97 cm (vertical) × 29.8 cm (horizontal)

 

The “Taoist celestial master” depicted here is Zhang Daoling (fl. during the reign of Emperor Ming of Han (57–75 CE)), the founder of Zhengyi Dao (i.e., the Way of Orthodox Unity), one of the three major Taoist sects. Zhang was proficient in the arts of Taoist incantations and making pills of immortality, and was revered as the progenitor of thunder rituals across Taoist traditions. Thunder rituals, also known as the “Five Thunders Rituals,” is a powerful and versatile Taoist practice used for invoking wind and thunder, praying for sunshine and rain, exorcising demons, dispelling evil, and healing diseases. 

 

In this painting, the central figure within the circular halo is a man with a piercing gaze and flowing beard, holding a sword in his right hand and a command flag in his left—an image consistent with traditional depictions of Zhang Daoling. Below him, four celestial beings aligned along the central axis are shown wielding fans, hammers, flags, and books, possibly symbolizing deities associated with wind, thunder, clouds, and rain. The five drums scattered across the composition likely represent the “Five Thunders.” The deities’ swirling garments, billowing flags, and the dry-brush strokes used to outline their swift, descending movements emphasize their rapid descent and the urgency of carrying out divine commands.

 

Based on the inscription and seal in the lower-left corner, this painting was created by Ming dynasty artist Chen Huai in his late seventies during the Dragon Boat Festival, specifically at midday, as part of a ritual practice involving incense burning and prayers. This context aligns with a folk tradition originating in the Yuan dynasty of painting images of Taoist masters during the Dragon Boat Festival to ward off evil spirits and protect homes. The mention of “burning incense” reflects the piety and reverence involved in the act of painting, as incense burning is a Taoist ritual for summoning divine spirits. Little is known about Chen’s life, but the inscription’s reference to “Yufeng” possibly indicates Yufeng Mountain, a renowned Taoist site in China during the Ming dynasty (present-day Kunshan, Jiangsu). Additionally, the seal reading “Qingranzi” and “Qingran Daoren” suggest that the artist may have been a Taoist follower himself.