A blog of Chinese art, culture and design

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 7^th 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.

Right now, all over the world and especially Asia, people are celebrating the arrival of the year of the Tiger. In addition to having enjoyed a delicious Chinese banquet, we hung a folk portrait titled “Two Tigers” front and center in our Bucktown gallery to mark the start of the new year. The painting of two tigers in conflict is an exquisite example of Eastern painting traditions from the late 18th and early 19th centuries. Minimal use of color and shading, cropped composition, and ‘bird’s-eye’ view are all elements that were uniquely Asian and not utilized in Western painting at that time.

“Two Tigers” was created in Korea during the late 18th c. when Europe was primarily producing historical paintings, which were highly representational, containing one focal point. That primary figure was engaged with the viewer, as if only created to be observed, as opposed to having been captured in a moment, almost accidentally. The Western perspective was distanced from the focal figure and depth was created by shading. The primary object was situated in a fully developed scene that gave the image a context, narrative, and visual interest. For example, if the figure was a reclining woman, she would be in a room with furniture, drapery, and perhaps attendants.

Nearly everything is different about the Korean folk painting “Two Tigers”. First, the tigers are two-dimensional, with only minor attempts to achieve an image of what is actually seen in nature. The curved lines on the tigers’ backs outline the muscles and movement of the animals, which are also repeated in the gnarled branch in the background. However, the blades of grass, the fanned leaves, and even the tigers themselves produce a flat image due to the lack of shading and color variation. In Eastern techniques of the time, depth was created by layering rather than shading. The tigers are in front of the trees so we know they are closer to us. The tiger on the left has one leg positioned in front of the boar, informing us of his dominant position, protecting his kill. The Eastern tradition of layering instead of shading is very purposeful and not utilized due to lack of skill. In Asia, shading was believed to be a means of hiding mistakes. In the Asian tradition, painters left mistakes along with their triumphs on the canvas. The tigers are executed within a cropped frame, barely contained within the borders of the frame, without much story around them. We look down on the scene from above, another reoccurring perspective in Eastern painting of the time.

“Two Tigers” is a great example of late 18th and early 19th century Eastern folk paintings. This type of painting would rarely have been created in Asia during the late 19th century when this aesthetic lost favor amongst many painters who ‘modernized’ and adopted Western techniques.

“Two Tigers”

Korea
Late 18th century
Pigment in Plaster on Board
43″ w x 33″ high
$5880

In China, September is welcomed with “Chrysanthemum Day,” a celebration of autumn. The chrysanthemum is an auspicious flower, also referred to as one of the “Four Gentlemen of China” along with the plum blossom for spring, the orchid for summer and the bamboo plant for winter. Chrysanthemum, pronounced “ju” in Chinese, is phonetically similar to the word “jiu,” which can mean either “long time” or the number “nine”. And so, chrysanthemums are honored on September 9^th (9/9), considered to be one of the luckiest days of the year. Moreover, since the word nine is homophonous with the word for “long time,” Chrysanthemum Day is also a day for honoring elders.

According to one legend, Fei Ch’ang-Fang, the legendary clairvoyant of the Han dynasty, advised a follower to take his entire family far from their home to a distant hill on the 9^th day of the 9^th month to avoid hardship. He told each family member to carry a red bag with a spray of dogwood inside. Each person was told to wear the dogwood while climbing the hill and then to drink chrysanthemum wine at the top. Upon retuning to their home, they realized the trip was a lucky excursion, averting them from great tragedy. Therefore, on September 9^th, climbing hills, wearing dogwood sprays and drinking chrysanthemum wine have become traditional activities believed to invoke good luck and the avoidance of misfortune. The date continues to be celebrated today by visiting gardens, creating paintings and poetry about flowers, drinking chrysanthemum wine and eating rice cakes.

More than 3,000 varieties of chrysanthemums bloom in China today. Cultivated over hundreds of years, many of the earliest varieties are documented in the Chrysanthemum Book of the Song Dynasty (960-1279). The flower itself has proven medicinal properties, and chrysanthemum tea is used to treat a variety of ailments. The tea is prepared with dried chrysanthemum blossoms steeped in hot water and mixed with sugar or wolfberries.

Chrysanthemum stones are found in China’s Hunan Province. They are dark gray limestone specimens of volcanic origin embedded with celestite crystals that look like Chrysanthemums, the official symbol of the Imperial Family of China. The availability of these stones will soon be limited because areas where they are mined will be flooded with water released by the Hunan Dam. Some reports indicate that this will occur as soon as this year. Chrysanthemum stones possess deep symbolic meaning and are truly collectors’ items. Some believe that having a Chrysanthemum stone helps one experience the passage of life in the same way the petals of a flower unfold: a process in which the occurrence of change is not perceived as unsettling or disruptive; instead, it is embraced as fluid and harmonious.