Editor’s Note: Today we revisit a classic post from our archives on Late Imperial China by Carla Nappi, which sits the intersection of medicine and storytelling. “Narrating Qing Bodies” kicked off an extended series of translations and commentaries on original Manchu recipes that ran on the blog from 2014 to 2015. You can find the entire series, Translating Recipes, at this link. As you will see, we leave off with quite a cliffhanger, so please do check out the second installment, A Drama of Butter and Pearls, for the dramatic conclusion. Enjoy! (Joshua Schlachet)
I study and write about the history of science and medicine in early modern Eurasia, with a focus on China in that context. In particular, I’m interested in how medical and culinary recipes were translated in the Ming (1368-1644) and Qing (1644-1911) dynasties, and how the recipe format became a medium of epistemic exchange across early modern Eurasia.
A text that has been particularly exercising me lately is the Xiyang yaoshu 西洋藥書 [Handbook of Western Drugs]. It was written by two French Jesuits, Joachim Bouvet (1656 – 1730) and Jean-François Gerbillon (1654-1707), some time after they had arrived at the court of the Kangxi Emperor in 1688. The book itself was smaller than a modern passport. It begins with a series of thirty-six recipes for treating myriad illnesses, many of which were broken down into varieties on a common theme. After this, the text opens out into almost forty further discussions of drugs and illnesses, many roughly translated from European-language texts about health and the body.
Importantly, the text was written in a language called Manchu, one of the official languages of the Qing court and a crucial medium of translation of scientific and medical knowledge during the Kangxi Emperor’s reign. Many of the recipes used the Manchu script to transliterate the names for drugs in Chinese, French, Latin, and other languages. The text contains many recipes for making remedies for poisons of all kinds.
Reading through this text, I began to think deeply about these recipes as literary objects. What if we understand a recipe not just as a kind of text, but also as a form of storytelling? If a recipe does tell a story, what kind of story might that be? And how might understanding recipes in this way change the way we read and experience them?
Thus began the Qing Bodies project, a long-term multi-media foray into considering various forms of scientific and medical writing in the Qing period from the perspective of a history of storytelling. Qing Bodies asks a very simple, but potentially transformative, question: how might reading Qing medical and scientific texts with an eye to narrative form open up creative possibilities for working and writing with the history of Eurasian science and medicine? This has been tremendous fun, to put it mildly!
One recent experiment stemming from this project (and inspired by the work of Raymond Queneau) has led to me thinking about the relationship between recipes and drama. Can we map a recipe onto–for example–a traditional three-act dramatic form? And how might that change how we experience recipes as literature?
If Act I of the recipe introduces the protagonist (or protagonists), sets out the conflict, and presents the incident that will set the ensuing events in motion, Act II introduces an obstacle for the main character and brings the protagonist to a moment of crisis. Act III resolves the crisis. Here, the recipe becomes a story involving characters (drugs, a body in crisis) that are transformed through their interactions in time.
In tomorrow’s post, I’ll share the result of this experiment with you…
In the 1910s, a curious print culture phenomenon appeared in China’s urban areas. Journals such as the Ladies’ Journal (Funü zazhi) and Women’s World (Nüzi shijie) began to run columns and articles that provided recipes for manufacturing soap, hair tonic, perfume, and rouge at home.[i] They often explained the chemistry behind the manufacturing process and promoted the use of modern lab equipment and glassware to produce the desired items. The pieces deemed their detailed technical manufacturing information as highly appropriate for genteel women to apply in their inner chambers.
A typical example of the gendered portrayal of domestic manufacturing in these publications can be found in the piece titled, “An Exquisite Method for Manufacturing Hair Oil,” that appeared in first run of the Women’s World (1914–1915) column, “The Warehouse for Cosmetic Production” (hereafter, “The Warehouse”), and its companion piece that appeared in the February issue. As the editor noted in the February entry, the first article had elicited much interest and a woman reader by the name of Mme. Xi Meng had already sent in a request for more tips (Tianxuwosheng 1915, 3). The February issue included a recipe for hair tonic, which listed its ingredients in both Chinese and Latin:[ii]
純粹硫酸 Acidum Sulphruicum [sic]
檸檬油 Oleum Limonis
玫瑰精 Spiritus Rosae
橙花水 Aqua Aurantii Florum
丁香油 Nelkeuöl [sic]
肉桂油 Oleum Cinnamomi
橙皮油 Oleum Aurantii Corticis
白檀油 Oleum Santali
(Chen Diexian 1915, vol. 2 [February], 4)
Many of the items could be purchased in Shanghai’s pharmacies, but since spiritus rosae was particularly expensive, the editor wanted to make its recipe readily available. The recipe instructed:
Extract the fragrance of fresh flowers, and attach it onto something solid, so that it lasts and does not disappear. There are many ways of doing this. One can use a method for suction; the method for squeezing, the method for steaming, the method for soaking. None of these are as ideal as the method for absorption. To make spiritus rosae, use the method for absorption (Tianxuwosheng 1915, 6).
What followed was a highly detailed and technical description of how to achieve this method at home. The tools, instruments, and materials needed include bottles, tubes, alcohol burners, hydraulic acid [sic], and no less than five pounds of marble.
China had a long history of manufacturing cosmetics at home. The knowledge behind this domestic production tended not to be written in recipes, but was embodied and passed down from generation to generation. Domestic producers would thus not have been likely consumers of these printed recipes.
As urban consumption of makeup and toiletry items grew in the 1910s, manufacturing such items at home would also seem less pressing. To understand why these pieces appeared when they did — and who was consuming them and why, it is worthwhile to consider what was unprecedented about them.
Appearing in China’s burgeoning mass media, new-style columns like “The Warehouse” made certain skills public, presented them in new terms for new purposes, and made them readily available for a far greater reading and practicing audience than ever before. The new epistemological frame within which the knowledge was presented (chemistry and physics) and the material accoutrement (lab equipment and modern glassware) stipulated as necessary also attracted readers.
The application of these recipes would have required considerable investment in resources and time. Chemistry knowledge was necessary and some called for considerable lab equipment. The instructions to manufacture the spiritus rosae ingredient for hair oil, for example, listed the following items as necessary:
Given the nascent state of China’s glassware industry, chemical apparatuses were often imports and available for purchase at a cost at exclusive scientific-appliance stores such as Shanghai’s China Educational Supply Association. Once producers procured the ingredients and equipment, they then had to follow detailed instructions.
To achieve the method of absorption, practitioners were instructed to drill holes into stoppers that were to plug the glass bottles; the holes had to be large enough for a glass tube and funnel to be inserted; the glass tube then had to be bent. Instructions on how exactly to use an alcohol burner to heat the glass and mold it to the appropriate shape were provided.
While genteel women were the supposed readers of these recipes (and those with the curiosity, means and knowledge to apply these recipes could have done so), participants in the reading community of these recipes included men. Male consumers of these pieces included connoisseurs of technology, dabblers in chemistry, young students and budding industrialists.
It was far from automatic for the well-educated, male or female, to turn toward production and manufacturing as the literati had long felt a severe distaste for hands-on engagement with things for subsistence or commercial purposes. Yet, by 1915, there was a growing sense that this was necessary. The persistence of internecine warfare and imperialist aggression dashed the initial hopes of the 1911 republican revolution. With the chaos of republican politics threatening national strength many of China’s lettered men and women started to explore new regimes of knowledge and experiment with new social and occupational roles, including those of the once taboo realms of industry, manufacturing and commerce.
It was in this context that these recipes helped cleanse the hands-on work in industry and manufacturing of its negative connotations. These “how-to” pieces became sites where experiential engagement with chemistry and manufacturing was promoted as crucial in strengthening China, as well as a sign of good taste and bearing. They became part of the arsenal of strategies available for readers navigating their new cosmopolitan identities in a post-civil-service-examination arena of urban playgrounds and industrial centres. By appreciating these pieces with a sense of refined curiosity or in a posture of playful leisure, readers could define their sense of exclusivity based on notions of production that were tasteful and authentic in terms of their scientific, domestic, and noncommercial nature.
The domestic realm as a site of production also served as a metaphor for the larger marketplace in treaty ports that existed beyond the reach of the state. There, scientific, commercial, and manufacturing knowledge increasingly displaced moral knowledge and statecraft as the preferred epistemological foundations for a competitive nation.
Just a few years later, a strong reaction rose against presenting chemical experimentation and manufacturing as a dilettantish endeavor appropriate for genteel women. With the May Fourth Movement in 1919, Sai Xiansheng, or “Mr. Science,” would emerge as part of the slogan “Mr. Science and Mr. Democracy,” and science was, along with democracy, promoted as the foundation of a powerful nation. The portrait of the genteel woman engaging in leisurely production of cosmetics at home became emblematic of a “traditional” culture that had long fettered China’s modernization.
These recipes have been long overlooked by historians as insignificant as a result. Yet, they deserve to be reconsidered. Though they vanished quickly from the pages of China’s urban periodicals, they were historically significant. They were indicative of a period before science and manufacturing had been formalized in China and when efforts to learn and do industrial production was “vernacular,” occurring in ad hoc, informal and curious places (Lean 2020).
[i] Articles in the Ladies’ Journal include Ling Ruizhu, “A brief explanation of the methods to make cosmetics,” Funü zazhi 1.1 (Jan 1915): 15-18; Hui Xia, “Method for Making Rouge,” Funü zazhi 1.3 (March 1915): 15-16; Shen Ruiqing, “Method for Manufacturing Cosmetics,” Funü zazhi 1.5 (May 1915): 18-25. In 1915, Women’s World featured a new column from January to May, “The Warehouse for Cosmetic Production” that ran recipes and instruction on manufacturing cosmetics every month.
[ii] These ingredients are better known as sulfuric acid, oil of lemon, the essence of roses (i.e., the scent of roses), borax or hydrated sodium borate, orange flower water, alcohol, oil of cloves, oil of cinnamon, oil of orange peel, and sugar alcohol, rice starch and oil of sandal wood. A couple of ingredients are not listed in Latin. Glycerin is English and Nelkeuöl, which is misspelled in the article, and should be spelled Nelkenöl, is the German word for oil of cloves. The first ingredient, sulfuric acid, is also glossed and spelled incorrectly as “Acidum Sulphruicum.” The foreign-language rendering of several of the ingredients helped establish that sense of cosmopolitanism. Yet, mistakes were present and speak to the complex nature of the translation process and the diverse linguistic circuits these recipes traversed.
Lean, Eugenia. Vernacular Industrialism in China: Local Innovation and Translated Technologies in the Making of a Cosmetics Empire, 1900-1940. New York: Columbia University Press, 2020.
As I sift through materials for my own research on manuals and strategies for famine prevention, I’ve had to spend a lot of time thinking about plants. The near-obsession with the healing properties of plants pervades premodern East Asia, not just in the pharmacological sense but in nourishing one’s moral character.
When recording a book of recipes to stave off starvation, at least in the Japanese case, authors resorted to ingredients at the edge of edibility: fibrous stalks and wild roots, pulped tree bark, the scum from the bottom of your neighbor’s used rice pot. Yet they were equally concerned with spiritual upkeep as they were with bodily preservation.
So, I went digging through our own archives here at The Recipes Project and, to my great delight, discovered Michael Stanley-Baker’s contribution on botanicals for sustenance and salvation in premodern China: “A Plant for the End of the World.” I hope it sates your appetite for pondering plants too, or at least whets it.
Located in his mountain retreat near the Floriate Sunlight Cavern on Mount Mao, China’s earliest recorded pharmacologist, Tao Hongjing, is deep in his studies. He is editing the earliest known recension of the Chinese Pharmacopoeia, the Divine Husbandman’s Pharmacopoeia (Shennong bencao jing 神農本草經). It is about the year 500, and Tao is also compiling a collection of manuscripts, sacred revelations to a local family, the Xus 許 of Jurong, revealed to them over 130 years earlier. Collectively titled the Declarations of the Perfected(Zhen’gao 真誥), they cover all manner of topics that interested the Xus, from personal salvation, bodily cure, the contours of the underworld, to the political careers of their friends who had died and passed over into the bureaucracies of the afterlife. One manuscript in this collection celebrates a plant native to the Mao mountains, the herb atractylodes, cangzhu 蒼朮. It describes not only the medical properties of the plant but an entire array of health-related and salvific practices. It is revealed by the Goddess, the Lady of Purple Tenuity, Ziwei Wang furen 紫微王夫人, whose title refers to the canopy of heaven surrounding the pole star. This manuscript, copied in the hand of the younger of the two Xu brothers, Xu Hui 許翽, is titled Discourse on Eating Atractylodes (Fu zhu xu 服朮序). It begins at the end of time, with the apocalypse that was predicted for the year 392. In succeeding layers, the Lady of Purple Tenuity describes different practices for dealing with the disease, warfare and famine to come.
There are massage and breathing exercises which nourish vitality (yangsheng 養生) to ensure robust health while drawing meditative awareness to the interior of the body. These circulate qi and activate divine beings in the body.1 Other similar repertoires from this period further included daoyin 導引 stretching like those pictured here, sexual cultivation, and diet.
The Lady of Purple Tenuity goes on to describe the next phase of practice, in which the adept visualizes starry gods of the dipper and other asterisms as celestial bureaucrats, inviting them to take up residence in the body. These visualizationsanthropomorphize the bodily awareness of earlier breathing meditations, and match the body with the movements of the stars, of the seasons, of the five phases. Then come fantastic alchemicals, beyond material making or financial access, which stretch the imagination and aspiration:
Tiger spittle, phoenix brain, white cornelian, jade frost, lunar liquor of the Grand Bourne, thrice-cycled numinous steel. If you offer up a knife-point’s worth, your divine feathery wings will spread wide. Opening up the supreme writs of the void-like cavern, you will blaze in glory in the chamber of the primordial beginning…2
Finally, Lady Wang lays out the highest levels of practice: oration of the Great Cavern Scripture (Dadong zhenjing 大洞真經), and the other supreme texts of the tradition. These install supreme deities throughout the body, grant immortality and ascension to the highest layers of heaven. They will cause the 5 organs to flourish and thrive and guard and close the mysterious portal [between the eyes]. Visualize the nine perfected [beings] within the brain and the three qi will transport fluids [through the body] and irrigate the elixir field.3
Only then, Lady Wang begins to discuss plants:
One can add [to one’s lifespan] with the five micas, water cassia, atractylodes root, polygonatum, Lyonia Ovalifolia, sunflower, eastern stone, malachite, oily pine nuts, sesame, poria. These are all tools for cultivating life; using them can lengthen your years. I have completely investigated the successes and failures of trees and herbs. There are those which quickly benefit to oneself, but none equal the many proofs of the power of Atractylodes.4
It is here where she reveals that atractylodes, alone among all others, can dispel ghost-borne diseases at the millennial climax. The plant among plants, it is the key to survival in the end times.
Eat this potent herb to care for your health, swallow the floriate springs of clear rivers; study the secret instructions concerning mysterious wonders, and intone hidden texts of the most high. If you do this nesting high in mountain caves, you’ll be able to talk of your years in the same terms as metal and stone.5
This is not just a recipe for making a drug, it is a recipe for life, for salvation. Three recipes using atractylodesappear elsewhere in the Declarations as separate documents. They each describe technical details of boiling, sieving and pulping the root, frying it with wine or mixing it with honey, jujubes or pine nuts. Other passages in Tao’s collection show that the Xu family were taking atractylodes for different reasons: Xu Mi 許謐 the father, was taking it for his semi-paralysed arm. the youngest of his three sons, Xu Hui 許翽 was taking it to prepare his digestive system for austere ascetic diets where he would give up food entirely to live on herbs or just qi. But why articulate atractylodes into this larger program? Giving it this special meaning bound up the Xus with the sacredness of the mountains on which it grew. During the cataclysm the Mao mountains were to be the site where the Lord of the Dao from on High would descend to save the worthy. The Xus chances of being saved depended on two kinds of merit. Firstly, the merit gained from persevering in their spiritual practices and achieving bio-spiritual transformation . However, their access to these practices was due to the merits of their ancestor, Xu Ah, who compassionately dispensed drugs and food in the region during epidemic and famine. The salvific qualities of Atractylodes brought these two together, binding their elite heritage, and their spiritual practice, their past and their future, into a direct relationship with the land, the mountains and the local ecology of medicinal herbs. The very mountain where the Xus were destined to be saved was the same site Tao Hongjing had chosen for his own editorial efforts, both of the Declarations, and the Pharmacopoeia.
What of the Lady of Purple Tenuity’s knowledge of actractyldoes travelled into Tao’s Pharmacopoeia, written for the emperor, and intended for exoteric transmission outside? The eschatology, the other practices, the Xus disappear in that work. The pharmacopoeic format is regular and predictable, each entry proceeding with the drug’s name, flavours, temperature, toxicity, major functions and so on. Atractylodes is reported useful here for blockage syndrome in the limbs, which was Xu Mi’s condition, and for digestive problems, which correlates to Xu Lian’s fasting. Furthermore, Tao’s annotations report that “Transcendent Scriptures say” that it can suppress epidemic poxes and disperse evil qi, codewords for ghostly diseases, echoing the claims of the Discourse. Do these separate collections indicate broader cultural distinctions between religion and medicine, between recipes and pharmacopoeias, between local and centralized, or esoteric and exoteric knowledge?
1 On Shangqing massage techniques and their relationship to self-divinization see Michael Stanley-Baker, “Palpable Access to the Divine: Daoist Medieval Massage, Visualisation and Internal Sensation” Asian Medicine 7 (2012): 101-127. On the broader project, see here.
2 虎沫鳳腦，雲琅玉霜，太極月醴，三環靈剛。若以刀圭奏矣，神羽翼張，乃披空同之上文，煒燁元始之室。Declarations of the Perfected(Zhen’gao 真誥), Tao Honging ed.,DZ DZ 1016, 6.2b.
The Recipes Project has over 500 posts in our archives and over 120 pages for readers to sift through. That’s a lot of material! With so much excellent material on the site, it’s easy for earlier pieces to be forgotten. This Tales from the Archive post ties into this month’s theme on TEXTURES and also reminds us of some of our wonderful past content.
This month we’re sharing a 2016 post by He Bian. It offers a rich, revealing look into the ways that human milk – like and yet unlike milk from other animals – was imagined as a medicine in Imperial China. We hope that you enjoy this latest installment from our Recipes Project archives, and if you have any posts that you’d like for us to revisit, please send in your nominations… Amanda & Marissa (editors)
What does milk have in common with blood? According to Kou Zongshi (fl. 1110-1117), author of Bencao yanyi (Extended Interpretations on Materia Medica), they are basically the same vital fluid produced by the female body at two critical moments in a woman’s life. While the first menstrual period signifies the maturation of reproductive power, motherhood is the consummation of that power–miraculously causing the vital fluid to flow upward as milk. After nursing ends, the flow of milk again reverses back to blood, as evident from the return of the menses.
However, Kou’s original aim was to make sense of medical recipes. In particular, he was trying to figure out why do so many recipes for eye medicine use human milk to mix up powdered mineral drugs: a practice that has parallels in different cultural contexts. Since blood is essential for the five senses to function and human milk is essentially blood, Kou reasoned, this makes it an excellent medicine for eye diseases. Another recipe that may have been on his mind is the recommendation to drink “three portions of human milk” to help with obstructed menses. It makes sense if they were considered of the same origin. Like cures like.
Let’s pause here to consider what this means. Working with Chinese materia medica texts often means untangling different strands of thought, modes of compilation and miscellaneous quotations. The entry on each substance (e.g. human milk, renru or ruzhi) often begins with a learned survey of previous literature, including passages from classical literature and histories, and ends with a large (and often unwieldy) body of recipes. The problem is that the prescribed uses of the substances in the first part do not always sit well with the recipes, which are messy, opaque, and often outright strange.
In fact, Kou Zongshi’s work could be understood as a scholar-physician’s attempt to impose order and coherence on the unruly recipes, which were becoming increasingly available in print.  The incongruities and tension between theory and recipes, however, allows us to follow the intricate dance between empiricism and rationalism in such texts: when did authors equate recipes with real-life experiences, and when did they treat them as exemplars of theory and formulaic principles? When did book culture begin to shape the ways in which medicines were prepared, consumed, and invented?
Back to Kou Zongshi’s ingenious, if somewhat contrived, speculation over the nature of lactation. It did not seem to have caught much attention immediately. The twelfth and thirteenth centuries witnessed a growing suspicion among medical experts to discipline and curb wet nurses’ sway over childcare, and pediatric treatises abound with warnings against drunken, naughty wet nurses whose milk turns unwholesome to the infant. Again, the female body’s power to nourish but also intoxicate with her transformed milk resonates with similar discourses discussed elsewhere on this blog; notably, alcoholic drinks were seen to be a bad thing that excites her passions, in contrast to ancient Roman recommendations.
In addition, the conquest of Mongols brought about increased consumption of cow and goat’s milk. A leading physician active in the fourteenth century advised consuming those over human milk, which is easily “tainted with poisonous passions.” It looks like the arrival of more abundant dairy products would transform the existing pharmacopeia once and for all.
But not so simple. By the sixteenth century in China, human milk had become a “super food” of sorts, especially among elite families. Kou Zongshi’s dusty theory became a dominant trope, fanning the imagination of the female body as a machine of alchemical wonders, and her milk a sort of elixir that revitalizes the frail and depleted bodies. In the sixteenth-century encyclopedia Systematic Materia Medica (Bencao gangmu), Li Shizhen, the erudite naturalist and capable physician, criticized the excessive fetishizing of human milk. The prudent Li nevertheless included twelve “new recipes” that involve human milk as medicine. Li’s encyclopedia was first printed in 1596; soon after the turn of the century, dietary manuals began to teach people how to prepare dried milk powder at home, after collecting fresh milk from “strong women who just gave birth to boys”. Presumably, women sold their milk not as wet nurses, but directly to pharmacists (as depicted in the picture above).
So did people in imperial China consume human milk as medicine? Quite likely. But was it ubiquitous? Probably not. Recipes can be practical and fantastic, and theorists can explain and inspire. What matters is that human milk as medicine gradually came to be taken out of the context of nursing and acquired a more abstract quality as commodity.
 Charlotte Furth, A Flourishing Yin: Gender in China’s Medical History: 960–1665 (Berkeley, CA: University of California Press, 1999).
 Asaf Goldschmidt, The Evolution of Chinese Medicine: Song Dynasty, 960-1200 (London ; New York: Routledge, 2009).
 Ping-Chen Hsiung, “To Nurse the Young: Breastfeeding and Infant Feeding in Late Imperial China,” Journal of Family History, 20, 3 (1995), pp. 217-38.
 Paul D. Buell, E.N. Anderson, and Charles Perry, A Soup for the Qan : Chinese Dietary Medicine of the Mongol Era as Seen in Hu Sihui’s Yinshan Zhengyao, 2nd Rev. and Expanded ed. (Leiden, The Netherlands: Brill, 2010).