The God of Fortune -【FanLi】

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During his life, Fan Li was a politician, military strategist, economist, and Taoist scholar of the late Spring and Autumn Period. After his native kingdom of Yue declined into vassal statehood, he assisted King Gou Jian in a military struggle to regain independence. Following this ordeal, he retired into anonymity, and, for his own safety, began traveling widely under an alias. 

 

 

During his self-imposed exile, he had such a talent for business that not once, or twice, but thrice he gained tremendous wealth. But each time the prominence and fame attendant upon that wealth motivated him to dissolve it and relocate, beginning again with nothing. He finally settled in Taoqiu (Pottery Hill) in the then-extant Kingdom of Song. He fired pottery of the local terracotta, and named himself Taozhugong (陶 - pottery; 朱 – terracotta; 公 - mister or lord). Despite his efforts to maintain anonymity, he became renowned among the people, who praised him with a popular saying: “For his loyalty and honor he begets the country / By his wisdom and knowledge he begets virtue / Through his acumen he begets wealth / In his accomplishments he is renowned by all under heaven”. 

 

 

This painting of Fan Li differs from more typical depictions of the figure known as the “God of Wealth”, in which these figures are usually shown bearing either a pen or a blade. His garb is that of a general. This, coupled with the poise of his bearing, reflects the great martial prowess and tactical brilliance which he employed during Yue’s military conflicts. The black tiger accompanying him on one side is usually seen in the traditional “God of Wealth” images. The woman patterned on his clothing is Xishi, foremost of the four legendary beauties of Chinese history. She aided Fan Li in the struggle for independence, and afterward left with him to wander the world together. The happy little fairies depict the scattering of Fan Li’s wealth, as they joyfully pour out his stores of rice and salt for the needy.

 

 

The painting reflects the essence of Fan Li through his stance and attire, as well as depicting his multifaceted talents and legendary experience in the detail work. The black, white, and red color are intended to evoke the style and feeling of traditional imagery associated with Chinese New Year.

Today, I fear that the traditions, customs, and cultural practices that disseminate knowledge of these awe-inspiring spirits is dying out. It is my fervent desire to faithfully depict the ancient gods and mythic figures in a contemporary aesthetic style to further ensure the immortality of these ancient deities. I hope to fill viewers of my art with spiritual awareness and insight: 

 

“Visions of humanity divine, 

With each brushstroke, 

Inspiration to illumine.”