Either singly or in groups the Eight Immortals, Pa Hsien, of the Taoist religion are one of the most popular subjects of representation in China; their portraits are to be seen everywhere—on porcelain vases, teapots, teacups, fans, scrolls, embroidery, etc. Images of them are made in porcelain, earthenware, roots, wood, metals. The term ‘Eight Immortals’ is figuratively used for happiness. The number eight has become lucky in association with this tradition, and persons or things eight in number are graced accordingly. Thus we read of reverence shown to the ‘Eight Genii Table’ (Pa Hsien Cho), the ‘Eight Genii Bridge’ (Pa Hsien Ch’iao), ‘Eight Genii Vermicelli’ (Pa Hsien Mien), the ‘Eight Genii of the Wine-cup’ (Tin Chung Pa Hsien)—wine-bibbers of the T’ang dynasty celebrated by Tu Fu, the poet.

They are favourite subjects of romance, and special objects of adoration. In them we see “the embodiment of the ideas of perfect but imaginary happiness which possess the minds of the Chinese people. ” Three of them (Chung-li Ch’üan, Chang Kuo, and Lü Yen) were historical personages; the others are mentioned only in fables or romances. They represent all kinds of people—old, young, male, female, civil, military, rich, poor, afflicted, cultured, noble. They are also representative of early, middle, and later historical periods.

The legend of the Eight Immortals is certainly not older than the time of the Sung dynasty (A. D. 960–1280), and is probably to be assigned to that of the Yüan dynasty (1280–1368). But some, if not all, of the group seem to Page 289have been previously celebrated as Immortals in the Taoist legends. Their biographies are usually arranged in the order of their official eminence or seniority in age.

Here I follow that adopted in Hsiu hsiang Pa Hsien tung yu chi1 in which they are described in the order in which they became Immortals.