Chinese porcelain has a history of more than three thousand years. It arose, according to unreliable data, in the 6th-7th centuries AD. e. For example, finds of ceramic figurines from burials date back to this time. According to other sources, the first shards found were made of so-called proto-porcelain and can be dated back to the 2nd century.
Traditionally, Chinese porcelain was made from three components. The centuries-old recipe prescribed the inclusion of white clay (or kaolin), silicate feldspar, and quartz mineral in porcelain. At one of the final stages, Chinese porcelain figurines were fired in a kiln at a temperature of 1200-1300 degrees.
Start
So, in 583, the Chinese Emperor Wen Di (Yang Jian) of the Sui Dynasty gave the order and the production of miniature porcelain figurines for domestic use began. There were several factories, and today it is difficult to accurately date the production of a particular figurine.
At the same time, samples of Chinese porcelain products differ from each other depending on the province in which they were produced. In the Middle Ages, craft centers began to emerge that specialized in the production of porcelain. At the same time, individual master sculptors also became famous. Such a master was, for example, He Chao-Tsung from Fushan Province. He created a large collection of figurines using snow-white or ivory enamel.
Fantastic beasts on the roofs of Chinese palaces
Very often you can see strange intricate figures on the roof ridges of Chinese buildings. These mythical creatures are not only an original decoration, but also indicate the status of the owner, depending on their number. The maximum number is 9, for the emperor.
Let's start this review, of course, with dragons. Where would China be without them? Take a close look at the photo above, or look closely at the photo below - each tiled slope ends in a round “coin” with an image of a dragon. It is no coincidence that the dragons “settled” here. In Chinese mythology, the dragon is credited with the ability to cause rain, so it is believed that its image can protect a structure from fire, and this is very important, given that almost all buildings were wooden.
Further. On the very ridge of the Chinese roofs, in the corners opposite each other, there were creatures with open mouths. Creatures from which the side slopes of the roof extend with a “swallow tail” raised to the top. These creatures are called Chi Wen.
Chiven is the ninth son of the dragon (there are nine in total). The creature is a hybrid of a fish and a dragon, so it has the head of a dragon and the tail of a fish. According to legend, Chiven loves to stand on the roof and survey the surroundings. Another characteristic of him is that he loves to swallow everything. For such inclinations, he is placed on the ridge of roofs so that he can swallow all bad influences from the outside.
Let's figure it out further. Ceramic figurines along the edges of the roof ridge - mythical creatures - protect the structure from evil spirits. The significance of the structure is determined by the number of such mythical creatures, but the maximum number of figures is nine, the only exception being the two-tiered roof of Taihedian (Pavilion of Supreme Harmony) in the Forbidden City, which is “saddled” with sculptures of ten mythical creatures and one immortal spirit.
So what are these figures?
In the old days, large wooden nails were used to build roofs. These nails secured the roof and prevented the tiles from rolling off. But since the Chinese are obsessed with various amulets and protection from evil spirits, later these nails took on the shape of mythical animals.
Let's list them: 1) dragon, 2) phoenix, 3) lion, 4) seahorse, 5) heavenly horse, 6) Xuan Ni, 7) fish Yayu, Xie Zhi, 9)
sea ox Dou Niu, - Xingshi (on there is no photo of him), 10) Chao Feng, 11) an immortal spirit riding a chicken.
The dragon (Long) and phoenix (Feng) symbolize supreme power. Lion (Shizi) is the king of beasts in the lands outside of China. What is the meaning of the lion in China, read a very detailed description here. The heavenly horse (Tianma) and seahorse (Haima) stand for imperial prestige and morality.
Suan Ni (Suanni) is the fifth son of the dragon, a hybrid of a lion and a dragon. Xuan Ni is known for his laziness. He doesn't like to move, but he loves to watch the smoke and fire. In accordance with such predilections, his images are often placed on thrones, altars, incense burners and candlesticks. He is also a powerful protector of the house from fire, which is why his figures appeared on the roofs.
The fish Yayu (Xiayu) and the sea ox Dou Nu (Douniu) are strange beasts in the ocean about which legends say that they can catch clouds and rain and prevent fires. Xie Zhi (Xiezhi) is a symbol of justice and legality. He is able to distinguish right from wrong, good from evil. Legend has it that Xie Zhi is a divine goat with one horn, which, when it sees a quarrel or fight, points its horn and rams the wrong party. She will never compromise her principles, even if the other party is the emperor himself. The last Chinese emperor Pu Yi mentioned Xie Zhi in his autobiography, saying that he had a statue of him in front of his desk to remind himself that he should be fair and strict in handling state and political affairs. Chinese military police wear badges with Xie Zhi's image. Also, his image is often present in courtrooms. Sometimes sculptures of Xie Zhi are placed at the entrances to buildings.
Xingshi is a creature with the appearance of a monkey, but with bird legs and wings on its back. He holds a vajra club in his hands to fight off evil spirits. It is a symbol of glory and prestige, patronage and wisdom, and also means the subjugation of the spirit of evil and liberation from disasters.
Chao Feng is the third son of a dragon, a hybrid of a dragon and a goat. Chao Feng loves danger. Likes to climb higher and survey the surroundings from a height. Due to such inclinations, it is usually placed at the tips of the four corners of the roof slopes.
The horse is usually crowned with a sculptural image of an immortal spirit riding a chicken - a typical figure, which is credited with the ability to protect the house and its inhabitants from all sorts of harm. According to ancient legend, the tyrant prince Ming from the Principality of Qi (3rd century BC) is represented in the image of this man. Ming Qi was a cruel conqueror, but in the end he was defeated and lost everything. During the last battle, before his death, he was driven onto the roof of a building. After his defeat and death, the residents of the Principality of Qi allegedly attached images of the prince riding a chicken on the roofs of their houses in order to ward off all sorts of troubles and brand the tyrant with shame. According to beliefs, an evil tyrant, sitting astride a chicken, cannot leave the roof, since the chicken is not able to fly off with a rider on its back.
Now let's go a little deeper into the construct.
The photo below clearly shows the complex system of interlacing brackets. Such brackets are called dou gong (斗拱) in China. They are the main distinguishing feature of Chinese architecture. In addition to its constructive function, dou gong is a striking decoration of the building.
The dou-gong multi-tier bracket system allows you to evenly distribute the weight of beams and extensions of wide roofs. This is the secret of the light curved roof in Chinese architecture.
Dou Gong originally came from wooden architecture, but is now just as often used as a decorative element in stone architecture.
Source https://olga-yangirova.livejournal.com/120524.html
Modernity
Chinese porcelain products have been admired by Europeans for many centuries. Since they were very expensive (they were even called “white gold”), and delivery was not easy, many craftsmen (and among them were not only potters and glassblowers, but even alchemists) tried to find out the production technology of Chinese porcelain, but held out it is kept in the strictest confidence. Only by the 17th century did Europeans learn to produce their own porcelain and have their own craftsmen, but this happened much later.
Therefore, already in the 19th century, porcelain production in the Middle Kingdom began to decline, although Chinese figurines of earlier production (until the 18th century) were still highly valued. Most of the ancient figurines were real masterpieces - it’s not for nothing that factories began to open in the country for the mass production of fakes of these artifacts.
Meanings
If European porcelain figurines are mostly a decorative element, then Chinese ones are very often not just a figment of the artistic imagination of a particular sculptor. Together with beauty and craftsmanship, they symbolize traditional values and act as talismans accepted in the practice of Feng Shui, “attracting” happiness, prosperity, well-being, health, etc. to their owners or to the home in which they are located.
Below we look at some of the most famous figures.
Chinese mythology
Presumably, this image is based on the archaic idea of the expansion of the earth in the process of creating the cosmos, which was included in the legend about the curbing of the flood, which in myths usually marks the beginning of a new stage in the development of the world and life on earth. But his son Yu defeats the flood. He is engaged in digging canals, land management, rids the land of all evil spirits (a cleansing function characteristic of a cultural hero), and creates conditions for agriculture. Since the ancient Chinese imagined the creation of the world as a gradual separation of heaven from earth, there are references in myths to the fact that at first it was possible to climb to heaven using special heavenly stairs. In later times, a different interpretation of the archaic idea of the separation of heaven and earth appeared. According to this version, the supreme ruler Zhuanxu ordered his grandsons Li and Chun to cut the path between heaven and earth (the first raised the sky up, and the second pressed the earth down). Along with the idea of celestial stairs and the path to heaven, there were also myths about Mount Kunlun (the Chinese version of the so-called world mountain), which seemed to connect earth and sky: on it was the lower capital of the supreme heavenly lord (Shangdi). These myths are based on the idea of a certain “world axis”, which takes the form not just of a mountain, but also of a capital towering on it - a palace. Another idea of the cosmic vertical is embodied in the image of a solar tree - fusang (literally “supporting mulberry tree”), which is based on the idea of a world tree. The suns live on the fusan tree - ten golden ravens. All of them are the children of Mother Xihe, who lives across the Southeast Sea. According to the Huainanzi, the sun first bathes in the pool, and then rises to the fusang and sets off across the sky. According to some versions, Xihe herself carries the sun across the sky in a chariot. Gradually it comes to the far west, where it lands on another sunny tree, the flowers of which illuminate the earth (presumably an image of the evening dawn). Associated with the idea of a plurality of suns is a myth about the disruption of cosmic balance as a result of the simultaneous appearance of ten suns: a terrible drought sets in. An archer sent from heaven strikes the extra nine suns with his bow. Lunar myths are clearly poorer than solar ones. If the sun was associated with a three-legged raven, then the moon was originally, apparently, associated with a toad (three-legged in later ideas) (“Huainanzi”). It was believed that a white hare lived on the moon, pounding the potion of immortality in a mortar (medieval authors considered the toad as the embodiment of the light principle of yang, and the hare as the embodiment of the dark principle of yin). The earliest fixation of images of the lunar hare and toad is an image on a funeral banner (2nd century BC), found in 1971 near Changsha in Hunan.
If solar myths are associated with the shooter Hou Yi, then lunar myths are associated with his wife Chang E (or Heng E), who steals the drug of immortality from the shooter Yi and, having taken it, ascends to the moon, where she lives alone. According to another version, a certain Wu Gan lives on the moon, sent there to cut down a huge cinnamon tree, the traces of ax blows on which immediately grow back. This myth apparently developed already in the Middle Ages among Taoists, but the idea of the lunar tree was recorded in antiquity (“Huainanzi”). Important for understanding Chinese mythology are the ideas about the five star palaces (guns): middle, eastern, southern, western and northern, which correlate with the symbols of these directions: Tai Yi (“great unit”), Qinglong (“green dragon”), Zhuqiao (“red bird”), Baihu (“white tiger”) and Xuan Wu (“dark warrior”). Each of these concepts was both a constellation and a symbol with a graphic image. So, on ancient reliefs the stars of the Qinglong constellation were depicted in circles and a green dragon was immediately drawn, Xuan Wu was depicted as a turtle intertwined (copulating?) with a snake. Some stars were considered the embodiment of gods, spirits or their habitat. The Big Dipper (Beidou) and the spirits inhabiting it were in charge of life and death, fate, etc. However, in mythological legends it is not these constellations that appear, but individual stars, for example, Shang in the eastern part of the sky and Shen in the western part.
Among the deities of the elements and natural phenomena, the most archaic is the thunder god Leigong. Perhaps he was considered the father of the first ancestor of Fuxi. In the ancient Chinese language, the very concept of “thunderclap” (zhen) is etymologically connected with the concept of “getting pregnant,” in which one can see relics of ancient ideas, according to which the birth of the first ancestors was associated with thunder or thunderman, “thunder dragon.” The hieroglyph zhen also meant “eldest son” in the family. At the turn of our era, there were also ideas about Leigong as a heavenly dragon. In the form of an arched dragon with heads at the ends, the Chinese also imagined a rainbow. Such images are known from Han reliefs. Judging by written sources, there was a division into the rainbow-hun - male dragon (with a predominance of light tones) and the rainbow-ni - female dragon (with a predominance of dark tones). There were legends about the miraculous conception of the mythical sovereign Shun from the meeting of his mother with a large rainbow-hun (dragon?). Wind and rain were also personified as the wind spirit (Fengbo) and the lord of rain (Yushi). Fengbo was represented as a dog with a human face (“Shan Hai Jing”), according to other versions, he was associated with a bird, perhaps with a comet, as well as with another mythical creature Feilian, who resembled a deer with a bird’s head, a snake’s tail, spotted like a leopard (poet Jin Zhuo, 4th century AD). The earthly world in Chinese mythology is, first of all, mountains and rivers (the medieval word jiangshan - “rivers - mountains”, meaning “country”, shanshui - “mountains - waters” - “landscape”); forests, plains, steppes or deserts play virtually no role. The graphic representation of the concept of “earth” in ancient writing was a pictogram of “heaps of earth,” that is, it was based on the identity of earth and mountain. Mountain spirits were characterized by asymmetry (one-legged, one-eyed, three-legged), doubling of normal human characteristics (for example, two-headed), or a combination of animal and human features. The terrible appearance of most mountain spirits indicates their possible connection with the chthonic element. Indirect confirmation of this can be the idea of Mount Taishan (modern Shandong province) as the habitat of the lord of life and death (a kind of prototype of the master of the afterlife), of the lower world underground, in deep caves, the entrance to which is on mountain peaks.
Water spirits are mostly represented as creatures with the features of a dragon, fish, and turtle. Among the river spirits there are male (spirit of the Yellow River - Hebo) and female (goddess of the Luo River - Luoshen, fairies of the Xiangshui River, etc.). Various drowned people were revered as river spirits; Thus, Fufei, the daughter of the mythical Fusi, who drowned in it, was considered the fairy of the Lo River. The main characters of ancient Chinese mythology are cultural heroes - ancestors, presented in ancient historicized monuments as real rulers and dignitaries of ancient times. They act as creators of cultural goods and objects: Fuxi invented fishing nets, Suizhen - fire, Shennong - a spade, he laid the foundation for agriculture by digging the first wells, determined the healing properties of herbs, organized barter trade; Huangdi invented means of transportation - boats and chariots, as well as items of clothing made of cloth, and began constructing public roads. The beginning of counting years (calendar), and sometimes writing (according to another version, it was created by the four-eyed Cangjie) is also associated with his name. All mythical ancestors were usually credited with making various clay vessels, as well as musical instruments, which was considered an extremely important cultural activity in ancient times. In different versions of the myth, the same act is attributed to different characters. This shows that the connection between a certain hero and the corresponding cultural act was not immediately determined, and that different ethnic groups could attribute inventions to their heroes. In the ancient treatise "Guanzi" fire is produced by rubbing wood against wood by Huangdi, in the ancient work "He Tu" ("Plan of the River") - Fuxi, and in the commentary "Siqizhuan" to the "Book of Changes" and in philosophical treatises ("Han Feizi" , “Huainanzi”) – Suizhen (literally “a man who produced fire by friction”), to whom this most important cultural feat is assigned in subsequent tradition. All these cultural inventions, no matter which of the first ancestors they are attributed to, reflect far from the earliest ideas, since the heroes of myths themselves made these objects. A more archaic way of acquiring them is to steal or receive as a gift wonderful objects from their owners from another world. Only a relic of one myth of this kind has survived - the story of the shooter Yi obtaining the potion of immortality from Xi Wangmu. The shooter's visit to the mistress of the west, associated in Chinese mythology with the land of the dead, can be interpreted as receiving a wonderful potion in the afterlife. This is in agreement with the nature of Chinese mythological thinking and later with Taoist teaching, which aimed to find ways to prolong life and achieve longevity. Already in the Shan Hai Jing there are a number of records about immortals living in distant, amazing countries. The Lady of the West Xi Wangmu herself, unlike other characters who have pronounced features of cultural heroes, is a completely different type of mythical character, initially, apparently, of a demonic nature. In archaic texts, she has obvious zoomorphic features - the tail of a leopard, the fangs of a tiger ("Shan Hai Jing"), she is in charge of heavenly punishments, according to other sources, she sends pestilence and disease. The features of a leopard and a tiger, as well as her habitation in a mountain cave, suggest that she is a mountain chthonic creature.
Another demonic version of the mythical hero is the destroyer of cosmic and social balance, the water spirit Gungun and the rebel Chi Yu. Portrayed as the antagonist - the destroyer of cosmic foundations, the zooanthropomorphic water spirit Gungun fought with the fire spirit Zhuzhong. (the struggle between two opposing elements is one of the popular themes of archaic mythology). In a later myth, the battle of the many-armed and many-legged (which can be seen as a figurative reflection of archaic ideas about chaos) Chi Yu with the sovereign Huangdi, the personification of harmony and order, is no longer depicted as a duel of two mythical heroes symbolizing opposing elements, but as a struggle for the power of leaders various tribes, described as a kind of competition in the power of the lords of the elements in the spirit of a shamanic duel (in particular, the spirit of the wind Fengbo and the lord of the rain Yushi on the side of Chi Yu and the demon of drought Ba, daughter of Huangdi, on the side of the father). Drought overcomes rain, wind, fog, and Huangdi, as the supreme deity, prevails over Chi Yu. In general, the war of Huangdi with Chi Yu, typologically similar to the struggle of Zeus with the Titans in Greek mythology, can be represented as a struggle between the heavenly (Huangdi) and the chthonic ( Chi Yu).
A special place in ancient Chinese mythology is occupied by images of the ideal rulers of antiquity, especially Yao and his successor Shun. Yao, as suggested by the Japanese scientist Mitarai Masaru, was originally one of the solar deities and was thought of in the form of a bird; he later turned into an earthly ruler. Initially scattered images of the mythology of individual ancient Chinese tribes and tribal groups gradually formed into a single system, which was facilitated by the development of natural philosophical ideas and, in particular, various classification systems, among which the fivefold system - according to the five elements - was of greatest importance. Under its influence, the four-membered model of the world turns into a five-membered one, corresponding to five landmarks in space (four cardinal directions + middle or center), the supreme heavenly ruler is now recognized as the deity of the center. In the inscriptions on the oracle bones of the Shan Yin era (16-11 centuries BC) we find the sign “di”, which was a kind of “title” for the souls of deceased rulers and corresponded to the concept of “divine ancestor”, “sacred ancestor”. (Etymologically, the grapheme “di” itself, as suggested by the Japanese scientist Kato Tsunekata, is an image of an altar for sacrifices to heaven.) With the epithet “shan” - “upper”, “supreme”, “di” meant the supreme heavenly lord (Shandi). In the Zhou era (11-3 centuries BC) in Ancient China, the cult of Tian (heaven) also developed as a kind of higher principle guiding everything that happens on earth. However, the concepts of Shandi and Tian were very abstract and could easily be replaced by images of specific mythical characters, which is what happens with the design of the idea of the five mythical sovereigns. It can be assumed that the idea of sanhuang - three mythical sovereigns - Fuxi, Suizhen and Shennong (there are other options) recorded in written monuments in parallel with it is a reflection of a different (ternary) classification system, which led in the Middle Ages to the appearance of images of three mythical sovereigns - heaven (Tianhuang), earth (Dihuang) and people (Renhuang).
The five mythical sovereigns included: the supreme ruler of the center - Huangdi, his assistant - the god of the earth Houtu, his color is yellow, under his patronage was the temple of the sun, many constellations of the central part of the sky were correlated with him, as well as the Big Dipper, the planet Tianxing ( Saturn); the lord of the east is Taihao (aka Fuxi), his assistant is the green spirit of the Gouman tree, he has control over the thunderer Leigong and the wind spirit Fengbo, the constellations in the eastern part of the sky and the planet Suixin (Jupiter), spring and the green color correspond to him; the ruler of the south is Yandi (aka Shennong), his assistant is the red spirit of fire Zhuzhong, various constellations in the southern part of the sky correspond to him, as well as the planet Inhosin (Mars); the deity of the west - Shaohao (his name “small bright” is opposed to the name of the ruler of the east - “great light”), his assistant is the white spirit Zhushou, the constellations in the western part of the sky and the planet Taibai (Venus) are associated with him; the lord of the north is Zhuanxu, his assistant is the black spirit Xuanming, under his patronage were the temples of the moon and the lord of rain Yushi, constellations in the northern part of the sky, as well as the planet Chenxing (Mercury). In accordance with the fivefold classification, each of the mythical rulers, as the ruler of the cardinal direction, corresponded to a certain primary element, as well as a season, color, animal, part of the body, for example Fusi - tree, from animals - dragon, from flowers - green, from seasons - spring , from body parts - the spleen, from weapons - an ax; Zhuanxuyu - water, black color, winter, turtle, intestines, shield, etc. All this indicates the emergence of a rather complex hierarchical system, where all elements are in constant interaction, and the possibility of transmitting the same ideas using different codes (“spatial”, “calendar”, “animal”, “color”, “anatomical”, etc.). It is possible that this system of views is based on ideas about the origin of people and the cosmos from a primal being.
The ordering of ancient mythological ideas simultaneously proceeded in terms of genealogical classification. Fuxi was considered the oldest ruler, followed by Yandi (Shennong), Huangdi, Shaohao, Zhuanxu. This hierarchical system was borrowed by historiographers and contributed to the further euhemerization of mythological heroes, especially after the formation of the Han Empire, when genealogical myths began to be used to justify the right to the throne and prove the antiquity of individual clans. Most mythological stories are reconstructed from monuments of the 4th century BC and later. This is evidenced by “Questions to Heaven” (“Tian Wen”) by Qu Yuan, full of bewilderment about the plots of ancient myths and the contradictions in them. Subsequently, in the 1st century AD, the philosopher-polemicist Wang Chong gave a detailed critique of mythopoetic thinking from the standpoint of naive rationalism. The withering away and oblivion of ancient mythological subjects, however, did not mean the end of myth-making in the oral folk tradition and the emergence of new mythical heroes and tales about them. At the same time, there was a process of active anthropomorphization of ancient heroes. Thus, Xi Wangmu turns from a zooanthropomorphic creature in art and literature into an anthropomorphic figure, even, apparently, a beauty (in literature). Next to her, on the Inan relief (Shandong, 2nd century AD), a tiger is depicted - the spirit of the West, which took on her animal features (similarly in the “Biography of Xi Wangmu” by Huan Lin, 2nd century AD). In the Han era, the queen of the west had a husband - the ruler of the east - Dongwangun. His figure is modeled after a more ancient female deity; this is especially noticeable in his description in the “Book of the Divine and Amazing” (“Shen and Jing”), created in imitation of the “Book of Mountains and Seas,” where, unlike the reliefs, he has a zooanthropomorphic appearance (bird face, tiger tail).
Mythology of Taoism
At the turn of the first centuries of our era, philosophical Taoism transformed into a religion that absorbed elements of ancient folk cults and shamanic beliefs. At the same time, Taoists actively use for their own purposes some images of ancient Chinese mythology, primarily Huangdi and Xi Wangmu. Huangdi loses the character of an ancient cultural hero and becomes the first immortal, the founder and patron of Taoism as a religious system, although this does not lead to the emergence of new mythological stories about him. It can be assumed that such a transformation of the image of Huangdi was predetermined by his place as a kind of supreme deity (localized in the center) in the previous mythological tradition. It was different with the image of Xi Wangmu. She entered the Taoist pantheon no longer as the terrible mistress of the West, sending punishment, but as the mistress of the potion of immortality. In the new legends about Xi Wangmu, the medicine itself is replaced by the fruits of immortality growing on a magical peach tree in her garden (this connection of a kind of tree of life with a female deity is recorded in the mythologies of different nations). In accordance with the theory of the 5 elements, the mistress of the west also receives another name Jinmu (“mother of metal”), since metal is associated with the west, and her husband Dongwangun is accordingly called Mugun (“prince of wood”), since wood is an analogue of the east. The reorientation of these characters and their connection with the idea of prolonging life and immortality is explained by the fact that these problems stood at the center of medieval Taoism, whose adherents were engaged in alchemy and the search for various means of prolonging life (through sexual activity, special breathing and other exercises such as yoga, diet and etc.). It is not surprising that the heroes of Taoist myths were mainly immortal geniuses. Particularly widespread were the legends about eight immortals, patrons of various arts and some professions, who worked miracles and were regular participants in Xi Wangmu’s feasts. In the mythology of Taoism, legends about the three mythical mountains Penglai, Fangzhang and Yingzhou floating in the sea, the idea of which was borrowed from ancient Chinese mythology, also played an important role. These islands are a kind of Taoist paradise, where a host of immortals live. The transformation of Taoism into a religion and the division of “spheres of influence” between Buddhism, Confucianism (which was not a religion, but an ethical teaching with elements of cult practice) and Taoism led to the fact that the latter had the entire “right” to expel all sorts of evil spirits, inherited from shamanism . Because of this, various lords of spirits and demons began to play a special role in Taoist mythology (for example, Zhang Tianshi, Zhongkui, Jiangtaigong). The Taoist pantheon numbers thousands of all kinds of immortals, saints, spirits, demons, heroes of local cults, characters of “lower mythology,” as well as more than 30 thousand spirits of the human body, etc. This entire vast pantheon was initially headed by three abstract mystical symbols (in this triad one can see an imitation of the idea of three sovereigns - sanhuang of ancient Chinese mythology) Taichu, Taisu, Tai Yi, according to another version - Tian Yi (“heavenly principle”), Di Yi (“earthly principle”), Tai Yi (“highest one”). In the process of development of Taoist mythology and its approach to folk cults, gradually the abstract categories of this triad were personified in the images of Laozi, Huangdi and Pangu (sometimes Tai Yi).
Mythology of Chinese Buddhism
In the first centuries AD, Buddhism with its developed mythological system began to penetrate into China from India through Central and Central Asia. Adapting to local conditions, Buddhism in China incorporated into its teachings some of the cardinal ideas of traditional Chinese moral and ethical doctrine (for example, the idea of xiao - filial piety). Over time (8th-9th centuries), Buddhists began to use ancient Chinese stories for their sermons, including those dating back to ancient mythology (“The Tale of Bianwen about the Honorable Son Shun”). Gradually, the origin of certain Buddhist characters began to be associated with Chinese heroes. Thus, a legend appears that the bodhisattva Avalokitesvara (Chinese Guanyin), known in China (apparently after the 7th century) mainly in a female form, is the rebirth of Princess Miaoshan, the daughter of one of the Chinese princes (12th century), who refused to come out got married and went to a monastery against the wishes of her father. Having gone through numerous trials associated with her father’s revenge, and even having visited the underworld, Miaoshan met with Shakyamuni and was taken to Mount Xiangshan on Putuo Island (there are different versions of this legend), where she became the bodhisattva of Guanyin. In the Middle Ages, other Buddhist characters were also “naturalized,” for example, Kshitigarbha (Ditsangwan), in whose capacity, according to one version, a certain Buddhist monk from the Korean kingdom of Silla was deified. Under the direct influence of Buddhism, the development of Chinese mythological ideas about the other world and the underworld also occurs. In ancient times these views were apparently very vague. It was believed that after death a person’s soul goes to Huangquan (“yellow spring”), and that the kingdom of the dead was located somewhere in the west or northwest. At the beginning of our era, the kingdom of the dead was localized within Mount Taishan, the ruler of which was in charge of the destinies of people and the dead, as well as in Fengxian County (Sichuan Province), however, detailed ideas about hell (diyu) and numerous hellish courts appeared in China only under the influence of Buddhism.
Late folk mythology
Along with the Taoist and Buddhist mythological systems in China, there were various archaic and newly emerging local folk cults, as well as cults of Confucian sages and various heroes of national and local significance. If ancient Chinese culture was extremely characterized by the historicization of mythical heroes - the first ancestors, then for the Middle Ages the reverse process was more typical - the mythologization of real historical figures, turning them into gods - patrons of crafts, gods - patrons of cities, individual localities, etc. Reasons for such deifications and the establishment of a cult (often official, established by imperial command) was often quite accidental. From the biography of Liu Bei, the commander of the 3rd century AD, the founder of the kingdom of Shu, it is known that in his youth he wove mats and straw shoes and sold them, this was enough for his deification as the god of weavers. Liu Bei's associate Guan Yu, known for his loyalty and fearlessness, was deified as a god - the guardian of monasteries, then a powerful patron of demons, and from around the 16th century - the god of war (Guandi), all of these hypostases are associated with his military merits. In later times, the real hero of the 3rd century turned into a universal mythological benefactor and intercessor. In a number of cases, deified historical figures replaced (and supplanted) the heroes of ancient mythology, who performed the same functions. Thus, the 7th century generals Qin Shubao and Hu Jingde, deified in the 12th-14th centuries, became deities of doors (menshen), replacing the ancient Chinese gods of doors Shentu and Yulei. It is possible that the cult of the Menshen was completely forgotten by the end of the first millennium and was revived again with the deification of real military leaders (no information about this has survived). In some cases, ancient legendary characters were clearly actualized in late folk mythology. By the end of the first millennium in China, there was an increasing convergence of various mythological systems and the creation of so-called religious syncretism and corresponding syncretic mythology, which united characters from Taoist, Buddhist and folk mythology, as well as heroes of the Confucian cult, into a single system. The process of combining heterogeneous mythological material was most active in the village, where statues of Confucius, Buddha and Laozi could stand nearby in a small village temple. In cities and large religious centers, this process was not completed; in the Taoist temple on Mount Huashan, in addition to Taoist saints, apparently only Guanyin was revered; Taoist or folk mythological characters almost did not penetrate into Buddhist temples.
However, in the popular consciousness, the process of syncretization led in the Middle Ages to the emergence of a consolidated pantheon of deities headed by Yudi, the image of which took shape around the 8th-10th centuries. Yudi to a certain extent replaced the supreme deity of the Taoists, Huangdi, and took the place that belonged to the ancient mythological system of Shandi. Among the countless mythological characters of the syncretic pantheon, a number of stable groups stand out: the heavenly deities Yudi and his retinue, the deities of nature and the elements (the thunder god Leigong, the lightning goddess Dianmu, the deities of wind, water, including dragons of all kinds and ranks, for example the Longwans - dragon kings and most of the spirits of the stars, etc.), areas and cities (Tudi, Chenghuan, etc.), houses and public buildings (gods of doors - menshen, hearth - Zaowan, bed - Chuangong and Chuanmu, latrine - Zigu, guardians of temples - Celanshen, patrons of crafts, individual professional groups, trade, as well as livestock), medicine (often combined under the same term Yaowan, “king of medicines”, as well as goddesses who protect against diseases, such as smallpox - Doushen, spirits saving from contagious diseases - wen-shen, etc.), child-giving gods (Zhangxian, who brings sons, a whole host of goddesses-niannians, who give children, to whom, in the popular imagination, is the bodhisattva Guanyin), gods of happiness, longevity, wealth, spirits - servants of the underworld, many ghosts, shadows, demons, united by the term gui, and other representatives of the so-called. lower mythology. From the syncretic pantheon, the most popular groups of characters in old China should be highlighted. These are the patron gods, especially Guandi, the child-giver gods, especially Guanyin, the gods of wealth and longevity, among the household gods - the guardians of the doors and the god of the hearth, who watches everything that happens in the house. Characters of Chinese mythology, especially later ones, often appear as real heroes, and have holidays dedicated to them, celebrated according to the lunar calendar adopted in China, in which the length of the months is associated with changes in the phases of the moon.
Chinese mythology had a noticeable influence on the country's artistic culture. However, due to the development of the Confucian worldview and the absence of epic and drama in Ancient China, mythology is little reflected in verbal art. Apart from the work of the poet Qu Yuan, the images of ancient Chinese mythology were developed only in individual small poems, for example, in “The Fairy of the Luo River” by Cao Zhi (3rd century). Narrative prose, born at the beginning of the Middle Ages (from the 3rd century AD) and developing in the form of short stories and stories such as epics (about a person’s meeting with spirits), presents images mainly of Taoist and lower folk mythology. In the tale - bianwen, which developed in the 8th-10th centuries, mainly plots of Buddhist content are developed, the lives of Buddhas and bodhisattvas are presented for the people. Musical drama, which originated in the 12th and 13th centuries, provides interesting, although few examples of works on mythological subjects, both Taoist (for example, about the eight immortals) and Buddhist. The book epics that grew up on the basis of oral tales in some cases also used mythological themes and images (“Journey to the West” by Wu Chen’en, “Rise to the Rank of Spirits” by Xu Zhonglin, “The Tale of the Beginning of the World” by Zhou Yu - all 16th century). In all these later epics there is a noticeable influence of folk syncretic mythology. Even in “The Tale of the Beginning of the World,” along with images of ancient mythology, transformed by the author’s consciousness and depicted using artistic means borrowed from historical epics and novels, some Buddhist deities are also mentioned, acting on a par with the Chinese demiurges Pangu and Nuwa. In the developing (in parallel with narrative prose of large forms) literary short story (from the 7th century) and folk story (from the 12th century), only individual images of lower mythology are occasionally used. An example of this kind is the novelistic work of Pu Songling (17th century).
In modern Chinese literature, an example of the successful use of mythological subjects is “Old Stories in a New Presentation” by Lu Xun, in which he, partly for satirical and polemical purposes, retold the story of the shooter Yi and his wife Chang E, the story of the flood suppressor Yu, etc. and applied art (starting with ancient ceramics and ritual bronze), mythological themes were very actively developed (almost only zoomorphic or sometimes zooanthropomorphic figures). Mythological subjects are present mainly in reliefs and wall paintings of the Han era (3rd century BC - 3rd century AD), which mainly decorated burial structures. Among the most popular subjects at that time were images of the zooanthropomorphic ancestors Fusi and Nüwa, Xi Wangmu, the arrow Yi aiming at the sun, etc. With the spread of Buddhism and the construction of Buddhist and Taoist temples, in imitation of them, sculptural images of Buddhist and Taoist characters appeared, as well as their portraits in the form of frescoes and wall paintings. The same characters appear in the works of medieval Chinese artists (Wang Wei, Wu Daozi, Ma Lin, etc.), as well as in the paintings of palace complexes, with the development of woodcuts (from the 7th-8th centuries) and in engravings (illustrations for the works of Buddhist and Taoist canons, separate printed sheets such as paper icons, engravings - illustrations for the “Book of Mountains and Seas”, for mythological epics, etc.). During the late Middle Ages (from about the 15th-16th centuries), mythological characters of the syncretic folk pantheon became permanent fixtures on popular popular prints, which replaced icons for the Chinese. Lubkas of this type were printed until the end of the 40s in China, and are still common in Southeast Asia (Hong Kong, Singapore, etc.) to this day. The uniqueness of the reflection of mythology in Chinese culture is manifested in the fact that the same mythological plots and ideas, since ancient times, have been translated somewhat differently in the images of verbal and visual arts. In some cases, visual monuments retained more archaic features than literary ones; in other cases, on the contrary, the ancestor heroes in literary monuments looked more archaic than in works of fine art of the same period.
Three elders
These are three Chinese figurines - the so-called antique set under the general name San-xing. According to ancient astrological canons, this is the personification of the three brightest stars from the constellation of the Southern Hemisphere Carina. The largest of the luminaries - the red star Canopus - is the old man Shou-shin with a white beard. In his hands he usually holds a scroll and a peach. It is designed to bring its owner good health and a long, prosperous life.
The legend about the appearance of this image says that supposedly one of the emperors of the Song dynasty, having once seen a homeless beggar old man, sheltered him in the palace, and since then the ruler lived for many more years without troubles and illnesses. Interestingly, temples were even built in honor of the elder Shou-xing in China.
Elder Fu-hsing is more varied in execution. He is dressed in a blue or red caftan, sometimes holding a baby in his arms, and sometimes only a scroll. Symbolizes career growth, success in understanding the sciences and associated prosperity. In addition, this deity serves as a talisman for healthy and numerous offspring.
The third elder Lu-sin is usually depicted with a scroll and a scepter. Sometimes a baby is found in the arms of this figurine. It is believed that Lu-sin brings all the benefits associated with gaining power to the owner.
All three of these Chinese figurines are traditionally purchased together; it is believed that only unity will attract the said benefits in full force.
Symbols of wealth and good luck according to Feng Shui. Chinese gods of wealth.
“Signs and symbols rule the world—not words or laws” Confucius.
The God of Wealth in Chinese is called " Cai Shen " and is revered everywhere. It is believed that since ancient times this deity has been in charge of all heavenly riches and treasures. Buddha appointed him “Kuan Tan Zhen Zhong” - responsible for distributing luck and wealth among people. Since then, he has been managing the treasures of the earth, bringing good luck to those who invite him into the house. It is believed that his presence relieves debts. It is not surprising that most businessmen keep a picture of Tsai Shen both at home and in their offices.
In ancient times, in addition to merchants, Cao Shen was also loved by officials of various ranks. There is an opinion that military and civilian government officials each revered their own Cao.
He is depicted in two forms: the Civil God of Wealth and the Military God of Wealth:
1..The most popular civil god of wealth is Bi Gan , who traces his origins to the Shan Dynasty.
Bi Gan was the uncle of the ruler of the Zhou kingdom. He was the treasurer of the kingdom and became famous for his impartial distribution of wealth. Bi Gan was so popular that already in those days he was revered as the civil god of wealth. In one hand, Bi Gan holds a gold bar, and in the other he often has a scroll with the inscription: “Your wealth has arrived.” ... In China they believe that a little more luck and profit could never hurt anyone, and therefore they boldly place Bi Gan in their offices.
2. Martial God of Wealth (Kuan Kun or Guan-Yu)
The famous Kuan Yew , also known as Kuan Kun , is one of the most popular deities of wealth among businessmen. The presence of Kuan Kun not only protects, but also helps to beat the competition. In business, Kuan Kun protects against fraud and embezzlement. In businesses, placing Kuan Kun in the reception area will help the business prosper. Place it behind you in the office and you'll never feel like you're lacking support from important people.
If your business is threatened by competitors, you need an image of the fiercest Kuan Kun - Kuan Kun in the Cloak of the Nine Dragons.
Placed in a home or office
pit opposite the front door, Kuan Kun not only attracts wealth and good fortune, but also protects. There are many beautiful images of Kuan Kun , but standing Kuan Kun and Kuan Kun on horseback are considered the most suitable for business people, as it means quick reaction in decision making. The full-length sculpture emphasizes his courage and resilience and is suitable for those businessmen whose business is going through hard times.
Kuan Kun deity , in a sitting position with a flag on his back, plays the role of protector. He is ready to declare war and ready to protect you and your family from any harm. His majestic position and tough, but at the same time calm expression on his face shows his goodwill and willingness to protect his family from evil spirits and other dangers. you choose the desired Kuan Kun . The more ferocious it is, the better. As for the dimensions, the larger and heavier it is, the more powerful its energy. Don't put Kuan Kun on the floor. It must have a good view.
The image of Kuan Kun is most powerful if installed in the northwestern sector of the house; it is said to provide peace and harmony to all the occupants of the house, protection of the father of the family, and good fortune of prosperity for all. However, at the same time, he must look towards the main entrance, in this way he can protect the family from all bad influences.
3. The Three Star Gods are popular Chinese deities who are respected and worshiped throughout the world.
Star elders are Chinese gods who can bestow wealth, longevity and health. These figures can be used individually or together. They symbolize three important successes of the family: the health and longevity of its members, family power, as well as authority and material prosperity.
The names of the elders are Lu-Xing, Fu-Xing, Shou-Xing . Each has its own properties.
Lu-Xing is responsible for abundance and wealth, is a symbol of righteous heirs, and also patronizes procreation. You can often see images of the god with a child in his arms, as well as next to him. May be surrounded by children. The deity symbolizes the authority of the family. An old man is depicted with a scepter in his hands, as well as a scroll - symbols of power and strength.
Fu-Xing - patronizes happiness and good luck, which attracts to the house. It can also bring material wealth and prosperity. In addition, he is usually depicted surrounded by many coins. They symbolize abundance and wealth. He is the tallest among the elders, so it is correct to place him in the center of the trio.
Shou-Shin is the god of health and longevity. In almost all cases, he can be seen depicted with a peach and a deer - symbols of longevity. It happens that the composition is complemented by pine - another symbol responsible for longevity, but this is only if the figurine is made in strict accordance with classical Chinese ideas. The hand of the deity holds a staff, which is usually carried by travelers. But it is not simple, but is made from ginseng root, which also represents longevity.
Placed together in most homes as the three popular star deities, they represent Prosperity, Power and Longevity respectively. The elders are located in the center of the house. They give the central part the greatest energy. According to the teaching of the 5 elements, the center of an apartment or house unites the remaining zones surrounding it. And the elders help to connect all these aspects together and give them special strength and energy. It happens that the center of the house is not in the best and most convenient place, which makes placing the elders impossible. In this case, their place is in the living room or the room where the whole family most often gathers.
It would be great to decorate the room with an artistic panel depicting the elders. It is better to place it in the northwestern housing sector, where we have the Assistant zone. In addition, the elders themselves can also be placed in the sectors: Career, Family and Wealth. They are universal and will have a beneficial effect on family members in any of the listed zones. Naturally, the quality of this impact will have its own nuances depending on the location of the figures.
Favorable sector: South-East, North-West Where to hang: Entrance, Hallway, Office Type of luck: For business, Wealth, Protection
In my store you can find or order money boxes - banknotes with images of favorable Feng Shui symbols (including Bi Gan and the three star elders). All boxes are beautifully packaged. Each one contains a Chinese coin “for luck and good fortune” and a description of what this symbol is. A completely finished gift!
I also accept custom orders.
I will be glad if you like something!
Thank you for reading))) Good luck in your business and prosperity!
Best regards, Maria
Hotei
Seven figurines of the sage Hotei (Buday), who is sometimes mistakenly called Buddha, are popular. The figurine can hold a peach, an umbrella, a gold bar, or a fan in its hands. Hotei can sit on a dragon or be surrounded by children.
The prototype of this figure is considered to be a certain Chinese monk. Choosing to wander around the world instead of seclusion in a monastery, he made his living by predicting the weather. A begging bag or a staff - that’s all his property. The vital energy and natural cheerfulness of this man’s disposition were concentrated in his large belly (after all, according to the Chinese, it was there that the source of the vital forces of qi was located).
Hotei is the god of communication, fun and prosperity. Traditionally, it is believed that to make a wish come true, you need to rub the figures on your stomach three hundred times while thinking about your dream.
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Guandi Guandi, Guan Yu, Guan Yunchang, in Chinese mythology, the god of war, the god of wealth, and also the patron of officials. According to myth, Guandi became famous for turning away demons. It is assumed that Guandi had a real prototype - the military leader Guan Yu or Guan Yo, who lived in the 3rd century AD during troubled times at the end of the Han Dynasty. Guan Yu became famous for his fierce strength, military prowess and loyalty to his ruler Liu Bei. During the war, he was captured and executed because he refused to betray the sovereign. The hero was later canonized for his many merits and officially recognized as a god in the 16th century. The ancients imagined him as a giant in a green robe, with a long beard and a red face, often next to a war horse and in full battle dress. Zhu Shou Zhu Shou, in ancient Chinese and Taoist mythology, the deity of autumn. In the commentary to the “Book of Rites” (VI-II centuries BC) his name is explained: “In autumn, all plants ripen (zhu) and the harvest (show) begins.” Zhu Shou was also considered the spirit of metal, and since metal was associated with the west, the deity Zhu Shou was placed in the western part of the temple. He was depicted with a square in his hands. He was also in charge of punishments in heaven. According to myth, he lived on Mount Yushan, from where he watched the sunset and the reflection of the sunset rays, hence the nickname Hong Guang (“Scarlet Shine”). Historical reference. The ancestor of the Zhou dynasty, like the Shan dynasty, is considered to be the son of Emperor Di-ku (2435-2365 BC). It is believed that the Zhou Dynasty had appanages from its very beginning. These inheritances were distributed to the descendants of the sovereigns of previous dynasties, relatives of Wu-wan and his associates. So, for example, Wu-wan’s brother, the famous Zhou-kung, who was later regent during the minority of Wu-wan’s son and successor, Cheng-wan (1115-1079 BC), received the inheritance of Lu, in the current province of Shan-tung . Chinese scholars consider this Zhou-gong to be the author of several works (part of the commentary on the I-ching, “I-li” - “Book of Rites”, the chapter of Yue-ling in Li-ji, even the most ancient lexicon of Earl-ya); The administrative structure of the empire is also attributed to him. In general, Zhou Kung, considered one of the “holy men” of China, is described as a wise ruler. There is an opinion that from the very beginning of the Zhou dynasty, the custom that existed in China for many centuries was introduced to hide the name of the reigning sovereign and give posthumous titles (shi).
Leigong Leigong (“thunderer”), in Chinese mythology the god of thunder. He had the body of a dragon, the head of a man, and he beat his stomach like a drum. Leigong was often depicted with black bat wings, a bird's claws and head, and a blue human torso. The god was usually dressed only in trousers, on his shoulders was a bunch of drums, and in his right hand was a wooden hammer, with which the thunderer Leigong beats them. Leigong traveled in a cart pulled by a ram and pigs. The winged god beat drums and sent lightning. Leigong was revered as a god who helped people, since he was associated with the rain deities on whom the harvest depended. Maitreya Maitreya (“connected with friendship”), in Buddhist mythology, the bodhisattva and the Buddha of the future, who will appear at the end of this century in the Buddhist calendar. The cult of Maitreya is widespread in Tibetan Buddhism. According to one legend, Asanga (6th century), a scientist, sage and founder of the Yogacara school, which teaches that everything that exists is “only consciousness,” received the teaching from Maitreya himself. Asanga, striving to achieve spiritual insight, indulged in meditation, invoking Maitreya. Years passed, the ascetic did not reach his goal, came out of the cave and saw a dog suffering from a wound infested with worms. Asanga collected the worms and, feeling sorry for them, provided his own body for food. But then the dog turned into Maitreya, who explained to Asanga that through compassion he had achieved the desired spiritual insight. It is believed that Maitreya resides in the Tushita sky, where he waits for the time of his entry as a Buddha into the human world. He will be born when the life expectancy of people reaches 84,000 years and the whole world will be ruled by a just Buddhist ruler. The cult of Maitreya was popular in the countries of Central Asia, the Himalayas and Tibet, where many giant statues were built in his honor. Maitreya was depicted sitting on a throne “in the European style”, it is golden in color, next to Maitreya there is a wheel of dharma, a stupa and a vase.
Pangu Pangu, Panku, in Chinese mythology is the ancestor, the product of the life-giving forces of the universe of yin and yang. The myth about the birth of Pangu tells that at the dawn of time the universe was something like the contents of a chicken egg. As Pangu grew over the course of 18,000 long years, the bright principle, the white (yang), formed the sky, and the cloudy one, the yolk (yin), formed the earth. To prevent heaven and earth from uniting again, Pangu stood between them, supporting the sky with his head and stepping on the ground with his feet. For 18,000 years, the distance between heaven and earth increased by three meters every day. Pangu grew at the same speed. Finally, seeing that earth and sky would no longer unite, he died. Panu's breath became wind and clouds, his voice became thunder and lightning, his left eye became the sun, and his right eye became the moon. Arms, legs and torso formed the four cardinal directions and mountains, rivers and roads arose from blood and veins. God Pangu, the product of the life-giving forces of yin and yang. The flesh became trees and soil, the hair on the head and beard became the stars of heaven, the hair on the body became grass and flowers. From teeth and bones metals and stones were formed, from sweat - rain and dew, from bone marrow - pearls and jade. And finally, the lice and other parasites that lived on his body turned into people. According to one of the later versions, the change of day and night occurs when Pangu opens and closes his eyes. Another version of the myth tells that Pangu was born from the five basic elements and created heaven and earth with a chisel and a hammer. Therefore, Pangu was most often depicted with an ax and a chisel at the moment of separating the sky from the earth.
Fusi Fusi, Paosi, Baosi (“ambushing sacrificial animals”), in Chinese mythology the ancestor and hero, brother and husband of Nüwa. The ancients believed that Fusi ruled the sky, and Nuwa ruled the earth. One of the popular myths tells how in ancient times a peasant put the thunder god Leigong in a cage, and the rains immediately stopped on earth. When the next morning the man went to the market to buy seasonings to prepare a dish from the thunder god, his children, a girl and a boy, violated their father’s strictest prohibition and gave the captive water. He became powerful again and broke out of the cage. In gratitude, God left his tooth to the children and ordered them to plant it in the ground. A few hours later, a huge pumpkin grew from the tooth. It began to rain heavily, and the entire earth disappeared under water. The children escaped in the pumpkin, and the father built a boat. In it, he, along with the water, rose to heaven and asked the ruler of the sky to stop the flood. Goddess Nuiva in the guise of a half-woman, half-snake. God heeded his pleas; the water disappeared, the boat crashed on the ground and the man died. The children survived because the pumpkin softened their fall. They, the only survivors of the terrible flood, were called Fusi. The matured young man invited his sister to become his wife and have children. At first she resolutely refused, but then she gave in on the condition that he could catch up with her. This is how an ancient Chinese marriage custom arose: the groom must catch up with the bride. Subsequently, this woman took the name Nuiva. According to another version of the legend, both the man and woman wanted to get married and have children, but had to get permission from the gods, since the marriage of brother and sister is incest. At the top of the mountain each of them lit a fire and the smoke of the fires united; Fusi and Nüwa considered this a good sign, and soon Nüwa gave birth to a piece of flesh. Fusi cut it into many small pieces with an ax and climbed up the ladder with them to heaven. However, a sharp gust of wind blew pieces of flesh all over the ground. Having fallen, they turned into people. Thus the human race appeared on earth. Zhuan Xu Zhuan Xu, in ancient Chinese mythology, the ancestor deity, grandson (according to another version, great-grandson) of the ruler of the center of Huangdi. The etymology of the name Zhuan Xu is not entirely clear: according to some assumptions, going back to the dictionary “Shuo Wen” (“Interpretation of Signs”, 1st century), the phrase “zhu anxu” means “wary appearance”; it is believed that Zhuan Xu inherited a similar appearance from his father of Qian Huang (Han Liu), according to the Japanese historian Mori Yasutaro, this name means “first ancestor”, “first sovereign”, according to the third, very traditional - “true man”, “man following the true path”, according to the Japanese According to the scientist Todo Akiyasu, the name Zhuan Xu means “a person with a smooth head, as if carved from jade” (a sign of a sage). There are legends about the miraculous birth of Zhuan Xu from a star ray that pierced the moon like a rainbow. According to ancient Chinese mythological ideas, a rainbow is a dragon with heads at both ends, and it is possible that hidden behind this is the idea of the birth of the first ancestor from the dragon totem as from a water creature. Zhuan Xu was born with a shield and a spear on his head, which may imply the appearance of the horns of the first ancestor. In the appearance of Zhuan Xu, judging by the descriptions in apocryphal works of the turn of our era, extremely archaic features can be traced, reflected in the inarticulation of body parts and limbs, for example, fused legs or fused ribs. The ancient literary work “Lüshi Chunqiu” (“Springs and Autumns of Lü,” third century BC) says that Zhuan Xu was raised by Shao Hao until he was ten years old, and at the age of twenty he ascended the throne and wisely ruled for seventy-eight years. According to mythological tradition, Zhuan Xu ruled by using the magical power of water and assigning job titles to his assistants based on the names of rivers. He entrusted the spirit of Chun to rule the south, heaven and spirits, and gave the north under the rule of the spirit of Li, instructing him to rule the earth and people. Thus, people and gods did not mix and order reigned everywhere. Apparently, on the orders of Zhuan Xu, Chong and Li interrupted communication between heaven and earth so that people could no longer ascend to heaven. Zhuan Xu commissioned Feilong (“flying dragon”), imitating the whistle of the winds of the eight directions, to create new melodies and music for sacrifices to Shandi (“the supreme lord”). According to the Huainanzi, a work of the second century BC, Zhuan Xu fought with the god of water Guang Gong. According to other sources, he waged wars with the mythical family of nine Li, as well as with the Miao tribe. Zhuan Xu is credited with the invention of one of the time counting systems (the so-called “Zhuan Xu calendar”), as well as the introduction of regulations defining the subordinate position of women in society. Under Zhuan Xue, punishments for incest were apparently introduced (Gan Bao, “Coy Shen Ji” - “Notes on the Search for Spirits,” 4th century AD). The historiographical tradition characterizes Zhuan Xu as an ideal ruler. Ancient monuments mention the three sons of Zhuan Xu and his other descendants, such as the tribe of three-faced and one-armed people, or the great-great-grandson of Zhuan Xu named Peng Zu, who lived for eight hundred years.
Shennong Shennong (“divine farmer”), in ancient Chinese mythology, the god of agriculture. He was believed to have the body of a snake, the face of a man, the head of a bull, and the nose of a tiger; skin color - green (vegetation color). When Shennong was born, 9 wells suddenly appeared in the ground, and millet rained down from the sky. The god of agriculture Shennong in Ancient China was recognized as the first healer - he prepared decoctions of medicinal herbs and was considered immortal. Shennong died after swallowing a centipede, each leg of which turned into a huge worm. According to legend, they tore apart the body of God. Yudi Jade Sovereign Yudi (“jade sovereign”), in Chinese mythology, the supreme ruler to whom the entire universe was subordinate: heaven, earth and the underworld, all deities and spirits. The ancients imagined him sitting on a throne in a magnificent imperial robe with embroidered dragons, in a royal headdress, with the indispensable jade tablet in his hand. The emperor's palace was located in the highest, 36th heaven, from where he ruled all things, and Saint Wang Lingguan stood at the gates of the palace as a gatekeeper. It was believed that the emperor's wife was the goddess of sericulture, Matodnian; his daughter Qigongyan ("seventh maiden") was a very popular character in fairy tales and beliefs. For example, girls summoned her spirit by telling fortunes about their betrothed. In Ancient China, Yudi, the great sovereign who had the gift of reincarnation and changing his appearance in 72 ways, had many temples dedicated to him. (Chinese Mythology) MONNA
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Other figurines
In addition to the above, other examples of Chinese figurines are known. Among them are two inseparable gods of happiness, Daikoku and Ebisu. This union symbolizes the unity of wealth with spiritual purity.
The god Zaoshen serves to preserve the peace of the home, the god Jurojin promotes long life and rejuvenation, and the figurine of the sage Fukurokuju helps in solving difficult problems.
A figurine of a Chinese warrior named Bishamonten (in Japanese history - Bishamon), depicted in full military garb, helps to gain valor and fortitude, as well as an awareness of the justice of one’s own actions. In Shintoism, he is one of the seven gods of luck.
