Page 36 - 2019 September 12th Christie's New York Chiense Art Chicago Art Institute

Fig. 3. A blue and white fsh jar, Yuan dynasty (1279-1368), sold at Christie’s London, Fig. 4. A blue and white ‘fsh’ dish, Xuande period (1426-1435), sold at Christie’s
11 July 2006, lot 111. Hong Kong, 29 April 2002, lot 558.

(H: 40.5 cm.), has the same fsh and crustaceans design around the The colours of the wucai palette may be seen as signifcant in terms of
main section of the body. (Fig. 2) Interestingly, on this smaller vase, the the traditional view of colour in Chinese culture, which believed that
lines indicating water are numerous and appear to be created using there was a relationship between colours and the Five Directions –
single brush strokes of iron red overglaze enamel, while on the larger green for East; red for South; white for West; black for North and yellow
current vases the lines are used more sparingly but employ a more for the Centre. Colours were also associated with the so-called wu xing
complex technique. On these vases the undulating lines suggesting (Five Elements), and although these could vary somewhat in accordance
water are created using transparent green overglaze enamel highlighted with circumstances, they are usually seen as white for metal, red for fre,
with opaque black/dark brown overglaze enamel. Of the other four green for wood, black for water, and yellow for earth. The elements and
Wanli wucai garlic-mouth vases in the Palace Museum, three are colours were also linked to the natural movement of Heaven and the
decorated with ducks on a lotus pond, and one has a design of dragons Dao. In the Classic of Changes (Yijing), the origins of which date back to
amongst foral scrolls. Another Wanli wucai garlic-mouth vase in the Western Zhou (1046-771 BC), black was associated with Heaven,
the collection of the National Palace Museum, Taipei, is published in while in Daoism it was also regarded as the colour of the Dao. White
Minji meihin zuroku, vol. III, Tokyo, 1978, pl. 99. All have a six-character – the colour of the undecorated areas of porcelain – represented gold
underglaze blue Wanli reign mark written horizontally around the mouth and was seen as a symbol of purity and brightness. Red has long been
rim, in the same way as the current vases. The upper bulb of each of the regarded as symbolizing happiness and good fortune. Blue-green was
Beijing and Taipei Palace Museum vases is treated in a diferent way associated with Spring, and thus vitality and vigorous growth. Yellow
decoratively, but one of those in Beijing with the duck and lotus pond has traditionally been the symbol of Earth and was the colour symbolic
motif on the lower section has similar foral sprays on the upper bulb to of the fve legendary emperors of ancient China, and in later times was
those on the current vases. the imperial colour. In Buddhism yellow is also seen as representing
freedom from worldly cares. In addition, the ‘Three Jewels’ of Buddhism
The motif of fsh was frst applied to Chinese ceramics in the Yangshao or ‘Three Treasures’ of Buddhism, which represent the ideals of
culture of the Neolithic period, while polychrome depictions of fsh with Buddhism are linked to three colours – the yellow jewel represents
waterweed appeared on Chinese ceramics as early as the Jin dynasty the Buddha, the blue jewel represents the Dharma, and the red jewel
on stoneware vessels made at the Cizhou kilns and decorated with represents the Sangha or monastic community.
overglaze red and green enamels – such as the bowl in the collection
of the British Museum, London illustrated by S.J. Vainker in Chinese Over time fsh have come to represent a number of desirable attributes
Pottery and Porcelain from Prehistory to the Present, London, 1991, in China. Some of the sources for this can be found in philosophical
p. 118, pl. 87. However, the polychrome depiction of fsh swimming Daoism, particularly in the Zhuangzi, attributed to Zhuangzi, or ‘Master
amongst aquatic plants on Chinese ceramics reached its apogee in the Zhuang’ (369-298 BC), who, after Laozi, was one of the earliest
Jiajing and Wanli reigns of the Ming dynasty on porcelains decorated philosophers of what has become known as Daojia, or the School of the
in the wucai technique, such as the famous Jiajing fsh jars and the Way. Among other things, Zhuangzi consistently used fsh to exemplify
current vases. Indeed, this decorative theme proved an ideal choice creatures who achieve happiness by being in harmony with their
to showcase the wucai technique, in which discrete areas of jewel-like environment. As part of a much more complex discussion in chapter 17
underglaze blue are juxtaposed with brilliant overglaze enamel painting (Autumn Floods), Zhuangzi, who is crossing a dam over the Hao river
in iron-red, yellow, green and dark brown/black. with Huizi, remarks: ‘See how the small fsh are darting about [in the

34 C H I N E S E A R T F R O M T H E A R T I N S T I T U T E O F C H I C A G O