An emperor establishes regulations and sets laws, determining the measurements and guidelines for all things. Everything must adhere to the Six Laws, which form the foundation of the universe itself.
The Six Laws are particularly vital in matters of warfare, hence the saying, “By observing the enemy’s aura, one can discern auspicious or inauspicious outcomes; by listening to their sounds, one can determine victory or defeat.” This principle has remained unchanged throughout the ages.
During King Wu’s campaign against the tyrant Zhou, he used the sound of pipes to divine the outcome of the battle, interpreting the harmonic vibrations from early spring to late winter. The sounds of death and battle emerged in unison, with the military rhythm aligning with the palace tones. Like voices in harmony, this is simply the way of nature, so what is there to be surprised about?
Warfare is a tool employed by the sages to defeat tyranny, restore order, eliminate threats, and save the nation from peril. Even beasts, armed with tusks and horns, will resist invasion from external forces. How much more so would humans, driven by emotions of love and anger? Joy brings forth affection, while anger may provoke vengeful actions. This is the natural order of human temperament.
In ancient times, during the reign of the Yellow Emperor, there was the battle in Zhuolu to quell the disasters caused by the Yan Emperor. Emperor Zhuangxu faced off against Gonggong to put an end to the havoc wrought by the Shaohao Clan. King Cheng of the Shang dynasty fought to destroy the chaos brought by the tyrant Jie of the Xia dynasty. Each dynasty rose and fell in turn, with victors claiming dominion over the world, for they were fulfilling the mandate of heaven.
From that point, men of renown rose one after another. The state of Jin employed the notorious offender Jiufan, while Qi made use of King Zicheng, and Wu honored the military strategist Sun Wu. These men upheld military discipline and were known for their unwavering commitment to rewards and punishments. As a result, they became overlords, annexing neighboring territories. Though they did not receive the imperial accolades of the Three Dynasties, they still achieved personal glory, with their rulers enjoying prestige and fame. Could anyone deny their honor? How could they be compared to those who fail to grasp the greater circumstances, who ignore the importance of balance and continuously preach pacifism? Those who avoid the use of military force often find themselves humiliated, with their lands lost, while the weaker may fall victim to invasions, ultimately leading to the inevitable decline of their nation.
Thus, a household must not lack instruction and discipline, a country cannot be without laws, and the world cannot function without punishment and military intervention. The difference lies in the skillful or clumsy use of these measures, in whether they are applied with wisdom or misjudgment.
Emperors like Xia Jie and Shang Zhou were mighty warriors, capable of fighting wolves with their bare hands and outrunning chariots pulled by four horses. Their strength was not lacking. They won every battle and instilled fear in their vassals, wielding considerable power. Likewise, Emperor Qin’s second ruler stationed troops on the borders, asserting power over the northern Xiongnu and southern regions. Their forces were far from weak. Yet when their strength peaked, their tyranny exhausted itself, and even the common people became enemies. The mistake was in their relentless warlust, an insatiable greed that could never be satisfied.
After Emperor Gaozu unified the land, rebellions arose along the three borders. While the titles of the great feudal lords were bestowed as a tribute to the emperor, they no longer behaved as loyal subordinates. Having grown weary of warfare, and with the guidance of his advisers, Xiao He and Zhang Liang, Emperor Gaozu was able to temporarily cease hostilities and give the people respite. He imposed only light restrictions on them, without deeper vigilance.
It was only when Emperor Xiaowen ascended the throne that General Chen Wu and others suggested: “Since the unification of the Qin dynasty, the regions of Nanyue and Joseon have acknowledged their vassalage. However, they later amassed troops and fortified their borders, waiting in hesitation. During Emperor Gaozu’s reign, the empire was still in its early stages of stabilization, and the people had only just begun to experience peace. It would not be wise to wage war once again. Now, Your Majesty, through your benevolence and kindness, has brought comfort to the people, and all within the four seas are basking in your grace. This is the perfect moment to unite the territory, as the people are eager to serve Your Majesty. The time has come to quell the rebellious factions and secure the borders.”
Emperor Xiaowen replied, “Since the moment I took the throne, I never imagined such matters. With the turmoil of the Lü clan’s rebellion, neither the meritorious officials nor the imperial family ever shamed my humble beginnings. By some twist of fate, I ascended to the imperial throne. I have always been cautious and fearful that this might be a fleeting achievement. Moreover, war is a brutal instrument. Even if successful, it brings great loss and suffering, particularly for the people who must abandon their homes and families to fight. My predecessor, Emperor Gaozu, understood the toll on the common folk and refrained from further military campaigns in places like Nanyue and Joseon. Can I, by my own will, presume to be capable? Now, with the Xiongnu invading our lands, our military commanders have failed to drive them back. The people of the border regions have been conscripted for far too long. I constantly worry for their well-being. The borderlands are still far from peaceful, but I hope that we can hold the line for now, send scouts, and seek to form alliances. Securing peace on the northern frontier would be a victory in itself, and for the moment, no further military campaigns should be considered.”
As a result, the people within and beyond the borders were freed from forced labor, allowing them to devote themselves to farming. This brought prosperity and abundance to the land, where grain prices fell to mere pennies per bushel. The sounds of roosters crowing and dogs barking could be heard across the countryside, and the smoke of hearths filled the air, all of which attested to the peace and tranquility of the time.
Sima Qian, the Grand Historian, writes: “During Emperor Xiaowen’s reign, the world had just emerged from the calamities of war and strife. The people were at peace and could pursue their livelihoods without disturbance. They were content and did not yearn for turmoil. Even the elderly, in their sixties or seventies, had never visited the market, spending their days quietly in their villages, as carefree as children. This is what Confucius described as the rule of a virtuous ruler.”
The ancient texts record that the Seven Luminaries and Twenty-Eight Mansions, along with the cycle of the law of the stars, are the celestial forces used to connect and nurture the Five Elements and Eight Directions. These heavenly movements are responsible for the birth and nourishment of all things.
The “Mansion” refers to the place where the sun and moon pause and rest during their journeys. It symbolizes a moment of respite, a pause in the rhythm of time.
The “Buzhou Wind” comes from the northwest, governing matters of life and death. The “Eastern Wall” lies just east of this, overseeing the generation of vital life energy that flows eastward, eventually reaching the “Ying Room,” which is responsible for nurturing the Yang energy and giving birth to new life. Further east lies the “Wei Mansion,” a place where Yang energy is stored, leading to the designation of “Wei” as a symbol of this storage. These stars correspond to the tenth lunar month and the Twelve Laws of the clock, with the “Ying Bell” representing the response of Yang energy, though this energy is not yet active.
In the northern regions, the “Guangmo Wind” represents the interaction of Yin and Yang, where Yang energy is still below, and Yin energy is without its fullness. To the east of this, the “Xu Mansion” symbolizes the period when Yin and Yang are still undivided and are merging into one. This corresponds to the eleventh month of the lunar calendar, with the “Yellow Bell” representing the Yang energy’s emergence from the Yellow Spring.
Continuing eastward, one arrives at the “Xunü Mansion,” a place where all things undergo a transformation of position. The energies of Yin and Yang are still intertwined, yet they begin to separate. This corresponds to the twelfth month of the lunar calendar, and the “Big Lü” represents the final harmonization of all things. The energies manifest in their fullest form during this time, heralding the growth of all things.
The Tiao Wind originates from the northeast, governing the generation and emergence of all things. The term “Tiao” suggests that this wind nurtures and causes all things to appear, hence the name Tiao Wind. It moves southward to the Ji Mansion, which represents the root and foundation of all life, symbolizing the origin of creation. This corresponds to the first lunar month, with the cycle of the Tai Suo in the musical scale. Tai Suo signifies the thriving emergence of all things, hence its designation. In the Twelve Earthly Branches, it corresponds to the Yin branch. Yin signifies the initial birth of life, akin to the movement of a worm, which crawls in a curved, uncoiled fashion, thus the term Yin. Continuing southward, it reaches the Wei Mansion, a symbol of the early stages of life, akin to the bend of a newborn’s tail. It then proceeds to the Xin Mansion, signifying the budding of life, where every living being shows the first signs of flower-like development. Further south, it reaches the Fang Mansion, which stands as the gateway for all things to emerge into the world.
The Ming Shu Wind originates from the east. The term Ming Shu signifies the enlightenment of all things, revealing their emergence from the earth. This corresponds to the second lunar month and the Jia Zhong in the musical scale. Jia Zhong refers to the state where Yin and Yang are interwoven, standing in the center, without fully emerging. In the Twelve Earthly Branches, it corresponds to the Mao branch. Mao suggests the flourishing of life, where all things are vibrant and growing. In the Ten Heavenly Stems, it corresponds to Jia and Yi. Jia symbolizes the breaking forth of life, while Yi signifies the strenuous yet resilient growth of all things. Moving south, it reaches the Di Mansion, where all things have arrived at their fullest development. Continuing south, it reaches the Kang Mansion, signifying the gradual rising of all things. Further south, it reaches the Jiao Mansion, where all things have sprouted branches and limbs, like antlers emerging. The cycle continues through the third lunar month, aligning with the Gu Xie scale, representing the brightness and early life of creation. In the Twelve Earthly Branches, it corresponds to the Chen branch, signifying the stirring of life and its movements.
The Qing Ming Wind comes from the southeast, governing the expansion of life toward the west. It first reaches the Zhen Mansion, where all things grow in an increasingly expansive manner. Heading westward, it reaches the Yi Mansion, where all things have reached maturity and are now winged. These two Mansions correspond to the fourth lunar month, with the Zhong Lü scale, representing the journey of all things westward. The Zhong Lü scale signifies the fullness of life, where Yang energy is now receding. In the Twelve Earthly Branches, it corresponds to the Si branch, representing the decline of Yang energy. Moving westward, it reaches the Qi Xing (Seven Stars), symbolizing the completion of Yang energy, which culminates in the sevenfold pattern. Further west, it reaches the Zhang Mansion, signifying the rapid expansion of life. Continuing westward, it reaches the Zhu Mansion, where things begin to decline, as Yang energy retreats. These three Mansions correspond to the fifth lunar month, with the Rui Bin scale. Rui Binsignifies the early stages of Yin energy’s influence, a time when the decaying Yang energy no longer plays a role.
The Jing Wind comes from the south, signifying the completion of Yang’s influence. The Jing Wind marks the culmination of Yang energy and its eventual cessation. In the Twelve Earthly Branches, it corresponds to the Wu branch, the midpoint between Yin and Yang. In the Ten Heavenly Stems, it corresponds to Bing and Ding. Bing represents the bright and majestic display of Yang energy, while Ding symbolizes the full maturity of life. Moving westward, it reaches the Hu Mansion, where life begins to wither and fade, similar to a bow’s curvature. Further west, it reaches the Lang Mansion, where all things are measured and their ultimate fate sealed.
The Liang Wind arises from the southwest, governing the earth itself. Liang suggests the absorption of life force by the earth, signifying its stillness and quiet dominance over all things. This corresponds to the sixth lunar month, with the Lin Zhong scale. Lin Zhong signifies the foreboding and fearful signs of impending death. In the Twelve Earthly Branches, it corresponds to the Wei branch, suggesting that all things have matured and gained flavor. Heading north, it reaches the Fa Mansion, symbolizing the weakening of life, where forces are severed and life is culled. Further north, it reaches the Shen Mansion, where all things are assessed and tested for their worth. These two Mansions align with the seventh lunar month, and in the musical scale, they correspond to the Yi Ze mode, which signifies Yin’s detrimental effect on life. In the Twelve Earthly Branches, it corresponds to the Shen branch, marking the continuous decay caused by Yin’s dominance. Further north, it reaches the Zhuo Mansion, where all things are affected by Yin’s touch, leading to death. Continuing north, it reaches the Liu Mansion, signifying the final stage, where Yang’s energy lingers on the brink of departure. These two Mansions align with the eighth lunar month and correspond to the Nan Lü scale, representing the final withdrawal of Yang’s influence. In the Twelve Earthly Branches, they correspond to the You branch, marking the ripening and full maturity of all things.
The Chang He Wind arises from the west, signifying the initiation and final storage of all things. The term Chang refers to the act of initiating life, while He signifies its final collection in the Yellow Spring. In the Ten Heavenly Stems, it corresponds to Geng and Xin. Geng symbolizes the transformative power of Yin, and Xin indicates the struggles life faces in its final stages. Heading north, it reaches the Wei Mansion, where Yang’s energy is drawn back into its resting place. Moving further north, it reaches the Liu Mansion, where all things are summoned and drawn inward. Continuing north, it reaches the Kui Mansion, where life is poisoned and sealed away. These three Mansions correspond to the ninth lunar month and the Wu She scale, representing the peak of Yin’s influence, where Yang is fully concealed. In the Twelve Earthly Branches, they correspond to the Xu branch, signifying the complete decay and ultimate demise of all life.
The Proportions of the Musical Scales:
The ratios between the five musical tones are based on the concept of dividing the number eighty-one into three parts. After removing one part, the remaining two parts equal fifty-four, which corresponds to the tone Zhi. When fifty-four is divided into three, adding one part results in seventy-two, which corresponds to the tone Shang. Dividing seventy-two into three, and subtracting one part, the remainder is forty-eight, which corresponds to the tone Yu. When forty-eight is divided into three, adding one part results in sixty-four, which corresponds to the tone Jiao.
The length of the Huang Zhong (Yellow Bell) is eight inches and one-tenth (seven-tenths) of an inch, with its sound representing the Gong tone. The Da Lü is seven inches and five-twelfths of an inch in length. The Tai Suo is seven inches and two-tenths, representing the Jiao tone. The Jia Zhong is six inches and seven-thirty-seconds of an inch. The Gu Xie is six inches and four-tenths of an inch, representing the Yu tone. The Zhong Lü is five inches and nine and one-half thirty-seconds of an inch, representing the Zhi tone. The Rui Bin is five inches and six and one-half thirty-seconds of an inch. The Lin Zhong is five inches and four-tenths of an inch, representing the Jiao tone. The Yi Ze is five inches and three-quarters, corresponding to the Shang tone. The Nan Lü is four inches and eight-tenths of an inch, representing the Zhi tone. The Wu She is four inches and four and five-twelfths of an inch. The Ying Zhong is four inches and two and three-fourths of an inch, corresponding to the Yu tone.
Methodology of the Birth of the Bell’s Musical Numbers:
The starting point is the Zi tone, which equals one part. The Chou tone corresponds to two-thirds of one part. The Yintone corresponds to eight-ninths of one part. The Mao tone equals sixteen-twenty-sevenths of a part. The Chen tone equals sixty-four-eightieths of a part. The Si tone is one hundred twenty-eight-two hundred forty-thirds of a part. The Wutone is five hundred twelve-seven hundred twenty-ninths of a part. The Wei tone is one thousand twenty-four-two thousand one hundred eighty-sevenths of a part. The Shen tone equals four thousand ninety-six-six thousand five hundred sixty-one twenty-thirds of a part. The You tone equals eight thousand one hundred ninety-two-nineteen thousand six hundred eighty-three twenty-thirds of a part. The Xu tone equals thirty-two thousand seven hundred sixty-eight-fifty-nine thousand forty-nine twenty-thirds of a part. The Hai tone equals six thousand five hundred thirty-six-seventeen thousand seven hundred forty-seven twenty-thirds of a part.
The method for deriving the twelve tones from the Huang Zhong is: starting from the long bell tube, by doubling the numerator and multiplying the denominator by three to generate the shorter bell tubes. Conversely, to generate the longer bell tubes from the shorter ones, the numerator is multiplied by four, and the denominator by three. The maximum number is nine, and the sound numbers are five, so the Gong tone is the foundational sound, represented by the number five. The Gong tone generates Zhi, with Zhi represented by the number nine; Zhi generates Shang, with Shangrepresented by the number eight; Shang generates Yu, with Yu represented by the number seven; Yu generates Jiao, with Jiao represented by the number six. The “birth of the Bell’s musical numbers” starts from the Huang Zhong, which forms the basis of all other sounds. The process starts with the Gong tone and ends with the Jiao tone, while the numbers begin at one and end at ten, with the transformations being achieved by multiplying by three.
The Birth of the Divine Sound and the Role of Form:
Divine essence arises from the void, while form emerges from the material quality inherent in substance. Only when form is present can numbers be generated, and it is only through form that sound can emerge. Hence, it is the divine essence that harnesses the vital energy, and this energy must rely on form. The characteristics of form can often be distinguished by categories, with some forms lacking categorization because they are formless, while others with similar forms belong to the same category. With a category in place, its attributes can be expressed, and through categorization, identification becomes possible. The sage understands the difference between the tangible world—such as the heavens, earth, and all material objects—and the intangible world, such as human consciousness. It is through the tangible and substantial that the intangible and formless are deduced, enabling the sage to acquire knowledge of things as fine as gas or sound. However, it is through the essential nature, referred to as the “divine,” that the sage understands the world. Whether subtle or profound, the essence or divine nature must manifest in the emotional qualities of life. By carefully examining the outward manifestations of things, such as flowers and leaves, one can understand their inner essence. Without the heart of a sage, and without sufficient wisdom, who could comprehend the essence or divine nature of the universe, and deduce its external characteristics?
The essence or divine nature refers to the intrinsic qualities of things, which they possess unknowingly, neither aware of when they gain nor lose them. Hence, the sage places great importance on recognizing and preserving these qualities. It is through this understanding that the inner qualities or “divine” nature of things are preserved, and so it is that the heart of the sage also remains intact. These qualities are of immeasurable value.
Sima Qian’s Account:
Sima Qian mentions the careful alignment of the celestial spheres and the seven stars, and the division of the heavens and earth, the twenty-eight mansions, the ten stems, the twelve branches, and the musical scales. These were adjusted and fine-tuned since ancient times to create a system that could calculate and measure the movements of the sun and moon, thus providing the means for astronomical calculation. The common phrase “harmonizing the forces and principles” refers to this very process.