Interesting findings & case studies on commonly misunderstood and mystery images
Correctly identifying figures is crucial to deciphering an obscure story scene. Looking at this featured image, for example, some may think that the two figures in non-specific attires on a dragon and a phoenix are anonymous Daoist immortals. But Dr Yibin Ni would tell you the story otherwise…
Have you ever been puzzled by the description of ‘figural paintings’ for Chinese porcelains listed by various museums and auction catalogues? In fact, many Chinese paintings with figures refer to ancient stories and have meanings behind the scenes. Here is an unusual story about an official and his pet crane.
Mr Henk B. Nieuwenhuys from the Netherlands is the first foreigner who has kindly donated his art collection to China. Here are short video clips from a documentary made for this special event, in which Dr Yibin Ni was invited to introduce Nieuwenhuys’ antique collection and the story depicted on the porcelain bottle.
This is an overview by Dr Yibin Ni on how the topic of ‘The Birthday Party of the Queen Mother of the West’ was depicted on Chinese artworks, from woodblock print during Ming dynasty to scroll painting and porcelains in Qing dynasty.
This is Scene Five of Book Two of the Chinese classic popular drama Romance of the Western Chamber (西厢记 Xixiang ji).
At a family dinner party, Zhang Junrui’s (张君瑞, also called Scholar Zhang 张生) dream of marrying Yingying (莺莺) the love of his life was shattered by Yingying’s mother because he was a nobody with no respectable official’s position.
This drove him to thoughts of suicide. He tried to drown his sorrows in alcohol, and had to be supported by the maid Hongniang (红娘) to return to his own quarters. His desperation moved Hongniang. She suggested that he express his passion through a performance of the qin (琴) zither and she would arrange for Yingying to hear it on their way to their incense-burning ceremony in the evening.
When Yingying was led to pass Scholar Zhang’s quarters, Hongniang coughed to send Zhang a signal, in line with their secret prior arrangement. Zhang started to pour his heart out through the enchanting music that his deft fingers were playing. It did the trick: Yingying’s heart was melting!
image identification and story scene description by Dr Yibin Ni
Other episodes in the Romance of the Western Chamber:
Duke Mu of the Qin State (秦穆公, died 621 BCE) was one of the so-called Five Hegemons (五霸 wuba) in the Spring and Autumn Period (770 – 476 BCE) (春秋 chunqiu). He had a daughter named ‘Nongyu (弄玉, meaning Playing Jade)’, who was a talented musician excelling at playing the sheng (笙 mouthorgan). Nongyu only wanted to marry her musical match so a recluse genius xiao (箫 flute) player, Xiao Shi (萧史), was discovered and brought to the duke.
The duke was not keen on Xiao Shi at first when he learned that the young man’s musical instrument was different from his daughter’s. However, Nongyu, who was sitting behind the screen listening to the audience, asked Xiao Shi to play a piece on his flute. Xiao did.
As soon as the first piece ended, a gust of fresh air blew in. When the tune resumed, gold-laced rosy clouds gathered from the four directions in the sky. During the third performance, a couple of white cranes danced in front of the duke’s terrace and peacocks flew in! Experiencing the magic spectacle, the duke was pleasantly amazed and his daughter cried with joy, ‘This is my man!’ It happened to be the fifteenth day of the eighth month of the traditional calendar and was supposed to be the lucky day of their marriage. They had their wedding on that very night.
The couple lived happily together for years while Xiao Shi taught his wife to imitate the singing of phoenixes on her musical instrument. Whenever they played together on the high pavilion terrace named ‘Phoenix Terrace’ specially built for them, phoenixes would flock around them. One day, the couple rode on the divine birds ascending to heaven.
The story scene depicted on the Kangxi plate in the collection of the British Museum and on the Kangxi vase in the collection of Metropolitan Museum of Art, NY was first deciphered by Dr Yibin Ni. More detailed discussion as well as parody of this scene is available here.
Wang Zhaojun (王昭君, c.52 – c.15 BCE) was one of the court ladies in the harem of Emperor Yuan of the Western Han dynasty (汉元帝, 206 BCE – 8 CE). It was not possible for the emperor to meet every one of the three-thousand concubines, so he had a court painter paint their pictures to facilitate his selection process. Every lady tried very hard to win the painter’s favour so that the painter can represent them in a more flattering image. But Lady Wang Zhaojun was confident in her own beauty. She didn’t want to bribe the painter. As a result, the painter didn’t show her beauty in the portrait and the emperor never noticed her.
During that time, some nomadic groups from the western region invaded China quite often, so the emperor wanted to make peace with them by marrying some of his ladies to the chieftains. On one occasion, Lady Wang was chosen. When Lady Wang was unveiled at the court, her beauty stunned everybody present and the emperor was deeply regretted for not knowing her earlier. However, it was too late for the emperor to keep her and he had to let her go.
The journey to the new home was long and arduous so Lady Wang was given a pipa (琵琶), a Chinese musical instrument, to pass time and the pipa became her signature attribute. Because of her marriage with the Xiongnu (匈奴) chieftain, the region remained peaceful for decades. Lady Wang Zhaojun was credited as one of the four most beautiful women in the whole Chinese history.
More interesting reading:
In Zhuangzi (庄子), an ancient Chinese text from the late Warring States period (476–221 BCE) and one of the two foundational texts of Daoism, the Queen Mother of the West (Xiwangmu 西王母) was mentioned as a deity who ‘obtained the Dao (the Way)’. According to the Scripture of Great Peace (Taiping jing 太平经), a valuable resource for researching early Daoist beliefs and the society at the end of the Eastern Han dynasty (AD25 – AD220), the Queen Mother of the West was an immortal (xian 仙). In the Six Dynasties period (420 – 589), she was adopted into the pantheon of religious Daoism (Daojiao 道教) as the principal female deity in the Supreme Secret Essentials (Wushang miyao 无上秘要), a Daoist encyclopaedia completed in 577.
The scene of the celebration of the Queen Mother’s birthday typically consists of three components: first, a female dignitary seated before a screen, flanked by a couple of court ladies and entourage; a dancer gesticulating with her arms, often on a rug; an all-female orchestra playing various kinds of musical instruments.
Zhao Bian (赵抃, 1008-84) was held in high esteem all his life and posthumously because of his incorruptibility and sound statesmanship during his entire career. His prize possessions were legendarily well-known: a qin zither and two pets, a crane and a tortoise. They were inseparable from him wherever he was posted.
Some time during the years between 1064 and 1068, Zhao Bian was nominated as governor of Chengdu, which was a prosperous town contaminated by extravagant upper echelons. Zhao went there alone with his musical instrument and two pets without an entourage. In time, his good leadership made a name for himself and people of neighbouring areas moved to central Sichuan to seek better opportunities.
Once he had an audience with the emperor in court, the emperor asked Zhao, ‘Did you really go to Sichuan alone with only a qin zither and a crane as they say?’ Zhao modestly kowtowed to thank the emperor for his recognition.
Up till today, the saying ‘one qin zither and one crane (一琴一鹤)’ has been used to praise a virtuous official.
A scholar official in Song dynasty Sima You (司马槱) dreamed of a beautiful girl presenting him the first half of a song, which he later developed into a full version called Huangjinlv (黄金缕). The girl was none other than a famous courtesan Su Xiaoxiao (苏小小) who lived by the Qiantang River and was in the local high society centuries earlier, an embodiment of the Southern sophisticated culture that the Northern young man absolutely adored. Since he had chanced on her relics in his backyard and gave her a proper burial the previous afternoon, the girl appeared in his dream to show gratitude to him.
The story scene on the Butler dish and the Cizhou pillow was first deciphered by Dr Yibin Ni.
- Yibin Ni (2002) The Shunzhi Emperor and the Popularity of Scenes from the Romance of the Western Wing on Porcelain, Treasures from an Unknown Reign: Shunzhi Porcelain, Art Services Intl, p.78.
- 倪亦斌:《被遗忘的<钱塘梦>》,《艺术世界》, 上海: 上海文艺出版社, 2004-04, pp.74-75.
- 倪亦斌:《被遗忘的<钱塘梦>》,《看图说瓷》, 北京: 中华书局, 2008, pp.11-18.
Other dream scene on antique artworks: