Period:Ming dynasty Production date:1610-1620 (circa)
Materials:porcelain, blanc de chine,
Technique:glazed, incised, pierced,
Subjects:deity emperor/empress
Dimensions:Diameter: 8 centimetres Height: 29.60 centimetres Width: 9.50 centimetres
Description:
‘Blanc de chine’ figure of a popular god with transparent glaze. This figure of a popular god stands on a small rectangular plinth with a lobed indented panel at the front. The figure is shown frowning, with his hands hidden by his long sleeves and held to one side. He is wearing a long robe over Y-shaped chain-mail armour with an incised badge of rank showing a dragon among ‘ruyi’ clouds and a belt of office. His cloth hat, which is tied on the crown over his bun, has long ribbons hanging down over his shoulders. His chin, above his lips and sideburn area are pierced for the addition of real hair beard, moustache and sideburn whiskers. The ears are both pierced to allow for the escape of gasses during firing to prevent cracking in the kiln. Inside the figure is hollow apart from the head and the sides were scraped before glazing.
IMG
![图片[1]-figure BM-1938-0524.27-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00256298_001.jpg)
Comments:Harrison-Hall 2001:The figure is covered with a thin yellow-tinged transparent glaze typical of late Ming Dehua porcelains. Qing Dehua figures generally have glossier glazes. In addition the sculptural quality of the folds of drapery are characteristic of late Ming figures. Later Qing figures are quite often much fussier in their modelling and design, while less attention is paid to the fluid lines of clothing. The manufacturing method, with a solid head and scraped-out inside, is also typical of the Ming era. Later figures are often not so substantially potted and many have smooth interiors.This figure represents Guandi [Emperor Guan], the God of War, who is the deification of a historical hero and symbol of true loyalty, General Guan Yu (died AD 217) of the kingdom of Shu. He was a warrior, renowned for his sense of honour and bravery. Guan Yu is traditionally depicted wearing a robe over Y-shaped chain-mail armour, with beard, whiskers, a similar type of headdress and heavy boots, but is often portrayed in the late Ming and Qing periods seated on a throne or horse (see BM 1937.0716.107). He is a major figure in the Ming novel “San Guo Zhi Yan Yi” [Romance of the Three Kingdoms] by Luo Guanzhong (c. 1330-1400). The oath of everlasting loyalty which was sworn by Guan Yu together with Liu Bei and Zhang Fei in the Peach Orchard is a Chinese shorthand for devotion, trust and honesty.By the ninth century, the cult of Guandi had been appropriated and subordinated to Buddhism, even though Guan Yu had in fact died before Buddhism was widespread in China. In the Song dynasty he joined the pantheon of spirits worthy of worship, rather like being canonized. In the Ming and later in the Qing periods, worship of Guandi was a state-sponsored cult, governed by the regulations of the Ministry of Rites. In 1614 the Ming government entitled Guandi as a 帝 ‘di’ [emperor] and he was also transformed, in addition to being God of War, to being God of Wealth. This dual role may help to explain why the military figure of Guandi, God of War, is often portrayed in the late Ming era like a civil deity, the God of Wealth. As a symbol of loyalty, having died for his principles, he also became the patron of merchants and a demon queller.
Materials:porcelain, blanc de chine,
Technique:glazed, incised, pierced,
Subjects:deity emperor/empress
Dimensions:Diameter: 8 centimetres Height: 29.60 centimetres Width: 9.50 centimetres
Description:
‘Blanc de chine’ figure of a popular god with transparent glaze. This figure of a popular god stands on a small rectangular plinth with a lobed indented panel at the front. The figure is shown frowning, with his hands hidden by his long sleeves and held to one side. He is wearing a long robe over Y-shaped chain-mail armour with an incised badge of rank showing a dragon among ‘ruyi’ clouds and a belt of office. His cloth hat, which is tied on the crown over his bun, has long ribbons hanging down over his shoulders. His chin, above his lips and sideburn area are pierced for the addition of real hair beard, moustache and sideburn whiskers. The ears are both pierced to allow for the escape of gasses during firing to prevent cracking in the kiln. Inside the figure is hollow apart from the head and the sides were scraped before glazing.
IMG
Comments:Harrison-Hall 2001:The figure is covered with a thin yellow-tinged transparent glaze typical of late Ming Dehua porcelains. Qing Dehua figures generally have glossier glazes. In addition the sculptural quality of the folds of drapery are characteristic of late Ming figures. Later Qing figures are quite often much fussier in their modelling and design, while less attention is paid to the fluid lines of clothing. The manufacturing method, with a solid head and scraped-out inside, is also typical of the Ming era. Later figures are often not so substantially potted and many have smooth interiors.This figure represents Guandi [Emperor Guan], the God of War, who is the deification of a historical hero and symbol of true loyalty, General Guan Yu (died AD 217) of the kingdom of Shu. He was a warrior, renowned for his sense of honour and bravery. Guan Yu is traditionally depicted wearing a robe over Y-shaped chain-mail armour, with beard, whiskers, a similar type of headdress and heavy boots, but is often portrayed in the late Ming and Qing periods seated on a throne or horse (see BM 1937.0716.107). He is a major figure in the Ming novel “San Guo Zhi Yan Yi” [Romance of the Three Kingdoms] by Luo Guanzhong (c. 1330-1400). The oath of everlasting loyalty which was sworn by Guan Yu together with Liu Bei and Zhang Fei in the Peach Orchard is a Chinese shorthand for devotion, trust and honesty.By the ninth century, the cult of Guandi had been appropriated and subordinated to Buddhism, even though Guan Yu had in fact died before Buddhism was widespread in China. In the Song dynasty he joined the pantheon of spirits worthy of worship, rather like being canonized. In the Ming and later in the Qing periods, worship of Guandi was a state-sponsored cult, governed by the regulations of the Ministry of Rites. In 1614 the Ming government entitled Guandi as a 帝 ‘di’ [emperor] and he was also transformed, in addition to being God of War, to being God of Wealth. This dual role may help to explain why the military figure of Guandi, God of War, is often portrayed in the late Ming era like a civil deity, the God of Wealth. As a symbol of loyalty, having died for his principles, he also became the patron of merchants and a demon queller.
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
