Ivory in Chinese Decorative Arts: An Enduring Legacy

The historical usage of ivory in Chinese decorative arts presents a profound narrative of craftsmanship, cultural value, and artistic evolution. This blog post delves into the rich history of ivory in China, exploring its significance alongside materials like jade, bronze, and gold and examining how changes in availability and technology have shaped the art form over millennia.

Historical Origins and Early Use

Ivory has been integral to Chinese material culture since the Shang Dynasty, dating to around 1600 BCE. The presence of ivory in significant archaeological sites like An-yang illustrates its early use. Small ivory carvings were discovered among the An-yang artifacts, showcasing an artistic style paralleling contemporary bronze works. At Chêng-chou, an ivory beaker from a similar era mirrors the form of a cast-bronze chih beaker, suggesting a sophisticated use of ivory in early ritualistic and decorative contexts.

Transition and Trade: Tang to Ming Dynasty

Little surviving evidence of ivory use hints at its rarity between the Shang and Tang dynasties. However, by the Tang period (618-907 AD), ivory became more prominent as trade routes expanded to Southeast Asia and India. This era saw ivory being utilized extensively for inlaying furniture and musical instruments. The Shosoin Collection in Nara, Japan, contains Tang-era ivory pieces, such as rulers stained in vibrant hues and intricately engraved, underscoring ivory’s aesthetic and functional applications during this period.

Artistic Flourishing in the Sung and Ming Dynasties

The Sung (960-1279 AD) and Ming (1368-1644 AD) dynasties marked a significant evolution in ivory craftsmanship. Small figures, often coated with painted lacquer, were produced with increasing frequency. While challenging to date precisely due to stylistic similarities, these pieces illustrate the growing sophistication in ivory carving.

Qing Dynasty Innovations

In the Qing Dynasty (1644-1912), ivory carving saw further advancements by introducing complex items such as carved panels, engraved boxes, and wristrests. A German lathe introduced in the 18th century allowed Chinese artisans to integrate Western techniques, enhancing ivory objects’ precision and decorative complexity.

Conclusion: Legacy and Transformation

The legacy of ivory in Chinese decorative arts is a testament to its lasting value and the adaptability of its craftsmen. From ancient times to modern times, the material has been both a medium of utility and a symbol of prestige. As availability shifted, so did the techniques and cultural meanings attributed to ivory, reflecting broader trends in Chinese society and across global trade networks.

Sources

(1926). Literature of Chinese Art reviewed by W. Perceval Yetts. Journal of the Royal Asiatic Society, 58, 554 – 555. https://doi.org/10.1017/S0035869X00151196.

An Illustrated Companion to the Decorative Arts. (1989). United Kingdom: Wordsworth.

Huang, B. (2022). From God’s hand to the hand of the artisan: the turned ivory sphere and the polyhedron in Qing China. Studies in Chinese Religions, 8, 202 – 237. https://doi.org/10.1080/23729988.2022.2091376.

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