Animal Motifs In Ancient Chinese Visual Culture

Haiyao Tian

Animals, either domesticated, wild, or mythical, were one of the most significant decorative

elements of ancient Chinese artworks. The representation of animals took many forms, including

but not limited to, painting, clay sculptures, bronze objects, carved stone, and pottery. Apart from

shape and material, animals were also depicted in drastically different styles, with some of them

being naturalistic while the others being highly stylized. However, despite their differences in

terms of style, period, and material, they all convey sophisticated massages and reflect certain

aspects of Chinese culture, such as philosophical ideas, religious beliefs, people’s interactions

with nature, and aesthetic preferences. I shall endeavor to explore the representation of animal

motifs in ancient Chinese art based on a close investigation of five works selected from periods

spanning from Late Neolithic cultures to the Northern and Southern Dynasties. The first goal of

this essay is to briefly illustrate the main characteristics of each piece of artwork and how they fit

in a broader historical and cultural context. The second is an analysis of their symbolistic

significance based on comparison and contrast.

The first piece I would like to discuss is a grey pottery tripod in the shape of an owl escalated in

Huaxian county, Shaanxi province, in 1975. This pottery vessel belongs to the Yangshao culture
(5000-3000 BCE), one of the significant Neolithic cultures flourished along the Yellow River.

The Yangshao culture is known for the production of white, red, and black painted pottery,

among which this vessel is an outstanding example. As a six-thousand-year-old artifact, it is a

masterpiece. The tripod is in the shape of a standing owl with three legs, two in the form of owl

talons, while the third one showing a more straightforward design. The torso was hollowed out to

form a bowl. The third leg added in the back provides additional support. The function and the

context of this ware are not clear. According to its shape, it might be a food or liquid container

used in either secular or ritual contexts. What is most outstanding, however, is not its practical

aspect, but the artisan’s vivid depiction of the owl. The owl has a curved beak with sharp edges

and a pair of eyes that are very large in comparison to the size of the bird’s head. Among the

three legs that support the vessel, the two in the front are carefully designed to mimic the real

owl legs, with one of them even showing a sharp talon with three toes. All these well-observed

characteristics reveal the subject’s nature as a powerful predator, in this case, an owl, instead of

just representing a generic bird-like figure. The great effort invested in specifying species made it

logical to ask why ancient people considered a wild bird so significant. Probably as a type of

nocturnal animal, the owl can be related to a mysterious power. Also, considering the

sophisticated design of this work, its owner was highly possible from the elite class. Therefore,

the owl might also be an animal that symbolizes power and status in ancient times.

Now I would like to shift my attention to an exquisite bronze altar table dates back to the Eastern

Zhou period. This piece was found in a cemetery site in southern China, where Dian culture

flourished. Without much connection with the central states, the Dian people developed a unique
culture with distinctive characteristics that can be observed in this altar table. This piece was

elegantly crafted, with both sides of the table stretched out to form a spiral-horned ox and a tiger

fiercely attacking it, respectively. Also, the belly of the ox was hollowed out to fit in a calf

protected away from the predator. The artisans made all the three animals in a very realistic style,

expressing the tension between the tiger and the ox with well-observed details. In ancient China,

the ox was important livestock, while the tiger was considered as the chief of all predators. By

focusing on the conflict between two species so symbolic, the artisan might want to convey

messages beyond the animal world; for example, it could be viewed as Dian people's awareness

and response to external threats, either nature or human-induced.

The third work I would like to discuss is a bronze rhino-shaped vessel dating to the Western Han

Dynasty, 2nd century BCE. This is a large vessel designed for holding and pouring the liquid.

The vessel resembles a rhinoceros impressively well, even showing details such as thick folds of

skin. On its back, there is a saddle, which functions as the vessel’s lid. Decoration of this work is

also noteworthy: the whole body of the rhinoceros is covered with gold-inlay cloud patterns. All

these characteristics suggest the rareness and value of this vessel, and also the power and wealth

of its owner.

Now, I shall turn to mythical animals by firstly discussing a sculpture of Tianlu, which functions

as a guardian animal at the Tomb of Emperor Wu. Tianlu is a mythical winged creature with a

lion-like body, a dragon-like head, and a horn. As a hybrid of all these powerful animals, Tianlu

is considered as a creature of incredible strength. Also, with its name meaning “Bringers of
Heavenly Blessings,” Tianlu also represents auspiciousness and fortune. The sculpture of this

creature usually appears in pair with Qilin, another mythical creature with two horns, at the

entrance of ancient imperial tombs, both functioning as guardian animals. It not only symbolizes

the great power of royal families but partly reveals Chinese traditional beliefs on death and the

afterlife, such that mythical auspicious creatures could protect one’s soul from evil spirits.

The last work with an animal motif I would address is a Northern Qi wall painting of a heavenly

ox, one of the animals of Chinese twelve zodiac. This painting belongs to an imperial tomb that

contains more than 240 square yards of painting. The ox was drawn in a vivid but

straightforward sketch, with concise lines and smooth brush strokes. With the presence of clouds

and the ox looking up, the viewers can distinguish the heavenly animal with a regular ox. In

other words, the ox depicted in this painting belongs to the world of souls. The presence of such

a domesticated animal may indicate that the traditional image of Heaven resembles the real

world in some way.

To look at these five artworks consisting of animal motifs together, we can see both differences

and similarities, and also the gradual development of animal motifs in ancient Chinese visual

culture.

Firstly, animals depicted in these works carry significant historical and cultural messages and

meanings. For example, both the altar table and the wall painting illustrate ox, which is one of

the most important livestock for a civilization based on agriculture. By relating the image of ox
with admirable qualities such as reliability and affluence, the artisans display the significance of

this animal in Chinese daily life. Also, since the two pieces are found in drastically different

places, one in the south and the other in the west, we can also see despite cultural and time

differences, the ox has always been a crucial animal for Chinese people. As for the two wild

animals, the owl and the rhinoceros, they appeared as decorative elements in high-value wares.

The superior material selection and delicate handcraft both indicate that these objects must

belong to people of high status and great wealth. The elite class’s preference for such animals

proves their significance as symbolizations of either power, wealth, or fortune.

Secondly, it seems like the primary purpose of these items, especially the former three, was not

practicability, but decoration and symbolization, even though designed as daily utensils. For

example, the owl tripod, though being a vessel, has no handle, which makes it difficult to carry.

The rhinoceros vessel also seems heavy and challenging to hold. Since these vessels belonged to

elite people, it is reasonable to suggest that they were objects that aimed to display power and

wealth. As for the altar table, there was also tremendous effort invested in the work for

decorations that had nothing to do with its function, which suggests the symbolistic meanings

also being super important.

Lastly, lots of these works consider the deceased, either buried in imperial tombs or related to the

afterlife. The Tianlu sculpture was built to guard a tomb, while the heavenly ox also appeared in

a tomb painting. Even two of the three objects with practical functions were found in or near

cemetery sites. The practice of burying luxurious daily objects with the deceased or even
producing artifacts for the direct purpose of serving the dead shows how seriously the ancient

Chinese people treat the afterlife, which also reveals their belief in the immortality of the soul

and the presence of a parallel world for the deceased.

To conclude, animal figures are prevalent in ancient Chinese visual culture. Ancient artisans

drew inspiration from a wide range of resources, not only real-life but legends and myths. These

real or mythical animals convey important cultural and historical messages about the ancient

world and carry meanings far beyond aesthetic fineness. By investigating and decoding these

motifs, we can get a better understanding of the value and worldview of the people made and

used them.
Reference

Thorp, Robert L., and Richard Vinograd. Chinese Art & Culture. Pearson/Prentice Hall,

2006.