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7Visitors nod at the familiar couplet and smiling couples pause to have their picture taken in front of the joined trees. 712-756) and his besotted love for concubine Yang : “In heaven willing to fly on one pair of wings,/ On earth willing to grow with branches entwined”. Guides inform their tour groups that this is a symbol of undying love, sometimes citing a couplet about the Tang dynasty emperor Minghuang
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They stand before the Hall of Imperial Peace, a Daoist temple that is the northern-most building within the Forbidden City. In the meticulously designed ritual center of late imperial China, these trees ( lianli mu) grow on the symbolically significant Central Axis. The image is a pair of trees that have grown together (fig. 1). (.)ģAn example of an image commonly misunderstood by today’s Chinese culture is found in the Imperial Garden that lies at the north end of the Forbidden City in Beijing. 8 The “trees of conjoined cosmic pattern” are listed under good omens in Ouyang Xun (557-641) et al.7 Bai Juyi (772-846), “Song of Everlasting Sorrow” ( Chang hen ge).5The “hidden symbols” and “hidden meanings” in the book titles by Eberhard and Bartholomew affirm that, to varying degrees, auspicious designs are characterized by culturally specific meanings that are not obvious to those of other cultures, or of later periods, or even to some within the culture. 4 One of those was Wolfram Eberhard’s The Symbolic Language of the Chinese : Hidden Symbols in Chinese Life and Thought. As Terese Tse Bartholomew notes in the introduction to her book Hidden Meanings in Chinese Art, in the wake of the Chinese edition of Nozaki, over thirty books were published in Taiwan, China, and the West on various aspects of auspicious motifs. 3 The publication of the Chinese translation of Nozaki’s Explication of Auspicious Designs in 1980 contributed to studies both in the West and in Asia. Williams, whose Outlines of Chinese Symbolism and Art Motives was completed in 1932, published in 1941, and republished in a third revised edition in 1976. 2He was followed by the British scholar C.A.S. In 1920s Tianjin, assembling lucky images was an avocation of Japanese businessman Nozaki Nobuchika, who in 1928 published in Japanese the still-useful reference Kisshô zuan kaidai ( Explication of Auspicious Designs : A Study of Chinese Customs). The 20th century efforts to catalogue positive images indicate that even those were not universally accessible. 6 In modern times, in addition to auspicious imagery, scholars have catalogued local sayings, riddle (.)ĢOne reason for the discrepancy in identifying various kinds of imagery is the relative difficulty of decoding.5 First published in German as Lexikon chinesischer Symbole, Cologne: Eugen Diederichs Verlag, 1983 (.).4 Terese Tse Bartholomew, Hidden Meanings in Chinese Art, San Francisco: Asian Art Museum of San Fra (.).3 Charles Alfred Speed Williams, Outlines of Chinese Symbolism and Art Motives: An Alphabetical Comp (.).
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