Ming Gold, Splendours and beauties of imperial China (14th – 17th centuries) at Guimet Museum – Arnaud Bertrand, co-curator of the exhibition tells us about it
From September 18, 2024 to January 13, 2025
This autumn, the Guimet museum leads its visitors into the opulent world of the Ming imperial court and invites them to discover the refinement and protocols of the art of women’s jewellery. This exhibition offers a rare glimpse into the splendour and delicacy of some of China’s greatest gold masterpieces, unique and intricate objects which could be found both in the Forbidden City as well as in the palaces of the wealthy elite.
The Ming dynasty was the last dynasty ruled by the Han people around the same period as the Italian Renaissance. The Ming overthrew the Mongol-led Yuan and restored Chinese traditions and Confucian law. Today, it is famous for its monuments (notably the Forbidden City and the Great Wall of China) and its arts, particularly porcelain (the remarkable blue and white wares), natural wood furniture, ink paintings and its literature
There are very few gold objects left from the Ming era. Given the value of the precious material, many have been melted to make more modern objects. This exhibition offers thus the unique opportunity to see an important part of the exceptional collection belonging to the Qujiang Museum of Fine Arts.
Arnaud Bertrand, co-curator of the exhibition, curator in charge of Korean and Ancient Chinese collections, answered our questions.
Meet the exhibition curator : To register
Sceptre or ruyi (detail)
Ming Dynasty (1368-1644), Wanli rule (1573-1620),
dated 1601
Gold filigree set with jade, rubies and sapphires,
Qujiang Museum of Fine Arts, Xi’an, XYB0109
© Peter Viem Kwok’s Dong Bo Zhai Collection
(Collected in Xi’an Qujiang Museum of Fine Arts)
You are co-curator of two concomitant exhibitions this autumn, one dedicated to goldsmith masterpieces from the Ming period (1368-1644), the second to the Tang period, opening in November. How did this project come about?
These two exhibitions celebrate the sixtieth anniversary of diplomatic relations between France and China. One pays tribute to the Tang period, the golden age of multicultural and cosmopolitan China, when the arts and letters were highly refined. Whereas here, the Ming period, recounted through the exhibition of exceptional feminine finery and ceremonial tableware, bears witness to China's economic power and the sophisticated taste of its elite.
The reason for my participation in this project, on which I worked as scientific co-curator with Hèlène Gascuel, is simple: although I do indeed cover a perimeter that concerns China's early periods (from the Neolithic to the end of the Liao period), as co-founder of the Asia Collections Network - Europe, I have privileged relations with curators and specialists in Slovenia and Romania, where these works had previously been exhibited. What's more, my encounter with Monique Crick, a sinologist, during a lecture given at the 6th edition of Printemps Asiatique, was a salutary step towards understanding these masterpieces from the Ming period. She was the first art historian to draw up a thorough scientific analysis of these goldsmith's pieces for an exhibition she curated at the Baur Foundation, which she was heading at the time.
I had the opportunity to visit the Qujiang Fine Arts Museum in Xi'an to discover the objects, and to work on a list that would make sense to illustrate our scientific purpose. The idea was to tell a story, that of the mores and customs of the imperial court, while at the same time highlighting the beauty and technical virtuosity of the goldsmiths of the Ming period. It was a delicate balance to strike, and one that was achieved through exceptional collaboration with both our counterparts at Qujiang and our team of scenographers. The exhibition is divided into three areas: in the narthex, the public is greeted by a first informative area, with videos presenting the Ming dynasty and gold techniques. The second part of the narthex is devoted to ceremonial tableware, echoed by reproductions of paintings in the background explaining their use. Finally, the rotunda is entirely devoted to female ornaments.
What characterizes Ming-period goldworking?
Although the use of gold in China dates back to pre-imperial times, this precious metal reached a high level of technical refinement in the pre-Ming, Yuan (Mongol) period. As described by Marco Polo, Kubilai's residence was dazzling with precious stones and goldsmith's treasures.
When the Hongwu emperor (1368-1398) restored the territory, despite his desire to make a political and cultural break with Mongolian customs (notably by returning to Tang or Song period clothing), he nevertheless kept the eminently sumptuous character of imperial court customs. Goldwork reached its peak. The vases and ornaments made from the precious metal we present are produced using a wide variety of techniques (all of which have been attested for several centuries in China), but which developed considerably between the 15th and 17th centuries. This is particularly true of watermarks. It is said that 28 g of gold can be stretched over 80 km, as demonstrated by the work on the deer box in the left-hand narthex. The same applies to granulation, inlay and setting. The Ming were particularly fond of gem colors; each color was associated with an element, and the use of ruby, sapphire and emerald was highly sought-after by Ming craftsmen.
Lantern motif hairpins
Ming Dynasty (1368-1644)
Gold filigree
L. 17,6-18,6 cm; Weight: 23,8-25,2 g
Xi’an, Qujiang Museum of fine arts, XYB0105/1-2
(Collected in Xi’an Qujiang Museum of Fine Arts
Can you tell us more about your collaboration with L'Ecole des Arts Joailliers, supported by Van Cleef & Arpels?
In the introduction area of the first part of the exhibition, visitors will discover two videos introducing them to the various goldsmith techniques developed by the Ecole des Arts Joalliers with the support of Van Cleef & Arpels, before discovering all the masterpieces. At the instigation of our President, Yannick Lintz, we wanted to collaborate with the School's experts to ensure that the scientific content was of the highest possible quality. In 2022, the Ecole des Arts Joailliers staged a magnificent exhibition of gold ornaments from the Mengdiexuan collection. I think the result is superb, and we owe it in particular to the commitment of Edoardo Cecchin, director and graphic designer, who piloted the exhibition's entire multimedia space. His expertise and talent as a draughtsman, combined with the scientific supervision provided by the School of Jewellery Arts, explain the result.
Are all the works on display from imperial collections?
When discovering these works for the first time, it would be tempting to imagine that they all belonged to the family of emperors living in the heart of the Forbidden City. But that's not exactly the truth, and we explain this in the very first room, which introduces the Ming dynasty. During the reign of emperor Yong Le, the Ming were the world's leading exporters of porcelain, lacquerware, silk and tea, notably through the maritime explorations and embassies linked to Zheng He's official missions. The beginning of the 16th century marked a decisive turning point: in search of new trade routes to the Far East, European navigators opened sea routes linking Europe to Asia and the Americas. In this now global trade, Ming China took part in intense exchanges: from a purely agrarian empire, it became a mercantile country. From 1500 to 1800, Mexico and Peru produced around 80% of the world's silver, 30% of which was exported to China. The cities of the South grew richer, giving rise to a new class of wealthy merchants. The desire for material comfort gradually spread to all levels of society. In line with urban expansion, luxury goods such as woven or embroidered silks, goldsmiths' wares and jewelry became highly coveted signs of social status and wealth. They were no longer the exclusive preserve of the aristocracy. The spread of these ornaments, a sign of wealth and social success, was unprecedented. Against a backdrop of economic prosperity and the weakening of imperial power, wealthy elites kept emulating the fashions and practices of the aristocracy.
I sincerely believe in the need to contextualize these works as much as possible, to place them in a social and economic situation that we also know from the numerous narratives published during the Ming period. We need to better understand who, how and why these pieces were used
© Thibaut Chapotot
Throughout the exhibition, you allude to the cryptographic nature of these objects. What exactly are you talking about?
The iconography of each piece reveals a hidden meaning, associated with a play on sound. The homophonic poverty of Chinese language combined with a constant need to protect oneself from earthly evils such as loss of social rank explains the omnipresence of plant, animal or even religious motifs on ornaments and vases. Look closely and you'll find these motifs, more or less discreet, evoking auspicious wishes. The stag “lü 鹿” refers homophonically to emoluments, a symbol of wealth but also of longevity. The bat “fu” 蝠, is synonymous with happiness, the crab “hexie 河蟹” with success. The “longevity” character (shou) was also a particularly popular motif. The inside of a pair of bracelets, for example, holds the formula fu shou kang ning 福寿康宁 (wishes for happiness and longevity).
Was there a particular work that caught your eye?
A tiny little object, not very impressive, but which I find so revealing of Ming society. I'm thinking of a hairpin, the shaft of which represents a pilgrim’s walking stick. Its upper end represents a shunya mudra. Added to the religious gesture is the chan toad, seated on the water lily leaf, which is called lian, forming the homophone of chanlian meaning “to have one position after another” and expressing the desire to reach the top of the hierarchy. This is how we can reveal, in the intimacy of an ornament, a meaning that only its owner could understand, so small is the piece.
For more information :
Musée des arts asiatiques - Guimet
6, place d'Iéna
75116 Paris
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