Chinese has had a fondness for the moon since ancient times. Her gentleness and gentleness always touch people's hearts, for this we have a special Mid-Autumn Festival, when admiring the moon, we will always talk about Chang'e, her Guanghan Palace, jade rabbit and even Wu Gang who cut down laurel trees, which is a familiar story for every generation of Chinese. The Tang Dynasty's notes "Youyang Miscellaneous Tricks and Heavenly Traces" says: "There is a laurel in the old saying, there is a toad in the moon, so the different book says that the laurel is five hundred meters high, and there is a person under it who often cuts it, and the tree is created and joined." People surnamed Wu Minggang, Xihe people, Xuexian has been, who ordered the tree to be cut down. "This version of the legend has been passed down for thousands of years since the Tang Dynasty.
So what about the earlier moon myths? Was Luna Chang'e in the first place? Let's go back to the Warring States Qin and Han Dynasties.
First, the moon goddess of the Han Dynasty
Earlier documents documenting Chang'e are found in the Warring States period. For example, Hubei Jiangling Wangjiatai Qinjian 'Gui Mei' "Gui Mei" said: "The former Heng I steal the □ of death /", "/ □□ running to the moon and occupying the □□□ /", mentioning the two plots of stealing medicine and running the moon. "Heng I" means "Heng E", "Jade Chapter" Yun: "Chang, Heng Ye." "Heng'e" refers to Chang'e.
Han Dynasty texts such as the Huainan Zi Lan Meditation Training say: "Yi asked for the medicine of immortality to the Queen Mother of the West, and the concubine stole to run to the moon, and there was a loss of sorrow, and there was no way to continue it." Zhang Heng's "Lingxian" is more detailed: "Yi please have no death medicine in the West Queen Mother, and Concubine E steals it to run to the moon." In the future, there is yellow in the basket, and there is yellow in the name: 'Ji. Flying back to his sister, he will go west alone, every day is obscure, no fear, and then his Dachang. 'Woe is entrusted to the moon for the toad'. The antecedents and consequences of the legend of Chang'e are basically formed, but at this time there is neither a jade rabbit nor Wu Gang, and even Chang'e itself may change into an animal, with the instinct of the natural wild nature of the primitive myth, which is no more elegant than the elegant discipline that later evolved into a fairy tale.
The Chang'e motif is rarely seen in early images. There is a case of a Han portrait stone excavated from Xiguan in Nanyang that is believed to represent Chang'e running to the moon. On the left is a full moon with a toad with its limbs stretched; on the right, a woman with a high bun and wide sleeves and a snake's tail rises into the air, with a graceful posture, flying towards the moon, and the background of the picture is decorated with smooth lines of clouds and stars. (Figure 1)
Figure 1 Nanyang Xiguan Han portrait stone rubbing
The idea of recognizing the woman in the above picture as Chang'e has also sparked controversy. This is so because in Han Dynasty images, the more common moon god is not Chang'e, but someone else. Luna is generally depicted as a woman, but the upper body is humanoid, and the lower body is a snake's tail or dragon's tail.
For example, a pair of portrait stones were excavated from the Qilin Gang han tomb in Nanyang, and the sun god and the moon god were carved vertically on the stone. The two stone images are similar in shape, with the sun and moon gods both having a snake's tail and holding the sun wheel or moon wheel on their chests with their hands. But seeing the luna as a woman's image, the god of abundance is soaring: she combs her hair in a bun, raises her face slightly, has flying feathers on her shoulders, wears a wide robe with a collar, holds a large round of full moon in her chest, and covers her waist; the lower half is a snake body, the long tail curve is curved, and the snake's feet dance lightly. (Fig. 2) The image of the Nanyang portrait stone is very decorative and romantic, the lines are concise and full of strength, forming a flowing and free aesthetic style, and this luna image is its representative.
Figure 2 Nanyang Qilin Gang Han Tomb Lunar God Portrait Stone Rubbing
Shandong also sees such sun and moon god portrait stones. For example, Yedian Village, Yishan Town, Zoucheng City, collected two rectangular portrait stones, which were carved as the sun god and the moon god of the dragon tail god. The carved luna portrait stone picture is divided into three grids of left, middle and right, the left grid is carved with slash pattern decoration, the middle grid is carved with diamond patterns, and the right grid is carved with the image of luna god. I saw her standing in front of her, with a high bun, clear features, a collared robe, and her arms raised high in a full moon; her lower body was a scaly dragon body, with double animal feet and a long tail. (Figure 3) The images of Shandong portrait stones are generally no more free than those of Nanyang, but more solid and thick, and the details are often exquisitely carved.
Figure 3 Luna portrait stone of Yedian Village, Yishan Town, Zoucheng City
Regarding the names of the sun and moon gods in Han portraits, there are generally two sayings, "Fuxi Nuwa" or "Xi and Changxi", and they are both idol gods. In Sichuan, a portrait stone with a list title can be used as the basis for correcting the name.
The image of the side of the sarcophagus of Jianyang No. 3, the horizontal picture, carved with gods and beasts, constitutes a harmonious and lively wonderland map. (Figure 4) Above the right part of the screen are two groups of immortal images, the left is an immortal riding on the back of the divine beast, the list title is "Ancestor Riding"; the right is two immortals playing the Game of Six Bo, the list title is "Ancestor Bo"; the bottom of the right part of the picture is a long dragon and two tailed swimming fish, swimming freely. The main image on the left side of the picture is the sun and moon god, and their image is different from the human animal tail shape in the Central Plains, and the image of the human head and the bird body. The two gods are juxtaposed and flying in the air, with the title "Sun and Moon". The sun god is on the right, turning his head to look at the moon god, a golden crow is faintly visible in the sun wheel on the chest; the moon god is on the left, the hair is high, the wings of the original arms are grown on both sides, the wings are plump, riding the wind, the moon wheel on the chest echoes with the sun god around him, the tail feathers are long and floating into the clouds, and the posture is light. The Sun and Moon God is surrounded by immortal grass divine beasts such as the White Pheasant. The shape of this stone image is clumsy and the form is unpretentious, revealing a naïve attitude.
Figure 4 Stone rubbings of the coffin of Jianyang No. 3 sarcophagus
This list can be used to justify the name of the half-human, half-animal god with the sun and moon wheel on the portrait stone. But no matter what kind of title, there are few times when it is associated with "Chang'e". This may be because on Han portraits, the sun and moon gods often appear in pairs, and Chang'e never has a male god to match after running to the moon.
Second, the moon god beast of the Han Dynasty
In addition to the moon in han's portrait, which is held up by the goddess, there are also divine beasts inhabiting her. From the beginning of the Western Han Dynasty, the most common mid-moon beast was the toad.
(1) Mid-month toad
The Huainan zi spiritual training says: "There are toads in the day, and there are toads in the moon." "On Heng and Saying the Day" Yun: "Confucians know: 'There are three-legged crows in the day, and rabbits and toads in the moon.'" ’”
There are many such images in the Han Dynasty. For example, on the inside of the flat ridge of the tomb between the front and back walls of the main chamber of the Western Han Tomb of Bu Qianqiu in Luoyang, there is a long mural of the Shengxian Figure. According to Mr. Wang Xiu's facsimile and after Mr. Huo Hongwei's examination, it can be seen that the images of this long scroll from left to right are: the moon god, the moon, the feather man, the five spirits (that is, the green dragon, the white tiger, the suzaku, the qilin and the predecessor of Xuanwu, the fish woman), the Queen Mother of the West, the jade rabbit, the tomb owner Bu and his wife, the sun god and the sun. The Bu couple in the painting each ride a divine beast, led by the feather man and the five spirits at the front, and are crossing the boundary between life and death to the fairyland. (Fig. 5) The presence of the Queen Mother of the West symbolizes the coming of the fairyland, where the sun and moon gods with snake tails are regarded as Fuxi Nuwa, and these gods guard the tomb owner in the underworld across the gate from birth to death. In the moon, guarded by the dressed moon god, a purple-leafed brown trunk laurel tree can be seen standing in a pavilion, and next to it is a dancing toad with ink-colored black spots. (Figure 6)
Figures 5 and 6 Luoyang Bu Qianqiu Western Han Tomb Shengxian Tu mural and its parts
Jinan Changqing Xiaotang Mountain Guo Ju Ancestral Hall Liang carved a banner celestial chart, the left side of the beam carved the moon wheel, a toad in the middle of the moon jumped upwards; the right side of the beam carved the sun wheel, a golden black feather in the middle of the day fell downwards. The rest of the picture on the stone uses a series of beads to represent the stars, and the sun, moon and star are probably the celestial conditions that people can recognize at that time. (Figure 7)
Figure 7 Jinan Changqing Xiaotang Mountain Guo Ju Ancestral Hall Celestial Diagram Rubbing
Nanyang Tanghe Huyang unearthed a portrait stone, the picture of the human head and tail of the sun and moon god suddenly upside down and standing, the long tail intersects with each other, each raising their hands to support the sun and the moon, the shape is ingenious and beautiful. In the moon, a toad crouches. (Figure 8)
Figure 8 Nanyang Tanghe Huyang portrait stone rubbing
A lintel excavated from the tomb of The Great Baodang Han of Shenmu, the main picture is a hunting image, in the center of which stands an elephant, serene, with its head slightly bowed to the tamer; on their left there is a flying horse, which is soaring in the air and striving forward; on the right, there is a hunter chasing the prey, he pulls the bow string on the horse, the arrow feather is about to come out of the string, whistling and tearing the air, flying over the straight finger, so fast that the beast that has been hit by an arrow in front of them has nowhere to hide. At the left and right ends of the picture, there are moon and sun wheels hanging respectively, in the sun wheel, a golden Wu Zhenyu flew high, in the moon wheel a toad with its hind limbs crouched, its forelimbs extended, and was jumping, and the sun and moon were shining on the left and right, projecting a peaceful light to the creatures on the earth. The background of the picture is decorated with rushing and diffuse cloud patterns, showing the atmosphere of the era when the big Han is swallowing like a tiger. (Figure 9)
Figure 9 The lintel of the tomb of Shenmu Dabaodanghan
(2) Jade rabbit in the middle of the month
There are also images of the jade rabbit appearing in the moon, which began to accompany the toad, and by about the late Eastern Han Dynasty it had been able to combine with the moon alone.
For example, the T-shaped painting excavated from the Mawangdui No. 1 Han Tomb is divided into three layers of the world, and there are two messengers at the entrance gate of the heavenly world on the top floor, which is a double dragon, the top center is a human head dragon tail god, and her left and right ends are the moon and the sun. Here the shape of the moon is not a round wheel, but only a curved crescent, with a toad and a jade rabbit opposite. (Figure 10)
Figure 10 Part of the facsimile of the T-shaped painting of the Mawangdui No. 1 Han Tomb
The inner side of the flat ridge of the main chamber of tomb No. 61 of the Western Han Dynasty in Luoyang is decorated with 12 painted hollow bricks, and the images on them are combined into a continuous astrological chart. The seventh portrait tile arranged backwards from the top of the tomb door is painted with the moon: the ink line outlines the outline of the moon, and the light cyan color is applied inside; the west side of the moon draws a toad swimming counterclockwise with spots on its limbs; in front of the toad there is a running rabbit, lively and clever. There are cloud patterns floating outside the moon, and there is a star in the north and south on the west side, which may be an empty dwelling. (Figure 11)
Figure 11 Astrological map facsimile of the main chamber of tomb No. 61 of the Western Han Dynasty in Luoyang Yaogou
A portrait stone was unearthed in Guanqiao Town, Tengzhou, and the moon and sun wheel were carved on and off the screen. In the upper part of the moon, a toad is jumping, and on the side is a jade rabbit pounding medicine; the outside of the moon wheel is surrounded by a long dragon, and on both sides is a human-headed and snake-tailed Fuxi Nuwa circling left and right. The sun wheel below is carried by a large bird, which is flying on its feathers and carving a three-legged crow in the day. The background of the picture is decorated with cloud patterns, stars and sacred birds, giving people a sense of sparkle. (Figure 12)
Figure 12 Tengzhou Guanqiao Town Portrait Stone Rubbing
In the Eastern Han Dynasty, there were even images of only the jade rabbit associated with the moon. For example, in Chongqing Zhongzhou, in the late Eastern Han Dynasty, a moon map is engraved on the Dingfang Que, and in the center of the picture there is a jade rabbit crouching under the leafy laurel tree, looking up at the bright moon in the sky, a round wheel with the word "moon" in the list, which is set off by auspicious clouds. The leaves of the laurel tree gently float down beside the jade rabbit, and the background is dotted with auspicious clouds, the picture is elegant and peaceful, quite a charm of "dark incense floating moon dusk". (Figure 13)
Figure 13 Local rubbing of the portrait of DingFangque in Chungju, Chongqing
Before the late Eastern Han Dynasty, the mid-moon beast was generally a toad, although there are also images of toads and jade rabbits appearing together in the moon, but it is rare to see only the jade rabbit in the moon.
3. The original owner of the moon beast
In the Han Dynasty, when toad and jade rabbit were divine beasts, they had a common hostess, who was not Chang'e, but the Queen Mother of the West.
The Queen Mother of the West can be said to be the most popular goddess in the folk beliefs of the Han Dynasty. The legend about her originated very early, and there were relevant records in the Zhuangzi Grand Master and the Classic of Mountains and Seas. In the Classic of Mountains and Seas, the "Queen Mother of the West" is sometimes recognized as the name of a certain country in the Western Regions, and sometimes as a half-human, half-beast deity: "There is someone, Dai Sheng, tiger teeth, a leopard tail, a cave, and the name of the Queen Mother of the West." "The image is weird and fierce.
The han dynasty people's worship of her increased day by day, especially in the late Western Han Dynasty, with the encouragement of Wang Mang's regime, this folk belief became fanatical, so that there was a large-scale public worship of the Western Queen Mother, which is recorded in the Book of Han and the Book of Han and the Five Elements. The Western Jin Dynasty's "Biography of Mu Tianzi" also has the story of The Western Tour of The Zhou Mu King and the Western Queen Mother.
The reason why the Han Dynasty people have such admiration for the West Queen Mother is because they believe that she is in charge of the immortal elixir, symbolizing immortality and auspiciousness. In the aforementioned Han Dynasty literature, it is said that the elixir that Chang'e stole came from the Queen Mother of the West.
The Han portrait has a romantic interpretation of the image of the Queen Mother of the West. She has evolved into a human figure in images of portrait bricks, portrait stones, murals, bronze cash cows, bronze mirrors, etc. The beautiful goddess Huafu sits on a high platform or dragon and tiger seat, surrounded by attendants of jade rabbits, toads, three-legged crows, nine-tailed foxes, bull heads or chicken heads, leading the worldly souls to rise in the ethereal wonderland. The divine beasts guarding the West Queen Mother had a clear division of labor, among which the jade rabbit and the toad were related to the elixir.
Most of the medicines are jade rabbits. Han Le Fu's "Dong Escape" said: "Jade rabbit long kneeling to pound medicine shrimp toad pills." Offer Your Majesty a jade fir, take this medicine to get the immortals. ”
In the Han portrait, there is a jade rabbit that is single-handedly pounded with medicine, such as a Nanyang portrait brick, and the brick surface is horizontally engraved with the Queen Mother of the West and her attendants. The West Queen Mother is located in the center of the picture, Dai Sheng, sitting on the left; on her left, there is a jade rabbit facing the West Queen Mother, crouching in front of a medicine pot, with long ears erected, and two front limbs holding a pestle stick. Behind the right side of the West Queen Mother, there are several feathers dancing, and behind the left jade rabbit are toads, nine-tailed foxes and three-legged crows, also dancing limbs, tails or singing high. (Figure 14) The atmosphere of the picture is peaceful, the characters and beasts are vividly shaped, and the dynamics of them dancing with music are vividly portrayed, and the nobility of the goddess, the meekness of the jade rabbit, the agility of the feather people and the spontaneity of other divine beasts have their own characteristics.
Figure 14 Brick rubbings of the portrait of the Queen Mother of Nanyang West
There is also a pair of jade rabbits pounding medicine. For example, a portrait stone unearthed from Linyi Automobile Technical School, the picture is divided into two layers by the boundary column, the upper area is small, the horizontal carving of two jade rabbits relative to pounding medicine, the two rabbits put a medicine jar in the middle, the rabbit on the right crouches, holding a pestle stick into the jar to practice; the left rabbit crouches opposite. The lower layer of the painting is larger, with four coiled dragons carved vertically, two in groups, one group in the previous group upside down, the body coiled together, each with the tail of the inverted person in each mouth. (Fig. 15) The dragon on this stone symbolizes reproduction, and the jade rabbit medicine symbolizes immortality, both of which are auspicious images.
Figure 15 Linyi portrait stone rubbing
There are also toads that work with jade rabbits to pound medicine. For example, a mural excavated in the back room of the Tai'an Dawenkou Han Tomb is like a stone, the picture is horizontal, divided into two layers, inside and outside, the outer layer is decorated with cirrus cloud pattern as a sidebar, and the inner layer is the main picture. The inner layer is divided into three grids, left, middle and right, with the left and right squares having a smaller area, each engraved with a moon wheel and a sun wheel; the middle one with a larger area, carved a pair of raptors facing each other left and right, with a fish. On the right side of the sun wheel there is a golden wu, while on the left side of the moon wheel there is a toad and a jade rabbit facing each other, holding a pestle in the mash. (Fig. 16) Here, the toad and the jade rabbit not only become a pair, but also move from the Queen Mother of the West to the moon, and the spatial position changes.
Figure 16 Tai'an Dawenkou Han tomb portrait stone rubbing
Fourth, why is the toad a mid-moon beast
(1) Reproductive meaning of toads
The Han Dynasty's understanding of the moon was not completely scientific, but was influenced by the popular philosophical idea of the time, the concept of yin and yang.
Originating in the late Warring States period, the Concept of the Five Elements of Yin and Yang flourished through the absorption and perfection of Han Confucianism, in an attempt to explain the universe. Han Confucianism uses "yin and yang" and "five elements" to understand and settle the time and space of heaven and earth, and explains the abstract laws of nature with image symbols such as the five colors, five squares, five emperors, and five spirits, so that everything in the world is orderly in the construction of the discourse system.
In the view of the Han Dynasty, the sun is yang, the moon is yin, and the alternation of day and night symbolizes the harmony of yin and yang. So does the toad also have a "yin" side, so it will become a moon beast? The answer is yes.
The most obvious physiological feature of toads is the large number of eggs, which fits the understanding of "yin". As early as prehistory, ancestors have paid attention to this characteristic of toads, such as the frog patterns that are common on the Majiayao culture faience in Gansu, and even a kind of divine human pattern, that is, the human limbs are similar to frog claws, which is characterized by strange shapes. (Fig. 17) This art reflects the ancient concept of fertility worship, and is both happy and sincere about the birth of life, so it will create a god specifically for this purpose to seek peace and smoothness.
Figure 17 Majiayao culture in Gansu Province
Fertility worship is common in ancient art around the world, such as a statue of the god Aphrodite-Isis made on the Greek island of Rhodes. (Fig. 18) The goddess wears Egyptian-style hairstyles in a willow basket on her head, and wears traditional Egyptian light gauze costumes, but her face and complexion are Greek. Therefore, this goddess is the Greek beauty goddess Aphrodite, and the Egyptian goddess Isis, who symbolizes life and health, the embodiment of the integration of the two reflects the hellenistic situation of the Egyptian god, reflecting the history of cultural exchange after ancient Greece and Rome conquered Egypt. Whether it is the Greeks' admiration for beauty and love, or the Egyptians' recognition of good wives and mothers, the roots of goddess worship are inseparable from the emphasis on life reproduction.
Figure 18 Statue of Aphrodite-Isis, Rhode Island, Greece
(ii) The metamorphosis of the toad
In addition to reproduction, toads also correspond to the moon in terms of morphological changes. The origin of the ancient observation of celestial phenomena on the mainland is very early, which is related to the practical needs of the ancient agricultural country "viewing time", production and life conforming to the rhythm of nature. Mr. Feng Shi believes that the birth of civilization began from the ancients' exploration of the relationship between heaven and man, such as the physical data of Neolithic Tomb No. 45 in Puyang's Xishuipo, which has reflected the more systematic astronomical connotation. Therefore, the astronomical knowledge that the moon has clouds and sunshine is lacking has long been noticed by the ancients.
In the Han Dynasty, there were already people who could think from a scientific point of view, such as Wang Chong. At that time, there was a legend that the rise of the sea tide was caused by the hatred of Wu Zixu's unjust death, and the "On Heng ShuXuan" argued that it was false and untested, and Wang Chong correctly realized: "The rise of the tao also rises and falls with the moon, and the small and large are uneven. The real reason for the rise and fall of the tide is the profit and loss of the moon, that is, the role of the moon's tidal force, which Mr. Ojima points out as "the earliest very clear view of the theory of the occurrence of sea tides."
As for the change of the moon itself, why does she glow so tenderly in the night sky, and why can she come back from the dead? What did he rely on to obtain such strength—Qu Yuan once asked the heavenly question: "What is the light of the night, and the death is fertile?" His imagination was: "Julius WeiHe, and Gu Suo is in the belly?" Mr. Wen Yiduo once examined the alias of Gu Jing, that is, the toad, which means that the moon can change because it contains toads.
The toad grows from tadpoles, and its transformation process from childhood and strength is like an illusion, like the fickleness of the moon. The toad will deform, which is one reason why the ancients would think that it was a divine beast in the moon.
(iii) Other magical attributes of the toad
After the Han Dynasty, people's understanding of toads went further and found more evidence for their magical properties.
The Book of later Han and the Chronicle of the Ling Emperor says: "(Zhongping 3rd year) restored the Jade Hall, cast the Bronze Man Four, the Yellow Bell Four, and the Tianlu and the Shrimp Toad, and cast four more literary money. The Later Han Shu Zhang Heng Biography records the first year of Yang Jia, Zhang Heng made a weathering wind and earth movement instrument, "There are eight dragons outside, the first copper pill, and the toad under it, and Zhang Kou Chengzhi." "Images of toads become a displayer, and we can find corresponding physical materials for this.
For example, a piece of Eastern Han Toad pottery socket hidden in the Nanjing Museum, 15.8 cm high, the image of the toad is realistic, well-proportioned, the limbs are propped up, looking up, the eyes are protruding, the cheeks are drummed and chirping, and it moves in silence; a columnar socket is erected behind the toad. (Fig. 19) This type of pottery has been excavated in the Bashu region and is often used as the base of a bronze cash cow.
Figure 19 Nanjing Museum holds a pottery socket for toads from the Eastern Han Dynasty
The Han Dynasty also believed that it had the function of raising troops, such as the "Wenzi Shangde" saying: "Toads to open up soldiers, life in may hope." This can also be proved on the portrait stone, such as a portrait stone of jiaxiang wu enlightened temple, the picture is divided into three columns, the first column is a map of the travel of gods and men, and the second and third columns are all historical figures. In the center of the first column of images, the main god travels in a cloud car with a canopy and a three-tailed fish in front, followed by a waiter; surrounded by many immortals riding fish, and in the forefront there are immortals and mythical beasts with weapons to open the way, and a toad in the upper right. It holds a sword and a shield on its two forelimbs, its right hind limbs stand on the ground, its left hind limbs are lifted upwards, and its body is in a leaping defense shape. The picture is filled with rolling clouds, intertwined with the swords and lights of the Shenxing team, adding a bit of legend to the solemn team. (Figure 20)
Figure 20 Jiaxiang Wu Enlightened Ancestral Hall portrait stone rubbing and its line map part
The medicinal value of toads has also been discovered. The inner chapter of the "Baopuzi" "Immortal Medicine" Yun: "The meat mushroom is called a long-lived toad, with horns on its head, a Danshu under its chin, and eight fonts." ”
The above concept increases the magical attributes of the toad.
V. Changes in immortals and divine beasts in the middle of the moon after the Han Dynasty
(1) Jade Rabbit and Chang'e became representatives of the moon
The subject matter of the rabbit on the Han portrait is more diverse. It may be depicted as food in the kitchen chart, or prey in the hunting chart, reflecting the daily diet and riding and shooting of people at that time. It may also appear as a divine beast, in addition to the aforementioned attendant of the Queen Mother of the West, or the moon beast, it may also appear in the star map, reflecting the mysterious imagination of people on rabbits at that time.
When the rabbit is associated with the stars, it symbolizes bijutsu, which can be seen in the celestial image on the Nanyang portrait stone. For example, a portrait stone excavated in The Wancheng District of Nanyang can be divided into two layers, the upper layer is dominated by the sun and moon chart, and the lower layer is dominated by the star map. The upper layer is carved with a large bird one in front of each, with a long neck with a feather and tail feathers divided into several beautiful lines, flying to the right in turn; the wing in front carries the sun wheel, and the rear carries the moon wheel, and a toad can be seen in the moon wheel. The lower right of the picture is engraved with the green dragon constellation representing the eastern main god, and on the left there are eight round beads connected and a small rabbit inside, representing the Bisu under the Western main god White Tiger. Around the sun, moon, and stars, there are also cloud patterns to increase the atmosphere of its cosmic vastness. (Figure 21)
Figure 21 Portrait stone rubbings of Nanyang Wancheng District
After the Han Dynasty, the rabbit's original magical attributes became single. It gradually solidified on the identity of the mid-moon beast, and even replaced the toad's position in the middle of the moon. Moreover, the moon goddess was also transformed from a human animal tail deity who may be Nuwa and Changxi to Chang'e, and thus fixed and passed down. As a result, both the moon goddess and the divine beast changed. Why is this change?
(2) The Immortal Elixir of the Queen Mother of the West
The elixir of the Queen Mother of the West is the key to connecting everything. Chang'e flew to the middle of the moon because she stole the elixir. Rabbits are the makers of elixirs.
Why do rabbits have the power to pound medicine? It may be that the ancients had some understanding and experience of the actual medicinal value of rabbits, which was recorded in some medical works at that time. For example, in the Eastern Han Dynasty Zhang Zhongjing's "Treatise on the Essential Principles of the Golden Plateau", there is a taboo against eating rabbit meat, and the "Chinese Tibetan Classic" uses "rabbit dung two two" as a prescription for medicine. The medical value of the rabbit itself makes people think of this imagination.
Through the elixir, the Jade Rabbit became one of the attendants of the Queen Mother of the West; through this master, it was associated with the toad and even the moon. And because Chang'e became the ruler of the moon, the owner of the jade rabbit also changed from the Queen Mother of the West to Chang'e.
(iii) The replacement of primitive myths by religious fairy tales
Behind the change in imagery is a change in ideology at work. The process of changing the images of the moon god and the god beast shows the history of the primitive mythological system represented by the half-human, half-animal goddess and toad, and the increasing replacement of the religious fairy tale system represented by Chang'e and the jade rabbit.
In the Han Dynasty, the moon god was portrayed as the image of a human long tail, which is the original memory of the mixture of humans and animals in early mythology; and there was a dual god Sun God matching it, showing a strong reproductive worship color. The moon beast toad is prolific, and both the jade rabbit and the jade rabbit can be the attendants of the Queen Mother of the West. In addition to holding the elixir of immortality, the Queen Mother of the West symbolizes immortality; there is also a nine-tailed fox that symbolizes fertility as a servant, and there is also a dual god Dong Wanggong who matches it, and also has a secular human side.
From this, it can be seen that the gods and beasts of the Han Dynasty were not isolated from human fireworks, they were not only extraordinary because of the miraculous powers they possessed, such as ascension and immortality; at the same time, they also had the worldly desires and emotions of happy life, male and female love, and the overall image was steaming and full of flesh and blood. Therefore, they can understand and empathize with the sorrow and love of the world, and provide shelter and blessing for it, so that they can be followed and worshipped.
After the Eastern Han Dynasty, the Taoist system became more and more mature, and in addition to creating new gods and immortals, it also absorbed many ancient mythological figures to transform them into line with their own teachings. Chang'e is an example of a fairy image, and the legend of her ascension to the moon is in line with the Taoist imagination of Yuhua Dengxian. When she was transformed into the Taiyin Moon Immortal in the Taoist Immortal Genealogy, she changed from a woman full of human weaknesses in early mythology to an immortal without seven passions and six desires.
Winter goes from spring to day after day, and the situation in the Moon Palace is eternal and instantaneous: the eternally youthful fairy always sits alone, she no longer needs the toad that is easy to provoke mortal thoughts, but only uses the jade rabbit that can provide the elixir; the prime-aged Wu Gang will only cut down the laurel tree that never falls like Sisyphus pushing a stone up the mountain. They no longer mean women and men, but spokespeople for the laws of heaven. Time does not exist in the Moon Palace, at the moment when Wu Gang picked up and cut off the axe, at the moment when the jade rabbit pounded the jade pestle, the world has been a thousand years. However, there are still "Chang'e should repent of stealing the elixir, the blue sea and the blue sky and the night heart", "the white rabbit pounding medicine in autumn and spring, who is Chang'e's lonely neighbor?" A kind of poetry appeared and circulated, and they were the echoes of the vivid humanity that the Moon Palace Immortal once had, indicating her way of coming.
Time and space continue to rotate, and stories about the moon goddess and mythical beasts travel through generations of myths, religions, and poems. From the toad to the jade rabbit, from the half-human and half-beast luna to Chang'e, what has changed is not only a cultural symbol, but also the ideological concept behind it. Today, although modern people will linger in the fantasy of chang'e legend, it is only an appreciation and admiration for the excellent imagination and cultural feelings of the ancestors. We choose the "rather than exhibiting a thousand years on the cliff, it is better to cry on the shoulders of a lover for a night", and are more willing to go into the heart to enrich and nourish our own emotional experience. This is a dialogue between the individual and his own mind, focusing on the feelings of the mind, that is, the progress of the history of civilization.