Collecting small decorative pieces had long been a tradition of the scholar class in ancient China. During the late Ming, and throughout the Ching dynasty (1644-1911 A.D.) government officials and the emerging business class began to collect in greater numbers as well. The rise of this market was the impetus for changes in the artistic style used by the artisans that produced these lovely objet d'art.
Scholars who collected during the Sung dynasty (960-1279 A.D.) favored simple, natural designs, while the new class of collectors during the Ming and Ching enjoyed intricately produced items that were both costly and made of somewhat more unusual materials.
Therefore, these differing groups of art appreciation produced two distinctive styles of art objects (usually carvings). They were the Ch'iao Tiao which emphasized producing works that conformed to the original shape of the material being worked with. An outstanding example of this type is the White Cabbage carving from a piece of jade (on display at the National Palace Museum). The second group was called the Kuei Kung, of which the pictured piece, "the Ch'i Pi Fu' is a representative example. Calling on the artisan to use his creative powers, these exquisite works displayed the extraordinary skill levels attained by these master carvers. Subject matter for such works were usually literary essays, poems or scenes drawn from renowned paintings.
Produced from a tiny olive pit which measures only 3.4 centimeters in length and 1.6 centimeters in height, the carving is drawn from the work of the 11th century scholar, Su Tung-p'o. His two excursions by boat on the Yangtze River during the summer and autumn were the inspiration for his reflections on the majesty of nature and the fleeting mortality of man. The carving reproduces the boat with eight passengers, all carved to life-like perfection. The doors of the cabin in fact can be opened, revealing a bearded gentleman with a hat adorning his head. This is Su Tung-p'o. The boat also has an oarsman, and a scholar's servant preparing a meal of fish. Embellishing the bottom of the boat is the 300 character piece written by Su reflecting on his moonlight trip.
This small piece, like many others produced during this time, is small enough to hold in the palm of the hand. The collector could then reflect on the beauty and meaning of the work, escaping into a world of imagination.
(Gerald Hatherly)
