Asian Art in London
29 October - 7 November 2009
7. A Superb Carved Cinnarbar Lacquer Brushpot
Qianlong period (1736–95)
The slight flaring cylindrical brushpot carved in shallow to medum relief around the exterior with a continuous landscape scene depicting Zhuge Liang fishing by the lake beside a thatched hut, approached by three visitors – Liu Bei in his royal attire, Guan Yu dressed as a general holding a long broad sword, and Sima Hui in his official clothes.
The trio is followed by a group of attendants, some holding banners, weapons and parasols, next to an elaborate chariot and a pitched tent. The landscape is further embellished with cranes, gnarled pine trees and distant pavilions.
13.7 cm. high; 11.5 cm. diam.
The story of Liu Bei thrice visiting Zhuge Liang is perhaps one of the most famous episodes in the Tale of the Three Kingdoms. It reflects the heart of Confucian ideology in its quest for the perfect collaboration between a wise and modest sovereign and an able and loyal subject. Zhuge Liang, being a cunning and resourceful strategist, chose to live the life of a hermit until Liu Bei came begging for his service. Liu Bei, although higher in position and power, showed extreme humility, knowing that without the help of his loyal subjects he would not be able to accomplish his ambitions.
Another interesting aspect of this scene is that Zhuge Liang is depicted fishing here, which was not the case in the original story as told in the Sanguo Zhi. The fishing alludes to another tale between Jiang Shang and King Wen in the Zhou dynasty, which was popularised by the publication of Fengshenbang Yanyi (Tales of the Investiture of the Gods) by the Ming writer Chen Zhonglin. A Yuan woodblock print from Xinkan Quanxiang Pinghua Wuwang Fazhou Shu (New- Block Fully Illustrated Tales of King Wu’s Toppling of King Zhou) circa 1322, a precursor of the Ming version, shows this scene (fig. 8). Essentially a similar story of a sovereign humbly requesting the service of an able vassal, it has a happier ending in that the King Wen (or rather his son King Wu) actually succeeds in toppling the tyrant King Zhou of Shang, unlike the more disappointing ending for Liu Bei and Zhuge Liang. It is possible that the carver of the current brush pot had seen this woodblock print, or a print of similar composition, and incorporated it in his own.
The carving style of the current brush pot is typical of Imperial Qianlong period carved-lacquer pieces in its fine execution of details and complexity in composition. Compare a carved cinnabar lacquer brush pot of very similar form and style, depicting Wang Xizhi exchanging calligraphy for geese in the National Palace Museum, Taipei, illustrated in Emperor Ch’ien-lung’s Grand Cultural Enterprise, Taipei 2002, no. I–44, p. 55 (fig. 9).
