The Historical and Cultural Significance of Feng Shui in Yang Gong

Yang Gong's geomantic theory mainly embodies the idea that man and nature live in harmony. In the theory of geomantic omen, he advocates taking the trend of Luan Tou as the first priority, emphasizing local conditions and choosing points according to dragons. Yang Gong's geomantic theory works, such as Shake the Dragon Sutra, Doubt the Dragon Sutra, Qingnangaoyu Sutra, Tianyu Sutra, Jade Ruler Sutra, Instructions for the Son of Man, Four Divisions, Sand Painting, Fetal Abdominal Sutra and Wang Lung Sutra, have been handed down from generation to generation, leaving a lot of detailed words for the study of ancient geography in China. Yang Gong's geomantic omen inherited the essence of Guo Pu's geomantic omen theory of "benefiting from qi" in Jin Dynasty, emphasizing the organic combination of dragon, water and direction, and paying attention to the coordination of dragon and hall qi in regulating qi, with seventy-two dragons and Lapras qi as the core, Lapras qi as the auspicious, those who use vigorous dragon qi as the auspicious, those who can't Lapras qi as the fierce, and those who destroy dragon qi as the greatest. The good or ill luck of the Yin and Yang Mansions depends on whether you are angry with the dragon that can ride vigorously and whether you can reasonably accept the spirit of the main hall outside. According to Yang Gong's geomantic theory, the dragon god should cooperate with the Yin and Yang family's "sitting on the mountain" and the water should come and go with the Yin and Yang family's "orientation", which is also the main principle of Yang Gong's geomantic theory. During his settlement in Sanliao Village, Meijiao Township, Xingguo County, Yang helped the poor, set up a family of Yin and Yang for the local people, solved problems for others, read famous mountains and rivers in southern Jiangxi, wrote books, built houses and repaired tombs for believers, and made geography and culture spread to the world for future generations to study.

Feng Shui in Yang Gong is not only a kind of knowledge, but also a kind of culture, and it is also a way for people to live in harmony with nature. In the practice of Feng Shui, architecture is an important carrier of Feng Shui culture. Many archways, bridges, temples, ancestral halls, houses, tombs, palaces and hills are branded with traces of Feng Shui culture. Yang Gong's geomantic disciples in past dynasties are the inheritors and disseminators of this culture. Famous people like Zeng, Liu Bowen, etc. are all true disciples of Yang in helping the poor. Since then, Kanyu has been widely circulated in southern Jiangxi and passed down from generation to generation. There are also many well-known scholars in the field of contemporary geomantic omen in Yang Gong, such as Zeng Wuliang, the 39th generation disciple, and Liu Guosheng, the 37th generation disciple, who all inherited Yang Gong's geomantic secret method. Yang Gong's geomantic omen not only emphasizes the situation and Long Mai, but also manages qi. Yang Junsong is known as the founder of China Feng Shui, and Yang Gong Feng Shui has become an important part of Gannan Hakka culture. Gannan has also become the hometown and birthplace of China Kanyu. The previous generations of Kamenyu Normal University students who got Yang Gongzhen's biography were very skilled. The ancient tombs that Yang Gong and his disciples can identify have existed for thousands of years. Not only in Gannan, but also in Guangdong, Fujian, Guangxi and other provinces, many famous families have recorded their names in their family letters. History is the best witness, and practice is the only criterion for testing truth. Facts have proved that Yang Gong Feng Shui is the mainstream and banner of China Feng Shui. Yang's poverty alleviation activities quickly spread the geomantic omen culture, and his massive architectural practice left many valuable historical and cultural heritages for later generations.