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Antique Ming dynasty porcelain from the Wanli period
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Border decorations and its meaning
(from the Wanli shipwreck cargo)
The kraak potters’ dislike for undecorated spaces is evident in The Wanli Shipwreck cargo. Here the decorator has filled the borders with various emblems of individual significance that is related to the meanings of the centre medallion designs. The symbolism of the border motifs comes from the imagery of traditional folklore. While the selection of motifs never perfectly matches any specific published list of emblems in Chinese art, they do appear in collections of antique symbols such as the Eight Treasures, Eight Auspicious Signs, and Eight Buddhist Emblems. Having an entire cargo of kraak ware allows an appreciation of the entire repertoire of border symbols in use in the 1620s. Collectively it captures a moment in time, not available from any other source.
Exactly why the potters chose their specific repertoire of emblems and symbols is not the subject of this modest publication. What follows is an inventory of the border motifs and their associated symbolism to show the range seen in The Wanli shipwreck. In the search for this repertoire, one must remember the ceramics were commercial goods and various decorative patterns could be painted according to the requirements of the buyers. Also, these motifs may well have been popular at the time in other forms of Chinese art.
Note that most emblems are set on a background of tassels and ribbons. The primary emblems are the scroll, ‘artemisia’ leaf, conch shell, chime stone, rui head, castanet, gourd bottle, book, lantern, fungus, fan, peach and peach flowers. Each one has a range of variations that are shown in the following samples There are also variations in the direction of the background tassels even from one panel to the next. The extent of the variations in use at the same time is enlightening. Without an archaeological context, one might expect the variations to come one after the other in time. It would appear that multiple decorators were at work, each with their personal quirks in style and with differing degrees of skill and experience.
The serial numbers below identify individual ceramics. Letters that follow the serial numbers show the different motifs on the same piece of ceramic. The individual ceramics, and the full list of emblems, mentioned herein can be seen in the catalogue of the Wanli shipwreck project: The Wanli Shipwreck and its Ceramic Cargo.
KRAAK PLATES:
Ser. No.1655a.
Panel decoration from a 280 mm diameter kraak plate where the rui lappet is the main decorative symbol. The ‘rui’ or ‘ruyi’head, which means “may your wish be granted”, arrived as an individual motif from the head of the ‘jo-i’ sword which is derived from the fungus plant and is therefore also the symbol for longevity. Hence it is also the symbol of Buddhism and often presented as a gift for good wishes.
Ser. No.1655b.
Another panel from the above kraak plate includes three different motifs where the lantern is drawn on top of a tassel and the ribbon. Except for the top motif which may vary, the tussle and the ribbon is the most commonly used combination of motifs on the border in panels on kraak plates and on the cavetto on kraak dishes. The lantern is the symbol of joy and festivities. It is often given as an auspicious gift at weddings and plays a prominent part in social and religious life. The lantern can appear in many shapes and are often lit by candles. While the ribbon appears as decorations on all Daoist emblems and most of the Eight Treasures and Eight Buddhist emblems, it does not seem to have its own symbolism. It is however often seen on the flute of Han Hsiang Tzu, one of the Eight Immortals.
Ser.No.1655c. Another panel decoration from the same kraak plate as the above. Here too is the same background while the scroll with a 'rui' head is the main symbol. The scroll is the sacred text of the scriptures and the store of truth. It is also the emblem of Han Shan, a Chinese poet of the 7th century. A common form of ornamentation in every household, the scroll when made from red paper and pasted on house doors as it is believed to provide continual happiness and prosperity to the household. The scroll and the lantern can appear in the centre medallion of kraak plates as well as in panels.
Ser. No.1655d.
Panel in the same plate as the above but including the ‘artemisia’ leaf as the main symbol. One interesting difference to other leaves seen in the shipwreck cargo is that it includes a handle and it is only partly filled with the nerves of the leave. The ‘artemisia’ leave is the symbol of healing and health and considered a good omen to the Chinese. When placed over the house door it is thought to dispel sickness and to celebrate the anniversary of the rebel Huang Chao. In ancient times, the Chinese also used the nerves of the ‘artemisia’ leave for prophecy. It is interesting to note how the angle of the tassel changes in many panels on the same plate.
1655a
1655d
1655c
1655b
Ser. No. 1440.
This single peach fruit, Amygdalus persica, also known as the fairy fruit is drawn in a large panel on a 280 mm diameter kraak plate. The fruit is thought to have originated in China and comes in many varieties and is said to be good against lung diseases, coughs and rheumatism. The peony and the peach motif; ‘Tao zi’ both represents immortality, long life and are the emblem of marriage and spring. The God of longevity; ‘Shou Lao’ or, Shouxing is often depicted in Chinese art and porcelain decorations holding the peach of immortality. Chung Li Chuan, or, Zhongli Quan, the leading Immortal is sometimes seen holding a peach in his hand while always shown with his fan to revive the souls of the dead. The peach is sacred to the Daoists believing that the Holy peach tree grew near the palace of Hi Wang Mu, the Queen of Xian.
Ser. No. 4580.
This panel decoration from a 310 mm diameter kraak plate is similar to 1655c including the scroll, tassel and ribbon but an with an overlaying meander pattern. The meander in its primitive form, as on Shang dynasty bronzes, is an archaic pictographic representation of cloud and thunder and for that reason referred to the Chinese as ‘thunder pattern’. In Buddhism the scroll is the sacred text of the scriptures, and the store of truth. It is also the emblem of Han Shan, a Chinese poet of the 7th century, and implies the underwritten book of nature.
Ser. No.5095
This 280 mm diameter kraak plate panel is similar to 1655b except that the lantern and the tassel are rendered in different directions. Note the different pattern on the lantern and the direction of the tassel when compared with 1655b above.
Ser. No. 5640.
The main motif in this panel from 210 mm diameter kraak plate is the chime stone which is painted over a tassel and ribbons.
1440
4580
5095
5640
Ser. No. 5097a.
Panel decoration from a 280 mm diameter kraak plate where the gourd bottle is the main symbol. The gourd bottle is the symbol of mystery and longevity with its shape suitable as a receptacle for medicine. The gourd bottle is also the emblem of Li Tieh Kuai, one of the Eight Daoist Immortals, who holds the bottle in his hand denoting his power of setting his spirit free from his body.
Ser. No. 5097b.
This panel decoration is from the same kraak plate as above and includes the lantern as the main motif. Note the different pattern on the lantern when comparing with 1655b and 5095 above. For description of the lantern as a decorative motif, refer to 1655b above.
Ser. No.5097c.
Another panel from the same kraak plate as above with the ‘artemisia’ leave as the main decorative symbol. Note the different style of rendering the leaf and the inclusion of the wheel of law when compared with that seen in 1655d above. For description of the symbolic meaning of the ‘artemisia’ leaf, refer to 1655d above.
Ser. No.5097d.
With this last panel of the same kraak plate as above, it is interesting to note that the plate, in addition to the four peach fruits, included four other independent motifs; the gourd bottle, lantern, the ‘artemisia’ leave and now in this panel; the scroll. Compare with kraak plate 1655 above which also shows four different independent motifs. For a description of the scroll as a decorative motif, refer to 1655d above.
Ser. No.5706a.
This panel from a 210 mm diameter kraak plate includes the same motifs as in the larger kraak plate number 5097d shown above except that tassel is drawn in different angle and the scroll here features the arabesque pattern. The arabesque pattern is a favourite Islamic decorative theme called islimi in Persian carpets. The pattern is most fascinating and fully developed when it includes an interlaced lattice system and spiralling stems or tendrils. For a full description of the scroll refer to 1655c above.
Ser. No.5663.
This panel from a 210 mm kraak plate includes the only example of its kind - an indefinable motif on top of a ribbon. The rendering of this motif only goes to show how different decorators, with varying skills and backgrounds could depict traditional motifs in a diverse manner, thus upsetting any stylistic evaluation of the motif. In addition, this decorator also excluded the tassel which is otherwise the most commonly used background.
More when time permit.....................
5097a
5097b
5097c
5097d
5706a
5663
2/11/07
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