For the Love of Flowers – The 4 Loves

by Yik Han

Amongst the fine tomb sculpture found in Bukit Brown are depictions of men in the company of flowers. Lest one gets the wrong impression, these are actually based on four historical personalities from ancient China. Collectively, the carvings form a set known as the “4 Loves”.

The peony (牡丹) is known as the king of flowers not without good reason. During the reign of Emperor Xuanzhong (唐玄宗), the Tang Dynasty was at the height of its power. The opulence of the Tang capital, Changan, was known far and wide and the residents lived a lavish life of luxury. The Emperor was a lover of the peony and his palace was filled with breeds from all over the empire. His fondness for the flower was only surpassed by his affection for his favourite consort. At a palace banquet to celebrate the full bloom of the peonies, the Emperor called upon the poet Li Bai to compose a poem fit for the occasion. The intrepid Li Bai readily came up with a verse which likened the beauty of the flower to that of the Lady. This lady, who was to inspire poems through the ages, was none other than Royal Concubine Yang (杨贵妃), one of the four classical beauties of ancient China. She was to meet an ignominious end when disgruntled generals demanded that she be put to death. Till today, the vivacious peony retains its traditional association with wealth and prosperity.

The Emperor is easily recognized by his stately robes, and his palace attendants hover near as he admires his beloved peonies. (photo Yik Han)

In contrast with the celebration of the material life during the Tang, learned men of the Song Dynasty advocated the cultivation of the inner spirit. A weak and corrupt administration coupled with reverses against foes abroad led to many shunning officialdom, preferring instead the life of a recluse to uphold one’s principles and dignity. The favoured flower of this period was the plum blossom (梅). Its delicate feminine beauty belied the indomitable spirit attributed to it as it blooms during the harsh winter months. The story of Lin Bu (林逋) and his beloved plum blossoms epitomised this trend. Lin, who lived a simple and quiet life during the Song Dynasty (960-1279), was interested in neither fame nor riches. A bachelor all his life, he indulged himself in cultivating plum trees and rearing cranes to such an extent that his contemporaries said that “the plum tree is as his wife and the cranes his children”. The plum blossom’s stoic beauty saw its adoption as the national flower of the Republic of China (ROC) in 1928.

The delicate petals of the plum blossoms bring quiet joy to Lin Bu.(photo Yik Han)

Unlike the plum blossom with its lofty attributes, the chrysanthemum is a much simpler creature which represents the carefree life. Tao Yuanming (陶渊明) was a Song Dynasty poet who chose to stay aloof from court intrigues and retired to spend his days with his beloved chrysanthemum flowers. The state of mind which transcends all cares has been captured in his own verse.

Tao Yuanming in his humble garb tending to his chrysanthemums, easily recognisable by their many petals.(photo Yik Han)

采菊东篱下    悠然见南山
“While picking asters ‘neath the Eastern fence
My gaze upon the Southern mountain rests”
(Translation by Yang Xianyi and Gladys Taylor)

The last of the quartet, the  lotus is known for its association with the Song philosopher Zhou Dunyi’s (周敦颐). The “Ode to the Lotus”, arguably his most popular verse, explains his preference for the lotus above all other flowers.

自李唐來，世人甚爱牡丹。予独爱莲之出于泥而不染，濯清涟而不妖 。
“Since the Tang Dynasty, many love the peony. My fondness is solely for the lily as it stays pure even though it grows in mud. After cleansing with water, it does not become bewitching.”

The lotus flower has often been taken as an allegory of how a gentleman should behave, abiding by his principles while navigating the treacherous paths of the world.

Zhou Dunyi’s lotus grows in a container rather than a pond,(photo Yik Han)

The flowers look more stylistic than natural in how they are depicted.(photo Yik Han)

In Bukit Brown, carved panels depicting the “4 Loves” can be found on the shoulders (the stone slabs adjoining the tombstone) of tombs from the 1920s and 30s. Usually, only two of the flowers are depicted; only where there are double tombs with four tomb shoulders to utilise will the full set be present. One of these rare examples is the double tomb of Tok Cheng Tuan and his wife which is due to make way for the new highway.

“Plum blossom” at Tok Cheng Tuan’s tomb.(photo Yik Han)

” Chrysanthemun” at Tok Cheng Tuan’s tomb.(photo Yik Han)

“Peony” at Tok Cheng Tuan’s tomb.(photo Yik Han)

“Lotus” at Tok Cheng Tuan’s tomb.(photo Yik Han)

The four flowers have an additional association with the seasons as they are supposed to bloom at different times: lotus (summer ), peony (spring), chrysanthemum (autumn), plum (winter). This is thematically similar to the grouping “Four Friends of the Seasons”, a favoured theme for objects adorning the study and implements of the literati, in which the bamboo is substituted for the peony. In addition, a variant of the “4 Loves” encountered in traditional Chinese art uses the association of the poet Su Dongpo with ink stones or geese. This variant has yet to be encountered in Bukit Brown.