Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment, Period 2018.07.01-09.25, Galleries 204,206
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     Many expressions to convey blessings in traditional Chinese culture deal with notions ofprosperity, longevity, and health and tranquility. How to live not only long but also healthily haslong been an ideal shared among peoples all over the world for ages, and a glimpse of this hope is often seen in works of painting and calligraphy, which are a reflection of daily life.

     Elixirs of immortality and medicine to revive the dying may be the stuff of legend but nonetheless became fascinating subjects in Chinese art full of mythological overtones. There may no cure for death, but ancient Chinese wisdom has left us a long tradition on how to heal the body and live well. This exhibition examines the subject from three perspectives: "Refining Elixirs,""Medicinal Treatments," and "Traditional Arts of Healthy Living." The works on display include a handscroll entitled "Firing Elixirs at Jade Grotto" in the style of the Ming dynasty artist Qiu Ying, the "Classic of the Yellow Court" that advocates absorbing "qi" (vital force) to maintain energy and thereby healthy living, "Methods of the Immortals for Daily Life" with its catchy phrases on massage, and "Discourse on Healthy Living" that treats health as beginning with the mind, in which its author, the famousWei-Jin scholar Ji Kang, emphasized "becoming pure and calm, being less selfish and desirous." "Illustrated Album of the Eight Pieces of Brocade," originally stored in the Qing dynasty at the Yonghe Palace, the residence of the Guangxu Emperor's Consort Jin, advocates fitness training by combining physical exercises with breathing techniques. Then there is "Transmitting the Mulberry Mistletoe," in which the names of more than 120 kinds of Chinese medicines are connected together into an interesting short text.

     Finally, and of particular note, is a national treasure entitled "Moxibustion," a hanging scroll by the Song artist Li Tang portraying a rural doctor treating a patient by burning mugwort cones on his back, the contorted face of the man being pinned down difficult to forget. On a theme related to healing is "Brewing Medicine" by Tang Yin, the premier Ming dynasty talent of the Jiangnan area, who did the painting to thank a doctor for curing him of a lung ailment. Thus, this type of special exhibition can hopefully help bridge the gap between past and present by introducing audiences not only to the studies from the ancients but also by reminding people today to truly care more about health and living well.

Selections

Illustrated Album of the Eight Pieces of Brocade

Anonymous, Qing dynasty (1644-1911)

  1. Album leaf, ink and colors on paper
  2. 23.9 x 14.5 cm

     "Eight Pieces of Brocade" and Tai chi are widespread forms of exercise for the Chinese. Documentary evidence for similar forms of physical training is found at the earliest in Record on Channeling Zi to Wu by the Master of Spirit Sword from the famous Wei-Jin scholar Xu Sun (249-347), which appears in Daoist book catalogues on healthy living from the Song dynasty.
     "Eight Pieces of Brocade" is named after eight exercises that are "woven" together into a single "brocade." The contents include physical exercises as well as breathing regimens. Positions taken include both standing and seated. The former requires the feet to be planted at the same width as the shoulders, while the latter calls for knees placed squarely together. Combined with such details as keeping the tongue in contact with the palate and concentrating on the "dantian," each movement is done repeatedly. On display here are the standing "Eight Pieces of Brocade," which were catalogued at the Qing court using a "Thousand-Character Essay" accession system, the "sui" character here indicating the album was stored at the Yonghe Palace, the residence of the Guangxu Emperor's Consort Jin (1873-1924).

Copy of Yang Ningshi's "Methods of the Immortals for Daily Life"

Wang Shu (1668-1739), Qing dynasty

  1. Album leaf, ink on paper
  2. 36.7 x 42 cm

     Wang Shu (style name Ruolin), a native of Jintan in Jiangsu, became a Presented Scholar in 1712 and served up to the post of Vice Director in the Ministry of Personnel. His "Cave of Amassed Calligraphy" in sixty albums represented the culmination of his efforts in searching for and copying ancient works of calligraphy, also including his research and inscriptions.
     On display in this exhibit is Yang Ningshi's "Methods of the Immortals for Daily Life." Yang Ningshi (873-954), style name Jingdu and sobriquet Xubai, was a native of Huayin in Shaanxi. A Presented Scholar under Emperor Zhaozong late in the Tang dynasty, he went on to serve the following states of Liang, Tang, Jin, Han, and Zhou up to the position of Junior Preceptor of the Heir Apparent. Being known as "Junior Preceptor Yang," he was fond of calligraphy and especially "topsy-turvy" cursive script. "Methods of the Immortals for Daily Life" is a representative late example of his also known as "Skills of the Immortals for Daily Life." A kind of massage for health practiced in antiquity, the text takes the form of mnenomic phrases, the original now in the Beijing Palace Museum.

Copy of the "Classic of the Yellow Court"

Zhu Yunming (1460-1526), Ming dynasty

  1. Handscroll, ink on paper
  2. 21.3 x 73.3 cm

     Zhu Yunming (style name Xizhe, sobriquet Zhishan), a native of Suzhou in Jiangsu, is reported to have been able to write large-character calligraphy by the age of five. He later excelled at all types of calligraphy, his "wild cursive" most famous.
     This handscroll in small regular script is a transcription of "Classic of the Yellow Court," an important Daoist meditation text for cultivating health that mainly focuses on breathing exercises to build energy. Using rhyme to describe the form and function of various parts of the body, both internally and externally, the point is to preserve the spirit and obtain insight as well as strengthen the spirit and train one's "qi" and thereby fill the Yellow Court, or core, with it and prolong life. It is said that Wang Xizhi, who was fond of geese, transcribed a version of this classic to exchange with a Daoist of Shanyin for a white goose. Surviving copies of this work, however, are all rubbings from a Song dynasty engraving in stone. Nonetheless, the precise script and untrammeled spirit have often earned it praise as a model for the study of regular script.

Brewing Medicine

Tang Yin (1470-1524), Ming dynasty

  1. Handscroll, ink and colors on paper
  2. 28.8 x 119.6 cm

     Tang Yin (style name Bohu, sobriquet Liuru jushi), a native of Wuxian (Suzhou), came in first place in the Nanjing civil service examinations of 1498. Skilled in poetry, painting, and calligraphy, he is ranked as one of the Four Ming Masters.
     This painting shows a medicinalist seated under pine trees with a young attendant taking care of a stove, fanning the flames to brew a concoction. Although the figures are sparingly drawn, the characterization is complete. The brushwork for the rocks and tree trunks is lively as it twists and turns. The pine needles and distant mountains are done with light shades of ink washes that make them appear moist and full of the potential for life, serving as an apt reflection of the idea behind preparing medicine. Tang Yin in his late years suffered from a lung ailment and, according to his inscription at the end of this scroll and the colophon by Zhu Yunming commending the skills of a doctor named Lu Yuezhi, we know that this work was done by Tang around the age of 49 in appreciation of Lu providing him with medicine to treat his problem.

Moxibustion

Li Tang (ca. 1170-after 1150), Song dynasty

  1. Hanging scroll, ink and colors on silk
  2. 68.8 x 58.7 cm

     This painting, traditionally attributed to Li Tang, depicts an itinerant doctor engaged in his profession. He has the instruments of his trade tucked into his bonnet as he burns mugwort cones on a patient's back, which appears inflamed. The patient struggles in pain, requiring three others to restrain and keep him still by stepping on his legs, holding his arms and pressing his shoulder. In contrast with the man's pained expression is the concerned look of the other three, as if commiserating with him. To the right is the doctor's assistant with paraphernalia, such as a fan, which indicate his role in preparing medicinal patches. He is shown blowing on a patch to apply medicine on the patient's back.
     The brushwork and coloring in this painting is refined and realistic, being a masterpiece of Southern Song genre painting in the academic style. Despite the seriousness of the subject, the artist seems to have given it a comical touch by rendering the figures' expressions with exaggeration and animation, offering a memorable record of life in the countryside.

Kidney "Qi" Bolus

Wang Xianzhi (344-386), Jin dynasty

  1. Album leaf, ink on paper
  2. 26.5 x 31.1 cm

     Wang Xianzhi's (style name Zijing) ancestral origins were in Langya (modern Linyi, Shandong). The son of the "Sage Calligrapher," Wang Xizhi (303-361), in calligraphy the two of them were known as the "Two Wangs."
     This work from the Chunhua Pavilion Modelbooks is an engraving based on a letter originally written by Wang Xianzhi in running script entitled "Kidney 'Qi' Bolus," in which Wang describes his observations on the efficacy of this medicine in ball form and "astraglia radix." Kidney "qi" bolus is also called "'Rehmanniae' bolus of eight ingredients" and traces back to Discourse on Harm from Cold and Various Diseases by the Eastern Han "Sage Doctor" Zhang Zhongjing (ca. 150-219). One of the most famous prescriptions in traditional Chinese medicine, it has been highly praised since early times, being used in various applications. The "'Rehmanniae' bolus of eight ingredients" seen today, along with the famous "'Rehmanniae' bolus for improving eyesight" and "'Rehmanniae' bolus with 'lycii' and 'chrysanthemi'," are derivatives of the "Kidney 'qi' bolus" recipe.

Exhibit List

Title
Artist
Period
Kidney "Qi" Bolus
Wang Xianzhi (344-386)
Jin dynasty
Ji Kang's "Discourse on Healthy Living" in Regular and Cursive Script
Gaozong (1107-1187)
Song dynasty
Moxibustion
Li Tang (ca. 1170-after 1150)
Song dynasty
Transmitting the Mulberry Mistletoe
Dong Qichang (1555-1636)
Ming dynasty
Firing Elixirs at Jade Grotto
Qiu Ying (ca. 1494-1552)
Ming dynasty
Brewing Medicine
Tang Yin (1470-1524)
Ming dynasty
Copy of the "Classic of the Yellow Court"
Zhu Yunming (1460-1526)
Ming dynasty
Illustrated Album of the Eight Pieces of Brocade
Anonymous
Qing dynasty (1644-1911)
Copy of Yang Ningshi's "Methods of the Immortals for Daily Life"
Wang Shu (1668-1739)
Qing dynasty