The "Yi Tuan He Qi Tu" (一团和气图), literally translated as "The Chart of Universal Harmony," is one of the most culturally significant paintings in Chinese history. Created in 1465 (the first year of the Chenghua reign) by Zhu Jianshen, known as Emperor Xianzong of the Ming Dynasty, this work is not merely a piece of art but a profound political and philosophical manifesto.
At first glance, the painting appears to depict a single, rotund, smiling man sitting cross-legged. However, upon closer inspection, the viewer discovers an ingenious optical illusion. The figure is actually composed of three distinct individuals huddled in a tight embrace:
- A Buddhist Monk (representing Chan Buddhism) on the left.
- A Taoist Priest (wearing a traditional topknot) on the right.
- A Confucian Scholar (wearing a square headcloth) in the center, whose hands rest on the shoulders of the other two.
The three figures share a single circular outline, symbolizing unity, wholeness, and perfection. The fluid brushwork and the circular composition emphasize the concept that despite different paths, they belong to one harmonious entity.
The core theme of the painting is "San Jiao He Yi" (三教合一), or the "Three Teachings Harmonious as One." During the Ming Dynasty, there were often intellectual and political frictions between Confucianism, Buddhism, and Taoism.
By depicting these three figures in such an intimate and inseparable manner, Emperor Zhu Jianshen advocated for religious tolerance and intellectual synthesis. He believed that the integration of these three pillars of Chinese thought was essential for the stability of the state and the moral cultivation of the people.
Zhu Jianshen ascended the throne during a period of internal political strife and social unrest following the "Tumu Crisis." The emperor used this painting to send a clear message to his officials and subjects: the need for reconciliation and solidarity.
The accompanying "Ode to Yi Tuan He Qi" written by the Emperor himself explains that harmony is the root of all things. By promoting peace and cordiality (Heqi), he sought to move away from the factionalism that plagued the imperial court, aiming for a prosperous and unified empire.
The painting is executed with meticulous detail yet maintains a sense of playfulness and warmth. The facial expressions are characterized by benevolence and joy, breaking away from the stiff formality often associated with imperial art.
The spherical shape of the collective figures is a deliberate metaphor for the cosmos and the Tao. In Chinese culture, "Roundness" (Yuan) often signifies fulfillment and harmony. This artwork eventually became a popular motif in Chinese folk art, symbolizing family unity and good fortune.
Today, "Yi Tuan He Qi Tu" is housed in the Palace Museum in Beijing. It remains a powerful symbol of the inclusive nature of Chinese civilization. It teaches that diversity does not have to lead to conflict; rather, through mutual respect and integration, different ideologies can coexist to create a stronger, more harmonious whole.