Gongdu's Methods of Physiognomy, Upper Volume, Chapter One

余考石室賦相傳已久，錯訛尤多。壬戌年余初版之簡明相法，雖加詳註，然末盡善處尤多；壬申餘復加研究，又以刻下天道人事兩相比較，其驗者另注以證實，其不驗者另注以改正，文字更加推敲，事實尤擇應徵。故此次之原文稍有出入，繫餘或加或刪或改正，皆從經驗與天時人事相合而為用也。茲特錄此，以待後之高明而評其然歟否歟。

I have examined the transmission of the "Shishi Fu" for a long time, and found that there are many errors in it. My first edition of "Jianming Xiangfa" published in the year Renxu, although with detailed annotations, still had many incomplete parts. In the year Renshen, I re-examined it again, and compared the current heavenly principles with human affairs. For those that proved effective, I added further annotations to confirm them; for those that did not, I added annotations to correct them. I also paid close attention to the wording and selected examples that were indeed verified. Therefore, the text I have now recorded differs slightly from the old version, as I have added, deleted, or corrected parts based on my experience, all in harmony with the heavenly principles and human affairs, to ensure practicality. Now I specially copy it down here, waiting for future enlightened scholars to evaluate it: whether it is correct or not.

六害眉心親義絕，攙如秋水圓還缺，克妻刑子老不閒，作事弄巧反成拙。眉為文采之官，禮義所關之地，以清秀為合格，柔細為名貴。如順拂修長，主兄弟和睦而有輔助；弩曲主子多而貴；高起王壽。如粗濃主惹是招非，間斷散亂主損失駁雜，有內顧憂而外仇怨，故有六害之說。六害者，六親也，故有親義絕三字。人處社會中，甚麼有親，甚麼有義，而柳莊指為六種害，是其錯誤之點，閱相法者勿為其所誤也。

The rhyme says: Those with "six harms" on their eyebrows will have family ties and moral obligations severed; their eyebrows are disordered like autumn water, sometimes round and sometimes broken; they will harm their wives and children, and in old age they will not enjoy peace; when they try to take shortcuts in doing things, they end up making things worse. Gong Du's commentary says: The eyebrows are the official responsible for literary talent and also relate to propriety and righteousness. Clear and elegant eyebrows are considered acceptable, while soft and delicate ones are considered precious. If the eyebrows are smooth and long, it indicates harmony among brothers and mutual support; if the eyebrows are like a curved bow, it indicates many and noble sons; if the eyebrows are high, it indicates longevity. If they are coarse and thick, it indicates causing trouble and conflicts; if they are broken and scattered, it indicates mixed losses, family worries, and external enmities, hence the saying of "six harms." The so-called six harms refer to the six relations, hence the phrase "family and righteousness severed." In society, what constitutes family and what constitutes righteousness has clear boundaries; however, Liu Zhuang equates them with six kinds of harms, which is his mistake. Those who read face books should not be misled by him.

山根斷為早虛花，祖業飄零必敗家，兄弟無緣離祖宅，老來轉見事如麻。山根斷為兩大項：一為祖業破敗，根者，根基之謂也；一為壽數夭亡，根者，命根之謂也。如兄弟忤逆、老來勞碌，皆不合原理，如以勞碌論之可也，其虛花飄零四字合法。

The rhyme says: If the mountain root is broken, there will be a false prosperity in early years; the ancestral property will be scattered, and the family will certainly decline; there will be no connection with brothers and one will leave the ancestral home; in old age, things will become more complicated and confusing. Master Gong Du's commentary says: The broken mountain root can be divided into two main categories: one is the decline of ancestral property, where "root" refers to foundation; the other is an early death, where "root" refers to life essence. As for the parts about brothers being disrespectful and hard work in old age, they do not conform to principles; if only referring to hard work, it might be acceptable. The phrase "false prosperity and scattered property" does indeed conform to principles.

眉交神悴面如灰，愛管是非常掛懷，冷眼見人笑一面，不知毒從暗中來。雙眉鎖印為交，上下交叉亦為交，一主刑剋人丁而多累，一主駁雜爭端而多仇。神悴言其銳急而動氣憤，面灰言其枯暗而塵滯，皆一成一敗也。冷笑主陰險刻薄而毒，亦主聰敏而智，亂世貴者亦有之。

The rhyme says: Those with their eyebrows meeting, a weary expression, and a pale grey complexion, love to meddle in others' affairs and keep things on their mind; they look coldly at others yet smile on one side, not knowing that treacherous schemes are coming from the shadows. The commentary by Gong Du states: When the eyebrows lock the forehead, it is called 'intersection'; when the eyebrows cross each other, it is also called 'intersection': the former indicates punishment and loss of family members with much burden, while the latter indicates complicated matters, frequent disputes, and many enmities. 'Weary spirit' refers to a sharp and impetuous spirit that is easily angered, and 'grey face' refers to a dull and dusty complexion, both indicating repeated failure. A cold smile indicates cunning and maliciousness, but also intelligence and strategy; even noblemen in times of chaos may have such appearances.

乍逢滿面有精神，久看原來色轉昏，似此之人終短壽，總然有壽亦孤貧。此言假精神之格也，每以凝神聚氣而不耐久，放久看而變為昏沉似脫，或浮淡無根，是為先天不足、後天虧損，故有短壽之評。若出孤貧之人，亦主不壽，何為孤壽之說耶。

The song says: At first sight, one appears full of spirit and vitality, but upon closer inspection, their complexion turns dull and weary. Such people are destined for a short life; even if they live long, they will be lonely and poor. Gong Du's commentary: This describes the pattern of "false spirit." Such people can concentrate their energy and appear lively for a while, but they cannot sustain it over time. When looked at for a long time, their appearance becomes dull and exhausted, or faint and rootless. This indicates a deficiency in the Earlier Heaven and a loss in the Later Heaven, so they are destined for a short life. If this pattern appears in someone who is already lonely and poor, they will also not live long; how can there be a case of being both lonely and long-lived?

讀盡詩書生得寒，文章千載不為官，平生縱有沖天志，怎奈鶯雛翼未乾。寒字為形容詞也，古法指為如雨中之雞、落水之貓。餘分別如下：雨中之雞為形寒，鼠食淋漓為口寒，不淚似淚為神寒，不愁似愁為氣寒，音破不收為聲寒，眉濃皺重為眉寒，搖頭抖足為身寒，塵垢浮膩為色寒，欲言而止、吞吐支吾為心寒，心亂常怯、恍憾憂慮為膽寒，得意反為失意、忘恩記怨為意寒。如有寒字之格局，雖有才智及文章可以傳世，皆無發達之期，猶如雛鳥之羽毛不豐，當然不能高飛。蓋相可勝文章，福可勝才智。孰謂千古以來成大功、立大業，豈皆有特殊才智耶？千古以來守困窮而埋沒山林，豈皆無特殊才智耶？

The rhyme says: Having read all the poetry and books yet appearing in a poor condition, one's writings may last for thousands of years but still cannot become an official; although one may have great ambitions in life, one is helpless because the feathers of a young yellow-breasted bird are still damp. Master Gong Du's commentary: "Cold" is an adjective, and in the old methods, it is described as a chicken in the rain or a drowned cat. I distinguish it as follows: those whose appearance resembles a chicken in the rain are "form cold"; those who eat like a rat, with soup dripping all over, are "mouth cold"; those who do not weep but seem to hold tears are "spirit cold"; those who do not worry but seem to be troubled are "spirit cold"; those whose voice is broken and cannot be controlled are "voice cold"; those with thick eyebrows but furrowed brows are "eyebrow cold"; those who shake their heads and move about restlessly are "body cold"; those with a pale face covered in a layer of dust and grease are "color cold"; those who hesitate to speak, stammer and are hesitant are "heart cold"; those who are often anxious and timid, and appear confused and worried are "gallbladder cold"; those who are overconfident, forgetting others' kindness and remembering others' grievances are "intention cold". Any pattern that includes the word "cold" will, even if one has wisdom and writings that can be passed down, have no day of success, just like a young bird with unformed feathers, which naturally cannot fly high. Originally, appearance can surpass writings, and fortune can surpass wisdom. Who says that those who have made great achievements and established great careers throughout history all have outstanding wisdom? And who says that those who have remained poor and hidden in the mountains and forests throughout history all lack outstanding wisdom?

面有寒毛止秀才，唇掀齒露更多災，終朝腳跡忙忙走，富貴前生末代來。寒毛為濃格常有，亦有責而奇特，成盛譽事業，有出貧賤之家，逼迫勞碌以成功，驚險挫折以發達，亂世多武貴也；亦有富而壽祿，中有刑妻刑子，內顧多憂，六親有累，亂世多暴發也。餘恐毛字為寒滯之誤也。

The song says: Those with cold hairs on their faces can only attain the rank of a scholar; those with lifted lips and exposed teeth will face more misfortunes; those who run about all day without rest; wealth and honor are from past lives, and this life may not bring them. Gong Du's commentary says: Cold hairs are common in those with thick hair, among whom there are also noble and extraordinary individuals who can achieve great fame and success. Some are born into poor families, forced by circumstances to work hard and move about, achieving success after experiencing danger and setbacks, and in times of chaos, they are mostly military officials of high rank; some are rich and enjoy long life and official favor, but among them there are cases of marital and children's troubles, many family worries, and relatives causing trouble. In times of chaos, they are mostly those who rise to power through violence. I suspect that the character "毛" here is a mistake for "寒滞".

上亭短兮下亭長，多成多敗道空亡，縱然管得成家計，猶如烈日照冰霜。上亭為天，下亭為地，凡格局皆注重天亭，占百分之四十五分也，故以天勝地之格為吉，地勝天之格不吉。亂世則有上亭弱而發達也，不過前業破敗，異鄉立業。餘以形神氣參看，方為合法。

The rhyme says: If the upper part is short and the lower part is long, there will be many successes and many failures, and in the end it will all be in vain; even if one manages to establish a family business, it will be like the intense sunlight falling on ice and frost, which will melt away in a moment. Gong Du's commentary says: The upper part represents heaven, and the lower part represents earth. When examining a pattern, we focus mainly on the upper part, which accounts for forty-five parts of the whole. Therefore, a pattern where heaven overpowers earth is auspicious, while a pattern where earth overpowers heaven is inauspicious. In times of turmoil, there are cases where the upper part is weak yet still prosperous, but usually these are cases where the family fortune from previous generations has already declined, and it is only by establishing a new business in a different place that success can be achieved. I advocate examining the form, spirit, and energy together to determine the pattern properly.

下亭短兮上亭長，必為宰輔侍君王，若是庶人生得此，金銀珠玉滿倉箱。按上亭高廣，主有貴名壽徵及餘蔭之世澤，坐享前人之厚福，父母亨吉而無刑剋，不過清閒居多，盛衰皆然也。其貴者，又以伏犀骨大小方圓為定也。

The rhyme says: If the lower part is short and the upper part is long, one is sure to become a high official serving the emperor; if a common person has this feature, they will have wealth in gold and jade filling their storehouses. Gong Du's commentary says: If the upper part is high and broad, it indicates a noble reputation, longevity, and the blessings from ancestors, allowing one to enjoy the thick fortune left by previous generations, with parents safe and healthy and no misfortunes. However, this is mostly inclined towards a quiet and leisurely life, whether in a prosperous or declining era. As for how high the status will be, it depends on the size and shape of the hidden rhino bone.

形愛恢宏又怕肥，恢宏榮華肥死期，二十以上肥定死，四十形恢定發時。宏者言大度安閒也，恢者言積極有為也，恢宏連貫，言其器量大而氛魄亦大，心安而定，貌和而潤，當然為發達之形格。凡少年皆忌肥浮不實，其原質肥者不忠，忽然發肥者最忌，故有二十發肥三十死、三十發肥四十亡之說。余考肥而實者多延十年：二十發肥四十死，三十發肥五十亡；肥而不實者，二十發肥三九死，三十發肥四九亡，尚不足十年之數也。蓋男以九數，女以八數，為定論故也。

The song says: The body prefers to be broad and strong, but fears being fat; being broad and strong indicates prosperity, while being fat signifies death; those who become fat after the age of twenty will surely die, while those with a broad and strong body at forty are exactly at the time of success. Gong Du's commentary says: "Broad" refers to a large and peaceful spirit, "strong" refers to being active and having achievements; when "broad and strong" are combined, it means having a great capacity and a bold spirit, being calm and steady, with a pleasant and moist appearance, which is certainly a favorable body type for success. All young people should avoid being fat and hollow; those who are naturally fat are not too bad, but those who suddenly become fat are most dangerous. Therefore, there is a saying that becoming fat at twenty leads to death at thirty, and becoming fat at thirty leads to death at forty. From my observations, those who are fat but solid can live ten more years: those who become fat at twenty die at forty, and those who become fat at thirty die at fifty; those who are fat but not solid, those who become fat at twenty die at twenty-seven, and those who become fat at thirty die at thirty-six, not even reaching ten years. This is because men are counted by nine and women by eight, which is considered a fixed rule.

瘦自瘦兮寒自寒，寒瘦之人不一般，瘦有精神終必發，寒雖形彩亦孤單。瘦人以神為轉移，故瘦而有神者為神過於形，當然發達；瘦而無神則為夭亡之格。寒者詳上，雖有奇才終無發達。彩者，光彩也，寒者無彩，想彩字餘疑為厚字之誤，寒中何有彩來。按彩為光潤而異色也，寒為塵滯而枯垢也，故寒彩二字最相反而不相類也，何能誤於此？想繫後人翻印之訛耶。

The song says: "Being thin is being thin, being cold is being cold; being thin and being cold are two different things; those who are thin but have spirit will eventually succeed, while those who are cold even if their appearance is bright will remain lonely." Gong Du's commentary says: "A thin person's condition depends on their spirit; therefore, if a thin person has spirit, it means spirit overcomes form, and they will certainly succeed; if a thin person lacks spirit, it indicates a premature death pattern." The term "cold" has already been explained in detail earlier; such people, even if they have extraordinary talent, will never achieve success. "Color" refers to brightness, and those who are cold do not have any brightness. I suspect that the character "color" might be a mistake for "thickness" — how can there be brightness in coldness? "Color" refers to a lustrous appearance with unusual hues, while "cold" refers to something dull, dark, and dry. The two characters "cold" and "color" are completely opposite and belong to different categories, so how could they be confused? I think it must have been a mistake made during copying when the text was printed.

色怕嫩兮又怕嬌，氣嬌色嫩不相饒，老來色嫩招辛苦，少年色嫩命不牢。嫩字為浮艶而膩，氣嬌為浮麗而紅，故有辛苦夭亡之說。凡老人色嫩，主刑人丁而孤苦，如形局好者，有孫而無子；少年色嫩主夭亡，一主破產而後轉變也。火形不忌紅嫩，亦發達而多勞也。

The rhyme says: "A person's complexion should not be too young or too delicate; if the complexion is delicate and the color is young, no one can escape the consequences. An old person with a young and delicate complexion will bring misfortune and hardship, while a young person with a young and delicate complexion may not live long." Gongdu notes: "Young and delicate" refers to a floating and overly rich appearance, while "delicate complexion" refers to a floating and red appearance. Therefore, there is the saying of hardship and early death. If an old person has a young and delicate complexion, it indicates that there will be disputes within the family and loneliness. However, if the form is good, it means there will be grandchildren but no sons. A young person with a young and delicate complexion is likely to die young. There is also a case where one first goes bankrupt but later improves. People with a fire constitution do not fear a red and young complexion; instead, they may become successful, but they will have to work hard.

眉要由兮最忌直，曲直愚人不得知，曲者多男又聰俊，直者刑妻又克兒。麻衣之法，此段頗驗，當五代時與刻下天道相似耶。凡眉曲多子女，雖人中平、淚堂陷皆有子女也；凡眉直者少子女，雖人中洫深、淚堂豐滿亦少子女也。又眉曲者為文貴，雖出於武人而做文官，秉文權也；眉平者多為武貴，雖出於文人而兼武職，領武權也。如前平尾曲，則為武改支職；如前曲尾平，則為文改武職。其刑人丁與旺人丁，皆以曲直為一定法，而盛衰之世道、厚薄之氣候皆然。

The song says: eyebrows should be curved, and it is most undesirable for them to be straight; the difference between curved and straight eyebrows is something the foolish do not understand; those with curved eyebrows have many sons who are intelligent and handsome, while those with straight eyebrows suffer from marital problems and have few children. Master Gongdu notes: this passage by Master Hemp-Robe is very accurate. Perhaps the heavenly ways in the Five Dynasties period were similar to those today. Those with curved eyebrows tend to have many children, even if their philtrum is flat and their tear hall is low; those with straight eyebrows tend to have few children, even if their philtrum is deep and their tear hall is full. Moreover, those with curved eyebrows are usually of literary prestige; even if they are born into a military family, they will hold positions of literary authority. Those with flat eyebrows are mostly of military prestige; even if they are born into a literary family, they will hold military positions and command troops. If the front part of the eyebrows is flat and the end is curved, it indicates a shift from a military position to a literary one; if the front part is curved and the end is flat, it indicates a shift from a literary position to a military one. As for whether a person will suffer from loss of children or have a thriving family, it is all determined by the curvature or straightness of the eyebrows, regardless of the prosperity or decline of the times or the thickness or thinness of the climate.

鬍鬚清疏又宜稀，依稀見肉始為奇，最忌濃濁焦黃色，父在東頭子在西。上為琵，承漿為髯，下為須，側為胡，皆以清疏根根見底為合格，蓄之以重威儀華表也。最忌濃濁焦黃枯雜六字，蓄之主危險破敗，刑妻克子，輕則勞碌駁雜，惹是招非，故不可蓄。按亂世之鬍鬚關係極重，敗多益少，故不可勉強蓄之，是為開門揖盜，養為患，輕者亦奴欺其主、下犯其上。此條亦麻衣之精粹法也，惟四濃格方可蓄之，乃髮濃、眉濃、髭濃、胡濃，上下相合，而不受其欺凌，此合格之論也。

The song says: The beard should be clear and sparse, and even sparse enough that the skin and flesh can be faintly seen, which is considered extraordinary; it is most undesirable to have a thick, muddy, burnt yellow color, which indicates a family divided, with the father on one side and the son on the other. Master Gongduo comments: The hair on the lips is called "zī," the hair at the chin is called "rán," the beard below the chin is called "xū," and the hair on the sides is called "hú." All should be clear and sparse, with each strand clearly visible at the root, to be considered proper. Growing a beard is done to add weight and dignity, as a sign of appearance. It is most undesirable to have "thick, muddy, burnt, yellow, dry, and mixed" — these six words. If one grows a beard while having these characteristics, it indicates danger and decline, punishment of wife and children, and even minor issues like hard work and trouble. Therefore, one should not grow a beard. In times of chaos, beards are very significant, with more disadvantages than advantages, so it is even more important not to force oneself to grow a beard. This is like inviting bandits into the house or nurturing a tiger as a danger. Even minor cases may lead to servants bullying the master or subordinates defying superiors. This is also the essence of Ma Yi's physiognomy. Only those with the "four thick" pattern can grow a beard, meaning thick hair, thick eyebrows, thick zī, and thick hú, with the upper and lower parts matching, so as not to be deceived by the beard — this is the proper way to judge.

公篤曰：余考麻衣法之金鎖賦為第二章，較石室賦之法倍高，亦麻衣之精神也。當麻衣處五代末，為割據亂世，其法亦從衰時而定之，故與刻下之天道頗合，其國家局勢亦相等，而應驗者頗多。餘此次考證詳註，亦以此法為現代可用故也。原文雖僅五十二句、三百六十四字，其包括之處太多，閱是書者不可輕視而忽也。

Gong Du said: I have examined the "Jin Suo Fu" from Master Ma Yi's system of physiognomy, which is the second chapter. Its principles are twice as refined as those of the "Shi Shi Fu," and it represents the essence of Master Ma Yi's teachings. Master Ma Yi lived at the end of the Five Dynasties period, a time of chaos and division. His principles were established in accordance with the disorderly era, so they are highly consistent with the current heavenly order and national situation, hence many predictions have been fulfilled. This time I have carefully examined and annotated it because these methods are still applicable today. Although the original text contains only fifty-two lines and three hundred and sixty-four characters, it includes a vast amount of content. Those who read this book must not take it lightly or ignore it.

股肱無包最是凶，兩頭如軸一般同，雖有田澤並父蔭，終須破敗受貧窮。股肱俗名手肚足肚也，所謂肚者，大倍於兩頭也。凡屬富貴壽考各格，皆有手肚足肚方稱其格；如無而如軸，富者有奇禍而敗，貴者有危險而凶，夭亡寒苦之人方合。

The rhyme says: Those with no muscle covering their arms and legs are most dangerous; from head to toe, they are uniformly thick like a spindle. Even if they have land, favors, and protection from their fathers, they will ultimately suffer ruin and poverty. Gong Du's commentary states: "Gugong" is commonly known as the bulge of the forearm and lower leg. The term "bu" refers to the middle part being twice as thick as the ends. All patterns indicating wealth, status, longevity, and good fortune must have such bulges on the hands and feet, to be worthy of that pattern. If they lack such bulges and are uniformly thick like a spindle, then the wealthy will suffer unexpected misfortunes and decline, the nobleman will face dangers and calamities, and only those who die young and live in hardship are suited for such a physique.

頭痕瘢剝最為刑，羅網之中有一名，若不刑妻並克子，更為家道主伶仃。頭痕者坑陷之痕也，瘢者近於瘢癩之例，剝者近於橫沖直削，應刑人丁及驚險成敗，故有家道伶仃之說，言人口日少、財產日耗耳。相中最忌郎君面，男子郎君命不長，女子郎君好淫慾，僧道孤獨卻無妨。郎君面即美麗紅豔之例，而有浮嫩之光，為相法所忌。老人犯此主孤苦而毒，男子犯此主淫亂夭亡，女子犯此主淫亂刑傷；惟有僧道無關，不以人丁為用，又於孤獨無關，木無人丁可克故也。

The rhyme says: Those with a scar on their head, which is eroded or worn away, are most likely to suffer from calamities and conflicts; they are caught in a net and listed on the official records. If they do not harm their wife or children, they will still lead to the family's decline and isolation. Gongdu's commentary explains: "Head scar" refers to a sunken scar, while "pahn" is similar to a skin disease like leprosy. "Pei" is close to a severe defect, such as a sudden and sharp injury. These features are associated with conflicts within the family and dangerous situations, hence the saying about the family's decline, meaning the population gradually decreases and wealth gradually diminishes. The rhyme also says: In face reading, the most undesirable feature is the "Liangjun face," which is beautiful and red, with a faint glow. This is considered bad in face reading. Elderly people with this feature are likely to be lonely and have a cruel heart; men with this face are prone to licentiousness and early death; women with this face are likely to be licentious and suffer injuries. Monks and Taoists are not affected by this, as they do not rely on descendants, and loneliness is irrelevant to them since they have no family to conflict with.

眉毛間斷下至顴，常為官非賣土田，克破妻兒三兩個，方教禍患不相纏。眉毛間斷，應駁雜而刑剋昆仲，及內患倍重於外患，故有官訟是非發生。又考眉斷之人，性貪而不忍小損，不容小惡，雖為多事之纏擾，亦為處置於輕重失當耳。

The rhyme says: If the eyebrows are broken in the middle and the break falls straight down to the cheekbones, it often indicates selling land and property due to legal disputes; one must sacrifice three or two wives and children, and only then will misfortunes cease. Gongdu notes: Broken eyebrows indicate confusion in affairs and conflicts with siblings, and domestic troubles are twice as severe as those outside the home, hence legal disputes and troubles arise. Further examining those with broken eyebrows, their nature is greedy and they cannot tolerate even minor losses or small wrongs. Although they are often involved in many troubles, it is actually due to improper judgment of matters, being too hasty or too slow.

好色之人眼代花，莫教眼緊視人斜，有毒無毒但看眼，蛇眼之人子打爺。花字為形容美麗流光之謂，緊字為形容急視不定之謂。至於蛇眼，言烏珠圓露而黃浮四白，凸挺邪視而赤樓盤睛，主毒而狡貪，亦合法也。

The rhyme says: A person who is lustful has eyes that carry "flowers," and the most feared is someone who stares intently with a slanted gaze. Whether a person's heart is poisonous or not can be seen from their eyes. A person with a snake-like eye will have a son who beats his father. Gongdu's commentary: The word "flower" describes eyes that are beautiful and full of bright, flowing light. The word "tight" describes a gaze that is hurried and fixed, lacking stability. As for "snake eye," it refers to a black pupil that is round and protruding, with a yellowish white sclera around it, the eyeball bulging and slanted, with red blood vessels winding around the pupil, indicating a poisonous and cunning nature, greedy and deceitful. This is in accordance with the principles.

無家可住羊睛眼，封向他家借住場，更有禾倉高一寸，中年猶未有夫娘。羊睛為白多黑少，而四力浮白，故主刑剋人丁而冷退，女格倍凶。又考禾倉，一為眼胞之高而呆陷，一為兩顴之別名。余考古法有稱口尖而吹為禾倉，其食祿二倉在口角故也。

The rhyme says: Those with the appearance of a sheep's eye have no place to call home and must borrow from others to live; furthermore, if the "grain warehouse" is higher by an inch, they will remain unmarried until middle age. Master Gong Du's commentary states: "Sheep's eye" refers to white surrounding the black, making the eye appear pale and dull, which indicates the household will suffer from internal conflicts and decline, and for women, this is even more ominous. As for "grain warehouse," some say it refers to the swollen and dull area around the eye socket, while others call it the alternative name for the cheeks. I have examined ancient methods and found another interpretation that describes the "grain warehouse" as the mouth being pinched into a shape resembling blowing fire, because the "grain warehouses" of "food fortune" are located at the corners of the mouth.

下劇尖了作凶殃，典卻田園賣卻塘，任是張良能計算，自然顛倒也狼當。下劇尖削，於木火二形局不忌，尖露是其本質故也；如其它形格則不宜，而晚年有失敗之冷退，故有顛倒事實之失敗也。眼珠暴出惡因緣，自主家時定賣田，更有白睛包一半，不能善死在床前。眼珠暴出，言其凸露也，目露神濁，當然敗家無疑。至於白色烏珠，此蜂睛窺睛之形，當然凶死無疑。

The rhyme says: A sharp and narrow chin indicates misfortune, leading to the sale of fields and ponds; even if one is as skilled in planning as Zhang Liang, they will inevitably be confused and in a desperate situation. Gongdu's commentary: A sharp and narrow chin is not undesirable in wood or fire body types, because being sharp and exposed is their inherent characteristic; however, for other body types it is unsuitable, leading to failure in old age, hence the saying of things being reversed and failing. The rhyme also says: Bulging eyes indicate bad fortune, and one must sell their land when they are in charge; furthermore, if the white of the eye covers half the black pupil, they cannot die peacefully in bed. Gongdu's commentary: Bulging eyes refer to the protrusion of the eyeball; when the eyes are exposed and the spirit is turbid, certain failure is inevitable. As for the white of the eye covering the black pupil, this is the shape of 'bee eyes' or 'peeking eyes', which certainly leads to a violent death.

下頦趨天旺永年，邊城不破也無錢，數年荒旱不欠米，只因上下庫相連。下頦趨天繫地閣朝天，明太祖即此格，此為創業之帝王，故晚年亨吉。邊城破者，桑梓破敗而發他綁，比為亂世之合去，盛世則一敗不振也。上天倉下地庫也。

The song says: Those whose chin points upward toward heaven will have prosperity and longevity in their later years; even if the 'side city' on the side of the forehead is broken, they may not necessarily be wealthy; even if there are several years of drought and famine, they will not lack rice, because the upper and lower reservoirs are connected. Master Gong Du notes: A chin pointing upward toward heaven is called a heavenly granary pointing upward. The first emperor of the Ming dynasty had this configuration, which is the pattern of a ruler who establishes a foundation for a dynasty, hence his later years were prosperous and auspicious. Those with a broken 'side city' will have their hometown properties ruined and will achieve success elsewhere, which is suitable in times of chaos; but in peaceful times, it means a complete failure that cannot be recovered. The so-called upper and lower reservoirs refer to the heavenly granary above and the earthly granary below.

鼻樑露骨是反吟，曲轉些兒是伏吟，反吟相見是絕減，伏吟相見是漓淋。鼻樑直下三曲是為伏吟，左右三曲是為反吟。伏吟多失敗破家，尚有子孫成立；反吟多刑人丁，克妻刑子，前已詳言之矣。眼神清秀心中巧，不讀詩書也可人，手作百般皆可愛，總然弄假也成真。眼神清秀，固然靈巧聰明，雖出技藝亦有過人之處。如清秀過麗，則主淫亂而夭；如清秀而流，則主無用而賤。故以清秀沉靜有恨，方是閒福之格。

The song says: A nose bridge that is exposed and bony is called "reverse chant," while a slightly curved nose bridge is called "hidden chant." Encountering reverse chant signifies destruction and reduction, while encountering hidden chant indicates a lack of vitality. Gongdu's commentary states: A nose bridge that is straight and has three bends downward is called hidden chant, while a nose bridge that has three bends on both sides is called reverse chant. Hidden chant often indicates failure and loss of family fortune, but the descendants may still be able to rise again. Reverse chant often indicates punishment and loss of family members, and punishment of wife and children. This has already been explained in detail before. The song also says: A person with clear and bright eyes has a clever mind, and even without reading poetry and books, they are still likable. A pair of hands that do anything are loved by others, even if they pretend, they can make it real. Gongdu's commentary states: A person with clear and bright eyes is indeed clever and intelligent, and even if they are engaged in craftsmanship, they have exceptional qualities. However, if the clarity is too excessive and appears overly attractive, it indicates licentiousness and early death. If the clarity is accompanied by a wandering spirit, it indicates uselessness and low status. Therefore, clarity should be combined with calmness and reserve, which is the pattern of enjoying a peaceful and leisurely life.

薄紗染皂出粟米，縱有妻時也無兒，倘見山根高更斷，五年三次路邊啼。薄紗染皂是晦暗之氣，而有塵點密密，此為冷退刑傷之兆，尚以各部位為定論：如在福堂主官訟，如在土星主破財，如在淚堂主損人丁，如在印堂主損壽及危險牢獄，如在魚尾主刑妻，如在國印主挫折及刑弟兄叔伯，此其大略也。

The rhyme says: If the complexion appears as if a thin veil has been stained black, with spots like millet floating on top, even though one may marry a wife, he will not have children. If the mountain root is high but broken, there will be three times crying by the roadside within five years. Master Gongduo's commentary says: "A thin veil stained black" refers to a layer of dull and dark energy, with dense dust spots on top. This is a sign of family decline and suffering from punishment or injury. To determine which specific aspect is affected, one must refer to the corresponding body parts: currently, the "Futang" indicates legal disputes, the nose indicates financial loss, the "Leitang" indicates loss of family members, the forehead indicates loss of life and danger of imprisonment, the "yutai" at the eye tail indicates punishment of the wife, and the "guoyin" indicates obstacles and punishment of brothers and uncles. This is the general idea.

淚痕深處排一點，眼下額前起一星，左邊無男右無女，縱然稍有也相刑。此歷指刑剋之說。余考淚痕深處多刑子女，男格則左紋刑子，右紋刑女，女格則反此。至於顴前一骨，多出優伶娼妓之例，若有後嗣皆為女立，而子不立也。

The rhyme says: "In the deep tear groove there is a single point, and a star appears in front of the eye and cheekbone. On the left there are no sons, on the right no daughters; even if there are a few, they will mutually harm each other." Master Gong Du comments: "This passage lists all the ideas of mutual harm. From my observations, those with deep tear grooves often have children who are harmed by their parents: in a man's face, the left line harms sons, and the right line harms daughters; in a woman's face, it is the opposite. As for a prominent bone in front of the cheekbone, it is commonly found in actors and courtesans; if such people have descendants, they tend to have daughters who are stable and sons who are unstable."

髮際低凹幼無父，寒毛生角幼無娘，右額高突母先死，不死不刑便自傷。髮低有曲岔者妨父，鬢突連眉尾者妨母，顴骨左高妨父，右高妨母，此皆男格之論也。女格反此而應驗也。刻下之女格，亦有順應而似男格者，豈非天道之變乎。

The rhyme says: A low and hollow hairline in childhood indicates the absence of a father; cold hairs growing on the temples forming a horn-like shape in childhood indicates the absence of a mother; a high and prominent right temple suggests the mother dies first. If neither dies nor suffers injury, then it is the person himself who is harmed. Gong Du's commentary states: A low and curved hairline with a forked opening indicates harm to the father; a prominent temple extending to the end of the eyebrows indicates harm to the mother. A high left cheekbone indicates harm to the father, while a high right cheekbone indicates harm to the mother—these are all interpretations for male faces. For female faces, the opposite is true. However, in the present day, some female faces also follow the rules of male faces, which is not it not the natural order of heaven?

士人眇目陷文星，豹指尖頭定無名，任是文章高北斗，猶如竹木不安釘。文星即眼目也，眇陷者缺一也。凡士子文星陷，即功名之弱點。豹指言圓節尖爪也。頭尖。此三項均屬無功名之格。眉重無根陷破財，更憂三十二年災，土星隆大終須發，土星薄小去不回。此言眉濃重而山根陷弱也，故為前業挫折，亦主疾厄之災。如準頭隆大，尚可恢復而發達；否則有敗無成也。

The rhyme says: A scholar who is blind in one eye has his literary star sunk; if one's fingers are like a leopard's and the head is pointed, he will certainly not achieve official rank; even if his writings surpass the Big Dipper, they cannot be fixed like nails on bamboo. Gongdu notes: "Literary star" refers to the eyes, and "眇陷" means missing one eye. For scholars, if their literary star is sunk, it indicates a weakness in official rank. "Leopard fingers" refers to fingers with round joints and sharp nails. Combined with a pointed head, these three features are signs of lacking official rank. The rhyme also says: thick eyebrows and a low mountain root indicate financial loss, and one should be worried about calamities in the year of thirty-two; a broad and prominent nose will eventually succeed, but a thin and small nose will lead to failure. Gongdu notes: This refers to thick eyebrows and a low mountain root, which indicate the family's fortune being ruined and also portend illness and misfortune. If the nose is broad and prominent, it can recover and achieve success; otherwise, there will only be failure without success.

寒相之人肩過頸，享福之人耳壓眉，更有親情相不出，只因形似雨中推。此言寒賤之人肩聳過頸，福壽之格耳高壓眉。至於慈善詭詐，別有部位參合，故有性情合乎形質，在部位之兼配如何也。大量之人眉目取，眉高目定心自良，眉粗目小神不定，寅年吃了卯年糧。器量大小皆在眉目二部認定：眉高主量宏而壽，目定主略遠大，故良心自然發現；眉粗主性剛燥，目小主志奸貪，神不定主心亂不一，故有失敗而耗散也。

The rhyme says: Those who are poor and lowly have shoulders raised higher than their necks, while those who enjoy happiness have ears higher than their eyebrows. There is another kind of appearance that reveals hidden relationships, as if the body were drenched in rain. Gongdu's commentary: This refers to the poor and lowly having shoulders raised above the neck, and the fortunate and long-lived having ears above the eyebrows. As for whether a person is kind or deceitful, it is determined by other parts of the face, so the nature and appearance are matched according to how each part corresponds. The rhyme also says: A person with great capacity is judged by the eyebrows and eyes; high eyebrows and steady eyes indicate a kind heart; thick eyebrows, small eyes, and an unstable spirit mean that they will consume the grain of the next year in the year of the Tiger. Gongdu's commentary: The size of a person's capacity is determined by the eyebrows and eyes: high eyebrows indicate great capacity and longevity, steady gaze indicates deep strategy, so the good nature naturally appears; thick eyebrows indicate a fierce and impetuous nature, small eyes indicate a greedy and dishonest mind, and an unstable spirit indicates a scattered and confused mind, so they will fail and waste their family's wealth.

倉庫接連反為災，鼻樑高露不安居，若是眉間容二指，此人開手覺便宜。食祿二倉接近地庫，非天倉也。鼻樑可高而不可露，前已詳言之矣。又云眉容二指，或指眉尾而言下垂二指耶？或為三陽之寬二指而言耶？蓋眼俗神濁之人方覺便宜也。

The song says: When the Heavenly Granary and the Earth Store are connected, it brings disaster. If the bridge of the nose is high but shows exposed bone, the person's dwelling is unstable. If the space between the eyebrows can accommodate two fingers, the person gains advantage easily. Gongdu's commentary: Here, the "food salary" refers to the two granaries being close to the Earth Store, not the Heavenly Granary. The bridge of the nose can be high but not exposed. This has already been explained in detail before. As for the space between the eyebrows accommodating two fingers, does it refer to the eyebrows hanging down two fingers or the width of the "three yang" above the eyes being two fingers? Probably, those with coarse facial features and dull spirit may feel they have gained an advantage.

取人性命面上黑，換人骨髓眼中紅，見人歡喜心中毒，見人眉皺太陽空。面有青黑之慘色，主惡毒奸忍；眼有赤縷穿眼者，主陰險剛狡；冷眼多笑者，主無情量窄；眉皺上沖者，主憂愁多思。此皆最驗之法也。露井露灶不得全，那得浮生過晚年，不怕中年經官宦，只有衣祿無剩錢。井灶露孔，財不入庫，雖出貴格為官，亦為終年無田宅，只有衣祿二字而已，過迍邅生活，多逼迫環境，不能積蓄故也。

The rhyme says: Those who can take away a person's life are those whose face turns black; those who can change a person's bone marrow are those whose eyes turn red; those who appear happy when seeing others are actually the most poisonous inside; those who frown when seeing others have hollow temples. Gongdu's commentary: A face showing a dark, gloomy black color indicates a person is cruel, wicked, and unyielding; eyes with red blood vessels indicate someone who is cunning, stubborn, and deceitful; those who look cold but smile a lot are unfeeling and have a narrow mind; those who frown with their brows raised indicate much worry and deep thought. These are the most accurate rules. The rhyme also says: Those whose nostrils are exposed will not preserve their family's fortune, and their lives will not be stable until old age; even if they hold an official position in middle age, they will only have clothes and food, but not money left over. Gongdu's commentary: Exposed nostrils mean wealth does not enter the house, even if they have a noble destiny and become officials, they will never own land or houses, only the two characters 'clothes and food'; they live a difficult life, mostly forced by circumstances, and cannot save up any savings.

公篤曰：風鑑各書為麻衣是正宗，其法以法理兼用，又處五代之亂世，故於今世相應者頗多。雖有擅長與玄妙，獨不如達摩精深，其故何哉？麻衣言法而兼理，中有虛設之處；達摩言法不言理，中有獨到之處，非有經驗研究者不明其原意。然舊書多錯落，字有魯魚，文有亥豕，茲特修改增注，以便閱者一目瞭然。其法亦有不驗者，如唇掀齒露、客死他州之說，如注為無故招非又最驗也，其它條文似此頗多。今猶錄之者，為將來智者考正，擇而用之，得心應手矣。

Master Gong Du said: All books on physiognomy regard Master Ma Yi as the standard, and his school combines both methods and principles. Because he lived in the chaotic Wudai period, there are many aspects that correspond to today's world. Although Master Ma Yi has his own special skills and profound mysteries, he is not as profound as Bodhidharma. Why is that? Because Master Ma Yi talks about methods and also about principles, which leads to some vague and empty parts; Bodhidharma only talks about methods without principles, and thus has unique insights, which are not clear to those who are not experienced and do not study carefully. However, old texts have many errors and omissions, with characters like 'Lu' and 'Yu' mixed up, and words like 'Hai' and 'Shi' confused. Now I have specially revised and added annotations to make it clear for readers. Some of the statements may not be accurate, such as the saying that protruding lips and exposed teeth indicate death away from home. If we change the annotation to 'causing unnecessary trouble', it becomes most accurate. There are many similar cases. Now I still record them, leaving them for future wise people to examine and correct, choosing what is suitable, thus making it easy to handle.

藏不晦。目神以收藏斂光為主要，故開始第一字，日藏。晦者，晦暗無光也，故以神藏光潤為合法。藏而不晦，言其人貴而不危，名而多壽；如藏而晦暗，雖貴亦夭亡或危險也，雖富亦挫折或疾苦也。安不愚。目神安者，安靜之謂，其人多閒福。安者，心氣和平之態也，不急不燥，發出慈愛之光，故神安之局多現呆滯，呆滯者即愚字之謂也，故以安而不愚為安閒多福之格也。

The first principle: "Hidden but not dull." Gong Du's commentary: The eyes should be collected and restrained, not revealing their light outwardly. Therefore, the first character is "hidden." "Dull" refers to being dark and lacking luster. Thus, having the spirit and energy hidden yet moist and nourishing is considered qualified. "Hidden but not dull" means that such a person is noble without danger, famous and long-lived. If one is hidden but dull, then even if noble, they may die young or face danger; even if wealthy, they may encounter setbacks or suffer much illness. The second principle: "Peaceful but not foolish." Gong Du's commentary: "Peaceful" refers to calmness. Such people often enjoy a peaceful and leisurely life. "Peaceful" means a state of calm and balanced heart energy, neither hurried nor restless, radiating a gentle and loving light. However, a peaceful appearance often seems dull, and dullness is called "foolish." Therefore, being peaceful without being foolish is the pattern of enjoying peace and prosperity.

發不露。神以活潑有威者為大貴，而有特權。發者，發動之謂也，故每有發動之時，其神不流不露為吉；如發動之時其神流露，雖貴而有凶災，雖智而有偏好，故以發而不露為貴而善後之格也。清不枯。神清主貴、主名、主智、主田宅，故十二宮以田宅名之。凡神清之格，務要考其有根無根：其神清而有根，享大名大壽及大富；其神清而無根，名而夭殂，富而挫折，或孤刑也。故以清而不枯為合法。

Third rule: "Not revealing." Gongdu's commentary: Eyes that are lively yet carry authority indicate great fortune, and also possess special power. "Fa" means to act or to initiate, so whenever the spirit is active, it should not be scattered or revealed externally, which is auspicious. If the spirit is revealed immediately upon activation, then even if one is of high status, there will be misfortune, and even if one is intelligent, there may be a tendency towards obsession. Therefore, to act without revealing is the pattern that brings both high status and a good ending. Fourth rule: "Clear but not dry." Gongdu's commentary: A clear spirit indicates nobility, fame, wisdom, and wealth in property, so it is called "Field and Residence" in the twelve palaces. Whenever a clear spirit pattern appears, one must examine whether it has a root or not. A clear spirit with a root brings great fame, long life, and great wealth; a clear spirit without a root brings fame but early death, wealth but obstacles, or loneliness and suffering. Therefore, to be clear but not dry is considered proper.

和不弱。神和為慈愛和平之態，其人慈良公正，為臣必忠，為子必孝，待人必，守身必信。弱者，衰弱之謂，如神和而弱，則壽不足而德不堅，志不定而福不厚，故以和不弱為合法。怒不爭。怒神為正重豪慨之態，盛世主貴而有大權，亂世多操兵柄而有安危繫於其身。爭者，形容浮緊燥急，其人量窄器小，反招亡身破家之禍，故以怒而不爭為合格。剛不孤。神剛者為威嚴持重之態，多才智而勇毅，多出名將治世之材，主有開國拓地之功。如孤宇則為孤僻偏驕之態，神剛而孤，則有功虧一簣之不善後，故以剛而不孤為合法。

Article Five: "Harmony without weakness." Gongdu's commentary: A harmonious spirit is one that is kind and peaceful. Such a person is charitable and just, as a subject he is loyal, as a son he is filial, he shows gratitude to others and keeps faith in himself. "Weakness" refers to being frail; if a spirit is harmonious yet weak, then his lifespan is short, his virtue is not firm, his mind is unstable, and his fortune is not abundant. Therefore, to be harmonious without being weak is considered proper. Article Six: "Anger without contention." Gongdu's commentary: An angry spirit is one that is upright, solemn, and bold. In times of peace, such a person holds high status and great power; in times of chaos, he usually commands military power, and the safety of a region depends on him. "Contention" refers to a spirit's energy being restless and tense, eager to win, which indicates a narrow mind and leads to calamity such as loss of life and destruction of family. Therefore, to be angry without contention is considered proper. Article Seven: "Strength without isolation." Gongdu's commentary: A strong spirit is one that is dignified and resolute. He is intelligent and brave, often producing famous generals and capable statesmen, and is destined for great achievements such as founding a country and expanding its territory. As for "isolation," it refers to being solitary, stubborn, and arrogant. If a spirit is strong yet isolated, he will fail at the last moment and not have a good ending. Therefore, to be strong without being isolated is considered proper.

公篤曰：達摩為西域印度人，六朝時渡江，傳道東土。其人博學多材，深通幻術，故有一葦渡江之說；又精性命長生術及拳術，故至中國傳教，有分類而立門，各繫道統焉。至於相法，可謂中興之祖師。凡風鑑讀達摩五來法，即醫家讀黃帝內經，乃引經據典之根據；凡讀麻衣相法，如醫家讀仲景六經，此分經別緯之關鍵。

Gong Du said: Bodhidharma was a person from the Western Regions, India, who came east across the Yangtze River during the Six Dynasties period and spread his teachings in the central lands. He was learned and talented, deeply skilled in magic, hence the legend of "crossing the river on a single reed." He was also proficient in the techniques of life and longevity, as well as martial arts, so he came to China to teach, establishing various schools and forming a lineage of doctrine. As for physiognomy, he can be regarded as the founding ancestor who revived the tradition. Those who study physiognomy should read Bodhidharma's "Five Methods" just as physicians study the "Yellow Emperor's Inner Canon," which is the fundamental reference. Reading Ma Yi's physiognomy is like studying Zhang Zhongjing's Six Channel Differentiation in medicine, which is the key to distinguishing and classifying the different aspects.

余考相法雖出於軒轅氏之臣風后氏，此風鑑之名實因風后氏鑑定之意也。自秦代火焚各書以後，相學之書亦絕，故漢唐以來偶有談相之人而無書籍可考。故達摩初入中國為六朝時，尚無相法之書；至五代時，達摩復入中國，始得麻衣而傳其五來相法五篇。故達摩以前皆半枝半解，既無綱領之分，又無輕重之別，無書可閱讀，無法可研究；自達摩以後，相學可稽考，而法亦日益闡明，此嫡派之溯源也。

I studied physiognomy, which originated from Feng Hou, a minister of the Yellow Emperor. The term "Feng Jian" comes from the meaning of Feng Hou's method of discerning people. Since the Qin Dynasty burned books, the texts on physiognomy were lost. Therefore, from the Han and Tang dynasties onwards, there were occasional discussions on physiognomy, but there were no books to refer to. Bodhidharma first came to China during the Six Dynasties period, when there were no physiognomy texts. It was not until the Five Dynasties period, when Bodhidharma came to China again, that he met Ma Yi and passed on the "Five Treatises on Physiognomy" to him. Thus, physiognomy before Bodhidharma was only fragmented and lacked systematic classification and emphasis. There were no books to read and no methods to study. Since Bodhidharma, physiognomy has had a basis for reference, and its principles have gradually become clearer. This is the origin of the authentic lineage of physiognomy.

今觀其第一章之相神，僅二十一字，尚屬餘之增加下十四字，其原書僅上七字，而其中包括極深，又簡捷，又深奧，故非他書所能及也。麻衣之法雖是相法正宗，而兩相比較，則弱於達摩之處太多。訊以此二十一字深思，均含有最玄妙之處：上包括天道之盛衰厚薄，下包括人事之吉凶禍福。故餘另加傍注，以便閱者注意，不可模糊讀過去，方知達摩相法之高深精微，不愧為相法之祖師焉。

Now he looks at the first chapter, which discusses the divine appearance, and it consists of only twenty-one characters. Among these, the last fourteen were added by me, and the original text only had the first seven characters. However, the meaning contained is extremely profound, both concise and deep, so it is not surpassed by other books. Although the method of Ma Yi is the orthodox school of physiognomy, when compared with Da Mo's, it is clearly inferior in many aspects. Please think deeply about these twenty-one characters, for each sentence contains the most profound and mysterious principles. Looking upwards, they include the rise and decline, thickness and thinness of the heavenly way; looking downwards, they include the good and bad fortune, calamity and blessing of human affairs. Therefore, I have added explanatory notes to help readers pay attention and not overlook them, so they can understand the profound and subtle nature of Da Mo's physiognomy and recognize him as the ancestor of the art of physiognomy without doubt.

秀而正。目秀主聰明而多才智，即清秀之謂，然其形必端正，故以秀而正，方從正途上去：其行孝弟，其務清名，其才智從正面上用。如秀而不正，則才偏自用，智邪亂倫，為相法之忌也。細而長。目形細則收藏其神而不浮露也，長則為鳳目之形，主大貴，故麻衣有河日之說，此司馬宣王之自顧其耳而與普基。細而不長，雖貴亦屬小品，終非大器也，故以細而長為合格。

First Rule: "Clear and upright." Gongdu's commentary: Clear eyes indicate intelligence and talent, which means being refined and elegant; but their shape must be upright, so they must be both clear and upright to follow the right path: behaving filially towards parents and fraternal towards brothers, seeking a clean reputation, and using intelligence in a proper way. If they are clear but not upright, talent will be misused for private gain, and cleverness will lead to wrong paths, thus destroying moral order, which is what physiognomy avoids. Second Rule: "Fine and long." Gongdu's commentary: A fine eye shape allows the spirit to be contained rather than exposed; a long eye shape becomes the "Phoenix eye," indicating great fortune, so Ma Yi said "river eyes"—Sima Yi's ability to turn his head and look at his ears, based on this, established the Jin dynasty's foundation. If they are fine but not long, although they may be of high status, they are only of minor importance and will never become great. Therefore, they must be both fine and long to be considered proper.

定而出。目定為聚光充足而能發揚也。凡目定者，有遠志大志之兆；充足者，有精神大壽之兆；加以發揚有威，則事業能達到，機會有遇合，故以定而出為合法。定而不出，雖有大志而終不遇合也。出而入。目出而揚威，人而斂神，此言有才智而不露於表面，以實際為用也。如出而不入，則有招嫉結怨之暗害以阻其事實，故以出而能入為合格，不浮蕩而無偏好之瑕也。

Third: "Steady and outgoing." Gong Du's commentary: "Steady" means gathering light sufficiently and being able to radiate outward. Those with steady eyes are signs of having great ambitions and lofty aspirations; those with sufficient gathering of light indicate strong spirit and long life. If one can radiate outward with a commanding presence, then one can achieve success in career and meet opportunities. Therefore, being steady and outgoing is considered proper. If steady but not outgoing, even with great ambitions, one will ultimately miss opportunities. Fourth: "Outgoing and returning." Gong Du's commentary: When the eyes radiate outward, they display power and authority; when they return inward, they retain inner strength. This describes a person who has intelligence but does not display it on the surface, focusing instead on practical use. If one only goes out without returning, one will invite hatred and resentment, suffer secretly, and block practical matters. Therefore, being able to go out and return is considered proper, thus avoiding the flaws of being superficial and overly rigid.

上下不白。目形以黑多白少為吉，白多黑少為凶，故以目浮四白主凶死而失敗，及刑人丁而孤苦。如上浮白而下不白，主心亂而奸貪；如下浮白而上不白，主驕傲而妄舉，故以上下不白為合法。視久不脫。目神以久視而神愈充為吉，愈久視而光咬潔有威，其稟受之氣厚，主壽而貴祿。如視久而脫，其光漸縮而怯，其人心性不持久，亦壽弱祿少，中道挫折，故以視久不脫為合法。

Fifth Principle: "Upper and lower not white." Gongdu's commentary: Eyes are considered auspicious when they have more black and less white, and inauspicious when they have more white and less black. Therefore, if white is visible on all four sides, it indicates misfortune, death, failure, and punishment of family members, leading to loneliness. If the upper part is white while the lower is not, it indicates a restless mind and dishonest intentions. If the lower part is white while the upper is not, it indicates arrogance and impulsive actions. Therefore, when neither upper nor lower parts are white, it is considered appropriate. Sixth Principle: "Staring for a long time without losing focus." Gongdu's commentary: The eyes are considered auspicious when they remain focused the longer they are stared at, as the spirit becomes more vigorous. The longer one stares, the brighter and more commanding the eyes appear, indicating a strong inherited energy, which signifies longevity and high official rank. If the spirit disperses and the eyes gradually contract, showing signs of timidity, this indicates a weak character, short lifespan, and poor fortune, leading to setbacks in the middle of endeavors. Therefore, being able to stare for a long time without losing focus is considered appropriate.

遇變不耗。人處憂患之時而其形必變，何況危險不耗其元神元氣乎。此王守仁不得時而遇虎，其形靜神定而如常態，不耗神，不變形，後為將相，兼享盛名。凡危險而不耗變者，大貴之格也。公篤曰：眼目之形其法頗多，尚不止此七則，而達摩以此七項為包括各法之綱目。其精微之處雖多，兼併者亦不少，此皆由個人推想，兩執用中可也。故其法僅二十四字，而富貴貧賤壽夭、吉凶禍福悔吝、正直公平、險惡陰毒皆全備之矣。此種相法可謂一字一珠，至於柳莊、衡真，當愧死無地矣。

Seventh Principle: "Meeting change without loss." Gong Du's commentary says: When a person is in trouble or hardship, their appearance will certainly change, and when encountering danger, how could there not be a loss of the origin god and vital energy? Wang Shouren, when he was not successful in his career, once met a tiger in the mountains, yet he remained calm and composed, his appearance unchanged and his spirit undisturbed, just as usual. His spirit was not consumed and his form did not change, and later he became a high-ranking official and enjoyed great fame. Those who encounter danger yet maintain their spirit and form unchanged are of great fortune and noble destiny. Gong Du says: The shape of the eyes has many methods, far more than these seven principles; Bodhidharma used these seven to summarize the methods of various schools, as a framework. There are indeed many subtle aspects, and there are also many overlapping parts among them. These require individuals to infer and understand, taking the middle path between extremes. Therefore, his method only uses twenty-four characters, yet it includes all aspects of wealth and poverty, longevity and short life, good and bad fortune, regret and hesitation, righteousness and fairness, danger and evil, and so on. This method of physiognomy can be said to be a pearl for each character; compared to works like Liu Zhuang's and "Hengzhen," it is truly humbling.