Lacquer incense box, China, Ming dynasty, Yongle period, 1403 - 1425. Diameter: 5.8 cm; Height: 2.9 cm. © Ben Janssens Oriental Art 2023

A small lacquer box of circular form. The domed top is carved through a thick layer of red lacquer to the ochre ground and depicts a single, open hibiscus flower, surrounded by buds and folded leaves with well-rounded edges. A band of three peonies interspersed with leaves decorates the bottom section of the box against a background of ochre coloured lacquer, visible in some small areas. The interior and recessed base are lacquered black.

Note: The competent, confident carving of decorative designs through a thick layer of red lacquer against an ochre ground, resulting in the kind of bold and at the same time elegant, well-balanced floral composition seen on this exquisite little box is very much a feature of early 15th century lacquer craftsmanship, and particularly that of the Yongle period. The edges of the design are smoothly rounded, making the box a delight to touch and hold. The flower design incorporates hibiscus (furong) and peony (shaoyao), both of which are popular wealth motifs in China.[1] The Japanese in particular greatly admired and collected Chinese lacquer during the Ming dynasty and it is thought that small boxes such as this, used for the storage of incense powder and known as kogo in Japanese, adorned the altars of the Shogun and Daimyo formal residences. A comparable incense box carved with very similar floral motifs is in the collection of the Tokugawa Art Museum in Japan.[2] Another similar box of almost identical proportions and dated to the Yongle period was formerly in the Lee Family Collection and is also carved with a single flower.[3]

Tixi lacquer box and cover, China, Ming dynasty, early 15th century. Diameter: 7cm, Height: 3cm. © Ben Janssens Oriental Art 2023

A small lacquer box and cover of circular form with flat top and base. In the centre of the lid a sphere is surrounded by four identically carved ruyi shapes. Four ‘pommel’ scrolls extend from these ruyi shapes and continue over the edge of the cover towards the rim of the lid. The bottom section is also carved and decorated with a more simplified pommel scroll design. The alternating layers of red and black lacquer are revealed in the diagonal carving of the design. The surface of the box is highly polished. Both the interior and the base are black.

Note: The design feature of ‘pommel’ scrolls, so called due to its resemblance to the shape of the ring-pommel on early Chinese swords, was a popular design motif used on carved lacquer from the Song dynasty onwards (976 – 1279).[1] The decorative motif retained its appeal into the Ming dynasty, and this beautiful box is an excellent example. This design is generically referred to as tixi or ‘marbled’ lacquer.[2] The grooves are deliberately cut at an angle, revealing the different coloured layers of lacquer used to build up the surface. The charm of this box can be appreciated through its simple yet elegant abstract geometric design, which has been carefully planned and executed. A very similar box carved in red lacquer, dated to the late Yuan to early Ming period, is in the collection of Florence and Herbert Irving.[3]

Lacquer incense box depicting a scene from Xi Xiang Ji, China, Ming dynasty, 15th century. Diameter: 7.5cm; Height: 2.6cm. © Ben Janssens Oriental Art 2023

A lacquer box of circular form with slightly convex sides. The flat top is carved through a thick layer of lacquer and depicts a moonlit landscape with two figures standing on terrace overlooking a lake. A tall lady dressed in voluminous robes with a billowing s carf stands in front of a high-legged table, upon which an incense burner is placed. Behind her stands a servant carrying a parcel, perhaps containing incense, and behind him a crane gazes towards the two figures. The gnarled branches of a pine tree overhang the terrace and almost obscure the full moon. In the distance, a hilly outcrop with a small building and pointed fir trees can be observed. An interlocking key fret pattern denotes the water, whilst starburst diapers indicate the terrace floor.A double continuous key fret band is carved all the way around the sides of both box and cover. The interior and slightly recessed base are plain and lacquered black.

Note: Xi Xiang Ji is a famous Chinese romantic opera depicting the love story between a Mr. Zhang and Ms. Cui Yingying. Depicted on the cover of this beautiful box is a crucial episode of the opera: Cui Yingying Worshiping the Moon. Yingying burns incense to worship the moon and to express her love for Mr. Zhang. The quality of the carving and color of the lacquer of this period are invariably excellent. Carefully carved details such as the billowing robes of the lady, the fine lines inclined To Denote the Bark on the Pine Tree, and the Engraved Decoration of Bamboo on the Panels of the Balustrade Can be fully appreciated Upon CLOSER Examination. Quer Boxes Depicting Similar LandScape Settings and with the Same Key Fret Design Around the Sides Are in the Collection of the Tokugawa Art Museum in Japan.[1] A further closely comparable example was formerly in the collection of Edward Chow is dated by Tregear to the late Ming dynasty.[2].

"Yingying Worships the Moon" is an important part of the famous Chinese drama "The Romance of the West Chamber". It depicts the scene of Cui Yingying burning incense and worshiping the moon to express her love for Zhang Sheng. This box has a straight wall, with two mouths. The content of the carvings is rich and divided into three layers: the first layer uses cloud patterns as the ground to express the sky; the second layer is deeply carved with houses, trees, stones and the moon; the third layer is carved with incense tables, incense burners and figures, including Cui Yingying and maids. The layers are clear and not chaotic, and the depth of field is obvious.

Tixi lacquer tiered box, China, Ming dynasty, 15th - 16th century. Height:18.5 cm; Width: 11 cm. © Ben Janssens Oriental Art 2023

A tiered lacquer box of square form composed of four sections and a cover. The box is supported on a short straight foot. The top and bottom corners of the box are subtly rounded. The four sections are graduated in height, with the middle two sections being equal in size. The box is decorated all over in tixi technique with carved pommel scrolls. The sides of each section are carved with twelve pommel scrolls, with the scrolls facing in opposite directions on each layer. The cover has a symmetrical design composed of four scrolling taotie-like stylised forms arranged around a central quatrefoil motif, with a further eight pommel scrolls around it. Each section has a lipped rim at the top and bottom. The carving of the design motifs at an angle reveals the bright red layers of lacquer interspersed with the predominantly black lacquer surface. The interiors and the recessed base are plain and lacquered black. The exterior of the box is highly polished.

Note: Stacked lacquer boxes were used to store food and then sent as a gift; the recipient did not keep the box, rather it was sent back with a return gift.[1] This stacked lacquer box would have been considered a luxury item, as it comprises numerous tiers and has been handsomely carved with a geometric design of strongly rounded pommel scrolls with very clear and fine layers of red lacquer visible in the grooves. The combination of the highly polished surface of the lacquer, and the confidently executed carved design gives this box a rich visual quality. A virtually identical box is in the collection of the Bukchon Art Museum in Seoul, Korea.[2] It is dated 15th – 16th century. A circular tiered lacquer food box with domed lid in the collection of Mike Healy is ascribed to the 15th century.[3] Another tiered food box of lobed form is in the collection of the Victoria and Albert Museum and is dated 1500 – 1600.[4].

Lacquer box with “Seven Sages in the Bamboo Grove”, China, Jiajing period, 1522 - 1566. Diameter: 13.2cm; Height: 5 cm. © Ben Janssens Oriental Art 2023.

A circular lacquer box, the flat cover carved with the Zhulin Qi Xian, or the “Seven Sages of the Bamboo Grove”. The sages are depicted sitting in groups of two and three in a garden with eccentrically shaped rocks, clusters of bamboo and other plants. One sage is standing talking to a servant, and another one is seated behind a table. Two further servants are in attendance, one is shown fanning a small stove in the foreground. The sides of both box and cover are carved with a continuous frieze of fruits, which include lychees, pomegranate and persimmon. The base and interior of the box are lacquered black.

Illustrated: Oriental Art, Winter 1967.

Note: The group known as the Zhulin Qi Xian, the “Seven Sages or Worthies of the Bamboo Grove’, has a long history in Chinese art. They were a group of Chinese scholars and poets of the mid-3rd century who banded together to escape from the hypocrisy and danger of the official world to a life of drinking wine and writing verse in the country. Their retreat was typical of the Taoist-oriented qing tan or “pure conversation” movement that advocated freedom of individual expression and hedonistic escape from everyday life. The subject is rarely found on carved lacquer; a ‘late Ming dynasty” rectangular lacquer tray depicting the Seven Sages in a bamboo forest is in the Qing Court collection at the Palace Museum in Beijing.[1] The same collection also houses a Jiajing period box with a comparable carving of the “five veterans” on the top.[2] The size of this box is unusual; most boxes of this period are either larger or much smaller.

Lacquer vase with plum blossoms, China, Ming dynasty, 16th century. Height: 10.5 cm. © Ben Janssens Oriental Art 2023

A cinnabar lacquer vase of mallet form with bulbous body and long straight neck, terminating in a lipped rim. The body and the neck are fully carved with branches of plum blossom with buds set against a background of finely carved starburst diaper. The base is lacquered in black. The vase is contained in a Japanese wooden box.

Lacquer vases are extremely rare. It is possible that this small vase served as a holder for incense sticks. Its decoration consists of blossoms of the plum tree, which are emblematic of perseverance and purity. They also serve as a longevity symbol. Blooming on withered old branches, it is not only a welcome sight in winter but also a symbol for vigorous old age. The five petals represent the so-called Five Blessings: old age, wealth, health, love of virtue, and a natural death.[1] This design is popular on Ming lacquer pieces, and can be observed on a mid-Ming dynasty brush pot in the collection of the Palace Museum, Beijing[2] and also on two circular boxes dated to the 16th century in the collection of the National Palace Museum, Taipei.[3] A closely comparable cinnabar lacquer vase, similar in size and form, is in the Piert Borgers collection[4].

Lacquer box and cover, China, Ming dynasty, 16th century. Diameter:7 cm; Height: 3.2 cm. © Ben Janssens Oriental Art 2023.

Note: Carved lacquer boxes such as this beautiful example were used in both China and Japan as containers for storing incense powder.[1] The design of lychees on a starburst ground occurs on similar boxes in jade and bronze. In all materials, both top and bottom sections of the boxes appear to be carved, an unusual occurrence in Chinese decorative art. A comparable box is in the collection of Florence and Herbert Irving[2]. Other examples are in the Museum of Far Eastern Antiquities, Stockholm[3] and in the National Palace Museum, Taiwan[4].