-Character Secret Talisman and the Five Phases
It is said that when Taiji (the Supreme Ultimate) first divided, the One gave birth to Two, Two gave birth to Three, and Three gave birth to the myriad things. Once the myriad things had come into being, the five Qi arose from the void.
- In heaven: The Five Old Emperors are the source of the five Qi and appear in celestial phenomena; the Five Planets shine along the constant course of the heavens.
- On earth: The Five Sacred Peaks guard and hold the four directions in balance.
- Among things: Metal, Wood, Water, Fire, and Earth are the Five Phases.
- In the human body: The heart, liver, spleen, lungs, and kidneys make up the body.
- In human affairs: Benevolence, righteousness, propriety, wisdom, and trust govern the state and sustain the family.
The forty-nine-character secret talisman accords inwardly with the Five Phases in the workings of creation and transformation. Taken by oneself, it can clear the Shen and refine Qi; applied to others, it can ward off illness and expel demons. This is like the fangzhu vessel drawing water or the yangsui mirror kindling fire: what is within acts upon what is outside, and the two respond to one another. If one lacks one’s own original true nature yet expects the true power outside to respond, or abandons the Five Phases within oneself while seeking to fill oneself with the five Qi, then such a response may be hard to attain.
In the Tiantai Lingbao method, the “Upright Qi of the Five Phases on Jade Tablets” is classed as one of the teachings. The forty-nine characters were originally included in a separate volume, but spells for invoking the Five Sacred Peaks to protect the body, methods for shifting the scene and connecting with light, and other practices were mixed into it, obscuring the scripture’s teaching on the Five Phases. Therefore, this text follows only the ancient method, without daring to add or remove anything.
Note: Fangzhu and yangsui refer to ancient implements or techniques for drawing water and kindling fire. A jade tablet is an object inscribed with a talisman.
Source text: Kanripo 漢籍リポジトリ（KR5g0032）; Licence: CC BY-SA 4.0 · Report an error / feedback