Fenghuang

From Wikipedia, the free encyclopedia
(Redirected from Ho-ō)
Jump to navigation Jump to search

Template:Short description Script error: No such module "other uses". Script error: No such module "redirect hatnote". Template:Italic title Template:Infobox mythical creature Script error: No such module "infobox".

Fenghuang (Template:Respell) are mythological birds featuring in traditions throughout the Sinosphere. Fenghuang are understood to reign over all other birds: males and females were originally termed feng and huang respectively, but a gender distinction is typically no longer made, and fenghuang are generally considered a feminine entity to be paired with the traditionally masculine Chinese dragon.

Fenghuang are known under similar names in various other languages (Japanese: Script error: No such module "Lang".; Template:Langx or Script error: No such module "Lang".; Korean: Script error: No such module "Lang".). In the West, they are commonly called Chinese phoenixes, although mythological similarities with the Western/Persian phoenix are superficial.[1]

Appearance

File:Twelve Symbols national emblem of China.svg
Image of the fenghuang opposite the dragon on the Twelve Symbols national emblem, which was the state emblem of China from 1913 to 1928

A common depiction of fenghuang was of it attacking snakes with its talons and its wings spread. According to the Erya's chapter 17 Shiniao, fenghuang is made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.[2] Today, however, it is often described as a composite of many birds including the head of a golden pheasant, the body of a mandarin duck, the tail of a peacock, the legs of a crane, the mouth of a parrot, and the wings of a swallow.Script error: No such module "Unsubst".

The fenghuang's body symbolizes the celestial bodies: the head is the sky, the eyes are the sun, the back is the moon, the wings are the wind, the feet are the earth, and the tail is the planets.[3] The fenghuang is said to have originated in the sun.[3] Its body contains the five fundamental colors: black, white, red, yellow, and green.[3] It sometimes carries scrolls or a box with sacred books.[3] It is sometimes depicted with a fireball.[3] It is believed that the bird only appears in areas or places that are blessed with utmost peace and prosperity or happiness.

Chinese tradition cites it as living atop Mount Danzuan in the southern mountains.[4]

Origin

File:Shang Jade Phoenix, Fu Hao Tomb, c. 1200 BC.jpg
Jade phoenix, unearthed from the tomb of Fu Hao, c. 1200 BC, Shang dynasty.

The earliest known ancient phoenix design dates back to about 7000–8000 years ago and was discovered in Hongjiang, Hunan Province, at the Gaomiao Archeological Site.[5] The earliest known form of dragon-phoenix design, on the other hand, dates back to the Yangshao culture (Template:CircaTemplate:NbspBC) and was found at an archeological site near Xi'an in Shaanxi Province.[5] This ancient usage of phoenix and dragon designs are all evidence of an ancient form of totemism in China.[5]

During the Shang dynasty, phoenix and dragon images appear to have become popular as burial objects.[5] Several archeological artifacts of jade phoenix and jade dragons were unearthed in tombs dating from the Shang dynasty period.[5]

File:Silk Painting of a Lady, Phoenix and Dragon.jpg
A phoenix (top) and dragon (left), Silk Painting of a Human Figure with Phoenix and Dragon, Silk painting unearthed from a Chu tomb.

During the Spring and Autumn period (c.Template:Nbsp771Template:Sndc.Template:Nbsp476Template:NbspBC) and the Warring States period, common form of unearthed artifacts is the combination of dragon-phoenix designs together.[5] One such artifact is the Silk Painting of Human Figure with Dragon and Phoenix, pictured left.[5][6]

In the Qin dynasty (221–206 BC), phoenix hairpins (i.e. hairpins with fenghuang decorations) and shoes which were also decorated with phoenix designs were supposed to be worn by the Imperial concubines of the Qin Emperor.[5]

During the Han dynasty (2,200 years ago) two phoenixes, one a male (feng, Script error: No such module "Lang".) and the other a female (huang, Script error: No such module "Lang".) were often shown together facing one other.Script error: No such module "Unsubst". In the Han dynasty, an imperial edict decreed that the phoenix hairpins had to become the formal headpiece for the empress dowager and the imperial grandmother.[7]

File:吹笙引凤画像砖114639.jpg
Man playing sheng to a phoenix, Template:Ill, Liu Song dynasty.

Later, during the Yuan dynasty the two terms were merged to become fenghuang, but the "King of Birds" came to symbolize the empress when paired with a dragon representing the emperor.

File:Verseuse phénix Musée Guimet 2418.jpg
A vase with a phoenix-headed spout, gray sandstone with celadon coating, Song Dynasty, last half of 10th century.

From the Jiajing era (1522–1566) of the Ming dynasty onwards, a pair of phoenixes was differentiated by the tail feathers of the two birds, typically together forming a closed circle patternTemplate:Sndthe male identified by five long serrated tail feathers or "filaments" (five being an odd, masculine, or yang number) and the female by what sometimes appears to be one but is in fact usually two curling or tendrilled tail feathers (two being an even, feminine, or yin number). Also during this period, the fenghuang was used as a symbol representing the direction south. This was portrayed through a male and female facing each other. Their feathers were of the five fundamental colors: black, white, red, green, and yellow. These colours are said to represent Confucius' five virtues:

  1. Ren: the virtue of benevolence, charity, and humanity;
  2. Yi: honesty and uprightness; Yì may be broken down into zhōng, doing one's best, conscientiousness, loyalty and shù: the virtue of reciprocity, altruism, consideration for others
  3. Zhi: knowledge
  4. Xin: faithfulness and integrity;
  5. Li: correct behavior, propriety, good manners, politeness, ceremony, worship.[8]

The phoenix represented power sent from the heavens to the Empress. If a phoenix was used to decorate a house it symbolized that loyalty and honesty were in the people that lived there. Or alternatively, a phoenix only stays when the ruler is without darkness and corruption (Script error: No such module "Lang".).

Etymology

Linguist Wang Li relates element Template:Old Chinese to Template:Old Chinese "peng, fabulous great bird";[9] Script error: No such module "Lang". is also related to Template:Old Chinese "wind".[10]

Historical linguist Marc Miyake reconstructs Template:Old Chinese, which he proposes, though with uncertainty, to be the affixed form of Template:Old Chinese "wind sovereign".[11]

Symbolism

File:Basin with dragon and phoenix design, Jingdezhen ware, China, Ming dynasty, Wanli era, 1573-1620 AD, ceramic, overglaze enamel - Tokyo National Museum - Tokyo, Japan - DSC08359.jpg
Basin with dragon and phoenix design, Jingdezhen ware, China, Ming dynasty, Wanli era, 1573-1620 AD. Tokyo National Museum

The fenghuang has positive connotations. It is a symbol of virtue and grace. The fenghuang also symbolizes the union of yin and yang.Script error: No such module "Unsubst". The first chapter of the Classic of Mountains and Seas , the "Nanshang-jing", states that each part of fenghuang's body symbolizes a word. The head represents virtue (Script error: No such module "Lang".), the wing represents duty (Script error: No such module "Lang".), the back represents propriety (Script error: No such module "Lang".), the abdomen represents credibility (Script error: No such module "Lang".) and the chest represents mercy (Script error: No such module "Lang".).[12]

The fenghuang originally consisted of a separate male feng and a female huang as symbols of yin and yang.[5][13] The male feng represented the yang aspect while the huang represented the yin aspect; and together, the feng and huang image was symbolic of love between husband and wife.[13] However, since the Qin dynasty, the fenghuang progressively went through a feminization process as the dragon became a symbol of masculinity.[5] Eventually, the feng and the huang merged into a single female entity.[13]

In ancient and modern Chinese culture, fenghuang can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon-and-phoenix design symbolic of blissful relations between husband and wife, another common yang and yin metaphor. In some traditions, it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era.[14] In China and Japan, it was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience, and fidelity".[14]

Modern usage

The phoenix is still used in modern Japan and Korea in relation to the head of state:

  • Japan: The Hōō (Script error: No such module "Lang"., Script error: No such module "IPA"., the Japanese pronunciation of Script error: No such module "Lang".) is associated with the Japanese Imperial family. The seemingly vast difference between hōō and fenghuang is due to Chinese vowels with ng usually being converted to ō in go-on reading. Examples include:
    • The actual Imperial throne Script error: No such module "Nihongo". is adorned by numerous Hōōs.
    • The Imperial regalia Kōrozen no Gohō (Script error: No such module "Lang".) is decorated by numerous textile patterns including a pair of Hōō.
    • Various Japanese stamps and currency, such as the back of the current series E (2004) ¥10,000 note.
    • Toyota's flagship vehicle favored by the Japanese Imperial family and high Japanese government officials, the Toyota Century, uses the Hōō as an identifying emblem.[15]
  • Korea: two bonghwang (Script error: No such module "Lang"., Korean pronunciation of Script error: No such module "Lang".) are used in the symbol of the Korean President. They are also appeared on the national seal. Historically the bonghwang was used for queens and empresses.Script error: No such module "Unsubst".

Other uses include:


See also

References

Template:Reflist

External links

Template:Wikisource/outer coreScript error: No such module "Check for unknown parameters".

Template:Chinese mythology

  1. ↑ Script error: No such module "citation/CS1".
  2. ↑ Template:Lang-zh
  3. ↑ a b c d e Script error: No such module "citation/CS1".
  4. ↑ Script error: No such module "citation/CS1".
  5. ↑ a b c d e f g h i j Script error: No such module "citation/CS1".
  6. ↑ Script error: No such module "citation/CS1".
  7. ↑ Script error: No such module "Citation/CS1".
  8. ↑ Script error: No such module "citation/CS1".
  9. ↑ Wang, Li (王力) (1982). Script error: No such module "Lang". (Dictionary of Word Families). Beijing: Commercial Press. p. 318. Cited in Schuessler, Axel (2007). ABC Etymological Dictionary of Old Chinese, Honolulu: University of Hawaii Press. p. 239
  10. ↑ Schuessler, Axel (2007). ABC Etymological Dictionary of Old Chinese, Honolulu: University of Hawaii Press. p. 239
  11. ↑ Miyake, Marc (5-6 November 2015) "Old Chinese type A/type B in areal perspective: Recent Advances in Old Chinese Phonology beyond Boundaries", a talk given at Recent Advances in Old Chinese Historical Phonology held at SOAS, University of London; under the auspices of the European Research Council Grant Beyond Boundaries: Religion, Region, Language and the State. Slide 43 of 49
  12. ↑ Shan Hai Jing - chapter 1. "Nanshang Jing" - Nan Ci San Jing: Template:Lang-zh
  13. ↑ a b c Script error: No such module "citation/CS1".
  14. ↑ a b Sources:
    • Script error: No such module "citation/CS1". It's rumored to only land in areas where there is something precious underneath. Such as so, in one story, a man who saw a Fenghuang land on a patch of ground later returned to dig in that area and salt was discovered.
    • Script error: No such module "citation/CS1".
  15. ↑ Script error: No such module "citation/CS1".
  16. ↑ Script error: No such module "citation/CS1".
  17. ↑ Script error: No such module "citation/CS1".
  18. ↑ Examples (retrieved 3 July 2013): Cosgrove, Maynard Giles (1974). The Enamels of China and Japan: Champlevé and Cloisonné. Hale. p. 75. Template:ISBN. Catherine Pagani (2001). Eastern Magnificence and European Ingenuity: Clocks of Late Imperial China. University of Michigan Press. p. 131. Template:ISBN. Van Goidsenhoven, J. P. (1936). La Céramique chinoise sous les Tsing: 1644–1851. R. Simonson. p. 215.
Retrieved from "http://debianws.lexgopc.com/wiki143/index.php?title=Fenghuang&oldid=1692683"