On September 16, I had the opportunity to speak with Wang Tianhong, an associate professor at Jilin University’s School of Liberal Arts, about the profound cultural and literary significance of the moon in both Eastern and Western traditions. The moon, as a timeless symbol, reflects humanity’s contemplations on life, time, and emotions, casting distinct shadows across different cultures.
**Reporter:** What are the primary feelings associated with the moon in Eastern and Western cultures?
**Wang Tianhong:** In traditional Chinese culture, the moon serves as a rich and multifaceted symbol. It is often depicted as an independent aesthetic figure representing wholeness and yearning. Even when separated from loved ones, there’s a sentiment that conveys the idea of “sharing the beauty of the moon from a thousand miles away.”
In the Arab world, the full moon is frequently associated with beauty, echoing a deep admiration for physical allure. Conversely, the ancient Romans referred to the moon as Luna, named after a goddess known for her capriciousness. There was a belief that the moon could incite madness, giving rise to legends like the werewolf, where men would transform under its full light. Western literature often resonates with themes of mystery, tragedy, and insanity, as seen in J.K. Rowling’s depiction of Professor Lupin.
**Reporter:** How do you see the representations of the moon differing distinctly between East and West?
**Wang Tianhong:** The contrasts are particularly evident in poetry, art, and mythology. The esteemed aesthetician Zhu Guangqian observed that Western poets are typically drawn to the ocean and storms, while Chinese poets often prefer serene landscapes with gentle breezes and moonlit nights. While this is a broad generalization—both traditions encompass elements of softness and rigidity—these traits are not necessarily their defining features.
Chinese poets have extensively celebrated the moon, crafting beloved verses that articulate historical nostalgia and personal longing. Many poignant lines capture the warmth and tenderness associated with the moon during wartime or while reflecting on the beauty of home.
In contrast, Western poets frequently tie the moon to themes of romance tinged by melancholy. Wordsworth, for instance, describes the moon sinking behind a cottage, symbolizing lost love. Shelley’s imagery evokes a fragile woman, while Keats presents the moon as cold and detached, lacking the warmth found in Eastern expressions.
In visual artworks, the moon’s representation diverges too. Classical Chinese painting illustrates the moon’s journey—from new to full to waning—set against tranquil and reflective scenes. Western art, on the other hand, may emphasize realism but can also venture into the fantastical, as seen in Van Gogh’s “Starry Night,” where emotions swirl chaotically within a celestial backdrop.
Both cultures feature rich arrays of moon deities. In China, we see a lineage from the moon goddess Chang’e to other figures representing nostalgia and solitude. Meanwhile, the ancient Greeks transitioned from Selene to Artemis, often depicting her as vengeful, linking the moon to irrational acts of retribution.
**Reporter:** What do you believe explains the stark differences in moon imagery between Eastern and Western cultures?
**Wang Tianhong:** The differences can largely be attributed to fundamental philosophical distinctions. Chinese philosophy tends to emphasize harmony between humanity and nature, investing the moon with a depth of emotional resonance. It signifies intricate meanings, delivering elegant metaphors that evoke gentle feelings and profound imagination. Western philosophy, however, often perceives humanity and nature as separate entities, leading to unique—and at times, strange—metaphors for the moon, as exemplified by Dickinson’s reference to a “golden chin” and Lawrence’s interpretations.
Moreover, these distinctions stem from contrasting cultural values. In China, there’s a communal emphasis on family and belonging, with the moon frequently reflecting a shared longing for loved ones. In contrast, Western perspectives lean towards individualism, rendering the moon a solitary emblem of personal affection. As a result, while the Chinese moon embodies beauty and tranquility, Western interpretations often blend with darkness and conflict.
**Reporter:** You previously mentioned that the moon represents a vast expanse of human imagination, a concept you’ve termed the “cultural moon.” In light of today’s scientific advancements regarding the moon, how do you see the relationship between the “scientific moon” and the “cultural moon”?
**Wang Tianhong:** The “cultural moon” and the “scientific moon” embody the dichotomy of pursuing beauty versus uncovering truth. Poets and artists engage with the moon through aesthetic reflection, while scientists examine it through observation and research, focusing on its physical features like mountains and valleys.
Historically, ancient Chinese interpretations linked lunar cycles with natural phenomena, bridging cultural significance with scientific insight. As China advances in space exploration—evident from the Chang’e program to recent lunar missions—some might question whether discovering a barren, lifeless moon diminishes its mystique. I would argue that it does not.
The moon has remained an enduring emblem woven into our consciousness over millennia. Deepening our understanding of it will likely only amplify our appreciation for nature’s wonders, unveiling new mysteries and ensuring the moon retains its captivating charm as we ascribe fresh meanings to it.
**About the Interviewee:**
Wang Tianhong is a Doctor of Literature and an associate professor at Jilin University’s School of Liberal Arts. She has researched at the University of London’s School of Oriental and African Studies and is actively involved in various international literary associations, focusing on comparative literature and cross-cultural poetics. Her published works include several monographs and numerous articles on modern Chinese poetry and its translations.
