Picturing the True Form

Picturing the True Form investigates the long-neglected visual culture of Daoism, China's primary indigenous religion, from the tenth through thirteenth centuries with references to earlier and later times. In this richly illustrated book, Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, painting...

Picturing the True Form investigates the long-neglected visual culture of Daoism, China's primary indigenous religion, from the tenth through thirteenth centuries with references to earlier and later times. In this richly illustrated book, Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, paintings, and other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not a static picture but entails an active journey of “seeing” underlying and secret phenomena through a series of metamorphoses.

The book's structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluent. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. These particular features distinguish Daoist visual culture from its Buddhist counterpart.

莱斯大学艺术史副教授

1991年获台湾大学学士，1995年获台湾大学硕士，2002年获耶鲁大学博士。黄士珊目前的研究集中于十至十四世纪中国道教和佛教的视觉艺术。在莱斯任教前，她曾在华盛顿大学和哥伦比亚大学执教。她的论文《道教天地水三官及南宋中国（1127-1279）视觉文化的创造》曾获得耶鲁大学Blanshard奖项。著有Picturing the True Form: Daoist Visual Culture in Traditional China（2012），并曾在《故宫学术季刊》、《亚洲艺术》、《道教研究》等发表文章。