Period:Qing dynasty Production date:c. 1735-c. 1750
Materials:paper
Technique:woodblock, colour,
Subjects:fruit
Dimensions:Height: 24.90 centimetres (image) Height: 29.80 centimetres (paper) Width: 27.80 centimetres (image) Width: 35.60 centimetres (paper)
Description:
Multi-colour woodblock print in ink on blind pressed paper A plate full of open pomegranates and apples
IMG
![图片[1]-print BM-1906-1128-0.30-China Archive](https://chinaarchive.net/Qin dynasty/43/mid_00091827_001.jpg)
![图片[2]-print BM-1906-1128-0.30-China Archive](https://chinaarchive.net/Qin dynasty/43/mid_00672282_001.jpg)
Comments:The luxurious arrangement of fruit in this print can be read as a visual pun. The seeds (zi) in the open pomegranate are pronounced in the same way as the character for ‘sons’. The fruit therefore stands for the wish for many sons to insure the family line over generations. The pastel pinks and greens used for the fruit plate resemble the colour scheme seen on decorated porcelain at the time. Prints from the Ding workshop were sometimes produced from seven or more separate colour woodblocks and show an extraordinary richness in ink tonalities, overlaid colours and fine ink gradations. Published: Binyon 1916, 29; Goepper 1973, 57
Materials:paper
Technique:woodblock, colour,
Subjects:fruit
Dimensions:Height: 24.90 centimetres (image) Height: 29.80 centimetres (paper) Width: 27.80 centimetres (image) Width: 35.60 centimetres (paper)
Description:
Multi-colour woodblock print in ink on blind pressed paper A plate full of open pomegranates and apples
IMG
Comments:The luxurious arrangement of fruit in this print can be read as a visual pun. The seeds (zi) in the open pomegranate are pronounced in the same way as the character for ‘sons’. The fruit therefore stands for the wish for many sons to insure the family line over generations. The pastel pinks and greens used for the fruit plate resemble the colour scheme seen on decorated porcelain at the time. Prints from the Ding workshop were sometimes produced from seven or more separate colour woodblocks and show an extraordinary richness in ink tonalities, overlaid colours and fine ink gradations. Published: Binyon 1916, 29; Goepper 1973, 57
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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)
