{"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/manifest","label":"gaa_double-gourd-bottle_h42","metadata":[{"label":"Identifier","value":"gaa_double-gourd-bottle_h42"},{"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":"H42"},{"label":"Part of","value":["Asian Art GettDigital Collection"]},{"label":"Provenance","value":"John H. Hampshire"},{"label":"Genre","value":["Artifacts"]},{"label":"Object Location","value":"CG.3"},{"label":"Date","value":"D:00 M:00 Y:1821 - D:00 M:00 Y:1911"},{"label":"Date Original","value":"Mid 19th-early 20th century CE (1821-1911 CE)"},{"label":"Era","value":["Qing dynasty"]},{"label":"Measurement","value":"Height: 49.5 cm; Diameter at mouth 6.5 cm"},{"label":"Medium","value":["Porcelain, famille rose","Porcelain"]},{"label":"Country of Origin","value":["China"]},{"label":"Description","value":"The origin of the double-gourd bottle can be traced back to the pottery gourd bottle from the Banpo site of the Yangshao culture, to the Shijia culture and to the polychrome bottles made in the Tang dynasty. The double-gourd is associated with Li Tieguai, one of the Eight Immortals. According to legend the gourd contains more than five blessings (long life, wealth, health, love of virtue and a natural death). Therefore, the double-gourd shaped bottle is an auspicious symbol in China, usually associated with a wish for a long life and many sons. This irregular double-gourd bottle has a smaller upper bulb which gradually tapers to the mouth, a larger lower rectangular bulb and a flaring footring. On top of its neck a small area of glaze has flaked off, exposing the white body. Its exterior is well glazed and decorated, while the interior is coarsely made and thinly glazed. The base of the footring is unglazed. It has no reign marks or inscriptions. Several small drilled holes are found on the base of the footring. Both bulbs of this bottle are primarily adorned with the bo gu tu (illustration of diverse antiquities) motifs in the famille rose* palette. The bo gu tu motifs usually illustrate all kinds of antiques such as bronzes, porcelain vases, jades, painting scrolls, potted landscapes (penjing), etc. They denote the Chinese worship and adoration to their traditional treasure and culture. The bo gu tu motifs were especially popular during the late Qing dynasty and early Republican period because of the resurgence of the jinshi xue (the study of inscriptions on bronze vessels and stone steles) at that time. The jinshi xue once reached its peak during the Song dynasty, but declined later on. The upper bulb depicts three groups of diverse antiques. One group represents a red lion standing on a garden seat, looking back with fangs exposed. To the right a dragonfly with yellow wings is flying downward. Several covered jars and small garden seats scatter the foreground. In the center of the second group is a big caramel incense burner surmounted by some of the Eight Buddhist Emblems* (such as three piled caramel conches with two climbing yellow monsters on both sides and a yellow lotus) on a blue round table. A blue monster with a green tail is standing on top of the yellow lotus. A purple umbrella, which is tied with red ribbons and with a light green chrysanthemum inserted through the center, is to the upper left. Below is a chrysanthemum flower pot on a small round table. A white chrysanthemum and a red peony flower are to the upper right. Underneath is a pink vase with pine leaves, together with painting scrolls in a brush holder and an open scroll on a small rectangular table. Small stools, colorful water pots, a covered jar and a brush holder with painting scrolls are in the foreground. The third group shows a red incense burner whose upper part is green standing on a grotesque table. To the left is a red vase with flowers and on the right is a yellow Jue (a bronze wine vessel). A pomegranate, a wood brush holder with painting scrolls, several water pots, a textile and a chess board are spread on the foreground. The lower bulb is decorated with five groups of diverse antiques, alternated with some of the Eight Buddhist Emblems such as the knot, umbrella and canopy. The most impressive group depicts an imperial yellow incense burner surmounted by some of the Eight Buddhist Emblems (such as piled conchs and lotuses) on a small rectangular table. To the left is a brush holder with scrolls and brushes, and a pile of books tied with wide yellow ribbons. To the right is a monster sculpture standing on a small round table. The other four groups have similar content. All of them illustrate vases and incense burners either respectively or in group on a table, surrounded by flower pots, scrolls in a brush holder, water pots, etc. Around the shoulders of the lower rectangular bulb are the Eight Daoist Emblems*, a set of antiques from the Eight Immortals. On the bottom are the supplemental floral designs. The shape of this double-gourd bottle is unusual because the larger lower bulb is rectangular rather than round as commonly seen, but the form of the smaller upper bulb appears almost identical to the typical Jiaqing model (1796-1820). Since the arrangement of the Eight Buddhist Emblems does not follow the usual order established during the Qianlong reign and actually there are just a few of them, it can be inferred that this bottle may have been produced after the Qianlong period. As such, the dating of this piece should be around the Jiaqing reign, probably much later than it given its average quality and workmanship. * 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. * The Eight Buddhist Emblems consist of the wheel, the conch, the canopy, the umbrella, the lotus flower, the vase, the fish, and the knot (sometimes one of these is replaced by the flaming pearl). Often, each of the emblems is combined with a lotus spray to form a design. They were introduced from the Tibetan Lamaist art in the Yuan dynasty and were popular decorative elements during the Ming and Qing. These emblems were impressed on Yuan Jingdezhen egg-white wares and Longqun celadons, and also on Ming sweet white wares of the Yongle reign. From the Xuande reign on, they were painted in an underglaze blue, in the five-color (wu cai) palette, in the contasting color (dou cai) technique and in yellow decoration on a green ground. During the Qianlong and Jiaqing reigns of the Qing dynasty, this design was painted in the famille rose palette and enamel decoration. The arrangement of the emblems had been random before the Yongle reign, when the order of the wheel, the conch, the canopy, the umbrella, the lotus flower, the fish, the vase, and the knot was established. During the Wanli reign to the Qing dynasty, the established order was the wheel, followed by the conch, the umbrella, the canopy, the lotus flower, the vase, the fish, and the knot. After the Qianlong reign, this order was not followed on some vessels. Wares with this design were all produced in Jingdezhen except for some fa hua glazed wares. * The Eight Daoist Emblems depict only the emblems of the Eight Daoist Immortals and not the immortals themselves. Each symbol is associated with an individual immortal: the fan with Zhong Liquan, the bamboo drum with Zhang Guolao, the flute with Han Xiangzi, the double gourd with Li Tieguai, the castanets with Cao Guojiu, the sword with Lü Dongbin, the flower basket with Lan Caihe, and the lotus with He Xiangu. This set of designs became popular after the appearance of the Eight Immortals as a decorative theme, and was in vogue during the Qing dynasty."},{"label":"Title","value":"Double-gourd bottle"},{"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/1081"}],"description":"Double-gourd bottle","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/canvas/_1","@type":"sc:Canvas","label":"Double-gourd bottle","height":768,"width":512,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/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/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2]}]},"height":768,"width":512},"on":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/canvas/_1","metadata":[]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}}]}],"thumbnail":"https://iiif.quartexcollections.com/gettysburg/iiif/e21dc4ac-c41c-4ffd-ba38-2f5d99521ee4/full/500,500/0/default.jpg","logo":"https://iiif.quartexcollections.com/gettysburg/iiif/logo"}