VIDEO: Wu Xing Qi Gong, with Damo Mitchell

In this video, Damo Mitchell Demonstrates the Wu Xing Qi Gong. These are five basic health internal exercises from the Daoist tradition, which follow the principles of Tu Na, Liang I and Yang Sheng Fa.

These are the five exercises also featured in Damo Mitchell’s forthcoming book Heavenly Streams. Find more information on this book on the Singing Dragon website, and for more on Damo’s work, see www.lotusneigong.com.

Damo Mitchell has studied the martial, medical and spiritual arts of Asia since the age of four. His studies have taken him across the planet in search of authentic masters. He is the technical director of the Lotus Nei Gong School of Daoist Arts, and teaches Nei Gong in the UK, Sweden and the USA. He is the author of Daoist Nei Gong: The Philosophical Art of Change, also published by Singing Dragon.

© 2013 Singing Dragon blog. All Rights Reserved

 

Ten Methods of the Heavenly Dragon: An Interview with Robert Sheaffer.

Robert Sheaffer has been a seeker all his life. He has been fortunate enough to travel extensively throughout the world and to witness numerous traditional spiritual practices. His time spent studying with the Adept Shun Yuan of the Heavenly Dragon sect was one of his most profound and lasting experiences.

– You describe yourself as a Seeker. What, in your opinion, does this mean?Sheaffer-Ten Methods of the Heavenly Dragon-Cover

I think it comes down to being curious. The imperative to know drives me. I can’t hear a question that triggers an interest without immediately needing to pursue it. It’s a lust for knowledge and learning. This isn’t simply about learning answers – you can go and seek things out and think you’ve got answers, but after this there’s a lot of internal work to come to a point where you feel true understanding of something. And with this understanding it really truly becomes a part of you.

I was initially propelled on this path in my early teens. I remember reading about phenomena of a certain kind – such as the psychophysiological effects and health benefits of chi-kung practice – and getting fascinated by them. Despite reading about how difficult it was and how much practice and effort was involved in realising these things for yourself, I seemed to stumble into them with no effort and no preparation at all. Although the ‘attainment’ of certain skills, such as an ability to feel and gain some control over one’s internal energy, didn’t come very hard to me, I’m still here, many years later, working on really understanding them properly.

The discovery and development of the self through the internal arts is a lifetime’s work. For many people, the physical aspect is the crux of this work, but for me it just didn’t turn out like that. My methods are very physical, but it’s understanding them on many levels, that’s what keeps me occupied day by day.

 

– Your book, Ten Methods of the Heavenly Dragon, is based on your own experiences. How did you find the writing process – was it difficult, or cathartic? Did you discover anything new about yourself with the distance offered by time?

Well, I think we should go back to a step before this book began. I was writing something else, entirely. And that piece of work was a real struggle. And then this ridiculous idea hit me – why not write something from personal experience?

It was then very obvious what I wanted to write about. And the book essentially wrote itself. I turned up at the library as soon as it opened, I started working, and they would throw me out in the evening. Everyday I had this weird distortion of time. It was not quite automatic writing, but it was as close as it gets to it. Everything I wrote about in this book came back in a full sensory technicolour replay in my head as I was writing.

There was one particular section which was so sad to read at the time, that I had to completely rewrite it. This was towards the end of the book when we go to visit another teacher, who was severely ill at the time. It just seemed to bring my whole experience down to a really sombre place, and I had to really refocus on the positive aspects of that visit, see it again from an entirely new perspective. This was not a good time to relive, but the rest of it was pretty good.

 

– Many key events in your story seem to be determined by chance. How do you view these circumstances – do you think there was an aspect of ‘fate’ involved, or is this just how you wanted to live out this experience?

I don’t like the word fate because it’s usually used in conjunction with an idea of predeterminism. I think that existence is far more random. The key question is that when opportunities, or chances arise, whether to take them and run with them, or to resist? Hard experience has taught me that if you resist you crash. As long as you keep going with it, it’s all good.

 

– You begin the book with a quote from the Tao Te Ching “…when the inferior man hears of the Tao | He laughs aloud at it| If he did not laugh, it would not be the Tao”. Why did you feel that this was particularly relevant here?

Lao Tsu was trying to provide a whole picture of the world, the way it works and how we can live in it. Here, he’s hoping to talk to everyone. So if people don’t have different reactions to what he’s saying, when he’s talking to everyone, what he’s saying must be missing something. This is a necessary aspect of this message – that it’s taken in different ways by different people.

My book is written directly from my personal experience, but I know that there will be people that read it and think it’s fantasy. And that’s fine, as long as they enjoyed it.

 

– What do you hope readers will take from the book?

Different people are going to be carrying different things when they approach this book. But I think that I’d hope it inspires people to follow their feelings and be able to let go and keep letting go of resistance. The moment you try and force yourself in a certain direction or resist your inner feelings, things become difficult. Even if you can see that the next few steps ahead are going to be really tough, however difficult that is, it’s better than resisting and going the other way. Once you’ve begun letting go you do feel quite quickly the benefit of that in your life, the smoothness of being carried along. My message to the reader would be that once you’ve started that, just keep it up and keep letting it go.

© 2013 Singing Dragon blog. All Rights Reserved.

Request a copy of the UK Singing Dragon Complete Catalogue

Cover of the Singing Dragon UK Complete CatalogueMake sure not to miss Singing Dragon’s latest UK Complete Catalogue. If you have not yet received a copy, please sign up for our mailing list and we’ll send a free one out to you ASAP.

Readers in the UK and Europe who request a copy of the catalogue before February 15th, 2013 will also receive a voucher for a 15% discount on the entire Singing Dragon list of books, with free postage and packing.

Take advantage of this opportunity to find new, forthcoming and classic books on Chinese Medicine, Holistic Health, Taiji, Qigong, Herbal Medicine, Yoga, Spirituality and more. Also, sample health-promoting recipes with The Functional Nutrition Cookbook, and Make Yourself Better with Philip Weeks’ books. Delve into the history of Ayurvedic Medicine and the Mudras of India, and discover the Five Levels of Taijiquan, Daoist Nei Gong and Chinese Medical Qigong.

To request your copy of our Complete Catalogue, please click here. To receive your 15% discount voucher, please be sure to click the checkbox for “Singing Dragon” under area of interest or else mention this offer in the “any further comments” section.

If you have previously received a copy of the catalogue, and would like to take advantage of the 15% discount, please feel free to request a voucher via email at post@intl.singingdragon.com.

What everyone should know about Qigong, and how it can benefit you – with Richard Bertschinger

Richard Bertschinger studied for ten years with the Taoist sage and Master, Gia-fu Feng. A practising acupuncturist, teacher of the healing arts, and translator of ancient Chinese texts, he works and practises in Somerset, England. Here, he explores some key concepts of Qigong, showing just how universally beneficial the practice is, and how easy it is to pick up.

Image of Richard Bertschinger

* Qigong can also be called Dao Yin which means guiding or leading the Qi. So many problems come from blockages inside the tissue, so the idea is that you keep moving the Qi to loosen these blockages. There’s a wonderful saying ‘Door hinges never rot and running water never goes stale’, which brings out movement as primary to health. When you read about the biology of modern science you see that this concept is also biologically important: it’s the circulation of fluids and gases in the cell that provides the conditions for life. The interchange at the boundary of the cell is so important for the release of oxygen, the oxygenation of the tissue, the internal respiration of the cell. Here, it’s movement which is conducive to life.

 

* Originally these exercises were taught master to pupil and from father to son. You learnt, as one might say, energetically, through your skin, just by watching and following behaviour, on a very deep level. Now, when teaching we have to approach this learning slightly differently because you might get a group of 20 new people in a class that you might never see again. The starting point is to move the body. If students move their bodies the energy and breath will follow eventually, and they will get the secret. The brain itself will begin to adjust of its own accord. And the mind follows.

 

* Everyone has a different path. No-one comes in and qualifies 3 years later. One of the main principles behind Chinese medicine is that you suit the treatment to the individual and the condition – which of course can change. So with these exercises we’re looking for appropriateness. People can take from the book what they need at the time. What is wonderful is that it is such a natural practice and can adapt to many conditions. There is not one orthodox way, so long as you are following natural forms.

 

 

Illustration from Everyday Qigong Practice

Illustration by Harriet E. J. Lewars

* It’s important to have one particular space where you do these exercises and one particular time of day to do them. It’s difficult to just slip them in anywhere. However, I’m a great believer in us all being gifted amateurs. I think that people can very much take this practice home and do it themselves. I’ve seen students do most interesting things with exercises that I have taught them – you pick it up and pass it on.

 

* In Ezra Pound’s translation of the Confucian classic Da Xue, he highlights the saying ‘as the sun makes it anew, day by day make it new, every day make it anew’. My teacher Gia Fu Feng would encourage us to ‘rediscover’ the Qi everyday. We have to do this everyday or it gets covered over by the troubles, worries and issues of the world. I think it attests to the genius of the Chinese that they found a way to winkle out that health from our lives and to keep it there at a good level, keeping a good balance

 

* To have something that you can do under your own hands is just so valuable. Drugs are important but you don’t have to go down that route all the time – a lot is in our own hands. I’ve seen people come in with painful stomachs or painful knees, and if they do the rubbing exercises they improve. People with long-term conditions often respond well to Qigong as you are dealing with the smaller, finer (neuro-humeral) mechanisms in the body. When you practice in a gentle, conducive manner you actually have minute little chemical changes, which can make a great difference to overall wellbeing.


 

© 2012 Singing Dragon blog. All Rights Reserved.

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.

Singing Dragon attends Building Bridges of Integration conference in Chantilly, Virginia

Singing Dragon was happy to return to the Building Bridges of Integration for Traditional Chinese Medicine Conference in Chantilly, Virginia, from October 18-21. The warm temperatures made it feel like spring but with the beautiful foliage in full swing, fall easily gave itself away. The changing leaves were the perfect backdrop to this year’s conference theme: Transformation: Consciousness and Quantum Medicine.

Our table was busy with attendees who were happy to see Singing Dragon’s newest titles. These included I Ching Acupuncture by David Twicken, Acupuncture for New Practitioners by John Hamwee, Fire Dragon Meridian Qigong by Master Zhongxian Wu and Dr. Karin Taylor Wu and Illustrated Chinese Moxibustion Techniques and Methods by Professor Chang Xiaorong, Professor Hong Jing and Professor Yi Shouxiang. By the end of our first day we had even sold out of Frog’s Breathtaking Speech by Michael Chissick!

Attendees enjoyed discovering their Chinese animal and happily donned our pins inspired by Chungliang Al Huang’s The Chinese Book of Animal Powers. Attendees also stopped by to pick up our new title Mudras of India by Cain and Revital Carroll. Here Kate practices her Mandala Mudra.

During the conference we encouraged attendees to drop their business card into our bowl for a chance at a free copy of Chinese Medical Qigong. We are happy to announce that Deborah Waring of Lake Success, New York was the winner of this book. Congratulations, Deborah!

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.