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The Earliest Pictorial Representations of Ape Tales

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The Earliest Pictorial Representations of Ape Tales THE EARLIEST PICTORIAL REPRESENTATIONS OF APE TALES An Interdisciplinary Study of Early Chinese Narrative Art and Literature* BY WU HUNG (Harvard University) In 1951, Richard Rudolph reported two pieces of bas-reliefs with similar pictorial representations in his well-known book, Han Tomb Art of West China.' Five years later; the Chinese scholar, Wen Yu, published these works again with brief discussions of their subject matter.2 Both authors identified the provenance of the slabs as Xinjing in the Sichuan basin close to the Yangzi River. Rudolph described the pictorial scenes in a detailed figure-by-figure manner, but did not address their iconography; Wen Yu, on the other hand, mistakenly identified the representations as "ape-play," a kind of circus. 87 Two other pictorial representations resembling the Xinjing car- vings can be found at other locations in Sichuan: one carved in a cave-tomb at Leshan ?JlJ,3 the other, on a stone coffin4 discovered in 1956 in Neijiang While the increasing discoveries of such carvings has demonstrated the popularity of the pictorial motif in this area during the Han, the subject matter of the representations still remains open to question. The only new iconographic explana- tion is that given by the excavator of the Neijiang coffin, who vaguely 6 described the scene as "dancing and acting."6 In my opinion, the importance of studying the content of these carvings lies not only in supplying an interpretation of the icono- graphy of these specific art works, but also in that it provides clues for speculating on some general problems regarding the interrela- tionship between early Chinese narrative literature and art. First, these carvings, in fact, represent an early version of the "White Ape" legend which later became the subject of the famous Tang short story, Bu Jiang Zong Bai-ytian Zhuan (MffVOlf,4, A Sup- plement to Jiang Zong's White Ape Tale). With their definite pro- venance and date, the carvings provide us with important evidence for tracing the origin and early development of this legend. Second, the "ape tale" motif and another motif, "Yang Youji j§ mJ£ shoot- ing a white ape," co-exist in Sichuan pictorial art. These two motifs became two narrative "kernels" around which have developed two general themes of "ape" stories, (1) "a demonic ape abducting women" and (2; `'the god Er-lang defeating an ape spirit," in post-Han literature and art. 88 1. The Four Carvings and the White Ape Tale Among the four carvings cited above, the two from Xinjing are fragments of stone coffins.7 The piece illustrated in Fig. 2 shows a complete composition (hereafter, Scene B), 63.5 cm in width and 205 cm in length. The other slab is broken; five surviving fragments have been pieced together, presenting a composition whose left end is evidently missing (Fig. 1; hereafter, Scene A). Four highly animated figures are represented in Scene A. On the left, close to the broken edge remains a portion of a mountain with a zigzag outline. An animal-like creature with bare arms and legs is running towards the mountain. Although some damage to its face obscures the identity of the creature, this problem can be re- solved by the close resemblance between this figure and a gibbon or orangutan carved in juxtaposition in Scene B (Fig. 2). The animal in Scene A carries another figure on its back, who wears a gown with long sleeves concealing both hands. As in many Han carvings from Sichuan, this costume style particularly depicts female figures. In the picture, this woman and her captor both seem alarmed. The woman turns her head back; her mouth opens as if she is crying out for help. The ape is in flight, while turning its body half-way back and stretching its arms violently to resist the attack from behind. The attackers are two men; both wear wide robes and hold swords in their right hands. The one immediately following the ape is striking a deadly blow; his gesture resembles that of a lunging fencer. The other man behind him is also in pursuit, holding a horizontal object with diagonal stripes-probably some kind of bamboo-plaited basket used in hunting. Fig.l, Scene A (reprinted from Wen Yu (1956), pl. 32) 89 Fig.2 Scene B (reprinted from Wen Yu (1956), pl.46) Scene B bears striking resemblance to Scene A. Important changes in both the representation of individual figures and the whole nar- rative sequence, however, are also evident. The artist of this work seems more interested in distinguishing the status and roles of the two attackers. In contrast to the major attacker who wears a cap and a long gown, indicating his superior position, the man behind him wears a short and narrow robe exposing his legs. This shows clearly that the second man is merely an attendant who carries hunting equipment and follows his master, -who is the hero in the confrontation with the animal. The ape (or monkey), instead of carrying a woman and fleeing, is isolated in front of the mountain, and is being attacked by the master who is thrusting the sword at its left eye. The ape's dramatic gestures express a last-ditch struggle. The woman, whose identity in this case is more clearly represented by her hair and costume style, is seated in a peach-shaped cave watching the action. The carvings from Leshan and Neijiang are rather crude versions of the two Xinjing pictures, but with some significant variations. The story carved on the Neijiang coffin (Fig.3; hereafter, Scene C) resembles Scene A, showing the ape (whose naked body has a short tail) fleeing from the men's attack. An important difference, or com- Fig.3, Scene C (reprinted from Kaogu Tongxun, 1972, no.2, fig.1a) 90 plement, is shat this carving represents the ape running towards an elaborate house in which two figures (women?) are seated in the traditional manner, facing each other and perhaps chatting or drinking. As mentioned above, the left end of Scene A is missing. According to Xin Lixiang, all of Sichuan stone coffins are about 220 cm in length.8 The surviving part of Scene A is 170 cm long; the length of the missing section should be about 50 cm, more than one fifth of the original composition. It is reasonable to assume that certain other images adorned this section, and that we may derive an idea about the missing pictures from the Neijiang carving. The images in the Leshan carving (Fig.4; hereafter, Scene D) are especially obscure because they were carved in an exposed place in a cave-tomb and suffered severely from the elements. The compo- sition of this carving is identical with that of Scene B from Xinjing. The woman, in this case, is depicted as leaning forward from the cave and stretching her arms towards either the men or the ape. The latter has been struck to the ground. Turning its head back and crying, the animal seems reluctant to lose its life and mountain home. The master, wearing a tall headdress, adopts a fencing gesture similar to the image in Scene B. His follower, however, is represented rather grotesquely, with a huge head and body. Clearly, these four scenes share a single motif: an ape abducts a woman and is then pursued and killed by two men. The artists of these works, however, chose different episodes of the narrative to represent the central motif. Slab A focuses on the woman's kidnap- ping by the ape and the men's pursuit; Slab C, in addition to the part represented in Scene A, shows the ape's mountain home in which it keeps its concubines (?); Scenes B and D, on the other hand, depict the killing scene after the animal has settled the captive woman in its mountain cave. In fact, these pictorial scenes represent different stages of a narrative plot, which we will understand better from the following discussion about their literary reference. It is noteworthy that these carvings were clearly made by different hands; Fig.4, Scene D (reprinted from R. Rudolph (1951), pl.14) 91 each exhibits markedly distinct stylistic and technical features. Yet, they possess a very similar pictorial format. Considering that Han pictorial scenes on bas-reliefs were often copied from copybooks,9 it is possible that these carvings share a common source. This source, in turn, might contain more than one illustration of the whole nar- rative. To my knowledge, this is the earliest evidence which may suggest the existence of such "picture-stories" during the Han. Two passages related to these "ape tale" carvings can be found in texts dating from the first to fourth centuries A.D. The first is from the YinLin (Jbft, Forest of the Changes), a first century com- mentary of the Changes. Under bo in the section "Kun" 1:$ are the lines: A great ape from the southern mountains Robbed me of my beloved wife. For fear, I dared not chase him. I could but retire, to dwell alone.lo The second reference appears in both Zhang Hua's Bo Wu zhi ic, Encyclopedic Records of Things, c.290) and the Sou Shen Ji Records of Spirits, c.340), a collection of marvels . ascribed to Gan Bao TW: In the high mountains of southwestern Shu there is an animal resembling the monkey. It is seven feet in height, it can imitate the ways of human beings and is able to run fast in pursuit of them. It is named Jia-guo ?jgQ or Ma-hua some call it Jue It watches out for young women travelling on the road and 92 seizes and bears them away without anyone being aware of it.
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