This extremely lively, double-sided, provincial carving, incorporates the techniques of both openwork and relief carving, rendered in one solid, piece of wood. The countryside carver takes a fair amount of artistic license in combining numerous symbols, creatively stylizing forms so freely that, at times they can be challenging to identify.

At the very top, we find a lucky coin motif, interspersed with two flanking mythical "dragon-like" creatures. Further down, inset within a fan shaped frame, a bird rests on the branch of a pine tree. In Chinese symbolism, a variety of birds may commonly be depicted as perched on pine branches; each one carrying a distinct meaning and/or association. Without identifying the bird itself, we can only speculate but most of these pairings will generally allude to common themes of happiness, peace and/or good fortune. Below that and resting on a stone alter, is lotus flower floating in an offering bowl, representing purity, and associated with enlightenment.

In the center of the panel and framed within a single beaded circle, is a phoenix (recognizable by its crest and long tail feathers) and holding pearls in its mouth (凤凰衔珠). Frequently this depiction is shown as a long string of pearls, however in this interpretation, it is a rendered as a necklace or bracelet. This is a pattern that in its earlier forms, dates to the Han dynasty (202 BC -220 AD). Imagery in this form can imply many things, from nestbuilding (ie having many children) to happiness and love. Reflecting that the screen is double sided, on the back side of this circle, and inset within a double bead, we find carved an unknown ancient Chinese character that does not conform to present day writing. It’s been speculated this character could be created based off of oracle bone script (this script was in use around the 2nd millennium BC) by combining 长 (forever) and 寿 (long life) but this answer is speculative and not definitive.

Further down and framed and rendered in relief, we meet two mythical beasts (神兽) staring up at a highly stylized bat. This implies blessings and longevity (福和长寿). As we reach the bottom, we find a highly stylized Shòu 寿character meaning longevity. This is flanked by two opposing phoenixes, a combination that implies to be blessed with both longevity and prosperity.

The entire composition is then set against and within an openwork backdrop of 12 dragons. These dragons are interspersed from top to bottom on opposing sides and depicted in the form of curly "grass dragons" (卷草龙); a pattern which means auspiciousness, happiness, and beauty. As dragons were generally associated with the emperor, and forbidden to be used by common folk, people used more subtle forms of the dragon, such as the "grass dragon" to avoid suspicion. Even the number 12 itself holds meaning, in that in may represent the cyclical nature of time via the twelve lunar months and/and the Chinese zodiac cycle (represented by 12 animals). This multilayer stacking of symbolism is as complex as it is fascinating.

The outer chamfered edges of this panel, imply this was once inset into a frame. Its dimensions would suggest that frame may have been part of a narrow window panel or of other similar architectural usage. Aside from a minor repair to the bead on the back outer frame and a repair to the bottom corner, this carving is in original form.

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.

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