Page 81 - Christie's, Important Chinese Works of Art December 2, 2015 HK

fig. 3 Manchester Art Gallery, UK/Bridgeman Images
appearing in paintings and as part of the designs on the decorative
arts since at least the 11th century. The flowers on the current
vase appears to be an informal double version of Camellia japonica.
There are many colours and forms of Camellia japonica grown in
China, and the highly decorative flower form shown on this vase
is sometimes known as ‘peony form’.
One of the larger panels on the front of the vessel is decorated with Ji Han’s⳯⏓Nanfang Caomu Zhuang (⋿㕡勱㛐䉨Accounts of the
three stems of tree peonies 䈉ᷡġmudan (Paeonia suffruticosa) bearing
yellow, pink and red flowers, respectively. These symbolise spring,
since the tree peonies blossom in early spring and are regarded as
the flower of the fourth month. With their large, highly decorative
blossoms, peonies are the most popular floral motif in the Chinese
arts. Another name for peonies in China is ⭴屜剙ġfuguihua the
‘flower of riches and honour’ – an epithet which derives from a
description in an essay by the Song dynasty philosopher ␐㔎柌ġ
Zhou Dunyi (AD 1017-73) entitled ッ咖婒ġ Ai lian shuo (On a
Passion for Lotus). The peony is also known in China as the ‘king
of flowers’, as its association with royalty goes back to the Sui and
Tang dynasties when it was grown in the imperial gardens.
The other larger panel on the opposite side of the vase contains
a branch of blossoming pomegranate and a stem of jasmine,
representing summer. While the fruit of the pomegranate 䞛
㥜ġ shiliu (Punica granatum) symbolises an abundance of sons and
grandsons, because of its numerous seeds, pomegranate flowers,
which appear in the fifth month of the lunar calendar, were
traditionally worn by women in their hair, especially during 䪗
⋰䭨 duanwujie (usually known in English as the Dragon Boat
Festival) on the fifth day of the fifth month, as the red colour of
fig. 4 Manchester Art Gallery, UK/Bridgeman Images
the blossoms was believed to ward off the evil that was particularly
prevalent on that day. Jasmine, especially the type known in China
as 励匱 moli (Jasminum sambac, Arabian Jasmine), which appears
to be depicted on this vase, was also worn in the hair of women
as well as being used to decorate tables and lamps, because of its
exceptionally beautiful fragrance. This plant, which flowers during
the summer months is recorded in China as early as AD 304 in
Plants and Trees of the Southern Regions), where it is suggested
that it had been established several centuries earlier.
The second smaller side panel on the vase is decorated with stems
of white and golden blossoming chrysanthemums accompanied
by a stem of balsam and rocks. These represent autumn.
Chrysanthemums 卲剙ġ juhua (dendranthema morifolium) are the
flower of the ninth month, and are especially valued since their
blossoms are able to survive the frosts which cause other flowers
to wither. They have long been provided inspiration to Chinese
poets and painters. Along with lotus, orchid and bamboo, the
chrysanthemum is regarded in China as one of the ‘four gentlemen
of flowers’. Chrysanthemums are mentioned in such early Chinese
classical literature as The Book of Odes, and are symbols of longevity
and wealth as well as representing autumn. The reason they are
associated with longevity is because the word for chrysanthemum
(卲 ju) sounds similar to the word (ᷭġjiu) meaning ‘a long time’,
and also sounds like the word to dwell (⯭ġ ju). Infusions made
from chrysanthemum petals are believed to have medicinal
properties. The rocks in the composition of this panel add to
the wish for longevity since rocks are seen as everlasting and are
referred to as ⢥䞛ġshoushi – literally ‘longevity rocks’.
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