Daoism and Daoist Art

Works of Art (19)

Indigenous to China, Daoism arose as a secular school of thought with a strongmetaphysical foundation around 500 B.C., during a time when fundamental spiritualideas were emerging in both the East and the West. Two core texts form the basis ofDaoism: the Laozi and the Zhuangzi, attributed to the two eponymous masters, whosehistorical identity, like the circumstances surrounding the compilation of their texts,remains uncertain. The Laozi—also called the Daodejing, or Scripture of the Way andVirtue—has been understood as a set of instructions for virtuous rulership or for self-cultivation. It stresses the concept of nonaction or noninterference with the naturalorder of things. Dao, usually translated as the Way, may be understood as the path toachieving a state of enlightenment resulting in

or even immortality. But Dao, as something ineffable, shapeless, and conceived of as aninfinite void, may also be understood as the unfathomable origin of the world and as theprogenitor of the dualistic forces yin and yang. Yin, associated with shade, water, west, and thetiger, and yang, associated with light, fire, east, and the dragon, are the two alternating phases ofcosmic energy; their dynamic balance brings cosmic harmony.

Essay

longevity

Heilbrunn Timeline of Art History

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Over time, Daoism developed into an organized religion—largely in response to theinstitutional structure of

—with an ever-growing canon of texts and pantheon of gods, and a significant numberof schools with often distinctly different ideas and approaches. At times, some of these schoolswere also politically active. Along with Buddhism, Daoism today is one of the two dominantreligions in the Chinese-speaking world. Although the attainment of immortality appears to be arather esoteric and challenging objective, Daoism, with its popular and cultic elements,continues to provide practical guidance through codes of behavior and physical regimens, as wellas talismans and ritual services that help regulate the everyday life of its many followers.

By the twelfth century, Daoism, Confucianism, and Buddhism—known as the threedoctrines—were seen as mutually complementary, although at times they competed forinfluence at court. Indeed, from that time forward, the pantheons of these doctrinesoften overlapped and their rituals, architecture, and art appeared similar, often as aconsequence of commissioning the same artisans to create images and edifices. Daoistart reflects the broad timespan and the diverse regions, constituencies, and practices ofits creators. The artists—commissioned professionals, but also leading Daoist masters,adepts,

-amateurs, and even emperors—working in written, , sewn, sculpted, or modeledmedia, created an astonishingly eclectic body of works ranging from sublime evocations ofcosmic principles to elaborate visions of immortal realms and paradises as well as visualizationsof the Daoist pantheon, medicinal charts, and ritual implements.

The Museum’s collection illustrates the many facets of Daoist art, but is especiallystrong in the pictorial arts of the thirteenth and fourteenth centuries, when manymembers of the educated elite, unable to find employment as government officialsunder the Mongol

(1271–1368), found places in the alternate hierarchy of the Daoist ecclesia. Otherworks have a clear liturgical purpose, while the religious function of a third category of artobjects is more ambiguous, reflecting the widespread assimilation of Daoist concepts andauspicious imagery in Chinese popular culture.

Buddhism

scholar painted

Yuan dynasty

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The Daoist sage Laozi is often shown riding on an ox or in an ox cart as he prepared toleave China by way of a pass to the West. Legend has it that he authored theDaodejing, or Scripture of the Way and Virtue, when the guard at the pass asked himto write down his teachings. A small bronze sculpture (

) presents the sage in a full robe, topknot, and a long narrow beard. Images of the otherparamount figure of Daoist philosophy, Zhuangzi, are less common, but The Pleasure ofFishes ( ) by the late thirteenth-century painter Zhou Dongqing evokes a famous passagefrom Zhuangzi’s writings about recognizing feelings of joy in others. Wu Boli’s Dragon Pine( ) presents a Daoist manifestation of qi, or “cosmic energy,” as a powerful pine tree thatrecalls the double-S curve of the cosmic yin-yang diagram. The horizontal CloudyMountains ( ) by the Daoist abbot Fang Congyi similarly transforms a mountain rangeinto a writhing dragon vein of energy that uncoils out of the distance only to vanish into a mistyvoid.

A superbly crafted gilt-brass sculpture by a fifteenth-century artist (

) may be identified as the Celestial Worthy of the Primordial Beginning, one of the ThreePurities—the highest deities in the Daoist Pantheon. The robe of a Daoist dignitary (daoshi)( ), probably worn during Daoist rituals, features numerous auspicious symbols, includingsun and moon medallions on the shoulders as well as cranes, deer, and dragons. Beneficent Rain( ) by the Celestial Master Zhang Yucai, the highest dignitary of the Orthodox Unitysect of southern Daoism, illustrates dragons—embodiments of cosmic energy capable of bringingforth clouds and rain. The painting was likely intended to demonstrate Zhang’s prowess inrainmaking rituals.

Two

paintings depict members of the Daoist pantheon, which resembles a complexbureaucracy made up of deities in the form of stars, officials, marshals, and lords. Star Deitiesof the Northern and Central Dippers ( ) presents two constellations inanthropomorphic form, while Marshal Wang ( ) illustrates a protective deity and hisretinue. Both images, which recall large-scale temple murals, were created as part of extensivesets of icons used in religious rituals similar to those performed by Buddhists. The Lord of theNorthern Palace, Zhenwu ( ), one of the most prominent deities in the Daoist pantheon,can be identified by the serpent coiled around a tortoise that appears at the front of the pedestal

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Augustin, Birgitta. “Daoism and Daoist Art.” In Heilbrunn Timeline of Art History. New York: TheMetropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm (December2011)

Augustin, Birgitta. “Eight Daoist Immortals in the Yuan Dynasty: Note on the Origin of the Group and ItsIconography.” Orientations 41 (September 2010), pp. 81–87.

Augustin, Birgitta. “The Daoist Image—Portrait of the Immortal.” In The World of Khubilai Khan:Chinese Art in the Yuan Dynasty, by James C. Y. Watt et al., pp. 128–57. New Haven: Yale University

on which he sits. The Daoist deity ( ), decorated with yellow, green, black, and whiteglazes typical of Ming-dynasty Daoist and Buddhist ceramic sculptures, probably represents theHeavenly Marshal Zhao (Zhao Gong Ming), and epitomizes the kind of local gods that wereabsorbed into the Daoist pantheon. The Investiture of a Daoist Deity ( ), anextraordinary nine-meter-long , depicts such an appropriation.

Among the many divinities in the Daoist pantheon, few are as prominent as the EightImmortals, a group of legendary figures that first became popular in the twelfthcentury (

). In the fan painting Immortal Lü Dongbin Appearing over the Yueyang Pavilion( ), one member of this group is seen “flying” through the sky. Lü is said to have receivedsacred knowledge from Zhongli Quan, another of the Eight Immortals, who is shown framed byclouds on a Ming blue-and-white ceramic bottle ( ). Landscape representations oftenevoke Daoist themes, such as Spring Dawn over the Elixir Terrace ( ) by the literatiartist Lu Guang, or the miniature mountainscape sculpted in jade ( )—a stone of suchhardness and purity that it bears connotations of immortality. Often landscapes allude to Daoistparadises, as is the case in Outing to Zhang Gong’s Grotto ( ) by the Ming loyalistpainter Shitao (1642–1707), who renounced his status as a Buddhist monk late in life and adoptedthe Daoist identity of Dadizi, “the great purified one.”

Birgitta AugustinInstitute of Fine Arts, New York University

December 2011

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Citation

Further Reading

http://www.metmuseum.org/toah/works-of-art/1971.163http://www.metmuseum.org/toah/works-of-art/38.31.1http://www.metmuseum.org/toah/hd/chhs/hd_chhs.htmhttp://www.metmuseum.org/toah/works-of-art/2006.238http://www.metmuseum.org/toah/works-of-art/17.170.2http://www.metmuseum.org/toah/works-of-art/2010.312http://www.metmuseum.org/toah/works-of-art/1982.2.2http://www.metmuseum.org/toah/works-of-art/02.18.684http://www.metmuseum.org/toah/works-of-art/1982.126

Press, 2010.

Eichman, Shawn. “Immortals of the Wine Cup: Religious Images on Seventeenth Century ChinesePorcelain.” Orientations 34, no. 3 (2003), pp. 86–92.

Eichman, Shawn. “The Art of Taoist Scriptures.” Orientations 31, no. 10 (2000), pp. 36–44.

Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century . NewYork: Metropolitan Museum of Art, 1992.

Hay, Jonathan. Shitao: Painting and Modernity in Early Qing China. New York: Cambridge UniversityPress, 2001.

Katz, Paul R. Images of the Immortal: The Cult of Lü Dongbin at the Palace of Eternal Joy .Honolulu: University of Hawai'i Press, 1999.

Kohn, Livia. Daoism and Chinese Culture. Cambridge, Mass.: Three Pines Press, 2001.

Little, Stephen. “What is Taoist Art?” Orientations 31, no. 10(2000), pp. 26–35.

Little, Stephen; Eichman, Shawn, et al. Taoism and the Arts of China. Chicago: Art Institute of Chicago ,2000.

Pregadio, Fabrizio, ed. The Encyclopedia of Taoism. 2 vols.. London: Routledge, 2008.

Robinet, Isabelle. Taoism: Growth of a Religion. Stanford, Calif.: Stanford University Press, 1997.

See on MetPublications

© 2000–2016 The Metropolitan Museum of Art

http://www.metmuseum.org/research/metpublications/Beyond_Representation_Chinese_Painting_and_Calligraphy_Eighth_Fourteenth_Century

11/29/16, 9:35 AMMawangdui - Wikipedia

Page 1 of 4https://en.wikipedia.org/wiki/Mawangdui

Manuscript on silk, 2nd centuryBC

MawangduiFrom Wikipedia, the free encyclopedia

Mawangdui (Chinese: ( ; pinyin: Mǎwángduī; literally: "KingMa's Mound") is an archaeological site located in Changsha, China. Thesite consists of two saddle-shaped hills and contained the tombs of threepeople from the western Han dynasty (206 BC – 9 AD): Marquis Li Cang,his wife, and a male believed to have been their son. The site was excavatedfrom 1972 to 1974. Most of the artifacts from Mawangdui are displayed atthe Hunan Provincial Museum.[1] It was called "King Ma's Mound"because it was initially (erroneously) thought to be the tomb of Ma Yin(853–930), a ruler of the Chu kingdom during the Five Dynasties and TenKingdoms period.

Contents1 The tombs and their occupants2 Artifacts

2.1 Tombs 1 and 22.2 Tomb 3

3 See also4 Notes5 References

5.1 Books5.2 Journals

6 External links

The tombs and their occupantsThe tombs were made of large cypress planks. The outside of the tombs were layered with white clay andcharcoal. White clay layering originated with Chu burials, while charcoal layering was practiced during theearly western Han dynasty in the Changsha area. The tombs contained nested lacquered coffins, a Chu burialcustom. The tombs also followed the burial practices dictated by Emperor Wen of Han, containing no jade orprecious metals.

The eastern tomb, Tomb no. 1, contained the remains of a woman in her fifties (Lady Dai, personal name XinZhui). Her mummified body was so well-preserved[2] that researchers were able to perform an autopsy on herbody, which showed that she probably died of a heart attack. Specifically, her diet was too rich in sugars andmeats, and she suffered from arterial-coronary problems. Buried with her were skeletons of various food-

Coordinates: 28°12ʹ31ʺN 113°01ʹ18ʺE

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11/29/16, 9:35 AMMawangdui - Wikipedia

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Western Han (202 BC - 9 AD) eralacquerwares and lacquer trayunearthed from the 2nd-century-BCHan Tomb No.1 at Mawangdui

animals, jujubes, lotus soup, grains and a complete meal including soup, rice and meat skewers on a lacquer set.Researchers found honeydew melon seeds in her stomach, inferring consumption right before death. Sheoutlived the occupants of the other two tombs.

Xin Zhui's tomb was by far the best preserved of the three. A completecosmetic set, lacquered pieces and finely woven silk garments withpaintings are almost perfectly preserved. Her coffins were paintedaccording to Chu customs and beliefs with whirling clouds interwovenwith mystical animals and dragons. The corpse was bound tightly inlayers of silk cloth and covered with a wonderfully painted T-shapedtapestry depicting the netherworld, earth and heavens with Chinesemythological characters as well as Xin Zhui. There was also a silkpainting showing a variety of exercises researchers call the forerunner ofTai ji.

The western tomb, Tomb no. 2, was the burial site of the first Marquis ofDai, Li Cang ( ). He died in 186 BC. The Han dynasty hadappointed Li Cang as the chancellor of the Kingdom of Changsha, animperial fiefdom of Han. This tomb had been plundered several times bygrave robbers.

Tomb 3 was directly south of Tomb 1, and contained the tomb of a man in his thirties who died in 168 BC. Theoccupant is believed to have been a relative of Li Cang and his wife. This tomb contained a rich trove ofmilitary, medical, and astronomical manuscripts written on silk.

Artifacts

Tombs 1 and 2

Highly regarded artifacts in particular were the lacquered wine-bowls and cosmetic boxes, which showcased thecraftsmanship of the regional lacquerware industry.

Of the more famous artifacts from Mawangdui were its silk funeral banners; these T-shaped banners weredraped on the coffin of Tomb 1. The banners depicted the Chinese abstraction of the cosmos and the afterlife atthe time of the western Han dynasty. A silk banner of similar style and function were found in Tomb 3.

The T-shaped silk funeral banner in the tomb of the Marquise (Tomb 1) is called the "name banner" with thewritten name of the deceased replaced with a portrait. We know the name because the tomb's original inventoryis still intact, and this is what it is called on the inventory. The Marquise was buried in four coffins; the silkbanner drapes the innermost of the coffins.[3]

On the T-shaped painted silk garment, the uppermost horizontal section of the T represents heaven. The bottomof the vertical section of the T represents the underworld. The middle (the top of the vertical) represents earth.In heaven we can see Chinese deities such as Nuwa and Chang'e, as well as Daoist symbols such as cranes

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Western Han painting onsilk was found drapedover the coffin in thegrave of Lady Dai (c. 168BC) at Mawangdui nearChangsha in Hunanprovince.

(representing immortality). Between heaven and earth we can see heavenly messengers sent to bring Lady Daito heaven. Underneath this are Lady Dai's family offering sacrifices to help her journey to heaven. Beneaththem is the underworld - two giant sea serpents intertwined.

The contents of Tomb 2 had been destroyed or removed by robbers. An excavation report has been publishedwithin the last 5 years in Chinese; there has not been an English printing yet.

Tomb 3

Tomb 3 contained a silk name banner (similar to that of tomb 1) and three maps drawn on silk: a topographicmap, a military map and a prefecture map. The maps display the Hunan, Guangdong and Guangxi region anddepict the political boundary between the Han dynasty and Nanyue. The maps are some of the oldest discoveredin China. At the time of its discovery, they were the oldest maps yet discovered in China, until 1986 when QinState maps dating to the 4th century BC were found.

Tomb 3 contained a wealth of classical texts. The tomb contained texts onastronomy, which accurately depicted the planetary orbits for Venus, Jupiter,Mercury, Mars and Saturn and described various comets. The Mawangdui texts ofthe Yijing are hundreds of years earlier than those known before, and are nowtranslated by Edward Shaughnessy [4] The tomb also contained a rich collection ofHuang-Lao Taoist texts, as well a copy of the Zhan Guo Ce. The tomb alsocontained various medical texts, including depictions of qigong (dao yin) exercises,as well as a historical text, the Chunqiu shiyu.

See alsoBook of SilkMawangdui Silk TextsTomb of Marquis Yi of ZengList of Chinese cultural relics forbidden to be exhibited abroad

Notes1. Eti Bonn-Muller (April 10, 2009). "China's Sleeping Beauty". Archeology:A publication

of the Archaeological Institute of America.2. "An oxygen-free case at the Hunan Museum now protects 2,100-year-old Lady Dai.".

Nova, PBS. Retrieved Dec 2012. Check date values in: |access-date= (help)3. Sherman E.Lee (1964). A History of Far Eastern Art. Prentice-Hall. pp. 61–62.

ASIN B002CNAZ3U.4. Edward L Shaughnessy (1997). I Ching: the Classic of Changes translated with an

introduction and commentary: the first English translation of the newly discoveredsecond century BC Mawangdui texts. New York: Ballantyne Books. ISBN 0-345-36243-8. "See also, Richard Rutt, "Review Article," Yijing Dao [1] (http://www.biroco.com/yijing/mawangdui.htm)"

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11/29/16, 9:35 AMMawangdui - Wikipedia

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An early Western-Han silk map foundin Tomb 3 of Mawangdui, depictingthe Kingdom of Changsha andKingdom of Nanyue in southernChina (note: the south direction isoriented at the top).

Wikimedia Commons hasmedia related toMawangdui.

References

Books

Lee, Sherman E., 1994, A History of Far Eastern Art, Fifthedition, Prentice HallHarper, Don, 1998, Early Chinese Medical Literature: TheMawangdui Medical Manuscripts, Kegan Paul International.

Journals

Buck, David D., 1975, Three Han Dynasty Tombs at Ma-Wang-Tui. World Archaeology, 7(1): 30-45.Hsu, Mei-Ling, 1978, The Han Maps and Early ChineseCartography. Annals of the Association of American Geographers,68(1): 45-60.

External linksGary Tod, "Mawangdui Han tombs" [2] (https://picasaweb.google.com/116512474184071531500/MawangduiHanTombs)"A Selection of Artifacts," Archeology [3] (http://www.archaeology.org/online/features/mawangdui/galleries/artifacts/index.html)( ) — (http://www.hnmuseum.com/hnmuseum/whatson/e_exhibitions/mwd/index.html) (Virtual tour of the Mawangdui Han Tombs exhibit at the Hunan ProvincialMuseum).

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Categories: Archaeological sites in China Han dynasty History of Changsha Chinese architectural historyBuildings and structures in Hunan Han dynasty architecture

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Taoism December 6th Readings –

Source Materials/Copyright information:

• Tao Qian Poems from A Hundred and Seventy Chinese Poems translated by Arthur Waley (Alfred A. Knopf, 1919)

• Augustin, Birgitta. “Daoism and Daoist Art.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm (December 2011)

• Mawangdui Tomb archaeology https://en.wikipedia.org/wiki/Mawangdui

http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm%20(December%202011https://en.wikipedia.org/wiki/Mawangdui

Daoism and Daoist Art - Augustin - Heilbrunn Timeline of Art History 20111200 - MetMawangdui - WikipediaTao Qian T'ao Ch'ien poems - 170 CH Poems - Waley 1919474 Taoism December 6th Readings CR Source info