In the Shanghai Museum’s Ancient Chinese Ceramics Gallery the diversity and brilliance of colour, mark and form were inspiring. I enjoyed the very simply decorated objects that still retained traces of the craftsman’s hand and the nature of the materials.
There is much speculation about the origin of The Eight Diagrams or bãgùa depicted on the green vase (pictured above). These signs were said to have derived from the markings on the shell of a tortoise by Emperor Fu Yi. Other thought suggests that they originate from the two primary forms yángyì (represented by the unbroken horizontal line) and yînyì (broken line); embodying male and female respectively. They represent the evolution of nature and its constant state of change through cycles. The signs are usually arranged in a circle around the yîn and yang, but on this vase they are arranged in a rectilinear format.
See Horeur de vide post for more beautiful objects with Daiper Patterns from the Shanghai Museum’s Ancient Chinese Ceramics Collection.
The Shanghai Museum posts are dedicated to Rachel Kelloway; my oldest and dearest friend.