[Hanfu · 漢服]Chinese immortal Hanfu <西王母/Queen Mother of the West> Based On Yuan Dynasty Taoist Temple Mural<永乐宫/Yongle Palace>
【Historical Artifacts Reference 】:
▶ China Yuan Dynasty Taoist Temple 永乐宫/Yongle Palace Mural
<西王母/Queen Mother of the West>
The Queen Mother of the West, known by various local names, is a mother goddess in Chinese religion and mythology, also worshipped in neighbouring Asian countries, and attested from ancient times.
The first mentions of the Queen Mother date back to the oracle bone inscriptions of the Shang dynasty (1766 – 1122 BCE).
One inscription reads:
Crack-making on day IX (9th day), we divined. If we make offering to the eastern mother and the western mother, there will be approval.
Western Mother refers to an archaic divinity residing in the west. The exact nature of the Mother divinities in the Shang dynasty is unclear, but they were seen as powerful forces deserving of ritual by the people of the Shang dynasty.
Originally, from the earliest known depictions of her in accounts like the Classic of Mountains and Seas during the Zhou dynasty, she was a ferocious goddess of death with the teeth of a tiger, who rules over wild beasts and sends down heavenly punishments such as pestilences. She was also mentioned as an authority ruling over other divinities such as Jiutian Xuannü, a goddess of war and sex.
Other stories hold that she is a mountain goddess or a divine tigress. She is also popularly thought to have blessed the Eight Immortals with their supernatural abilities.
After her integration into the Taoist pantheon, she gradually took on associations with other aspects, such as immortality, as well.
The Queen Mother of the West is most often depicted holding court within her palace on the mythological Mount Kunlun, usually supposed to be in western China (a modern Mount Kunlun is named after this). Her palace is believed to be a perfect and complete paradise, where it was used as a meeting place for the deities and a cosmic pillar where communications between deities and humans were possible.At her palace she was surrounded by a female retinue of prominent goddesses and spiritual attendants. One of her symbols is the Big Dipper.
Although not definite there are many beliefs that her garden had a special orchard of longevity peaches which would ripen once every three thousand years,others believe though that her court on Mount Kunlun was nearby to the orchard of the Peaches of Immortality. No matter where the peaches were located, the Queen Mother of the West is widely known for serving peaches to her guests, which would then make them immortal. She normally wears a distinctive headdress with the Peaches of Immortality suspended from it.
Flourishing parasols, we reach the chronograms' extremity;
Riding on the mist, I wander to Lofty Whirlwind Peak.
The Lady of the Supreme Primordial descends through jade interior doors;
The Queen Mother opens her Blue-gem Palace.
Celestial people—What a Crowd!
A lofty meeting inside the Cyan Audience Hall.
Arrayed Attendants perform Cloud Songs;
Realized intonations fill the Grand Empty Space.
Every thousand years, her purple crabapple ripens;
Every four kalpas, her numinous melon produces abundantly.
This music differs from that at the feast in the wilderness—
So convivial, and certainly infinite.— Wu Yun (Complete Tang Poems 1967, line 4942)
One of the earliest written references to the Queen Mother comes from the writings of the Taoist writer Zhuangzi (c. 4th century BCE):
The Queen Mother of the West obtained it [the Dao]... ...and took up her seat at Shao kuang. No one knows her beginning; no one knows her end.
Zhuangzi describes the Queen Mother as one of the highest of the deities, meaning she had gained immortality and celestial powers. Zhuangzi also states that Xiwangmu is seated upon a spiritual western mountain range, suggesting she is connected to not only the heavens, but also to the west.
Legendary encounters
In Tu Kuang-ting's text, he includes narrative accounts of the Queen Mother's encounters with legendary Chinese heroes. One such account narrates an encounter between the Queen Mother and Laozi (Lord Lao):
"In the 25th year of King Chao of the Chou dynasty (1028 BCE) …"
"…Lord Lao and the realized person Yin Hsi went traveling…"
"…on their behalf, the Queen Mother of the West explicated the Scripture of Constant Purity and Quiet."
In this account, the Queen Mother plays the role of Laozi's superior and is credited with the ultimate authorship of the Dao De Jing. This dichotomy of the Queen Mother as the superior is a characteristic of Shangqing Taoism, a goddess worshiping sect of Taoism of which Tu Kuang-ting was a master. There is also an account of a meeting between the Queen Mother and Laozi in Tang poetry.[18] This account however, being of traditional Taoist thought, has the Queen Mother taking an inferior role to Laozi, calling him "Primordial Lord" (the title of his highest manifestation) and pays homage to the sage.
<China Han Dynasty stone-relief showing 西王母/Queen Mother of the West from Sichuan,China>
<China Wei and Jin Dynasties Mural showing 西王母/Queen Mother of the West>
Since passing the imperial exams in 1493, he served in the Hongzhi (1488-1505) ) and Zhengde (1506-1521) Emperor’s courts. In the first year of Zhengde (1506), the imperial historian Lu Kun led a crowd to impeach Liu Jin and the other eunuchs, and was arrested and imprisoned for disobeying the Emperor’s word via imperial edict. Wang Liangchen submitted a memorial in an attempt to save him, and was sent to prison for the same reason. After Liu Jin was killed, he was appointed as the deputy of the travelling inspector of the provincial governments for Shandong.
紫霞零落带孤禽
zǐxiá língluò dài gū qín
The purple sky bathed in light scatteredly, brings solitary birds;
平楚苍苍秋意深
píngchǔ cāngcāng qiū yì shēn
the vast forest canopy emanates a sense of Autumn deep.
月过初三半梳玉
yuè guò chū sān bàn shū yù
The moon past the month’s third day is a half comb of jade,
菊迎重九满篱金
jú yíng chóngjiǔ mǎn lí jīn
chrysanthemums welcome the Double Ninth with a golden hedge.
天怜病骨商量暖
tiān lián bìng gǔ shāngliáng nuǎn
The Heavens, gentle to the ailing, conferred and brought warmth;
云促归程计会阴
yún cù guīchéng jì huìyīn
the clouds urged embarking on a return with cunning dreams of home.
风雁飞来更潇洒
fēng yàn fēi lái gèng xiāosǎ
The swan-geese flying here are much more joyfully free,
一枝芦雪印波心
yī zhī lúxuě yìn bō xīn
one blade of snow-reed engraved, in a heart that ripples (a lake, a stream).
It was a bit of mystery to me why? how? Because for me if I need to divide 衍, it would be 水+行, as the middle part of 衍, is 氵=水. Then it actually is from a poem below,
客路青山外,行舟綠水前。
Wonderers' roads towards blue mountain, in front of the green water.
潮平兩岸闊,風正一帆懸。
The calm tidal causes riverside hill wide-open, the wind is soft setting one sail.
海日生殘夜,江春入舊年。
After night the sun comes up from the sea, A year fades towards riverside spring days.
鄉書何處達?歸雁洛陽邊。
Where would it be my letter to home, those geese would pass my home.
From 唐朝, 次北固山下(ci bei gu shan xia; under the 北固 mountain) by 王灣(wang wan). This is a poem missing home and compliments the 北固山 scenery.
The first part,客路青山外,行舟綠水前 the wanderer (客) passes the front of green water(水). I said before that if I were the one who divide 衍, it would be 水+行? Because in the poem, the 客 is in front of 綠水. so it would be 客(wanderer) 水(water) 行(going moving passing). So Wen kexing chose 客(ke) as his name before 行(xing). If he named with 水, it would had been too obvious.
Actually I don't know if it's really that. But as far as I read and spy on some chinese website, it seems like that. The poem is really famous as it must be in the textbook. so it's not difficult to find but the meaning a bit too much for non-chinese user. Surprisingly Zhouzishu catched the meaning.
+ 衍의 부수자가 삼수변이라 둘로 나눌때 水行, 水가 앞에오는거래.. 원래 부수자가 그 글자의 형성에 제일 중요한 역할을 하는거니까 이렇게 말하면 내가 알 수 있을까? 대체 뭐라는거야???