After the Ming Dynasty (1644), Qing Manchu rulers use officials’ attire to foster social stability and economic development, reflected in painted and sculptural images. Elaborate Ming dynasty court attire was replaced with simplified Han Manchu traditional clothing, although some Ming traditions were retained. Manchu imperial dress codes had complex rules regulating hairstyle, uniforms, hats, shoes and ornaments for officials that reflected rank, status, occasions and seasons and non-compliance resulted in harsh punishment. By the Qianlong Emperor (1735–1796) codes applied only to scholars and officials. Through end of the Qing dynasty (1912) government and court officials were required to wear changsang coats modified from Ming attire but slimmer with buttons, loops and a slanted S-shaped collar and hats called a qing guanmao which were black velvet in winter and woven rattan in summer with a button or knob finial. The shape and color of one’s finial was regulated depending on the official’s rank which ranged from 1-9. For daily business or informal occasions, officials had to change the hat’s top. Qing attire make it easier for us to identify ancestors depicted as officials. Military officials wore a cylindrical cap with a higher back and lower front called a Pingshanze, while civil servants wore a variant called a Jieze.
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Families often commissioned ancestor statues in the likeness of a civil or military official as these images conveyed the wish for a rise in rank or the aspiration to become an official as well as admiration for the integrity, endurance and perseverance associated with status as an official. This ancestor statue is a Chinese official…
Buddhist and Taoist deities were often placed on a home altar accompanied by a pair of attendants, one on each side, looking downward with modesty or inward with respect. Taoist attendants often carried unique offerings such as medicinal gourds/potions or pillboxes for medicine gods or baskets or sacks of gold and silver blocks for wealth…
During the Qing Dynasty Chinese officials were so significant that families often sought to portray an ancestor as an official in carved and painted images. This image reflects many of the common characteristics of ancestor-figures discussed by Stuart and Rawaski who write that ancestors were portrayed these official as if they are deities or rulers …
Tudi Gong is one of the Chinese Earth-Gods referred to by many names including the Land God or Village God and often fondly referred to as “Grandpa.” He is a syncretic deity defined by the blend of Taoism, Buddhism, Popular Religion and Confucian traditions, and as a tutelary deity is responsible for administrating and protecting…
Taoist images were represented as scholars, sages, heroes, deities, officials and priests. When these images are taken out of context they are difficult to identify so we describe them in generic terms. Seated on a backless chair wearing long flowing officials-robes with deep folds, we use the terms officials/priests for this image, since he his…
These carvings of the Taoist-Deities Tudi Gong and his wife Tudi Po are from rural Southern China where they were frequently depicted together as house-gods on a home altar or local temple for farmers to pray to for abundant harvests and success in selling their products. Although Tudi Gong is a low ranking deity, he…
We cannot precisely identify this pair but the seller said the costume details were of opera figures which were extremely popular during the Qing dynasty until it ended. Beautifully carved from a very dense hardwood, the figure and wife sit on a 3 level pedestals with long back supports. Clearly an official with a deeply…
Chinese funerary tiles, as forms of mingqi adorned tomb as early as the Han dynasty depicting everyday scenes, entertainment, mythical beasts, folklore, history, literature and poetry. A Han stone tomb relief rubbing in Stories from China’s Past (p. 173) labeled “Ascending to Heaven in Deer Chariot” is reflective of this Song brick-tile. During the Song…
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