Volume One, Chapter Eighteen: Cows disappear and dragons emerge, burying skin and bones.

沒水之牛，氣仰而吹，宜乘其氣；出洞之龍，氣直而吐，宜乘其餘。精華外露之氣如花，宜葬其皮；精華內釀之氣如果，宜葬其骨。

Like a bull submerged in water, only its nose is raised to blow air, and the breath is concentrated at the nostrils, so one should take the breath directly when it is steady—slowly coming pulses should be taken shallowly and directly. Like a dragon emerging from a cave, the breath is forcefully expelled, and the fiery energy is strong and should not be disturbed; it is better to receive the remaining heat after the outburst—quickly coming pulses should be let go of and received gently. The vital essence that is exposed is like a flower, with its essence on the surface, so it should be buried shallowly near the skin. The vital essence that is contained within is like a fruit, with its flavor stored inside, so it should be buried deeply near the bone. These four lines determine the method of burial based on the speed and depth of the qi's movement.

此四段以氣之緩急深淺而為葬之緩急深淺，乃作法也。如平坦之龍脈，潛於地而微露毛脊，至結穴處特起一氣，乃吉氣之所起也。其氣從沈緩而僅浮，不宜緩乘，其為緩來，不妨安絕頂乎！譬如牛之沒水，身藏水中而偶露毛脊，特一仰而吹氣，則盡在鼻中，若稍脫之便失氣矣。此緩來之法也。

This passage discusses the determination of burial depth and timing based on the speed and depth of the qi. It belongs to the practice of geomancy. For example, if a flat dragon ridge travels underground, only slightly revealing a line of its spine, and then at the point where it forms a mound, it suddenly gathers a cluster of qi, that is the auspicious place where the qi originates. Its qi comes from being deep and slow, yet only slightly rises to the surface; it is not suitable to continue to ride upon it slowly. Since it comes slowly, why not place the burial at the highest point? It is like a water buffalo submerged in water, its body hidden in the water, only occasionally revealing a line of its spine, and then lifting its head to exhale a breath, with all the qi concentrated in its nostrils. If it slightly separates from that, it would lose that breath. This is the method for dealing with a slow-moving ridge.

又如高隴之龍，脈行於山而勢奔氣湧，至結穴處，須要脫卸，落在平洋，氣乃沖和，所謂“來不來，坦中裁，住不住，坪中取”也。其氣從盛急而乃舒，不宜急承，其為急來，不怕葬深泥乎。譬如龍之出洞，其氣焰方盛，何可犯之；乃其氣之吐而有餘焰處，則精靈之可掬者也。故宜脫球而葬榜，緩以承之。

For example, a dragon-like hill that rises high, its energy flows through the mountains and its momentum is strong and vigorous. When it reaches the place where it forms a mound, it must release its energy, settling on a flat plain, so that the energy becomes harmonious. This is what is meant by "if it does not come, it is cut in the flat center; if it does not stay, it is taken from the flat area." Its energy changes from being strong and urgent to becoming gentle and smooth. It is not suitable to quickly accept it. Since it comes urgently, why should it be dangerous to bury it deeply in the mud? Just like a dragon that has just emerged from its cave, its energy is still strong. How can one dare to offend it? Only the area where it exhales its energy and the remaining heat reaches is where the spirit can be captured. Therefore, one should detach from that ball of energy and bury it in the part where it exhales the remaining energy, gradually accepting it.

又如氣浮於上，而靈光已露，深葬之則氣從上過，故宜淺葬。如木之有華，之之有珠，其英華盡露於外，深之則傷其質矣。又如氣沉於下，而皮膚粗剛，美含於內，不以深取，則氣從下過，故宜深葬。如頑金之開孤取水。厚土之破角見金，皆於深而得之也。譬如果實之味，皮不佳而肉佳，其精釀在內，所宜深取。

For example, if the energy is floating on top, the spiritual light is already visible, so shallow burial is suitable. If buried too deeply, the energy would flow over the coffin. This is similar to a tree blooming flowers or a clam producing pearls; their essence and brilliance are fully exposed on the outside. If buried too deep, it would damage their essential qualities. Another example is when the energy is settled below, with rough skin but good quality inside. If not dug deeply, the energy would flow beneath the coffin, so deep burial is suitable. Just as hard metal requires a single point to extract water, and thick earth requires breaking the corner to reveal gold, these are obtained from the depths. Like the taste of a fruit, if the skin is bad but the flesh is good, and the essence is contained within, it should be taken from the inside. Therefore, the depth has no fixed rule; it depends on where the energy is floating.

今人不察氣之浮沉，而概用淺葬深葬者，皆非也。古人謂深葬發遲淺葬發速，所見誠然，但欲速發而概用淺葬，則失古人之意矣。水木龍多易發，正以其氣之可淺葬耳。此又論氣之久遠者不可不知也。

Modern people do not examine the rise and fall of qi, but instead use shallow burial or deep burial indiscriminately, which is incorrect. Ancient people said, "Deep burial brings delayed success, shallow burial brings quick success," and this view is indeed correct. However, if one uses shallow burial solely for quick success, then one loses the original meaning of the ancients. Dragons of water type and wood type are mostly easy to produce success, precisely because their qi can naturally be shallowly buried. This is something those who discuss long-term prosperity must not be unaware of.

龍穴有陰陽，砂水亦有陰陽；龍穴有生死，砂水亦有生死。

Dragon and site are divided into yin and yang, as are the ridges and water: ridges with open faces and smooth contours are yang, while those with reverse, steep and hard features are yin. Water with winding and flowing courses is yang, while straight, abrupt and crooked water is yin. Dragon and site are also divided into life and death, as are ridges and water: those that embrace and encircle, showing affection and facing towards me are life, while those that are straight, hard and fierce, indifferent and uncooperative are death.

此以砂水之陰陽生死而論氣者也。龍穴之陰陽生死，前已論之詳矣，砂何以分陰陽乎？亦開面而舒坦者為陽，以反背而峻贈者為陰。譬之人然：其在正面之間，自然開面平坦而為陽，其在背面，自然反背頑硬而為陰。有面則為向我而有惰，無面則為背我而無情。非惟龍穴貴陽，而砂亦貴開陽也。

This discussion concerns the yin and yang, life and death of the sand and water. The yin and yang life and death of the dragon and tomb have already been discussed in detail before. Then, how should the sand be divided into yin and yang? It is also divided by whether it is open and expansive or not. Taking a person as an analogy: the front of a person is naturally open and flat, which is yang; the back of a person is naturally opposite and hard, which is yin. Having a face means facing towards me with affection, while not having a face means facing away from me without affection. Therefore, not only is the dragon and tomb valued for having yang, but the sand is also valued for being open and yang. In the end, the yin and yang of the sand depends on whether it is willing to turn its face towards the tomb.

水何以分陰陽乎？如水之來去屈曲，悠悠洋洋，沉沉渾渾，則舒徐沈凝而為陽；其細如繩，其直如矢，其急如瀑布，其斜如反弓，則急透斜反而為陰。譬之人然：其血脈流通條暢，則呼吸之間自然和平，吐納之際自然調適，不疾不徐，無反無逆，乃可無病驟然而入，顛讀而出，不見安閒沉靜，便是病到。非惟砂貴開陽，而水亦貴開陽也。

Water also distinguishes between yin and yang. Water that flows and meanders, is broad and deep, and has a calm and heavy quality is slow and steady, thus belonging to yang. Water that is fine like a rope, straight like an arrow, rapid like a waterfall, and slanting like a reverse bow is quick and slanting, thus belonging to yin. Taking a human being as an example: if the blood flows smoothly, breathing is natural and peaceful, and inhalation and exhalation are in harmony, neither too fast nor too slow, neither reversed nor inverted, then there is no illness. If the qi rushes in suddenly and exits in reverse, without showing a peaceful and calm state, then illness has occurred. Therefore, not only do sands value openness and yang, but water also values openness and yang. In the end, the yang of water is characterized by being slow, steady, and expressive, while the yin of water is characterized by being rapid, straight, slanting, and unfeeling, which is the same principle as the classification of sands.

砂之生死何分也？砂無論龍虎案對只是情。向朝我，有面有目有手有足，拱揖環抱，直若僕之從主，婦之從夫，有唱有隨，有呼有應，豈不是個有情有意有生發的！譬如人之相見，有卑於我而畏敬我者，有等於我而親愛我者，其面目雖各不同，而要一氣喜喜歡歡雍雍肅肅之意，無不同也。看其面目開發，情意頗戀，則為活動而生，否則直硬頑悍，呼之不來，驅之不去，則為無情無氣而死矣。水之死亦以直急返逆，不顧不凝而然。

How do we distinguish the life and death of a sand formation? Whether it is a dragon or tiger, or the case mountain or facing mountain, we look only at the "affection" it shows. If it faces towards me, it has a face and eyes, hands and feet, bows and embraces, surrounding me like a servant following his master or a wife following her husband, with harmony and response, this is not affection and intention, but a source of vitality. It is like people meeting, some lower in status but respectful, others equal and affectionate. Though their expressions may differ, the overall meaning of joy and dignity is the same. If it shows an open and affectionate expression, it is active and alive; otherwise, if it is stiff and fierce, unresponsive to calls and not willing to leave, it is without affection and vitality, thus dead. The death of water is similar, due to straightness, urgency, reversal, and lack of return or gathering. Therefore, the life or death of sand and water is not determined by their beauty or ugliness in form, but by whether they show a little affection and attachment towards the site.

要之砂水生死又總在陰陽上見。蓋宇宙間物，總是逢陽則生，逢陰則死。又如人之結胎，男精屬陽。女血屬陰，陽貴有餘，陰貴不足，是故精盛則結，血虛則受，一以陽為主也，又如人之既死，母血先敗，父骨猶存，其可收納天地之氣而廕生人者，全在父骨，非一以陽為主乎！

In the end, the life and death of sand and water ultimately depend on yin and yang. All things in the universe are born when encountering yang and die when encountering yin. For example, the formation of a fetus: the male's essence belongs to yang, and the female's blood belongs to yin. Yang is valuable in excess, while yin is valuable in deficiency. Therefore, abundant essence can form a fetus, and deficient blood can receive the fetus. Everything is dominated by yang. Another example is after a person's death: the mother's blood decays first, while the father's bones remain. The ability of the father's bones to receive the qi of heaven and earth and to benefit the living lies in this, which is not also dominated by yang? The reason why burial in accordance with life qi can benefit future generations is exactly here.

又如大而天地，天氣為陽，地脈為陰，若非天行至健，頃刻不停，三光為照，雨露為潤，一陽來復，萬筋乃吹，則地何能生乎？是天地一以陽為主，此乃堪輿家論生死之大關係也。古來大哲見實主此間，亦論及而未嘗揭以示人，豈以千古不傳之秘，帳以神會而非以言傳者乎！

If we look at a larger perspective, between heaven and earth, the heavenly energy is yang, and the earthly energies are yin; without the ceaseless movement of heaven, the illumination of the sun, moon, and stars, and the nourishment of rain and dew, how could the return of yang energy lead to the sprouting of all things, allowing the earth to nurture all living beings? This clearly shows that heaven and earth are fundamentally based on yang. This is a key point in geomancy concerning life and death. Ancient sages actually advocated this principle and discussed it, but did not clearly reveal it—perhaps they considered it a secret passed down through the ages, something that can only be understood spiritually and not easily expressed in words.

氣有虛實，法當以實投虛，以虛乘實；氣有先後，法當先到失收，後到後收。

Qi can be either empty or full: in the initial formation of the fetus, yang essence is dominant, the Qi is abundant but the form is not yet solid, which is considered empty and yang, so one should take it directly from the center; after the fetus is formed, yin blood becomes dominant, the form becomes solid and the Qi has already converged, which is considered full and yin, so one should take it from the sides, away from the pulse, to receive it. Qi can arrive before or after: the side that arrives first should be taken first, and the side that arrives later should be taken later, following its inclination to the left or right. This is the living method for advancing, retreating, adding, and reducing in acupoint selection.

此二段乃以主穴之進退饒減而乘氣為一法。前段言幾風息之成，初結胎時，以陽精為主，氣為勝而形未實，故虛而屬陽，陽則不宜緩承，宜中正以乘之.如平面太陽作金盤堆果、如百般花味總居心之類是也。既成胎後，以陰血為主，形為實而氣已斂，故實而屬陰，陰則不宜急湊，宜脫脈以乘之，如珠則穴其旁、乳不可當頭是也。此以進退虛實之間論者也。

This passage describes a method of using advancement and retreat, as well as reduction and addition, when establishing a site for a grave. The first part states: whenever the wind and qi settle to form a site, during the initial formation of the embryo, yang essence is the main factor. At this time, the qi is dominant but the form is not yet full, so it is considered "empty" and belongs to yang. Since it belongs to yang, it is not suitable to slowly receive it; instead, one should directly and properly take advantage of it, like a flat sun shape forming a "golden plate piled with fruits" site, or like the flavor of various flowers being concentrated in the flower's center, which is the case. After the embryo is fully formed, yin blood becomes the main factor, the form is full and the qi has gathered, so it is considered "full" and belongs to yin. Since it belongs to yin, one should not rush to approach it; instead, one should take advantage of it by stepping away from the qi flow, like the pearl shape requiring the site to be on the side, or the breast shape not being directly on top of the head, which is the case. This is speaking about the aspect of advancement and retreat, emptiness and fullness.

後段言結穴之所如左插先到，則氣歸於右，則宜挨右以收左砂；如右插先到，則氣歸於左。則宜挨左以收右砂。古人謂兩官齊到中乘平。氣雖耐久而發常遲，先到先收，氣從挨倚.乃迎財就祿而發常速，正是引此意。此乃饒減收放之間而論者也。

The next passage says: When the site of the mound is determined, if the sand on the left arrives first, the qi will flow to the right, so the grave should be dug near the right to receive the sand from the left; if the sand on the right arrives first, the qi will flow to the left, so the grave should be dug near the left to receive the sand from the right. The ancients said, "When both sides arrive at the center, it is considered level and balanced," and such qi may endure for a long time, but its benefits are often delayed. If the arriving sand is first received, the qi follows the leaning direction, which is like welcoming wealth and securing official rank, thus bringing quick benefits. This is exactly what is meant. This discussion is about the principles of surplus, reduction, reception, and release.

傍城借主，須詳審乎樂托；就向鋤龍，當消詳乎明堂。

When a dragon falls sideways or turns over, it has lost its original correct trend, and must instead take a site near the Luo Cheng, Shui Cheng, or Lu Chu peaks, using external features to serve as the main star. This is called "Banging Cheng Jie Zhu." Therefore, one must carefully examine the "Le Shan" and "Tuo Shan" behind. If the entrance lacks a clear face and the main direction is not properly formed, then one should look at which side of the Ming Tang begins, and bend the dragon to accommodate it, which is called "Jiu Xiang Niu Long." Therefore, one must carefully examine the Ming Tang.

此二段皆借外氣以乘內氣，乃坐向中之作法。以龍之來不宜正受。有側落。有翻身落，不無脫去本來之勢而傍羅域或旁水城或傍祿儲峰。此皆借樂托以為主，而憑外氣以為聚散者也。故曰傍城借主。

These two passages both refer to using external qi to multiply internal qi, which belongs to the methods used in the orientation and positioning of a site. Some dragon lines are not suitable for receiving qi directly from the front; some come from the side, and others fall back in a reversed manner, inevitably losing their original momentum. In such cases, they rely on the surrounding city walls, or on the water city, or on the peak of wealth and fortune. All of these use "le tuo" to serve as the main star, determining the convergence and dispersion of qi based on external momentum. Therefore, this method is called "bàng chéng jiè zhǔ."

又有龍氣直來，似宜正受，乃入首之處無面目，向方之處則無情，使不成局，故當看其明堂何堂開局，便當揪龍而就之，所謂以龍定穴，以水定向者，正謂水之聚處，則有明堂而成局，便當準此以定向方，不必拘拘於正受也。《撥砂經》云：無局不言龍。可見局之所在，即龍之所止，故有就向拗龍之法。

There is another situation: the dragon energy comes straight, seemingly suitable for a direct reception, but the entrance lacks form and the correct direction is devoid of affection, making it impossible to form a complete situation. In such cases, one should look at which side the bright hall opens up, and then bend the dragon to conform to that side. The saying 'determine the site based on the dragon, and determine the direction based on the water' means that where the water gathers, there is a bright hall and a complete situation, so the direction should be determined accordingly, without rigidly adhering to the direct reception. The 'Classic of Divining the Terrain' states 'without a situation, do not speak of the dragon,' indicating that where the situation exists, the dragon stops there. Therefore, there is a method called 'bending the dragon to conform to the direction.' This is similar to borrowing the main body from the city's side, both being flexible methods that do not strictly follow the direct reception but instead determine the internal energy based on external conditions.

點穴須求三靜一動。認氣須要百死一生。

Selecting asite should seek 'three stillnesses and one movement': the case facing should be still, the dragon and tiger should be still, and the water city should be still, while the centralsite field alone has a single active pulse showing vitality. Recognizing qi should seek 'hundred deaths and one life': all the surrounding qi are completely still and lifeless, but only this single point still has vitality, which is the true life qi.

此以動靜生死而識氣脈之真假，最為關要。何謂三靜？案對要靜，開面朝拱而無壓逼走竄；龍虎要靜。內向懷抱而無他顧飛騰；水城要靜，繞環凝聚而無反背沖激。中間惟見穴場之所。一脈活動而有精神，此則三靜一動，其穴乃真。

This method identifies the authenticity of qi pulses by distinguishing between stillness and movement, and vitality and death, which is most crucial. What is called "three stillnesses"? The case mountain facing the site must be still, requiring an open face with a bowing embrace without pressure, intrusion, or disturbance; the Azure Dragon and White Tiger must be still, requiring them to face inward with a hugging embrace without looking elsewhere or flying away; the water city must be still, requiring it to encircle and gather without reversing or colliding. All four surrounding areas are still, while in the center, only the pulse of the site is lively and spirited—this is called three stillnesses and one movement, and the site is truly a good one. If all four surrounding areas are also chaotic and moving, then the qi has not yet stopped; if the site center is also dead and silent, then the qi has not yet arrived.

而認氣則於穴場中看其精神。何者是其精神發越處？即如孩兒頭一般，頭上之骨皆堅，而怪囪門獨柔，一呼一吸，可浮可沉，此真生意處。古人以化生腦不取象於頭而取象於孩兒頭者，極有味也。他如厚中取薄，薄中取厚，靜中取動，動中取靜，必皆餘氣盡死，而惟此一點獨有生機，乃為生氣。不然則亦今人所稱菩薩面死鱉背之說而已，最宜細察之。

When identifying the life qi, one must observe within the site of the grave where the spirit is manifest. Where is the place where the spirit is most active? It is like the head of a child: all the bones on the head are hard, but the fontanelle is the softest part, rising and falling with each breath, floating and sinking, and that is where the true life qi resides. The ancients spoke of "the brain of transformation" not by taking the image of an adult's head but that of a child's head, which is indeed very meaningful. Other principles such as taking the thin from the thick, the thick from the thin, the movement from the stillness, and the stillness from the movement, must all be situations where the surrounding qi has completely died away, and only this single point still has vitality, and that is called the life qi. If it is not like this, then it is merely what modern people call "the face of a Bodhisattva" and "the back of a dead turtle," which should be carefully examined.

有弦有稜則形真，若湧若凸則氣到。認氣難於認脈，葬脈豈如葬氣。

There are ridges and edges on the site, with蝉翼砂 and牛角砂 distinguishing蟹眼水 and虾须水—the form is what is real; at thesite center, it appears as if rising or bulging without sinking, indicating the presence of qi. Recognizing qi is more difficult than recognizing the qi line: the qi line is converging with a ridge, belonging to the yin and carrying ill fortune, and its form is easy to see; qi is flat and full, belonging to the yang and capable of being used, yet extremely hard to discern. Therefore, burying along the qi line is ultimately less effective than burying where the qi is present.

此乃於入首微茫處認出一點靈光之氣，為堪輿家至要，亦至訣也。前段言一入穴場當先認形，隨即認氣。如穴場必有弦稜，則蟹眼、奸須之水乃見，始能成胎。蟹眼是凸穴，其中圓滿而起，如蟹眼然，外有蟬巽砂為之陰護，而水微見，謂之蟹眼水也。一有蟬翼砂則弦稜成矣。

This refers to recognizing a faint spiritual light in the very beginning of a site, which is the most important matter for geomancers and also the most crucial principle. The previous part explained that upon entering a site, one should first recognize the form, then the energy. On a site with a pit, there must be a string and a ridge, and only then can the crab's eye water and shrimp's whisker water be clearly seen, allowing the site to take shape. "Crab's eye water" refers to a convex pit, round and elevated in the center, resembling a crab's eye, with a hidden protection of cicada wing ridges outside, and water barely visible, hence called crab's eye water; once there are cicada wing ridges, the string and ridge naturally form. The string and ridge refer to the form, while crab's eye water serves as the true evidence of the form.

蝦鬚是窩穴，其中翕聚，如蝦鬚之抱掏然，外有牛角砂為之明護。而水明見，謂之蝦鬚水也。一有牛角砂則弦稜成矣。弦稜成則氣聚而不散，天心自然湧凸，乃成胎息。若天心沉陷，乃是花假，不成穴矣。氣脈何以分別？幾脈之行，必須斂而有脊，乃見草蛇灰線。形雖不甚露，而未嘗無形也。

"The 'Shaxu' is a type of pit or hollow, where the center naturally converges and gathers, resembling the ring-like embrace of a shrimp's whiskers. Outside, there are clearly visible 'niu jiao sha' (ox horn ridges) protecting it, and the water is clear and visible, hence it is called 'Shaxu water'. Once there are 'niu jiao sha', the 'xian leng' (string-like ridges) naturally form. When 'xian leng' is formed, the energy gathers and does not disperse, causing the central pit to rise slightly, thus forming a 'tai xi' (fetal breath). If the central pit instead sinks down, it is a 'hua jia' (false) pit, and cannot form a true pit. How do we distinguish between qi and the pulse? Any pulse must necessarily converge and have a ridge, thus showing the 'cao she hui xian' (grass snake gray thread) pattern. Although the form may not be very obvious, it cannot be said to be invisible."

幾形之有脊而斂處便屬陰，陰則有煞不可犯。平坦圓滿則為氣，如人之身服，猶按之有脊氣，則充滿遍而無凝滯，乃屬陽，陽所宜乘也，但脈易見而氣難認耳。謂葬脈不夕葬氣者，正以脈犯陰而氣為陽，當葬氣也。如前所稱太極暈及天輪之說，正是氣體耳。時師多能葬脈而不能葬氣者，以其原未明此，故禍常多而福常少也。夫苟形真穴正，而又能辨乎氣脈，測為人造福，百不失一矣。

Any form that has a spine and is converging is considered yin, and yin carries evil influences and should not be disturbed. If it is flat and full, it is qi, like the human body, which still feels a spine when pressed, with qi filling everywhere without obstruction, which is yang. Yang is what should be used. However, the pulse is easy to see while qi is hard to recognize. The reason why burying the pulse is less favorable than burying the qi is because the pulse belongs to yin while qi belongs to yang, and thus one should bury the qi. The so-called "Taiji huen" and "Tian lun" refer precisely to the qi. Nowadays, most geomancers can bury the pulse but not the qi, because they have not clearly understood this principle, leading to frequent misfortunes and few blessings. If one can truly identify the correct form and site, and clearly distinguish between qi and pulse, then benefiting people will naturally be without fail.

法葬之葬，法在形裡；會意之葬，意在形表。

"Methodical burial" is formed by human effort, such as opening a solitary point to take water or filling a hollow and leveling the ground, adding soil where needed and cutting away where necessary, with its rules still within the form; "meaningful burial" has no hollows, ridges, or prominences on the form to rely upon, and the site is determined solely by the convergence of spirit and energy, with its intention existing beyond the form.

此以穴情變態不一，有穴藏於拙，以人力而剪裁之者，有穴隱於微，以意向而融會之者，此之謂仙蹤，凡論氣者不可不神會也。夫論穴先論形，乃有形不足以成穴者，如頑金而不少開窩，其剛飽豈可言穴，則當細認其中之微凹處，便為生氣，須以開孤法，大用人工，取出水窩以葬之，此全以人力而成，謂之法葬。

This refers to the varied nature of qi patterns in a site: some sites are hidden in plain sight and require human effort to shape; others are subtle and require intuitive understanding to grasp. This is what is called "Xian Zong" (divine traces). Anyone discussing qi must carefully comprehend it. When discussing a site, one must first consider its form, but there are cases where the form alone is insufficient to constitute a site: for example, a hard metallic mass with no hollow, how can such a rigid and full form be considered a site? In such cases, one must carefully identify the slight depression in the center, for that is where the life qi resides. One must then use the method of "kai gu" (opening the isolated), investing considerable labor to excavate a water pit for burial. This is entirely achieved through human effort, hence it is called "fa zang" (method burial).

又如水窩太深，乃陽中之陽，不可言穴，然真氣既蓄，必然有結，則宜於窩內或填以土，或墊以石，如龍強，又或墊之以木，須用填實其窩，成個陽中之陰，取披架於其上而葬，此乃虛而實之之法。亦所謂法葬也。他如騎刑剪燥，開孤截蕩，各各有法，亦當培則培，當削則削，宜虛而虛，應實而實之法度也，是以楊公有法葬之條。

For example, if a water pit is too deep, it is considered yang within yang, and cannot be considered a suitable site for a grave; however, if true energy has already gathered there, it must surely form a mound. In such a case, one should fill the pit with soil or stone, and if the dragon power is strong, even wood can be used. The main thing is to make the pit solid, forming a yang within yin structure, and then place a cover board over it for burial. This is the method of 'making the empty into the real,' which is also part of the 'method of burial.' Other techniques such as riding the刑, cutting the燥, opening the孤, and intercepting the荡 also have their own rules: where cultivation is needed, it should be cultivated; where cutting is needed, it should be cut; where emptiness is appropriate, it should be left empty; where solidity is appropriate, it should be made solid. Therefore, Yang Yunsong specifically established the 'method of burial' as a category. It is evident that if the form is lacking, human effort can make up for it, as long as the added part is exactly where the true energy flows out.

又如有真龍正脈盡鍾於此，情勢局面亦盡會於此，乃考之穴情，測無真正入相形穴，古人一惟會其精神所聚之意。如官坑樑上掛金斗地，乃在窮源僻塢高嶺絕頂之上，兩邊山勢俱是不止，行去且有十數里餘，此亦形穴所不相者，但觀其氣勢，則兩邊龍回虎抱，前面朝對，自近案橫欄之外，一望可百里許，遠遠見鵝子尖為正朝，鴉峰峙左，大茅峙右，三陽並聳，萬峰俱朝，去水雖有一二十里，然一折一回之玄，九曲不見其去，穴下餘氣。

There is another situation: the true dragon lineage is entirely concentrated here, and the overall situation and terrain also converge here. However, when examining the site carefully, it is not possible to find a form that fully conforms to the principles of geomancy. The ancients therefore determined the site based solely on the meaning of where the spirit converges. For example, the "Hanging Gold Bowl" site on the official pit ridge is located in a remote and secluded mountain peak, with both sides of the mountains not stopping, extending for several miles. This site does not conform to the form of a proper geomantic site. However, looking at its momentum: both sides have the Azure Dragon circling back and the White Tiger embracing it, with a facing mountain in front. From a distance, beyond the nearby case mountain, it can be seen for hundreds of miles. In the distance, the Gezi Peak stands straight ahead, the Yafeng Peak stands to the left, and the Damao Peak stands to the right, with three peaks rising together and countless mountains facing the site. Although the water flows away for about twenty miles, it turns and twists in a mysterious shape, winding and coiling so that its flow is not visible. There is still residual energy remaining at the site.

亦自成個小明常，如在平地，不見其傾，立在穴內，惟見上聚之派，天清之氣，高朗恢弘，森嚴翕聚，滬然一聖賢清高氣象，故當時則用頂門百會之穴而葬之。龍是橫來，入首處微有土金貼體，取象金斗則亦以意會之耳。

This residual energy also forms a small Bright Hall, just like on flat ground, without any obvious flow; standing inside the tomb, one can only see a gathering of clear heavenly energy from above, lofty and grand, solemn and concentrated, forming a completely saintly and noble atmosphere. Therefore, at that time, the tomb was established at the top of the head, at the Baihui point. This dragon comes horizontally, and at the entrance, there is a slight presence of earth and metal, symbolizing a 'Golden Basin'. This is merely something to be understood by implication.

又如坑口麻榨形，龍自高山脫下平洋，闊有十餘畝，下脈處雖亦有來龍發到，前面卻是一片鋪陽，其於窩鉗乳突四字，全無佐證，又無龍虎渙風掃來，不可為穴，然真龍既到，卻是大結作，當時賴仙只會其中氣正聚之處，大開深槽，闊一二丈，一長有三五丈，深辦五六足許，取象油槽，喝作麻榨形，穴頂槽頭，一取槽溝以聚氣，一取槽溝當作龍虎以蔽其風。若論穴豈有此等？蓋亦會意作之耳，此其法又在形之外矣。

For example, the "Ma Zha shape" at the mouth of a pit, the dragon comes down from a high mountain to a flat plain, covering several acres in width; although there is a coming dragon and the terrain is suitable for a site, the front is a wide open sunny area, with no evidence of the four forms of窝, 钳, 乳, and 突. Also, there are no dragon and tiger ridges to block the wind, and the wind is scattered and sweeping in, making it originally unsuitable for a site. However, since the true dragon has already arrived here, it is a major convergence. At that time, Lai Buyi only understood the place where the qi is properly gathered, and he dug a deep groove, about one or two zhang wide, three or five zhang long, and five or six chi deep, taking the shape of the groove in an oil press, and called it the "Ma Zha shape," setting the site at the head of the groove. This method, on the one hand, uses the groove to gather qi, and on the other hand, uses the groove as a dragon and tiger to block the wind. If we follow the usual methods of site selection, where could such a site be found? This is merely a method formed by intuition—this method is even beyond the form itself.

龍之貴賤以格辨，龍之正餘以祖辨，龍之大小以幹辨，故同龍論格，同格論祖，同祖論幹。龍之去住以局辨，龍之偏正以堂辨，龍之真偽以座辨。故同龍論局，同局論堂，同堂論座。

The distinction between a dragon's nobility and commonness is determined by its "pattern" — examine whether the site forms a pattern of five brains, three platforms, bright hall, jade screen, and various axes, etc., which are noble patterns. The distinction between a dragon's main and secondary course is determined by its "ancestral source" — check whether the ancestral source is the main descent or a branch. The distinction between a dragon's large and small scale is determined by its "main body" — check whether it is a main body within the main body or a branch within the branch. Therefore, for the same dragon, first consider its pattern; if the pattern is the same, then consider its ancestral source; if the ancestral source is the same, then consider its main body. The distinction between a dragon's departure and residence is determined by its "enclosure" — if there are city walls and barriers forming a nest-like enclosure, the dragon will settle there. The distinction between a dragon's bias and correctness is determined by its "hall" — if the bright hall is on one side, the main site will be on that side. The distinction between a dragon's authenticity and falsehood is determined by its "seat" — check whether there is a true covering seat at the entrance. Therefore, for the same dragon, first consider its enclosure; if the enclosure is the same, then consider its hall; if the hall is the same, then consider its seat. The first three sentences discuss the dragon's origin, while the last three discuss its resting place.

前一段論龍之來處，後一段論龍之止處，皆認氣者不可不辨。夫龍何以分貴賤也？如龍之體勢，或以五腦，或以三臺，或以華蓋，或以玉屏，或以諸軸，成何貴格則不論，龍之二三五節，或長或短，而有此狀樣，便以貴論矣。要之以穴後一節為主。廖公云“穴後一節為龍格”是已。

The previous section discusses the origin of the dragon, and the following section discusses where the dragon stops; these are matters that those who study qi must not fail to distinguish. How does a dragon determine its rank? For example, the form of the dragon may be 'five brains', 'three platforms', 'Huagai', 'Juping', or 'Zhu zhou'; regardless of which noble form it takes, if the dragon is between two or five sections, regardless of its length, and has such a shape, it can be considered 'noble'. In the end, the main factor is the last section after the pit. Liao Yu said, 'the last section after the pit determines the dragon's rank,' which means exactly this.

然龍有貴格而官不尊、福不永者，則多承祖分家之處不得其正耳，故須看其分祖之處為正為餘，而後官之尊卑、福之遠近可辨也。分祖之處，必須起祖垂肩，成何星辰，成何品格，方為正降。又有祖龍得其正脈，而貴不列於上卿，富不侔乎敵國者，則其枝中之幹，而非幹中之於，故其力量終不足以攬全勝、當大任耳。

However, there are cases where a dragon with a noble form does not hold a high official position or enjoy long-lasting blessings, mostly because it inherits from the ancestral mountain and the branch where it splits off is not properly aligned. Therefore, one must determine whether the place where it splits off from the ancestor is the main trunk or a secondary branch. Only then can the rank of officials and the distance of blessings be discerned. The place where the ancestor splits off must originate from the main trunk, forming a specific star or character, to be considered a proper descent. There are also cases where the ancestral dragon has the correct main pulse, yet it cannot attain the highest rank or rival a nation in wealth, because it is merely the trunk within a branch, not the trunk within the trunk. Thus, its strength is insufficient to control the entire situation or shoulder great responsibilities. The three layers—form, ancestor, and trunk—each become more fundamental than the previous.

蓋有百里之幹，始收百里之形勝，有千萬里之幹，始收千萬里之形勝，又豈可以眼前之器局分大小也。凡論龍之來處，一當以此為準。龍何以定去住也？夫龍必有巢穴乃播，故凡一到方所，看其城垣關鎖，局面寬圓，成個巢穴，則知龍之歸宿在此，然有於此則為正、於彼則為偏者，以堂在此不在彼也。苦人所謂山歸成龍，水歸成穴，正以堂之聚處為水所歸耳。

To determine the resting place of a dragon, one must consider that a long dry dragon of hundreds of li can encompass a hundred li of terrain, and a dragon of thousands of li can encompass thousands of li. How can one judge based merely on the size of the immediate situation? When discussing the origin of a dragon, this principle applies universally. But how does one determine where the dragon goes or stays? A dragon must have a nest to rest, so when examining a place, if its city walls and surrounding structures form a rounded and enclosed area, creating a nest, then one knows the dragon's resting place is here. However, the same place may serve as the main or secondary location depending on the presence of the Bright Hall. The ancients said, "Mountains gather to form a dragon, waters gather to form a cave," meaning that the convergence of water at the Bright Hall is where all waters come together. Therefore, to determine where the dragon stops and which side is the main one, one should first examine the overall situation and then the Bright Hall.

乃又有堂正而穴不真、葬不發者，以入首之蓋座在此不在被也。蓋座如木秀華蓋、i秀冠蓋、金秀寶蓋之類，猶是眾所共倚，又如樂托、祿儲、襯貼之類，亦是顯而易見，只如化生之腦、天輪之蓋、太極之暈，任其左閃右倚，俱有隱隱蓋覆之意，此是入首真蓋座也。必有蓋座而穴乃真。譬如都邑之間以龍之垣局，即城郭也，以龍之穴場，即堂廳也，以龍之座向，即臺座也。凡論龍之止處，一當以此為準。

However, there are cases where the Mingtang is correct but the site is not genuine, and the burial does not produce results. This is because the "cover seat" at the entrance is not here but elsewhere. The cover seat is like the "flower cover" that emerges from a wooden body, the "crown cover" from a jade body, or the "treasure cover" from a metallic body; it is something that everyone relies upon. It is also like "musical support," "favorable storage," and "padding," all of which are clearly visible. As for the "transformed brain," the "heavenly wheel" cover, and the "taiji haze," no matter how they shift left or right, they always have an implicit covering effect. This is the true cover seat at the entrance. There must be a cover seat for the site to be genuine. For example, in a city, the dragon's enclosure is the city walls, the dragon's site is the hall, and the dragon's orientation is the seat. When discussing where the dragon stops, everything is based on this. The enclosure, hall, and seat are from outside to inside, and the more inward, the clearer the true and false become.

凶星不無夾雜，只要有胎有化；吉曜縱然雄聳，亦要有精有神。

Dragons may inevitably contain some malevolent stars, but as long as they "have a fetus" — meaning a slight sign of mutual generation appears among the malevolent elements — and "have transformation" — the malevolent energy can be released and transformed — they are not considered as failures. Conversely, even if auspicious stars are grand and towering, they must "have spirit and essence": wood should have beauty, metal should have color, fire should have light, earth should form a barrier, and water should have patterns. Beyond their forms, they must also display a grand appearance.

此言認生氣於微茫者所當致審也。如五星得共正體無論矣，有如直硬之木而微帶泡節，有水之意，如掃蕩之水，而微露墜塊，有金之意，是為逢胎，則就其母而子有靠，不為敗也，又如火金相戰為天裡，但看其中微有水窩，則從其微窩而大開深取，以成水體。蓋金剛飽而用水以洩之，則以洩而化其凶也；火傷金而以水制之，則以制而化其凶也。此以人力而為化者。

This refers to what one should carefully examine when recognizing the life qi in subtle places. If all five stars are of pure and proper form, that goes without saying. For example, if a wooden form is straight and hard but slightly has some knots and bubbles, it contains the meaning of water; or if a flowing water form is slightly exposed with some lumps, it contains the meaning of metal—this is called "meeting the womb," like the child relying on the mother's body, so it is not considered a failure. Another example is when fire and metal clash, called "heavenly gang," but as long as there is a slight water depression in the middle, one should follow that small depression to dig deeply and form a water form: the hard and full metal is drained by water, thus transforming its harshness through drainage; fire damaging metal is controlled by water, thus transforming its harshness through control. These cases rely on human effort to transform, known as "having a womb and transformation," where the womb is natural and the transformation is achieved by human effort.

又如粗版之土而微露金意，則以生而洩其氣為化，如太陰之角帶火然。金盛而火微，可周以陶熔乎金，而金反粹，則以制而成其美為化，此又生成之自然而化氣者。如出身自不逢胎，又不逢化，則難下手矣。又如沖天之木本美，然望之而險峻，不秀不雅，是木無華。又如獻天之金至聳，然望之而頑蠢，無體無儀，是金無色。

For example, if the earth is thick and solid but slightly reveals the essence of metal, then we can use mutual generation to release its energy and resolve the situation; just as a too-yin metal form with a touch of fire: when metal is strong and fire is weak, the fire can actually melt the metal, making it even more refined. This is a method of transformation that leads to beauty through control. Such cases are naturally formed and can naturally release energy. However, if the origin does not meet the conditions of birth or transformation, it becomes difficult to handle. Moreover, a towering wooden form is originally a good pattern, but if it appears too harsh and lacks grace and elegance, then the wood lacks brilliance. A high and towering metal form is also excellent, but if it looks clumsy and heavy, without form or dignity, then the metal lacks luster.

又如焰天之火亦至難得，然望之而峻贈，非筆非劍，無影無焰，是火無光。又如平天之土、漲天之水，皆是尊貴，然望之而非屏非閣，無波無紋，是土為奎而水為蕩也，何足貴哉！又如貴人在衙，形便要有個堂堂之氣象，將軍接劍，形便要有個威權模樣。又如仙人跨鶴，形便要有個清風高韻，若文而不雅，秀而不嚴，清而不高，便是無精神，亦不發福，何足貴邪！此證星辰者尤當證其精神。大抵山有體魄，有精神，認體魄易，認精神難，此非別有大竅，未易語此。

For example, the fire form of the Flame Heaven is extremely rare, yet when viewed from afar, it appears only steep and sheer, neither like a brush nor a sword, without shadow or flame, meaning the fire has no light. Similarly, the earth form of the Level Heaven and the water form of the Rising Heaven are inherently noble, yet when viewed from afar, they appear neither like a screen nor a pavilion, without waves or patterns, so the earth becomes just a dull mass and the water merely a floating surface, what is there to value? Again, for the form of "the Nobleman in the Official's Office," it should display a dignified appearance; for the form of "the General Receiving the Sword," it should show a commanding presence; for the form of "the Immortal Riding a Crane," it should convey a graceful and lofty demeanor. If it is literary but not refined, elegant but not strict, clear but not lofty, then it lacks spirit and will not bring prosperity, so what is there to value? Therefore, when examining stars, especially their spirit is crucial. Generally, mountains have form and spirit; recognizing the form is easy, but recognizing the spirit is difficult; here is another major secret, which is not easily explained to others.

陵谷變遷，山川改色，造物固自有時；控制山川，打動龍神，作用亦自有法。

High places become deep valleys, and mountains and rivers change their appearance; this is the natural course of things that occurs at its own time, beyond human effort. Yet controlling the terrain and moving the dragon spirits to bring about water, the methods used by ancient sages had their own established principles, not mere nonsense. The first line speaks of "time," the second of "method": when the time is not ripe, the method cannot be applied; when the method is not established, even when the time comes, it cannot be responded to.

今人但見先賢作用，有甚奇甚隱又甚；王而不可測度者，便以為幻妄而肆譏說，不知造化尚無定體，尚無全功，不無與時推移，豈以人為而不隨時隨俗以為之裁成者乎！昔人所謂“人不天不因，天不人不成”者，非虛語也。大如黃河南徒而氣運亦南，小如金沙灘出見而牛僧果應內召；又大如黃河清而聖賢出，小如壺，公以時易色而兩郡人材興替隨之，此非造物固自有時乎！

Modern people see the actions of past sages as extremely strange, extremely hidden, and extremely mysterious and unpredictable, and thus regard them as nonsense and mock them freely, but they do not realize that the workings of nature have no fixed form and no perfect function; they change with the times. How can human affairs be any different, requiring no adaptation to the times and customs? The saying of the ancients, "Man and heaven do not act independently; heaven without man is not complete," is not empty talk. Greatly, like the Yellow River changing its course to the south and the trend of the times also shifting southward; small examples, like the appearance of the golden sand beach and Niangong Shengru indeed being summoned to the court. Even greater, like the Yellow River becoming clear and sages emerging; small examples, like Hugong changing color according to the time, and the rise and fall of talents in two commanderies following suit. This is not precisely the workings of nature having their own timing? Clearly, when the time is not ripe, human effort cannot be applied.

又如微郡之城設努樓以射五鬼，丁源之墓開油槽以應麻榨，楊公所謂如睡如蒙，或發以鍾，廖公所謂滅火滅瘟，則鑿其地，至今其應如響，此非作用亦自有法乎！凡如一枝一派山水，則可眼前而定，至於大形大勢，或以近應，或以遠應，其應驗固自有時。蓋山水既非眼前點檢得盡，則福澤赤非眼前計量得盡也。且如前賢作用，有應之當年，亦有應之數十年及千百年者，皆不可以尋常耳目窺測。磋乎，差乎，自非神心慧識，孰能當此乎？

For example, in the city of Huizhou, they set up crossbow towers to shoot at the "five ghosts," and Ding Yuan's tomb had an oil groove dug to correspond with the shape of "ma zha." Yang Yunsong said, "Like sleeping or being confused, or using a bell to awaken it"—the stagnant earth energy can be awakened by the sound of a bell. Liao Yu said, "To extinguish fire and plague, dig the ground"—to eliminate fire and plague, one should dig that area. Until today, these predictions have been verified like echoes, which clearly shows that there is a method to these actions. Small hills and streams can be judged right here and now; as for large forms and trends, some responses appear nearby, others far away, and their fulfillment comes at different times. Mountains and waters cannot be fully examined in the present moment, and so too the blessings they bring cannot be fully measured. Moreover, the actions of previous sages sometimes showed results immediately, sometimes took decades or even hundreds of years to manifest, and these are not things ordinary eyes and ears can perceive. How pitiful! Without a divine mind and enlightened wisdom, who could shoulder such a responsibility?