Trees are an integral part of the ecosystem. In their multitudes, and in both life and in death, trees provide all manner of lifeforms with sustenance, shelter, and even clothing and modes of transit. They also provide regulation and balance to the entire natural world. Whether in ancient times or in the present, trees have always been intimately connected to all aspects of our lives, and for this reason there is a wide variety of unique cultural creations related to arboreal themes. People have written poetry and lyrics about trees, vividly describing their forms. Some texts express awe at their heaven-touching enormity, or profess a longing to enjoy trees’ longevity. Still other pieces of writing lament trees’ transformation from flourishing lushness into dry husks of their former selves. The written record of sylvan tales gradually gave rise to many artistic motifs, often with an epochal character. Some imbue trees with an auspicious character, some turn them into objects of religious veneration, and some attribute ritual or even political functions to trees. Others, moreover, show the embedding of human emotions into objects and our environments in order to artistically reflect life events, express the hope to enjoy arborescently long and languorous lives, or to imagine ourselves as being as unswerving in spirit as trees are.
 
    This exhibition is divided thematically into five sections. Four of them—“Sacred Space: The border between the heavenly and human worlds;” “Longevity: An everlasting wish;” “Omens: The power bestowed by heaven;” and “Metaphors: States of human life”—expand upon the overarching theme of “Trees.” They illustrate the ways in which trees served as an artistic subject in China in particular and Asia in general in ancient times. Moving from heavenly realms and religiosity to nations and politics before arriving at everyday human life, these sections transition from the macro to the micro in their examination of the stories and historical epochs in which the exhibit’s cultural artifacts are rooted. Finally, a “bonus chapter” entitled “Memories of sacred trees” begins close to home by sharing stories of sacred trees well-known to modern people, including “shenmu ” and “dashu gong.” In so doing, this section helps us to trace backwards in time and gain an understanding of how trees played a part in ancient cultural and artistic imaginings.


Chapter 1: Sacred Space: The border between the heavenly and human worlds

    Trees don’t merely represent the life force contained in the earth—they can also serve as signifiers of geographical boundaries as well as landmarks. Moreover, mysterious trees in the far distance can evoke the atmosphere of realms inhabited by Daoist immortals, subtly suggesting the proximity of paradise. Classical writings from the Qin and Han dynasties and earlier include such magical trees as Taodu, Fusang, and Jianmu. Sometimes these trees were able to drive away evil influences, sometimes they were the homes for spirits and sprites, and sometimes they allowed for communication between the heavenly and human realms. Images of magical trees were widely used in burial chambers and sacrificial temples. Some alluded to the notion that humans are capable of ascending and becoming immortals, at the same time as their imagery implied the bestowal of protection and bright prospects to a deceased individual’s descendants.

    The myth that there is an osmanthus tree in the Lunar Palace was widely enjoyed during the Tang dynasty, and thus numerous bronze mirrors from this era are emblazoned with related motifs. The legend that the explorer Zhang Qian rode a wooden raft to the milky way also exerted a deep influence on Tang dynasty literature, and eventually became a common theme for Yuan, Ming, and Qing dynasty sculptures. Additionally, as Buddhism spread, its assertion that the Buddha Shakyamuni’s birth as well as his enlightenment took place beneath trees led these images to put down deep roots in people’s hearts. Buddhism’s depictions of Pure Lands with “vast varieties of jeweled trees” were also passed down throughout history, informing the ways in which people envisioned the Buddhist heavens.


Chapter 2: Longevity: An everlasting wish

    Since ancient times, pine trees and peach trees have been laden with cultural significance, acting as symbols of long life. According to legend, peach trees provide “the timber of the Daoist immortals,” which is able to pacify ghosts and protect from pernicious influences. Beliefs pertaining to divine immortals flourished during the Han, Wei, and Jin dynasties, and classical writings record that peach tree sap was capable of curing diseases and aiding in the cultivation of Daoist immortality. “Immortal peaches” merged with the magical, immortality-bestowing medicines associated with the Queen Mother of the West, becoming a divine fruit that could drastically lengthen the lives of those who ate them. As history progressed, mythology and religious beliefs gradually blended with literature, leading to the creation of marvelous theatrical scripts such as “The Queen Mother of the West Throws a Feast of Immortal Peaches” and “Dongfang Shuo Steals the Peaches.”

    In addition to representing steadfastness in the face of the world’s vicissitudes and the ability to withstand trials and tribulations, evergreen trees such as pines and cypresses also came to symbolize eternal youth and long life. They were often displayed alongside tortoises, cranes, mystical deer, lingzhi mushrooms (Ganoderma lucidum) and other auspicious symbols from the natural world, and the trunks and branches of pine trees were even painted in such a way as to evoke the coiling shape of the Chinese character “壽,” which means “longevity.” Such imagery of pines, cypresses and peach trees became the representative subject matter for works meant to express the wish for a long life, and also became a staple in popular Ming and Qing dynasty paintings, crafts, and ornaments.


Chapter 3: Omens: The power bestowed by heaven

    People of the past believed that the heavens used natural phenomena to communicate with humanity through signs. Thus, natural transformations affecting trees came to be seen as auspicious signs relating to political affairs. For instance, when two trees with separate roots grew into one—these are called “gemels”—they were thought to symbolize that the sovereign of a nation was virtuous and had received heavenly approval.

    The flourishing or withering of particular trees was also believed to be intimately connected to the fate of a nation’s current ruling dynasty. For example, in Qufu in present day Shandong province, there is a Chinese juniper tree which, according to legend, Confucius personally planted. Its relative lushness or wiltedness, in addition to reflecting the prosperousness or decline of Confucian teachings, were also thought to predict whether the nation would thrive or fall into decadence. Similarly, in the mountains to which the Manchu people trace their origins was a mystical tree with eight species of branches growing from a single trunk. This hitherto unheard-of tree was seen as indicating that the Qing dynasty would be blessed and protected for thousands of years.

    Finally, the planting of trees was a crucial factor in the creation of imperial tombs. Trees are of great concern in fengshui, so they must be nurtured with great care so as to ensure that they are both lush and well pruned. The sacred trees in front of Qing dynasty emperors’ tombs were similarly believed to influence the empire’s fate, and were therefore treated with utmost care.


Chapter 4: Metaphors: States of human life

    In everyday life, trees’ shapes, colors, lushness, straightness or twistedness, and seasonal variations are all closely tied to people’s experiences and emotions. For this reason, trees have inspired countless artistic and literary creations. For instance, Yu Xin of the Northern and Southern dynasties wrote the heartrending poetic essay “Ballad of Trees,” which was then rendered in brush and ink during the Tang dynasty by calligrapher Chu Suiliang. Chu’s piece became a classic of both literature and calligraphy, one copied and studied by countless later generations.

    Additionally, the way in which pines and plum trees seem impervious to wind and snow has turned them into symbols of the character ideals aspired to by people of cultivation. These two tree species, along with bamboo, are collectively referred to as “the three wintry friends.” Ever since the Southern Song dynasty they have been an important subject in painting, and in the Ming and Qing dynasties they became a motif found in all genres of arts and crafts.

    Relatedly, numerous anecdotes about famous people in history use trees as a backdrop to accentuate their clean living and honest characters. One such story is about a Song dynasty poet recluse, Lin Bu, who planted plum trees and raised cranes; he never married or had children, and in time people came to say that the tree was his wife and the crane his offspring. Another story is about the eccentric Yuan dynasty painter, Ni Zan. Legend has it that he was obsessed with cleanliness and famous for asking his servants to wash the paulownia tree in the garden. Both tales served as inspiration for Ming and Qing dynasty artworks.

    Finally, trees were often used to express friendly sentiments and hopes when rulers and ministers exchanged gifts, when friends sent cuttings of trees to one another, as well as in celebrations of the coming of springtime. Occasions such as these were often recorded in works of art.


Bonus Chapter: Memories of sacred trees

    The custom of giving offerings to massive trees was our predecessors’ way of showing respect to nature. The way these enormous living beings represent abundant and powerful life force inspired many people to offer them respect and reverence. Taiwan has dashu gong (“tree gods”), whose origins lie in the folk belief that the centuries-old trees we encounter in our lives are capable of protecting the peace in towns and neighborhoods as well as helping children to grow up safely and healthily. For this reason, they became the recipients of ritual offerings and entered into the folk religious pantheon.

    Additionally, in the Japanese Shinto religion it is believed that giant trees are home to a type of spirit called kodama. During Taiwan’s period of colonization by Japan, Japanese settlers built railroads on Mt. Ali (Ali Shan) in order to exploit the natural resources there, especially timber. At the same time, they built a Shinto shrine on Mt. Ali and declared that the oldest trees were shinboku, a Japanese term meaning “sacred tree,” which is pronounced “shenmu in Mandarin. As tourism along Mt. Ali’s railways developed, the giant shenmu on the mountain became a major attraction, without which no postcard or tour group photo would be complete. Unfortunately, nothing is forever, and even Mt. Ali’s enormous shenmu—a 3,000-year-old cypress—fell during the late 1990s, its past grandeur becoming a fond memory. Nevertheless, the pulse of new life still thrives in Taiwan’s numerous alpine forests.