The secret of Pangu

The God who created the world in ancient legends of China. Pangu was first written by Xú Zhēng in the Three Kingdoms period. Later, Ren Fang's Shuo Wen Jie Zi turned Pangu's body into the universe. There are similar records in The Year of the Five Movements (the date of completion is unknown or the clouds are still full) and Xuanzhongji in the series of ancient novels Hook Shen. Pangu myth is the witness of the long history and civilization of the Chinese nation, and it is the most primitive, complete and oldest creation myth among the four ancient civilizations in the world. Its spectacular quantity, rich content and complete categories are unparalleled in the world. However, for some time, academic circles have different opinions on the origin of Pangu myth. It is particularly noteworthy that some scholars believe that the name of Pangu was first seen in the Three-Five Calendar and the Five-Movement Calendar written by Xú Zhēng, a figure in the History of the Three Kingdoms, but there was no name of Pangu in the pre-Qin works. They denied the originality and nationality of Pangu myth on the grounds that Pangu was naturalized late, and put forward that Pangu myth should not be included. Although this statement is biased, it has certain universality. We must give an appropriate answer to this. Was there really no Pangu myth before the Three Kingdoms? Before the Three Kingdoms, Pangu myth not only existed, but also spread widely among the people, and was recorded in writing, which was quite detailed and mature. The following are some views on this issue. 1. In the Spring and Autumn Period, there was a saying circulating in Yizhou Academy of Huang Xiufu, a famous poet: In the first year of Di Xian Xingping, Gao Wei was the magistrate of Yizhou, and even the Yutang Stone Room in Chengdu was renovated ... On the wall, there were photos of ancient Pangu, Li Lao and other gods and emperors of past dynasties, and on the beam, there were 72 disciples of Zhong Ni, a famous minister since Huang San .. Lou Jian, a Southern Song Dynasty, wrote "The Secret River". Near the wall of the Liu family, he got his book. There were 1 13 disciples from Pangu to Zhongni. They are very delicate and simple. After more than a thousand years, they have not been destroyed, protected by supernatural things, and they are evil ... it is simply a miracle. "After reading the two articles carefully, the contents of the murals are roughly the same, and it is clearly recorded that the images on the murals are Pangu, Li Lao, Emperor, Sage, Confucius and seventy-two disciples. When depicting Emperor Xian of Han Dynasty, Zhang Shou, the satrap of Shu State (the history of Tai Kang Yi in the Western Jin Dynasty) was created in the first year of Xingping, Emperor Xian of Han Dynasty. On the surface, the two paragraphs express the same thing, and there seems to be nothing wrong with it. If we look a little deeper, we will find that the age of mural creation is very exquisite and meticulous, which makes people doubt the author of stone mural. Judging from the content of stone murals, it brings together representatives of Confucianism, Taoism and politics, that is, it publicizes their own ideas. This arrangement was very puzzling in the Han dynasty, when hundreds of schools were ousted and Confucianism was the only one. If it is for the sake of the emperor Goethe, why is there no Emperor Gaozu Liu Bang? If it's for saints, why is there no Xiao He in the Han Dynasty? As the satrap of the Han Dynasty, Zhang Shou did not compare the founding emperor of the Han Dynasty with the famous generals of past dynasties. I'm afraid it's a little unreasonable. Can it be inferred from this that stone murals should not be works of the Han Dynasty, then, are they of the Qin Dynasty? The Qin Dynasty paid more attention to law than Confucianism, and many scholars were cheated. It is impossible to carve out a group of pedants who think they are boastful and make much ado about nothing, what's more, Qin Shihuang thinks he is highly respected in Huang San and has contributed to the Five Emperors. How can he hang his disdain on the wall? From this, we can also rule out the setting that the creation age of stone murals is Qin. Back to the Warring States Period, Monk was a representative of Confucianism in the Warring States Period. He inherited and carried forward Confucian thoughts and theories, and his reputation and achievements were second only to Confucius, and he was called an elegant saint by the world. However, such a famous representative of Confucianism was excluded from the stone statue, which was originally a Confucian stone mural. It is unreasonable and unreasonable to do so. Surprisingly, his reputation is far less than that of Monk. The answer can only be found from the creation time of murals. That is, the creation time of murals should be in the Spring and Autumn Period. At this time, Monk was not born yet, so it is not difficult to understand that there is no Monk in the mural. Therefore, it is more appropriate to define the era of stone wall creation in the Spring and Autumn Period. The age of mural creation has been set, so it is natural to deny that the mural author was accepted by the satrap of Emperor Xian of Han Dynasty. If the creative activity of Zhang Shou, the satrap, is only a fresco of the original stone when the Yutang Stone Room in Chengdu was repaired, who is the author of the fresco? He should be one of the seventy-two disciples of Confucius. By solving the creation date of stone murals, we can know that Pangu has been respected and worshipped by people in the Spring and Autumn Period, and its image has been carved on the wall, ranking before the Three Emperors and Five Emperors, which shows that its influence is unmatched by anyone. It is an indisputable fact that the myth of Pangu was widely circulated among the people during this period. Ren Fang said in Yi Shu Ji that Pangu had customs during the Qin and Han Dynasties, which naturally refers to the folk inheritance of Pangu myth during the Qin and Han Dynasties. It is not objective to deny the originality and nationality of Pangu myth on the grounds that Pangu was naturalized late. The myth of Pangu was first seen in Xú Zhēng's May 35 Calendar. It is necessary for us to get to know Xú Zhēng here. During the Three Kingdoms period, people from the State of Wu worked as small officials in local areas. Later, due to the war and hopeless career, he abandoned his official position and retired, living a Taoist life of wandering wild cranes and traveling all over the world. Tongbai was a sacred place of Taoism at that time. Xú Zhēng came here and fell in love with the beautiful scenery of Tongbai Mountain. He was impressed by Tongbai's strong Taoist culture and went deep into folk preaching and teaching. In contact with the people, he learned the myth of Pangu's creation and was attracted by this magnificent and fantastic myth. He is recorded in the Thirty-five Years and the Five-Movement Years. He wrote in the book, "The king of Pangu, the snake with the dragon head ... Tongbai is the birthplace of the Huaihe River and one of the four blasphemies in the world. After Pangu's death, it was a true story that Pangu myth was widely circulated among the people at that time. In fact, Pangu was named in the Spring and Autumn Period, which is not surprising. As early as the turn of Shang and Zhou Dynasties, the name of Pangu appeared in ancient books. When King Taigong of the Western Zhou Dynasty wrote the Six Pagodas, the name Pangu already existed. According to the cloud "Six Towers and Daming" in the First Century of Road History, it is said to King Wen: ... Pangu Sect can't move, whoever moves will be fierce. At the beginning of the week, that is, Zhao Hetai (that is, Jiang Ziya) is protecting it. It can be seen that in the Shang and Zhou Dynasties, there was a book by Pangu, but someone moved it. Therefore, only the suggestion of "don't move" was put forward to Wen. Secondly, from ancient symbols and ancient rock paintings, we can see that the primitive myth of Pangu, known as a "living fossil", is not only an "oral literature" created by the ancestors of human childhood society, but also has the significance of transmitting historical information from ancestors to future generations. The original paintings of ancient stones and ancient figures are the carriers of primitive myths. Often an ancient stone carving and an original symbol can fully reflect the cultural thinking activities of primitive ancestors and provide us with the most direct and reliable materials to reveal the cultural thinking activities of early humans. There is a strange and unique symbol on the bronze age tripod unearthed in China (see Ma Huixin's "The Enlightenment of Pangu Studies" on page 1 1). What does this mean? According to Guo Moruo and other scholars' correct understanding of the word "pan" in Oracle bone inscriptions and the original meaning of the cross worship that first existed in China and appeared in many parts of the world, it can be concluded that the original inscription of the word "pan" is on both sides of the symbol, and the cross pattern hollowed out in the middle is the symbol of cross worship, representing the ancestors of the gods. This symbol should be pronounced "Pangu", just like the simple characters in China. This simple Gu Zhuo approach also accords with the truth that everything is difficult before it is easy. Although this symbol is seen on bronze wares, it cannot be said that it was born in the Bronze Age. Actually, it existed long before the Bronze Age. Due to the limitation of productivity, people can only keep this sacred symbol in mind. After entering the bronze age, people were able to shape it into bronze. The name Pangu was recorded in prehistoric society, and it is no longer a problem that there should be Pangu and Pangu myth in prehistoric society. Another more telling example is the rock paintings of Cangyuan, Yunnan (see Ma Huixin's Preliminary Study on Pangu, p. 12). According to experts' research, this rock painting was the work of primitive people 20 thousand years ago. The content of the rock painting is: a man's head shines on the sun, with a stone axe in his left hand and a wooden handle in his right hand, and his legs stand upright, overlooking everything. This image conforms to the legend that Pangu stood between heaven and earth and split chaos with an axe. As for the shape of the sun presented by the human head, it reflects the worship of the primitive ancestors to the sun god, and it is also Pangu's hope of giving warmth to the world. For this, we have every reason to regard it as the original factor of Pangu myth. According to this information, Pangu myth was born 20 thousand years ago. Attachment: Part of the original history book Yiwenhui quoted the May 3rd Calendar (Author: Three Kingdoms Wu) full of vitality, which began at the beginning of germination and then divided into heaven and earth, making Gan Kun stand up, realizing yin and feeling yang, exuding vitality, being pregnant and neutral, and also being a human being. Born Pangu, dying incarnation; Qi became a cloud, sound became thunder, left eye became the sun, right eye became the moon, five limbs became four poles and five mountains, blood became a river, tendons became the ground, tendons became soil, hair became a star, moss became vegetation, teeth became stones, refined jade, sweat became rain, and insects in the body became Li Meng due to weathering. "Yi Shi" volume quoted "The Year of the Fifth Movement" as the monarch of Pangu, who was a snake, hissed as wind and rain, blew as lightning, opened his eyes for the day and closed his eyes for the night. After death, the joints are mountains, and as rivers and seas, blood is blasphemy and hair is vegetation. Guangwu Bozhi (Nine Lines) passed the five-year-old calendar, and Pangu died because his head was four mountains, his eyes were the sun and the moon, his fat was rivers and seas, and his hair was vegetation. According to the custom between Qin and Han dynasties, Pangu's head is Dongyue, the abdomen is Zhongyue, the left arm is Nanyue, and the right arm is Beiyue, and Xiyue is enough. The ancients said: Pangu's tears are rivers, qi is wind, and his eyes are electricity. The ancients said: Pangu is happy for the purpose, and anger is yin. Wu Chu said: Pangu couple, the beginning of Yin and Yang. Today, there is a 300-mile-long ancient tomb in the South China Sea, and the soul of Pangu is also buried by later generations. Guilin has Pangu Temple worshipped by modern people, and the South China Sea has Pangu Kingdom. Today, people take Pangu as their surname. Pangu, the ancestor of all things, started from Pangu's Story Club (Author: Ren Fang in Southern Dynasties). Beginning, beginning, innate qi. This gasification is the man who created the world, that is, Pangu; Became the ancestor who presided over the heaven; This is the beginning of the Yuan Dynasty. Selected from "The Fairy Mirror" Volume I Pangu stretched out, the sky gradually rose, and the ground gradually fell. And heaven and earth are more connected, with a chisel in his left hand and an axe in his right, or chopping or chiseling with an axe. It is divine power, and heaven and earth are divided for a long time. Two qi rise and fall, the clear is the sky, the turbid is the ground, and chaos. Ming people traveled around to "open the border and penetrate the soil"