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The Xuan Kong Feng Shui schools debate over and have different often conflicting intepretations for the 5 ancient Feng Shui texts noted in the Di Li Bian Zheng, Earth Science, Discern Truth, namely:
The last 3 texts are attributed to the great Tang grandmaster Yang Yun Sung, circa AD 880. The first is attributed to Huang Shih Kung, circa 250 BC, while Qing Nang Xu was written by Zeng Wen Chan, the student of Yang Yun Sung. These 5 texts are evidently meant to be taken together.
The end of Ming dynasty (circa AD 1600) Xuan Kong Fei Xing Feng Shui grandmaster, Jiang Da Hong tried to interpret these five ancient texts and thus wrote his Di Li Bian Zheng. In the early 1900s, Tan Yang Wu, initially a Fei Xing master, also tried to intepret the Di Li Bian Zheng. But he renounced Fei Xing and later he rewrote new intepretations according to Xuan Kong Liu Fa.
The author has studied in depth the above 5 ancient texts and found that both Jiang Da Hong and Tan Yang Wu had seriously misunderstood the 5 ancient texts. In fact these ancient texts appear to be a great mystery to the current Xuan Kong practitioners.
Summary of the 5 Ancient Texts
Qing Nang Jing, Tian Yu Jing and Du Tian Bao Zhou Jing each have 3 divisions into Upper, Middle and Lower chapters. For convenience, we may also divide the other two texts into 3 parts. It may be useful to note in brief what topics these ancient texts are discussing:
Upper Chapter: Hetu, Early Heaven Bagua, Later Heaven Bagua, Evolution of Tai Chi into Yin Yang
Middle Chapter: Time Measurements by star constellations, gnomon stick
Lower Chapter:The Lower scroll describes that qi produced by Heaven is affected by certain landform factors on Earth before the final effects on Man.
Major Errors in the Intepretations by Xuan Kong schools
A glance at the structures of the 5 ancient texts show that each of the text is essentially a mixture of Form and Compass rules. The Xuan Kong Liu Fa group may find traces of their favourite "6 Methods": Xuan Kong, Ci Xiong, Jin Lung, Ai Xing, Cheng Men (city gate) and Tai Sui. Only, what Yang Yun Sung compiled are very different from what the Liu Fa group thought.
Except for Qing Nang Jing, each of the other 4 texts stresses that the site must be a hsueh conforming to the Luan Tou Four Cardinal Directions and Four Heraldic Beasts formation with a South frontage.
A major reason for the failure to recognise the supremacy of the Luan Tou hsueh Ming Tang formation is that the readers of the Di Li Bian Zheng are not familiar with the other texts written by Yang Yun Sung, especially the Han Lung Jing and Yi Lung Jing . The Han Lung Jing and Yi Lung Jing provide extensive descriptions of the physical hsueh.
Both the Tian Yu Jing and Du Tian Bao Zhou Jing describe that the water flows must converge to meet the Golden Dragon at the South frontage. That is, the water flows may originate at several locations along the side Lung Hu ridges, but they all meet the Golden Dragon at the center of the hsueh, i.e. the South frontage to the Ming Tang.
Owing to the nature of the water entry and the side Lung Hu ridges, the physical hsueh has a certain fixed qi status. The water flow to the South frontage however has a changeable qi status as measured through the 24 Mountains. Matching will thus indicate whether there is a harmony or clash, producing either beneficial effects or disasters. This is a complex exercise beyond this article.
Undoubtedly, these 5 ancient texts discuss much about the 24 Mountains. But what is not realised is that these 24 Montains are all Time measurements, which should not be used to displace Luan Tou methods for determining physical locations. The confusion over the status of the 24 Mountains as Time markers blinded readers to their true significance.
Once the matching is done, the 5 ancient texts also indicate that it is possible to use physical features to modify the qi balance. These physical tools often are in the form of plants and rocks, which is why the imperial palaces were permeated by these qi modifiers.
The integration of the Luan Tou hsueh and Ming Tang with the Time changes in qi is surprisingly recorded by Confucius in his Li Chi , Book of Rites. It goes to show that practitioners trying to break through the veil of the Di Li Bian Zheng lack sufficient insights, due to their lack of reading the wider texts of Yang Yun Sung as well as ignorance of the Feng Shui written down by Confucius.
This article shows that Feng Shui is much more complicated than realised by either the Lui Fa group or Fei Xing group, both of whom are way out in their understanding of Yang Yun Sung. As expounded by Tang grandmaster Yang Yun Sung in his monumental books, there are complex inter-relationships between the Form and Compass approaches. All will do well to cooperate and recover the original Feng Shui.
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