The Grice Collection of Chinese Ivories

01

The Grice Collection of Chinese Ivories Edited by Alison Morton & Clare Starkie

02 03

05 Foreword by Nick Dodd, Chief Executive, Museums Sheffi eld

06 The Grice Collection of Chinese Ivories by Clare Starkie, Curator of Decorative Art, Museums Sheffi eld

20 Chinese ivory carving and trade by Rose Kerr, Keeper Emeritus of the Far Eastern Department, Victoria & Albert

Museum, Honorary Associate of the Needham Research Institute, Cambridge

22 People from history by Rose Kerr

26 Myth and legend by Rose Kerr

32 Buddhism by Rose Kerr

36 Plants and animals by Rose Kerr

42 The scholar’s desk by Rose Kerr

46 Sheffi eld’s Chinese community and the Grice Collection of Chinese Ivories by Jon Bradley, Communities Manager, Museums Sheffi eld

50 Gayle Chong Kwan: The Land of Peach Blossom by Alison Morton, Senior Exhibition Curator, Programming, Museums Sheffi eld

52 Glossary

53 Acknowledgements

Contents

All images are copyright

Museums Sheffi eld unless stated

Published in the UK by Museums Sheffi eld 2008

Design by The Cafeteria / thecafeteria.co.uk

Print by Northend Creative Print Solutions

Copyright © Museums Sheffi eld

ISBN: 978 0 9546913 8 7

All enquiries should be addressed to:

info@museums-sheffi eld.org.uk

Museums Sheffi eld can also be contacted at

Leader House

Surrey Street

Sheffi eld

S1 2LH

Tel. 0114 278 2600

Fax. 0114 278 2604

www.museums-sheffi eld.org.uk

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This publication was developed alongside the exhibition The Return of the Ivories and The Land of Peach Blossom at the Graves Gallery in Sheffi eld from 12 April 2008-31 January 2009. This exhibition was part of the region wide China in Yorkshire programme of audience engagement, displays, and research during 2007-2009, led by Renaissance Yorkshire.

The aim of this book is to explore the stories behind the Grice Collection of Chinese Ivories, not just as a collection intended for Western museum audiences, but as a refl ection of Chinese society. The book begins with an introduction on how the collection came to Sheffi eld and the variety of objects collected by Dr Grice during his 30 years in China.

This is followed by Far Eastern expert, Rose Kerr, who provides the background to the history of ivory carving in China. She then explores themes that run through the collection in a series of fi ve essays. The research undertaken by Rose has been invaluable in shining a light on how these ivories have meaning within Chinese culture, beliefs and history.

The collection, acquired in the 1930s, gave inspiration to ivory carvers working in Sheffi eld’s metalwork trades. It has now inspired members of Sheffi eld’s Chinese community to make their own response to the stories behind the objects. Photographs and personal testimonies accompany a chapter on their participation.

Museums Sheffi eld commissioned artist Gayle Chong Kwan to produce new work in response to the Grice collection. This book concludes with the story of that commission and how Gayle approached the making of The Land of Peach Blossom.

Nick DoddChief Executive

Museums Sheffi eld

October 2008

Foreword

06 07

The Grice Collection of Chinese Ivoriesby Clare Starkie

“The collection is believed to be the most extensive and complete assembly of examples of this clever and fascinating Art which is available to visitors in any Western Country of the World.”

Catalogue and Souvenir, Graves Gallery, 1939-40

Figure of the Heavenly Sisters, 1800s. From a Chinese legend, the two sisters moved from the moon to the sun to stop people staring at them.

The Grice Collection of Chinese Ivories is still one of only two internationally known collections of Chinese ivories in the United Kingdom, and the only one in a public museum. This exceptional group of 154 skilfully carved objects is the result of one man’s personal interest in an art form frequently overlooked by other Western collectors.

Dr Grice and the ivories

Dr John William Hawksley Grice was born

in Kent in 1891. After qualifying from Guy’s

Hospital Medical School in London, he joined

the Royal Army Medical Corps. Serving in

France then Iraq, he moved to China in 1922

with his wife Kathleen. Dr Grice worked as a

General Practitioner, surgeon, obstetrician,

orthopaedist and gynaecologist, mostly with

the British community living in Tianjin, a city in

northwest China. He was very highly regarded

by everyone and organised a Chinese relief camp

during a fl ood disaster. During the Japanese

occupation of China, Dr Grice was imprisoned

in an internment camp in 1942 for two and a

half years. He negotiated with the Red Cross

to bring in medicine and surgical instruments

for the hospital established there. In 1953, he

was awarded an OBE for his vital work with

camp internees of all nationalities. When the

communist army took over Tianjin in 1947,

Dr Grice was again imprisoned. After his release,

he continued to live in China until 1952, when he

left to become a General Practitioner in Bognor

Regis. He retired in 1973, and died in 1976.

Whilst in China, Dr Grice became interested

in collecting carved jades, as well as ivory and

bamboo pieces. These were popular amongst

Chinese collectors, but not as well known in the

West. His two daughters recollect that he would

often come home from his practice at lunchtime,

read medical journals and drink tea. Chinese art

dealers would come to the house with bags of

carved ivories for Dr Grice to look at. His selection

was based on personal taste alone, and if the

price was right. He had a saying ‘fi rst price,

last price’, and would never haggle.

‘’When my father was collecting ivories he was the only foreigner collecting these museum pieces on a large scale over many years’’

Dr Katherine Grice, daughter of Dr Grice

Dr Grice. Image courtesy of Dr Grice and Mrs Stevens

08 09

The Ivories at the Graves Gallery

After some years, Dr Grice needed to sell his

ivory collection. A family friend, who came from

Sheffi eld, suggested asking local businessman

John George Graves, who was known for his love

of art. Whilst on leave in England in 1937,

Dr Grice met with Mr Graves and sold the ivories

to him. Three years earlier, Mr Graves had

donated a large sum of money to fund the Graves

Art Gallery (now known as Graves Gallery),

showing some art works from his own private

collection. Wishing for the ivories to be shown

there, they were presented to the City of

Sheffi eld by Mr Graves offi cially on 2 March

1939. In addition to donating the collection,

Mr Graves also provided money for a catalogue

to be produced and for cases to be fi tted in what

was then called the Chinese Room at the Graves

Gallery.

When the collection was displayed, it was seen

as a source of inspiration for workers who carved

ivory for Sheffi eld’s metalwork industry, mainly

to be used for cutlery handles.

“Sheffi eld has been for a period approaching three hundred years, the home of the silver trade, and has been famed for the beautiful work of its silver workers who have often embellished their creations with appropriate ornamentation carved in Ivory or Pearl.”

Catalogue and Souvenir, Graves Gallery, 1939-40

Dr Grice himself was very interested in ivory

carving, and sent hand-written notes to

Mr Graves on the history of carving, the

properties of ivory, and the techniques used to

produce the objects.

“The whole work is done with a series of simple steel gouges, chisel and picks… Every fi rst class piece is the work of one artist… on which he may work for a year or more.”

Dr Grice’s notes

Dr Grice did visit the ivory carving factories

himself, but did not record the origin or dates

of the pieces he collected. A catalogue was

produced in 1958 by William Watson (1917-

2007), who was then working in the Oriental

Antiquities Department of the British Museum.

He later became Professor of Chinese Art and

Archaeology at the University of London.

Watson’s was a specialist publication, examining

style, artistic merit and the history of ivory

carving in China, and its export to the West.

Reference was made to religious and mythological

stories that appear on the carvings, but their

signifi cance in Chinese culture was not discussed

in any detail. The research was also unclear

about dating. The pieces are often found to

be unmarked or falsely marked with earlier

dates. Many of the pieces are attributed to the

capital city Peking (now Beijing) or to Canton

(now Guangzhou). These were the main centres

of ivory carving. The names of the highly-

skilled carvers were rarely recorded, and the

organisation of the factories in which the ivories

were made is largely a mystery.

New insights into the collection

In producing the exhibition, The Return of

the Ivories, it was felt the collection needed

new research to bring it up to date with current

scholarship on Chinese art. Since the 1970s,

China has become more accessible, which has

allowed Western scholars to learn more about its

culture and history. Far Eastern expert Rose Kerr,

whose essays appear later in this book, studied

the carvings in great detail. Retranslating the

inscriptions and recognising the signifi cance of

the characters and symbols of the ivories has

opened up a whole new world of information.

The cultural and artistic context of the carvings

and what they can tell us about Chinese society

can now be fully understood. The objects are

not just works valued for their artistic merit,

but also refl ect Chinese history, culture and

diverse spiritual beliefs.

Views of the Chinese Room at the Graves Gallery, 1939-40

The Return of the Ivories exhibition at the Graves Gallery, 2008

Mr Graves and the ivories, 1939-40

An overview of the collection

The Grice collection has around 150 pieces, mostly produced in the 1700s and 1800s. It is diffi cult to say exactly which ones were made especially for the growing export trade to European collectors, and which were made for Chinese dealers. There is a wide variety of objects, some made to be used, but most are decorative works of art. All have meaning within Chinese culture.

10 11

For the Chinese market

Other objects are particular to Chinese culture:

cages to keep crickets in for fi ghting, sceptres,

a ceremonial staff like those carried by offi cials

in the Imperial Court. Landscapes in a basin,

see page 12, representations of plants in precious

stones were popular ornaments in Chinese homes.

3. Cricket cage with tickler and case, 1800s.

The nurture of crickets was very fashionable

among children and men. Prize crickets

were sold for high prices. They were kept in

cages made of gourd because it resonated well,

amplifying the sounds that crickets make.

The crickets were tickled with the brush to

make them fi ght. The case is decorated with

images of children with their crickets and text

of the sayings of Confucius.

4. Sceptre, 1700s. Sceptres were a symbol of

luck and often given as gifts. This one has

jade end pieces decorated with a bat, dragons

and Shou Xing, the Daoist god of immortality.

Together they have the meaning ‘long life,

good fortune and happiness as you wish’.

Western style

There is a group of objects that would appeal

to the Western market: small boxes, fans and

hair ornaments.

1. Comb, 1800s. This is in a European style

and decorated with roses.

2. Fan, 1800s. This silk fan is embroidered

with phoenixes, butterfl ies, dragons and birds,

all symbols of a long and happy marriage.

Its style suggests it was an expensive item

made for export to the West.

1.

3.

2.

4.

Opium pipes

In Dr Grice’s notes he says that all seven opium

pipes in the collection have been used and the

smoke has discoloured the ivory. Some have

enamelled decoration probably done in the port

city of Canton (now Guangzhou), famous for its

enamelling skills.

1. Opium pipe, 1800s.

Figures

The largest group of objects in the collection,

over 30, are fi gures of people. Some represent

real characters from history or are deities from

two of the main belief systems of China, Daoism

and Buddhism. They were often used as a focus

for devotional worship in the home.

2. Figure of Lan Cai He, 1800s-1900s. She is one

of the Eight Immortals of Daoism and represents

youth, innocence and happiness.

3. Figure of Guanyin, 1800s-1900s. One of four

fi gures of the Buddhist deity Guanyin in the

Grice collection. She is shown with a vase and

lotus fl ower, both Buddhist symbols.

4. Figure of Zhang Daoling, 1500s-1600s.

The founder of the organised Daoist religion is

shown here in the cave he lived in as a hermit.

12 13

Landscape in a basin, 1800s-1900s. The basin

contains nandina or heaven’s bamboo which has

a symbolic meaning of happiness and goodness

owing to its lucky red colour and profuse berries.

It is used in Chinese medicine and is thought to

have special powers. Beneath is plum blossom,

which conveys happiness and the survival

of winter.

1.

2. 3.

4.

14 15

Eight fi gures, 1700s. These wooden bodied

fi gures are dressed like Imperial Palace

servants and hold the Eight Buddhist Symbols.

Animals

Animals are highly symbolic in China and

therefore are popular subjects for decoration.

Figures are skilfully carved representations

of real and mythical creatures.

1. Pair of carved Chinese mitten crabs, one with lid off to show inside, 1800s.

Crabs are a delicacy in Shanghai and a symbol

of achievement.

2. One of a pair of phoenixes, 1800s-1900s.

The different types of feathers represent

benevolence, righteousness, virtue and faith.16 17

3.

4.

Vase detail

Vessels and vases

In contrast to the clean lines and elegant shapes

of the fi gures there are a number of highly carved

miniature scenes in tall vases and vessels. The

minute detail mostly shows Daoist scenes, which

were believed to be too fussy for Chinese taste.

They were described in the 1958 catalogue as

“crowded, sometimes ill-organised and static”.

It was thought that the pieces dating from the

1700s were more beautiful as they were simpler.

3. Vase carved with Daoist scenes, around 1900.

Highly carved pieces were made by undercutting,

leaving the ivory decoration attached in only a

few places.

4. Vessel, around 1900. This vessel is imitating

large ancient bronze incense burners found in

palaces and temples.

1.

2.

18 19

Plaques

There are seven pairs of so-called decorative

plaques, highly carved objects on wooden stands

and mirrors of each other. They tend to show

birds amongst plant life and use visual puns

to give messages to the recipient.

1. Plaque and stand, 1700s-1800s. The Chinese

words for the ducks and reeds shown make

a pun wishing good luck in exams.

Writing and painting accessories

The calligrapher’s art is well represented with

over 20 brush pots and other objects relating

to writing and painting.

2. Brush pot, 1876. Decorated with a script

similar to that used on carved stone.

3. Brush pot, 1600s. Carved with a tiger and

dragon representing the directions West and

East, and the elements fi re and metal.

4. Brush, 1700s. This brush would have been

mounted on a long wooden pole to do large

scale calligraphy and painting.

1.

2. 3. 4.

“Even though we grew up in China, we can’t remember all we have heard and read… but after seeing these objects, it reminds us of our history. Because we have almost forgotten our time in China, these objects give us wonderful memories.”

Ms Xi Chen, Evergreen Agewell Group, Sheffi eld

20 21

Chinese ivory carving and trade by Rose Kerr

Figure of Ma Gu, a Daoist immortal, around 1850.

Elephant ivory is the perfect medium for creating

delicate works of art. This natural material is

tough and does not crack easily, so it can be used

for delicate hollowed out carvings and will polish

to an attractive fi nish. It has been used to make

decorative items in many parts of the world,

including Britain, where in the 1800s and early

1900s Sheffi eld used it for cutlery handles.

The Chinese were using ivory as early as

the Neolithic period, around 4000 BC, when

elephants lived in southwest China. Around 1000

years ago Chinese elephant numbers began to

decline, so ivory was then shipped from India.

In the late 1800s the arrival of the steamship

trade meant that goods could be brought in from

further away and huge amounts of ivory came

into the ports of south China from East Africa.

The majority of Chinese ivories in the Grice

collection date from the Ming and Qing dynasties

(1368-1912). Ivory was used for many things

including religious fi gures, useful everyday

objects, and ornaments. Carvers worked in small

family run businesses and passed their skills on

from generation to generation. There was a large

domestic market supplying ivory objects such as

chopsticks, writing implements, fans, hairpins,

screens, boxes, cups, dishes and religious images.

The Emperors set up special workshops in the

Forbidden City in Beijing to make high-quality

objects for the Imperial court.

From around 1560, carved ivory began to be

exported to Europe. The fi rst clients were the

Portuguese, who started to trade with Asia.

By 1700 Chinese ivories were eagerly received

by many countries, including Britain.

From the late 1800s increasing numbers of

Europeans such as Dr Grice, settled in China.

Many of these settlers collected Chinese works

of art. There was a limited availability of

antique ivories for this new market of collectors.

However the importation of African ivory

increased productivity from ivory carving

workshops. In the mid 1900s, the Beijing Ivory

Carving Factory employed over 800 people and

used four tonnes of ivory every year.

The international trade in ivory is now subject

to strict quotas to protect elephants. There are

only around 250 wild elephants in China today.

They live in Yunnan Province and are protected

by law. Ivory carving is still practised but on a

much smaller scale, by skilled workers in Beijing,

Shanghai and Guangzhou. Ivory traders must be

government registered and all products sold must

have a certifi cate of legality. The decline of the

ivory trade is due to China’s ban on the import

and export of ivory, and a shortage of young

Chinese people willing to take up the craft.

The Chinese government supports the industry

with grants and awards for craftspeople, and

by combating the growing trade in forgeries

and illegal imports.

Ivory was used for many things including religious fi gures, useful everyday objects, and ornaments. Carvers worked in small family run businesses and passed their skills on from generation to generation.

Wang Xizhi and son

Scholarship is important in China, and people

who can write, compose poetry, paint beautifully

and play music are greatly admired. The best

known early calligrapher, praised for his elegant

handwriting, was Wang Xizhi (303-361). Wang

was famous for his running script. This is a type

of fl owing handwriting in which the characters

are written very fast. Wang’s hobby was rearing

geese, and legend has it that he learnt how to

turn his wrist while writing, by observing how

geese moved their necks. Wang Xizhi had seven

children, all of whom were skilled calligraphers.

The most distinguished was his youngest son,

Wang Xianzhi, who is shown with his father and

the geese on the brush pot.

The Chinese admire bravery, patriotism, intelligence and justice in their leaders. Traditionally, men were expected to have these qualities, as well as good business skills and the ability to care for their family. Beauty was admired in women, as well as obedience and fi delity. The female Daoist Immortals were permitted qualities such as power and skill. Both real people, and imaginary deities and spirits, were written about in books, narrated in stories and depicted in dramas and operas. They were also reproduced in paintings, textiles and crafts. Ivory was used to make expensive craft products, including those showing famous people from history.

22 23

Xuan Zang

After Buddhism was introduced into China from

India around the year 100, writing spread to

all the regions by travelling monks bearing holy

texts to teach from. In early times, there was a

shortage of sacred books, and this problem was

solved by the great Buddhist pilgrim Xuan Zang.

Born in 602, Xuan Zang was ordained a monk in

the Temple of Heavenly Radiance in the city of

Hangzhou while still a boy.

As a teenager he was sent north to the Temple

of Great Learning in the capital city of Chang-

an. The monks there devoted their lives to the

translation of Buddhist texts from India. Xuan

Zang planned to travel to India to bring back

up-to-date versions of these sacred books. His

mighty journey was undertaken between 627

and 643, and he wrote a detailed account of his

travels. It was an incredibly diffi cult journey

along the Silk Route, through the great, cold

deserts of Central Asia. When he returned home

after 15 years, his treasured books were admired

by worshippers and helped Buddhism to fl ourish

in China. In later centuries he was immortalised

as a saint, and his journey was popularised in

fables, stories, plays and operas. The most

well-known version is Journey to the West,

also known as Monkey which was published

in the 1590s.

Li Bai

Chinese characters have several different

meanings and have been used to write beautiful

poetry. China had many distinguished poets; one

of the greatest was Li Bai (701-762). He is known

as the Poet Immortal and more than 1000 of his

poems remain today. Li Bai is best known for the

striking Daoist imagery in his poetry and for his

love for alcohol. Private wealth allowed him to

spend much of his life travelling. Chinese scholars

believed that spending time in remote, quiet

countryside locations helped creative writing.

On this brush pot, Li Bai is shown with his servant

under a pine tree. It was thought that drinking

alcohol helped release his creative powers.

The inscription says,

‘Li Bai drank wine by the gallon and wrote poems by the score. Inscribed on a day in spring’.

Li Bai is said to have drowned in the Yangtze

River, having fallen from his boat while

drunkenly trying to embrace the refl ection

of the moon.

People from history by Rose Kerr

Brush pot 1600s.

©Museums Sheffi eld

Figure of Xuan Zang, 1700s.

Brush pot, 1700s.Brush pot, 1600s.

Yue Fei

In Chinese history, there are many brave soldiers,

and one of the most famous is General Yue Fei

(1103-1142). Yue Fei was born into a poor family

of farmers, in south China. His father died when

he was very young. At that time, there lived

in the northeast a tribe called the Jurchen, in

present-day Manchuria. They established their

own dynasty known as the Jin dynasty and

started to conquer the Chinese in the south, who

were ruled by the Song dynasty. Yue Fei joined

the Song army and rose to the rank of General.

He and his family were fanatical patriots, and he

swore that he would recapture the lost territory

in the north and free two former emperors still

held in captivity by the Jin. Yue Fei organised

an army, marched northwards and recaptured

vast territories from the Jin.

However, the reigning Emperor Gaozong was

terrifi ed that Yue Fei would be too successful,

and might actually free the two former emperors.

Then Emperor Gaozong would be forced to

step down from the throne. He also feared

that General Yue Fei might seize the throne

for himself. He plotted secretly with one of his

ministers to hold peace talks with the Jin, and

ordered Yue Fei and his army back to the capital.

There, Yue Fei was deprived of his command and

after a short while he was tried for high treason.

Because of his popularity with ordinary people,

he was executed in secret. From that day, Yue Fei

has been celebrated by patriots as a symbol of

national resistance to foreign domination.

24 25

Liu Ji

Liu Ji (1311-1375) was a military strategist,

offi cer, scientist, politician and poet. He was

born in south China, at a time when the country

was still ruled by invading Mongols who had

founded the Yuan dynasty. During the latter part

of their rule in the 1300s, many groups rebelled

against them, particularly in the south. One group

had a skilled leader who defeated the Mongols

and founded the Ming dynasty in 1368.

Liu Ji was chief advisor to the new emperor,

Zhu Yuanzhang, and planned the construction

of a new capital and the rebuilding of China

after decades of neglect. He was interested in

astronomy, calendrical science, magnetism,

geomancy, and military technology. Liu Ji also

served in many battles as a commanding offi cer

on land, and as admiral on the fl agship of the

early Ming navy.

Figure of Yue Fei, around 1850.Two fi gures of Liu Ji, around 1850.

26 27

Myth and legend by Rose Kerr

Plaque, 1800s.

Chinese culture is over 7000 years old and is underpinned by three basic philosophies called Confucianism, Daoism, and Buddhism. Although China today is offi cially atheist, its cultural heritage has always been a balance between these three teachings.

Myths and legends were fi rst passed on through

traditional storytelling and began to be written

down about 3500 years ago. New tales were

added over the centuries and continue up to the

present day. Some stories relate to real people

such as rulers and heroic soldiers, others concern

religion and miracles, romantic love, spirits and

magic. These stories have formed a central part

of Chinese life, and have infl uenced the

behaviour of the people who believe in them.

Stories were written in illustrated books and

also appeared on textiles, ceramics and carvings.

Many ancient myths and legends were about

health, good luck, a happy family and wealth.

Sometimes they concerned people who had

miraculous strokes of good fortune, or were

very patriotic and brave. Stories like this are

still popular. However, as traditional ways of

Chinese life disappear, some aspects of the stories

are less appealing. For example, the Confucian

values of loyalty to parents and family members

and obedience to fathers, elder brothers and

husbands, are less relevant to modern families.

Confucian virtues

This ornamental plaque shows a scene celebrating

the virtue of sons. Overhead a fl ourishing bean

plant symbolises many sons. Its vine and tendrils

make a word puzzle that represents the phrase

‘ten thousand generations’. The Chinese wished

that their families would fl ourish through the

male line forever. They wanted their boys to

grow up obedient to Confucian virtues. Below

the vine are a group of boys, busy dividing

pears. This incident is described in the Three

Character Classic, a book used for hundreds of

years to teach children the basic principles of

Confucianism.

The teaching phrase in the Three

Character Classic is:

‘At the age of four, Rong already knew that he ought to let his older brothers have the bigger pears’.

The youngest boy in the carving must be

Kong Rong who lived in the Later Han dynasty

(25-220). The story illustrates that younger

people should respect their elders. This is one

of the basic principles of Confucius.

This ornamental plaque shows a scene celebrating the virtue of sons.

The Royal Lady of the West

On the other side of the Ding vessel, the larger

central fi gure in the close-up above is Xiwangmu,

the Royal Lady of the West, surrounded by her

fairy handmaidens. In Daoist legend she was

the queen of the female Immortals who ruled

a paradise called West Flower. Her husband

presided over males in his East Flower paradise.

The Western Paradise contained an enchanted

palace with beautiful pagodas and halls built of

marble and jasper, a nine-storied tower, sparkling

brooks and waterfalls, and a magical garden.

There, the Royal Lady of the West cultivated

the herbs and fungus of immortality. Among

her plants was the jade plant, which conferred

everlasting life. There was also a famous tree

with peaches that ripened only once in 3000

years, and bestowed immortality.28 29

Vessel, around 1850.

Close-up of vessel

Close-up of vessel.

Figure of one of the handmaidens of the Royal Lady of the West, around 1850.

Daoist fi gures

This tripod vessel is called a Ding and its shape

is based on ancient bronze objects. On the lid

is Liu Hai, the youthful God of Wealth, with his

string of coins and three-legged toad. He was able

to travel anywhere in the universe and with the

toad could fi sh money from the sea and give it to

the poor and needy.

On one side of the vessel is Shou Lao, the God

of Longevity. He is the old man in the centre of

the close-up with a long beard and high, domed

forehead to demonstrate wisdom. In one hand he

holds a staff, which has magical properties. In the

other hand is one of the peaches of immortality.

To his right a spotted deer symbolising good

fortune, and in front a crane symbolising long

life. Behind him a servant boy cools him with

a large fan.

30 31

1. Han Zhong Li, was chief of the Eight

Immortals who lived more than 2000 years ago.

He was an alchemist who could turn mercury and

lead into gold and silver, and restore the souls of

the dead. He has a bare belly and carries a fan.

The fan is a symbol for the following story.

Zhong Li met a woman fanning the soil of her

husband’s grave. Before he died she promised her

husband that she would not remarry until the

soil of his grave was dry. She had found a new

admirer and wanted the soil to dry quickly so

she could remarry. Zhong Li took the fan and

dried the soil instantly. He decided to test

the woman by transforming himself into the

handsome young man she wanted to marry.

They made love, but he then told her he needed

the brain of her deceased husband to make a

potion before he could marry her. She ran to her

husband’s grave and dug up the casket. When she

opened it her husband came to life and her new

suitor disappeared.

2. Lan Cai He was fi rst mentioned in stories about

the Tang dynasty (618-906), and is a symbol of

elusive pleasure. She wandered the streets in

disguise, held the secret to the fountain of youth,

and represents youth, innocence and happiness.

3. The Elder, Zhang Guo Lao lived around

650, and legend says he was transformed into a

human from a bat. He was a recluse who carried

a bamboo drum. He attained supernatural powers

and could perform magic, such as becoming

invisible and travelling great distances in a matter

of seconds to aid sufferers.

4. Lu Dong Bin, leader of the Eight Immortals,

lived around 850. He was worshipped by the

sick, and wandered the world destroying evil

with his sword.

5. Immortal Woman He was born in the 600s

and was taught alchemy by Lu Dong Bin, who

gave her the peach of immortality to eat, which

gave her eternal life. She then travelled to see

the Royal Lady of the West, who took her to the

Garden of Boundless Space. Immortal Woman

He nourished herself by feeding on the dew of

heaven, mother-of-pearl, and moonbeams. She

fl ew from one mountain to another, meeting

Immortals and collecting healing herbs for the

needy.

6. Iron-Crutch Li has an iron crutch and a gourd

bottle that holds his medicines and potions.

He lived in the 700s and was a tall, handsome

hermit-scholar who was invited to visit the

Islands of the Blessed in an out-of-body state.

Before he left, he instructed his disciple to keep

watch over his body and if he did not return on

the seventh day, to cremate it. On the sixth day

the disciple was summoned to attend his dying

mother, and cremated the body one day ahead

of time. Li’s soul returned on the seventh day

and without a body to inhabit, it entered the

dead body of a lame beggar who carried a crutch.

7. Royal Uncle Cao (930-999) was the son of

a military offi cial and uncle of the emperor.

Disturbed by the bad behaviour of his brother,

he sought solace in the mountains and studied

Daoism. He is the patron saint of the theatre,

and his emblem is a pair of castanets.

8. Philosopher Han Xiang Zi lived in the

Tang dynasty (618-906) and attracted all living

creatures with his music. He was the favourite

of his teacher Lu Dong Bin, who took him to

where the immortal peaches grew. Han Xiang

fell from the tree while picking the fruit, and

became immortal.

1.

3.

5.

7.

2.

4.

6.

8.

The Eight Immortals

The Eight Immortals are legendary fi gures in Daoist belief that live in the Islands of Immortality.

Detail from vessel around 1850.

32

Buddhism by Rose Kerr

The teachings of the Buddha are known as

Buddhism. Buddhism is both a religion and

a philosophy. It is based on the beliefs of

Siddhârtha Gautama (563-483 BC), an Indian

prince who became a holy man and the fi rst

Buddha. When he was born, a prophet said that

he would become either a great king or a great

holy man. His father, the king, hoped that if his

son was always happy, he would not want to

become a holy man. He found a beautiful woman

for Siddhârtha to marry and they had a child.

Although the prince had everything he could

want, he was not happy and wanted to learn the

answer to the problem of human suffering. When

Siddhârtha was 29 years old, he was out on a

walk when he saw the ‘Four Passing Sights’ - an

old crippled man, a sick man, a dead man, and a

holy man with no home. He realised that nothing

could stop people from being born, becoming old,

getting sick, and dying. He decided to give up his

privileged life, and search for spiritual answers.

In the middle of the night he fl ed the palace and

travelled around India living a frugal life.

After many attempts to fi nd truth through

fasting and self-punishment, Siddhârtha sat

under a Bodhi tree and began to meditate. His

mind became pure, and after six years he found

enlightenment, and became the fi rst Buddha. In

his teaching, Siddhârtha said he was just a man

who had found enlightenment, and that anyone

could do the same. For the rest of his life, he

walked all over Southern Nepal and parts of India

to teach people his new way. At the age of 80,

Siddhârtha Gautama Buddha died. The Buddha’s

last words were, ‘All things must end. Work hard

for your own enlightenment.’

Buddhism is mostly about ending the feeling of

pain that all people feel inside. Gautama Buddha

taught that pain is a part of all life, and is caused

by desire. He showed that there is a way to end

desire and pain by doing good things and training

one’s mind through meditation. He taught that

people should look to themselves not the gods

to save them. In the 500 years following the

Buddha’s passing, Buddhism spread throughout

the Indian subcontinent and into nearby

countries such as China.

Buddhists built temples for worship that

were richly decorated with painted walls and

ceilings depicting scenes of the Buddha’s life

and famous stories about Buddhist deities and

saints. The temple halls were fi lled with statues

of the Buddha, Bodhisattvas and monks. Pious

Buddhists made shrines in their own homes,

in which they hung paintings and displayed

statues to pray to. These included fi gures carved

in the precious material ivory. Ivory is white,

which is a sacred colour in Buddhism because

it represents purity. Ivory was also a precious

resource, because it had to be imported and was

quite scarce. So ivory carvings of Buddhist deities

showed reverence in their choice of material.

Because the size of an elephant’s tusk limits the

size of carvings, many statues were small and

thus suitable for portable images in temples,

monasteries and homes.

Figure of Buddha, around 1450.

The teachings of the Buddha are known as Buddhism. Buddhism is mostly about ending the feeling of pain that all people feel inside. 33

34 35

The Buddha

In Buddhism, any person who has attained

enlightenment and awakened from the sleep

of ignorance without instruction, and teaches it to

others, is called a Buddha. The Buddha shown on

page 32 is dressed in the simple robes of a monk,

as the historical Gautama Buddha dressed. He

stands with his right hand in the gift-bestowing

gesture of compassion with the palm turned

outwards. His hair is in tight curls, one of the

marks of the Buddha. It is said that when Prince

Siddhârtha left the palace he chopped his long

hair off and it sprang into curls. Another mark is

his long earlobes, which were stretched by the

heavy jewellery he wore as a prince. In the centre

of his head is a protuberance called Usnisa, a

mark of the attainment of supreme wisdom and

another attribute of Buddhahood.

Bodhisattvas

The carved head in picture 1 represents the

goddess Guanyin in the form of a Bodhisattva.

The Bodhisattvas are fi gures who attained

enlightenment, and instead of going on to a

state of paradise bliss, decided to stay in the

world to help human beings. Bodhisattvas are

shown dressed in princely robes with crowns and

jewellery. This fi gure wears a silk robe, earrings

and a necklace, and has a tall crown in which sits

a carving of the Bodhisattva, Maitreya, who is

a teacher and represents the future hope of the

world. In the centre of the Bodhisattva’s forehead

is a raised dot, the Urna. It radiates wisdom and

symbolises a third eye with the power to emit a

beam of light and illuminate the world.

The Bodhisattvas are loved by worshippers

because they chose to help human beings.

Guanyin is China’s favourite: the name means

one who listens and pays attention to the cries

of the world.

Originally, Guanyin was an Indian male

Bodhisattva, but during the 1400s, the power of

popular worship in China transformed him into

a female fi gure. In picture 2 Guanyin is shown

in the form of ‘Guanyin who sends sons’. It was

the duty of every Chinese woman to bear sons,

and many women prayed to this deity for help.

In this fi gure, Guanyin holds a small boy in her

arms, who himself holds a vase, one of the eight

Buddhist symbols and a homophone for peace.

Guanyin holds a fl y whisk in her other hand,

which symbolises authority, but also signifi es

a rule of Buddhism not to kill any living thing,

even a fl y.

This seated Bodhisattva, below, wears jewellery,

princely robes, his hair tied up on top of his head

and a tall crown. In his hands he holds a bell,

used in Buddhist services to drive away evil

spirits, and an incense burner. Incense smoke is

believed to purify, and temples contain many

burners. He is seated on a lotus throne which in

Buddhism signifi es purity. Buddhist deities often

sit on thrones in the shape of open lotus fl owers.

Buddhist monks

In Buddhist temples, the main statues of

Buddha and other deities are attended by ranks

of sculptures of holy men. Some of these monk

fi gures are based on Indians who followed the

Buddha, and others are Chinese holy men, such

as the abbots of monasteries. The gently smiling

fi gure shown here is dressed in brightly coloured

silk brocade robes. He holds a hand percussion

instrument, or form of clapper in his left hand,

for sacred music.

1. Head of Guanyin, around 1850.

2. Figure of Guanyin, around 1550.

3. Figure of Bodhisattva, 1600s.

4. Figure of Buddhist monk, 1700s.

1. 2. 3.

4.

36 37

Plants and animals by Rose Kerr

Chinese people have always observed nature closely. Plants and animals are important subjects in both writing and the arts.

They are shown on early bronzes, and carved

around the walls of tombs, as well as adorning

fi ne silk clothing and textiles. To Western eyes,

Chinese ivory carvings look like attractive objects

covered in decorative creatures and fl owers, but

a greater signifi cance lies in these decorations.

The Chinese language uses homophones, this

means words that sound the same but have

different meanings. Sometimes an animal or a

plant symbolises a virtue, while designs can also

combine to form elaborate verbal puns or rebuses.

It is hardly ever the case that a pattern does not

contain a hidden message.

Landscape in a basin

The colourful piece shown here contains fl owers

and fruits made of semi-precious stones in

an ornate dish. It is an indoor version of an

outdoor bonsai tree. In Chinese, they are known

as Landscape in a basin. Such arrangements

were indicators of wealth, and could be used

throughout the winter to brighten up a room.

The fruit in this basin is a kind of inedible

citrus known in Chinese as Buddha’s hand

citron because of its shape. The natural plant

has a very powerful and fragrant odour, and is

offered up in porcelain bowls before the shrine

of the household gods at the New Year festival.

In contrast to religious symbolism, the fruit

bears a resemblance to a hand grasping money,

so it became a good luck talisman for gamblers.

There are also camellia fl owers in the basin,

which represent a young woman’s beauty, as

well as spring and the regeneration of another

year. Finally, at the foot of the other plants

grows fungus. This is the fungus of immortality,

which grows in the Daoist paradise gardens of

the Royal Lady of the West. The whole grouping

of fruit and fl owers in this dish conveys the

meaning ‘Happiness, long life, wealth and spring

regeneration’.

Landscape in a basin, 1700s.

To Western eyes, Chinese ivory carvings look like attractive objects covered in decorative creatures and fl owers, but a greater signifi cance lies in these decorations.

38 39

The Land of Peach Blossom

The two wine cups are in the form of halved

peaches, supported on branches of peach fruits

and blossom. Their form and delicate carving

resemble similar cups made of jade or porcelain.

The peach originated in China, where it blooms

in March, and is a symbol of spring. The famous

poet Tao Yuanming (365-427) wrote a story

called The Land of Peach Blossom that provided

an image of a peaceful land far away from the

turmoils of the world. The story is as follows:

During the Jin dynasty (376-396) there was a

fi sherman, who when following a stream in his

boat, suddenly came to a grove of blossoming

peach trees.

Amazed at this strange place, the fi sherman

continued on to see how far it went. The peach

trees stopped at the stream’s source, at the

base of a mountain. There was a small opening

through which the fi sherman could see light.

Leaving his boat, he entered the mountain. It

opened up to reveal a broad, fl at area with large

houses, good fi elds, beautiful ponds, mulberry

trees and bamboo. The fi sherman could hear the

sounds of chickens and dogs, and saw men and

women working in the fi elds. Everyone seemed

happy and content. The people were surprised to

see the fi sherman, and they asked him where he

had come from. He told them of his world and the

people were amazed. They invited him into their

homes and prepared a lavish meal. Other villagers

heard about the fi sherman, and came to ask him

questions. The villagers explained that to avoid

the chaos of war during the Qin dynasty (221-

206 BC), their ancestors brought their families

to this isolated place and never left.

After several days the fi sherman said goodbye,

and the villagers asked him to tell no one about

their land.

The fi sherman returned through the mountain

opening, found his boat, and retraced his

route. He left markers so he could fi nd the

land again. When he returned to his village

he told the Prefect what had happened. The

Prefect immediately sent someone to follow the

fi sherman and look for the trail markers, but

they got lost and never found The Land of Peach

Blossom again.

Objects with meaning

This ornament is one of a pair and contains

multiple meanings. It is carved with a pine tree

and crane representing longevity because both

the tree and bird live for a very long time. The

deer symbolises good fortune, while the fungus

of immortality grows beneath its feet. Together

the deer and crane form a rebus denoting the

universe, or longevity. The pine tree and the

crane are used together to mean ‘sending you

together an eternal spring’, wishing a bride and

groom a long life together into old age.

Pair of wine cups, 1700s.

One of a pair of ornaments, 1800s.

40 41

This box is one of a pair that shows fi ne

workmanship and is fashioned in the form of

lotus leaves. Lotus and crab together form a

rebus which means passing the Civil Service

examination without diffi culty. The box has a lid,

and when closed the two halves fi t together to

show water creatures including crabs and carp,

and insects including butterfl ies and dragonfl ies.

Inside is a simple fi shing boat with a bamboo-mat

awning. Paddled by two women and steered by

a man, the boat sails across a lotus pond with

crabs and ducks.

This plaque is carved with dragons, a symbol

of benevolence and power. Dragons with fi ve

claws also represent the Emperor, and this

plaque bears an imperial reign mark. The central

design of magpies and plum blossoms indicates

the approach of happiness. Magpies and plum

blossom give rise to a Chinese punning expression

meaning being happy to the tips of one’s

eyebrows. Below is a pair of ducks, a reference

to marital happiness.

1. Box with lid, 1736-1795. 2. Plaque, 1736-1795.

2.

1.

42 43

The scholar’s desk by Rose Kerr

The art of calligraphy

The oldest example of writing found in China

was incised onto animal bones in the Bronze

Age, around 1200 BC. By the year 200 BC

ink was being used for calligraphy writing on

strips of bamboo. Paper was developed around

105, however calligraphy on paper or silk is

delicate so few early examples survive. Precious

pieces dating from the year 300 are preserved

in museums. Calligraphy on ivory objects is

often found to be copied from famous books or

paintings, and can emulate the handwriting

of respected calligraphers.

The highest mark of achievement in traditional

China was mastery of the brush. Writing and

painting was done using the same implements

and solid ink. The ink was ground and mixed

with water and then applied with a soft hair

brush. To do this, water was dribbled onto an ink

stone, and solid ink was then ground into it to

form a liquid pigment. The scholar’s desk would

be positioned in front of a window, to catch good

light. When the sun shone too brightly, the table

would need some shade. This was provided by

a table screen, which would bear attractive

designs and inscriptions. Ivory arm and wrist

rests would have prevented contact with the

wet ink and made the brush position more

comfortable to the hand. At the end of the

composition, a seal dipped in vermilion seal paste

was applied to the work, noting a name, or the

name of a studio or workplace, or simply a lucky

wish or poetic saying.

In China today, children are taught chinese

writing in school, but few get the chance to

practice calligraphy using a traditional brush

and ink. This requires special teaching and takes

a long time to perfect. Nevertheless, there are

still many good calligraphers in China, where fi ne

calligraphy is still admired. It is used for many

things, from poetry to sign-writing, and from

hand-written scrolls to restaurant menus.

Screen plaque

This plaque was probably originally set in a

frame to act as a desk screen. It may have been

one of several, mounted to form a multi-jointed

screen of rigid panels that could be angled against

the sun. On one side is a lily, an evergreen and

an ornamental rock. Together these three make

the rebus ‘A relationship for ever’. In the narrow

panels on the sides of the screen are running

dragons, a phoenix, and a cloud. A dragon and

phoenix traditionally represent male and female,

so the owner of this plaque was making a strong

statement about a relationship. On the other side,

seen on the opposite page is a poetic inscription

written in fast-fl owing running script, that

describes the scene:

‘A sense of spring, a room among plantains, the sound of voices. Evening falls, the butterfl ies are mating among the fl owers.’

There are two seals carved at the end of the

poem, mimicking the vermilion seals added to

a piece of calligraphy. One reads ‘Jade Hall’ which

may be the name given to their study by the

scholar who commissioned the piece. The other

seal is a term of praise for such an elegant object,

for it reads ‘refi ned trinket’.

Screen plaque reverse, around 1550.

Screen plaque front, around 1550.

44 45

Brush pot

The brush pot shown here is decorated with

bamboo entwined with the morning glory plant.

Bamboo has the same sound as the word for wish.

It stands for humility, endurance, righteousness,

fl exibility, dignity and gracefulness – all qualities

the scholar strives to emulate and therefore

suitable for a scholar’s brush pot. The morning

glory symbolises harmony between male and

female, a meaning emphasised by its winding

round the stems of the bamboo. The insects

represent the beauty and bounty of the summer

season.

Wrist rest

These wrist rests form a pair as they have linked

inscriptions. They are carved in high relief in

the same manner as wood, and the scenes are

emphasised by being rubbed with ink. On the

upper surface are landscape scenes, with sheer

rocky cliffs, ancient gnarled pine trees and a

small boat containing a hermit scholar sailing

from behind a headland. Such a landscape

represents the ideal world for a scholar who

retreats to nature from city life. In the sky are

two inscriptions in cloud-shaped panels:

‘Water-dragons appear and vanish, there are the sounds of water and fi sh Mountains, rivers, trailing clouds, all light and shade.’

On the underneath of the wrist rests are cranes

at rest, suggesting contemplation. They stand

beneath Wutong trees, associated with scholars

because their wood is used to make the stringed

zither-like instrument called Qin that scholars

loved to play.

Brush washer

This elegant dish is carved into the form of

half a gourd, a plant symbolising good fortune

and longevity. Its depiction with vine and

tendrils, forms a pun which means ‘ten thousand

generations’, a traditional wish for the family

line to continue down the centuries. The foliage

is exquisitely carved, and stained with green ink

to form a contrast with the cream ivory. Many

vessels were made from real gourds in China,

such as brush washers for scholars, which this

item could have been used for.

Seal paste box

This small round box has faint traces of seal

vermilion inside, which proves that it originally

served as a container for seal paste. It is decorated

with a scene of ornamental rocks and bamboo

surrounding a banana plantation beneath

which sits a scholar. The suggestion of a garden

or landscape symbolises the ideal retreat of

the educated man. The rocks are a feature of

traditional gardens, where they were carefully

placed to form a miniature version of a craggy

mountain landscape. Originally, such rocks were

quarried from Lake Tai in eastern China, where

geology had scoured out rocks to form fantastical

shapes pierced with holes. Exceptional rocks were

the subject of connoisseurship, and were bought

by collectors.

Brush pot, 1700s.

Pair of wrist rests, 1700s.

Brush washer, 1700s. Seal paste box, 1700s.

46 47

Sheffi eld’s Chinese community and the Grice Collection of Chinese Ivories by Jon Bradley

Mary Tang at the ivories handling session.

©Carl Rose

“This is a folding screen. You can see some beautiful painting on the screen. It could be used to decorate the house, or the lady could hide behind the screen to peep at the outside as the lady would not be allowed to go out and meet their future prospective husband-to-be in ancient China. In the olden times, when dating, a man would go to a woman’s home and sit on one side of the folding screen, and the woman would only be able to stay on the other side peeping through it. There are many delicate patterns on the folding screen, fl owers and birds, animals, and camels.”

Mary Tang

Mr Ting Sang Wong is one of the Evergreen

Agewell group based at the Sheffi eld Chinese

Community Centre. On seeing the collection he

told us how his brother in Hong Kong was an

ivory carver some years ago.

“He has a bad leg, he can’t walk, but carving needs a pair of good hands, he has the hands for carving. It is work that requires accuracy and patience.”

Mr Ting Sang Wong

Two Chinese community groups, Evergreen Agewell Chinese Senior Citizens Luncheon Club and the Chinese Community Children’s Project worked with Museums Sheffi eld between October 2007 and March 2008. Artist Suna Xie brought creative guidance and leadership to both projects. Each group contributed new knowledge and understanding about the ivories and the stories they tell.

The Chinese Community Children’s Project, in

Sheffi eld, was funded by the Big Lottery Fund.

The project works in partnership with other local

organisations and Chinese groups to run activities

for its users. Eight young people from the group

took part in a programme of creative workshops.

The focus of their work was the stories of the

Eight Immortals, legendary fi gures from Chinese

mythology. These fi gures are illustrated on some

of the ivories. Before the project, some of the

group were unaware of the Eight Immortals,

others knew them through popular fi ction and

TV shows.

The young people were able to get up close to the

ivories through a session at Museums Sheffi eld’s

store. A curator demonstrated how to handle and

care for the delicate pieces and talked the group

through their meanings and signifi cance. The

detailed sketches the group made at the session

informed eight digital prints that they went on

to create through subsequent workshops. The

prints illustrated new stories featuring the Eight

Immortals set in Sheffi eld’s imaginary past and

present.

This group meets weekly at the Chinese

Community Centre on London Road to have lunch

together and take part in activities. The Club

promotes health awareness and a sense of well-

being among the Chinese elders, helping them to

combat loneliness and meet their cultural needs.

Curators and project staff took the group to

see the Grice collection at Museums Sheffi eld’s

store, where they enjoyed handling a selection

of the ivories. The knowledge of Chinese history,

culture, myth and legend that the group shared

with the staff provided a fresh insight into the

meanings carved into the ivories. Their personal

stories gave further understanding into the uses

and signifi cance of this fascinating collection.

Xi Chen speaks eloquently of the art of ivory and

horn carving and the wider cultural connections

with the natural world that she sees, “In the

1950s we produced the fi nest ivory carving in

Guangzhou, it was famous around the world.

Because it is illegal to use ivory now, new

carvings are made using horns. I have talked to

the artists, they told me that to keep and protect

the lost art they don’t have a choice but to use

horns. I feel sad because I am so afraid we are

going to lose the art of ivory carving but we don’t

want to hunt any elephants for our pleasure...

Harmony as a concept in Chinese culture has

been recognized since ancient times… We must

treasure the earth and protect nature, in order to

keep a beautiful and clean, ecologically balanced

homeland.”

The members of the group went on to produce a

memory book, a blend of photographs and oral

history that describes how they established their

life and families in the United Kingdom and

includes their personal responses to the ivories.

Evergreen Agewell Chinese Senior Citizens Luncheon Club

Chinese Community Children’s Project

48 49

Charlie Liu at the ivories handling session

©Carl Rose

Charlie’s picture of Han Xiang Zi playing the piano

“This is a story about Immortal Han Xiang Zi. Han Xiang Zi has given up on playing the fl ute and has taken up the piano; he performs regularly around the world and is well-known for his talents and rewards in the music industry… He has decided to raise money for music-related charities by performing for free in the Crucible Theatre in Sheffi eld. Whilst he plays, all the nearby animals, big dogs, fl uffy cats, small birds, spotted rabbits, bushy-tailed squirrels all come running to listen to his beautiful music.”

Excerpt from Charlie’s story

Mr Yuk Wong at the Sheffi eld Chinese Community Centre. © Suna Xie

50 51

Taking inspiration from Chinese legend and objects from the Grice Collection of Chinese Ivories, artist Gayle Chong Kwan created a new temporary work for the Graves Gallery called The Land of Peach Blossom.

This intricate and ambitious large-scale installation allowed the visitor to enter a miniature world or fantastical landscape. Gayle referred to our relationship with food and culinary utensils, as well as issues of waste, ecology and the permanence and impermanence of art materials. The installation was created out of discarded food packaging, in particular semi-opaque plastics, such as milk cartons.

She acknowledged that plastic had replaced ivory in objects such as billiard balls, piano keys, and cutlery handles. The materials used in the installation refl ect issues inherent in ivory, ecology and trade as well as waste and environmental debates.

Gayle approached the commission by researching the Grice ivories, the techniques associated with carving and the issues relating to the use of ivory. She studied different traditional techniques of cutting, bundling, plaiting, knitting, embroidering, and carving and explored ways of heating, melting and twisting the plastic waste material.

Some of the Grice ivories relate to the Chinese legend of a peaceful Land of Peach Blossom. The land was found accidentally by a lone fi sherman, but never seen again. This story, and modern building developments such as Thames Town, the English Victorian style village in Shanghai also infl uenced her work.

1.

2. 3.

3. Gayle working in her studio, 2008.

© Carl Rose

2. Photographic work from The Land of Peach Blossom, Graves Gallery, 2008.

© Gayle Chong Kwan

1. The Land of Peach Blossom, Graves Gallery, 2008.

© Carl Rose

Gayle Chong Kwanby Alison Morton

The Land of Peach Blossom

Gayle Chong Kwan (b. 1973, Edinburgh)

is a Scottish-Chinese Mauritian artist, working

with photography, video, sound, installation

and performance.

52

Bodhi treeA large and very old fi g tree, located in Bodh

Gaya in northeast India, under which Siddhârtha

Gautama, the spiritual teacher and founder of

Buddhism, achieved enlightenment, or Bodhi.

Calendrical science The calculation of dates using mathematics

and astronomy, particularly the movements

of the moon and sun.

ConfucianismThe writings of the scholar Confucius

(551-479 BC). He thought the key to a stable

society was strong moral and social virtues.

Daoism/DaoistA belief system following the teachings

of philosopher Lao Zi, born around 600 BC.

Daoism has many deities and immortal beings.

Many Chinese people believe these can bring

good fortune, and look to them for help in

everyday life.

The Forbidden City A complex of buildings in the centre of the

capital city of Beijing that formed the Palace

for the emperors of China. In addition to halls

for offi cial business and for living, it contained

special workshops to make high-quality objects

for the Imperial Court.

GeomancyThe practice of making a prediction of the

future from the patterns created when earth

is thrown on the ground.

HomophoneA group of words pronounced the same way

but which have different meanings.

RebusA kind of word puzzle which uses pictures to

represent words that sound similar. For example,

in Chinese, the word meaning ‘happiness’ sounds

like the word meaning ‘bat’, and so a picture of

a bat would be used to represent happiness.

VermilionA pigment made from the powered mineral

cinnabar which is made into the traditional

red ink used in Chinese art.

Glossary

53

Museums Sheffi eld would like to thank the

following for their contribution to the Grice

Collection of Chinese Ivories publication:

Chinese Community Children’s Project (Sheffi eld)

Hazel Drummond

Evergreen Agewell Chinese Senior Citizens

Luncheon Club (Sheffi eld)

Dr Katherine Grice

Rose Kerr

Gayle Chong Kwan

Mrs Sue Stevens

Suna Xie

China in Yorkshire, a major initiative for

Yorkshire museums and galleries celebrated

Chinese culture and arts in 2008, with an

exciting series of exhibitions, events and

activities showcasing Yorkshire’s most

stunning Chinese and Chinoiserie collections.

We gratefully acknowledge funding for this

publication from the Heritage Lottery Fund.

Acknowledgements

ISBN 978-0-9546913-8-7