Description
A Qing dynasty tray, of square form, featuring a central, double-framed inset panel of molded and carved cinnabar lacquer (堆红). Then surrounded by smooth, glossy black lacquer adorned with repeating tixi lacquer (剔犀) sword pommel motifs (剑环纹), terminating in outwardly sloping, concave edges. The underside is similarly lacquered in black and decorated with carved Yuan style tixi scrollwork patterns, resting on a shallow inset foot ring.
The central scene of this tray draws its inspiration from earlier Ming carved lacquer works and depicts a scholar (文人) accompanied by an attendant beneath a pine tree, positioned atop a high, rocky outcrop overlooking a body of water, as represented by an “undulating wave” diaper (波浪纹). This serene and carefully balanced composition seems deceptively simple yet is imbued with layered symbolic meaning and conveys a rich array of auspicious and idealized concepts.
The presence of the pine tree, a recurring motif in literati imagery, embodies endurance, resilience and longevity due the pine trees “ever green” appearance, persisting through even long and harsh winters. Within this context, the pine metaphorically represents the ideal character of the scholar, who should embody these values; meaning steadfast and unwavering moral character. The rocky outcrop upon which the figures stand, further reinforces this notion of stability: rocks are strong, eternal and in this sense, one could even say they are immortal. Even the water itself contributes metaphorically here, in that water is associated with wisdom, adaptability and the passage of time. Its flowing nature may be interpreted as a metaphor for the scholar’s mind, which “ripples and flows in time,” all the while filled with contemplation, intellect and creativity. That the scene is situated in a natural landscape evokes the scholarly ideal of “retreat from the mundane world” in order to live harmoniously in nature, while pursuing virtue, clarity and wisdom.
A sister tray, of identical size and technique, resides in the collection of the Zhejiang Provincial Museum. Its central panel features plum blossoms on branches arching over a similar water-patterned background (pictured below).
Together, these trays may form part of a larger, symbolically coherent set. The pairing of pine and plum suggests a seasonal and moral theme, potentially alluding to the “Three Friends of Winter” (岁寒三友) which are pine, plum and bamboo; a traditional triad celebrating steadfastness, purity, and resilience in adversity. Alternatively, the trays may belong to another symbolic grouping yet to be identified.
18th century / mid-Qing dynasty
Size: 19.5 x 19.5 x 2.5
Tixi lacquer (or in Japanese known as “guri lacquer”) is a technique in which layers of contrasting colored lacquer are carved in broad U or V shaped grooves to reveal decorative patterns. Although tixi lacquer originated much earlier it reached its height during the Song and Yuan dynasties. Tixi lacquer was particularly appreciated and collected in Japan where most pieces are still found today.
