The Art of Observing from a Lying Position

公篤曰：老子一炁化三清，傳出臥眠之形式；莊子宗之，有蝴蝶以翱翔；孔子悟之，嘆周公之復見；巢父以古樹為床，其臥愈安；赤松以自云為榻，其道猛進；諸葛亮草堂春睡，而有安漢之心；謝安石東山高臥，而有治世之志；陳希夷臥中得道，李謪仙夢裡成詩。臥法之關係重矣。

Chen Gongdu said: Daoist tradition holds that Laozi generated the Three Purities from a single vital energy, and from this came various postures for sleeping. ZHUANG Zi inherited this tradition, thus giving rise to the story of dreaming himself to be a butterfly flying gracefully. Confucius gained insight while sleeping and lamented, having again dreamed of the Duke of Zhou. In ancient times, the hermit Chaofu used an old tree as his bed, sleeping more securely than ever. The immortal Chisongzi used white clouds as his couch, thus greatly advancing his Dao. Zhuge Liang, while sleeping in his thatched cottage in spring, already had in his heart the determination to stabilize the Han dynasty. Xie Anshi lay in peaceful repose on the eastern mountain, yet his mind was filled with the ambition to govern the world. Chen Tuan the Elder attained enlightenment through his sleep, and Li Bai composed poems in his dreams. Clearly, the method of sleeping is of great importance. (Note: The original text says 'Chisongzi used self-cloud as his couch,' but 'self' should be 'white.')

故宿者神遊而魂動，寐者神靜而魄歸。臥眠有法，而亦有相。蓋修道之人，有一定之臥法：一手曲肱而作枕，一手斜平按丹田，一足曲收而作勢，一足直伸而平形。常人若能依此臥眠，則可強健身體，活潑精神，萬無遺精拘攣，及一切停滯之病。故其關係人之常度，亦靜養安神之一法也。其形式詳註如下。

When a person is half-asleep, their spirit wanders and their soul moves. Once they are truly asleep, their expression becomes calm and their vital energy returns to its dwelling place. Therefore, sleeping has both a proper method and a corresponding interpretation. Practitioners of the Way have a fixed method of lying down: one arm is bent to serve as a pillow, the other hand is placed diagonally and flat on the dantian, one leg is bent and drawn in, forming a posture, while the other leg is stretched out straight. If ordinary people can sleep in this manner, they can strengthen their bodies, invigorate their spirits, and avoid ailments such as seminal leakage, muscle stiffness, and various stagnations of qi and blood. This shows that sleeping posture affects one's daily condition and is also a method for quiet cultivation and calming the spirit. The various postures for lying down are explained in detail as follows.

一、仰臥　仰臥者，即古法之稱尸臥也。其人仰面朝天，手足平齊。此主稟受弱而氣輕，及多惡疾，又主勞碌奔馳，不載厚福。各形皆忌之，惟狐鹿之形，不忌尸臥也。二、伏臥　伏臥者，即仰臥之反面也。其人伏而面枕，背股朝天。此主刑剋重，而多不壽也，又主愚魯而拙，貪妄而空，每多損失挫折也。各形皆忌，惟虎豹形，不忌伏臥也。

The first type is called "lying on the back." Lying on the back is the ancient term "shi wo," meaning the person faces upward toward heaven, with hands and feet spread flat and aligned. This sleeping posture indicates weak innate constitution, light vital energy, and frequent illness. It also suggests a life of constant toil and an inability to bear great fortune. All body types should avoid this posture, except those with the form of a fox or deer. The second type is called "lying on the stomach." Lying on the stomach is the opposite of lying on the back: the person lies face down, head resting on the pillow, back and hips facing upward. This posture indicates heavy conflicts and hardships, often leading to a short lifespan. It also suggests a dull and clumsy mind, with greed and unrealistic desires that result in loss and setbacks. All body types should avoid this posture, except those with the form of a tiger or leopard.

三、側臥　凡人以側臥，而為稟受先天之充足，福祿豐隆，英明多智，厚有信，守禮不爽，持義不妄，而有子女承繼，亦有壽徵也。四、曲臥　曲臥者，如龍之盤環而有勢，如犬之彎曲而有形。此主富貴，而作非常之事業，智識高而見遠，志向大而深，此為貴壽之格，而享子女之福也。故經云：行如流水生如鍾，臥似彎弓立似松。此其臥相之大略也。

The third type is called "side sleeping." If a person is accustomed to sleeping on their side, it indicates a plentiful innate endowment, signifying abundant blessings and prosperity, intelligence and wisdom, being sincere and trustworthy, following propriety without excess, upholding righteousness without wrongdoing, and being able to have children to continue the family business, also indicating a sign of long life. The fourth type is called "curved sleeping." Curved sleeping refers to the body curling up: like a dragon coiling into a ring, full of momentum, or like a dog crouching with its body bent, having a definite shape. This sleeping posture signifies wealth and honor, the ability to accomplish extraordinary achievements, a broad vision and lofty aspirations, and a deep and profound ambition. It is a pattern of both high status and longevity, and also brings the blessing of having children. Therefore, the book of physiognomy says: walking like flowing water, sitting and standing like a bell, sleeping and lying down like a bent bow, and standing like a pine tree. This is the general idea of the posture of sleeping.

五、文臥　文臥者，安靜之態，聲息收斂而停勻，手足不支離，而無異狀也。其人慈和量大，正直無毒，及享受厚福，而多壽徵也。六、武臥　武臥者，手舞足躍，而似姿武之狀也。其人好動而心亂，多而少決，負氣而好勝，矜驕而妄貪，及弄巧反拙，氣量狹小，而多勞碌也。

The fifth type is called "Wen Wo" (Calm Rest). Wen Wo appears quiet and still, with calm and even breathing, and the hands and feet are not stretched out in all directions. The sleeping posture shows no unusual signs. Such people are kind and have a broad mind, are upright and have no malicious intentions, and can enjoy great blessings and often show signs of long life. The sixth type is called "Wu Wo" (Active Rest). Wu Wo involves moving hands and legs, as if performing martial arts. Such people are restless and their minds are scattered, with many thoughts but little decision-making, acting on impulse, being ambitious and proud, and indulging in excessive desires. They often make things worse by trying to be clever; they have a narrow mind and are often busy all their lives. The difference between Wen Wo and Wu Wo lies in whether the breath is controlled or not during sleep.

七、捧頭臥　捧頭臥者，其人每入睡鄉，必雙手捧其頭，或捧其兩耳，及兩額角也。其人多疑慮，似是而非，無膽識也，處事中道變更，交際口是心非，平生多挫折，不收全功也。八、開口臥　開口臥者，口開而不合，出氣倍人氣也。其人稟受弱，而有遺傳病，亦主縱慾而成痼疾，難享大壽，及刑人丁也。

The seventh type is called "pounding head while sleeping." Such people, whenever they fall asleep, must necessarily hold their heads with both hands, or cover their ears and press their temples. These people are full of doubts, and whatever they say seems half true but not entirely correct. They lack courage and insight; they change their minds midway through tasks, are insincere in their dealings with others, and throughout their lives face many setbacks, achieving only a fraction of what they set out to do. The eighth type is called "open mouth while sleeping." When someone sleeps with their mouth open and cannot close it, they exhale twice as much air as usual. Such people have weak constitution from birth, and are prone to hereditary illnesses. This also indicates excessive indulgence in desires leading to chronic illness, shortening their lifespan, and causing harm to family members.

九、磨牙臥　磨牙臥者，每入睡鄉，磨牙挫齒，格格喳喳，而有聲也。其人多勞碌，一成一敗，或萬里奔馳，飄搖不定，雖富貴而不安享也。十、估眼臥　估眼臥者，睡覺時豎眉估眼，如與人爭鬥之怒容也。其人躁急恃勇，作事有頭無尾，而多冷退刑剋，及失敗也，亦主危險，輕則傷殘宿疾也。

The ninth type is called "Moyu Wo" (grinding teeth sleep). People of this type grind their upper and lower teeth together when they sleep, making a clattering sound. Such people are often busy and劳累, experiencing repeated success and failure. They may travel thousands of miles, wander without a fixed place, and even if they become wealthy, they cannot enjoy their prosperity. The tenth type is called "Guyan Wo" (squinting eyes sleep). In this type, a person sleeps with their eyebrows raised and eyes half-open, looking as if they are in a state of anger and conflict. Such people are impetuous and aggressive, often starting things but not finishing them. They tend to have family decline, conflicts with relatives, and repeated failures. They are also prone to encountering dangers, and even minor ones may result in injuries or the recurrence of old illnesses.

十一、夢語臥　夢語臥者，睡覺時夢語重複，吵鬧不休也。其人多誑語而妄貪，多弄巧而反拙，又主元神浮蕩，嗜好偏見，而不享大壽也，或為勞碌無成也。十二、捧腹臥　捧腹臥者，其人雙手捧腹，反側不移也。主天性愚，作事庸厚，平生無大志，亦無大煩惱，而有衣祿也。

The eleventh type is called "Dream Talk While Sleeping." Such people talk in their sleep, muttering repeatedly and making a lot of noise. These people tend to lie often, have greedy desires, and frequently make things worse by trying to be clever. They also indicate an unstable origin god, a tendency towards obsession and biased views, leading to a short lifespan or a life of hard work with nothing accomplished. The twelfth type is called "Holding the Stomach While Sleeping." This refers to someone who holds their stomach all night without turning over. This indicates a dull nature, mediocre and honest behavior, with no great ambitions in life, but also no major troubles, and no worries about food and clothing.

十三、遮陰臥　遮陰臥者，有單手遮陰、雙手遮陰之分。其人聰明虛浮，多才而又虛偽，喜怒不常，剛復而又偏嗜，此單手遮陰臥也。其人聰明而貪，慳吝而狹，負氣而偏，邪淫而智，此雙手遮陰臥也。十四、佛臥　佛臥者，兩手合掌，兩足盤膝，安定似坐之姿式也。其人種善因，其心最慈良，厚寬宏，平安多福，及享大壽，稍有刑剋人丁也。

The thirteenth posture is called "Zhe Yin Wo" or "Shade Covering Sleep," which is further divided into single-hand shade covering and double-hand shade covering. Those who sleep with single-hand shade covering are intelligent but superficial, talented yet hypocritical, changeable in mood, stubborn, and have obsessive habits. Those who sleep with double-hand shade covering are intelligent but greedy, stingy and narrow-minded, impulsive and extreme, their actions are improper yet they are cunning and resourceful. The fourteenth posture is called "Fo Wo" or "Buddha's Posture." In this posture, both hands are joined in a prayer position, and both legs are crossed in a lotus position, lying down as if sitting. Such people have planted good deeds throughout their lives, are most kind-hearted and benevolent, honest and broad-minded, live a peaceful and prosperous life, and enjoy a long lifespan, though there may be some misfortunes within the family.

十五、仙臥　仙臥者，半曲半伸，半側半仰，鼻口無氣，而從耳竅出氣，是為龜息藏竅也。其人有靈根，聰慧異常，而有遠志，主盛名大貴，及享大壽也。十六、鬼臥　鬼臥者，睡覺似愁容哭態，手舞足蹈之例也。其人寒苦多勞，刑人丁而冷退，及夭壽而孤苦也。

The fifteenth type is called "Xian Wo" or "Immortal's Rest." Xian Wo involves the body being half bent and stretched, half leaning and lying back, with no breathing visible through the nose or mouth, but the breath instead coming and going through the ear openings. This is referred to as "Gui Xi Cang Qiao" or "Turtle Breathing and Concealing the窍." Such people possess spiritual potential, are exceptionally intelligent, and have lofty aspirations, thus attaining great fame, great wealth, and a long life. The sixteenth type is called "Gui Wo" or "Ghost's Rest." Gui Wo involves sleeping with a sorrowful expression on the face, as if about to cry, while the hands and feet move about restlessly. Such people lead a life of poverty and hardship, with much toil, causing harm to their family, leading to a decline in family fortune, and suffering a short life marked by loneliness.

十七、神臥　神臥者，睡覺似威嚴之態，手曲足曲，而似坐式也。其人忠直厚，明理守義，多厚福而有桓心，主旺人丁而有壽也。十八、聖賢臥　聖賢臥者，曲肱而枕，微側面肅，一足曲一足伸也。其人英明多智，遠見有桓，少疾苦而多壽，有容量而好名，及足衣祿也。

The seventeenth type is called "Shen Wo" (God's Rest). Shen Wo refers to lying asleep with a solemn expression, hands and feet curled, resembling sitting upright. Such people are loyal, upright, and sincere, wise, and devoted to righteousness. They have deep blessings and firm willpower, indicating a prosperous family and long life for themselves. The eighteenth type is called "Sheng Xian Wo" (Sage's Rest). Sheng Xian Wo refers to bending the arms to serve as a pillow, slightly turning the body while maintaining a solemn face, one leg bent and the other straight. Such people are intelligent and wise, with long-term vision and firm willpower. They suffer little illness, live long, have great capacity, and enjoy good reputation. Their clothing and food are also very abundant.

公篤曰：紋相一說，為相法之四大關係而外，在形質包括之中，然有重要點，而關係禍福生死者，為輔助品之第一，較諸手足而倍重要也。按第一圖之額紋：一紋曰華蓋紋，以長至額角之邊城即下曲，主貴而有壽徵，有出於貴族，有出於草澤，然皆有大志，而作非常之事業也。其長不至邊城，或短而歪斜，主刑剋人丁，及前業中衰而見弱也。

Chen Gongdu said: In the study of facial markings, this particular aspect belongs under the category of "form and substance," but it has its own importance, directly relating to a person's misfortunes, blessings, and life and death. It is the first among all auxiliary materials, being twice as important as hand and foot markings. Now, let's discuss the markings on the forehead according to the first diagram: a single horizontal line is called "Huogai纹" (Huogai marking). If the line extends to the "Biancheng" (border city) area of the forehead and then bends downward, it is considered qualified, indicating a person of high status and longevity. Such people may be born into noble families or rise from the common people, but they all have great ambitions and can achieve extraordinary accomplishments. If this line does not reach the Biancheng area or is short and crooked, it indicates the suffering of family members and the decline of ancestral property, which gradually becomes thin and weak.

南嶽有二紋橫過額角下曲者，名曰偃月紋，主貴名而有壽徵，主有風塵萬里，而刑早子女，及偏房庶出之子女方成立也。其紋短不合格，作勞碌刑剋人丁論，不過有壽之格也。南嶽有三紋橫過額角者，名日伏犀紋，主貴名而享大壽，及勞心重而風塵奔馳。如南嶽有四紋五紋，通稱額紋。此紋以長橫過額角下曲為合格；如短，或間斷，或斜，或連續，皆作勞碌奔馳、反覆刑傷論，前業蕭條，初不佳也。

The "South Mountain" on the forehead has two lines running across the brow and curving downward, known as "Yan Yue Wen," indicating a person with a distinguished reputation and longevity. Such individuals must travel thousands of miles, endure hardships, and their children born early in life may suffer misfortunes. They must rely on children from a secondary wife to be stable. If these two lines are short and not proper, they are considered to be laborious and prone to family misfortunes, but still have a long life. If there are three lines across the brow on the South Mountain, known as "Fu Xi Wen," it indicates a distinguished reputation and long life, but with great mental strain and constant travel. If there are four or five lines on the South Mountain, they are generally called "Furwen." These lines should be long, running across the brow and curving downward to be considered proper. If they are short, broken in the middle, crooked, or twisted together, they are considered to indicate laborious travel and repeated injuries, suggesting a decline in ancestral property and poor fortune in early years.

曲刑紋在眉頭之上，曲過眉角，主刑弟兄姊妹，然為不正常而死，有誤死、凶死者，左為兄姊，右為弟妹也。孤壽紋在兩口角而下反者是也，主享大壽，而刑子女也。當時雖多子女，而至晚年則衰弱無靠，或刑剋無成，或星散不聚，而不送終也。

The "Qu Xing Wen" (curved punishment mark) appears above the eyebrows, curving over the brow angle, indicating punishment of brothers and sisters; those who are affected often do not end well, some dying in accidents, others meeting violent ends. If the mark is on the left, it refers to the elder brother or sister; if on the right, it refers to the younger brother or sister. The "Gu Shou Wen" (lonely longevity mark) is a mark hanging downward from both corners of the mouth, indicating a long life but punishment of children: although there seem to be many children at first, in old age they become weak and isolated—either the children are punished and unable to support the person, or they scatter apart and cannot gather together, eventually leaving no one to attend the person at the end.

法令紋在井灶之兩側，有法令紋方有壽。如無法令紋者，不滿三十歲；如有半節法令，則四十以上之壽；如至口角，則五十以上之壽；如過口角以下，則六十以上之壽；如法令紋過口而相交，則七十八十，及至百歲之壽。如法命入口主餓死，深者主勞碌，續者主添壽也。

The "lines between the eyebrows" are located on both sides of the two nostrils, known as "well and stove." A person must have these lines to have a long life. If there are no lines at all, they will not live past thirty. If there are only half lines, they will live over forty. If the lines extend to the corners of the mouth, they will live over fifty. If the lines go beyond the corners of the mouth downward, they will live over sixty. If the lines wrap around the mouth and meet on both sides, they may live up to seventy or eighty years, or even up to one hundred. If the lines go straight into the mouth, it indicates death by starvation. If the lines are deeply carved, it indicates a life of constant toil. If the lines continue downward after that, their length is considered as added years of life.

按印堂有雙紋下寬上窄，成人字形，號曰印堂人字峰。此主性情拘執而勞碌憂思，狐疑不決，主刑妻克子，及刑弟兄姊妹，又主族戚多累，恩怨不明，於妻族及叔伯侄甥之遺累尤重。其中有疑是疑非之錯誤，受勞受累之糾纏，措置固屬不當，貪念拘執不休，以生其遺累也。如上有一橫紋者，為華蓋紋，則人字峰之刑剋累損，可以減半矣。如單有華蓋紋，主勞而貴名，小有刑剋，及壽也。

Now looking at the second diagram: there are two lines on the forehead, wide at the bottom and narrow at the top, forming the shape of the character "人" (person), known as "Yin Tang Ren Zi Feng" (the person-shaped peak on the forehead). This indicates a stubborn nature, a life filled with toil and worry, and difficulty in making decisions when faced with matters; it also signifies harm to wife and children, and to brothers and sisters; further, it indicates being burdened by relatives from the family, with unresolved grievances, especially those coming from the wife's family and from uncles, aunts, cousins, and nephews. Such people often make mistakes in distinguishing right from wrong, are trapped by toil and burdens, and handle affairs improperly. Their attachment to greed and stubbornness leads to these burdens. If there is another horizontal line on top of the person-shaped peak, it is called "Huagai Wen" (the cap pattern). This reduces by half the harm and losses indicated by the person-shaped peak. If there is only the cap pattern and no person-shaped peak, it indicates that although one is toil-bound, one will have a noble reputation, with minor harm to relatives, and a long life.

兩額角之紋，名曰邊城紋，下由眉尾起，上至鬢髮曲處。此主破梓離鄉，前業不可靠，其中段名天倉，關係祖業，故生妨害及妨父，雖有餘澤亦敗弱矣，易地而發於他鄉。亂世多有此紋，主遠發也；盛世則一敗而不可恢復，終無立身之地也。朝笏紋上由頰車起，有雙紋下至腮力犄角處，名曰朝笏紋，此主子女之貴，而晚年豐足衣祿，以享晚福也，亦主壽祿之兆。

The markings on both sides of the forehead are called "Border City Marks," starting from the end of the eyebrows and extending up to where the hair bends. This indicates leaving one's homeland, abandoning one's native land, and the family's inherited property being unreliable; the middle part of this mark is the "Heavenly Granary," which relates to ancestral property, so having this mark here harms family wealth and also harms the father—despite any remaining blessings from ancestors, it will eventually lead to decline and poverty, and one must move to another place to achieve success. In times of chaos, people with this mark tend to travel far and achieve success; but in peaceful times, those with this mark will suffer a downfall and find it difficult to recover, ultimately having no place to establish themselves. The "Morning笏Mark" is a mark that starts from the "Cheche" and runs down along both sides to the angle of the jawbone, indicating that children will achieve prominence, the person's later years will be abundant in food and clothing, allowing them to enjoy a comfortable old age, and it is also a sign of longevity and good fortune.

按印堂有形如田字者，名曰田字紋，主阡陌之當業，前人無依而耗盡，主白手成家，勞碌自創，有由學徒出身而發達，多從工商技藝以立身也。刑妻而不克子也，亦主大壽，至老不閒，然子女有不得力者。左眉頭有紋，名曰羅侯紋，主刑兄姊，又主血痣之疾，於中年晚年也。右眉頭有紋，名曰計都紋，主刑弟妹，又主頭風及手足筋骨疼痛之疾，於晚年也。

Now looking at the third image: if the patterns on the forehead cross to form a "field" shape, it is called "Field Pattern," indicating that one's fortune is connected to land and property. The ancestors are unreliable, and the family's resources have been exhausted, so one must start from scratch, working hard to build a career. Such people often rise from being apprentices, and mostly rely on commerce, trade, or a particular skill to establish themselves. They may harm their wife but not their son, and they are likely to live a long life, though they will never have peace in old age, and among their children, there will always be one who is unhelpful. If there is a mark on the left brow, it is called "Rohu Pattern," indicating harm to older brothers and sisters, and also suggesting blood-related illnesses such as blood spots in middle and old age. If there is a mark on the right brow, it is called "Jidu Pattern," indicating harm to younger brothers and sisters, and also suggesting ailments such as headaches and pain in the hands and feet in old age.

如左右眉頭皆有紋，名曰羅計紋，其人性情剛躁，任性恃長，偏於所好，量窄而偏傲，多招官訟爭端，嫌疑是非，恩中有怨，親者反疎，六親無輔於內，朋友有益於外，亦主聰明而有見解也。年壽有直紋四五，名曰虛花紋，主刑妻克子，及有遺傳病，又主破前人祖業，勞碌自立。其人聰明有智識，靈巧多機詐，然有為聰明自誤、淫蕩邪行之類，或為預算其小，不計其大，或為見利而貪，因之而累，故曰虛花，言美而不實也。口角之側有紋，名曰陂池紋，常多水驚，如有黑黯色，主水厄也。

If there are lines on both eyebrows, they are called "Luoji Pattern." Such people are impetuous and hot-tempered,任性 and rely on their own age, stubborn in their own preferences, narrow-minded and somewhat arrogant. Therefore, they often bring about legal disputes, suspicion and conflicts. They show kindness but end up with resentment, those who should be close become distant, and the six relations within the family cannot help, while friends outside may be beneficial. However, they are also intelligent and have insight. If there are four or five straight lines on the "Nianshou" part of the nose bridge, called "Xuhua Pattern," it indicates punishment of wife and children, carrying hereditary diseases, and losing the family's ancestral property, needing to work hard to establish themselves. Such people are intelligent and have insight, clever and full of schemes, but often their intelligence leads to their own downfall, their behavior being licentious and improper. They may only calculate small gains without considering the big picture, or be greedy for profit, thus bringing about burdens. Therefore, it is called "Xuhua," meaning something that looks good but is not substantial. If there are lines on the sides of the mouth, called "Bichi Pattern," they often suffer from accidents related to water. If there is a dark color in this area, it indicates danger from water.

按印堂有三紋下聚上散，如火焰勢，名曰火焰紋，主公侯將相之貴，屏藩柱石之臣，多兼武權，而殺身成仁也，故主貴而凶死。其死之輕重，則又與眉目參看之。古漢壽亭侯關羽有之，但有蠶眉鳳目之配，故成武聖名；宋武穆王岳飛有之，則有劍眉鳳目之配；明名將周玉節有之，則有一字眉豹目之配。凡有火焰紋者，均主貴而凶死也。其單獨火焰紋，而眉目平常，亦至中等貴，或為中等之次，然亦凶死，而無成仁之時機也。

Now looking at the fourth diagram: there are three lines on the forehead, converging at the bottom and spreading out at the top, forming the shape of a flickering flame, called "Flame Pattern." This pattern indicates great nobility, such as that of a prince, general, or high official, who is a pillar of the state. These individuals often hold military power and ultimately die for a great cause. Therefore, this pattern signifies both great fortune and a tragic death. As for how惨烈 the death is, it should also be considered in conjunction with the eyebrows and eyes. General Guan Yu of the Three Kingdoms, Han Shou Ting Hou, had this pattern, but he had the appearance of a horizontal eyebrow and phoenix eyes, which enabled him to achieve the title of the Martial Saint; General Yue Fei of the Song Dynasty also had this pattern, paired with sword eyebrows and phoenix eyes; General Zhou Yu Jie of the Ming Dynasty also had this pattern, paired with a straight eyebrow and tiger eyes. Those who have the Flame Pattern generally indicate great honor but not a peaceful end. If only one Flame Pattern is present, but the eyebrows and eyes are ordinary, one may attain moderate or slightly lower levels of nobility, yet still meet a tragic end, and also miss the opportunity to sacrifice oneself for a righteous cause.

鼻準有一直紋，名曰分犀紋，古為五牛分尸，即車裂之慘刑也。其分尸紋隱約，則可減等而論；如短而不長，則為破相之疤痕，損財之耗散，及刑剋。如出於貧無立錐之地，則可免凶死；如出於富貴，必凶死而尸身不全也。耳廓有痕紋，主刑傷父母叔伯於初年；耳輪有痕紋，主刑傷弟兄姊妹於初年，皆主幼年之刑傷，或應本身之驚災，及危險之疾厄也。口下有一橫紋下反者，名曰承漿紋，主水驚；如現黑黯色，主水厄而死，次亦水上之大損失；亦應酒病，或因酒醉跌撲而死也，亦主有形之腎病也。

A straight line on the nose is called 'Fen Xi Wen' (Split Rhinoceros Pattern). In ancient times, it was associated with the punishment of splitting the body of five oxen, which was a cruel method of execution by tearing the body apart. If this pattern is faint and not clearly visible, its effect is reduced by one degree. If the line is short and does not extend long, it indicates a broken appearance with scars, financial loss, and possible legal troubles with relatives. If this pattern appears on someone who is extremely poor with no place to stand a cone, it may avoid a violent death. However, if it appears on a wealthy person, it is certain that they will die violently and their body will be incomplete. A scar or mark on the earlobe indicates early injuries to parents or uncles. A scar or mark on the ear rim indicates early injuries to brothers or sisters. These patterns are associated with injuries in childhood, or with being startled by disasters, or suffering from dangerous illnesses. A horizontal line below the mouth that curves downward is called 'Cheng Jiang Wen' (Receiving the Stream Pattern). It indicates being startled on water. If this area is dark, it indicates death by water-related disasters, or at least a major loss related to water. This pattern also indicates illness related to alcohol, or death from falling while drunk, and also indicates an existing kidney disease.

按印堂有直紋一痕，深者為懸針痕，者為懸針紋，皆主刑妻克子，危險多災，平生多挫折而失敗也。如懸針痕多主凶死，懸針紋多主危險也。二者如出於富貴有名，均主凶死而危，不發達較好也，一經發達即凶危之時至矣。此為權利之引誘，貪念之受禍，勿以計劃周詳，而勉強進取也。二者如出於貧苦下賤之人，則破敗較輕也。

Now looking at the fifth diagram: in the center of the forehead there is a straight line, deeply carved is called "xuannin hen," and shallowly carved is called "xuannin wen." Both indicate harm to wife and children, a life full of danger and misfortune, and frequent setbacks and failures. Among these, "xuannin hen" often indicates death by misfortune, while "xuannin wen" often indicates encountering danger. If these markings appear on a person who is wealthy and renowned, they both indicate a dangerous and fatal end, and it is actually better not to be successful. Once success comes, the time of misfortune will arrive. This is precisely the result of being lured by power, status, wealth, and fame, and suffering misfortune due to greed. Therefore, one must not force oneself to pursue these things just because they believe their plans are well thought out. If these markings appear on a person from a poor and lowly background, the consequences of failure will be much less severe. (Note: The original text has a missing "shallow" before "xuannin wen," which has been added here according to the meaning, without altering the original text.)

山根有紋，名曰山根紋，主勞碌刑剋。如山根有一橫紋，主沉疾而有大挫折一度；山根二橫紋，主刑子女而有大挫折二次；山根有三橫紋，主壽而勞，及刑妻妾，而有內顧之患以牽制之，而有大挫折三次。左右魚尾有紋，主刑妻，一紋克一妻也；如魚尾紋上仰，主妻淑而強，無刑剋也；如魚尾紋下反，主刑三妻也；如魚尾有十字紋，主生離者再。亂世加倍而應之，盛世減半而論之。

If there are markings on the mountain root, it is called "mountain root mark," indicating a life of toil and suffering from misfortunes. A single horizontal mark on the mountain root indicates a serious illness that is difficult to cure and a major setback. Two horizontal marks indicate suffering from misfortunes related to children and two major setbacks. Three horizontal marks indicate a long life but with much toil, suffering from misfortunes related to wives and concubines, and being troubled by domestic matters, with three major setbacks. If there are markings at the "fish tail" area of the eyes, it indicates misfortune towards the spouse. One mark indicates losing one wife. If the fish tail mark slants upward, it indicates a virtuous and strong wife, and there is no misfortune. If the fish tail mark slants downward, it indicates losing three wives. If the fish tail forms a cross mark, it indicates separation from the spouse, and this happens more than once. These predictions should be considered more seriously in times of chaos and less so in times of peace.

左蘭臺有紋，名曰危險紋，主危險；右廷尉有紋，名驚險紋，主驚險。男左紋則破相，女右紋亦被相；男右女左，則疤痕於隱微處，而不見於表面也；如男左女右，則疤痕於明顯處，而現於表面上也。如兩邊有紋沖出，亦主凶死；如破半邊，不過多驚險而已，不至危身也。

A line on the left wing of the nose, known as the 'Lantai' line, is called the 'Danger Line' and indicates encountering danger. A line on the right wing of the nose, known as the 'Tingwei' line, is called the 'Startling Line' and indicates being startled. For men, a line on the left indicates a scar on the face; for women, a line on the right indicates a scar on the face. If a man has a line on the right and a woman has a line on the left, the scar will be in a hidden place and not visible on the surface. If a man has a line on the left and a woman has a line on the right, the scar will be in a noticeable place and visible. If both sides have lines protruding, it indicates death by misfortune. If only one side has a line, it means experiencing some startling events, but not life-threatening.

按額上有紋如山字形，大者名曰大山字紋，小者名曰小山字紋。大山字紋主享盛名之貴，而有大壽也，又主子女貴而有事業之發達，以承繼父志而恢宏門庭，本身不貴亦享其福也。小山字紋主小貴而豐足衣祿，則有刑傷人丁，勞心顧忌也。印堂有直痕三紋，名曰印堂川字紋，主貴而吐血，及刑早子，而有女星二三，然後有子也；主痣漏氣鬱而死。至於貴之大小，又以眉目參看，其創立而勞心則一也。

Now looking at the sixth figure: those with a mark on the forehead shaped like the character 「山」 (mountain) are called 「大山字纹」 (big mountain character mark) if the mark is large, and 「小山字纹」 (small mountain character mark) if it is small. The big mountain character mark indicates a person who will achieve great fame and enjoy a long life; it also signifies that children will be prominent, career will be prosperous, and they will carry on their father's aspirations, bringing honor to the family. Even if the person themselves is not prominent, they can enjoy the blessings of their children. The small mountain character mark indicates minor status but sufficient food and clothing, though there may be injuries or misfortunes among family members, and the person will be preoccupied with worries and exertion. If there are three straight lines on the forehead, called 「印堂川字纹」 (forehead horizontal lines), it indicates great status but also a tendency to cough up blood, and it may cause harm to the eldest son, having two or three daughters first before having a son. Such people often die from diseases like hemorrhoids or from emotional stagnation. As for how great the status will be, it must be considered together with the eyebrows and eyes. In any case, they must rely on their own efforts and work hard all day.

命門有紋二三，名曰命門紋，主多弱疾沉病，而為先天稟受太弱，以致病疾不痊而不壽也；亦有縱慾於花天酒地，戕身體，中年夭折也。人中有直紋，主刑子星；人中有橫紋，主刑女星；人中有十字紋者，主子女俱刑剋，而不能成立。其初中之年，子女雖多，亦主刑剋殆盡，終為螟蛉之假子假女以承繼也；或偏生庶出，而可保留一子，亦以晚年之遲子為吉也。

If there are two or three lines on the "Mingmen" area near the ear, it is called "Mingmen纹." Such a person tends to be weak and often suffers from serious, long-term illnesses that are difficult to cure, due to a weak constitution from the beginning. Some people may indulge in pleasures and excessive desires, leading to physical deterioration and early death in middle age. If there is a straight line in the "Renzhong" area, it indicates the possibility of losing sons; a horizontal line suggests the possibility of losing daughters; and a cross-shaped line indicates the loss of both sons and daughters. Such people may have many children in their early and middle years, but they will lose most of them, and eventually rely on adopted sons or daughters to continue the family line, or on a son from a concubine. In general, having children later in life is considered auspicious. Both the lines in the Renzhong and the Mingmen should be considered together: one indicates lifespan, and the other indicates the presence of children.

按印堂有兩直紋，名曰雙紋入印，主刑妻克子。其人性情拘泥而不達，務名而實貪，幾經破敗而方成立創業也。一主母族妻族之累，及血統至戚之官非，以糾纏而駁雜也。髮際之下名曰天中，其地有紋續斷，名曰破天紋，主前業不守，或寒微而不足衣次祿也；然亦得富貴之親戚以輔助之，故曰近於富貴而能成立也。

Now looking at the seventh diagram: if there are two straight lines in the area of the forehead, it is called "Double Lines Entering the Seal," which indicates that one will suffer from conflicts with one's wife and children. Such people are stubborn and inflexible in nature, appearing to seek fame but actually greedy for profit. They must go through several periods of loss before they can establish a stable family fortune. This pattern has two layers: one indicates being burdened by the mother's family and the wife's family, and the other indicates that close relatives from one's own family will get into legal troubles, with matters becoming complicated and disorganized. The area below the hairline is called "Heaven's Center." If there are lines here that are intermittent and broken, it is called "Breaking Heaven Pattern," which suggests an inability to maintain the family's ancestral property, or a humble birth, with insufficient food andofficial stipend; however, such people can also receive assistance from wealthy relatives, so although they were born into poverty, they can still establish themselves by relying on the strength of those close to the wealthy. (Note: The original text says "不足衣次禄," where "次" is likely a mistake for "食.")

三陽有交爻紋，名曰三陽，紋主有慈善之事業，濟世之盛名，惟子星弱、兩女星旺也。其人才智過人，見解遠大，有仁善之思想，抱經綸之大志。左顴紋破，主子女叔伯之患，憂鬱成疾，神經昏憒而死；右顴紋破，主妻妾弟兄之爭，憂氣成疾，痼疾不痊而死。皆出於親親之仁，內顧之憂也，當以深長短而定其禍患之輕重也。

On the upper eyelid, there is a "three yang" mark with intersecting lines resembling the lines of a trigram, known as the "three yang pattern." This indicates that the person is capable of doing charitable deeds and has a good reputation for helping others. However, the star representing sons is weak, while the star representing daughters is strong. Such a person is exceptionally intelligent, has broad insights, and possesses a kind and benevolent heart, with grand ambitions to govern the country and benefit the world. If there is a mark on the left cheek that breaks through, it signifies suffering due to matters involving children or uncles, leading to depression and eventually mental confusion and death. If there is a mark on the right cheek that breaks through, it indicates disputes with the wife, concubine, or brothers, resulting in worry and anger, which may lead to a chronic illness that cannot be cured. Both situations arise from a deep concern for family members and attachments within the household. When making a judgment, the severity of the misfortune should be determined by the depth and length of the mark.

按額部之左側有紋續斷，名曰日角紋，主父宮弱，而耗散前業微弱，又主先妨父宮，亦有遺腹子之生者，是為少孤之說。額部之右側有紋，名曰月角紋，此主母弱，及有遺傳病而先妨母也，又主母族耗散，及承繼之母也。印堂有如口字形，名曰金印紋，主前業失敗，父母無依，應離奇之遇合，意外之發達，絕處逢生，臨險而貴，主聰敏奸詐，妻妾多而子女少也；又主異路功名，而有驕慢淫亂之行為，但以目前之樂，而不計將來之憂也。

Now looking at the eighth figure: when there is a纹 that comes and goes on the left side of the forehead, it is called the "Sun Angle纹," indicating that the father's position is weak, the family's ancestral property has been greatly consumed, and there is a tendency to harm the father. It also suggests that the person was born as a child without a father, known as the "young orphan" appearance. When there is a纹 on the right side of the forehead, it is called the "Moon Angle纹," indicating that the mother's body is weak, or that there is an inherited illness between mother and child, which may harm the mother first. It also suggests that the mother's family has declined, and the person was raised by a stepmother. When the纹 around the forehead forms a "口" shape, it is called the "Golden Seal纹," indicating that the ancestral property has been completely lost, and both parents are unreliable. The person will encounter strange opportunities and unexpected success, finding salvation in desperate situations and gaining favor from the powerful in dangerous circumstances. Such people are intelligent but somewhat cunning, have many wives and concubines but few children; they achieve success through unconventional means, behave arrogantly and recklessly, seeking immediate pleasure without considering future troubles.

臥蠶有紋向外顴而生，一紋一子，二紋二子也；臥蠶有紋向淚堂內生，一紋一女，二紋二女也。如成左右交加而成井字形，則無子而有子，亦為先後之出，以成立也。其紋上反而插奸門，或下插入顴骨肯，皆為嫡庶之子，而有不肖之行，或忤逆之犯上也。法令紋入口，名曰騰蛇入口，主餓死。凡富貴者亦主餓死，或哽食不下而餓死。如法令紋入口復出者，主大貴而權，及有特別行為，立言立法，以垂名於後世，又多壽徵也。

There are markings on the flesh beneath the eye (the "wò cán") that extend towards the outer side of the cheekbone. One line indicates one son, two lines indicate two sons. If the markings extend towards the inner side towards the tear hall (the "lèi táng"), one line indicates one daughter, two lines indicate two daughters. If these markings cross each other in a "well" (or "well" shaped) pattern, it indicates that one originally thought there would be no children, but eventually there will be children, with the children being born one after another in sequence. If these markings go upward into the "jiān mén" (a specific area on the face) or downward into the cheekbone, they indicate mixed legitimate and illegitimate sons, and these sons may be unscrupulous or even rebellious and disrespectful. If the lines of the "fǎ lì" (the法令纹, or "command lines") go straight into the mouth, it is called "téng shé rù kǒu" (the snake entering the mouth), which indicates dying of starvation. Even the wealthy will also be destined to starve to death, or die from choking on food that cannot be swallowed. If the lines of the command lines enter the mouth and then exit from the other side, it indicates great wealth and power, unique conduct, the ability to write books and establish laws, leaving a lasting legacy, and signs of a long life.

按兩邊城至鬢髮曲突處，有橫紋如浪，名曰邊陲紋，主破梓離鄉而遠發，或發於國界之邊地而立業，或發於省界之邊地而立業，前業不可守，又不可靠，或因環境逼迫而為用也。印堂有紋橫過而上仰者，名曰仰月紋，主中等富相紋貴，離奇發達，及臨險地而大發，有作驚人事業，前業見弱，亂世多武貴，盛世主貴而客死他州也。

Now looking at the ninth diagram: from the two sides of "border city" to the curved and prominent part of the hairline, there are wavy horizontal lines called "border ridge marks," indicating leaving one's hometown to achieve success in distant places—some establish foundations on the borders of the country, others on the borders of provinces; ancestral property is both unguarded and unreliable, often forcing them to take this path due to circumstances. If there is a horizontal mark on the forehead that runs across and has its ends upward, it is called "upward crescent mark," indicating moderate wealth and honor through marks, with an unusual path to success, often achieving great things in dangerous situations, capable of making remarkable achievements; ancestral property is thin. This mark often indicates military honor in times of chaos, but in peaceful times, it signifies honor achieved through being away from home, possibly leading to death away from one's homeland.

元武外顴之間，有井字形之紋者，名曰大陰騭紋，此主前生之善因。如有黃紫色，主有濟人大德，而立善功，可以化除危險而入平安地，及增福壽之兆，無子而生子，無女而生女，能旺人丁也。北嶽有紋，縱橫如織，名曰龍頷紋，此主大壽而享盛名，及有專長之藝能、特別之美術、過人之才智。少年浪走無定，中年遇貴而貴，晚年有外業，及獲佳兒貴子，以圓滿其目的，及作身後之事業也。

The "Black Tortoise" and the outer cheekbone form a cross-shaped mark called "Great Benevolent Pattern," which indicates good karma from past lives. If this area shows yellow or purple color, it signifies that the person has great virtue, can rescue others, and can resolve dangers to bring about peace and safety, also a sign of increased blessings and longevity. Those who were childless may have children, and those who were without daughters may have daughters, thus making the family prosperous. On the lower jaw, the "Northern Peak" has a pattern of intersecting lines like woven threads, called "Dragon Chin Pattern," which indicates a long life and great reputation. Such a person possesses a special skill, exceptional artistic talent, and outstanding intelligence. In youth, they wander without a fixed place, but in middle age, they meet a nobleman and gain status, in old age, they have properties outside the home, good sons and noble daughters, fulfilling their lifelong wishes and leaving behind a legacy.

按印堂有橫紋過眉頭而下反者，名曰印堂覆舟紋，主紈垮子弟而敗前業也，及貴而冷退，聰明自誤，淫蕩邪行，不務正業者居多數，以致內顧主障礙，家庭不一致，刑人丁而不壽也。多出驕養溺愛而成，其放浪之行為，及性情異常支離而奢侈也。

Now looking at the tenth figure: a horizontal line on the forehead that crosses the brow and ends downward in a reverse curve is called the "Print Hall Covering Boat Pattern." This indicates that the person is a spoiled son of wealth, who will ruin his ancestors' property; it also suggests that someone who was originally prominent will gradually become neglected and decline. Such people are often clever but are misled by their own cleverness, indulge in immoral and perverse behavior, and neglect proper work, leading to obstacles everywhere in the family. The family members have different thoughts and cannot be united, causing harm to family members and the person himself not living a long life. This kind of appearance is usually the result of being spoiled and indulged, so their behavior is reckless, their nature is particularly scattered and disorderly, and they are extravagant.

兩福堂之間有紋如井字者，名曰小陰騭紋，主前生種善因，心地慈良，厚有信，作事有遠見，直快無毒，耿介心平。如有黃紫色，則作小善功，而濟人利物，多有一切施濟也；子女亦樸，而守其餘業，而不妄為也。兩顴之下、法令之側有紋，名曰金花紋，有俠義之行為，及得貴名，而有離奇之遇合，異路功名也。兩口角有井字形，名曰井字紋，主初年勞苦，中年有貴人之力輔助，借貴而發達也，晚年多福壽而進田宅，稍刑子女也。

Between the two "Fu Tang" areas, if there is a cross-shaped mark called "Xiao Yinzhi Wen," it indicates that the person has planted good deeds in past lives. This person is kind-hearted and benevolent, honest and trustworthy, has a long-term vision, is straightforward and open, and does not harbor harmful intentions. He is upright and has a calm and peaceful disposition. If this area shows yellow or purple color, it suggests that he performs small good deeds, helps others, and often gives charity and assistance. His children are also simple and honest, able to maintain the family property without misbehavior. If there is a pattern near the lower part of the cheeks and beside the lines between the eyebrows, called "Jinhua Wen," it indicates that the person has chivalrous behavior, can gain a noble reputation, has unusual opportunities, and achieves success through unconventional paths. If there is a cross-shaped mark near the corners of the mouth, called "Jingzi Wen," it suggests that he experienced hardship in his early years, received help from a nobleman in middle age, and became successful by relying on others' influence. In his later years, he enjoys much happiness, longevity, and acquires land. However, he may slightly harm his children. These patterns are all considered auspicious when they form a cross shape, showing that well-formed patterns are likely to bring good results.

按印堂有井字形，名曰井印紋，此主幼年無父，前業耗散，出身微賤，因時勢逼迫，以致冒險進取，而成其富貴之基，主重配而有先後之子也；又有內顧之患，而無遠見之佈德，務其名而貪其利，不克善後也。三陽有直紋二三，入眼皮之睫毛處止，名曰煞紋。凡有煞紋馭者，皆為素封小康之家，而有驚險之災，以成殘疾受傷也。其性粗心大膽，不計利害，而輕舉妄動，因爭奪權利而動殺機也。

Now looking at the eleventh figure: there is a well-shaped pattern on the forehead called "Well Print Pattern," which indicates early loss of father, dispersal of ancestral property, and a humble birth. Due to forced circumstances, they have to take risks and eventually establish a foundation for wealth and honor. Such people tend to remarry, with each previous wife having sons; there are family troubles within the household, and they lack long-term vision to widely show kindness, only seeking empty fame and real profit, thus ending their lives poorly. On the upper eyelid, "Three Yang" has a couple of straight lines extending to the eyelashes, called "Slaughter Lines." Those with Slaughter Lines mostly come from comfortable middle-class families without worries about food and clothing, but they suffer a dangerous misfortune leading to injury or disability. They are careless and bold in nature, act recklessly without considering consequences, and often harbor murderous intentions in the struggle for power.

口角有一二紋下反者，名曰覆舟紋，主凶死；如有三四紋於口角者，則為孤壽紋，上篇詳論也。兩口角覆舟紋，於富貴之格局，其危險更大，則潛伏亡身破家之患；如出於貧賤之人，則不過刑剋勞苦，艱辛備至耳，能守窮困而不妄貪者，自然減輕危險。三陰有雙叉紋，名曰六爻紋，主貴名而無權，聰明而反覆，一生多憂思感慨，亦主克女而有壽也，一主傷陰失眠之疾，一主溼氣酒病之例。虎耳有紋下插入陂池者，名曰壽紋，此重添壽紀之兆，應有增加壽紀，而益壽祿也。此紋不常有，亦因培養陰德，或修身練氣，而有此添壽之兆也。

There are one or two lines running downward and curving inward at the corners of the mouth, known as 'Covered Boat Marks,' which indicate death by misfortune. If there are three or four lines at the corners of the mouth, it is referred to as 'Solitary Longevity Marks,' which were discussed in detail earlier. If both corners of the mouth have Covered Boat Marks, especially in a prosperous and wealthy pattern, the danger is greater, indicating hidden dangers of losing one's life or ruining one's family. If these marks appear on a person of humble status, they merely mean suffering from punishments, hardships, and difficulties. As long as one can remain content with poverty and not harbor greedy desires, the danger will naturally be reduced. On the lower eyelid, the 'Three Yin' area having two lines that branch out is called 'Six Lines Mark,' indicating a person who has a high reputation but no real power, someone who is intelligent but fickle-minded, who experiences much worry and sorrow throughout life, and who may suffer from the loss of daughters but live a long life. One line corresponds to injury to the Yin aspect and insomnia, while the other corresponds to ailments such as dampness and alcohol-related injuries. A mark at the 'Tiger Ear' area in front of the ear, running downward into the 'Bai Chi' area, is called 'Longevity Mark,' which is a significant omen of added years of life, indicating an increase in lifespan and also an increase in blessings and honors. This mark is not common and usually appears due to cultivating Yin Virtue or practicing self-cultivation and energy training, which are signs of added longevity. From this, we can see that facial markings are not fixed at birth, and one's later actions can still influence and change them.

公篤曰：相法一術，由來久矣。溯其源流，蓋始於伏義氏畫卦，龍馬負河圖洛書之時，辨明陰陽二氣之始；又得洛水之龜，布成方位之形，故初名曰龜鑑，蓋由此而得名也。夫以天地陰陽、五行八卦，即有立象，然後內配以五臟六腑，象名立義，故外配以五官五嶽、六曜四瀆，各有系統矣。先論形質之生克，次論氣色之制化，則吉凶禍福之機，自有一定攸歸矣。至軒轅氏時，有臣名曰風后氏者，因彩禽銜書於碧雲之中，則用先天流行、後天定位，而發揮議論，以立吉凶禍福之定法。其風鑑之名，實肇於此，蓋風后氏所鑑定之意也。

Chen Gongdu said: The art of physiognomy has existed for a long time. Tracing its origin, it is said to have begun during the time of Fuxi who drew the Eight Trigrams, and when the dragon horse carried the Yellow River Chart and the Luo Writing appeared. That was the beginning of distinguishing between yin and yang energies. Later, the divine turtle from the Luo River appeared, and its patterns on its back were arranged into directional figures, so the art of physiognomy was originally called "Gui Jian," meaning "Turtle Mirror," as the name came from this. Since the trigrams of heaven and earth, yin and yang, the Five Phases, and the Eight Trigrams had already been established, the inner part was then paired with the five internal organs and six腑, naming them according to their forms and defining them by their meanings. The outer part was paired with the five senses, five mountains, six luminaries, and four great rivers, each forming its own system. First, the mutual generation and mutual control among forms and substances were discussed, then the constraints and resolutions among colors and energies, so the signs of good fortune, misfortune, calamity, and blessing naturally had their respective manifestations. During the time of the Yellow Emperor, Huangdi, there was a minister named Fenghou. He saw a colorful bird carrying a heavenly scroll flying from the green clouds, and thus he elaborated on the flow of the Earlier Heaven trigram energies and the fixed positions of the Later Heaven trigrams, establishing a fixed method for predicting good fortune, misfortune, calamity, and blessing. The art of physiognomy is also called "Feng Jian," which actually began from here — "Feng Jian" means the identification by Fenghou. (Note: The original text "Fu Yi Shi" refers to Fuxi.)

至於堯舜禹湯文武，相繼而傳，以及專司其事，而為國家大用，蓋上以承聖君之德，下以擇賢臣之才也。故西東周時，相法最盛行，凡諸侯大臣，以及有大志者，必聘風鑑之專門人材，以濟其用，而為趨吉避凶之準繩，欲進欲退之決心。

After this, the study was passed down through generations, including Yao, Shun, Yu, Tang, King Wen, and King Wu. The royal court even established official positions specifically responsible for this matter, making it a major state function: upwardly continuing the virtue and intentions of sage kings, and downwardly selecting virtuous ministers and talented officials for the state. Therefore, during the Western and Eastern Zhou periods, physiognomy became especially popular: all dukes, ministers, and those with great ambitions would certainly hire specialists skilled in facial and body analysis to assist them, using the judgments of physiognomy as a standard for seeking good fortune and avoiding misfortune, and as a basis for deciding when to advance or retreat.

當時相法種類頗多，而各有秘訣，以立門戶也。其秘訣之傳授雖不同，其應徵事實則一也。富貴之分、貧賤之別、興衰之數，實由於此也。故晉國大飢而多盜，則聘專門能識盜者之卻雍，而取決以捕之；吳國之平亂，則聘唐舉，以求治國人材而勷助之；趙民之撫卹，荀子知其必昌；智氏之智瑤，稀疵知其必敗；以及楚之斗越椒，而有蒍氏如其赤族，先改姓氏以避之；越王之勾踐，范蠡知其寡恩，浪遊五湖以去之。此皆相法之有益於人，而為趨吉避凶之鐵證也。

At that time, there were many schools of physiognomy, each with its own secret techniques to establish its own school. Although the secrets passed down differed, the actual results they predicted were the same. A person's wealth and nobility, or poverty and low status, as well as the rise and fall of a country, were all revealed through this discipline. Therefore, when Jin suffered a great famine and bandits ran rampant, it hired Xie Yong, who was skilled in identifying bandits, to capture them. When Wu wanted to suppress internal rebellion, it hired Tang Ju to select talented people to assist the state. Zhao was good at caring for the people, and Xun Zi predicted that his family would surely flourish. Zhishi's Zhizao was immediately recognized by Xi Ci as certain to fail. Also, like Dou Yuèjiao of Chu, Wei Shi foretold that the Dou family would be completely destroyed, so he changed his surname in advance to escape. King Goujia of Yue, was seen by Fan Li as being harsh and ungrateful, so he sailed away on a boat to the Five Lakes. These are examples of physiognomy benefiting people, and also iron evidence of its ability to bring good fortune and avoid misfortune.

夫人之涉身處世，吉凶禍福之機，處處皆是，或發生意外於目前，或種因伏危於將來，連帶危險，交際遺累，在在所不能免。苟能深求相法之原理，自可避免一切，當然無蹈禍之事實，而享受終身之平安矣。由此觀之，則相法之有益於人者大矣。故古聖先賢，有遊於藝之說；其哲人君子，莫不精深考究各術，以為平生之用也。

Human beings, when living in the world, encounter signs of good fortune or misfortune everywhere: some are sudden unexpected events, while others are hidden dangers planted in the present that may manifest as future calamities. One may be dragged into trouble by others or become involved in difficulties through social interactions. These situations are unavoidable. If one thoroughly understands the principles of physiognomy, one can naturally avoid them and thus avoid entering into misfortune, enjoying a lifetime of peace and safety. In this way, the benefits of physiognomy to people are indeed great. Therefore, ancient sages spoke of "wandering in the arts"; all wise and enlightened gentlemen thoroughly studied various esoteric disciplines, using them as tools for their entire lives.

余考相法，自秦氐火焚以後，世無全本，知之者益少矣。六朝時達摩初次入中國，尚未傳出相法一書，故漢唐雖有談相法之人，而無專書可稽考也。當漢時有許負之相曹操，管駱之相何宴，雖有氣魄之為法，神血之為論，其法皆秘而不宣，不得其傳焉。唐代則有一行禪師，為風鑑之專家，並無一字留傳後世。惟李淳風有一掌之白鶴相法，出而問世，然不過殘篇，及一偏之小術，研究之過程，而非相法之綱領，不足為用也明矣。

I have studied the origins of physiognomy: since the Qin dynasty burned the books, there were no complete texts left, and those who understood it became fewer. During the Six Dynasties period, Bodhidharma first came to China, but physiognomy had not yet been transmitted, so although there were people discussing physiognomy in the Han and Tang dynasties, there were no specialized works to refer to. In the Han dynasty, Xu Fu examined the physiognomy of Cao Cao, and Guan Lu examined that of He Yan, although they had methods of judging people by their spirit, appearance, and complexion, these methods were kept secret and did not pass down. In the Tang dynasty, Yixing, a master of wind and appearance observation, was skilled in this field, but left no words for future generations. Only Li Chunfeng left a book on palm physiognomy called "Bai He Xiang Fa" (White Crane Physiognomy), but it was only fragments, belonging to a narrow and partial technique, a part of the research process, and not the overall summary of physiognomy, obviously insufficient for use. (Note: the original text "Guan Luo" refers to Guan Lu, and "He Yan" refers to He Yan.) It is clear that during the Han and Tang dynasties, physiognomy had only scattered methods passed down orally, and there were no systematic writings to refer to.

五代時，達摩復入中國，始傳五來相法五篇與麻衣，此正受之相法道統，即中興相法之祖師也。其五來相法，分形質、精神、聲音、氣色、紋絡筋骨，皆有備載也。其中文簡意深，包羅萬象，變化無窮，皆有獨到之處，為各家相法所不能及也，而人事皆詳言包括無遺。惜乎無變法，而無天道厚薄之分、時勢盛衰之論，乃五來相法之缺點。此其解釋之一也。

During the Five Dynasties period, Bodhidharma came to China again and passed down the Five Categories Method (Wu Lai Xiang Fa) in five chapters to the Hemp-Robed Daoist. This was the formal transmission of the lineage of physiognomy, and Bodhidharma is regarded as the ancestor who revived this tradition. The Five Categories Method covers several aspects: form and structure, spirit and vitality, voice and tone, color and aura, and patterns, tendons, and bones. All these are recorded in a complete manner. The text is concise in wording yet profound in meaning, encompassing a wide range of topics and infinite variations. It offers unique insights in every aspect, surpassing other physiognomy texts. It also explains in detail all worldly affairs. Unfortunately, it does not discuss the concept of "changing methods" (bian fa), nor does it differentiate the thickness or thinness of heaven's favor towards people, or discuss the rise and decline of the times. This is the first shortcoming of the Five Categories Method.所谓 "changing methods" refers to the same physiognomy manifesting differently in times of peace and chaos, a point that is not addressed in the text. This is the first explanation.

麻衣為五代時人，受業於達摩，而為相法正宗。當時出仕為麻衣縣令，其書在任而成，有石室賦、金鎖賦、銀匙歌三章，以縣邑為名，故曰麻衣相法，而不傳其姓氏也。余考麻衣縣之地形，即今之湖北麻城，為五代時之麻衣。其書成後，掛冠歸隱而去，不知所終，有稱為仙翁者非也。余考麻衣相法，金鎖賦、石室賦、銀匙歌三篇為其真本，其它各圖各論，皆係後人偽造，而附會其說也。

Master Hemp-Robe was a person of the Five Dynasties period who studied under Bodhidharma and passed down the authentic lineage of physiognomy. At that time, he served as the magistrate of Ma Yi County, and the book of physiognomy was written while he was in office. It contains three chapters: "The Stone Chamber Treatise," "The Golden Lock Treatise," and "The Silver Spoon Song." The book is named after the county where he served, hence the title "Ma Yi Physiognomy." His family name, however, has not been passed down. I have examined the geography of Ma Yi County, which is now Ma Cheng in Hubei Province, known as Ma Yi during the Five Dynasties. After completing the book, he resigned from his post and retired to seclusion, and his ultimate fate is unknown. Some call him a immortal elder, but that is incorrect. In my study of "Ma Yi Physiognomy," only the three chapters mentioned above are authentic, while the other illustrations and commentaries are forgeries made by later people who attached their names to him. When reading this book, one should only rely on these three chapters, and the rest need not be taken seriously.

余考其部位圖說，而錯訛移動之處頗多，或為當時未經考證耶？抑為後人翻印改移耶？按相法部位，有一定標準，而風鑑學說，用全力研究者頗少，以致二千年來未明真象，後人多以不驗罪之，蓋非其原意也。余考麻衣相法，有法理兼併而用之，此其一線之短，餘窺其意，恐為後人駁議耳。

I checked the diagrams of body parts in that book and found many errors and misplaced elements. Was it due to lack of verification at the time, or was it caused by alterations in later editions? It should be known that the body parts in physiognomy have fixed standards. However, since few people have devoted themselves wholeheartedly to the study of wind and landscape divination, the truth has remained unclear for two thousand years. Later generations often blame it for being inexact, but this is not the original intention of the book. I also examined the "Ma Yi Physiognomy" and found that it uses the terms "fa" (method) and "li" (principle) together, which is a slight weakness in the book. I speculate that the author's intention was probably to prevent later critics from questioning it.

大凡術藝，皆言其法，而不拘其理可也。蓋理有定理，法無定法，理法二字不能完全通過也。故理由為言談之外表，事實多不驗；言法而有訣竅，事實多應徵。故麻衣之理法兼用，不如達摩之直接了當、開門見山，然尚無異端之邪說，故為正宗。此其解釋之二也。

In general, any particular skill should focus only on its "method" and not be bound by "principles." Because principles are fixed, while methods are not. The words "principle" and "method" do not always correspond. Discussing principles is merely superficial talk, and in practice, it often fails to work. Discussing methods, however, contains secrets, and in practice, it often works. Therefore, Ma Yi's approach of combining principles and methods is not as straightforward and direct as Da Mo's. However, since he did not mix in heretical ideas, he is still considered orthodox. This is the second explanation.

水鏡相法一書，又出於達摩麻衣之後。余考水鏡為季漢時人，但不知何人冒名捏詞，自成一家學說也。余考水鏡，在季漢時代，與龐靖侯、諸葛武侯為至友，其人博學多才藝，隱居不佳，薦臥龍鳳雛者水鏡也，足見其為當時名士、賢哲知機者流。其書偏於引古為證，余考此為其書之綱領也。

The book "Shui Jing Xiang Fa" appeared after the works of Bodhidharma and Master Hemp-Robe. I have researched and believe the Water Mirror Master lived during the Shu Han period, but I do not know who used his name to compile the text and establish his own school of thought. According to my investigation, the Water Mirror Master was a close friend of Pang Jinghou Pang Tong and Zhuge Wu Hou during the Shu Han era. He was learned and skilled in many arts, and he chose to live in seclusion rather than take office. It was he who recommended the dragon and phoenix talents, the famous Zhuge Liang and Pang Tong. This shows that he was a renowned scholar of his time, belonging to the category of wise and perceptive individuals. This book, which is attributed to him, mainly uses historical anecdotes as evidence, which I believe is the main theme of the entire work. (Note: The original text says "living in seclusion is not good," where "good" should be "office.")

其中有關張趙雲馬超等，尚為漢代同時之人物，引證可也。又引證唐代人物，如李太白、哥舒翰、郭汾陽、婁師德、盧杞等，則先後相差數百年矣，此何由而知其詳細也？當然不是漢水鏡之法也一。又引證宋代之趙普、曹彬、呂蒙正、呂夷簡及王安石等，則先後相差將近千年，此何由而知其詳細也？當然不是漢水鏡之法也二。

The book refers to figures such as Guan Yu, Zhang Fei, Zhao Yun, and Ma Chao, who were all contemporaries of the Han dynasty. It is reasonable to cite them as evidence. However, it also mentions Tang dynasty figures such as Li Taibai, Geshu Han, Guo Shiyi, Lou Shide, and Lu Ji, spanning several centuries apart. How could the Han dynasty's Shen Jing先生 have known about their detailed circumstances? This is the first point of doubt. The book also cites Song dynasty figures such as Zhao Pu, Cao Bin, Lü Mengzheng, Lü Yijian, and Wang Anshi, differing by nearly a millennium. How could Shen Jing from the Han dynasty have known about their details? This is the second point of doubt.

以時代考之，此書當出於宋後，及元明時所出之書也。以此證之，其書謬點頗多。其人既繫漢代，其說又兼併唐宋，是為後人欺世之書可也。況古今之文化風俗各有不同，國家法律政治各有所異，人民之腦筋思想各有革新，事實之衣冠典禮各有改變，此何能以一而證其百也？又如清代之法律政治、事業交際，與民國之法律政治、事業交際，相隔懸殊，先後不過二十年，其風俗文化、人物事實，革舊維新，變幻不常，各適其宜而改更之，尚無一定之法以為用，何況事隔數百年數千年，可作一定之鐵證乎？此為水鏡相法之缺點，勿論其真偽，此其解釋之三也。

By the era it belongs to, this book should have been written after the Song dynasty, and it must have been composed during the Yuan or Ming periods. From this we can see that there are many errors in the book: the author it attributes to is a Han dynasty person, yet what is discussed includes both the Tang and Song dynasties. This can only be a fraudulent work by later people trying to deceive the world. Moreover, cultural customs and practices have changed over time, and the laws and politics of different countries have varied. People's thoughts and ideas are constantly evolving, and the actual customs and rituals in society have often changed. How can one example be used to prove a hundred different things? Just look at the laws and politics, and the ways of dealing with affairs in the Qing dynasty compared to those in the Republic of China, how different they are. Within just twenty years, customs, culture, people, and events have already undergone complete changes, constantly renewing themselves. Even when adjusting according to the situation of the time, there is no fixed method that can be applied. How much more so for old examples from several hundred or even several thousand years ago, which can still be taken as irrefutable evidence? This is the flaw in the "Water Mirror Physiognomy." Whether it is genuine or not, using ancient examples to force-fit modern people is inherently unreliable. The reason physiognomy can stand firm is because it relies on general principles, not on specific, outdated examples. This is the third explanation.

希夷姓陳，名博字圖南，為宋初時人，而受業於麻衣，作有心相篇一章，多係因果學說、善惡關鍵，故其開始有相由心變四字為綱領。關於人倫風化之處尤多，以道德仁義為根據，以禮義廉恥為輔佐。故其心善者，雖處於四面楚歌，而禍可變為福；心惡者，雖一呼百諾，而福可變為禍。其原意在宗老子之禍福無門、為人自招之句也。

Master Chen Tongnan, also known as Master Chen Tu Nan, was a person from the early Song dynasty. He studied under Master Ma Yi and wrote a chapter called "Essay on the Physiognomy of the Heart." The text mainly discusses the concepts of cause and effect, as well as the mechanisms of good and evil. Therefore, it begins with the phrase "the appearance is shaped by the mind" as its main theme. The book extensively discusses human relationships and moral conduct, taking morality, benevolence, and righteousness as its foundation, and propriety, righteousness, integrity, and shame as its supporting principles. According to his view, a person with a kind heart, even if placed in a desperate situation surrounded by enemies, can turn misfortune into fortune. Conversely, a person with a wicked heart, even if he gives an order and a hundred people obey, will turn fortune into misfortune. His meaning originates from Laozi's saying, "Calamity and fortune have no gates; they are only summoned by people." (Note: The original text reads "name Bo," which should be "name Tu.")

其理由則十分充足，而事實則萬分相反。蓋人種前世之因，結今生之果；今生之種因，又結來生之果。善有善因，而今生應作幾許善也，則有作善之時機以為用，而為善之事實也；惡有惡因，而今生應作幾許惡也，則有作惡之時機以為用，而為惡之事實也。夫善莫大於救人性命、全人節操、顧全人之名譽，如上例三等，可謂心德，其它一切施濟，不過些須功德而已。能盡其力量，而作全命全節全名之事實，可以救正人心，保持風化，挽一切浩劫矣。

His reasoning is very thorough, yet when applied to actual circumstances, it is entirely opposite. One must understand that humans plant causes in previous lives, which bear fruits in this life. The causes planted in this life will bear fruits in the next. If there is a good cause, then in this life, one naturally has the opportunity to do good deeds, and thus actual good deeds will occur. If there is a bad cause, then in this life, one naturally has the opportunity to commit evil deeds, and thus actual evil deeds will happen. When it comes to good deeds, the greatest is saving lives, preserving one's integrity, and protecting one's reputation. These three are what are called "heart virtue." Other forms of charity and assistance are merely minor meritorious acts. If a person can use all their strength to accomplish actual deeds such as saving lives, preserving integrity, and protecting reputation, they can correct people's hearts, maintain moral teachings, and avert great calamities. This is a classification of good deeds according to their levels, not just empty talk.

設有人立志為善，時刻不忘其側隱之心，如無前生之種善因為用，則無今生之善果機會也。假定救人性命為一大善，必無性命可救之事實，或無救人性命之能力；亦無節操可全之事實，必無保全節操之能力，或為全節善言之不聽；亦無名譽可全之事件，或為保全名譽之彌張。如作一舉一動之善事成功，皆有前生善因而為用，則有際遇之可能，事實之恰當，智力之能達到，而成全其心德也。

If a person sets his mind on doing good and never forgets the compassion in his heart, yet if he has not planted good causes in his past lives, he will not meet the opportunity to bear good fruits in this life. Take saving a life, for example, a great act of goodness: he just happens not to meet a situation where someone's life is in danger, or he meets it but lacks the ability to save; or he meets a situation where he can preserve someone's integrity, but lacks the ability to do so; or he meets a situation where he can offer good advice, but people do not listen; or he meets a situation where he can defend someone's reputation, but the slander only spreads more when he tries to clarify it. On the contrary, whenever a good deed is actually accomplished, it is because of the good causes planted in past lives: the opportunity comes at the right time, the situation is suitable, and his wisdom is sufficient, thus fulfilling his moral character.

設有人厭世而動惡念，立志而動殺機，時刻注意，儘量為之，如無前生之種惡因以為用，必無性命可傷之惡果機會也。或無傷人性命之權力，亦無傷人性命之事實；假定冒險而強行殺人之事，則有先後時間錯過也。亦無破壞節操之時機，或為誘人邪淫之不遂，或為有邪淫之可能，而臨時發生障礙也。亦無破壞名譽之事實，或為破壞其人，而其名譽愈褒揚也。故有本身為善立功，而美報於子孫者；亦有本身為惡喪德，而惡報於妻妾子女者，此為非近因近果者明矣。此希夷言心不言相之一大謬點，此為解釋之四也。

Suppose someone becomes disillusioned and develops evil thoughts, firmly deciding to take action that causes harm. If he has not planted evil causes in his past life, he will not encounter opportunities that lead to harming others and result in bad consequences. Or perhaps he lacks the power to harm others, or he does not meet the right circumstances for such an act. Even if he dares to take a risk and kill someone, he will inevitably miss the right timing. He will also not find the right moment to damage another's virtue: either he tries to entice someone into immorality but fails, or he sees an opportunity but suddenly encounters obstacles. He will also not be able to create facts that damage another's reputation: perhaps the more he tries to slander someone, the more that person's reputation is praised by others. Therefore, in the world, there are cases where a person does good deeds and establishes merit, but the good result comes to his descendants. There are also cases where a person does evil and loses virtue, but the bad result affects his wife, concubine, or children. This shows that cause and effect are not always immediately manifested. This is one of the major errors in Xiyi's focus on the mind rather than on the external signs: although the mind is important, whether a person has the opportunity to do good or evil ultimately depends on the external signs. This is the fourth explanation.

按袁柳莊，為明代之永樂時人，著有柳莊相法一書，出而問世。蓋袁柳莊為北方人，永樂鎮北平時，相見大悅，遂尊為國師。最可恨者，即故意顛倒部位，而指為秘訣心法也。其法偏於地形，僅以東北隅之方位為一定論，所見不廣，誤人尤深。其人偏於見解，而好奇談，其知而言之耶？亦不知而言之耶？

Liuzhuang was a person from the Ming Dynasty during the Yongle period. He wrote a book called "Liuzhuang's Methods of Physiognomy" which became widely circulated. Originally from the north, Liuzhuang met the Yongle Emperor when the emperor was still governing Beijing, and they talked very well together, so the emperor honored him as the national master. Most regrettable was his deliberate reversal and misplacement of various body parts, claiming this was a secret and exclusive method. His physiognomy focused heavily on regional geography, taking the northeast corner as an absolute standard, thus limiting his knowledge and causing great harm to others. This person had biased views and enjoyed making unusual remarks. Was he deliberately misleading others, or did he simply not understand and speak without basis?

如批註達摩之五露亦超群之句，而麻衣亦言五露為最貴，作非常之事業，以成千古之盛名。但達摩麻衣，並末指出何種五露也，而柳莊誤會其辭，直解為五官露也。中有耳露廓輪、眉露毫稜、眼露神光、鼻露井灶、口露牙齒也。蓋一露二露，皆為弱點不吉之相矣，如五露皆全，則反為大貴至尊之格局也。此為離奇之理想，言論太荒謬何也。

For example, when he commented on the line "five revelations surpass the crowd" from Bodhidharma, Master Hemp-Robe also said that the five revelations are most valuable, indicating the ability to achieve extraordinary accomplishments and leave a lasting reputation. However, neither Bodhidharma nor Master Hemp-Robe specified which five things were meant by "revelations." Liu Zhuang misunderstood this line, interpreting it directly as "the five senses being exposed," and listed them as earlobe exposure, eyebrow prominence, eye brilliance, nose prominence, and tooth exposure. In reality, revealing even one or two of the five senses is considered a weakness and an inauspicious sign. According to his interpretation, revealing all five would become a supreme and exalted pattern. This is truly a strange and unrealistic idea, and his reasoning is quite absurd. The term "revelation" in physiognomy originally has two meanings: concealment and exposure, and vastness and openness. However, he only took one meaning, leading the entire passage to be incorrect.

凡耳露廓輪，幼年刑剋父母，何有栽培之力？當然無良好教育也。眉露毫稜，中年弟兄紛爭，當然有內顧憂，而失輔助也。眼露神光，中多驚險挫折，惡痛橫生，而為障礙也。鼻露井灶，一生財不入庫，窮苦勞碌，而無立身之地也。口露牙齒，一生惹是招非，皆處嫌疑損失之中也。據五官有三官露，已成貧賤至極點之相，何況五官全露，而能尊貴超群乎？

Imagine: If the ears are exposed beyond the earlobe, the person will suffer from the harm of parents in childhood, and there will be no strength from the family to nurture him, so he naturally receives no good education. If the eyebrows are exposed with coarse hairs and prominent bones, there will be constant disputes among brothers in middle age, naturally causing family troubles and losing the support of brothers. If the eyes have a bright, outwardly shining gaze, the person will face many dangers and setbacks throughout life, suffering from sudden illnesses and pain, encountering obstacles everywhere. If the nose is exposed with the nostrils showing, the person will never accumulate wealth, leading to a life of poverty and hard work without a stable position. If the mouth is exposed with teeth showing, the person will constantly attract trouble, always being in suspicion and loss. In this way, if three of the five body parts are exposed, it is already a sign of extreme poverty and low status, and how could someone with all five parts exposed ever be noble and outstanding?

蓋達摩麻衣，所謂之五露為最貴者，乃五嶽之露，而非五官之露也。露者大也。故南嶽大而為貴壽之品，土星中嶽大而為豐富之局，頦為北嶽大而為崇厚之祿，兩顴為東西嶽大而操縱極重之權。故孔子五嶽朝天，而為萬世師表之聖人，此五露超群之格是也。袁柳莊不知何所見而云為五官露也。

In fact, what Master Bodhidharma and Master Hemp-Robe referred to as "five revelations are most precious" refers to the dew of the Five Mountains, not the exposure of the five organs. The character "露" here means "great" or "large." Therefore, a large forehead, representing the southern mountain, signifies nobility and longevity; a large nose, representing the central mountain, indicates a prosperous family; a large chin, representing the northern mountain, suggests abundant blessings and honor; and large cheekbones, representing the eastern and western mountains, indicate holding great power. Confucius possessed the appearance of the Five Mountains facing heaven, which is why he became the sage of the world, the model for all generations—this is the true pattern of "five revelations surpassing all." Yuan Liu Zhuang, unaware of the basis, mistakenly interpreted it as the exposure of the five organs. The "revelations" of the Five Mountains signify grandeur and magnanimity, while the "exposures" of the five organs indicate the leakage of vital energy, which are exactly opposite and should not be confused.

又麻衣金鎖云：六害眉心親義絕之句，柳莊解為六種害，其云眉毛間斷一害也，眉毛疎散二害也，兩眉粗濃三害也，眉起旋螺四害也，眉頭逢沖五害也，眉亂雜花六害也。於理想上何嘗不通，於原文上則有錯誤。觀其親義絕之說，而分六種害，可謂煞費苦心，而反有損無益。蓋六害者，六親之害也。何為有親？何為有義？此柳莊未解其原文之本意，徒據奇談，以惑人之觀聽，其書不足為法也明矣。據此二者，可見柳莊之學識。而四庫全書中，有選載袁柳莊相法一冊，皆永樂賞識，而高其身價也；四庫全書末選載達摩麻衣者，際遇不如柳莊。此其解釋之五也。

For example, in Ma Yi's "Jin Suo Fu," the line "Six Harmful Marks on the Brow Cause the Loss of Kinship and Righteousness" is interpreted by Liu Zhuang as six types of harmful signs. He says that a broken brow in the middle is the first harm, sparse and loose eyebrows are the second, thick and coarse eyebrows are the third, curled eyebrows like a spiral are the fourth,杂毛 at the brow causing conflict are the fifth, and disordered eyebrows like falling flowers are the sixth. According to his reasoning, it seems plausible, but when compared to the original text, it is incorrect. The phrase "loss of kinship and righteousness" refers to the harm to the Six Relations. What does it mean to have kinship and what does it mean to have righteousness? Liu Zhuang clearly did not understand the original meaning. He merely used a novel explanation to confuse people's minds. His book is clearly not worth following. From these two examples, we can see a glimpse of Liu Zhuang's knowledge. However, the "Siku Quanshu" included a volume on "Yuan Liu Zhuang's Methods of Physiognomy" because the Yongle Emperor appreciated him and elevated his status. The "Siku Quanshu" did not include books by Da Mo or Ma Yi, simply because those two had less fortunate circumstances. The authenticity and quality of a book are not determined by whether it is included in the "Siku Quanshu." This is the fifth explanation.

清初有相理衡真一書，偏於理說。其人為書香後裔，博學多才，通今達古，雄辯出奇。其書以文字為主體，詞藻豐富，而不注重相法也。一宗聖賢之孝弟忠信、禮義廉恥之學說，一宗仙佛之前因後果、生死輪迴之學理，其文字理由均充足，其事實則相違悖而不驗。故相法之精微奧妙，必加哲學數學以參合之，兼而用之，再用全部計算，而乘除加減之。當以何阿部為主體，而得分數若干；當以何部為輔佐，而得分數若干。其加減乘除之計算清楚，則有一定把握，此中自有玄妙，而分出或富或貴、或貧或賤、或壽或夭、或勞或逸矣。而衡真則以單獨部位為定論，又無輕重之分、連帶之法，此其缺點也。

In the early Qing dynasty, there was a book called "Xiang Li Heng Zhen," which focused more on reasoning than on the actual art of physiognomy. The author was a descendant of a scholarly family, learned in many fields, well-versed in both ancient and modern knowledge, and eloquent beyond expectation. This book mainly relied on written articles, rich in literary style, but did not emphasize the actual methods of physiognomy. On one hand, it relied on the doctrines of sages and virtuous people, such as filial piety, fraternal duty, loyalty, and righteousness, while on the other hand, it drew upon the teachings of immortals and Buddhas, such as karmic consequences and the cycle of birth and death. Its words and reasoning were well-founded, but when applied to actual cases, they often failed to match reality. To truly understand the subtle and profound aspects of physiognomy, one must combine philosophy and mathematics for a comprehensive analysis. Using addition, subtraction, multiplication, and division, one should determine which body parts are the main indicators and assign them scores, and which are auxiliary indicators and also assign them scores. Only after clearly calculating these, can one have a certain degree of certainty. There is an inherent mystery in this process, which allows one to determine whether a person is rich or poor, noble or lowly, long-lived or short-lived, hardworking or idle. However, "Xiang Li Heng Zhen" made judgments based on a single body part, without distinguishing importance or considering the relationships between different body parts. This is its flaw. A book on physiognomy that only focuses on writing, appearing logical at first glance, but failing to match reality when applied to people, is as good as having no method at all.

又衡真之十字面法，尤其胡塗不解。中有日字面形，而主如何之富；月字面形，而主如何之貴；風字面形，而主如何之事業；同字面形，而主如何之才智；田字面形，而主如何之富壽；目字面形，而主如何之際遇；用字面形，而主如何之盛名；申字面形，而主如何之發達；由字面形，而主如何之豐隆；甲字面形，而主如何之榮顯。某形可發十年，某形可發十五年，某形可發二十年、三十年。其理由與法，均為不通。

The "Ten Characters Face Method" in the book "Xiang Li Heng Zhen" is particularly confusing and hard to understand. The book states that a face shaped like the character "ri" (sun) signifies wealth, "yue" (moon) signifies nobility, "feng" (wind) signifies career success, "tong" (same) signifies intelligence, "tian" (field) signifies wealth and longevity, "mu" (eye) signifies fortune, "yong" (use) signifies fame, "shen" (praise) signifies success, "you" (path) signifies abundance, and "jia" (jia) signifies honor. It also claims that certain facial shapes can bring prosperity for ten, fifteen, twenty, or even thirty years. Using the shapes of ten Chinese characters to match facial features is already forced, and then using these characters to determine the duration of prosperity is even more baseless. Human faces are never perfectly shaped like a single character; the same face can have different bone structures and expressions on different people. How can one generalize about them? Therefore, these statements are not only illogical but also lack practical methods.

余考相法各書，皆末有如此荒謬才說也。古人論形格，則有木形瘦長、金形方正、水形圓肥、土形濁厚、火形尖露，此五形之大義也。其中亦有兩形相兼、三形相併，則分其多少，而定其主客也，此為千古不易之定論。

I have examined various interpretations of physiognomy from different schools, and I have never encountered such absurd statements. Ancient scholars discussed the forms of the five elements, stating that the wooden form is slender and elongated, the metal form is square and upright, the water form is round and plump, the earth form is turbid and thick, and the fire form is sharp and exposed. These are the fundamental principles of the five elements. Among them, there are cases where two forms coexist or three forms are present together; in such cases, the dominant form is determined by the proportion of each element, distinguishing the main form from the secondary one. This is an unchanging conclusion throughout history. (Note: The original text says 「皆末有」, where 「末」 is likely a mistake for 「未」; 「荒谬才说」, where 「才」 is probably a mistake for 「之」.)