The Origins of the Modern Tongue Diagnosis, with Ioannis Solos

Picture of Ioannis SolosA few months ago, I was having tea with a Chinese medicine professor, discussing my plans about making the ancient tongue diagnosis texts available in English. His first reaction was quite negative and disapproving. His arguments were that “nobody in China reads these books, why would the ‘foreigners’ wish to study them?”, and also “the classics lack photographic illustrations”.

Instead of answering these questions, in this entry I will briefly discuss about how the modern TCM tongue method managed to replace the old established classical tongue diagnosis system.

Traditionally, since the Yuan Dynasty, tongue diagnosis was intimately intertwined with herbal medicine. Therefore, the Gold Mirror Records, the Tongue Reflection in Cold Damage, and all the monographs up until the late Min Guo period, such as the Tongue Diagnosis in the National Medicine (which I think was the last important tongue text published pre-1960) all discuss tongue theory together with formulae. This approach survived until the late 1950’s because the transmission of this skill was still strongly adhering to the tradition. Around 1955-8 appeared the last standardized and annotated versions of the Gold Mirror Records and Tongue Reflection in Cold Damage quite signifying the end of this era.

 


The 1960 first edition of the "Chinese Medicine Tongue Diagnosis"

The 1960 first edition of the Chinese Medicine Tongue Diagnosis

The modern Tongue Diagnosis –as we know it today- began in July 1960, with the publication of the book Chinese Medicine Tongue Diagnosis.

Chen Ze-lin and Li Nai-min both describe this as being “the first specialist work on tongue Diagnosis after the formation of the P.R.C.” – Li Nai-min was also quoted to have said that: “The book inherited the substance and essence of tongue diagnosis in Chinese Medicine, and new concepts were put forward”.

Anyhow, it appears that the “new ideology” wished to convert the tongue into a universal diagnosis method, applicable in every branch of TCM. This book was therefore produced by “summarizing and organizing” the ancient bibliography. Three years later, in May 1963, the Tongue Fur Illustrated Manual offered a large collection of tongue photographs together with a brief TCM syndrome differentiation.

The back cover of the "Chinese Medicine Tongue Diagnosis"

The back cover of the Chinese Medicine Tongue Diagnosis

 

These books quite deviated from the established traditions. Herbal medicine was removed and there were no more illustrations pointing to clinical subtleties. Also, these books were not the outcome of clinical experience and did not offer a significant development following classic knowledge. However, they soon became the cornerstone tongue texts for the new era.

Either-way, by severing the links with the past immediately appeared a much bigger problem: the younger doctors soon became incapable of prescribing by looking at the tongue (according to the traditional system, a doctor could – more or less – form an idea about what formula to apply by just observing the tongue). Eventually the ancient skill transmuted into a mere “confirmation tool” for verifying the state of the pulse and symptomatology, thus denying 800 years of tongue diagnosis development.

 


Author's copy of the "Tongue Diagnosis in the National Medicine"

Author’s copy of the Tongue Diagnosis in the National Medicine

Sadly, most tongue books and monographs published since then strictly adhere to the ideas and the format brought forward in 1960-63.

The Cultural Revolution which followed a couple of years later, the abolition of the master-disciple system in Medicine, and the way TCM was taught in Colleges after 1977, made this silent change permanent.

In the west we were only introduced to the modern approach through the established textbooks and popular tongue manuals, never really knowing that the tongue had a much different and colourful past.

Only in recent years I have seen a few volumes published in China presenting non-photographic illustrations together with formulary, which I believe is a good indication about the future.

 


 

The description page of the 1963 edition of the "Tongue fur Illustrated Manual"

The description page of the 1963 edition of the Tongue fur Illustrated Manual

I will close this entry with a short anecdote: In the early 80’s, the BUCM wished to produce a tongue diagnosis book, for western readers. Some teachers were approached to write the text, first in Chinese, and then others would do the translation. Nevertheless, when younger professors suggested translating the 1960 edition of the Chinese Medicine Tongue Diagnosis (which is thought as the established classic), the old-timers replied that it cannot be used. The explanation given was that the original authors had to produce a comprehensive tongue summary in a very short time, by “copy-pasting” stuff from classics and putting together a collage in accordance to the ideology of the realm.

I am not really sure if such a book was ever published, but the story clearly depicts how the ancient tongue diagnosis was massacred, in order for a universally applicable comprehensive summary to be produced.

 

All illustrations come from the author’s private collection of tongue manuscripts.

© 2012 Singing Dragon blog. All Rights Reserved.

For more on the historical, theoretical and cultural aspects of the tongue theory see Ioannis Solos’ blog: http://ioannissolos.blogspot.co.uk/

 

 

VIDEO: Reading from The Valley Spirit: A Female Story of Daoist Cultivation

“A timeless tale of internal martial arts, wild medicine, healing and Daoist wisdom… the most interesting and thought-provoking book I have read for some years.”

 Alex Kozma, author of Esoteric Warriors and Warrior Guards the Mountain

 

Delve into Lindsey Wei’s personal story of Daoist cultivation with this reading from The Valley Spirit, interwoven with a visual documentary of the Five Immortal Temple, where the book takes place, and clips of the author herself training Ba Gua and Straight Sword.

The Valley Spirit with be available in early 2013 from Singing Dragon.


Lindsey Wei is a disciple of Li Shi Fu in a traditional Daoist lineage which stretches back thousands of years. She divides her time between living as a renounced practitioner in Wudang Mountain and teaching a select group of students in North America.

© 2012 Singing Dragon blog. All Rights Reserved.

The Enneagram of Personality – From Psychology to Spirit

The Enneagram of personality is an ancient, beautifully accurate, spiritual and psychological model of humanity. Describing nine personality types and their interactions, it enables us to look deeply into our own character, harmonise our daily lives and our relationships both personal and professional, and understand our personal path to growth.

Image of Karen WebbFirst described in the West by Gurdjieff, the Enneagram’s particular nine-pointed star is an ancient diagram, though no-one knows its origin. Not an arbitrary shape, it encapsulates the esoteric Laws of Three and Seven (octaves), is very like Pythagoras’ ninth seal symbolising humanity, and some researchers link ancient stone circles with the mathematics of the Enneagram.

Sufis have called the Enneagram ‘a God-given tool for personal moral healing’. A conversion concept including the diagram and nine personality types has been part of Sufi ethical training for 1400 years. Christian mystics of the Desert Father tradition, in the third and fourth centuries, worked with the concept of converting vice to virtue, using the personality traits now named in the Enneagram. It seems to be a wisdom which surfaces when and where it is needed – and in surprising ways – as of course all spiritual truths do.

The Enneagram describes, amazingly accurately, nine distinct personality types, their variations, and the spiritual states of being with which they are linked. Furthermore, the flow of connecting lines shows the inter-relation between different aspects of each personality. At first it may be hard to identify our type: unlike other typologies, Enneagram type is defined not by behaviour but by something which is so fundamental to our personalities that we may not be aware of, or may actively deny, it.

The central premise is that each of us has one of the nine possible ‘chief features’, a focus of attention so deep it is usually hidden from our conscious awareness, which sets the tenor of our whole lives. Originally a way of coping with the outer world, by the time we are adult it is an automatic biased perspective (the ‘false self’). The key words are ‘passion’ – through which we focus on the world emotionally – and ‘fixation’ – our mental focus. In the grip of our passion/fixation, behaviour is automatic and often harmful to our true well-being, though it was originally developed as a protection.

The Nine Enneagram Types

 

The beautiful part is that this ‘false’ personality shows us our own spiritual path: not an enemy to be conquered, but our best friend, showing us what lessons we need to learn and how to learn them. The different passions and fixations developed to protect their ‘holy opposite’ (Holy Virtue and Holy Idea), which were ‘forgotten’ as ego developed, and to which we long to return. They are mimicked as well as masked by personality.

Linking personality type to spiritual potential in this way, the Enneagram makes it possible for the first time to bridge the gap between psychology (who we are not) and spirituality (who we truly are): a continuum of healing growth.

All mystic traditions recognise three ‘organs of perception’. When unconscious the head produces fear, the heart yearning, and the belly anger. The nine Enneagram types are variations on these three basic emotions: according to our type, one of these is the ruling ‘negative’ emotion, whether we are aware of it day-to-day or not.

The central triangle of the Enneagram shows the core personalities of each centre. It also represents the trinity of Hope (3), Faith (6), Love (9), and would teach us to open all three centres.

I am often asked: ‘When I know my type, what then?’. We start with the personality. According to the Enneagram the resentments, desires and fears that go to make it up are actually distorted expressions of the energy one works with to get to the higher states.

Working with the Enneagram, with myself and clients, I have found it more creative to recognise your passion, put your attention on it, learn to observe it and see what it teaches you about yourself. Part of this learning is in meditation, developing a strong inner witness (that part of ourselves which is not our personality), and part in simple day-to-day self-observation.

This process itself loosens the grip of the automatic response: it also gives insight into how to work with our issues. Different issues define each personality type, and the same strategy for emotional, psychological and spiritual growth doesn’t work with all types of people. So the first step for all types is to observe the underlying placements of attention that support repeating behaviours and emotions.

Finally, though we are all capable of feeling all human emotions, we actually experience life in radically different ways, and have vastly different responses to events, even to conversations. The Enneagram, like any personality typology, can be trivialised. Though this cannot be helped, I trust that its real meaning will survive through those who recognise its spiritual origin. Studying your own and others’ types fosters skilful living, personal growth, better relationships, a deeper understanding of all humanity, and ultimately, despite our different personality types, the experience that we all are one.


Karen A Webb has been teaching the Enneagram in the Narrative Tradition for over 20 years. She graduated from the Enneagram Professional Training Program in 1991 and now runs Enneagram Studies UK, providing open and tailored Enneagram workshops and consultations. Karen is a passionate, lifelong student of spirituality, comparative religion and psychology and lives in Malvern, UK.

© 2012 Singing Dragon blog. All Rights Reserved.

Calligraphy and Spiritual Cultivation

Beginning with a demonstration of  the calligraphy of the dragon symbol, Master Zhongxian Wu shows how the art of calligraphy fits into the shamanic healing traditions of China.

 


Master Zhongxian Wu is the lineage holder of four different schools of Qigong and martial arts. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices. Since 1988, Master Wu has instructed thousands of students, both Eastern and Western. He synthesizes wisdom and experience for beginning and advancing practitioners, as well as for patients seeking healing, in his unique and professionally-designed courses and workshops. Please visit www.masterwu.net for details about his teachings.

© 2012 Singing Dragon blog. All Rights Reserved.

Gold Mirrors and Tongue Reflections – A Brief Introduction to the Academic Beginnings of the Tongue Diagnosis Tradition

Picture of Ioannis SolosBy Ioannis Solos


In pre-modern China, outbreaks of infectious/communicable diseases such as typhoid, plague, influenza, smallpox etc. were terribly common and dangerously contagious. Therefore, during such times, taking the pulse, speaking with the patient and even using acupuncture would often be a reckless way to interact with the sick.

For remedying this situation there was a great need for the development of a new approach in diagnosis, so physicians would be able to provide appropriate treatment while having minimal physical contact with the patient.

The first systematic Tongue Diagnosis system first appeared during the Jin and Yuan Dynasties, as an alternative to the Pulse method. It derived from the works of Scholar Ao (real name and period unknown) who was perhaps the first doctor to produce an ensemble of 12 tongue illustrations, in which appeared the common ailments of his era. Along with every image he also suggested a formula which – in his opinion – would be sufficient to appropriately manage each condition.

However, his manuscript, known as Little pieces of Gold (Shang Han Dian Dian Jin) was never meant to be public, and it appears that it has only been transmitted from teacher to selected disciples within closed circles, for centuries. This fact is also well described in Xue Li-zhai’s preface to the Scholar Ao’s Gold Mirror records, where it is said that:

‘Gentleman Ao set his own rules on the tongue diagnosis, and he thought that [they summarized] the essence for this special system. At the same time he wrote two books, the Little Pieces of Gold and the Gold Mirror Records, both [to be kept] as a secret and not be passed on. During [Emperor] Zheng De’s Wu-Chen year (1508) I met a person who was able to observe the tongue and prescribe [accordingly], and always with good clinical results. So I invited him to my home and tried to inquire about his method, but he refused to further elaborate about it.’

Page from "Scholar Ao's Gold Mirror Records"

A page from the Imperial compilation of the “Scholar Ao’s Gold Mirror Records” Underneath each illustration there is a short explanation and a treatment approach including an herbal formula. Qing Dynasty circa 1850.

Historically, in 1341, a scholar from the Hanlin Imperial Academy named Du Qing-bi acquired a copy of Ao’s manuscript. He edited the original text and further contributed to it, with an additional 24 illustrations to a total of 36. He therefore presented a more complete overview of the various tongue reflections according to his own ideas. His book was eventually named Scholar Ao’s Gold Mirror records (Ao Shi Shang Han Jin Jing Lu) (Illustration 1). This book was very easy to use, but also extremely profound. It demanded that the doctors work out the essence of the tongue differentiation system by studying the 36 tongues and then further developing their own personal understanding via clinical practice and meticulous research.

Du Qing-bi in his original introduction summarizes this as follows:

‘The earliest twelve tongues [in Ao’s manuscript] unfortunately did not cover all the [possible] patterns [and therefore] I [personally] added twenty four illustrations and [the appropriate] treatment method on the left side, containing the formula. From each section, [you should] advance progressively, in order to determine the subtleties of life and death.’

However, in rural areas where there were no doctors, common people could also match the patient’s tongue to the appropriate illustration (much like in Ao’s original system), and prescribe medicine in the hope that the patient could be saved.

Ma Chong-ru records this in his endnote as follows:

‘Although some places may lack good doctors, however they should have some reference materials to assist the situation. For those who have no [such materials to provide some] cure; only the destiny may determine their life and death. [Therefore] the easiest path to treat the cold damage is by using cut-blocks for printing and to spread [the knowledge].’

Illustration from “Essential Teachings on Tongue Observation in Cold Damage”

A tongue illustration from the “Essential Teachings on Tongue Observation in Cold Damage” and part of the summary on the grey tongue theory. Rare handwritten copy in the author’s possession, late Qing Dynasty, Guangxu era.

During the Ming Dynasty, and following the popularity of the Scholar Ao’s Gold Mirror Records, appeared the Essential Teachings on Tongue Observation in Cold Damage (Shang Han Guan She Xin Fa) (now lost in the print version). This book was a lot more detailed, and containing a total of 137 tongues. (Illustration 2) The Essential Teachings on Tongue Observation in Cold Damage provided each tongue with a lengthy explanation, formulae, and a poem to assist memorization. Although significantly more detailed than Ao’s manuscript, it never surpassed its predecessor in popularity. It appears that matching up the patient’s tongue to one of the 137 illustrations was a much harder task, and the lengthy explanations ultimately confused the doctors who wanted to fathom the author’s “root” methodology.

Eventually, during the Qing Dynasty, Zhang Deng edited/simplified the Essential Teachings on Tongue Observation in Cold Damage down to 120 tongues. Like he states in his introduction to The Tongue Reflection in Cold Damage:

‘[In this work] I corrected the mistakes appearing on the text of Guan She Xin Fa, dismissed all of its disordered inaccuracies, and thrown away the information that was not concerned with the cold damage. I have also added materials from my father’s case studies and notes on treatment, as well as materials from my own personal experiences. In total there are one hundred and twenty illustrations.’

A handwritten version of “Tongue Reflection in Cold Damage”

A handwritten version of the “Tongue Reflection in Cold Damage” with coloured illustrations. This variation also fully presents the structure of the formulae mentioned in the text, in accordance with the tradition in “Scholar Ao’s Gold Mirror Records”. Late Qing or early Min Guo manuscript.

The Tongue Reflection in Cold Damage (Illustration 3) was much simpler and easier to use, and it was reprinted continuously until the 1960’s, when it was finally replaced by modern tongue manuals.

To summarize, the Scholar Ao’s Gold Mirror records and the Tongue Reflection in Cold Damage have intimately influenced the development of modern Tongue Diagnosis, and they are still regarded as the core materials for exploring the theory of tongue diagnosis in depth.


These days, I believe that in order to better facilitate the westward transmission of Chinese Medicine, scholars should present complete ideas about their specialty, and provide a functional understanding of both the content and the history of their chosen field. In my opinion, the best way to accomplish this is not by randomly translating famous books or by providing many alternative translations of the same texts over and over again, but by presenting collections of important manuscripts arranged in such a way that can clearly demonstrate how each branch of TCM was developed.

In my humble book the Gold Mirrors and Tongue Reflections, I provide a translation of both the Scholar Ao’s Gold Mirror records (Ao Shi Shang Han Jin Jing Lu) and the Tongue Reflection in Cold Damage (Shang Han She Jian).

Having been researching classical tongue diagnosis for nearly a decade, I now wish to present my modest collection of influential tongue monographs, not only with the publication of this book but also through a companion volume currently in progress. I hope that my work will positively contribute to the further development of tongue research in the west, and assist my fellow TCM practitioners to develop a proper understanding on the academic origins of Tongue Diagnosis before accessing modern manuals.

All illustrations come from the author’s private collection of tongue manuscripts.

© 2012 Singing Dragon blog. All Rights Reserved.

 

Prana Mudra with Cain Carroll

This is the second video in Cain Carroll’s ‘Mudra Moments’ series. See here for part 1: Apana Mudra.

In this two-minute mini-class, Cain Carroll introduces Prana Mudra, a traditional Indian hand mudra which improves overall vitality and immunity, activates the body’s self-healing capacity, improves concentration, and strengthens stamina and willpower.

More information on Prana Mudra, including technique, application, benefits and sanscrit notation, can be found in Mudras of India: A Comprehensive Guide to the Hand Gestures of Yoga and Indian Dance.

Apana Mudra with Cain Carroll

In this two-minute mini-class, Cain Carroll introduces Apana Mudra, a traditional Indian hand mudra which improves digestive health and elimination (including easing constipation and hemorrhoids), and helps to regulate the menstrual cycle (alleviating cramping, dryness and clotting).

More information on Apana Mudra, including technique, application, benefits and sanscrit notation, can be found in Mudras of India: A Comprehensive Guide to the Hand Gestures of Yoga and Indian Dance .

Look out for more videos in the series of Mudra Moments coming soon to the Singing Dragon blog.

Master Wu plays ‘Misty Clouds Over the Xiao and Xiang Rivers’ on a silk stringed Qin

In this exclusive performance, Master Zhongxian Wu plays ‘Misty Clouds Over the Xiao and Xiang Rivers’, on a silk-stringed Qin.

 

 


Master Zhongxian Wu is the lineage holder of four different schools of Qigong and martial arts. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices. Since 1988, Master Wu has instructed thousands of students, both Eastern and Western. He synthesizes wisdom and experience for beginning and advancing practitioners, as well as for patients seeking healing, in his unique and professionally-designed courses and workshops. Please visit www.masterwu.net for details about his teachings.

© 2012 Singing Dragon blog. All Rights Reserved.

A Real Pain in the Neck! By Noah Karrasch, author, bodyworker and educator

Picture of Noah KarraschOne of my mentors developed some quite interesting ideas. Much as I’d like to share them specifically and credit him, he and his wife long ago decided that to keep his message pure, they didn’t want him quoted or credited, because they feared his work and ideas would be misrepresented. So, sort of like the reverence with which I hold MY interpretation of John Pierrakos’ work in CORE Energetics, I’d like to share a bit of MY interpretation of a different take on neck pain, fuzzy headedness, and poor health in general. I’ve sprung forth from the wisdom of the unnamed mentor.

We’ve all heard the term “Get your head on straight,” and most of us can see or feel how our heads live too far forward, in front of the rest of our bodies. Many of us use bodywork, postural work, or other awareness therapies to help us hold our heads high and keep them there. It’s not easy! Between driving, sitting in cars and recliners, pursuing intense close detail and breath-holding work (as a hobby or professionally), or for any of a hundred more reasons, we tend to sit and stand with our heads in front of our trunks and hearts, instead of allowing the heart to arrive first and the head to ride on top.

an image of the Atlas wedge in bad alignment

Bad alignment of the Atlas wedge

Image of the Atlas wedge in good alignment

Good alignment of the Atlas wedge

Let’s examine the bones involved here, namely the cranial bones including the occipital bone right at the back base of the skull. Just below it we find the seven cervical vertebrae or spinal bones. Imagine these seven have fingers on each side of the main body, and a little tail at the back of each, with muscle tissue running in every direction to/from all of them. Any one of these bones can get jammed/shortened/twisted in a way that nerve impulses leaving the spinal column above or below that bone get slowed down. It’s hard to send the full message through a clogged channel. As these cervical bones gets out of line, not only the neck, but the head, shoulders, and even arms and wrists can suffer. So, how do we keep the head on straight?

This mentor believed that demons and entities attached themselves to us, right at that place on the back of the neck where skull and neck meet. He claimed the physical sensation generated by these psychic attacks caused the first cervical or atlas bone to move forward, further jamming the spinal column, with the occiput and the axis bone immediately below the atlas pinching this atlas forward and tight.

I never particularly liked the language of demons and entities and for years I simply thought of these ‘energies’ as negative thought forms. After all, if they’re shortening and tightening your neck in a way that deprives your brain of energy, aren’t they negative? In the last couple of years I’ve been reassessing that term and now call these energies ‘unresolved’ thought forms. To me, I’ve therefore assumed responsibility for that which is occupying my space; even if it was directed at me (positively or negatively) by someone else. I believe in trying to take the ‘negative’ out of the situation and working instead at resolving the thought form in the mental and spiritual realms before tackling the physical body.

To that end, ask a client to sit, stand, or lie straighter or longer with chin down, back, and into the chest while the back of the neck pushes straight back; then to breathe. While they breathe I encourage them to allow angers and anxieties to leave even before I apply gentle neck traction. Then, with all these pieces in place, I believe we do the work of helping clients find their true north, their ‘up’. As they physically allow opening, some of the unresolved thought forms can move themselves. Or, as they work to release unresolved thought forms, won’t the neck feel looser? Won’t blood and nerve supply nourish the brain and suddenly make thoughts clearer?

It’s simple; it’s not easy!

 


© 2012 Singing Dragon blog. All Rights Reserved.

Master Zhongxian Wu demonstrates a section of the Fire Dragon Martial Arts Form

In this exclusive video, view a powerful demonstration of a section of the Fire Dragon Martial Arts Form, from Master Zhongxian Wu.


Master Zhongxian Wu is the lineage holder of four different schools of Qigong and martial arts. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices. Since 1988, Master Wu has instructed thousands of students, both Eastern and Western. He synthesizes wisdom and experience for beginning and advancing practitioners, as well as for patients seeking healing, in his unique and professionally-designed courses and workshops. Please visit www.masterwu.net for details about his teachings.

Copyright © Singing Dragon 2012.