Professional Documents
Culture Documents
FRANCES
SUMMERS
RIDGELY
BOARD OF
ILLINOIS STATE MUSEUM ADVISORS
EVERETT P. COLEMAN, M.D. Chairman
Coleman Clinic
Canton
THE
CONDELL COLLECTION
OF
ORIENTAL ART
BY
FRANCES SUMMERS RIDGELY
Museum Director
Foreword
The Oriental collection described in the papers that follow was
presented to the Illinois State Museum in 1940 by the Misses Helen
and Eliza Condell. For nearly a quarter of a century it occupied the
Oriental Gallery of the Museum on the fifth floor of the Centennial
Building and is now exhibited on the second floor of the new Museum
building at Spring and Edwards streets.
CHINESE SECTION
Religions and Symbolism of China 13
Porcelains 22
Chinese Screen 35
JAPANESE SECTION
Religions of Japan 41
Japanese Buddha 45
Artists' Signatures 56
Classification of Netsuke 61
Lacquer 62
MISCELLANEOUS
Household Articles of Japan and China 63
Javanese Brass 63
Bibliography 64
Illustrations
Plate Page
Eliza Condell Frontispiece 3
CHINESE SECTION
Jade Ju-i I 10
JAPANESE SECTION
Buddha, Amida Nyorai IX 44
Inro, Open X 48
Thomas Condell
Thomas Condell, whose Oriental collection now belongs to the
Illinois State Museum, was a member of a family long associated with
Illinois history. A great grandson of Ninian Edwards, the first Governor
of the Territory of Illinois, he was born in Springfield on November
25, 1863.
so he made many trips to the Southwest and spent the time in collecting.
His sisters, Helen and Eliza Condell, were with him on his last and
most enjoyed western trip when, at Santa Barbara, California, he ac-
quired much of the collection which we now have. They returned
to Springfieldon April 4, 1929; and that same day he passed away. His
collection followed him to Springfield and was given to the Museum
by Helen and Eliza Condell as a memorial.
Plate I. Jade ]u-i (700988). Ch'ien Lung, A.D. 1736-1795.
10
CHINESE SECTlOll
11
Religions and Symbolism of China
Since religious symbols are important in the decoration of Chinese
art, brief explanations of three religions or philosophies of the last
thousand years are presented here.
his day (551 -479 B.C.). The virtues were: love, corresponding to
our word humanity; justice; reverence; wisdom, discriminating between
good and evil; and sincerity.
He believed that all men were, by nature, good and that goodness
was developed by a study of the classics. S. W. Bushell, in Chinese
Art, quotes Confucius: "As we use a bronze mirror to reflect a present
scene, so antiquity may be pictured as a lesson for posterity." His funda-
mental theory was essentially the Golden Rule which he negatively
expressed by: "What you do not wish done to yourself, do not to the
other man."
15
Shou Lao is the God of Long Life, a bearded old man with a very high,
bald forehead resulting from deep thought. He is often represented
as seated on a water buffalo. A group of demi-gods known as the
Eight Immortals often surround him, but they are also shown singly
as statuettes. In addition the War God, Kuan Ti, was borrowed from
the Confucianists.
14
CHINESE
ART OBJECTS
15
PLATE II. Wall Hanging, Cantonese Embroidery H0080 7 ). A.D. 1852.
16
Stone Heads from Ancient Temples
illustrate changes in carving and style of headdress and the use of softer
material which shows more explicitly the erosion of the elements.
•
AH numbers in parentheses refer to Museum catalogue numbers.
17
Clothing, more than all else, indicated the owner's place in the
social order, even that of the emperors following certain laws of design
and decoration. There were imperial robes for various occasions;
designs which princes of royal rank might wear; designs for those of
lesser degree and for eighteen ranking officials divided into nine military
and nine civil groups.
symbols.
The white crane, peacock or wild goose, silver pheasant and egret,
with some others, marked the civil officials. To the military were
assigned the lion, tiger or leopard, bear, panther, and rhinoceros or
sea horse, to name a few; it is hoped that these officials did not feel
called upon to emulate the characteristics of the animals found on their
precious squares.
* Adapted from "Chinese Mandarin Squares" by Schuyler Cammann in the University Mu-
seum Bulletin, Vol. 17, University of Pennsylvania, Philadelphia.
18
Silk was the most important textile used in old China. A certain
day was set aside for veneration of the legendary Empress Hsi-ling-
shih whom the Chinese believed to have first encouraged the growing
of silkworms and to have invented a loom for silk weaving. The Chinese
tried to keep silkworm culture from spreading to other parts of the
world, but like most important secrets it was too big to be kept. The
Chinese word for silk is ssu; and it is preserved in the name of a weave
invented and used only by the Chinese, k'o ssu, which means silk
tapestry.
Two k'o ssu robes for men (700811-700812) are a part of the
Condell Collection. The background color in each robe is slate blue.
Each has nine front-facing, five-clawed dragons woven into the design.
The lower borders of inclined lines represent waves surrounding the
sacred mountain, Mem, symbolizing the earth. Scrolled clouds meet
the waves and are carried through the body of the garments. Taoist
emblems decorate one robe: the fan, peach, flower basket, castanets
and the bamboo tube. Buddhist emblems predominate in the other:
the sea shell, mystic diagram, parasol, and peony. Nine front-
fish
A woman's robe has circular k'o ssu medalions inset into a warm
rosebackground (700827) As it is a summer garment the medallions
.
are gay with butterflies and flowers. Another spring robe in dark
green satin (700828) is elaborately embroidered in white cherry blos-
soms, white cranes and many-hued butterfles. It was worn by Princess
Ch'un before the Boxer Rebellion.
ing the Peking stitch or seed stitch which was at last outlawed because
19
many women lost their sight in making it. Still in use are the satin
stitch, loop or chain, buttonhole, quilting and a most effective couched
twist, made by twisting two threads together to form a fine knobby cord
which is applied or couched to the material by an overstitch in con-
trasting color.
A broad band across the top shows a central dragon with four
claws, called a mang, flanked on each side by a phoenix. Below this
is a wide border filled with Buddhist emblems of good fortune. On the
inner border the top is decorated with the Taoist Trinity on whom all
earthly functions rest. Down the sides of this inner border are the
Taoist Eight Immortals; the base shows large Fu dogs. Symbols of
the two religions used together are not unusual as both Chinese and
Japanese people may practice more than one religion.
friends and relatives of Lieu Jing-San who were the donors of the
handsome hanging. Their commendations for Lieu's achievements and
congratulations on his 72nd birthday and that of his wife, Mung, fill
the remaining space. Height, 14 feet; width, 9V2 ^ eet - 19th Century.
20
,
by any means.
Later mortuary pieces are a small plain saucer of the T'ang Dy-
nasty (700995), diameter, 7 1/? inches, and necked amphora
a slender
(700890) height, 14 inches. The latter
, has carved serpent handles and
a deep brown glaze spilling over the lower part of the light body.
There is also a small libation pitcher (700878) of the late Sung Dynasty,
smooth and plain, height, 61/2 inches and greatest diameter, 4 inches.
All of these pieces are of light tan clay with a colorless glaze.
In the collection are two large T'ang Dynasty figures of Kuan Yin,
Goddess of Mercy (700891, 700892) attractively modelled, with folded
,
21
arms. They are unglazed, but their warm beige clay was once en-
hanced with color as traces of it One figure has the curious
remain.
ju-i feet; but the feet have been broken from the other. Kuan Yin is
even more popular in China than Buddha, receiving special offerings
from childless women in hope of maternal fulfillment. (Plate III.)
Height of each figure, 28 inches.
Porcelains
Marco Polo, returning from his visit to China about 1280, brought
the accounts to the medieval world in Europe of a wonderful
first
22
PLATE III. Statuettes of Kuan Yin. Mortuary Pottery ("00891 and 700892). Tang, A.D. 618-906.
23
PLATE IV. A. Covered Bowl, Mortuary Pottery ( ^00895 ) . San, 206 B.C. —A.D. 220
A
ginger jar (700874) has deep blue scrolls on a white
ground. The cover has been replaced with carved wood. Height,
7% inches. Ming, early 16th century.
A covered jar
(700821), has the original cover replaced
with carved wood. On white, the blue design shows an empress
receiving officials in her garden. Height, 11 inches. (Plate V, C)
K'ang Hsi.
25
A beautiful ginger jar (700856) carries blue conventionalized
dragon and cloud medallions on its white surface. The rock and
wave design decorates the base. Wood cover, with carved white
jade knob, and stand. Height, 9y2 inches. K'ang Hsi. (Plate
V, A.)
A cylindrical jar (700859) with all-over design in blue has
four reserve panels in white, decorated with human figures. On
wood stand. Height, 9^2 inches. K'ang Hsi.
A jar (700857) has a white ground with a design of lotus
blossoms in medium blue over conventionalized cloud forms.
Wood cover and base. Height, 10l/2 inches. K'ang Hsi.
A jar (700855), with a beautiful design in blues, shows
a woman of high rank with attendants in a garden. Wood cover
and base. Height 101/2 inches. K'ang Hsi.
Differing greatly from the other pieces is a broad, low jar
A
shallow plate with upcurved edge (700999) bears a medal-
lion in deep blue peonies over the entire center. The border is
of conventionalized ju-i heads with an outer rim of Taoist em-
blems and clouds. Diameter, 12 inches. K'ang Hsi.
A most attractive plate (701000), also with upcurved edge,
is in cafe-au-lait with a tiny landscape and bird painted in black,
warm brown, and green. Diameter, 12 inches. Attributed to early
K'ang Hsi.
A
REIGN OF YUNG CHENG, A.D. 1723 - 1736.
Yung Cheng, the son of K'ang Hsi, reigned very briefly. He
too was a patron of porcelain manufacture, engaging among others,
the great T'ang Ying for the imperial factory. Many new inven-
tions in colored glazes were perfected, among them the reds to
pinks, known as "famille rose." Panels in reserve against colored
26
PLATE V. Porcelains: A. Ginger Jar ("00856). B. Shallow Bowl ( 01000). C. Covered Jar
(700821). D. Covered Jar ("00993). K'ang Hsi, A.D. 1662-1 22.
27
backgrounds held paintings of line drawings of flowers or religious
symbols.
28
reserve in white contain Chinese figures. The entire lantern is
earlier than 1311 B.C. Shang is the first dynasty whose history is sup-
ported by archaeological investigation.
Evidently these ancient bronze pieces were made for ritual use,
for even in the great houses, household utensils seem to have been
pottery. The bronze vessels were dignified in styling and massive in
proportion. Those credited to the Chou Dynasty which followed Shang
show much finer quality of design. Through long burial in the earth,
the pieces acquired a patina or coloring over the entire body due to
chemical action of the soil on the disintegrating bronze surface. The
patina varies from a rustry orange to the highly appreciated light green
and is often of considerable thickness. No archaeologist would think
of removing this evidence of antiquity, and some unscrupulous but
hopeful forgers have tried to imitate it.
Many fragments of molds were found also, both in terra cotta and
stone. Weapons may have been cast in sand. The elaborate pieces
seem have been modelled in wax, completely embedded in clay by
to
continually pouring a thin mud over them, drying and then firing the
clay in great heat. The heat caused the wax to melt; small vents in
the mold permitted it to run out, leaving a complete impression on the
inside of the fired clay mold. This is called the "lost wax" method.
29
Bronze is a combination of copper hardened with tin, the propor-
tions varying according to the destined use of the article. Weapons,
as spear heads, knives, and swords, required greater hardness than
ceremonial vessels. With differing proportions of the metals there
was, of course, much variation in color.
The bronzes in the Condell Collection are not of the greatest age,
none being older than Ming.
Dynasty (1122 255 B.C). Man hoped to keep in touch with natural
-
forces by using in his rites these heavy cast bells which are beautifully
modelled and ornamented. The hanging, resonant bell was struck
near the edge with a mallet. Height, 12 inches. Probably Ch'ing.
use, with a separate brass base. Height, 5]/2 inches. Ming, 16th Century.
30
Enamels
The art of enameling
thought to have reached China by way of
is
soldered upright to the background metal. This tiny band must follow
each intricate part of the decoration to make the cells that form the
design.
The craftsman then fills each cell with moistened enamel colors
that have been ground to finest powder. The piece is then fired. The
process is repeated several times to
fill the cloisons completely and to
remove pitting from the surface. Then comes patient polishing with
pumice stone and cleaning with charcoal. The edges of the metal bands
form a fine network over the finished piece.
handle and small feet. The sides are covered in deep blue enamel.
Over the blue ground are dragons and clouds in rose and white. From
we assume that wine was to be poured from it
the tiny size of the pot
sparingly indeed. Height, 61/2 inches. Ch'ien Lum*.
31
_
PLATE VI. Incense Burner, Cloisonne En2mel. Ch'ien Lung, A.D. l 36-n95-
32
Ivory, ]ade, Quartz and Crystal
Shou Lao, The God of Long Life (700786) carved in ivory, holds ,
the sacred peach, the fruit oflife. In his left hand he has a staff with
dragon head. The carver took full advantage of the graceful curve
of the elephant tusk and the grain, polish and veining of the lovely
material with which he worked. There is no material more satisfactory
to refined taste than ivory with its seductive body and warm tones.
Height, IOI/2 inches. (Plate VII, B.)
Plate VII. A. Cups of Carved Rhinoceros Horn (700987). B. Shou Lao, Ivory (700"/
C. Kuan Yin, Rose Quartz (700787)
34
tiny brushes with curved small handles. Jewelled stoppers complete
the pair. Height, 3I/4 inches.
Chinese Screen
The single-paneled screen (700841) with lacquered surface has
—
an applied decoration of semi-precious stones white and green jade,
agate, lapis, ivory —
and porcelain, carved lacquer, mother-of-pearl and
crystal. The design
from the "Hundred Antiques", an infinite variety
is
The horn has a pleasant and yielding texture suited to the carving
of elaborate designs. Colors range from translucent yellow, amber and
dull red which are made into cups; the opaque blacks are shaved and
powdered for medicinal use. The carving was done chiefly in Canton.
As early as the Han Dynasty there was a wide-spread belief in Asia
that the powdered horn of the rhinoceros was an antidote for poisons
and that the cup reveals the presence of poison by exuding a white fluid,
a warning of danger in a part of the world where assassination was a
distinct possibility.
to reach Santa Barbara, and then to become a part of the Condell Col-
lection. We can not imagine the strange rituals he has witnessed nor
the turbulence he has seen since he began his life of contemplation in
the mid-eighteenth century. He is the Museum's Man of Mystery.
(Plate VIII) Height, 18l/2 inches; width, 15 inches, depth, 10 inches.
36
Plate VIII. Bodhisattva (700844). Tibetan, hsth centui
37
JAPANESE SECTlOn
59
Religions of Japan
Despite all this simplicity, there are more gods connected with
Shinto than the western mind can comprehend. The greatest of these
is Amaterasu, the sun goddess, who was long considered the ancestress
of the emperors of Japan.
41
pieces of sacred rice straw from a public shrine, holy texts and charms.
Usually there is daily devotion by offering a prayer before the shrine.
On special occasions small tapers or lamps are lighted; sometimes
special offerings are made with prayer and the usual clapping of hands.
While the great number of patron saints and gods mystify the
world of the West, it is probable that people of the Orient are equally
bemused by the many divisions among Christian religions Catholic, —
Protestant, and Greek Orthodox, to name a few of the principal groups,
with further subdivisions among them all.
42
JAPANESE
ART OBJECTS
43
,.*
44
Japanese Buddha
The large, golden Buddha (700840), enthroned on a lotus flower
with the eternal flame behind him, is attributed to the late 18th century.
He sits in the attitude of serene contemplation, but two centuries are
far short of the time which he needed to reach the exalted state of
Buddhahood.
In Buddhist Images, Aisaburo Akiyama says: "The Buddha rep-
resented here known as Amida Nyorai by the Japanese. He is the
is
chance that each future life may be better and that endless rebirth is
a means for progressing to Nirvana.
45
s
—
which is a messenger servant a woman condemned for a thousand
years to wear that guise for her sins. The snake is absent from Benten'
headdress, possibly because of adventures which she met in her long
journey from Japan.
While the household gods came into existence to aid in the effort
to obtain temporal blessings, they possess very human attributes and
demand neither slavish worship nor self denial. The Japanese did not
hesitate to have an occasional small smile at the expense of these semi-
deities. Marcus Huish shows an ivory carving of all seven gods after
net'ske). At the time when the usual Japanese dress was the kimono,
a provision for carrying personal articles was to fasten them by cords
slipped under the belt or obi, for the kimono had no pockets. Though
money and tobacco pouches were worn in the same way, we are here
concerned only with the inro which held seals or medicines.
The inro, usually of decorated lacquer, looks much like a western
cosmetic case. In reality it consists of several tiny
compartments fitted
smoothly together. Through perforated channels at the end of each
compartment a cord extends around the inro; the cords go through a
sliding bead called an ojime, (pronounced oje-me) which allows the
inro to be opened or closed. The joined cords are tied into the netsuke
which is an ornamental medallion or a delightful carving. When the
cords are slipped under the obi, the netsuke hangs over the top, holding
the inro safely in place. (Plate X).
To western eyes the inro is indeed beautiful, but the Japanese
regarded the carved netsuke as the object of value. The dangling inro
was expendable and became worn, but the netsuke was an heirloom
passed from generation to generation. who love beauty, delicate
All
finish, finecarving and exquisite representation of natural objects will
rejoice in these small carvings which vary in treatment from complete
naturalism to the curiously grotesque.
always dear to the Oriental heart, for they were used then as now to
stamp signatures on documents and paintings. These tiers of boxes
may have inspired the Japanese to fashion small cases, similar in design
to wear at the side. Early inro were simple black lacquer boxes fitted
From 1800 to I860 was the peak of enthusiasm for these elaborate
accessories of dress, followed by a decline in their use and popularity.
Pipe cases had become popular and the tobacco pouch could be tied
pouch went out of favor as cigarettes in cases
to the case; in turn the
became the vogue. Western clothing with pockets replaced the kimono
for street wear. Netsuke and inro became beautiful keepsakes and
carvers became few. Fortunately, at this point the little carvings
reached the attention of foreign collectors. The lovely old pieces
49
flowed out of Japan and into collections in Europe and the United
States, and the carvers were back in demand.
One of the best loved stories reminds us of Pandora and the box
she opened which loosed so many troubles on the world. This is the
story of the "Tongue Cut Sparrow." He was punished by a cruel old
woman who found him eating in her pan of starch and cut out his
tongue. The poor bird fled to his home in the woods, where the woman's
husband found him after a long search. The kind old man was wel-
comed into the sparrow's home, entertained lavishly and given a choice
of two covered baskets as a farewell gift. He chose the lighter basket
and, when he opened home, found it filled with gold and silver.
it at
The greedy wife then went to the sparrow's home, was entertained
sparingly, and offered no gift. She, however, asked for one and was
given a choice of baskets. She staggered home with the heavier one
as we might expect, opened it and was overcome by goblins and mon-
sters pouring out of it. (Plate XL No. 141, inro and netsuke by
Kajikawa II.)
The next story seems to be the Japanese version of our tale of Rip
van Winkle. Urashima, who had rescued a tortoise from the sea, later
went to live at the palace of Ryujin, the Dragon King, who lived beneath
the sea. He became a favorite of Ryujin's daughter who was the tor-
toise he had rescued! After three happy years, he became homesick
and against all pleading returned to the shore that had been his home.
He was puzzled; no one remembered him though he had been young
and handsome; no one recalled his family; they had been dead for three
hundred years! Each year he had spent in the Dragon Palace had been
a century on earth. In bewilderment he opened the small box that his
princess had given him with the warning never to peer into it if he
wished to return to his under-sea home. A wreath of smoke rose from
the box and Urashima instantly turned to a very old man.
50
PLATE XI. No. 99, Netsuke and Inro, Hanabusa. No. 134, Ivory Netsuke, Ojime and Inro.
unsigned. No. 141, Netsuke and Inro, Kajikawa II. No. 29, Inro, Koma Kyuhaku.
No. 46, Inro, Kan.
51
PIAT3 XII. No. 139, Netsuke, Shoichi. No. 135, Inro, Kyuharu. No. 68, Netsuke, Shunko;
Ojime aid Gyokuzan. No. 10, Netsuke, Saichizan; Ojime, Giichi; Inro, Shiomi Shosei.
Inro.
No. 137, Netsuke, Anraku, Ojime, Shoichi; Inro, Kajikaiva I.
52
PLATE XIII. No. 87, Netsuke, Ojime and Inro, Mhikoku I. No. 100, Ojime, Gyokuzan.
No. 49, Inro, Jokasai. No. 54, Netsuke, Kaigyokusai Masatsugu.
53
Plate XIV. Nc..121, Ojime Masayuki Kato: Inro, Yokel. No. 58, Inro, Kwansbosal.
;
No. 51, unsigned. No. 60, unsigned. No. 62, Netsuke, Kyokusal.
No. 52,Netsuke and Inro, Gyokuzan.
54
Rttsuo.
i w n Wood Netsuke, unsigned: Inro.
5)
Scenes of everyday life of the present and also reaching into the
historic past are shown on Kajikawa Hikobei in Plate XII, No.
inro.
music of three drums and a flute. All performers are male, some taking
the part of women. Leading characters are masked; and as the action
proceeds, the mask may be exchanged for another of different facial
expression. The elaborate costumes of most elegant materials are
replicas of those worn in ancient times.
Artists' Signatures
56
Among the great artists in this collection we list only a few:
KAJIKAWA is the family name of a line of expert lacquerers who were
57
ARTIST'S NAME
ARTIST'S NAME
. . .
Classification of Netsuke
According to their shape and treatment, netsuke may be divided
into various groups. While the Thomas Condell Collection has ex-
amples of the following, there are others.
MASK netsuke, in wood or ivory, are made like those worn in the
Noh dances or like one of the many legendary demons.
TRICK and TOY netsuke have movable parts: rats in traps, in-
sects and even movable ivory worms. In the human figure, the tongue
or head may move. We have both this type and the one listed above,
but they are not illustrated.
61
Lacquer
Lacquer originally came from China but was brought to its greatest
perfection by the Japanese. The lac tree is scored; the white, resinous
sap being drawn from the tree at night. The substance quickly turns
black on exposure to the air. Brought to market in a semi-fluid state
or as dried cakes, the raw material must go through many processes
of straining and cleaning before becoming the wonderful, useful liquid
it is. To obtain the beautiful colors we know, it is mixed with various
chemicals.
The first layers are not colored unless the finished piece is to be
deeply carved. The last layer will be in color, from black to brown or
red, or luminous gold. The artist then makes his careful sketch on the
piece, preserving the sketch with a clear coat of lac. Then comes the
very delicate business of decoration.
The finest of lacquers were made in the 16th and 17th centuries,
but the decorators of the 18th century show more technical facility
in the use of this delicate and useful product. The finish must be
smooth and clean. A covered box or an inro must open and close with
ease; it must never stick or warp. It must be light in weight and tough
to endure much wear.
There is also a large, smooth black lacquer vessel with handle and
spout as one unit (700879). It is handsomely decorated in gold lac
with the crest of the Japanese Empress which is formed of the leaves
and flowers of the Paulownia tree. The knob on the lid and trimming
on the spout-handle are in brass. Early 19th century. Height, 6\/2
inches; diameter, 8 inches.
62
Miscellaneous Japanese Household Articles
Pipe cases (etui) of carved bone or of bamboo stripped in fine
threads from the smooth skin show an accomplishment in hand work
now disappearing from Japan (700884, 700885, 700898). Into these
cases were fitted tiny brass pipes holding about three whiffs of tobacco.
(700888, 700887). Included in the rather small space one finds a tiny
brass pipe, a covered metal bowl for a lump of burning charcoal and
a covered disposal vessel. There are also brass baskets (700886, 700889)
carefully planned for heating sake or tea. There are covered cylinders
for hot water and a cylinder for heating it with charcoal. These could
easily be carried by travellers.
Javanese Brass
A round censer hanging from a chain (700883) and two tall lamps
for burning oil (700884, 700885), of hand-hammered brass in curious
and interesting shapes, complete the list of the Condell Collection.
Censer, diameter, 8 inches. Lamps, height, 18 inches.
63
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64
ILLINOIS
Xa/td ofXinco&v t