Jiajing Emperor’s Paradise on Earth at the Hong Kong Museum of Art
The Hong Kong Museum of Art presents Eternal Enlightenment: The Virtual World of Jiajing Emperor, an exhibition that shed light on how Jiajing Emperor’s deep interest in Taoism influenced and shaped a distinctive style that became an integral part of traditional Chinese design.
Sense of Wander: ★★★★☆
HONG KONG — Living in a world of constant chaos and catastrophe, it's natural to yearn for inner peace and spiritual solace. One ancient emperor, Jiajing, found refuge in religion, giving rise a remarkable compendium of visual vocabularies that enriched traditional Chinese design.
While renowned for his contributions to China's cultural heritage, particularly the construction of the Forbidden City and the publication of the Yongle Encyclopedia (Yongle dadian), the largest encyclopedia in premodern China, Jiajing's influence on the stylistic development of imperial ware during the Ming dynasty (1368-1644) is often overlooked.
On the occasion of the 500th anniversary of Jiajing Emperor’s ascension to the throne, the Hong Kong Museum of Art (HKMOA) presents Eternal Enlightenment: the Virtual World of Jiajing Emperor, an exhibition that showcases the emperor’s deep interest in Taoism and the distinctive style it inspired.
Portrait of Jiajing Emperor (reigned 1521-1567) from the National Palace Museum collection in Taipei, Taiwan.
Who is Jiajing Emperor?
Jiajing Emperor, also known as Zhu Houcong, ruled China from 1521 to 1567, ascending to the throne at the age of 14 after his predecessor, Zhengde, died childless. His reign was marked by controversy and brutality, as he was known for his harsh treatment of officials and his obsession with Taoism and alchemy, which led to the persecution of scholars and intellectuals.
One of the most controversial events during his reign was the "Great Rites Controversy", where he posthumously honoured his father, Zhu Youyuan, with the title of emperor, causing a power struggle that lasted for several years. Eventually, Jiajing Emperor prevailed, and Zhu Youyuan was named Ruizong Xian Emperor and honoured with a place in the ancestral temple.
Despite his controversial legacy, Jiajing Emperor's long reign of 45 years and rise to power at such a young age are impressive accomplishments in themselves. However, his obsession with seeking the elixir of life through Taoism and alchemy led to an attempted murder in 1542 known as the "Palace Women's Uprising", where a palace maid allegedly tried to strangle him in his sleep.
Large jar with scene of immortals presenting birthday wishes.
Taoism — a philosophical and religious tradition that originated in ancient China — emphasizes living in harmony with the Tao, or the natural flow of the universe, which is the source of everything. The belief in simplicity and non-action is central to achieving this harmony. Taoism has a long association with alchemy, as many Taoists sought to prolong life through physical and spiritual practices. The ultimate goal was to attain immortality and become one with the Tao, with the existence of an elixir of life and transmutation of base metals into gold being central to Taoist alchemy.
After the Palace Women’s Uprising, Jiajing Emperor moved the center of political power from the Forbidden City to Xi Yuan or Western Garden. This move reflected the Emperor's Taoist beliefs about the universe, seen in the landscape design and names of the buildings. He also shifted the heart of the administrative office to Xi Yuan to facilitate his practice of alchemy, which led to a shift in the imperial focus from the traditional Confucianism to Taoism.
Gourd-shaped vase with rectangular based painted with figures and dragon motifs in underglaze blue from the Huaihaitang Collection. Image courtesy of Hong Kong Museum of Art
Gourd: Bridging Reality and the Virtual
The exhibition Eternal Enlightenment: The Virtual World of Jiajing Emperor adopts a unique curatorial approach by dividing the display into two main sections: The Empire and The Virtual World. However, it is the humble gourd that may have bridged both worlds for this Taoist emperor.
The Chinese gourd, also known as "hulu," was an iconic symbol of imperial porcelain produced during the Jiajing period. Its unique shape features two bulbous sections that taper at the centre, with a slightly curved neck and a small mouth on top.
According to ancient Chinese beliefs, hulu represented a microcosm in which deities, or shenxian, resided. It was believed to contain elements of heaven and earth, sun and moon, hence its association with yin and yang. Due to its significance in alchemy, hulu has been used as a medicine bottle for storing elixirs since the Song dynasty (960-1279). The word hulu is also a homophone for "fúlù," meaning good fortune and happiness, adding to its cultural significance.
In 1547, Jiajing Emperor commissioned the production of 10,000 underglaze-blue porcelains in the shape of hulu. The exhibition showcases an impressive display of porcelain wares crafted in the unique form of Chinese gourds, varying in shape and size.
Among them, a vase with a curious shape stands out. While most hulu porcelain consists of two double-rounded bodies, this particular vase features a bulbous body atop a rectangular base, a remarkable feat of craftsmanship and ingenuity. Like most hulus that showcase intricate designs and patterns depicting flower blossoms, cranes, and other auspicious symbols, this particular one is depicted with a dragon and figures associated with Taoism.
An array of gourd-shaped porcelain ware from the Jiajing period illustrates the emperor’s pursuit of immortality.
From Earth to Sky, Lingzhi Mushroom to Crane
Jiajing was the second-longest reigning emperor of the Ming Dynasty, ruling for 45 years. It is uncertain whether his devotion to Taoism and pursuit of immortality contributed to his longevity, as these were primarily achieved through building altars and conducting religious ceremonies. Nonetheless, his reign saw the emergence of numerous blue and white porcelain wares adorned with auspicious motifs, such as the lingzhi mushroom, tortoise, crane, and the Eight Immortals, as well as secular patterns like landscapes and flowers.
In traditional Chinese culture, it is commonly held that every picture carries a symbolic significance that can bestow good fortune or auspiciousness. This belief underpins the study of Chinese art history, where each motif and pattern is associated with Chinese cultural traditions and beliefs.
During the Jiajing reign, imperial porcelains featured a profusion of such motifs, varying in intricacy and density, embodying diverse auspicious meanings that also reflected the ruler's fascination with Taoism. Among them were the lingzhi mushroom, a medicinal herb used in cultivating immortality, and the immortal crane, a symbol of longevity.
The design of clouds and cranes was particularly popular during the Jiajing period due to their significance in Taoism and auspicious symbolism. In Taoism, the crane symbolises longevity, as they were believed to live up to 1,000 years. Cranes were seen as the mount of immortals (xianren) who travel between the celestial and earthly realms. When a person becomes an immortal, they will be carried by cranes to the higher realm.
Cranes flying in the sky — a rare phenomenon — can also be an auspicious sign symbolising peace, as well as the emperor's benevolence. Taoists believed that a flock of cranes soaring in the sky symbolises the descent of gods and the attainment of alchemy. This may explain why objects adorned with depictions of a flock of cranes were common during the Jiajing period.
The clouds and crane design was popular during the Jiajing period due to its association with Taoism.
Pair of dishes with clouds and crane design enclosed by the Eight Trigrams.
Unlocking the Secrets of the Cosmo: The Eight Trigrams and the Power of 'Chi’
Jiajing Emperor's devout Taoist beliefs are demonstrated through various Taoism-inspired designs. Among them is the Eight Trigrams, also known as bagua an important element of Taoist philosophy and are often featured on imperial porcelain from this period. They represent the Taoist view of how the universe came into existence and evolved, and are crucial in alchemy. Each of the Eight Trigrams corresponds to a natural phenomenon and is usually represented with a set of three broken or unbroken lines.
Only rarely, the Eight Trigrams are represented in iconography. A flame, a stalk of rice, a tree, constellation, water, mountain, a dram, and a exhaling dragon could correspond to the Eight Trigrams of li (fire), kun (earth), dui (marsh), qian (heaven), kan (Water), gen (mountain), zhen (thunder), and xun (wind), respectively
An incense burner from the Jiajing period features the iconographical representation of the Eight Trigrams.
Scholar Wan Chui Ki notes that during the Jiajing era, the complete set of the Eight Trigrams was first painted on imperial porcelain ware. The Eight Trigrams on Jiajing wares belong to the "later heaven arrangement" (houtian bagua), which alludes to the success of alchemy.
However, the low quantity of surviving porcelain featuring the Eight Trigrams may be attributed to Taoist ritual practices. The "Dao Fa Hui Yuan" from the early Ming Dynasty stipulated that after performing the thunder method for praying for fine weather, used porcelain must be buried in the soil, and after praying for rain, the porcelain must be sunk into the water.
Among the Taoist-inspired designs, what I find the most intriguing is the "intertwined tree" exclusive to the Jiajing period. A stunning example is a charger depicted with a pine tree that has grown into a “fu” character, suggesting “everlasting fortune”. Some scholars believe that this stylised tree is formed by none other than the fundamental flowing force of the world: chi.
In Taoist belief, chi, or breath, is the origin of all things. According to a Taoist scripture, about 14 billion years ago, when the universe had not yet formed, there were no shapes, no forms, no substances, and the first thing that was generated was chi.
The pine tree, in the shape of a "fu" character, is found amidst the "Three Friends of Winter," a trio of pine, bamboo, and plum. Pine trees are evergreen, while bamboo is hollow in the middle for circulation of chi, and plum blossoms are known to persevere through harsh winter conditions. When combined, they symbolise steadfastness, perseverance, and resilience respectively, and eventually became the ideal characteristics of a scholar-gentleman.
Charger with Three Friends of Winter and fu character design produced during the Jiajing period. Image courtesy of Hong Kong Museum of Art.
While many scholars interpret the stylised tree on Jiajing porcelain as influenced by chi, there is a differing view held by Chen Yu-Hsiu. According to Chen, the planting and shaping of the characters "fu" and "shou" into bonsai trees was a feature of folk bonsai during the Jiajing period, and it was known as the "Ten Thousand Years Vine". Depicting such patterns on porcelain was an innovation during the Jiajing period.
In addition to "fu", the character "shou" or longevity is commonly found on imperial porcelain from Jiajing's reign. A round covered box on display depicts a peach tree, with peaches growing from its branches shaped into a coiled "shou" character. This is fitting as the peach is a symbol of longevity in Chinese culture, and in Chinese mythology, the consumption of the Peach of Immortality is believed to bring about long life. At the base of the tree, other symbols of longevity can be found, such as the lingzhi mushroom. By featuring the "shou" character in the middle, the desire for longevity is further accentuated. A similar similar, which also has the "shou" character incorporated into the peach tree, can be found on the roundel of another jar in underglaze blue.
Covered box with shou character in the form of a peach tree.
In addition to the "Ten Thousand Years Vine" pattern formed by trees and flowers, Jiajing porcelain also features auspicious phrases directly written in regular script. Examples of such phrases include "Guo Tai Min An" ("National Peace and Prosperity") and "Yong Bao Chang Chun" ("Eternal Life"). These phrases reflect a unique characteristic of Jiajing porcelain: whatever good luck one desires, it can be written.
From the Emperor’s Paradise to Creating our Own World
The exhibition Eternal Enlightenment: the Virtual World of Jiajing Emperor offers a rich display of the artistic repertoire developed during the reign of Jiajing Emperor.
While the exhibition showcases 240 porcelains on loan from the private collector, the Huaihaitang Collection, the limited focus on one type of medium (with only a few bronze wares in cloisonné enamel) does not provide a comprehensive view of how the Emperor's Taoist beliefs impacted the material culture of the Jiajing period. Despite some limitations in the exhibition's scope, Eternal Enlightenment expands our views on the richness of Jiajing Emperor's artistic legacy.
In addition, the exhibition offers visitors the opportunity to immerse themselves in the virtual realm pursued by the Ming-dynasty emperor, demonstrating that virtual worlds are not exclusive to the 21st century. The exhibition brochure enhances this experience by presenting a selection of pop-up porcelain wares in three-dimensional form, as if allowing visitors to keep these imperial wares in their possession. By exploring Jiajing Emperor's paradise on earth through the exhibition and brochure, we can be inspired to create our own world with the things we love, just as the emperor did.
The exhibition Eternal Enlightenment: the Virtual World of Jiajing Emperor is on view at the Hong Kong Museum of Art, and runs through June 14, 2023.
Another exhibition titled The Search for Decorative Patterns: A Taoist Emperor’s Influence on Porcelain Production is currently on view at the National Palace Museum in Chiayi, Taiwan, and it also explores Jiajing Emperor's impact on imperial porcelain.