Symbols On Chinese Porcelain

TTTH_SU_RZ 02.09.
2011 15:16 Uhr Seite 1
Selected bookS on ASiAn Art from our liSt:

eVA StrÖber
ChineSe PorCelain HAPPINESS

SymbolS on eVA StrÖber 10000 TIMES
Gisela Jahn
meiji cerAmicS
The Art of Japanese Export Porcelain and
Satsuma Ware 1868–1912
SymbolS on
360 pages, 300 illustrations in colour, 180 signatures.
ISBN 978-3-89790-197-1
Patrizia Jirka-Schmitz
the World of netSuke
The Werdelmann Collection
352 pages, 638 illustrations in colour.
ChineSe PorCelain
ISBN 978-3-89790-209-1
Patrizia Jirka-Schmitz
netSuke
The Trumpf Collection eVA StrÖber
Vol. 1 (112 masterpieces): 288 p., 325 illus.
ISBN 978-3-925369-88-9
Vol. 2 (inv. cat.): 416 p., 900 illus. and 342 signatures. What is the meaning of yin and yang, dragons, Read Chinese Studies, East Asian art history, phi-
ISBN 978-3-925369-90-2
Vols. 1 + 2 in a slip case the Phoenix and the Peaches of Immortality? Why losophy and comparative religion in Germany
ISBN 978-3-925369-89-6 is the lotus a symbol of Buddhism and a couple of and Taiwan and received her PhD on late Qing
Christine Mathieu | Cindy Ho (eds.) mandarin ducks a wish for a happy marriage? Buddhism. After years teaching and travelling
AnceStrAl reAlmS of the nAxi What is the meaning of bamboo, pine and plum, she worked as curator for East Asian porcelain at
Quentin Roosevelt’s China
200 pages, 198 illustrations in colour and 15 in in black and white. the ‘Three Friends of Cold Winter’? This publica- the Porcelain Collection in Dresden, Germany.
ISBN 978-89790-343-2 tion reveals the secrets of the symbols of good She is currently the curator for Asian ceramics at
Elena Tsareva luck and the visual imagery of Chinese decorative the Keramiekmuseum Princessehof in Leeuwarden,
turkmen cArpetS elements by means of around 90 masterpieces of the Netherlands.
Masterpieces of Steppe Art, from 16th to 19th Centuries
The Hoffmeister Collection Chinese porcelain, from the collection of the Stroeber has written numerous articles, books
192 pages, 185 colour illustrations, foldout page. Keramiekmuseum Princessehof in Leeuwarden, and exhibition catalogues on East Asian art,
ISBN 978-3-89790-342-5
10 000 TIMES
HAPPINESS
the Netherlands, spanning 1000 years. some together with Lukas Kraemer. The range of
publications include the catalogue of the Dresden
porcelain collection ‘La Maladie de porcelain ...’
East Asian Porcelain in the Collection of Augustus
the Strong (Leipzig 2001), and Ostasiatika. Samm-
for further informAtion contAct: lungskataloge des Herzog Anton Ulrich Museums
ArnoldSche Art publishers Braunschweig (Braunschweig 2002).
Liststraße 9
D-70180 Stuttgart
ISBN 978-3-89790-350-0
Tel. + 49 / (0)711 / 64 56 18-0
Fax + 49 / (0)711 / 64 56 18-79
www.arnoldsche.com
art@arnoldsche.com
_TTTH_RZ_001_133.qxd 02.09.2011 15:01 Uhr Seite 4
6 INTRODUCTION
18 ONE Yin and Yang – The Cosmos in Harmony 20
陰陽 Clouds and Flames 26

THE PRINCIPLES OF THE COSMOS Colours and Numbers 28
34 TWO The Power of the Dragon 36
龙 The Dragon – Protector for the Afterlife 43

THE DRAGON –
SYMBOL OF CHINESE CULTURE
48 THREE The Dragon – Emblem of Imperial Power 50

四灵笼玄武 Dragon and Phoenix – The Ideal Pairing
THE FOUR DIVINE CREATURES – of Male and Female, Emperor and Empress 56
DRAGON, PHOENIX, QILIN AND BLACK The Qilin – Mysterious Powers 66

WARRIOR The Black Warrior – Symbol of Longevity 70
72 FOUR The Lion 74
狮子虎象马鸟蝴蝶鱼 The Tiger 80
THE SYMBOLISM OF CHINESE The Elephant 84
ANIMALS
The Horse 91
Birds 93
Butterflies and Insects 96
Fish – Emblem of Abundance 102
108 FIVE Spring – Peony, the Queen of Flowers 110
牡丹莲花菊梅 Summer – Lotus, Flower of Beauty

and Buddhist Symbol 116
THE FLOWERS OF THE FOUR
SEASONS – PEONY, LOTUS, Autumn – Chrysanthemum,
Symbol of Longevity and Retirement 124
CHRYSANTHEMUM AND PRUNUS
Winter – Prunus, the Winter Plum,
Symbol of Courage and Hope 130
134 SIX Islands and Mountains – The Paradises

of Daoism 137
寿
THE QUEST FOR IMMORTALITY The Eight Immortals – Loved and
Worshipped by Everybody 147
The Peaches of Immortality 156
Lingzhi, the Mushrooms of Immortality,

and Ruyi, As You Wish 160
The Rabbit in the Moon and the

Elixir of Immortality 164
Bamboo, Pine and Prunus:

The Three Friends of Cold Winter 168
174 SEVEN Confucian Ideals – Peace, Harmony

and Hierarchy 176
福
Mandarin Ducks – Wishes for Marital Bliss 182
THE IDEALS OF A CONFUCIAN
SOCIETY AND WISHES Boys, no Girls 186
FOR INDIVIDUAL HAPPINESS Wishes for Success in the Imperial

Examinations 196
The Three-Legged Toad:

Money, Money, Money 200
210 EIGHT Literati and Literary Themes 212
文人山水 Nature – Landscape Motifs 221
FREEDOM – THE IDEAL OF

THE LITERATI
Acknowledgments 227
Index of Motifs 228
Chronology 230
Glossary of Technical Terms 231
Bibliography 233
Imprint 240
18
ONE
THE PRINCIPLES
OF THE COSMOS
Chinese ideas on the cosmos originated in the earliest dynasties. One of the oldest concepts
appeared in the Shang dynasty (ca 1600–1022 BC). The cosmos was understood as a dome-
shaped, round heaven represented as a circle and a square earth. China, zhongguo in Chinese,
or the Middle Kingdom, is situated in the centre; the surrounding world at each of the cardinal
points of the five terrestrial directions, east, south, west, north and centre; with mountains in
each of the corners. This concept found its representation in the symbolic form of the tortoise.
The duality between heaven and earth anticipated the later and much broader concept of the
cosmic forces yin and yang. By the interaction of the two fundamental natural forces, yin and
yang, and the five elements earth, wood, fire, metal and water, the world and all natural
phenomena could be described.
See cat.-no. 1, page 20 >>

56 THREE /// THE FOUR DIVINE CREATURES – DRAGON, PHOENIX, QILIN AND BLACK WARRIOR
DRAGON AND PHOENIX – THE IDEAL PAIRING OF

MALE AND FEMALE, EMPEROR AND EMPRESS
Since the Han dynasty (206 BC – AD 220), when the Chinese emperor proclaimed himself to
be a descendant of the dragon, almost every ruler was referred to as The True Dragon,
Son of Heaven. As the dragon became the emblem of the ruler, the phoenix became the
embodiment of his mate. Dragon and phoenix represented the Chinese court. Innumerable
objects related to imperial power – from architecture to imperial robes – were adorned
with the pairing of dragon and phoenix, the legendary animals of Chinese mythology.
THE PHOENIX
The mythical bird most often seen in Chinese art is in English identified as the phoenix. The phoenix
of the Egyptians and Greeks, that is so familiar to the Western mind symbolises resurrection or the
renewal of life in all nature after the decay of death because it rose from its own ashes. This phoenix
of Classical antiquity differs in almost all essentials from the Asian phoenix. It is only because the term
phoenix is so generally used, that it shall not be replaced here.
The Chinese phoenix, fenghuang, is one of the Four Divine Creatures, and is mentioned in texts as far
back as the end of the second millennium BC. It is a chimerical creature like the dragon, a composite of
other animals and the embodiment of their corresponding potential attributes.
The phoenix is said to have the head of a golden pheasant, surmounted by a cockerel’s comb, and at
times long spiral plumes. It has a beak like a swallow’s, beneath which grow feathery tufts, the neck
of a tortoise, and at its base a beautiful ruff of silken feathers, from which flame-like appendages
emerge.
Like the qilin, the phoenix is considered a most benevolent creature. It never will never injure any living
being, nor tread upon any plants.
According to Chinese legend, the only tree on which a phoenix will reside is the Chinese parasol tree,
wutong, identified by its large, distinctive, five-lobed leaves.
The appearance of the phoenix was most rare and was an auspicious omen. It was said to happen only
in times of peace when a good emperor ruled the country.
Ref.: Rawson 1984, pp. 99–110; Pierson 2001, p. 70; Ni 2009, pp. 52–53.
See cat.-no. 15, page 58 >>

68 THREE /// THE FOUR DIVINE CREATURES – DRAGON, PHOENIX, QILIN AND BLACK WARRIOR
21 JAR, DECORATED WITH A BOY RIDING A QILIN
Jingdezhen porcelain, decorated with underglaze blue and overglaze enamels

H 22.5 cm, D 23.5 cm
Qing dynasty, Shunzhi period (1644–1661). Inv.-No. GRV 1929-154.
In Chinese tradition the qilin is said to bring male offspring to the happy parents, making it something
like the equivalent of the Western stork.
The jar is painted in the wucai ‘five colour’ palette with underglaze blue and enamels. The décor
shows a kind of procession of little boys. One of the boys in a red garment is riding a qilin and in his
left hand he holds an auspicious ruyi sceptre. Other boys are swinging banners, making the procession
look like the return of a successful candidate from the imperial examinations.
The design conveys the wish for many sons and their success in becoming an official.
Comp.: Shimizu 2003, no. 117, p. 174; for the depiction of qilin on Shunzhi porcelain see Butler, Curtis, Little 2002,
nos. 11, 12, 13, pp. 104–109.
88 FOUR /// THE SYMBOLISM OF CHINESE ANIMALS
29 LARGE JAR OF THE MARTABAN TYPE, DECORATED WITH ELEPHANTS

AND AUSPICIOUS OBJECTS
Glazed stoneware
H 70.0 cm, D 52.0 cm
Ming or Qing dynasty, 17th or 18th cent. Found in Indonesia. Inv.-No. NO 1366.
The jar belongs to a group of large storage jars, martaban, or martavan as they are known in the
Netherlands. It was made in the province of Guangdong, southern China. The main motif on the
body, between two moulded cords, is two large elephants in profile in low relief, one on each side.
Over the shoulder of the elephants a wooden wheel-like object of unknown use is being carried.
Between the animals are moulded applications depicting rhinoceros horns, one of the auspicious
objects of the Eight Precious Things, babao, combined with sprays of peonies.
Jars of this type were used for storage. In Indonesia, where this jar was collected, they were also
appreciated as heirlooms, representing high social status, or were used as part of traditional rituals.
Comp.: Ceramic Society of Indonesia 1976, no. IV M4, p. 100; Harrison 1986 (2), no. 138.
148 SIX /// THE QUEST FOR IMMORTALITY
55 SMALL DISH, PAINTED WITH THE IMMORTAL LÜ DONGBIN
Jingdezhen porcelain, decorated with underglaze blue and overglaze enamels

H 3.5 cm, D 15.8 cm
Ming dynasty, Tianqi mark and period (1621–1627). Inv.-No. GMP 1962-19.
The small dish is painted with Lü Dongbin, one of the Eight Immortals and identified by his magical
instruments, sword and fly whisk. He is wearing loose garments, standing on a cloud flying over
waves. Three stylised clouds, a small flower and a poem surround the figure.
This small saucer dish was made in the seventeenth century for the Japanese market. This can be
seen from the purposefully imperfect shape and naïve rendition of the scene much appreciated by
Japanese connoisseurs.
The dish has a four character Tianqi (1661–1627) mark and is painted in the wucai colour scheme of
underglaze cobalt blue and the enamels iron red, green, yellow and black.
Comp.: Christie’s London 1989, lots 307–309, p. 72; Harrison-Hall 2001, 12.118, p. 398; Curtis 2006, no. 89, p. 108.
149
154 SIX /// THE QUEST FOR IMMORTALITY
57 SHOULAO, THE GOD OF IMMORTALITY
Cizhou stoneware, decorated with slip and iron brown

H 25.7 cm, W 8.0 cm, L 14.5 cm
Ming dynasty, 16th cent. Inv.-No. GMP 1969-1.
Shoulao, also known as Shouxing, is the Daoist God of Immortality. His name is made up of shou,
long life, and lao, old. Shouxing, ‘long life star’, refers to the origin of this god as a star god.
He is depicted as a smiling old man, with the long white beard of a man of extreme old age and a
characteristic elongated, bald cranium, the symbol of his wisdom and eternal life. Another explanation
for his sometimes phallus like cranium refers to Daoist sexual practices in attaining long life. Shoulao
wears the Daoist crown made of lotus leaves. He is seated on an oval pedestal in the shape of rocks.
In his right hand he holds a peculiar, sceptre-like object which the Chinese call the ruyi sceptre. By
his right side stands a crane, on his left side a deer. In the rocky ‘grotto’ of his pedestal sits a tortoise.
All these creatures symbolise long life.
Figures of Shoulao became popular in the Ming dynasty (1368–1644), depicted in paintings, carvings,
textiles and porcelain, as suitable gifts for birthday celebrations.
The figure is made in a mould and covered with cream white slip. Different shades of iron brown
were used to paint the details.
Comp.: Harrison-Hall 2001, 14:14, p. 442.

228
E
INDEX OF MOTIFS Eight Immortals, baxian 八仙 55, 56
Eight Precious Things, babao 八寶 6, 27, 29, 83
Eight Trigrams, bagua 八卦 2, 3
Elephant, xiang 象 28–30, 54
The following numbers refer to the Elixir of immortality, see Calabash
catalogue numbers.
F
Fan, shan 扇 22
A Fire, huo 火, see Flames, red flames 7, 18
Animals of the Four Directions 10, 23 Fish, yu 魚 36–38
Fish, pair of fish, shuangyu 雙魚 36
B Fisherman 87
Bamboo, zhu 竹 16, 61, 62, 64, 66, 84 Five Ancients 1
Bat, fu 蝠, see Five bats Five bats, wufu 五蝠, see Five Happinesses,
Bird, niao 鳥, see Magpie wufu
Black Warrior, xuan wu 玄武 22, 58 Five Elements, wuxing 五行 1
Box, he 合 67 Five Happiness, wufu 五福 5
Boy, zi 子 72, 73, 74 Flames, huo 火 2, 7, 14, 17, 18, 20, 25, 54
Boy riding a qilin 21 Flower scroll 9, 12, 20, 59
Boys carrying lotus 56, 72 Fungus of immortality, see Mushroom of
Butterfly, hudie 蝴蝶 33, 34, 35, 48 immortality
C G
Calabash, hulu 葫蘆 54, 56, 68 God of Immortality, Shoulao 壽老 56, 57
Carp, li 鯉 37, 78 God of Literature, Kui Xing 魁星 78
Cash, quan 串, see coin Goddess of the Moon, see Chang E 嫦娥
Chang E 嫦娥 63 Gourd, see Calabash
Chrysanthemum, ju 菊 34, 46–48, 53
Cintamani, see Pearl H
Cloud collar, yun jian 雲肩 83 Hanshan and Shide 寒山拾得 26
Clouds, yun 雲 4, 25, 54, 55, 63, 65, 78 Hare, see Rabbit
Clouds, four-tailed 7, 17, 55 Hehe erxian, Two Immortals of Harmony
Clouds, five-coloured, wuse yun 五色雲 18 and Union 和合二仙 28, 67
Clouds, ruyi-shaped 7, 17, 18, 54 Hibiscus, furong 芙蓉 53
Coin, money, cash, qian 錢 79, 80, 83 Horse, ma 馬 25, 31, 54
Coin, double coin, shuangqian 雙錢 83 Hundred Antiqities, bai gu 百古 74, 77
Cracked ice 49
Crane, he 鶴 15, 51, 54, 57, 65 J
Cricket, xishuai 蟋蟀 33 Jewel, see Pearl
D K
Deer, lu 鹿 15, 51, 57, 60 Key-fret pattern, huiwen 回文 17, 19
Dragon, long 龍 7–14, 17–19, 75, 78
Dragon, Green Dragon of the East, qing long L
青龍 10 Lady 74
Dragon, Kui 夎 9 Landscape, shanshui 山水 87, 88
Dragon and phoenix 17–19 Lion, shi 獅子 23–25, 54
Duck, see Mandarin ducks Literati, wenjen 文人 30, 84–87
230
CHRONOLOGY
NEOLITHIC PERIOD ca 7000–1600 BC
SHANG DYNASTY ca 1600–1027 BC

ZHOU DYNASTY 1027–256 BC
QIN DYNASTY 221–206 BC
HAN DYNASTY 206 BC–AD 220
SIX DYNASTIES 220–580
SUI DYNASTY 581–618
TANG DYNASTY 618–907
SONG DYNASTY 960–1279
LIAO DYNASTY 907–1125
YUAN DYNASTY 1279–1368
MING DYNASTY 1368–1644

Hongwu 1368–1398
Jianwen 1399–1402
Yongle 1403–1424
Hongxi 1425
Xuande 1426–1435
Zhengtong 1436–1449
Jingtai 1450–1457
Tianshun 1457–1464
Chenghua 1465–1487
Hongzhi 1488–1505
Zhengde 1506–1521
Jiajing 1522–1566
Longqing 1567–1572
Wanli 1573–1620
Taichang 1620
Tianqi 1621–1627
Chongzhen 1628–1644
QING DYNASTY 1644–1911

Shunzhi 1644–1661
Kangxi 1662–1722
Yongzheng 1723–1735
Qianlong 1736–1795
Jiaqing 1796–1820
Daoguang 1821–1850
Xianfeng 1851–1861
Tongzhi 1862–1874
Guangxu 1875–1908
Xuantong 1909–1911
231
GLOSSARY OF
TECHNICAL TERMS
CELADON pink was produced from a derivate of gold and

A glaze containing iron-oxide, which, fired in a the white from a lead-arsenic compound. In
reduced atmosphere, will produce different China, this palette is called fencai, powder
shades of green. In Chinese, the term qingci, colours or ruancai, soft colours.
green ware, is used. The name celadon goes
back to a shepherd named Celadon who appears JINGDEZHEN PORCELAIN
wearing a green garment in the novel Astrée, From the Tang dynasty (618–907) onward, porce-
written by Honoré d’Urfé in the eighteenth lain was produced in Jingdezhen, in the north-
century. eastern part of the Jiangxi province. Today, it
remains the porcelain centre of the world. Pot-
CIZHOU STONEWARE tery clay is in ample supply, and the Gaoling
Stoneware produced in the Cizhou kilns in Hebei mountains nearby were and still are one of the
in northern China since the Song dynasty (960– few areas in China which provide pure kaolin,
1279). an essential ingredient for porcelain.
COBALT KRAAK PORCELAIN

A hard, transition metal element belonging to Kraak was the Dutch name for a Portuguese ship
the same family as iron and nickel. The Chinese called Caracca. Kraak porcelain denotes porce-
use cobalt oxide to obtain the colour for their lain decorated in underglaze blue with a panel
underglaze blue. decoration made for export in the late sixteenth
and early seventeenth century.
DEHUA PORCELAIN
Mostly undecorated white porcelain made in the LONGCHUAN STONEWARE
kilns of Dehua in the Fujian Province since the Celadon-glazed stoneware produced in the kilns
Song dynasty (960–1279). It is known in the of Longquan in the Zhejiang province. Large
West as Blanc de Chine. scale production started in the Song dynasty
(960–1279).
EMAIL SUR BISCUIT
Porcelain which, after a first firing, is decorated MASTER OF THE ROCKS STYLE
with enamels and then fired a second time at A term coined by the English collector Gerald
low temperature. Reitlinger (1900–1978). There is no individual
artist behind the term, but it refers to a special
FAMILLE ROSE, FAMILLE VERTE technique of using parallel structural lines to
Terms coined in Europe in the nineteenth cen- depict the surface and volume of rocks or moun-
tury by the French collector Albert Jaquemart in tains.
his Histoire de la Ceramique (Paris 1873). Famille
verte denoted a décor dominated by a palette of MEIPING
green enamels. It developed from the wucai The meiping, literally plum vase, has rounded
technique and appeared in the early Kangxi pe- shoulders and a very small mouth into which a
riod (1662–1722). In China it was called yingcai, slender plum blossom spray can fit. The shape
hard colours. Famille rose is a term used for the was originally a vessel with a cover used for
opaque enamels pink, yellow and white, which alcoholic beverages.
appeared at the end of the Kangxi period. The

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TTTH_SU_RZ 02.09.

2011 15:16 Uhr Seite 1

Selected bookS on ASiAn Art from our liSt:

ChineSe PorCelain HAPPINESS

18 ONE Yin and Yang – The Cosmos in Harmony 20

陰陽 Clouds and Flames 26

34 TWO The Power of the Dragon 36

龙 The Dragon – Protector for the Afterlife 43

48 THREE The Dragon – Emblem of Imperial Power 50

DRAGON, PHOENIX, QILIN AND BLACK The Qilin – Mysterious Powers 66

72 FOUR The Lion 74

Butterflies and Insects 96

Fish – Emblem of Abundance 102

108 FIVE Spring – Peony, the Queen of Flowers 110

牡丹 莲花 菊 梅 Summer – Lotus, Flower of Beauty

134 SIX Islands and Mountains – The Paradises

The Peaches of Immortality 156

Lingzhi, the Mushrooms of Immortality,

The Rabbit in the Moon and the

Bamboo, Pine and Prunus:

174 SEVEN Confucian Ideals – Peace, Harmony

FOR INDIVIDUAL HAPPINESS Wishes for Success in the Imperial

The Three-Legged Toad:

210 EIGHT Literati and Literary Themes 212

文人 山水 Nature – Landscape Motifs 221

FREEDOM – THE IDEAL OF

See cat.-no. 1, page 20 >>

DRAGON AND PHOENIX – THE IDEAL PAIRING OF

See cat.-no. 15, page 58 >>

21 JAR, DECORATED WITH A BOY RIDING A QILIN

Jingdezhen porcelain, decorated with underglaze blue and overglaze enamels

88 FOUR /// THE SYMBOLISM OF CHINESE ANIMALS

29 LARGE JAR OF THE MARTABAN TYPE, DECORATED WITH ELEPHANTS

148 SIX /// THE QUEST FOR IMMORTALITY

55 SMALL DISH, PAINTED WITH THE IMMORTAL LÜ DONGBIN

Jingdezhen porcelain, decorated with underglaze blue and overglaze enamels

154 SIX /// THE QUEST FOR IMMORTALITY

57 SHOULAO, THE GOD OF IMMORTALITY

Cizhou stoneware, decorated with slip and iron brown

Comp.: Harrison-Hall 2001, 14:14, p. 442.

NEOLITHIC PERIOD ca 7000–1600 BC

SHANG DYNASTY ca 1600–1027 BC

MING DYNASTY 1368–1644

QING DYNASTY 1644–1911

CELADON pink was produced from a derivate of gold and

COBALT KRAAK PORCELAIN

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