Ming+Dynasty+Lacquer+Dish

**Lacquer Dish**
http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/l/lacquer_dish.aspx

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=226796&partid=1&output=People%2F!!%2FOR%2F!!%2F140811%2F!%2F140811-3-17%2F!%2FPurchased+from+Lady+Garner%2F!%2F%2F!!%2F%2F!!!%2F&orig=%2Fresearch%2Fsearch_the_collection_database%2Fadvanced_search.aspx¤tPage=2&numpages=10

Date: 1489 CE Artist: Wang Ming of Pingliang Country: China Province: Gansu Period: Ming Dynasty Diameter: 19.0 cm
 * Identification:**


 * Introduction:**

This is a color lacquer dish from the 15th century of the Chinese Ming Dynasty.¹ Carved on the front of the dish is a scene of the famous literati poetry gathering of the 4th century at the Orchid Pavilion. in which over 350 artists gathered to share and compose written works. This event has also been used as the subject matter or other artworks including paintings.


 * Descriptive Analysis:**

This carved lacquer dish is round and has a diameter of 19 centimeters and an area of roughly 283 centimeters. The front side of the dish features both a border as well as a pictorial scene, which are carved in low relief, while the back surface of the dish features a verse from the earlier Tang Dynasty poet, Wang Bo.The color of the dish is mostly red, but there are also touches of yellow, green, and black. It, both of which will described.

The border around the dish is made only of red lacquer and is predominately decorated in a sort of scalloped or woven, basket-like pattern. Eight images are presented within this border and are distributed in equal intervals to each other as in the manner of a clock. The images appearing in what could be considered at the quarter-hour intervals are similar to each other, but not exactly the same. The three images appearing at the half-hour, the three-quarter hour, and new hour marks are the most similar to each other out of the four. They appear to be a form of water inspired figure of either a boat or fish. The image at the one-quarter mark appears to also be a form of water inspired figure, but more of a serpent or dragon-like figure in comparison to the fish design featured before. The other four images spaced in between each of the quarter-hour marks are all the same figure and are composed as a simple three peaked mountain design, with a higher central peak and a smaller peak on each side.

The scene within the main surface of the dish is quite complex and features architectural and figural details. It is also primarily composed of red lacquer but used some areas of the other colors to show detail. The architectural portion consumes the majority of the area and is the main focus of the scene. It is composed primarily of a pavilion, which fills up about three-fifths of the area, as well as other outside elements including a bridge and walkway. The pavilion itself is fully made of red lacquer, with the exceptions of a few yellow-green areas used to mark floors. The base is surrounded by a brick wall and pavilion itself has two levels, the first of which can be accessed by a set of stairs with roughly twelve steps. The first level of the pavilion features three different sections, or rooms all of feature the same stylistic elements. The first room, located on the right side of building above the stairs, is the largest of the rooms. It has a very wide entrance with an open door that shows the yellow lacquer floor inside. Near this entry stands single figure stands as though they have just arrived. The other two rooms also feature a similar entry, however, are much smaller and the doors of one room are completely closed and those of the other are partially closed which allows one to think they are sliding doors. To each side of the doors are columns and decorated panels that construct the walls of the pavilion. Around each of these walls is an open area similar to a patio. This would allow for people to exit each room through the sliding doors to the outside, as can be seen in the farthest left room by two figures. Each patios are then surrounded by a short gate composed of posts and panels that are carved similarly to those on the walls. Above each room is a roof that is carved with vertical lines for the tiles. Each corner of the roof is curved upwards to a point. Only the outer portion of the roof can be seen, as the area above the first level rooms is flat so that they can serve as bases for the second level. The second level is quite similar in style to the first in the design of the rooms, however, there are only two rooms instead of three. These two rooms are the same size as the two below them, the larger room with the the main entryway and the smaller room next to it. The area above the third room on the first level is composed entirely as an outside patio and features the same gate design that is shown around the rest of the building. This level contains the most figures of the entire composition, four of which stand in this patio and two others that stand in the large room. The roof above the second level is also similar to that between the first and second level, however, it is doubled. The first level is done in the same manner as that of the first floor. It has carved vertical tiles, and edges that are curved upwards into points. The second layer is slightly more elaborate and peaks to form a much higher, angled roof. The corners of the sides of the roof are lined with decorations that resemble bird-like figures. The peak of the roofs also are decorated on each side with another form of bird-like statue. This use of bird designs continues to the upper-left side of the pavilion in which the sky is shown. This area is done with a yellow-green background with red lacquer details. Clouds are depicted here in wave-like forms and in between them two large birds can be seen flying. In the lower right-hand area of the composition can be found another nature scene that is done in a similar style to this one. It also features a yellow-green surface, but this time it is used to show the ground rather than the sky. On the grass is what appears to be two figures surrounded by animals. There are two deer and two horses shown. It looks as though the two figures had arrived to the pavilion by riding these horses. The final section of the scene is that in the lower left quarter of the surface. This area filled with a body of water, likely that of a river or lake, which has a scalloped or woven pattern similar to that found in the border. In the water can be seen a small fishing boat with a single sail and two figures, one of which is seated and the other is standing. The standing figure is rowing the boat towards the land so that they can reach their apparent destination, the pavilion.


 * Formal and Contextual Analysis:**

=
While there are many different designs used on this dish, it should be noted that the most common associated meaning for these is immortality.² =====

=
The lively nature including the clouded sky with flying cranes as well as the grass area in front of the pavilion are often symbol of immortality. This has even been believed to be represented in waves of the water near the pavilion and the similar wave-like pattern that is repeated in the border of the dish.=====

=
The main scene found on this dish holds the most significance. Though this dish is believed to have been produced during the Ming Dynasty of the 15th century BCE,however, the event in which is shown is from the 4th century BCE. The scene depicted shows an annual meeting at a pavilion known as the “Orchid Pavilion” (Chinese: Lan ting), which was located in the southern Chinese province of Zhejiang.=====

=
The depicted scene is a falous event that occured in the 4th century at the Orchid pavilion in which a large number of literati gathered to celebrate a spring holiday. In attendance were a total of roughly 353 artists including Wang Xizhi (306-361 BCE) and Sun Chuo (314-371 BCE). ³ At this time, Wang Xizhi composed an essay entitled “Orchid Pavilion Preface” in which described the event and was later studied by others for much time after (4). =====


 * Personal Interpretation:**

Before having researched this particular dish and its contents, I had presumed that whatever the scene being depicted was something of significance. The amount of detail shown in the carving can easily be associated with important events, and even important people. Originally I had thought of this being a scene dedicated to a sort of ruler or other authority figure. It was as if those arriving, were there to show honor to this person or perhaps they were having a very important meeting.

However, as I learned this event was based on the Literati arts, I was able to interpret it differently. While the event was still very well known and admired, its subject matter contrasted that in which strongly promoted a ruler or other high power. This scene showed numerous elements of nature, including birds and deer, which as I learned symbol immortality. This enabled me to think that there was a joining of man and nature and that through this connection, man could be inspired to write works that would serve as influence for other later to come.

¹ For more information on the various arts of the Ming Dynasty: D. Gure, // The Arts of the Ming Dynasty, // ( Artibus Asiae, Vol. 20, No. 4, 1957, pp. 309-320,) ² For a summary of the contents of this particular dish and its contents from the museum in which this dish is now held: J. Rawson (ed.), //The British Museum book of Chi// (London, The British Museum Press, 1992) <span style="font-family: Times New Roman,serif;">³ For more information on the poets and poetry included at the Lanting Gathering: W. Swartz, //Revisiting the Scene of the Party: A Study of the Lanting Collection,// (Journal of the American Oriental Society Vol. 132, No. 2 (April/June 2012), pp. 275-300)
 * Footnotes/Bibliography:**

<span style="font-family: Times New Roman,serif;">4 For more information on artwork portraying historical Chinese events in nature: H. Cotter, //Ancient Havens and Reflections of Renewal,// (The New York Times, April 17, 2012, p. C27)

http://www.metmuseum.org/collections/search-the-collections/60007272 http://www.nytimes.com/imagepages/2012/08/17/arts/17GARDENS2.html http://www.metmuseum.org/Collections/search-the-collections/60019531
 * Related Images:**

http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/l/lacquer_dish.aspx http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=226796&partid=1&output=People%2F!!%2FOR%2F!!%2F140811%2F!%2F140811-3-17%2F!%2FPurchased+from+Lady+Garner%2F!%2F%2F!!%2F%2F!!!%2F&orig=%2Fresearch%2Fsearch_the_collection_database%2Fadvanced_search.aspx¤tPage=2&numpages=10 http://www.metmuseum.org/collections/search-the-collections/60007272 http://www.nytimes.com/imagepages/2012/08/17/arts/17GARDENS2.html http://www.metmuseum.org/Collections/search-the-collections/60019531
 * Hyperlinks:**


 * Notes:**