《徐仙翰藻》Vol. 14

The fourteenth volume of Xu Xian's Literary Elegance records a collection of couplets and benedictory verses used for temple celebrations, primarily expressing prayers for divine protection, national prosperity, and blessings for the emperor's longevity.

The opening "Beam Couplets" extol the sacred lords (Daoist deities) enshrined in the temple for safeguarding China's eternal flourishing, with their virtuous blessings extending throughout the nation. The "Ao Peak" (a Daoist immortal mountain) is described with majestic terrain symbolizing peace across the land. Through "abolishing the old to establish the new," the grand ceremonial system is restored, embodying the principle that extreme adversity gives way to prosperity through communal unity.

The "Dingguang Hall" couplets praise the boundless compassion of Buddhist Dharma pervading the trichiliocosm (three thousandfold world-system), while Daoist deities broadly protect the eternal preservation of the sacred halls. The "Rain Prayer Temple" verses wish the Son of Heaven longevity matching heaven and earth, beseeching the rain deities to respond and bring seasonal winds and timely rains.

The "Celebratory Lantern Couplets" section focuses on imperial panegyrics: employing auspicious imagery like "the Southern Pole Star manifesting" and "eastern sacrifices increasing radiance," they laud the emperor's establishment of laws as orderly as celestial movements, with "longevity, wealth, and numerous descendants" as the three great virtues that unify the realm and stabilize borders. The capital's grandeur is depicted as "a coiling dragon and crouching tiger," with peace so profound that even the sounds of chickens and dogs reach everywhere.

Subsequent couplets continue employing Daoist symbolism for blessings: the "Golden Tower" (celestial palace) manifests eighty-two transformations, while "jade cups offer longevity" with sixteen thousand years as its seasons. They mention Penglai immortals inscribed on the Cinnabar Platform (celestial register) and the auspicious glow of the Southern Pole Elder Star. During the Zhongyuan Festival (the Daoist Earth Official's day of pardon) in the seventh month, birthday celebrations coincide with the "five winds and ten rains" - omens of great peace. The conclusion presents celestial imagery of "heaven sealing the vermilion phoenix" and "earth strengthening the Ao Peak," subtly allegorizing harmonious kinship and national prosperity.

These couplets blend Daoist immortal beliefs with Confucian governance ideals, employing celestial auspices to extol earthly peace, embodying Daoism's traditional role in offering imperial blessings.

The text from Xu Xian's Literary Brilliance primarily depicts Daoist ceremonial scenes and the grandeur of the Lantern Festival, incorporating parallel couplets and benedictory verses. Below is a section-by-section vernacular interpretation:

Description of the ceremonial hall: Here are preserved Zhou-dynasty ritual vessels (biandou refers to ancient bamboo food containers used in sacrifices), while people's attire revives the solemn rites of the Han dynasty. Noble integrity and unblemished reputation shine like the bright sun, filling the entire hall with spring-like harmony. Literary works are endeavors that endure for millennia, while loyalty and filial piety form the foundation of human life—such renown will shine eternally alongside the sun and moon. The weight of righteousness surpasses mountain peaks; the sacred toon tree (symbolizing longevity in Daoism) remains forever verdant, while the fragrance of the osmanthus (representing merit and auspiciousness) is passed down through generations.

Depiction of the Hall of Birth (a Daoist shrine overseeing childbirth): Immortal maidens gather for the feast at the Jasper Pool (the abode of the Queen Mother of the West), while men should study the jade tablets recording the Dao of immortality. In the Mystic Garden (a celestial orchard), millennia-old peaches manifest auspicious signs, and the osmanthus trees of Mount Yan exude eternal fragrance. The mulberry and catalpa trees of our homeland cast their shade over the entire village altar (an ancient local sacrificial unit), while the courtyard steps are filled with the fragrance of orchids (symbolizing virtue). The legacy of our ancestors is handed down through generations, and the bow and arrows (symbolizing masculine valor) proclaim the heroic spirit of men.

Lantern Festival couplets: The Phoenix Calendar (an ancient calendrical system) heralds the eternal stability of the nation, while beneath the Ao Peak (a mythical mountain), lantern-lit towers remain radiant throughout the night. On the night of the Lantern Festival, carriages and horses come and go amidst throngs of guests; the Ao Mountain adorned with colorful lanterns is hailed as the premier spectacle of the southeast. Ten thousand lotus lanterns interweave with the moonlit towers; the low price of rice (three coins per dou) foretells a bountiful harvest, and the village altar brims with people reveling in the spring breeze. The Three Isles of Penglai (mythical mountain-islands) are the abodes of immortals, their towers and pavilions exuding utmost splendor; the Twin Stars of the Eastern Wall (celestial bodies governing literary fortune) guard the repository of books, where galaxy-like brilliance gives birth to resplendent writings.

Records of Daoist rituals: In the serene temple, the four-hundred-year-old sacrificial rites are conducted with solemn grandeur. On the fifteenth night of the first lunar month, feasting and revelry abound; sunlight illuminates banners embroidered with golden characters, while parting clouds reveal the jade radiance of the Heavenly Gate (Changhe, the gate of heaven). The millennia-old temple sacrifices preserve ancient rituals, and the golden edict's eight-character title proclaims its exalted honor.

Daoist benedictions: The Perfected Lord (a high-ranking Daoist immortal) receives the celestial talismans (esoteric Daoist texts), praying that the emperor may enjoy longevity equal to heaven and earth. The teachings of the Celestial Master (Tianshi, the Daoist patriarch) are revered for a hundred generations, shining eternally like the sun and moon. The sagely sovereign ushers in an era of great peace, with life as enduring as the Southern Mountain and blessings as vast as the Eastern Sea. The path of cultivating immortality is naturally auspicious; names are recorded in the Cinnabar Terrace (the celestial register), and one resides in Red Wall (a famous Daoist mountain). The twin towers of the Jasper Palace (an immortal abode) are but a step from heaven, allowing one to ascend the cloud ladder with ease; the golden edict arrives from the sun's edge, inspiring reverence as one gazes upon the stars. Purification and devotion to the Supreme Deity must be unwavering; only the wise and upright may be called divine and receive offerings. The purple-sealed edict proclaims new titles to manifest divine radiance, while ancient prophecies on green silk foretell human prosperity.

Final sacrificial prayer: May the present emperor's reign be as stable as a bedrock foundation; may the Celestial Venerable of the Primordial Beginning (Yuanshi Tianzun, the supreme Daoist deity) expound the Ten True Scriptures to universally deliver all beings.

This scripture depicts the sacred and solemn imagery in Daoist belief, along with the grand vow to deliver all beings. Mount Tai, as the foremost of the Five Sacred Mountains (with its Seventy-Two Divine Offices), is a holy site where myriad deities pay homage. The Great Canopy Heaven (Daluo Tian, the highest celestial realm in Daoism) towers above the Three Realms, enveloped in ninefold immortal Qi (vital energy), universally delivering all sentient beings.

The text describes Laozi taking the "Dao" as the fundamental principle, shining upon all directions like the sun and moon. Both the Eastern Florescence Immortal Realm (abode of the Emperor of Eastern Florescence) and the Western Pure Land (a Buddhist concept) radiate auspicious light—through fasting and ritual purification, one may serve the Celestial Emperor. If deceased souls can hear these wondrous teachings, they will be delivered to the Southern Palace (the immortal realm of longevity), ascending directly to Mount Jade Capital (the sacred abode of the Celestial Worthy of Primordial Beginning) and the Mysterious Metropolis (the dwelling of Lord Lao, the Supreme Elder).

The scripture particularly emphasizes the sacred power of salvation rituals: using nectar water to purify souls, enabling nine generations of ancestors (Jiuxuan) to ascend to the Shangqing (Upper Clarity) realm. Eight-colored auspicious light shines universally, liberating souls from the Three Paths of Hell (the paths of fire, blood, and blades). The text also incorporates Buddhist elements, mentioning Mulian's filial piety in rescuing his mother (the Blood Bowl Assembly) and the bodhisattva Ksitigarbha's great vow to deliver all beings.

The concluding colophon expounds on the essence of "text": it embodies the Dao of Heaven, Earth, and Humanity, existing since the dawn of primordial chaos. The River Chart and Luo Writings (legendary celestial auspices) were revealed through sages like Fuxi and Yu the Great, and are now transmitted through the hands of immortals. This passage reflects Daoism's characteristic integration of diverse beliefs, showcasing its religious sentiment of universal salvation.

Divine beings may manifest their powers, yet none have ever descended to compose thousands of words like the Lingji deities, compiling them into a volume titled Xu Xian's Literary Elegance. Some say when divine spirits flourish, human agency diminishes—just as Lu Yun's metaphysical insights (Daoist philosophy) must have emerged from tomb-side whispers, or the inspiration for the Pavilion of Prince Teng must have come from apparitions among the reeds. Without divine prompting, such refined writing might never take form; once the brush is set down, the creative spark fades instantly. Is this humans heeding divine guidance, or spirits yielding to human will?

Works like exorcising malaria or dispelling malign influences belong solely to masters like Han Yu (the Lord of Changli)—these are truly human compositions. As for Wang Zhiyuan's revisions of Yi Zong and Guo Gong's Blue Bag Texts (ancient divination classics), these arcane arts of creation—how could they not require divine revelation? Reciting divine writings and verifying their efficacy confirms that words aligning with reality constitute true literature.

Yet those who glibly discuss the Book of Changes surely profane the sacred. The true mystery of divinity lies within humanity itself. Spirits cannot disclose all secrets, nor can humans shift all responsibility to them, for deities have no fixed form yet possess wisdom. The numinous quality of writing should be thus, yet the divine's essence remains unknowable. Since it's unknowable, calling it uncanny is reasonable—but if it's truly divine, what strangeness remains? Confucius avoided speaking of anomalies and spirits, which is why texts like Jiang Taigong's Yin Fu Jing or the writings of the old man on the bridge were only transmitted to worthy recipients. Would spirits speak lightly to just anyone?

Thus, I contend divine writings aren't meant to flaunt the bizarre. Xu Xian's autobiographical records allow us to trace the deities' lineage. Like Han Yu's stele for the Wang Temple, these accounts have verifiable foundations—without evidence, they'd be unreliable. The inscription describes the gentle King Yan devoted to cultivating the Dao (the Way), with people commemorating his virtue by recording his descendants' deeds. This reveals his ancestor upheld the Dao of benevolence and righteousness, establishing great merit across generations, ensuring lasting blessings that may endure today. Scholars also note the temple's former location in Quzhou and its current site in Fujian. King Yan retreated without battle, moving from Pengcheng to Yue to establish this shrine—why then would it be in Fujian?

I believe this king's descendants likely entered Fujian with their army during the Kaiyun era (Later Jin dynasty). Divine presence in the world is like water beneath the earth—omnipresent. Yet Fujian's people are uniquely devout, erecting shrines with deep deliberation. How dare I add further praise? In closing, a poem... (original text fragmentary)

This passage records the sublime deeds of an ancient ruler, whose virtuous title has been passed down through the ages. The celestial lanterns (Tian Deng, the eternal lamps used in Daoist rituals to honor deities) radiate auspicious light, like never-extinguishing candles; the streams flow peacefully, silently nourishing vast fields of fertile land.

The illustrious achievements of this ruler began during the Kaiyun era (a reign period of the Later Jin dynasty during the Five Dynasties) and flourished by the Zhenghe era (under Emperor Huizong of the Northern Song dynasty) through the transmission of Guangchengzi (the legendary immortal from the Yellow Emperor's era). His monumental accomplishments stand as towering as Mount Ao (the mythical turtle carrying immortal mountains in the sea), forever inscribed in the annals of history; the radiant light of the Kui Star (the literary star governed by the Eastern Wall constellation, one of the Twenty-Eight Mansions) now illuminates the heavens.

This inscription was reverently handwritten by Mountain Abbot (Shan Zhang, the head of an academy or Daoist temple) Chen Menggen during the mid-spring of the Yisi year in the Dade era (under Emperor Chengzong of the Yuan dynasty). Through natural imagery like celestial lanterns and flowing streams, along with allusions to celestial constellations and immortals, the text extols this ruler's merits in protecting the people and fostering cultural prosperity.