The Chinese people carved out a lasting cultural tradition and artistic character at an early date in history. Ancient Europeans called the country the "land of silk". Porcelain ware was given the name "china" after the land from which it originated. Aside from silks and porcelains, an unlimited variety of creative forms rich in meaning evoke a feeling of China's artistic tradition.

Sinorama has chosen a few of these creative forms which represent the special character of Chinese life and art. In this and following issues, they will be presented along with insightful commentary by Chuang Po-he on the role which they play in Chinese culture.

Chuang Po-he graduated from National Taiwan Normal University in fine arts, and went on to do research at Kyoto University in Japan. He currently teaches at Fu Jen Catholic University, and often writes art commentaries for local publications.

The forms chosen as subject matter for this series are not limited to major works of art. They may be common daily utensils, or small decorations. But all represent a facet of Chinese life and tradition, serving as a reminder of deep-rooted feelings and attitudes, and alluding to a forgotten time in history. (Editor)

This month we have chosen the form of the three-legged golden moon toad. Many readers may think it strange that such an animal would be chosen as a representative form in Chinese art. Yet among the numerous mythical animals which have sprung from the Chinese imagination, the moon toad is particularly popular.

The invention of mythical animals with metaphysical powers is common to most cultures. The French have organized these creatures into three separate categories. The first group consists of animals such as the unicorn or two-headed gorgon which have an extra limb, head or projectile. The second group has a missing limb or body part. In the third, the animal's body is rearranged, with limbs in the wrong place. Creatures which are a mix of different animals or part animal, part man such as the centaur or mermaid would also fall into this category.

The moon toad first appeared in the literature and art of the Han dynasty. The Huai Nan-tzu describes a creature called chun-wu which inhabits the sun, and the moon toad which inhabits the moon. These animals are also illustrated in silk paintings of the Western Han.

A number of myths and beliefs about the moon toad subsequently evolved. It is written that the legendary fairy Ch'ang 0 flew up to the moon on the toad's back, and that the spirit of this metaphysical creature gives the moon its soft glow. A lunar eclipse was explained as the result of the moon toad swallowing the moon. During an eclipse, the ancients would set off firecrackers to upset the toad and cause the creature to spit the moon back up.

While a common toad has four legs, the moon toad has only three, placing it in the second category of those described above. The chun-wu, the metaphysical equivalent of a raven, believed to inhabit the sun, also came to have three legs after the Han dynasty. Because this bird-like creature gained a leg in the course of history, it would fall into category one.

At the mention of the toad, many people recall the story of Liu Hai, a student whose master was known for his miserliness and love of money. The master was eventually demoted and thrown into a well, and suddenly transformed into a three-footed toad. Seeking to help his master, Liu Hai tied a gold ingot to the end of a rope and lured the hopping toad out of the well. The toad has since become a symbol of wealth.

The moon toad shown in the photograph is carved out of wood, and was originally placed in a temple. With only three legs, the fins of a fish, and flame pattern covering its body, it is far from the ordinary toad. Yet small and self-contained, it is unintimidating and innocent as it stares out at its viewers.

(Jill Ardourel)