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“Apotheosis of Xu Zhenjun” (detail). Ming Dynasty. © Musée Guimet, Paris, dist. RMN/Thierry Ollivier |
Taoism may have started out as a kind of cool philosophy that celebrated harmony with nature, but as is amply illustrated by the exhibition “La Voie du Tao: Un Autre …
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“Apotheosis of Xu Zhenjun” (detail). Ming Dynasty. |
Taoism may have started out as a kind of cool philosophy that celebrated harmony with nature, but as is amply illustrated by the exhibition “La Voie du Tao: Un Autre Chemin de l’Etre” at the Grand Palais, over the centuries it evolved and multiplied into many branches, with some of them succumbing to what seems to be a human taste for hierarchy and elaborate ritual in religion.
Taoism’s founding texts were written between the fourth and third century B.C.E. and have been constantly embroidered upon ever since, with commentators adding layer after layer of interpretation to the philosophy, while the practice of the religion became codified by varying branches and intertwined with folk traditions, superstitions and other religious practices.
Rather than documenting the complex chronological development of the religion over the centuries, the exhibition provides portraits of certain aspects of it – theories of the origins of the universe, the ever-growing pantheon of deities and rituals, and the quest for long life – through a wealth of texts, paintings, sculpture, ceramics, stone rubbings, objects, films and music.
Visitors need not be scholars of Taoism, however, to enjoy the many treasures in this show. The concept of yin and yang, for example, is represented by two marvelous Han Dynasty (206 B.C.E.-220 C.E.) molded terracotta tiles depicting the tiger of the West (yin) and the dragon of the East (yang), presented alongside rubbings of them, providing a good example of how these rubbings of relief sculptures on paper create a lively new work of art in themselves while also serving as a form of reproduction and preservation of the original.
The show is rich in fine Ming Dynasty (1368-1644) paintings. One of my favorites for its simplicity and economy of line is a depiction of Laozi, the purported founder of Taoism, riding his water buffalo, by Zhang Lu (c. 1490-c. 1563).
Another Ming Dynasty masterpiece, of a very different type, is a gorgeous painting on silk by Qiu Ying (1494-1552) depicting the immortals hanging out together at a fishing festival in the orchard of the rather unattractive goddess Xiwangmu (the mistress of epidemics, who is said to excel at whistling and be endowed with a tiger’s teeth and a leopard’s tail). Close study of this painting reveals some of the immortals, dwarfed by the mountains around them, riding fish through the waves, walking on water and otherwise enjoying their holiday.
The immortals play a starring role in the exhibition. The wall text points out that the idea that mountains were the sacred home of the immortals gave rise to much poetic literature and the Chinese tradition of mountain-dominated landscape painting.
A section of the show on the quest for long life most amusingly includes a diagram for what could be a modern-day exercise program, dating from 168 B.C.E., that includes sit-ups, lunges and stretches, as well as what may be the first low-carb diet ever promulgated, which recommends that dieters “abstain from cereals.”
One complaint about the presentation of this otherwise excellent show: a number of works, including a wonderful group of animal-headed statuettes, are placed in such a way that visitors cannot get a close-up look at them. This is especially frustrating since so many of these detailed works require long, careful study. An example is the fascinating series of seven Ming Dynasty paintings showing different levels of hell – not so different from the Christian hell as depicted by Hieronymous Bosch – with monstrous creatures torturing sinners in a wide variety of creative ways, ranging from eternal fire to rough dentistry.
Galeries Nationales du Grand Palais: 3, avenue du Général Eisenhower, 75008 Paris. Métro: Champs-Elysées Clemenceau. Tel.: 01 44 13 17 17. Open Wednesday, 10am-10pm; Thursday-Monday, 10am-8pm. Admission: €11. Through July 5, 2010. www.rmn.fr
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