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The Seal of the Unity of the Three — Vol. 2 - The Golden Elixir

The Seal of the Unity of the Three — Vol. 2 - The Golden Elixir

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186 II. Commentaries, Essays, and Related Works<br />

—————————————————————————————————————————<br />

containing <strong>the</strong> Guwen cantong qi. 3 Supposedly recovered from a stone<br />

casket, this version separates <strong>the</strong> sections in verses <strong>of</strong> four characters<br />

from those in verses <strong>of</strong> five characters. Scholars from <strong>the</strong> Qing period<br />

onward have <strong>of</strong>ten regarded <strong>the</strong> Ancient Text as spurious, and similar<br />

criticism is echoed in several Ming- and Qing-dynasty commentaries to<br />

<strong>the</strong> standard version, whose authors reject <strong>the</strong> new arrangement <strong>of</strong> <strong>the</strong><br />

work. 4 <strong>The</strong> prestige enjoyed by <strong>the</strong> Ancient Text within <strong>the</strong> Ming and<br />

Qing lineages <strong>of</strong> Neidan—and also within certain present-day milieux<br />

related to Neidan—suggests, however, that <strong>the</strong> verdict <strong>of</strong> non-au<strong>the</strong>nticity<br />

is inaccurate, and that it was to a large extent influenced by <strong>the</strong><br />

controversial personality <strong>of</strong> Yang Shen, who was <strong>of</strong>ten charged with<br />

falsifying texts. 5<br />

This accusation is ultimately irrelevant as far as <strong>the</strong> Cantong qi is<br />

concerned, for in fact <strong>the</strong> Ancient Text is not Yang Shen’s own work.<br />

Its origins can be traced back to at least three decades before him,<br />

when Du Yicheng 杜 一 誠 (zi Tongfu 通 復 , hao Yunfeng Daoren 雲 巖<br />

道 人 , a native <strong>of</strong> Suzhou like Yu Yan) wrote a now-lost commentary<br />

on it in 1517. 6 Moreover, and more important, <strong>the</strong> Guwen cantong qi<br />

3<br />

Yang Shen’s statement is included as a preface in several commentaries<br />

to <strong>the</strong> “Ancient Text,” including those by Jiang Yibiao (1614), Yuan Renlin<br />

(1732), Liu Wulong (ca. 1735), and Lü Huilian (1879).<br />

4<br />

See <strong>the</strong> entries on Jiang Yibiao’s and Li Guangdi’s commentaries to <strong>the</strong><br />

Ancient Text in Siku quanshu zongmu, 146.1249 and 147.1257. See also Pan<br />

Yuting, “Cantong qi zuozhe ji chengshu niandai”, 58, and Meng Naichang,<br />

Zhouyi cantong qi kaobian, 60–61.<br />

5<br />

On Yang Shen’s life and work see Goodrich and Fang, eds., Dictionary<br />

<strong>of</strong> Ming Biography, 1531–35; and Schorr, “Connoisseurship and <strong>the</strong> Defense<br />

Against Vulgarity: Yang Shen (1488–1559) and his Work” (especially pp. 105–<br />

8 on <strong>the</strong> Guwen cantong qi). In <strong>the</strong>ir account <strong>of</strong> Li Guangdi’s work (see <strong>the</strong><br />

previous footnote), <strong>the</strong> Siku editors plainly state that “[Yang] Shen liked to<br />

falsify ancient books” (Shen hao weituo gushu 慎 好 偽 托 古 書 ).<br />

6<br />

Bibliographic materials on Du Yicheng’s work were collected by Yu<br />

Jiaxi in his Siku tiyao bianzheng, 19.1214–18; see also Wang Ming, “Zhouyi<br />

cantong qi kaozheng”, 288–90. In an essay entitled “Preface to a Commentary<br />

to <strong>the</strong> Cantong qi” (“Zhu Cantong qi xu” 注 參 同 契 序 , in Xu Wei ji, 19.543–<br />

44), Xu Wei provides several important details, including a statement that<br />

Du’s work was already printed in 1533, a dozen years before Yang Shen’s<br />

claim <strong>of</strong> discovery. <strong>The</strong> same does Qiu Zhao’ao in his Guben zhouyi cantong<br />

qi jizhu, “Liyan ershi tiao”, 10b-11a. In ano<strong>the</strong>r essay, entitled “Note on<br />

Errors about <strong>the</strong> Ancient Text <strong>of</strong> <strong>the</strong> Cantong qi” (“Shu guben Cantong qi wu<br />

shi” 書 古 本 參 同 契 誤 識 , in Xu Wei ji, 29.679–81), Xu Wei discusses again <strong>the</strong><br />

© Fabrizio Pregadio and <strong>Golden</strong> <strong>Elixir</strong> Press 2012

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