Chinese & Daoist Magic

This woodcut diagram illustrates the 'Steps of Yu' (Yubu), a ritualistic walking pattern derived from ancient Chinese mysticism and incorporated into military strategy. The two patterns, labeled 'Finished' and 'Unfinished,' show the complex paths used for spiritual protection and tactical positioning. It reflects the integration of cosmological beliefs into the military science of the Ming dynasty.

This woodcut map is part of the 'Wubei Zhi' (Treatise on Armament Technology), a comprehensive military encyclopedia compiled by Mao Yuanyi in 1621. It provides a strategic overview of the Ming Dynasty's territory, detailing coastal regions, major waterways, and mountain ranges alongside administrative divisions. Such maps were essential for military commanders to understand the terrain and logistics of the empire they defended.

This frontispiece illustrates various Chinese conceptions of spiritual beings, contrasting fierce, horned demons with more serene, haloed figures. These depictions reflect the complex hierarchy of good and evil spirits in Chinese folk religion and philosophy as documented by J.J.M. de Groot in his seminal work.

This woodcut diagram from the 1621 military treatise Wubei Zhi illustrates the complex relationship between celestial patterns and earthly strategy. The central constellation, likely the Big Dipper, is surrounded by eight radiating paths inscribed with characters that correlate directions, time, and cosmic forces, reflecting the traditional Chinese belief in the unity of heaven and human affairs in warfare.

This illustration depicts Si-che (Xi Shi), one of the Four Beauties of ancient China, revered here as the patron goddess of cosmetic and perfume merchants. She is captured in a graceful, dynamic pose, with her vibrant multi-colored robes and long, flowing sashes illustrating the elegance associated with her legend.

This illustration depicts the interior of a temple at Hwo Chow, dedicated to T'ien-fei (the Celestial Fairy Queen or Mazu) and two other water goddesses. The scene captures the ritual arrangement of a Chinese shrine, including the central deities, an incense burner, and ceremonial drums and bells used in worship. It serves as a vital record of early 20th-century Chinese religious iconography and temple architecture as documented by Jesuit missionary Henri Doré.

This vibrant print depicts Zao Jun, the Kitchen God, identified by the inscription 'Dingfu Zhenjun' (True Lord who Determines Good Fortune). He is shown as a benevolent patriarch accompanied by five children, representing the wish for many descendants and domestic harmony. The surrounding imagery, including peaches, cranes, and ancient coins, reinforces themes of longevity, prosperity, and abundance central to Chinese folk belief.

This illustration depicts the Chinese goddess Nüwa (Niu-wo) seated on a cliffside, tending to a ritual fire in a tripod vessel. According to myth, she is shown here repairing the breach in the heavens, a central act of creation and restoration in Chinese folklore. The image captures the goddess in a moment of divine labor, surrounded by the elemental forces of fire and air.

This woodcut map from the 1621 military compendium *Wubizhi* depicts the strategic topography of Beizhili, a vital northern province of the Ming Empire. It highlights key defensive locations such as Shanhaiguan and Juyongguan, illustrating the geographical considerations essential for imperial defense during the late Ming period.