#Dongfang Shuo

[journeytothewestresearch]

Sun Wukong's theft of immortal peaches

Here is an article on the origins of the immortal peach-stealing episode from Journey to the West. The Monkey King's theft is likely based on the respective stories of the Han-era trickster Dongfang Shuo (東方朔) and a magic white ape from Song-era material.

[ryin-silverfish]

Hello Ryin! I saw some people from the lmk fandom believing that 西王母 is the Jade Emperor's wife? Which is odd because any googling I've done doesn't say so.

Not sure how it happened or why but I wanted to double check if it's true or false before I go insane or change a browser.

The QMoW - JE pairing exists, but it is a very folk religion thing, a.k.a. "so popular that it pretty much became the norm among regular folks, even though the Daoist scriptures didn't say that", and the popularization happened after Yuan/Ming dynasty.

Prior to that, she was commonly paired with the Lord Father of the East (东王公), the Wood to her Metal. This pairing first appeared in the Han dynasty 神异经: according to the story, there was a giant sky pillar standing atop Mt. Kunlun, and on top of said pillar was a giant bird. LFoE is covered by its left wing, QMoW its right wing, and every eon, they climbed onto its wings for a meeting.

Ge Hong's 枕中书 said that LFoE and QMoW are the children of Heavenly King Yuanshi (元始天王, who isn't one of the Three Pure Ones in this work, but Pangu himself) and Holy Mother Taiyuan (太元圣母, who's also born of Yuanshi). They got married and gave birth to the "Earthly Emperor".

In even later Daoist works, QMoW became the one in charge of female immortals, LFoE the male immortals——basically, they were the ones giving job interviews to aspiring immortals who wanted to ascend into the Celestial Bureaucracy.

LFoE also appeared in JTTW, during the Ginseng Fruit arc. Here, he lived on Fangzhang, one of the Three Islands of Immortals, and Dongfang Shuo, a historical figure from the reign of Han Wudi, worked under him.

[liuet]

10 Characters, 10 Fandoms, 10 Tags

Thanks for tagging me @nemainofthewater i am going to do this thing before i forget and then never finish it

Xia Dong - Nirvana in Fire (it’s not me if NiF isn’t on here somewhere…)

Moiraine Damodred - Wheel of Time (been rereading 💖)

Dongfang Qingcang - Cang Lan Jue/Love Between Fairy and Devil

Kusuriuri - Mononoke

Shuos Mikodez - Machineries of Empire

Yukawa Manabu - Detective Galileo

Phillippa Somerville - Lymond Chronicles

Bai Chuan - Qi Hun/Hikaru no Go live action

Tsunemori Akane - Psycho Pass

Roy Mustang - Fullmetal Alchemist

I have forgotten everyone’s usernames so if you think i would tag you, then the answer is yes.

[a-fantasy-lover-surfing-the-net]

Costume Cdramas I watched in 2023

This was my first year in Dramaland (both Chinese and Korean). And I have to say that for the most part I have enjoyed my journey in discovering the dramas. This list includes dramas that were released before 2023 as well.

7. Starry Love

It is a story of twin sisters - the gentle and kind Liguang Qing Kui and the smart and cunning Liguang Ye Tan. Qing Kui is betrothed to the heveanly prince and Ye Tan is betrothed to the demon prince however mistakenly they switch places and have to navigate the heavenly realm and demon realm alone relying on their wits. For me the strongest aspect of the drama was the bond between the sisters. It focuses more on the romance of Ye Tan and Xuan Shang and the heavenly realm which I was not much interested in so I skipped through a lot of it. However, I did enjoy the romance of Qing Kui and Chao Feng and the demon realm story which was unfortunately not given enough screen time. As the heavenly realm part of the drama failed to get me invested in both its characters and story, I didn't enjoy this drama a lot.

6. Love you Seven Times

Xiang Yun, a fairy working in the marriage pavilion and Chu Kong, the God of War are accidentally entangled by the red thread of fate and go through love tribulations. I enjoyed their romance and the story was also good. However, I feel it would have turned out better if the drama had more episodes so that the tribulations could be more immersive and impactful. Also, it had less action than I expected from a Xianxia. It was still a fun watch for me.

5. Ancient Love Poetry

This is an epic story of gods and love spanning thousands of years. I will not even attempt to give a primer for its story. The romance, story, action everything is great and it also has really good secondary romances and friendships are also good. The problem I had with this drama is that I enjoyed the first God realm arc a lot however in the second arc I couldn't get fully invested in Houchi and Qing Mu. Also, as a novice to xianxias I had some trouble following the story from the second arc onwards which meant I couldn't enjoy it as much. I still consider it a must watch for xianxia fans but its not for newbies that's for sure.

P.S.- I was devastated with Yue Mi's death so I'm happy that we'll be getting the continuation of her story with Moonlight Mystique.

4. Love between Fairy and Devil

It is a drama about Orchid, a low ranking fairy and Dongfang Qing Cang, the Moon Supreme of the Moon Tribe who are enemies of the immortal fairies, and their forbidden romance. The romance (of both the main and second couple) is really good, the story is compelling and the dynamic between the main and secondary cast is enjoyable. I found the action somewhat lacking. This is a really enjoyable drama especially for those getting into xianxias as the story while not simple, is easy to follow.

3. Romance between Tiger and Rose

In this drama, Chen Xiao Qian, a screenwriter transported into her own story, becoming the Third Princess Chen Qian Qian, a side character. Armed with the knowledge of her own script in which her character is soon to be killed in the third episode by Prince Han Shuo, the male lead, Xiao Qian is determined to stay alive and return to her own world. It is an excellent romcom with great chemistry and fun bickering between the main leads. While the story is straight forward for the most part, it does offer some commentary on gender discrimination and gender norms. It is a really fun and a must watch and has great rewatch value.

2. Story of Kunning Palace

Jiang Xuening is the selfish and ambitious daughter of a court official who ruthlessly uses her charm and cunning for becoming empress. Her schemes lead to the downfall of the royal family and the ruin of both her childhood sweetheart Yan Lin and the once incorruptible Zhang Zhe. Desperate and full of regret, she pleads to exchange her life for the freedom of Zhang Zhe. She awakens in her 18-year old self, who has yet to enter the palace with a chance to do better this time. Even though she vows to steer clear of the palace and its court intrigues, she becomes entangled in them anyways. Apart from Jiang Xue Ning the main cast includes : Xie Wei - JXN's teacher and a ruthless political mastermind, Zhang Zhe - an upright and dedicated officer in the Ministry of Justice, Yan Lin - loyal heir of the Yan family who is in love with JXN, Shen Zhi Yi - the optimistic and resilient princess. It’s so rare for a drama to combine so many great things - a competent and smart female lead, gripping script, top tier looks, chemistry (with the male lead and the secondary leads), steady pace, no childishness, very happy ending. All the actors did an amazing job, in particular Bai Lu who embodied JXN and depicted her thoughts and feelings in a way that the audience could connect with JXN and root for her. The character arcs for the entire main cast were satisfying and done beautifully. I only wished that they showed the past life in one go and with some more scenes for JXN's character growth to be more impactful and that they removed the bright spotlight aimed directly at the camera which took me out of those scenes. This is definitely a must watch for costumed cdrama lovers.

1. Till the end of the moon

Li Susu, an immortal time travels 500 years into the past to prevent the ascension of the Devil god, who goes on to destroy the world in the future. It's a story of love and hate, good and evil, redemption and damnation. The characters are very well conceptualized and depicted beautifully by talented actors, stunning costumes, really good hair and makeup, and great cinematography. The amazing production and set design along with impressive visual effects and CGI really immerse the audience in the world of TTEOTM. Their romance is my ultimate enemies to lovers pairing. It has just the right amount of fighting, messiness, animosity and angst for me. Their visuals, their chemistry, their acting and the story everything was so great. Who else has three epic weddings in one drama? For the most part the story was gripping, progressed at a good pace and conveyed many themes that become apparent on rewatches. While some were disappointed by the ending to me it was clear that they reunite once again and live happily. I am still not able to move on from this couple and drama.

Full Review of Till the end of the moon here.

You can also check out my modern cdrama rankings.

As I'm still a newbie to cdramas, I welcome your recommendations.

[romanceyourdemons]

i love how much of records of the grand historian is just sima qian going ok here’s the tea on that weird guy you’ve been seeing around. i’m reading the chapter on dongfang shuo, one of sima’s contemporaries, who got into the court by writing an absolute fucking NOVEL of a memorial to the emperor that impressed the emperor enough to give him a job when his majesty finally got through it two months later. and dongfang used his salary to buy other men’s wives. he would marry her for a year and then he’d go alright sick you can go back, and then he’d buy someone else’s wife. people got pissed at him for this, of course, but he pulled the “i’m just a little guy” defense so effectively no one could get rid of him. and at one point an animal that was kind of like a deer but not actually like a deer at all showed up in the palace, and the emperor was like the fuck is this thing and dongfang was like “buy me dinner and i’ll tell you :)” so the emperor buys him dinner and dongfang is like “give me some land and i’ll tell you :)” and the emperor gives him land and dongfang is like “ah that fucked up thing won’t hurt you, it just means a foreign dignitary is coming soon.” and the emperor is like neat 👍

[dailyasiandramas]

[zhoufeis]

cdrama ask meme

send me a number and I’ll reply with a gifset

1: hidden love or lighter and princess 2: love between fairy and devil or the starry love 3: legend of fei or word of honor 4: till the end of the moon or the untamed 5: who rules the world or zhaoyao 6: the killer is also romantic or the queen of attack 7: the eternal love or the romance of tiger and rose 8: love like the galaxy or goodbye my princess 9: oh! my sweet liar or a girl like me 10: the love by hypnotic or i’ve fallen for you

11: lan wangji or xie yun 12: zhou fei or lu zhaoyao 13: wen kexing or wei wuxian 14: li xun or zhu yun 15: ban hua or rong xia 16: bai fengxi or cheng shaoshang 17: shaodian youqin or chao feng 18: gu xiang or yan hui 19: hei fengxi or li chenlan 20: xiao lanhua or dongfang qingcang

21: hei fengxi / bai fengxi or wen kexing / zhou zishu 22: li chenlan / lu zhaoyao or shaodian youqin / liguang yetan 23: dongfang qingcang / xiao lanhua or lan wangji / wei wuxian 24: gu xiang / cao weining or tianqi / yuemi 25: yan hui / tian yao or ban hua / rong xia 26: ling buyi / cheng shaoshang or tantai jin / ye xiwu 27: li qian / li mingyue or xiong xiruo / li hongbin 28: zhu yun / li xun or sang zhi / duan jiaxu 29: han shuo / chen qianqian or liang weiwei / jing qing 30: chu xiuming / shen jin or zhao cuo / tian sanqi

[andromache-hectoris]

Willow Song (Yangliu ge 楊柳歌)

The willow tree by the river had boughs of a hundred feet,

its long branches hanging curling to the ground.

The currents rushing and dashing, the roots of the willow in danger,

suddenly it was blown by wind and waves into the river.

How pitiful—the young phoenix in the nest on the willow tree!

Somehow, back then, it was severed from its home.

Once the drifting raft went off, it rose to the Pool of Stars,

and should be taking away the loom-stone of the Weaver.

[Legend has it that as the Han envoy Zhang Qian 張騫 was looking for the source of the Yellow River, his raft arrived at the Heavenly River, and he obtained the stone used by the Weaving Girl, the goddess of weaving to support her loom]

Who would believe that all it needed to shelter several states was only one little southeastern branch?

[In a fragment from Sun Chuo 孙綽's Sunzi 孙子, a man of the mountain tells a man of the sea that a huge tree of the Deng Grove may shelter several states. This couplet refers to the former might of the willow tree and suggests the past power and glory of the Liang.]

The young lord who in the old days made outings at Nanpi,

where can one find him now on the banks of Xuanwu Pond?

A handsome charger galloping toward the northwest,

to left and right the rider arched his bow, shooting at the Yuezhi.

[In these lines Yu Xin alludes to a number of writings by the Cao princes: in one of his letters, Cao Pi 曹丕 (187-226) recalled their outings at Nanpi in the old days; Cao Pi's poem "Written at the Xuanwu Pond" ("Yu Xuanwu pi zuo" 於玄武陂作) begins with the line: "Brothers go on an outing together." Cao Zhi 曹植(192-232)'s "Ballad on the White Horse"("Baima Pian" 白马篇) describes the military accomplishments of a chivalrous knight-errant.]

The mudguard patterned with stringed coins got soiled in crossing the brook,

[It was said that the minister Wang Ji 王济's horse had to cross a stream but feared staining the precious mudguard it was wearing.]

and the white jade tablet fell into the mouth of the coiled dragon.

[Emperor Ming of the Jin (r. 322–24), while still a little boy and the crown prince, put his white jade tablet in the open mouth of a bronze coiled dragon; the jade tablet slipped in and could not be recovered. It is likely that the jade tablet powerfully epitomizes the tragic fate of Xiao Gang 萧綱, one of the Liang princes and the poet's "understanding friend"]

New pipes of the phoenix, Xiao Shi had played them;

through the spring window of vermilion bird,

the Jade Maiden was peeping.

[Xiao Shi was the son-in-law of the Duke Mu of Qin. Playing on his panpipes, he summoned a phoenix and rode away with his wife. In Han Wudi gushi 漢武帝故事, Dongfang Shuo 東方朔 was said to have peeped at the Queen Mother of the West through the vermilion bird window.]

The wine goblet containing clouds was made of red agate;

the food vessel of purple glass reflected the sun.

If you think that a man has no ambition,

let me ask you—how did Mount Yan acquire its stone stele?

[The Eastern Han general Dou Xian 窦憲 inscribed his grand victory over the Xiongnu army on a stone stele on the Mount Yanran 燕然]

And yet, what has lasted a hundred years of frost and dew all at once withers,

suddenly one morning, accomplishments and fame are out of reach.

It must be that King Huai had erred in his plan,

recanting for no reason and trusting Zhang Yi.

[King Huai of Chu was duped by the Qin minister Zhang Yi and severed relations with the state of Qi. King Huai later died in Qin.]

Ah, one had better get drunk at the Gaoyang Pond,

coming back at day's end, wearing one's cap upside down.

[Toward the end of the Western Jin, the state was beset with troubles, but Shan Jian 山簡, the governor of Xiangyang, cared only about drinking. He often drank by a scenic local pond, which he referred to as his "Gaoyang Pond," Gaoyang being a reference to the Western Han figure Li Yiji 酈食其, the self-styled "Drunkard of Gaoyang." A song was made about Shan Jian coming home drunk and wearing his cap upside down.]

Who had transplanted the willow from the Wuchang city gate?

[The Eastern Jin general Tao Kan once recognized a willow transplanted from the west city gate of Wuchang.]

How could one still recognize it in front of the Guandu encampment?

[Cao Pi, in the preface to his "Fu on the Willow" ("Liu fu"柳賦), relates that he had planted a willow at Guandu in 200; now, fifteen years later, the tree had grown a great deal, and "many of my followers had died."]

I alone still remember the days when its catkins were blown around like goose feathers;

today, there are no more silk threads hanging like the green horse-binders.

I would like to leave a song about the willow, a companion piece for "Plum Blossoms,"

[Both "Breaking the Willow Branches"(“Zhe Yangliu” 楊杨柳) and "Plum Blossoms Fall"("Meihua luo" 梅花落) were popular yuefu titles in the Southern Dynasties.]

so as to play the tunes together on a long flute.

Yu Xin(513-581), Chinese poet of the Northern and Southern Dynasties. A friend of the Southern Liang court, he was detained on a mission to the Northern dynasties(Western Wei and Northern Zhou), witnessing the fall of Liang in 557 and never again returned to the South.

Tian, Xiaofei. (2008). Parting Ways: Writing Trauma and Diaspora in the Poetry of Mid-Sixth Century China. In Hsiang Lectures on Chinese Poetry, Vol. 4 (pp47-82). Centre for East Asian Research, McGill University.

[veliseraptor]

longshot but: if anyone can find me an english translation of Shenyi jing (神異經 "Classic on Divine Marvels", attributed to Dongfang Shuo) I will be deeply indebted to them. this isn't that important but also it is

[bookofjin]

Commentary on the Warer Classic: Kunlun

[We return again to Kunlun and its many marvels. Attempts by some authors to equate Kunlun with Anavatapta from Buddhist tradition are difficult to reconcile with Daoist supernatural geographies, which I suppose is not too surprising.

Dongfang Shuo was a historical person who lived in the times of Emperor Wu of Han. The Records of Ten Islands and Classic of Gods and Wonders, though attributed to him, are quite likely to be much later works though.

Mr. Shi's discussion: Fotutiao arranges Classic of Mountains and Seas to say: South of the Western Sea, adjacent to the Flowing Sands, behind of the Red River赤水 and before of the Black River黑水 there is a great mountain, named Kunlun崑崙.

He also says: Six hundred li west of Zhong Mountain鍾山 is Kunlun Mountain崑崙山 from where sets out five rivers, carrying on hence the Account of Fotutiao.

Also recently pushed forward and obtained Kang Tai's Account of Funan. The Account's Kunlun Mountain崑崙山 exactly combine with Tiao's. According to the Account, from Jiao province交州 you arrive at the near-most of Tianzhu天竺. Tai's Account likewise knows that Anavatapta Mountian阿耨達山 is Kunlun Mountain崑崙山.

Shi states: Depending perhaps on Tiao's Account, openly making explanations, and then circulating them as the Map of the Western Region, to then tell of [Zhu?] Faitai. Faitai uses the common to see the unusual. He speaks of various famous people from Han and onward [?], he does not respond to the He河 being several thousand li south of Dunhuang敦煌, and does not know where Kunlun崑崙 is.

Shi states: Then the book says: Relying on Transmittals on the Majestic Son of Heaven, King Mu at the sides of Kunlun崑崙 and upon the Jade Pool瑤池 toasted the Queen Mother of the West, and states the distance to Zongzhou宗周, the Chan瀍 and Jian 澗, eleven thousand, one hundred li, how might it not be like Tiao tells? When Sir now sees Tai's Account, it is not making previous people unknowledgeable. But from now and afterwards then knowing that Kunlun Mountain崑崙山 is without a Hot Hill熱丘, how then to state it is outside of the foreign states?

I have examined Mr. Shi's words, but not yet made satisfactory proof. The Majestic Son of Heaven, Bamboo Book, and the Classic of Mountains and Seas all were buried and concealed years long past, the bamboo slips and leather are scarce and broken off, the books and records in scattered order. It is difficult to sew and patch them together. Later people made use of combining, but often deviated from the distant ideas. Reaching the desire to inquire into the earth's veins and streams, they do not fit together with the Classic. Inspecting the journeys and measuring the paths, assuredly they have no meetings with themselves. Mr. Shi did not restore to the root the vast causes of their multitude returns, [but] displayed his unsparing interest [?], to separate their faults, and not what is settled.

Now according to the Classic of Mountains and Seas which says: The Kunlun Barrens崑崙墟 are in the north-west, they are the Deity's lower capital. The barrens of Kunlun崙崑 are eight hundred lisquare, and ten thousand ren tall. Upon them are wooden standing grain. On the sides there are nine wells with jade as the enclosure. On the sides there are nine gates, the gates have enlightened beasts defending them. It is the place where are the hundred gods.

Guo Pu says: Separate from them there is Lesser Kunlun小崑崙.

Also according to the Book of Huainan, upon Kunlun崑崙 there are wooden standing grain, gem trees, jade trees, and jadestone璇 trees. The unding trees are west of them. The sand crab apple trees and and malachite are east of them. The scarlet trees are south of them. The blue-green trees and chalcedony trees are north of them. There are four hundred and forty gates, between the gates are four hamlets, and between the hamlets are nine chun. A chun is a zhang and five chi. On the sides are nine wells, with jade horizontal supports on their north-western crooks. The northern gates open to admit the winds that do not circle [?].

The slanting palace, revolving chamber, suspended gardens, cool winds, and fenced paulownia are within of Kunlun's崑崙 opening and closing gate. This is its wide-apart park. The pool of the wide-apart park is irrigated with the Yellow River黃水. The Yellow River黃水 circles three times and returns to its source, it is spoken of as the Cinnabar River丹水. [Those who] drink from it do not die.

The He River河水 sets out from its north-eastern corner. The Red River赤水 sets out from its south-eastern corner. The Immense River洋水 sets out from its north-western corner. Altogether these four rivers are the divine springs of the Deity, which harmonizes the hundred herbs, and which moisten the ten thousand things.

The hills of Kunlun崑崙, some are multiple times above them, they are spoken of as the Mountains of Cool Winds涼風. Those who climb them do not die. Some are multiple times above them, they are spoken of as the Mountains of the Dark Garden玄圃. Those who climb them then become unearthly, and are able to make wind and rain. Some are multiple times above them, these then uphold High Heaven. Those who climb them then become divine. These are spoken of as the dwellings of the Grand Deity. Yu then used the comforting earth to fill in the vast flood, and used it as the name for a mountain, digging out the Kunlun Barrens崑崙虛 to use as its lower ground.

Gao You says: Some of the land was made into a pool. Hence conforming with Fotutiao's explanation. Anavatapta's阿耨達 six rivers are the boundaries of Congling 蔥嶺 and Yutian's于闐 two rivers. He and the classics, histories and various books fully are inconsistent and different.

Also according to the Records of Ten Continents, Kunlun Mountain崑崙山 is the xu戌 land of the Western Sea and the hai亥 land of the Northern Sea. The distance between the banks is a hundred and thirty thousand li. There is the Weak River弱水 that encircles and goes around the mountain. To the south-east it joins the Piled-up Rocks Garden積石圃. To the north-west it joins with the House of the Northern Door北戶之室. To the north-east it overlooks the Well of Great Width大闊之井. To the south-west it is near the Valley of Accepted Abyss承淵之谷.

These four corners are great mountains, in truth the supporting buttresses of Kunlun崑崙. The Piled-up Rocks Garden積石圃 is the southern head. Formerly the Queen Mother of the West informed King Mu of Zhou, stating: The distance to Xianyang咸陽 is four hundred and sixty li, the mountain's hight above the level ground is thirty-six thousand li. Upon it there are three corners. Their faces are square, ten thousand li wide, and shaped like a resting pot, narrow below and wide above.

For that reason they say Kunlun Mountain崑崙山 has three corners. One of the corners is straight north, shielding the glow of the Morning Star [Mercury], its name is Wind-on-the-Fells Summit閬風巔. One the corners is straight west, its name is Dark Garden Terrace玄圃臺. One of its cornes is straight east, its name is Kunlun Palace崑崙宮. In that place there are piles of gold, it is the Heaven-Walled City天墉城. Its faces are a thousand li square. Upon the city are installed five gold terraces and twelve jade towers. Its Northern Door Mountain戶出山 and Accepted Abyss Mountain 承淵山 also have walled cities, with gold terraces and jade towers similar to the first one.

The watchtower of abyssal quintessence, the hall of brilliant blue-green stone, the chamber of carnelian splendour, the violet, bright blue, and cinnabar houses, the bright torches with sunshine, the vermilion-coloured clouds and nine lights, the place where the Queen Mother of the West governs, the place where the realized officials that are transcended and supernatural revere, the highest exchange with the whirling armillary, the primordial vapour flowing and spreading, the jade transverse's regular management, where to follow the Nine Heavens and attune yin and yang, the throng of things and crowd of living beings, where the rare, strange, and special sets out, all are here. The Heavenly people, manifold and multiple, cannot be drawn up and recorded. North of there, outside the seas, also there is Zhong Mountain鍾山. Upon it there are gold terraces and jade watchtowers, and it also enclosed by the primordial vapour, the place where the Heavenly Deity resides and governs.

Examining the words of Dongfang Shuo, and the Classic's text of fifty thousand li, they argue against Fotutiao and Kang Tai's Accounts. Within the Six Cardinal points, and what is concealed by rivers and marshes, what is large is not vast, what is small is not tiny, what exists is not become present, what is hidden is not absent. Among them [cases of] the same name but different regions, with claims and stories making chaos of each other, are also not few. Reaching the Eastern Sea's東海 Fangzhang方丈 [“Square Staff”?], it likewise has what is claimed about Kunlun崑崙. The Western Continent's西洲 Copper Pillar銅柱 also has the government of the Nine Offices.

Dongfang Shuo's Records of Ten Islands says: Fangzhang方丈 is at the exact centre of the Eastern Sea. From the eastern to western or southern to northern banks, the distance from each other is exactly the same. The sides of the Fangzhang are each five thousand li, upon it solely is the gathering place for the crowd of dragons. It has palaces of gold, jade, and glazed glass, which are the places governed by the Three Heavenly Ministers' instructions. Those among the crowd of transcendents who do not intend to climb to Heaven all come and go.

Zhang Hua's preface to Dongfang Shuo's Classic of Gods and Wonders says: Kunlun崑崙 has the Copper Pillar銅柱, its height enters into the Heavens, and it is spoken of as the Heavenly Pillar天柱. Its circumference is three thousand li, and it circles round [?] like a trimmer knife. Below there are rotating houses, the seat of the transcendents' Nine Offices. Above there is a great bird, named Xiyou [lit. “Rare Possession”]. Turning south, it extends its left wing to covered the Honoured King of the East, and its right wing the Queen Mother of the West. On its back there is a small spot without feathers, ten or nine thousand li, where the Queen Mother of the West yearly climbs on top of the wings, to go to the Honoured King of the East.

For that reason its pillar inscription says: “Its height enters into the Heavens, circling round like a trimmer knife, skin and body the finest quality. Its bird inscription says: “There is the Xiyou, green-red, glittering and glimmering, it does not cry and does not east. To the east it covers the Honoured King of the East, to the west it covers the Queen Mother of the West. The Queen Mother wished to go east, and climbed it to pass through herself. Yin and yang are necessary for each other, and indeed meet in beneficial labour.”

The Map of the Hidden Jia to Open Mountains says: For what the Five Dragons were teaching and traces from the Heavenly Augusts, look in Outside Nowhere's無外, Pillar Province柱州, on top Kunlun Mountian崑崙山.

Mr. Rong's Commentary states: The Five Dragons governed in the Five Regions, and were the gods of the Five Agents. The Five Dragons submitted to the Heaven August brothers, who where twelve people. They divided the Five Regions to become Twelve Sections, regulated the traces of the Five Dragons, and acted with nothingness to become transformed by it. Where Under Heaven the transcended sages govern is in Pillar Province柱州, on top Kunlun Mountian崑崙山. The mountain of Outside Nowhere's無外 is twelve thousand li south-east of Kunlun崑崙. The Five Dragons and Heavenly August all set out from within there, and become the twelve seasonal gods.

The Classic of Mountains and Seas says: The Hills of Kunlun崑崙 are truly indeed the Deity's lower capital. Their god Luwu is Minister of the Nine Sections of Heaven and the enclosed seasons of the Deity.

However within the Six Cardinal points, what they contain is far-distant. With the shrouded that causes to bring forth the marvellous, it is difficult to get to the root of the actual situation. With the ten thousand phenomena and distant pinnacles, thoughts cut across the fundamental search. [If] oneself does not climb a pair of dragons on the Cloud Carriage-Track, and gallops eight steeds on Tortoise Road, together with Xuanyuan question the Hundred Spirits, and side-by-side with Yu the Great assembles the gathered calculations, then the explanations of Ruists or Moists, who can tell them apart!

[yamayuandadu]

Taotie as a monster and an art motif

The taotie, in no small part due to its inclusion in Borges' classic Book of Imaginary Beings, is probably among the most well known Chinese mythical creatures in the west, but there are rather few sources which explain well what exactly it is, and how did it come to be. Under the cut, I'll attempt to present the history of taotie – the monster, the art motif, and their intersection.

The history of taotie begins, paradoxically, long before the concept of taotie developed. What we usually understand as taotie today are the decorations of famous Chinese ritual bronzes, produced mostly during the Shang (1600–1046 BC) and Zhou (1045–256 BC) periods. It is generally agreed that they were ceremonial and funerary wares, rather than everyday items, and the majority of them were adorned with animal motifs.  The exact purpose of such decorations is not fully understood today – in the past it was often argued that they represented sacrificial animals, but many of them instead appear to depict uncommon, exotic or outright fictional creatures. A particularly recurring motif is the face of a horned animal seen from the front, complete with ears and horns, like the one I featured above– this is the classic taotie. However, it's by no means the only known form of ritual bronzes, and many of them feature less stylized depictions of various animals, such as birds of prey, tigers, or bizarre sharp-toothed goatlike beasts:

The term “taotie” first comes up in the historical narrative Zuo zhuan (左傳), a commentary on the older Spring and Autumn Annals, which mentions in passing that it was one of the so-called “four perils”, particularly powerful mythical malicious beasts. During the reign of the Han dynasty (206 BC-220), further ideas about the taotie developed, initially with no relation to bronzes. Shenyijing (神異經), a work attributed to the court magician Dongfang Shuo (東方朔) offers the most comprehensive description. The taotie is presented there as  a peculiar danger to lone travelers - a voracious animal similar to a sheep or a pig, which also hoards precious items. According to this account, the taotie was originally a human, specifically the son of a man known as Jinyun, mentioned in the Spring and Autumn Annals. Various historical commentaries accompanying the latter , including the aforementioned Zuo Zhuan, do affirm that Jinyun, an official said to live during the reign of the mythical Yellow Emperor, had a greedy, inept son, likened to a monstrous entity due to his lack of virtue (individual authors list lack of empathy for orphans and widows, voracious appetite and hoarding precious objects among his faults). Another Han dynasty work, Lüshi Chunqiu (呂氏春秋), was the first to suggest the taotie was one and the same as the earlier ritual bronzes, this association was however rather obscure at first, and the bronzes weren't seriously studied by Han dynasty scholars. A frequent feature of these early taotie descriptions is the claim that the beast tries to devour more that it can swallow, and as a result harms itself. Combined with the claims that the original taotie was a greedy official, it seems to me that the early taotie was more a cautionary tale or allegory than anything. During the reign of the Jin dynasty (266–420), a creature called  paoxiao, mentioned in the Classic of mountains and seas , has been equated with the taotie as well – the author responsible for it was Guo Jingchun. He argued that the beast was described as greedy and voracious, which was enough to equate it with the taotie from earlier works.

The association between taotie and ritual bronzes made a grand comeback during the reign of the Song dynasty (960-1279). For the first time, a scholarly interest in the bronzes developed, doubtlessly saving many of them from being melted down to use as raw material. A book for enthusiasts of antique art, Xuanhe bogu tu (宣和博古圖), likely started the trend of applying the term taotie to all zoomorphic motifs found on bronzes. The Song dynasty antiquarians who cataloged many ancient bronzes, without a doubt influenced by Han dynasty texts, argued that the animals depicted on them were meant to be warnings against greed and lust. The taotie became a beloved collectible for the wealthy, and the demand for such wares was so high that an entire industry producing convincing fakes developed in the wakes of this new “taotie mania”. Further reading: Bronze and Stone: The Cult of Antiquity in Song Dynasty China by Yunchiahn C. Sena The Taotie Reconsidered: Meanings and Functions of the Shang Theriomorphic Imagery by Ladislav Kesner Ornament, Representation and Imaginary Animals in Bronze Age China by Robert Bagley Mirroring China's Past: Emperors, Scholars, and Their Bronzes by Tao Wang

[aic-asian]

Dongfang Shuo (Tohosaku), from the series "Lives of Taoist Immortals Parodied by Courtesans - A Series of Seven (Keisei mitate ressenden, nanaban no uchi)", Yashima Gakutei, 1826, Art Institute of Chicago: Asian Art

Gift of Helen C. Gunsaulus Size: 21 x 18.9 cm Medium: Color woodblock print; shikishiban, surimono

https://www.artic.edu/artworks/81457/

[gurguliare]

@vardasvapors was making vague noises about reading Dream of the Red Chamber so I decided to post another of my favorite scenes... this one is long and not as funny as I think it is, it’s just “two teenagers decide to cheer themselves up by being REALLY SCATHING abt one another’s poetry. then they are gatecrashed by a nun”

Imo the jankiness of the translation adds to the experience here because it makes the whole thing more reminiscent of. 2009 “writers’ society” forums where you got forum ranking points for the length, if not the fairness, of your reviews

*

Daiyu and Xiangyun had not gone to bed. This big family reunion in the Jia mansion, which the Lady Dowager still complained was less lively than in the old days, as well as her reference to Baochai and Baoqin celebrating at home with their own family, had made Daiyu feel so disconsolate that she had slipped out to the corridor to shed tears. As Baoyu was listless and distraught these days because Qingwen’s illness had taken a turn for the worse, when his mother urged him to go to bed off he went. Tanchun was in no mood for enjoyment either, with family troubles weighing on her mind. And as neither Yingchun nor Xichun was too intimate with Daiyu, that left only Xiangyun to comfort her.

“You should have more sense,” Xiangyun told her, “than to let this scene upset you. I have no family either, but I don’t take it to heart the way you do. With your poor health you ought to look after yourself. It’s too bad of Baochai and Baoqin. They kept saying our club must meet to celebrate the Moon Festival this year by writing a poem together, but now they’ve abandoned us and gone off to celebrate it on their own. Instead of our meeting to write a poem, the men and boys of the house have had things all their own way. As the old saying goes: ‘How can an outsider be allowed to sleep beside one’s bed?’ Well, if they won’t join in, why don’t the two of us write a poem together? Tomorrow we can shame them with it.”

As Xiangyun was trying to cheer her up, not wanting to spoil her fun Daiyu replied, “All right. But it’s too noisy here to have any poetic inspiration.”

“Enjoying the moonlight on this hill is good, but it’s better still by the water. You know that lake at the foot of this hill and Concave Crystal Lodge by the inlet there? A lot of thought went into designing this Garden. The crest of the hill is called Convex Emerald, and the creek in the lake below Concave Crystal. ‘Convex’ and ‘concave,’ so seldom used before, make fresh, original names. And these two places— one above, one below; one bright, one dark; one hill, one water—seem specially designed for enjoying the moonlight. Those who like to look at the moon from a height can come here; those who prefer to see its reflection in water can go there. But as these two words are usually pronounced wa and tu they’re considered rather uncouth. That’s why Lu You’s line ‘The old inkstone, slightly concave, brims with ink’ was scoffed at as vulgar. Ridiculous, isn’t it?”

“Lu You wasn’t the only one to use this word, so did many other writers of old—Jiang Yan in his poetic essay On Green Moss, Dongfang Shuo in his Miraculous and Strange Records, and Zhang Yanyuan in his Anecdotes on Painting when he described the frescoes Zhang Sengyou painted in a monastery. Why, there are too many instances to quote. But nowadays people not knowing this think these vulgar words.

“To tell you the truth,” Daiyu continued, “I’m the one who suggested both names. It was when we proposed names for places which hadn’t yet been given any and marked their localities. They were taken to the Palace and shown to Elder Sister who sent them to uncle, and he was delighted. He said if only he’d known he’d have asked us girls to help with the names, and he accepted them all without changing a word. Well, let’s go to concave Crystal Lodge.”

They walked down the hill, round a bend, and reached the lake. A path by the bamboo railings along its bank led to Lotus Fragrance Pavilion. The little building here, nestling at the foot of the hill on which stood Convex Emerald Hall, had been given the name Concave Crystal because it was on low ground close to the water. As it was so small, with few rooms, there were only two serving-women on night duty; and knowing that the ladies at Convex Emerald Hall would not be requiring their services, after enjoying their share of mooncakes, sweetmeats, wine and dishes, they had put out the lights and gone to bed.

“So they’re asleep—good,” said Xiangyun when they saw that the place was dark. “Let’s enjoy the water and moonlight under this awning.”

Sitting on two bamboo stools they gazed at the bright moon in the sky and then at its reflection in the lake, the moon above and its reflection below rivalling each other in magnificence. It was like being in some mermaids’ crystal palace. As a breeze ruffled the green water of the lake they felt thoroughly refreshed.

“What fun it would be to drink now in a boat on the lake!” exclaimed Xiangyun. “If we were at my home I’d take a boat out.”

“As the ancients often said: ‘What enjoyment can there be if everything is perfect?’“ remarked Daiyu. “To my mind this is quite good enough.”

“It’s only natural for men to hanker for more. Didn’t the old people often say: ‘The poor think the rich have all their hearts’ desire. Try to disabuse them and they won’t believe you—not unless they grow rich themselves.’ Take the two of us, for instance. Although we’ve lost our parents, we’re living in luxury, yet we have a lot to upset us.”

“We aren’t the only ones. Even their Ladyships, Baoyu, Tanchun and the others can’t have their way in everything big and small, even if they have good reason for wanting something. That applies to everyone. Especially girls like us who are living with other families, not our own....”

Afraid Daiyu would start grieving again, Xiangyun interposed, “Well, enough of this idle talk. Let’s get on with our poem.”

As she was talking they heard melodious fluting.

“Their Ladyships are in high spirits today,” Daiyu remarked. “This fluting is pleasant and should give us inspiration. As we both like five-character lines, let’s make regulated couplets in that metre.”

“What rhymes shall we use?”

“Suppose we count the bars from this end of the railing to the other to decide which category of rhymes to choose. For example, if it’s sixteen we’ll use the Xian rhymes. Wouldn’t that make a change?”

“That’s certainly original.”

So they got up to count the bars and found there were thirteen in all.

Xiangyun chuckled, “It would be thirteen! That means the yuan group of rhymes. There aren’t too many for a long poem of couplets, so it may be awkward. Still, you must make a start.”

“We’ll see which of us does better. But we ought to have paper and a brush to write it down.”

“We can copy it out tomorrow. There’s no danger of forgetting it before then.”

“All right then. I’ll start with a pat phrase.” Daiyu declaimed: “Mid-autumn’s fifteenth night is here again....”

Xiangyun reflected, then said: “As on the Feast of Lanterns we stroll round. The sky above is sprinkled with bright stars....”

Daiyu continued: “And everywhere sweet strings and pipes resound. Goblets fly here and there as men carouse....”

“I like that last line,” Xiangyun approved. “I must find something good to match it.” After a moment’s thought she said: “No house but has its windows opened wide. The breeze that softly fans the air is chill...”

“You’ve capped my attempt,” admitted Daiyu. “But your second line is trite. You should go from strength to strength.”

“A long poem with tricky rhymes had to be padded out a bit. We can use some good lines later.”

“If you don’t, you should be ashamed!” Daiyu went on: “But bright as day the fine night scene outside. The greybeard grabbing for a cake is mocked....”

“That’s no good,” laughed Xiangyun. “It’s not classical. You’re putting me on the spot by using an everyday incident like that.”

“I’d say you hadn’t read many books. This reference to cakes is a classical allusion. You should read the Tang dynasty records before you talk.”

“Well, you haven’t foxed me. I’ve got it.” Xiangyun capped the verse: “Green girls share melons, laughing themselves silly. How fresh the scent of jade osmanthus bloom....”

“That really had no classical source,” protested Daiyu.

“Tomorrow we’ll look it up for everyone to see. Let’s not waste time now.”

“Anyway your second line is no good, padded out with expressions like ‘jade osmanthus.’” She continued: “How bright the regal gold of the day-lily. Wax candles set the sumptuous feast aglow....”

“You got off cheap with ‘day-lily,’“ observed Xiangyun. “That ready-made rhyme saved you a lot of trouble. But there was no need to drag in praise of the sovereign on their behalf. Besides, the line after that is mediocre.”

“If you hadn’t used jade osmanthus. I wouldn’t have had to match it with day-lily, would I? And we have to bring in some opulent images to make it true to life.”

Then Xiangyun continued: “Wild drinking games the splendid park confuse. Opposing sides obey the self-same rule....”

“That last line’s good but rather hard to match.” Daiyu thought for a little then said: “Those guessing riddles hear three different clues. The dice is thrown and wins—the dots are red....”

Xiangyun said, “I like your ‘three clues,’ making something colloquial poetic. But you shouldn’t have brought in dice again in the next line.” She continued: “Drums speed the blossom passed from hand to hand. The courtyard scintillates with limpid light....”

Daiyu commented, “You capped my line all right but fell down again on the next. Why keep padding it out with the ‘breeze’ and the ‘moon’ all the time?”

“I haven’t brought in the moon yet. And anyway a subject like this can do with some purple patches.”

“Well, we’ll let it go for the time being. We can consider it again tomorrow.” Daiyu went on: “A silver splendour merges sky and land. For hosts and guests alike the same requital....”

“Why go on referring to others? Why not speak about us?” Xiangyun resumed: “Verses are written turn and turn about. One leaning on the barricade to think....”

“Yes, this is where we come in,” Daiyu remarked, then continued: “One ‘tapping the door’ to make the scene stand out. Engrossed as ever, though the wine is drunk....”

“Now we’re getting somewhere!” Xiangyun went on: “They savour the last watches of the night. Then comes a gradual end to talk and laughter....”

“Here’s where each line gets more difficult,” observed Daiyu, continuing: “Nought’s left now but the waning frosty light. By the steps, dew-drenched hibiscus blooms at dawn....”

Xiangyun exclaimed, “Now what parallel shall I choose? Let me see.” She stood up to think, her hands clasped behind her back, then said with a smile, “All right. Luckily I’ve hit on a word. I was nearly floored.” She resumed: “In the courtyard, mist the albizzia shrouds. Autumn rapids pour forth through the core of rocks....”

Daiyu sprang up with a cry of admiration. “This clever imp had really kept some good lines up her sleeve. Fancy coming out with ‘albizzia’—how did you think of that?”

“Luckily for me, yesterday I dipped into the Selected Writings of Different Dynasties and found this name. I didn’t know what tree it was and wanted to look it up, but Cousin Baochai said, “There’s no need for that. This is the tree whose leaves open out in the daytime and fold up at night.’ Not trusting her, I checked up and found she was right. So it seems Cousin Baochai really knows a lot.”

“It’s just the word to use here, and your line about ‘autumn rapids’ is even more felicitous, better than all the other lines. I shall have to cudgel my brains to match it, but I can’t possibly think of anything as good.” After a little reflection she went on: “Wind-swept leaves gather at the root of clouds. Lonely and pure the Lady of the Star....”

“The parallel will pass but the second line is a comedown,” was Xiangyun’s verdict. “Still, at least the sentiment suits the scene. You haven’t just used an allusion for padding.” She continued: “The Silver Toad puffs and deflates the moon. Elixirs are prepared by the Jade Hare....”

Daiyu simply nodded, then capped this: “The goddess flies towards the Palace of Cold Void. One soars on high to greet Weaving Maid and Cowherd....”

Xiangyun looking up at the moon nodded and continued: “One sails a barque to the heavenly maiden fair. The orb, for ever changing, wanes and waxes....”

“You’re using the same image again,” objected Daiyu, but went on: “At each month’s start and end, but its ghost is there. Clepsydra’s water had well-nigh run dry....”

Before Xiangyun could continue, Daiyu pointed at a dark shadow in the pool and exclaimed, “Look there! That looks like a man in the dark. Could it be a ghost?”

“You’re imagining things again. I’m not afraid of ghosts. I’ll hit it.” Xiangyun bent to pick up a stone and threw it into the pool. Splash! Ripples radiated out to shatter the moon’s reflection, which then rounded out again. When this had happened several times, they heard a cry in the dark shadows and a white stork took wing straight towards Lotus Fragrance Pavilion.

“So that’s all it was,” chuckled Daiyu. “I didn’t think it could be a stork. It gave me quite a fright.”

“How amusing—it’s given me an idea.” And Xiangyun declaimed: “The lamp by the window is no longer bright. A stork’s shadow flits across the chilly pool....”

Daiyu exclaimed in admiration again, stamping her foot. “This confounded stork had helped her! This line is even more original than the one about ‘autumn rapids.’ How am I going to match it? The only parallel for ‘shadow’ is ‘spirit.’ A stork flitting across the chilly pool sounds so natural, apt, vivid and original too! I shall have to give up.”

“We can find something if we both think hard, or else leave it till tomorrow.”

Daiyu still looking up at the sky ignored her. After a while she suddenly laughed and said, “You needn’t gloat. I’ve got it. Listen.

“The poet’s spirit is buried in cold moonlight.”

Xiangyun clapped her hands. “Very good indeed! The only possible parallel. Burying the poet’s spirit—wonderful.” She added with a sigh, “Of course that line’s distinctive, but it’s rather too melancholy. Now that you’re unwell you shouldn’t make such strangely sad and depressing lines which sound ill-omened.”

Daiyu chuckled, “If I hadn’t, how was I to beat you? But I worked so hard on it, I haven’t got the next line yet....”

Just then someone stepped out from behind the rocks on the other side of the balustrade and laughed.

“A fine poem, a fine poem!” she cried. “But it is too melancholy. You’d better not go on. If you continue in this way, these two lines won’t stand out so well and the poem may seem padded and forced.”

Daiyu and Xiangyun, caught unawares, were startled to see Miaoyu. “Where did you spring from?” they asked.

“Knowing you were all enjoying the moon and listening to fine fluting, I came out to admire this clear lake and bright moonlight too and on my way here suddenly heard the two of you poeticizing, which seemed the height of refinement. So I stopped to listen. You’ve made some good lines but as a whole it’s too mournful—or was that fated? That’s why I stepped out to stop you.

“The party broke up long ago and the old lady’s left the Garden. Most of the others here must be asleep, and your maids will be wondering what’s become of you. Aren’t you afraid of catching cold? Come back to my place now for a cup of tea. The day will break any minute.”

“I’d no idea it was so late,” said Daiyu.

The three girls went to Green Lattice Nunnery. They found the lamp before the shrine still lit and the incense in the censer not yet burnt out, but the few old nuns there had gone to bed leaving only one young maid dozing on a hassock. Miaoyu roused her to brew tea. Then came a sudden knocking on the gate, and the maid opened it to admit Zijuan and Cuilu with some old nurses come to look for Daiyu and Xiangyun.

Seeing them drinking tea they said laughingly, “You had us searching the whole Garden—even Madam Xue’s place—for you. We were looking just now in that small pavilion at the foot of the hill, and luckily the night-watchers were awake. They told us two people had been talking under the awning outside. Someone else joined them and they spoke of going to the nunnery. That’s how we’ve tracked you down.”

Miaoyu told the maid to take them to another room to have a rest and some tea. She herself brought out a brush, inkstone, paper and ink and asked the girls to recite their composition, which she wrote down from start to finish.

Finding her in such a good mood Daiyu said, “I’ve never seen you before in such high spirits. If not for that I wouldn’t presume to ask for your opinion. Is this poem worth polishing? If you think not, we’ll burn it; but if it is, will you please make some corrections?”

“I won’t venture to make rash comments, but as you’ve already used twenty-two rhymes I expect you’ve produced your most striking images and if you go on you may tire yourselves out. I’d like to round it off, only I’m afraid I may spoil it.”

Daiyu had never read any poems by Miaoyu, and as the young nun was so eager she urged her, “Please do! That may make out feeble attempts seem passable.”

“We must wind up the poem by reverting to the present situation. If we pass over true feelings and incidents and simply search for striking images and expressions, we’ll be losing our identity and departing from the main theme.”

“Quite right,” they concurred.

Miaoyu picked up her brush and wrote her addition straight off, then showed it to the other two, saying: “Don’t laugh at me! I feel this is the only way to get back to the theme. Then a few sad lines earlier on won’t matter.”

They took what she had written and read:

The incense in gold tripods has burnt out, And ice-white oil in the jade basin forms; Fluting recalls a widow’s lamentations As a small serving-maid the silk quilt warms. On empty curtains a bright phoenix hangs. The idle screens gay ducks and drakes enfold; Thick dew has made the moss more slippery, And heavy frost makes bamboo hard to hold. Strolling again beside the winding lake, Climbing once more the solitary hill, The rugged boulders seem contending ghosts; The gnarled trees, wolves and tigers crouching still. Dawn lights the tortoise pedestal of stone, On outer trellis now the thick dew falls. A thousand woodland birds begin to stir, In vales below a single gibbon calls. How can we stray on a familiar road? Why ask the way to fountain-heads we know? The bells chime in Green Lattice Nunnery, The cocks in Paddy-Sweet Cottage start to crow. With cause for joy, why grieve excessively, Or needlessly display anxiety? A maiden’s feelings none but she can vent— To whom can she confide her nicety? Speak not of weariness, though night is done, Over fresh tea let us talk on and on.

She then appended the title “A Poem Written Collectively with Thirty-five Rhymes While Celebrating the Mid-Autumn Festival in Grand View Garden.”

Daiyu and Xiangyun heaped praise on this ending. “We’ve been ignoring a talent right under our eyes, yet trying to seek what is far away!” they exclaimed. “We have such a superior poetess here, yet every day we pretend to be able to write.”

[fa210]

Monday, 20 April (1)

WEEK 12: Comparisons, Connections, & Conversations

Thanks to those of you who wrote back with your preferences for the last week’s material. Of course there are too many options, and not enough time.  So please bear with me in this post as I talk about two and then choose one. Then, go on to today’s second post. 

Either way, at this point, what we’re really beginning to talk about is cultural interaction.  Cultures exchange and trade (and steal) the ideas of other cultures all the time. This is true of politics, of religion, of technology, of economics, and, of course, of art. 

1. If you are interested in looping back to the beginning and setting Classical Chinese art alongside Maori art, you should keep in mind that there are very few direct connections between the Maori and the Chinese. They have not been in conversation with one another until recent times. Nonetheless, they have some similar ideas in common. 

For example, both cultures revere ancestors. Similarly, both cultures look to the natural world as the basis for wisdom and values. Looking at their art side by side might help us better understand the concepts of each culture. We might consider the similarities and differences between world-view concepts like Daoism & Confucianism in China and the Maori concepts like whakapapa. 

To do this you could compare the House Post Figure with our old friend Dongfang Shuo: mythological figures portrayed to remind the viewers of the importance of certain values. 

Or you could also look at unfamiliar works like this Tray with Daoist figures and this Treasure Box (Papahou). Both are small objects for personal use -- but both are unmistakably products of their different cultures. 

If you did this, and did it respectfully, the Spirits of the Museum would be pleased. 

2. If, on the other hand, you are interested in comparisons and connections between our own culture and the Maori, you could look at some of the ways Maori art work and cultural traditions are appearing in Western popular culture.

One example would be to think about the influence of Maori ta moko on contemporary Western tattoo design. 

Another would be to examine the influence of another Maori artform -- the haka -- on Western popular culture. 

3. In our current situation, I’m going to opt for continuity and simplicity, and go with a broader look at ta moko. In today’s second post, I’ll set out some examples of the first issue: ta moko in the west as fashion statement. I’ll welcome your questions and thoughts for Wednesdlay. 

image source

[gaycocksmodels64]

Meili Series - Wang Han 王翰 2 Dongfang

ITS REALLY EASY TO ENTER!

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[the-met-art]

清 琥珀東方朔偷桃擺件|Dongfang Shuo stealing peaches of longevity, Asian Art

Medium: Amber

Bequest of Edmund C. Converse, 1921 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/60662