Flower Spectrum

Author: Xia Yongxue
Editor-in-Chief: Zheng Shaomin et al.
Publisher:
Publishing Date: 1999-01-01
Features:
Editor's Note: Preface to Writing Instructions
The Higher TCM Self-Assistance and Examination Preparation Series·Herbal Medicine is a study aid and examination preparation book compiled in accordance with the teaching syllabus of Herbal Medicine for higher TCM colleges in 1994, the unified teaching syllabus of Herbal Medicine for TCM colleges in 1983, and the self-study examination syllabus for TCM majors in higher education. It is also aligned with the examination syllabus for the Beijing Diploma Examination in Herbal Medicine (trial version). The book comprehensively incorporates the main content of the 1995 edition of the planned teaching material Herbal Medicine (hereinafter referred to as the "Sixth Edition"), the 1984 edition of the unified teaching material Herbal Medicine (hereinafter referred to as the "Fifth Edition"), and the 1990 edition of the Beijing TCM self-study examination material Herbal Medicine (hereinafter referred to as the "Self-Study Examination Material"). It is hoped that this book will provide helpful assistance to students in TCM colleges for learning and mastering herbal medicine knowledge, passing relevant examinations, and to practicing TCM professionals for passing professional qualification assessments and practicing physician examinations. It is also intended for readers who are interested in herbal medicine.
The book is divided into two parts: the self-study guidance section and the self-assessment and examination preparation section. An index of Chinese names for herbal medicines is provided at the end for easy reference. Additionally, considering that the Beijing Diploma Examination is at the college level and its syllabus differs significantly from the undergraduate syllabus, the full text of this syllabus is included at the end of the book for reference by students in private universities.
The self-study guidance section is generally written in the order of the chapters in the Sixth Edition. The general theory is presented first, followed by the specific theories, making a total of 28 chapters. Each chapter is divided into three parts: objectives and requirements, content summary, and a summary. The objectives and requirements for each chapter summarize the learning objectives and requirements from the aforementioned three syllabi and the diploma examination syllabus. The content is categorized into three levels of importance: understanding, familiarization, and mastery.
Under the general theory, "understanding" refers to memorizing a certain concept or basic knowledge; under the specific theories, it refers to memorizing the characteristics, functions, special dosage and usage, and precautions of a single herb. "Familiarization" under the general theory means memorizing a concept or basic knowledge and being able to provide examples; under the specific theories, it means memorizing the characteristics, functions, main indications, special dosage and usage, and precautions of a single herb. "Mastery" under both the general theory and the specific theories means memorizing a basic concept or knowledge and being able to explain it using TCM theory; under the specific theories, it means systematically memorizing the characteristics, functions, main indications, common basic compatibility, special dosage and usage, precautions, and varieties of a single herb, and being able to explain its mechanism of action using basic TCM theory.
Additionally, in the teaching syllabus of the Sixth Edition, each chapter of the specific theories includes a reference section for other herbs, which is now included under the "understanding" category and no longer listed separately.
The content summary of each chapter is concisely written to cover the relevant chapters from the Sixth Edition, Fifth Edition, and Self-Study Examination Material. The general theory consists of 7 chapters, briefly introducing the history of TCM development and basic TCM theories, with specific writing styles adapted to the content of each chapter. The specific theories include 520 herbs (including 76 supplementary herbs) and are organized into 22 chapters based on their primary functions. Each chapter has a preface and introductions to single herbs. The preface is written in the order of meaning, characteristics, classification, usage methods, and precautions. For chapters that are not divided into sections, if classification is possible, the "classification and characteristics" section is included; otherwise, it is omitted. For chapters that are already divided into sections, only the characteristics of each section's herbs are discussed in the "classification and characteristics" section, and no additional introduction is provided before each single herb.
The overview of each single herb is written in the order of origin, characteristics, functions, main indications, common basic compatibility, dosage and usage, precautions, and supplementary herbs. According to the requirements of the major syllabi, the writing principles for each section of a single herb are as follows:
① Origin: Only the Chinese botanical family name is listed. For herbs with complex varieties, only the main variety is generally listed. If the syllabus explicitly requires understanding the variety origin, the main variety is listed first in the text, with notes on other varieties appended, briefly describing their differences in characteristics and main indications from the main variety.
② Characteristics: Concise and clear.
③ Functions and Main Indications: The discussion should be accurate, well-organized, and clear, and should correspond to the characteristics. Main indications are generally given as disease or syndrome names.
Fragment:
For example, Yuan Zhen's poem Chrysanthemums writes:
"Autumn clusters encircle the house like Tao's home,
Winding the fence, the sun sets each day.
Not favoring chrysanthemums among flowers,
This flower blooms when others fade."
Zheng Gu's poem Chrysanthemums writes:
"O noble ones, do not compare to the weed,
On the ninth day, branches near the temples.
Dew dampens the autumn fragrance along the shore,
Since ancient times, it does not envy the height of the tile grass."
For example:
"Even when lotuses are gone, there is no shelter from rain,
Chrysanthemums still stand proud against frost." (Su Dongpo)
"Morning chill on yellow chrysanthemum branches,
Never let the wine cup be empty in life." (Huang Tingjian)
"Evening wind and rain beat the garden,
Withered chrysanthemums scatter gold on the ground." (Wang Anshi)
"Rolling western wind, people thinner than yellow chrysanthemums." (Li Qingzhao)
"Children say the master is drunk,
Picking yellow chrysanthemums to adorn their heads." (Lu You)
These are immortal verses praising chrysanthemums.
After the Yuan Dynasty, chrysanthemums were ranked alongside bamboo, orchids, and plum blossoms as the "Four Gentlemen." Chrysanthemums were regarded as symbols of noble character—resisting cold winds, enduring frost, and facing hardships without fear. Their presence in literature is countless. The image of chrysanthemums appears in the works of painters through the ages, a frequent subject.
Bird-and-flower painting, after breaking free from being mere backgrounds or embellishments in portraits during the Tang Dynasty, became a distinct genre with some painters dedicating themselves solely to this theme, forming the independent art form of "bird-and-flower painting." Through the efforts of painters across generations, techniques and composition reached perfection, reaching a historical peak in the Song and Yuan dynasties, becoming a unique and brilliant gem in Chinese painting that focuses on bird-and-flower themes. Chrysanthemums, a beloved flower, were widely depicted by painters throughout history, becoming a staple subject.
In the history of Chinese art, no bird-and-flower painter has omitted chrysanthemums from their works, making them a recurring theme. Especially from the Ming and Qing dynasties to modern times, master painters left behind numerous works featuring chrysanthemums, such as Shen Zhou's Potted Chrysanthemums Appreciation Scroll, Xu Lin's Chrysanthemum and Stone Rabbit Scroll, Lü Ji's Osmanthus and Chrysanthemum with Mountain Birds Scroll, Wang Guxiang's of the Four Gentlemen, Xu Wei's Ink Flower Scroll, Sun Kehong's Vase with Chrysanthemums Scroll, Mi Wanzhong's Bamboo and Chrysanthemum Scroll, Zhang Feng's Smelling Chrysanthemums, Zhu Da's Vase with Chrysanthemums Scroll, Shi Tao's Art of Chrysanthemums Scroll, and Xun Shouping's Floral Album, among others, too numerous to list.
The eight masters of Yangzhou, slightly later than the aforementioned painters—Wang Shishen, Li Chan, Huang Shen, Jin Nong, Gao Xiang, Zheng Xie, and Li Fangying—as well as the late Qing masters—Ren Xiong, Ren Xun, Ren Yu, Ren Yi, Zhao Ziqian, Xu Gu—were all renowned for their masterpieces of chrysanthemum painting, leaving behind rare artistic treasures. However, most of their surviving works are in freehand style, with very few brush-and-ink chrysanthemums.
The book presents white-line drawings of chrysanthemums to its readers. Since white-line drawing and sketching are the foundation for creating brush-and-ink paintings, understanding the subject is essential for good sketches. Over thousands of years of cultivation by the working people of China, the varieties of chrysanthemums have evolved significantly. Especially in the nearly 50 years since the liberation, with the dedicated efforts of scientists and horticulturists, new varieties have continuously emerged. Today, there are thousands of chrysanthemum varieties.
During late autumn, chrysanthemums in graceful forms and vibrant colors can be seen everywhere on the streets and in the alleys, beautifying people's living environments. Gardeners in parks also present their achievements by holding chrysanthemum exhibitions, providing endless inspiration for artists to create.