Mounted Li Bai

This lavish ornamental object comprises of various elements of Chinese porcelain, mounted in gilt-bronze. A turquoise glazed reclining figure and a carp, are sitting amongst bulrushes on a rocky underground. The taller wavy leaves of the rushes, as well as a few catkins, are arranged behind the figures. Some shorter bended leaves are placed around the sides and front of the group. The carp amusingly spouts gilt bronze ‘water’ from its mouth. The gilt-metal base has a broad concave band and stands on ornamental pierced feet.

The reclining figure, represents the well-known Tang Dynasty romantic poet Li Bai (701-766 AD), also referred to as Li Taibo the Poet Immortal. He is one of the greatest imperial poets of his day, but became particularly famous for his great drunkenness. He is therefore often portrayed leaning drunkenly against a wine jar, as he is here.

Originally this figure of Li Bai was made as a waterpot and the carp as a water dropper – both items intended for the Chinese scholar’s desk. On entering Europe, these objects lost their original usage and meaning, but were certainly appreciated for their exotic allure. During the 18th century, French dealer-decorators known as the marchandsmercier, would combine and embellish beautiful foreign objects such as these, turning them into new highly fashionable works of art.

The Walters Museum in Baltimore has a mounted group with two turquoise carp, but with a central cup surrounded with bulrushes (acc.nr 49.2266).

China, Dehua, Fujian Province, mid 18th century

H: 25 cm

PROVENANCE

Private Collection, The Netherlands

LITERATURE

Ayers 2016, p.50 no.44-45

Bartholomew 2006, p.64

Jörg & van Campen 1997, p.245 no.282

Penkala 1980, p.181

New York 1986, p.90 no.10

Pei 2004, p.94

A blanc de chine porcelain figure of Guanyin seated on a high rockwork base, holding a child on her lap. She has an elegant pose and serene expression, befitting the Goddess of Mercy. She wears loose robes, one bare foot peeping out from under her flowing garments. Her hair is in a top knot covered loosely by her mantle. Her right leg appears to be folded up and the other hanging down, in a pose known as Royal Ease (lalitasana). The child holds a lotus bud, forming a symbolic combination which can be read as ‘may you continuously give birth to distinguished sons’. The whole is thickly potted, with a hollow body which is unglazed on the inside. The outside is covered in a thick transparent glaze, typical of wares from Dehua.

The bodhisattva Guanyin is generally depicted as a female in flowy white robes, peering downwards with an expression of purity and wisdom. She embodies the motherly virtues of compassion and mercy and was thought to have particular fertility granting powers. Holding a boy on her lap she is known as Guanyin songzi 送子观音 - the giver of children. In this manifestation she was the focus prayers for women wanting male offspring; which in China was considered vital for the continuation of the family lineage.

Guanyin is widely worshiped in Chinese culture and is depicted in many forms and sizes. These smaller scale figurines would have been useful for placing on the family house altar. But they were also a popular export product, probably for their striking resemblance to Christian images of the Madonna and Child.

A slightly smaller similar figure is in Porzellansammlung Dresden (inv.no. PO 8563 ). The Asian Civilisations Museum, Singapore has an example with traces of lacquer (acc.no. 2002-00326). Other comparable examples are in the Rijksmuseum, (inv.no. AK-MAK 658) and Royal Collection Trust, UK which has several (RCIN58841.1-2).

China, 19th century

H: 50 cm | W: 28 cm

PROVENANCE

Collection Altmeyer, France 2012

LITERATURE

Boulay 1984, p.182, pl.3

Donnelly 1969, p.126

Liu 2007, pl.85

Scagliola 2012, p.312, pl.397

Welch 2008, p.38-39