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Interesting findings & case studies on commonly misunderstood and mystery images

Congratulations on art historian Dr Yibin Ni’s new research into a rare story scene in Chinese pictorial art, which may have puzzled contemporary museum curators and porcelain collectors. Dr Ni has traced the art historical context in which this rare pictorial scene of The Wife of the Bow Maker in the State of Jin was created and provided us with historical evidence to identify and illuminate its unique composition. His work on this previously mysterious story scene has undoubtedly contributed to the treasure trove of Chinese iconography.

Pictorial artworks with figural scenes in traditional China often have historical and cultural significance and are not to be mistaken for daily life genre painting. Here is an example and Dr Yibin Ni will explain to you the hidden meaning in the scene of Seasoning the Stew with Sour Prunes.

People who are not familiar with Chinese history and parables may have the impression that the above image is a genre painting of fisherman’s daily life. But in fact, there is more meaning to it. Dr Yibin Ni will explain the story in detail and how this story scene has been presented in various forms of artworks.

Through analysing a famous theme that depicts Bo Yi and Shu Qi Stopping the Zhou Army, Dr Yibin Ni has compared a number of porcelain vessels from Ming and Qing dynasties, and demonstrated his unique insight which can facilitate the correct dating of Chinese antiques.

Many museums and auction houses are often unaware of the pun rebuses hidden in traditional Chinese pictures and have treated them as mere naturalistic ones. Thus, the cultural and social significance contained in the motifs are unfortunately overlooked. Here is an example of a pun rebus design with four different fishes. What do they actually mean? Please read on…

Story scenes painted on Chinese porcelains are sometimes mysterious and challenging to understand. Dr Yibin Ni, whose specialised research is to demystify figures and story scenes, and decode motifs, symbols and pun rebuses in Chinese art, is here to tell the modern world about a story that happened two and a half thousand years ago in ancient China.

Have you wondered why the same story scenes were painted differently on Chinese artworks? How was it painted to present women falling in love on Chinese antique porcelains? Read on to see what Dr Yibin Ni has to say with his analysis.

In Chinese porcelain painting, it can be tricky to interpret a round disc in the sky as a sun or a moon. Knowledge of Chinese culture and pun rebuses are the keys to explain the meanings of the motifs and scenes correctly. Here are some examples…

The story of the statesman Bing Ji (丙吉) inquiring about a panting buffalo in ancient China has been illustrated in various forms in traditional Chinese art. It is meant to praise high-ranking officials who can prioritise their duties for their country. However, such famous story on Chinese porcelains has often been misinterpreted. Dr Yibin Ni has found out those mistakes on a number of occasions during his art research. Here is what he has to say.

The traditional theme of ‘Chen Ping Dividing Meat’(陈平分肉) is often mistakenly referred to as Chen ‘Selling Meat’ or even ‘Picture of Selling Meat’ in Chinese art reference books, which reduces a historically significant theme to a mere genre painting. See how Dr Yibin Ni analyses this with examples.

This is a story of a brave woman who boldly exercised her rhetorical competence, managed to correct the erring ruler and saved her husband from execution. The story of The Wife of the Bow Maker in the State of Jin (晋弓工妻) is recorded in Chapter 6 Convincing and Perceptive (辩通传), Biographies of Exemplary Women (列女传 Lienv zhuan), the earliest extant book for moral education of women in China.

Duke Ping of Jin (晋平公, r. 557-532 BCE) was the sovereign of the State of Jin. Once he ordered a bow to be made for his personal use and the job took three years to finish. The duke happily received the new bow and tried it out with great expectation. Wooden strips for writing at that time were used as the testing target. The duke was sorely dismayed when the arrow did not pierce even one layer of the wooden strips. The duke wanted to have the bow maker executed for his utter incompetence. As soon as the bow maker’s wife heard about the news, she rushed to the palace. In front of the duke, the bow maker’s wife demonstrated her brilliant mastery of reasoning skills. First, she quoted famous benevolent anecdotes practised by past admirable rulers. Second, she enumerated all the best materials her husband had managed to select over a very long time in order to make this finest bow. Third, she pointed out that it is absolutely absurd to blame the bow for the previous ineffective shooting since it was none other than the result of the duke’s misuse of the bow. She then went on teaching the duke the right way of holding the bow and drawing the string and the right moment to release the arrow. The duke followed her advice. This time, the arrow hit the target and went right through seven layers of wooden strips! The reputation of the bow maker was instantly restored and the duke rewarded him 60 taels of gold.

The story scene depicted in the middle of the Kangxi plate currently collected by V&A Museum was first unveiled by Dr Yibin Ni. His article with historical evidence is published here.

The story scene refers to an old Chinese saying: in the fight between the sandpiper and the clam, the fisherman has the best of it. This parable came from an ancient Chinese text entitled ‘Strategies of the Warring States (战国策 Zhanguo Ce)’. The book contains anecdotes of diplomacy and warfare during the Warring States period (5th to 3rd centuries BC).

The State of Zhao (赵国) was planning to attack the State of Yan (燕国). Su Dai (苏代) was sent by the State of Yan to the State of Zhao to try to prevent the imminent calamity. During the audience that Su Dai had with King Huiwen of Zhao (趙惠文王, 310-266 BCE, r. 298-266 BCE), he found a clever way to persuade the king to change his mind. Here is Su Dai’s speech:

When I was leaving my country crossing the Yi River (in the present-day Yi County, Hebei province), I saw a clam lying open, enjoying the sunshine on the bank. Out of the blue, a sandpiper flew down and tried to snatch a morsel to eat between its shells. The clam promptly slammed its shells shut, locking the sandpiper’s beak in between. The sandpiper tried to wriggle out of the situation, saying, ‘If it doesn’t rain today and it doesn’t rain tomorrow, there will be a dead clam on the river bank.’ The clam retorted, ‘If I don’t let you go today and nor do I tomorrow, there will be a dead sandpiper on the river bank.’ While they grappled in a dead lock, a fisherman passed by and picked both up with very little effort. Now, if your majesty launched an attack on Yan, Yan would certainly try to resist your invasion. And the fight between the two countries would make both weak and then the State of Qin would be acting as that ‘fisherman’. I urge your majesty to reconsider your plan.

The king of Zhao got the message from Su’s story and called off the military campaign.

As a cautionary tale, this parable has been favoured by Chinese people for two millennia and has often been made into 2D or 3D images to educate the young.

Read Dr Yibin Ni‘s research blog here regarding how this important pictorial motif was rediscovered from previous research papers and museum catalogues that only took it as genre painting.

Diao Mei He Geng 调梅和羹’ is a metaphor that likens the art of governing a country to the adequate seasoning of a stew with salt and sour prunes. The scene is often made up of a group of women or men surrounding a stove, on which a cauldron of food is being cooked, with an assistant holding a container with sour prunes.

In the Commentary of Zuo (左传 Zuo Zhuan), one of the oldest Chinese history books, written during the 4th century BCE, there is a famous passage in which the right method of preparing a perfectly seasoned stew is linked to the proper way of maintaining a harmonious relationship between the lord and his vassal. The statesman Yan Ying (晏婴 578-500 BCE) says to the Duke Jing of Qi (齐景公 Qi Jinggong, r. 547-490 BCE): ‘The cook blends the ingredients and balances them according to the right taste, adding whatever is lacking and negating whatever is excessive (宰夫和之,齐之以味;济其不及,以泄其过).’

From then on, the phrase 和羹 hegeng, ‘seasoning the stew’, or 调梅 diaomei, ‘seasoning the stew with sour prunes’, or 调鼎 tiaoding, ‘seasoning the food in the cauldron’, has been widely used to refer to the business of ‘governing the country’, or, specifically, ‘serving as the prime minister to the emperor’.

This classic pictorial allusion depicted in the centre of the Kangxi plates in the collections of the British Museum and the Metropolitan Museum of Art was first unveiled by Dr Yibin Ni. His research article on this topic is available here.

Examples of governors with good reputation:

Chen Ping Dividing Meat 陈平分肉

Bing Ji Inquiring about a Panting Buffalo 丙吉问牛喘

The Boot-Swapping Ceremony for the Departing Governor 民赞清官留旧靴

The story scene is originated from an anecdote dating back to the Tang dynasty (618-907). Cui Rong (崔戎, 780-835) is a statesman who is important enough to have a position in the ‘Biographies’ section in the official histories The Old Book of Tang (jiu tang shu 旧唐书), completed in 945, and the New Book of Tang (xin tang shu 新唐书), presented to the then emperor in 1060.

When Cui Rong served as the governor of Hua prefecture, his administrative skills and integrity impressed the locals, dignitaries and farmhands alike. One of his notable deeds was that, on his departure, he made sure that a large sum of money which had been allocated for the customary governor’s personal use was to be disseminated among ordinary soldiers of the local army. After hearing the news that Cui Rong had been assigned to a new post, a large number of people swarmed to the departure ceremony trying to prevent him from leaving. During the chaos, Cui Rong’s boots were accidentally removed by some overenthusiastic members of the crowd and they then kept them as a souvenir.

From then on, when a magistrate departed, a group of local dignitaries would come to him with a gift of a new pair of boots in exchange of the boots he had been wearing. They would display his old boots in a public place to show the locals’ appreciation of his legacy. The tradition endured over a millennium till the last days of the imperial China, as was vignetted in the American missionary Chester Holcombe’s (1842-1912) book The Real Chinaman (1895):

‘When a popular official is about to lay down the seal of office at the conclusion of his term of service, he is waited upon by a deputation of leading residents, who, with many flowery words of compliment and praise, gravely request him to donate to the city a pair of his official boots. The request is esteemed an honour, and is always granted. They are taken in solemn procession, with music and much parade, to the city gate and there suspended, where they remain until they decay and drop to pieces.’

The porcelain vessels adorned with this theme were popular in the early Qing period and were deemed to be an apt gift for departing officials to commemorate their highlights in life.

 

image identification and literature research by Dr Yibin Ni

Reference:

Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然:潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 98-99.

Bo Yi (or Boyi, 伯夷) and Shu Qi (or Shuqi, 叔齐) were sons of the ruler of Guzhu (孤竹), a vassal state of the Shang dynasty (商朝, 16th-11th cent. BCE). As the king was getting old, he wanted Shu Qi, his youngest son, to inherit his throne. However, when the father died, Shu Qi asked Bo Yi to take over the throne because he thought Bo Yi was the eldest brother and rightly deserved the position. Bo Yi declined the offer, saying that their father’s wishes should not be altered and then he left the country. Shu Qi followed and left the country, too. With their absence, another brother of theirs was enthroned.

While wandering along the coast of the North Sea, the two brothers heard that another vassal of Shang, the Zhou state, was an ideal place for a peaceful and quiet retired life and they set off to go there. When they arrived, the old ruler, Count of the Zhou had just passed away and his son enthroned himself as King Wu (武王) and posthumously gave his father the title of King Wen (文王). King Wu believed that he was the next person to have the mandate from Heaven to rule the Shang territories, instead of just being the Count of Zhou under the Shang.

With the veteran strategist the Grand Duke Jiang Ziya (姜子牙, or Jiang Taigong 姜太公), King Wu was launching a military campaign to overthrow the Shang house, when the two brothers appeared in the middle of the road. They tried to stop King Wu’s army and admonished him, ‘Can it be called observing filial piety when one launches a military campaign before one has properly buried one’s diseased father? Can it be called a gentleman’s proper behaviour when a subject is to assassinate his lord?’ King Wu’s entourage then tried to kill the two but Grand Duke Jiang stopped them, saying, ‘They are righteous people.’ Then Mr Jiang helped the two move out of the way and the army marched on.

The story scene depicted on the famille verte Kangxi vase in the previous Jie Rui Tang Collection was first unveiled by Dr Yibin Ni. He has since published two more articles discussing the figural composition in such theme and Jiang Ziya’s riding painted on the antique porcelain vases.

References:

  1. 倪亦斌:《武王子牙举旗伐商 伯夷叔齐叩马阻兵》,《读者欣赏》,兰州:读者出版传媒股份有限公司,2016-07,60-65 页
  2. Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然:潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 22-25.

A gathering of four distinctively different fishes can be read as a pun rebus design expressing an admonishing message ‘qing bai lian jie 清白廉洁’, which literally means ‘pure, unblemished, incorruptible, and clean’.

The name of ‘qingyu 青鱼’, literally ‘blue fish’, puns on the Chinese character ‘qing 清’ for ‘pure’. ‘Baiyu 白鱼’ literally means ‘white fish’, having a white body and head. Its name is a homograph of ‘bai 白’ meaning ‘unblemished’. ‘Lianyu 鲢鱼’ means ‘chub’, whose name makes a pun on ‘lian 廉’ for ‘incorruptible’. The unmistakable ‘guiyu 鳜鱼 (mandarin fish)’ has a characteristic mottled appearance and undivided tail. The phonetic radical of the name of this fish is ‘jue 厥’, which puns on the character ‘jie 洁’ for ‘clean’.

The design may be served as a good wish for a promising official friend or a self-admonishing reminder as part of the interior decoration scheme in a conscientious official’s office or study. The actual design and the arrangement of the fishes may well vary since the design was a conventional one spread among manual labourers and folk artisans and everybody contributed their inspiration to the end product. However, a corpus of various versions of this theme reveals a clear pattern, prominently with the unmistakable mandarin fish and the white fish in it.

New research on the extant examples of this pun rebus design written by Dr Yibin Ni is published here.

Reference:

Jeffrey P. Stamen and Cynthia Volk with Yibin Ni, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection: Jieruitang Publishing. 2017, p. 200-201.

According to the Account of Wu (吴志) in The Records of the Three Kingdoms (三国志), Lu Ji (陆绩), was a native of Wu. At the age of six, he had an opportunity to meet Yuan Shu (袁术), who at the time controlled the region of Jiujiang. Yuan Shu put out some tangerines for him to eat. Lu Ji surreptitiously stuffed three of them into the breast of his robe, but when he was making his parting bows, they rolled out to the ground. ‘Master Lu,’ said Yuan Shu, ‘is it proper for a guest to be hiding tangerines in the breast of his robe?’ Lu Ji knelt down and said, ‘I only wanted to take them home to give to my mother!’ Yuan Shu was much struck by his action. This anecdote was later included in The Twenty-four Paragons of Filial Piety (二十四孝), compiled during the Yuan dynasty (1271-1368) by Guo Jujing (郭居敬).

image identification and literature research by Dr Yibin Ni 

Emperor Yang of the Sui dynasty (隋炀帝, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego.

One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王昭君, c.52- c.15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元帝, 206 BCE-8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow.

This scene has often been mistaken as ‘female generals of the Yang family’(杨门女将) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (隋唐演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩昭君跑马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang.

Literature:

  • Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然:潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 30-33.

When the old duke of Jin (晋) passed away, his heir was still in the cradle. It was with the powerful minister Zhao Dun (赵盾)’s support that he succeeded in ascending the throne. Unfortunately, the young duke, who was posthumously given the title Duke Ling of Jin, Jìn Líng Gōng (晋灵公, ? – 607 BCE), became increasingly the opposite of an ideal ruler. When the righteous Zhao Dun tried to alter the young duke’s misbehaviours by repeated remonstrances, he aroused resentment in the duke’s heart, who subsequently made several attempts on his life.

Once he made the excuse to invite Zhao to drink with him while soldiers were gathered to ambush him. Zhao’s retainer Timi Ming (提弥明) realised the plot and rushed to the table to rescue his master. When Zhao was supported to leave the place, the duke sent his immense dog to attack him. Timi was a valiant fighter and he smote the brute and put an end to it.

This scene served as a classic admonishing example for statesmen and rulers alike.

Read related article How a massacre in ancient China influenced European literature, painting and theatre in Blogs section.

The young duke of the State of Jin (晋) who was posthumously given the title Duke Ling of Jin, Jìn Líng Gōng (晋灵公, ? – 607 BCE), has been known as a ‘ruler who does not deserve his title (bu jun 不君)’. His despotic behaviour was enumerated in the records by historiographers. For example, he levied heavy taxes to build more fancy palaces; he had the chef killed only because he didn’t cook his bear paws soft enough; and, when he was bored with shooting birds and animals in his ever-expanding parks, he whimsically indulged in shooting his ministers and pedestrians with catapult slingshots from his palatial terrace and enjoyed watching the victims suffering from the hazard and ducking the pellets.

 

Read related articleHow a massacre in ancient China influenced European literature, painting and theatre in Blogs section.

When the Baron of the Zhou vassal state (周西伯) did a divination with oracle bones for his imminent hunting trip, the message came: ‘You will not catch a small bear or a large bear, but a teacher will be presented to you by the divine power.’ After bathing and fasting for three days, the baron arrived at the River Wei, he saw an elderly man sitting on a grassy mat with a fishing rod beside him at the bank. The baron respectfully bowed to him and politely asked him to be his mentor. He invited the man to sit in his vehicle on the way back to the capital. This elderly man was Jiang Ziya (姜子牙), the famous sage strategist in ancient China. Later, when the baron passed away, his son, who posthumously bestowed his father the title of King Wen (文王), called himself King Wu (武王). With the able assistance of Jiang, who was then respectfully called Jiang Taigong (姜太公), King Wu launched a military campaign to overthrow the ruling Shang house (商, ca. 1600 BCE-1046 BCE) and established the new Zhou dynasty (1046 BCE-256 BCE), which lasted about eight hundred years.

Here is another story about Jiang Ziya on his assistance to King Wu in launching a military campaign to overthrow the Shang house. Dr Yibin Ni also wrote an article on the identification of Jiang’s famous yet mysterious ride.

References:

  1. 倪亦斌:《子牙垂钓遇文王 明君得辅破殷商》,《读者欣赏》,兰州:读者出版传媒股份有限公司,2016-05,58-63 页
  2. Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然:潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 92-93.

When Bing Ji (丙吉 d. 55 BCE) was a chancellor in the Han court, once he encountered the aftermath of a gang fight in the street. Bing Ji passed them without batting an eyelid. Further ahead, a buffalo passed and it looked out of breath. Bing Ji had its owner stopped and inquired about the buffalo’s heavy panting. Bing Ji’s aide thought Bing Ji paid no attention to the severe casualties but showed unwarranted interest in a panting buffalo. Bing Ji explained, ‘Curtailing gang fights are the police commissioner’s responsibility, not a chancellor’s. It is only spring now and the sun is quite mild but the buffalo was heavily panting. I wondered if there was something wrong with the climate that harmed the animal.’

See more research work regarding this story scene in the blog here.

Other governors’ stories:

Chen Ping Dividing Meat 陈平分肉

Seasoning a Stew with Sour Prunes 调梅和羹

Night Revel of the Emperor Yang of the Sui Dynasty 隋炀帝夜游西苑

Fish is a basic composition motif in Chinese pictorial art. Its Chinese pronunciation of 鱼 ‘yu’ puns with the word 余 ‘yu’, meaning prosperity. It is an auspicious wish to one’s wealth.

Depending on the context, the actual type of fish or a combination of four distinctively different fishes can refer different pun rebuses. See the following examples.

Related Pun Rebuses:

May you remain pure, clean, and incorruptible 清白廉洁

May you couple live a harmonious life and enjoy prestige 并蒂双贵

Related Motif and Symbol:

Fish turning into dragon 鱼化龙

Qiuhu (秋胡), a native of the state of Lu during the Spring and Autumn period (770-476 BCE), was ordered to take up an official post in the state of Chen a scant five days after his marriage to Jiefu (洁妇), the ‘Loyal Wife’. Five years later, on his way back home, he encountered a woman by the roadside picking mulberry leaves, used as food for silkworms.

Qiuhu approached the woman and told her that toiling among mulberry leaves was certainly not as fun as yielding to a high-ranking minister’s offer who took a fancy to her. Qiuhu baited the woman with some gold ingots. The woman retorted, ‘I work hard to support my parents-in-law and the son left behind by my husband. I wish that you did not take fancy of women outside your family. I have no intention of fooling around. Take your gold back.’

On arriving home, Qiuhu sent for his wife and, to his great embarrassment, discovered that she was none other than the woman he had solicited.

There are two endings to this story. One version relates that after condemning Qiuhu for being lecherous and for not exercising virtues of filial piety to his parents, as was customary, the wife felt so disheartened that she threw herself into the river. The other ending, suggested by the Yuan dynasty literatus Zhao Mengfu (赵孟頫, 1254–1322), is a happy one. In his version, Qiuhu was merely testing his wife. Since she proved to be chaste and not materialistic, he reunited with her and they lived happily ever after.

Reference:

Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection 文采卓然:潔蕊堂藏康熙盛世瓷, Jieruitang Publishing, Bruges, pp. 28-29.

Young Chen Ping (陈平, ?–178 BCE), later a minister of Western Han dynasty, as being an exemplar of fairness in his everyday work. According to Sima Qian’s (司马迁, 145BCE – ?) famous work Historical Records – Prime Minister Chen’s Family (史记 – 陈丞相世家 ), one day, Chen Ping’s village held a ceremony to offer sacrifice to the Earth God. He was entrusted as the arbitrator to divide the meat offerings among attending villagers after the ceremony. As he divided the meat offerings in very even quantities, a village elder remarked that Chen was very impartial, to which he replied ‘Should I one day take rule of the land, I would rule it as impartially as I split the meat offerings.’

The story scene depicted in the centre of the Kangxi plate in the collection of the British Museum was first unveiled by Dr Yibin Ni. His article with historical pictorial and literary evidence is published here.

With strategic plans to restore the war-torn country back to order, the talented scholar Li Jing (李靖) was paying a visit to the powerful Lord Yang Su (杨素), who enjoyed luxurious ways of living and female company around him. To Li Jing’s disappointment, Lord Yang did not take his plans seriously. However, Red Fly Whisk (红拂女 hongfu nv as nickname, real name 张凌华), an exceptionally beautiful maid who was present at the meeting, immediately fell head over heels for Li Jing, while Li was passionately airing his ambitious views to Lord Yang.

Read more story of Li Jing and Red Fly Whisk with the other hero Zhang Zhongjian (张仲坚, nicknamed the Curly-Bearded Fellow 虬髯客), who left all his possessions to the couple and went overseas to start his new life.

Read Dr Yibin Ni‘s interesting analysis on How to depict the scene of falling-in-love on Chinese porcelain.

The action of ‘pointing to the sun’ is termed in Chinese as ‘指日 zhi ri’, which sounds and looks exactly the same as (both homophone and homograph of) the phrase ‘指日 zhi ri’ meaning ‘in a few days’ time’. The state of ‘something rising high up’ is ‘高升 gao sheng’ in Chinese, which may be metaphorically used to mean ‘getting a promotion’. Thus, the image of a person pointing to the sun high up in the sky visually cues the congratulatory saying ‘zhi ri gao sheng 指日高升 – May your chance of promotion be just round the corner’.

Interesting reading:

How do you tell a sun from a moon in porcelain painting

Related Pun Pictures:

May you have repeated promotion 官上加官

May you have an imminent promotion 封侯

Hollyhock (shu kui 蜀葵) implies that people’s hearts will follow their statesman or emperor.

 

Related motif:

Butterfly 蝴蝶