Divine Talisman Writing: A Study on the Spiritual Power Sources of Daoist Fulu Writing and Its Revelatory Significance for Contemporary Calligraphic Art Creation
Round 1
Reviewer 1 Report
Comments and Suggestions for AuthorsThe manuscript is based on a rich and solid body of materials, demonstrating the author’s extensive familiarity with Daoist texts, and talismanic traditions.
Engagement with existing scholarship is limited, resulting in an unclear academic positioning (religious studies, art theory, or practice-based research).
Key concepts such as “efficacy” or “numinous power” are repeatedly invoked, but the analytical stance toward these terms is not clearly articulated (e.g. emic religious categories, phenomenological experience, symbolic or social constructs).
Regardless of the intended approach, the current discussion lacks sustained theoretical dialogue and a clearly defined problem consciousness.
That said, the manuscript is highly informative and demonstrates a notable degree of originality.
From Chapter 5 onward, the paper introduces extensive description of the seven-day huantang intensive retreat. While potentially interesting, the academic function of this material is not clearly defined, and its relevance to Daoist talismanic writing is insufficiently theorized. The connection between this section and the central research focus appears weak.
The section on implications for contemporary art is not fully convincing. Although the title and abstract emphasize contributions to contemporary calligraphic art creation, engagement with contemporary art scholarship is limited. The discussion relies heavily on case studies and personal practice, while lacking a broader conceptual or theoretical framework.
Overall, while the manuscript demonstrates strong originality and impressive informational depth, it requires clearer methodological positioning, stronger engagement with existing scholarship.
Author Response
Comments 1:
The manuscript is based on a rich and solid body of materials, demonstrating the author’s extensive familiarity with Daoist texts, and talismanic traditions.
Engagement with existing scholarship is limited, resulting in an unclear academic positioning (religious studies, art theory, or practice-based research).
Response 1:
Response to Reviewers Regarding Academic Positioning
Regarding the concern about academic positioning, this paper adopts an interdisciplinary research approach with the aim of establishing a dialogic mechanism between religious studies and artistic practice. This research design is grounded in the following academic considerations: Daoist talismanic writing, as a cultural practice that encompasses both ritual functionality and visual expressiveness, derives its scholarly value precisely from its capacity to bridge the domains of religious studies and contemporary art creation. The core academic objective of this paper is to provide new theoretical resources and practical references for contemporary artistic creation through an in-depth excavation of the spiritual wisdom and visual techniques embedded in Daoist talismanic writing.
The necessity of employing an interdisciplinary research paradigm in this study stems from the following epistemological stance: religious phenomena and artistic practice are not isolated domains but exist in a state of continuous interaction and mutual inspiration. The spiritual dimensions and embodied techniques inherent in Daoist talismanic writing possess unique revelatory value for expanding the expressive boundaries of contemporary art. Consequently, this study deliberately resists confining itself within a single disciplinary framework. Instead, it actively seeks integration and dialogue across disciplines, with the expectation of identifying new academic growth points and theoretical possibilities at the intersections.
This interdisciplinary orientation does not reflect methodological ambiguity but rather represents a deliberate choice based on the intrinsic characteristics of the research object. Talismanic writing itself constitutes a cultural phenomenon that traverses multiple dimensions—religious, artistic, and somatic. Only through an interdisciplinary perspective can its complex cultural significations and contemporary values be adequately elucidated.
Comments 2:
Key concepts such as “efficacy” or “numinous power” are repeatedly invoked, but the analytical stance toward these terms is not clearly articulated (e.g. emic religious categories, phenomenological experience, symbolic or social constructs).
Response 2:
Response to Reviewers Regarding Conceptual Clarity
Regarding the issue of core conceptual definition, this paper indeed employs the terms "efficacy" and "numinous power" with contextual variations: when discussing Daoist ritual traditions, the analysis primarily adopts a religious studies perspective, emphasizing their ritual function as media for sacred communication; when exploring implications for contemporary art, the focus shifts to their potential for expressing visual mystery and spiritual dimensions. This contextualized conceptual usage does not reflect conceptual ambiguity, but rather reflects the multiple attributes inherent in talismanic writing itself.
It should be specifically noted that the "mystery" discussed in this paper is neither mystical experience in the phenomenological sense nor symbolic construction at the semiotic level. The mysterious characteristics of Daoist talismans derive from their unique knowledge tradition—they constitute a form of esoteric knowledge whose efficacy depends upon specific cultivation practices and somatic techniques, rather than purely intellectual understanding or symbolic interpretation. This form of knowledge possesses strong embodiment characteristics, requiring practitioners to perceive, mobilize, and apply relevant spiritual powers through long-term cultivation practice.
It is precisely for this reason that this paper adopts a multi-dimensional, multi-perspective argumentative strategy, systematically explicating the source mechanisms of talismanic power from three levels: external divine spiritual power, innate primordial qi spiritual power, and fundamental Dao spiritual power. This elaborate discursive structure is not redundant, but is determined by the inherent complexity of the research object itself—the mysterious efficacy of talismanic writing involves the interweaving of multiple dimensions including cosmology, body concepts, and ritual practice. Only through layered, progressive analysis can its internal logical structure be adequately approached.
Comments 3:
Regardless of the intended approach, the current discussion lacks sustained theoretical dialogue and a clearly defined problem consciousness.
Response 3:
Response to Reviewers Regarding Problem Consciousness
Regarding the clarification of problem consciousness, this paper articulates a clear and focused core research question: the source mechanisms and generative logic of the "spiritual power" in Daoist talismanic writing. The entire argumentative structure revolves around this central question, and the systematic resolution of this issue constitutes the primary academic contribution and innovation of this paper.
The formulation of this research question stems from the following historiographical context: within existing Daoist studies, scholars generally acknowledge that talismans possess ritual efficacy and mysterious functions; however, regarding how such efficacy is generated and what its internal mechanisms might be, relevant research has long remained in a state of ambiguity, lacking in-depth theoretical elaboration. This knowledge gap is precisely the academic lacuna that this paper attempts to address.
The research trajectory of this paper follows a logical progression "from religious studies to artistic implications": first, through fieldwork and documentary analysis, clarifying the triple-source mechanism of talismanic power; on this foundation, further excavating the somatic techniques, visual strategies, and spiritual dimensions embedded in talismanic writing, thereby exploring their theoretical reference value for contemporary artistic creation. The discussion of implications for contemporary calligraphic art at the conclusion of the paper is not a tangential digression from the main thread, but a natural extension based on the aforementioned research findings—the practical wisdom of talismanic writing possesses unique referential significance for expanding the expressive language of contemporary art.
Comments 4:
That said, the manuscript is highly informative and demonstrates a notable degree of originality.
From Chapter 5 onward, the paper introduces extensive description of the seven-day huantang intensive retreat. While potentially interesting, the academic function of this material is not clearly defined, and its relevance to Daoist talismanic writing is insufficiently theorized. The connection between this section and the central research focus appears weak.
Response 4:
Response to Reviewers Regarding the Huantang Intensive Retreat Section
Regarding the academic positioning of the Huantang intensive retreat section, this content is not included for the purpose of enhancing textual readability, but rather possesses intrinsic theoretical connections to the core arguments and problem consciousness of this paper. According to Daoist body concepts and cultivation theory, the realization of efficacy in talismanic writing depends to a considerable extent upon whether the Höga Mästare can mobilize "innate primordial qi". The cultivation and condensation of innate primordial qi must be grounded in somatic techniques such as seated meditation. This serves both as necessary preparation for the practitioner's psychosomatic state and as a critical condition for whether they can adequately access the power of the "fundamental Dao" .
From an epistemological perspective, the "spiritual power" of talismanic writing is not an abstract mysterious attribute, but rather embodied knowledge generated through specific bodily practices. Those who have not undergone Huantang seated meditation practice and contemplative training lack the somatic capacity to mobilize innate primordial qi, and consequently find it difficult to achieve the ritual efficacy of talismans. This practical threshold constitutes the essential characteristic that distinguishes talismanic writing from ordinary writing practices.
Based on this analysis, the inclusion of the Huantang intensive retreat section serves a dual academic function: first, as theoretical supplementation to Chapter Three ("Innate Primordial Qi Spiritual Power"), providing empirical fieldwork materials; second, revealing the somatic foundations of talismanic efficacy generation, elucidating the causal chain among "somatic techniques—innate primordial qi—talismanic spiritual power." The presence of this section holds irreplaceable academic value for the complete presentation of the operative mechanisms of talismanic writing.
To further enhance the coherence between the Huantang intensive retreat section and the academic research content, we have revised the final sentence of Section 1, Chapter 5, in accordance with the reviewers' suggestions. The original sentence:
"These changes corroborate the Daoist claim that cultivation produces verifiable psychophysical alteration. For artists such discipline is essential."
has been revised to:
"The bodily sensations and mental acuity before and after the intensive retreat are indeed markedly different, particularly regarding the unique and tangible experience of innate primordial qi spiritual power. Although imperceptible to the naked eye, its formless presence can be clearly sensed by the inner mind. This demonstrates that Daoist cultivation practices are by no means empty rhetoric; rather, they possess substantial practical foundations and scientific validity. Similarly, for us as artists, engaging in Daoist cultivation and spiritual refinement can genuinely enhance our own primordial qi spiritual power."
Comments 5：
The section on implications for contemporary art is not fully convincing. Although the title and abstract emphasize contributions to contemporary calligraphic art creation, engagement with contemporary art scholarship is limited. The discussion relies heavily on case studies and personal practice, while lacking a broader conceptual or theoretical framework.
Response 5:
Clarification Regarding the Relationship Between Talismanic Writing and Contemporary Writing Art
Regarding the clarification of the relationship between talismanic writing and contemporary art, it is necessary first to elucidate the theoretical positioning of this paper. This study does not aim to demonstrate the direct influence of talismanic writing upon "contemporary calligraphy" , but rather to explore its revelatory value and innovative potential for "contemporary calligraphic art". This distinction holds crucial methodological significance: the former emphasizes technical inheritance and stylistic continuity, while the latter concerns cross-media creative transformation and conceptual innovation.
To adequately respond to the reviewers' comments, this revised version incorporates more systematic case studies of contemporary artistic practice, employing empirical methods to demonstrate the contemporary transformation pathways of talismanic writing. The opening paragraph of Chapter Five has been revised as follows:
Talismanic writing exerted profound influence upon the artistic creation of ancient Chinese calligraphers. Tang Dynasty Daoist calligrapher Sima Chengzhen(司马承祯), Song Dynasty imperial artist Zhao Ji（赵佶）, Southern Song Daoist calligrapher Bai Yuchan（白玉蟾）, and successive generations of Celestial Masters all absorbed, to varying degrees, the visual language and somatic techniques of talismanic writing.
Figure 9. Zhao Ji, Stele of Dragon Script and Cloud Seal Script (龙章云篆碑Longzhang Yunzhuan Bei) stele header, 70 × 138 cm, Northern Song Dynasty, 7th year of Zhenghe reign (1117). Original stele housed at Xianhua Terrace, Yaowang Mountain, Yaozhou District, Tongchuan City, Shaanxi Province.
Taking the stele header of Emperor Huizong of Song's Longzhang Yunzhuan Bei (龙章云篆碑Stele of Dragon Script and Cloud Seal Script) as an example, its cloud seal script typography and compositional layout clearly inherit Daoist talismanic traditions—cloud seal script, as sacred writing within the talismanic system, itself carries the symbolic connotation of "containing the primordial qi of heaven and earth."
Figure 10. Hand-drawn Celestial Master Talisman by the 45th Celestial Master Maocheng(懋丞) of the Ming Dynasty, 122.7 × 34.7 cm, Ming Dynasty. Collection of Naha City Museum of History, Japan.
The relationship between the writing practices of successive Celestial Masters and talismanic traditions is even more direct, as exemplified by the hand-drawn Celestial Master talisman by the 45th Celestial Master Maocheng（懋丞） of the Ming Dynasty. The upper portion of the work features vigorous, unrestrained brushwork, while the lower portion employs repetitive, entwined strokes, presenting overall intense exaggeration and mystical visual characteristics.
Figure 11. Xie Yun谢云, Bird-Worm Seal Script Writing (鸟虫篆书写Niaochong Zhuan Shuxie), 68 × 150 cm, 2015. Inscription: 受命于天，既寿永昌 (Shouming yu tian, jishou yongchang, receiving the mandate from Heaven, may (the ruler) enjoy longevity and eternal prosperity.)
In the field of contemporary art, the revelatory value of talismanic writing has similarly received practical response. The writing practices of contemporary calligrapher Xie Yun (谢云1929-2021) and scholar-artist Gong Pengcheng (龚鹏程1956-) may serve as representative case studies. Xie Yun's Bird-Worm Seal Script Writing series integrates totemic symbols into stroke structures, employing entwined and coiling brush techniques to form a visual language combining pictographic and abstract qualities, creating an intertextual relationship with the totemic expression of talismanic writing.
Figure 12. Gong Pengcheng, Cloud Seal Script Writing (云篆书写Yunzhuan Shuxie), 238.5 × 121 cm, 2017. Inscription: 应玄九真，化交肇图(Ying xuan jiu zhen, hua jiao zhao tu, responding to the Mysterious Nine Perfected Ones, transformation and intercourse inaugurate the cosmic pattern)
Gong Pengcheng's Cloud Seal Script Writing, on the other hand, directly invokes the Daoist cloud seal tradition. According to Daoist cosmology, cloud seal script constitutes celestial writing formed by "the condensation of cloud qi, tangled and woven into patterns," containing the primordial qi of heaven and earth. Gong's work employs rounded, vigorous, and extended brushwork, suffused with qi, demonstrating the artist's somatic mastery and visual expression of "innate primordial qi of the Great Dao."
Beyond the aforementioned cases, the authors' own artistic creation has also been deeply influenced by Daoist talismanic writing. The following section will combine Daoist cultivation experience with creative practice to specifically elaborate the conceptual revelations and methodological references that talismanic writing offers for contemporary writing art.
Author Response File: 
Author Response.pdf
Reviewer 2 Report
Comments and Suggestions for Authorslines 7-8 and onward put italics on _fulu_.
line 14 and line 17 italics needed on _qi_.
line 17 I suggest you translate Höga Mästare as High Master. folks reading about Chinese alchemy won't know this Swedish term Höga Mästare.
Indent all quotes longer than three 3 lines.
line 20 italics again and use full-body traditional characters.
Use traditional characters throughout the paper.
line 32-33 italics on book title
line 34 italics on _Fu_ and _Lu_
line 38-39 check the journal's parenthetical reference style; using two parenthesis seems unnecessary, and fix subsequent references.
lines 40-44 italics on Chinese terms; again use traditional full-body characters; use High Masters, and do this for the rest of the paper. I won't mention the need for italics on Chinese terms, or using traditional characters, again. thanks.
lines 46-47 what's the source of the quoted phrase?
line 51 suggest you insert "who is being ordained as a Daoist priest (Daoshi 道士)" to read like this "... is a certificate of affiliation issued to an initiate who is being ordained as a Daoist priest (_Daoshi_ 道士)...."
line 87 fix Romanization of Daozang 藏 zang NOT cang. fix all references below also.
lines 158 & 160 translate _long_ as dragon.
lines 187-88 I would NOT call the _Yunji qiqian_ an "encyclopedia." It is a compendium of texts. As you note, it is a mini Daozang--a collection of texts.
lines 193-94 delete the word "within" on both lines to try to improve the translation.
line 203 what's the source of the quote?
line 220 figure 7 the source cited there is not listed in the references. Please list it.
line 229 fix/delete the stray word "the" in this passage "... seal of power.the This is the Thunder..."
line 236 is it "images of mountains and water" or "images of the landscape". There is no image of water per se given here. "Landscape" maybe a better translation of _shanshui_.
line 245 use Ge Hong (not Ko Hung) to Romanize his name and use the _Master who Embraces Simplicity_ for the book title, not "In Alchemy, Medicine, and Religion in the China of A.D. 320" that is not the title of the book.
line 256 change the comma to a period at "... while traveling, All evil ..."
line 267 delete the phrase "Research manuscripts re"
line 268 insert an "a" before Gao Gong (high official)or is it Gaogong? Gao Gong is a position not a person's name. Insert (high official).
line 259 insert _qi_ were the word is missing at the end of the sentence at "pre-celestial . The act.." that should read "...pre-celestial _qi_. The act ..."
line 298 insert "the" at "...of THE talisman."
line 298 italics on book title.
line 347 change "cite" to "citation" at "... foregoing cite identifies ..." It should read "the forgoing citation....."
lines 351-52 italics on book title.
line 381 italics on book
line 385 fix spelling "And sencond, ..." second
line 428 capital Y on Yuan at "... his own Dan yuan Lord..."
line 443 translate and give characters for _cunxiang_ and it needs italics.
line 450 italics on book
line 462 insert "the" at the opening to read "The Shu Fu..." italics and translation of the book title.
line 469 italics on _San-wu_
line 482 italics on book
p. 14 italics needed on many Romanized Chinese terms
line 577-78 italics on book
line 597-98 italics on book
line 629-28 Ge Hong for Ko Hung
line 661 is it only one participant or all the participants; are you referring to yourself?
line 666 insert "the" before author. to read "... the author...."
line 667 change "the body" to "my body"
line 671 says "remove for peer review" delete it. post the image.
line 681 & 684 & 693 & 702-3 & 712 And all the subsequent Figures: the figure is posted; delete the statement saying "remove for peer review" that's written there two times.
line 689 need italics on _fu_.
line 715-16 italics on Chinese Romanized terms.
line 720 italics again on _fu lu_.
line 724 these talisman are written by Daoshi priests not shaman. I'd suggest you change the word "shaman" to priest or Daoshi.
line 746-47 italics on book title and terms.
line 759-60 & 762 & 767 why is _qi_ capitalized and not in italics?
References
The references should give the Chinese characters for the Chinese books.
Author Response
We have revised the manuscript point by point in accordance with the reviewers’ comments. As there were many revisions, we have organized them in a Word document.
Please find attached the latest revised version of the manuscript. We sincerely welcome any further comments or suggestions from the respected experts.
Author Response File: 
Author Response.docx
