Taoism-A New Lens Onto Ancient Art Form

8/10/2019 Taoism-A New Lens Onto Ancient Art Form

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Chris (Xun) Wang

Dr. Erin McLaughlin

Writing and Rhetoric 13300

14 November 2014

Taoism: a New Lens onto Ancient Art Form

The history of Chinese Ceramics dates back to 4000 years ago. The Art was

developed during the Tang Dynasty, 618-906 A.D, and the craftsmanship reached its climax

during Ming Dynasty, 1368-1644 (Dallas 13), evolving Mings signature red-and-white and

blue-and-white wares (Valenstein 152). Chinese Ceramics are made mainly of clay, and

formed in different shape according to its use. Depending on the kind, decoration of Chinese

ceramics varies. Underglaze is decorated before it being glazed, put in the kiln afterwards.

While, on-glaze decoration is achieved through applying color after glazed, and then is put

into the kiln. Nowadays, increasing numbers of Westerner have started to appreciate Chinese

ceramics. From the first 1300 pieces of Chinese ceramics bought from the collection of

Samuel P. Avery in 1879, the Metropolitan Museum has collected over 4500 objects through

the years. Thousands of Chinese ceramics in the museums collection represent a sweeping

survey of Chinese ceramics history (Valenstein vii). Indeed, people are awed by the beauty

of Chinese ceramics. Some appreciate the Chinaware solely through craftsmanship and

aesthetic pleasure. In fact, besides their visual beauty, Chinese ceramics carry significant

cultural and religious meaning through the symbolism. Moreover, Chinese symbolism is

significantly different from Western one in the cultural meaning. Thus, some specific

Chinese framework needs to be applied to uncover cultural meanings. Taoism, a Chinese

philosophical and religious tradition, developed and affected symbolism on Chinese

ceramics, and thus infuses deeper cultural meaning beneath craftsmanship and aesthetic

pleasure. Therefore, I argue that Taoism should be considered in the study of Chinese


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ceramics, in addition to visual beauty. To prove my argument, first, I will introduce the

symbolism in Chinese culture, and then I will explain some basic belief in Taoism, and how

it affects Chinese culture. Eventually, I will examine three pieces of Chinese ceramics that

could gain more cultural meaning in terms of their color, and pattern design through the lens

of Taoism. Additionally, in the end, I am going to highlight the value of the knowledge of

Chinese symbolism, both in the practical level, and the intellectual level.

To start with, I would like to point out that the symbolism is prevalent in Chinese

culture. C.A.S. Williams, a British Sinologist who spent most of his active year in China, in

his book, confirms the Chinese character and phrase act like painted picture (A Manual of

Chinese Metaphoriv). In fact, the Chinese character is created as a symbol, captures the

essence of a natural object graphically (You 10). It implies that Chinese have utilized

symbolism and figurative art in culture from the beginning of this civilization. Furthermore,

Williams adds that, Chinese is rich in metaphor, which is most commonly expressed in

terms of four characters(v), and functions together as an idiomatic expression. Chinese calls

this kind of expression: Chengyu(). Chengyuinvolves both animalization and

symbolism. Besides its literal meaning, each expression has a deeper symbolic meaning.

Symbolism is largely used in Chinese writing and composition through Chengyu.In

addition, Chengyu is utilized symbolically in the design of Chinese ceramics as patterns. I

will examine the utilization of Chengyuin the Chinaware further into details, when

introducing three pieces of Chinese ceramics later.

Shifting from the text-based context, Chinese symbolism is omnipresent in terms of

art. Walter Yetts, another British Sinologist, claims, One of the most distinctive and striking

features of Chinese Art is the Symbolic character of its expression (1), confirming the

extensive use of symbolism in Chinese art. In Chinese painting, same patterns appear

repeatedly, conveying the same message. These patterns symbolize either a legend, or other


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seemingly irrelevant things. Besides, in China, each color has symbolic meaning. TheRite of

Zhou, written in the middle of 2ndcentury BC, points out that color and pattern in clothing

may only be used according to ones socioeconomic class (Hu 235)1. This implies the

symbolism behind each color and pattern has been established in the Chineses mind for over

centuries. Different colors and patterns represent different socioeconomic classes. Moreover,

symbolic meaning of color and pattern also appears the Chinaware; I will identify it later

when analyzing porcelain pieces. Overall, symbolism is largely used in Chinese literature,

and visual art. Indeed, it is a significant part of Chinese culture.

Because of the extensive existence of symbolism in Chinese culture, in order to

systematically understand the symbolism in China, the important part of Chinese culture

needs to be studied. Taoism, originated in China 2000 year ago, largely affects Chinese

culture. Tao() means the road in Chinese, though commonly translated as the Way

(Little 13). Ultimately, Tao is the structure of being that underlies the universe (Little 13).

Taoisms primary goal is achieving harmony following the structure, Tao. Mainly, Taoism

affects Chinese culture through its gods. SomeChinese worship these gods in temples and

through rituals. In religious Taoism, these gods have practical roles like gods in Greek

mythology. Some Taoist gods are in charge of rain, and some are in charge of the human life.

For example, people worship the god of longevity, a Taoist god in charge of peoples lifetime,

pursuing long life. Ultimately, with the emergence of different forms of worship of these

gods, Taoism has largely affected Chinese culture. In Williams another book about Chinese

symbolism, Kato, the writer of the introduction, further claims Chinese symbolism and art

motives are based on Taoism (Encyclopedia of Chinese Symbolism viii). Like in Greek

tradition, certain sculptures depict the image of Greek gods. In China, paintings largely

1Hus article Chinese Colors and Their Meaning-Toward a Modern Integration of Creativity

in Chinese Art and Design Education was originally published in Chinese. It is being

translated in the paper.


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involve images of Taoist gods, conveying good wishes for fortune, longevity, and virtue.

Clearly, Taoism plays an important role in Chinese symbolism. As a most popular and

ancient belief in China, Taoism has been deeply ingrained in the Chinese mind; every art

form are associated with its symbolism, for example, in architecture, painting, embroidery,

etc.; some seemingly irrelevant symbolisms in art actually originate from Taoism. Taoism

has melted into the cultural fabric. It becomes almost impossible to separate Taoism from

systematically understanding Chinese symbolism. Therefore, the lens of Taoism would be

helpful and necessary to grasp the culture meaning in every form of Chinese art.

In fact, most of the symbolism on Chinese ceramics, one of the most significant forms

of Chinese art, originates from Taoism as well. All of the features of Chinese ceramics

colors, patterns, and utilization of the idiomatic expression, Chengyugain deeper meanings

when applying Taoism to them. In the next few paragraphs, I am going to introduce three

pieces of Chinese ceramics, mainly focus on the pattern and color design. Then, I will

examine each of them through the lens of Taoism, and present the cultural meaning of the

color and pattern that otherwise will not appear without the knowledge of Taoism. To be

clear, I choose these three pieces of Chinese ceramics, because they have different cultural

meanings, and were produced during different times. Therefore they are very representative.

Moreover, each of these three pieces involves at least two different types of symbolism that

could be understood better through Taoism.


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Fig. 1.Ming's Red and Yellow Enamelled Incised 'Dragon' Dish. 2009. Jiangxi Museum of

Chinese Ceramics, Jiangxi. Web. 11 Nov. 2014.

To start with, I will examine this piece of Chinese ceramics (see fig. 1) that was

produced during Jiajing reign (1521-1567), Ming Dynasty, from a visual perspective. The

craftsman utilizes a technique called under-glaze: the porcelain is glazed after painted, and is

put into the kiln afterward. The background color of this piece of ceramics is yellow with a

dragon pattern appeared in the center of the dish. Without any knowledge of Chinese culture,

people might only sense the aesthetic beauty of this piece of ceramics because the clashing

colors, red and yellow, creates high contrast. Additionally, they might be impressed by the

design of the dragon that occupies the middle of the dish and makes threatening gestures with

its claws.

However, when people start to apply Taoism to analyze this artifact, the cultural

meaning of the color and pattern appears. As introduced before, symbolic meaning of each

color is ingrained in Chineses mind for overcenturies. Largely different from the concept of

yellow in Western culture, as inferred from the English term Yellow Journalismin China,

yellow has a significantly different symbolic meaning. Taoism can help to explain the

symbolic meaning of yellow. Taoism argues there are five elements: water, fire, wood, metal,


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and earth. Moreover, there are five colors: green, red, yellow, white, and black, each

representing one of the elements. Yellow represents the element of earth, and is regarded as a

best color among five colors, according to the Taoist (Hu 236). In Taoism, yellow also

represents the center in the Five Phase System: east, west, south, north, and center (Little

303). Being the central and best color among all the other colors, yellow is reserved only for

people who hold the highest socioeconomic status. Thus, evolving from Taoist belief, yellow

becomes the imperial color in China for centuries, which is exclusive for the royal family,

specifically the Emperor (Hu 237). In Ming and Qing dynasties, the government enforced this

rule of use of color so strictly that any people who misused the color yellow could be put into

death. In conclusion, when using Taoism to analyze the background color of the dish, one can

easily assume this piece of ceramics is exclusive only to royal family due to the extensive use

of yellow as the background color.

In terms of the pattern, dragon is a commonly used pattern in the design of Chinaware.

According to Yetts study in Symbolism in Chinese Art, Chinese dragon is described as a

animal that has a head of a camel, the eyes of a hare, the cars of a bull, the neck of a snake,

the belly of a frog, scales like a fish, talons like an eagle, and paws like a tiger (22). It is not

merely a pattern of artistic beauty, but has a deeper meaning. Different from the red dragon

with seven heads, representing Satan in the Book of Revelation, Chinese dragon symbolizes

royalty in Taoism tradition. Believed by Taoists, the dragon supports the mansions of the

gods (Encyclopedia of Chinese SymbolismWilliams 135). In Taoism story, the dragon is

always aside with the jade Emperor, Yuhuang (), the supreme god among all Taoism

gods. Therefore, over time, the dragon had evolved into a symbol of the supreme god

Yuhuang. Naturally, the Taoist dragon pattern in Chinese ceramics represents the Emperor,

the supreme ruler of the society, figuring as a sign of imperial rank (Yetts 24). With the aid

of Taoism, beside the visual beauty of the artifact, people perceive the cultural meaning of


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the dragon pattern, understanding that it represents the Emperor. Combining the Taoist

symbolic meaning of background color yellow and the dragon pattern altogether, people will

easily recognize that this piece of Chinese ceramics is made for the use of the royal family,

specifically the Emperor. Taoism makes it possible for people to identify the owner of the

Chinaware. As a result, Taoism should be looked at in the study of Chinese ceramics.

Fig. 2. Qing's Famille Rose 'Bat and Peach' Dish. 2013. The Capital Museum, Beijing,

China. Web. 11 Nov. 2014. .

In Qing Dynasty, the craftsmanship of Chinese ceramics was improved. There

emerged a new kind of decoration namedFamille Rose. Famille Rose,belonging to the

category of on-glaze decoration, mainly uses pink and purple, and allows a great range of

color to depict more complex pattern on the Chinaware. This piece ofFamille Rose Chinese

ceramics is produced during Guangxu reign (1875-1908), Qing Dynasty (see fig. 2). The


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background color is pure white, with red bat and pink peach tree bearing gloss fruit appeared

on the dish.

Beside utilization ofFamille Rose, Qing Dynastys porcelains largely involve the

Chinese idiomatic expression, Chengyu, in its design.As introduced before, Chengyuis

involved graphically in the pattern: different parts of the pattern demonstrating different

characters within the four-character expression. Taoism becomes useful to explain the design

of the pattern. This bat-peach pattern in this piece of ceramics, originates from the idiomatic

expression, Fu Shou Shuang Quan(), which metaphorically means the possession

of both blessing and longevity. As a pattern, it appears as bats flying above peach trees. Bat

(Fu) has the same pronunciation with blessing (Fu) in Chinese, thus becoming the

symbol of blessing. Taoism explains the symbolic meaning of peach trees in this pattern. In

Taoism, the Peach Tree of the gods is said to bloom once in 3000 years, forming the fruit

of eternal life 3000 years afterwards. Consuming one of the fruits can achieve an eternal life.

Therefore, peach tree becomes the symbol of immortality in Taoism (Morgan 111). Thus,

through the lens of Taoism, the peach tree appeared in the pattern symbolizes the character

longevity (Shou). This bat-peach pattern mixes both idiomatic expression and Taoism

together, gaining richer cultural meaning and conveying a good wish for both blessing and

longevity.


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Fig. 3. Qing's Porcelain for the Wedding of Emperor Tongzhi. 2013. The Capital Museum,

Beijing, China. Web. 11 Nov. 2014.

Similar to the bat-peach pattern ceramics that is introduced above, this piece of red

Chinese ceramics is also produced during the Qing Dynasty (see fig. 3), particularly, during

the Tongzhi reign (1856-1875). It takes the form of a round box. The background color is red,

and with several flowers and butterflies scattered around the central dragon-phoenix pattern.

The color and pattern on this piece of Chinese ceramics also have special cultural

meaning. Like yellow, the background color red gains its cultural meaning through Taoism.

In Taoism, red, one of the Taoist five colors, represents the element of fire (Hu 236). In

Chinese culture, the element fire is a sign of happiness. Representing the element fire in

Taoism, the color red had evolved into a symbol of happiness. Therefore, red is the most-

used color in decoration for celebration, such as wedding ceremonies and Chinese New Year.

Aware of such knowledge, people can infer from the color that this artifact has a purpose of

celebrating happiness.


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Examining the pattern, people recognize the dragon-phoenix pattern in the Chinaware.

As explained before, the dragon is associated with Yuhuang, the most powerful Taoist god.

Therefore, in Taoism tradition, it represents royalty, particularly the Emperor. Similarly, the

phoenix, associates with another important Taoism immortal being, Xiwangmu(). She

is the Queen Mother of the West, guarding the immortal mountain ofKunlun. It is said in

myth, in her presence, a single phoenix always appears in her headdress (Little 276). She is

the wife of Yuhuangin Taoism myth. Therefore, Taoist phoenix had evolved into a symbol of

the Empress. Combining the symbolic meaning of dragon and phoenix together, people begin

to understand the dragon-phoenix pattern represent the Emperor and the Empress.

Similar with the design of the bat-peach pattern ceramics, this piece of Chinese

ceramics also involves Chengyuin its design. To be specific, Chengyu Lung Feng Cheng

Hisang(), is expressed graphically. Lung Feng Cheng Hisang, one of the most

important expressions in Taoism, is interpreted by Williams as prosperity brought by the

dragon and the phoenix from its literal meaning (A Manual of Chinese Metaphor47). It

further implies very good fortune symbolically. Because Lung Feng ()means

dragon and phoenix in Chinese, this expression appears graphically as dragon-phoenix

pattern. Linking the metaphorical meaning of this expression, and the symbolic meaning of

dragon and phoenix altogether, people can understand this pattern conveyed a wish of

harmony and fortune between the Emperor and Empress.

Aware of Taoism, when combining the symbolic meaning of color, pattern, and the

idiomatic expression together, people are able to understand the purpose and cultural

meaning of this piece of chinaware. As examined before, the background color of this artifact

is red, conveying happiness. The Taoist dragon-phoenix pattern symbolizes the Emperor and

Empress. Moreover, the pattern implies a wish of harmony between the Emperor and

Empress. Eventually, people might guess this piece of porcelain is produced for a celebration


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of happiness and harmony between the Emperor and Empress. Indeed, this piece of porcelain

is designed specifically to celebrate the wedding of the Emperor Tongzhi.

From all three examples above, both color and pattern design are associated with

Taoism. Therefore, Taoism largely helps people to appreciate Chinese ceramics, digging out

cultural and religious meaning beneath its aesthetic beauty. However, some might argue that

sensing the visual beauty is enough for appreciating an artifact. Furthermore, they believe

that aesthetic beauty can be easily perceived even without the knowledge of Taoism. Thus,

the knowledge of Taoism becomes unnecessary in the study of the Chinaware. Nevertheless,

without Taoism, basic appreciation of visual beauty becomes impossible sometimes. For

instance, from the appearance of a piece of Chinese ceramics (see fig. 4) that was produced

during Kangxi reign (1661-1722), Qing Dynasty, people may only recognize different

symbols arranged in rows. It might be hard for them to perceive even the visual beauty of

these seemingly irrelevant symbols. In fact, these symbols are one single Chinese character,

shou (), meaning longevity, in different handwriting. This technique is called Calligraphy.


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Fig. 4. Ma, JingJing. Qing's Blue and White 'Shou' Vase. 2012. Nanjing Museum, Nanjing,

China. Web. 11 Nov. 2014. .

In Williamssbook, Calligraphy is briefly discussed by Kato, the writer of

introduction, as one of the thing that Westerner could not understand and appreciate

(Encyclopedia of Chinese Symbolism xi). Furthermore, Kato believes that Calligraphy is a

production of a spirit of veneration for the written character (xiii). The spirit Calligraphy

emphasizes is an important thing Taoism advocated. In Calligraphy, Taoism encourage an

astonishing mixture of spirituality and native joyand with it a subtle mystery (Cooper 86).

This mixture infuses more cultural and spiritual meaning into Calligraphy. Only with Taoism,

people can grasp the spiritual meaning within Calligraphy, thus perceive the visual beauty of

Calligraphy. In terms of this particular piece of Chinese ceramics that was produced during

Kangxi reign (1661-1722), it has around ten thousands same Chinese charactershou

(meaning longevity in Chinese)each written in different styles. This vase was produced to

celebrate Kangxi Emperors sixtieth birthday. The knowledge of Taoism allows people to

grasp the spirit of Calligraphy, so they can step forward to appreciate the craftsmanship and

aesthetic beauty of this artifact. Therefore, Taoism is necessary to help people not only grasp

the cultural meaning of Chinese ceramics, but also perceive the visual beauty of it. It is worth

considering in the study of Chinese ceramics.

Indeed, specific knowledge of Chinese culture helps people to understand the

Chinaware. Taoism, an important Chinese religion and philosophy, has largely affected

Chinese ceramics in terms of its design. Thus, it should be considered when people study

Chinese ceramics. It helps to reveal deeper cultural and religious meaning of the artifact, in

addition to its craftsmanship. Furthermore, in the practical level, knowledge of Chinese

symbolism becomes helpfulas the world is becoming more culturally diverse: different

relationship going on between different countries. Especially, China has become one of the


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worlds biggest consumers of commodities. Companies worldwide begin business with China.

The study of Chinese culture enables people to utilize knowledge of Chinese culture to infuse

Chinese symbolism in products design, making them more appealing to Chinese, and

offering the company larger sales. Moreover, because of the significant differences between

Chinese and Western cultures, Chinese culture is worth being examined and studied

separately. The understanding of Chinese ceramics offers people a glance at Chinese culture,

and brings to a practical end: the business success.

Most importantly, on the intellectual level, learning about the past makes it possible

for us to appreciate the history, a history that cumulates over 5000 years. In addition, the

study of history enhances humanistic improvement, nourishing out minds. Different

perspectives of historical understanding offer us tools to solve real-life problems.

Undoubtedly, Chinese ceramics as a carrier of Chinese culture is worth studying.

Additionally, Taoism, a famous Chinese belief fundamentally affecting Chinese symbolism

in every art form, will largely help people to achieve better understanding of Chinese culture.

With aids of Taoism, next time, when you walk in the museum, remember to muse in front of

artifacts, and figure out what you can learn from them, from culture.


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Works Cited

Cooper, Jean C.An Illustrated Introduction to Taoism: The Wisdom of the Sages.

Bloomington, Indiana: World Wisdom, Inc, 2010. Print.

Dallas, Sada. The Romance of Chinaware. Los Angeles: De Vorss & Co, 1940. 13-19. Web.

21 Oct. 2014.

Hu, Zermin. "Chinese Colors and Their Meaning-Toward a Modern Integration of Creativity

in Chinese Art and Design Education." : 233-54. Web. 13 Nov. 2014.

Little, Stephen. Taoism and the Arts of China. Chicago: Art Institute of Chicago, 2000. Print.

Morgan, Harry T. Chinese Symbols and Superstitions. South Pasadena, Calififornia: P. D.

and Ione Perkins, 1942. Print.


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Valenstein, Suzanne G.A Handbook of Chinese Ceramics. Revised and Enlarged ed. New

York: Metropolitan Museum of Art, 1988. Print.

Williams, C. A. S.A Manual of Chinese Metaphor: Being a Selection of Typical Chinese

Metaphors, with Explanatory Notes and Indices. Shanghai: The Inspector General of

Customs by the Statistical Department of the Inspectorate General, 1920. iv-vii. Print.

---.Encyclopedia of Chinese Symbolism and Art Motives. New York: Julian Press, 1960.

Print.

Yetts, Walter P. Symbolism in Chinese Art. Leyden: E. J. Brill, 1912. Print.

You, Xiaoye. Writing in the Devil's Tongue: A History of English Composition in China.

Carbondale: Southern Illinois University Press, January 20. 43-44. Print.

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Taoism-A New Lens Onto Ancient Art Form