THE IMMORTALS, OR CHENS
The _Pa Sien_, or eight Immortals, were followers of the Taoist
religion founded by Lao Tsze, who lived about the time of Confucius.
They seemed to be noted for a combination of pure Taoism, which
taught contempt for riches and worldly power, and advocated complete
subjugation of all bodily passions, and such practice of magic and
alchemy as gave them the power they affected to despise. These eight
lived at various times and attained immortality through the mysterious
elixir of immortality.
1. Han Chung-le, who lived in the Chow dynasty (B.C. 1122-249), is
represented as a fat man, either with bare stomach or fully clothed.
His emblem is a fan with which he revives the spirits of the dead.
2. Leu Tung-pin (about A.D. 755). He learnt the mysteries from Han
Chung-le whilst wandering in the mountain gorges. Tempted ten times,
he overcame the temptations, and with a sword, which is his emblem, he
slew evil monsters and rid the earth of them for more than four hundred
years.
3. Le Tee-kwae (period unknown) was a scholar of Han Chung-le in the
celestial regions which he visited in spirit, leaving his body under
charge of a disciple on the earth below. On returning from one visit,
he found his body was gone, and the only way in which he could continue
his existence was by taking refuge in the body of a lame beggar, whose
crutch and gourd are his symbols.
4. Tsaou Kwo-kiu (_circa_ A.D. 999) is generally represented with a
court head-dress, being connected by birth with the Emperor. His symbol
is a pair of flappers or castanets, which he carries in one hand.
5. Lan Tsae-ho is rather a myth of myths, for neither the sex nor
period is given. The figure is represented bearing a flower-basket or
wine-pot, either of which is the emblem.
6. Chang Ko-laou (close of seventh to middle of eighth centuries) was
a great magician, whose white mule carried him immense distances, and
when not in use was folded up and put away. His symbol is a bamboo
tube drum, carried on either arm, with two rods, the ends of which are
usually projecting from the upper opening of the drum in which they are
placed.
7. Han Seang-tsze (about the same period as the last) was a pupil of
Leu Tung-pin. His symbol is a flute carried in either hand, usually
end upwards. The story says that his master carried him to the famous
peach-tree of the genii from which he fell.
8. Ho Seen-koo (A.D. 690-705) was an example of filial piety. The
legend tells how vast were the distances she travelled to get dainty
bamboo shoots for her sick mother, how she conquered the desire for
mortal food, sustaining herself with the powder of mother-of-pearl, and
how finally she disappeared with the promise of coming back again. This
she did, on occasion when a good genius was necessary, appearing in the
clouds and bringing blessings. Hers is the flower symbol--the lotus.
Here, before me, are two vases on each of which is depicted a feast of
the immortals in the celestial regions. Under the spreading pine-tree,
emblem of longevity, sits Han Chung-le, listening to the music of the
flute. Around him are the others with wine-cups set on a rock table.
Lan Tsae-ho is bearing the wine-pot, whilst in the clouds, over the
pine-tree, the gracious Ho Seen-koo gazes down upon the scene. Not only
in decoration, on vases, and other pieces, are these gods depicted
either singly, in pairs, or all in one group, but also in single
figures and as a group of figures. Sometimes eight, and sometimes nine
are found in one group, the ninth being Lao Tsze himself, the founder
of Taoism. Many of these figures, as in the illustrations, are very
beautiful in colour, and so entirely quaint and curious in modelling,
often with faces and hands, in white biscuit, and so rare. Old Ming
figures, early Celadon figures, later enamelled figures, in sets of
eight, standing or sitting, are often worth a knight's ransom.
XXVI
THE
DRESDEN
COLLECTION