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Collection of 18th and 19th century hardwood brush pots and calligraphy brushes
The Evolving Role of the Scholar Reflected in his Instruments
Whether poet, painter, calligrapher or writer, Chinese artists are often historically referred to as scholars and enjoyed varied status in Chinese society depending on the culture and politics of the time. The craftsmanship of scholarly instruments was a reflection of the ever-changing position of the scholar in Chinese society. Prior to the Yuan dynasty (1279), to be a scholar meant passing a series of exams in order to demonstrate mastery of calligraphy, poetry and ancients texts. It was a government position and many works were commissioned by the court. The Mongol occupation of the Yuan dynasty forced scholars to choose between working for a foreign ruler or reclusion. Many historians argue that the Yuan period forever altered the perception of the scholar. Their forced reclusion elevated their position beyond title or tests. They were a singular creative force, preserving ancient traditions while expressing the incredible solitude of this time. The Ming dynasty (1368-1644) brought wealth and again another evolution of the scholarly life. Under some Ming emperors, scholars enjoyed support by the imperial court. However, some emperors suspended acquisitions for the imperial collection, spurring private collections and an active art market.
The tools of the scholar reflect these many changes; from simple travel-friendly tools of the hermetic scholar to jade-embellished opulent instruments of the Ming dynasty. As the decorative elements of the tools changed, the tools themselves remained constant: an ink slab, a large wooden pot to hold brushes, scholars’ rocks, and libation cups to name a few. Although these tools have been in use for hundreds of years, they still inspire and aid the creative process for artists today.
Calligraphy Brushes and Brush Pots
Calligraphy brushes take many forms, but the right brush with the right artist can produce brushstrokes with dimensionality and deep emotion. The better quality the brush, the better the calligrapher is able to maneuver. The brush moves from left to right, up to down, it bends and spreads wide as more downward pressure is applied. Brushes have two or more layers; an inner core of shorter hairs and an outer layer of longer hairs that make the tip of the brush. Brush pots can be made from a variety of woods, such as burl wood, bamboo, boxwood, and even prized hardwoods. They can be made to follow their natural form, highlighting the natural beauty of the wood, or they can be intricately carved.
A 19th century burlwood brush pot, reflecting the appreciation for the spontaneity of nature during the Ming and Qing Dynasties
Ink Stone
Ink was purchased and transported in the form of a solid ink stick. The ink stone provided a flat surface to grind the ink stick into liquid. Early ink stones were made out of pottery, but by the 7th century natural stones were introduced. Like brushes and brush pots, ink stones come in a variety of shapes and sizes–highlighting that every element of the creative process was both functional and a source of inspiration.
Two ink stones; one is peach-shaped (a symbol of longevity) and the other is carved with a Phoenix in a bamboo forest
An 18th century green agate ink stone with peach-shaped water well.
Scholar Rocks
Scholar rocks started as inspirational tools. Similar to their larger counterparts, the garden scholar’s rock, these strangely shaped stones with jagged interlocking crags and ravines conjure images of remote mountain grottos of ancient sages and monumental cliffs of the immortals. The scholar rock could be placed on a desk or travel with the artist to inspire the painting of mountain scenes. Although scholars originally collected these rocks to inspire the creation of mountain motifs, they eventually were collected for their natural beauty. Beyond their unique form, some rocks have patterns of fantastic deep greens, icy grays and desert reds, such as the Dahua Red River Stones. Some popular stones, such as the Peony and Chrysanthemum stones have natural incredible bursts of white, resembling flowers. In each case, these rocks transport the viewer to another place wherever that may be.
Collection of Scholars' Rocks, or meditation stones, in a garden for creative inspiration
This 19th century red Taihu (Lake Tai) Scholars' Rock on a hand-carved rosewood stand would have been placed in a Scholars' studio to inspire creativity.
Taihu stones are cherished by the Chinese because of their resemblance to the unique mountains of Guilin. This collection has been "planted" in a private garden in Chicago.
A late 18th century Scholars' Rock named, "Ox on a Mountain". Scholars' Rocks were often named after the creatures they mimic.
Libation Cups
Libation cups could be considered more of an interesting companion to the scholar than a tool. These drinking vessels traveled with the artist to the many social gatherings held by fellow scholars. Paintings and calligraphic works were frequently created at such social gatherings. Artists observed each other’s work, sometimes recording the night’s events on scrolls. Drinking was another component of such parties. Even today it can be difficult for art historians to reconcile a subtle change of the hand in a painting or inscription, often pointing to an intoxicated artist as a possible alternative to forgery when faced with inconsistencies. Like brush pots, libation cups are made in a variety of sizes and woods. Some maintain the natural contours of the wood, others enjoy skillful carvings. They are extraordinary objects, situated as both drinking vessels and witnesses to the creative process.
18th and 19th century lacquered and burled libation cups with brass hardware
An 18th century scholar's libation cup carved with Shou Hsing, the god of longevity, in a garden with attendants mounted on custom stand.
