Practicing Propriety by Wearing Jade and the Origin of Confucian Myth
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Basic Theory for Martial Arts and Oriental Health Practice Prepared By
Basic Theory for Martial Arts and Oriental Health Practice Prepared by: Jeffrey W. Helaney, D.Sc. Oriental Medicine & gthDan TaeKwon-Do The theories mentioned in this study guide comprise the basic conceptual framework of most Traditional Chinese Medicine modalities and eastern martial arts styles. When used separately or together the constructs form as simplistic method for viewing the interactions of the human body and the universe itself Regardless of the methodology used to diagnosis an illness, to treat a patient's complaints, or to focus a martial arts attack basic understanding of the process needed to affect change (from an eastern perspective) can be found utilizing one or more of theses theories. It is beyond the scope of this study guide to delve deeply into oriental medical theory or methods of attack. Volumes can and have been written on each subject. This outline is designed to give the student a basic understanding of how most eastern traditions view the functioning of the human body. A basic understanding of these theories and the meridian system is a prerequisite for progressing beyond the rank of 1st Degree Black Belt in this school. fig 1-1 Common characters on left, simplified characters on right Pire Water Table: 1 -2 Chart of Common Sun :Moon Concepts in Yin :MaCe PemaCe And Yang Theory 'fuJ:ess (])eficient )lctive Inactive P.nergy :Matter Punction Porm Yin and Yang are opposites, relative to each other. Nothing in nature is either wholly yin or wholly yang. Everything contains the essence of the other inside it. Yin and Yang are constantly changing balance, with each attempting to gain dominance. -
Grand Junction MARTIAL ARTS CHRYSLER DODGE JEEP RAM RESEARCH SYSTEMS FREE TAKE ONE 1 FREE Oil Change 2 2 FREE Classes 3 FREE Sm
Grand Junction MARTIAL ARTS CHRYSLER DODGE JEEP RAM RESEARCH SYSTEMS FREE TAKE ONE 1 FREE Oil Change 2 2 FREE Classes 3 FREE Sm. Slice of Pie The $35 Value 245-3100 $36 Value 243-8010 $3 Value 858-8351 FREE Onion Rings 4 and 16oz draft 5 FREE Appetizer 6 FREE Dessert $12 Value 858-0701 $10 Value 858-9899 $9 Value 255-0000 Grand Valley SERENITY Kathy’s Nails Therapeutic Salon & Spa Massage FREE Eye Brow 7 FREE Nail Art 8 FREE 30 Min. Massage 9 CREATION $20 Value 434-9037 $35 Value 250-8221 $15 Value 424-3880 1 2 3 4 5 6 7 8 9 These offers are one use only and may not be combined with other offers or discounts. One offer per visit/party/table. Offers are subject to change withot notice. No cash back. Not responsible for lost or stolen Source Cards. Visit our website atGET yvsource.com YOURS—Page for over 100 more money-saving offers. CARD EXPIRES17 AUGUST 1, 2015 The Western Slope’s Guide to Entertainment, Arts & News for May 2014 “See pages 13-14—and page 20 GRAND JUNCTION The new Cherokee delivers superior performance, CHRYSLER • JEEP • DODGE • RAM exceptional fuel economy, 2578 HWY 6 & 50 Grand Junction craftsmanship and (on the corner of motor & funny little street) user-friendly connectivity. 245-3100 • 1-800-645-5886 TAKE A TEST DRIVE TODAY! www.grandjunctionchrysler.com • Sales: Mon-Fri 8:30-6:00, Sat 8:30-5:00 • Parts and Service: Mon - Fri 7:30-5:30, Sat 9:00-1:00 / Closed on Sundays Real Estate West, Inc. -
The Festival of the Nine Emperor Gods in Malaysia: Myth,Ritual,And Symbol
C heu H ock T ong National University of Singapore The Festival of the Nine Emperor Gods in Malaysia: Myth,Ritual,and Symbol Abstract The present paper describes and analyzes the Festival of the Nine Emperor Gods, a popular celebration among the Chinese in Malaysia. The origins of the myth of the Nine Emperor Gods may be traced back to the Nine Human Sovereigns of Chinese tradition, to the historical events of the Han and Ming dynasties, and to the circumstances of the Chinese immigration into Malaysia. The myth of the Nine Emperor Gods is enacted in a body of rituals, the significance of which is reflected in the symbolic representations of the gods. Myth, ritual, and symbol are thus ideologically interrelated to form a structural framework for the interaction of the yin-yang forces at different levels of the cosmic representations featured in the festival. The festival provides a venue for the yearly renewal of cosmic power, so that human life may be rejuvenated and human conflicts resolved. Key words: Nine Emperor Gods — festival— myth ——ritual— macrocosm 一 micro cosm — infracosm Asian Folklore Studies, Volume 55,1996: 49-72 1 H E Festival of the Nine Emperor Gods (Jiuhuangye 九皇爺)in 1 Malaysia is a form of temple fair celebrated only at temples dedicated to these gods. In a 1984 survey I found tmrty-nine such temples in Peninsular Malaysia and none in the states of Sabah and Sarawak. In 1990 the number in Peninsular Malaysia had increased to fifty. My latest surveys, in 1991 and 1992,revealed a further three temples in the West しoast Residency of Sabah (two in Kota Kinabalu and one in Labuan).1 The organization of the festival can be represented in the form of two large concentric circles. -
Intangible Heritage in Performing Arts in Taiwan
LIVING HERITAGE: INTANGIBLE HERITAGE IN PERFORMING ARTS IN TAIWAN by SHANGRONG TSAI A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Ironbridge International Institute for Cultural Heritage School of History and Cultures College of Arts and Law University of Birmingham May 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Intangible heritage is a growing concept of emphasis in international communities. This study will define intangible heritage and focus on the performing arts in Taiwan. Inasmuch as Taiwanese Opera and Hand Puppetry are two of the most significant manifestations among others, research methods of qualitative interviews and non-participant observations will be used to gain an insight into their practices through investigating certain practitioners. This study will in particular explore organisational management and training approaches that ensure their artistry and skills are transmitted, contributing to the dissemination of intangible heritage. Furthermore, this study will inspect how the competent authorities determine the designation and registration of intangible heritage. Governmental schemes and their implementation for the safeguarding intangible heritage will be thoroughly examined, revealing the integrity and effectiveness of administrative systems, especially as the competent authorities are confronted by certain problems in the interpretation of intangible heritage, interaction with practitioners and controversy. -
A Reconstruction of Zhuangzi's Philosophy on Transcendence
religions Article The Big and the Great: A Reconstruction of Zhuangzi’s Philosophy on Transcendence Limei Jiang Center of Value & Culture, School of Philosophy, Beijing Normal University, Beijing 100875, China; [email protected] Received: 29 November 2018; Accepted: 25 December 2018; Published: 4 January 2019 Abstract: This essay attempts to demonstrate the logic of Zhuangzi in his different attitudes toward “debate on big and small” by bringing into discussion the two versions of translation in the English languages, which provide a new approach to analyze the difference in the controversial commentaries on Zhuangzi. This essay points out that the ideal of “free and easy wandering” is a type of positive pleasure. By means of rational thinking and imagination, one’s searching for the external values is turned into the internal pursuit for wisdom in the transformation of things. Zhuangzi’s theory of transcendence not only provides the subject with multi-perspectives, but also substitutes the self-identity with self-value. Through the interaction between self-awareness and self-reaction, the subject can be unified with the great Dao through purposive activities. However, Guo Xiang’s commentary cancels the necessity of self-cultivation and negates the purposefulness of the subject, which underestimates the value of Zhuangzi’s construction of transcendence. Keywords: positive pleasure; purposiveness; self-awareness; self-reflection; no-self 1. Introduction The “debate on big and small” (xiaoda zhi bian小'K¨) was raised in the first chapter, Free and Easy Wandering (xiaoyaoyou逍e8), of the Zhuangzi. It is also discussed in other chapters such as On Making Things Fit Together (qiwulunPiº) and Autumn Waters (qiushuiË4). -
Chinese Journal of Applied Ecology 161: 180–185
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The Paradigm of Harmony in Zhang Zai's Philosophical System
The Great Harmony : The Paradigm of Harmony in Zhang Zai’s Philosophical System Filippo Costantini TESI DOCTORAL UPF / 2016 DIRECTOR DE LA TESI Dr. Manel Ollé Rodriguez DEPARTAMENT D’HUMANITATS ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the people who helped to make the completion of this work possible. I am grateful to my academic advisor, Professor Manel Ollé generously offered guidance and direction allowing the completion of this work. I am also grateful to my former advisor Albert Galvany who helped at the beigninning of this journey, and unfortunately could not guide me to the end of this work. I am grateful to Professor José Antonio Cervera who gave me the opportunity to experience a period of this investigation in Mexico, and helped me in the publication of my first academic article. I also owe a debt of gratitude to Professor Gianluca Magi who has been a constant source of inspiration over the course of my undergraduate studies. I am thankful to my former Professors Alessandra Brezzi and Claudia Pozzana for their teachings and encouragement all along these years of my academic studies. I would also like to thank my fellow Roberto Figliulo who always helped me and encouraged me over these years. My dear friend Amorini Katjuscia who patiently helped me work through the editing process of this dissertation. Finally, I must thank Noemi Pucci and my family for their kind assistance and support throughout the years. iii iv Abstract Harmony is one of the most important concepts of the Confucian tradition. Along Confucianism, harmony represented most of the time the ultimate ideal that man needs to pursue. -
The Electronic Journal of East and Central Asian Religions
The electronic Journal of East and Central Asian Religions Volume 1 Autumn 2013 Contents Preface 4 Introduction 5 Friederike Assandri, Examples of Buddho–Daoist interaction: concepts of the af- terlife in early medieval epigraphic sources 1 Carmen Meinert, Buddhist Traces in Song Daoism: A Case From Thunder-Rite (Leifa) Daoism 39 Henrik H. Sørensen Looting the Pantheon: On the Daoist Appropriation of Bud- dhist Divinities and Saints 54 Cody Bahir, Buddhist Master Wuguang’s (1918–2000) Taiwanese web of the colo- nial, exilic and Han 81 Philip Garrett, Holy vows and realpolitik: Preliminary notes on Kōyasan’s early medieval kishōmon 94 Henrik H. Sørensen Buddho–Daoism in medieval and early pre-modern China: a report on recent findings concerning influences and shared religious prac- tices 109 Research Articles eJECAR 1 (2013) Buddhist Traces in Song Daoism: A Case From Thunder-Rite (Leifa) Daoism Carmen Meinert Käte Hamburg Kolleg, Ruhr-Universität Bochum Topic FTER the turn of the first millennium the Chinese religious landscape had developed A to a degree that the production of hybrid Buddho-Daoist ritual texts was a rather widespread phenomenon. With the rise of a Daoist trend referred to as Thunder Rites (leifa 雷法), which matured during the mid- to late-Song 宋 Dynasty (960–1279) and did not solely pertain to any particular branch of Daoism, a new type of (often Buddho-Daoist) ritual practice had emerged, largely exorcistic in nature and that would eventually be incorporated into classical Daoist traditions.1 Practitioners of Thunder Rites were either members of the established Daoist orthodoxy or itinerant thaumaturges, referred to as ritual masters (fashi 法師).2 They had received powerful ritual techniques (fa 法) which, by using the potency of the thunder, aimed to correct the world’s calamitous powers to regain a state of balance or harmony. -
The Development of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener
Seton Hall University eRepository @ Seton Hall Seton Hall University Dissertations and Theses Seton Hall University Dissertations and Theses (ETDs) Summer 7-9-2019 The evelopmeD nt of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener as Major Examples Xiang Wei [email protected] Follow this and additional works at: https://scholarship.shu.edu/dissertations Part of the Chinese Studies Commons Recommended Citation Wei, Xiang, "The eD velopment of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener as Major Examples" (2019). Seton Hall University Dissertations and Theses (ETDs). 2681. https://scholarship.shu.edu/dissertations/2681 THE DEVELOPMENT OF SHAMANISM AND ITS SOCIAL FUNCTIONS IN THE SONG DYNASTY (960-1279): TAKING FOLKTALES IN RECORD OF THE LISTENER AS MAJOR EXAMPLES BY XIANG WEI A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF ASIAN STUDIES AT SETON HALL UNIVERSITY SOUTH ORANGE, NEW JERSEY 2019 © Xiang Wei 2019 ACKNOWLEDGEMENT First of all, I would like to express my gratitude to all those who helped me during the writing of this thesis. I gratefully acknowledge the help of my supervisor, Dr. Rice, who has offered me valuable suggestions in the academic studies. In the preparation of this thesis, he has spent much time reading through each draft and provided me with inspiring advice. Without his patient instruction, insightful criticism, and expert guidance, the completion of this thesis would not have been possible. -
Portfolio of Compositions
Portfolio of Compositions Cheong Li PhD Thesis Music September 2013 PORTFOLIO OF COMPOSITIONS i Abstract This portfolio includes pieces for ensemble, solo instrument, voice and choir as well as electroacoustic music, which are products of research into various aspects and degrees of freedom and control within a composition. Through collaboration with performers from different backgrounds, the pieces explore elements of improvisation by means of a variety of methods: graphic and conventional notation, written and verbal instructions, choice of materials within a given framework, or freedom of structure with given materials. Music from different cultural backgrounds is discussed in this commentary, outlining how these influences may hint at different ways of approaching freedom and control in music. ii PORTFOLIO OF COMPOSITIONS Table of Contents Abstract....................................................................................................................................i Table of Contents...................................................................................................................ii List of Submitted Pieces........................................................................................................iv List of Submitted Audio Visual Contents..............................................................................v Audio CD ..............................................................................................................................v DVD.....................................................................................................................................vi -
Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Religious Daoism
03/05/2017 Religious Daoism (Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Religious Daoism First published Fri Aug 19, 2016 It has become a sinological dogma to distinguish between the socalled Taoist school (Daojia), said to have produced the classical mystical texts …, and the socalled Taoist religion (Daojiao), often said to have begun in the Later Han period [i.e., the 1st–2nd centuries CE]. The successive Daozang [Daoist Canons] never made this distinction. When we look at the way the terms Daojia and Daojiao occur in the texts preserved in the Ming Canon [published in 1445], we see that they are practically synonymous and interchangeable. —Kristofer Schipper (Schipper and Verellen 2004: 6) There could be no better introduction to the present article than the passage quoted above from one of the main Western scholarly works on Daoism (or Taoism), even though it calls into question not only the relevance of this entry, but also the actual existence of its subject. Daoist texts do not speak of “philosophy” or “religion”, two words that do not even exist in the premodern Chinese language. They speak, instead, of what they call the “house”, “family” or “lineage of the Dao” (daojia; also translatable in the plural), and of what they call the “teachings of the Dao” or “teachings on the Dao” (daojiao). Daoists, who obviously have understood these terms in their literal senses, have seen them as defining the same entity: there cannot be “teaching” without “lineage”, and vice versa. Even if the term “religious Daoism” is accepted, it is not clear which entity it should define: different scholars might explain its meaning in different ways. -
The Making of the Mysterious Woman in Daoism and Water Margin
Ming Studies, 74, 48–71, November 2016 “CONCEAL MY BODY SO THAT I CAN PROTECT THE STATE”: THE MAKING OF THE MYSTERIOUS WOMAN IN DAOISM AND WATER MARGIN PENG LIU Columbia University, New York, USA Protecting fictional heroes against misfortune and helping them defeat demonic enemies, the Mysterious Woman of the Nine Heavens proves to be a crucial figure in the Ming novel Water Margin. Her divine power and military wisdom pique our interest, inviting us to discover her true identity and investigate the process of her creation. This article shows how a set of related Daoist texts strengthens her role as a warrior protectress by giving prominence to her magic of concealing the body 隱身 (yinshen) and to magic concerning the worship of the Northern Dipper. The association of these two types of magic with the Mysterious Woman indicates the nature of this deity as a mixture of Daoist ideas that are in turn assimi- lated into the novel to serve narrative functions. In this process, the novel codes reli- gious ideas into its own language and portrays the Mysterious Woman as an internal author who controls the knowledge of the characters’ destinies. Her intervention in human affairs is restaged in a novel setting. The novel functions as part of a cultural mechanism that creates new stories about this ancient goddess. KEYWORDS: the Mysterious Woman, Daoism, Water Margin, Ming Dynasty, invisi- bility, the Northern Dipper In the Ming novel Water Margin 水滸傳 (Shuihu zhuan), Song Jiang 宋江 is under the aegis of a divine woman named the Mysterious Woman of the Nine Heavens 九天玄女 (Jiutian Xuannü, hereafter the Mysterious Woman).1 The mastermind behind the Mount Liang bandits’ cause, she admonishes Song Jiang to be rid of demonic nature so that he can lead his band to serve the imperial court.