Ruyi Scepter

2017.13.0003A

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Basic Information

Artifact Identification Ruyi Scepter   (2017.13.0003A)
Classification/
Nomenclature
  1. Communication Artifacts
  2. :
  3. Personal Symbols
  4. :
  5. Status Symbols
Artist/Maker None
Geographic Location
Period/Date Qianlong Period, 1736-1796 CE
Culture N/A

Physical Analysis

Dimension 1 (Height) 26.9 cm
Dimension 2 (Width) 5.84 cm
Dimension 3 (Diameter) 3.13 cm
Weight 87 g
Measuring Remarks The width was measured from the largest end (i.e., the head of the scepter)and includes the empty space between the shaft and the head.
Materials Plant--Boxwood, Varnish
Manufacturing Processes Carved
Munsell Color Information N/A

Research Remarks

Published Description N/A
Description

An intricately and finely carved 18th century, Qianlong period (1736-1796), Chinese boxwood (huangyang mu) ruyi scepter, carved in high relief with openwork. The motifs are wufu (bats), fungi, and lotus. The ruyi, with a fitted silk base, measures 10.75 inches long. Ruyi (literal meaning: ‘as desired; as [you] wish’) is an object that serves as a ceremonial scepter in Chinese Buddhism or a talisman symbolizing power and good fortune in Chinese folklore. These scepters were traditionally presented as birthday gifts. Ruyi scepters are long, shaped in the stylized stalk of a lotus. The ruyi scepter is also the emblem/attribute of He Xiangu, one of the Eight Daoist immortals. The Yang (female principle) character of the Ruyi is often indicate by its similarity to the Lingzhi fungus and to Clouds. During the Qing dynasty, it was customary for the Emperor to present deserving generals, nobles and ministers of state with gifts of a Ruyi scepter as a mark of favor.

The Lian/lotus plant of the water-lily family grows in water or mud. Lotus is the flower of the summer and the seventh month, and the only plant with a place of honor among the Eight Buddhist Emblems. It is the sacred flower of the Buddhists, symbol of truth, fertility and purity because the blossoms emerge pure and beautiful out of muddy waters. Buddhists view the lotus as a symbol of the true nature of human beings, which can remain unstained by the mud of the world. It is also sacred to the Daoists, for it is one of the attributes of the young He Xiangu, one of the Eight Daoist Immortals. Rising unsoiled from the mud, the lotus became a symbol of incorruptible honesty and purity, for which it was widely adopted as a motif on all kind of vessels. Vessels shaped like lotus flowers or lotus petals grew in popularity with the arrival of Buddhism to China, and began during the Southern Northern Dynasty (420-589 CE), when Buddhism was in height. The lotus flower also represents awakening or enlightenment. In its closed position it only has potential, while fully opened it represents being fully awakened. The many seeds of the lotus make it also a symbol of fertility.

Lingzhi/fungi have been used as patterns or shapes to decorate ruyi scepters. The sacred fungus of immortality (Polyporus lucidus) was considered by the Daoist mystics as the food of the Immortals (xian). Lingzhi is a symbol of longevity, since, when dry, it becomes extremely long lasting. This strange plant looks like a tree with a knobby trunk and lobed, flat leaves but is a fungus used extensively in Chinese medicine. It was believed that lingzhi fungi grew in the abodes of the Immortals, the Three Islands of the Blest, and that whomever ate the sacred fungus attained immortality.

Due to the homophony of the Chinese word wu for “bat,” and fu for “prosperity and good fortune” the bat has become a symbol for good luck. The Chinese symbols, or characters, for “bat” are the homonyms of “fortune” or “blessings.” Bats also represent longevity, wealth, health, virtuousness, and a peaceful end.

Comparanda

Lot 2908, A Boxwood “Bird and Flower’ Ruyi Qing Dynasty 18th century. Christie’s Hong Kong sale 3432: Through Connoisseur’s Eyes-Ephemeral Flowers, Enduring Art. June 3, 2015. lot 951, A Boxwood Ruyi scepter, 19th century. Christies’ New York sale 3769: The Lai Family Collection of Fine Chinese Furniture and Works of Art. September 17, 2015.

Bibliography N/A

Artifact History

Archaeological Data N/A
Credit Line/Dedication Fred A. Freund Collection
Reproduction N/A
Reproduction Information N/A

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