A Chinese screen in the collection of the State Hermitage Museum

Chzhan Wenpu Postgraduate student; Department of Art History and Pedagogy of Art; A. I. Herzen State Pedagogical University 191186, Russia, Leningrad region, Saint Petersburg, nab. Moika River, 48 jinbao7@mail.ru Other publications by this author

The appearance of art objects from the countries of the East – China and Japan - is primarily associated with the Peter the Great era. There is an assumption that the first screen for Peter I was purchased by Swedish engineer Lorenz Lang ^[4]. Later, oriental curiosities and art objects from the East began to appear in the residences of many Russian noble families. The Russian tsar's interest in Chinese art contributed to the appearance in Russia of many valuable exhibits brought by order of Peter. This hobby was continued by other rulers of the Russian Empire. So, there is information that Alexander III and his wife Maria Feodorovna collected one of the best collections, which was located in their residence, the Anichkov Palace: "the tsarevich was more interested in products made of cloisonne enamel, bronze, wood, and his wife did not miss the opportunity to replenish her collection with porcelain, various accessories and trinkets" ^{[3, p. 1]}.

In Russian science, there is a relatively small number of studies devoted to the oriental screen and the description of collections or individual objects in the collections of Russian museums. One of the first publications was a short article by K. Samasyuk in a 1986 postcard album dedicated to a Chinese screen in the Hermitage collection ^[2]. The interest of Russian scientists in the study of this piece of oriental interior on the basis of Russian museum collections remains today. Recent publications include the book by M. L. Menshikova "The Chinese Screen" of the Coromandel"varnish of the XVII century in the Hermitage collection", prepared for publication in 2021 ^[6]. Another publication, published by E.A. Khokhlova, is devoted to a Korean screen in the collection of the MAE RAS ^[8]. The rarest table screen in the collection of the National Art Museum of the Republic of Sakha (Yakutia) became the subject of analysis by A.L. Gabysheva ^[1].

Taking into account a number of historical and cultural conditions for the penetration of Far Eastern art into Russia, it is not surprising that the Chinese screen is most widely represented in Russian museum collections. One of the earliest monuments in Russian museums is a magnificent twelve-leaf screen made in the technique of Coromandel varnish. This monumental structure dates back to the XVII century. and it is a magnificent example of the decorative and applied art of China of the specified period. Less monumental, but no less interesting is the four-leaf screen from the Hermitage collection under the number LN-1076 (Fig. 1)^[1]. The lacquered wooden product dates back to the 1820s and 1830s. The screen depicts the landscape of Shanshui, in which the artist conveyed the desire to return to the essence of life, to nature, which corresponds to the hierarchical system and the suppression of human character in the society of that time.

Fig. 1. Chinese four-leaf screen. The 1820s and 1830s. Height 220 cm. Varnish, wood. State Hermitage. LN-1076.

In the collection of the State Hermitage Museum there are two double–leaf screens (Fig. 2). The products have a relatively small size - 29 x 16.3 cm. each leaf. Their decoration is quite concise. A simple wooden frame frames the porcelain inserts on which the painting is made. These works are a great example, which confirms that the Weiping multi-leaf screens often depicted historical characters, served for instruction, i.e. they were dedicated to famous heroes who served as spiritual models of morality and virtue. Obviously, these screens were placed on the scientist's desk, reminding of the most important values and moral obligations that should serve as a guide in the life of a noble husband.

Fig. 2. A screen of two flaps with the image of male figures (characters of a literary work?). XIX century . Sash 29 x 16.3 cm, porcelain plate 17 x 11 cm. Porcelain, wood; overglaze polychrome painting, carving. State Hermitage. LC-2974.

Another example of a screen featuring a porcelain insert with a painting is the item number LK-2936 (late XIX – early XX century). This single-leaf screen is mounted on a magnificent carved stand and also has a carved wooden frame framing a rectangular porcelain plate of chapingshi zoping. In the Hermitage catalog, the item is listed as "a screen depicting peony and chrysanthemum flowers." In all likelihood, the screen does not depict chrysanthemums, but different types of peonies. The flowers are arranged diagonally, which creates a feeling of movement outside. In the Chinese tradition, peonies are a symbol of wealth. This composition and the shape of the image are associated with the idiomatic expression "fugui mantan", which literally means "wealth and dignity (of the owner) fill the whole house." It is interesting to note one more detail. A frame is also made around the perimeter of the porcelain plate, highlighted with a contrasting background compared to the main image and decorated with delicate floral decor.

Of great interest is an exhibit from the collection of the State Hermitage Museum under the number LK-1462 (Fig. 3). The products differ in their formal features: the object from the National Art Museum of the Sakha Republic is rectangular, has a massive carved stand, the image is made by inlaid with mother of pearl and elephant tusk. The Hermitage object is a monolithic structure consisting of a circle–shaped screen with a yanping stand (for the inkwell). The stand is thin, there is no carving, both on the stand and on the frame that surrounds the painted porcelain plate. What do these screens have in common? The image of Taoist saints appears on both screens.

Fig. 3. The screen with the image of the Taoist immortals. Qing Dynasty, Qianlong period. The end of the XVIII - XIX centuries. 69 x 51 cm with a stand. Porcelain, wood, lacquer; polychrome overglaze painting. State Hermitage. LC-1462.

The character system of Chinese national Taoist tales is very complex: it has changed over the centuries and spread through various literary and artistic works. This has made it difficult to accurately identify deities in art. However, some characteristic attributes make it more likely to identify sufficiently well-known deities, for example, in Fig. 3 one can consider the Supreme Venerable Lord Lao (the image of Lao Tzu in religious Taoism) and some of the "Eight Immortals".

The Supreme Venerable Lord Lao – (founder of the Taoist culture, author of the Tao Te Ching, years of life 571-471 BC) is depicted riding a bull, with a fly in his hands, mentor of the "Eight Immortals". Recognizable images of the "Eight Immortals":

· Zhang Guo-lao (one of the Eight Immortals in the Taoist pantheon) is a magician, the patron saint of the elderly, depicted riding a donkey with a bamboo drum with stretched skin.

· Li Teguai (one of the Eight immortals in the Taoist pantheon) is lame, leans on an iron one, is depicted with a gourd, is revered as a defender of the sick, patron of magicians and astrologers.

· Lu Dongbin (one of the eight immortals in the Taoist pantheon) is a middle–aged man in a Taoist costume with a magic sword, considered the patron saint of literature and hairdressers.

Zhongli Quan (a Taoist master who lived in the Han Dynasty) – with a bare stomach, with a fan in his hands.

The principles of depicting Chinese Taoist deities varied in different historical periods, but the main attributes were fixed. The images of Taoist deities are considered by ancient intellectual scientists to be a manifestation of a spiritual desire for personal improvement: they believed that they should become sages during their lifetime and be remembered as gods after death.

The screen number LO-894 in the collection of the State Hermitage Museum is very interesting. The object has the shape of a disk, on both sides there is a carving that depicts three dragons and two phoenixes (Fig. 4). This exhibit can be defined as a screen with a jioping stand or a screen for a denping lamp, the function of which was to prevent the fire from blowing out in the lamp. The stand is magnificent: three-dimensional wood carving creates not only a magnificent base from the point of view of artistic execution, but also a vivid image: at the bottom, the carver embodies the three-dimensional image of a lion. This image is also recognizable from the point of view of Chinese traditional art: a lion looking at the moonlight. The nature of Ancient China is not characterized by lions, however, despite the natural conditions, this image penetrated the country as a result of interregional cultural interaction, borrowing foreign samples of culture and art ^[5]. The image of a lion in this case has a mythical character and stems from the image of a "water lion", resembling a frog in appearance. The ancient Chinese believed that the location of such a water lion in the house in accordance with the concept of Feng Shui brings good luck and wealth. The image of a lion looking at the moon is associated with Chinese numerology and is considered a symbol of physical and mental health, promises success and achievement of goals.

Fig. 4. The screen in the form of a disk with double-sided carving, with the image of three dragons and two phoenixes. The Qing Dynasty. The diameter of the disc is 23.5 cm, the height of the stand is 23 cm. Jade, wood; carving. State Hermitage. LO-894.

On the jade disc that adorns the screen, there is an image of three dragons entwining a pearl: this image speaks of the authority and power of the imperial house. This image is often found on official dresses of officials and on elements of palace buildings. In view of this, we can talk about the high status of the owner of this item.

Another item from the Hermitage collection – numbered LN-157 (Fig. 5) – was created not only by using jade and wood, but also lapis lazuli, in addition to carving, inlay is also made here. The front side of the screen is decorated with pine, bamboo and plum trees. The reverse side demonstrates the practice characteristic of China of embodying not only paintings on a screen, but also poetry. We have an artfully executed calligraphic text in front of us. This is a screen with a stand and an inset screen by Chapinshi Zoping with two poems by the Qianlong Emperor (1711-1799).

Fig. 5. A screen on a stand, with poems and an image of a pine, bamboo and plum. The Qing Dynasty, XVIII century. The screen is 117 x 74 x 5 cm, the stand is 95 x 91 x 51 cm. Jade, lapis lazuli, wood, black lacquer; inlay, carving. State Hermitage. LN-157.

Of course, the description of this exhibit first of all requires analysis from the point of view of the symbolism of the depicted plant images. At the same time, the presence of poetic lines is an excellent material for the study of these images, their interpretation.

邹一桂松梅

Translation: "Zou Igui about pine and plum"

花终色也梅偏洁，树纵林然松独苍。

乍看传神已潇洒，徐思寓意不寻常。

Translation: "The shade of plum blossoms is the purest among all flowers, among all trees only the shade of pine is bluish-green. At first glance, it seems that the natural spirit of the painting is not free enough, but upon closer examination, a deep meaning opens up."

邹一桂梅竹

Translation: "Zou Igui on plum and bamboo"

碧琳竹与粉珠梅，著壁多时谢别裁。

寻咏睪然缅江左，平安春信早传来。

Translation: "Emerald green bamboo with pearl plum blossoms - thank you for your long work and originality. I wanted to write a poem, and I remembered you in Jiangnan, the spring message brings peace and prosperity.

Qianlong wrote these poems in gratitude to the official and court artist Zou Igui (1688-1772), who completed the scroll "One Hundred Flowers" and presented it to the emperor. According to historical data, the emperor wrote more than a hundred poems on the scroll. Poetic lines are not just connected with pictorial images, but reveal their content.

In the collection of the State Hermitage Museum there are two objects of the XVIII century, which are defined in the catalog as paired screens. The images of magnificent landscapes are made on bronze in the technique of cloisonne enamel. The stand is missing. In fact, we have samples of a hanging or wall screen in front of us. On one of them (Fig. 6) there is an image of a peach, a bat, a bamboo forest and a rock. The image of a peach symbolizes longevity, a bat symbolizes happiness. Bamboo is a symbol of perseverance, and a rock is a symbol of inner strength. These are the ideal moral qualities of a lonely intellectual scientist. On the second exhibit, you can see an image of a magpie, a flowering plum tree, a bamboo forest, and rocks. Magpie and plum blossoms form a single image, which means that something good will happen. Plum blossoms also symbolize strength. Both works feature images of bamboo and rocks that reinforce each other. The image of bamboo dominates, which is generally associated with a truly noble husband who, in the face of any adversity in life, always shows inner strength and, overcoming them, comprehends the wisdom of life.

Fig. 6. The screen (paired). XVIII century . The Qing Dynasty. 62 x 44 cm. Bronze, enamel; cloisonne enamel, gilding. State Hermitage. LM-628.

Thus, based on the material discussed above, the following conclusions can be drawn. The State Hermitage Museum has a relatively large number of Chinese screens in its collections, which is why the museum's collection is of the greatest interest for studying the problem of Chinese screens in Russian museums. At the same time, the objects presented in the Hermitage collections are distinguished by a significant variety. They give a definite idea of the variety of techniques and materials for creating such objects in China in the XVIII - XIX centuries, and allow us to see the connection between the art of creating a screen, both with painting and the field of decorative and applied art. Based on the analysis of Chinese objects in the Hermitage collection, it can be concluded that the type of screen, its formal qualities are determined by its location in space. The screen of this period is not so much an interior item as a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.

^[1] Here and below are the items, information about which is obtained on the official website of the State Hermitage Museum ^[7].