The Wenshi zhenjing does not appear until the Yuan dynasty, when it is mentioned in Chen Zhensun's Zhizhai shuluyjieti , dated to 1240. It was probably compiled by the Quanzhen patriarch Yin Zhiping (1169-1251), an alleged descendant of Guan Yin. Before that time, in the twelfth and thirteenth centuries, remnants of an older text are mentioned in various Song bibliographies, but they have not survived.
Kohn, Livia. 1997. "Yin Xi: The Master at the Kohn, Livia. 1997. "Yin Xi: The Master at the
Beginning of the Scripture." Journal of Beginning of the Scripture. "Journal of
Chinese Religions 25: 83-139. Chinese Religions 25: 83-139.
Li Yangzheng. 1993. Daojiao yu zhuzi baijia . Beijing: Li Yangzheng. 1993. Daojiao yu zhuzi baijia. Beijing:
Yenshan chubanshe. Daojiao wenhua congshu, Yenshan chubanshe. Daojiao wenhua congshu,
vol. 10. vol. 10.
Zhang Boduan, or Zhang Ziyang 張紫陽, was a native of Tiantai 天臺 in present-day Zhejiang. After passing the Imperial examination, he began a career as a civil servant, but was banished to the frontier in Lingnan, where he served as a military commissioner. Zhang was later transferred to Guilin and Chengdu, where in 1069 he allegedly experienced sudden realization from a Daoist Master who instructed him in Neidan internal alchemy. Zhang wrote the Wuzhen pian, its appendices, and a few other texts, including the Jindan sibai zi 金丹四百字 "Four hundred words on the Golden Elixer" (tr. Davis and Chao 1940). He was additionally an authority on Chan Buddhism.
Biographical sources agree that Zhang Boduan died in 1082 CE during the reign of Emperor Shenzong of Song, but disagree whether he was born in 983, 984, or 987. Zhang was honorifically called Ziyang Zhenren 紫陽真人, ranking him as a Daoist zhenren 真人 "real/true/authentic person; perfected/authentic person" (the zhen in the Wuzhen pian), one rank higher than a xian 仙 "transcendent; immortal" in the celestial hierarchy.
The Quanzhen School of Daoism originated in the 12th century with the Five Northern Patriarchs (Wang Chongyang and his successors). In the 13th century, Zhang Boduan posthumously became the second of the Five Southern Patriarchs in the so-called Nanzong 南宗 "Southern Lineage", which Boltz (1987:173) refers to as "ex post facto".
In Shaanxi, Hong Kong, and Singapore, there are Zhenren Gong 真人宮 "Real/Perfected Person Temples" dedicated to Zhang Boduan.
Texts
The received Wuzhen pian text contains a preface dated 1075 and a postface dated 1078, both under the name Zhang Boduan. The Daozang "Daoist Canon" includes several textual editions of varying lengths.
The core of the Wuzhen pian comprises 81 poems: 16 heptasyllabic lüshi 律詩 "regulated poems", 64 heptasyllabic jueju 絕句 "stopped-short line" quatrains, and one pentasyllabic verse on the Taiyi 太一 "Great Unity". Both 16 (= 2 x 8) and 64 (= 8 x 8) have numerological significance, the former denotes two equal "8 ounce" measures of Yin and Yang (alchemical allusions for mercury and lead) totaling "16 ounces" (one jin 斤 "catty"), and the latter correlates with the 64 Yijing hexagrams.
Zhang later appended the Wuzhen pian text with 12 alchemical ci 詞 "lyrics" that numerologically correspond to the 12 months, and 5 verses related with the Wu Xing 五行 "Five Phases".
Baldrian-Hussein describes the text.
The verses of the Wuzhen pian are a work of literary craftsmanship and were probably intended to be sung or chanted. They teem with paradoxes, metaphors, and aphorisms, and their recondite style allows multiple interpretations. The verses are widely accepted as an elaboration of the Zhouyi cantong qi, but their philosophical basis is in the Daode jing and the Yinfu jing. Life, says Zhang Boduan, is like a bubble on floating water or a spark from a flint, and the search for wealth and fame only results in bodily degeneration; thus human beings should search for the Golden Elixir (jindan 金丹) to become celestial immortals (tianxian 天仙). (2007:1082)
The Wuzhen pian is one of the major scriptures of Daoist Neidan "Inner Alchemy " and metaphorically uses the vocabulary of Waidan "External Alchemy", which involved compounding elixirs from minerals and medicinal herbs. The text proposes that External Alchemy is unnecessary because the human body contains the essential components. These Three Treasures are jing 精 "essence; refined, perfected; extract; sperm, seed", qi 氣 "vitality, energy, force; vapor; breath", and shen 神 "spirit; soul, mind; god, deity". Through alchemical refinement of bodily jing and qi, one can supposedly achieve integration with one's spiritual shen nature.
~ http://en.wikipedia.org/wiki/Wuzhen_pian
现在对《悟真篇》的内丹修炼作些归纳性的介绍:《悟真篇》诗词九十九首没有提及下手功夫,估计他都是口授给学生,这和道家道教不轻泄天机的习惯有关。 但从《金丹四百字》、《玉清金笥青华秘文金宝内炼丹诀》我们看到了口授的有关下手功法。 所以归纳起来张伯端丹法有(一)筑基;(二)炼精化气;(三)炼气化神;(四)炼神还虚。 这四个阶段有人把它分为筑基是道术,后面三个阶段是仙术。
筑基阶段命性合炼。 开始时,选择适合自己修炼的时间和场所,根本不必追求“空山静室”。 端坐、平视、双眼微闭、两手虚握太极,顺着呼吸的自然起伏,使自己的气息沉到下丹田,即脐区。 这时自我感觉应当是很松很静。 心静至神静的过程称守一,也就是意守下丹田,重心也应保持在下丹田。 觉得丹田气足了就要准备通关,当然这个气还是后天之气。
通三关,即打通背后三关。 气从尾闾处升起,使它慢慢上升,这是通尾闾关。 气运至后背,几乎与心脏等高的地方,称之谓夹脊关,气容易从此处通过。 气运到后颈脑下与口相对应的玉枕关时,道路不通畅,需要花大力气慢慢通过。 如果通过太快,气容易上冲而至偏差。 从尾闾到头顶泥丸宫,(一说)再到上嘴唇处,称逆运督脉。 由泥丸宫往下,(一说下嘴唇)经过印堂鼻窍即鹊桥,再经十二重楼,即喉管进入绛宫,即中丹田,下行至下丹田即通任脉。 任督二脉通,这时运气不运药,故只能称通脉或称转轱辘,如果运转中有了药,那就得称小周天了。 通与不通,全在于意念的运用,凭意念去体察。 如果有气感、有热的感觉,则说明任督已通。 任督二脉是八脉的枢纽,任督二脉通了,其他六脉也随之而通,(如果有药其中,则为大周天)全身也就通畅无阻。 筑基的过程是有为的,运的都是后天之气。 筑基目的是补人体亏损,活络经脉,通气血。
筑基的关键是要处理好气息。 人生全靠一口气,日常呼吸,呼出时,小腹内缩;吸进时,气下沉,小腹微有上升与突起,做到细长无声,这称调息。 通任督时要学会呼出时连同小腹突起,吸气时小腹内缩,即靠意念持内气沿着督任二脉循环呼吸,这叫调真息,也称橐籥功夫。 开始阶段可以用调息方法,使自己入静,但要真正通任督二脉必须学会逆呼吸,即当外气入腹时真息从腹底沿督脉上升头部百会穴;外气从鼻子呼出时真息从百会穴沿着任脉下降到腹底。
炼精化气阶段,内丹功法称初关。 运行的线路和筑基时一模一样。 这个阶段的主要任务是在筑基的基础上进一步锻炼精气神,达到元精元气与神合凝生成药,也称炁。 如果说筑基阶段以炼气为主,气在任督二脉不断循环运行,那么炼精化炁是指药沿着任督二脉循环运行,称运河车,运行中使药不断纯化。 过尾闾关时需要细步慢行,如羊驾车;经过夹脊关时象鹿驾车,可以大步急奔;过玉枕关时,通道较小,要象牛驾车一样用力猛冲。 从泥丸宫下行要结合沐浴和退符,使得到初步凝练的药归于丹田。
上药三品,神与气精,其实精气神三者是并立的,根据内炼的不同层次和位置分别冠以元气、元精、元神。 筑基使人增加元气。 炼精化炁就是让精气神进一步合炼。 起始阶段合炼出来的称外药,外药是生而采的,即筑基阶段在气海里贮满了元气,在静极一动的时候就表明活子时到来,意味着外药生成,这时就要开始采药。 药生成于西南即腹部。 采取以后就要封固在丹田。 封固的目的在于继续炼药,使它越来越纯。 元神运行到一定程度就会与已经积蓄的元炁在下丹田交会,产生一种比外药更纯的真种子,不采它,它永远是气的一种,只有采了它,它就能迎合外药成为“炁”,结成丹母。 有了丹母才能归根复命,所以炼精化炁阶段实际上就是“三归二”的过程。
要做到“三归二”就要运河车,这是一个比喻,在通关的基础上将运气改为运药,就是运河车。 羊车细步慢行,鹿车大步急奔,牛车用力猛冲,过了三关可以直上泥丸宫,由泥丸宫沿任脉而下丹田,这就是采取药物行周天之法,我们称之谓小周天。
炼精化炁阶段鼎炉的作用不可忽视。 《悟真篇》绝句第一首“先把乾坤为鼎器,次将乌兔药来烹”开宗明义,点明鼎器的位置。 鼎在乾,即在头顶泥丸宫,为阳,也称阳鼎。 器在坤,即在下丹田,为阴,也称阴炉。 鼎器的作用就是为药物锻炼提供场所。 炼精化炁以上丹田为鼎,以下丹田为炉,这叫大鼎炉。 乌为元神,兔为元精。 脐下起火,将采到的外药沿着任督升降,也称烹炼。 药运至炉称归炉,也就是元精元神和土三家相见,生成丹母,即大药,至此完成“三归二”的修炼。 绝大多数修炼者只能修持到这一程度,因此要在筑基和初关上狠下工夫。 否则无法进入下一阶段的修炼。
炼炁化神是神与炁(丹母)合炼,诞生圣胎,也就是婴儿,完成“二归一”的修炼,一般称之为中关。 步骤为凝神炁穴、采大药(丹母)、炼服大药、养药、结丹。 神与气交产生外药,内药采而生,然后与外药凝为大药。 大药也是采而生,再经过一段时间,一般说七日,可以成胎。 修炼方法强调呼吸自然,不必靠意念,只要凝神入定,目光内视观照中丹田。
通奇经八脉的功夫属于大周天功夫。 这一理论首先由张伯端提出,明朝的《性命圭旨》发挥了这一理论,《性命法诀明指》完善了奇经八脉的理论和修炼方法。 其法是由尾闾到头顶中通督脉;由头顶从前面降至生死窍通任脉;由生死窍到气穴,分二路至后腰眼,通带脉,再到两腋窝定位,然后到两肘外,为通阳腧脉;由手心走至阴腧脉,双双回到胸前,再由胸前降至带脉,合归一处,共同回到生死窍,然后上升至心下绛宫定位,这就是通冲脉,注意不能超过心的高度;下降至生死窍分开,双走两腿外,为通阳蹻脉;然后直至脚底涌泉穴,回升到两腿内侧,是为通阴蹻脉;过生死窍,上升气穴定位,由气穴降至生死窍定位。 (参见《历史上的炼丹术》)
炼神还虚阶段是内炼的最高阶段,称上关或九年关。 这个“九”是我国古代汉语中最高的阳数,在这里表示要花很多的时间才能炼成由一归无的性功。 归无就是归道或称归无、归根、明心见性。 《悟真篇》绝句五十一首:“万物芸芸各归根,返根复命即常存”,群阴剥尽才能归根,跳出樊笼才能常存。 要做到这一点,必须将阳神搬移到上丹田。 一般说来,上丹田是炼阳神和阳神所居的地方,中丹田是元炁所居地方,下丹田是元精所居的地方。 阳神上移就是要将在前面三个阶段的基础上炼就的圣胎送至上丹田,功夫不在通关,运河车,而全在于处虚无之境,以虚无之心炼虚无之性情,达到常定常寂,感而遂通,出生入死,圆通无碍,彻底解脱,似与天地永存。 这个时候万法皆空,万宗皆同,真如诗中所说“如来妙体遍河沙,万象森罗无碍遮。会得圆通真法眼,始知三界是吾家”。 性命双修,儒佛道兼修,但归根结底还是落实在形神一致,形神相依、留形驻世而求长生的道家的生命观上。
Feng Keshan
Great Master Feng Keshan (冯克善, 1776~1858), was said to have studied a multitude of martial arts since his youth, he had a natural talent and could acquire the essence of both letters and combat quickly. During his adolesence and young years Feng Keshan was a ruffian, often being involved in quarrels, fights and troubles within the community, yet he acquired quite a following and this later led to the interest in his skills and qualities by rebellious leaders.
In the Chuojiao tradition it is thought that Feng Keshan studied from many teachers since his youth, but was principally a disciple (in 1797) of Master Wang Xiang from Rencheng (today's Jinning, Shandong), Master Tang Hengdong from Hua County (Huaxian, Henan) and Master Wang and Li from Hejian. The various boxing systems from those teachers and others included Erlangquan, Huaquan, Yanqingquan, Meihuazhuang, BaFanshou, Hongquan and Zhiziquan (Chuojiao) which are the basis of the skills that Feng Keshan later propagated across the Cangzhou and Baoding regions of Hebei Province.
As his teacher Wang Xiang was a well respected and capable boxing master, as well as a prominent figure in the Bailian Jiao (White Lotus) and later the Bagua Jiao (8 Trigrams). Feng Keshan became associated with Lin Qing and Li Wencheng, to become the leader of the Li Trigram. However, after his teachers death in the 4th month of 1813, Feng Keshan became disinterested in the Uprising plans and abandoned the cause. Official Qing government records indicated that Feng Keshan was executed by the Qing government in 1814, but this was common practice to proclaim the death of rebellious leaders to demonstrate success over rebellions.
Feng Keshan and some members of his sect dispersed to Zhili (Hebei province). As a result, Feng Keshan (or Zhao Canyi in the Raoyang tradition) was the father of Chuojiao Men. research has confirmed the various village records (Shen County, Raoyang and Li County), traditions (both Meihuazhuang and Chuojiao) passed on amongst martial arts practitioners that Feng Ke Shan was indeed Zhao Canyi, Zhao Laoxian, Feng Keming and Wandering Shaolin Monk Fa Jing , as those were all aliases that were used to hide his identity from authorities after the failed Bagua ‘8 Trigrams’ uprising.
In 1813 Feng Keshan had travelled from Dezhou county in Shandong province to various counties across Hebei Province. He changed his names many times and as a result was known in each area often by a different name. Only his closest disciples would know his actual name. In Dezhou he taught Liu Tang Gen (6 Sequences of Roots). In Raoyang he first taught Huaquan (Marvellous Boxing) in 12 Tangzi (Routines) in the Southern villages. In the Northern villages he taught Jinggang Jia (Jingang frames) and Jing Gang Chui (Jingang Strikes). In Shen county, in addition to Jingang Chui he taught various boxing methods - Erlang quan and Bafan shou.
Master Feng Keshan’s earlier students in 1811, were Song Yulin and Song Yuelong in Dezhou , whom had joined the Li Trigram division of the 8 Trigrams Sect. After Song Yuelong having lost a duel with Feng Keshan his followers all were to join the Li Trigram. They were recorded as having studied the Liu Tang Gen methods from Feng Keshan. Later around 1815 in Raoyang his disciples included the Duan Family, the Duan brothers (Duan Yonghe & Duan Yongqing) received tuition in Chuojiao as they were taught privately (Zhao Canyi (name in Raoyang) was hired as a private martial arts teacher for the household). Also around the time there was a famous Hongquan (Red) and Huaquan (Flower) boxing teacher Zhou Laoting, who became Master Feng’s senior disciple and contributed to further developing the Chuojiao art in Raoyang. Feng Keshan then in approx. 1825 headed to Lixian (Li county), northwest from Raoyang. He was introduced to the Liu family (to teach their three sons) by Duan Yonghe to become resident teacher there.
The Liu family records state three teachers of the household Feng keshan, Yang Jing and Tang Youyi. This time Master Feng taught a complete and ordered system which included Liu Tang Gen, Jing Gang Jia as fundamentals and then 18 sequences of Chuo jiao divided into scholarly and military (Wen/Wu Tangzi). In addition Yia zi Chui, San lan Shou and other great works were developed. Although teachers of the Liu family proper other locals were also taught. Some of the disciples in Li county included Wei Chang Yi and Wei Laofang amongst many others. Another Master Wang Zhiguo of the same generation as Master Zhao Canyi, was also a practitioner of the Chuojiao and Fanzi martial arts and contributed to various branches of the style. His sons were sent to study with Zhao Canyi and developed excellent skills. Since Zhao Canyi spent many years in Hebei teaching in different areas, the variations to Chuojiao are numerous. Fundamentally, however they have all become similar in concept and essence whilst the structure and organization of the systems contents may differ.
Development of the superb system of Chuojiao Men
To hide from authorities, Feng Keshan when he commenced teaching in the Baoding prefecture of Hebei Province undertook a few precautions. This included changing his name (such as Zhao Canyi) which took many different versions including that of buddhist priest (Fa Jing) as well as teaching different martial arts or aspects in every location. This resulted in both confusion over his identity but also over his boxing methods. It was later in his life when located in Li County that he started to apply his real name, even then it was as Feng Keming, prior to reverting to Feng Keshan.
In the early teaching period, some of the student from different villages/counties compared what they had learnt and approached Master Feng about the problem. Essentially disciples in one village studied the boxing methods (forms or routines) whilst the other only studied combat methods/applications - thus they enquired as to which is better. Master Feng responded that neither is better, nor are either deficient and that in fact they should mutually exchange. It was after this period that the comprehensive Chuojiao system started to take shape. Together with his fellow comrades from the 8 Trigrams Sect (Tang, Yang) and excellent disciples (Duan, Zhou) coupled with the students in Li county further developed the style into the complete art which then became a very comprehensive system of martial arts known as “Chuo Jiao Men”.
Thus, although Chuojiao is recognized is a specific martial art it in fact encompassed a great many martial arts systems from the Central China Plains (Hebei, Shandong, Shanxi and Henan Provinces). Presently there are 3 main branches of Chuo jiao teachings. Hebei Chuojiao, Dongbei Chuojiao and Beiping (Beijing) Chuojiao. Hebei Chuojiao is classified as the ‘Original’ with two main sub-branches, the Raoyang school and the Lixian school. Both counties are recognized as “Wushu Zhi Xiang” (Chuojiao zhi xiang) a term used in China to indicate the concentration of martial arts skills in areas. They are known as representative of the Hebei branch of Chuojiao and probably the most original. Of the students in Lixian, the Liu Family continued the teachings proper and following the Wen/Wu classification of the sets. Zhou Laoting's disciple Zhao returned to his county Gao Yang and only passed the art to his sons and their family, being supplemented later by his descendants and the boxing styles from neighbouring villages. Wei Changyi taught the style which later became the Beijing Chuo Jiao Fan Zi style as passed on by Wu Binlou, who had researched all branches and attempted to restore or develop the style. Master Wu Binlou was famous in Beijing and taught many students. The arts contents differ in structure and the forms contain many ‘fanzi’ based names. Although a division of Chuojiao it is known as Chuojiaofanziquan. Since the developments above Master Feng Keshan (Zhao Canyi) is regarded as the first patriarch/generation master of Chuojiao.(In some lineages it is Master Wang Zhiguo).
In 1843, Feng Keshan already advanced in age left Li county, and records suggest he travelled to Sunning or Gu'an counties, others suggest that he journeyed to the west (Sichuan province). A formidable fighter, a keeper of many martial arts systems, a rebel, a leader, a teacher, a wanted man, a monk, a healer, a wanderer, a begger, a sage - Feng Keshan's legacy is left through the Chuojiao system.
The Disciples of Chuojiao Men...
~ http://www.satirio.com/ma/chuojiao/lineage.html
靜 Jing/ Stillness:
The 魂 'Hun' has control over the tendons and by using our 意 'Yi' we can only impart a gradual change in the tendons over a period of time. This is done through the use of 'Standing Practices' (Externally Still, Internally Moving) while using our 意 'Yi', controlling our muscle and flesh to be constantly stretching the tendons and extending the tendons outward. Through daily practice the tendons then become reconditioned so that instead of impeding our martial movements they're actually aided by the newly conditioned tendons. The result is a significant increase in the speed that one can move when the muscles aren't being hindered by the tendons.
The 魄 'Po' has autonomic control over the exterior. The opening and closing of the pores of the skin - aka the 'Exiting' and 'Entering' of 'Guardian Energy' (Weiqi), is how the skin contracts and tightens instinctively when one is being hit or struck to protect the interior. During 'Standing Practice' there is movement of Blood and 'Nourishing Energy' (Yingqi) going out the extremities as the 意 'Yi' is activating the muscles and signaling the need for more blood. We can also urge the Spirit and 魄 'Po' by using our Eyes to look at the hands or tips of the fingers, or look to where we want the most blood to move to in the Standing Posture, which is typically the 出手 'Chu Shou' (Outgoing hand) in the Posture. Over time, more and more capillaries are opened up and the skin is further nourished. This increased nourishment of the skin allows the 魄 'Po' to work more efficiently and there is a change at the cellular level of the skin and tissues.
動 Dong/ Movement:
In Moving Practices (Externally and Internally Moving) we are limited by our 魄 'Po' - Pre-Heaven' condition. But, when learning a Martial Art, we at first use our imagination combined with our 意 'Yi' so that the 魂 'Hun' (as Kevin mentioned - is who or what we want to be) can gradually impart changes on our 魄 'Po'. When someone is in a car accident the 魄 'Po' takes over control of our body because it's in control of our relationship with the outside world, "our senses", and it's direct control of the senses happens at a much faster speed than we can think or react. In a fight or dire situation our 魄 'Po' also takes over but through practice and training we can impart a new set of Martial tools for our 魄 'Po' to employ by practicing everyday with intent (意 'Yi'); visualizing and imagining movements and applications in our mind's eye; and ultimately practicing enough so that our 魂 'Hun' imparts a change in our 魄 'Po' at the spiritual level.
This is considered going in reverse(逆 Ni) of the Natural Order of Things, where the Post-Heaven imparts changes and transforms the Pre-Heaven
The Daoist meditative path is contrary to the Natural order of Things. It's 'Moving Against' Nature (逆 Ni) in order to get back to the 先天 Pre-Heaven state. We learn to quiet our emotions and control our desires. Increasing personal health and on the Martial side the body's strengths become more like the power seen in wild animals, as the 先天 Pre-Heaven state of the Body is primal, where the 魄 'Po' (Corporeal Soul/ Body) is strong,vibrant, and robust; but the Mind is actually calm, focused, and capable of great thought as the 魂 'Hun' (Ethereal Soul) is also strong. The 魂 'Hun' and the 魄 'Po' are both strong but in balance.
The 'Standing practices' of the Chinese Martial Arts are a type of Daoist Cultivation practice as they are a great way to Guide and Lead (導引 Dǎoyǐn) Energy throughout the body and eventually bring about the cultivation of 先天炁 Pre-heaven Qi. Once one is well into the practices the 'Conversion or Transformation' process can't be reversed. So it follows the only course it can and one now has a New-Nature
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