The Chinese Imperial Ceramic Artwork Found In Indonesia ( continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

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(2)Motif Figure Eight Immortal(delapan dewa)

Motif eight immortal

Dr Iwan Collection Eight Immortal Motif

Driwan found one eight immortal de  La Tsai Ho and three other eight immortal  white cup

 

eight  immortal  right  Lan tsai Ho and  Zhong Gi chuan left  Lie to kei and Zhnag guo Lao   painting

Early Qing Kangxi Figure eight immortal   zhong Gi chuan Saucers

Other Collections(not upload)

 

Compare from literature

  8 Immortals “Drunken” Boxing   

source

 Chue Pa Hsien   (Tsui Pa-Hsien)   (Zuibaxianquan)

“Iron Crutch Li “       The name of Li Tie-guai in traditional Chinese format.          Incense Burner with Li Tieguai (Detail)

Immortal Li Tie Kuai  

                (Li Tieh Kuai)  (Tie Guaili) (Tit Gwi Li) (Li Tie Kwai)

*******************************************************

Strongman Wino – “The Stomping Immortal”

Immortals    Siang Chung Li  

               (Han Chong Li)  (Chung Li Ch’uan)  (Han Zhongli) 

               (Han Chung Li)   (Hsiang Chung Li)

*******************************************************

Old Scholar Hermit

Immortal    Chuang Kuo Lao 

(Chang Kuo Lao) (Chuang Kuo Chiu) (Zhang Guolao) (Cheung Guo Lo)

*******************************************************

Poet, Playboy, Martial Arts Empty Hands & Weapons Master

Immortal Li Tung Ping 

                 (Li Tung Pin)  (Lu Dongbin)  (Lui Dong Bin)

*******************************************************

Intelligent, clairvoyant friend of Li Tung Ping

Immortal Han Yang Chie 

            (Han Hsiang Tzu) (Han Xianzi)  (Han Xiang Ci) (Han Sing Tu)

*******************************************************

Nobleman “The Acrobatic Immortal”

Immortal   Chao Kuo Chui  

                  (Tsao Kuo Chui)  (Cao Guojiu)   (Cho Quat Kau)

*******************************************************

Youthful Tomboy “The Flexible Immortal”   

    Lan Chai He    

    (Lan Ts’ai Ho)

                        (Lan Zai Hou) (Lan Caihe) (Lam Choy Wah)

*******************************************************

Beautiful Girl “The Female Immortal”

Immortal  He’ Shiang Ku (He Hsiang Ku)

                     (Ho Hsien Ku)   (Ho Xian Ku)   (He Xiangu)   (Ho Sen-Ku)

 

8) Eight god (god of immortality or eight immortal)
(1) Chung Li Chuan with fan symbol, god of longevity and provide energy that never stops (end)

 

 

 

Chung-li Chuan, also spelled as Zhungli Quan, is said to be to the chief of powerful Taoist collective immortals –

 THE EIGHT IMMORTALS.

He is also said to be the most ancient of all the Eight Immortals, although some Taoist scholars and priest would argue that it’s actually Lu Dongbin, also spelled as Lu Dongpin.

Chung-li Chuan is believed to have been born during the Han Dyansty, and he is usually depicted as a fat man with big, rounded, bared stomach or belly. His magical implement is a feather fan, which he uses to bestow the blessing of good health. It is also said that he is able to revive the people who are seriously ill to good health by using his feather fan. On top of that, by using his fan he is also able to revive people who’ve died, the only pre-requisite for him to perform this magic is that he has to be absolutely sure that the dead person really deserves to be alive again and that he as a living person he is able to become a blessing to others. Furthermore, his fan is said to be able to change bad luck into good luck.

It is also written in religious texts that when Chung-li Chuan was born, the room where he was born was magically filled with beams of light. It was also said that his parents believed that he was an old soul because he continued to cry for seven days and night, as if complaining about his mortality.

There is a Taoist temple in Taiwan that is dedicated to the Eight Immortals, specifically to Immortal Chung-li Chuan. One devotee shared with me a story about how her daughter who was seriously ill was restored back to health when she prayed to Chung-li Chuan. As a sign of thanksgiving, the woman would always bring a colorful feather fan as an offering Chung-li Chuan every feast day of the Eight Immortals.

 (2) Chang Kuo-Lao with dengan symbols give descendants bamboo tube (prevents sterile)

 Chinese Immortal Chang Kuo Lao Print

 

(3) Pin Dong Lu (Lu Tung Pin) with a sword and a thermos fly symbol popped disease

 

 

 

Lu Tung Pin is one of the most popular of the Eight Immortals (The Eight Immortals themselves are Taoist folk heros drawn from a cross section of society that represent the eight different conditions of life: youth, old age, poverty, wealth, nobility, the populance, the masculine, and the feminine. Their personalities and exploits are revealed in myths and ledgends, they have acheived popularity as individuals and it is not unusual to find an altar in a temple dedicated to one of them.)

Lu Tung Pin is venerated for two reasons. Firstly because he is associated with medicine and the elixir of life. He knows the formula for the elixir of life and his potions and charms can heal the sick. Lu Tung Pin is also the doctor of the poor.

 

As a young man Lu Tung Pin met up with a fire dragon who gave him a sword. This sword was called Chan-yao Kuai, the Demon-Slayer which allows him to have control over evil spirits destroying, capturing or taming them if he is invoked correctly; but to Lu Tung Pin this sword was not a weapon for killing enemies but a symbol for conquering passion, aggression, and ignorance.

Lu Tung Pin considered compasion to be the essential means of attaining perfection.

As a young man Lu Tung Pin travelled towards the capital and along the way met the immortal Chung Li-ch’uan, who was warming up some wine. After drinking some of the wine Lu fell asleep and dreamt that he was a wealthy and powerful official who lived the rich life for fifty years until a crime caused his family to be banished and exterminated. When Lu awoke he found that only a few moments had passed but the dream brought him to his senses and he decided to forgo the life of an official and follow Chung Li-ch’uan into the mountains. There Lu learned the secrets of alchemy and the art of swordsmanship. He transformed the methods of Outer Alchemy (wai-dan) into those of Inner Alchemy (nei-dan).

 

 

Lu Tung Pin from a 19th Century wood cut

(4) Guo Chiu Tsao (Tsao kuo-chiu) with the symbol for music bestows blessings to those who seek power

 Cao Guo Jui or Tsao Kuo Chiu - Taoist deitiy known as one of The Eight Immortals or Pa Hsien

This is Tsao Kuo Chiu, who is a patron saint of theatrical profession. Richly decorated in polychrome enamels, Tsao Kuo Chiu is one of the 8 Immortals.

I have never seen a theatrical monkey at the base, but he is a nice addition to this very unique 19th century Chinese figurine. He is without flaw, no chips, cracks, hairlines, etc. Marked China on the bottom, he measures 7.5 inches(illustration not upload) 

Tieh Kuai)  (Tie Guaili) (Tit Gwi Li) (Li Tie Kwai)

 li tie guai ( li tieh kuai ) taoist deity known as one of the eight immortals or pa hsien stock photo

(5) Lie Tieh Guai (Li Tieh Kuai) with the symbol of bottle gourd, most power  of Delan gods bestowed wisdom

 

(6) Xian Tzu Han (Han Hsing-tzu) with flutes, restoring energy

 

 

 

One of the Eight Immortals, Philosopher Han Xiang (韓湘子 in pinyin: hán xiāng zi) or Han Xiang Zi, in Wade-Giles as Han Hsiang Tzu, was born Han Xiang during the Tang Dynasty, and his courtesy name is Qingfu (清夫 qīng fū). He is said to be the nephew or grandnephew of Han Yu, a prominent statesman of Tang Court. Han Xiang studied Daoism under Lü Dongbin. Once at a banquet by Han Yu, Han Xiang tried to persuade Han Yu to give up a life of officialdom and to study magic with him. But Han Yu was adamant that Han Xiang should dedicate his life to Confucianism instead of Daoism, so Han Xiang demonstrated the power of the Dao by pouring out cup after cup of wine from the gourd without end.

Because his flute gives life, Han became a protector of flautists

 

 Lan Cai He or Lan Tsai Ho -Taoist deitiy known as one of The Eight Immortals or Pa Hsien

 

Lan Cai He or Lan Tsai Ho -Taoist deitiy known as one of The Eight Immortals or Pa Hsien

Photographer: Louise Batalla Duran

Lan Tsai-Ho is the mountebank of the Chinese Eight Immortals. She poses as a wandering singer, denouncing this fleeting life and its delusive pleasures1. The basket of flowers she carries is full of plants associated with longevity—chrysanthemums, plum blossoms, pine, bamboo, etc. Lan Tsai-Ho is sometimes represented as a woman and sometimes as a young, male child; she may also be presented as a hermaphrodite.

She is often drunk, or pretends to be, and gathers a group of followers while singing and capering through towns. When she has money, she usually throws it on the ground for poor. In the summer she wears thick clothing and a coat, and in the winter she makes her bed in the snow. Truly a foolish woman.

Lan Tsai-Ho dates from the Tang Dynasty (1766–1122 BC). She is said to have obtained immortality by bathing the boils and sores of a beggar, who is believed to have been Li-Tieguai (another of the Eight Immortals) in disguise.

It is believed that one can communicate with the gods by using Lan Tsai-Ho’s basket of flowers.

The Eight Immortal Atributes

Eight Immortals’ Attributes: Each attribute is associated with one of the Eight Daoist Immortals and together signify their omnipresent power. The attributes are the fan of Zhong Liquan, the sword of Lu Dongbin, the bamboo musical instrument of Zhang Guolao, the castanets of Cao Guojiu, the double gourd of Li Tieguai, the flute of Han Xiangzi, the flower basket of Lan Caihe, and the lotus of He Xiangu.
Fan Sword Bamboo Musical Instrument Castanets
Fan Sword Bamboo Instrument Castanets
Double Gourd Flute Flower Basket Lotus
Double Gourd Flute Flower Basket Lotus

 The Eight Immortal Force

 

The Eight Directions, the Eight Forces

 

Eight Chinese Immortals

These Immortals are from a silk and paper screen that was hand painted…. it is one of the most colorful depictions i have seen

 

Eight Immortal In Enamel and Silver

source  article by Susan ( 2007)

The eight figures on this bracelet are known in Chinese mythology as the Eight Immortals or Baxian. Popular figures, the Immortals are not gods.

They are humans who, after many lifetimes of spiritual practice, meditation and sacrifice transcended to an immortal form. They live on a magical mountain where there it is forever summer and pain does not exist.

There  the rice bowls are never empty, and magical fruits heal and raise the dead…

 0000

The legends of the Immortals originally emerged from Taoist practice in the Tang and Song Dynasty.

By the 18th and 19thc they had become part of a broader folk culture. The Baxian appear in all types of Chinese art …from sculpture to silver. Used as symbols of longevity and immortality they frequently decorate children’s clothing and hats. Since they each have special powers and fully evolved personalities, they may appear singly or in various  combinations. From left to right on the bracelet:

 1

Han Xiangzi:

 playing his flute, easily recognizable as inspiration to musicians he is known also as a philosoper, his flute has the power to give life.

Li Tieguai:

 the earliest and first of the group to attain immortality, he carries an iron crutch and his other symbol, the gourd, is on his shoulder. He offers comfort to the sick and support to their caretakers.

Lan Caihe:

one of the youngest, a florist, he reminds people that life is fleeting.

He Xiangu:

 the only woman, she always carrys the lotus blossom which symbolizes purity  and marital bliss.

 2

Lu Dongbin:

 the scholar, also has power to heal, the sword over his head can drive out disease and evil.

Zhang Guolao:

 one of the elders of the group, he is known as a teacher and powerful alchemist, he carries a musical instrument,
made of a bamboo with two iron rods with hooks

Zhongi Quan:

 the leader of the group, and former soldier, he is easy to recognize with his large bare belly, he has the power to
revive the dead

Cao Guojiu:

 the youngest of the group, guardian of actors, once a member of a royal family, wears court robes and carries the
castanets or a pair of jade court tablets, which have the power to purify.

 

This bracelet is interesting for me for several reasons, the form, (repousse with enamel) is uncommon, and the the subject matter (the Immortals) is uncommon in bracelets. That all leads me to conclude that this was a custom order….and not for made for export.

The images and the symbols on the bracelet may be very exotic to western eyes…but when you understand the story behind the images…all humans wish for the same things…health, success for their children, long life, a happy marriage.

Eight Immortal motif Wine Cup

 
Title : ‘FAMILLE-ROSE’ ‘EIGHT IMMORTALS’ WINE CUPS,
 
 
 
 
 
 
YONGZHENG PERIOD,'FAMILLE-ROSE' 'EIGHT IMMORTALS' WINE CUPS, (2),Sotheby's,London

YONGZHENG PERIOD,’FAMILLE-ROSE’ ‘EIGHT IMMORTALS’ WINE CUPS,

 © The Frick Collection

 TWO FINE AND VERY RARE FAMILLE VERTE WINE CUPS

Famillie vert eight immortal wine cup

eight immortal bowl(illustration not upload)

The God Of Longevity Shoe-Lau

The below Shou Lao medallions at  the bottom of large character bowl on which there are four painted cartouches on the exterior, each depicting two of the Eight Immortals. These cartouches are separated by repeated shou (longevity) characters. The medallion offered here feature Shou Lao, the god of longevity, seen riding a crane above crested waves. 

 

This RARE and much south after character type of bowl depicts Shou Lao, the God of longevity, riding a crane above crested waves in the well. The exterior decoration feature four medallions, each depicting two of the Eight Immortals, surrounded by repeated shou (longevity) characters.  This repeated use of the the shou character  is known as Bai Shou Tu in Chinese, meaning the ‘Picture of One Hundred shou characters’ and is very common in Chinese traditional work of art. These bowls are traditionally an excellent gift as they provide wishes for long life. The Eight Immortals are the favorite pantheon in Daoism.

 

Motif  Figure   Eight Immortals

TAO RELIGIOUS FIGUR MOTIVES

(3)

The Three Star King FUK LUK Sou

 Figure

Dr Iwan Collection

Photo: calender plate with Fu Luk Sau  symbols longevity  one of the three star king gogggest collection Dr Iwan

 

  Calendar plate with motif  Luk  star king longevity

Other Collections

(not  Upload later)

Compare literatures

Three wise men are named three gods, Fuk Luk Sau or Fu Lu Shou – Fu Star, Lu Star and Shou Star. They are the popular deities of wealth, Prosperity, and Longevity.

(illustration not upload)

How to Place Three Gods:
Fu Lu Shou should be placed side by side in one row – Fuk is on your left side, Luk is in the center and Shou is on your right side when you look at them. They can be displayed on the table in your living room or dining area facing inside (not directly facing the main door if facing outside). The level of table can’t be too low. In addition, don’t display them under the beam or facing to toilet.

 

Fu Lu Shou” ( or Fuk Luk Sau) is the Three Star Gods.  The Star of Fu is the God of Happiness/Fortune.  

He carries a Ru-Yu (or Scepter).  The Star of Lu is the God of  Wealth and Social Status.  He carries a small boy.  The Star of Shou is the God of Longevity.  He carries a staff and an immortal peach. 

The pictures of “Fu Lu Shou” are extremely popular and are frequently seen in Chinese homes.  Displaying the images of “Fu Lu Shou” in the home, especially facing the main door, is believed to transform incoming “Chi” (or energy) into auspicious energy.  They can also be placed in an elevated place  in the dining room or living room.  The best place for them is a side board in the dining room, as this ensures there will always be plenty of food on the table, something that symbolizes prosperity.

(Motif) longevity Symbol
God of Longevity LAU

 Three Star Gods Fuk-Luk-Sau

 Dr Iwan Collections

 

Motif Symbol Love and marriage

 God marriages Chieh Lin

 

  • The Chinese God of Marriage is believed to be residing on the moon. On the first full moon of the Lunar year, which is on Chap Goh Meh, young ladies would throw sweet oranges into a body of water (river or the sea).
  •  
  • This custom supposedly originates from the island of Penang and it is still practiced till this modern day. The ritual is believed to be an act of obtaining blessing from the God of Marriage, so that the lady’s wish of getting a good husband is fulfilled. The oranges chosen for that special ritual must be ripe and sweet as that would reflect the wealth and social status of the future husband. Each lady is entitled to throw just one orange into a body of water, be it a river or the sea.
  • Bathing in the water that has been energized by the full moon can improve relationship luck. How to get moon-energized water? Simple. Place a basin of water under the moonlight for many hours. Add 7 types of flowers into that moon-activated bath water, utter positive affirmations before taking the moon bath. It helps to clear negative chi that affects your relationships.
  • In feng shui, the full moon is a powerful symbol and source of Yin energy. The Chinese God of Marriage known as Chieh Lin resides on the moon. Therefore, it is a brilliant idea to display a picture or a painting of the full moon in your home if you intend to activate romance luck. This painting should be put in the South West corner of the home / room. The South West sector signifies romance and marriage. Other than a painting of the full moon, one may also display a painting of mandarin ducks (in pair) or display a pair of mandarin ducks carved out of rose quartz (for best effect) at the South West corner.
  • Driwan Not yet found this motif collection In Indonesia(who have it please report)

The Chinese Imperial ceramic Artwork Found In Indonesia (Continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

Private Limited E-Book In CD-Rom Edition

Special For Senior Reseacher And Collectors

Copyright @ 2013

THIS THE SAMPLE OF Dr Iwan Limited E-Book In CD-Rom with unedited non complete info illustration, the complete CD-Rom exist but only for premium member please subscribe via comment with your email address and private information same as  your ID-Card

 

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The Chinese traditional Motif

1) Human Figure

 (1)Human Figure Motif

Human Kungfu Figure

Photo: koleksi mangkuk dinasti ming dengan lukisan gerakan kungfu saya temukan di jawa barat, bagi yang memiliki yang sama harap laporkan.If you have the same design please report,I have just research about this amizing cup

Hallo Teman-teman Kolekstor Keramik dan Pecinta oleh raga silat Wushu dan Kungfu , saya baru saja menemukan mangkuk kecil untuk minum arak dari Dinasti ming akhir(Ming Wanli) biru putih.

Ternyata oleh raga Kungfu sudah ada sejak abak ke-empat belas tersebut dan sudah diminati di indonesia, mangkuk ini merupakan bukti,

Saya sudah mengupload i facebook saya ilustrasi dibawah ini dengan harapan mendapat info lebih lanjut.

  • the closeup illustration of my collections Ming Kungfu design cup,who have the same please upload for added my research,thanks
    Photo: the closeup illustration of my collections Ming Kungfu design cup,who have the same please upload for added my research,thanks
     
    •  
       
  •  

    Iwan Suwandy was at Vietnam and 2 other places.
    See All Stories
  • koleksi mangkuk dinasti ming dengan lukisan gerakan kungfu saya temukan di jawa barat, bagi yang memiliki yang sama harap laporkan.If you have the same design please report,I have just research about this amizing cup
    Photo: koleksi mangkuk dinasti ming dengan lukisan gerakan kungfu saya temukan di jawa barat, bagi yang memiliki yang sama harap laporkan.If you have the same design please report,I have just research about this amizing cup
     
    •  
      Iwan Suwandy please look the closeup of this Kungfu cup above, I am waiting for all my friend comment

Bagi yang memiliki keramik dengan dekorasi sperti ini harap berkenan menguploadnya buat saya jadi bahan yang melengkapi penelitian sudi banding gerakan Kungfu tempo dulu dengan saat ini.

Terima kasih atas komentar,saran dan info dari teman-teman

Jakarta November 2012

Dr Iwan suwandy,MHA

english version

machinal  translate

Hello Friends and Lovers by Pottery Collector sport Wushu martial arts and martial arts, I’ve just discovered a small bowl to drink wine from the late Ming dynasty (Ming Wanli) blue and white.

Apparently the sport of martial arts has been around since abak all fourteen and already popular in Indonesia, this bowl is a testament,

I’ve uploaded my facebook i illustrated below with the hope of getting more info.

Photo: the closeup illustration of my collections Ming Kungfu design cup,who have the same please upload for added my research,thanks

the closeup illustration of my collections Sun Kungfu cup design, who have the same added please upload for my research, thanks

Photo: koleksi mangkuk dinasti ming dengan lukisan gerakan kungfu saya temukan di jawa barat, bagi yang memiliki yang sama harap laporkan.If you have the same design please report,I have just research about this amizing cup

collection ming dynasty bowl with painting my kungfu movements found in western Java, for those who have the same hope you have the same laporkan.If please report design, I have just research about this amizing cup

Iwan Suwandy please look the closeup of this Kungfu cup above, I am waiting for all my friend comment
For those who have ceramic décor is just as pleasing please upload it for me so material that complements willing comparative study of martial arts movements of the past with the present.

Thanks for the comments, suggestions and info from friends

Jakarta, November 2012

Dr Iwan Suwandy, MHA

 
Studi banding

Comparative study

Old Kungfu style from Ming era on small cup

Photo: the closeup illustration of my collections Ming Kungfu design cup,who have the same please upload for added my research,thanks

the sma kungfu style now llok below

 

The Chinese traditional Motif

5)(2) Baby And Kid Figure 

Ming Baby figure motif statue(illustration not upload)

The Chinese traditional Motif

5)(3) Chinese Man Figure

Other Chinese Man figure collections(illustration not upload)

The Chinese traditional Motif

5)(5) Chinese Women Figure

5)(6) Non Chinese Figure

Other Chinese Women figur collections(illustration not upload)

Qing landscape with euro  figure  and chinese man salute

Very rare euro figure

3.5.3

 Geometric Motif

This traditional motif were known in Indonesia as the motif which cannot identified the pattern of design  and only seen as the round geometric design motif..

This motifs only can understood by the specialist scholar in Chinese symbolic of Chinese traditional artworks like

a.The Moving Spirit

History of Chinese Funerary Ceramics 

The Neolithic Period   Jar   Late Yangshao period – Banshan type  c.2500 – 2000 BC   earthenware, pigments   Gift to the National Collection of Asian Art from Dr TT Tsui LLD JP, of the Tsui Art Foundation, HK, through the National Gallery of Australia Foundation 1995    

The Neolithic Period
c.10000 to 1500 BC

Much of our knowledge of Chinese cultural history is based on material found in ancient burial sites. The extensive array of objects which have been unearthed from tombs and graves provide a fascinating insight into life in ancient China. Some of the earliest evidence of civilisation in China dates from the Neolithic period.

There were two predominating cultures during this time: the Yangshao culture based in the central plain region and the Longshan culture centred around northern Shantung and the eastern seaboard. The excavation of burial sites reveal that even then death was accompanied by ritual. Bodies were buried with food containers and other possessions, presumably to assist the smooth passage of the dead to the next world.

Since the first unearthing in 1922 of neolithic artefacts at a cemetery site near Lanzhou, evidence of Yangshao culture has been found throughout an extensive area in central and northwest China including the provinces of Shaanxi, Henan and Hebei. Later remains have been found in the northwest provinces of Gansu and Qinghai.

The Yangshao culture is divided into 3 phases – Maijiayao (c.3,000–2,500 BC), Banshan (2500–2000 BC) and Machang (2200–1500 BC). Artefacts from each neolithic era are usually identified by the type of decoration found on the objects.

Shang Dynasty – Zhou dynasty
c.16th to 11th centuries BC – c.1050 to 221 BC 

By the Shang Dynasty there were well ordered rituals associated with burial, and belief in the power of gods and spirits played an important cultural role. Excavations of burial chambers have uncovered a wealth of funerary goods including bronze vessels, jade ornaments, weapons and most importantly, human sacrifices, often on a large scale. People and animals were often buried alive with the deceased emperor – battle chariots with their horses and human drivers have been discovered buried with their masters.

It is now better understood that the zoomorphic designs found on the magnificent metal vessels and ornaments and the intricate carvings on precious stones relate to Shang practices of consulting oracles, and their beliefs in auspicious signs and symbols. Before making important decisions such as when to plant crops or go into battle or even for more trivial matters such as whether the king would enjoy the day, the oracles would be read. The four cardinal points had great importance and were associated with the Ruler of the Four Quarters and the Eastern and Western Mothers. The sun and the dragon were allied with the east and the moon and the tiger with the west. South was often represented by the ‘red bird’ or phoenix while north was the direction of death.

In subsequent dynasties death rituals followed similar patterns until the time of the great Chinese philosopher, Confucius (551–479 BC), whose teachings would have a fundamental influence on all future Chinese religious and philosophical beliefs. Human sacrifices were greatly frowned upon by Confucius who promoted humanity as a moral virtue. However, the deeply held beliefs that ancestral spirits needed worldly trappings to ensure their comfort in the next life led people to craft figurative substitutes in the form of life-like sculptures which were buried in the tombs. Called mingqi, ‘spirit wares’, their manufacture eventually became a full-scale industry overseen by the government

 

Because of this the decorative artsDecorative Art are actually quite powerful, determining where the scenes in your life take place. Just imagine a movie. The setting determines the action, and it is quite easy to tell in most movies where the bad guy lives, or when two people enter a romantic room. The subtle details of a scene will often set the stage for how interactions will take place.

Decorating is an art that involves not only visual elements, but also texture, aroma, and even the ineffable feeling of ambiance. As such it is actually quite a complex undertaking. It is also a powerful skill which allows you to control the energy of interactions within a space, coloring the thoughts and perceptions of the people, and how they behave when relating to one another. For these reasons the decorative arts are actually one of the most important and potent disciplines in the creative world

b.. Cycles Of Change

c,The wheel of Law

Many of this geometric motif used on Chinese  old ceramic to export to the islamic area including Indonesia becau the Islamic forbidden to keep the God, human and animal creatures motif .

 Driwan Geometric motif  Late Ming Bowl Collections

Other Driwan Geometric Motif collections ( illustration not  Up Load)

The Chinese Imperial ceramic Artwork Found In Indonesia (continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

Private Limited E-Book In CD-Rom Edition

Special For Senior Reseacher And Collectors

Copyright @ 2013

THIS THE SAMPLE OF Dr Iwan Limited E-Book In CD-Rom with unedited non complete info illustration, the complete CD-Rom exist but only for premium member please subscribe via comment with your email address and private information same as  your ID-Card

 

Driwancybermuseum Homeoffice 

3.5.4

 CALLIGRAPHY ART MOTIF

3.5.4 1)

 Chinese Characters Calligraphy

3.5.3 1)

(1)
Chinese Poem Calligraphy

the poem on plate number 2697 is the first four lines of a related but later poem called “Return to Chibi” that was written by a later Ming Dynasty poet.

The first four lines of the later poem, as they appear on plate number 2697 are as follows:

 

五百年來续此游, Five Hundred years on, the journey continues,

水光依旧接天浮 , Glittering water still meets the floating sky in the far horizon,

徘徊今夜东山月, Loitering tonight under the moon (2)  of the Eastern Mountain,

恍惚当年壬戌秋 , The sentiment seemingly as if it was in the autumn of 1082. (3)

The complete poem has another four lines which, in English translates approximately to:

 

Have a friend to catch fishes, down Red Cliff.

Nobody is to carry wine, out of sandbar of yellow.

Now myself, the riverside and thousands of mountains, all in silence.

A lonely crane is crossing the water, just above the little boat. (4) 

these poets met one another and wrote poems back and forth??):

 

 Li Po, Tu Fu, and Su Tung-po!

在山上飲酒
山花兒開在我們的臉上。
三重,你和我都迷失在酒。
我喝醉了,我的朋友,昏昏欲睡。上升和去。
隨著黎明琵琶,回來,如果你願意,並留

Drinking in the Mountains

Mountain flowers open in our faces.
You and I are triply lost in wine.
I’m drunk, my friend, sleepy. Rise and go.
With your dawn lute, return, if you wish, and stay.

 

~Li Po

 

山東杜甫
你問我怎麼花我的時間
我偎依著樹幹
聽秋風
在松樹白天和黑夜。
山東酒不能讓我醉了。
當地詩人生了我。
我的想法仍然和你在一起,
溫江一樣,無休止地流淌

To Tu Fu from Shantung

You ask how I spend my time–
I nestle against a tree trunk
and listen to autumn winds
in the pines all night and day.

Shantung wine can’t get me drunk.
The local poets bore me.
My thoughts remain with you,
like the Wen River, endlessly flowing.
~Li Po

 

Bio: Li Bai‘s (Aka Li Po) birthplace is Chu, Kazakhstan. Another candidate is Suiye in Central Asia (near modern-day Tokmok, Kyrgyzstan). However his family had originally dwelt in what is now southeastern Gansu, and later moved to Jiangyou, near modern Chengdu in Sichuan province, when he was five years old. At the age of ten, his formal education started. Among various schools of classical Chinese philosophies, Taoism was the deepest influence, as demonstrated by his compositions. In 720, he was interviewed by Governor Su Ting, who considered him a genius. From: Poemhunter.com

滿月
上述塔 – 一個孤獨的兩倍大小的月亮。
晚上在冰冷的河水通過填充的家園,
它在波浪散射不安分的黃金。
墊子上,令人眼前一亮比絲綢紗布豐富。
空峰,沉默:在稀疏的星星,
尚未有缺陷的,它漂移。松樹和肉桂
蔓延在我的舊花園。 。 。所有的光,
所有萬英里一次在它的光!

Full Moon

Above the tower — a lone, twice-sized moon.
On the cold river passing night-filled homes,
It scatters restless gold across the waves.
On mats, it shines richer than silken gauze.

Empty peaks, silence: among sparse stars,
Not yet flawed, it drifts. Pine and cinnamon
Spreading in my old garden . . . All light,
All ten thousand miles at once in its light!

~Tu Fu

Bio: Most of what is known of Du Fu’s (Aka Tu Fu) life comes from his own poems. His paternal grandfather was Du Shenyan, a noted politician and poet during the reign of Empress Wu.

He was born in 712 in Gong county, near Luoyang, Henan province…In the autumn of 744 he met Li Bai (Li Po) for the first time, and the two poets formed a somewhat one-sided friendship: Du Fu was by some years the younger, while Li Bai was already a poetic star. We have twelve poems to or about Li Bai from the younger poet, but only one in the other direction.

 They met again only once, in 745. From: Poemhunter.com

 

追憶
什麼可以比喻我們地球上的生命?
一群鵝,
在雪地上下車。
有時留下了他們的流逝的痕跡

 

Remembrance

To what can our life on earth be likened?
To a flock of geese,
alighting on the snow.
Sometimes leaving a trace of their passage.

~Su Tung-po

Thoughts of Li Po from the World’s End

Here at the world’s end the cold winds are beginning to blow. What messages
have you for me, my master? When will the poor wandering goose arrive? The
rivers and lakes are swollen with autumn’s waters. Art detests a too successful
life; and the hungry goblins await you with welcoming jaws. You had better have
a word with the ghost of that other wronged poet. Drop some verses into the
Mi-lo as an offering to him!

  

COMMISSION Received By The Author From HIS HIGHNESS, LE, CHUNG-WANG (Faithful Prince)
COMMANDER-IN-CHIEF OF THE TI-PING FORCES. &c
A Translation will be found immediately after the Title page

 

 ceramic decoration text pattern characteristics(illustration Not Upload)

flower text pattern the small lid altar (cover after with old red sandalwood base

Ceramic painting many of which are decorated with patterns in which one of the special ornamentation text pattern porcelain decorated.

Text, the non-pattern but text as decorative, writing to patchwork like pattern turned into the picture of the pattern of decorative porcelain decoration of this text, we usually call text pattern.

I visit someone, Guangdong Province, a senior high porcelain large collectors appear a writing poetry Tang Dynasty Changsha Kiln underglaze red ewer, which also confirms the in Connoisseurship books introduced, the Text decorative patterns on porcelain was first seen in the Changsha Kiln in the Tang Dynasty(http://www.best-news.us/). usually the author in the major museums to visit the high ancient class ceramic, the most common of the Song Dynasty Cizhou Jizhou have book text decoration in ceramics on these words, also reflects the awareness of life of the people and social background. impact by the drama in the Yuan Dynasty, porcelain written text is even more surprising.

Ming porcelain Connoisseur often hair seen some Arabic, Sanskrit, Tibetan. These text decoration, either to see the practical dishes, often appear in worship with incense and then the the text decoration decorative ceramic material selection and atmosphere Islam has close ties with the Ming emperor(Favorites News Qing Dynasty Emperor Kangxi, writing entire the ancient prose as << Look at Several >> << the Ode >> classics most prevalent and so the picture depicted on porcelain, can be described as illustrated. Ceramic at this time, in the collection to the most common than the blue and white text pattern ‘million’ herringbone ‘swastika’ (Sanskrit), while the late Qing Dynasty Fencai Ci about Tongzhi years to the alum ‘life’ herringbone most widely used.

Porcelain text with its rich themes and a variety of fonts decorative, has become a senior expert in the ceramics the Connoisseur sector where subdivision types.

3.5.5

 1) (2)

The Mark Of Chinese artwork  and coin

Mark Of Chinese Ware 

Imperial Kiln MarkFrom Literature (not upload)

Hung Wu , Yung Lo  , Hung Chih .hong zhi,chende mark on ceramic still not found  in Indonesia by the reseacherer

Ta Ming Hsuante Nie Hao

Artifact Cup dragon five clown

Extreme rare imperial Hsuan dragon five clown ‘s bigger cup.maybe as the given to Sumatra Sultan bring by Admiral Cheng Ho

Imperial Wanli cup with dynasty mint mark (uncommon)
veryrare Imperial dragon five clown Wanli dynasty tea cup

Artifact Hsuante dragon 5 clown plate

Ming Imperial Chrysanthenum

Original Ming  Hsuan De Nien hao Markmark

Ming tsuante Nien hao  mark

The Original Ming Xuante Nien Hao Mark saucer

Original Hsuante Nien Hao,only found four  artifact

Unidentified  mark ming  of the base on cover box

The Hsuante below  were made during Wan Li Era  please look the type of script

Imperial Ceng Hua saucer  mintmark(very rare)

Ta ming Cheng Hua four character at  saucer

Compare found from shipwreck

Ref. 29. Another reign mark which reads as: Da Ming Chenhua Nian Zhi or, Made during Chenghua reign of the great Ming dynasty (1465-1487).  These characters are however painted in the well of a bowl in similar manners as the Xuande reign mark in Ref. 14.(illutration Not upload) 

 Compare from  literatures

Ref. 4 This four character reign mark excludes the first two characters ‘Da Ming’ in the previous mark.  It says: Chenghua Nian Zao or, “Made during the Chenghua reign”.  The fourth character is written as ‘Zao’

Comparative studies Nien Hao Imperial Ming Mark Found In Indonesia with Gotheberg Literatures report(sorry illustration not upload)

Ming Dynasty (1368-1644)
 Not yet found Hongwu 1368-1398
 Not yet found Yongle 1403-1424
 Dr Iwan Collection

 

 

 

 

(3)

 

Artifact Hsuante dragon 5 clown plate

 

 

 

 

 

 

 

The Original Ming Xuante Nien Hao Mark saucer

Original Hsuante Nien Hao,only found four  artifact

 

 

 

 

Repro wanly era

Xuande 1426-1435The Xuande mark is said to have been written by the famous calligrapher Shendu, since the official mark of Xuande is following his hand writing. Found repro dueng wan Li,different in Ta,Ming and Hsuande  .dan colour look below
 Cup Dr Iwan Collection Compare literatures’ Cup Ming imperial Ceng Hua

 

 

Chenghua 1465-1487It is thought that during the Chenghua period there were only one calligrapher writing all marks on all official porcelains. I am not sure we can assume that, regardless of what the mark looks like. In the early 1990′s I discussed this with Liu Xinyuan head of the excavations in Jingdezhen at this time, while spending some time studying their finds. He told the reason why the Chenghua mark looks like it does – in his opinion – was because the original mark was written by the emperor while he was quite young, and his handwriting was not so good. Whatever the case is, the Chenghua mark is inelegant, thick, often imbalanced and immature. Some common characteristics of the Chenghua porcelain mark by whatever hand but true to the period: 1)  First character “Great” – the beginning of the second stroke seldom extends much beyond the first stroke, looking stubby, but when it occasionally does the beginning is fat; third and final stroke ends thickly.2)  
2) Third character “Cheng” – the third stroke descending is not curved but straight and vertical.
3) Fifth character “Nian” – the character is unusually squat and square.
4) Last (sixth) character “Zhi” – the ninth stroke does not extend beyond the standing knife (li-dao) radical.
5) The final “tails” on most characters (e.g. last stroke of “cheng”, third stroke of “hua”) are abrupt and sharp, like fish hooks.
6) The surrounds when square are thick with ink at each right angle.
7) The mark in general is faintly obscured, as if covered with a thin haze
.
 Not yet found Hongzhi 1488-1505
 Not yet found Zhengde 1506-1521
  Jiajing 1522-1566
  736. Fu Gui Jia Qi – ‘Excellent Wares for the Wealthy Nobility’ or ‘Beautiful Vessel for the Rch and Honorable’. An auspicious inscription on folk wares, mostly seen on blue-and-white porcelain made in Jingdezhen in the Jiajing and Wanli reigns of the Ming dynasty and also seen on wares with gilt designs produced in the Jiajing reign. Chakra or, the flaming wheel-design on the inside. Estimated date C. 1600 according to some sources but probably Jiajing. Coll: Musée Antoine Lécuyer of Saint-Quentin (Aisne), France.Click here to see large picture

 

Not yet found

Longqing 1567-1572
 

 

Dr Iwan collection Cup

 

 

 

Compare Literatures

 

Wanli 1573-1620
   
  Chongzhen 1628-1644

 

Nien Hao Qing Dinasty (ilustration Not upload)

 4) Mark And Symbols on Ceramic

(illustration from literatures not upload)

The Jiajing period also saw the emergence of blue and white wares manufactured in Zhangzhou region. 

Many different marks can be found on Chinese porcelain.

Imperial Nien Hao

 Best known are the Imperial marks that occur on pieces for the court and related institutions since the early Ming period (1368–1644).

 

They usually consist of six characters

(sometimes four)

 in two rows that read from right to left and from top to bottom.

The first two characters indicate the dynasty (for instance Da Ming, the great Ming dynasty(illustration Not Upload)

2010371 Imperial reign mark: Da Qing Kang xi nian zhi. (Made during the Kangxi period of the Great Qing dynasty).

2010371 Imperial reign mark: Da Qing Kang xi nian zhi. (Made during the Kangxi period of the Great Qing dynasty).

Other character marks

(using 1 to 10 characters; over 2500 different marks are known) and seal marks may have many different meanings: a wish for good luck, a date, a quality comparison (for instance, the character yu means ‘jade’, an owner or factory, a recommendation, or an indication for use by a specific person or in a specific setting.

Furthermore, emblems or symbols are used as marks: a lotus flower, a heron (the ‘stork’ on Kraak porcelain), a hare, a plum blossom, a bat, etc. They symbolise happiness, prosperity, a long life and other good wishes. The ‘Eight Buddhist’ and the ‘Eight Daoist’ symbols have a similar meaning, as do the ‘Eight Precious Objects’.

Individual potter’s marks are very rare on Jingdezhen porcelain, but they occur much more frequently on Dehua (blanc de chine) and Yixing pieces. Marks are usually found on the bottom of a piece, sometimes on the edge, or in the centre.

2010817  Single character mark: Yu, (Jade, (Yuan to Qing)), underglaze blue.

2010817 Single character mark: Yu, (Jade, (Yuan to Qing)), underglaze blue.
 
 

 

2010947 Single character mark: Qing, Celebrate, congratulate, good luck (Ming and Qing), in a double circle, underglaze blue.

2010947 Single character mark: Qing, Celebrate, congratulate, good luck (Ming and Qing), in a double circle, underglaze blue.
 
 

 

2010819 Single character mark: Qiu, (Autumn, harvest time, (Qing)), in a double circle, underglaze blue.

2010819 Single character mark: Qiu, (Autumn, harvest time, (Qing)), in a double circle, underglaze blue.
 
 

 

201099P General four-character mark: Qi zhen ru yu, (As rare and precious as jade, (Qing)), in a double circle, underglaze blue.

201099P General four-character mark: Qi zhen ru yu, (As rare and precious as jade, (Qing)), in a double circle, underglaze blue.
 
 

 

201099L Four-character mark featuring Zhi: Cheng hua nian zhi, (Made during the Chenghua reign (1465-1487)), in a double circle, underglaze blue.

201099L Four-character mark featuring Zhi: Cheng hua nian zhi, (Made during the Chenghua reign (1465-1487)), in a double circle, underglaze blue.
 
 

 

2010168 Six-character mark: Da Ming Xuan de nian zhi, (Made during the Xuande reign of the Great Ming dynasty (1426-1435)), in a double circle, underglaze blue.

2010168 Six-character mark: Da Ming Xuan de nian zhi, (Made during the Xuande reign of the Great Ming dynasty (1426-1435)), in a double circle, underglaze blue.
 
 

 

2010C75 Six-character mark: Da Ming Cheng hua nian zhi, (Made during the Chenghua reign of the Great Ming dynasty (1465-1487)), in a double circle, underglaze blue.

2010C75 Six-character mark: Da Ming Cheng hua nian zhi, (Made during the Chenghua reign of the Great Ming dynasty (1465-1487)), in a double circle, underglaze blue.
 
 

 

2010856 Six-character mark: Qi Yu bao ding zhi zhen, (Precious object of rare jade among treasured vessels), in a double circle, underglaze blue.

2010856 Six-character mark: Qi Yu bao ding zhi zhen, (Precious object of rare jade among treasured vessels), in a double circle, underglaze blue.
 
 

 

201022 Six-character mark: Da Ming Cheng hua nian zhi, (Prepared during the Chenghua reign of the Great Ming Dynasty (1465-1487)), in a double circle, underglaze blue.

201022 Six-character mark: Da Ming Cheng hua nian zhi, (Prepared during the Chenghua reign of the Great Ming Dynasty (1465-1487)), in a double circle, underglaze blue.
 
 

 

201090 Six-character mark  "Qi yu bao ding zhi zhen, (Precious object of rare jade among treasured vessels (Kangxi)), in a double circle, underglaze blue.

201090 Six-character mark “Qi yu bao ding zhi zhen, (Precious object of rare jade among treasured vessels (Kangxi)), in a double circle, underglaze blue.
 
 

 

2010743 Symbol mark, Artemesia leaf, in overglaze iron-red, in a double circle in underglaze blue.

2010743 Symbol mark, Artemesia leaf, in overglaze iron-red, in a double circle in underglaze blue.
 
 

 

2010C7 Symbol mark: Artemesia leaf, underglaze blue.

2010C7 Symbol mark: Artemesia leaf, underglaze blue.
 
 

 

2010462 Symbol mark: Swastika in a lozenge, in a double circle, underglaze blue.

2010462 Symbol mark: Swastika in a lozenge, in a double circle, underglaze blue.
 
 

 

201092 Symbol mark: Ding incense burner, in a double circle, underglaze blue.

201092 Symbol mark: Ding incense burner, in a double circle, underglaze blue.
 
 

 

201093 Symbol mark: Flower, the symbol for purity, in a double circle, underglaze blue,

201093 Symbol mark: Flower, the symbol for purity, in a double circle, underglaze blue,
 
 

 

2010942 Symbol mark: Sacred Fungus, the symbol of longevity, immortality, in a double circle, underglaze blue.

2010942 Symbol mark: Sacred Fungus, the symbol of longevity, immortality, in a double circle, underglaze blue.
 
 

 

2011340 Symbol mark: Lotus. Symbol of purity and one of the eight Buddhist Emblems, in a double circle, underglaze blue.

2011340 Symbol mark: Lotus. Symbol of purity and one of the eight Buddhist Emblems, in a double circle, underglaze blue.
 
 

 

2010555 Symbol mark: Mandarin mark of honour, in a double circle, underglaze blue.

2010555 Symbol mark: Mandarin mark of honour, in a double circle, underglaze blue.
 
 

 

2010C85 Symbol mark: Conch shell, in a double circle, underglaze blue.

2010C85 Symbol mark: Conch shell, in a double circle, underglaze blue.
 
 

 

2010111 Symbol mark: The Éndless Knot, in a double circle, underglaze blue.

2010111 Symbol mark: The Éndless Knot, in a double circle, underglaze blue.
 
 
2010973 Symbol mark: Moon hare, symbol of lovers reunion, in a double circle, underglaze blue.

2010973 Symbol mark: Moon hare, symbol of lovers reunion, in a double circle, underglaze blue.
 
 

 

2010454 Symbol mark: Hare, symbol of  intelligence and longevity, in a double circle, underglaze blue.

2010454 Symbol mark: Hare, symbol of intelligence and longevity, in a double circle, underglaze blue.
 
 

 

2010108 Symbol mark: Pair of fish, one of the eight Buddhist Emblems and symbol of marital bliss, in a double circle, underglaze blue.

2010108 Symbol mark: Pair of fish, one of the eight Buddhist Emblems and symbol of marital bliss, in a double circle, underglaze blue.
 
 

 

2011138A Symbol mark: Chinese bee, symbol of industry and prosperity, underglaze blue.

2011138A Symbol mark: Chinese bee, symbol of industry and prosperity, underglaze blue.
 
 

 

2010461 Symbol mark: Lotus, symbol of purity and one of the eight Buddhist Emblems, in a double circle, underglaze blue.

2010461 Symbol mark: Lotus, symbol of purity and one of the eight Buddhist Emblems, in a double circle, underglaze blue.
 
 

 

2010259 Square shop mark in a double circle, underglaze blue.

2010259 Square shop mark in a double circle, underglaze blue.
 
 

 

2010742 Square shop mark in a double circle, underglaze blue.

2010742 Square shop mark in a double circle, underglaze blue.
 
 

 

2010189A Square shop mark in a double circle, underglaze blue.

2010189A Square shop mark in a double circle, underglaze blue.
 
 

 

201094 Square shop mark in a double circle, underglaze blue.

201094 Square shop mark in a double circle, underglaze blue.
 
 

 

2010151 Square shop mark in a double circle, underglaze blue.

2010151 Square shop mark in a double circle, underglaze blue.
 
 

 

2010622 Square shop mark in a double circle, underglaze blue.

2010622 Square shop mark in a double circle, underglaze blue.
 
 

 

2010783 Shop mark in a double circle, underglaze blue.

2010783 Shop mark in a double circle, underglaze blue

Please look other type of Chinese calligraphy mark at

Driwan CD_ROM

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

Ming De Hua Horse Motif saucer

By

Dr Iwan Suwandy , MHA

Private Limited E-Book In CD-Rom Edition

Special For Senior Reseacher And Collectors

Copyright @ 2013

The Chinese Imperial Ceramic Artwork Found In Indonesia (continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

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THIS THE SAMPLE OF Dr Iwan Limited E-Book In CD-Rom with unedited non complete info illustration, the complete CD-Rom exist but only for premium member please subscribe via comment with your email address and private information same as  your ID-Card

 

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3.5.5 1) (3)

 Arabic Islamic Charaters Caligraphy

 

the only one artifact found f a Chengde  Ming Dynasti blue white plate white with Arabic calligraphy

La Ila Ilalah Mohammad Rasullah

Means

There is no god other than Allah Muhammad prophet of  Allah

Tiada Tuhan Selain Allah Muhammad God Phrophet

 During the Zhengde period, some blue and white porcelains with Islamic influence such as Arabic scripts were produced.  Some speculated that it was because emperor Zhengde was converted to Muslim faith.  However, the more probable  reason could be the influence of the powerful eunuchs , many of whom were Muslims

Saucers with Underglaze blue decoration 9n the center an Arabic description Ming Dynasty ,Zhengde Mark and Period (1506-21)

3.5.5 1) (4)

Chinese characters Art Calligraphy motif

Qing calligraphy Shou

Lucky Shou loglife and happ1ness calligraphy

Late Ming Chinese Happines Shou Calligraphy Bowl and Plate

d marriage

3) calligraphy double happiness (Double Happiness)

 

Eight Divided   late qing CarsonesaucLateng Vase Double Hapiness calligraphy shou motifer with Double Happiness Chinese shou calligraphy and chrysanthemum flower(illustration not upload)

 

Eight Divided   late qing blue and white  with Double Happiness Chinese shou calligraphy and chrysanthemum flower(illustration not upload

Late qing vase with double hapinness shou calligraphy

3.5.5 1) (5)

Sansekrit Hindu Character calligraphy

Dr Iwan found  three palte 1 bigger, two middle, and small artifact. Of  Om –God  in sansekrit hindu caharter.(illustration not upload)

Interlacing floral scrolls with Sanskrit characters. It shows  typical calligraphic style of execution of the motif

3.5.5 1) (6)

  JaJavanese and other Indonesian native character Calligraphy

Chinese Imperial ceramic with javanese calligraphy Not yet found, but Dr Iwan foud  one plate and one cover bowl with Javanese charater means

Peringatan 10000 hari meninggalnya Ratu Kenvaca (permasuri hemangkubuwono Vii( , ibu daru Ratu Mas Permaisuri sultan Solo Pakubuwono le  sepuluh (X(

Itu buatan Petrus Regout Mast rich bergambar Ratu Kencana,permaisuri HB VII dan ibunda dari Ratu Mas permaisuri PB X,set piring dipesan utk peringatan 1000 hari meninggalnya Ratu Kencana.terdiri dari dinner set komplit dibagikan pada seluruh kerabat dan undangan.nuwun ,panji java salatiga 085726853098

(Panji salatiga info)

http://driwancybermuseum.wordpress.com/2012/11/07/the-mysteri-of-vintage-java-kingdom-special-import-ceramic-from-euromengungkap-misteri-keramik-antik-pesanan-khusus-keraton-solo/

 

The same calligraphy also on the bigger dutch maastrich plate in Blue white colour(illustration not upload)

The Chinese Imperial Ceramic Artwork Motif Found In Indonesia( continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

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3.6.MOTIF  TRADITIONAL FAUNA FLORA

3.6.1.Motif Fauna

1)Dragon

(1)Artifact Cup Dragon five clown

 

Extreme rare imperial Hsuan dragon five clown ‘s bigger cup.maybe as the given to Sumatra Sultan bring by Cheng Ho

 Compare with the very rare Ming Xuan De Jar with  Dragon five clown only for emperor and his friends from literature but the illustration of the scales not clear and the colour too dark campare with best colour below
 
 Photo: The rare  five clown moti special for the king and his friends only forbidden for the common people Jar,more info click<br /><br /><br />
hhtp://www.Driwancybermuseum.wordpress.com” src=”<a href=https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-ash3/p480x480/1043877_649794505049832_1609278695_n.jpg&#8221; width=”788″ height=”851″ />
Ming Hsuan de Dragon Five Clown Jar  the illustration from literatur not so clear compare with more clear and original colour Ming Hsuante dragon five clown Plate  digital photos Driwan collection below below.
 
  

Artifact Hsuante dragon Five clown bowl

 Photo: Bigger Wanli Kraak Porcelain 70 cm with Dragon fish and eight treasure  emblem symbol

Ming Wanli  dragon fish motif  with surround with the eight Buddish emblem and other  good fortune bigger 70 cm kraak Plate

 

Late Qing Fish enter the heaven gate and change to be Dragon

Late Ming Dragon Motif Cover Box

 

Late Ming Dragon Vase motif protection and wealthy

Ming wanli Dragon  motif Martavan

MOTIF PROTECTION SYMBOL Dragon Turtle

Motif Fauna

2)Motif Phoenix

Sung Phoenix head  Motif  ewer

Motif Phoenix Ming Wanli bigger palte

 

Late ming phoenix motif  plate

 MOTIF SYMBOL OF WEALTH AND SUCCESS

Dragon with Phoenix

Motif Fauna

3) Lion Chillin

 

Ming De Hua Motif Chillin  Cover Box

 

 

Late Ming Chillin motif plate

 

Late Ming Chillin motif statue figurine

MOTIF SYMBOL OF WEALTH AND SUCCESS
 
Chillin

late Qing Lion Dog Chillin plate

Motif Fauna

4)Motif Horse

seven Ming De Hua  horse  motif pen wash saucers

Motif Fauna

5)Motif Monkey

 The Ming Monkey motif  Figur head of Bottle(Sun go kong-monkey Goddes)

II. THE CHINESE ETHNIC LUCKY FENGZUI OF MNKEY

1. The Monkey is the emblem of long life and Healthyness

2. The Monkey Could control the evil and women whictcraft that is why the Monkey have believed will bring the healthyness, protections against diseases and pull out the criminal factors against humankind.

3. The relation bertween the Monkey and the Yu emperor and the Dewa Guntur had told how important the Monkey in China or Tionghoa tradition, they honored to the Sun Go-kong , that is why the Chinese artcraft didnot painting the Holy Monkey figure in ceramic , and very difficult to found the Sun Wu-kon figurine small statue during dinasty Ming, because the Brown gold Monkey only used by the Ming Imperial court or as the given the Indonesia’s King or the Tionghoa Commander in Chief .

The other type of  Chinese Pottery Artwork with motif Monkey still didnot found in Indonesia and I search in iinternational Collections maybe will found

The Sung Money Ceramic

not yet found

RThe Yuan Monkey Ceramic

not yet found

The Ming Monkey Ceramic

not yet found

The Qing Monkey Ceramic

The Chinese Imperial Ceramic Artwork Found In Indonesia (continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

Private Limited E-Book In CD-Rom Edition

Special For Senior Reseacher And Collectors

Copyright @ 2013

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MOTIF SYMBOL OF WEALTH AND SUCCESS

Fish

Bigger Celodon plate found West Sumatra

Rare Yuan Fish bigger plate

Yuan Fish found West Sumatra

Yuan Fish found West Java

H

 

A. The Chinese Ethnic History of Fish
1.Fish forms an important part in the domestic economy of the Chinese. Together with rice ir constitutes the principal staple of their daily food, and fisihing has for this reason formed a prominent occupation of the people from the most ancient times. The commonest kind of fish that serve as food in China are the carp,perch,plaice, whitevfish, blue fish, mullet,pmfret, Sciaenidae fish, rock trout,sabbard fish etc. for more info read the vintage book The Ningpo Fishere,in the New China Review,1919,vol IV,pp 385.
2.From the aesthetic point of view Fish are also much appreciated by the Chinese. Many beautiful and fantastic varietes of fish are reared in ponds and jars, this ornamental species having been introduced into Europe toward the end of the 17th century.
Carp and Perch are frequently depitched on Chinese Porcelain. (look at the Rare Carps fish on Yuan celadon bigger Plate)
3. Yhe legendary Emperor Fu Hsi (2953-2838 BC) is said t have given his name, which means literally HIdden Victims, on account of the fact that he made different kinds ofnets and taught his people how to snare animals and secure the products of the se.
4. Fish Symbol of Wealth
The fish is symbolically employed as the emblem of WEalth r abundance, on account of the similary in the pronouncation of the word Yu,fish and yu,superfluity, and also because the fish are extremely plentiful in Chinese water.
5. Fish symbol of regeration
owing to its reproductive power it is a symbol of regenations.
6. Fish Symbol of harmony and connubial bliss
As Fish is happy in its own element of sphere, so fish has has come t be the emblem f harmny and connubial bliss.

7.A pair of fish is emblematic of the joys of union
A brace of fish is presented amongst other articles as a betrothal gift to the family of the bride-elect on accunt of its auspiciuos significantce; as fish are reputed to swim in pairs, so a pair of fish is emblematic of the joys of union, especially of a sexual nature.

8.Fish is also one of the Charm to avert devil and symbol of Buddha fully emancipated.
it is also one of the Charms to avert evil, and is included among the auspicious sign on the footprints of Buddha. The fish signifies freedom form all restraints. as in water a fish move easily in any direction, so in the buddha-state the fully-emancipated knows no restraint or obstruction.

9. The Carp fish as the symbol of perseverance
The carp,with its scaly armour, which is regarded as a symbol of martial attributes, is admires becausu fish struggles against the current, and it has therefore became the emblem of perseverance.

10. The Fish transformed into dragons
The sturgeon of the Yellow river are said to make an ascent of the stream in the third moon of each year, when these which succeed inpassing above the rapids hence this fish is a symbol of Lung-men becme transformed int dragons; hence this fish is a symbol of literary eminence passing examinations with the distinction.
If the Fish have 300 scales, it will transfrmed to Dragon or be get the dragon, nly the turtle can prtect it.
(I have the bigger plate with decrations fish transfrmed to dragon, and will installed at The Rare Ming Imperail Dragn five clown ceramic)

11. The Fish legend of Po Ku TU
According to the Po KU Tu, fish are compared to a king’s subject, and the art of angling to that fo ruling. Thus an unskilled angler will catch the fish,or will a tactless prince win over his peple. on account of various legend that letters have been fund in the bellies of carps etc, the fish is also emblem of epistolary correspondence.

12 The Chinese phillosophy of Fish and catching fish.
If you a fish to someone, he will eat fish only one day, but if you teach them how to get the fish, they will eat fish everydays.
this mean donnot give a materia t smeone because he will used that material or money only until off, but if you teach them how to mede or get the material or Money they will find every days.

 

B. The Chinese Lucky Fengsui of Fish

1. In the Chinese bigger party, Fish must exist as the foods, but if at that area didnt have fish, the Fish must be the decorations.because a pair of fish is the emblem of joy union. The fish als gave wealthy fengsui, that is why carps in china was called Lei-Yu ,the prnuncatins like ‘Have the property of wealthy’.

2. In the Temple Fish statue put on the roof in order to prtect the temple from burning.

3. In the House better to have the Fish statue because, the fish will gave the owner the Wealth or much money .

4. The Fish especially the red gold arawana fish in aquarium will gave the owner healthy long life and wealthy.

5. The Chinese Newyear card with The Carp leaping the gate in order to transforme as the dragon, this is the emblem of the god day.

6.The Carps had associated with the Art and science ancetors because that ancetors always rides the Fish-dragon, that is why the Chinese always want to be the scientist because the Schlar have the highest rank, honorable and will be the famous human.(this is the Confusius phillosophies, that is why many Chinese always studies along his live )

 

Late ming  Fish change to fragon when enter the heaven gate motif plate

 

Late ming fish and dragon motif cup

 Transitional Ming Qing Fish motif plate

Motif Fauna

7)Motif Deer

Late Ming swatow Deer motif plate

(Motif) longevity Symbol

Ming Wanli Deer Motif Cup

Motif Fauna

8)Motif Frog

Kendi three sancai colour frog motif(illustration not upload)

MOTIF SYMBOL OF WEALTH AND SUCCESS


frog)

Motif Fauna

9)Motif Bird

 

The  Late Qing De Hua Bird  red in glazed Plate

 Bigger and middle size.(illustrstion not upload)

 

(Motif) longevity Symbol

Motif Symbol Love and marriage Bird

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Another large diameter kraak plate with a bird on a rock below a flower arrangement. With these motifs, the artist convey the meaning of chum gung Chang shou which refers to ‘spring time and longevity’ to the Chinese. A motif which was very popular during the Ming dynasty. Together, these motifs connotes the blessing for vibrant youth, healthiness and long life. The designs are crispy, well-drawn and stand out against the white background.

 

Motif Fauna

10) MANDARIN  Duck

 

 

 Late Ming Mandarin duck motif  Plate

 

 

Late Ming period blue white jar with 6 sided panel. with depiction of pairs of Crane and Mandarin Ducks on pond. Height 12cm

Motif Symbol Love and marriage
Mandarin Duck
 Geese

 Motif Bird  On The Rock

 

Ming De Hua Bird On The Rock soucers

 

 

Ming De Hua Bird On Yhe Rock motif Cover Box

 

Motif bird on

Compare Literatures rock

 

a bird on a rock below a flower arrangement.

These motifs express wishes for a long life which, to the Chinese, means: chun guang chang shou referring to the theme: ‘spring time and longevity’. All this together connotes blessings for vibrant youth and healthiness

and long life

The Chinese Imperial Ceramic Artwork Found In Indonesia (continiu)

THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA

PART THREE

PART III. STUDIES RESULTS

 

By

Dr Iwan Suwandy , MHA

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Motif Symbol Love and marriage Butterfly

11)MotiF Butterfly

 

 Ming De Hua Buterfly motif cup

 Late Qing Three sancai colour Butterfly with Chrysanthenum Motif aoutside  and inside Bigger Bowl( illustration not upload)

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In It shows a total of four  butterflies among flower arrangements.

Zhushan butterfly bowl. Similar butterfly bowls are reportedly found at the Zhushan (imperial) kilns at Jingdezhen, China,. The base show a apocryphal six character (Chenghua Nian Zao) reign mark of emperor Chenghua (1464-1487).

Motif Fauna

12)Motif Grasshoper(jangkrik) 

 

Ming Wan Li Grasshoper motif plate

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A grasshopper on a rock below a flower arrangement . The grasshopper, like the bird, signify springtime, longevity and vibrant youth.

 

 

The decoration feature a grasshopper (a rare motif) on a rock below a peach arrangement. By placing the grasshopper on a rock, the artist add the meaning of long life to the theme which now mean chun guang chang shou which refers to ‘spring time and longevity’ to the Chinese. With the addition of the peach fruits (which is very rarely seen in the center medallion) the artist add great virtues to the theme. All these motifs together connotes blessing for vibrant youth, healthiness and long life.

 

Motif Fauna

1)                Motif Tortoise

 (Motif) longevity Symbol

Tortoise

 

A RARE BLUE AND WHITE CHINA PORCELAIN SEAL

The top molded with a tortoise above lingzhi sprays on three sides and the reign mark on the fourththe base with a four-character intaglio sealWo si guren Provenance Sydney L. Moss Ltd.London, Literature Paul MossEmperorScholarArtisanMonk: The Creative Personality in Chinese Works of ArtLondon1984no. 69. Lot Notes The sealWo si gurenmay be translated as,’ I am thinking of the ancients’. Paul Moss in his entry for this rare seal in

Emperor,Scholar,Artisan,Monk,London,1984,no. 69,notes that “few blue and white porcelain seals are published or recorded“. He goes on to quote the 16th century expert,Kan Yang,that because of the hardness of porcelain it is difficult to carve a seal,and consequently the characters are coarse. They usually have tortoise,roof-tile and ’nose-shaped’ knops. A blue and white example with a roof-tile knop,bearing a Xuande mark and cyclically dated to 1433,was sold in our London rooms,16 October 1969,lot 45,and was later sold at Doyle,New York,The F. Gordon Morrill Collection,16 September 2003,lot 94. The inscription on that seal reads Zhe wei jin? wu (’kindness is the substance of compassion’)

Motif Fauna

14)Motif Crane

 Photo: Late Qing Crane motif symbols plate,Driwan collections

Late ming crane symbol motif and one of eight tresusure symbol motif plate

Late Ming small plate with a beautsorryiful crane in midst of lotus flowers. identified to from Zhangzhou kiln9ILLUSTRATION NOT UP.LOAD LOOK AT THE cd-rOM)