On the Differences between Han Rhapsodies and Han Paintings in Their Portrayal of the Queen Mother of the West and Their Religious Significance
This paper argues that there exist two Queen Mothers of the West (Xiwangmu) in the Han era (206 BC-AD 220): one worshipped as a goddess of longevity and immortality by people from the upper class; the other worshipped by the ordinary people as a seemingly omnipotent deity with divine power over both...
| Authors: | ; |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2022
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| In: |
Religions
Year: 2022, Volume: 13, Issue: 4 |
| Further subjects: | B
Hantomb stone reliefs
B Han paintings B the Queen Mother of the West (Xiwangmu) B the Wuliang Shrine B Han rhapsody (fu) |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | This paper argues that there exist two Queen Mothers of the West (Xiwangmu) in the Han era (206 BC-AD 220): one worshipped as a goddess of longevity and immortality by people from the upper class; the other worshipped by the ordinary people as a seemingly omnipotent deity with divine power over both the immortal world and the mortal world. This argument is based on a thorough comparative investigation of the surviving corpus of Han rhapsodies (fu) and Han paintings, the two major genres of art that give form to her cult in the Han period. |
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| ISSN: | 2077-1444 |
| Contains: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel13040327 |