Testaments to Healing: Painting and Calligraphy on Healthy Living and Medical Treatment

Then there is "Transmitting the Mulberry Mistletoe," in which the names of more than 120 kinds of Chinese medicines are connected together into an interesting short text. Finally, and of particular note, is a national treasure entitled "Moxibustion," a hanging scroll by the Song artist Li Tang portraying a rural doctor treating a patient by burning mugwort cones on his back, the contorted face of the man being pinned down difficult to forget. On a theme related to healing is "Brewing Medicine" by Tang Yin, the premier Ming dynasty talent of the Jiangnan area, who did the painting to thank a doctor for curing him of a lung ailment. Thus, this type of special exhibition can hopefully help bridge the gap between past and present by introducing audiences not only to the studies from the ancients but also by reminding people today to truly care more about health and living well.

Finally, and of particular note, is a national treasure entitled "Moxibustion," a hanging scroll by the Song artist Li Tang portraying a rural doctor treating a patient by burning mugwort cones on his back, the contorted face of the man being pinned down difficult to forget. On a theme related to healing is "Brewing Medicine" by Tang Yin, the premier Ming dynasty talent of the Jiangnan area, who did the painting to thank a doctor for curing him of a lung ailment. Thus, this type of special exhibition can hopefully help bridge the gap between past and present by introducing audiences not only to the studies from the ancients but also by reminding people today to truly care more about health and living well.

This painting, traditionally attributed to Li Tang, depicts an itinerant doctor engaged in his profession. 

He has the instruments of his trade tucked into his bonnet as he burns mugwort cones on a patient’s back, which appears inflamed.

The patient struggles in pain, requiring three others to restrain and keep him still by stepping on his legs, holding his arms and pressing his shoulder. In contrast with the man’s pained expression is the concerned look of the other three, as if commiserating with him.

To the right is the doctor’s assistant with paraphernalia, such as a fan, which indicate his role in preparing medicinal patches. He is shown blowing on a patch to apply medicine on the patient’s back.

The brushwork and coloring in this painting is refined and realistic, being a masterpiece of Southern Song genre painting in the academic style. Despite the seriousness of the subject, the artist seems to have given it a comical touch by rendering the figures’ expressions with exaggeration and animation, offering a memorable record of life in the countryside.

Wang Shu (style name Ruolin), a native of Jintan in Jiangsu, became a Presented Scholar in 1712 and served up the post of Vice Director in the Ministry of Personnel. His “Cave of Amassed Calligraphy” in sixty albums represented the culmination of his efforts in searching for and copying ancient works of calligraphy, also including his research and inscriptions. On display in this exhibit is Yang Ningshi’s “Methods of the Immortals for Daily Life.” Yang Ningshi (873-954), style name Jingdu and sobriquet Xubai, was a native of Huayin in Shaanxi. A Presented Scholar under Emperor Zhaozong late in the Tang dynasty, he went on to serve the following states of Liang, Tang, Jin, Han, and Zhou up to position of Junior Preceptor of the Heir Apparent. Being known as “Junior Preceptor Yang,” he was fond of calligraphy and especially “topsy-turvy” cursive script. 

“Methods of the Immortals for Daily Life” is a representative late example of his also known as “Skills of the Immortals for Daily Life.” A kind of massage for health practiced in antiquity, the text takes the form of mnenomic phrases, the original now in the Beijing Palace Museum.

Tang Yin (style name Bohu, sobriquet Liuru jushi), a native of Wuxian (Suzhou), came in first place in the Nanjing civil service examinations of 1498. Skilled in poetry, painting, and calligraphy, he is ranked as one of the Four Ming Masters. This painting shows a medicinalist seated under pine trees with a young attendant taking care of a stove, fanning the flames to brew a concoction. Although the figures are sparingly drawn, the characterization is complete. The brushwork for the rocks and tree trunks is lively as it twists and turns. The pine needles and distant mountains are done with light shades of ink washes that make them appear moist and full of the potential for life, serving as an apt reflection of the idea behind preparing medicine. 

Tang Yin in his late years suffered from a lung ailment and, according to his inscription at the end of this scroll and the colophon by Zhu Yunming commending the skills of a doctor named Lu Yuezhi, we know that this work was done by Tang around the age of 49 in appreciation of Lu providing him with medicine to treat his problem.

The entire text is composed of medicinal names, the number exceeding one hundred. Cleverly composed and naturally arranged, it is quite skillfully done, the rhythm of the piece also appealing.