Hsien Chin., immortal; ideal of religious Taoism (tao-chiao). Hsien designates a being who has attained physical immortality, is no longer subject to the “world of dust” and is a master of various magical skills. Taoism teaches various ways of restoring to the body pure energies it possessed at birth and thereby attaining immortality (ch’ang-sheng pu-ssu). Some Taoists follow the alchemical path and strive to produce an elixir of immortality (wai-tan); others endeavor to reach their aim by special hygiene exercises (Inner Deity Hygiene School), breathing exercises (hsing-ch’i, Ju-ch’i, t’ai-hsi, etc.), gymnastics (tao-yin), sexual techniques (fang-chung shu), fasting (chai), or meditation (tso-wang, shou-i, ts’un-ssu).
Taoist literature mentions various categories of immortals. The great alchemist Ko Hung speaks of three such categories, namely celestial immortals, terrestrial immortals, and immortals who have separated from their dead body (shih-chieh). Terrestrial immortals live in forests or in the mountains, whereas celestial immortals dwell either in the Taoist Heaven (t ‘ien ); on the isles of the immortals (P’eng-lai, Ying-chou, Fang-chang), which are situated in the eastern sea; or in the K’un-lun Mountains toward the West.
Immortals are often portrayed riding on a crane, because according to an ancient belief cranes may live for a thousand years or longer. The vermilion red color of the crane’s head is considered to be proof that the crane has preserved his life energy and consists of pure yang (yin-yang). That is why immortals are said to ascend to Heaven riding on the back of a crane (fei-sheng).
In the course of time famous and venerated historical personalities came to be admitted to the ranks of the immortals. The best known hsien are the eight immortals (pa-hsien). Immortals have for centuries been a favorite subject in Chinese art. Frequently they are portrayed as having a body covered with feathers. This points to an earlier interpretation of the word hsien, related to the development of the relevant Chinese pictogram: originally the pictogram for hsien was a sign that signified rising, ascending into the air. The present pictogram for “immortal” (consisting of the signs for “man” and “mountain”) was not introduced until later, when immortals came to be seen as seeking the seclusion of the mountains or withdrawing to a paradisical island.
In Ko Hung’s classification celestial immortals are accorded the highest stage of realization. He describes them as follows: “Some immortals ascend to the clouds, their body upright, and they fly among the clouds without the beating of wings; some glide across the cloudy vapor by harnessing a dragon and ascend up to the very steps of Heaven; some transform themselves into animals and roam through the azure clouds; yet others dive deep into rivers and oceans or flutter on wings to the peaks of famous mountains . . . . Their kind has attained an eternal life, free from death; but before they reach their goal they have to shed all human emotions and all ambitions about fame and glory . . . . They have abandoned their former nature and are pervaded by a new life energy” (trans. From W. Bauer, China und die Hoffnung auf Gluck [Munich, 1974], 157). The terrestrial immortals prefer to live in the seclusion of the mountains. They are masters of various supernatural skills; e.g., they are able to conquer demons, walk through forests without being attacked by wild animals, make themselves invisible in moments of danger, etc. They are saints and retain their youthful appearance despite their great age. Occasionally they mingle with ordinary mortals to astonish them by their magical abilities and transmit to them long-forgotten knowledge. They have decided not to die and thus had to forgo the possibility of ascending to Heaven.
Source: The Encyclopedia of Eastern Philosophy and Religion: Buddhism, Hinduism, Taoism, Zen. Shambhala Publications, Inc.
Hsien documents
Books on Hsien
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