Showing posts with label Komjathy. Daoist Tradition. Show all posts
Showing posts with label Komjathy. Daoist Tradition. Show all posts

2023/08/13

Komjathy. Daoist Tradition: 16 Notes, Bibliography, Index

Notes

Prelims

* As the names suggest, the so-called Period of Disunion as well as the Five Dynasties and Ten Kingdoms are extremely complex and consist of many different dynasties. This also is true of the Song dynasty, which actually existed concurrently with three other “non-Chinese” dynasties: Khitan Liao, Tangut Xixia, and Jurchen Jin.

Chapter 1

1 My emphasis on Daoism as a religion requires reflection on the meaning of “religion, religions, religious” (see Smith 1998). On the most basic level, Daoism is a religion because it consists of adherents and communities orientating themselves towards the Dao, the sacred or ultimate concern of Daoists. We may also think of Daoism as a “symbol system” (Clifford Geertz) and in terms of the “seven dimensions of religion” (Ninian Smart), namely, doctrines, ethics, experiences, myths/narratives, practices, social organization, and materiality. In contrast to many presentations, the present account neither underemphasizes nor overemphasizes the importance of institution with respect to understanding the Daoist tradition.

Chapter 2

1 At the first appearance of Daoists’ names, I supply the Wade-Giles version of the name. In the case of ordained and lineage-based Daoists,

I also supply the most common religious name of the person. After Daoism became a fully organized tradition, most ordained Daoists had their family surname (xing), their family given name (ming), sometimes various style-names (zi ), and religious names (faming; daohao). For example, Sima Chengzhen’s Daoist name is Zhenyi (Perfect Unity).

2 Here we must recognize an omission, namely, what I would refer to as “Daoism-between-Daoism.” This term designates an unanswered question of what happened between the compilation of the Huainanzi (139 BCE) and the emergence of the Taiping (Great Peace) and Tianshi (Celestial Masters) movements in the mid-second century CE. That is, there is a missing period of roughly three hundred years of Chinese history in this and other accounts of Daoism.

Chapter 3

1 As discussed in Chapter 1, there has been much debate about the actual existence of Daoist communities during the Warring States period and Early Han. This includes a technical debate over the meaning of “school,” which is often used as a translation for jia. For some specialists, “school” implies a specific founder and disciples, associated text, sense of solidarity, and enduring social institution (Roth per. comm.; see also Roth 2003: 181-219). In the present book, the notion of classical Daoist “schools” is simply used to suggest social trends, intellectual tendencies, and soteriological trajectories. In the case of Daoism, there was an early religious community with a certain sense of solidarity.

2 If one were more daring, one might rather think of the Zhuangzi as a Daoist proto-hagiography.

3 Although the Zhang family has become nearly synonymous with Daoism, there have been other key and prominent families throughout Daoist history. In terms of early organized Daoism, some of these include the following: the Wei and Li families, also associated with the

Tianshi movement; the Ge family, associated with the Taiqing and Lingbao movements; the Xu and Tao families, associated with the Shangqing movement; and the Ge and Lu families, associated with the

Lingbao movement. Other, lesser-known early Daoist families include Bo, Kou, Li, Shen, Tian, Wang, Wei, and Yue (see also Mather 1979: 109). Michel Strickmann (1977: 40) has also reconstructed a genealogy of the Xu family based on the Zhen’gao (Declarations of the Perfected; DZ 1016).

4 In contrast, the contemporary Taiwanese Zhengyi ordination system consists of either seven or nine ranks. According to the Sanshan dixue pai (Lineage of the Three Mountains Blood Alliance), which is circulated in manuscript form, they are as follows: (1) Shangqing (highest); (2) and (3) Qingwei; (4) and (5) Zhengyi mengwei; and (6) and (7) Lingbao (see Saso 1972a: 106; 1978: 198; per. comm.). These various ranks have corresponding spirit registers (lu) and related to specific types of ritual training.

Chapter 4

1 Note also the existence of the text Liezi (Book of Master Lie; DZ 733), which incorporates material from the Zhuangzi and which most likely dates to around the third century CE.

2 Here guan (“abode”) is a different character than the later guan (“observatory”). The former is the earliest designation for Daoist “monasteries,” which were set up by rulers or local officials to house one or several hermits. The latter term is a monastery in a more strict sense (i.e. a place where celibate religious live).

Chapter 6

1 Developing Paul Unschuld’s typology of Chinese medical history (Unschuld 1985), one may identify a number of diverse approaches to illness and their related therapeutic responses in terms of distinct models. These include ancestral medicine, demonological medicine, naturalistic medicine, moralistic medicine, and soteriological medicine. Each one of these is associated with a particular cause of illness (ancestors, demons, climatic influences, moral transgression, suffering as an ontological given) and therapeutic response

(recognition/pacification, exorcism/ritualistic intervention, harmonization/purgation, confession/religious intervention, elimination/liberation). Such approaches emerged during specific moments of Chinese history and are often associated with particular religious “traditions”: Shang dynasty (ca. 1550-1030 BCE)/ancestor worship; Zhou dynasty (ca. 1030-222 BCE)/wu (“shaman”)-oriented communities and Fangshi (“formula master”; magico-religious practitioner) lineages; Early Han dynasty (202 BCE-9 CE)/Cosmologists and Ruists (“Confucians”); Later Han dynasty (25-221 CE)/early Daoism; and Six Dynasties (265-581)/Buddhism. Such a linear historical mapping may suggest progression, but these diverse approaches to illness continued to coexist throughout Chinese history.

2 Traditional Chinese Medicine (TCM) is the contemporary form of Chinese medicine practiced in mainland China, other East Asian countries, and the West. It was created under the direction of the Chinese Communist government and attempts to “modernize” Chinese medicine to be more consistent with modern Western

(allopathic/scientific) views on disease and viable therapeutic approaches. Utilizing a Western scientific paradigm, this often includes combining pharmaceutical drugs with traditional Chinese herbs.

Chapter 7

1 This line is, in fact, more complex than my translation indicates. The line does not contain hun and po, but rather ying and po. There has been much debate about the meaning of ying. Although the contextual meaning remains obscure, in Chinese medicine ying (nutritive qi) is associated with hun and the liver, while wei (protective qi) is associated with po and the lungs. The point is to harmonize the ying and wei, the hun and po. The Heshang gong commentary also suggests that ying refers to hun, and this reading makes sense in terms of the notion of “embracing the One,” that is, maintaining unity.

2 Most of the so-called “Daoist sexual yoga practices” in circulation in the contemporary world are not Daoist. See Komjathy 2011b.

3 There has been some confusion in this regard concerning classical Daoist views, specifically with respect to the translation of shen. For example, in Chapter 13 of the Daode jing, we are told: “The reason why I have calamities is because I have a self (shen). If I did not have a self, what calamities would I have?” Although shen may mean body, here it more likely refers to a separate (constructed and habituated) self. We must avoid Hellenized Christian-influenced readings of shen as “body,” with the implication that there is a soul inside that physical shell.

Chapter 8

1 Other translations of de include “integrity,” “potency,” and “potentiality.” For some additional scholarly perspectives on the meaning of de see Waley 1958: 31–2; Mair 1990: 133–5. While both Waley and Mair point out that de may be “positive” or “negative,” and in the process conflate de with the Indian notion of karma, the foundational Daoist view is that de, in the context of and as an expression of successful Daoist practice, has particular qualities, qualities which exert beneficial and transformational influences on others. As such, Daoist de may challenge conventional morality and social norms, but actually may be more authentically “moral.” The key point is that de is rooted in Daoist practice and ways of being, not in habituation, intellectualism, and philosophical rumination.

Chapter 9

1 Many individuals have suggested that the category of “hallucinogen” be replaced with “entheogen” (lit., “god-spawning substance”), especially with respect to naturally occurring organic (not humanely synthesized) substances such as Peyote and Psilocybin mushrooms (see, e.g. Grof 2001; Smith 2003).

Chapter 10

1 The first line of the passage literally reads “to pant and puff, to hail and sip,” with the latter two characters generally used for exhaling and inhaling. These are probably four types of breathing. See Kohn 2008a: 56–8. I have left the characters untranslated in order to demonstrate the ways in which the passage anticipates the Six Sounds, which are discussed below.

Chapter 11

1 The first line of Chapter 10 of the Daode jing actually does not specifically refer to the ethereal soul (hun). I have followed the Heshang gong commentary in reading hun (“ethereal soul”) for ying (“encampment”). For the technical meaning of hun see Chapter 7 herein.

2 Note that Burton Watson, in his highly influential and generally reliable rendering of the text, has mistranslated qi as “spirit.” In the texts of classical Daoism, it is clear that qi is central, although the contextual meaning of the term, whether subtle breath or physical respiration, is open to interpretation. Following Watson, most nonspecialists misinterpret the passage.

Chapter 13

1 In the passage, buxu refers to both approaching the altar and the recitation of the opening liturgical hymn chanted by the officiant or chief cantor (jingzhu).

Chapter 14

1 Interestingly, the Daqin (Roman) Pagoda, a seventh-century Nestorian Christian missionary site, is located about two miles west of Louguan tai and is visible from the surrounding landscape. Later, probably by the late eleventh century, the site was converted into a Buddhist temple.

Chapter 16

1 While Daoism, especially the Primitivist lineage of classical Daoism, clearly has some overlap with modern movements such as deep ecology, Neo-Primitivism, and “back-to-the-land” intentional communities, it is not completely anti-technological; Daoism is not a quasi-Luddite movement. Rather, generally speaking, Daoism has emphasized place-specific communities utilizing appropriate technology, that is, technology on a human scale and characterized by sufficiency. See, for example, Chapter 12 of the Zhuangzi, wherein a gardener responds to the offer of technological advance as follows: “Where there are machines, there are bound to be machine worries; where there are machine worries, there are bound to be machine heartminds.”

2 Here “family resemblance” and “recognizibility” refer to the degree to which the observed phenomenon resembles its source-tradition or source-community.

3 At present, it is unclear how the organizations calculate membership. Some seem to mean committed members and supporters. Others seem

to mean anyone who has some degree of association. In general, I have used the statistics supplied by the given organization. 


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2023/08/12

Komjathy. Daoist Tradition: 15. Daoism in the Modern World

   Komjathy, Daoist Tradition: 

An Introduction 2013
by Louis Komjathy

Table of Contents

Part 1: Historical Overview
1. Approaching Daoism
2. The Daoist Tradition

Part 2: The Daoist Worldview
3. Ways to Affiliation
4. Community and Social Organization
5. Informing Views and Foundational Concerns
6. Cosmogony, Cosmology, and Theology
7. Virtue, Ethics and Conduct Guidelines

Part 3: Daoist Practice
8. Dietetics
9. Health and Longevity Practice
10. Meditation
11. Scriptures and Scripture Study
12. Ritual

Part 4: Place, Sacred Space and Material Culture
13. Temples and Sacred Sites
14. Material Culture

Part 5: Daoism in the Modern World
15. Daoism in the Modern World

===
PART SIX Daoism in the modern world 
15 Daoism in the modern world
 
 
All that was once directly lived has become mere representation.
—Guy Debord, Society of the Spectacle (1967)
Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal…The era of simulation is inaugurated by a liquidation of all referentials…It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real.
—Jean Baudrillard, Simulacra and Simulation (1981)
These passages point towards the fragmented and surreal, perhaps hyperreal, experience of living in the modern world, especially in modern industrialized societies with their post-humanistic scales and their increasing banality. They also point towards the ascendance of disembodied forms of communication and placeless (“virtual”) community as the primary dimensions of selfhood (“digital identity”) in such contexts. As we have seen, pre-modern Daoism has tended to emphasize aesthetics, community, embodiment, place, and so forth. Such values and commitments challenge most modernist and postmodernist mentalities. This does not mean that Daoism is solely archaic and primitive.1 Rather, it suggests that Daoists and Daoist communities tend to be rooted in meaning systems and social realities that seem radically different when juxtaposed with the systems and processes of modern life. The question thus arises as to the fate of Daoism in the modern world. Some have suggested that Daoism is on the brink of extinction, while others believe that the tradition is currently undergoing renewal and revitalization. This largely depends on how one understands Daoism, and what one believes its defining characteristics and essential features are. The truth is probably somewhere in the middle: the landscape of Daoism has experienced massive erosion, deforestation and desertification, but there are communities attempting to inhabit and restore the sacred site.
There can be no doubt that Daoists, Daoist communities, and Daoist culture suffered immense difficulties during China’s Cultural Revolution (1966–76), in which religious sites were closed or destroyed and the overt functioning of religion was banned. This resulted in a “lost generation” of mainland Chinese Daoists (ages 50–80) and a massive disruption in the continuity of the tradition. At the same time, the Chinese Communist Revolution also prepared the way for the globalization of tradition-based Daoism, and mainland Chinese Daoism has gradually regained some of its vitality from the 1980s onward. However, like the near-absence of Daoist clerical voices in the modern representation of the tradition, the presence of “Daoism” in the modern world is largely a series of intellectual fabrications, fictions, and fantasies. While such constructions and appropriations are simulacra (copies without an original), actual Daoism, as an indigenous Chinese and global religious tradition, has begun to be disseminated and established throughout the modern world. Remaining rooted in and transcending its Chinese origins, the global Daoist tradition is characterized by cultural, ethnic and linguistic diversity. In that context, Daoism is both a Chinese religion and a transnational movement. Such a development requires reflection on the relationship among cultural, ethnic and religious identity.

1] Approaching global Daoism

As emphasized throughout the present book, Daoism is first and foremost an indigenous Chinese religion deeply rooted in traditional Chinese culture and history. At the same time, Daoism is now slowly becoming established throughout the modern world. With varying degrees of connection with the Chinese source-tradition, Daoism is becoming transmitted and adapted in the modern world. Beyond the Chinese cultural sphere, there are tradition-based Daoist adherents and communities in Australia, Brazil, Canada, France, Great Britain, Italy, Spain, the United States, and so forth. These adherents and communities consist of people from a wide variety of cultural and ethnic backgrounds.
Before discussing the history, defining characteristics, and dimensions of contemporary Daoism, some theoretical points and interpretive frameworks may be helpful. We may map the landscape of contemporary global Daoism along a spectrum: from transmission through adaptation to appropriation and fabrication. These relate to tradition and innovation.
 
CHART 12 Spectrum of Global Daoism
Transmission is the most tradition-based; it emphasizes the preservation and transmission of tradition. This of course requires investigating the conception and construction of “tradition” within particular communities. However, with the religious literacy gained from the earlier chapters of the present book, the contours and parameters of the Daoist tradition should be relatively clear. Adaptation involves both a connection to the earlier tradition and a commitment to innovation. It usually involves modifying the received tradition to meet the influences of new socio-historical and cultural contexts as well as the challenges of modernity. Some degree of assimilation and accommodation is involved. A question here is at which point do “innovation” and “adaptation” become so removed from the source-tradition that they are no longer part of that tradition. Finally, appropriation involves appropriating bits and pieces of a religious tradition. In the case of Daoism, this is most often done in the name of “personal spirituality.” As a form of intellectual and spiritual colonialism (see Lau 2000; Carrette and King 2004), appropriation is the most widespread phenomenon of Western engagement with Daoism, and there are major ethical and political issues involved. Simply stated, most forms of appropriation involve denial of the defining characteristics of Daoism, disempowerment of ordained Daoists and Daoist religious communities, and disparagement of the Daoist tradition as such. Most of what goes by the name of “Daoism” in the West, especially throughout the internet and popular publications, are forms of appropriation and fabrication. They are rooted in colonialist, missionary and Orientalist legacies.
2] Daoism in contemporary China

The center of global Daoism remains mainland Chinese Daoism, followed closely behind by Taiwanese and Hong Kong Daoism. That is, Daoism as such remains predominantly an indigenous Chinese religion practiced by people of Han ethnicity in China and the larger Chinese cultural sphere. It is largely a Chinese religion rooted in traditional Chinese culture. The latter includes Chinese aesthetics, cultural values, food, language, worldviews, and so forth. The contemporary landscape of global Daoism is intricately connected to the history of modern China. As briefly touched upon in Chapter 2, the modern history of Daoism is one of turbulence, disruption, and almost complete devastation (see also Schipper 2000). It is largely a history of loss: the loss of community, cultural capital, patronage, place, tradition, and actual material culture. Prior to the 1980s, the modern history of Daoism appeared to be one of geographical contraction, cultural diminishment, and spiritual dissolution (see Pas 1989; Overmyer 2003; Miller 2006). And yet, it is also a story of revitalization.
Chinese dynastic history, with its corresponding emperors, ruling houses, aristocracy, and officialdom, ended with the Qing dynasty (1644–1911). This occurred in 1912 when the Republicans, also known as the Nationalists, established the Republic of China (ROC; 1912–49; 1949–). This government was subsequently replaced by the Chinese Communist Party (CCP) and the People’s Republic of China (PRC) in 1949. At that time, the Republicans as well as many of the Chinese cultural elite fled to Taiwan, where they relocated the Republic of China. Unlike Hong Kong, which was reincorporated from Great Britain in 1997 as a Special Administrative Unit under the “one country, two systems” system, Taiwan remains independent from the PRC. Two other key dates should be mentioned. First, the Cultural Revolution occurred between 1966 and 1976, wherein a systematic attempt was made to destroy all remnants of traditional Chinese culture and religion. Daoists, Daoist communities, and Daoist sacred places suffered immense damage, including the forced evacuation of Daoist temples and the forced laicization of Daoist clergy. Second, following the death of Mao Zedong (1893–1976), Deng Xiaoping (1904–97) initiated the Four Modernizations, economic and social reforms that commenced in 1978. These developments opened the way for increased religious freedom and revitalization. However, unlike in the United States where there is legal separation of church and state, religious activity is monitored and managed by the state in the modern PRC. The Chinese Communist government recognizes five official religions, including Buddhism (fojiao), Catholicism (tianzhu jiao), Daoism (daojiao), Islam (yiselan jiao), and Protestant Christianity (jidu jiao) (see Poceski 2009; Yao and Zhao 2010). All of these occur within institutional structures that are overseen by the Bureau of Religious Affairs, and the corresponding religious association. In the case of historically and culturally significant sacred sites, the Bureau of Religious Affairs oversees the clergy and their activities, while the Bureau of Culture controls important artifacts and the Bureau of Tourism oversees tourist activity, including entrance fees. Thus, mainland Chinese Daoist sites are not primarily under the control of Daoists.
Contemporary Daoism in mainland China is dominated two primary movements: Zhengyi and Quanzhen, especially the latter’s Longmen lineage (see also Lai 2003; Chen 2008). While this is undoubtedly the case, such statements should also be qualified. Daoism has also been popularized through various Daoist and “non-Daoist” Yangsheng (Qigong) and internal alchemy practices, continuing the process of simplification, popularization, and laicization that began during the late imperial period. That is, there are non-clerical and non-institutional expressions of Daoism in contemporary China. This engagement with “Daoism” also appears as interest in so-called “Daoist philosophy” (zhexue) and “Daoist thought” (sixiang). A number of modern Chinese intellectuals, such as Hu Fuchen (Chinese Academy of Social Studies) and Liu Xiaogan (Chinese University of Hong Kong), have attempted to establish so-called “New Daojia” (xin daojia), in a manner perhaps paralleling “New Confucianism” in the twentieth century.
These points notwithstanding, Zhengyi and Quanzhen remain the primary forms of Daoism in contemporary China, especially when one considers Daoism as a religious tradition, an intact culture, and an integrated soteriology. As we have seen in previous chapters, Zhengyi is an alternate name for the Tianshi movement. The former name refers to the revelation and covenant, while the latter name refers to the highest clerical position, the Celestial Master. In the modern world, the Celestial Master is less important, but we should at least know something about the complex modern history of the position. The most recent Celestial Masters are as follows: Zhang Yuanxu (1862–1924; 62nd), Zhang Enpu (1904–69; 63rd), Zhang Yuanxian (1930–2008; 64th) (Kleeman 2008a), and possibly Zhang Jiyu (b. 1962; 65th). The eldest son of the 62nd Celestial Master, Zhang Enpu fled to Taiwan with the Nationalists, where he established Taipei, Taiwan as the de facto headquarters of Tianshi Daoism. Zhang Enpu was instrumental in establishing the Taiwan Daoist Association (Taiwan sheng daojiao hui) in 1950, later renamed the Daoist Association of the Republic of China (Zhonghua minguo daojiao hui), and in securing the reprinting of the Mingdynasty Daoist Canon in 1962 (see Chapter 12 herein). Following Zhang Enpu’s death, the position of the Celestial Master passed to his nephew, Zhang Yuanxian and then possibly to Zhang Jiyu following the former’s death in 2008. The circumstances of the most recent transfer are unclear, but it is significant because the Celestial Master now appears to be in mainland China, rather than in Taiwan. Zhang Jiyu is currently one of the vicepresidents of the Chinese Daoist Association.
Perhaps more important than the Celestial Master himself are the various family lineages and local Zhengyi communities, which are especially prominent in southeastern China and Taiwan (see Chapter 13). These groups have received a relatively high degree of scholarly consideration, especially through ethnographic fieldwork, and have in turn exerted strong influence on Western academic accounts of Daoism. Particularly noteworthy are the Taiwanese priests Zhuang-Chen Dengyun (1911–76), who was studied by
Michael Saso, and Chen Rongsheng (b. 1927), studied first by Kristofer Schipper, then by John Lagerwey and Poul Andersen, among others. In terms of the history of global Daoism, we should also note that both Saso (b. 1930) and Schipper (b. 1934) were among the first known Westerners ordained as Daoist priests. They are both ordained members of Zhengyi, and they have also helped to establish a model of Daoist scholar-practitioners inside of Daoist Studies. In contemporary mainland China, the two principal sacred sites associated with Zhengyi are Longhu shan (Dragon-Tiger Mountain; near Yingtan, Jiangxi) and Maoshan (Mount Mao; Jurong, Jiangsu) (see Chapter 14). It also appears that the recent reinstitution of large-scale ordination ceremonies at Longhu shan has included a number of Westerners.
Although there are Zhengyi priests and communities throughout contemporary mainland China, most of the major temples and sacred sites are under the jurisdiction of Quanzhen (see Chapter 14), and specifically its Longmen lineage. At the same time, contemporary mainland Chinese Quanzhen is deeply bound to the Bureau of Religious Affairs and the Chinese Daoist (Taoist) Association (CDA/CTA; Zhongguo daojiao xiehui). The CDA was established in 1957, with its headquarters at Baiyun guan (White Cloud Monastery; Beijing). The first assembly was attended by ninety-one representatives including Daoist scholars and priests from Daoist lineages, mountains, and temples located throughout China. Sixty-one members were elected, and Yue Chongdai (1888–1958), the abbot of Taiqing gong (Palace of Great Clarity; Shenyang, Liaoning), was chosen as president (Wang 2006: 137–72; Sakade 2008b). The activities of the CDA were suspended during the Cultural Revolution, but recommenced in 1980. The CDA functions under the direction of the Bureau of Religious Affairs, which is the primary bureaucratic organization governing contemporary mainland Chinese Daoism. Its national presidents (huizhang) have included the following individuals: (1) Yue Chongdai (1888–1958), (2) Chen Yingning (1880–1969), (3 & 4) Li Yuhang (1916–2002), (5) Fu Yuantian (1925–97; Longmen), (6) Min Zhiting (Yuxi [Jade Stream]; 1924–2004; Huashan), and (7) Ren Farong (Miaohua [Wondrous Transformation]; b. 1936; Longmen). The CDA is based at Baiyun guan, which also serves as a major research center for Chinese Daoist Studies, and as one of the principal training centers and ordination sites for Longmen novices. In terms of training, the Chinese Daoist Seminary (Daojiao xueyuan) is there.

3] Contemporary Daoism in the Chinese cultural sphere

The “Chinese cultural sphere” refers to those areas within which China was the primary cultural influence. Broadly speaking, it refers to East Asia, including Hong Kong, Taiwan, Japan, Korea, Malaysia, the Philippines, Singapore, as well as parts of Cambodia, Indonesia, Laos, Thailand, and Vietnam. The cultural and religious situation of each of these countries is unique, and many of them are now characterized by a combination of capitalism, Buddhism, and Christianity. That is, Chinese cultural and Daoist influence are relatively minor. However, there are nonetheless examples of global Daoism in these countries. Unfortunately, very little research has been done on this topic, so the present account must be taken as preliminary and tentative.
Contemporary Taiwanese Daoism has received a relatively high degree of attention in modern Western scholarship (see Chapter 13 herein). This was largely a response to contemporary Chinese history, with mainland China being relatively inaccessible prior to the 1980s. During the Cultural Revolution in mainland China, Taiwanese Daoists played a major role in preserving traditional Daoist culture, including material culture of historical significance such as Daoist liturgical art, manuscripts, and ritual traditions (see Chapter 15). Contemporary Taiwanese Daoism is dominated by the Zhengyi movement, with hereditary priests and Daoist families who perform rituals for local communities. Generally speaking, these are full-time ritual experts whose services are commissioned by members of the local community. Like Hong Kong Daoism, Taiwanese Daoism is highly syncretic, often combining elements from Confucianism, Buddhism, Chinese popular religion, and even Christianity. In addition, due to Taiwanese laws concerning legal status, many newer religious movements such as Yiguan dao (I-kuan tao; All-pervading Truth; Unity Sect), with only tenuous connections to Daoism, have been categorized as Daoist.
Outside of Hong Kong itself, contemporary Hong Kong Daoism is less well known than its Taiwanese counterpart. To date, it has only received one Western-language study (see Tsui 1991). Much of Hong Kong Daoism is dominated by powerful and wealthy Daoist families. There are also a number of large and prominent temples, with Ching Chung Koon (Qingsong guan; Azure Pine Monastery; New Territories), Fung Ying Seen Koon (Peng-Ying xianguan; Immortal Community of Peng and Ying; New
Territories), Wong Tai Sin (Huang daxian; Great Immortal Wong; Kowloon), Yuen Yuen Institute (Yuanxuan xueyue; Complete Mystery Institute; New Territories), and Yuk Hui Temple (Yuxu gong; Palace of Jade Emptiness; Cheung Chau Island) being among the most influential. In particular, Wong Tai Sin is probably the most famous and popular temple as well as a major tourist destination (see Lang 1993). In addition, it appears that Moy Lin-shin (1931–98) and Mui Ming-to (d.u.), the co-founders of Fung Loy Kok (Penglai ge; Penglai Pavilion) in North America, had some connections with the Yuen Yuen Institute. As many of the Hong Kong temples are highly syncretic and incorporate a variety of elements of popular Chinese religiosity, their categorization as “Daoist” deserves additional research and reflection.
Due to the somewhat factional nature of Hong Kong Daoism, there are also a number of competing Hong Kong Taoist Associations. Hong Kong Daoism in turn consists of Zhengyi, Longmen, as well as various family lineages with less clear histories. With respect to Zhengyi, Zhengyi priests are the main ritual experts for festivals and for the jiao-offering rituals in the villages of the New Territories and outlying islands; they also dominate the market for “non-Christian” funeral services (David Palmer, per. comm.). In terms of Longmen, as in Taiwan, the lineage differs from its mainland Chinese counterpart; generally speaking, it is not monastic and does not adhere to foundational Quanzhen religious commitments. In fact, research suggests that the establishment of Daoist communities and institutions in Hong Kong was largely an extension of popular spirit-writing cults and charitable societies in southern China during the late Qing dynasty (1644– 1911) (see Tsui 1991; Mori 2002; Shiga 2002). Many of the former specifically focused on mediumistic activity related to Lü Dongbin (“Ancestor Lü”), a famous Tang dynasty immortal and wonder-worker identified as the patriarch of certain internal alchemy lineages (see Chapter 6). For some reason, these groups often identified themselves as Longmen. If one believes the internal histories of certain southern families, it seems that there were also formal Longmen temples in southern China, whose affiliates eventually migrated to Hong Kong. According to the Luofu zhinan (Guide to Luofu), ordained Longmen priests first established temples in Guangdong in the late seventeenth century (Tsui 1991: 66–70), but the actual relationship between these temples and the Daoist temples in Hong Kong remains unclear (see Shiga 2002). In any case, major Daoist temples and organizations began to be established in Hong Kong from the late nineteenth through the middle of the twentieth century.
The Hong Kong organizations consist of both ordained, married clergy as well as a much larger lay community. Hong Kong Daoism has developed its own unique characteristics and forms of ritual activities, including newer forms of Daoist liturgical practice. It seems that the dissemination and growth of Daoism among southern Chinese groups who eventually migrated to Hong Kong was largely due to two major factors. First, in the case of Lüzu (Ancestor Lü) cultic activity and temples, individuals were given insights into an unpredictable future through spirit-writing sessions. In addition, many people reported supernatural and healing experiences. Such events no doubt proved appealing to potential converts. Second, in the case of charitable societies, people were given assistance in times of need. Combined together, one finds a context where popular devotionalism and social solidarity flourished. Such patterns of community involvement continue in the contemporary Hong Kong Daoist emphasis on services for departed ancestors. Here we should also mention that, given their relatively high degree of cultural capital and material resources, Taiwanese and Hong Kong Daoist organizations have played a major role in the revitalization of contemporary mainland Chinese Daoism, especially in terms of funding mainland Chinese Daoist restoration projects and research on Chinese Daoism. Many temple construction and renovation projects are the result of their funding.
In terms of Japan, initial research indicates that the history of Daoism in Japan was largely one of the dissemination and adoption of specific views and practices, rather than enduring institutions (Masuo 2000; Sakade 2008a). Of the major Daoist beliefs adapted, the emergence of the “Kōshin cult” in medieval Japan is noteworthy. The kōshin (Chn.: gengshen) day, the fifthseventh day of the sexagesimal (sixty-day) cycle when the Three Deathbringers supposedly reported an individual’s moral transgressions (see Chapters 7 and 9 herein), became a popular religious festival and celebration. In contrast to their Chinese Daoist ascetic counterparts, Japanese participants engaged in extravagant banquets, drank wine, ate meat, performed music, watched dance performances, and played games. The current situation of Daoism in Japan is unclear, although Daoyin, Yangsheng, and internal alchemy, some of which have roots in Daoism, have some circulation through the larger populace.
Beyond Taiwan and Hong Kong, and within the larger Chinese cultural sphere, it appears that Korea received the greatest degree of early transmission and acceptance. Current research indicates that Daoism was first introduced into Korea when Emperor Gaozu (r. 618–26) of the Tang dynasty sent Chinese Daoist priests and a statue of a Celestial Worthy to the kingdom of Koguryo in 624, and had priests read the Daode jing before the Korean king and court (Jung 2000; Miura 2008a). The first Daoist temple, named Bokwon kung (Palace of the Auspicious Source), was built at the beginning of the twelfth century under the Koryo dynasty (918–1392). It housed statues of the Sanqing (Three Purities) and was tended to by more than ten white-robed Korean Daoist priests. It appears that some form of institutionalized Daoism, however small, existed in Korea until the Choson dynasty (1392–1910), which adopted Confucianism as state ideology. The then-extant fifteen officially recognized sites for Daoist offerings and rites that had been established during the Koryo dynasty were almost all abolished. Early Korean engagement with Daoist beliefs and practices primarily centered on the court; Daoist priests performed rituals to protect the state on behalf of the court and royal family. With the decline of Daoist state ritual under the Choson dynasty, Korean intellectuals became more interested in Yangsheng and internal alchemy practices. Around the fifteenth or sixteenth century, such interest grew into the formation of a specifically Korean neidan school, namely the Haedong sonp’a (Korean Immortal Lineage) (Miura 2008a). Although the motivations behind and degree of Korean conversion is currently unknown, Daoist internal alchemy practice became one dimension of Korean religious culture. For example, the contemporary group Kukson to (Way of National Immortals) practices a form of neidan-inspired breathing techniques. There is also Sundo (Way of the Immortals; a.k.a. Mountain Taoism), a more recent group founded by Hyunmoon Kim (d.u.). The movement is present in the United States among groups associated with Hyunmoon Kim as well as with Hyunoong Sunim (d.u.) of the Sixth Patriarch Zen Center (Berkeley, California). Both groups are principally rooted in Korean Son (Zen) Buddhism, but Son meditation is combined with Daoyin and internal alchemy practice. This is not to mention the global organization known as Dahn Yoga® (Dahn Hak) founded in 1986 by IIchi Lee (Lee Seung-heun; b. 1950). Dahn Yoga® is a form of hybrid spirituality and spiritual capitalism that utilizes some Daoist respiratory and internal alchemy practices.
The history and contemporary situation of Daoism in Cambodia, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand, and Vietnam is even less well known. A fair amount of recent research has, however, been dedicated to the Yao (see Lemoine 1982; Pourett 2002;
Alberts 2006; also Chapter 2 herein). The Yao, also distinguished as MiaoYao and Hmong-Mien, are a minority ethnic group whose members converted to Daoism. Traditionally speaking, Yao tribal culture was characterized by slash-and-burn agriculture, upland habitation, and widespread migratory patterns. People of Yao ethnic identity have lived in the southern Chinese provinces of Fujian, Hunan, Guangdong, Guangxi, and Yunnan. They eventually migrated to Vietnam, Laos, and Thailand, probably in the thirteenth century, where they continue to form a segment of those societies. The Yao have their own non-Sinitic (possibly Sino-Tibetan) language, but, similar to pre-modern Japanese, Korean, and Vietnamese, they utilize Chinese script as the primary form of written language.
Extant sources and current research suggest that large numbers of Yao most likely began converting to Daoism during the Southern Song dynasty (1127–1279). With the defeat of the Northern Song by the Jurchens, the Song imperial court and masses of northern Chinese migrated to Hangzhou in Zhejiang province. There they came in direct contact with the Yao and other indigenous peoples living in southern China. In that context, Daoism, specifically as expressed by Daoist ritual masters and communities in the newly codified “orthodox rites of Celestial Heart” (tianxin zhengfa) (see Chapters 2 and 13), formed part of the dominant Chinese state, wherein it served as a means by which to assimilate and “civilize” non-Chinese peoples (i.e., Sinification). According to Michel Strickmann’s institution-centered perspective, “T’ien-hsin cheng-fa [Tianxin zhengfa) priests worked as ambulant missionaries, bringing their exorcistic and theurapeutic rituals directly into the homes of the common people. There is evidence that they received official support…several magistrates who were initiated into the movement…made use of T’ien-hsin rites in the course of their official duties: pacifying their district, reducing epidemics, and guaranteeing the harvest” (Strickmann 1982; cited in Lemoine 1982: 22). In terms of the Yao’s own motivations for conversion, little research has been done to date. Many accounts, following a fairly conventional anthropological and sociological perspective wherein the Yao are seen as passive recipients rather than active agents, fail to consider the Yao’s own views on Daoism and their own process of “Yaoicization” of Daoism. That is, the Yao did not simply become Sinicized or Daoicized.
One of the most interesting and distinctive characteristics of “Yao Daoism,” especially as expressed among contemporary Yao communities in Laos, Thailand, and Vietnam, is its social organization. The Yao maintain a universal Daoist priesthood, with every member passing through successive levels of ordination with corresponding Daoist spirit registers (lu). Social standing within Yao society is based on one’s position in the religious community. The Yao situation is particularly noteworthy because identity formation and social standing is directly correlated to Daoist religious adherence and affiliation. To be a respected and senior member of Yao society is to be a higher-level Daoist ordinand. Here we see a context of conversion and adaptation wherein certain Yao communities have become “more Daoist” than their indigenous Chinese counterparts. While the Yao have, of course, adapted and modified Daoist beliefs and practices to their own cultural concerns, “it is still remarkable that they have maintained a non-Chinese society over an extended period of time based upon the strictures and beliefs of a distinctively Chinese religion” (Kleeman 2002, 33). In terms of global Daoism, the Yao, like the Ba (see Kleeman 1998), are especially interesting. They are clear examples of earlier historical precedents for “non-Chinese” conversion to Daoism and for Daoism as a multi-ethnic and multicultural tradition. However, as has been a consistent pattern throughout Chinese history, Ba and Yao conversion involved Sinification. They adopted major Chinese cultural traditions, including classical Chinese, and they utilized such language in scriptural and ritual contexts. It also formed the basis of ordination, including the transmission of scriptures and other religious documents. The modern fate of such patterns of adherence and affiliation, especially in the West (see below), is unclear.
Before moving on to discuss global Daoism beyond the Chinese cultural sphere, I would like to highlight two additional examples of transmission and appropriation. The first example is the Taoist Mission of Singapore (Xinjiapo daojiao xiehui; TMS). The Taoist Mission was founded in 1996 by a group of young and enthusiastic Daoists who wanted to promote Daoism, to preserve Chinese traditions and values, and to provide education on various aspects of Daoism. It is currently under the direction of Lee Zhiwang (b. ca. 1945), who serves as president (huizhang). Lee is an ordained Longmen Daoist priest, having received training and ordination under the late Sun Mingrui (1925–2010). Lee also received ritual training at Baiyun guan in Beijing. The organization offers a variety of education and culturepreserving activities, and conducts Daoist rituals for its community. The organization is also a major promoter of the International Daoism Day (2/15) and has strong connections with the Chinese Daoist Association and the Italian Taoist Association. Its members are primarily Singapore citizens of Chinese ethnic descent.
The second example relates to “Thai Daoism.” Healing Tao (Healing Dao), also known as Tao Yoga and Universal Tao, was first established in the United States in 1979 by Mantak Chia (b. 1944), a Thai citizen of Chinese ancestry who lived in America during the formative moments of the movement (see Belamide 2000; Siegler 2003, 2011; Komjathy 2004). Healing Tao/Universal Tao was created from a variety of sources (it is a form of hybrid spirituality), transformed into an international organization, and then exported “back” to Thailand, where Mantak Chia established the Tao Garden Health Spa and Resort (Chiang Mai, Thailand). Healing Tao/Universal Tao represents one of the most successful spiritual businesses appropriating Daoism. In its American expression, it includes a hierarchically ordered credential system and offers various “dream trips” to China, which represent a form of spiritual tourism. It has been instrumental in contributing to the Western construction of Daoism as reducible to techniques, specifically sexual methods with no connection to Daoism as a living Chinese and now global religion.
4] Global Daoism beyond the Chinese cultural sphere
Global Daoism may be defined as a globalized, multicultural, multi-ethnic and trans-national religion which exhibits strong family resemblances and a high degree of recognizability with the Chinese source-tradition.2 Its primary representatives are ordained priests or lineage-based Daoists, including immigrant and ethnic Chinese teachers as well as those of “non-Chinese,” most often European, ancestry. Some of these individuals trained in China, while others were ordained in their respective countries. The corresponding communities are committed to tradition-based Daoist practice and forms of community. They are addressing the challenges of modernity and of adapting Daoism to a global context with a relatively high degree of attentiveness to the Chinese tradition as source. As with any religious tradition, there are always issues of affinity, authenticity, and credibility involved in the associated teachers and communities, and I leave it to readers to find their own positions on these and other matters.
Beyond the Chinese cultural sphere, some important organizations include Associación de Taoísmo de España (Spanish Taoist Association; Xibanya daojiao xiehui; est. 2001); Association Française Daoïste (French Daoist Association; Faguo daojiao xiehui; est. 2003); Associazione Taoista d’Italia (Italian Taoist Association; Yidali daojiao xiehui; est. 1993); British Taoist Association (Yingguo daojiao xiehui; est. 1996); and Sociedade Taoísta do Brasil (Brazilian Taoist Association; Baxi daojiao hui; est. 1991). As indicated above, the use of xiehui in these organizations’ Chinese names models itself on the Zhongguo daojiao xiehui (Chinese Daoist Association), with xiehui largely being a political designation.
Of these principally European organizations, one specific example will have to suffice. The British Taoist Association was established in 1996 by four British converts and ordained Longmen priests with the support of two mainland Chinese Daoist priests. The former included Shijing (Alan Redman; b. ca. 1950), Shidao (Peter Smith; b. ca. 1970), Shiran (Paul Dunnett; d.u.), and Shizhi (Hooileng Dunnett; d.u.). The latter included Feng Xingzhao (b. ca. 1950) and Huang Shizhen (b. ca. 1965). The British Daoists were ordained by Feng Xingzhao at Leigu tai (Beating Drum Tower; Ziyang, Shaanxi). Based in Buckhurst Hill, just outside of London, the British Taoist Association is a small, non-sectarian Daoist community. It primarily consists of about 200 supporting members,3 most of whom are British citizens. BTA offers Daoist retreats with particular emphasis on “tranquil sitting” (jingzuo) and Daoyin. These retreats are held at Hourne Farm, in the Sussex countryside. They are mainly taught by Shijing, BTA’s chairman (president), but other Chinese and Western teachers have also led retreats through the organization. This organization also publishes a Daoist magazine titled The Dragon’s Mouth. It maintains connections with the Chinese Daoist Association and other European Daoist organizations. Shijing and Shidao also serve on the advisory board of the Daoist Foundation (see below).
 
FIGURE 25 Founding Members of the British Taoist Association Source: British Taoist Association
In terms of North America, the situation is extremely complex. Here I will simply list some tradition-based Daoist communities and organizations. From my perspective, “American Daoism” refers to the entire landscape of tradition-based Daoism in America, that is, it includes immigrant, ethnic Chinese, and “non-Chinese” adherents and communities. Some traditionbased North American communities and organizations include the following: American Taoist and Buddhist Association (New York, New York; est. 1979); Center of Traditional Taoist Studies (Weston, Massachusetts; est. 1978); Ching Chung Taoist Association (Ching Chung Taoist Church; San Francisco, California; Vancouver, British Columbia; est. 1978); Daoist Foundation (San Diego, California; est. 2007); Daoist Gate Wudang Arts (Boston, Massachusetts; est. 2011); Fung Loy Kok/Taoist Tai Chi Society (Toronto, Canada; Denver, Colorado; est. 1970); Orthodox Daoism in America (formerly in Santa Cruz, California; Seattle, Washington; 1986– 2004); Taoist Restoration Society (formerly in Nederland, Colorado; 1997– 2007); and Taoist Studies Institute (Seattle, Washington; est. 1991) (see Komjathy 2003b; 2003c, 2004; Siegler 2003, 2010).
As with the revitalization of mainland Chinese Daoism from the 1980s to the present, the establishment of tradition-based global Daoism is a slow process, a process that is still in its formative moment. Thus, the story of “global Daoism,” at once rooted in and transcending the Chinese sourcetradition, is just beginning to be composed.
 

FURTHER READING

Clarke, J.J. 2000. The Tao of the West: Western Transformations of Taoist Thought. London and New York: Routledge.
Iwamura, Jane. 2000. “The Oriental Monk in American Popular Culture.” In Religion and Popular Culture in America, edited by Bruce David Forbes and Jeffrey H. Mahan, 25–43. Berkeley: University of California Press.
Kirkland, Russell. 1997. “The Taoism of the Western Imagination and the Taoism of China: De-colonizing the Exotic Teachings of the East.” http://kirkland.myweb.uga.edu/rk/pdf/pubs/pres/TENN97.pdf [Accessed June 1, 2012].
Kohn, Livia, and Harold Roth, (eds) 2002. Daoist Identity: History, Lineage, and Ritual. Honolulu: University of Hawaii Press.
Komjathy, Louis. 2004. “Tracing the Contours of Daoism in North America.” Nova Religio 8.2 (November 2004): 5–27.
—2006. “Qigong in America.” In Daoist Body Cultivation, edited by Livia Kohn, 203–35. Cambridge, MA: Three Pines Press.
—2011. “Common Misconceptions concerning Daoism.” Center for Daoist Studies. www.daoistcenter.org/basic [Accessed on June 1, 2012].
Lai Chi-tim. 2003. “Daoism in China Today, 1980–2002.” In Religion in China Today, edited by Daniel Overmyer, 107–21. Cambridge and New York: Cambridge University Press.
Siegler, Elijah. 2003. “The Dao of America: The History and Practice of American Daoism.” Ph.D. diss., University of California, Santa Barbara.
Tsui, Bartholomew P.M. 1991. Taoist Tradition and Change: The Story of the Complete Perfection School in Hong Kong. Hong Kong: Christian Study Centre on Chinese Religion and Culture.
 
Basic glossary
Adherent: A member of a religious tradition. Replaces earlier concepts such as “believer.” In the case of Daoism, individuals who are committed to and/or have formal association with the religious community and tradition. An English approximation of various indigenous Chinese Daoist terms, including daoren (“person of the Dao”), daoshi (“adept of the Dao”; Daoist priest and/or monastic), daozhang (“elder of the Dao”; Daoist priest and/or monastic), and so forth.
Anthropology: Comparative category referring to discourse on, study of, or theories about the human. Most often used to refer to a social scientific discipline studying human culture. As a theological category, refers to claims about human nature and personhood, especially in relation to the sacred. Following traditional Chinese culture, the standard Daoist anthropology emphasizes a composite self that consists of one hun (yangghost) and one po (yin-ghost).
Apophatic meditation: A form of contentless, non-conceptual, and nondualistic meditation first practiced and advocated by members of the inner cultivation lineages of classical Daoism. Meditation practice emphasizing emptiness and stillness. As an umbrella category, “apophatic meditation” approximates a variety of Daoist technical terms, including baoyi (“embracing the One”), jingzuo (“quiet sitting”), shouyi (“guarding the One”), xinzhai (“fasting of the heart-mind”), zuowang (“sitting-in-forgetfulness”), and so forth.
Baiyun guan (Pai-yün kuan): White Cloud Monastery. Originally named Tianchang guan (Temple of Celestial Perpetuity), it was first established in the mid-eighth century as a state-sponsored temple for officially recognized Daoist clergy. During different periods of Chinese history, control of the temple alternated between Zhengyi and Quanzhen Daoists. Located in Beijing, today Baiyun guan is a Quanzhen monastery. Also current headquarters of the Quanzhen monastic order and the national Chinese Daoist Association as well as the location of the Chinese Daoist Seminary.
Chinese Daoism: Indigenous Chinese religion deeply rooted in traditional Chinese culture and history. A religious tradition practiced largely by people of Han ethnicity and using classical Chinese, especially with respect to scripture and ritual. From a Chinese Daoist perspective, culture (Chinese), ethnicity (Han), and religion (Daoism) are intricately related, if not inseparable. The vast majority of Daoist history is the history of Chinese Daoism.
Classical Chinese: Pre-modern literary Chinese. The primary language of Daoism. The language in which Daoist scriptures have traditionally been composed and transmitted and in which Daoist ritual is conducted.
Cosmogony: Comparative category referring to discourse on, study of, or theories about the origins of the universe. The standard Daoist cosmogony emphasizes an impersonal and spontaneous process of manifestation and emanation, a movement from primordial nondifferentiation to differentiation. The process of cosmogonic unfolding includes multiple gods and sacred realms.
Cosmology: Comparative category referring to discourse on, study of, or theories about the underlying principles and patterns of the universe. Following traditional Chinese culture, the standard Daoist cosmology focuses on yin-yang and the Five Phases (wuxing). The universe is an impersonal transformative process characterized by the alterations and interactions of yin and yang.
Dao (Tao): Pinyin Romanization of a Chinese character meaning “Way” (cosmic order) and/or “way” (lifepath). As a Daoist cosmological and theological category, utilized by Daoists to designate their sacred or ultimate concern. In the case of Daoism, best left untranslated as “Dao.” From a Daoist perspective, the Dao has four primary characteristics: Source of all existence; unnamable mystery; all-pervading sacred presence; and universe as cosmological process.
Daode jing (Tao-te ching): Scripture on the Dao and Inner Power. Also translated as “Classic on the Way and Virtue.” One of the main texts of classical Daoism and a central scripture of the Daoist tradition. Attributed to Laozi (Master Lao), but actually a multi-vocal anthology with historical and textual layers from the 4th to 2nd c. BCE. Originally titled Laozi (Lao-tzu), which is conventionally translated as Book of Master Lao, but better rendered as Book of Venerable Masters. The received text, usually the Wang Bi (226–49) redaction, consists of eighty-one verse chapters.
Daoism (Taoism): Indigenous Chinese religious tradition (“Chinese Daoism”). Now a global religious tradition characterized by cultural, ethnic, and linguistic diversity (“global Daoism”), which recognizes Chinese Daoism as source-tradition. As an approximation of various indigenous Chinese terms, designates Daoist adherents, communities, and their religious expressions.
Daoist (Taoist): An adherent of the religious tradition which is Daoism. In a more restrictive sense, ordained clergy (daoshi ) with formal standing in a Daoist religious community (priests and/or monastics). In a more inclusive sense, individuals (daoren) following a Daoist religious path (householders and/or laity). Also problematically applied to individuals who “believe in the Dao.” The latter are best understood as “Daoist sympathizers.”
Daoist Studies (Taoist Studies): Modern academic field dedicated to education, research, and publication with respect to Daoism. Scholars of Daoist Studies usually have a Doctor of Philosophy (Ph.D.) degree in Asian Studies and/or Religious Studies. There are, in turn, diverse theoretical and methodological approaches to the academic study of Daoism, including comparative, ethnographic, historical, textual, and so forth.
Daojia (tao-chia): Family of the Dao. One of the earliest indigenous Chinese names for Daoism. Primarily used to designate the inner cultivation lineages of classical Daoism. Often mistranslated and misrepresented as so-called “philosophical Daoism.”
Daojiao (tao-chiao): Teachings of the Dao. One of the most prominent indigenous Chinese names for Daoism. Conventionally used to identify organized Daoism. Often mistranslated and misrepresented as so-called “religious Daoism.”
Daojing (tao-ching): Scriptures of the Dao. Jing is usually translated as “scripture” (sacred text) and/or as “classic.” On a material culture and linguistic level, manuscripts written in classical Chinese using calligraphy. The most important genre of Daoist literature. One of the external Three Treasures of the Dao, the scriptures, and the teachers. The character jing 經 consists of the mi 糸 (“silk”) radical and jing 巠 (“underground stream”). Scriptures are threads and watercourses that form and re-form networks of connection. They connect Daoists to both the unnamable mystery and sacred presence which is the Dao and the Daoist tradition, the community of adepts that preceded one, as a historical and energetic continuum. From a Daoist perspective, scriptures are inspired or revealed. They are usually anonymous and/ or attributed to divine beings such as Laojun (Lord Lao) or Yuanshi tianzun (Celestial Worthy of Original Beginning).
Daotong (tao-t’ung): Tradition of the Dao. Term here proposed to designate the Daoist tradition, so-called daojia-daojiao. Conventionally refers to Rujia (Family of the Scholars; “Confucianism”).
Daozang (Tao-tsang): Daoist Canon. The term literally means “storehouse of the Dao.” Primary Daoist textual collection and source for Daoist Studies. In the modern world, refers to the Daoist Canon compiled during the Ming dynasty (1368–1644), which consists of 1,487 texts.
De (te): Virtue or inner power. The Dao manifested in human beings as numinous presence and as embodied activity in the world, especially as a beneficial and transformational influence that might be categorized as “good.”
Epistemology: Comparative, philosophical category referring to discourse on, study of, or theories about knowledge. Often misidentified as a central Daoist concern.
Existentialist: Comparative, philosophical category relating to existence, specifically human being. Often related to questions of meaning and purpose. A central Daoist concern.
Ge Hong (Ko Hung; Baopu [Embracing Simplicity]; 287–347): Grandnephew of Ge Xuan (164–244) and disciple of Zheng Yin (ca. 215ca. 300). Major representative of the Taiqing (Great Clarity) movement of external alchemy (waidan). Author of the highly influential Baopuzi neipian (Inner Chapters of Master Embracing Simplicity; DZ 1185) and primary author of the Shenxian zhuan (Biographies of Spirit Immortals; JHL 89).
Global Daoism: Modern Daoism as an international and transnational religious tradition. Although rooted in Chinese Daoism as historical and cultural source-tradition, global Daoism is a “trans-Chinese” tradition. With global dissemination, it is characterized by cultural, ethnic, and linguistic diversity. Comprised of Daoist adherents and communities committed to Daoism as a religious tradition and way of life.
Inner Cultivation Lineages: Name proposed by Harold Roth (Brown University) to refer to the earliest master-disciple communities of classical Daoism, specifically during the Warring States period and Early Han dynasty. Emphasis placed on aphophatic meditation aimed at mystical union with the Dao.
Laojun (Lao-chün): Lord Lao. Deified Laozi. Often identified as “personification of the Dao.” Early high god of Daoism. From a Daoist perspective, the god who manifests through various human beings, including Laozi. Also the revelatory source of many key Daoist scriptures. Eventually incorporated into the Sanqing (Three Purities) as Daode tianzun (Celestial Worthy of Dao and Inner Power).
Laozi (Lao-tzu): Master Lao. Laozi may also mean “old master” or “old child.” Pseudo-historical figure traditionally identified as the author of the Daode jing. Problematically identified as the “founder of Daoism.” Also known as Li Er, Li Boyang, or Lao Dan (Lao Tan). As Lao Dan, possibly one of the senior teachers and elders of the inner cultivation lineages of classical Daoism, with some of his teachings possibly preserved in the Daode jing and Zhuangzi.
Lingbao (Ling-pao): Numinous Treasure. Major early medieval Daoist religious movement established by Ge Chaofu (fl. 390s), a Shangqing adherent and grandnephew of Ge Hong. Systematized by Lu Xiujing (406–77). First major Daoist movement to exhibit strong Buddhist influences, Lingbao places emphasis on ritual and universal salvation.
Longmen (Lung-men): Dragon Gate. Most prominent lineage of Quanzhen (Complete Perfection) Daoism. Traditionally associated with Qiu Chuji (Changchun [Perpetual Spring]; 1148–1227). The official, “orthodox” lineage was established during the Qing dynasty by Wang Changyue (Kunyang [Paradisiacal Yang]; 1622?–80), then abbot of Baiyun guan. Emphasis placed on lineage-based internal alchemy as well as precept study and application.
Louguan tai (Lou-kuan t’ai): Lookout Tower Monastery. Located in Zhouzhi, Shaanxi, earliest Daoist monastery. Probably established in the late fifth or early sixth century. During the early medieval period, identified by Daoists as the place where Laozi transmitted the Daode jing
to Yin Xi. This version of the transmission legend arose in the mid-fifth century through Yin Tong (398–499?), a self-identified descendent of Yin Xi and owner of the Louguan estate. Now a Quanzhen monastery and tourist destination.
Lu Xiujing (Lu Hsiu-ching; 406–77): Lingbao (Numinous Treasure) adherent and highly influential early medieval Daoist leader. Organized the Lingbao scriptures into the “Lingbao Catalogue.” Also compiled the earliest known catalogue of Daoist texts, which established the Three Caverns (sandong) as the primary division of Daoist textual collections. As a major systematizer and scholarstic, Lu Xiujing was one of the principal architects of Daoism as a diverse, but unified religious tradition.
Neidan (nei-tan): Internal alchemy. Literally means “inner pill” or “inner cinnabar.” Also translated as “inner elixir.” Complex Daoist practice aimed at complete psychosomatic transformation and immortality. Usually involves sequential, stage-based methods utilizing various subtle and mystical dimensions of self. First systematized during the late Tang and early Song dynasties. One of the primary forms of Daoist meditation.
Ontology: Comparative, philosophical category referring to discourse on, study of, or theories about being. A central Daoist concern.
“Philosophical Daoism”: Outdated and inaccurate “translation” of daojia. Conventional, received Western name for the inner cultivation lineages of classical Daoism. Use of the term should be taken as indicative of inaccuracy and misunderstanding concerning Daoism.
Popular Western Taoism (PWT): New form of Western hybrid spirituality with little to no connection to the religious tradition which is Daoism. Pronounced with a hard “t” sound, PWT is primarily characterized by appropriation, fabrication, and spiritual colonialism. Rooted in colonialist, missionary and Orientalist legacies, PWT is represented through various so-called “Tao Groups” and “Tao-ists.” Through its ubiquitous presence on the internet and in popular publications, the primary influence on the popular Western construction and misunderstanding of Daoism.
Qi (ch’i): Subtle or vital breath. Often translated as “energy” or “pneuma.” May refer to both actual physical respiration or subtle breath, the subtle currents flowing through the universe and self. Best left untranslated as “qi.”
Qiu Chuji (Ch’iu Ch’u-chi; Changchun [Perpetual Spring]; 1148–1227): Youngest of the senior first-generation Quanzhen (Complete Perfection) adherents and member of the so-called Seven Perfected. Third Quanzhen Patriarch who helped to transform the movement into a monastic order.
Quanzhen (Ch’üan-chen): Complete Perfection. Also translated as “Complete Reality” or “Completion of Authenticity.” Influential late medieval Daoist movement emphasizing asceticism, alchemical practice, and mystical experience. Established in the late twelfth century by Wang Zhe (Chongyang [Redoubled Yang]; 1113–70) based on a series of mystical experiences with immortals. Quanzhen is one of the major divisions of Daoism in the modern world. Primarily comprised of monastics committed to celibacy (no sex), sobriety (no alcohol), and vegetarianism (no meat).
“Religious Daoism”: Outdated and inaccurate “translation” of daojiao. Conventional, received Western name for organized Daoism. Problematically associated with the Tianshi (Celestial Masters) movement and its derivatives. Use of this term should be taken as indicative of inaccuracy and misunderstanding concerning Daoism.
Ren Farong (Jen Fa-jung; b. 1936): Prominent mainland Chinese Longmen monastic and former abbot of Louguan tai. Current president of the Chinese Daoist Association.
Sacred: A comparative category referring to that which is defined as ultimately real by an individual or community. Relates to a variety of tradition-specific categories with distinctive defining characteristics and related theological views. In the case of Daoism, the sacred is the Dao. The Dao has four primary characteristics: Source of all existence; unnamable mystery; all-pervading sacred presence; and universe as cosmological process.
Sanqing (San-ch’ing): Three Purities. Also translated as Three Pure Ones.
The highest “gods” of the Daoist pantheon, they include Yuanshi tianzun (Celestial Worthy of Original Beginning), Lingbao tianzun (Celestial Worthy of Numinous Treasure), and Daode tianzun (Celestial Worthy of the Dao and Inner Power; Lord Lao). Anthropomorphic representations of three primordial cosmic ethers. Associated with the Three Heavens of Yuqing (Jade Clarity), Shangqing (Highest Clarity), and Taiqing (Great Clarity), respectively.
Seven Perfected: Seven senior Shandong disciples of Wang Zhe (1113–70), the founder of Quanzhen (Complete Perfection) Daoism. The Seven Perfected include (1) Hao Datong (Taigu [Grand Antiquity]/Guangning [Expansive Serenity]; 1140–1212); (2) Liu Chuxuan (Changsheng [Perpetual Life]; 1147–1203); (3) Ma Yu (Danyang [Elixir Yang]; 1123– 83); (4) Qiu Chuji (Changchun [Perpetual Spring]; 1148–1227); (5) Sun Buer (Qingjing [Clear Stillness]; 1119–82), the only female member; (6) Tan Chuduan (Changzhen [Perpetual Perfection]; 1123–85); (7) Wang Chuyi (Yuyang [Jade Yang]; 1142–1217). In early Quanzhen, Ma Yu and Qiu Chuji were especially influential as the second Patriarch and third Patriarch, respectively. In the later tradition, each senior first-generation adherent becomes associated with a particular lineage.
Shangqing (Shang-ch’ing): Highest Clarity. Major early medieval Daoist religious movement associated with the spirit-medium Yang Xi (330–86) and the Xu family. A series of revelations from the Shangqing heaven, including those of the former female Tianshi libationer Wei Huacun (251–334). The original manuscripts were later collected by Tao Hongjing (456–536). Early Shangqing placed primary emphasis on visualization and ecstatic experience.
Shengren (sheng-jen): Sage. Classical Daoist religious ideal. The embodiment of classical Daoist principles and practices. A realized Daoist elder.
Soteriology: Comparative category referring to discourse on, study of, or theories about actualization, liberation, perfection, realization, salvation, or however the ultimate purpose of human existence is defined. Usually relates to the culmination and projected goal of religious discipline. In the case of Daoism, the standard Daoist soteriology involves attunement with or realization of the Dao, though there are diverse Daoist paths to such an existential and ontological condition.
Sympathizer: Individuals who claim some affinity with a religious tradition without being committed to or formally associated with it. In the modern world, Daoist sympathizers are most often individuals engaging in appropriation and following hybrid, designer spirituality. Such individuals usually take bits and pieces, whether ideas, beliefs or practices, out of a larger Daoist religious framework. They often cling to various common misconceptions concerning Daoism.
Tao Hongjing (T’ao Hung-ching; 456–536): Descendent of Tao Kedou (d.
362) and advanced Shangqing adherent. Later compiler of original
Shangqing manuscripts and author of the Zhen’gao (Declarations of the
Perfected; DZ 1016). Also established a religious center on Maoshan (Mount Mao; near present-day Nanjing, Jiangsu), where he pursued alchemical and pharmacological studies.
Theology: Comparative category referring to discourse on, study of, or theories about the sacred. Includes various types of theology, with mutually exclusive, equally convincing accounts of “reality.” Some types of theology include animistic (gods or spirits in Nature), monistic (one impersonal Reality), monotheistic (one personal god [“God”]), panenhenic (Nature as sacred), pantheistic (sacred in the world), panentheistic (sacred in and beyond the world), polytheistic (many personal gods), and so forth. Daoist theology focuses on the Dao, with the primary theology being monistic, panenhenic and panentheistic, and the secondary theology being animistic and polytheistic.
Three Treasures: Used by Daoists to discuss primary values, key dimensions of self, and/or central constituents of the Daoist tradition. The phrase first occurs in Chapter 67 of the Daode jing. In the fully developed Daoist tradition, under the influence of Buddhism, the external Three Treasures (wai sanbao) refer to the Dao, the scriptures, and the teachers, with the latter understood as specific teachers (embodied and disembodied), community elders, and the Daoist religious community as a whole. In internal alchemy (neidan), the internal Three Treasures (nei sanbao) refer to vital essence (jing), qi, and spirit (shen).
Tianshi (T’ien-shih): Celestial Masters. Also translated as “Heavenly Teachers.” Refers to both an early Daoist movement (Celestial Masters) and its highest religious position (Celestial Master). The latter is a patrilineal position passed down through the Zhang family. As a movement, established by Zhang Daoling (fl. 140s CE), who received a revelation from Laojun (Lord Lao) in 142 CE. Also referred to as Zhengyi (Orthodox Unity). Emphasis placed on communal ritual activity. One of the major divisions of Daoism in the modern world. Primarily comprised of married, ordained priests and a larger lay community.
Traditional Chinese culture: Pre-modern Chinese culture. Also referred to as “traditional Chinese worldview.” Largely consists of Confucianism as primary value system with some elements from Daoism (indigenous), Buddhism (non-indigenous, then Sinified), and popular religion (syncretic). Includes a cosmology based on yin-yang and the Five Phases (“traditional Chinese cosmology”). Also includes cultural elements such as Chinese medicine, Fengshui, health and longevity practice (e.g. Qigong), martial arts (e.g. Taiji quan), and so forth. Many elements of traditional Chinese culture are often misidentified as Daoist.
Wang Changyue (Wang Ch’ang-yueh; Kunyang [Paradisiacal Yang]; 1622?–80): Late imperial abbot of Baiyun guan (White Cloud Monastery) and founder of the official Longmen (Dragon Gate) lineage of Quanzhen Daoism. Compiled its three precept texts: Chuzhen jie (Precepts of Initial Perfection), Zhongji jie (Precepts of Medium Ultimate), and Tianxian jie (Precepts of Celestial Immortality).
Wang Zhe (Wang Che; Chongyang [Redoubled Yang]; 1113–70): Founder of Quanzhen (Complete Perfection) Daoism. Said to have had a series of mystical experiences with the immortals Zhongli Quan (Zhengyang [Upright Yang]; 2nd c. CE?) and Lü Dongbin (Chunyang [Pure Yang]; b. 798?). Eventually gathered disciples who transformed Quanzhen from a local religious community into a regional and national movement and then into a monastic order.
Wuwei (wu-wei): Non-action. Classical and foundational Daoist principle and practice emphasizing effortless activity. Non-intervention and noninterference. Life beyond contrivance. Living through one’s innate connection with the Dao. Often misunderstood as “doing nothing” or “going with the flow.”
Wuxing (wu-hsing): Five Phases. Also translated as Five Elements. The five main constituents and processes of the universe. Part of traditional Chinese cosmology incorporated into the foundational Daoist worldview. In combination with yin-yang, referred to as “correlative cosmology” and the “system of correspondences.” Consists of Wood (minor yang), Fire (major yang), Earth, Metal (minor yin), and Water (major yin). These have various associations and relate to each other in patterns of dynamic interaction. Often misidentified as Daoist, this cosmology is best understood as “traditional Chinese cosmology” and a dimension of the “traditional Chinese worldview.” It is pan-Chinese.
Xianren (hsien-jen): Immortal. Also translated as “ascendant” or “transcendent.” Later Daoist religious ideal, especially in Daoist alchemical movements and lineages. Someone who has completed alchemical transformation and who will survive physical death as a spirit-being.
Yin-yang: Yin-yang. The two primary cosmological principles or forces from a traditional Chinese perspective. Not polar opposites or antagonistic forces. Complementary and mutually dependent principles. Yin-yang have various associations (e.g. dark/ light, heavy/light, cold/hot, earth/heaven, etc.) and relate to each other in patterns of dynamic interaction. Part of traditional Chinese cosmology incorporated into the foundational Daoist worldview. In combination with the Five Phases, referred to as “correlative cosmology” and the “system of correspondences.” Often misidentified as Daoist, this cosmology is best understood as “traditional Chinese cosmology” and a dimension of the “traditional Chinese worldview.” It is pan-Chinese.
Zhang Daoling (Chang Tao-ling; fl. 140s CE): Founder of the Tianshi (Celestial Masters) movement and the first Celestial Master. Said to have received a revelation from Laojun (Lord Lao) on Heming shan (Crane Cry Mountain; Dayi, Sichuan) in 142 CE. One of the most important leaders of early organized Daoism. In place of Laozi, often problematically identified as the “founder of Daoism.”
Zhang Jiyu (Chang Chi-yü; b. 1962): In some circles identified as the 65th Celestial Master and one of the current vice-presidents of the Chinese Daoist Association.
Zhengyi (Cheng-i): Orthodox Unity. Alternative name for the Tianshi (Celestial Masters) movement. Emphasis placed on communal ritual activity. One of the major divisions of Daoism in the modern world. Primarily comprised of married, ordained priests and a larger lay community. Places less emphasis on the position of Celestial Master and more emphasis on family lineages with their own esoteric traditions.
Zhenren (chen-jen): Perfected. Also translated as “authentic being” or “real person.” Later Daoist religious ideal, especially in Daoist alchemical movements and lineages. Someone who has completed alchemical transformation and who will survive physical death as a spirit-being.
Zhongguo daojiao xiehui (Chung-kuo tao-chiao hsieh-hui): Chinese Daoist (Taoist) Association. Centralized Daoist bureaucratic organization in mainland China overseeing Daoist religious activity. Includes national, regional, and local divisions. Division of the Bureau of Religious Affairs.
Zhuang Zhou (Chuang Chou; ca. 370-ca. 290): Zhuangzi (Master Zhuang). One of the senior teachers and elders of the inner cultivation lineages of classical Daoism. Attributed author of the Zhuangzi (Book of Master Zhuang). Zhuang Zhou’s teachings and writings are primarily contained in the Inner Chapters (Chapters 1–7).
Zhuangzi (Chuang-tzu): Book of Master Zhuang. Also referred to as the Nanhua zhenjing (Perfect Scripture of Perfected Nanhua), with Nanhua (Southern Florescence) being an honorific name for Zhuangzi. One of the main texts of classical Daoism and a central scripture of the Daoist tradition. Attributed to Zhuangzi (Master Zhuang), but actually a multivocal anthology with historical and textual layers from the 4th to 2nd c. BCE. The received text, the Guo Xiang (d. 312) redaction, consists of thirty-three prose chapters. Modern scholarship divides these into various lineages or “schools.”
Ziran (tzu-jan): Suchness. Literally meaning “self-so,” ziran has also been translated as “naturalness” and “spontaneity.” Being-so-of-itself. The state or condition realized when one returns to one’s innate nature, which is the Dao. In terms of classical Daoism, this is “accomplished” through the practice of wuwei. Often assumed in modern popular culture as the reproduction of habituation or following one’s own desires (“going with the flow”).
Zongjiao ju (Tsung-chiao chü): Bureau of Religious Affairs. Branch of Chinese Communist bureaucracy in charge of supervision of members and activities of the five officially recognized religions (Buddhism, Catholicism, Daoism, Islam, Protestant Christianity) of contemporary China, including their infrastructure. Often works in concert, and often at odds with, the Bureau of Culture and Bureau of Tourism.


Komjathy. Daoist Tradition: 14. Material Culture

   Komjathy, Daoist Tradition: 

An Introduction 2013
by Louis Komjathy

Table of Contents

Part 1: Historical Overview
1. Approaching Daoism
2. The Daoist Tradition

Part 2: The Daoist Worldview
3. Ways to Affiliation
4. Community and Social Organization
5. Informing Views and Foundational Concerns
6. Cosmogony, Cosmology, and Theology
7. Virtue, Ethics and Conduct Guidelines

Part 3: Daoist Practice
8. Dietetics
9. Health and Longevity Practice
10. Meditation
11. Scriptures and Scripture Study
12. Ritual

Part 4: Place, Sacred Space and Material Culture
13. Temples and Sacred Sites
14. Material Culture

Part 5: Daoism in the Modern World
15. Daoism in the Modern World

===

14 Material culture
 
 
Material culture refers to the objects and material expressions related to specific cultures and traditions. In the case of religious traditions, material culture brings our attention to the material and physical dimensions of daily life and religiosity. It includes architecture, artifacts, clothing, devotional and liturgical objects, painting, sculpture, and so forth. Although one may focus on the actual materiality of specific objects (e.g. materials, design, styles), it is also important to consider their history, symbolism, and functions. In particular, although much religious material culture is encountered as artifact and museum piece (see Chapter 1), we need to be attentive to such objects as the expressions of specific communities and as utilized by specific individuals in specific activities. This is the living dimension of religious materiality.
Daoist material culture is complex and multifaceted. It relates to traditional Chinese and Daoist aesthetics as well as Chinese cultural traditions. With respect to the former, there is a strong emphasis on refinement and subtlety in traditional Daoist material culture. This extends to an appreciation of landscape and attentiveness to space, especially open and harmonious space. Aesthetics and material culture are key dimensions of Daoist culture. They inform Daoist practice and being. As discussed in other chapters of the present book, there is a strong emphasis on embodiment and physicality in the Daoist tradition. One might go so far as to say that Daoist adherence without Daoist aesthetics, community, culture, and place is only fragmentarily so. The intersection among these dimensions of the Daoist tradition occurs in Daoist temples and sacred sites. Here one gains a glimpse of Daoism as an intact culture and as a form of embodied and lived religiosity. 
1] Artistic expression
Historically speaking and on the most fundamental level, Daoist artistic expression and material culture are rooted in traditional Chinese cultural pursuits, including bronze casting, calligraphy, dance, inscription, literature, music, painting, poetry, pottery, sculpture, seal carving, and theatre. Here a few words are in order concerning the category of “Daoist art” (see also Little 2000b). Should this term be used to designate art produced by Daoists and in Daoist contexts? Does it need to have Daoist content? If a painting (or poem, novel, play, etc.) created by a “non-Daoist” contains Daoist content, is it Daoist? Following my seemingly simple definition of “Daoist” as anything associated with the religious tradition (see Chapters 1, 3, 5, and 16), we might take a more restrictive approach and say that Daoist art is art produced by Daoists or in a Daoist context. However, what if a modern Daoist is an abstract photographer? Is such photography “Daoist photography”? Is any art produced by Daoists “Daoist art”? As discussed below, the easiest response is to emphasize “Daoist liturgical art” and “Daoist temple art,” but this approach neglects a great deal of fascinating material. In a larger frame of reference, we might say that “Daoist art” refers, first and foremost, to art created or commissioned by Daoists as well as art utilized in Daoist religious communities and contexts. “Art influenced by Daoism” encompasses art that employs Daoist themes or that was inspired by the Daoist tradition. Like other distinctions utilized in the present book, we must recognize “Daoist artists” and “artists with Daoistic concerns.” This parallels the distinction between Daoist adherents and Daoist sympathizers (see Chapters 1, 3, and 16).
There is a great deal of Daoist-inspired art. In addition to a variety of paintings depicting various key Daoists, such as Laozi, Zhuangzi, Zhang Daoling, Tao Hongjing, Lü Dongbin, Qiu Chuji, Wang Changyue, and so forth, there are obviously many paintings and statues depicting Daoist gods, sacred realms, and sacred sites. Most of these artistic expressions fall under the category of Daoist liturgical or temple art, even though they are contained in private and museum collections (see Little 1988, 2000a).
Unfortunately, at the present moment, little if any research has been done on pre-modern Daoist painters or the history of the Daoist commission of art.
There are also many examples of Daoist art, or art produced by Daoists and associated with the Daoist tradition. In terms of calligraphy, it is clear from simple historical and cultural familiarity that many Daoists wrote calligraphy. Unfortunately, we do not know to what extent they were advanced calligraphers or wrote calligraphy as “art practice.” One clear example is the calligraphy of Yang Xi (330–86) and the Xu family (see Chapters 2 and 12), which is no longer extant. According to Tao Hongjing (456–536), who later collected the original Shangqing manuscripts, the calligraphy of Yang Xi and the Xu family was extraordinary, perhaps divine and infused with numinosity (ling). This point draws our attention to the material and “non-material” (subtle) dimensions of Daoist material culture in general and texts in particular. In terms of extant Daoist calligraphy, one of the most significant is Wang Xizhi’s (307–65) rendering of the Huangting jing (Scripture on the Yellow Court; DZ 331; DZ 332) (see Little 2000a: 338–9). Wang Xizhi is regarded as one of the greatest early Chinese calligraphers. He belonged to a Tianshi family, engaged in Daoist selfcultivation, was a close associate of the Xu family and the early Shangqing community, and had a deep interest in Huang-Lao (see Chapter 2). On a more general level, we should acknowledge the various anonymous calligraphers who brushed Daoist manuscripts such as those contained in archaeological finds such as Mawangdui (ca. 168 BCE; Changsha, Hunan; Hunan Provincial Museum) and Dunhuang (ca. 8th c.; Dunhuang, Gansu; British Library; Bibliothèque Nationale de France) (see Little 2000a: 38, 118–20, 172–3). In a more modern context, many Quanzhen monastics practice calligraphy, and one finds examples of the late Min Zhiting’s (Yuxi [Jade Stream]; 1924–2004) calligraphy on temple boards throughout China. Here we should also recognize the importance of calligraphy in Daoist ritual (see Chapter 13). Finally, there are many highly skilled contemporary calligraphers who write lines or passages from famous Daoist texts, with the Daode jing being especially popular. Another favorite Daoist character-set is xianfeng daogu 仙風道骨 (“immortal currents and bones of the Dao”), which refers to immortality and numinous presence.
Although often associated with “Chinese landscape poetry” and famous poets such Tao Qian (Yuanming [Profound Illumination]; 365–427), Wang Wei (699–761), Du Fu (712–70), and Bo Juyi (772–846), Daoist poetry is more than pastoral or eremitic. Of the more famous poets in Chinese history, there is some preliminary evidence that Li Bo (Li Bai; 701–62) received Daoist initiation from Sima Chengzhen (647–735) (Robinet 2000, 199). Wu Yun (d. 778) was probably the most famous Daoist poet in Chinese history (see De Meyer 2006). He was ordained in the 720s on Songshan by a disciple of Pan Shizheng (585–682) (Kohn and Kirkland 2000: 348), the 11th Shangqing Patriarch and leading disciple of Wang Yuanzhi (528–635). Wu Yun is known for his ecstatic poetry, such as “Cantos on Pacing the Void” and “Saunters in Sylphdom” (see Schafer 1981, 1983). In Edward Schafer’s idiosyncratic and imaginative translation, the former begins with a description of the Daoist sacred realms.
CANTOS ON PACING THE VOID
The host of transcendents looks up to the Numinous Template. Dignified equipages—to the Levee of the Divine Genitor. V Golden phosphors shed asterial light on them.
By a long, circuitous route, they ascend to the Grand Hollow.
The Seven Occults have already flown high.
Refinement by fire is engendered in the Vermilion Palace.
The surplus of felicity extends from sky to loam.
Tranquility and harmony infuse the Kingly Way.
The Eight Daunters clarify the roving pneumas.
The Ten Distinctions dance in the auspicious winds.
They permit me to scale the font of yang.
This comes from my yin achievement.
Footloose and fancy-free—above the Grand Aurora. (Schafer 1981: 393–6)
Wu Yun’s poetry arguably compares favorably with Chinese poetry as literature. Perhaps less noteworthy on a literary level is the large amount of Daoist religious and devotional poetry, little of which has been translated to date. There is a large amount of neidan poetry from the Song dynasty, with the Wuzhen pian (Treatise on Awakening to Perfection; DZ 263, j. 26–30) by Zhang Boduan (d. 1082) being especially influential. There are also major anthologies associated with most of the first-generation Quanzhen adherents. In combination with discourse records (yulu), poetry was the primary form of literary expression within the early Quanzhen community (see Komjathy 2007a, forthcoming).
Music has also occupied a central place in the Daoist tradition. In addition to “liturgical music” (see below), zither (qin) music has been especially revered among Daoists. Sometimes translated as “lute,” the qinzither is an ancient Chinese “silk” (“string”) instrument (see van Gulik 1969). It consists of seven strings arranged horizontally on a wood bridge. The strings are plucked using the fingers of one hand while the other hand slides across the strings. One of the most famous stories related to zither music, self-cultivation, and friendship appears in the Lüshi chunqiu (Spring and Autumn Annals of Master Lü).
THE MUSIC OF MOUNTAINS AND STREAMS
Whenever Bo Ya played the qin, Zhong Ziqi would listen to him. Once when he was playing, his thoughts turned to Taishan (Mount Tai). Zhong Ziqi said, “How splendidly you play the qin! Lofty and majestic like Taishan.” A short time later, when his thoughts turned to flowing waters, Zhong Ziqi said, “How splendidly you play the qin! Rolling and swirling like flowing water.” When Zhong Ziqi died, Bo Ya smashed his qin and cut its strings. To the end of his life he never played again because he felt that no one was worthy to hear his playing. (Lüshi chunqiu, Chapter 14; adapted from Knoblock and Riegel 2000: 308; see also Huainanzi, Chapters 16 and 19; Major et al. 2010:
626, 784–5; Liezi, Chapter 5; Graham 1990: 109–10)
In the Daoist tradition, this story is most often read in terms of affinity and spiritual friendship (see also Zhuangzi, Chapter 6; Lijiao shiwu lun, DZ 1233, 3a), with Daoist spiritual companions and intimate fellow religious often referred to as “Companions of the Way” (daoban; daoyou). The zither pieces “Gaoshan” (High Mountains) and “Liushui” (Flowing Waters) are associated with Bo Ya. Other major qin-zither pieces associated with Daoism include “Xiaoyao you” (Carefree Wandering), “Yuhua dengxian” (Ascending to Immortality through Winged Transformation), and “Zhuang Zhou mengdie” (Zhuang Zhou Dreaming of a Butterfly). Most of these qinzither pieces appear to have been composed during the late imperial period. Some legendary famous Daoist qin-zither players include Ji Kang (Xi Kang; 223–62), Tao Hongjing (456–536), and Sima Chengzhen (647–735).
As mentioned, in the modern world, the attempt to identify “Daoist art” and “Daoist artists” becomes more complex. Although some individuals are beginning to self-identify as “Daoist artists” or to be identified as such by non-specialist historians, there is a great deal of perplexity. This derives from the misidentification of Chinese landscape painting as Daoist as well as of certain themes or tendencies, such as yin-yang, effortlessness, spontaneity, and so forth, as Daoist. In order to speak of modern Daoist art or Daoistinspired art, one must actually understand the Daoist tradition and identify Daoist elements of the art. Here I will provide two interesting contemporary
American examples: Wu Jing-nuan’s (1933–2002) abstract paintings, and Juan Li’s (b. 1946) practice diagrams. Associated with the Taoist Health Institute (Washington, D.C.), Wu Jing-nuan was a Chinese immigrant and self-identified Daoist, practitioner of Chinese medicine, and abstract painter. In addition to publishing translations of the Huangdi neijing lingshu (Yellow Thearch’s Inner Classic: Numinous Pivot) and Yijing (Classic of Changes), Wu created a variety of abstract paintings inspired by Daoist and Chinese medical themes. These include “The Healing Cure,” “The Eight Treasures,”
“Three Cinnabar Fields,” “Trigram of Heaven,” and so forth (see www.wushealingart.com). Wu’s “Blue Mountains and Dragons” depicts a semi-abstract landscape consisting of a series of blue mountains beneath a tan-white sky and copper-colored sun. Observant readers will recall the importance of mountains in Daoism and note the Gen-mountain trigram in the upper right-hand corner on the painting below.
Along a different trajectory, Juan Li is a Cuban immigrant who executed a variety of practice diagrams for early Healing Tao, a syncretic Qigong movement originally associated with Mantak Chia (b. 1944) and now split into Healing Tao USA (Healing Dao) and Universal Healing Tao (a.k.a. Universal Tao; Thailand) (see Chapter 16). Originally a collaborator with Chia and now associated with White Cloud Institute (Phoenix, Arizona) and an American syncretic group called I Ching Dao, Juan Li was the primary artist for a variety of diagrams depicting Healing Tao practices. These include “Inner Smile,” “Fusion of the Five Elements,” “Functional Channel,” “Governor Channel,” as well as other neidan-related views and practices (see Chapters 7 and 11). Li’s depictions were used on Chia’s book covers and mass-produced in poster form (see www.healing-tao.com). Although these depictions are clearly syncretic, evidencing the influence of Indian, especially Tantric and Yogic, iconography, they do contain some Daoist content regarding views of self and practices related to internal alchemy.
 
FIGURE 22 “Blue Mountains and Dragons” (1994; mixed media) by Wu
Jing-nuan
Source: Wu’s Healing Art
2] Scriptures and manuscripts
As discussed in previous chapters, texts are centrally important in the Daoist tradition. While Daoist texts tend to be encountered in the modern world in mass-produced publications or electronic editions, we need to recognize the ways in which texts are part of Daoist material culture. Historically speaking, Daoist texts, and specifically “scriptures” (jing; see Chapter 12), have primarily been hand-written in classical Chinese using calligraphy (ink and brush usually on paper). This point draws our attention to the corporeal and material dimensions of Daoist texts. It also highlights the ways in which our access to Daoist texts is indebted to the Daoist tradition, and the multiple sources of Daoist texts. The latter includes specific revelations, teachers, communities, as well as language. Daoist texts have also occupied a central place in ordination and transmission (see Chapters 3 and 13). As will be discussed shortly, there is a history of material culture behind the modern encounter with Daoist literature.
The earliest Daoist texts originally were not texts. While Daoists might take this to refer to the “non-material” cosmic ethers or “celestial versions” of Daoist scriptures (see Chapter 12), it rather points toward their material history, specifically the oral dimension. The earliest texts appear to have been oral teachings and transmissions (see Chapter 3), especially in the form of mnemonic aphorisms, which were eventually compiled into texts such as the Laozi (Book of Venerable Masters), which is honorifically titled the Daode jing (Scripture on the Dao and Inner Power). The earliest surviving Daoist texts are, in turn, multi-vocal anthologies, or “sayings collages” (Lau 1963; LaFargue 1992). They were transcribed on bamboo and silk. Thus, we have the so-called “Bamboo Laozi,” from Guodian (ca. 300 BCE; see Henricks 2000), and the early “silk manuscripts,” especially from Mawangdui (ca. 168 BCE; see Henricks 1989; Harper 1998). The existence of these materials suggests that there was a community committed to preserving and transmitting specific teachings and practices, and specific texts. In terms of material culture, the earliest Daoist texts were written either on bamboo slips or sheets of silk (see Tsien 2004, 96–144). Bamboo and silk manuscripts were, in turn, transmitted through specific teachers and communities in the form of hand-written copies, whether written by the teacher, disciple, or a scribe. Here one may recognize the rarity of such texts, and the importance of access to specific teachers. One’s acceptance into and affiliation with a specific community partially involved textual transmission (see Chapters 4, 12, and 13).
Hand-written manuscripts on paper eventually replaced other materials. The earliest examples of paper seem to derive from the Early Han dynasty, and specifically from the first century BCE, but its invention is traditionally dated to the first century CE and ascribed to Cai Lun (50?–121 CE). Early Chinese paper was hand-woven using various materials, including silk rags, hemp fibers, mulberry bark, worn-out fishing nets, and a variety of natural materials. The highest quality materials for early paper included plant fibers such as hemp, jute, flax, ramie, and rattan; tree bark of mulberry; grasses, such as bamboo, reeds, and stalks of rice and wheat; and other fibers (Tsien 2004: 161). These details draw our attention to both the actual material dimensions of paper, including the fact that actual plants and trees are required, and the history of paper-making. Although beyond the scope of the present book, we should also consider the history of ink-making, of book collecting, as well as of book publishing and selling (see, e.g. Twitchett 1983: 17–18).
While papermaking and the use of paper for books began in the Early Han dynasty, it was not until about two hundred years later that paper became the primary material used for books. It gradually supplanted the use of bamboo and wood tablets and partially that of silk (Tsien 2004: 150). Traditional Chinese books eventually consisted of various forms, including string-bound (“stab/stitch-bound”) folios, paper or silk rolled scrolls, as well as folded or accordion-style editions. The latter type is used for Daoist liturgical texts. For present purposes, these details suggest that for about the first one thousand years of Daoist history, Daoist books were relatively rare and existed mainly in hand-written and transmitted silk and paper manuscripts. As the early Shangqing and Lingbao movements suggest, these manuscripts were usually in the possession and under the control of specific Daoist families, such as the Xu and Tao as well as Ge and Lu, respectively (see also Chapters 1 and 3). Textual transmission and the possession of texts were thus an intricate part of early Daoist affiliation and ordination (see Chapters 3, 12, and 13). We also know that there were imperial editions of Buddhist and Daoist texts in general circulation that were brushed by official scribes.
In terms of textual dissemination, a major development occurred in the Tang dynasty, namely, the emergence of wood-block printing and the production of wood-block editions. These are the earliest examples of “printing,” which is a process of reproduction with ink on paper or other surfaces from a reverse or negative image. On a material culture level, it contains at least three essential elements: a flat surface, originally cut in relief, containing a mirror image of whatever is to be printed; the preparation of the mirror image; and the transfer of the impression of this image on to the surface to be printed (Tsien 1985: 132–3). In the case of wood-block printing, hand-written calligraphy must be carved on wood-blocks, which are then dipped in ink and pressed on paper.
Following the great diffusion of Buddhism during the Sui and Tang, the demand for mass production of Buddhist literature became the motivating force behind the invention of printing. Although there are Tang-dynasty examples of wood-block printing, with that of the Confucian canon (dat. 952) being particularly important (Twitchett 1983, 31), printing became a fully developed and advanced art during the Song dynasty. During this time, the Buddhist Canon was first printed (dat. 983), followed by the Daoist Canon (dat. 1019) (Tsien 1985: 159; Twitchett 1983: 34–42; see also Chapter 12 herein). The former required approximately 130,000 blocks and occupied 130 bays of a special storehouse (Twitchett 1983: 35), while the second printed edition of the latter (dat. 1191) required approximately 83,000 blocks (ibid.: 38). Wood-block printing in turn became the standard printing method from the late medieval to late imperial period. In terms of material culture, these details draw our attention to a number of elements related to Daoist editions. First, as discussed in Chapter 12, the collection of Daoist texts and their preparation for printing was accomplished by Daoists. It required dedication and actual physical labor. Second, the writing of the calligraphy for and engraving of the printing-blocks required enormous amounts of work on the part of many anonymous artisans and craftsmen— think of the number of lives, bodies, and hands as well as places involved. Third, the wood-block printed editions were disseminated to various Daoist temples and monasteries. There they had to be stored and preserved. In terms of the existence of Daoist texts, wood-block printing was also pivotal for Daoist book production and textual dissemination.
Two additional points need to be made. While wood-block printing was used for large-scale projects, such as the Daoist Canon, and for producing popular editions for general circulation, the tradition of Daoist manuscripts did not cease. Books were still hand-written in calligraphy. For example, the early Quanzhen works were hand-copied manuscripts circulated among Quanzhen adherents and communities. Many of these writings were eventually included into the Daoist Canon, but many more were lost (see Komjathy 2007a). In subsequent historical periods, there was thus a received set of “canonical” writings, those contained in the Daoist Canon, and new Daoist textual traditions, some of which were eventually included in the collection and others of which were not. In this respect we may profitably utilize the categories of the catalogue of the Ming-dynasty Daoist Canon (Schipper and Verellen 2004), wherein a distinction is made between “texts in general circulation” and “texts in internal circulation” (see Chapter 12 herein). Some of these have been collected in “supplemental” and “extracanonical” collections (see Komjathy 2002; also Chapter 12 herein). However, there are various private and family collections of manuscripts, and many secret texts not available for non-initiates. Contemporary Zhengyi communities are especially noteworthy for their esoteric traditions of textual transmission. Some evidence of this is contained in the Zhuang-Lin xu daozang (Supplement to the Daoist Canon from the Zhuang and Lin Families; dat. 1975; 25 vols.), which was collected by Michael Saso.
The second point is that the use of wood-block printing continued into the early twentieth century. Although there were personal collections of manuscripts, our access to the Ming-dynasty Daoist Canon (see Chapter 12), the primary source for Daoist Studies, is solely dependent on the existence of a single wood-block edition. The Ming-dynasty Daoist Canon was printed in 1445, with a supplement printed in 1607. The original plates were eventually destroyed. The various Daoists who inhabited Baiyun guan (White Cloud Monastery; Beijing) during the Ming, Qing, and early Republican period preserved and protected the collection. It was only “rediscovered” in the early twentieth century, and subsequently became the basis of modern editions and modern Daoist Studies. If not for the lives of countless Daoists and the living community of the Daoist tradition, our understanding of pre-modern Daoism would have been severely limited and impoverished. Also noteworthy in this respect is the existence of the original metal plates for the Daozang jiyao (Collected Essentials of the Daoist Canon), which are housed in Qingyang gong (Azure Ram Palace; Chengdu, Sichuan).
Thus the history of Daoist texts is connected to the history of Chinese culture and society in general and to the Daoist tradition in particular. The continued existence of Daoist texts is literally evidence of the Daoist tradition as such, and of the dedication of Daoists and Daoist communities. Moreover, from a Daoist perspective, they are storehouses of the Dao (see Chapter 12), one of the external Three Treasures of the Daoist tradition. The opportunity to read translations of Daoist texts written in classical Chinese is indebted, at least on some level, to Daoists. 
3] Clothing and vestments
Traditionally speaking, Daoists wear particular types of clothing that indicate adherence, affiliation, and participation in Daoist community and tradition. Traditional Daoist dress is connected with pre-modern Chinese clothing and styles of attire. At present, very little research has been done on the history, styles, functions, and symbolism of traditional Daoist clothing, especially before the Tang dynasty. We do, however, have some knowledge related to the late medieval period (see Kohn 2003a: 147–59; 2004b; 2004c: 91–3), late imperial period (see Kohn 2004c; Komjathy 2007b), and contemporary period (see Lagerwey 1987: 291–2; Schipper 1993: 69–71, 95–9; Yin 2005: 44–7; Komjathy 2007b). There is also some specific information on Daoist liturgical vestments (Wilson 1995; Little 2000a: 195– 9). In the contemporary period, Zhengyi priests as well as Daoists outside of mainland China tend to wear Western dress in their daily lives. Traditionbased Daoists will often don traditional robes and liturgical vestments for more formal religious and ritual occasions.
In contrast, Quanzhen monastics in mainland China wear traditional Daoist robes in their daily lives. Technically speaking, only ordained Daoist priests and initiates may wear Daoist robes, although this has changed in the modern world wherein many self-identified Daoists wear Daoist dress as a source of identity, authority, and spiritual legitimation. Here I will concentrate on traditional Daoist religious attire, knowledge of which comes from my ethnographic fieldwork and participant-observation in contemporary Quanzhen monastic communities.
In contemporary Quanzhen monastic communities, monks and nuns wear a standardized and uniform set of vestments. In daily life, this most often includes black cloth shoes with rubber soles, knee-high white socks, a plain (i.e., undecorated) dark blue robe, dark blue or black pants, a topknot (faji ) with wooden hairpin (zanzi ), and some type of kerchief or cap. In the summer, many monks and nuns choose to wear white robes in order to stave off the heat. The standard robe, referred to as the “robe of the Dao” (daoyi ), parallels the late imperial one with a diagonally folded design—that is, the right, inside portion of the robe comes diagonally across the body to the left, while the left, outside portion goes over the right portion, diagonally to the right. This robe is usually made out of cotton or hemp. The sleeves, referred to as “cloud sleeves,” are fairly wide and open at the ends, and in length usually extend just past one’s hand with fingers extended, though they can be much longer. Contemporary robes are most often bound together with inner ties and Velcro. In less formal contexts, contemporary Quanzhen monastics also wear robes with a vertical cut down the center, which resembles Chinese martial arts clothing bound with small square-knots that go through loops. The standard distinction in daily religious dress centers on the “decorous garment” (lifu) and the “convenient garment” (bianfu). The former is a long, dark blue robe that hangs to anywhere from the lower calf to ankle. The latter is a shorter version that hangs to just above the knees. Both follow the standard diagonal pattern. The convenient garment is so named because of the freedom of movement that it allows; it is the garment of choice for traveling to other temples and monasteries or for pilgrimage, “mountain hopping,” and “cloud wandering.”
Like their medieval and late imperial counterparts, contemporary Quanzhen monastics bind their long hair in topknots with hairpins and wear various styles of “kerchiefs” or caps (jin), with the Hunyuan (Chaos Prime), a hard-rimmed round hat, being most common (see Komjathy 2007b). Topknots can be formed in a number of ways, which often vary from monastery to monastery and which one learns from one’s teacher (shifu) or “Companions of the Way” (daoyou). Hairpins are usually made of wood, especially Boxwood and Peachtree wood, and it is rare to see bone or horn, most likely because of the Quanzhen commitment to vegetarianism and nonharm. Preferred shapes for the decorative head of the hairpin include lotus pods, lotus blossoms, dragons, and phoenixes.
There are also robes that have more restricted uses. These robes are usually made out of silk. When receiving initiation (rumen; shoujie) into the Longmen lineage of Quanzhen, initiates wear “preceptor robes” (jieyi ). These are square-cut robes that are yellow in color with black borders. The preceptor robe has wide, open sleeves, and the entire garment hangs down to between the lower calf and ankle. Technically speaking, only those members of the Quanzhen monastic order who have gone through a formal Longmen ordination ceremony are permitted to wear these robes. This type of contemporary ordination usually involves the transmission of the previously mentioned Chuzhen jie, Zhongji jie, and Tianxian jie (see Chapter 8), although the extent to which these texts are actually read and applied requires further research. The highly organized, formal Longmen ordination ceremony stands in contrast to individual or master-disciple ordinations (chuandao); these vary from teacher to teacher and community to community (see Chapter 13).
When performing rituals or overseeing liturgical services, contemporary Quanzhen Daoist priests (daoshi ) wear “liturgical vestments” (fayi ), also referred to as the “wrapping of the Dao” (daopao).
 
FIGURE 23 Traditional Robe Associated with the Longmen Celestial Immortal Rank
Source: Chuzhen jie, ZW 404
There are two main types of ritual garments and liturgical vestments used by Daoist ritual experts. The basic robe, usually worn by cantors and ritual assistants when chanting the morning and evening liturgy, has the same design and cut as the preceptor robe, but it is red in color with black borders. In contrast to the other forms of Daoist dress, the more formal liturgical vestment is a multicolored and ornate garment. It too is cut in the standard ritual pattern, with the lower hem of the garment hanging to between the lower calf and ankle. The primary color of this liturgical vestment varies: red, yellow, and purple are most common, but I have also seen turquoise and orange. These robes are traditionally hand-embroidered with a variety of symbols and images. Among contemporary versions, the distinguishing features include swirling gold clouds, the Eight Trigrams, the Three Purities (sanqing) and/or Three Heavens (santian), and Luotian (Canopy Heaven) located at the center of the back. Other noteworthy graphic features include the sun and moon, pagodas, as well as dragons, cranes, and unicorns.
In terms of medieval and late imperial vestments, there are both continuities and departures in contemporary Daoist dress. First, paralleling their Daoist monastic predecessors, contemporary Quanzhen monks and nuns generally treat their religious garments with respect and care. Monastic protocol (and sometimes bureaucratic surveillance) requires one to keep robes clean and orderly. Contemporary Quanzhen liturgical vestments also express ordination ranks: only Longmen initiates are permitted to wear the preceptor robe, and only those with liturgical training may don the ritual robe.
While each and every dimension of traditional Daoist dress has symbolic associations, here we must be content to examine two representative examples. The symbolic center of the contemporary Daoist monastic’s textile universe is the robe of the Dao. As mentioned, this garment is dark blue in color with long sleeves that have wide openings. The sleeves are associated with the garments of immortals and Perfected; they have a flowing and billowy quality that lends an air of ethereality and obscurity. The color is conventionally described as qing (“azure”), the color of the Wood phase and thus having the correspondences of east, spring, morning, and so forth. Under this reading, it also has various other correlative associations, namely, the liver/gall bladder, youth, birth/new growth, smooth flow of qi, and so forth (see Chapter 6). However, the color is technically huilan (“dusty indigo”), and a more esoteric description identifies the color as xuan 玄, which may be translated as “dark” or “black” as a color but which also refers to “mysterious” when related to the Dao. One Daoist etymological reading of the character is a skein of silk dipped in indigo dye.
The locus classicus for this color/quality is Chapter 1 of the Daode jing: “Mysterious and again more mysterious/The gateway to all that is wondrous.” That is, xuan is the colorless color of the Dao; the ordained Daoist who puts on this color, the dark blue of his or her daily robes, becomes clothed in the Dao. One becomes enfolded by the Dao’s darkness, subtlety and mysteriousness. This is the darkness that takes in everything.
More refined and well-made robes of the Dao also have specific seam patterns. The sleeves are divided into two sections, while the torso section is divided at the shoulders. Similarly, the collar has three sections. Three, as a yang number, is one of the primarily significant numbers in the Daoist tradition, perhaps only second in importance to the number nine (3x3). The trifold pattern of daily vestments in turn has an almost infinite number of correspondences, including the Three Essentials (sanyao), Three Fields (santian), Three Treasures (sanbao), Three Passes (sanguan), Three Purities (sanqing), Three Heavens (santian), and so forth (see Chapters 5–7 herein). For Daoists who are aware of and contemplate these associations, donning religious garb situates them in a specific cosmos and reminds them of the vigilance required for alchemical praxis and transformation. Robes of the Dao display the ordained and tradition-based Daoist’s standing in a particular religious community, which includes access to, communication with, and participation in the purest emanations of the Dao and the highest celestial realms. At the same time, daily vestments focus the practitioner’s attention on preserving energetic integrity, activating subtle dimensions of self, awakening latent spiritual capacities, and advancing the process of alchemical transformation.
With respect to the liturgical vestments, the contemporary Quanzhen ritual robe contains a variety of symbolic designs, which have multiple layers of meaning. On the most basic level, these ornamental features reveal the Daoist priest’s access to the Daoist sacred realms as well as his standing in the celestial community. Whether on the liturgical vestment or on the liturgical carpet, the Eight Trigrams, associated with the eight directions, represent the extending influence of the officiant’s ritual power and efficacy. This may be thought of as the “horizontal plane” of ritual activity. On the “vertical plane,” the Luotian heaven on the back of the ritual garment represents the Daoist priest’s communication with the most accessible, highest sacred realm. The Luotian heaven is the Daoist heaven “below” the
Three Heavens. It is the residence of the Jade Emperor, the cosmocrat paralleling the terrestrial emperor in governing function (see Chapter 6). Also part of the popular Chinese pantheon, here the Jade Emperor is located at the highest level of the pantheon, and he is the highest deity who receives petitions and requests from Daoist priests. 
Liturical art and ritual implements
In terms of material culture, one of the most straightforward ways of identifying “Daoist art” is to concentrate on “liturgical art” and ritual implements, that is, to focus on elements of material culture utilized by Daoists in ritual contexts. With respect to liturgical art, the most common forms are paintings and statues depicting Daoist gods and immortals (see Chapters 6 and 13). In Daoist temples and ritual contexts, they are arranged in specific ways, which relate to altar configuration and sacred space (see Chapters 13 and 14). Beautiful and refined examples of Daoist liturgical art may be found throughout the pages of Taoism and the Arts of China (Little 2000a). While some Daoist temples, especially Baiyun guan (White Cloud Monastery; Beijing), still have Daoist collections, most examples of finely executed Daoist liturgical art were removed from China at various periods, but especially in the context of colonialism in late imperial China. Much of this “art” is housed in private and museum collections in Europe, Japan, and North America.
The most common and important Daoist ritual implements (faqi ) include the following: (1) Audience or announcement tablet (ban; hu; jian), with chao (“audience”) often preceding these characters; (2) Command placard (lingpai ); (3) Prayer-bell or bowl (qing; zhong); (4) Ritual ruler (fachi ); (5) Ritual seal (fayin); (6) Seven-star sword (qixing jian); and (7) Wooden fishdrum (muyu) (see also Asano 2008a). With the exception of the metal prayer-bell and sword, most of the primary ritual implements of modern Daoists are made of wood, especially of Peachtree wood, which is associated with exorcistic qualities. The audience tablet is a long slender tablet held by the head officiant during ritual. Modeled on Chinese court tablets, it indicates the authority of the officiant and his or her access to the Daoist deities and sacred realms. The command placard, also known as the Five Thunder Command Placard (wulei lingpai ), is a long and narrow wooden slat, rounded at the top and flat on the bottom. Modeled on imperial tallies or talisman (fu) given to officials by the emperor, this implement is used by the officiant when giving orders to the celestial officers and generals. It is also used for dispersing demons and ghosts, especially in Daoist space clearing rites (see Chapter 13). Modern versions often include the esoteric names of the Three Purities, specific constellations, and esoteric characters believed to have spiritual power. The ritual ruler is a long square piece of wood. It is most often used in exorcism, with officiants using it to “write” characters before the altar. The ritual ruler often contains the name of specific gods, the sun and moon, twenty-eight lunar lodges, and so forth. The ritual seal is a square seal used for stamping documents during ritual. It is a sign of the officiant’s authority and invests the document with spiritual power. Like the audience tablet and command placard, the ritual seal is modeled on Chinese court ritual with its related objects, functions, and symbolism. Engraved with the pattern of the Northern Dipper, the seven-star sword is another exorcistic tool. Finally, the prayer-bell, or “chime,” and the wooden fish-drum, both of which include strikers made of wood and covered with rubber, are the two primary musical instruments used in Daoist ritual. The former is struck as a form of petition, while the latter is struck in a rhythmic pattern to guide chanting (see Chapter 13). The wooden fish-drum is also used at the beginning of Daoist meditation, when it is struck three times. It is said to correspond to the sound of thoughts and emotions disappearing in meditation, into stillness and emptiness. The prayer-bell is used in both meditation and daily temple offerings, and is struck three times at the end of meditation. It is said to correspond to the quality of consciousness after meditation, specifically as characterized by expansiveness, clarity, resonance, and so forth. The prayer-bell is also rung when making offerings, especially of incense. In contemporary Quanzhen temples, it is—at least ideally—rung by the altar attendant during each of an individual’s three prostrations before the altar.
Architecture and temple layout
Daoist temple architecture is largely based on the traditional Chinese architecture. The earliest temple-like structures appear to have been built by the early Tianshi community, and the first Daoist monastery, Louguan (Lookout Tower Monastery; Zhouzhi, Shaanxi), appeared in the fifth century (see Chapter 14). The earliest extant Daoist buildings date from the Song and Yuan dynasties, specifically from the twelfth and thirteenth centuries (see Steinhardt 2000; Qiao 2001). One of the most important examples is Yongle gong (Palace of Eternal Joy; Ruicheng, Shanxi), which includes major temple murals related to early Quanzhen Daoism (see Katz 1999).
Daoist temple architecture has utilized and continues to utilize the primary materials, construction methods, and styles of traditional Chinese architecture (see Steinhardt 2000; Qiao 2001). Most surviving Daoist temples utilize brick and timber construction. They include large wood columns and sloping tile roofs with over-arching eaves. They also have various stone elements, including stone steps, railings, and arches.
Following traditional Chinese architecture, one of the most interesting architectural features of Daoist temples is the door-sill (menkan; hukun). Usually part of the larger doorframe, door-sills are located at the entrance of temples and altars and measure about one foot to two feet in height. They have practical, mythological, and spiritual dimensions. On the most basic level, they prevent rain and mud from entering. In terms of mythology, I have heard a variety of explanations. One of the more interesting is that there are short, one-legged demons whose only form of mobility is hopping; the door-sill is too high for them to jump over. On a deeper spiritual level, doorsills demarcate sacred space; they are physical and spiritual boundaries. For residents and pilgrims (see Chapter 1), to cross this threshold is to enter a Daoist sacred place. This involves stepping over the raised, wooden ledge with the left foot first. It involves awareness and attentiveness. One can enter the sacred space consciously or not. Like Daoist bowing (see Chapter 13), stepping over door-sills can be a Daoist contemplative practice, and that experience may influence one’s daily life more generally. In application, one remains attentive to boundaries, crossing thresholds, and abiding in sacred space. One also becomes more sensitive to the qualities and functions of space.
The layout of Daoist temples varies depending on size and location. Specifically, the uniformity and conformity to the standard layout is greater for lowland and urban temples, and less for mountain sites. Moreover, as discussed below, there is often a deeper mythological and soteriological dimension of the layout (see also Lagerwey 1992). Again paralleling traditional Chinese architecture, and specifically imperial temples, the standard Daoist temple layout is along a north-south axis. Ideally speaking, this is actually and symbolically the case, that is, it is sited facing south. However, from a Fengshui perspective (see, e.g. Wong 1996; Bruun 2003, 2008), the temple is always discussed along these lines, with the entrance being “ritual south.” Facing south, the back of the temple is north (Mysterious Warrior), the front is south (vermilion bird), the right is west (white tiger), and the left is east (azure dragon) (see Chapters 6 and 13 herein). Here we should note that, although utilized in Daoist architecture and by some Daoists, Fengshui (lit., “wind and water”), also known as Chinese geomancy, is not Daoist; like some other elements of the Daoist tradition, such as correlative cosmology (yin-yang/Five Phases), calendrics, and the incorporation of popular gods into the Daoist pantheon and altars (see Chapter 6), it is best understood as part of “traditional Chinese culture” (see Komjathy 2011b).
 
FIGURE 24 Traditional Daoist Temple Architecture and Layout
Source: Huayin xianzhi
In terms of Daoist architectural layout, a paradigmatic example is Baiyun guan (White Cloud Monastery; Beijing) (see Yoshioka 1979; Qiao 2001; Komjathy forthcoming). This sacred site consists of the main altars along the central, vertical axis as well as side altars along horizontal axes. If one were moving through the actual temple, one would notice open courtyards, sheltering trees, places to sit, as well as other architectural features and dimensions of Daoist material culture. One would note the spaciousness and peacefulness characteristic of traditional Daoist temples and spaces. Returning to the layout, the altars are usually arranged hierarchically. Moving along the north-south axis, with north in back and representing Mystery, the front altars contain “lower” deities, while the back altars contain “higher” deities, those that are more primordial and closer to the Dao as Source. The deepest altar, or the most elevated altar in the case of Daoist mountain temples, is the highest in terms of the pantheon. In contemporary Daoist temples, the central altar is usually dedicated to the Sanqing (Three
Purities), the earliest, primordial emanations of the Dao (see Chapters 6 and 13).
All of the examples so far derive from traditional Daoist temples and sacred sites. However, as I have suggested in sections of the present book, and as discussed more fully in the next chapter, Daoism is now a global religious tradition. Like modern “Daoist art” and Daoism more generally, there is the possibility and perhaps necessity of cultural adaptation. With respect to Daoist architecture and uses of space, one can identify particular principles and characteristics. Daoist temples frequently contain large open spaces, covered walkways, various partitions and corridors, as well as many natural features such as trees and stones. There is a guiding aesthetic, energetic attentiveness, and refined spatiality that could be applied to other forms of architecture. Although yet to appear, one can imagine new Daoist sacred sites and religious spaces, which combine traditional Chinese Daoist aesthetics with new architectural designs and more local materials. Here we should note that there are few, if any, actual Daoist temples and sacred sites outside of China and the Chinese cultural sphere. While there are some Daoist spaces, such as altars in commercial buildings, there are few actual Daoist places in the West. One is most likely to find self-identified Daoist organizations located in private homes, commercial spaces, or former Christian churches. This is largely a matter of the expense of purchasing land and undertaking new construction projects as well as the lack of support for tradition-based Daoist communities in the West. The main exception with which I am familiar is a Daoist temple utilizing traditional Chinese architecture near Toronto. Completed in 2007 and located in Orangeville, Ontario, this temple was constructed by the Taoist Tai Chi Society/Fung Loy Kok, which has some connection to the Yuen Yuen Institute (Yuanxuan xueyuan) of Hong Kong. As one might expect, this temple received major funding from overseas, immigrant and ethnic Chinese members (see Chapter 16), and it is no coincidence that it has connections to Hong Kong Daoism.
The final aspect of Daoist material culture related to Daoist temples and temple communities centers on the various objects contained within the temple walls and utilized by temple inhabitants. On a more “mundane” level, this would include each and every material element of daily life. On a more “profound” level, it would include objects related to lived and living Daoist religiosity. This is Daoist “material culture” as rooted in community life and religious practice. Within Daoist temple compounds, one often finds steles (beike; shike), their associated rubbings (tuopian), temple boards (muban), cliff inscriptions (moya), and temple murals (bihua). Engraved on large stone tablets, and less occasionally on bronze or wood, steles generally contain information on temple history, including renovations, and on key inhabitants and patrons. There are also famous and rarer examples that contain images, especially portraits of famous Daoists or specific body-maps and practice aids (see, e.g. Needham 1983; Depeux 1994; Little 2000a: 124, 138–9, 144, 148, 336, 344–5; Komjathy 2008c, 2009, 2011d). Temple boards are wood boards engraved with calligraphy. The most visible temple boards are horizontal ones above entrances, containing either the name of the temple or of the specific altar. However, one also finds vertical temple boards engraved with Daoist practice principles and/or poems.
Entering into the inner sections of Daoist temples and sacred sites, one encounters altars. Such altars usually consist of bowing mats in front of one or more wooden altar tables. The primary constituents of Daoist altars are the incense burner, incense, matches or a lighter, two candelabras, two red candles, as well as the prayer-bell and wooden fish-drum (see above; Chapter 13). It should be mentioned that the incense is usually lit from the flame of the candles, and that the incense flame is extinguished by shaking the incense stick in the air. In Daoism, one does not blow out incense or candles, as exhaling through the mouth expels toxins from the body; it is considered noxious qi. Like the sound of the prayer-bell, one also allows incense to completely burn down, as it is an offering and a petition.
On a personal level, in addition to their clothes and ritual implements, Daoists have their own books and manuscripts, altars and altar art, hairpins, tea-sets, cultivational art, and so forth. In terms of material culture, Daoists believe that objects may be infused with sacred presence. This may occur through daily use by advanced practitioners, and such objects are often bestowed to disciples or Companions of the Way (daoyou; fellow adherents with similar affinities and orientations) as the individual nears death or upon death. On a more formal level, objects such as statuary and altar art may be “activated,” infused with numinosity, through actual consecration (kaiguang; lit., “opening the radiance”) rituals (see Chapter 13).
By way of conclusion, we must recognize that we cannot separate Daoist sacred sites, temples, and material culture from the associated Daoist communities who occupy those places (see Chapters 4 and 16; also Herrou 2005; Goossaert 2007). Although there is a tendency to collect “Daoist material culture” as somehow distinct from “Daoist religious life” (see Chapter 1), or to collect the Dao and other dimensions of Daoist culture as distinct from the Daoist tradition, every “object” has a source and a history. For Daoists, such material culture plays a central role in Daoist religious life, the preservation of Daoist culture, and the transmission of the Daoist tradition to future generations.
  
FURTHER READING
Katz, Paul. 1999. Images of the Immortal: The Cult of Lü Dongbin at the Palace of Eternal Joy. Honolulu: University of Hawaii Press.
Kohn, Livia. 2003. Monastic Life in Medieval Daoism. Honolulu: University of Hawaii Press.
Komjathy, Louis. 2007. “Clothed in the Dao: The Styles, Functions, and Symbolism of Daoist Dress.” Unpublished paper.
Little, Stephen. 2000. Taoism and the Arts of China. Berkeley: Art Institute of Chicago/University of California Press.
Qiao Yun. 2001. Taoist Buildings. Translated by Zhou Wenzheng. New York: Springer-Verlag Wien New York.
Steinhardt, Nancy Shatzman. 2000. “Taoist Architecture.” In Taoism and the Arts of China, by Stephen Little, 57–75. Berkeley: Art Institute of Chicago/University of California Press.
Tsien, Tsuen-Hsuin. 2004 (1962). Written on Bamboo and Silk: The Beginnings of Chinese Books and Inscriptions. 2nd edn. Chicago: University of Chicago Press.
Wilson, Verity. 1995. “Cosmic Raiment: Daoist Traditions of Liturgical Clothing.” Orientations (May 1995): 42–9.
Wu Hung. 2000. “Mapping Early Daoist Art: The Visual Culture of Wudoumi dao.” In Taoism and the Arts of China, by Stephen Little, 77– 93. Berkeley: Art Institute/ University of California Press.