Chinese baskets

CHINESE BASKETS
by
Berthold Laufer
Curator of Anthropology
38 Plates
V*!
Anthropology Design Series No.
FIELD
MUSEUM
3
OF NATURAL HISTORY
Chicago
1925
CHINESE BASKETS
by
Berthold Laufkr
Curator of Anthropology
38 Plates
NATURAL Kf^
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Anthropology Design Series No.
FIELD
MUSEUM
OF NATURAL HISTORY
Chicago
1925
CHINESE BASKETS
PREFACE
North American Indians have attracted a great deal of
an enormous literature both technical and popular in
character, which is concerned with their technique and designs. The basketry
of the natives of the Philippines, Hawaii, and New Zealand has elicited a few
monographs, but, as far as I know, the baskets of China have never been studied
by any one. The mere fact of their existence is not even mentioned in the current
books on China and the Chinese. Yet, since earliest times, baskets have occupied
a prominent position in Chinese civilization, although naturally, owing to climatic
and soil conditions, no ancient baskets have survived. In the ancient Book of
Songs Shi king and in the ancient Rituals occur many terms for various kinds
of baskets, but contemporaneous descriptions of these are lacking, and we hardly
receive more than a very general idea of their appearance. We read of round
The baskets
of the
attention, resulting in
)
(
baskets of bamboo, of square shallow baskets of bamboo or straw, or of square
baskets in which eatables or clothes were preserved. The young bride offered to
her father-in-law fruit in a basket. It was a famous maxim in the good old times
men and women should not touch each others' hands and that when a man
wanted to make a gift to a woman, she should receive the object in a basket.
that
We
also hear of baskets used for specific industrial purposes; thus, for instance,
as fish-traps set at the openings of dams, and, above all, in the silk industry.which
was the main occupation of women. The tender leaves of the mulberry on which
the silkworm feeds were gathered in deep baskets, and a square type of basket
served for depositing the cocoons. Even at present basket trays play an important
part in the rearing of silkworms (Plate I). Baskets also were utilized in funeral
ceremonies and filled with cereals as food for the departed soul, being placed near
the coffin. This custom is still perpetuated by the farmers living in the environment of Peking, who bury with their dead an oval basket plaited of willow-twigs.
In ordinary life this vessel serves the purpose of a grain-measure, holding one
pint; when used as a mortuary vessel, the wooden hoop around the rim is removed, and food is stored up in the basket for illustration see Laufer, Chinese
(
Potter\^ of the
Han
Dynasty, Plate
75,
No.
5).
a certain degree of interrelation of basketry, pottery and metal
vessels. In the case just cited the mortuary basket is a substitute for a pottery
urn which is usually deposited in the grave in the provinces of Chi-li, Shan-tung,
There
is
and Kiang-su. There are two ancient types of rectangular baskets known asfu
and kivei and used for boiled grain at sacrifices and ceremonial feasts; they are
preserved only in pottery and bronze (for illustrations, see op. cit., Plate 25, and
Art in America, October, 1925, Fig. 4), which give us at least a vague idea of
what they may have looked like in basketry. On the other hand, there are ancient
sacrificial vessels of tazza shape in pottery and bronze, which at present have
survived in basket form in the worship of Confucius and his disciples (Plate 38)
There is a fundamental difference between the baskets of northern China
and those of the central and southern portions of the country. In the north they
are part and parcel of the rural population, plain, practical, strong, durable,
chiefly for agricultural purposes, as collecting and carrying earth and manure,
winnowing, storing grain, or used as means of transportation (hamper and
dossers) These being exclusively of ethnological interest have not been included
in this publication, which is devoted to the artistic baskets whose home is in the
Yangtse Valley and the country stretching southward. Here we meet in full
development the flower basket with a great variety of shapes and graceful handles,
the picnic basket with padlock, the neat travelling basket in which women
carry their articles of toilet, and the "examination basket" in which candidates
.
visiting the provincial capital for the civil service examinations enclosed their
books and writing-materials, also the cozy for tea-pots, more practical and efficient
than our thermos-bottles, and the curious pillow of basketry weave. The basket
boxes with raised and gilded relief ornaments are also characteristic of the south.
In accordance with the general interest in Chinese art and art industries in
this country, there is now also a considerable interest in and demand for Chinese
baskets. They make a ready appeal to our esthetic sense on account of their
elegance of shape, variety of design, and other artistic features, not to speak of
usefulness of purpose. Chinese genius has developed baskets along lines unknown in other countries; it was not merely satisfied with creating pleasing
forms and attractive decorations, but also endeavored to combine basketry with
other materials like wood, metal, and lacquer, and to enliven and embellish its
appearance through the application of processes originally foreign to the industry.
The covers
of
many
baskets display a finely polished, black lacquer surface
in gold or red. Others are
on which landscapes or genre pictures are painted
decorated with metal fittings (of brass or white metal) finely chased or treated
in open work. Delicate basketry weaving is applied to the exterior of wooden
boxes and chests, even to silver bowls and cups, as may be seen in the exhibits
(at present at the south end of the west gallery). In this association with other
modes
of technique Chinese basketry has taken a unique development which
should be seriously studied and considered by our own industrial art-workers.
In accordance with the object of this design series, this publication does not
aim at a
scientific
study of the subject, but
craftsman, and art student. Nevertheless
is
primarily intended for the designer,
hoped that the technical student
weave
and design is given in the plates for each object. The locality where each object
was made is noted, and as the collection is fairly comprehensive, it gives an adequate view of what types of baskets are made in middle and southern China.
of basketry also will find
it
useful
and
it is
instructive, as full information as to
The technique of some Chinese baskets is described and illustrated in an article by L. Parker, "Some ComBaskets of the Philippines" in The Philippine Craftsman (Vol. Ill, No. 1, Manila, 1914), and in another
study by E. M. Ayres and L. Duka, "Basketry Weaves in Use in the Philippines," in the same journal (Vol. V,
No. 5, 1916), as many types of baskets used in the Philippines are either made by Chinese or by the native tribes
after Chinese models. Illustrations of Japanese baskets may be consulted in the monograph of J. Conder, "Theory
of Japanese Flower Arrangements" (Transactions of the Asiatic Society of Japan, Tokyo, Vol. XVII, 1889, Plates
11, 44, 60, 61, 64) and in an article by C. Holme, "The Uses of Bamboo in Japan" (Transactions of the Japan
Society of London, Vol. I, 1893; see also Vol. V, 1902, p. 50 and Plate V).
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FIELD
MUSEUM OF NATURAL HISTORY.
ANTHROPOLOGY, DESIGN SERIES NO.
3,
PLATE
X.
OLD FLOWER BASKET.
In shape of a boat, with double handle.
Made
of dark
bamboo
and
in open, twined,
coiled weaves.
WEN-CHOU, CHE-KIANG.
Height S^S inches.
Length 14 inches.
Cat. No. 126183.
Width loK
inches.
Traces of gold paint on base and rim.
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FIELD
MUSEUM OF NATURAL HISTORY.
ANTHROPOLOGY. DESIGN SERIES NO.
3,
PLATE XV.
WICKERWARE BASKET.
Of coil weave, fitted with a porcelain tea-pot. The spout projects through a perforation in the lock, making
removing the pot from the cozy. The hinges are in shape of double coins, and the hook for fastening is in form
it
possible to pour without
of
a
CANTON, KWANG-TUNG.
Height
7K
inches.
Diameter g inche
Cat. No. 126174.
PILLOW OF RATTAN STRIPS.
Hollow.
The ends
are ornamented with strips of black in twilled weave of square pattern.
CANTON, KWANG-TUNG.
Height
s inches.
Length isK inches.
Cat. No. 126176.
Width s'V
inches.
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FIELD
MUSEUM OF NATURAL HISTORY.
ANTHROPOLOGY, DESIGN SERIES NO.
3,
PLATE XIX.
CIRCULAR CARRYING BASKET.
Made
two compartments, with black-lacquered handle, of fine bamboo split, in checker and twined weaves. The cover
with a painting in gold outlines, representing two women, one mending a garment, the other painting silk fans.
in
CH'ENG HIEN, SHAO-HING
Height
gl-i inches.
1
FU, CHE-KIANG.
26166.
OLD OVAL BOX.
CIRCULAR BASKETS.
of
brown bam.boo,
in checker
weave
of
two
layers.
No
handles.
KI-AN FU, KIANG-SI.
Height
3M
and 3 inches, respectively.
Diameter
7
decorated
Diameter 8J^ inches.
Cat. No.
Made
is
and
Cat. Nos. 136193, 136194.
4K
inche-s, respectively.
Covered with basketry
For keeping cakes.
in checker weave and trimmed with brass mounts
Hinged lid with brass lock.
and double handle.
Cover, base, and edges lacquered black.
Height
3K
inches.
Length 10 inches*
Cat. No. 12621.?.
FIELD
ANTHROPOLOGY, DESIGN SERIES NO.
MUSEUM OF NATURAL HISTORY.
PLATE XX.
CIRCULAR BASKET WITH COVER.
CIRCULAR LACQUER BOX.
Made
The
The brown lacquer is ornamented with designs in gold and red.
centre of the cover is occupied by an ornamental form of the character shou
("longevity"), surrounded by five bats {wufu) symbolizing five kinds of blessing (wufu): old age, wealth, health, love of virtue, and natural death. On the
sides are the eight Buddhistic emblems of luck, alternating with the character
"double joy" {shwang
3,
extreme
in coiled, twined, and interlaced
Partially painted gold
fineness.
is surmounted by a ring.
weaves of
and
red.
The handle
K'lEN-LUNG PERIOD (1736-95).
Height 4% inches.
hi).
Diameter
S'/i
inches.
Cat. No. 126203.
FUCHOW, FU-KIEN.
Height 3M> inches.
Diameter
8Vj inches.
OCTAGONAL BASKET.
Base, trimmings, and cover of wood. Basketry in double layers; on the exterior, split bamboo in checker and twined weaves; in the
The painting on the black-lacquered cover represents a mother holding a child two boys are
interior, twilled weaving in yellow and brown.
;
engaged in wrestling.
CH'ENG HIEN, SHAO-HING
Height
6Vs inches.
FU,
Diameter
Cat. No. 12616SB.
CHE-KIANG.
lo'/l>
inches.
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FIELD
ANTHROPOLOGY, DESIGN SERIES NO.
MUSEUM OF NATURAL HISTORY.
3,
PLATE
XXII.
CIRCULAR CARRYING BASKET.
of fine bamboo split in checker and twined weaves. Interior lined with twilled weaving. Base, trimmings, and handle of wood.
cover (on the left) is lacquered black and painted with a landscape in gold. Along the base a raised key-pattern gilded.
Made
The
CH'ENG MIEN, SHAO-HING
Height
5K
inches.
FU,
CHE-KIANG.
Diameter J2}i inches.
Cat.;No. 126164.
OCTAGONAL BASKETOf same technique. The painting on the black-lacquered cover represents two mainah birds perching on a branch.
base raised designs in gold of flowers and bats alternating.
CH'ENG MIEN, SHAO-HING FU, CHE-KIANG.
Height 6 inches.
Diameter 9-K inches.
Cat. No. 126162.
On the black-lacquered
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