Owing to his mythical appearance, his name frequently appeared in Chinese novels and wuxia films of swordsmen as a spiritual teacher and master of martial arts. Today, Chinese readers are most acquainted with Jin Yong 's version of Zhang Sanfeng, thanks to the popularity of his wuxia novels.
He left Shaolin Temple to establish the Taoist monasteries in Wudangshan. In the book he had seven disciples, and was alive until the late Yuan Dynasty. There are many Daoist temples that have their own styles of gong fu, including their own style of Taijiquan.
People often say the Taijiquan is an ancient art, but the art we know today is not that old. However the various techniques and theories that go into Taijiquan go back to the early days of Daoism. It would be sensible to say that Zhang San Feng put these various theories and techniques into one art, with many other adding to the art.
Some schools of thought believe there were other similar arts that have existed over the course of history. This would not have been impossible, but a lot has been lost over the past couple of centuries. This is a nice thought, but it often comes with unnecessary political and idealogical baggage. Which often harms relationships, instead of strengthening bonds. The Birthdays of various deities is widely celebrated by followers across China.
Zhang San Feng is both a historical figure and Daoist deity. He isn't worshipped like a god in the Western sense, but we honour his teaching. It isn't unusual to find an alter with a picture of Zhang San Feng with incense sticks and offerings. This is tradition as opposed to superstitions and or being a cult. What would Taijiquan be without Zhang San Feng?
Stanley Henning's article, Ignorance, Legend and Taijiquan , criticised the myth that Zhang Sanfeng created taijiquan and cast doubt on whether Zhang really existed. Zhang Sanfeng was also an expert in the White Crane and Snake styles of Chinese martial arts, and in the use of the jian double-edged Chinese sword. According to 19th century documents preserved in the archives of the Yang and Wu-styles taijiquan families, Zhang Sanfeng's master was Xu Xuanping , a Tang dynasty Taoist poet and daoyin expert.
The taijiquan families who honour Zhang Sanfeng as the creator of taijiquan traditionally celebrate his birthday on the ninth day of the third month in the Chinese calendar. It also contained introductory notes on Taoist martial arts and music. Owing to his legendary status, Zhang Sanfeng's name appears in Chinese wuxia novels, films and television series as a spiritual teacher and martial arts master and monk.. Zhang Sanfeng's popularity among the Chinese is also attributed to his personality and association with Confucianism and Taoism.
I hope you remove all false references about him, from your website. I am from direct Yang family lineage. Thank You for reading the above. Sifu" [I did write back to "Sifu," however the email [not happy. I do believe that my webpage does try to give a fair and reasonable accounting of the stories and legends about Master Zang San Feng. He always wore a coir raincoat and a pair of straw scandals. No matter in summer or winter, he lived in the lonely and deep mountains or traveled in the crowded cities.
He could remember what he had read just by one look and talked nothing but moral, kindness, faith and filial piety. He could talk with the gods and understand Taoism, so he could forecast the future and solve all the difficulties in the world.
He could live without a meal for five days, even for two or three months; He could penetrate the mountain and drive the stones when he was happy; he lived in the snow when he was tired; He traveled here and there without any trace, so all the people at that time were amazed at him and thought him one of gods.
Wudang Taoist medical cultivation has a long history, especially the inner medicine, which is to cultivate the breath into medicine so as to make one strong and healthy, and prolong the lifespan by way of breathing.
Zhang-Sanfeng had a profound cultivation in inner medicine. He said in On Taoism"To cultivate the mood before cultivating the medicine; to cultivate the character before cultivating the good medicine; when the mind is steady, the medicine will come naturally by itself; when the mood and character have cultivated, the good medicine will be in reach", which figuratively explained the progress of medicine cultivation.
Zhang-Sanfeng was not only profound in medicine cultivation but also in martial art, especially good at boxing and swordplay. He, on the base of Taoist theories, such as the naturalness of Taoist theories, keeping in a humble position and so on, had combined Taoist internal exercises, guarding skills of regimen, boxing acts of martial art, military sciences of militarists into one, and then created Wudang Boxing, which takes the internal exercises as the body, attacking as the purpose, regimen as the first important thing, self-protection as the main principle, and to defeat the tough with a tender act, charge the active by the still movement and attack the opponent with his own force, strike only after the opponent has struck.
Wudang martial art, through many generations' succession and development, has become one important school among China martial art and spread in the folk with a long and profound influence. I think that Chan San-Feng did exist, as Taijiquan was passed from Master to Student heart to heart, so it must have started in a human heart. It is just that the early forms of religion were magical and mythical in nature; in the verbal story telling tradition.
I am sure they were both real characters. So I have a bit of direct background knowledge, most of it is in German. He is often attributed to the time of Song Dynasty, though the most reliable and accepted evidence indicates that Zhang San-feng was the former magistrate and scholar of Confucianism for Chung Shan County, and was a native from Yi Zhou in today's east Liaoning Province.
According to this evidence, he was born on the ninth day of the fourth moon of AD, in the Yuan Dynasty AD. His fame became established after he had completed a ten-year devotion at the Shaolin Monastery where, besides studying the Chinese Buddhist doctrines, he learned the " exoteric martial arts," wai kung. Zhang San-feng went on to study Taoism at the K'o Hung Mountain Monastery, which led him to wander as a hermit until he reached the Taoist enclave at Wudang Shan, sometimes referred to found in Hubei Province.
Here he founded the first major esoteric of internal school, nei kung , of martial arts. This was the birthplace of modern Tai Chi Chuan. A Chinese Merlin, Zhang San-feng laid out the initial moves of the Tai chi form, based on inspirational and dreams he had experienced. Composed much later, the Tai Chi classics state that one night he dreamed of a Taoist Immortal advising him to reform his strenuous training methods, to relax the rigors he had developed as part of his earlier Shaolin training.
The message of the dream troubled him for a long time, until one day he spotted a snake and a crane in deadly combat. The snake and the crane also have a magical significance in the West.
Having deciphered obscure Western alchemical texts, Jung found that the snake symbolized the "chthonic," with earth energy represented as a dragon or physics, which makes up the element equivalent to yin in Chinese philosophy.
Distinct from this creeping reptile, the crane stands for the aerial, the spiritual, psychic energy that is the yang principle. Therefore, the snake and the crane present two principle opposites of Nature in both Chinese and European alchemy. He was indifferent to fame and wealth and had no interest in the official career given by the authorities. After declining an official position and dispatching his property to his clan, he traveled around the country.
He stayed at Hua Mountain in northwestern China for several years to deepen his own self-training. After contacting the internal Gong-Fu transmitted from the line of Li Dong-Feng and Jia De-Shen, he changed his ways and turned to internal cultivation. He concluded four principles about his own system: First, control motion with repose. Second, conquer hardness with softness. Third, surmount swiftness with uniformity. Fourth, overcome the many with the few.
They fall roughly into three categories: natural gods, such as those of the sun, moon, wind, rain, and earth; deified mortals of great merit, such as role models for fidelity, filial piety, benevolence and justice; and daily functional gods, such as the door, kitchen and fire gods.
Each has its own characteristics, but all represent justice and benevolence and have the common purpose of helping the needy and punishing evildoers.
Unique among the large body of immortals believed to live on Wudang Mountain was the martial Taoist monk, Zhang Sanfeng. He could walk kilometers daily, fast for months at a time and vanish and reappear in an instant, according to The History of the Ming Dynasty.
The founding emperor of the Ming Dynasty Zhu Yuanzhang had tried unsuccessfully to employ Zhang Sanfeng in his service, but the monk was notoriously difficult to pin down. Emperor Zhu Di wrote an extraordinarily modest and respectful letter to Zhang Sanfeng, requesting a meeting, but Zhang declined.
No mortal that valued his life would have dared to behave in such an offhand manner towards the emperor, but as Zhu Di regarded Zhang Sanfeng as a deity he was not affronted. On the contrary, to express his sincerity, the emperor ordered construction of the Yuzhengong Meeting the True Man Palace on Wudang Mountain and the enshrinement of a statue of Zhang Sanfeng in its main hall. Some thought it was because Zhang Sanfeng was actually a living deity versed in the arts of necromancy and distillation of life-prolonging elixirs.
Since the Zhu Di epoch, however, Zhang Sanfeng has been regarded as a great martial artist and founder of Wudang kungfu, rather than immortal. Wudang kungfu is equal in reputation to Shaolin kungfu, the former being generally accepted as the southern, defensive and the latter as the northern, offensive school of martial arts.
Taoists were popularly associated with elixirs and alchemy, but Zhang Sanfeng was one outstanding exception. The amplitude of Dao and abundance of virtue are the best remedies, and a serene mind and absence of desires bring longevity. One was born in the Sung dynasty , who upon retirement retreated with disgust from the world to a Taoist monastery on Wudang Mountain, where he acquired his Taoist name of San Feng. More likely, Zhang applied the Taoist health principles and knowledge of energy circulation to his vast ability in external kung fu, thus creating something really different - a martial art that dos not use muscle power as a primary source of movement, but Chi.
Later he became an accomplished Inner KungFu master after long term practice with several teachers. Therefore, he was regarded as the common founder of all Taichi boxing schools. His family came from I-Chou in the Liao-tung Peninsula.
He spent many years at the Temple of the Jade Void, becoming expert in Shaolin kung fu. Early on, it was discovered that he could recite Taoist classics after only a single reading. As he traveled, he became wise in the meditative and martial arts. At the age of sixty-seven, he retired to the Wu Tang Mountains, where he built himself a cottage. At rest, he meditated, returning to the Original Source; when active, he roamed the Three Mountains and the Five Peaks, gleaning the finest elements and subtle chi of Heaven and Earth and circulating them with breathing exercises.
During this time, his reputation spread far and wide. The first Ming emperor sent a messenger to find him and bring him to court, but the errand was unsuccessful.
Throughout his life, Chang took pains to conceal his achievements. He did not want to appear at court and so worked hard to seem mad. He liked to tease people. He was very virtuous and often displayed such great mirth that is was impossible to remain melancholy in his presence. Instead of a staff, he carried a horsehair broom. He never ate grains or cereals at all. His picture can be seen at the White Cloud Temple in Beijing. He was very tall, his beard reached his navel, his hair touched the ground.
He had six hobbies: sword playing in moonlight, playing tai chi in the dark, mountain climbing on windy nights, reading the classics on rainy nights, meditating at midnight in the full moon, and playing the lute. One day, the Immortal suddenly saw a burst of golden light where the mists shrouded the peaks. A thousand rays of chi spun and dance in the Great Void.
He searched where the golden light touched down and found a mountain stream issuing from a cave. Approaching the cave, he saw two golden snakes with flashing eyes. He swished his horsehair duster and realized that they were really two spears of such quality that swords could not harm them. Master Chang also discovered in the cave a glowing book of songs and poems from which he extracted the essence, transforming them into the postures of the art of tai chi spear. In fact, the ape so often had an opportunity to watch the Master practice that, in faithful imitation, he developed a simian version of tai chi.
In years past, the mountains of Wudang were known for the many Taoist monasteries to be found there, monasteries which became known as an academic centre for the research, teaching and practise of meditation, Chinese martial arts, traditional Chinese medicine, Taoist agriculture practises and related arts. The monasteries were emptied, damaged and then neglected during and after the Cultural Revolution of , but the Wudang Mountains have lately become increasingly popular with tourists from elsewhere in China and abroad due to their scenic location and historical interest.
It represents the highest standards of Chinese art and architecture over a period of nearly 1, years. We can see that not only does the internal evidence of the Taijiquan Classics contradict Zhang's role, but Chen family material, ostensibly earlier and closer to the source, has no record of Zhang, regardless of the assertion that the founder of Chen style is said to have incorporated "Daoist ideas" into his proto-taijiquan style. Moreover, if Zhang had invented taijiquan, we would expect to find trace of Zhang in Chen Family Village, or to find traces of taijiquan in other locales in which Zhang and his followers may have been.
Additionally, neither Zhang's official biographies nor his attributed writings on Daoist topics mention boxing. Portraits of Zhang, no matter how far removed in time from when he lived, or how generic the style of painting, always depict Zhang in a contemplative stance, with no hint of boxing in the picture. One day he heard a noise outside and found that a bird was attacking a snake.
Chang watched as the bird attacked the snake's head and the snake yielded at his head and struck with his tail.
Then the bird attacked the snake's tail and the snake yielded at his tail and attacked with his head. When the bird attacked the snake's belly the snake yielded at the belly and attacked with both his head and his tail. In the end the bird gave up and flew away. Chang was so impressed with the beauty and efficiency of the snake's defense that he decided to create a martial art using the yielding yin and attacking yang method of the snake.
He combined the thirteen postures with Taoist philosophy and exercises to create Tai Chi Chuan. The Imperial History of the Ming Dynasty records that Zhang San Feng was born in , learned Taoism from a Taoist master called Fire Dragon at Nanshan Mountain in Shenxi, cultivated his spiritual development for nine years at Wudang Mountain, was known by the honorific title of "the Saint of Infinite Spiritual Attainment', and was the first patriarch of internal martial arts.
The Records of the Great Summit of Eternal Peace Mountain mentions that he studied the yin-yang of the cosmos, observed the source of the longevity of tortoises and cranes, and attained remarkable results.
Collections of Clouds and Water describes him as carrying his lute and sword on this back, singing Taoist songs, work in the mountains, and studying the marvelous secrets of the cosmos. He was born in , and again in AD. More likely, Chang applied the Taoist health principles and knowledge of energy circulation to his vast ability in external kung fu, thus creating something really different - a martial art that dos not use muscle power as a primary source of movement, but qi.
Descriptions picture him as being seven feet tall, with the bones of a crane and the posture of a pine tree, whiskers shaped like a spear, and in winter and summer wearing the same bamboo hat, carrying a horsehair duster and being able to cover Li in a day. The crane - snake combat gave him the ideas that the coiled movement of the snake was like the Taijitu the Yinyang symbol and contained the principle of the soft overcoming the hard.
Based upon the transformations of the Grand Ultimate, the Yin and Yang leading to the Bagua eight Trigrams, the Trigrams leading the There are many stories of exactly when Taijiquan was developed by Chang San-feng and no one today knows the accurate story.
Some of the accepted facts, however, are that he was a very intelligent man, he studied Shao-Lin Chuan for about ten years and mastered it, and with the foundation in Shao-Lin Chuan he developed the original thirteen postures of Taijiquan. There he chanced to meet one immortal called Dragon Fire who late transferred his knowledge regarding inner alchemy to him after knowing he was a competent practitioner. Cultivating true self for as long as nine years, Zhang Sanfeng finally succeeded in achieving Tao.
People called him an immortal who can excise unimaginable power to restrain the bad and promote the good, and transform all corporeal things into different forms as the he wished to do. All the universe turns to become one thing staying in his hand waiting for him to deal with.
Later, Zhang Sanfeng taught one set of boxing forms to Zhang Songxi and Zhang Cuisan, which was the very original form of Taiji boxing. Because there are only thirteen forms people called it Thirteen-Form Taiji Boxing. Among these 13 forms, stretching out, stamping, squeezing, chopping downward, picking up, changing place, using elbow, leaning against symbolize separately the eight trigrams, while moving forward, retreating backward, watching to the left, turning to the right and staying in the center indicate separately the five elements.
From these specific sayings there came the name of Thirteen-Form Taiji boxing. Based upon the Yin- and Yang-Qi theory and aimed at regulating operation of the inner organs according to five-element theory, TaiChi boxing incorporates many soft movements imitating cats, birds, snakes and monkeys, thus gaining the effects of soothing the inner mental state, harmonize the operation of inner viscera, strengthening the immune system, etc.
His historical existence, however, is unproved. According to these works he was seven feet tall and had enormously big ears and eyes, his appearance suggested the longevity of a turtle and the immortality of a crane, and his beard and whiskers bristled like the blades of a halberd.
He tied his hair in a knot and, regardless of the season, wore only a garment made of leaves. In his youth, Zhang is supposed to have studied Buddhism under the Chan master Haiyun , but then mastered neidan and reached immortality. He was known for his extraordinary magical powers as well as his ability to prophesy.
In the first years of the Ming period, Zhang reportedly established himself on Mount Wudang Wudang Shan, Hubei , where he lived in a thatched hut. With his pupils he rebuilt the mountain monasteries destroyed during the wars at the end of the Mongol dynasty. Later he came back to life, travelled to Sichuan, and visited Mount Wudang. The belief in the real existence of Zhang Sanfeng during the Ming Dynasty is reflected in the emperor's continued efforts to locate him.
The search for Zhang started in by order of the Hongwu Emperor and was extended from to by the Yongle Emperor Both sent out delegates several times, but they all returned without success. Promoted by the Ming emperor's interest, a cult developed around Zhang that spread widely and lasted until the later years of the Qing dynasty. As time went on, the legends about Zhang Sanfeng multiplied and became increasingly exaggerated.
Zhang is known as the founder of taiji quan a claim without historical evidence and the patron saint of practitioners of this technique. During the sixteenth and seventeenth centuries, a connection to the sexual techniques fangzhong shu was also established and texts dealing with these practices were ascribed to him. The belief that Zhang was the master of Shen Wansan, a popular deity of wealth, led to his own identity as a god of wealth in the seventeenth century.
His father heard that some Daoist priests in a Daoist temple had an incredible way of curing illness; so, he took Zhang Jun Bao there. Within a week, he was cured and the whole family was more than happy.
The Daoist priest loved Zhang Jun Bao and took him as a disciple teaching him both writing and martial arts. Like all fathers, his father wished him every success. Zhang Jun Bao was expected to take the state exam for a career in the government. However, he was not interested in becoming a politician or minister. He loved martial arts and visited many ancient temples. When he came to Yan Jing, he took up a local government post through the relationship of a good friend.
Since he did not enjoy this kind of life, Zhang Jun Bao quit and returned to Liao Dong where he spent most of his time in a deserted temple..
One day at the temple, a Daoist priest approached him. They talked throughout the night, and treated each other as old friends, regretting not having met earlier. As they parted, Zhang Jun Bao missed living a life of solitude, wanting to be free like the clouds and birds.
He spent the next few years visiting various places, learning martial arts and becoming famous. Zhang San Feng came and went without shadow. Settling down in Wudang Mountain , he was inspired by watching a snake fight a bird. He thought about martial arts, learned advantages from others, and combined Daoist fighting techniques in order to create the Tai Ji Quan 13 style.
According to legend, he established a monastery on the mountain called Mol-Don. Here he taught his students the centuries old principles and methods of the soft fist which he synthesized and codified. By Douglas Lee. Burbank, California, Ohara Publications, Inc, Their task was to create a Taoist Imperial Palace - a massive project in which the emperor invested the tributes and taxes from nine affluent southern Chinese provinces.
Thirteen years later, 33 clusters of Taoist temples, pavilions and bridges, including the Gilded Hall and the Taihegong, Qingweigong, Zixiaogong, Chaotiangong, Nanyangong, Huilongguan, Longquanguan, Fuzhenguan and Yuanheguan temples, had been built along the contour line of a km path from downtown Junxian to the Tianzhu Peak. At one time there were temples, administered by 10, or so monks, on Wudang Mountain.
The complex covered a 1. Emperor Yongle personally monitored the Wudang project. He took great care to ensure that the Taoist principle of respecting the laws of nature in all phases of construction was upheld. Though aware that the Mongolians were excellent bowmen, he was offended by their pomposity, so that when they ordered him to leave, he refused.
Chang stood a bird in each of his palms, but no matter how hard they tried to fly away, they could not escape, such was his yielding ability. One of the guards was so incensed that he drew his bow and shot an arrow at Chang, but the Master caught the arrow in his teeth. Then, holding the arrow in his fingers, he threw it at a tree, where it buried deep into the wood. Some time after creating tai chi, Chang was ordered to appear at the court of the Emperor Tai-tsu. On the way, while crossing a bridge, he was attacked by a band of one hundred brigands who thought him easy prey.
Within moments, the fight was over, all the outlaws lying unconscious on the ground. Chang walked away unscathed. There are numerous translations and commentaries on the short statement of the "Principles of T'ai Chi Ch'uan" attributed to Chang San-Feng. Students of Taijiquan will benefit from studying this Taijiquan classic. A number of versions are cited below for your consideration. The translators or interpreters chosen are:.
Olson, Stuart Alve , Jou, Tsung-Hwa, Yang, Jwing-Ming, Davis, Barbara, Liao, Waysun, Lo, Benjamin, Garofalo, Michael, With every movement string all the parts together, keeping the entire body light and nimble. In any action, the whole body should be light and agile, or Ching and Lin.
One should feel that all of the body's joints are connected with full linkage. Once in motion, every part of the body is light and agile and must be threaded together. Whenever one moves, the entire body must be light and lively, and must above all be connected throughout.
Once you begin to move, the entire body must be light and limber. Each part of your body should be connected to every other part. In motion all parts of the body must be light, nimble, and strung together.
Move in an agile, balanced, and coordinated manner. Once you decide to move, The parts of the body should act together: Feeling connected and coordinated, As balanced as two feathers on a scale, Strung together like pearls in a necklace, Agile like a cat, Lighter than moonbeams, Mobile as a young monkey.
Calmly stimulate the ch'i , with the Spirit of Vitality concentrated internally. Chi should be stirred. The spirit of vitality, or Shen , should be concentrated inwards. Qi should be full and stimulated, Shen Spirit should be retained internally. The qi should be excited; the spirit should be gathered within. The internal energy should be extended, vibrated like the beat of a drum. The spirit should be condensed in toward the center of your body. The ch'i breath should be excited, the shen spirit should be internally gathered.
Raise up awareness to draw Chi to every nerve, Fill up the body with the strength of the excited Force, Stir and stimulate the Chi from head to toe, Playing the Great Drum of Inner Powers.
Avoid deficiency and excess; avoid projections and hollows; avoid severance and splice. Do not show any deficiency, neither concavity nor convexity in movement. Do not show disconnected movement. No part should be defective, no part should be deficient or excessive, no part should be disconnected. Let there be no hollows or projections; let there be no stops and starts.
When performing T'ai Chi, it should be perfect; allow no defect. The form should be smooth with no unevenness, and continuous, allowing no interruptions. Let the postures be without breaks or holes, hollows or projections, or discontinuities and continuities of form.
Move in a continuous, even and smooth manner. Do not overextend the limbs or sully the forms. Flow like the Great River Filling all the holes and hallows, Unbroken, gathered, full, unstoppable; Seeking the True Level, finding the Golden Mean, Neither excessive nor deficient in Yin or Yang; Holding postures as perfect as the Blue Lotus, Moving steadily between forms like the White Tiger, Uniting body and will in the Jade Furnace, Transcending inner and outer, starting and stopping.
Jin Chin Skilled use of energy, coordinated and focused engagement using muscular force, trained movement responses, skillful use of interactive powers and forces,. The energy is rooted in the feet, issued through the legs, directed by the waist, and appears in the hands and fingers. The feet, legs, and waist must act as one unit, so that whether Advancing or Withdrawing you will be able to obtain a superior position and create a good opportunity.
The Chin is rooted in the feet, bursts out in the legs, is controlled by the waist and functions through the fingers. From the feet to the legs, legs to the waist, all should be moved as a unit. By moving as a unit, one can advance or retreat with precise timing and the most advantageous position.
The root is at the feet, Jin is generated from the legs, controlled by the waist and expressed by the fingers. From the feet to the legs to the waist must be integrated, and one unified Qi. When moving forward or backward, you can catch the opportunity and gain the superior position. Its root is in the feet, it issuing from the legs, its control from the yao , and its shaping in the fingers.
From the feet, to the legs, and then the yao ; there must always be completely one qi. Only then, in moving forward and backward, can the opportunity and position be gained.
The internal energy, ch'i , roots at the feet, then transfers through the legs and is controlled from the waist, moving eventually through the back to the arms and fingertips. When transferring the ch'i from your feet to your waist, your body must operate as if all the parts were one; this allows you to move forward and backward freely with control of balance and position.
The motion should be rooted in the feet, released through the legs, controlled by the waist, and manifested through the fingers. The feet, legs and waist must act together simultaneously, so that while stepping forward or back the timing and position are correct. Failure to obtain a superior position and create a good opportunity results from the body being in a state of disorder and confusion. To correct this disorder, adjust the waist and legs. If precise timing and good position are not achieved and the body does not move as a unit, then the waist and legs need more development.
They may not be strong or flexible enough. If you fail to catch the opportunity and gain the superior position, your mind is scattered and your body is disordered. To solve this problem, you must look to the waist and legs.
Where the opportunity and position have not been gained, the body is scattered and disordered. This error must be sought in the yao and the legs.
Failure to do this causes loss of control of the entire body system. The only cure for such a problem is an examination of the stance.
If the timing and position are not correct, the body becomes disordered, and the defect must be sought in the legs and waist. Likewise, upward and downward, forward and backward, leftward and rightward - all these are to be directed by the Mind-Intent and are not to be expressed externally. This often shows when moving up or down, backwards or forwards, left or right. Use internal consciousness, not external forms. Up and down, forward and backward, left and right, it's all the same.
All of this is done with the Yi Mind , not externally. Upward, downward, forward, backward, left and right are all thus. In all of these cases, it is yi , and not from extremities.
0コメント