{"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://iiif.quartexcollections.com/gettysburg/iiif/effcfaaa-6a0e-405d-8ea5-c2fa3361b39a/manifest","label":"gaa_square-mallet-vase-fang-bang-chui-ping_a99_a99","metadata":[{"label":"Identifier","value":"gaa_square-mallet-vase-fang-bang-chui-ping_a99_a99"},{"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":"A99"},{"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 \"China, A decorated porcelain quadrangular vase depicting the 24 Filial Pieties. K'and Hsi Period. Height is 17 5/8\". Has selected wood stand not its own original. Bought October 27, 1955 from Dr. Chen for $65.00. Is damaged. Dr. Chen sometime ago wrote up the 24 Filial Pieties for the Baltimore Library (could not be found in complete form in English). He sent us a carbon copy which is in College Library. \" There is a long description of this item from Dr. Kramer's folder \"Scrapbook-Porcelain # 4\" (Kramer's Box 5, file 18). Several correspondences between Dr. Kramer and Dr. Chao-ming Chen concerning this piece can also be found in this folder."},{"label":"Genre","value":["Artifacts"]},{"label":"Object Location","value":"CG.3"},{"label":"Date","value":"D:00 M:00 Y:1900 - D:00 M:00 Y:1950"},{"label":"Date Original","value":"Early 20th century CE (1900-1950 CE)"},{"label":"Era","value":["Republican period"]},{"label":"Measurement","value":"Height: 44.8 cm; Diameter at mouth 11.7 cm; Original black wood stand"},{"label":"Medium","value":["Porcelain, five-color decoration, wood","Porcelain"]},{"label":"Country of Origin","value":["China"]},{"label":"Description","value":"This square mallet vase (fang bang chui ping) has a flaring mouth, a waisted neck, angular shoulders, a four-sided body tapering to the bottom, and a slightly concave base. This type of vase was first made during the Kangxi reign (1662-1722). The neck and the four-sided body of this vase are primarily decorated with the Chinese classic twenty-four filial pieties (ershisi xiao) in the five-color palette on a white background. The angular shoulders are adorned with an iron red chrysanthemum on each corner and another iron red unknown flower on each side. The background is filled with supplemental man cao wen (coiling vine and leaves design) on a green background. Four of the filial pieties are depicted on the neck as follows: (1) One scene represents Zeng Shen of the Spring and Autumn Periods (771-481 BC) returning from cutting wood, since his mother had bitten her finger. Zeng Shen was considered a most obedient son. When his mother thought of him, and would bite her finger, his heart would ache and he would come back to her right away. He was also one of the four most brilliant disciples of Confucius, who, although slow in understanding, never forgot what he finally learned. Eventually he wrote a book called \"The Great Learning\" (da xue),one of the Four Classics (si shu). (2) To the left is a picture depicting Wen Wang, the first King of the Zhou dynasty (reigning from ?-1043 BC), who was an extremely obedient son. He always visited his father's chamber three times a day. At table he always served his father before he would eat anything himself. He served his father just the same, whether the weather was warm or cold. In this picture Wen Wang is shown serving tea to his father. (3) To the left of Wen Wang's story is a scene of the legendary Emperor Shun depicted behind an elephant together with another legendary Emperor Yao in the foreground. The Emperor Sun, son of Gu Shou of the ancient Yu Kingdom, was filial in nature. When he plowed the earth at Li Shan, an elephant came to till for him, and birds helped him to weed. Upon learning of this, the Emperor Yao sent nine of his sons to serve him, gave both of his daughters to him in marriage, and finally left him the throne. (4) The last scene on the neck is about Min Ziqian of the Spring and Autumn Periods, who was also a disciple of Confucius. He drew the carriage for his father, who is shown here sitting in the carriage under a plum tree. According to legend, once when Min appeared to be exceedingly cold, his father examined his garment and found that the inside was patched with weeds instead of cotton. As a result, his father wanted immediately to divorce his second wife, who was Min's stepmother, as she had evidently mistreated him. Min told his father that, where now only he was cold, if his father were to divorce his stepmother, three people, namely his two stepbrothers and himself, would be cold. When his stepmother heard his kind words, she suddenly decided to treat him the same way as her own sons. Each side of the body is divided vertically into five sections by iron red bands, four scenes on top and one on bottom. They are as follows: (5) Underneath Zeng Shen's scene, on the upper right corner of one side is a picture illustrating Cui Shi's filial story of the Tang dynasty (618-906). She was so obedient that when her mother-in-law had nothing to eat, she nursed her. Though the mother-in-law never ate any rice, she turned strong and healthy in this way. (6) To the left of scene 5 is a story of Lu Ji of the Later Han dynasty (947-951). When he was six years old, he went to Jiu Jiang to visit the famous general Yuan Shu. When Yuan offered him tangerines, Lu kept two of them. When Lu bowed on leaving, the two tangerines came out on the floor. General Yuan asked him why he had taken two, and he said he wanted to take them for his mother. The general was greatly surprised at this filial piety. In this scene here Lu is shown holding a tangerine and bowing before Yuan Shu. (7) Underneath scene 5 is a picture featuring Huang Xiang of the Han dynasty (BC 206-220 AD). Although he lost his mother at the age of nine, he made up for this by serving his father exceptionally faithfully. In the summer he would fan his father's pillow and mat, and in the winter he would warm the covers by sleeping in them before his father went to bed. In this picture he is represented holding a fan in his right hand to cool the covers. (8) Below scene 6 is a panel depicting Lao Laizi of the Chu Kingdom during the Spring and Autumn periods. When he was 70 years old, his parents were still alive. He wanted to do everything to make them happy. One day he pretended to be a little child and fell down, causing his parents to laugh. In this panel he is portrayed dancing alongside of a drum while brandishing a rattle with his right hand. His father, at the right, joyfully raises his right hand. (9) The bottom picture of this side features Meng Zong of the Three Kingdoms (220-265 AD). He lost his father during his youth and his mother turned old and in poor health. One winter day, she wanted some soup made of bamboo roots. Meng Zong then went into the bamboo grove and cried. Since his filial piety moved Heaven and Earth, the earth suddenly cracked and several bamboo shoots came out of the ground. He took them home for soup, which cured his mother's illness. (10) Turning to the next side of the vase, toward the left, we find at the upper right section Jiang Ge of the Later Han dynasty, who lost his father at an early age and had to support his mother. During a rebellion, the insurgents wanted to carry him away with them but they heeded his pleas to spare him because of his aged mother. After that, the two went to live at Xia Pi, where he worked as a servant taking care of his mother. In this section he is shown carrying his mother on his back. (11) To the left of is a picture featuring Yan Zi of the Zhou dynasty (1027-221 BC). Yan Zi's mother, in her old age, wanted eagerly to drink some deer milk. Accordingly in this scene Yan Zi is shown wearing a deer skin so as to get the milk from the mother deer. On the ground is a bucket to collect the milk. A hunter intended to shoot him, so he threw off part of his disguise to protect himself. Finally he obtained the deer milk for his mother. (12) Underneath scene 11 is a picture about Li Mi of the Western Jin dynasty (265-317). Li requested leave from his official duties so that he could take care of his grandmother who supported him when his mother remarried after his father's death. In this scene Li is shown in official robes facing his grandmother who carries a cane. On the ground is his official seal in imperial yellow. (13) Below scene 10 is a picture about Zhu Shouchang of the Northern Song dynasty (960-1127). When he was seven years old, his mother was driven out by his stepmother in jealousy and then married someone else. Consequently he and his mother did not meet for fifty years. During the reign of the Emperor Shenzong (1067-1085), he resigned his official post and went to the Qin area. He told his family that he would not return if he could not find his mother. Finally he met her in Tongzhou. At that time his mother was over seventy years old. (14) On bottom of this side is a picture about Ding Lan of the Han dynasty. Ding lost his parents when he was quite young. He therefore carved, from a wooden tablet, images of them as a reminder. His wife pierced the hands of the images, which then shed tears. As a result, Ding divorced his wife. (15) The next following side of the body depicts a story about Mencius, a follower of Confucius on the upper right corner. When Mencius was young, he disliked studying. One day when he came home from school and his mother asked him what he had learned, he could not answer, so she cut off her weaving. The significance of this is that in study, just as in weaving, if the thread is cut the whole pattern is ruined. He sat down on the severed weaving and thought hard about it, as represented in this picture. Later on he became the first follower of Confucius. He wrote a book titled \"The Work of Mencius (meng zi), another masterpiece of the Four Classics. (16) The next section to the left features Dong Yong of the Han dynasty. Dong Yong had no money to bury his father, so he borrowed a big sum of money from a rich man for his father's burial. Since he did not have money to pay this back, he made a contract with the rich man that he would become a servant for a certain period in order to settle the debt. After his father's burial, Dong met a woman who asked him to marry her. After their marriage, he and this woman went to see the debtor. The latter asked whether they could make 300 rolls of embroidered silk, which would be equal to the debt. They both worked there for one month, and then the debt was paid. Hence this woman told Dong that she was a wife made from Heaven. The God of Heaven ordered her to come into the world to help him pay off his debts. After this remark, she ascended into Heaven. In this scene Dong is bowing before the debtor who holds a staff in his hand. (17) Underneath scene 15 is a picture about Yang Xiang of the Jin dynasty (365-439). He killed a tiger to save his father when he was fourteen years old. (18) To the left is a scene representing Guo Ju of the Han dynasty, a poor man with a three-year-old son whom Guo's mother used to feed with the little food she spared. One day Guo said to his wife, \"I am destitute and unable to support my mother, and now our son comes to share her little food. Why not bury him alive, for you may give birth to another baby, but you cannot restore your mother to life again if she is starved to death.\" His wife did not dare disobey, so Guo began to dig a hole over three feet deep. Meanwhile there suddenly appeared a caldron of gold bearing the following inscription: \"This is what Heaven bestows on the dutiful Son Guo Ju. Neither can officials seize it nor civilians steal it.\" In this scene Guo's wife is holding her sons while her husband is digging. (19) According to Dr. Chaoming Chen, the picture on bottom of this side is about Mao I (This story cannot be found in the classic of the twenty-four filial pieties). \"One day Chang Feng of the Nan Yang District, went to see him at the time of the arrival of the government edict appointing Mao I as magistrate of the An Yang District. Mao I was extremely happy on receiving the edict. Chang complimented him, but in his heart he really looked down on him. After a while Mao I's mother passed away. The Emperor appointed him many times, but he refused the appointment. Then his friend Chang Feng exclaimed that Mao I was really a wise man because, although formerly he was appointed magistrate, he wanted to please his mother.\" In this scene Mao is shown sitting at a table happily pursuing the government edict. Outside his house is a plum tree in full bloom. (20) The upper right corner of the last side is a picture of Jiang Shi of the Han dynasty who served his father faithfully. His wife, Pang Shi served his mother-in-law with more care. His mother liked drinking water from the river, which was about six or seven lis (three and a third lis equal one mile) from the house. His wife went there to draw water for his mother-in-law. His mother was also fond of minced fish that was often prepared by her son and daughter-in-law. As she was unable to take it alone, the couple invited the neighboring mothers to share it with her. There suddenly appeared by the house a bubbling spring, which tasted as sweet as the river water, and in it were found two carps a day to be offered to Jiang's mother. In this scene Jiang is represented standing on the broken ice, from which a carp is emerging. (21) To the left is a scene about Wu Meng of the Jin dynasty. Because of poverty the family could not afford to have mosquito netting. Therefore, during the summer, Wu went to bed first so that the mosquitoes could bite him. Then when his mother retired, she could sleep in peace without being bothered by the mosquitoes. In this scene Wu is shown with his head resting on a table while the mosquitoes hover over him and bite him. The bed in the background is free from mosquitoes. There is a pair of red slippers on the floor near a red stand. (22) Underneath scene 20 is a picture of Cai Shun of the Han dynasty, who lost his father at an early age, and served his mother very faithfully. He met with the rebellion of Wang Mang. During the scanty years he picked up mulberry seeds and filled two different vessels, one for the black and the other for the red. When the Red Brow insurgents (chi mei jun) inquired about the vessels, Cai said, \"The black seeds are to feed my mother, while the red are for myself.\" Moved by his filial piety, the rebel chief gave him twenty pints of white rice and one piece of cow's leg. In this scene Cai is depicted carrying a basket of mulberries in his hand as he approaches a house. (23) According to Dr. Chen, a scene about Wang Hsin's story (This story cannot be found in the classic of the twenty-four filial pieties.) is to the left of scene 23. \"Wang Hsin's father was a high official and scholar named Wang Wei. Sung Lien, a good friend of his father, was a famous man during that period. When he saw Wang Hsin, he said, 'Wang Wei has a son.' Wang Hsin was so upset over the death of his father, who died in office far away from home in the Province of Yun Nan in the extreme western part of China, that in order to find his father's body he begged money so that he could proceed from one place to another. Whenever he cried, he always fainted. When the people of Yun Nan heard his story, they were moved by pity and always called him 'the filial son of Wang.' When Emperor Jianwen of the Ming dynasty ascended the throne, he asked Wang Hsin to become a doctor for noble children. He described the death of his father, and the Emperor therefore gave him the postnumous title 'Wen Jian', meaning 'the civil minister of the new dynasty who has deep literary ability and loyalty.'\" In this scene Sung Lien is shown as a high official and sitting beside of a large scroll, while Wang Hsin is depicted as a poor boy. (24) On the bottom of this last side is a scene about Huang Tingjian of the Northern Song dynasty. He was appointed as a censor (tai shi) during the mid-Yuanyou era (one of the era names or nian hao of the Emperor Zhezong who reigned from 1085 to 1100). Although he was such a high official, he served his mother to the best of his ability. Every evening he helped his mother empty the slops and did not ask his wife to do it. He wanted to take care of his mother every possible minute. In this picture he is dressed in a red official robe and black official hat. He carries a slop bucket and a brush in his right hand. His wife bows to him on the right. The bottom of the four-sided body contains stylized floral petals with many-colored lozenge patterns inside on a green background. The bottom of the base is almost entirely unglazed except for a slightly concave square in the center which bears a Kangxi style ai ye (Artemisia leaf) outlined in underglaze blue. Ai ye is a leaf of the Artemisia which is used by the Chinese as a fragrant plant of good omen and disease prevention. Although the shape of this square mallet vase is after a typical Kangxi model and the bottom of the base bears a Kangxi style ai ye, this vessel is not a Kangxi product. Figures on the dated Kangxi five-color vessels are usually portrayed with an irregular and elongated face because the representations tend to imitate Chen Hongshou's style at that time. (See pp.107 and 109-110 for Kangxi five-color vessel examples with theatrical scenes, from Li Zongyang, Ming qing ci qi tu jian &lt; Pictorial Handbook of Porcelain in Ming and Qing Dynasties&gt; &lt; Changsha: hunan meishu chubanshe, 2004&gt; .) Chen Hongshou (style name or zi Laolian) was one of the most prestigious painters during the late Ming dynasty and excelled at figure paintings. However, all of the figures on this vase are depicted with a standard face, which demonstrates that this piece is a later copy. Further, ge li guang (clam-like luster) is commonly seen around the colors on the dated five-color Kangxi pieces, but no such luster can be observed here. In conclusion, this piece is a recent copy, approximately produced during the early 20th century."},{"label":"Title","value":"Square mallet vase (fang bang chui ping)"},{"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/1918"}],"description":"Square mallet vase (fang bang chui 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