Daoist Classics

This woodcut illustration from the 1609 encyclopedia Sancai Tuhui depicts Taishang Laojun, the deified form of the philosopher Laozi, riding an ox. He is shown as an elderly man with a long beard, holding a ruyi scepter, a traditional symbol of power and good fortune. The scene captures the legendary moment of his departure to the west, with the accompanying pine tree symbolizing his enduring wisdom and immortality.

This illustration depicts Houtu (后土), the 'Mother of the Earth,' a powerful deity in the Chinese pantheon responsible for the fertility of the land. She is shown seated in a formal posture, wearing an elaborate phoenix crown and holding a ceremonial jade tablet, signifying her high celestial rank. This image was documented by Henri Doré at a temple in Jukao (Rugao), capturing the specific iconographic traditions of early 20th-century Chinese religious practice.

This vibrant illustration depicts Yue Fei (1103–1142), a celebrated Chinese military general and national hero of the Southern Song dynasty. He is shown in full ceremonial armor, adorned with dragon motifs and carrying his characteristic weapons, symbolizing his legendary loyalty and martial prowess. This image is part of Henri Doré's extensive documentation of Chinese folk beliefs and historical figures.

This woodcut portrait depicts Zhuanxu, also known as Gaoyang, one of the legendary Five Emperors of ancient China. He is shown in traditional imperial attire, featuring an elaborate headpiece and flowing robes, rendered with the bold, precise lines characteristic of Ming-era woodblock printing. Such illustrations served to provide a visual lineage for the foundational figures of Chinese civilization in historical and encyclopedic texts.

This woodcut illustration from the 1608 edition of 'Soushenji' depicts a Buddhist triad, likely Shakyamuni Buddha flanked by his principal disciples, Ananda and Mahakasyapa. The central figure sits in meditation on a lotus throne atop an ornate pedestal, surrounded by a radiant halo and auspicious clouds. The inscription '釋氏源流' (Origins of the Shakya Clan) identifies the scene as part of a narrative concerning the lineage and history of Buddhism included in this comprehensive record of spirits and deities.

This vibrant illustration depicts the spirits of the five planets—Mercury, Venus, Mars, Jupiter, and Saturn—personified as figures in traditional Chinese attire. Each spirit is accompanied by its corresponding Chinese name and a unique symbolic object, reflecting the complex syncretism of Chinese folk religion, Taoism, and ancient astronomical beliefs. Such imagery was used to explain the celestial influence on earthly affairs within the framework of traditional Chinese cosmology.

This refined portrait depicts a learned scholar surrounded by the tools of his trade, including a terrestrial globe and volumes of knowledge. The composition emphasizes the intellectual authority and global curiosity characteristic of the early modern period.

This intricate woodcut depicts three central figures of the Taoist pantheon, likely the Three Pure Ones, seated in a celestial realm. The scene includes a formal altar with ritual implements, emphasizing the liturgical and mythological foundations of Taoism as presented in this 17th-century compendium of the supernatural. The inscription '道教源流' (Origins of Taoism) confirms the pedagogical and religious intent of the illustration.

This vibrant painting depicts a Fenghuang, or Chinese phoenix, a symbol of high virtue and grace. Part of a larger scroll from the Dunhuang caves, it showcases the sophisticated use of mineral pigments and fluid brushwork characteristic of Tang Dynasty art.