Symbolic Transfigurations of Jinhua in The Secret of the Golden Flower (Taiyi Jinhua Zongzhi太乙金華宗旨): From Inner Alchemy to Interreligious Synthesis

Abstract

The Secret of the Golden Flower (Taiyi Jinhua Zongzhi 太乙金華宗旨), a Qing dynasty spirit-writing (fuji扶乩) text, is widely known through the Wilhelm–Jung translation lineage, where jinhua 金華 is rendered as “Golden Flower” and read as mandala-like symbolism. Based on a close reading of the Daozang Jiyao 道藏輯要version, this article argues that in the Chinese text jinhua is not primarily a floral image but a technical and experiential term for luminosity in Daoist inner-alchemical cultivation. Hua 華 is resemanticized from botanical “flower/flourishing” into “radiance,” and the work explicitly defines the key term as “jinhua is light”. The text further organizes cultivation into a three-stage trajectory—“sudden emergence”, “circulation”, and “great condensation”, through which qi 氣 is refined into light and luminosity stabilizes as spirit (shen 神). Finally, the analysis situates this luminous grammar within the work’s explicit Three Teachings (sanjiao 三教) framing: Confucian “illuminating virtue” (mingde 明德) and Buddhist idioms of luminous mind-nature (xin-xing guangming 心性光明) and dharma-body language function as a shared vocabulary for describing non-grasping awareness and embodied realization. On this basis, jinhua is best understood not as a decorative metaphor or a purely psychological symbol but as a practice-oriented mechanism of ontological luminosity, clarifying both the inner-alchemical logic of The Secret and the stakes of its modern reception.

1. Introduction

In the Daoist tradition of inner alchemy, symbolic images are not merely auxiliary tools for practice, they function as practical forms that organize attention, guide embodied cultivation, and register inner transformation. The Secret of the Golden Flower (hereafter The Secret), a key inner alchemical text written through spirit-writing or planchette writing (fuji 扶乩) during the Qing dynasty and attributed to Lü Dongbin 呂洞賓, presents a focused vision of the integrated cultivation of light (guang 光), spirit (shen 神), and qi 氣. Within this framework, the term jinhua 金華 (“golden flower”) appears throughout the text. Yet the central issue is not the “flower” as an aesthetic motif, but the way hua 華 is resemanticized within practice: what does hua signify when the text defines “jinhua is light” (jinhua ji guang金華即光), and how does this definition organize the stages of cultivation? This article argues that in The Secret, jinhua names a disciplined and experientially verifiable luminosity that emerges, circulates, and condenses through inner refinement, instead of a literal or merely metaphorical “golden flower.” By tracing this semantic shift from “flower/flourishing” to “radiance,” the article clarifies how imaginal manifestation functions as a mechanism of transformation in Daoist inner alchemy.

A brief note on terminology is necessary. Although the text is widely known in English as The Secret of the Golden Flower, this conventional translation derives from the Wilhelm–Jung lineage, which interpreted jinhua through the psychological symbolism of the mandala and thus foregrounded the floral image. This reception history is important, but it can pre-structure the term as a static visual emblem rather than as a technical cue within practice. The Secret explicitly states that “jinhua is light”, and throughout the work the term denotes the emergence, circulation, and condensation of luminous qi, not a literal or metaphorical flower. In the context of Daoist inner alchemy, hua can therefore be read not only as “flower,” but also as “radiance/effulgence,” indicating a shift from botanical imagery to a grammar of luminosity.1 To avoid the interpretive bias introduced by the aestheticized rendering “Golden Flower” and to preserve the multi-layered semantic movement from “flower” to “light” that is central to this study, this article adopts the transliteration jinhua throughout.

Existing scholarship on The Secret has predominately focused on its derivative cultivation practices, such as health-preserving qigong (Zhou 1991, 1992; Zhang 2018, 2021), its sectarian affiliations within Daoist traditions2, its influence on Jungian psychology (Lü 2009, 2012), and its transmission through the German translation Das Geheimnis der Goldenen Blüte (X. Li 2020; Luo 2019). With regard to symbolic structures, some scholars have conducted in-depth analyses of the golden elixir (jindan 金丹) as a central alchemical image; however, discussions of hua as a symbolic pivot remain limited. Even in more detailed iconographic studies, jinhua is often regarded as a rhetorical variant of the golden elixir or true light (zhenguang 真光), without exploring the symbolic logic of the character hua itself or the perceptual structures it embodies in cultivation (Baldrian-Hussein 1989–1990; Pregadio 2006; Min 2010). Furthermore, traditional philological approaches frequently interpret hua as either a phonetic loan for hua 花 (flower) or as a decorative flourish, which can obscure the text’s emphasis on experiential verification—how luminosity becomes perceptible, stabilizes, and functions as evidence of inner refinement. The present study addresses this gap by reading hua as the pivot through which jinhua becomes a practicable and confirmable sign of transformation.

Methodologically, the article proceeds through close reading of the Essentials of the Daoist Canon (Daozang Jiyao道藏輯要) version of The Secret. It focuses on (1) definitional sentences such as “jinhua is light”, (2) recurrent practice-phrases that function as experiential “checks,” and (3) the staged vocabulary by which the text organizes cultivation—“sudden emergence” (zhatu 乍吐), “circulation” (liuzhuan 流轉), and “great condensation” (daning 大凝). Comparative references to Confucian and Buddhist concepts are introduced only where The Secret itself invokes them within its explicit Three Teachings (sanjiao 三教) framing, so that comparison serves clarification rather than parallelism.

The Secret does not define jinhua in a singular manner; at times, it states that “jinhua is light”; elsewhere, it equates jinhua with the golden elixir, and in other instances, it connects it with the primordial qi (zhenqi 真炁). This polyvalence indicates that jinhua functions less as a single fixed technical label than as a clustered symbol (luminosity–qi–elixir) whose sense shifts with context while remaining anchored to the practical core of “turning the light inward” (huiguang 回光) (DZJY 13, p. 112). Reading this clustered usage as functional helps explain why jinhua can name both a phenomenon and a path of cultivation.

Throughout all thirteen chapters, the methods of cultivation consistently revolve around the practice of “turning the light inward”. The experience and symbolism of light undoubtedly form the most prominent thread. Consequently, this article treats jinhua as the most interpretively potent core image, focusing on how it functions as a symbol of luminous awareness within both the practice of cultivation and the broader interreligious context. More precisely, jinhua designates a staged phenomenon of luminosity. it becomes perceptible at specific moments of inner refinement, circulates as luminous qi, and stabilizes through condensation as an embodied manifestation of spirit. In this sense, jinhua is a mediating symbol that links qi to light and light to spirit, while the text’s Three-Teachings rhetoric provides a shared vocabulary for describing this realization.

The central argument of this study is that jinhua functions not only as a meditative and experiential symbol but also as a powerful interfaith metaphor that bridges doctrinal boundaries among Confucianims, Buddhism, and Daoism. Accoringly, the discussion is organized as follows. Section 2 traces the symbolic evolution of hua from botanical “flower/flourishing” to luminous “radiance.” Section 3 analyzes the threefold sequence of “sudden emergence” (zhatu 乍吐), “circulation” (liuzhuan 流轉), and “great condensation” (daning 大凝) of jinhua to clarify the progressive mechanism of luminous transformation. Section 4 examines how Confucian notions of “illuminating virtue” (mingde 明德) and Buddhist idioms of “luminous mind-nature” (xin-xing guangming 心性光明) and dharma-body language are mobilized within The Secret’s own Three Teachings framing, showing how jinhua functions as a symbolic interface across traditions rather than as a superficial point of comparison. Section 5 concludes by summarizing the implications for Daoist cultivation and the text’s modern reception.

2. From Flower to Light: The Symbolic Evolution of Hua in The Secret

The original meaning of the character hua 華in classical Chinese originates from an imagistic description of the flourishing state of blooming plants. The Collected Annotations on the Origins of Explaning Simple and Analyzing Compound Characters (Shuowen Jiezi Yuanjizhu 說文解字原集註) notes: “In the Shuowen, hua means rong 榮 (“to flourish”). It is analyzed as comprising the grass radical and the component 𠌶 (a variant of hua, meaning “to transform”). The Systematic Exegesis (Fanzhuan 繁傳)3, citing the Approaching the Correct (Erya 爾雅), glosses hua as fu 荂, noting that in reference to trees, it is also called hua. 說文：華，榮也。從艸從𠌶。繁傳：引爾雅，華，荂也，木謂之華。” (Xuxiu Siku Quanshu 213, p. 288). As an image drawn from everyday perception, hua embodies the natural spectacle of brilliance, beauty, and exuberant blossoming. However, inherent in this visual positivity is a core of impermanence: at the very moment a flower reaches its fullest bloom, the onset of decline is already implied. Precisely because of this quality of luxuriant display followed by rapid withering, hua has historically acquired extended meanings such as ornamentation or superficial appearance in philosophical discourse.

The Classic of the Way and Virtue (Daode Jing, Chapter 38) observes: “Preconceived knowledge is the ornament of the Dao and the beginning of folly. Therefore, the great man abides in what is substantial, not in what is superficial; he dwells in what is real, not in what is ornamental. 前識者，道之華而愚之始。是以大丈夫處其厚，不居其薄；處其實，不居其華。” (Wang 2008, p. 93). Here hua is interpreted as the external manifestation of the Dao, whose superficial splendor obscures the authentic state of the Dao itself, diverting cognition away from essence through sensory illusion. Within Neo-Daoism during the Wei–Jin dynasties, hua was often contrasted with categories such as substance (shi 實) or root (ben本), and regarded as a mere surface display of form and color, lacking an intrinsic essence.

However, it is precisely this pejorative semantic background that establishes the conditions for the symbolic reconstruction of hua in The Secret. The opening chapter states: “Jinhua is identified with light. What is the color of this light? It derives its image from jinhua, and within it is secretly contained the character light. This is the primordial qi of the Great One, the pre-cosmic vital energy of Heaven and Earth.金華即光也，光是何色？取象於金華，亦秘一光字在內，是先天太乙之真炁。” (DZJY 13, p. 112). Here, jinhua is explicitly detached from its natural association with flowers and redefined as a symbolic language representing light, further elevated into a visible manifestation of primordial qi. According to the theory of the Five Phases (wuxing 五行), metal (jin 金) signifies clarity and contraction, embodying the quality of quiescent stillness (Gu 2016, p. 139; Ban 2024, p. 138), while hua radiates brilliance, effulgence, and dynamism, symbolizing the function of numinous luminosity. Their combination is not merely a superimposition of color imagery but rather a symbolic interpretation of the dual cultivation of nature and life. In this way, The Secret constructs a composite image characterized by striking visual intensity and doctrinal depth.

It is important to note that the transformation of hua from the image of a flower to the symbol of light is not merely a rhetorical substitution; rather, it constitutes a reconfiguration of perceptual mechanisms that occurs within the actual experience of inner alchemical practice. The Secret repeatedly employs phrases such as “when this light condenses, it is the natural Dharma-body 此光凝結，即是自然法身”, “jinhua radiates fully (jinhua zheng fang金華正放) “, and “jinhua greatly condenses (jinhua da ning金華大凝).” Here “natural Dharma-body” glosses ziran fashen (自然法身, literally ‘the natural/spontaneous dharma-body’) in a syncretic register. While the wording resonates with the Buddhist Dharmakāya, in this text it functions primarily as a practical-ontological designation for the self-arising embodiment of realized luminosity within inner-alchemical cultivation, rather than as a strict adoption of Buddhist doctrinal taxonomy. These expressions indicate that hua is no longer merely a flower among natural things. It has evolved into a luminous phenomenon perceived in states of inner observation, serving as a crucial visual catalyst in the condensation of inner qi and the manifestation of the spirit. This light is not physical or natural light; rather, it is a subtle luminosity: qi gathered into light, light condensed into spirit, resulting in luminous inner vision. In practice, when the adept closes their eyes and turns their gaze inward, they initially experience, “when the inner chamber is empty, brightness arises, within and without are illumined 虛室生白，內外通明.” Soon after, jinhua suddenly emerges and jinhua radiates fully. With further cultivation, the phrase, “when this light condenses, it is the natural Dharma-body.” is actualized, describing the stage at which luminosity stabilizes and becomes self-existent. As the text continues, “if light has cognition, how can it still be called true light 光有識，尚何光哉?” (DZJY 13, p. 134). The description “when the inner chamber is empty, brightness arises” precisely conveys the inner luminosity that manifests in a state of still quiescence.

The symbolic association of hua with light is rooted in its continuity with the visual structure of the flower. The shifting colors, central blossoming, and upward thrust of vitality in the flower resonate with the contemplative experiences described in The Secret, such as radiant effulgence (tenghuan zhi guang 騰煥之光) and upward ascent of returning light (huiguang shangteng 回光上騰). This metaphorical use of the flower to represent light is not exclusive to The Secret; similar expressions can be found in other alchemical texts. For instance, The Inner View of the Yellow Court Scripture (Huangting Neijing Jing 黃庭內景經) states: “Looking upward, one beholds the Three Primes, aligned like a string of pearls; their shining brilliance cascades forth, illuminating the nine quarters 上睹三元如連珠，落落明景照九隅。” (Du and Zhang 2004, p. 43), where the imagery of “a string of pearls” and “shining brilliance” conveys the manifestation of inner luminosity. Similarly, the Scripture of the Divine Elixir of the Golden Liquor of the Great Clarity (Taiqing Jinye Shendan Jing太清金液神丹經) asserts: “Crimson blossoms blaze with radiance, rising like golden clouds of dawn. 朱華煥彩，如金霞騰。” (DZ 18, p. 365). Here, the crimson blossoms, though floral in appearance, are transformed into golden rays of light, symbolizing the ascent of the numinous spirit. Collectively, these visual symbols create a coherent imaginal system of light that is both perceptible and observable within Daoist cultivation.

The use of hua in The Secret facilitates a transformation from a natural image to a religious symbol. While preserving the perceptual form and visual intensity of the flower, it is elevated into the inner radiance of light, serving as a gateway to divine responsiveness and thereby establishing a symbolic pathway from perceptual experience to ontological generation. In this context, hua transcends its role as a mere adornment of the Dao, evolving into a visual symbol that guides one toward it. It lays the imaginal foundation for the alchemical principle of “refining qi into light and condensing light into spirit. 煉氣化光,凝光成神。” The subsequent section will examine the practical mechanisms of jinhua from the perspectives of inner visionary experience and bodily–spiritual transformation.

3. The Practical Mechanism of Jinhua: Inner Visionary Experience and Bodily–Spiritual Transformation

In both its methodological framework and experiential descriptions, The Secret situates hua within the central practice of “turning the light inward”, making it a perceptible and verifiable mechanism of bodily-spiritual transformation. This paper once more cites the opening definition: “Jinhua is identified with light. What is the color of this light? It takes its image from jinhua, and within it is secretly contained the character light. This is the primordial qi of the Great One.” (DZJY 13, p. 112).

The passage elucidates two key points: first, that hua has shifted semantically from “flower” to “light”, and second, that its ontological orientation pertains to the “primordial qi of the Great One,” specifically the manifestation of innate light (xingguang 性光) that transcends the discriminations of acquired consciousness. The practical function of hua within the text is therefore intimately linked to the practitioner’s process of turning the light inward. In Daoist cultivation, images and visualization serve as means of attuning the mind to the subtle circulation of inner vitality; through such imaginal engagement, practitioners open toward the fluid and flowing state in which the transformation of qi into light can naturally unfold (Kohn 2020, pp. 98–101).

In terms of stages of practice, The Secret presents a tripartite spectrum of luminous experience, unfolding from the subtle to the manifest. In Daoist neidan terminology, these three stages correspond to the progressive transmutation of essence (jing 精), qi 氣, and spirit (shen 神). “Sudden emergence” marks the activation of inner yang within essence; “luminous flow” signifies the circulation and refinement of qi into light; and “great condensation” culminates in the stabilization of spirit as the Dharma-body. Thus, visionary imagery encodes a precise alchemical logic of bodily–spiritual transformation, illustrating how the luminous process unfolds through successive phases of refinement.

The first stage is characterized by the sudden emergence of jinhua (jinhua zhatu 金華乍吐). Chapter Six of The Secret states: “In stillness, seamless and unbroken, the spirit is suffused with joy, as if intoxicated, as if immersed in a bath. This is the pervasive warmth of yang in harmony, and the sudden emergence of jinhua. 靜中綿綿無間，神情悅豫，如醉如浴，此為遍體陽和，金華乍吐也。” (DZJY 13, p. 128). The phrase “yang in harmony” refers to the warming and concentration of vital breath generated through the practice of “guarding the center” (shouzhong 守中), while “sudden emergence” designates the first budding of luminosity, akin to the morning sun before full daylight. At this preliminary stage, the greatest danger lies in clinging or forcing. The text repeatedly emphasizes: “The essential point is simply to proceed with a pure heart. Do not seek verification, and it will come of itself. 宗旨只要純心行去，不求驗而驗自至。” (DZJY 13, p. 125). It further instructs: “The in-and-out of breath should not be audible to the ears. Listen only for what has no sound… After a long while, the subtle suddenly ceases—then the true breath (zhenxi 真息) comes forth, and the mind’s essence can be discerned. 息之出入，不可使耳聞，聽惟聽其無聲……久之，忽然微者遽斷，此則真息現前，而心體可識矣。” (DZJY 13, p. 125). These passages describe a process of refinement from the gross to the subtle, where the interdependence of mind and breath signals the return of qi to its center.

In the terminology of inner alchemy, this moment corresponds to “the first stirring of one yang” (yi yang chu dong 一陽初動) described in the The Seal of the Unity of the Three (Zhouyi Cantong qi周易參同契), marking the inception of transformation when essence begins to move toward qi. Classical commentaries describe this phase as one of profound stillness in which breath and pulse gradually subside until an inner qi spontaneously arises and circulates through the body, producing subtle warmth, sensations of joy, and even visionary impressions (Eskildsen 2019). The related principle of “one yang returning” (yi yang lai fu 一陽來復) indicates that this nascent yang should be nurtured with gentle warmth, not coerced effort, for excessive fire disperses rather than consolidates the vital breath (Zhong 2016). The “sudden emergence” of jinhua thus signifies the same subtle activation of inner yang—a stage demanding serenity and precise timing.

At a symbolic level, the nascent luminosity described here resonates with the concept of xin-hua (心華), the inner radiance of the heart that appears spontaneously under stabilized stillness and regulated breathing. In the Ming-Qing tradition, xin-hua is often treated as the first pure manifestation of the mind’s innate luminosity that, when properly safeguarded, later condenses into the elixir’s radiant pearl (He 2022). The imagery of “yang in harmony” therefore depicts not a physical heat but the subtle, all-pervading warmth through which the heart’s innate light begins to unfold.

The second stage, referred to as the middle phase, is characterized by the luminous flow of hua (huaguang liudong華光流動). During this phase, as the mind-substance (xinti 心體) opens and true breath stabilizes, the inner vision described in the text evolves from the subtle gleam of the initial stage into a dynamic and pervasive radiance: “Then, when all sounds fall silent and the bright moon stands at the zenith, one perceives the whole earth as a realm suffused with light. At this moment the mind’s essence opens to clarity, and jinhua shines forth in full radiance. 既而萬籟俱寂，皓月中天，覺大地俱是光明境界，此為心體開明，金華正放也。” (DZJY 13, p. 128).

The Questions and Answers for Clarifying the Obscure (Chanyou Wenda闡幽問答)4 further explains this process: “Each measure of realization adds to the store; as the accumulation becomes full, luminous flow arises, and the Dao manifests before your eyes. 體認一分，積得一分，積厚流光，道在眼前矣。” (Wang 1994, p. 159).

The phrase “luminous flow arises” (liuguang 流光) does not indicate the scattering of awareness but the natural process of “turning the light inward to illumine the celestial heart” (huiguang zhao tianxin回光照天心), where cessation (zhi止) and contemplation (guan觀) are harmonized with regulated breathing and still awareness, giving rise to light at the center of the celestial heart (tianxin天心).5 This marks the transition wherein qi is refined into light, initiating the formation of spirit.

Symbolically, this “flow of luminosity” is expressed through the mutual embodiment of kan and li (kan li huti 坎離互體): the single yang hidden in kan (kan zhong yi yang 坎中一陽) ascends, while the true yin within li (lizhong zhenyin 離中真陰) descends. Their coupling, described as “snow in the sixth month” and “the blazing sun at the third watch”, portrays not meteorological phenomena but the alchemical interplay of ascending yang and descending yin. This movement is known as “taking kan to fill li” (qu kan tian li 取坎填離) (DZJY 13, p. 129). Through this exchange, qi turns into light, bridging the initial emergence of luminosity and the later condensation of radiant spirit (Mori 2025).

From a practical standpoint, the phase parallels the Lesser Celestial Circuit (xiao zhoutian 小周天), in which body and heart correspondences of kan and li are reunited through inward illumination. The “luminous flow” thus represents not dispersion but rhythmic circulation. It conveys the resonance of stillness and movement, ascent and descent. Through this harmony, mind and breath become one, and qi begins to shine from within.

Complementing this process is the exposition of timing in Chapter Eight, titled “Instruction for Rambling Without Destination” (Xiaoyao Jue逍遙訣), which interprets the imagery of the sun and moon as mutually embodying one another:

“Lüzu said: … In the sixth month, sudden white snow flies, At the third watch6, the blazing sun will rise … These two lines convey the meaning of the sun and moon mutually embodying one another. The sixth month corresponds to the fire of li; the flying white snow symbolizes the true yin within li that is about to return to kun坤. Midnight corresponds to the water of kan; the blazing sun represents the single yang within kan that is about to return in splendor to qian. To take kan in order to fill li—this is precisely what is meant here. 呂祖曰：……六月俄看白雪飛，三更又見日輪赫…… 二句是日月互體意，六月即離火也，白雪飛即離中真陰將返乎坤也。三更即坎水也，日輪即坎中一陽將赫然而返乎乾也。取坎填離，即在其中。”(DZJY 13, pp. 129, 132).

The imagery of “snow in the sixth month” refers to the true yin within li returning to kun, while “the blazing sun at the third watch” denotes the single yang within kan returning in brilliance to qian. This mutual embodiment of kan and li, characterized by the interplay of ascent and descent, constitutes the symbolic substratum of the flowing luminosity of hua.

The third and highest stage is described as the state of “great condensation of jinhua” (jinhua daning 金華大凝), characterized by “golden radiance pervading the body, the Dharma-body arising spontaneously.” The text states: “Then the whole body feels full and replete, untouched by wind or frost…When I experience this, my spirit grows all the more vigorous…This is the great condensation of jinhua. 既而遍體充實，不畏風霜……我遇之精神更旺……此則金華大凝也。” (DZJY 13, p. 128). This stage signals the return from movement to stillness—the point at which the flow of luminosity gathers, stabilizes, and becomes presence.

To assess depth, Chapter Six lists three verifiable signs7: (1) “The spirit dwells in the inner valley(shen zai gu zhong神在穀中),” where sounds are heard as if echoed from a distance, yet nothing escapes awareness. (2) “In stillness, the radiance of the eyes rises; all before one turns white; opening the eyes, one cannot find the body”—the state of “when the inner chamber is empty, brightness arises; within and without are illumined”. (3) “The body becomes refined and buoyant, rising as if unable to remain still,” indicating the spirit’s ascent. These are not sought as spectacles but function as timing-signs that light has condensed without coercion.

The opening chapter of The Secret asserts: “Light is quick to stir yet hard to settle. When it is turned back for an extended period, this light condenses; this is the Dharma-body arising of itself. 光易動而難定，回之既久，此光凝結，即是自然法身。” (DZJY 13, p. 121). Here, the term “condense” does not imply stagnation but the return of radiance from motion to stillness, from manifestation to concealment, whereby the “Dharma-body” naturally comes into being.

In this highest stage of manifestation, the central symbol is “when the inner chamber is empty, brightness arises”. The phrase describes how emptiness gives birth to light: when the mind becomes perfectly still and open, luminosity naturally appears. This brightness is not externally bestowed but arises spontaneously from the inner source of life, reflecting what Andersen describes as the true self in Daoism—a state of being that arises from within, emerging out of the nothingness of the Dao through the process of inner transformation (Andersen 2019, p. 67). At this stage, hua reaches its ultimate form as self-born radiance, completing the return from emptiness to illumination (for a detailed discussion of its symbolic genesis, see Section 2).

The arising of true breath at this stage marks the restoration of awareness before discrimination—what the text elsewhere calls innate light, the innate luminosity of mind that mirrors without intention, like still water reflecting without ripples. Through this unconditioned stillness, cessation (zhi 止) and contemplation (guan 觀) naturally operate in unison, allowing the light to turn inward and illuminate the celestial heart. The practitioner thus learns to “listen to what has no sound” (ting qi wusheng 聽其無聲), whereby external breathing gradually ceases and inner luminosity arises of itself.

Consequently, the transition from flower to light does not entail the abandonment of the former but rather its sublimation: generativity becomes infused with brightness, and brightness, in turn, fulfills generativity. The vegetal image of growth is interiorized through the alchemical practice of huiguang as luminous awareness. Chapter Six of The Secret states: “The primordial qi is to be sought and verified in immediate experience. When this breath is obtained, the elixir is instantly formed—this is the single true millet pearl.8 先天一炁，在現前證驗中自討，一炁若得，丹亦立成，此一粒真黍珠也。” (DZJY 13, p. 129). This resonates with Chapter Three: “After one hundred days of devoted practice, the light becomes genuine and then transforms into the fire of spirit. … Within this light, a single spark of true yang suddenly gives rise to a millet pearl. 百日專功，光才真，方為神火……光中自然一點真陽，忽生黍珠……” (DZJY 13, p. 123). From a semiotic perspective, the “millet pearl” signifies the pivotal locus where nature and life converge, forming the true center of the alchemical process.

Through this condensation of light into form, hua completes its inner cycle of illumination and embodiment, preparing the ground for its symbolic and cosmological correlations in Daoist thought. Cosmological and experiential meanings are encoded not only in imagery but also in their numerical and circular structures (Torchinov and Kirkland 2017). At the doctrinal level, the text explicitly identifies the preceding process with the mutual resonance of kan and li, explaining:

“Whenever spirit leaks outward and becomes entangled with external things, this is li. Whenever consciousness is gathered inward and contained in stillness, this is kan. … Kan and li represent yin and yang; yin and yang correspond to xing and ming; xing and ming relate to body and mind; and body and mind converge as shenqi.9 凡漏泄精神，動而交物者，皆離也；凡收轉神識，靜而中涵者，皆坎也……坎離即陰陽，陰陽即性命，性命即身心，身心即神炁。” (DZJY 13, p. 134).

Kan signifies inward containment, while li denotes outward release. True efficacy manifests only through their mutual resonance: “When the celestial heart stirs, this is the return of one yang—the vital moment of the living midnight hour. 天心一動，此則一陽來複，活子時也。” (DZJY 13, p. 130). The teaching of “taking kan to fill li” thus describes the dynamic balance of ascent and descent, stillness and movement, through which the cyclical transformation of qi unfolds.

The meticulous refinement of timing is encapsulated in Chapter Twelve, titled Celestial Cycle (Zhoutian周天), which states:

“… The elixir is not a tangible substance; rather, it is the innate light, which is precisely the primordial qi10……藥非有形之物，此性光也，而即先天之真炁.” (DZJY 13, p. 136).

In essence, hua unifies light and qi, nature and life, by means of turning the light inward, avoiding coercion and aligning with “acting through non-action” (wuwei er wei無為而為).

In summary, hua can be understood through three tightly connected registers—experiential, imaginal, and doctrinal. Experientially, it traces a concrete sequence of cultivation in which luminosity emerges, circulates, and condenses, so that verification is anchored in embodied timing and practice. Imaginally, the text turns vegetal blossoming into a grammar of illumination: “flower” becomes “light,” circulation is marked as luminous flow, and images such as the “millet pearl” indicate the gathering of manifestation into form; the motif that “when the inner chamber is empty, brightness arises” functions as a concise formula for this inner disclosure. Doctrinally, hua connects cosmology and physiology by relating kan–li resonance (stillness/movement; nature/life) to the transformation of qi into light and the stabilization of spirit, grounding realization in the return from motion to stillness. Thus, hua is not an ornament but an operative principle by which The Secret renders transformation both intelligible and practicable within its Three Teachings frame.

4. The Reinterpretation of Jinhua in the Context of the Convergence of the Three Teachings

The integration of Confucianism, Daoism, and Buddhism (the convergence of the three teachings) defined late imperial Chinese intellectual thought, often summarized as a comprehensive path: “cultivating the mind with Buddhism, nurturing the body with Daoism, and ordering society with Confucianism” (S. Li 2011). To fully grasp The Secret, we must situate it within this pervasive cultural current.

As established in the Introduction, scholarly research consistently identifies the text with the Jingming Dao 淨明道 lineage (Lai 2016). This lineage is the hermeneutical key, as Y. Li (2012) demonstrates that the Jingming Dao itself was architecturally founded upon the ideal of the convergence of the three teachings, explicitly integrating Confucian sincerity, Buddhist mind-nature illumination, and Daoist methods of inner transformation.

The Secret thus stands as a definitive exemplar of this late-Ming amalgamation. Situated within the Daoist alchemical framework of the “dual cultivation of nature and life”, the text employs the concept of jinhua as its pivotal, unifying symbol. This luminous inner phenomenon serves as the unique medium to merge Confucian moral self-awareness—referred to as illuminating virtue—with the Buddhist soteriological understanding of “the mind-nature’s original purity” (xinxing benjing 心性本淨). Without this framework of interreligious interpretation, the uniqueness of jinhua as a vehicle for cross-traditional cultivation remains elusive. The subsequent discussion will explore these dimensions in detail.

4.1. The Buddhist Doctrine of “Luminous Mind-Nature” (xinxing guangming 心性光明) and the Logic of Ascension Through Pure Thought (chunxiang ji fei 純想即飛)

The Buddhist discourse on light is rooted in the doctrine of the original purity and luminosity of mind-nature (xinxing ben jing, ben ming 心性本淨、本明) (see Kang 2018; Pu 2008). The Śūraṅgama Sūtra (Lengyan Jing 楞嚴經) specifically articulates the practice of “turning the faculty of hearing inward to one’s own nature (fan wen wen zixing 返聞聞自性)”11, wherein the faculties of seeing, hearing, awareness, and knowing are reversed into the innate light. The Secret frequently cites and adapts this logic. Its opening chapter quotes the Śūraṅgama Sūtra:12

“When thought is perfectly pure, one ascends in spirit and takes form within the Celestial. This ‘Celestial’ is not the blue sky above; it is the inner Celestial Palace of Qian, where the spirit takes form. In time, a realm beyond the body naturally unfolds 純想即飛，必生天上；天非蒼蒼之天，即生身於乾宮是也。久之，自然身外有身。” (Du and Zhang 2004, p. 137).

In the Tang dynasty translation by Banlamidi (般剌密諦, c. 746–c. 810), the term “pure thought” denotes a mind that is free from distractions, single-pointed and undivided. Early masters interpreted “flight” as transcending the bonds of birth and death to ascend into the realm of the Dharma.

As Greene (2021) has shown, early Chinese Buddhist meditation was organized around a “semiotic ideology” of vision (pp. 13–7, 91–8): luminous phenomena were not the product of visualization but rather spontaneous evidence of meditative purification. Such “confirmatory visions” (pp. 58–64) served as signs to be read, verifying the “Luminous Mind-Nature”. This interpretive logic directly parallels The Secret of the Golden Flower’s teaching that “when pure thought arises, one ascends,” in which the ascent of the innate light signifies the mind’s self-illumination freed from discriminative cognition.

Chapter Three of The Secret reiterates the following: “Therefore, the Śūraṅgama Sūtra states: ‘When pure thought arises, one ascends; when pure desire dominates, one falls (純想即飛，純情即墮).’” This distinction between thought (contemplative cognition) and emotion (emotional attachment) delineates two divergent paths. The former, through focused inner contemplation, evokes the ascent of the innate light, leading toward clarity and transcendence. In contrast, the latter, ensnared in the entanglements of affective consciousness, causes delusive thoughts to descend, resulting in the obscuration of the mind’s light. The concept of flight is not a spatial motion of ascent or descent; rather, it represents the moment of liberation when the innate light breaks free from the constraints of discriminative consciousness, attaining a state of transcendence.

At the level of “luminous mind nature”, Chapter Ten of The Secret, titled “The Innate Light (Xingguang 性光) and the Conscious Light (Shiguang 識光)”, offers a further nuanced distinction:

“When ordinary individuals observe objects, the moment their eyes encounter them, before discrimination arises, this is the innate light—like a mirror reflecting without intention or water mirroring without intention. After a moment, it becomes the conscious light, for discrimination has already arisen. Once the mirror has shadows, it ceases to be a true mirror; once the water presents images, it is no longer truly water. If light acquires cognition, how can it still be deemed light? 凡人視物，任眼一照去，不及分別，此為‘性光’，如鏡之無心而照也，如水之無心而鑑也。少刻即為‘識光’，以其分別也。鏡有影已無鏡矣，水有象已無水矣。光有識，尚何光哉?” (DZJY 13, p. 134)

The distinction between the innate light and the conscious light directly parallels the Buddhist classification of original enlightenment (ben jue 本覺) and initial enlightenment (shi jue 始覺), as well as non-discriminative wisdom (wu fenbie zhi 無分別智) and discriminative wisdom (you fenbie zhi 有分別智). The text references the Entry into the Investigation of the Śūraṅgama (Lengyan Tuikan Rumen 楞嚴推勘入門), stating: “It does not abide in sense-objects, nor in consciousness, but solely in the faculty. 不在塵，不在識，惟選根。” (Du and Zhang 2004, p. 183). This conveys a methodology of “detaching from sense-objects and consciousness,” indicating a path towards returning to the inherent nature within the faculties.

Ultimately, what The Secret refers to as “turning the light inward” is synonymous with the practice of “turning the faculty of hearing inward to one’s own nature” as taught in the Śūraṅgama Sūtra. Through the complementary practices of cessation and contemplation, the practitioner ensures that the innate light does not devolve into the conscious light; by “listening to what has no sound”, the “true breath” naturally emerges. Thus, the text establishes a practicable path from meditative absorption to liberating insight.

From the perspective of experiential cultivation, The Secret transcends mere abstract theorizing about mind and nature; it employs verifiable experiences of light to advance Buddhist discourse on philosophy of mind and nature. Chapter Six, titled “Verification through Turning the Light Inward” (Huiguang Zhengyan 回光證驗), presents three criteria for verification as an illustration. One criterion states: “When the inner chamber is empty, brightness arises; within and without are illumined”, indicating a saturation of vision with luminous imagery. Another criterion describes: “The physical body becomes subtle and harmonious… rising and floating upward” (肉身細緄……騰騰上浮), reflecting a psychosomatic state of tranquil ease (qing’an 輕安)13. Such experiences are not merely sensory anomalies but are indicative of the mutual interpenetration of concentration (ding定) and wisdom (hui慧). In profound stillness, attachment to the mirror as an external point of fixation is relinquished, allowing the light of the mind to manifest. This aligns with the Buddhist principle of “arousing the mind without fixation” (wu zhu er sheng xin 無住而生心), demonstrating the mutual reinforcement between doctrinal principles and experiential realizations.

4.2. Confucian “Empty Center” (xu zhong虛中) and the Learning of Nature and Life (xing ming zhi xue 性命之學)

At the outset of The Secret, the text states: “Confucians refer to the ‘empty center’ (xu zhong虛中); Buddhists describe the ‘numinous terrace’ (lingtai靈臺); Daoists speak of ‘ancestral soil’ (zutu祖土), ‘yellow court’ (huangting黃庭), ‘mysterious pass’ (xuanguan玄關), and the aperture of the primordial (xiantian qiao先天竅).” (DZJY 13, p. 121). This enumeration indicates that despite the diverse terminology, these distinct traditions converge on a shared focal point of cultivation, ultimately alluding to the celestial heart.

While the term “empty center” does not appear as a formal concept in Confucian texts, it is contextualized within the Confucian traditions of preservation and nurturing (cunyang存養) and dwelling in centrality (juzhong居中). This term underscores the importance of inner cultivation and the practice of maintaining a balanced centeredness. Methodologically, this aligns with Daoist practices of guarding the center (shouzhong守中) and turning the light inward, highlighting a common orientation in their respective approaches to self-cultivation.

In Confucian literature, The Great Learning (Daxue 大學) begins with the assertion: “The Way of Great Learning lies in manifesting “illuminating virtue”, in renewing the people, and in resting in the utmost goodness. 大學之道，在明明德，在親民，在止於至善。”(SSJZS 6, p. 1954) This statement establishes the cultivation of one’s inner “illuminating virtue” as fundamental, outlining a practical pathway to moral perfection through self-cultivation. Furthermore, The Doctrine of the Mean (Zhongyong 中庸) asserts: “Sincerity is the Way of Heaven; the practice of sincerity is the Way of humanity. 誠者，天之道也；誠之者，人之道也。” (Chen and Wang 2019, p. 183). In this text, sincerity is positioned as a crucial concept that connects Heaven and humanity, emphasizing that through the cultivation of sincerity, individuals can align themselves with the Heavenly Way, thereby realizing the unity of human and cosmic order.

By the Song dynasty, Zhu Xi (朱熹, 1130–1200) articulated the fundamental state of the mind-substance as “empty, numinous, and never obscured” (xuling bumei 虛靈不昧). He advocated for practices of “maintaining reverence and preserving nourishment” (zhujing cunyang 主敬存養) as the means to restore the mind’s innate luminosity. Within this Confucian lineage of thought, the concepts of “illuminating virtue”, the body of sincerity (chengti 誠體), and the brightness of the mind-substance (xinti zhi ming 心體之明) resonate profoundly with the emphasis found in The Secret on “clarifying the mind and guarding the center” (chengxin shouzhong 澄心守中) and the “turning back of innate light” (xingguang fanzhao 性光返照). Collectively, they establish a significant theoretical correspondence regarding both cultivation methods and spiritual realization orientations.

In the Postscript: Questions and Answers for Clarifying the Obscure appended to The Secret, Confucian discourse is further integrated: “The study of nature cannot be complete without the study of life… Thus, The Book of Changes (Yijing 易經) states: ‘By exhausting principle and fulfilling nature, one arrives at destiny’窮理盡性以至於命.” (Du and Zhang 2004, p. 155). By directly referencing The Book of Changes, the text clarifies that the ideal of cultivating both nature and life is not solely a Daoist concept but is also articulated within Confucian theories of mind and nature.

Furthermore, the text explicitly connects Confucian categories of moral cultivation to Daoist alchemical practices: “In its clarity and illumination, it is called knowledge; in its discernment and vigilance, it is called reverence; in its freedom from delusion, it is called sincerity; and in its inherent endowment of vital principles, it is called humaneness.自其精明而言，謂之知；自其鑒察而言，謂之敬；自其無妄而言，謂之誠；自其生理具於此，謂之仁。”(Du and Zhang 2004, p. 163). As Andersen (2019, pp. 46–7) observes, cheng 誠(sincerity) in early Confucian thought was not only a moral disposition but also a cosmic principle that sustained harmony between the human and the natural orders. In The Secret, this notion of sincerity resonates with the Daoist emphasis on inner clarity and non-delusion, suggesting a shared orientation toward the cultivation of an authentic mind. These categories, originally central to Confucian self-cultivation, are integrated into the Daoist framework of the “learning of nature and life” (xing-ming zhi xue 性命之學).

Complementing this integration is the shared emphasis on centrality (zhong 中), which resonates with The Secret’s cultivation of “dwelling in the center and guarding the One” (juzhong shouyi 居中守一). The Secret consistently asserts that “the celestial heart is correctly positioned at the center 天心正位乎中.” Consequently, it instructs practitioners to “lower the eyelids” and “gaze at the tip of the nose,” allowing light to “naturally penetrate inward” without the mind becoming scattered in pursuit of external distractions. This method aligns with Confucian injunctions to cultivate sincerity of intention and rectify the mind (chengyi zhengxin 誠意正心), as well as to achieve central harmony (zhi zhonghe 致中和), all of which emphasize an inward, centering, and clarifying process of cultivation.

At the most fundamental level, a profound convergence emerges between the Confucian concept of “illuminating virtue” and The Secret’s notion of innate light. Both systems establish comparable frameworks for self-cultivation. The former underscores removing obstructions so that brightness may appear.14 (Zhu 1983, p. 3), while the latter cautions that light without cognition remains true light.15 Thus, both traditions define cultivation as the removal of obscurations and the manifestation of luminosity as a sign of attainment. Their methods, however, reveal a strategic divergence: Confucianism advances through an expansive engagement with ethical practice in the world, whereas Daoism pursues a condensing path of inner alchemical refinement. Notwithstanding these differing trajectories—whether expansive or contractive, active or quiescent-ultimately converge upon the “original brightness of the mind” (xin zhi benming 心之本明).

Thus, The Secret’s incorporation of Confucian thought does not manifest as a point-by-point correspondence in practical techniques; instead, it synthesizes Confucian concepts of nature, life, and virtue into the doctrinal framework of inner alchemical cultivation. Terms such as “empty center”, “extending knowledge”, and “sincerity and reverence” serve as ethical and moral-psychological supplements. Although not entirely identical to Daoist practices, these concepts ultimately converge toward the goal of achieving inner clarity and alignment with the Dao.

4.3. Daoist Inner Alchemy and the Integrative Logic of Jinhua

To complete the triadic framework, the following section examines the Daoist alchemical dimension, within which jinhua assumes its operative meaning. Whereas the Buddhist and Confucian strands provide conceptual resources, it is the Daoist inner-alchemical logic that furnishes the structural pathway enabling their integration.

From the perspective of Daoist inner alchemy, the convergence of Confucian “illuminating virtue” and Buddhist “luminous mind-nature” acquires its operative coherence. The essence of jinhua as a cross-religious symbol lies in its capacity to fulfill three doctrinal prerequisites. First, it embodies the Confucian ideal of “illuminating virtue” and the cultivation path of through the “empty center”. Light not only signifies the self-illumination of the mind when obstructions are removed but also aligns with Confucian values of sincerity, reverence, and moral self-cultivation, thus acquiring ethical and pedagogical significance. Second, it resonates with the Buddhist framework of liberation through “luminous mind-nature”: practices such as “ascending through pure thought” and “turning the faculty of hearing inward toward one’s own nature” transform light into a catalyst for transcending discriminative consciousness and revealing original enlightenment. Third, it is rooted in the procedural principles of Daoist inner alchemy: stages such as “taking kan to fill li”, “turning the handle of the Dipper” (doubing woxuan 鬥柄斡旋), and “completing the celestial cycle through the arrival of mind” (zhoutian yi xin dao 周天以心到) facilitate the condensation, safeguarding, and verification of light (refer to Section 3 above).

This multi-directional synthesis aligns with Yu’s (2016) observation that the Song–Ming transformation from tiaohé 调和 (“harmonization”) to róngtōng 融通 (“integration”) signified a shift from external reconciliation to an “internal structural interpenetration,” where each tradition reinterpreted itself through the others while preserving doctrinal integrity. Consequently, the intellectual lineage of jinhua may be understood not as syncretism but as structural homology: “center” as the focal locus, “light” as its phenomenological sign, and “turning back in reflection (fanguan 返觀)” as its operative method.

As Arghirescu (2019) has shown, Song-dynasty Neo-Confucianism and Chan Buddhism share a bidimensional model of self-cultivation—structured through the correlatives of inner–outer (nei–wai 內外) and substance–function (ti–yong 體用). This structural homology provides strong support for understanding The Secret’s integration of Confucian and Buddhist methods within a Daoist alchemical vocabulary of light.

Chapter Eight of The Secret explicitly states: “In sum, the Three Teachings are encapsulated in a single phrase: the divine elixir that delivers from death and preserves life. What is this divine elixir? It is simply to be ‘without mind’(wuxin 無心) in all situations—that is, to act and respond without deliberate grasping, discursive discrimination, or self-centered intentionality, while maintaining lucid, receptive awareness. 總之三教不過一句，為出死護生之神丹。神丹為何？曰一切處無心而已。” (DZJY 13, p. 132). Here, the themes of “emptiness of mind” (understood here as a non-grasping wuxin orientation) and “action through non-action” unify the orientations of the three traditions. Through this synthesis, The Secret establishes a shared paradigm mediated by light: a procedural sequence of “removing obstructions –manifesting luminosity –returning to origin.”

The preceding analysis has primarily focused on the symbolism of light and its practical implications. However, from a deeper perspective that encompasses the cultivation of one’s essential nature (xinggong 性功) and the confrontation with the issues of life and death, The Secret similarly reveals the common orientations of the Three Teachings. The text underscores the importance of cultivating nature, with particular emphasis on the discipline of the mind and heart. In addressing the fundamental challenges of life and death, the practices of Daoism, Buddhism, and Confucianism find common ground (Du and Zhang 2004, p. 131; refer to Introduction).

The Secret states: “The learning of the sages begins with knowing where to stop, and through stopping it reaches the highest good. It starts from the Limitless and returns to the Original Ultimate. The Buddha articulated the principle of ‘arousing the mind without abiding’as the foundation of the entire Great Canon. Our Daoist path, encapsulated in the single word xu, completes the work of both nature and life. 聖學以知止始，以止至善終。始乎無極，歸平元極。佛以無住而生心為一大藏教本。吾道以致虛一字，究性命全功。” (DZJY 13, p. 132). This implies that as long as a path leads to liberation, there is no place devoid of learning, and every location contains subtle truths. “My words reveal only their points of convergence. Thus, no duality is perceived. 吾言只透露其相通處，所以不見有兩。”(DZJY 13, p. 133).

It is precisely on this common ground that The Secret establishes its foundation, elevating “The Dao models itself on spontaneity” (dao fa ziran 道法自然) as the highest realization. In this respect, it draws upon Buddhist principles of introspection and return—such as the teachings of the Śūraṅgama Sūtra on “turning inward” (ru huan入還) and “returning consciousness to its origin” (ru shi huan入識還)—while also integrating the Confucian spirit of “governing affairs through mindful attentiveness” (yi nian zhishi 以念治事) and “not being deceived by one’s occupation” (bu shou qi yu zhiye 不受欺於職業), expressions of the ideal of “unceasing self-strengthening” (ziqiang buxi 自強不息). These currents are interwoven into the doctrines and methods of inner alchemy, so that jinhua becomes not merely a Daoist symbol but a locus where the shared concerns of the Three Teachings regarding life, death, and transcendence converge.

5. Conclusions

In examining the representations of jinhua in The Secret, it becomes evident that its symbolic significance, inner visionary experiences, and religious interpretations are interrelated rather than isolated domains. Each aspect progressively reveals insights into the others. From the circulation of external visual imagery to the psychosomatic transformations associated with inner alchemical practices, and ultimately to its role as a luminous symbol uniting Confucianism, Buddhism, and Daoism, jinhua serves as a crucial medium that integrates sensory brilliance, the clarity of mind-nature, and the foundational essence of existence.

First, as a symbolic image, hua retains the discernible characteristics of a blooming plant; however, within the context of alchemical discourse, it undergoes a metamorphosis from a floral form to a luminous phenomenon. It embodies the temporal metaphor of the flower—flourishing at its zenith before fading—while simultaneously being reinterpreted in The Secret as the eternal radiance of “flames and flowing brilliance” (guangyan liucai 光焰流彩). In this manner, it transcends the natural cycle, transforming into the manifestation of primordial qi as ontological luminosity. This transformation positions hua as a visual mediator within the dual cultivation of nature and life, acting as an imaginal interface through which qi transmutes into light and light into spirit—simultaneously concrete and trans-symbolic.

Second, at a practical level, jinhua is not merely an abstract rhetorical device but rather a tangible experience accessible within the practitioner’s inner vision. It begins with an initial fleeting flash during which jinhua first manifests; this is followed by an intermediate stage where the “luminous circulation” (huaguang liuzhuan 華光流轉) permeates the entire body, culminating in an advanced stage characterized by golden radiance enveloping the body as the “natural Dharma-body” (ziran fashen 自然法身). This gradual unfolding of light occurs alongside the successive transformations of qi, light, and spirit, serving as both an indicator of progress in practice and a reflection of the practitioner’s fluctuating mental states: an inward condensation and outward radiance, stillness and movement interlinked, cycling and returning without end.

Most importantly, despite being rooted in Daoist alchemical discourse, jinhua in The Secret engenders a cross-religious dynamic of mutual interpretation through the integration of Confucian and Buddhist terminologies. The Confucian concept of the “light of illuminating virtue”, the Buddhist notion of “luminous mind-nature”, and the Daoist traditions of radiance converge, rendering jinhua a central symbol comprehensible across diverse traditions and continually generating new layers of meaning through their interplay. By incorporating the philosophical insights of both Buddhism and Confucianism, The Secret also reformulates the often esoteric and obscure language of earlier alchemical texts into a more accessible and vivid discourse that directly points to essential realization (Du and Zhang 2004, p. 131).

From this perspective, jinhua serves not only as an experiential metaphor for inner alchemical cultivation but also as a symbolic mechanism that facilitates the transposition of Daoist body–mind philosophy. It encapsulates the practitioner’s physiological and psychological experiences through the imagery of light, transforming these experiences into a communicable and transmissible language of religion. This symbolic transposition acts as a cohesive force within the Daoist tradition and as a medium for spiritual communication across diverse religious and cultural contexts.

Through a systematic examination of the etymology, symbolism, practice, and interreligious contexts of jinhua in The Secret, this paper elucidates how the image undergoes symbolic reconstruction within the Daoist inner alchemical framework. This reconstruction involves a transition from a tangible image to intangible luminosity, from the natural metaphor of the flower to the ontological radiance of light and from individual experiences of cultivation to a focal point of interreligious interpretation. Such a reconstruction illustrates how the alchemical symbolic system forges connections between sensory perception and inner awareness, personal practice and shared vocabulary, as well as concrete methods of cultivation and doctrinal exegesis. In this context, jinhua emerges as a central image that is both aesthetically resonant and philosophically profound.

Nevertheless, this discussion acknowledges its limitations. As a central and generative image, jinhua can be effectively compared, in terms of symbolic structure, with the spiritual totems of ancient Indian Buddhism—most notably the mandala. As C. G. Jung noted, jinhua may also be interpreted as an “Eastern mandala,”16 symbolizing the unfolding and return of the self (Wilhelm and Jung 1962). Such cross-cultural comparisons suggest promising avenues for future dialogue between the study of religious symbolism and psychology. Furthermore, as a significant medium through which Daoist thought has reached international audiences, the image of jinhua serves as a unique point of reference for the ongoing interaction between Chinese and Western religious thought.