Chapter 32: Talisman (Part 2)
Man Jun, how is it that you have vermilion at home?"
Upon hearing Man Jun's words, Fang Yi was momentarily taken aback. To him, such items were typically rare, often unattainable even by masters, making it surprising that Man Jun's family possessed some.
Vermilion, also known as cinnabar or dan sha, is recognized in traditional Chinese medicine for its sedative, hypnotic, detoxifying, and preservative properties. Externally, it can inhibit or eliminate skin bacteria and parasites, making it a commonly used medicinal ingredient in ancient prescriptions.
However, vermilion is also referred to as mercuric sulfide, containing mercury. When ingested, it primarily accumulates in the liver and kidneys, potentially causing damage to these organs and even crossing the blood-brain barrier to harm the central nervous system. Consequently, its application in modern medicine has diminished significantly.
While the aforementioned describes vermilion's medical uses, its prominence in Taoism is undeniable.
Historically referred to as "dan," after the Eastern Han dynasty, the pursuit of elixirs for immortality led to the rise of alchemy, prompting the Chinese to employ chemical methods to produce vermilion, commonly known as alchemical refinement. It is widely believed that the infamous Emperor Jiajing of the Ming dynasty, Zhu Houzong, likely met his demise due to consuming such vermilion elixirs.
Moreover, vermilion possesses the unique characteristic of maintaining its vibrant color over time, which led to its use as a pigment in ancient times. The phrase "to paint with vermilion on oracle bones" refers to grinding vermilion into a fine red powder and applying it to the engraved marks on oracle bones for emphasis.
Subsequent emperors continued this practice, using the red powder derived from cinnabar to create red ink for official documents, giving rise to the term "red seal." However, in modern times, due to the advent of various chemical alternatives, vermilion has gradually faded from public consciousness.
"Hehe, you should consider what your Man Jun does for a living!"
During their time at the hospital, Man Jun noticed Professor Sun Lianda's keen interest in Fang Yi, prompting him to test Fang Yi's knowledge. With a smile, he said, "I am in the antique business, Fang Yi. Do you know the connection between antiques and vermilion?"
"The connection between vermilion and antiques?" Fang Yi furrowed his brow at first, but soon relaxed, responding, "Man Jun, you must be referring to the term 'danqing'?"
"Hmm? Little Fang, not bad at all..."
Upon hearing Fang Yi articulate the relationship between vermilion and paintings, Man Jun couldn't help but give a thumbs up. This was knowledge that even many within the antique trade might not grasp.
"What are you two talking about?" The chubby boy and San Pao looked on in confusion, perceiving Fang Yi's words as akin to a riddle.
"Allow me to clarify..."
Noticing their bewilderment, Man Jun felt a sense of pride in his role as a teacher. He explained, "In ancient times, 'danqing' referred to paintings, where 'dan' signifies vermilion, and 'qing' refers to a type of blue mineral. Together, they form the term 'danqing'..."
Due to the striking and vibrant hue of vermilion, it became a favored choice among artists. Ancient paintings were collectively referred to as "danqing," where "dan" specifically indicated vermilion. The essential component known as "eight-treasure ink" in traditional painting also primarily consists of vermilion.
Though Man Jun initially did not know the meanings of these terms, he was an eager learner. After entering the antique trade, he sought to expand his knowledge and even enrolled as an auditing student at the Jinling Academy of Fine Arts, where he learned about the significance of "danqing."
"Fang Yi, what do you think of this piece of vermilion?"
After his explanation, Man Jun unlocked the door to a room on the first floor, retrieving a wooden box. Upon opening it, he revealed a piece of vermilion carved into the shape of a pixiu, roughly the size of a baby's fist.
"Hmm? Who still carves such things from vermilion?" Fang Yi's eyes turned to Man Jun as he remarked, "Man Jun, this piece of vermilion is of excellent quality, and it's been sculpted into a figure. Grinding it into powder would be a bit of a waste, wouldn't it?"
"Little Fang, do you really regard vermilion as a treasure?"
Man Jun chuckled at Fang Yi's words, saying, "Aren't you all interested in the art of cultural relics? Let me tell you, vermilion ornaments are also a form of cultural artifact, and their price isn't particularly high. This pixiu was something I acquired previously; the material is worth less than the cost of its craftsmanship..."
As mentioned earlier, there is considerable overlap between antiques and cultural artifacts. Many items within the realm of antiques can be readily handled. Being an antique dealer, it was only natural for Man Jun to have items that fell into the category of cultural artifacts.
"Really?" Fang Yi asked, somewhat incredulous, as he had always believed vermilion to be a rather rare item.
"Of course it's true! If it were expensive, would I let you grind it into powder?"
Man Jun waved his hand dismissively, stating, "Once we tidy up the house, I'll take you to the Chaotian Palace, and you'll see for yourself. Many vendors sell this stuff at street stalls, but be cautious—some are natural vermilion, while others are synthetic. Don't make any hasty purchases..."
Vermilion is a crystalline mineral extracted from several provinces in China, such as Hunan, Guizhou, and Sichuan. However, natural crystalline vermilion is often small in size, leading merchants to compress and synthesize vermilion powder into ornaments for sale. The price of synthetic items is significantly lower than that of natural ones.
The piece that Man Jun presented was also synthetic. If it had been genuine crystalline vermilion, a small pixiu of that size would cost no less than ten thousand yuan. Even if Man Jun were generous, he would never part with such a valuable item.
"Don't worry, Little Fang. Use it boldly; if we run out, I'll buy more..." Man Jun reassured Fang Yi, implying that while he may not have an endless supply, he could easily procure more with a quick trip to the market.
"Alright, let's grind it into powder then..." Upon hearing Man Jun's words, Fang Yi realized that this item must be relatively common nowadays. Perhaps it was his master's prolonged stay in the mountains that had limited access to such resources.
Grinding vermilion into powder was a simple task. The group moved to the courtyard where Man Jun found a small hammer. In no time, he smashed the pixiu into a fine powder. Within ten minutes, the piece of vermilion had transformed into a heap of powder.
As for the brush and talisman paper, they were readily available. Fang Yi cut the paper to size with a paper cutter, completing the preliminary preparations.
"Fang Yi, use this inkstone to mix the vermilion..."
Man Jun produced an inkstone from somewhere. While he might not have many items in his room, he certainly had the four treasures of the study. A few years ago, when the production of Xuan paper was high and prices low, Man Jun had stockpiled a considerable amount. With the recent price surge, he sold it to art students at the academy, making a tidy profit.
"No need for that, Man Jun; a simple broken bowl will suffice..."
Seeing the inkstone, Fang Yi shook his head. Although vermilion is also referred to as red ink, it is notoriously difficult to clean. If he used the inkstone, it would be rendered unusable for black ink in the future, which would be a pity.
"Alright then, just wait a moment..." Man Jun nodded and dashed to the courtyard, returning shortly with a broken bowl. He explained, "This was previously a dog bowl; I've cleaned it up a bit. Do you think it will work?"
"Yes, I can handle the mixing..."
Fang Yi nodded, placing the vermilion inside the bowl. He added some water and stirred it with the chopsticks Man Jun handed him. When the consistency of the vermilion matched that of ink, he ceased his efforts, having prepared the vermilion for the talismans.
"Well then, Fang Yi, are we starting now?"
Man Jun watched eagerly as Fang Yi finished preparing the vermilion, a hint of nervousness crossing his face. For ordinary people, the act of drawing talismans is shrouded in mystery, and Man Jun was naturally curious to witness it. At that moment, he did not even consider whether the talismans would be effective.
"Man Jun, please maintain silence; I haven't made talismans in quite some time. If I'm interrupted, I'll have to start over..." Fang Yi nodded but did not immediately begin. Instead, he placed the brush back down, sitting at the table and taking a deep breath.
Talismans are quite common in Taoism and serve various purposes—from healing ailments to exorcising evil spirits and averting disasters. In rural areas, during festivals, people would not only hang up festive paintings but often also display a talisman in their homes.
In addition, Taoist priests conducting rituals would rely heavily on talismans, either inscribing them on documents to appeal to celestial deities or using them to summon spirits to vanquish demons. Throughout the ritual space, various talismans would be displayed and hung.
However, in this modern age of scientific advancement, instances of encountering talismans in urban areas have become exceedingly rare. Furthermore, even in temples, priests capable of crafting talismans are few and far between. Many who claim to sell talismans often offer mere printed replicas.
In contrast, the talismans crafted by Fang Yi are fundamentally different from the ordinary ones. Within the Taoist community, the talismans he creates are known as "dao talismans," imbued with genuine spiritual power capable of warding off malevolence.
While some priests in temples can still draw talismans, those differ significantly from Fang Yi's work. The methodology itself is distinct; Fang Yi's talismans require the infusion of the Taoist energy he has cultivated. Only in this way can the talismans possess extraordinary effects beyond ordinary comprehension.
As stated in Taoist texts, "Talismans lack a fixed form; they derive their spirit from energy." When Fang Yi crafts a talisman, he must first circulate his energy to infuse it with spiritual essence.
Foreign scientists have previously studied qigong in China, and after extensive research, they concluded that qigong generates a magnetic field within the human body. Healing through qigong utilizes this magnetic field to treat ailments, yielding therapeutic results.
Fang Yi's approach, in modern terms, involves utilizing the magnetic field generated by one's cultivated energy to magnetize the ink and vermilion, creating a subtle magnetic field on the talisman. This process induces changes in the natural energies of the universe, allowing the talismans to fulfill their true purpose.
However, to employ this method of crafting talismans, one must first cultivate true energy, or internal energy. In today's world, where Buddhism and Taoism have waned, genuine practitioners are exceedingly rare, making talismans imbued with authentic spiritual power a rarity in the modern era.
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