Ancient Taiwan Art Modren Day Taiwan Painting of Dogs

Specialist Ivy Chan on the significance of traditional motifs, from clever monkeys to dignified peacocks

With a life expectancy of more than xx years, cranes symbolise longevity. The Chinese discussion for crane, he, sounds similar to the word for 'harmony'. A pair of cranes tin can therefore signify a harmonious marriage: specifically a happy, long-lasting union.

A white and russet jade ruyi-grade washer. Qianglong period (1736-1795). This work was offered in Inspired Themes: a Fine Selection of Chinese Works of Art on 10 May 2016 at Christie'due south in London and sold for £110,500

This washer is shaped as a large lingzhi  — a medicinal mucus symbolising longevity and proficient wishes. Ii bats in flight are carved into and highlighted by the russet surface area of the jade, representing happiness or blessings; the Chinese give-and-take for bat is fu, which provides the homophone — a discussion with the same sound — for 'happiness'.

One of Cathay's oldest and near influential texts, the I Ching, or Book of Changes, describes the peacock as a cultured bird with 9 virtues. Information technology had a dignified appearance and a clear vox, walked with grace, and was punctual. Content and loyal to its fellows, the peacock was too restrained in its appetite, and capable of learning from its mistakes.

Over time, the peacock became synonymous with civilisation and enlightenment — in the Qing dynasty (1644-1912), imperial fans were made of peacock feathers and merely officials of the highest rank were permitted to wear a hat with a peacock plume and coral knob.

Individually the monkey symbolises cleverness and agility, while the horse represents strength and speed. The depiction of a monkey on a equus caballus'south back represents the rebus 'Ma shang feng hou' ,which may exist translated as 'May y'all receive a swift promotion to a loftier rank of office'. This popular motif would have been used to confer good wishes to aggressive individuals within officialdom.

A moulded famille rose 'Dragon and Phoenix' bowl and cover. Qianlong-Jiaqing period (1736-1820). This piece of work was offered in Inspired Themes: a Fine Selection of Chinese Works of Art on 10 May 2016 at Christie's in London and sold for £11,250

The dragon and the phoenix represent the acme of power and auspiciousness. Emblematic of male prowess, strength and divine rule, the dragon symbolises the Emperor of China and is ranked starting time among mythical beasts — believed to bring fertility to the land.

The phoenix, on the other hand, represents female authority, benevolence and dazzler, and is associated with the Empress of China. The phoenix appears during times of peace and prosperity; information technology is believed that when Confucius was born, the phoenix announced the emergence of the nifty human. The combination of dragon and phoenix is often seen at weddings, carrying blessings and practiced fortune.

A turquoise-ground famille rose 'v boys' vase. Qianlong six-character seal mark in fe-red and of the flow (1736-1795). This work was offered in Inspired Themes: a Fine Selection of Chinese Works of Art on 10 May 2016 at Christie's in London and sold for £362,500

In Chinese art the depiction of young boys at play is considered a sign of good fortune, representing the blessing of having many sons to carry on the family unit name. The combination of v boys derives from the sayingwu zi deng ke, referring to the supreme achievement of 5 sons from the same family passing the civil service exam.

The talismanic gilt-decorated diagrams on these vases correspond the 'truthful forms' of the 'Five Sacred Peaks', or Wuyue Zhenxing, and are believed to bring their bearer good fortune. The five peaks represent the five cardinal directions of Chinese geomancy — Eastward, Westward, Due south , Northward and Heart. Together they attain a balance in cosmic order, and also symbolise the Five Elements of metal, burn, forest, h2o and earth. According to legend the 'true forms' were given to Han dynasty Emperor Wudi (r. 140-87 BC) by the ancient Chinese goddess Xiwangmu — or the Queen Female parent of the Westward. Wudi had them mounted and encased in precious materials, and gave a copy to 1 of his ministers. The tradition continued, with subsequent versions believed to be based on Wudi'due south original. Followers of Daoist philosophy believe that wearing a representation of the 'true forms' invokes protection from the gods.

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Source: https://www.christies.com/features/Chinese-Ceramics-How-to-decode-the-meanings-of-traditional-symbols-7229-1.aspx