This July the Taipei Fine Arts Museum held its first exhibition of carved god statues. Large and small, the exhibited works represent the traditional T'angshan Master school as well as newer styles. Some of the silent figures stand gracefully poised in a meditative stance, while others have a frightful, herculean appearance. From the expressions seen in their faces one becomes immediately aware of the reverence with which they were carved.
Such statues are said to embody the spirits of Taiwan's commonly worshiped gods. As objects of religious devotion, each has its own particular strength in helping the believer. For example, the Earth God is associated with agricultural and financial success. Matsu is the guardian of seafarers. Chu-sheng Niang-niang watches over women in childbirth and helps them raise their children. Kuei Hsin-ye is worshiped by students who ask for his help during examinations.
The gods have various ranks, or levels of status. At the top is the Great Yu Emperor. The Ch'eng Huang Yeh, lower in status, look after the people of the city.
Some of these gods were formerly major historical figures-saintly men and women who were later canonized. Others are deified forces of nature or local worthies. Each god has an associated myth which explains why it is worshiped.
Each deity also has its own iconographic form, derived from legend. The face of the kind-hearted Matsu is round and benevolent. The Earth God is portrayed as a kindly old man with long ears and beard, plump face, half-closed eyes and round, flat-topped hat.
God statuettes were originally brought by Buddhists from India to China around 76 B.C. during the Eastern Han dynasty. By the Northern and Southern dynasties period, countless numbers of figurines graced the cave walls of such pilgrimage centers as Tunhuang, Lungmen and Yunkang.
Statues of deities were brought to Taiwan about 300 years ago by early settlers from Fukien and Kwangtung. Upon arrival they built temporary temples to house their statues. As the settlers' lives gradually became stable and prosperous, more permanent temples were built.
At that time no one on Taiwan had the skills required to carve the sacred figures. Craftsmen from the mainland were called upon to come to Taiwan to carve the god statues as well as teach a younger generation of apprentices.
These early craftsmen from the mainland were called the T'angshan Masters. Shih-li, a famous student of one of these masters, is now 80 years old. Shih-li recalls how as a child he often played in the temple yard where an elderly master worked. He was fascinated upon seeing a once square, formless block of wood transformed into an enchanting figure, and eager to learn the craft himself. When the older master asked Shih-li to be an apprentice he began immediately, and continued to carve god statues for the next 60 years.
The most difficult part of carving a statue is to portray the character and spirit of each individual deity. Such a skill requires disciplined training. Shih-li himself studied for five years before he was allowed to independently carve his first wooden block.
Carving a god statue is itself a slow, careful process. The first step is to choose the wood. Sandalwood is the most highly treasured of woods because of its fine grain and fragrance. But this expensive wood is hard and brittle, and particularly vulnerable to decay in humid climates. Therefore, camphor and pine are the most commonly used woods.
The wooden block is always carved from the bottom, working upward. For reasons of reverence to the god, the head should never be tipped downward while carving.
The block is first carved into a general rough image, after which finer knives are used to carve the details. When carving is complete, the surface is sanded for a smooth appearance. Sizing is then applied to protect the wood, followed by a layer of paper and thin yellow clay. Finally, the statue is rubbed smooth again with sand paper.
The most difficult part of the carving process is working the face, and portraying the special characteristics of each god. Matsu's eyes must slant at a 15° angle and look down attentively to a lower level where her worshipers will stand. The Earth God must have round, friendly eyes and a large nose. The fierce Chiang-kuan should have thick eyebrows, protruding eyes, large flaming nostrils and a frowning mouth.
The next process is the addition of color. Gold relief filigree is applied using one of two methods. The more permanent method is to roll out claylike coils from a mixture of tung oil and gold pigment, and then apply them to the figure. A less durable but more convenient method is to squeeze a mixture of slaked lime and pigment from a tube directly onto the statue. After this, gold gilding and other colors are painted onto the remaining surfaces.
In order to be qualified to house a deity, an idol must contain representations of the five basic elements: wood, earth, metal, fire and water. The idol itself is made of wood, and covered with a thin film of clay, or earth. The gold, red and blue pigments symbolize metal, fire and water.
Various Taoist rites and practices surround the god statues. Before the wooden block is cut an auspicious day is selected, on which incense is burned and offerings of fruit given, accompanied by the chanting of an incantation asking the spirit of the god to enter the wood. With a tap on the top of the block, and two on the back, the spirit enters and the carving may begin.
When the statue is completed, a small hole is cut into the back, into which is placed various symbolic samples of metal, incense, seeds or money. Today, the Five Kernels and incense are most commonly used. The Five Kernels include rice, red and green lentils, sesame and vegetable seeds. Such symbols are believed to insure peace and plentiful harvests. They are placed into the statue on an auspicious day, accompanied by the reading of incantations.
The most significant of rites surrounding god statues is the Dedication and Dotting Ceremony, where the god itself is called into the completed and hitherto uninhabited statue. Accompanied by the chanting of spells, the altar table is arranged with ceremonial swords, flowers, a writing brush and offerings of fruit, salt, beans and candy. The words of an incantation are burned and dissolved in water. A mirror is erected on the table, behind which are placed incantations written on red paper. A white rooster is placed below the table.
After these initial preparations, the water with the dissolved incantation is then sprinkled on the altar table objects for purification. The mirror is moved into the sun to reflect the suns rays into the eyes of the image, symbolizing the god's entrance. Next, a Taoist priest begins to read an incantation. As the words of the incantation state various parts of the statue, the priest, using the writing brush, dots that part of the idol with a red mixture. When the dotting is completed, strings of firecrackers are lit and the statue is placed in a small sedan chair to await the entrance of the god.
Appealing to the gods for financial success, protection during childbirth, or even help in examinations are still popular practices on Taiwan. Because of the skill with which they are carved, god statuettes are at the same time purchased and collected for the sheer enjoyment of their beauty. While the statue images may eventually lose their value as objects of worship, their artistic value will prevent them from growing obselete.
However, as fewer young artisans are willing to invest the time and discipline required to carve god statues, older masters fear that their techniques will be eventually lost. Many young artisans have put aside the traditional craft to follow the path of the modern artist. As the number of good carvers declines, the process of carving has been simplified, to be eventually replaced by the techniques of modern mass production. But the work of those who have chosen to carry on the tradition must not be viewed lightly. For it is these works which in the future are likely to grace museums and the homes of connoisseurs.
[Picture Caption]
1. The elderly master, Li Sung-lin concentrates on carving the Goddess of Mercy. 2. The Chuan-chow school's method of color application involves using the left hand to guide the coil of pigment, and the right hand to use a small tool to press it onto the projecting creases of the statue's imperial robe and armor. 3. A master craftsman delicately paints the face of a Matsu statuette.
1. The face of this Matsu statue, housed in Lukang's T'ienhou Palace, has turned black from incense smoke. 2. This Lotus Kuanyin took second place in the Taipei Fine Arts Museum's exhibition of god statues. 3. The Chianglung Lohan, first place winner in the exhibition, is carved from a single block of wood. Its unusual shape represents a breakthrough in tradition.
1. This statue of Chu-sheng Niang-niang graces a temple in Tahsi. Its exquisite, reflective countenance is expressed in particularly fine quality carving. 2. This Kuanyin statue in the Lungshan Temple at Tamsui has a 162 year history. 3. The fierce Ch'ien Li Yan is one of Matsu's protectors.
1. The sculptor Chu-ming used a rugged, powerful cutting technique to create this statue of Kuan Yu, god of war. 2.3. Statues by the 82 year old master sculptor, Shih-li; 2. The god Hsun Wu K'ung. 3. Wang-yeh with his two guards.
2. The Chuan-chow school's method of color application involves using the left hand to guide the coil of pigment, and the right hand to use a small tool to press it onto the projecting creases of the statue's imperial robe and armor.
3. A master craftsman delicately paints the face of a Matsu statuette.
1. The face of this Matsu statue, housed in Lukang's T'ienhou Palace, has turned black from incense smoke.
2. This Lotus Kuanyin took second place in the Taipei Fine Arts Museum's exhibition of god statues.
3. The Chianglung Lohan, first place winner in the exhibition, is carved from a single block of wood. Its unusual shape represents a breakthrough in tradition.
1. This statue of Chu-sheng Niang-niang graces a temple in Tahsi. Its exquisite, reflective countenance is expressed in particularly fine quality carving.
2. This Kuanyin statue in the Lungshan Temple at Tamsui has a 162 year history.
3. The fierce Ch'ien Li Yan is one of Matsu's protectors.
1. The sculptor Chu-ming used a rugged, powerful cutting technique to create this statue of Kuan Yu, god of wa.
r. 2.3. Statues by the 82 year old master sculptor, Shih-li; 2. The god Hsun Wu K'ung.
3. Wang-yeh with his two guards.
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