Chinese and Japanese Art Has Similar Themes Found in Their Art
Specialist Ivy Chan on the significance of traditional motifs, from clever monkeys to dignified peacocks
With a life expectancy of more than 20 years, cranes symbolise longevity. The Chinese give-and-take for crane, he, sounds similar to the word for 'harmony'. A pair of cranes tin can therefore signify a harmonious marriage: specifically a happy, long-lasting union.
A white and russet jade ruyi-grade washer. Qianglong period (1736-1795). This piece of work was offered in Inspired Themes: a Fine Pick of Chinese Works of Art on 10 May 2016 at Christie'south in London and sold for £110,500
This washer is shaped equally a large lingzhi — a medicinal fungus symbolising longevity and good wishes. 2 bats in flying are carved into and highlighted by the russet expanse of the jade, representing happiness or blessings; the Chinese word for bat is fu, which provides the homophone — a word with the same sound — for 'happiness'.
I of Mainland china's oldest and most influential texts, the I Ching, or Book of Changes, describes the peacock every bit a cultured bird with 9 virtues. It had a dignified appearance and a articulate voice, walked with grace, and was punctual. Content and loyal to its fellows, the peacock was also restrained in its appetite, and capable of learning from its mistakes.
Over fourth dimension, the peacock became synonymous with civilization and enlightenment — in the Qing dynasty (1644-1912), imperial fans were fabricated of peacock feathers and just officials of the highest rank were permitted to wear a lid with a peacock feather and coral knob.
Individually the monkey symbolises cleverness and agility, while the horse represents strength and speed. The depiction of a monkey on a horse'south back represents the rebus 'Ma shang feng hou' ,which may be translated as 'May you lot receive a swift promotion to a high rank of office'. This pop motif would have been used to confer skilful wishes to ambitious individuals within officialdom.
A moulded famille rose 'Dragon and Phoenix' bowl and encompass. Qianlong-Jiaqing period (1736-1820). This work was offered in Inspired Themes: a Fine Selection of Chinese Works of Art on 10 May 2016 at Christie'due south in London and sold for £11,250
The dragon and the phoenix stand for the peak of power and auspiciousness. Emblematic of male person prowess, strength and divine rule, the dragon symbolises the Emperor of People's republic of china and is ranked first among mythical beasts — believed to bring fertility to the land.
The phoenix, on the other hand, represents female authorization, benevolence and dazzler, and is associated with the Empress of Prc. The phoenix appears during times of peace and prosperity; it is believed that when Confucius was born, the phoenix appear the emergence of the great man. The combination of dragon and phoenix is oft seen at weddings, conveying blessings and good fortune.
A turquoise-ground famille rose 'five boys' vase. Qianlong six-character seal mark in iron-red and of the period (1736-1795). This work was offered in Inspired Themes: a Fine Selection of Chinese Works of Art on 10 May 2016 at Christie's in London and sold for £362,500
In Chinese art the depiction of young boys at play is considered a sign of good fortune, representing the blessing of having many sons to carry on the family proper noun. The combination of five boys derives from the sayingwu zi deng ke, referring to the supreme achievement of v sons from the same family passing the civil service examination.
The talismanic gilt-busy diagrams on these vases stand for the 'true forms' of the 'Five Sacred Peaks', or Wuyue Zhenxing, and are believed to bring their bearer proficient fortune. The five peaks represent the five cardinal directions of Chinese geomancy — East, West, South , N and Eye. Together they reach a rest in catholic order, and likewise symbolise the Five Elements of metal, burn, woods, water and world. According to legend the 'true forms' were given to Han dynasty Emperor Wudi (r. 140-87 BC) by the ancient Chinese goddess Xiwangmu — or the Queen Mother of the West. Wudi had them mounted and encased in precious materials, and gave a copy to one of his ministers. The tradition continued, with subsequent versions believed to be based on Wudi's original. Followers of Daoist philosophy believe that wearing a representation of the 'true forms' invokes protection from the gods.
Source: https://www.christies.com/features/Chinese-Ceramics-How-to-decode-the-meanings-of-traditional-symbols-7229-1.aspx
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