China. John Keay

       1 RITES TO WRITING

      PRE C. 1050 BC

      THE GREAT BEGINNING

      THOUGH BY NO MEANS A GODLESS people, the ancient Chinese were reluctant to credit their gods – or God – with anything so manifestly implausible as the act of creation. In the beginning, therefore, God did not create heaven and earth; they happened. Instead of creation myths, China’s history begins with inception myths and in place of a creator it has a ‘happening situation’. Suggestive of a scientific reaction, part black hole, part Big Bang, this was known as the Great Beginning.

      Before Heaven and Earth had taken form all was vague and amorphous [declares the third-century BC Huainanzi]. Therefore it was called The Great Beginning. The Great Beginning produced emptiness, and emptiness produced the universe. The universe produced qi [vital force or energy], which had limits. That which was clear and light drifted up to become Heaven while that which was heavy and turbid solidified to become earth…The combined essences of Heaven and Earth became the yin and yang.¹

      A more popular, though later, version of this genesis myth describes the primordial environment as not just amorphous but ‘opaque, like the inside of an egg’; and it actually was an egg to the extent that, when broken, white and yolk separated. The clear white, or yang, ascended to become Heaven and the murky yolk, or yin, descended to become Earth. Interposed between the two was the egg’s incubus, a spirit called Pan Gu. Pan Gu kept his feet firmly in the earth and his head in the heavens as the two drew apart. ‘Heaven was exceedingly high, Earth exceedingly deep, and Pan Gu exceedingly tall,’ says the Huainanzi.² Though not the creator of the universe, Pan Gu evidently served as some kind of agent in the arrangement of it.

      Further evidence of agency in the ordering and supporting of the self-created cosmos came to light quite recently when a silk manuscript, stolen from a tomb near Changsha in the southern province of Hunan in 1942, passed into the possession of the Sackler Collection in Washington, DC. The manuscript features both text and drawings and is laid out diagramatically in the form of a cosmograph. This is a common device that uses a model of the cosmos and its various phases to assist the reader in divining the best time of year for a particular course of action. Dating from about 300 BC, the silk stationery of the manuscript, though carefully folded within a bamboo box, has suffered much wear and a little tear. Not all of the text is legible, and not all of what is legible is intelligible. But one section appears to contain a variation on the same cosmogony theme. In this case a whole family – husband and wife ably assisted by their four children – take on the task of sorting out the universe. First they ‘put things in motion making the transformations arrive’; then, after a well-earned rest, they calculate the divisions of time, separate heaven and earth, and name the mountains (‘since the mountains were out of order’) and likewise the rivers and the four seas.³

      It is still dark at the time, the sun and the moon having not yet appeared. Sorting out the mountains and rivers is only possible thanks to enlightening guidance provided by four gods, who also reveal the four seasons. The gods have to intervene again when, ‘after hundreds and thousands of years’, the sun and the moon are finally born. For by their light it becomes apparent that something is wrong with the Nine Continents: they are not level; mountains keep toppling over on top of them. The gods therefore devise as protection a canopy, or sky-dome, and to hold it up they erect five poles, each of a different colour. The colours – green, red, yellow, white and black – are those of the Five Phases or Five Elements, an important (if not always consistent) sequence that will recur in Chinese history and philosophy almost as often as those complementary opposites of yin and yang.

      The relevant section of the Changsha silk manuscript concludes with the words: ‘The God then finally made the movement of the sun and the moon’. This enigmatic statement is about as near to creationism as the Chinese texts get. But it should be noted that the spirits, gods, even God, never actually create things; they only set them in motion, support them, organise them, adjust them and name them. In Chinese tradition the origin of the universe is less relevant than its correct orientation and operation, since it is by these that time and space can be calculated and the likely outcome of any human endeavour assessed.

      Less relevant still in Chinese tradition is the origin of man. In another version of the Pan Gu story, it is not Pan Gu’s lanky adolescence which suggests a degree of personal agency in the creative process but his posthumous putrescence. In what might be called a decomposition myth, as Pan Gu lay dying, it is said that:

      [his] breath became the wind and the clouds; his voice became the thunder; his left eye became the sun, and his right the moon; his four limbs and five torsos became the four poles and the five mountains; his blood became the rivers; his sinews became geographic features; his muscles became the soils in the field; his hair and beard became stars and planets; his skin and its hairs became grasses and trees; his teeth and bones became bronzes and jades; his essence and marrow became pearls and gemstones; his sweat became rain and lakes; and the various worms in his body, touched by the wind, became the black-haired commoners.⁴

      India’s mythology matches this with a dismemberment myth. Out of the corpse of a sacrificial victim the Vedic gods supposedly hacked a hierarchy of caste, with the priestly Brahmin being born of the victim’s mouth, the martial ksatriya of his arms, the house-proud vaisya of his thighs, and the wretched sudra of his feet. The Brahminical imagination responsible for this conceit overlooked the possibility of a section of the human race being derived from an intestinal infestation. Perhaps only an elite as sublimely superior as China’s could have assigned to their raven-haired countrymen an origin so abject. When in later times foreigners came to resent the arrogance of Chinese officialdom, their grounds for complaint were as nothing compared to those of China’s unregarded masses.

      From both of the above examples an early insistence on social stratification – on a superior ‘us’ and an inferior ‘them’ – is inferred; and it is thought to be corroborated in China by the numerous other myths emphasising that heaven and earth had to be physically separated. While Pan Gu could bridge the gap between them because he was so ‘exceedingly tall’, and while both men and gods later managed excursions back and forth, the distance eventually became too great. Only those possessed of magical powers, or able to attach such a medium to their persons or families, could hope to make the trip. Celestial intercourse, in other words, was reserved for the privileged few and this set them apart from the toiling many.

      In the Shangshu, the fourth-century BC ‘Book of Documents’ that provided twentieth-century etymologists with a Chinese word for ‘panda’, such myths slowly begin to gel into history. Here a named ‘emperor’ is credited with having separated Heaven and Earth by commanding an end to all unauthorised communication between the two. The link was duly severed by a couple of gods who were in his service. There was to be, as he put it, ‘no more ascending and descending’; and ‘after this was done’, we are told, ‘order was restored and the people returned to virtue’.

      The ‘emperor’ in question was Zhuan Xu, the second of the mythical ‘Five Emperors’ whom tradition places at the apex of China’s great family tree of legitimate sovereigns. All of the ‘Five Emperors’ combined in their persons both divine and human attributes. Their majesty was awesome and their conduct so exemplary