Speaking of "Shaolin Shengong", perhaps many people's first reaction is the unfathomable "Yi Jian Jing". The Yi Jian Jing is actually a work that exists in history, and the most powerful "martial arts secret books" in Jin Yong's novels, the Nine Yin True Classics and the Nine Yang True Classics, are all transformations of the Yi Jian Jing. For example, Shi Yongxin, the current abbot of the Shaolin Temple in Songshan Mountain, openly declared that the "Yi Jian Jing" "belongs to the superior practice in the Shaolin Temple" and "can change a person's physique and instincts"; those who destroy it call the "Yi Jian Jing" a "Taoist aphrodisiac treasure book", but it is only a fangzhong technique, which is a forgery book.
The Yi Jian Jing is a "Shen Gong" secret book, which is just a misconception that exists in the public perception, but the "Yi Jian Jing" as a "Shen Gong" secret book has a history of three or four hundred years. So, how did the Yi Jian Jing become a "Shaolin Shengong"?
The Yi Jian Jing was originally the Yi Jian Jing Yi
There are more than 50 known versions of the Yi Jian Jing, of which there are more than a dozen early manuscripts. In many editions, the title of the Yi Jian Jing is Yi Jian Jing Yi, not the Yi Jian Jing. The manuscripts are such as the Qing Qianjia scholar Zhou Zhongfu' view, the Beijing National Library's Collection of the Western Truth (Zheng Zhenduo's original collection), the Yongzheng Period's Baoben, the engravings include the Daoguang Zhu Wenlan Ben, the Guangxu Ten Years (1884) Shanghai Sweeping Leaf Mountain House Engraving "Yi Jian Jing Yi Yi Fu Qi Tu Shu Shu
Although the title of the book is not directly called "Yi Jian Jingyi", in the Pai Wen there is "Zi Ning Dao Ren Yue: Yu Reading the Yi Jian Jing Yi", indicating that the original book is actually called "Yi Jian Jing Yi", and there is the "Shu Gu Tang" book (suspected to be the collection of the famous bibliophile and editionist Qian Zeng in the late Ming and early Qing dynasties), the Shanghai Huazhixuan Codex, the Shanghai Yifuju Codex, and so on.
The National Library of China's Collection of Western Truths "Yi Jian Jing Yi Sequence"
"Yi Jian Jing Yi" means "the translation of the Yi Jian Jing". Regarding the source of the Yi Jian Jing, each manuscript gives an account of the Dharma Transmission of the Yi Jian Sutra, "Staying in The Town of Shaolin", but because the scripture is Tianzhu (Sanskrit), "the Shaolin monks cannot be translated all over", after "one of the monks in the crowd is a distant visit to the Sichuan Mountains" and at mount Emei in Sichuan, he met the Xizhu Holy Monk Pan Lami Emperor, and the Pan Lami Emperor told him that "the scriptures cannot be translated, the Buddhist language is also a mystery; the scriptures can be translated, tong fanda shengye", "it is a reference to Chen, a detailed translation of its meaning" (Xi Di Ben). In the "Yi Jian Jing Yi Fu Qi Tu Shu Shu That is to say, the original book written by Dharma is called the "Yi Jian Sutra", but the "Yi Jian Sutra" is Sanskrit, people who do not know Sanskrit cannot understand it, and the semantics are difficult, even if they understand Sanskrit, it is difficult for ordinary people to understand its meaning, after the translation of the General Secret Truth, the text has been different from the original sutra transmitted by Dharma, but the semantics have become easy to understand, so it is called the "Easy Tendon Sutra", that is, the translation of the General Secret Truth of the "Easy Rib Sutra" transmitted by Dharma. Therefore, the original book should be called "Yi Jian Jing Yi", not "Yi Jian Jing". There is a manuscript of the Zhejiang Provincial Academy of Traditional Chinese Medicine, and the title of the book is simply called "Yi Jian Jing Translation".
Author and date of writing
The author and age of the Book of Yi Jian are still unsolved mysteries. Up to now, Mr. Tang Hao's official statement in 1958 that the Ming Dynasty Apocalypse Four Years (1624) Tiantai Zi Ning Daoist forged the Yi Jian Jing is the most influential. Tang Hao is considered to be the founder of the discipline of Chinese martial arts history since the Republic of China, has a great influence on the study of martial arts history, and is also successful in politics, and after liberation, he has successively served as legal adviser of the Shanghai Municipal Public Security Bureau, director of the Research Office of the East China Procuratorate, member of the Political and Legal Committee of the East China Administrative Committee and member of the State Sports Commission. Due to its high academic and political status, the two interact, so his views have always been the most influential.
The Yi Jian Jing was an idea made by the Zi Ning Daoist in the fourth year of the Apocalypse and later became the mainstream view in the history of Chinese martial arts, including the Great Encyclopedia of China and many other important works. However, the author believes that Tang Hao's views are rash in the logic of argumentation, because there are not many versions he has seen and his thinking is not rigorous. This view has long caused confusion in understanding and has not yet been corrected.
What is now certain is that the Yi Jian Jing was written at the latest in the Yongzheng era (1723-1735), and the earliest will not exceed that of the late Ming and early Qing dynasties, and the kangxi era is the most likely to be written.
As for the author of the Yi Jian Jing, he is neither Dharma nor "Zi Ning Daoist", nor is he certainly not the "feather stream" (Taoist) proposed by Tang Hao in the 1930s "Shaolin Wudang Kao" and "Xing Jian Zhai Essays". Judging from the content of the Yi Jian Jing, the Confucian, Shi, and Dao are mixed, not in one family, and cannot be composed by Daoist priests who believe in Taoism and take the Taoist ancestors as the sect; from the fact that the author of the Yi Jian Jing lacks historical literacy and treats the novel as a historical fact (such as treating the story of the Tang legend as real history), its academic quality is insufficient; judging from the fact that the early manuscripts of the Yi Jian Jing (and later engraved copies) appear in the Jiangsu and Zhejiang areas, its early spread is mainly spread in the Jiangsu and Zhejiang regions centered on Suzhou and Shanghai. Therefore, the author should be a person from this area. On the whole, the author believes that the author of the book is a middle- and lower-class literati in Jiangsu and Zhejiang, who is neither a Shaolin monk nor a Taoist Taoist.
Is the Yi Jian Jing a room technique?
Regarding the content of the Yi Jian Jing, according to the Qing Dynasty Qianjia scholar Zhou Zhongfu, it was "the book of Neidan"; during the Republic of China, Mr. Tang Hao believed that it was "the heresy of the imperial daughter" and "the Taoist house technique". The Yi Jian Jing contains the meaning of "using war" ("Yu Qi"), but if we think that the Yi Jian Jing is a Fang Zhong Shu, it is too simple to think.
In fact, the content structure of the early Yi Jian Jingyi was usually "two preambles and one trek plus 28 main texts". The meaning of the prologue is to explain the source of this book. In the main text of the 28 articles, the main meaning of the room technique is "using war" ("residual tricks"). However, this content was the earliest, or added in the later copying process, there are still doubts. Some scholars have found that the Edo script now in the National Library of Japan (that is, the Cabinet Library) has the inscription "Two Zhejiang Shen Yutian Proofreading" at the end of the text, which may be the Kangxi manuscript's "Yi Jian Jing", and the main text has only 24 contents, and there is no "use of war" one. The author also found that the National Library of China has a collection of Western Truths, and a white page appears here, and there is no "use of war" article. Therefore, it cannot be simply said that the Yi Jian Jing is a room technique.
The 28 articles in the original text of the early "Yi Jian Jingyi" were divided into three parts: one was the "theory", mainly the "three theories" at the beginning - "the general theory of Yi Jian", "membrane theory", and "inner zhuang theory"; the second was "law", including "fang" (medicine recipe), from "kneading method" to "lower washing medicine prescription", a total of 20 rules; the third was "gong", and the last 5 were - "using war", "internal zhuang shen yong", "practicing hand Yu Gong", "outer zhuang shen yong eight duan jin", "shen yong yu gong".
The "theory" part is to expound the thinking, put forward the unique theory of "tendons and membranes", and propose that the method of cultivation is "mainly based on qi" and "cultivating qi to the point where the tendons and membranes are strong." "Fa" (including "Fang") is a specific cultivation method, including internal refining qi, external cooperation with "kneading method", and taking pills internally, scalding with external medicinal water, supplemented by wooden pestles, wooden mallets, stone bag beating, and some guiding principles and methods, such as paying attention to cultivation time, collecting sun and moon, practicing in December, and cooperating with yin and yang. The part of "Gong" is to emphasize the efficacy of practicing the "Yi Jian Jing", that is, to achieve the goals of "Inner Zhuang Shen Yong" and "Outer Zhuang Shen Yong", "Inner Zhuang Shen Yong" is to transport qi to the hand, and use stone bags to beat the shoulders and fingers, resulting in "divine power in the bones", "Long time of work, its arms, wrists, fingers, palms, very unusual, to the intention of nuzhi, hard as iron stone." And its fingers, can be used to the belly of the cow; the side of its palm, can break the head of the bull; nuqi fist, can crush the tiger's brain, all small use of the last skill also. "Outer strength and courage" is that after the internal strength is trained, it "leads to the outside" to achieve the effects of holding the city gate by hand and lifting the peak with strength. This is the method of practicing "Divine Gong" as envisaged in the Yi Jian Jing. Later generations mention the Yi Jian Jing to repeat this "divine skill" effect.
The early manuscripts of the Yi Jian Jing only had text and no graphic posture, and 12 graphic postures appeared in later disseminated versions, called the "Yi Jian Jing Twelve Styles". These figures were first added in the Jiaqing and Daoguang period manuscripts, the Laizhang Shi Ji ben (the most widely disseminated version of the Yi Jian Jing), and their source should be the "Jia Li Method" (that is, the Refining Qi Method) of Liu Tong's "Imperial Jing Jing Wu Strategy" in the eighth year of Ming Chongzhen (1635), referring to the twelve jintus that have been widely circulated, and the process of luck Jia Li practice is visualized.
National Library of China Collection "LaiZhangshi Edition" Manuscript "Yi Jian Jing Twelve Potentials" of "Wei Tuo Sacrifice Pestle First Trend"
Why did the Yi Jian Jing become a "Shaolin Divine Gong"
The "Shen Gong" cultivation method of the Yi Jian Jing is naturally not credible, but as a thought and concept, it actually reflects the new thinking of the Chinese martial arts community since the late Ming and early Qing dynasties, that is, both internal and external cultivation, and practicing qi and strength. The author of the Yi Jian Jing is obviously a person from the late Ming to the early Qing Dynasty, because there is a sentence in the pseudo-Li Jing preface in the book: "So far, the Shaolin monks have only excelled in horn art, and they have obtained one of these sutras." This indicates that the "present" of "present" refers to the era after the Shaolin monks became famous in Hangzhou, Songjiang (Shanghai), and Suzhou during the Jiajing period. In the eighth year of the Qing Kangxi Dynasty (1669), the famous thinker Huang Zongxi wrote an epitaph for his son Wang Zhengnan, the martial arts master of the Huang Baijia family, which included a sentence: "Shaolin is famous for its fist and courage in the world, but the lord is in the fight, and people can also take advantage of it." There are so-called inner families, with static braking, and the offender should be a servant, so don't let Shaolin be a foreign family. This is the expression of the inner family fist thought in the late Ming and early Qing dynasties, which is consistent with the foreign kung fu that the author of the "Yi Jian Jing" holds to deny the "horn art".
This kind of thinking is also reflected in historical events. The Qing Dynasty literary scholar Wu Jingzi mentioned the Yi Jian Jing in his novel The History of Ru Lin Wai Shi, written in the 1740s (early Qianlong period). The book introduces Feng Si Lao's father, "Under his hands, there is really some exquisiteness, and a "Yi Jian Jing" is very familiar. If he had a hard time, he would not have felt anything even if thousands of pounds of stones fell on his head and body. "The fourth father of Feng in the novel, whose prototype is generally considered to be the chivalrous Guest Gan Fengchi. Ganfengchi really has its own people. In the second day of the first month of December in the seventh year of Yongzheng (1730), Li Wei, the governor of Zhejiang, said to the Yongzheng Emperor, "Ganfengchi is refining his qi, his martial arts are strong, he is famous everywhere, and his voice is quite wide." In order to capture Gan Fengchi, Li Wei actually designed to deceive Gan Fengchi's father and son to the Zhejiang Governor's Office in the name of his son Xiang Ganfengchi's martial arts, and then put out some facts from Gan Fengchi's son's mouth and convicted Gan Fengchi. This matter was seen in Zhu Pi's recital and had to be believed.
Zhejiang Governor Li Weiyongzheng 7th Year December First Two Folds (Partial)
Beginning with the Outer History of Ru Lin, the Yi Jian Jing frequently appeared in works after the Qianlong era. These works, including novels, as well as anthologies and historical works, show that the Yi Jian Jing not only influenced the authors of the novels, but also influenced the concepts of the intellectual circles at that time.
In the late Qing Dynasty, Pan Xia, who served as an inspector in many provinces, compiled a book of "Essential Techniques of Hygiene" and selected the "Twelve Potentials of Yi Jian Jing" into it. Later, Zhang Zhidong's father-in-law, Wang Yirong, the father of Wang Yirong, the "father of oracle bones", compiled a book "Neigong Tushu" when he was the prefect of Chengdu, saying that he had read this book at the Shaolin Temple when he was young. The Inner Gong Tushu is part of a textbook written by Wang Zuyuan for his family's children and is included in the "Tianlangge Series". The Tianlange series of books was actually compiled by Wang Zuyuan, but many people thought that it was Wang Yirong, Wang Yirong was a famous scholar, and the edited series of books was naturally valued by the world, and this book was later included in the Commercial Press's "Preliminary Compilation of Series Integration", and the "Preliminary Compilation of Series Integration" had a great influence.
Pan Xia, Wang Zuyuan and Wang Yirong have a high status and status, coupled with the well-carved "Essentials of Hygiene" and "Illustrations of Internal Gong", so they are noticed and accepted by the upper echelons of society, have a large influence, spread widely, and because they have the potential and skill, they can be imitated and practiced, so they have a great influence, and the "Twelve Potentials of the Yi Jian Jing" later almost became synonymous with the "Yi Jian Jing".
Nei Gong Tu (Nei Gong Tu Shu, Tianlang Ge series of books, Guangxu Seven Years Engraving)
In the novel, the "divine skill" attribute of the Yi Jian Jing is widely disseminated. Many of the note-taking novels of the Daoguang years wrote about the Yi Jian Jing and spread their concept of "divine skills". For example, Xu Yuanzhong's "Three Different Pen Talks", Cheng Dai's "Wild Language", Wu Chichang's "Guest Window Gossip", etc., all have content about the "Divine Gong" of the "Yi Jian Jing". The "Wild Language" tells that a warrior general, Bai Chenglong, "learned the art of the Yi Jian Jing and had divine courage"; another Mr. Min (Min Tingyu) "Ren Xia hao wu, de Dharma's "Yi Jian Jing" secret, there are dozens of strong men trapped, qiu zhi yi, left and right to open up the easy"; "Guest Window Gossip" said that a person "divine power is invincible to the world", saying that he practiced the practice of the "Yi Jian Jing".
During the Tongzhi period, Qi Xueqiu's "Selected Poems of The Aftermath" talks about someone who "said that he was young and had lost his divine power, and the Yi Jian Jing was derived from Shaolin"; in the "Essay on Seeing and Hearing", it was said that a chivalrous man claimed to be "a practitioner of the art of the Yi Jian Jing, so he could close his breath and become a corpse ear", and its effect was more exaggerated than "the divine power that was born out of the bones".
By the Guangxu period, tang yunzhou, the owner of the peach blossom museum, wrote a long literary sword immortal novel "Seven Swords and Thirteen Heroes", as well as the representative works of classical gong case chivalry novels, "Yongqing Shengping Quan biography" and "Peng Gong Case", also wrote about the "Yi Jian Jing", and further conveyed its "divine skill" attribute. In the "Seven Swords and Thirteen Heroes", "A branch of plum road: not a non-monk is the first master of Shaolin, his work, not passing on the apprentice, more than the Golden Bell Hood and the Yi Jian Jing, let you not enter the sword and gun"; in the "Peng Gong Case", the Red Lotus monk taught Ouyang De to "practice the heavy technique of the warbler claw knife, the one-force mixed yuan qi, the Dharma Lao Zu Yi Jian Sutra, the training of the bone is as soft as cotton, and the cold and heat are not invaded".
In the first half of the 20th century, many old-school martial arts novels wrote about the Yi Jian Jing, such as Pingjiang Buxiaosheng's "Biography of Modern Chivalrous Heroes" and Chang Jiemiao's "Yongzheng Sword Hero Diagram". The new martial arts novels that emerged in the 1950s included Liang Yusheng's Seven Swords Under the Heavenly Mountain (written in 1956-1957), Wolongsheng's Jade League (written in 1960), Gu Long's Amorous Swordsman Ruthless Sword (written in 1974); Jin Yong's more novels, written in 1963' Tianlong Eight Parts, written in 1967, and Lu Ding Ji written in 1969, all mentioned the Yi Jian Jing, and the Tianlong Eight Parts. Murong Bo told Murong Fu that the Yi Jian Jing was "the first martial art in the world" and the first master of the Shaolin school, and that as long as the Yi Jing Jian was practiced, even the mediocre martial arts could turn decay into magic. The two most powerful martial arts secrets in Jin Yong's novels, the Nine Yin True Classics and the Nine Yang True Classics, are actually just deformations of the Yi Jian Jing. If we speculate further, the internal martial arts secrets in Jin Yong's novels all have the shadow of the Yi Jian Jing, which may be another form of expression of the Yi Jian Jing, and the Yi Jian Jing is actually its prototype. It can be seen from this that the influence of the Yi Jian Jing on Jin Yong's creation of martial arts secrets in the novel is very great, and most of these martial arts secrets are internal gong secrets, and it can also be said that jin Yong's concept of internal strength expressed in the novel is mainly influenced by the "Yi Jian Jing".