Page 8 - Dreweatts May 19, 2015 Chinese and Asian Works of Art, Good section on late Chinese Bronzes

TIGERS IN CHINESE AR T

The tiger is one of the oldest and most revered animals in Chinese history. According to Han mythology, the tiger
was one of the Four symbols for the cardinal points, representing the seven constellations of the west and the
autumn season. In conjunction with the Green Dragon of the West, the Vermillion Bird of the South and the Black
Tortoise of the North, the tiger positioned the burial within the spatial-temporal features of the universe.

In literature, the Queen Mother of the Western paradise, one of the most important deities of the Han Daoist
pantheon, is described as having tiger’s teeth and tail. In burials, the deity sat on a throne decorated with a tiger
and a dragon, the opposing yin-yang forces moving the universe, which the Queen Mother transcended.
Also underscoring auspicious symbolism for peace, tigers were associated with a successful reign, and were highly
regarded as protectors and guardians for their power, strength and courage.

The character hu, 虎, for tiger, is in fact homophone with hu, 护, meaning protection, which must have clearly
been sought to protect the tomb occupants against the malign influences they may encounter in their afterlife.
In conjunction with other real and imaginary creatures, tigers also decorated the base of Han miniaturised
mountainous landscape, a visual metaphor for the barriers of human morality that must be crossed whilst
transitioning to immortality.

“(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally
reach to Heaven, the Abode of the Celestial Emperor,” mentioned the “Masters of Huainan”, Huainanzi, 淮南子, a
philosophical classic compiled in the second century BC, referring to the tortuous journey through a winding
obstacle-laden landscape, which one must embark on, in search of the elixir of eternal life.
During the Han dynasty, the soul was expected to encounter many dangers on its journey to paradise, including
malignant ghosts, spirits, and ferocious beasts. Mountains were highly praised in China for their high peaks,
close connections with heaven, the ability to produce water, life-giving element, and their many cavities, where
immortals were thought to inhabit. The Huainanzi, for instance, refers to the mountain as a Chilly Wind Peak
climbed by people who achieved deathlessness and became gods.

Mountains were also conceptualised as treacherous realms for their inhabitants had unpredictable, supernatural,
powers and were thus considered as potentially malignant. “If someone entered the mountain possessed of no magical
arts, he will certainly suffer harm. Some will fall victim to acute diseases or be wounded by weapons (…) Sometimes the
man will encounter tigers, wolves, and poisonous insects. One cannot enter the mountain lightly!” mentions the “Master
embracing simplicity,” Baopuzi, 抱樸子, compiled between the third and fourth century AD.

Clearly, in addition to serving as the gateways to the land of immortality, mountains were also considered as the
borderlands through which the soul must pass after death. A comparable tiger was included in Eskenazi’s 1998
exhibition, published in Giuseppe Eskenazi, 1998, Animals and Animal Designs in Chinese Art, New York: catalogue
no. 5, foldout cover of catalogue; another example will be offered by Bonhams for sale in New York on 16th March
2015, estimated $200,00-300,000.

A pair of mat or “sleeve weights” cast in form of gold and silver inlaid tigers, were included in Christian Deydier’s
exhibition at the XXVIII Biennale Des Antiquaries, Paris, September 2014, published in Christian Deydier, 2014,
Ancient Chinese Bronzes, Paris, catalogue n. 9, p. 49. For additional references see Shawn Eichman, 2000, Taoism and
the arts of China, Chicago, p. 129; Lukas Nickel, 2000, Some Han dynasty paintings in the British Museum, vol. 60, n. 1,
p. 59-78; Wu Hung, 2010, The Art of the Yellow Springs, Understanding Chinese tombs, Honolulu.

6