Tour of China Gallery

Tour of China Gallery Helen Dell-Imagine, February 2011 Introduction: Welcome to Bowers Museum and this collection of Chinese art. I am (name,) a volunteer docent. I will be your guide through this gallery. The word collection implies to me an overriding theme or philosophy that is reflected in all the artifacts of that collection. Theme: Throughout China s history, there is a consistency in design in its art that reflects the Chinese ideal of beauty and which combines Confucian restraint, Daoist mysticism and Buddhist symbolism. We will also see that the art reflects the history of the times. Transition: But before we begin our 50 minute tour, I want to draw your attention to this beautiful statue of Guanyin. Artifact: Guanyin is the Bodhisattva of Compassion and next to Buddha himself the most important figure among the Buddhist revered figures. Amithaba, the Buddha of the Future, resides in her crown. A Bodhisattva is a person who has attained Nirvana but chooses instead to stay on earth and help others to attain it and is also the essence of compassion. Buddhism entered China over several centuries and became dominant during the 5 th century, This figure is carved from wood, painted and dates to the mid 17 th century. Guanyin sits in a position of repose on a lotus flower. The lotus, a symbol of purity, is often associated with her. Probably this figure came from a coastal region as suggested by the fish at the bottom. Guanyin is the protector of those in distress, especially those at sea. It seems right to begin our tour with Guanyin as she is also viewed as a patron of traditional China. Notice that the same figure watches over the exhibit from the small courtyard outside. Transition: So, under her gaze, let us step back to Neolithic times and talk about two common media: pottery and jade. We will begin with the round pot (behind/ in front of you) Artifact: Wherever there is human settlement, there is pottery. This round pot, found in a tomb, comes from a very old culture in northwestern China during a period when hunter- gatherers were beginning to settle in villages and to farm, about 3000BC. It was formed by hand, coiled or pinched, in a time before the invention of the potter s wheel. Like this pot, most pottery from this time is decorated with geometric or stylized patterns only on the top half. The lower half may have been set in sand to stabilize it. The design has a lively, uplifted almost animal form with dynamic linear movement that is uniquely Chinese. People lived in villages and farmed. They were bound together by rituals. Most of our information comes from burial sites indicating that they believed they could take things with them to the afterlife. Transition: The second medium used in ancient China is jade. We have an example a Neolithic jade blade in the case behind you. 3/18/2011 HDI

Artifact: Nephrite jade from western China has always had a special meaning to the Chinese. Because it is so hard, it was believed to have magical qualities, it valued for its indestructibility. It was associated with immortality and valued for its resonance. Pure, it is white but with impurities or oxides it takes on color. Jade cannot be carved; it must be abraded or ground. This blade shows the expertise of these early people sometime before 1,500 BC. Transition: We have examples of other jade pieces in the case just around the corner. Artifact: We will look briefly at two pieces in this case, the pendant and the pig dragon. The pendant is a representation of two cicadas, very smoothly abraded. The piece on the right is a pig dragon. Pigs and dogs were domesticated in China about 4000BC and pig bones have been found in tombs. We do not know the origin of the dragon except that versions of it go back to the beginnings of Chinese life. These pieces were probably amulets and used in rituals. Transition: By 400 BC, jade was used not only in ritual but also for ornament. There is a beautiful example in the case just ahead. Artifact: This pendant shows the grinding expertise in the Iron Age, about 500-200 BC. Workers had sharper tools and harder abrasives. The quality of abrading reached new heights with decorations of spirals or animals such as the dragon and the phoenix on this pendant. The dragon became a symbol of male fertility while the phoenix was the female symbol rejuvenation. Together they represented husband and wife. Eventually they came to symbolize the Emperor and the Empress. The yu character for jade in Chinese writing is very similar to the character for king. Wearing jade suggested royalty and status and was also a mark of morality after Confucius time as he claimed that jade had many virtuous qualities and so wearing it would identify you with those qualities. Transition: As we noted, from the beginning, people made and continued to make pottery. For a time, between 2,000 BC and about 500, pottery was eclipsed by the Chinese invention of bronze. Bronze is an alloy of copper and tin to which the Chinese added lead for pouring ease. While we do not have pieces in this gallery from the height of this period, we do have excellent examples of fine bronze from the end of the Bronze Age. Let s walk around this case for the better lighting on the other side. Bells were used in ritual and entertainment. They had a moral value. The earliest sets had 3 bells but later were made with up to 16. They were hung at an angle and hit with a mallet. Elliptical in shape, these bells are unique in the world in that they produce two tones depending on whether they are struck at the rim or near the center. The bottom edge is thicker than the top area. With time, the cast decoration became very refined; bands of raised knobs alternate with bands of delicate interlacing. Also from this later period comes inlay. This was used on both ritual vessels and utensils for everyday use. The technique was first to cast the design leaving hollows for the inlay and then to 3/18/2011 HDI 2

coarsen the base of the hollows with an awl. Shaped pieces of copper or silver were then placed into the hollows and hammered so that the soft metal expanded to fill the available space and was firmly attached. The result is very beautiful as you see here. Ding A very common vessel from throughout the Bronze period was the ding, a food container for storage, sometimes utilitarian and sometimes placed in a tomb to hold grain for the deceased. Decoration is mainly ornamental. Lines are very fine and are sometimes made with one small mold that was used to impress the design repeatedly into the inner surface of the vessel mold. This ding has a snake design. Originally snakes were equated with river gods and venerated. Only later did they become threatening. Transition: The Warring States period from which most of these bronzes come was a time of upheaval as the name would suggest. However, it was a time of magnificent craftsmanship due to competition among various states and many courts with many patrons. The Warring States lead to unification under the Qin Emperor, the time of the Terra Cotta soldiers, a short dynasty of about 20 years. It was followed by 400 years of the Han dynasty, a time of great territorial expansion that included an area equal to that of the contemporary Roman Empire. The Silk Road opened; horses were brought back from Central Asia; Confucianism predominated; civil service exams were introduced. It was a Golden Age. Several items from the Han dynasty are in the cases ahead. Incense burner is typical Han style in that it uses a lead glaze to create the thick green look. Immortals ride griffins around the sides and mountains, the abode of the deities cover the lid. This burner is Daoist in design with small holes behind each mountain to allow the smoke, the auspicious cloud vapor to rise. According to Daoist belief, all nature is alive and breathing. Transition: Daoism has always a part of Chinese culture. It is an animist belief and became more structured during the Han dynasty. Let s look at another example in the next case. This tomb guardian is another reflection of belief in the need for spirits to guard the deceased and the items in the tomb. It represents the spirit of the earth; it s the spirit of the soil and is meant to intimidate with its antlers and penetrating eyes. The number of tomb guardians that could be placed in a tomb was strictly guided by the status of the deceased. It was at this time that wooden or ceramic figures (like the dancing girl) replaced actual people as guardians. Transition: After the relative stability of the Han dynasty there was again a breaking up of states until the late 6 th century when stability arrived. Canals were built; the legal system was established. That prepared the way for another golden age in the Tang dynasty from 618 906. Like the Han, the Tang was an era of expansion. It was rich in culture, literature, music, and the visual arts. A writing script was established. Trade flourished along the Silk Road. Examples of the trade are in the case across the way. 3

Bronze mirror with grape design. Grapes were not indigenous to China. The beautiful vase of gold over silver also reflects the influence of Central Asia in its design. Camel and rider show how this trade was carried out. Camels used in this trade were Bactrian, two humped. This one is braying in a lively manner. The rider is a woman and one wellrounded showing prosperity and the fashion of the day. Another important change in this time of prosperity was the development of lighter glazes on pottery. Jar is an example of three color or sancai ware. The glazes were low firing lead glazes; iron oxide for the copper color, iron oxide for green and the white of the clay as the third color. Occasionally cobalt was used, but at this time it was expensive and rare. Also at this time the first steps were made toward porcelain. Transition: this glazed pottery represents a huge advance in ceramic production. From these early steps came the beautiful celadon porcelain dish in the next case. Qingbai ware which refers to the bluish-white color. The piece itself is delicate and thin. It has a thin, translucent bluish glaze and a design that is lightly incised. The design becomes visible because the glaze pools in the depressions. Compare this to the Han incense burner. Porcelain is a harder clay that can be fired at a higher temperature and was for some time the property only of those who could afford it mainly the Imperial Court. Transition: Between 900 and 1,200, there was again a breakdown and fragmenting of states followed by an invasion from the northeastern peoples, then from the northwestern peoples. The Han Chinese moved their capital south and enjoyed a period of great refinement in the arts. Celadon bowl is from this period, around 1,100. In 1,260 China was invaded from Mongolia by Genghis Khan and his horde. These Mongols ruled as the Yuan Dynasty for about 100 years. This vase with its racing horse design suggests the nomadic life of the northern tribes. There is a lively horse on one side and a flying bird on the other a falcon?? Transition: In 1368 the Han Chinese took back their throne and the dynasty became known as the Ming dynasty. This was again a time of great wealth and trade. And of the things traded, porcelain was paramount. It was sent to Europe by the boatload. From the simple pieces of the Han dynasty, artisans evolved ceramics to the pinnacle of fine Ming porcelain ware. We have some examples in these next cases. Red-glazed vase. It took 700 years to perfect the red glaze on this. It is copper oxide and the depth of color is determined in part by the temperature in the firing, a difficult process to control. The copper red was mixed with gray to obtain the depth of this color which was called ruby red 3/18/2011 HDI 4

or bright red. This is a meiping vase with cover. Meiping means plum blossom and these containers were meant to hold a single plum blossom branch. Transition: Also, from Ming times is the blue and white porcelain in this next case. This small blue and white dish is representative of so much porcelain shipped to Europe in these years. In fact, the Chinese dominated porcelain for 1,000 years. The color was called Mohammedan Blue as it came from cobalt first imported from Persia and later from western China where Moslems still live. This plate has the three friends design and like so much in Chinese art, it conveys a deep thought as well as its artistic beauty. You see three branches: a pine, a bamboo and a plum. The first two remain green throughout the winter. The pine symbolizes longevity and perseverance; the bamboo which bends in the wind but maintains its structural integrity symbolizes flexibility and integrity; the plum branch blooms toward the end of winter and in early spring and so it symbolizes continuity under difficult conditions. The designs on these porcelains are all symbolic and come from Buddhist sources. Transition: Symbolism is prevalent throughout Chinese history as we have seen. It continues in the Qing dynasty which followed the Ming. The Qing were Manchurians who invaded in 1644 and then ruled until 1911, the last Chinese dynasty. Let us now look at robes from this period. Court robes. Again symbolism is important. Everything during the Qing dynasty was highly structured. What officials wore reflected their position in the hierarchy. Notice the handwork, all handmade and embroidered. (Explain silk thread filament wrapped in gold leaf and couched onto silk background fabric). Silk was first made in the third millennium BC. Confucius recounts that a silk worm cocoon fell into the teacup of the empress Leizu, the wife of the Yellow Emperor. When the threads began to unravel, she unwound the thread and found it very strong and fine. She pulled several strands through her ring to form a thicker thread and with the help of her attendants wove the threads into cloth. She then made a robe for the Emperor. She encouraged her subjects to cultivate silk worms and so began the production of silk. This nice story might explain the origin of silk, but it is known for sure that silk was already traded in 3000 BC. Again, there are many symbols embroidered onto the fabric: clouds, water, etc. Let us look quickly at the last robe, a Manchurian design as indicated by the sleeves with their long protective hand covers. Transition: The last items we will talk about come very late in the Qing dynasty and are in another medium which goes far back in Chinese history ivory. Let us begin with the beautiful lady in this case. Ivory has been a part of Chinese art since 5,000 BC when Asian elephants roamed China. Throughout the centuries, ivory has been found in tombs and traded first with Southeast Asia then Africa. The figure of the graceful lady may reflect influence from Christian carvings of the Virgin that were in great demand in the 16 th century by Spanish and Portuguese traders. 5

The chess set down the way was made for export as the Chinese game is different. Notice the wonderful variety in the pieces. The dark set has been dyed in tea. And finally let us look at this wonderful tusk. It shows Daoist belief. The Eight Immortals that we first saw on the Han incense burner are making a pilgrimage in a spiral design to the Queen Mother of the West who resides on the mountain top at the top of the tusk. As we look at the figures, we see the many animals, the digressions with games like mahjong, the beautiful craftsmanship that we have seen throughout this exhibit. Conclusion: And so at the end of this walk though Chinese history and art, what have learned about the Chinese? They have brought their crafts to the highest artistic level They invented techniques for producing bronze, abrading jade, and making porcelain Their standards of beauty include Confucian restraint, Daoist mysticism and Buddhist symbolism shown throughout their history Every artifact we have looked at combines function with the aesthetic Their history has always influenced the form and design of their products Thank you for joining me on this tour. 3/18/2011 HDI 6