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The peach, gourd, and scroll are symbols of longevity." [2] His most striking characteristic is, however, his large and high forehead, which earned him the title "Longevity Star Old-pate". [2] The Chinese character shòu (壽) is usually found on textiles, furniture, ceramics and jewelry. The ideograph may appear alone or be surrounded by ...
This style of picture is related to the story of an emperor of the Northern Song dynasty, who had invited such an old man from the street and later considered the old man as the sign of his longevity. [citation needed] In Chinese, the star Canopus is usually called the Star of the Old Man (Chinese: 老人星) or the Star of the Old Man of the ...
The star of Lu (祿), or Luxing (Chinese: 祿星; pinyin: lùxīng), corresponds to Mizar (ζ Ursae Majoris), or in traditional Chinese astronomy, the sixth star in the Wenchang constellation (文昌六). Like the star of Fortune, it also came to be personified, and is believed to be Zhang Xian who lived during the Later Shu dynasty.
Images Bats Bat (fu) Homophone for good fortune and symbol for longevity and happiness. [3] Bats flying amongst clouds Bats with Chinese character "wan"(Swastika) "Ten thousand-fold wishes for good fortune and happiness.” [3] Five bats (wufu) Wishes for the Five Blessings. [3] Red bats (hongfu) Wide spread of good fortune [3] Deer Lü [4 ...
The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases. They were also common in sculptures owned by the nobility. Many silk paintings, wall murals, and wood block prints remain of the Eight Immortals.
Fukurokuju probably originated from an old Chinese tale about a mythical Chinese Taoist hermit sage renowned for performing miracles in the Northern Song period (960–1127). In China, this hermit (also known as Jurōjin) was thought to embody the celestial powers of the south polar star. Fukurokuju was not always included in the earliest ...
麻姑献寿 "Magu Presents Longevity", late 19th-century mural in the Summer Palace's Long Corridor. Scholar Robert Campany provides details of Magu mythology in his annotated translation of Ge Hong's Traditions of Divine Transcendents (Shenxian zhuan (神仙傳), ca. 317 CE) and compares four Chinese textual variations of Magu stories. [10]
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