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Chinese gods of desire, immortality, etc
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Chinese gods of desire, immortality, etc
Statues of Chinese gods: Kin-gan or Chin-hoan, god of tutelage, Ni-ni-fo or Fo-tek god of voluptuousness, and god of immortality with deer and crane. Handcoloured copperplate engraving by Andrea Bernieri from Giulio Ferrarios Ancient and Modern Costumes of all the Peoples of the World, Florence, Italy, 1843
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Media ID 23172776
© Florilegius/Mary Evans
Andrea Bernieri Crane Deer Desire Ferrario Giulio Idol Immortality Incense
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EDITORS COMMENTS
This handcoloured copperplate engraving by Andrea Bernieri, titled 'Chinese Gods: Kin-gan or Chin-hoan, god of tutelage; Ni-ni-fo or Fo-tek, god of voluptuousness; and the god of immortality with deer and crane,' is an exquisite illustration of the rich and intricate Chinese religious tradition. The image showcases three distinct Chinese deities, each with their unique attributes and symbolism. In the center, the god of tutelage, Kin-gan or Chin-hoan, is depicted with a serene expression and a long beard, holding a book in one hand and a fan in the other. He is often invoked for protection, guidance, and wisdom. His presence signifies the importance of education and the pursuit of knowledge in Chinese culture. To the left, the god of voluptuousness, Ni-ni-fo or Fo-tek, is shown as a voluptuous figure, surrounded by an abundance of flowers and fruits. He is the embodiment of desire and sensuality, and is believed to bring happiness and pleasure. His association with the deer and crane, symbols of longevity and grace, highlights the connection between desire and the pursuit of immortality. To the right, the god of immortality is depicted with a regal appearance, seated on a lotus throne and holding a peach, the symbol of longevity. He is accompanied by a deer and a crane, further emphasizing the connection between the desire for immortality and the natural world. This beautiful and intricate illustration, taken from Giulio Ferrario's 'Ancient and Modern Costumes of all the Peoples of the World,' published in Florence, Italy, in 1843, offers a fascinating glimpse into the complex and multifaceted Chinese religious tradition. The use of handcoloured copperplate engraving adds an extra layer of detail and depth to the image, making it a true work of art.
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