32 “The Painted Skin” Critical Analysis

Pu Songling’s ‘The Painted Skin’ is a classic supernatural tale from Chinese literature that has captured the imagination of readers for centuries. The story, first published in the late seventeenth century, tells of a young scholar who becomes enamoured with a beautiful woman, only to discover that she is actually a demon in disguise. The story is set in the city of Nanjing, during the Ming Dynasty. In essence, it is a cautionary tale about the dangers of lust and desire. Pu Songling uses the supernatural elements of the story to highlight the danger of succumbing to temptation and the consequences of giving in to one’s base instincts. The demon’s ability to change its appearance serves as a metaphor for the allure of physical beauty, which can be used to deceive and manipulate. Unlike most Chinese and Western horror fiction, the “scary stories” in Liaozhai zhiyi 聊齋誌異 (the collection of Pu Songling short stories that this one is from) are not intended to be frightening, but to blur the borders between the supernatural and everyday reality, using physical and psychological detail in conjunction with each other to make the move between these realms flow effortlessly. These romantic tales explore the philosophical concept of qing 情, the passionate and emotional entanglement of the world, be it human or supernatural.

Let us begin by examining the title of the story. ‘The Painted Skin’ huapi 畫皮 is a synonym for demonic duplicity. During the rise of Communist China, the meaning of huapi took on a political undertone and was used to independently describe United States colonisation, USSR revisionists, and the Gang of Four, among various other political factions or figures. In fact, a satire on corruption through tyranny in ghost stories works hand in hand with the metaphor of masks and disguises. Be it the way the mystical beggar at the end of the story disguises his help to Wang’s wife as a disgusting ball of phlegm, to how the green monster disguises itself as a woman, masks play a significant role in ‘The Painted Skin’ as they are used to deceive and hide one’s true identity. The monster’s human pelt is a symbol of its deception, as it allows itself to disguise itself as human and lure in prey. The mask is described as being flawless and lifelike, allowing the monster to pass as a beautiful and innocent woman. However, the mask also represents the danger and deceit that this creature embodies. As a demon, it preys on human desires and uses beauty and charm to manipulate them. A painted skin mask allows for the concealing of true nature and intentions, making this creature all the more dangerous.

The theme of masks is further, more implicitly explored in the character of Wang, who wears a more figurative mask. As a scholar and husband, he is expected to adhere to a strict moral code and maintain a certain level of decorum. However, he is also a man with desires and passions, which he must keep hidden from society. Repressing them all these years, as is likely in a conservative society, might be what ultimately drove his betrayal against his wife when he slept with the monster. In this way, Wang’s mask represents the societal expectations and pressures that he must conform to. Here, the use of masks in ‘The Painted Skin’ highlights the complexity of human nature and the power of deception. It shows how individuals can hide behind a mask, both literally and figuratively, in order to conceal their true selves and manipulate those around them. However, it also serves as a cautionary tale, warning against the dangers of succumbing to adultery and desire.

This brings us to how the story navigates themes and perceptions of womanhood. I think about this in the context of how the monster initially made itself trustworthy to Wang with good looks, a sorry backstory and by sleeping with him. Here, we see how in the story, female sexuality was utilised as a tool to prey on sins of lust and temptation. Even the Taoist priest initially assumed the best of the creature, that it was a suffering woman, one whose life he couldn’t bear to take, one who must’ve suffered greatly and is close to ending her torment etc. in what ultimately turned out to be misguided delusions that play into the monster’s trap. Further in terms of womanhood, I also consider how Wang’s wife, the lady Chen, was so committed to her role as a partner—despite her husband being dead and also cheating on her with a demon—in a remarkable display of Confucian principles of being a good, devoted wife. So much so that in the story, moral courage trumps the occult and supernatural powers because the Taoist priest is unable to revive Wang with his magic, whereas Chen’s sacrificial love is arguably more effective in doing so. By extension, this also decreases the credibility of religious institutions, continuing Pu’s subtle criticism of religion that remains present in many other of his Liaozhai stories.

Ultimately, while on the surface ‘The Painted Skin’ is a story of a lustful scholar’s encounter with a demon who disguises itself as a lady, Pu Songling intended for the story to be viewed as a parable of human desire and its negative consequences, one denouncing sexual promiscuity, exalting faithfulness, and endorsing a belief in karma and retribution. The supernatural elements of the story, including its demonic details and the monster’s ability to wear a painted skin mask—showing us that evil is all around us, just in disguise—create a sense of mystery and suspense. The story also highlights the importance of seeking help from others when facing a difficult situation. Wang’s decision to seek the help of a Taoist priest ultimately saves his life, demonstrating the value of seeking guidance and support from those with greater knowledge and experience. In conclusion, “The Painted Skin” is a captivating supernatural tale that has stood the test of time. It is a story that continues to resonate with readers today, as it explores themes of desire, temptation, and the dangers of giving in to one’s baser instincts. Pu Songling’s masterful storytelling and vivid imagery make ‘The Painted Skin’ a classic work of Chinese literature that is sure to captivate readers for generations to come.

Bibliography

Pu, Songling 蒲松齡, “The Painted Skin,” Huapi 畫皮 in Liaozhai zhiyi 聊齋誌異 (Strange Tales from a Chinese Studio). Translated by John Minford. Penguin Classics, 2006. 126-132.