A Study on the Proposition of “Five Zi Returning to Geng 五子归庚” in Wang Wenqing 王文卿 Thunder Rituals—With a Discussion About the Characteristics of Leifa Internal Alchemy Theory

Abstract

As the teachings continued to expand within Daoism, Thunder Rituals (Leifa 雷法) inevitably faced the crucial question of how to integrate the newly emphasized thunder element within the traditional Five-Phase system upon its emergence. To address this, Wang Wenqing (王文卿), the founding master of Shenxiao(神霄 Daoism school) Daoism who held a pivotal position in the realm of Thunder Rituals, creatively proposed the theory of “Five Zi Returning to Geng” (五子歸庚). On the one hand, drawing upon the Najia (納音 Stem–Branch Correspondence) theory from the Zhou Yi Can Tong Qi, this theory posits that thunder corresponds to the number five, occupies the central position, and belongs to the earth element, thereby reinforcing the core thesis of Leifa’s internal alchemy that thunder is generated through the interaction of water and fire. On the other hand, by ingeniously adapting the Nayin method of the Sixty JiaZi (六十甲子), it offers a creative interpretation of the abstract relationship between thunder and the Five Phases, asserting that all phases ultimately converge toward the central Geng/thunder. Together, these two aspects demonstrate that thunder in fact occupies a central position alongside earth within the Five-Phase system. This theory not only provides a sophisticated resolution to the question of thunder’s relationship with the Five Phases but also furnishes solid theoretical support for the elevated status of Thunder Rituals.

1. Research Background

Although Thunder Rituals constituted a new Daoist school built around novel conceptual elements such as “thunder” and “thunder deities”, this “novelty” did not imply a complete break from traditional Daoism and the lineage of Internal Alchemy (內丹 Neidan). Wang Wenqing (王文卿), the patriarch of the Shenxiao (神霄) school and a pivotal figure in the history of Thunder Rituals, pointed out in his Xuan Zhu Ge (玄珠歌 Record of the Mysterious Pearl): “Heaven and Earth ascend and descend by the qi (氣); the human body breathes by the Qi. One who understands the Dao of ‘Guarding the One’ (守一 Shou Yi) finds that in stillness, it yields the Golden Elixir (金丹 Jindan), and in movement, it manifests as the Lei Ting (雷霆).” (Daozang 1988, vol. 29, p. 235). The “Dao of Guarding the One” refers to the traditional path of a kind of Daoist internal cultivation, specifically “guarding the True One” (守真一 Shou Zhen Yi). As Bao Pu Zi (抱朴子) by Ge Hong (葛洪) states: “If one does not know how to carry divine talismans, practice abstentions and precepts, contemplate the body’s spirits, and guard the True One, then one can only cause internal illnesses not to arise.” (Ge 1985, vol. 13, p. 243). Wang Wenqing’s adaptation of this concept clearly intended to integrate Thunder Rituals within the broad lineage of orthodox Daoism and Internal Alchemy, thereby preventing it from being relegated to the status of mere “rustic shamanism” and deemed unworthy of refined discourse. Indeed, Thunder Rituals emerged precisely as a prominent later development within traditional Daoism, arising at the historical juncture of Internal Alchemy’s maturation. However, the central problem lies in the fact that neither the traditional Five Phases (五行 Wu Xing) framework nor the Internal Alchemy system seemed to provide a readymade theoretical niche for the element of “thunder.” Consequently, for Thunder Rituals, it was first necessary to identify points of integration within the traditional theories of Yin Yang and the Five Phases where the thunder element could be incorporated. Only by doing so could it lay the groundwork for its subsequent theoretical development. In short, the crucial issue Thunder Rituals had to confront was how to methodologically reconcile thunder with the Five Phases system.

2. The Association Between the Number Five and Thunder

In a compendium of Daoist rituals and methods finished among the monumental early Ming, called Dao Fa Hui Yuan (道法會元), the Thunder Rituals constitute a significant portion of the doctrinal content. It is accurate to say that this text serves as a crucial platform for researching the intellectual propositions of Thunder Rituals. Wang Wenqing’s Lei Shuo (雷說 The Discourse on Thunder) in chapter 67 of Dao Fa Hui Yuan (all statements attributed to Wang Wenqing are drawn from this source and will not be repeatedly cited) is a core text specifically addressing the issue raised in this study and forms the central focus of this paper’s discussion. A key excerpt is quoted below:

“The marvel of thunder [lies in the numbers]: East 3, South 2, North 1, West 4, and Center 5, where Wu Ji (戊己 Wuji) returns to the center—this is the ancestor of the great numbers. Thunder belongs to Kun Earth, seated firmly in the Central Palace. That Lei Ting are the commands of the Supreme Sovereign signifies their examination of the Central Qi of Heaven and Earth, hence their specialized function of slaying incorrect, wicked, and evil [forces]. There is Thunder One, Thunder Two, Thunder Three, Thunder Four, and Thunder Five, collectively overseeing the Four Poles. The Four Poles reside within the center; therefore, Thunder is Heaven’s command, its authority the greatest. The Three Realms and Nine Earths—all are under the general jurisdiction of the Thunder Ministry. The operation of the Five Thunders is the ‘Five Zi Returning to Geng’ (Wu Zi Gui Geng 五子歸庚). Jia (甲) is Lei (雷 yang-type Thunder), Geng (庚) is Ting (霆 yin-type thunder); Jia and Geng are the commands of Lei Ting. The function of Nine and Five: from the East (Ren Zi 壬子) returning to Geng obtains 9; from the North (Bing Zi 丙子) returning to Geng obtains 5; the Center (Geng Zi 庚子) returning to Geng obtains 1; from the South (Wu Zi 戊子) returning to Geng obtains 3; from the West (Jia Zi 甲子) returning to Geng obtains 7. Thus, through the ‘Five Zi Returning to Geng’, the function of Nine and Five is enacted.”

(Daozang 1988, vol. 29, p. 215)

This passage, based on numerological reasoning, demonstrates the authority of Thunder and the underlying logic for the establishment of Thunder Rituals. It is an indispensable classic within the Dao Fa Hui Yuan, yet unfortunately, few scholars have analyzed the connotative meaning of this text. Furthermore, the Yuan dynasty Daoist master Zhang Shanyuan (张善渊) similarly cited and explicated this theory in his own work on Thunder Rituals, called Lei Ting Xuan Lun · Wan Fa Tong Lun (雷霆玄論·萬法通論), which is also included in Chapter 67 of Dao Fa Hui Yuan. He states:

“East 3, South 2, North 1, West 4—this is the ancestor of the great numbers, with the Center being 5. Lei Ting obtain the Central Qi of Heaven and Earth, hence they are called the Five Thunders (五雷 Wu Lei). Specifically, from the East (Ren Zi) returning to Geng Shen (庚申) yields the number 9; from the North (Bing Zi) returning to Geng Chen (庚辰) yields the number 5; from the South (Wu Zi) returning to Geng Yin (庚寅) yields the number 3; from the West (Jia Zi) returning to Geng Wu (庚午) yields the number 7. The Center, Geng Zi, originally has the number 1, and upon returning to Geng Xu (庚戌), gains an additional 11, making 12 in total. The ‘Five Zi Returning to Geng’ comprehensively yields 36 numbers, corresponding to the 36 Qi. It cycles through Hai; at the intersection of Hai and Zi, it again begins with Ren Zi. The transformations cycle, flowing ceaselessly. That which obtains the Dao of Nine and Five is Lei Ting.”

(Daozang 1988, vol. 29, p. 210)

Besides explaining Wang Wenqing’s theory, Zhang Shanyuan further expands along the same lines by adding a discussion on the Thirty-Six Thunders, making his work worthy of consultation. The key points from these two quotations above can be summarized as follows: First, Numerological Justification. The core argument for why Thunder is conceptualized as the “Five Thunders (五雷)” is based on calculations centered on the numbers of the Five Phases (Wu Xing). Second, Nayin Methodology. The explanatory principle for the derivation of the “Five Zi Returning to Geng” theory relies on the Nayin method, which means a system of correlating the sexagenary cycle with the Five Phases, often used in the calendrics and numerology. Third, Theoretical Extension. Following this line of reasoning, the numerological theory is extended to various crucial aspects of Thunder Rituals, such as Alchemical Practice, ritual procedures, and the theory of the Dipper Asterisms (斗罡 Dou Gang) theory.

First, regarding the “Five” in the “Five Thunders,” there is, in fact, profound significance. From the Song to the Ming dynasty, Thunder Rituals were habitually referred to as the “Method of the Five Thunders” (五雷法 Wu Lei Fa) or the “Orthodox Method of the Five Thunders” (五雷正法 Wu Lei Zheng Fa). Early texts, such as Yi Jian Zhi (夷堅志), state: “Wang Wenqing of Jianchang (建昌 place name), already famous for his Daoist arts, had a disciple, Daoist Zheng, who obtained his Five Thunders Method. [Zheng] traveled between the various prefectures of Jun and Fu, performing rain rituals for people and curing hauntings, summoning and commanding thunder, which responded as if answering him.” (Hong 2019, vol. 14, p. 147). Similarly, Gazetteer of Hangzhou Prefecture from the Wanli Era records: “Zhou Side (周思得), a Daoist of the Xuanyuan Hermitage, mastered the Five Thunders Method. Emperor Wen (永乐帝) summoned him to the capital and personally tested him, and thunder arose from his palms.” (Chen 1571, vol. 91, p. 4827). Numerous similar examples abound. However, the precise reason for the term “Five Thunders”, or how this “Five” should be understood, was rarely explained by Thunder Masters themselves. The various Thunder Ritual schools often developed their own interpretations, cobbling together names for five specific divine thunders, and even derived and attached further lists like the Thirty-Six Thunders. Consequently, the connotation of the “Five” in “Five Thunders” has always been ambiguous, making it difficult for practitioners to discern. Even Bai Yuchan (白玉蟾) expressed confusion over this: “It is unclear what exactly constituted the ancient Five Thunders; the later transmission of Thirty-six Thunders is even more dubious.” (Zeng and Liu 2006, vol. 6757, p. 329). Yet, based on the theories of the two esteemed masters Wang Wenqing and Zhang Shanyuan, it is evident that the “Five” does not actually refer to five specific names for divine thunders. Rather, it is a symbolic number representing the “Center”. This “Center” symbolizes the central position in governance, the center of cosmic, and the central courtyard (中庭 Zhong Ting) within Alchemical practice—hence its supreme importance. This association has deep roots. As early as the Han dynasty, the chapter “Wu Shen Suo Chi Jue” in Tai Ping Jing (太平經·五神所持訣) stated: “The Center is associated with thunder, the drum, and the sword. The Center is Earth, the master of the Five Phases. The drum is also the leader of the five weapons, and the sword, worn by the gentleman of virtue, is also the leader of the five weapons.” (M. Wang 2014, vol. 72, p. 308). Therefore, the direct purpose of linking the “Five” with “Thunder” was an attempt to elevate the status of Thunder Rituals. Zhang Shanyuan pinpointed this intention directly: “Thunderclaps obtain the Central qi of Heaven and Earth, hence they are called the Five Thunders.” (Daozang 1988, vol. 29, p. 210).

To forge the connection between the “Five” and “Thunder,” Wang Wenqing’s approach can be summarized as follows: from Five comes Earth, from Earth comes the Elixir, and from the Elixir comes Thunder. First, the relationship between the “Five” and “Earth” stems from the traditional correlation of the Five Phases with numbers, which Wang Wenqing calls the “Great Numbers” (Da Shu 大數): “[Numbers:] East 3, South 2, North 1, West 4, and Center 5 where Wu Ji (戊己 Wuji) return to the center—this is the ancestor of the great numbers. Thunder belongs to Kun Earth, seated firmly in the Central Palace.” (Daozang 1988, vol. 29, p. 215). The statement “East 3, South 2, North 1, West 4, and Center 5 where Wu Ji (戊己) return to the center” refers precisely to the assignment of numbers to the Five Phases, a concept of ancient origin, Hong Fan (洪範) states: “The Five Phases: the first is Water, the second is Fire, the third is Wood, the fourth is Metal, the fifth is Earth.” (Ruan 2009a, vol. 12, p. 399). However, this only indicates the generative sequence of the Five Phases. Later scholars greatly expanded on this. For instance, Zheng Xuan, in his commentary on Xi Ci Zhuan, combined it with Yijing numerology, stating: “Heaven One generates Water in the North; Earth Two generates Fire in the South; Heaven Three generates Wood in the East; Earth Four generates Metal in the West; Heaven Five generates Earth in the Center.” (Yinglin Wang 2012, p. 57). This illustrates the interrelation between five numbers, the Five Phases, and five directions. Earth resides in the center, acting as the sovereign among the Five Phases. Ban Gu (班固) already had the theory that “Earth reigns over the four seasons” (Tu Wang Si ji 土王四季): “Why does Earth reign over the four seasons? Wood cannot grow without Earth; Fire cannot flourish without Earth; Metal cannot be formed without Earth; Water cannot rise [or be contained] without Earth. Earth supports the weak and aids the declining, seeing their processes through to completion.” (Ban 1994, vol. 4, p. 190). The particularity of the number “Five,” representing Earth, was further elaborated into the theory of “Completion Numbers” (Cheng Shu 成數): “[Heaven] 1, [Earth] 2, [Heaven] 3, [Earth] 4, [Heaven] 5, [Earth] 6, [Heaven] 7, [Earth] 8, [Heaven] 9, [Earth] 10. These are the Generative and Completion Numbers of the Five Phases. Heaven 1 generates Water; Earth 2 generates Fire; Heaven 3 generates Wood; Earth 4 generates Metal; Heaven 5 generates Earth—these are their Generative Numbers (Sheng Shu 生數). In this state, the Yang [numbers] lack mates, and the Yin [numbers] lack partners. Therefore, Earth 6 completes Water; Heaven 7 completes Fire; Earth 8 completes Wood; Heaven 9 completes Metal; Earth 10 completes Earth. Thereupon, Yin and Yang each have their mates, and things can achieve completion; hence, these are called the Completion Numbers. Xi Ci Zhuan (繫辭傳) also says: ‘The numbers of Heaven are five [1,3,5,7,9]; the numbers of Earth are five [2,4,6,8,10]. The five positions [of the Phases] are matched, and each finds its complement. This is how changes are completed and spiritual workings are set in motion.’” (Ruan 2009a, vol. 23, p. 399). Earth can bring completion to the other four phases (or Four Symbols, Si Xiang 四象). Thus, adding the number “Five”, which represents Earth, to the number of each Phase yields its Completion Number. Furthermore, this process allows the five Yang numbers and the five Yin numbers to be matched, thereby creating a state of harmony. In this process, the number Five (and thus Earth) plays the central role.

To link Thunder with Earth, Wang Wenqing utilized Alchemical Practice as a crucial intermediary bridge. This is the true meaning behind his two important propositions: “Thunder belongs to Kun Earth” (Lei Shu Kun Tu 雷屬坤土) and “Jia is Lei, Geng is Ting; Jia and Geng are the commands of Lei and Ting”. However, understanding this requires referencing the Moon Phase Nayin Alchemy theory found in the “Yao Sheng Xiang Yue Zhang” of Zhou Yi Can Tong Qi (周易參同契·藥生象月章), which states:

“On the third day, the crescent emerges bright, Zhen [☳] and Geng receive [it] in the West; On the eighth day, Dui [☱] receives [it at] Ding, the first quarter straight as a string; On the fifteenth, the Qian [☰] body is complete, full and abundant at Jia in the East. The toad (moon) and the rabbit’s essence (sun), sun and moon’s Qi shine doubly bright. The toad observes the hexagram’s node, the rabbit emits generative light. Seven and eight, the Dao is already complete, bending, turning, lowly it descends. On the sixteenth, turning to receive the line, Xun [☴] and Xin appear at daybreak; Gen [☶] is direct at Bing South, the last quarter on the twenty third; Kun [☷] and Yi on the thirtieth day, the East loses its brightness. The node ends, they hand over to each other, the succeeding body again gives birth to the dragon [Zhen]. Ren and Gui pair with Jia and Yi, Qian and Kun enclose the beginning and end.”

(Chou 2015, p. 98)

The meaning of these lines can be summarized as follows: At the beginning of the lunar month, the moon phase waxes from obscurity to brightness; its shape resembles the Zhen (☳) hexagram, and its position is associated with Geng. On the 8th day, its shape resembles Dui (☱), associated with Ding. On the 15th day, its shape resembles Qian (☰) at its fullest, associated with Jia. From the 16th day, the moon wanes; its shape resembles Xun (☴), associated with Xin. On the 23rd, its shape resembles Gen (☶), associated with Bing. On the 30th, its shape resembles Kun (☷), associated with Yi. In the next month, the cycle begins anew with Zhen. Jia (associated with Qian) and Geng (associated with Zhen) are thus crucial coordinates within this lunar cycle representing turning points in the transformation of Yin and Yang: the former signifies the zenith of Yang and the birth of Yin, the latter signifies the zenith of Yin and the birth of Yang. Consequently, Internal Alchemists adopted Jia and Geng as symbols for the Alchemical Process. As the Tang scholar Li Dingzuo (李鼎祚) stated in his Zhou Yi Ji Jie (周易集解): “Qian is completed at Jia, Zhen is completed at Geng; [this represents] the beginning and end of the Yin and Yang of Heaven and Earth.” (Li 1805, vol. 11, p. 64). Therefore, Wang Wenqing’s discussion of Jia and Zhen in relation to Lei Ting aimed fundamentally to differentiate the originally undifferentiated concept of Thunder into Yin and Yang aspects, thereby enriching Thunder Rituals with its own unique Yin Yang discourse. He further clarifies this in his Discourse on Thunder: “Jia is Yang Thunder, Geng is Yin Ting, when Jia and Geng—Dragon and Tiger, meet each other, the dragon chants and the tiger roars, wind and clouds instantly arise.” (Daozang 1988, vol. 29, p. 215). This directly states that the production of wind, rain, thunder, and lightning is the external manifestation of the internal alchemical intercourse of Yin and Yang. Tracing its origins, this alchemical reasoning does not actually deviate from the concept of “Earth perfecting the Golden Elixir [Jindan]” found in Can Tong Qi (參同契) and Wu Zhen Pian (悟真篇). The proposition that “Thunder belongs to Kun Earth” was precisely put forward to resonate with this developmental thread in alchemical thought. “Kun Earth (坤土)” refers to the Yellow Dame (Huang Po 黃婆), also known as Wu Ji Earth. The Yuan dynasty Daoist Wang Jie (王玠), commenting on Cui Gong’s Rui Yao Jing (崔公入藥鏡), stated: “The Yellow Dame and the Lovely Maiden (Cha Nü 姹女) are both forced names [for these principles]. The Yellow Dame is Kun Earth, which is Wu Ji Earth.” (Daozang 1988, vol. 1, p. 881). Wu Ji Earth is a concept of utmost importance in Can Tong Qi, closely related to the Kan (☵, Water) and Li (☲, Fire) hexagrams. These two hexagrams have unique forms without direct lunar phase analogues; thus, Can Tong Qi treats Kan and Li as representatives of Yin and Yang: “The moon’s essence is Kan Wu; the sun’s light is Li Ji. Earth reigns over the four seasons, encompassing the beginning and end. Green, red, white, and black [Wood, Fire, Metal, Water] each reside in their direction. All receive from the Central Palace, through the efficacy of Wu and Ji.” (Chou 2015, p. 20). Wu and Ji originally belong to Earth: “Speaking of the [heavenly stems and] five phases: Jia and Yi belong to Wood, Bing and Ding to Fire, Wu and Ji to Earth, Geng and Xin to Metal, Ren and Gui to Water.” (Wei 1680, vol. 56, p. 2452). Therefore, Kan Water absorbs Wu Earth, belongs to the Moon, and is Yin; Li Fire absorbs Ji Earth, belongs to the Sun, and is Yang: “paradoxically, Wu (being the middle line of Qian ☰, which is Yang) is Yang Earth, and Ji (being the middle line of Kun ☷, which is Yin) is Yin Earth.” (Zhu 1680, p. 766). “Wu Ji Earth resides in the center and unifies the four directions and four emblems. Thus, the essence of Internal Alchemical metaphors like “the intercourse of Water and Fire” (水火交媾) or “extracting from Kan to fill Li” (捉坎填離) refers to the cultivation practice of causing the Wu Earth within Kan and the Ji Earth within Li to conjoin—the so-called using the Yang within Yin to transform the Yin within Yang—ultimately causing the Five Phases to gather within the body to achieve the pure Yang great elixir. Wu Zhen Pian(悟真篇) also states: “If Li and Kan lack Wu and Ji, although containing the four emblems, they cannot form the elixir. It is precisely because each holds the True Earth (Zhen Tu 真土) that the Golden Elixir can return and revert.”” (Daozang 1988, vol. 3, p. 13). This is the very essence of the Zhong-Lü school (鐘呂派) of Golden Elixir practice. The reason “Thunder belongs to Kun Earth” holds is that the alchemical rationale of Jia Geng intercourse producing Thunder is consistent with the Zhong-Lü tradition. The Song scholar Chen Xianwei (陳顯微) pointed out in his Zhou Yi Can Tong Qi Jie (周易參同契解): “The mutual dependence and interaction of Metal, Wood, Jia, and Geng operates because ‘each holds the True Earth.’ Metal [number] 4 and Water [number] 1 combine and transform into Earth [number] 5; Wood [number] 3 and Fire [number] 2 combine and transform into Earth [number] 5.” (Daozang 1988, vol. 20, p. 271). Jia corresponds to Wood, Geng to Metal. Therefore, Wang Wenqing’s “meeting of the Jia Geng (甲庚) Dragon and Tiger” refers to the meeting of the Wooden Dragon and the Metal Tiger, which accords with the principle of Yin Yang intercourse. Simultaneously, Metal 4 and Water 1 can combine to yield Earth 5, and Wood 3 and Fire 2 can also combine to yield Earth 5. Thus, within Metal and Wood resides the True Wu Ji Earth. When Jia and Geng meet, and the odd and even numbers pair, the Golden Elixir can thereby be achieved. Furthermore, since Jia and Geng are identified as the “commands of Lei Ting”, Thunder consequently arises from the Elixir. And since the Elixir is identified with True Earth, Thunder therefore belongs to Kun Earth. This is precisely the essential insight of Wang Wenqing’s “Five Zi Returning to Geng” theory: the identity of the Elixir and Thunder.

Thus, it is evident that the foundation of Wang Wenqing’s theory is fundamentally rooted in Internal Alchemy. This constitutes its primary distinction from general numerological or divinatory techniques.

3. How the “Five Zi Returning to Geng” Derived from Nayin

Having established that Thunder belongs to Earth, corresponds to the number Five, and resides in the Center, the remaining half of the problem requiring an answer is how to explain its relationship to the other four emblems. Since Earth reigns over the four seasons and Thunder belongs to Earth, Thunder should similarly govern the four emblems. The Najia and Nayin techniques are, in fact, branches of the same tree. As Meng Xi Bi Tan (夢溪筆談) states: “The Nayin method is the same as the Najia method in Yi Jing (易經).” (Shen 2015, vol. 5, p. 48). Furthermore, the preceding discussion has shown that Wang Wenqing derived the crucial conclusion that “Thunder belongs to Kun Earth” precisely through the Moon Phase Najia alchemical theory of Can Tong Qi. Therefore, continuing the line of reasoning along the path of the Nayin method was a natural choice. By employing the Nayin method, the theory of “Five Zi Returning to Geng” (Wu Zi Gui Geng) thus completes the demonstration of its latter proposition: it demonstrates the particularity of “Geng” (which represents Thunder) within the numerological calculations, thereby illustrating that Thunder possesses a corresponding particularity. This particularity lies in the fact that when each of the Five Zi, following the Jia Zi sequence, is calculated to its respective Geng position, the number of steps experienced corresponds precisely to the attribute of the direction it represents. This explanation might seem somewhat general, so we will detail the process separately below, following Zhang Shanyuan’s explanation:

The term “Five Zi” (Wu Zi) refers to the five specific combinations within the sixty-term sexagenary cycle that conclude with the earthly branch Zi: namely, Jia Zi, Bing Zi, Wu Zi, Geng Zi, and Ren Zi.

The statement “From the East (Ren Zi) returning to Geng Shen yields the number 9” means that within the set of stems and branches associated with the East, starting from Ren Zi and progressing to the first term with the heavenly stem Geng (which is Geng Shen), one counts nine terms passed: Ren Zi, Gui Chou, Jia Yin, Yi Mao, Bing Chen, Ding Si, Wu Wu, Ji Wei, and Geng Shen (壬子, 癸丑, 甲寅, 乙卯, 丙辰, 丁巳, 戊午, 己未, 庚申).

The statement “From the North (Bing Zi) returning to Geng Chen yields the number 5” means that within the set associated with the North, starting from Bing Zi and progressing to the first term with the stem Geng (which is Geng Chen), one counts five terms passed: Bing Zi, Ding Chou, Wu Yin, Ji Mao, and Geng Chen (丙子, 丁丑, 戊寅, 己卯, 庚辰).

The statement “From the South (Wu Zi) returning to Geng Yin yields the number 3” means that within the set associated with the South, starting from Wu Zi and progressing to the first term with the stem Geng (which is Geng Yin), one counts three terms passed: Wu Zi, Ji Chou, and Geng Yin (戊子, 己丑, 庚寅).

The statement “From the West (Jia Zi) returning to Geng Wu yields the number 7” means that within the set associated with the West, starting from Jia Zi and progressing to the first term with the stem Geng (which is Geng Wu), one counts seven terms passed: Jia Zi, Yi Chou, Bing Yin, Ding Mao, Wu Chen, Ji Si, and Geng Wu (甲子, 乙丑, 丙寅, 丁卯, 戊辰, 己巳, 庚午).

The statement “The Center, Geng Zi, originally has the number 1” means that within the set of stems and branches associated with the Center, starting from Geng Zi itself and progressing to the first term with the heavenly stem Geng (which is, reflexively, Geng Zi), one counts a single term: Geng Zi. In summary, the derivation of the “Five Zi Returning to Geng” results in a pattern where the numbers correspond to their directions as follows: East 9, West 7, North 5, South 3, and Center 1. And according to the Nayin method’s correlation system, the matching relationship between these ‘old numbers’ (lao shu), the five directions, and the Five Phases is precisely East/Wood 9, West/Metal 7, North/Water 5, South/Fire 3, and Center/Earth 1. Thus, it can be said that the “Five Zi Returning to Geng” method successfully derives a perfect outcome where direction, number, and attribute are mutually coupled. Furthermore, this result is precisely facilitated by “Geng”, which represents Thunder. This closely resembles the characteristic of Earth, which brings completion to the other four phases and resides in the center. So Wang Wenqing used this to demonstrate the special status of “Geng” and to further emphasize the connection between the Lei Ting represented by “Geng” and the Central Earth. Furthermore, Zhang Shanyuan, building upon Wang Wenqing’s foundation, introduced a slight modification regarding the Center. He proposed that besides the initial return to Geng Zi (counted as 1), the cycle could also “return again to Geng Xu”; this progression from Geng Zi to Geng Xu encompasses eleven terms: Geng Zi, Xin Chou, Ren Yin, Gui Mao, Jia Chen, Yi Si, Bing Wu, Ding Wei, Wu Shen, Ji You, and Geng Xu (庚子, 辛丑, 壬寅, 癸卯, 甲辰, 乙巳, 丙午, 丁未, 戊申, 己酉, 庚戌). Therefore, these “two returns” include twelve stems and branches: “Returning again to Geng Xu yields another ‘11’, making it 12 in total.” (Daozang 1988, vol. 29, p. 210). Consequently, the final calculation of the “Five Zi Returning to Geng” yields a grand total of 12 (Center) + 3 (South) + 5 (North) + 7 (West) + 9 (East) = 36. This perfectly corresponds to the number of the Thirty-Six Qi, thereby illustrating how the operations of Thunder Rituals cycle ceaselessly and produce transformations without limit. This particular conceptual extension is not found in other sources and likely represents Zhang Shanyuan’s own further elaboration based on Wang Wenqing’s original framework.

The feasibility of the aforementioned derivation hinges on a crucial departure from the traditional correlation of the Five Phases with directions and stems: specifically, East: Jia Yi (甲乙) Wood (number 3), South: Bing Ding (丙丁) Fire (number 2), West: Geng Xin (庚辛) Metal (number 4), North: Ren Gui (壬癸) Water (number 1), and Center: Wu Ji Earth (number 5), as stated in some texts as follows: “Therefore, East is Jia Yi, South is Bing Ding, West is Geng Xin, North is Ren Gui, Center is Wu Ji. These are the positions of the Five Phases.” (W. Liu 1935, p. 25). Instead, it adopts the Nayin method’s framework: East Ren Zi Wood, South Wu Zi Fire, West Jia Zi Metal, North Bing Zi Water, and Center Geng Zi Earth. The Nayin method, in summary, is a numerological theory primarily used for divination, formed by matching traditional Chinese music theory with the numerology of the Five Phases and the Nine Palaces. Its exact origins are obscure. A commentary on the phrase “Tai Rao (太橈) created the Jia Zi [system]” in Shi Ben (世本) states: “Tai Rao was a historian-official of the Yellow Emperor… According to the Han Lü Li Zhi (律歷志): ‘Fu Xi had the Jia Zi First Calendar.’ Chen Ming (陳鳴), in his Li Shu Xu (歷書序), said: ‘Jia Zi already existed in the time of Tai Hao. As for Tai Rao, he specifically matched Jia Zi system to create the Nayin method, Jia Zi did not begin with Tai Rao.’” (Song and Qin 2008, vol. 1, p. 10). This points to the Nayin method being a calendrical technique concomitant with the Jia Zi cyclical system. The key link between sound and the calendar lies in their analogous numerical structure: the ancients believed a complete musical scale contained five notes, and there were twelve total pitch-standards, thus yielding sixty possible notes, which corresponded perfectly with the sixty-term Jia Zi calendar. The Song scholar Liu Wenshu (劉溫舒) noted: “And within a single chen [branch] are contained five notes; the twelve chen together incorporate sixty notes. For example, take the Zi branch: Jia Zi Metal, Bing Zi Water, Wu Zi Fire, Geng Zi Earth, Ren Zi Wood. According to the Han Shu (History of Han) treatise, like species takes a wife, gap eight generates offspring—this is the Nayin method.” (W. Liu 1935, p. 25). The directional basis for Wang Wenqing’s “Five Zi Returning to Geng” originates from Han dynasty thought, particularly that of the Chenwei (讖緯) the apocrypha texts. The Wu Xing Da Yi (五行大義) text states: “The Nayin numbers refer to the musical note to which a person’s life destiny (ben ming, 本命) belongs. The notes are namely gong, shang, jue, zhi, yu (宮,商,角,徵,羽). Na means to take this note to harmonize with the nature of what it belongs to. Yue Wei (樂緯) the apocryphal text says: ‘Confucius said: Blow the pitch-pipes to determine the nature. One word obtains Earth, called gong; three words obtain Fire, called zhi; five words obtain Water, called yu; seven words obtain Metal, called shang; nine words obtain Wood, called jue.’ These are all Yang numbers. For the Five Phases, there are three kinds of numbers: the generative number (sheng shu 生數), the strong number (zhuang shu 壯數), and the old number (lao shu 老數). Wood: generative number 3, strong number 8, terminal number 9. Fire: generative number 2, strong number 7, terminal number 3. Earth: generative number 5, strong number 10, terminal number 1. Metal: generative number 4, strong number 9, terminal number 7. Water: generative number 1, strong number 6, terminal number 5… First comes the generative number, next the strong number, lastly the terminal number. Nayin discusses one’s original life destiny, therefore it uses the terminal numbers for this purpose.” (Xiao 2022, vol. 1, p. 43). This reveals that the point of intersection linking the Five Phases, the five notes, and the five numbers lies in the terminal numbers of the respective phases: Wood 9, Metal 7, Water 5, Fire 3, Earth 1—which are precisely the numbers obtained by each “return to Geng”. Furthermore, the derivation method for the terminal numbers is highly instructive for the “Five Zi Returning to Geng” theory. Wu Xing Da Yi explains: “One word obtains Earth: the life destiny is Geng Zi. Zi belongs to Geng; counting one already obtains it. Three words obtain Fire: the life destiny is Bing Yin (丙寅). Yin belongs to Wu; counting from Bing to Wu totals three. Five words obtain Water: the life destiny is Ren Xu (壬戌). Xu belongs to Bing; counting from Ren to Bing totals five. Seven words obtain Metal: the life destiny is Ren Shen (壬申). Shen belongs to Wu; counting from Ren to Wu totals seven. Nine words obtain Wood: the life destiny is Ji Si (己巳). Si belongs to Ding; counting from Ji to Ding totals nine. The sixty Jia Zi are all like this.” (Xiao 2022, vol. 1, p. 46). Here, the statement “Zi belongs to Geng” refers to the “six attributions” (Liu Shu 六屬) mentioned in Bao Pu Zi: “According to Yu Ce Ji (玉策記) and Kai Ming Jing (開明經), both use the five notes and six attributions to know the position of a person’s year and destiny. Zi and Wu belong to Geng; Mao and You belong to Ji; Yin and Shen belong to Wu; Chou and Wei belong to Xin; Chen and Xu belong to Bing; Si and Hai belong to Ding.” (Ge 1985, vol. 11, p. 209). Synthesizing this, Zi belongs to Geng, and therefore counting forward from the Earth life destiny Jia Zi (which is Geng Zi) to the next stem–branch combination with the stem Geng is Geng Zi itself, hence Earth’s Nayin number is 1. Yin belongs to Wu, therefore counting forward from the Fire life destiny Jia Zi, which is Bing Yin, to the next stem Wu requires passing through Bing Yin, Ding Mao, and Wu Chen (丙寅, 丁卯, 戊辰)—hence Fire’s Nayin number is 3. Following the same logic—counting from the respective life destiny Jia Zi to the stem–branch belonging to the Phase’s attribution—yields Water ‘s Nayin number as 5, Metal as 7, and Wood as 9. Clearly, Wang Wenqing’s “return to Geng” method is essentially a reverse application of the aforementioned Nayin technique. Instead of counting from the life destiny Jia Zi to the attributed stem (to get the number), he counts from the Phase-attributed Zi combination to the stem Geng, arriving at the same Nayin numbers for the Five Phases and directions. This also implies, inversely, that starting from the five Geng-Earth attributed Jia Zi combinations (Geng Shen, Geng Chen, Geng Yin, Geng Wu, Geng Zi) and adding the respective Phase’s old numbers (1, 3, 5, 7, 9) would precisely yield the Phase’s Zi combination (Ren Zi, Wu Zi, Jia Zi, Bing Zi, Geng Zi). This shares a remarkable conceptual similarity with the theory that adding Earth’s number 5 to the generative numbers of the other Phases yields their completion numbers. Slightly later, the Song dynasty Daoist Dong Sijing (董思靖), in his Dong Xuan Ling Bao Zi Ran Jiu Tian Sheng Sheng Zhang Jing Jie Yi (洞玄靈寶自然九天生神章經解義), also stated: “Therefore (Geng) commands the Qi of the twelve chen. The reason it must encounter Geng is because of the transformation of Qi and numbers.” (Daozang 1988, vol. 6, p. 389). This shows he likewise grasped Wang Wenqing’s intention to use Geng as the foundation through which the Five Phases achieve their own fulfillment.

However, if we examine this unusual relationship between the Nayin Numbers and Daoism from a deeper perspective, we can uncover a more ancient thread of intellectual continuity. This thread represents the re-extension and re-embodiment within Daoism of the traditional Chinese musical worldview, which uses the Dao of sound to connect heaven and humanity and to bridge the self and the cosmos. As explained earlier, the essence of the Nayin Numbers is actually a numerical representation of the intrinsic principles of the traditional Chinese musical system. Through the application of the Nayin Numbers, the numinous power of music was thus integrated into the conceptual framework of Daoism. This also reflects, from another angle, Daoism’s conscious development of classical Chinese musical culture, as well as the profound historical depth of the collective memory inherited by Daoist thought from ancient China. In this sense, we cannot simply confine the origins of Daoism to the Han Dynasty. Rather, it should be understood as a product of the continuous evolution of traditional Chinese ritual and musical civilization during the medieval period, which took on a more universal religious form. To be more precise, the emphasis on music in China has a long history. Music was not only used in sacrifices and for divining auspiciousness or inauspiciousness—as recorded in Zhou Li (周禮): “Music Master Kuang said: ‘I repeatedly sang the North Wind, and then the South Wind. The South Wind did not prevail; it had many notes of death. Chu will not achieve its goal.’” (Ruan 2009b, vol. 23, p. 1720)—but also served to reflect governance and regulate the people. Li Ji (禮記) states: “In ancient times, Shun created the five-stringed zither to sing the South Wind. Kui began to compose music to reward the feudal lords. Thus, when the emperor creates music, it is to reward the virtuous among the feudal lords. When virtue flourishes and teaching is respected, and the five grains ripen in season, then they are rewarded with music.” (Ruan 2009c, vol. 38, p. 3325). Similarly, Lü Shi Chun Qiu (呂氏春秋) notes: “Music is used to transform customs, harmonize, and unite the people. This refers to the music of the Six Dynasties: Yun Men, Xian Chi, Da Shao, Da Hu, Da Xia, and Da Wu. Zhou Li says: ‘Using music to teach harmony ensures the people do not rebel.’” (Lü 2016, vol. 2, p. 23). Moreover, music was believed to cultivate moral character. As elucidated in Chun Qiu Gong Yang Zhuan Jie Gu (春秋公羊經傳解詁): “Songs are the words of virtue; dances are the expressions of virtue. Thus, listening to the sound, one can understand the virtue; examining the poetry, one can comprehend the intent. Discussing its patterns can rectify one’s demeanor. Presented in the ancestral temple, it is sufficient to offer to the spirits; employed in the court, it is sufficient to order the ministers; established in the official schools, it is sufficient to harmonize the myriad people. All who follow the teachings of their superiors begin with music. If the music is correct, conduct is correct. Thus, hearing the gong note makes one gentle and broad-minded; hearing the shang note makes one upright and devoted to righteousness; hearing the jue note makes on compassionate and benevolent; hearing the zhi note makes one orderly and devoted to propriety; hearing the yu note makes one joyful in nurturing and generous in giving. In this way, it stirs the blood, circulates the spirit, and preserves a righteous nature. Hence, music emerges from within, while ritual acts from without.” (Ruan 2009d, vol. 3, p. 4792) Of course, this interpretation of music is from a Confucian perspective. From a Daoist standpoint, the relationship between music and humanity is not confined to morality but tends toward a transcendental level, seeking deep self-realization and communion with the cosmos. This is precisely one of the core reasons why many Daoist scriptures, such as Ling Bao Wu Fu Xu (靈寶五符序) and Shang Qing Da Dong Zhen Jing (上清大洞真經), employ the Nayin Numbers to construct their divine systems and methods of meditation. Which means Daoist musical practices within ritual frameworks are seldom expressed through the purely moralistic and abstract theories of music characteristic of Confucian discourse, as mentioned above. On the contrary, it may be argued that tangibility and practicability stand as two salient features in the theoretical and practical dimensions of Daoist music. Specifically, this means applying metaphysical concepts—such as numerological systems like Nayin—in a manner that is perceptible, learnable, and applicable across various aspects of ritual, thereby significantly enriching and expanding their expressive forms. Concurrently, the flourishing of ritual practices, in turn, nourishes the further deepening and elaboration of these metaphysical speculations. In the context of Thunder Rituals (Leifa), these two characteristics find their core expression in the external manifestation of the Thunder Master’s internal alchemical cultivation upon the ritual altar. This is encapsulated in the principle: “Internally, Leifa cultivation refines the Golden Elixir; externally, it manifests as thunderous power.” The unity of Heaven and humanity is realized within the very body of the Thunder Master—the central domain of the ritual. Thus, through a resonant interaction initiated from within the practitioner’s body toward transcendent Heaven, internal cultivation achieves the ideal of personal longevity, while externally fulfilling the ritual’s social objectives, such as healing illnesses, subduing malevolent forces, summoning rain, or clearing skies. Thereby, the Thunder Master attains fulfillment in both personal spiritual pursuit and social morality—a state nearly equivalent to the Daoist conception of a “sage.” Consequently, this distinctive nature of Leifa underscores a crucial point: in studying its ritual content, one must not simplistically interpret discussions on incantations, talismans, mudras, and ritual steps as mere technical instructions. Their efficacy fundamentally stems from the internal transcendent dynamism endowed through the master’s internal alchemical practice. This explains why Wang Wenqing, in his Lei Shuo (雷说), extensively explores numerological techniques yet concludes by grounding them firmly in the theory of internal alchemy. This will also be the central issue discussed in Section 3.

Furthermore, it is necessary to clarify an alternative interpretation of the “Five Zi Returning to Geng” theory derived from the Nayin method, proposed by the Ming scholar Wang Kui (王逵) in his Li Hai Ji (蠡海集): “Therefore, when Tai Rao created the Jia Zi system, he allocated the Five Phases to form the Nayin method, presumably because metal can receive sound and propagate Qi. The method states: ‘Jia takes Yi as wife, conception occurs every eighth position, a son is born; the son makes grandsons, and then [the Phase] proceeds, succeeding to its position. The first [cycle] is Metal; Metal, being Qi, comes first. Jia is the beginning of receiving Qi. Jia takes Yi as wife; after eight positions is Ren Shen—this is the son. Ren takes Gui as wife; after eight positions is Geng Chen—this is the grandson. Geng takes Xin as wife; after eight positions is Wu Zi—Fire succeeds to its position. The second [cycle] is Fire; Wu succeeds it. Wu takes Ji as wife; after eight positions is Bing Shen (丙申)—this is the son. Bing takes Ding as wife; after eight positions is Jia Chen—this is the grandson. Jia takes Yi as wife; after eight positions is Ren Zi—Wood succeeds to its position. The third [cycle] is Wood; Ren succeeds it. Ren takes Gui as wife; after eight positions is Geng Shen—this is the son. Geng takes Xin as wife; after eight positions is Wu Chen—this is the grandson. Wu takes Ji as wife; after eight positions is Bing Zi—Water succeeds to its position. The fourth [cycle] is Water; Bing succeeds it. Bing takes Ding as wife; after eight positions is Jia Shen (甲申)—this is the son. Jia takes Yi as wife; after eight positions is Ren Chen (壬辰)—this is the grandson. Ren takes Gui as wife; after eight positions is Geng Zi—Earth succeeds to its position. The fifth [cycle] is Earth; Geng takes Xin as wife; after eight positions is Wu Zi—this is the son. Wu takes Ji as wife; after eight positions is Bing Chen—this is the grandson. Bing takes Ding as wife; after eight positions is Jia Zi—Metal again succeeds to its position. Hence, there is the theory of the ‘Five Zi Returning to Geng’.” (K. Wang 1602, p. 79). Here, Wang Kui also employs the Nayin method’s path of “Appositive spaces take as wife, have son between every eighth position” for his derivation. Starting from Jia Zi, representing Metal, he counts forward eight positions to Ren Shen—this is the “son” born to Jia Zi and Yi Chou. Counting forward another eight positions from Ren Shen leads to Geng Chen—this is the “grandson.” Counting forward eight more positions from Geng Chen yields Wu Zi, which is Fire—thus, Metal transforms into Fire. Following this pattern similarly, Wu Zi (Fire) subsequently transforms into Ren Zi (Wood), then into Bing Zi (Water), and finally into Geng Zi (Earth). If the derivation were to continue from Geng Zi (Earth), it would cycle back to Jia Zi (Metal). Consequently, Wang Kui also termed this process “Five Zi Returning to Geng.” However, the “Geng” he refers to actually denotes the Metal Phase represented by the stems Geng and Xin. His “Five Zi Returning to Geng” theory should be understood as “transforming when encountering Zi, returning back when encountering Metal”, meaning that every time the Zi branch is encountered triggers a Phase transformation, and the cycle continually repeats in the sequence Metal, Fire, Wood, Water, and Earth, with Geng Xin Metal serving as both the beginning and end of this cyclical transformation. This interpretation is not linked to the concept of old numbers (lao shu); moreover, within the Nayin method itself, Geng does not exclusively belong to Metal. Thus, it is evident that Wang Kui’s theory not only deviates from the doctrinal principles but also focuses solely on numerological technique, lacking the profound alchemical dimension. Compared to Wang Wenqing’s approach—which integrates numerology and alchemy, positing that all four directions return to the central Geng-Thunder—Wang Kui’s theory is fundamentally and vastly different. Therefore, it is crucial not to conflate the two.

4. The Ritual Space Constructed Through Numerology

Wang Wenqing’s methods of applying the old numbers from the Nayin system to Alchemical Practice was not without historical foundation. As early as the Six Dynasties period, Xian Ren Yi Fu Wu Fang Zhu Tian Qi Jing (太上靈寶五符經序·仙人挹服五方諸天氣經) states:

“The Heaven of Nine Qi of the East, Green Sprouts [Qing Yao]… prolonged existence derives from the efficacy of the Nine Qi.

The Heaven of Three Qi of the South, Cinnabar Red [Zhu Dan]… longevity derives from the merit of the Three Qi.

The Mountain of the Great Emperor of the Primordial Cavern in the Center… Great indeed is the Numinous Treasure and the Yellow Court; longevity derives from the consolidation of the One Qi.

The Heaven of Seven Qi of the West, Bright Stone [Ming Shi]… longevity derives from the benefit of the Seven Qi.

The Heaven of Five Qi of the North, Dark Nourishment [Xuan Zi]… longevity derives from the activation of the Five Qi.” (Daozang 1988, vol. 6, p. 315)

This passage constructs a very clear correlation: East/Green (Wood) 9, South/Red(Fire) 3, Center/Yellow(Earth) 1, West/White(Metal) 7, North/Black (Water) 5, associating the Five Phases, the five old numbers, and the five colors. Kobayashi Shōmei, in his History of Daoism in the Six Dynasties (Kobayashi 2001), noted this specific numerical arrangement, which differs markedly from the standard Five Phase numbers. However, unfamiliar with the Nayin method, he merely regarded it as a byproduct of the practice of ingesting the Five Sprouts (Wu Ya Fa 五芽法): “The origin of this numerical configuration—East 9, South 3, Center 1, West 7, North 5—remains unclear. However, as this concept is not seen in Bao Pu Zi or pre-Bao Pu Zi texts, and appears here for the first time in Xian Ren Yi Fu Wu Fang Zhu Tian Qi Jing, it can be considered an idea concurrent with the concept of the Five Sprouts.” Kobayashi’s viewpoint is mistaken; as indicated above, references to the terminal numbers of the Five Phases or Nayin numbers were already commonplace in Chen Wei texts that emerged during the late Western Han dynasty. Furthermore, this same correlation of terminal numbers is present in Yuan Shi Wu Lao Chi Shu Yu Pian Zhen Wen Tian Shu Jing (元始五老赤書玉篇真文天書經):

“Talisman of the Green Emperor of the East: The Celestial Culture of the Nine Qi of Numinous Treasure transforms and generates the Qi of the Red Emperor.”

“Talisman of the Red Emperor of the South: The Celestial Culture of the Three Qi of Numinous Treasure transforms and generates the Qi of the Yellow Emperor.”

“Talisman of the Yellow Emperor of the Center: The Celestial Culture of the One Qi of Numinous Treasure transforms and generates the Qi of the White Emperor.”

“Talisman of the White Emperor of the West: The Celestial Culture of the Seven Qi of Numinous Treasure transforms and generates the Qi of the Black Emperor.”

“Talisman of the Black Emperor of the North: The Celestial Culture of the Five Qi of Numinous Treasure transforms and generates the Qi of the Green Emperor.”

(Daozang 1988, vol. 1, p. 774)

Additionally, Shang Qing Da Dong Zhen Jing (上清大洞真經) also contains a similar doctrine, though it differs by having both twelve and one correspond to Earth:

“…The mouth draws the essence of the East, the green qi of green yang; subsequently hold the breath for nine pauses, swallow the qi nine times…”

“…The mouth inhales the essence of the South, the red qi of cinnabar numinosity; subsequently hold the breath for three pauses, swallow the fluid three times…”

“…The mouth inhales the essence of the West, the white qi of the metal soul; subsequently hold the breath for seven pauses, swallow the fluid seven times…”

“…The mouth draws the essence of the North, the black qi of dark effulgence; subsequently hold the breath for five pauses, swallow the fluid five times…”

“…The mouth draws the essence of the Center, the yellow qi of the high sovereign; subsequently hold the breath for one pause, swallow the fluid twelve times.”

(Daozang 1988, vol. 1, p. 774)

Similar formulations also appear in other Daoist scriptures, such as Ling Bao Wu Di Guan Jiang Hao in Tai Shang Dong Xuan Ling Bao Wu Fu Xu (太上洞玄靈寶五符序·靈寶五帝官將號), Tai Shang Wu Xing Qi Yuan Kong Chang Jue (太上五星七元空常訣), and Tai Shang Wu Ji Da Dao Zi Ran Zhen Yi Wu Cheng Fu Shang Jing (太上無極大道自然真一五稱符上經). However, these are used solely in the context of divine appellations and talismanic ingestion methods, not internal cultivation theory, and are therefore not cited here.

However, the question lies in why the Nayin numbering system was chosen to integrate with Daoist internal cultivation theory. After all, abandoning the more mature and simpler theories of “great numbers” and “completed numbers”, and in favor of the obscure, complex, and highly controversial Nayin numerology seems rather unreasonable. Yet, this choice was precisely made for the long-term development of Daoist theory. The incorporation of numerological theory into internal cultivation does not refer to a rigid insertion of numbers into the latter but rather to a fusion of their modes of thinking. That is, using numerical deductions within a certain framework to explain, prove, or even directly construct specific internal cultivation techniques. The Shangqing School is a prime example of this. Beyond constructing abstract relationships between the five old numbers and the Five Directions, it also integrated this numerical mode of thinking into concrete practices such as swallowing saliva and absorbing Qi. This mode of thinking directly originated from the intellectual trend of the Han dynasties, which emphasized numerical deduction and used numbers to explain heaven, earth, and human affairs. As Han Shu (漢書) states: “The pitch pipes have long and short [measures], and each evokes its sound; this is not due to ghosts or spirits—it is the natural pattern of numbers.” (Ban 1962, vol. 30, p. 1775) Similarly, Huai Nan Zi (淮南子) says: “If you wish to know the way of heaven, examine its numbers, which means referring to the numbers of the pitch-pipes and the calendar.” (A. Liu 2013, vol. 3, p. 341) Although various numerological systems are fundamentally based on operations using numbers one through ten, the Nayin method uniquely connects time (the cyclical flow of the sixty Jia Zi years), space (the Five Directions), Yin Yang, the Five Phases, and the Eight Trigrams through numbers. From this perspective, Nayin numerology clearly offers more room for creativity and elaboration than other systems. Bai Hu Tong (白虎通) directly interprets the Five Tones from the perspective of Yin Yang transformations: “Why is Jue so named? Jue means to leap—the Yang Qi moves and leaps. Zhi means to stop—the Yang Qi stops. Shang means to expand—the Yin Qi opens and expands, while the Yang Qi begins to descend. Yu means to curve—the Yin Qi is above, and the Yang Qi is below. Gong means to contain—it contains and holds the four seasons.” (Ban 1994, vol. 3, p. 120). Thus, the process of change in the Five Tones is a cycle of waxing and waning of Yin and Yang. This idea of linking sound with Yin Yang energy is the foundational mindset of ancient Chinese music theory. Tai Ping Jing highlights the crucial proposition that all Five Tones are Yang sounds: “Therefore, when Yin and Yang are in motion, sound is produced. Thus, when music moves, it is always accompanied by sound. Yang has sound; therefore, one [is] Gong, three Zheng, five Yu, seven Shang, and nine Jue—while two, four, six, and eight do not have their own sounds.” (M. Wang 2014, vol. 115, p. 648). This also answers the important question of why, although Nayin numbers have three stages (birth, prime, and old), Daoism only adopts the old numbers. As Prof. Dr. Hu Baitao (胡百濤) points out in his article Concept of Five Elements Numbers in the Shangqing Scriptures and the Daoist Idea of “Emphasizing Yang” (上清經五行數觀念與道教“重陽”思想): “The unique model in Shangqing scriptures, which assigns one and twelve to the central Earth, while three, five, seven, and nine are assigned to Fire in the south, Water in the north, Metal in the west, and Wood in the east, originated from the Han dynasty apocryphal texts. It matured through the Daoist Qi theory of the Wei-Jin period and developed into the theory of the Five Directions’ Qi in Ling Bao Wu Fu, eventually becoming the basic framework for discussing Shangqing practices. This was a new theory created by Daoist schools during the Wei-Jin period under the ruling class’s prohibition of discussions on Yin-Yang, the Five Phases, and portents—and its creative foundation was the consistent Daoist ideology of emphasizing Yang.” (Hu 2012, pp. 62–69). This fully demonstrates that the apocryphal texts were an important source of Daoist thought. Prof. Dr. Wang Yong (王勇), in his article Ingesting the Five Sprouts and the Numbers of the Five Phases in the Ancient Lingbao Scriptures (古《靈寶經》的服五芽與五行之數), proposes a similar view: “What Ge Hong referred to as ‘ingesting the Six Qi’ meant consuming the ‘generative Qi from midnight to midday during the six periods’… while ingesting the Five Sprouts involved consuming Yang Qi and generative Qi from the heavens. Wu Fu Xu applied the Nayin numbers to distinguish the heavens and Qi of the Five Directions precisely because the Nayin numbers are pure Yang numbers like ‘one, three, five, seven, and nine’.” (Yong Wang 2018, pp. 34–38). Both scholars argue that the selection of the old numbers was primarily due to Daoism’s ideological emphasis on honoring Yang. Thunder Rituals also precisely views thunder as the ultimate Yang, hence its ability to dispel evil and unrighteousness. Jing Fang Yi Zhuan (京房易傳) also states: “When thunder should sound but does not, the virtue of Yang is weak.” (Mao 2009, p. 271). This identifies thunder as a manifestation of abundant Yang virtue. Therefore, applying Yang numbers from the Nayin system to Thunder Rituals is highly consistent with principle. As Zhang Xixian (章希賢) of the Yuan dynasty pointed out in his Dao Fa Zong Zhi Tu Yan Yi (道法宗旨圖衍義·五子歸庚圖): “The ‘Five Zi Returning to Geng’ refers to one, three, five, seven, and nine, all being Yang numbers, which sum to twenty-five. Hence Zhou Yi (周易) says: ‘The number of Heaven is twenty-five.’ The reason the Five Zi Returning to Geng serves as the master of all things is because of this.” (Daozang 1988, vol. 32, p. 607). This emphasizes the rationality of using Yang numbers to interpret the Yang-oriented tendency in the Internal Alchemy Theory. Moreover, Li Dai Ti Dao Tong Jian (歷代體道通鑑) notes: “Master Wang Wenqing submitted a petition requesting to return to the mountains and forests. He lingered in his quiet chamber, harmonizing with the Way of the Imperial One, and reciting Shang Qing Da Dong Zhen Jing.” (Daozang 1988, vol. 5, p. 219). This description of Wang Wenqing is entirely in the mode of a reclusive Shangqing Daoist. Therefore, it is highly probable that he absorbed and adapted the Shangqing School’s ideological nourishment that emphasized Yang numbers.

However, the attempt in Shang Qing Da Dong Zhen Jing to apply the terminal numbers of the five old numbers to specific practice steps appears relatively rudimentary. In contrast, Thunder Rituals developed and applied this conceptual framework to its utmost potential. Furthermore, the scope of its application was not confined solely to the five singular Nayin terminal numbers. Ultimately, what Thunder Rituals had constructed was a massive and comprehensive numerological system encompassing Yin Yang, the Five Phases, the Eight Trigrams, the Dou Gang (Daoism special Star Dippers system), and more. The fundamental element commanding all these numerical systems is the Internal Alchemical cultivation skill of the Thunder Ritual Masters. Moreover, this entire theoretical edifice was ultimately intended for practical implementation within specific ritual performances. Wang Wenqing’s “Five Zi Returning to Geng” theory also proposed a noteworthy “Three Applications” at the level of ritual application: namely, the “Application of Nine and Five” (jiu wu zhi yong 九五之用), the “Application of Three and One” (san yi zhi yong 三一之用), and the “Application of Three and Five” (san wu zhi yong 三五之用).

The “Application of Nine and Five” unfolds immediately following the derivational process of the “Five Zi Returning to Geng” and constitutes the most complex and difficult-to-understand section among the “Three Applications.” It begins by adaptively quoting the phrase “The Di (Emperor) emerges from Zhen” (帝出乎震) from Shuo Gua (說卦傳) to explain the generation of Thunder: “Nine is in Shen [branch], belonging to Kun; ‘carries out tasks in Kun’ (致役乎坤). Five is in Chen; Chen is the Gang (罡 firmament star, potentially referring to a specific asterism or the Dipper’s handle), meaning Earth receives the ultimate great and firm Qi. One is in Zi; ‘toils in Kan’ (勞乎坎). Three is in Yin; ‘completes in Gen’ (成乎艮). Seven is in Wu; ‘appears in Li’ (相見乎離). The Wood of Ren Zi is the root of the East; in Mao it belongs to Zhen, which is Thunder.” (Daozang 1988, vol. 29, p. 215). And it intertextually engages this with a Shuo Gua passage: “The Di emerges from Zhen; brings into order in Xun; becomes visible in Li; carries out tasks in Kun; speaks joyfully in Dui; struggles in Qian; toils in Kan; completes and speaks in Gen.” (Ruan 2009e, vol. 38, p. 3325). It is evident that the earthly branches corresponding to the terminal numbers of the five directions are all associated with trigrams related to the completion or activity of Zhen (represent Thunder). Therefore, by operating or “circulating” these five directions, one can summon deities and invoke thunder. Furthermore, because it begins with Wood (Nine) and ends with Water (Five), it is termed the “Application of Nine and Five.” Conversely, this also demonstrates Thunder’s immense authority to flourish and wither all things. Celestial Master Zhang Yuchu (張宇初), in his Xian Quan Ji (峴泉集), also praised this: “Therefore, the awe of the Thunderclaps, which flourishes and withers the myriad things, gives life and extinguishes according to the four seasons, all stems from harmonizing with the marvel of Nine and Five. This was fully revealed by the True Lord Fire Master Wang (founding master of Shenxiao school) and the True Lord Imperial Attendant Wang (Wang Wenqing), who received the transmission from Thunder Mother (Lei Mu 雷姥).” (Zhang 1754, vol. 4, p. 665). The direct source of this authority, the “Di” (Emperor), has been analyzed by Dr. Long Yiteng and Dr. Luo Songqiao to refer specifically to the Northern Dipper (Ursa Major/Bei Dou 北斗): “In the view of the ancients, a direct causal relationship existed between the pointing direction of the Dipper’s handle and the flourishing and withering of plants. Furthermore, the movement of the Dipper’s handle was considered the action of the Celestial Emperor issuing commands; where his commands reached, the myriad things obeyed. Hence, it was believed that the Celestial Emperor caused the myriad things to emerge from Zhen and finally complete in Gen. Drawing analogies from this and extending the reasoning, it was thus concluded that all life force (sheng ji) sprouts from Zhen, passes through the stages of Xun, Li, Kun, Dui, Qian, and Kan, and finally concludes in Gen.” (Long and Luo 2003, pp. 106–8). Therefore, Wang Wenqing’s proposition in the section on the “Application of Three and Five” that “the Dou is Lei, Lei is the Dou” is not groundless; it similarly derives from this Shuo Gua phrase “The Di emerges from Zhen”. Furthermore, the “Application of Nine and Five” also addresses the key ritual question of from which direction the Thunder Gods should descend. This involves determining the Gate of Heaven (Tian Men 天門) and Door of Earth (Di Hu 地戶) within Thunder Rituals: “The reason Thunder is associated with the Palace of Xun is: Within Jia resides Si [the branch]; from Jia Zi counting (via dun jia method) to Si yields Si, and Si is Xun. Within Ren resides Ding [stem], which is Xun. Within Bing resides Xin [stem], which is Xun. Within Geng resides Yi [stem], which is Xun. Therefore, Jia, Bing, Geng, and Ren are just the stems representing Yang Thunder, the Thunder Gods assemble at the Door of Xun.” (Daozang 1988, vol. 29, p. 215). This statement involves the application of Dun Jia art. It can be broadly understood that the four heavenly stems representing Yang Thunder (Jia, Bing, Geng, Ren) can all, through a specific numerological method, be linked to the Xun trigram. Consequently, Thunder emerges from the Xun direction. A detailed analysis follows below:

“Within Jia resides Si”: The heavenly stem Jia (Yang Wood) is correlated with the earthly branch Si (Fire). Within the theory of the Five Phases and Jia Zi cyclical progression, Jia Wood is said to be ‘born’ in Hai and to ‘sicken’ or reach its ‘sickness phase’ in Si. However, the earthly branch Si belongs to the Palace of Xun in the Eight Trigrams system (the Xun trigram is associated with the branches Chen and Si). Therefore, Jia Wood is indirectly connected to the Xun trigram (which represents Wood) through Si, indicating that Jia contains the attribute of Xun Wood.

“From Jia Zi counting (via dun jia) to Si yields Si”: In Dun Jia calculations, starting from Jia Zi, one can proceed (dun) according to specific rules to reach the branch Si. For example, counting forward six days from a Jia Zi day brings one to a Ji Si day, whose earthly branch is Si. Alternatively, in Qi Men Dun Jia astrological layout, the Jia Zi Value Commander would be positioned over or apply to the Xun Palace (which contains the branch Si), thus obtaining Si. The earthly branch Si belongs to the Xun Palace in the trigram system, hence Si represents the Xun trigram. However, Wang Wenqing did not explicitly detail the precise calculation method on paper, suggesting it was likely considered a secret within the Daoist tradition.

“Within Ren resides Ding, which is Xun”: The heavenly stems Ren (Yang Water) and Ding (Yin Fire) combine and transform into Wood. The result of this transformation is Wood, which corresponds to the Xun trigram. Therefore, although Ren contains Ding Fire, because they can combine and transform into Wood, Ren becomes associated with the Xun trigram.

“Within Bing resides Xin, which is Xun”: The heavenly stems Bing (Yang Fire) and Xin (Yin Metal) combine and transform into Water. However, the key point here is that within the Najia (Stem Incorporation) system of the Eight Trigrams, Xin belongs to the Xun trigram (Xun incorporates Xin). Therefore, when Bing combines with Xin, Xin represents the Xun trigram, thus causing Bing to embody the characteristics of Xun.

“Within Geng resides Yi, which is Xun”: The heavenly stems Geng (Yang Metal) and Yi (Yin Wood) combine and transform into Metal. Yi Wood is of the same category (Wood) as Xun Wood in the Five Phase system. Furthermore, in Qi Men Dun Jia, Yi is considered the “Sun Miracle”, frequently representing wooden entities. Therefore, Geng is connected to the Xun trigram through Yi Wood.

The above explains the internal logic, derived from Dun Jia calculations, for why the Thunder Gods assemble at the Door of Earth—the Xun direction. However, the Thunder Gods must first respond to the ritual master’s summons and depart from the Gate of Heaven (Tian Men, the Qian direction). This transformation from Qian to Xun requires the thunder gods traversing the Four Dimensions, namely: the Gate of Heaven (Qian direction), the Door of Earth (Xun direction), the Gate of Humanity (Ren Men, Kun direction), and the Gate of Demons (Gui Men, Gen direction): “[It] conceals in Gen, emerges from Qian, ascends in Kun, and manifests from Xun—this is the function of Yang Thunder.” (Daozang 1988, vol. 29, p. 215). This principle is reflected in a relatively fixed set of incantations used for talisman drawing in Thunder Ritual practice. For example, the Wu Lei Fu (Five Thunder Talisman) of Gao Shang Shen Xiao Yu Shu Chan Kan Wu Lei Da Fa (高上神霄玉樞斬勘五雷大法 (一)·五雷符) in the 61st volume of Dao Fa Hui Yuan, states: “Open the Gate of Heaven, close the Door of Earth, retain the Gate of Humanity, block the Path of Demons, pierce the heart of demons, break the belly of demons.” (Daozang 1988, vol. 29, p. 169). This adds a further layer of esoteric mysticism to the original trigram theory.

Secondly, the so-called “Application of Three and One” is relatively straightforward. It explains the ritual steps performed by the Thunder Master, such as forming hand seals (雷局 Lei Ju, means Thunder Mudra), issuing commands (雷令 Lei Ling, means Thunder Command), and applying inner force (Thunder Ritual practice, e.g., opening the Thunder Gate, releasing Thunder Fire): “Within is hidden a wondrous principle—the Application of Three and One. Three is the ancestral qi of the East; One is the generative number of the North. For in the northern direction, Zi is the Thunder Mudra; in the eastern direction, Mao is the Thunder Gate. The Thunder Gate is in the East, Thunder Fire is in the South, the Thunder Command is in the West, and the Thunder Mudra is in Zi.” (Daozang 1988, vol. 29, p. 215). However, this application does not utilize the Nayin old numbers for its derivation. Instead, it operates based on the generative numbers of the Five Phases (Wood 3, Fire 2, Metal 4, Water 1, Earth 5), following the sequence of wood, Fire, Metal, Water in its practice. Similarly, because it begins with Wood (3) and ends with Water (1), it is termed the “Application of Three and One.”

Finally, the so-called “Application of Three and Five” represents a brilliant synthesis of alchemical theory and ritual technique. Its creativity lies particularly in its integration of the Dou Gang, Internal Alchemy, and Ritual Method—a combination unprecedented among earlier thinkers. It states: “Three and Five are the wondrous function of the Dipper.” (Daozang 1988, vol. 29, p. 216). On one hand, “Three and Five” refers to the numbers of the River Chart (He Tu 河圖). Lei Shuo posits that the numbers of the River Chart summarize the internal world of human cultivation: “Three and Five make fifteen—the function of the River Chart is identical to one’s original body. The East: Hun (Ethereal Soul) 3. The West: Po (Corporeal Soul) 4. The North: Essence (Jing) 1. Wu and Ji reside in the center.” (Daozang 1988, vol. 29, p. 215). On the other hand, the key reason that Dou Gang can be linked to Internal Alchemy lies in Dou Gang’s role as the celestial pivot, which, by directional attribution, also belongs to Wu Ji Earth. Hence, Lei Shuo asserts: “The Northern Dipper belongs to Kun Earth. Lei is Dou, the Dou is Lei.” (Daozang 1988, vol. 29, p. 216). Through Internal Alchemical cultivation, the Thunder Master can use the Earth of the internal Yellow Court (Huang Ting) to activate the Wu-Ji Earth external to the body. That is, by operating the Water and Fire within the internal elixir, they can influence the Dipper Asterisms. The righteous Qi of the Dipper then transforms into Thunder, which the master can command within the ritual: “Zi is the source of Water; Wu is the ancestor of Fire. When Zi and Wu oppose each other [or: are properly aligned], they obtain the central and correct Qi. proceeding to the fifth [star] reaches Lian Zhen (廉貞 the fifth star in the sequence of the Big Dipper’s bowl and also the third from the end), forming the Gang and Thunder; reversing to the third [star] reaches Lian Zhen, forming Thunder and the Gang. Thunder is the Qi of the Gang; this is the Dao of Three and Five. The ‘Three-Five General Efficacy’ (san wu du gong 三五都功) is precisely this.” (Daozang 1988, vol. 29, p. 215). Here, the star Lian Zhen also corresponds to the numbers Three and Five, and Wang Wenqing identified this star specifically with the Gang. Therefore, he summarized his three-dimensional ideological system—encompassing the Elixir (Dan), the Dipper (Dou), and Thunder (Lei)—as the “Application of Three and Five.”

Although the conceptual framework of this system was widely inherited by later Thunder Ritual schools, a consensus on the specific definition of the Gang was never actually reached; various schools maintained their own interpretations. However, this topic falls outside the scope of this paper and will not be elaborated upon further.

5. Conclusions

It is necessary to further clarify that although the first section of this article outlines the ideological commonalities between Wang Wenqing and the Zhong-Lü School of Golden Elixir Daoism, significant differences nevertheless exist between the two. Thunder Magic elucidates its alchemical theory with a posture of inheriting from the past and innovating for the new. Its alchemy is self-proclaimed as “Thunder Family Alchemy” and recognizes a kind of “Thunder Qi” that can be ingested and utilized. Furthermore, the thunder deities summoned by the Thunder Master are considered “the responsive transformations of thunder Daoists’ own original spirit”. Thus, from Qi to Spirit, Thunder Family Alchemy has developed a complete ideological system constructed around the element of “Thunder”. The foundation of this system lies in the integration of internal alchemy and ritual, manifested particularly in two key aspects: the practice of internal alchemy techniques during rituals, and the use of internal alchemy theory to expand ritual content. Therefore, it should be stated that the complete picture of Thunder Rituals internal alchemy is “internal Dao, external Manifestations” and “Dao as the substance, Manifestations as the function”, where neither the alchemical Dao nor the ritual magic can be neglected. This represents a significant step beyond the Zhong-Lü School’s exclusive focus on internal cultivation, marking the fundamental uniqueness that distinguishes Thunder Family Alchemy from Zhong-Lü alchemy. Wang Wenqing’s theory of “Five Zi Returning to Geng”, discussed in this article, unfolds precisely within this ideological context. Its discussion is grounded in alchemical theory yet not confined by it, consistently maintaining a strict unity between internal cultivation and external application.

In summary, based on the numerological theory of directionality constructed by the “Five Zi Returning to Geng” theory using the Nayin system, Wang Wenqing pushed his approach of using numbers to explain alchemy, thunder, and the Dipper to its extreme. He not only successfully integrated the new element of Thunder into the traditional Yin Yang and Five Phase system, but more importantly, also interconnected the previously separate concepts of the Dipper, ritual, and alchemy through numerological techniques. He ultimately constructed an unprecedented, logically rigorous, and richly detailed ritual system. Its influence was so profound that the intellectual imprint of his Discourse on Thunder can be found in many subsequent works about Thunder Magic or alchemy. It can be said that the proposal of Wang Wenqing’s “Five Zi Returning to Geng” theory constitutes a major contribution to the intellectual history of Thunder Rituals that cannot be overlooked.