At the heart of Chinese mythology are four spiritual creatures, each guarding a direction on the compass. Each creature has a corresponding season, colour, element, and virtue. Further, each corresponds to a quadrant in the sky, with each quadrant containing seven star constellations (also called moon stations or moon lodges). There is a fifth direction - the center, representing China itself - which carries its own constellation…
Where to start?According to Derek Walters article "The Role of the Twenty-eight Xiu in Feng Shui" the Chinese used the 28 moon lodges to subdivide the four seasons into seven sections. This is different to the Sumarian-Bablyonian-Egyptian-Roman system where the 28-day lunar calendar is divided into the seven-day week we use in the West today (Su, Mo, Me, Ma, Ju, Ve, Sa). From a mystical point of view the important number is seven - for the seven major chakras. And if the seasons are dragons - that's the spiritual body of Kundalini that we are, and the seven sections must be its chakras.
According to Mantak Chia (Cosmic Healing II):
"The 28 days of the Lunar Zodiac in relation to the 5 Palaces around the North Star, are the 28 segments. The Moon will rotate in each palace during seven days. This period is connected with the seven days of the week. This brings a cycle of the seven planets during the days of the week in the 28 constellations. Specific influence of the sun (moon + 5 planets) and the 28 constellations (4 x 7) each of the 7 days of the week."Here I have added the corresponding GV points to his table (below):
|7 Days of
Chang "Drawn Bow"
Niu "Ox Boy"
Mantak Chia also shows the relationship to the organs:
|link to source|
"Although much more information is recorded and transmitted in China compared to most other civilizations, the real meaning of many methods is very rare to find. The system of stems and branches is a good example of this. Today this system is used on computers and in the form of diagrams, by many practitioners of Chinese medicine all over the world, but very few of them know what the system really means and where it comes from."
In their book The Chinese Sky during the Han, Constellating Stars & Society (1997, Page 96) Sun Xiaochun and Jacob Kistemaker indiate that the Chinese star names are related to:
(1) Heaven itself: sun, moon, and stars as names of constellations;
(2) Royal court and clan;
(3) Imperial bureaucracy and administration;
(4) All kinds of buildings and facilities;
(5) Military installations; armies and weapons;
(6) Traffic and transportation;
(7) Rituals, ceremonies and pictures of social life;
(8) Philosophical and religious concepts;
(9) Mythological and legendary figures;
(10) Administrative provinces and geographical features.
The 28 lunar constellations have been incorporated into all kinds of practices in China - qigong, feng shui, astrology, keeping track of the solar-lunar calendar, etc... Each system has its own point of view based on practical application. Derek Walters, a world renowned Feng Shui expert, has done a tremendous amount of research into the ancient texts and provided English language explanations of the mythological meanings behind the lunar constellations, also giving insights into how the 5-element system works with that, for the purposes of Feng Shui.
He shares that the Chinese use of the 28 lunar constellations gradually came into being and is probably at least 6,000 years old, going back to the time of Laozi, the founder of I Ching. According to Walters' research, the Luopan, used as the house energies realignment "compass" in Feng Shui (the Chinese counterpart to Vastu), at one time had the 28 constellations on its outer rim.
But it was tens of thousands of years ago when Vega was the original pole star (the ancients knew about procession) so that, and the research of paleoastronomy in the Lascaux caves, tells me that mythology is as old as human history. Storytelling, the work of the imagination combined with insight, is as old as we are. Storytelling is how enlightened beings through the ages have shared their insights on an intellectual level. The stars in the sky are their powerpoint presentation.
Learning to read poetry
Be more poetic about life and less philosophic. Allow poetry to enter in you and stop philosophizing. All philosophy is borrowed. Poetry need not be borrowed. Every child is born as a poet. Every child is a poet. To be a poet is natural, it is a gift of nature.
. . . .
This is where the poetry of religion becomes something beyond logic. For logic this is difficult. The logic will say either/or – and poetry says both/and. The logic always gives you a choice – either this or that. Either say the innermost being is empty or say it is full of being. It gives you alternatives. But the poetry of being says and/both – it is empty of something and full of something.
The Chinese Lunar Constellations came to represent the body parts of the four symbolic animals delineating four directions in the sky above and, from the view of mysticism, inside our head (inside our mind not only the brain).
Maya. This is all mind. All of it. Mind out there and mind within us. The ancients used poetry to explain it, so it could be understood on many levels.
Understanding the 4 Symbols and the 5 Elements
Derek Walters, in a workshop presentation to Feng Shui practitioners (link), explained that the colours of the 5 elements, and the sequence of the 5 classical elements in ancient times was based on the colour of the planets as observed by Chinese astronomers. Jupiter stands for the green/azure element wood, Mars for the red element fire, Saturn for the yellow element earth, Venus for the black element metal, and Mercury for the white element water. The elements revolve around "earth" so yellow goes in the middle.
Five elements, like the five tattwas in the Vedic philosophies, are the foundation for everything in the gross physical world as well as what is unmanifested. In the Vedic system the five tattwas arise from the five chakras below the crown: root chakra=earth, sacral chakra=water, navel chakra=fire, heart chakra=air, throat chakra=ether. There is no one system neither in China or India that agrees absolutely on one classification system. But that's just politics of semantics. The truth is always going to be found in the inner experience of them. The chakras are responsible for every area the soul deals with in the human experience.
And context is another thing. It isn't always about "disagreement". It's about what one is talking about - house construction? divination? calendars? meditation practice? - context determines how the classical elements are categorized.
And then Truth has many layers of meaning. Are we talking about the gross physical level? astral active mind levels? the causal level? or the transcendent? In the Sanskrit language every word has other secret words contained within it. With Chinese and Mayan pictograms there is something similar going on. The English word "secret", from Latin secretus (adjective) means "separate, set apart," and from the verb secernere, from se- "apart" + cernere "sift." Secret just means there are layers of meaning to separate and to sift through. An ignorant person takes the literal layer and is satisfied with that. An intellectual person goes farther and is satisfied with that. A spiritual person looks the deepest and, with discrimination blossoming into wisdom, finds truth ultimately when the mind stops and the Divine can enter transforming consciousness. This is my philosophy and my approach.
I am biased toward's Sri Vasudeva's view because he lives in an enlightened space, not only seeing things for what they truly are but seeing ALL the layers of meaning. He teaches that we are multidimensional beings - we not only "see" through the layers but in engaging that "seeing" we can also be living in them - maybe not in fullness but at least at the periphery. He teaches that the elements have to do with the function and consciousness of the associated chakra in the human experience. For me, that is the most important one to know because everything else follows from that.
These are arranged around the celestial circle of the heavens (cosmological circle) with the Lunar Constellations, seven per animal, at the seven chakra points of each animal. In my post about the cosmological circle I mention that the 28 points are created with four seven-pointed stars. Sri Vasudeva teaches that the chakras are responsible for every area of life. Every area of life is encapsulated in the astrological concept of the 12 houses. The 12 houses are expressions of the solar and lunar aspects of the 6 chakras leaving out the central one that is the crown chakra (13 being an expression of 7). And the 12 houses are divided into the four goals of life: artha (wealth), dharma (duty to the Inner Guide), kama (pleasure), and moksha (liberation from the wheel of ignorance/Maya). The iconography of these systems appear different but they are actually talking about the same thing. What is in the cosmos arrises out of what is in us.
The 28 lunar constellations in the Chinese astrology are aligned to the head, neck, heart, stomach, tail etc... so their astronomical location locates them at these points to the four animals. Their names often reflect this. (In the Vedic system the nakshatras are linked to the 12 signs of the zodiac.)
Mantak Chia's Taoist Big Dipper model
Mantak Chia writes about the significance of the elements as markers of areas in our subtle "brain" anatomy, as directions in our - "North" "South" "East" "West" and "Central" having esoteric meaning related to the transmutation of subtle energy from jing to chi to shen. The Big Dipper, because of its central location pointing to the two pole stars (due to procession), Vega and Polaris, represents in essence the crown chakra or our access to it through the brow chakra. In his writings he reorients the four elements as the cosmos within us (see his images below):
|The cosmos "above" us|
|corresponds to the cosmos within us (and the elements)|
The Chinese Lunar Constellations as the 4 Emperor's Generals
Dai Dunbang , (1938 - ), a native of Shima Township, Zhenjiang, Jiangsu Province, China, painter, has painted illustrations for many classical works such as Chinese classics and poems. It belongs to the style of Chinese painting, with delicate style and vivid characters.
|GV27 參 Shen "Three stars / Ginseng"/investigate [Ashwini]|
Military portent: executive, loyalty, frontiers (investigate)
|GV28 觜 Zi "Turtle beak (or pouting lips) / Mouth" [Bharani]|
Military portent: food, gathering, supplies
|GV1 壁 Bi “Net” (A Hand-net or Rabbit-net). [Krittika]|
Military portent: hunting prowess, rains
|GV2 昴 Mao "Hairy head/mane /The Constellation / Pelaides” [Rohini]|
Military portent: Soldier's death/imprisonment
|GV 3 胃Wei "Stomach" [Mrigasira]|
Military portent: storehouse, grainery
|GV4 婁 Lou "Bond /The Train of a Garment" [Ardra]|
Military portent: gatherings, animal sacrifice
|GV5 奎Kui "The Man Striding or the Striding Legs" [Punarvasu]|
Military portent: military forces, canal waterway
|GV6 壁Bi "Wall or Partition" [Pushya]|
Military portent: library archive, literature
|GV7 室Shi "Encampment / A House / Room" [Ashlesha]|
Military portent: wealth, offering, arsenal
|GV8 危Wei "Rooftop /Steep or Danger" [Magha]|
Military portent: building/property, markets
|GV9 虛 Xu "Emptiness / Void / False / barrens" [PurvaPhalguni]|
Military portent: death, funerals, lamentation
|GV10 女Nu "Girl or Maiden / Woman / Female" [UttaraPhalguni]|
Military portent: marriage, crafts & textiles
|GV11 牛Niu "Ox / Cow / Cowherd" [Hasta]|
Military portent: winter sacrifice, accessibility
|GV12 斗Dou "Dipper /A Ladle or Measure / Fight" [Chitra]|
Military portent: grant, reward, promotion
|GV13 箕 Ji "Winnowing-basket /A Sieve" [Swati]|
Military portent: gossip, slander, sex
|GV14 尾 Wei "Tail" [Vishakha]|
Military portent: succession, descendents
|GV15 心 Xin "Heart" [Anuradha]|
Military portent: emperor, authority
|GV16 房 Fang "A Room or House" [Jyestha]|
Military portent: Mintang, road opening/closed
|GV17 氐 Di “Root / Bottom / On the whole” [Mula]|
Military portent: foundation, fertility
|GV18 亢 Kang "A Man's Neck / Excessive" [PurvaShadha]|
Military portent: judge and punish, illnesses
|GV19 角 Jiao “The Horn or Spike / Angle" [UttaraShada]|
Military portent: rulership & military leadership
|GV20 軫 Zhen "The Cross-piece of a Chariot" [Abhijit]|
Military portent: travel, horses, wind
|GV21 翼 Yi "Wings or Flanks" [Shravana]|
Military portent: music, theatre, guests
|GV22 張 Zhang "Extended net / A Drawn Bow" [Dhanishta]|
Military portent: treasure, gems, wine
|GV23 星 Xing "Star" [Satabhisha]|
Military portent: beauty, fine cloth
|GV24 柳 Liu "A Willow Branch / Willow" [PurvaBhadrapada]|
Military portent: kitchen & fine cuisine
|GV25 鬼 Gui "Ghost" [UttaraBhadrapada]|
Military portent: death, the afterlife
|GV26 井Jing "Well or Pit" [Revati]|
Military portent: morality of the ruler