In Chinese culture the ju-i symbolizes the hope for a life of good fortune, and it was always a favorite with the emperors of China's last dynasty, the Qing dynasty (1644-1911)-which itself originated beyond the borders of China. Indeed, most of the ju-i in the collection of the National Palace Museum came from the palaces of the Qing court.
The emperor's wedding
In 1872, after three years of preparation and under the auspices of the dowager empresses Cixi and Ci'an, the grand wedding of the 17 year-old Tongzhi emperor took place. The nuptial ceremonies lasted three months, and ju-i played a central role throughout the whole proceedings.
A marquee of colored silk was built to welcome the new empress into the Forbidden City on the day of the wedding, with newly woven red carpet along the entire processional route from Daqing Gate to Kunning Palace. That evening the scene was brilliantly illuminated by 400 pairs of standing lamps. The empress arrived in a bridal sedan chair-in which a golden ju-i had first been placed-borne aloft by 16 bearers. Her hair was brushed into two coils, ornamented with double-happiness ju-i headdress flowers, and she held two apples in her hands, indicative of the wish for "peace and ju-i."
The bridal party passed through Daqing Gate and Qianqing Gate before arriving at Qianqing Palace, where the apples were received from the young empress by a senior princess of the royal household, who handed over in return a small jeweled ju-i made of gold and silver, and a grain-filled vase. And in Kunning Palace, where the Empress was to reside, ju-i were placed at each corner of the nuptial bed to symbolize everything being ju-i-"as they wished"-for the new couple.
On the following morning the emperor and his bride had to rise early for a ceremony in which they kneeled outside the palaces of the two dowager empresses, and handed over ju-i to each of them. Then they returned to Yangxin Hall and exchanged ju-i with one another, and finally the concubines and princesses of the harem came one by one to present ju-i to the emperor. At every stage in the various nuptial ceremonies, ju-i had a part to play.
The same was true for marriages among the common people, and when the groom's family went to settle arrangements with the family of the bride, it was also customary for them to bring a ju-i as a token of their sincerity.
The emperor's gift
Lydia H.S. Chen, an assistant researcher at the National Palace Museum and Taiwan's leading authority on the evolution of the ju-i, explains: "The Qing dynasty loved ju-i. This was partly because it was a way for them, as Manchus, to continue the practices of their predecessors, the Han Chinese rulers of the Ming dynasty, and partly because they followed Tibetan Buddhism and regarded the ju-i as an auspicious religious object. So ju-i came to play a part in every kind of celebration and festival."
On the first day of the Chinese New Year, courtiers and dignitaries came to Changchun Palace and knelt in turn to present a ju-i to the emperor's mother, saying as they did so: "May Your Highness have happiness and everything as you wish." Ju-i were also indispensable for the birthdays of the royal couple, and whenever an emperor was selecting new beauties for his harem, it was the gift of ju-i that singled out the lucky few. During the wedding of the Guangxu emperor the couple exchanged gold ju-i, one 60 taels in weight and the other 70 taels, and the young empress clearly had difficulty holding the heavy ornament.
When a loyal minister had to leave the palace on a military mission, there were no wasted words from the emperor-it was sufficient for him to bestow a ju-i on the departing official to express the depth of his feelings. In the novel Dream of the Red Chamber, when the imperial concubine Jia returns home to visit her family, she gives her mother a pair of ju-i from the emperor-one of gold and one of jade-along with 10 lucky ingots inscribed with the images of a ju-i and an inkbrush, to symbolize the idea: "Everything will certainly turn out as you wish."
Among all Chinese emperors it was the Qianlong emperor who was most fond of ju-i. In 1793, the 58th year of Qianlong's reign, the British emissary Macartney went down on one knee before the emperor to present him with a letter written personally by the British monarch, along with two pocket watches of gold and diamonds. Qianlong's first gift for the King of England was a white jade ju-i, about one-and-a-half feet long, as an expression of his hope for friendly contacts between the two countries. Owing to cultural differences, Macartney was not overly impressed with the ju-i, and in his record of the encounter later wrote: "Although the Chinese considered it an extraordinarily precious article, I believe it was not particularly valuable in terms of price."
In addition to Britain, Chinese ju-i found their way to other parts of the world such as the Ryukyus, Korea, Thailand and Annam, in the form of gifts from Qianlong to foreign envoys. And almost all the compilers of the Si Ku Quan Shu, Qianlong's imperial library, were awarded ju-i by the emperor.
Such was the emperor's obsession with ju-i, that many of the imperial tributes he received were themselves in the form of ju-i. In the year before his abdication, Qianlong issued an edict stating that once he stepped down there would no longer be any need for tributes on the three major festivals of the year, but that he would continue receiving ju-i on the first day of the new year and on his birthday. Thus it was that precious jades which had traditionally been used for making the ceremonial tablets held by officials at court, were instead carved into countless ju-i tributes.
In emulation of their ruler, courtiers filled their own homes with ju-i. When one powerful official, He Shen, was stripped of his post and his property, over 1700 ju-i were found in his home. Most of the best ju-i of this period were made of gold and jade, inlaid with rubies, sapphires, turquoise and jadeite. They were weighty, costly, exquisitely crafted objets d'art-a far cry from the simple articles that ju-i started out as.
You scratch my back...
There are different accounts for the origins of the ju-i, but according to Chuang Po-he, a researcher of Chinese cultural forms, the most representative account is that the ju-i began as a "scratching-rod" for relieving itches, and was variously known as Do-It-Yourself, Ever-Faithful and The Soother.
According to the definition given in one classic text: "The ju-i, in olden times, was a scratching-rod of bamboo or wood, carved to resemble a curved finger and up to three feet in length. It was used for scratching itches on the back where the hand could not reach, and was thus amenable [ju] to the wishes [i] of the user." Hence the adoption of a refined name for this humble household article. And indeed, there is little to compare with the bliss of a good scratch in the right place. The Tang dynasty man of letters Yu Shinan once had a ju-i of rhinoceros horn which made him feel so good that he lost track of what he was working on, and he lamented: "It disrupts the rhythm of my writing." It has also been claimed that the ju-i was originally a scratching-rod used by Indian monks, and came to China with the spread of Buddhism. In one text in The Tripitaka, the Buddhist canon of scriptures, a section on the utensils used by monks mentions the scratching-rod, called anuruddha in Sanskrit, which means "endless, inexhaustible," and was later translated into Chinese as "ju-i." As Lydia Chen points out, this suggests that the anuruddha was similar in shape to the ju-i, which was already in common usage. "Ju-i were widely used in China long before the Eastern Han dynasty (25-220) when Buddhism spread to China," notes Chen.
As evidence for this claim Chen points to the unearthing of two pieces of carved ivory in Qufu, Shandong province, the hometown of Confucius. Each is about the length of a forearm and is slightly curved at the end, like fingers ready to scratch. Judging by the quality of the ivory and the images carved on its surface, these artifacts date from the second or third century BC, which implies that while ju-i did indeed originate as back-scratchers, they existed in China well before the advent of Buddhism.
Ju-i in hand
The earliest written references to ju-i appear in a collection of anecdotes dating from the Jin dynasty (265-420). One story relates how Sun Quan, the King of Wu, was smitten by a portrait of a lady called Madame Pan, and remarked that she must be an angel come to earth. As he said so, he reached out to stroke the picture with his amber ju-i-which unfortunately broke in two. On another occasion his son, Sun He, inadvertently struck his wife with a crystal ju-i which he was waving about one moonlit night. Such tales indicate how popular these objects were with the rulers of the Three Kingdoms period (220-280).
Another archaeological find, an engraved stone from Nanjing, depicts Wang Rong, one of the "seven wise men of the bamboo grove" from the period of the Southern Dynasties (420-589). Wang is sitting casually, loosely garbed and with his legs exposed, gesticulating uninhibitedly with his ju-i. Images such as this show that as well as being back-scratchers, ju-i were used in conversation to emphasize and punctuate the remarks of rulers and bon-vivants-just as horsehair whisks were during the same period. A Ming dynasty (1368-1644) text on the topic of Buddhist implements has the following reference to ju-i: "Pointing East and West, never leaving my hand, you rely on me for a mind, while I rely on you for a mouth."
A favorite recreation for literati of olden days was sitting around drinking and reading out poetry, meanwhile tapping out time with their ju-i on the rim of a spittoon-the result of which was a lot of chipped spittoons. Military leaders, conducting campaigns from the back of a battle chariot, wielded their ju-i like marshals' batons. Monks were known to copy sections of scripture onto their ju-i-a convenient form of aide-memoire that was called a "ju-i rod"-and owing to the similarity with the hu memorial tablets that officials cribbed off during audiences at court, ju-i have also at times been known as "hu." Whether for tapping out a rhythm, commanding an army or refreshing the memory of a monk, plenty of ingenious applications have been found for the ju-i, and for many users it has been like having an extra hand.
History provides more examples of unexpected uses for the ju-i and the different materials of which it can be made. One classical text records the story of Shi Chong and Wang Kai, two enormously wealthy men of the Jin dynasty who were always vying with one another to prove who was the richer. On one occasion Wang attempted to impress Shi with a two-foot high coral "tree" he had been presented with by the emperor. Raising his iron ju-i, Shi unceremoniously smashed the coral treasure before summoning his servants to bring out six or seven such corals, each three or four feet in height. And then there were the emperors who always kept a large ju-i handy on the desk, as a weapon to use against potential assassins.
Journey to the East
The ju-i may not itself have originated with Indian Buddhism, but its widely held auspicious associations are nevertheless closely connected with Buddhism. During the bloody upheavals of the Six Dynasties period (222-589), political and military leaders clung to the Buddhist faith out of a fear of karmic retribution, and it was thus that the bodhisattva of wisdom, Manjusri-originally portrayed in India with the book of knowledge in his left hand and the sword of wisdom in his right-came to be represented in China as always holding a ju-i. This further enhanced the reputation of the ju-i for keeping evil at bay and attracting good fortune. According to Lydia Chen, "the image of Manjusri with ju-i in hand is a purely Chinese element of Buddhist art and faith."
By the time of the Tang dynasty (618-907), the form and function of the ju-i had begun to change. Though still used for scratching the backs of the general population, ju-i had increasingly developed an aesthetic aspect, and the curved fingers at one end had been merged into the form of a row of little teeth.
By the time of the Five Dynasties period (907-960) this had been further refined into the form of a bat with open wings. It was not until the Song dynasty (960-1279) that what is now considered the classic style of ju-i was developed: a purely ornamental object with its headpiece in the form of clouds or a heart.
Through a process of continual refinement, the plain old back-scratcher became a desktop curio for scholars, and an object celebrated in verse. Chuang Po, an expert on antique Chinese forms, is particularly fond of the poem "Iron Ju-i" by the Song dynasty writer Xie Xiangao, and its lines: "Five or six celestial beings, cavorting in the moonlight ... performing Chu dances and singing Chu songs. Taking an iron ju-i in my hands, I smash the coral ornament." The poem depicts the carefree ways of the immortals, and alludes to the tale of Shi Chong to convey the spirit of those for whom wealth and rank are as insubstantial as floating clouds.
During the Ming dynasty (1368-1644), under the influence of the simple, natural aesthetic of the scholar Shi Shang, ju-i of wood and of bamboo began to appear in addition to those made from the more valuable and traditional materials. Without knife or chisel it became possible to shape a graceful ju-i following the natural contours of the wood.
Doubly auspicious
In the past, Chinese people, feeling awe for the forces of nature and believing that good fortune and big harvests were always heralded by lucky signs, created an imagery of auspicious symbols-concrete expression for otherwise invisible prayers-that drew on popular mythology and exploited the prevalence of homophones in the Chinese language. This imagery came to permeate and enrich almost every aspect of Chinese life.
Archaeological finds from the Han dynasty (206 BC-AD 220), including roof tiles and silk fabrics, show that certain auspicious expressions such as "Great luck and prosperity!" and "Live a long life!" were already extant in that period. But it was during the Ming and Qing dynasties, after the court-mandated effort to narrow the gap in status between scholars and artisans, that handicraft-type modes of expression became widely incorporated into the poetry, painting and calligraphy of the literary classes, and the development of auspicious imagery scaled new heights. It became the norm for "every image to have its meaning, and every meaning to be auspicious." A favored practice was the pairing of lucky, four-character phrases with particular types of imagery.
Under the influence of this trend, ju-i, which were auspicious items to begin with, now took on an additional level of lucky imagery. Ju-i thus became doubly auspicious, and this gave rise to a wealth of new, auspicious phrases.
For example on a jade ju-i, the imagery of a bat with a nine-cloud motif stands for a set phrase meaning "Birthday Felicitations," by merit of puns on the words for "nine/long-lasting" (jiu) and "bat/good fortune" (fu). Some ju-i are inscribed with a plum tree in full blossom and a magpie perched on top, since the pronunciation of "magpie on a plum branch" doubles with that of an auspicious phrase meaning "happy face." Further examples of such visual puns include a set of four ju-i symbols forming a persimmon-stalk pattern, for a phrase that means "as you wish in all affairs," an ear of wheat pictured on a ju-i to suggest "as you wish, year after year," and a small ju-i on a weighing scale to imply the words for "as you wish in your heart." Other types of auspicious imagery commonly found on ju-i include: the bergamot (a pear-like fruit), peach and pomegranate, symbolic respectively of good fortune, longevity and posterity; the kylin, a mythical beast reputed to deliver sons; the pine and the crane-longevity again; and fish (yu)-a byword for an annual surplus (yu) from the land.
Collecting ju-i
Ju-i were traditionally made of precious jade, bejeweled with auspicious imagery, so in addition to being treasured by members of the nobility throughout history, they have also become an object of keen interest for present-day collectors. One of the collectors involved in the forthcoming ju-i exhibition, National Central Library president Chuang Fang-jung, jokes: "What could be more fun than spending money 'as you wish'?"
Louis P.W. Lu, the curator of the exhibition and an official at the Executive Yuan, owns a collection of several hundred ju-i, probably the largest such collection in Taiwan. Furthermore, the various rings and pendants that he wears are all ju-i of some form or other.
Asked about his reason for collecting ju-i, Lu responds with three identical-sounding words: "Origin (yuan), destiny (yuan) and satisfaction (yuan)." It turns out that he used to research Chinese genealogical history, and visited nearly 400 ancestral halls in Taiwan and Kinmen, where he found that there was usually a ju-i on the family altar. Throughout history, this simple article has wordlessly conveyed people's aspirations and the importance for them of clan identity, and it was this that inspired Lu's interest in ju-i.
Chinese people have long had the custom, especially when worried that they're running short on good fortune, of wearing jade ornaments to repel evil and attract luck. The use of such charms is an expression of the basic philosophy of the Chinese: their feelings about mortality, doing one's best in life, and obeying heaven's will. When Louis Lu took up his government post, he found himself in a profession which called for skills of personal interaction and crisis management, and he developed the habit of always wearing jade about his person. It is often said that man makes plans but heaven decides their outcome; wearing jade is one way for an individual to feel more confident about how things will turn out.
In 1978 Lu accompanied the Taiwanese delegation to the Montreal Olympics, but due to a boycott by the PRC the team was held up on the US side of the border. While making various arrangements for the Taiwanese competitors, Lu also had to liaise with the international media, and though the delegation didn't ultimately make it to the Olympics, the incident attracted widespread international attention and sympathy. Lu recalls it was then that he experienced for himself the true meaning of the phrase "rather a shattered vessel of jade than an unbroken piece of pottery." It was only after the delegation returned to Taiwan that he discovered his own jade pendant had got broken at some point during the trip.
The same thing that interested Lu about jade pendants, later led him to ju-i.
By coincidence, the very first ju-i in Lu's collection was one that survived a near disaster with him. Visiting the island of Kinmen on business, Lu had purchased his first ever ju-i at a ceramics factory. On the return to Taiwan there was a problem with the plane's undercarriage, and the pilot had to circle for nearly an hour to burn off fuel. As they approached Sungshan Airport, ready for an emergency landing, Lu found himself gripping the hand of the old lady next to him. She had Buddhist beads in her other hand, while Lu's other hand quite naturally clasped the ju-i at his side.
The plane touched down safely, and although Lu's ju-i collection subsequently expanded to include many outstanding pieces, in different forms and of various materials, that first ceramic ju-i still occupies a prominent position in his front room. It serves as a reminder of the "origin" of his collection, the "destiny" that brought it into being, and the "satisfaction" that attaches to it.
Imagined ju-i
Asked which is the favorite piece in his collection, Lu responds with a small story. Once when he was on a visit to Hualien with his wife, he spotted what appeared to be a grimy piece of "rotted wood" sitting outside the entrance to a curio store. But Lu recognized in the piece the antique simplicity of a naturally formed wooden ju-i, and he seized on it like a treasure.
"A ju-i doesn't have to have any specific appearance," he says, recalling his realization at that time. "If you feel that it's a ju-i, then it's a ju-i. The same applies in many aspects of life, when a moment's decision can determine whether or not things turn out as you wish." As far as Lu is concerned, every ju-i is a wish for good fortune, and there is no distinction between those that are good and those that are inferior.
Everyone is hoping for good fortune as the new millennium approaches, and it was thus that Lu contacted others of his bent to join with him in mounting the "All is Well" ju-i exhibition. Half of the more than 1000 ju-i gathered in preparation for the event will be photographed for a special catalogue, and around 200 of the most remarkable will appear in the exhibition itself.
In addition to enabling Lu to share the pleasure of his ju-i collection, the exhibition features what Lu describes as "mental ju-i." This kind of ju-i has been of great help to Lu in his public relations and crisis management work, and is something that he would like to share with everyone.
Mental ju-i? To explain, Lu quotes some lines on the ju-i penned by Cheng Pi-kuang of the Ming dynasty: "People have their wishes, I have my wishes. Complying with other people's wishes, is not one of my wishes. Complying with my wishes, is not one of other people's wishes. Other people's wishes and my wishes, neither is part of heaven's wishes. Complying with heaven's wishes, naturally accords (ju) with all wishes (i). Being in accordance with all wishes is ju-i, so everything is ju-i!"
What do you wish for from the new millennium? Why not take a look at the many forms of ju-i on show at the forthcoming exhibition? You can also take a rubbing of the phrase "seeking ju-i for oneself," inscribed on a ju-i stele in the brushwork of Dr. Sun Yat-sen. And in one part of the exhibition you can touch the ju-i to experience the feeling of "having ju-i in one's hands." Then at the end you can go home contented, your "heart filled with ju-i," making your wish for peace on earth and "ju-i.forever."
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A set of six white-jade ju-i, each with the same criss-cross pattern, expressive of the phrase "everlasting ju-i."
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"One-stroke Ju-I" by the calligrapher Wang Wang-sun-a combination of painting and calligraphy that is "as you wish" in both form and spirit. It is a work of artistic expression and also a prayer for good fortune.
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The original hand-shape headpiece of ju-i back-scratchers was gradually altered and refined until it took the form of auspicious clouds and the lingzhi magic fungus. Real lingzhi also came to be used to represent the idea of ju-i. (photo by Pu Hua-chih)
Ju-i are almost always connected with happy occasions in life, from weddings to births to promotions. The god of longevity depicted on this ornamental jade screen, a classic birthday gift, has a ju-i in his hands.
The bodhisattva of wisdom, Manjusri, originally carried a book and a sword in his hands, but in China he came to be portrayed as carrying a ju-i, driving out evil and bringing good fortune. (courtesy of the National Palace Museum)
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Influenced by the tastes of their Ming dynasty predecessors, and being followers of Tibetan Buddhism, the Manchu rulers of the Qing dynasty were very fond of ju-i. The picture shows part of "The Yongzheng Emperor's Consort in Common Dress." (courtesy of the National Palace Museum)
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During the Qing dynasty, ju-i played an important part in all the major weddings and birthdays of the royal clan, as well as in New Year's celebrations. This golden double-happiness ju-i is from the wedding of the Tongzhi emperor in 1872. (courtesy of the National Palace Museum)
The name ju-i is given to a wide variety of auspicious articles made of all manner of precious and semiprecious materials, including white and green jade, pearls and agate, and glazed coral. The ju-i of courtiers and dignitaries were inlaid with gemstones to provide an aristocratic touch. (courtesy of the National Palace Museum)
A gold lacquer ju-i with carved peaches, bergamots and pomegranates symbolizing the "three plenties": plenty of long life, good fortune and descendants. (courtesy of the National Palace Museum)
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Ju-i come in many different forms. This is a tianguan ("celestial official") ju-i made of red sandalwood inlaid with antique jade.
Seven good-luck imps sport with an old immortal in Lin Sheng-ju's "Shared Fun Ju-i," winner of the first prize in the Contemporary Fujianese Ju-i Awards.
A plain and unpretentious "ever ju-i" from Japan. Instead of being on the tailpiece, the tassels are one-third of the way along the shaft, which is a characteristic feature of Japanese ju-i.
"Three-medallion ju-i." This was the most popular form of ju-i during the Qing dynasty, and is also described as the "orthodox" ju-i.
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With a ju-i in your hands, you're more ju-i in your heart. Collector Louis Lu, who owns hundreds of ju-i, is an expert on the development and the different forms of ju-i. He believes that ju-i, the state of things being "as you wish," is also a mental phenomenon. (photo by Pu Hua-chih)
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A double-headpiece ju-i, called "ju-i at both ends." Developing through the course of countless natural and man-made disasters, Chinese culture evolved a kind of "as you wish"-ju-i-philosophy. Ju-i of all types have been designed to bring happiness into people's lives. (photo Hsueh Chi-kuang)
That's right, it's a "ju-i abacus"-as in the Chinese term for "wishful thinking." (Hsueh Chi-kuang)
A double ju-i with coin decoration, just the ticket for people who run their own businesses.
A peony in a vase, with ju-i alongside it. This ornamental screen expresses the meanings of wealth, rank, well being and ju-i.
"One-stroke Ju-I by the calligrapher Wang Wang-sun--a combination of painting and calligraphy that is "as you wish" in both form and spirit. It is a work of artistic expression and also a prayer for good fortune.
The original hand-shape headpiece of ju-i back-scratchers was gradually altered and refined until it took the form of auspicious clouds and the lingzhi magic fungus. Real lingzhi also came to be used to represent the idea of ju-i. （photo by Pu Hua-chih）
Ju-i are almost always connected with happy occasions in life, from weddings to births to promotions. The god of longevity depicted on this ornamental jade screen, a classic birthday gift, has a ju-i in his hands.
The bodhisattva of wisdom, Manjusri, originally carried a book and a sword in his hands, but in China he came to be portrayed as carrying a ju-i, driving out evil and bringing good fortune. （courtesy of the National Palace Museum）
Influenced by the tastes of their Ming dynasty predecessors, and being followers of Tibetan Buddhism, the Manchu rulers of the Qing dynasty were very fond of ju-i. The picture shows part of "The Yongzheng Emperor's Consort in Common Dress." （courtesy of the National Palace Museum）
During the Qing dynasty, ju-i played an important part in all the major weddings and birthdays of the royal clan, as well as in New Year's celebrations. This golden double happiness ju-i is from the wedding of the Tongzhi emperor in 1872. （courtesy of the National Palace Museum）
The name ju-i is given to a wide variety of auspicious articles made of all manner of precious and semiprecious materials, including white and green jade, pearls and agate, and glazed coral. The ju-i of courtiers and dignitaries were inlaid with gemstones to provide an aristocratic touch. （courtesy of the National Palace Museum）
A gold lacquer ju-i with carved peaches, bergamots and pomegranates symbolizing the "three plenties": plenty of long life, good fortune and descendants. （courtesy of the National Palace Museum）
Ju-i come in many different forms. This is a tianguan （"celestial official"） ju-i made of red sandalwood inlaid with antique jade.
Seven good-luck imps sport with an old immortal in Lin Sheng-ju's "Shared Fun Ju-i," winner of the first prize in the Contemporary Fujiane se Ju-i Awards.
A plain and unpretentious "ever ju-i" from Japan. Instead of being on the tailpiece, the tassels are one-third of the way along the shaft, which is a characteristic feature of Japanese ju-i.
"Three-medallion ju-i." This was the most popular form of ju-i during the Qing dynasty, and is also described as the "orthodox" ju-i.
With a ju-i in your hands, you're more ju-i in your heart. Collector Louis Lu, who owns hundreds of ju-i, is an expert on the development and the different forms of ju-i. He believes that ju-i, the state of things being "as you wish," is also a mental phenomenon. （photo by Pu Hua-chih）
A double-headpiece ju-i, called "ju-i at both ends." Developing through the course of countless natural and man-made disasters, Chinese culture evolved a kind of "as you wish"--ju-i--philosophy. Ju-i of all types have been designed to bring happiness into people's lives. （photo Hsueh Chi-kuang）
That's right, it's a "ju-i abacus"--as in the Chinese term for "wishful thinking." （Hsueh Chi-kuang）
A double ju-i with coin decoration, just the ticket for people who run their own businesses.
A peony in a vase, with ju-i alongside it. This ornamental screen expresses the meanings of wealth, rank, well being and ju-i.
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