A circular carved cinnabar box and cover

Yuan dynasty, 14th century
China

height: 8.6 cm
diameter: 26 cm

At first sight, one might think the box to be of the same group as a number of early 15th century boxes with similar decoration. There are, however, a number of points that differentiate the work of the two periods, and this box clearly demonstrates many of the characteristics associated with Yuan dynasty, 14th century carved lacquer. The Yuan box is taller – the floral bands being of wider proportions; the spacing within this decoration is more open, and the style of the carving flatter and less rounded. The execution of the central scene reveals other differences; the rockwork and clouds are sketchier, and the roof of the pavilion is distinctive, with a number of different planes of thatching and tile work. The construction of Yuan period lacquer is also characterised by a weakness that often results in areas where the lacquer lifts up from the wooded base – as can be seen in the extremities of the main field.

The central scene is derived from paintings of the period and depicts a scholar. He is seated in a pavilion – sheltered by acer, pine and maple trees amongst rocks, and below wispy clouds. The scholar looks back over a lake divided by a causeway and greets another scholar who walks towards him, accompanied by his attendant carrying a wrapped up qin. The box and cover are evenly divided on the horizontal – each half decorated with a single band of scrolling leaves and flower heads. There is one flower for each season: tree peony, plum blossom, pomegranate, and chrysanthemum. The bottom and interior are painted in glossy black lacquer – still in its original condition.

similar examples
‘Oriental Lacquer Art’ by Lee Yu-kuan, New York 1972 – plate 84 illustrates a box that has the same deep sides and flower carving.

‘Carved Lacquer in the Collection of the Palace Museum’, Beijing, 1985 – colour plates 5 and 6.

For a comparative box from the early 15th century (rather than Yuan) see the Irving Collection at the Metropolitan Museum of Art, New York, and illustrated in ‘East Asian Lacquer’ by Watt and Ford, 1991 – no. 27.