AE-FP 200
Period - Mid Qing dynasty
Material - Camphor wood
Region - Screens or panels of this kind are typically attributed to Zhejiang (or a nearby region).
Panels in this larger, isolated format, were likely to have been statically inset into the architecture, meaning their use was probably not in a door or window. This particular one is what is known as a "narrative carving," meaning it depicts specific stories, usually taken from classical literature, opera scenes or local folk tales.
The primary focal point of this panel is centered and enclosed within a round beaded frame containing an incised high relief carving. It depicts a man standing on a river boat as it pulls up to an embankment. He seems to be wearing military style clothing and meeting three figures on the riverbank. Two of the figures are wearing gauze caps, and one man is standing in a pavilion next to a half table. Placed on the table's surface is a scholar rock with stand. This figure seems to be holding a sword and willow branch. Repeating the willow theme, we also see a willow tree in the background. In Chinese culture, the willow tree has several meanings such as "flexibility combined with strength" as well as also meaning "friendship." Combined with a sword (as we see in the figure holding a sword and willow branch), this symbolizes the idea of the "warrior scholar," known in Chinese as "Wénguānwǔjiàng" (文官武将). Essentially what this describes is an individual well versed in both academic and scholarly pursuits, as well as martial arts and military affairs.
This multilayered symbolism, including the meeting of these 4 figures, could very well be depicting a scene from the 12th century classical Chinese novel Shuǐhǔ zhuàn or "Water Margin" (水浒传), one of the Four Great Classical Novels of Chinese literature. The three men on the embankment could be Song Jiang, Wu Yong, and Lu Zhishen with Wu Yong (a highly skilled strategist and tactician), arriving by boat. It’s possible the other scenes on the 4 corners have related meanings, depicting other scenes from this novel or perhaps they depict scenes from other novels. Chinese narrative scenes are highly complex, at times localized and/or may contain elements from later revised or derivative versions of the earlier stories.
Therefore, it remains difficult to say with any real certainty if this indeed is a scene from "Water Margin" or perhaps deriving its inspiration from a different work of art.
All five narrative carvings are set within an openwork diaper of eight (an auspicious number in itself) opposing curly grass dragons known as Juǎn cǎo lóng wén (卷草龙纹). We also find two opposing Bǎozhū or "wish-granting pearls"(寳珠/宝珠), sometimes called "flaming pearls," which symbolizes the "granting of wishes." When the wish-granting pearl is combined with opposing dragons, it signifies a harmonious balance of cosmic forces. The pairing of yin and yang, represented by the two dragons, suggests a state of equilibrium and unity. And of course, as always multilayered symbolism, even the significance of there being five narrative panels in total, could possibly allude to concepts like "Five blessings" (五行) or perhaps the "Five Cardinal Virtues" (五常).
The entire composition is framed in a swastika pattern border known as "Wànzì wén" (万字纹 ) or "ten thousand." The Chinese character 卍 is pronounced as "Wàn" and was initially a Buddhist religious symbol, that was later gradually extended to become an auspicious symbol. It means "eternity, long life and good fortune" and as well as "eliminating disaster and driving away harm." Because 卍 (Wàn) has the same pronunciation as 万 (Wàn) which means "ten thousand" it is thus called "the ten thousand pattern."
The product description was prepared by Roger Schwendeman with ACF. (https://www.antique-chinese-furniture.com). Roger is a specialist in Asian antiques with focus on antique Chinese window and door panels. Here is one example of his interpretation of the exquisite ArchElements collection.