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Chris (Xun) Wang

Dr. Erin McLaughlin
Writing and Rhetoric 13300
14 November 2014
Taoism: a New Lens onto Ancient Art Form
The history of Chinese Ceramics dates back to 4000 years ago. The Art was
developed during the Tang Dynasty, 618-906 A.D, and the craftsmanship reached its climax
during Ming Dynasty, 1368-1644 (Dallas 13), evolving Mings signature red-and-white and
blue-and-white wares (Valenstein 152). Chinese Ceramics are made mainly of clay, and
formed in different shape according to its use. Depending on the kind, decoration of Chinese
ceramics varies. Underglaze is decorated before it being glazed, put in the kiln afterwards.
While, on-glaze decoration is achieved through applying color after glazed, and then is put
into the kiln. Nowadays, increasing numbers of Westerner have started to appreciate Chinese
ceramics. From the first 1300 pieces of Chinese ceramics bought from the collection of
Samuel P. Avery in 1879, the Metropolitan Museum has collected over 4500 objects through
the years. Thousands of Chinese ceramics in the museums collection represent a sweeping
survey of Chinese ceramics history (Valenstein vii). Indeed, people are awed by the beauty
of Chinese ceramics. Some appreciate the Chinaware solely through craftsmanship and
aesthetic pleasure. In fact, besides their visual beauty, Chinese ceramics carry significant
cultural and religious meaning through the symbolism. Moreover, Chinese symbolism is
significantly different from Western one in the cultural meaning. Thus, some specific
Chinese framework needs to be applied to uncover cultural meanings. Taoism, a Chinese
philosophical and religious tradition, developed and affected symbolism on Chinese
ceramics, and thus infuses deeper cultural meaning beneath craftsmanship and aesthetic
pleasure. Therefore, I argue that Taoism should be considered in the study of Chinese

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ceramics, in addition to visual beauty. To prove my argument, first, I will introduce the
symbolism in Chinese culture, and then I will explain some basic belief in Taoism, and how
it affects Chinese culture. Eventually, I will examine three pieces of Chinese ceramics that
could gain more cultural meaning in terms of their color, and pattern design through the lens
of Taoism. Additionally, in the end, I am going to highlight the value of the knowledge of
Chinese symbolism, both in the practical level, and the intellectual level.
To start with, I would like to point out that the symbolism is prevalent in Chinese
culture. C.A.S. Williams, a British Sinologist who spent most of his active year in China, in
his book, confirms the Chinese character and phrase act like painted picture (A Manual of
Chinese Metaphor iv). In fact, the Chinese character is created as a symbol, captures the
essence of a natural object graphically (You 10). It implies that Chinese have utilized
symbolism and figurative art in culture from the beginning of this civilization. Furthermore,
Williams adds that, Chinese is rich in metaphor, which is most commonly expressed in
terms of four characters(v), and functions together as an idiomatic expression. Chinese calls
this kind of expression: Chengyu (). Chengyu involves both animalization and
symbolism. Besides its literal meaning, each expression has a deeper symbolic meaning.
Symbolism is largely used in Chinese writing and composition through Chengyu. In
addition, Chengyu is utilized symbolically in the design of Chinese ceramics as patterns. I
will examine the utilization of Chengyu in the Chinaware further into details, when
introducing three pieces of Chinese ceramics later.
Shifting from the text-based context, Chinese symbolism is omnipresent in terms of
art. Walter Yetts, another British Sinologist, claims, One of the most distinctive and striking
features of Chinese Art is the Symbolic character of its expression (1), confirming the
extensive use of symbolism in Chinese art. In Chinese painting, same patterns appear
repeatedly, conveying the same message. These patterns symbolize either a legend, or other

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seemingly irrelevant things. Besides, in China, each color has symbolic meaning. The Rite of
Zhou, written in the middle of 2nd century BC, points out that color and pattern in clothing
may only be used according to ones socioeconomic class (Hu 235) 1. This implies the
symbolism behind each color and pattern has been established in the Chineses mind for over
centuries. Different colors and patterns represent different socioeconomic classes. Moreover,
symbolic meaning of color and pattern also appears the Chinaware; I will identify it later
when analyzing porcelain pieces. Overall, symbolism is largely used in Chinese literature,
and visual art. Indeed, it is a significant part of Chinese culture.
Because of the extensive existence of symbolism in Chinese culture, in order to
systematically understand the symbolism in China, the important part of Chinese culture
needs to be studied. Taoism, originated in China 2000 year ago, largely affects Chinese
culture. Tao () means the road in Chinese, though commonly translated as the Way
(Little 13). Ultimately, Tao is the structure of being that underlies the universe (Little 13).
Taoisms primary goal is achieving harmony following the structure, Tao. Mainly, Taoism
affects Chinese culture through its gods. Some Chinese worship these gods in temples and
through rituals. In religious Taoism, these gods have practical roles like gods in Greek
mythology. Some Taoist gods are in charge of rain, and some are in charge of the human life.
For example, people worship the god of longevity, a Taoist god in charge of peoples lifetime,
pursuing long life. Ultimately, with the emergence of different forms of worship of these
gods, Taoism has largely affected Chinese culture. In Williams another book about Chinese
symbolism, Kato, the writer of the introduction, further claims Chinese symbolism and art
motives are based on Taoism (Encyclopedia of Chinese Symbolism viii). Like in Greek
tradition, certain sculptures depict the image of Greek gods. In China, paintings largely

Hus article Chinese Colors and Their Meaning-Toward a Modern Integration of Creativity
in Chinese Art and Design Education was originally published in Chinese. It is being
translated in the paper.
1

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involve images of Taoist gods, conveying good wishes for fortune, longevity, and virtue.
Clearly, Taoism plays an important role in Chinese symbolism. As a most popular and
ancient belief in China, Taoism has been deeply ingrained in the Chinese mind; every art
form are associated with its symbolism, for example, in architecture, painting, embroidery,
etc.; some seemingly irrelevant symbolisms in art actually originate from Taoism. Taoism
has melted into the cultural fabric. It becomes almost impossible to separate Taoism from
systematically understanding Chinese symbolism. Therefore, the lens of Taoism would be
helpful and necessary to grasp the culture meaning in every form of Chinese art.
In fact, most of the symbolism on Chinese ceramics, one of the most significant forms
of Chinese art, originates from Taoism as well. All of the features of Chinese ceramics
colors, patterns, and utilization of the idiomatic expression, Chengyugain deeper meanings
when applying Taoism to them. In the next few paragraphs, I am going to introduce three
pieces of Chinese ceramics, mainly focus on the pattern and color design. Then, I will
examine each of them through the lens of Taoism, and present the cultural meaning of the
color and pattern that otherwise will not appear without the knowledge of Taoism. To be
clear, I choose these three pieces of Chinese ceramics, because they have different cultural
meanings, and were produced during different times. Therefore they are very representative.
Moreover, each of these three pieces involves at least two different types of symbolism that
could be understood better through Taoism.

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Fig. 1. Ming's Red and Yellow Enamelled Incised 'Dragon' Dish. 2009. Jiangxi Museum of
Chinese Ceramics, Jiangxi. Web. 11 Nov. 2014. <http://www.cerart.com.cn>
To start with, I will examine this piece of Chinese ceramics (see fig. 1) that was
produced during Jiajing reign (1521-1567), Ming Dynasty, from a visual perspective. The
craftsman utilizes a technique called under-glaze: the porcelain is glazed after painted, and is
put into the kiln afterward. The background color of this piece of ceramics is yellow with a
dragon pattern appeared in the center of the dish. Without any knowledge of Chinese culture,
people might only sense the aesthetic beauty of this piece of ceramics because the clashing
colors, red and yellow, creates high contrast. Additionally, they might be impressed by the
design of the dragon that occupies the middle of the dish and makes threatening gestures with
its claws.
However, when people start to apply Taoism to analyze this artifact, the cultural
meaning of the color and pattern appears. As introduced before, symbolic meaning of each
color is ingrained in Chineses mind for over centuries. Largely different from the concept of
yellow in Western culture, as inferred from the English term Yellow Journalismin China,
yellow has a significantly different symbolic meaning. Taoism can help to explain the
symbolic meaning of yellow. Taoism argues there are five elements: water, fire, wood, metal,

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and earth. Moreover, there are five colors: green, red, yellow, white, and black, each
representing one of the elements. Yellow represents the element of earth, and is regarded as a
best color among five colors, according to the Taoist (Hu 236). In Taoism, yellow also
represents the center in the Five Phase System: east, west, south, north, and center (Little
303). Being the central and best color among all the other colors, yellow is reserved only for
people who hold the highest socioeconomic status. Thus, evolving from Taoist belief, yellow
becomes the imperial color in China for centuries, which is exclusive for the royal family,
specifically the Emperor (Hu 237). In Ming and Qing dynasties, the government enforced this
rule of use of color so strictly that any people who misused the color yellow could be put into
death. In conclusion, when using Taoism to analyze the background color of the dish, one can
easily assume this piece of ceramics is exclusive only to royal family due to the extensive use
of yellow as the background color.
In terms of the pattern, dragon is a commonly used pattern in the design of Chinaware.
According to Yetts study in Symbolism in Chinese Art, Chinese dragon is described as a
animal that has a head of a camel, the eyes of a hare, the cars of a bull, the neck of a snake,
the belly of a frog, scales like a fish, talons like an eagle, and paws like a tiger (22). It is not
merely a pattern of artistic beauty, but has a deeper meaning. Different from the red dragon
with seven heads, representing Satan in the Book of Revelation, Chinese dragon symbolizes
royalty in Taoism tradition. Believed by Taoists, the dragon supports the mansions of the
gods (Encyclopedia of Chinese Symbolism Williams 135). In Taoism story, the dragon is
always aside with the jade Emperor, Yuhuang (), the supreme god among all Taoism
gods. Therefore, over time, the dragon had evolved into a symbol of the supreme god
Yuhuang. Naturally, the Taoist dragon pattern in Chinese ceramics represents the Emperor,
the supreme ruler of the society, figuring as a sign of imperial rank (Yetts 24). With the aid
of Taoism, beside the visual beauty of the artifact, people perceive the cultural meaning of

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the dragon pattern, understanding that it represents the Emperor. Combining the Taoist
symbolic meaning of background color yellow and the dragon pattern altogether, people will
easily recognize that this piece of Chinese ceramics is made for the use of the royal family,
specifically the Emperor. Taoism makes it possible for people to identify the owner of the
Chinaware. As a result, Taoism should be looked at in the study of Chinese ceramics.

Fig. 2. Qing's Famille Rose 'Bat and Peach' Dish. 2013. The Capital Museum, Beijing,
China. Web. 11 Nov. 2014. <http://zy7312.blog.163.com/>.
In Qing Dynasty, the craftsmanship of Chinese ceramics was improved. There
emerged a new kind of decoration named Famille Rose. Famille Rose, belonging to the
category of on-glaze decoration, mainly uses pink and purple, and allows a great range of
color to depict more complex pattern on the Chinaware. This piece of Famille Rose Chinese
ceramics is produced during Guangxu reign (1875-1908), Qing Dynasty (see fig. 2). The

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background color is pure white, with red bat and pink peach tree bearing gloss fruit appeared
on the dish.
Beside utilization of Famille Rose, Qing Dynastys porcelains largely involve the
Chinese idiomatic expression, Chengyu, in its design. As introduced before, Chengyu is
involved graphically in the pattern: different parts of the pattern demonstrating different
characters within the four-character expression. Taoism becomes useful to explain the design
of the pattern. This bat-peach pattern in this piece of ceramics, originates from the idiomatic
expression, Fu Shou Shuang Quan(), which metaphorically means the possession
of both blessing and longevity. As a pattern, it appears as bats flying above peach trees. Bat
(Fu ) has the same pronunciation with blessing (Fu ) in Chinese, thus becoming the
symbol of blessing. Taoism explains the symbolic meaning of peach trees in this pattern. In
Taoism, the Peach Tree of the gods is said to bloom once in 3000 years, forming the fruit
of eternal life 3000 years afterwards. Consuming one of the fruits can achieve an eternal life.
Therefore, peach tree becomes the symbol of immortality in Taoism (Morgan 111). Thus,
through the lens of Taoism, the peach tree appeared in the pattern symbolizes the character
longevity (Shou ). This bat-peach pattern mixes both idiomatic expression and Taoism
together, gaining richer cultural meaning and conveying a good wish for both blessing and
longevity.

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Fig. 3. Qing's Porcelain for the Wedding of Emperor Tongzhi. 2013. The Capital Museum,
Beijing, China. Web. 11 Nov. 2014. <http://zy7312.blog.163.com/>
Similar to the bat-peach pattern ceramics that is introduced above, this piece of red
Chinese ceramics is also produced during the Qing Dynasty (see fig. 3), particularly, during
the Tongzhi reign (1856-1875). It takes the form of a round box. The background color is red,
and with several flowers and butterflies scattered around the central dragon-phoenix pattern.
The color and pattern on this piece of Chinese ceramics also have special cultural
meaning. Like yellow, the background color red gains its cultural meaning through Taoism.
In Taoism, red, one of the Taoist five colors, represents the element of fire (Hu 236). In
Chinese culture, the element fire is a sign of happiness. Representing the element fire in
Taoism, the color red had evolved into a symbol of happiness. Therefore, red is the mostused color in decoration for celebration, such as wedding ceremonies and Chinese New Year.
Aware of such knowledge, people can infer from the color that this artifact has a purpose of
celebrating happiness.

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Examining the pattern, people recognize the dragon-phoenix pattern in the Chinaware.
As explained before, the dragon is associated with Yuhuang, the most powerful Taoist god.
Therefore, in Taoism tradition, it represents royalty, particularly the Emperor. Similarly, the
phoenix, associates with another important Taoism immortal being, Xiwangmu(). She
is the Queen Mother of the West, guarding the immortal mountain of Kunlun. It is said in
myth, in her presence, a single phoenix always appears in her headdress (Little 276). She is
the wife of Yuhuang in Taoism myth. Therefore, Taoist phoenix had evolved into a symbol of
the Empress. Combining the symbolic meaning of dragon and phoenix together, people begin
to understand the dragon-phoenix pattern represent the Emperor and the Empress.
Similar with the design of the bat-peach pattern ceramics, this piece of Chinese
ceramics also involves Chengyu in its design. To be specific, Chengyu Lung Feng Cheng
Hisang(), is expressed graphically. Lung Feng Cheng Hisang, one of the most
important expressions in Taoism, is interpreted by Williams as prosperity brought by the
dragon and the phoenix from its literal meaning (A Manual of Chinese Metaphor 47). It
further implies very good fortune symbolically. Because Lung Feng () means
dragon and phoenix in Chinese, this expression appears graphically as dragon-phoenix
pattern. Linking the metaphorical meaning of this expression, and the symbolic meaning of
dragon and phoenix altogether, people can understand this pattern conveyed a wish of
harmony and fortune between the Emperor and Empress.
Aware of Taoism, when combining the symbolic meaning of color, pattern, and the
idiomatic expression together, people are able to understand the purpose and cultural
meaning of this piece of chinaware. As examined before, the background color of this artifact
is red, conveying happiness. The Taoist dragon-phoenix pattern symbolizes the Emperor and
Empress. Moreover, the pattern implies a wish of harmony between the Emperor and
Empress. Eventually, people might guess this piece of porcelain is produced for a celebration

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of happiness and harmony between the Emperor and Empress. Indeed, this piece of porcelain
is designed specifically to celebrate the wedding of the Emperor Tongzhi.
From all three examples above, both color and pattern design are associated with
Taoism. Therefore, Taoism largely helps people to appreciate Chinese ceramics, digging out
cultural and religious meaning beneath its aesthetic beauty. However, some might argue that
sensing the visual beauty is enough for appreciating an artifact. Furthermore, they believe
that aesthetic beauty can be easily perceived even without the knowledge of Taoism. Thus,
the knowledge of Taoism becomes unnecessary in the study of the Chinaware. Nevertheless,
without Taoism, basic appreciation of visual beauty becomes impossible sometimes. For
instance, from the appearance of a piece of Chinese ceramics (see fig. 4) that was produced
during Kangxi reign (1661-1722), Qing Dynasty, people may only recognize different
symbols arranged in rows. It might be hard for them to perceive even the visual beauty of
these seemingly irrelevant symbols. In fact, these symbols are one single Chinese character,
shou (), meaning longevity, in different handwriting. This technique is called Calligraphy.

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Fig. 4. Ma, JingJing. Qing's Blue and White 'Shou' Vase. 2012. Nanjing Museum, Nanjing,
China. Web. 11 Nov. 2014. <http://www.chinanews.com/>.
In Williamss book, Calligraphy is briefly discussed by Kato, the writer of
introduction, as one of the thing that Westerner could not understand and appreciate
(Encyclopedia of Chinese Symbolism xi). Furthermore, Kato believes that Calligraphy is a
production of a spirit of veneration for the written character (xiii). The spirit Calligraphy
emphasizes is an important thing Taoism advocated. In Calligraphy, Taoism encourage an
astonishing mixture of spirituality and native joyand with it a subtle mystery (Cooper 86).
This mixture infuses more cultural and spiritual meaning into Calligraphy. Only with Taoism,
people can grasp the spiritual meaning within Calligraphy, thus perceive the visual beauty of
Calligraphy. In terms of this particular piece of Chinese ceramics that was produced during
Kangxi reign (1661-1722), it has around ten thousands same Chinese character shou
(meaning longevity in Chinese) each written in different styles. This vase was produced to
celebrate Kangxi Emperors sixtieth birthday. The knowledge of Taoism allows people to
grasp the spirit of Calligraphy, so they can step forward to appreciate the craftsmanship and
aesthetic beauty of this artifact. Therefore, Taoism is necessary to help people not only grasp
the cultural meaning of Chinese ceramics, but also perceive the visual beauty of it. It is worth
considering in the study of Chinese ceramics.
Indeed, specific knowledge of Chinese culture helps people to understand the
Chinaware. Taoism, an important Chinese religion and philosophy, has largely affected
Chinese ceramics in terms of its design. Thus, it should be considered when people study
Chinese ceramics. It helps to reveal deeper cultural and religious meaning of the artifact, in
addition to its craftsmanship. Furthermore, in the practical level, knowledge of Chinese
symbolism becomes helpfulas the world is becoming more culturally diverse: different
relationship going on between different countries. Especially, China has become one of the

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worlds biggest consumers of commodities. Companies worldwide begin business with China.
The study of Chinese culture enables people to utilize knowledge of Chinese culture to infuse
Chinese symbolism in products design, making them more appealing to Chinese, and
offering the company larger sales. Moreover, because of the significant differences between
Chinese and Western cultures, Chinese culture is worth being examined and studied
separately. The understanding of Chinese ceramics offers people a glance at Chinese culture,
and brings to a practical end: the business success.
Most importantly, on the intellectual level, learning about the past makes it possible
for us to appreciate the history, a history that cumulates over 5000 years. In addition, the
study of history enhances humanistic improvement, nourishing out minds. Different
perspectives of historical understanding offer us tools to solve real-life problems.
Undoubtedly, Chinese ceramics as a carrier of Chinese culture is worth studying.
Additionally, Taoism, a famous Chinese belief fundamentally affecting Chinese symbolism
in every art form, will largely help people to achieve better understanding of Chinese culture.
With aids of Taoism, next time, when you walk in the museum, remember to muse in front of
artifacts, and figure out what you can learn from them, from culture.

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Works Cited
Cooper, Jean C. An Illustrated Introduction to Taoism: The Wisdom of the Sages.
Bloomington, Indiana: World Wisdom, Inc, 2010. Print.
Dallas, Sada. The Romance of Chinaware. Los Angeles: De Vorss & Co, 1940. 13-19. Web.
21 Oct. 2014.
Hu, Zermin. "Chinese Colors and Their Meaning-Toward a Modern Integration of Creativity
in Chinese Art and Design Education." : 233-54. Web. 13 Nov. 2014.
Little, Stephen. Taoism and the Arts of China. Chicago: Art Institute of Chicago, 2000. Print.
Morgan, Harry T. Chinese Symbols and Superstitions. South Pasadena, Calififornia: P. D.
and Ione Perkins, 1942. Print.

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Valenstein, Suzanne G. A Handbook of Chinese Ceramics. Revised and Enlarged ed. New
York: Metropolitan Museum of Art, 1988. Print.
Williams, C. A. S. A Manual of Chinese Metaphor: Being a Selection of Typical Chinese
Metaphors, with Explanatory Notes and Indices. Shanghai: The Inspector General of
Customs by the Statistical Department of the Inspectorate General, 1920. iv-vii. Print.
---. Encyclopedia of Chinese Symbolism and Art Motives. New York: Julian Press, 1960.
Print.
Yetts, Walter P. Symbolism in Chinese Art. Leyden: E. J. Brill, 1912. Print.
You, Xiaoye. Writing in the Devil's Tongue: A History of English Composition in China.
Carbondale: Southern Illinois University Press, January 20. 43-44. Print.