Xiwangmu

· West

The West is not only part of the Queen Mother of the West’s name, but also a profound cosmological symbol that defines her divine identity. In ancient oracle bone inscriptions, both the “Mother of the East” and the “Mother of the West” are mentioned, representing the rising and setting of the sun—symbolizing life and death, respectively. Within the framework of the Five Elements (Wuxing), the West corresponds to the element of metal, which is associated with autumn, maturity, and decline. As such, the Queen Mother of the West came to embody both death and judgment, alongside her better-known role as a bestower of immortality.

From as early as the Classic of Mountains and Seas, she is explicitly identified as the “Queen Mother of the West,” firmly anchoring her in the western realm of the cosmos. In Han dynasty funerary art, she is frequently depicted on the western wall of tomb chambers, reinforcing the belief that she presides over a western paradise and guides souls toward transcendence. Thus, in traditional Chinese cosmology, “the West” is not merely a direction—it signifies the late stages of the life cycle, including decline, death, and spiritual transformation. Xiwangmu, accordingly, holds dual authority over both the end of life and the promise of eternal life.

Mount Kunlun is the most fundamental and sacred dwelling place of Xiwangmu, carrying profound mythological significance. In the Classic of Mountains and Seas (Shan Hai Jing), Kunlun is described as a majestic and abundant mountain—“a place where all things exist”—located at the threshold between the mortal world and the heavenly realm. It is portrayed as a gateway to the land of immortality. According to the Da Huang Xi Jing section, Xiwangmu is said to reside in a cave on Mount Kunlun, appearing with tiger’s teeth, a leopard’s tail, and wearing a sheng headgear. This depiction emphasizes both her divine authority and the inaccessibility of the sacred mountain she inhabits.

In later Daoist tradition, Kunlun evolved into a paradise of immortals, and Xiwangmu became its sovereign, ruling over a retinue of female transcendents. Daoist texts such as the Taiping Jing further solidify Kunlun as her celestial domain, reinforcing her elevated status within the Daoist pantheon.

· Jade Pond

Unlike Mount Kunlun, which emphasizes her cosmic and primordial nature, the Jade Pond emerges as a symbolic space of divine encounter and ritual hospitality. Its earliest mention appears in the Mu Tianzi Zhuan, where Xiwangmu hosts King Zhou Mu by the Jade Pond, singing poetic songs of longing and separation. This narrative marks a turning point in her iconography, presenting a regal, humanized figure capable of emotional expression and political sovereignty.

Over time, the Jade Pond becomes increasingly linked with immortality, celestial feasts, and imperial aspirations for transcendence. Artworks such as the “Yaochi Banquet Painting” further immortalize this setting. Even in Yuan dynasty murals, like those in Yongle Palace, motifs referencing the Jade Pond—such as fans decorated with suns and images of Penglai—echo its status as a divine water source and cosmic meeting place. Thus, the Jade Pond symbolizes both the Queen Mother’s sovereignty in the western paradise and her evolving role as a bestower of immortality and cosmic harmony.