Chinese mythology has a long chimeral tradition of composite or hybrid beasts with parts from different animals (Loewe 1978, Strassberg 2002: 43-45). Some examples are the denglong, kui, fenghuang, and qilin. In comparative mythology, many cultures have four-animal part hybrids combining four kinds of animal parts, comparable to the Chinese "quadripartite "mo"". Bai Juyi wrote about suffering from headaches—"tóufēng" (頭風, lit. "head wind") that according to traditional medical theory were caused by the "feng" (風, wind) "wind-ailments" (cf. Western miasma theory)—and he used a folding screen known as a "píngfēng" (屏風, "wind screen/wall") to prevent drafts. The poet commissioned an artist to paint a fabulous "mo" on his wind screen, which Bai enjoyed so much that he composed his famed "Moping zan" (貘屏贊, "Mo" folding-screen paean) in 823. The preface explains: The "mo" has elephant trunk, rhinoceros eyes, cow tail, and tiger paws [貘者象鼻犀目牛尾虎足]. It inhabits the mountains and valleys of the south. To sleep on its pelt repels contagion [寢其皮辟瘟]. To draw its form repels evil [圖其形辟邪]. In the past I suffered from wind-ailment of the head [病頭風], and whenever I slept I always protected my head with a small screen. By chance I met a painter and had him draw (the "mo"). I note that in the "Shanhai jing" this beast eats iron and copper, and eats nothing else. This stirred me and now I have composed a paean for it. (tr. Harper 2013: 204-205)  Bai used two Chinese medicinal terms for what a "mo" image specifically repelled: "wēn" (瘟, "epidemic; infection") and "xié" (邪, "evil; unhealthy influences that cause disease"). Earlier Chinese sources about "mo" did not mention drawing one in order to repel evil through apotropaic magic, and artists were free to shape the hybrid beast without reference to the giant panda (Harper 2013: 205).