The Symbolism of the Coromandel Lacquer Screen of Ming Dynasty from the Municipal O. Bleschunov Museum of Private Collections in Odesa

Abstract

Rich symbolism is a very important, unique feature ofChinese culture. In China everything issymbolic—cardinal direction, the layout of the Palace, a picture, a vase, a flower. Special meaning is concealed in a manner of depicting clouds, trees, mountains, water, plants. The symbolism of the ornamentation is closely linked with the person’s worldview, beliefs about the structure of the Universe, the relationship of the Universe and a man, about the world around us, nature. The Chinese “friendly” ornament is complex and multifaceted; without knowing it, it is impossible to understand the culture of China. The ability to turn simple utilitarian objects into the works of art always was a feature of Chinese culture. All that was part of everyday life also was used as the space for intensely symbolic art. The aim of this article is to study the symbolism of the decor of the Chinese Coromandel lacquer screen of the Ming dynasty from the collections of Municipal O. Bleschunov Museum of Private Collections in Odesa. After analyzing its plot and deciphering the symbolism of the images, the peculiarity of ideology of the Far Eastern region was revealed; its symbolism being reflected in cosmological, philosophical, and aesthetic views. The meanings of the symbols allowed attributing the plot of the screen—congratulating the Empress with the birth of an heir to the throne, most likely, the firstborn. The births of the other sons were joyful events, yet they played the roles of successors or assistants for their older brother.