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Attributed to Gu Hongzhong (顾闳中, 937 - 975), Five Dynasties Period (907 - 960)
Handscroll, 28.7 x 335.5 cm
Original in the Palace Museum in Beijing, China
Painting reproduction by Beijing Ji Ding Wen Hua Development Company, 2017

RJ: When I was researching references for my drawings, I struggled to find authentic representations of the Tang dynasty capital city. I hesitated to use The Night Revels of Han Xizai as a reference, as it’s such a famous painting—I worried that incorporating such well-known imagery might make my work seem unoriginal. However, looking back at my illustrations, I think it was a good choice. Using this famous painting allowed me to give readers a familiar visual cue at the beginning of the narrative. In speaking with a few visitors at the major project exhibition, I learned that they actually spent more time viewing my drawings because the first panel felt familiar, making them curious to recall where they had seen similar imagery before.

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RJ: Including the language of the original text is important, as it highlights cultural heritage and acknowledges the use of elements from an ancient culture. This approach allows people to gain a more authentic view of the narrative's original context. I believe it effectively conveys the aim of my project, as some visitors at the SPF approached me after noticing the traditional Chinese script.

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The first panel offers a glimpse into a night banquet at an official’s residence, revealing aspects of life in the Tang capital. This scene provides insight into the attire, interior design, and forms of entertainment enjoyed by the city's residents, capturing the elegance and cultural richness of the era. (Reference: Night Revels of Han Xizai)

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In Panel 2, the official’s entourage encounters a mysterious oil seller. When the oil seller refuses to yield, disregarding the official’s demand, one of the official’s followers strikes him, causing his head to fall off. Astonishingly, the headless body continues to flee, still riding the donkey.

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Following the donkey, the official enters a mansion. It is a dark night, with only a dim light shining through a window, hinting at the presence of the resident within. In the spacious courtyard, a large tree stands prominently. This elongated panel captures the elegance of traditional Chinese gardens and architecture. Outside the mansion walls, wild grass grows freely, contrasting the well-kept mansion with the untamed alley beyond.

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The final panel reveals the truth: a mushroom spirit had transformed into an oil seller, peddling suspiciously cheap oil (tree sap) to people in the neighborhood, with a toad as its donkey helper. They used brush pen caps as oil barrels to collect the liquid and transport it to the market. Those who consumed the dubious oil fell ill shortly after the revelation of the truth. 

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RJ: I find the concept of collective responsibility and the construction of a state-driven narrative fascinating, as it is reflected both in ancient eerie tales and in contemporary society. Before the truth is revealed, everyone who benefits from it appears to enjoy the advantages provided by state-run propaganda. But why do certain things seem so beneficial when their actual cost is so low? Do people never question their sources, which make them so accessible? Or are they simply part of a silent majority, either deeply invested in their own interests or unwilling to face the consequences of uncovering the truth? It’s intriguing to see how people can repeatedly fall for the same patterns.

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Materials: Procreate & Digital Print.

The project aims to uncover lesser-known ancient Chinese eerie stories, overshadowed by the prevailing atheist communist ideology in China. These tales offer insight into traditional culture and how ancient Chinese grappled with supernatural phenomena. By exploring such stories, I seek to revive cultural treasures and immerse readers in a historically authentic, dreamlike realm.

“In Xuanping Lane of the capital city, a government official was returning home one night and entered a winding alley. There, he encountered an oil seller wearing a large hat, driving a donkey carrying a barrel. The seller didn't yield the way, so a soldier clearing the path struck him, causing the oil seller's head to fall off with a single blow.

The headless body quickly ran into a large mansion. The astonished official followed and saw the headless figure vanish under a large locust tree. He immediately informed the household of what he had witnessed, and they began to dig around the tree. After digging several feet deep, they discovered that the tree's roots had withered, revealing a large toad the size of a plate. The toad was wearing two copper caps filled with tree sap. Nearby, they found a large white mushroom that resembled the nails on a palace door, though its blister-like covers had fallen off.

It turned out that the toad was actually the donkey, the caps were the oil barrels, and the mushroom was the oil seller. The locals had been buying his oil for over a month, puzzled by its unusually good quality and low price. Once the monster was exposed, those who had consumed the oil fell ill with vomiting and diarrhea.”

Selected Story from Youyang Zazu 酉陽雜俎,
a collection of fantastic stories compiled by the Tang period writer Duan Chengshi.

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RJ: It took me about two full days to produce these 10 copies using digital printing and saddle-stitch bookbinding. The process was somewhat repetitive; despite each cover requiring customization, the overall work felt more like manual labor. At times, I even questioned whether I was a content creator, an artist, or a production line worker. However, the advantage of making the books myself was the complete autonomy it allowed. I didn’t need to rely on external printing services (though I know they offer high-quality work). Instead, I could make the books at home, listening to podcasts while folding each sheet of paper. I also invested in more tools for the process, which made me feel more professional. Overall, I think I may have some anxiety about needing to control every step, but this process offered me a reassuring sense of oversight.

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RJ: Most audiences love seeing cute animals in illustrations—including myself. Looking back at what I typically spend on at book fairs, illustrator fairs, and art markets, I realise I’m most drawn to images of clueless, goofy, or cute animals. So this time, I intentionally incorporated animal imagery. From a curious-looking toad to a dedication page featuring my two cats, to a random doodle of a sad rat making zero sales at the SPF, I noticed how much my audience appreciates these creatures. Perhaps we humans are naturally more empathetic toward these little beings than toward each other.

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RJ: It was great to work within a collaborative team where everyone was focused on a shared goal. One thing I would handle differently next time would be ensuring we have multiple options for monetary transactions. This time, we couldn’t use a POS machine because we hadn’t finalized the details for opening a business PayPal account, so we relied mainly on cash and bank transfers. We might have made more sales if we had offered more payment options.

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RJ: Many of the other small publishers seemed to be a bit older, which might explain why they have more time to invest in these kinds of activities. As a result, our table looked especially cute among the others. We went for a maximalist aesthetic compared to some tables where fewer books were displayed. Initially, I sensed a bit of tension when some group members were concerned about whether their books were in accessible locations, but we resolved this by rotating our display. Overall, our team was fantastic—understanding, supportive, and responsible.