{"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://iiif.quartexcollections.com/gettysburg/iiif/401a1dc2-1804-4df8-b41a-a49b3125ba6a/manifest","label":"gaa_large-general-s-helmet-jar-jiang-jun-guan_c49_c49","metadata":[{"label":"Identifier","value":"gaa_large-general-s-helmet-jar-jiang-jun-guan_c49_c49"},{"label":"Citation","value":"Object Name, Date Original (if known), GettDigital: Asian Art Collection, Special Collections / Musselman Library, Gettysburg College, Gettysburg, Pennsylvania, Access Date, Link to Item"},{"label":"Repository","value":"Special Collections and College Archives, Musselman Library, Gettysburg College"},{"label":"Inventory Number","value":"C49"},{"label":"Part of","value":["Asian Art GettDigital Collection"]},{"label":"Provenance","value":"The Estate of Prof. Frank Kramer; A note from Dr. Kramer's folder \"Oriental Art-Inventory, n. d. (copy 1)\" (in Kramer's Box 4, file 17), refers to this item as \"Large yellow porcelain vase with domical cover decorated with rocks, plants, flowers and 2 birds. Kang Hsi rings on bottom. Has break in lip. Bid for it with number C48, price $40.00. Dr. Chen said it was likely early Ch'ien Lung period. The red in the flowers around top was not in use until Yung Chen period.\""},{"label":"Genre","value":["Artifacts"]},{"label":"Object Location","value":"Large Pottery Shelf - PR"},{"label":"Date","value":"D:00 M:00 Y:1736 - D:00 M:00 Y:1795"},{"label":"Date Original","value":"Mid-late 18th century CE (1736-1795 CE)"},{"label":"Era","value":["Attributed to the Qianlong reign","Qing dynasty"]},{"label":"Measurement","value":"Height: 31 cm (approximate); Diameter at mouth: 13.5 cm"},{"label":"Medium","value":["Porcelain, underglaze yellow, famille rose","Porcelain"]},{"label":"Country of Origin","value":["China"]},{"label":"Description","value":"This is a large general's helmet jar (jiang jun guan) with a short neck, slanting shoulders, a globular body tapering to the bottom, and a flaring footring. Part of the mouth is broken. The jar is named for its cover which, with its pearl-shaped finial, resembles an army general's helmet. This type of jar was first seen in the Jiajing (1522-1566) and Wanli (1573-1620) reigns of the Ming dynasty. It became very popular during the Kangxi reign of the Qing dynasty (1662-1722). The top of the finial is decorated with a yellow stamen surrounded by two layers of red chrysanthemum petals. The body of the cover is adorned with famille rose* peony and pomegranate sprays as well as a rock among the peonies on a yellow background. On the wide rim are plum blossom and leafy designs on a pink background. The exterior of the jar itself represents four registers of famille rose designs also on a yellow background. The first register depicts Chinese rose, lotus and crabapple sprays. On top of the shoulders is a band of floral and leafy designs on a light blue background. The following register illustrates a group of stylized cloud collars. Within each cloud collar are either a purple magnolia with half of a red chrysanthemum, or a red peony with half of a light blue crabapple, or a red chrysanthemum with three crabapples in light blue or red against a red wave background. Between every two cloud collars is a red lingzhi fungus pendant with flowing light green ribbons. Below the cloud collars is the fourth and main register of the famille rose decorations. It represents two possibly Chinese bulbuls (bai tou weng) enclosed by peonies, pomegranate flowers, rocks, and poppies in various colors. One Chinese bulbul, perching on a rock between two peony stalks, is about to peck a peony on the lower left of itself; its beak is open and its left leg is raised while its wings are outstretched. The other one on the left is perching on a long pomegranate branch and probably watching its companion. On the far left a spider web with the spider in the center hanging between the pomegranate branch and a purple poppy. The Chinese bulbul symbolizes a happy, harmonious and lasting marriage because its hair turns white when it grows old. This denotes a Chinese idiom bai tou xie lao (live together until the hair turns white). The spider is believed to be an auspicious insect which brings good fortune. The peony, known as fu gui hua (\"the flower of wealth and rank\"), conveys a wish for official rank in the emperor's civil service as well as a salary and perquisites to ensure wealth. The pomegranate is a symbol of fertility and numerous progeny and in this sense, commonly appeared on betrothal gifts. The lotus, namely hehua or lianhua in Chinese, is commonly adopted to symbolize marriage because he is a pun for 'harmony (he) ', while lian is a pun for 'continuous or lasting (lian)'. The lotus is one of the few flowers whose seedpod is already present when the flower begins to bloom. To the Chinese, this excellent omen predicts the early arrival of sons. The magnolia represents feminine sweetness and beauty. The Lingzhi fungus is an ingredient of the elixir of immortality and thus, a symbol of longevity. It resembles the ruyi (as you wish) scepter, or wish-fulfilling wand, that was popular in later Ming and early Qing art. The chrysanthemum is a symbol of autumn and of fortitude; it blossoms in the fall despite \"the onslaught of frost and icy winds\". It is also known as the hermit of flowers because of its association with Tao Qian (style name yuanming), a fourth-century poet-recluse who resigned his official post and retired to his small farm to write poetry. A number of his poems are about the chrysanthemum. The plum blossom, one of sui han san you (Three Friends of Winter, namely pine, bamboo and plum, which still keep their integrity when all other plants wither and their leaves fall), is important to the Chinese as a symbol of longevity and good fortune. The poppy is representative of the 12th month, and in the ancient times was considered to be a potent emblem of protection against disease. In summary, the complex iconography of designs on this covered jar here conveys a wish for a joyful, harmonious and eternal marriage, wealth, many sons, good fortune and a healthy life. Accordingly, this covered jar may have been once used on a special occasion, likely that of a wedding celebration. The interior of both the cover and the jar as well as the base of the footring is primarily covered with a thin layer of white glaze. The mouthrim, the top of the inside neck and the bottom rim of the footring are unglazed, exposing the white body. The base of the footring also bears a double-lined circle in underglaze blue. The shape of this covered jar is after the Kangxi model (1662-1722), but the famille rose decoration didn't develop until the succeeding Yongzheng and particularly, Qianlong periods. As a matter of fact, the glaze on this object appears exceedingly bright when observed against the light. This indicates that it is a later copy according to a book titled gu wan zhi nan (Guide of Chinese Antiques) written in 1942 by Zhao Ruzhen, a prestigious modern connoisseur. Therefore, this piece should be a recent copy, approximately made during the late 19th century to mid-20th century. * Famille rose (fen cai) refers to a palette developed in the same basis of the famille verte palette (kang xi wu cai) of the Kangxi reign of the Qing dynasty and which was under the direct influence of the enamel decoration ware. In the last years of the Kangxi reign, foreign rouge-red enamel was used to color flower petals. This started the trend toward a new palette (known in the West as famille rose) during the succeeding Yongzheng and Qianlong reigns. The famille rose is characteristically used in this way: glassy white (bo li bai) in which an opaque white enamel (lead arsenate) is employed as the base for coloring garments or flower petals; also, rue oil is used as the drying oil in mixing some pigments. Many enamels of the palette include certain imported materials, such foreign red, foreign yellow, foreign green, and foreign white. Compared with the famille verte, the new palette fires at a lower temperature and has a wider color range. It also appears softer and gentler, hence its other name 'soft colors' (ruan cai). During the Yongzheng reign, famille rose wares reached their zenith, replacing the famille verte of the Kangxi reign and becoming the dominate palette in overglaze decoration. The decoration was painted not only on a white background, but also on such colored backgrounds as coral, red, light green, caramel, black, etc. During the Qianlong reign, new techniques continued to develop. As a departure from the earlier simple washing method, flower petals in rouge red were outlined. More colors began to appear as the background. The designs also grew increasingly complex, especially in the case of wares with a red or green phoenix tail design as the background (feng wei wen), which was fashionable in the late Qianlong and early Jiaqing period. As this new decorative technique used many imported materials, and it method of mixing pigments was also 'foreign', it acquired the name 'foreign colors' (yang cai) in the Qianlong reign."},{"label":"Title","value":"Large general's helmet jar (jiang jun guan)"},{"label":"Rights","value":"Materials available through GettDigital encompass a wide range of works, many of which are in the public domain. However, some items may still be protected by copyright or other intellectual property rights. Users are responsible for determining the copyright status of materials and ensuring compliance with all applicable laws when reproducing or publishing these works. Items in our GettDigital Collections are for educational use. For assistance in understanding rights, obtaining permissions, or requesting files for publication or research purposes, please contact us at <a href=\"www.gettysburg.edu/special-collections/ask-an-archivist\">www.gettysburg.edu/special-collections/ask-an-archivist</a>"},{"label":"Reference URL","value":"http://cdm16274.contentdm.oclc.org/cdm/ref/collection/p4016coll6/id/2181"}],"description":"Large general's helmet jar (jiang jun guan)","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/401a1dc2-1804-4df8-b41a-a49b3125ba6a/canvas/_1","@type":"sc:Canvas","label":"gaa_c49bk","height":2428,"width":1344,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/6603298e-e827-428c-9dc1-63f69ff1f29f/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/gettysburg/iiif/6603298e-e827-428c-9dc1-63f69ff1f29f","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2,4,8]}]},"height":2428,"width":1344},"on":"https://iiif.quartexcollections.com/gettysburg/iiif/401a1dc2-1804-4df8-b41a-a49b3125ba6a/canvas/_1","metadata":[{"label":"Identifier","value":"gaa_c49bk"},{"label":"Title","value":"Back"},{"label":"Reference URL","value":"http://cdm16274.contentdm.oclc.org/cdm/ref/collection/p4016coll6/id/2180"}]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/6603298e-e827-428c-9dc1-63f69ff1f29f/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}},{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/401a1dc2-1804-4df8-b41a-a49b3125ba6a/canvas/_2","@type":"sc:Canvas","label":"gaa_c49fr","height":2440,"width":1280,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/30094d68-aad3-428a-b5e9-1eb5695e223f/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/gettysburg/iiif/30094d68-aad3-428a-b5e9-1eb5695e223f","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2,4,8]}]},"height":2440,"width":1280},"on":"https://iiif.quartexcollections.com/gettysburg/iiif/401a1dc2-1804-4df8-b41a-a49b3125ba6a/canvas/_2","metadata":[{"label":"Identifier","value":"gaa_c49fr"},{"label":"Title","value":"Front"},{"label":"Reference URL","value":"http://cdm16274.contentdm.oclc.org/cdm/ref/collection/p4016coll6/id/2179"}]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/30094d68-aad3-428a-b5e9-1eb5695e223f/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}}]}],"thumbnail":"https://iiif.quartexcollections.com/gettysburg/iiif/6603298e-e827-428c-9dc1-63f69ff1f29f/full/300,300/0/default.jpg","logo":"https://iiif.quartexcollections.com/gettysburg/iiif/logo"}