All the characters in the book come from real objects in the collection of the Rijksmuseum, Amsterdam and the Princessehof Ceramic Museum
Vase, 1635-1650, Rijksmuseum Amsterdam, AK NM 6657
Underglaze blue decoration of boys playing in a garden
Images of boys playing represent a wish for many sons, and lotuses represent harmony. One boy is riding a hobby horse, with the whip used by warriors in his right hand, while another holds a lotus leaf above his head as if he were the warrior’s attendant, and a third follows with a flag.
Dish, mid 16th century, Princessehof Ceramic Museum, Leeuwarden, Leeuwarden, GMP 1983-54,
Blue-and-white underglaze decoration of a dragon and clouds
The dragon in Chinese art is a benevolent creature, associated with fertility, rain and the emperor. He lives among the clouds, and is characterized by a long body, wings, legs, and horns. The dragon here is depicted surrounded by clouds.
Jar, c.1630-50 Princessehof Ceramic Museum, Leeuwarden, OKS 1989-12
Underglaze blue and overglaze enamel decoration of ‘the washing of the Elephant’, an important Buddhist occasion.
The elephant symbolizes strength and wisdom, and an elephant is said to have carried the Buddha on its back. Elephants are often depicted in a mournful pose, grieving the death of the Buddha. Elephants are not native to China and depictions of elephants depended on earlier illustrations: hence the somewhat eccentric anatomy.
Jar, 1570-1600 Princessehof Ceramic Museum, Leeuwarden, GMP 1964-14
Underglaze blue decoration of peonies and lion dog.
Lion dogs symbolize strength and protection, and statues of them are often placed at the entrance to temples as guardian figures. They were also seen as protectors of children, especially boys. Peonies are symbolic of wealth and honour, and the combination of the peony and the lion refers to a Buddhistic story in which a monk on a pilgrimage sees a lion dog dancing among peonies. In Japan they are known as shishi, or Lion Dogs, but in China they are referred to either as Lions or as Foo-dogs. Quite where the combination of dog and lion occurs is not clear.
Dish, 1720-1735, Rijksmuseum Amsterdam AK NM 13858.
Famille Verte overglaze enamel decoration of ducks swimming on a lotus pond with horses around the rim.
Mandarin ducks mate for life, and thus represent marital harmony and fidelity. Lotuses are also symbolic of harmony. The horses represent the eight famous steeds of Mu Wang, the 5th emperor of the Western Zhou dynasty in the 10th century BC.
Dish, c.1700 Princessehof Ceramic Museum, Leeuwarden NO 4159
Underglaze blue and overglaze enamel decoration of feng huang and dragon
The feng huang is a mythical bird, part pheasant, part bird of paradise. It lived in the parasol tree and appeared occasionally as a harbinger of peaceful and prosperous times. Together with the dragon, it represents female and male and the empress and the emperor. It is frequently translated as a phoenix, but in fact bears no relation to the Western phoenix myth.
Plate 1735-1750, Rijksmuseum Amsterdam, AK NM 13630
Encre de Chine, iron red and gold overglaze enamel decoration of rice cultivation
This plate depicts a river scene with cultivated land and rice paddies, with areas of flooded land for growing rice.
Dish, late 17th century, Rijksmuseum AK-RBK 16348
Famille verte overglaze enamel decoration of Gyo Ziyi deterring the enemy
This dish depicts the story of General Guo Ziyi (697-781), who is fabled for his legendary single-handed repulsion of a colossal enemy army. Defending the northern frontier of China, his military prowess did create a period of stability. However, in 765 CE, spurred on by rumours of Guo's death, the Turfans talked the Uigurs into joining their invasion of China with a combined army of 300,000 soldiers. Guo Ziyi only had a small army of 10,000 with which to face the invaders, and they were soon surrounded by the enemy. In the face of this colossal army, Guo Ziyi made history with his belief that true sincerity could move even God, let alone the Uigurs. Filled with this conviction, he persuaded his generals to stay behind and proceeded towards the enemy to talk to them with only a few personal attendants. When the Uigur generals saw the unarmed Guo approaching, they all dismounted and disarmed, and bowed with respect, saying, ‘It really is you, our father!’.
Basin, first quarter of 18th century, Rijksmuseum Amsterdam AK RBK 16357
Famille verte overglaze enamel decoration of Emperor Xuanzong and Lady Yang
Emperor Xuanzong (r. 712 to 756), was for many years a wise ruler, but in his later reign his pleasure seeking led him to neglect affairs of state and be too trusting of disloyal advisors. This scene probably depicts him and his chief consort Lady Yang aboard a pleasure boat, surrounded by ladies of the palace collecting water lilies, just before news of a rebellion is brought to him.
Vase, c.1750-70 Princessehof Ceramic Museum, Leeuwarden OKS 1060
Famille rose overglaze enamel decoration of a woman looking in a mirror
Dish, 1750-80 Princessehof Ceramic Museum, Leeuwarden, NO 2413
Famille rose overglaze enamel decoration of government official surrounded by minstrels
Further reading
Websites:
This website is a collaboration between the Rijksmuseum Amsterdam, the Groninger Museum, the Gemeentemuseum Den Haag and the Princessehof Ceramic Museum, Leeuwarden, and it aims to provide an overview of the East Asian ceramics in these collections.
Books:
B. Harrisson, Asian Ceramics in The Princessehof. An Introduction, Leeuwarden 1986;
Christiaan J.A. Jörg & Jan van Campen, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, London 1997;
Christiaan J.A. Jörg, ed., Oriental Porcelain in the Netherlands. Four Museum Collections, Groningen 2003;
Eva Ströber, Ten Thousand Times Happiness. Auspicious Motifs on Chinese Porcelain. The Collection Het Princessehof, Stuttgart 2011
Below are images of the objects themselves, with some information about these pieces and the meaning of their decoration. With grateful thanks to both museums and especially to Eva Ströber,
Jan van Campen and Christiaan Jörg.
THE STORIES BEHIND
THE OBJECTS
