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Old Man of the South Pole
Old Man of the South Pole
Old Man of the South Pole
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Old Man of the South Pole
An ivory carving of Shou Xing from the Ming period
Traditional Chinese南極老人
Simplified Chinese南极老人
Literal meaningOld Man of the South Pole
Transcriptions
Standard Mandarin
Hanyu Pinyinnánjí lǎorén

The Old Man of the South Pole (Chinese & Japanese: 南極老人), also called the Old Immortal of the South Pole (Chinese: 南極仙翁), Xian of Longevity (Chinese: 壽仙), or Star of Longevity (壽星; shòuxīng), is the Taoist deification of Canopus, the brightest star of the constellation Carina. He is typically portrayed with long white hair and beard, a protruding forehead and a healthy pink complexion. His right hand often holds a peach and left hand a walking staff with a calabash gourd, which is said to contain the elixir of life. He can also be portrayed as riding a crane or a deer, often accompanied by disciples.[1]

He is one of the symbols of happiness and longevity in Far Eastern culture.

Description

[edit]
Shoulao (壽老), painting by Zhang Lu (1464–1538)

The Old Man of the South Pole is often depicted in Chinese pictures as an old man with a long white beard with a deer by his side. This style of picture is related to the story of an emperor of the Northern Song dynasty, who had invited such an old man from the street and later considered the old man as the sign of his longevity.[citation needed] In certain Chinese salvationist religions such as Yiguandao, he is responsible for the initiation of the Tao to the beings from the Deva realm.

In Chinese, the star Canopus is usually called the Star of the Old Man (老人星) or the Star of the Old Man of the South Pole (南極老人星). Since Carina is a Southern constellation, Canopus is rarely seen in Northern China and, if seen in good weather, looks reddish lying near the southern horizon. Because the color red is the symbol of happiness and longevity in China, Canopus is also known in China and the neighboring countries of Korea, Japan, and Vietnam as the Star of Old Age (壽星) or the Star of the Man of the Old Age (壽老人). In Japan, it became Jurōjin (壽老人), one of the Seven Gods of Fortune (七福神).

Legend

[edit]

According to legend, the Old Man of the South Pole was once a sickly boy named Zhao Yen who had been predicted to die when he was 19 years old. He was therefore advised to visit a certain field and to bring with him a jar of wine and dried meat. In that field, he would find two men intent on playing checkers under a tree. He should offer them wine and meat, but should avoid answering their questions. Zhao Yen followed the advice and when the two men had consumed the meat and the wine, they decided to thank him by exchanging the figures of his life expectancy from 19 to 91 years. Later he was told that one of the two men was the star of the North Pole, which fixes the date of birth of the men, and the other the star of the South Pole, which fixes the date of death.

In culture

[edit]

In the novel Investiture of the Gods, as the eldest disciple of Yuanshi Tianzun, the Old Man of the South Pole descended to help King Wu in his attack against the deity Yin. From the novel, his disciple is said to be Xianhe Tongzi, the "white crane boy" (白鶴童子).[2]

In Journey to the West, the Old Man of the South Pole's mount, a white deer, once escaped to the nether world to become a demon (or Yaoguai). It was later defeated by the monkey king Sun Wukong and taken back by the Old Man.

According to folklore legends, the white snake spirit Bai Suzhen once went to the cave of the Old Man of the South Pole to steal medicinal herbs.

The poet Du Fu has also made mention of the Old Man in his poem 《泊松滋江亭》: "今宵南極外，甘作老人星".

See also

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Wikimedia Commons has media related to Old Man of the South Pole.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Old Man of the South Pole

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from Grokipedia
The Old Man of the , known as Nanji Laoren (南極老人) in Chinese, is a Taoist in who personifies and serves as the deification of , the brightest star in the southern constellation Carina. He is revered as Shouxing (壽星), the Star of , and forms one of the Sanxing (三星), a trio of stellar gods symbolizing prosperity (Fuxing), rank and wealth (Luxing), and extended life. Typically depicted as an elderly man with a prominent, protruding —said to result from a 10-year —long white hair and beard, a youthful complexion, and often holding a peach of or leaning on a staff topped with a fungus of , he rides a deer or crane, both emblems of enduring vitality. In ancient , Nanji Laoren's celestial origins trace to the (206 BCE–220 CE), where was venerated for heralding peace and stability when visible in the southern sky from autumn to early spring, evolving from a cosmic functionary into a benevolent immortal granting long life to the devout. His mythology emphasizes themes of and harmony with the , with legends recounting his birth under the star's influence and his role in bestowing blessings through rituals and offerings, particularly by the imperial court and common folk seeking health in old age. Though lacking dedicated temples, Shouxing's image permeates , festivals, and decorations as a symbol of auspicious endurance, influencing East Asian cultures including Japanese adaptations as .

Identity and Description

Names and Etymology

The primary name for the deity known as the Old Man of the in Chinese is Nánjí Lǎorén (南極老人), which directly translates to "Old Man of the ." This title is closely associated with Shòuxīng (壽星), or the "Star of Longevity," reflecting the figure's role as a of enduring life and celestial benevolence. Etymologically, "Nánjí" (南極) refers to the southern celestial pole, a key region in ancient Chinese astronomy symbolizing stability and the southern skies, while "Lǎorén" (老人) denotes an elderly sage or venerable elder, evoking wisdom and age. The name evolved from earlier astronomical designations for bright southern stars, such as those in the constellations Jue (角) and Kang (亢), which were observed for their auspicious appearances signaling peace and prosperity. This linguistic development is rooted in classical texts where stellar observations merged with mythological interpretations, transforming astronomical terms into deified titles. Alternative names include Nánjí Xiānwēng (南極仙翁), meaning "Immortal Elder of the South Pole," emphasizing the divine aspect in Daoist contexts. In English and other Western languages, the figure is commonly transliterated as "Old Man of the South Pole," while regional variants appear in Korean as Nanguk Noin (남극노인) and Japanese as Nankyoku Rōjin (南極老人), preserving the core meaning across East Asian cultures. The earliest historical references to Nánjí Lǎorén and Shòuxīng as a deified star appear in (206 BCE–220 CE) astronomical records, particularly in the Shǐjì (史記, Records of the Grand Historian) compiled by around 149–90 BCE, where the star is noted for its influence on human affairs and longevity. These mentions mark the transition from purely observational to anthropomorphic worship, with subsequent texts building on this foundation during the late Han period.

Physical Appearance and Attributes

The Old Man of the South Pole, known as Shouxing or Nánjí Xiānwēng, is typically depicted as an elderly figure with a bald head, long flowing white beard, and a high, protruding marked by three distinctive wrinkles symbolizing profound and an age of over a thousand years. His complexion is often rendered as healthy and ruddy, conveying vitality and enduring life force despite advanced age. This portrayal emphasizes his role as a stellar embodying , with the forehead's prominence and wrinkles serving as iconic markers of timeless knowledge and in Daoist . In traditional representations, Shouxing holds a large peach in one hand, a direct symbol of immortality drawn from the mythology of the Queen Mother of the West (Xiwangmu), whose celestial peaches grant eternal life when ripened every three thousand years. He may also grasp a crooked staff for support, signifying his venerable status, or a ruyi scepter denoting auspicious fulfillment and power over fate. Frequently accompanying him are a child, representing fertility and the continuation of life, or auspicious animals such as a crane or deer, both emblematic of extended lifespan in Daoist symbolism—the crane as a mount for immortals and the deer as a bearer of longevity elixirs. Shouxing's attire consists of loose, flowing Daoist robes, often in earthy or celestial hues, underscoring his ascetic pursuit of transcendence and with the . He is commonly shown or in simple , reinforcing themes of and detachment from worldly concerns in his immortal existence. These elements collectively highlight his attributes as a benevolent overseer of lifespans, blending physical frailty with vigor to inspire for prolonged, prosperous life.

Astronomical Origins

Association with Canopus

In , (Alpha Carinae) is identified as the primary "South Pole Star," cataloged as the Old Man Star (Lǎorénxīng, 老人星) or the Old Man of the (Nánjí Lǎorén, 南极老人). This identification positions as a symbolic southern counterpart to northern circumpolar stars, reflecting its role in traditional celestial mapping despite not being the true celestial . Historical records first note in texts from the (475–221 BCE), where it is described as a prominent southern star visible low on the horizon in southern , particularly during winter months, serving as a guide for seasonal and directional orientation. By the , the Shiji (Records of the Grand Historian) draws on these earlier sources to reference its significance as the southern counterpart to Sirius. With an of -0.74 making it the second-brightest star in the night sky and a of approximately -52°, appeared marginally visible from southern latitudes of ancient , aiding mariners in navigation across the by providing a fixed southern reference point when combined with other stars. The deification of as an anthropomorphic figure embodying longevity originated in the , with further integration into Daoist cosmological frameworks like the Lingbao scriptures during the (618–907 CE), where it was elevated as the "South Pole Elder" (). This anthropomorphization built on earlier Han-era associations but formalized in Tang esoteric practices, linking stellar observation to Daoist and soul refinement doctrines centered on southern celestial fire elements.

Visibility and Symbolic Role in Ancient Astronomy

Canopus, identified in ancient as the Old Man of the South Pole (Nanji Laoren), is observable from southern , including locations like at approximately 23°N latitude, where it appears very low on the southern horizon at a maximum altitude of about 14°. Its of -52.7° limits visibility to regions south of 37°N, rendering it invisible from central and northern . The star's seasonal visibility aligns with the period from the autumn equinox (around September) to early spring (March or April), when it rises shortly after sunset during evening hours and remains above the horizon for several hours before setting, due to the winter tilt of Earth's axis bringing southern skies into view. This pattern, hugging the horizon without significant altitude changes, contributed to its role in marking seasonal transitions in ancient agricultural calendars, signaling the onset of cooler weather and preparation for planting. Symbolically, the Old Man of the embodied stability and eternity, attributed to its seemingly steady, low path that mimicked near-circumpolar behavior from mid-northern latitudes, evoking an unchanging southern anchor in the . In Chinese directional cosmology, it represented the yin pole, counterbalancing the yang northern pole star , which governed imperial authority and motion; this duality influenced alignments for harmony between earthly and celestial forces, as well as imperial observatories' emphasis on southern equilibrium for state longevity. Ancient almanacs integrated the star's phases for prognostic purposes, consulting its visibility to forecast personal and select auspicious dates for rituals or life events, viewing its reddish hue and southern position as omens of enduring life force in contrast to Polaris's dynamic yang oversight of time and seasons. References to the Old Man appear in the (c. 139 BCE), a foundational cosmological text that describes southern constellations like Laoren as veiled or hidden extensions of the celestial order, underscoring their esoteric significance beyond direct observation. By the (960–1279 CE), advanced star maps, including Su Song's 1092 south polar projection in Xinyi Xiangfayao, explicitly charted as Nanji Laoren, enhancing precision in mapping the southern skies and integrating it into systematic astronomical records.

Role in Chinese Mythology

Deification as God of Longevity

In Daoist mythology, the Old Man of the South Pole, known as Nanji Laoren, underwent deification as the god of longevity through a transformation from a stellar spirit associated with the southern celestial pole to an immortal sage embodying eternal life. This process originated in ancient Chinese cosmology, where the star's position in the southern heavens symbolized vitality and endurance, evolving into a divine figure who grants extended lifespan to devotees. Worship of Nanji Laoren dates to the Han dynasty (206 BCE–220 CE), with shrines established near Chang'an, and his deification as a patron of immortality became prominent in medieval Daoism, particularly through the Lingbao scriptures of the Six Dynasties period (220–589 CE). He resides in the Great One Palace within the southern celestial realm. Key attributes in the lore include his role as protector of elders and those seeking prolonged life, often portrayed as a benevolent immortal who bestows blessings of health and vitality. These narratives, expanded in Six Dynasties Lingbao scriptures, highlight his evolution from a cosmic entity to a compassionate deity focused on averting premature death. Philosophically, Nanji Laoren embodies core Daoist ideals of harmony with the natural order and transcendence over mortality, achieved through practices like inner alchemy and fire-refining rituals that align the human form with cosmic energies. His deification underscores the Daoist view of longevity not as mere survival but as a harmonious return to the primordial Dao, where stellar influences foster spiritual immortality and balance between heaven and earth. This conceptual framework, rooted in early medieval Daoist texts, positions him as a symbol of enduring life force within the broader pantheon, including associations with the Sanxing deities of fortune, prosperity, and longevity.

Integration with the Sanxing Deities

The Sanxing, or Three Stars deities, comprise Fuxing (the god of fortune, associated with the planet Jupiter), Luxing (the god of prosperity and official rank, associated with the Wenchang Palace constellation), and Shouxing (the god of longevity, associated with the star Canopus). Shouxing, also known as the Old Man of the South Pole, completes this stellar trinity by embodying the essential virtue of extended life and health, forming a balanced trio that addresses the core aspirations of human existence in Chinese cosmology. This integration symbolizes a harmonious synthesis of Confucian and Daoist principles, where Shouxing's emphasis on longevity complements Fuxing's prosperity and Luxing's social achievement to represent an ideal life of material success, status, and enduring vitality. The deities are commonly venerated collectively in household altars and folk shrines, where their joint presence is believed to invoke comprehensive blessings for familial well-being and societal harmony. The concept of the Sanxing as an interconnected group traces back to Han dynasty (206 BCE–220 CE) celestial functionaries but gained widespread popularity during the Ming dynasty (1368–1644 CE), particularly through woodblock prints and temple iconography that portrayed them collaborating to bestow multifaceted aid upon humanity, such as granting intertwined boons of , career advancement, and prolonged health to the deserving. In these depictions, the deities often appear in mutual support, underscoring their role as a unified force in popular . Within the , Shouxing is characterized by his depiction as an old man with a focus on physical vitality, graceful aging, and protection against illness, which contrasts with Fuxing's domain of financial abundance and Luxing's governance of bureaucratic success and honor. This distinction highlights Shouxing's unique role in ensuring the necessary to fully realize the other two blessings.

Worship and Cultural Practices

Veneration in Taoism and Folk Religion

In Daoist , the Old Man of the South Pole, or Nanji Laoren, holds a prominent position within the celestial hierarchies of major sects, including Zhengyi and Quanzhen. As Shouxing, the stellar deity of , he is revered as a divine controller of human lifespan, often depicted in temple iconography as a key figure among the immortals. In Quanzhen establishments, such as Beijing's Baiyun Guan, Nanji Laoren Xingjun occupies a central axial position in ritual layouts, symbolizing cosmic order and eternal life. His features in rituals, where practitioners seek his blessings to extend life through meditative visualization and incantations. Furthermore, Nanji Laoren is integrated into early Daoist alchemical practices, particularly in texts like the Zhen'gao, where he manifests as the Elder of the South Pole to guide the refinement of essences for , linking stellar energies to internal transformation. Within Chinese folk religion, Nanji Laoren's veneration extends to domestic and communal practices, especially in southern regions like Fujian and Guangdong, where visibility of the associated star Canopus reinforces his cult. Households commonly feature small shrines or statues of Shouxing alongside the other Sanxing deities, serving as focal points for prayers aimed at elders' health and family prosperity. These devotions align with seasonal observances, such as offerings during Chinese New Year to invoke protection against illness and promote vitality among the aged. Dedicated temples to Nanji Laoren are uncommon, as his worship is typically embedded within broader Daoist complexes, though imperial patronage historically elevated his status for ensuring dynastic endurance. emperors, for instance, sponsored Daoist art and rituals featuring stellar deities like Nanji Laoren to symbolize perpetual rule and longevity. As a primarily male figure embodying wisdom and endurance, he is venerated across genders and social strata, with his cult reinforcing Confucian by encouraging devotion to parental well-being as a .

Rituals, Festivals, and Offerings

The veneration of the Old Man of the South Pole, known as Shou Lao or Nanji Laoren, centers on rituals that invoke and , particularly through his birthday celebrations on the first day of the fifth . Devotees perform ceremonies at home altars or temples, offering prayers for extended life and prosperity. These rituals often include lighting and red candles to symbolize vitality and auspiciousness, alongside vegetarian meals prepared without meat to align with Taoist principles of purity and harmony with nature. Historical records indicate that such practices were formalized in imperial contexts during the (1644–1912 CE), where court rituals on , termed wanshoujie (festival of 10,000-year longevity), incorporated invocations to Shou Lao for the sovereign's and the realm's stability. Offerings during these ceremonies emphasize symbols of enduring life, such as peaches representing from Taoist lore, ginseng roots for their medicinal properties in promoting vitality, and longevity noodles (changshou mian) to signify unbroken years of good fortune. These items are arranged on altars with care, avoiding like knives or , which are as they evoke the "cutting" of lifespan or relationships in Chinese cultural beliefs. Communal aspects extend to rural villages, where elders are honored through shared feasts integrating Shou Lao's blessings, fostering social bonds and respect for age. Festivals honoring Shou Lao often merge with broader celebrations of the Sanxing (Three Stars of Fortune, Prosperity, and ), where his role as the deity is highlighted in events like village gatherings for elders. These occasions feature processions, communal meals, and recitations of longevity blessings, reinforcing cultural values of and communal well-being without dedicated temples, as his worship is typically domestic or integrated into elder birthday observances.

Depictions and Representations

Iconography in Traditional Art

The iconography of the Old Man of the South Pole, known as Shoulao or Nanji Laoren, in traditional underwent a significant evolution beginning in the (1368–1644), transitioning from symbolic stellar diagrams in astronomical texts to fully anthropomorphic figures by the . Early representations linked the deity to the star, depicted abstractly as a celestial point governing human lifespan, as seen in Daoist cosmological illustrations. This shifted during the (1368–1644), when popular woodblock prints and paintings humanized him as an elderly sage, emphasizing his role in Taoist longevity cults and integrating him into everyday devotional art. Artistic styles featuring Shoulao became prevalent in ink paintings, porcelain figurines, and temple murals from the Ming era onward, often employing elongated proportions to underscore his venerable age and ethereal presence. In these media, he is characteristically portrayed with a prominent, bulging cranium symbolizing extended life, a flowing , and attributes like a gnarled staff or the , sometimes accompanied by a deer or crane for added symbolic depth. Porcelain examples from the Ming and Qing (1644–1911) dynasties, such as white-glazed figurines, highlight his serene, contemplative pose, while temple murals in Daoist sites use vibrant colors and dynamic compositions to integrate him into larger heavenly assemblies. Notable historical examples include ivory carvings, like a 16th-century piece in the collection, his exaggerated forehead and robed form capturing the deity's benevolent authority in fine, detailed relief. Similarly, triptychs and group paintings of the Sanxing (the Three Stars of Fu, Lu, and Shou) from the Ming period, often in silk or woodblock formats, position Shoulao as the central figure of amid his counterparts, as evidenced in Qing-era adaptations of Ming prototypes preserved in museum collections. These works, produced from the 14th to 17th centuries, illustrate the deity's standardization in popular prints, moving away from elite astronomical charts toward accessible, narrative-driven iconography for festivals and household altars.

Portrayals in Literature and Folklore

The Old Man of the South Pole, or Nanji Laoren, emerges in classical Chinese Daoist texts from the Han and Jin periods (c. 2nd–4th centuries CE), where he is identified as the "South Pole Great One" (Nanji Taiyi) in works such as the Laozi zhongjing and Baopu zi neipian. These references portray him as a celestial figure overseeing soul ascension, the recording of lifespans in heavenly registers, and the bestowal of immortality through ritual practices. In the Shangqing scriptural tradition of the 4th–5th centuries CE, the Zhen'gao elaborates on him as the "Elder of the ," associating him with the Immortal of the Great Void and the Red Pine Master at the Southern Marchmount, emphasizing his role in guiding practitioners toward transcendence and eternal life. By the period (220–589 CE), Lingbao scriptures like the Dongshen badi miaojing jing depict him as the "Supreme Lord of the " or "Venerated of the ," a who aids in internal through fire-refining techniques to refine the soul and achieve divine longevity. This textual evolution continued into the Tang and dynasties, where Nanji Laoren merged with Southern Dipper concepts in astronomical-Daoist compendia, solidifying his control over human destiny and lifespan allocation. In Ming-Qing novels and folklore compilations, such as the Nandou jing and Guangcheng yizhi, he appears as a benevolent overseer of fate, influencing narratives of moral reward and extended life. In the 16th-century novel , Nanji Laoren features as a minor immortal whose white deer mount escapes to the mortal realm and transforms into a ; he arrives to reclaim it, intervening to prevent Sun Wukong from slaying the creature and thus demonstrating his authority as a guardian of celestial harmony. This portrayal casts him as a wise, composed figure amid the chaos of trickster deities like the Monkey King, highlighting pantheon dynamics where his steady counsel tempers impulsive forces. Folklore tales often depict Nanji Laoren as a granter of longevity to the pious, underscoring themes of devotion yielding supernatural healing and eternal youth.

Influence Beyond China

Adaptations in Japanese Mythology

The Old Man of the South Pole, a Taoist deity from Chinese mythology, was introduced to Japan through cultural exchanges with Tang China during the Heian period (794–1185 CE) and later popularized as Jurōjin (寿老人) in the 17th century, when the figure became integrated into Japanese religious practices as one of the Shichifukujin, or Seven Lucky Gods. Jurōjin embodies longevity and reflects Japan's assimilation of Chinese Taoist elements into its Shinto-Buddhist syncretism. This adaptation occurred amid broader cultural exchanges, where the deity transitioned from a solitary stellar figure to a member of a collective pantheon associated with fortune and prosperity. In Japanese depictions, is portrayed as an elderly sage with a prominent white beard and elongated forehead, often dressed in a scholar's and headdress, carrying a knobbly staff surmounted by a that records human deeds or the secrets of , and sometimes a fan symbolizing his over lifespan. He is commonly accompanied by a deer, crane, or —animals emblematic of long life—and these icons appear in temple statues and artworks from the medieval period onward. Unlike the original Chinese Shouxing's pronounced celestial ties to the star, Jurōjin's Japanese form shifts emphasis toward wisdom and practical, earthly achieved through virtuous living, with reduced focus on elixirs or astral origins. Jurōjin holds a prominent cultural role as the patron deity of scholars, artists, and the elderly, invoked for intellectual pursuits and moral guidance in daily life. His veneration is evident in rituals and festivals, such as New Year's celebrations, where images of the Seven Lucky Gods, including Jurōjin, are displayed to attract good fortune, often depicted arriving on a treasure ship (takarabune). Pilgrimages to sites like Myōryūji Temple in Kamakura further honor him as part of the Shichifukujin circuit, reinforcing his status in folk religion and art traditions.

Modern Global Representations

In contemporary popular culture, the Old Man of the South Pole, known as Shou Lao or Shouxing, has appeared in various media adaptations that draw on his role as a symbol of longevity within the broader pantheon of Chinese and East Asian deities. For instance, in the anime series Noragami, the Japanese equivalent Jurōjin—derived from Shouxing and part of the Shichifukujin (Seven Lucky Gods)—is portrayed as an elderly god embodying longevity and wisdom, emphasizing his enduring appeal in animated storytelling. Similarly, zodiac-themed merchandise during Chinese New Year celebrations often incorporates Shouxing's iconography alongside the Fu Lu Shou trio, appearing on decorative items, lanterns, and gifts to invoke prosperity and long life. In communities, Shouxing's representations persist through physical artifacts and cultural sites that reinforce ties to ancestral traditions. Statues and figurines of the are common in Chinatowns worldwide, serving as focal points for ; for example, a carved wooden Shou Lao figure discovered in highlights its role in late 19th-century Chinese immigrant communities, symbolizing hopes for and endurance amid migration challenges. These depictions extend to wellness products, where Shouxing's image graces items like cookware, food packaging (e.g., and snacks branded with his of ), and household goods, promoting themes of and anti-aging in modern . Modern interpretations have embraced digital formats, particularly since the , with artists reimagining Shouxing in NFTs and art that blend traditional motifs with contemporary aesthetics. In festivals, such as events in and , Shouxing's symbols—often as part of Fu Lu Shou amulets or banners—are prominently displayed to bless participants with extended life and , evolving from static icons to interactive elements in multicultural celebrations.

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