108 AUST-AGDER-ARV 2018 Fanning a Tender Breeze Chinese and European folding fans in the KUBEN Collection

Yichieh Shih

The history of fans is as old as ancient civilization. Near the Equator, in Chinese folding fan in the KUBEN countries such as Egypt, India and China, fans have a function related Collection (AAM.08308). A farewell gift –‘Š‘– Ž‹ƒ–‡•ǡϐŽ›‹‰‹•‡ –•ƒ†ƒ’‡”•‘ƒŽŠ‘„„›ǤŠ‡›Šƒ˜‡ƒŽ•‘ from Lai Shuchun to his friend „‡‡™‹†‡Ž›—•‡†‹”‡Ž‹‰‹‘—•ƒ†”‘›ƒŽ ‡”‡‘‹‡•ƒ†„‡ ƒ‡ƒ Chu Lin, the fan is a commemoration ‡š“—‹•‹–‡ƒ ‡••‘”›ˆ‘”’”‹˜ƒ–‡’‘••‡••‹‘ƒ•™‡ŽŽƒ•‹ƒ”–‹•–‹ ’‡”ˆ‘”- of their friendship as well as a blessing to Chu Lin at his departure. mances.1Š‡”‡ƒ•ˆƒ•Šƒ˜‡„‡‡’ƒ”–‘ˆ—”‘’‡ƒ —Ž–—”‡ƒ–ƒŽŽ–‹‡•ǡ Foto: Hannele Fors, KUBEN/AAma. –Š‡ˆ‘Ž†‹‰ˆƒ•‡‡•–‘Šƒ˜‡„‡‡‹–”‘†— ‡†–‘—”‘’‡ƒ•’ƒ”–‘ˆƒ ‰”‘™‹‰‹ϐŽ—‡ ‡ˆ”‘•‹ƒˆ”‘–Š‡•‹š–‡‡–Š ‡–—”›‘™ƒ”†•Ǥ– –Š‡‘—–•‡–ǡˆƒ•ˆ”‘•‹ƒ™‡”‡ ‘ϐ‹‡†–‘ƒ”ƒ–Š‡”‡š Ž—•‹˜‡•–”ƒ–— ‘ˆ—”‘’‡ƒ•‘ ‹‡–›Ǥ ‘™‡˜‡”ǡ‹–™ƒ•‘–—–‹Ž–Š‡‡‹‰Š–‡‡–Š ‡–—”› –Šƒ–‰”‘™‹‰–”ƒ†‡™‹–Šƒ•–•‹ƒ‡•—”‡†ƒ‘”‡™‹†‡•’”‡ƒ††‹••‡- mination of Chinese culture throughout Europe. In this article, four ˆƒ•‹–Š‡‘ŽŽ‡ –‹‘™‹ŽŽ„‡†‹• —••‡†‹Ž‹‰Š–‘ˆ–Š‡ —Ž–—”ƒŽ †‡˜‡Ž‘’‡–‘ˆˆƒ•‹ƒ•–•‹ƒƒ†—”‘’‡Ǥ

The origin and development of fans in East Asia ƒ•‹†‹˜‡”•‡•Šƒ’‡•Šƒ˜‡„‡‡—•‡†‹Š‹‡•‡†ƒ‹Ž›Ž‹ˆ‡•‹ ‡ƒ ‹‡– –‹‡•Ǥ” Šƒ‡‘Ž‘‰‹ ƒŽ†‹• ‘˜‡”‹‡•ˆ”‘–Š‡ƒ””‹‰–ƒ–‡•’‡”‹‘†ȋ戰 國時代Š‰—וŠÀ†‹ǡͶ͹ͷǦʹʹͳȌƒ†–‘„•‹ƒ™ƒ‰†—‹ȋ馬王 堆ᐻ™ž‰†—Äǡ‹‰ƒǯ•‘—†Ȍ‘ˆ–Š‡‡•–‡” ƒ†›ƒ•–›ȋʹͲ͸ Ǧͻ Ȍ •Š‘™ –Šƒ– –Š‡ ‡ƒ”Ž‹‡•– ˆƒ• ‹ Š‹ƒ ƒ „‡ †‘ —‡–‡† ƒ”‘—†–Š‡•‡ ‘† ‡–—”›ǤŠ‡ϐ‹”•–•’‡ ‹‡•™‡”‡ƒ†‡™‹–Š ˆ‡ƒ–Š‡”•„‘—†–‘ƒ„ƒ„‘‘•–‹ ȋŽƒ–‡ͳȌǤƒ–‡”ǡ•‹Žƒ†•‘ˆ––‡š–‹Ž‡• ƒ’’‡ƒ”‡†ƒ†™‡”‡—•‡†–‘ ”‡ƒ–‡• ”‡‡ˆƒ•Ǥ Š‹‡•‡’‘‡•ƒ† ’ƒ‹–‹‰•ǡƒ”–‹•–•†‡• ”‹„‡–Š‡ˆ— –‹‘•ƒ†—†‡”Ž›‹‰•›„‘Ž‹•‘ˆ ˆƒ•ǤŠ‡ ‘ —„‹‡•‘ˆ–Š‡ƒ‰†›ƒ•–›ȋ͸ͳͺǦͻͲ͹Ȍ—•‡†• ”‡‡ fans during their leisure time in a group picture called A Palace Con- cert ȋ唐人宮樂圖ž‰”±‰Û‰Ž°–ïǡŽƒ–‡ʹȌǤ ƒ‹–‡†„›ƒƒ‘›‘- Plate 1. Anonymous Chinese us Chinese artist, the painting presents ten ladies of the inner court artist, feather fan with inscription, •‹––‹‰ƒ”‘—†ƒŽƒ”‰‡–ƒ„Ž‡‡Œ‘›‹‰—•‹ Ǣ•‘‡ƒ”‡’Žƒ›‹‰—•‹ ƒŽ FIHDWKHUDQGEXႇDORERQH ‹•–”—‡–•™Š‹Ž‡•‘‡ƒ”‡ˆƒ‹‰–Š‡•‡Ž˜‡•–‘Šƒ˜‡ƒ ‘‘Ž„”‡‡œ‡Ǥ 28x43cm, made in China. Rijks- —”‹‰–Š‡‘‰†›ƒ•–›ȋͻ͸ͲǦͳʹ͹ͻȌǡƒ‘‰•–ƒ•‡”‹‡•‘ˆ’‘”–”ƒ‹–• museum, Amsterdam (BK-1982-34-A).

AUST-AGDER-ARV 2018 109 Plate 2. Anonymous Chinese artist, A Palace Concert 唐人宮樂圖, Tang dynasty (A.D. 618-907), hanging scroll, ink and colours on silk, 48.7x69.5 cm. National Palace Museum, Taipei (故-畫-000357-00000).

‹• ”‘ŽŽ•‹ŽŽ—•–”ƒ–‹‰–Š‡‡‹‰Š–‡‡Š‘‘—”ƒ„Ž‡• Š‘Žƒ”•‘ˆ‘‰ ƒŽŽ‡† The Eighteen Scholars (宋人十八學士圖 ֐‰”±•ŠÀ„¢š—±•Š¿–ïǡŽƒ–‡ 3), there is a portrait representing some scholars preparing to play –Š‡œ‹–Š‡”ȋ古箏 ‰ᐾœŠµ‰ȌǤ –Š‹•’‘”–”ƒ‹–ǡ™‡ ƒ•‡‡–Š‡• Š‘Žƒ”•‹ front of a ƒ‹Š—‰ƒ”†‡”‘ ȋ太湖石–‹Šï•ŠÀȌ–Šƒ–‹••‡–‹ƒ™Š‹–‡ Plate 3. Anonymous Chinese artist, The Eighteen Scholars, Scroll -Zither ϐŽ‘™‡”„ƒ•‹™‹–Š ‘Ž‘—”ˆ—ŽŽ›„Ž‘••‘‹‰–”‡‡’‡‘‹‡•ǤŠ‹Ž‡‘‡‘ˆ 宋人十八學士圖-琴, Song dynasty –Š‡•‡”˜ƒ–•‘–Š‡Ž‡ˆ–‹•—’ƒ ‹‰–Š‡œ‹–Š‡”ǡ–Š‡‘–Š‡”‘–Š‡”‹‰Š–‹• (960-1279), hanging scroll, ink and ˆƒ‹‰Š‹•‡Žˆ™‹–Šƒ™Š‹–‡ˆ‡ƒ–Š‡”ˆƒ‘—–‡†‘ƒŽ‘‰•–‹ Ǥ‡ colours on silk, 173.5x102.9 cm. of the scholars sitting on the right also holds a screen fan in his right National Palace Museum, Taipei Šƒ†ǤŠ‹•• ”‘ŽŽ‹†‹ ƒ–‡•–Šƒ–„‘–Šˆ‡ƒ–Š‡”ˆƒ•ƒ†• ”‡‡ˆƒ•™‡”‡ (故-畫-000357-00000). ™‹†‡Ž›—•‡†ƒŽ”‡ƒ†›‹–Š‡‘‰†›ƒ•–›Ǥ –‹•ƒŽ•‘ƒ”‘—†–Š‹•’‡”‹‘†–Šƒ–ˆ‘Ž†‹‰ˆƒ• ƒ‡–‘Š‹ƒǤ”‹‰‹- nally from Japan and Korea, the earliest Japanese depiction of a ‘fol- †ƒ„Ž‡ ˆƒǯ ™ƒ• ƒ ‘—”– ˆƒǡ ƒŽŽ‡† –Š‡ Akomeogiȋ衵扇あこめおうぎ ‘‡Û‰‹Ȍƒˆ–‡”–Š‡ ‘—”–™‘‡ǯ•†”‡••ƒ‡†‘‡Ǥ2‘‡–‹‡ Žƒ–‡”ǡ–™‘–›’‡•‘ˆˆ‘Ž†‹‰ˆƒ•™‡”‡†‡˜‡Ž‘’‡†ˆƒ•–ƒ†„‡ ƒ‡˜‡”› ’‘’—Žƒ” †—”‹‰ –Š‡ ‡‹ƒ ‡”‹‘† ȋ平安時代 へいあんじだい, 794- ͳͳͻʹȌǢ‘‡™ƒ•kawahori-ogiȋ蝙蝠扇 かわほりおうぎƒ™ƒŠ‘”‹Û‰‹Ȍ ƒ†–Š‡‘–Š‡”™ƒ•hiogiȋ檜扇 ひおうぎŠ‹Û‰‹ȌǤ3 Kawahori-ogi is made ™‹–Šƒˆ”ƒ‡™‹–Šˆ‡™‡”„Žƒ†‡•ǡ™Š‹ Š™ƒ• ‘˜‡”‡†‹ ƒ’ƒ‡•‡’ƒ- ’‡”ƒ†ˆ‘Ž†‡†‹ƒœ‹‰œƒ‰’ƒ––‡”ǡ™Š‹Ž‡hiogi‹•ˆƒ„”‹ ƒ–‡†‘ˆhinoki ›’”‡••„Žƒ†‡•„‘—†„›ƒ–Š”‡ƒ†Ǥ4 ‘”†‹‰–‘‘‰—‹ȋ宋史 Histo- ry of SongȌǡ–Š‡•‡ˆƒ•ϐ‹”•–ƒ””‹˜‡†‹Š‹ƒ™‹–Š–Š‡ ƒ’ƒ‡•‡‘ ŠÛ‡ȋ奝然 ちょうねんǡͻ͵ͺǦͳͲͳ͸Ȍǡ™Š‘„”‘—‰Š–Ǯ–™‡–›hiogi fans ƒ†–™‘kawahori-ogiˆƒ•ȋ檜扇二十枚，蝙蝠扇二枚) to the emperor ƒ•ƒ–”‹„—–‡‹ͻͺͺ†—”‹‰–Š‡‘”–Š‡”‘‰›ƒ•–›ȋͻ͸ͲǦͳͳʹ͹ȌǤ5 ‘”‡ƒ‡˜‘›•ƒŽ•‘„”‘—‰Š–ƒŽ‘‰‘”‡ƒˆ‘Ž†‹‰ˆƒ•ǡ™Š‹ Š™‡”‡‘ˆ

110 AUST-AGDER-ARV 2018 Japanese origin, as gifts to the Chinese court in the eleventh century.͸ ƒ’ƒ‡•‡ˆ‘Ž†‹‰ˆƒ•’ƒ‹–‡†™‹–ŠŽƒ†• ƒ’‡ƒ†•‘™›”‹˜‡”„ƒ scenery might have also reminded the Chinese painters of masterpieces ‘ˆ–Š‡ƒ‰†›ƒ•–›ǡ‡•’‡ ‹ƒŽŽ›–Š‘•‡ϐ‹ŽŽ‡†™‹–Š–Š‡’”‘‹‡ ‡‘ˆ„Ž—‡ ƒ†‰”‡‡ ‘Ž‘—”•ƒ•„ƒ †”‘’ǡ ƒŽŽ‡†Ž—‡ƒ† ”‡‡ƒ†• ƒ’‡ pain- –‹‰ȋ青綠山水“ЉŽᑁ•Š¢•Š—ᐼȌǤŠ‹•™ƒ•ƒ’‘•‹–‹˜‡‡ ‘—”ƒ‰‡‡–ˆ‘” –Š‡†‡˜‡Ž‘’‡–‘ˆ–Š‡‘‰Žƒ†• ƒ’‡’ƒ‹–‹‰Ǥƒ†• ƒ’‡•‘ˆ‘Ž†‹‰ ˆƒ•ƒ••— Š„‡ ƒ‡‰”ƒ†—ƒŽŽ›ˆƒ•Š‹‘ƒ„Ž‡‹–Š‡‡ƒ”Ž›ͳʹ–Š ‡–—”›Ǥ7 Š‹‡•‡ ƒ”–‹•–• •–ƒ”–‡† –‘ ’ƒ‹– †‡Ž‹ ƒ–‡ Žƒ†• ƒ’‡• ‘ „‘–Š • ”‡‡ ˆƒ•ƒ†ˆ‘Ž†‹‰ˆƒ•ǡ‹ Ž—†‹‰ ƒŽŽ‹‰”ƒ’Š›ǡϐŽ‘”ƒƒ†ˆƒ—ƒǤŠ‘•‡™Š‘ ’”‘†— ‡†‰‘‘†™‘”™‡”‡ ƒŽŽ‡†DzŽ‹–‡”ƒ–‹’ƒ‹–‡”•ȋ文人畫家™±”± Š—Œ‹¢ȌdzǤ‡‘ˆ–Š‡Ž‹–‡”ƒ–‹’ƒ‹–‡”•‘ˆ–Š‡‘‰†›ƒ•–›ǡƒ‹ȋ馬麟ǡϐŽǤ ǤͳͳͻͶǦͳʹ͸ͶȌǡ ‘’‘•‡†ƒ’ƒ‹–‹‰‡–‹–Ž‡†˜‡‹‰—–‹‰„›‘” Š- •‹Š”‡‡ˆƒŽ‡ƒˆȋ秉燭夜遊ؖ‰œŠï›°›×—ǡŽƒ–‡ͶȌǤ •†—‘”ƒ‘ light ˆƒ”‡˜‡ƒŽ•Š‘™’‡‘’Ž‡‘ˆ–Š‡‘‰†›ƒ•–›‡Œ‘›‡†‹‰Š–•‘—–†‘‘”•ǡ ™ƒŽ•‹–Š‡‰ƒ”†‡•™‹–Š’ƒ˜‹Ž‹‘••—””‘—†‡†„›ƒ„—†ƒ–‰”‡‡‡”›Ǥ His arrangement of characters and sceneries on the fan leaves differs •‹‰‹ϐ‹ ƒ–Ž› ˆ”‘ –Š‡ ’”‡˜‹‘—• –”ƒ†‹–‹‘ƒŽ Š‹‡•‡ Žƒ†• ƒ’‡ Žƒ›‘—–ǡ ‡•’‡ ‹ƒŽŽ›™‹–Š”‡‰ƒ”†–‘Š‹•‹‘˜ƒ–‹˜‡™ƒ›•‘ˆ ‘’‘•‹‰’‹ –—”‡•–Šƒ– ‘—Ž†„‡ϐ‹––‡†‹–‘‹””‡‰—Žƒ”Ž›•Šƒ’‡†’ƒ’‡”• ”‡‡•Ǥ This gives us an insight into ancient Chinese society and daily life. China regularly imported most of the folding fans from Japan, and ‹–™ƒ•‘–—–‹Ž–Š‡‹‰†›ƒ•–›ȋͳ͵͸ͺȂͳ͸ͶͶȌ–Šƒ–Š‹‡•‡ƒ”–‹•ƒ•

Plate 4. Ma Lin (馬麟ÀF  Evening Outing by Torchlight 秉燭夜遊, Song dynasty (AD 960-1279), ink and colours on silk, 24.8x25.2 cm. National Palace Museum, Taipei (故-畫-001257-00002).

AUST-AGDER-ARV 2018 111 started to produce folding fans themselves. The size of a folding fan fa- „”‹ ƒ–‡†‹Š‹ƒ†‡’‡†•‘‹–•—„‡”‘ˆ•–‹ •ǡ—•—ƒŽŽ›•‡˜‡ǡ‹‡ǡ –™‡Ž˜‡‘”—’–‘‡‹‰Š–‡‡•–‹ •Ǥ ƒ††‹–‹‘–‘—•‹‰ƒ•‡”‹‡•‘ˆ–Š‹ ™‘‘†‘”„ƒ„‘‘”‹„• ƒ”˜‡†‹–‘†‹ˆˆ‡”‡–•Šƒ’‡•ǡˆƒ•–‹ • ‘—Ž†„‡ ƒ†‡ˆ”‘˜ƒŽ—ƒ„Ž‡ƒ†”ƒ”‡ƒ–‡”‹ƒŽ••— Šƒ•‘––Ž‡†„ƒ„‘‘ǡ‹˜‘”› ƒ†Œƒ†‡‹–‡–‘‰‹˜‡ƒ•‡•‡‘ˆ’”‡•–‹‰‡ǤŠ‡Ž‡ƒˆ‹•‰‡‡”ƒŽŽ›•Šƒ’‡† ƒ•ƒ‹˜‡”–‡†–”ƒ’‡œ‘‹†ǡƒ†Ž‘ ƒŽƒ–‡”‹ƒŽ••— Šƒ•ϐ‹‡Ž› —–š—¢ ’ƒ’‡”ȋ宣紙Ȍ‘”•‹Ž™‡”‡ƒ†ƒ’–‡†–‘–Š‡ƒ—ˆƒ –—”‹‰‘ˆˆƒŽ‡ƒ˜‡• ™Š‡ˆƒ••–ƒ”–‡†–‘„‡‘”‡ ‘‘Ž›’”‘†— ‡†Ǥ ‘Ž†‹‰ˆƒ•™‹–Š ‘‘Ǧ•Šƒ’‡†Ž‡ƒ˜‡•ƒ†Žƒ†• ƒ’‡’ƒ‹–‹‰•‡•–ƒ„Ž‹•Š‡†–Š‡•‡Ž˜‡• ƒ•‘‡‘ˆ–Š‡ƒ‹‡”—†‹–‡ˆƒ•Š‹‘•ǤŠ‡•‡ˆƒ•™‡”‡‡ƒ•‹‡”–‘ ƒ””› ƒ”‘—†ǡƒ†•‘‡•–ƒ„Ž‹•Š‡†ƒ Ž‘•‡”‡Žƒ–‹‘•Š‹’„‡–™‡‡ϐ‹‡ƒ”–•ƒ† ˆƒ—•‡”•Ǥƒ†• ƒ’‡’ƒ‹–‹‰•‘ˆ‘Ž†‹‰ˆƒ•™‡”‡–Š—•„‡•–‘™‡† ™‹–Š‡™•–›Ž‡ƒ†‡š’”‡••‹‘„›–Š‡ˆƒǯ••ƒŽŽƒ† —”˜‹Ž‹‡ƒ”ˆ‘”- ƒ–Ǥ‘—”–ƒ”‹•–‘ ”ƒ–•ƒ†‹–‡ŽŽ‡ –—ƒŽ•™‡”‡†‡‡’Ž›ˆ‘†‘ˆ‹–ˆ‘”‹–• particular shape.ͺ –•’‘’—Žƒ”‹–›ƒ‘‰–Š‡•‡”‡‰‹‘•‘ˆƒ•–•‹ƒ”‡- ’”‡•‡–‡†ƒ•‹‰‹ϐ‹ ƒ–‹ƒ‰‡‘ˆ•‘Ǧ ƒŽŽ‡†Dzƒ•–•‹ƒ —Ž–—”‡dz‹–Š‡ next centuries. –Š‡ˆ‘ŽŽ‘™‹‰’‡”‹‘†ǡ–Š‡†‡ ‘”ƒ–‹‘‘ˆˆ‘Ž†‹‰ˆƒ•™ƒ•†‡˜‡Ž‘’‡† ƒ†”‡ϐ‹‡†‹•‡˜‡”ƒŽ™ƒ›•ǤŽ‘‰™‹–Š–Š‡’‘’—Žƒ”‹–›ƒ••‘ ‹ƒ–‡†™‹–Š the painted folding fan in the Chinese elite, monochrome landscape ’ƒ‹–‹‰•‘‰‘Ž†„ƒ ‰”‘—†ȋ金地山水 ŒÄ†¿•Š¢•Š—ᐼȌ™‡”‡—•‡† –‘‡š’”‡••–Š‡‡”‡‹–‹ ‹†‡ƒŽˆ‘”™‡ƒŽ–Š›ˆƒ—•‡”•†™‡ŽŽ‹‰‹ ‹–‹‡• †—”‹‰ϐ‹ˆ–‡‡–Š–‘•‡˜‡–‡‡–Š ‡–—”›Š‹ƒǤ9‡šƒ’Ž‡‘ˆ–Š‹•‹• Š‡‰Š‘‰ǯ•ȋ鄭重ǡͳͶͶͲǦǫǫȌ—–—”‡‡•ƒ†ƒ‘ˆ–›ƒ••ȋ畫秋 樹高關 —“‹ó•Šî‰¢‘‰—¢ǡŽƒ–‡ͷȌǡ‹™Š‹ Š™‡•‡‡ƒŠ‹‡•‡ˆ‘”– Š‹††‡‹Š‹‰Š”‘ ›‘—–ƒ‹••—””‘—†‡†™‹–Šƒƒ„—†ƒ ‡‘ˆ–ƒŽŽ

Plate 5. Zheng Zhong (鄭重, 1440-??), Autumn Trees and a Lofty Pass畫秋樹 高關, Ming dynasty, ink and colours on paper, 17.3x47.2 cm. National Palace Museum, Taipei (故-扇-000205-00000).

112 AUST-AGDER-ARV 2018 –”‡‡•Ǥ‡‡ƒ–Š–Š‡’‡ƒ•‹•ƒ”—‹‰ ”‡‡™Š‡”‡’‡‘’Ž‡ƒ”‡”‘™‹‰ Plate 6. Wang Zhongli –Š‡‹”„‘ƒ–Ǣ–Š‡”‡‹•ƒŽ•‘ƒ„”‹†‰‡™Š‡”‡’‡‘’Ž‡ƒ”‡ ”‘••‹‰‘˜‡”Ǥ  (王中立, 1573-1619), Landscape of ϐŽ‘”ƒƒ†ˆƒ—ƒ’ƒ‹–‹‰–‘‘ǡ’ƒ‹–‡”•ƒ†ƒ’–‡†–Š‡ˆƒǯ•—‹“—‡’ƒ’‡” Roosters Crowing in Blooms 花塢鳴雞, •Šƒ’‡–‘Ž‡ƒ†–Š‡˜‹‡™‡”•ǯ‡›‡•–‘–Š‡‘•–‡••‡–‹ƒŽ’ƒ”–‘ˆ–Š‡™‘”Ǥ 1619, ink and colours on paper, 18x53 In a fan painting called ƒ†• ƒ’‡‘ˆ‘‘•–‡”•”‘™‹‰‹Ž‘‘•ȋ花塢 cm. National Palace Museum, Taipei ( 003527-00020). 鳴雞 —¢™îÀ‰ŒÄǡŽƒ–‡͸Ȍ„›ƒ‰Š‘‰Ž‹ȋ王中立ǡͳͶͻͶǫȂͳͷͷʹȌǡ 故-畫-

™‡ ƒ•‡‡ƒ•’Ž‡†‹†”‘‘•–‡” ”‘™‹‰‹–Š‡‰ƒ”†‡™Š‡”‡’‹‡–”‡‡• Plate 7. Qianlong Emperor ƒ†ϐŽ‘™‡”•‰”‘™Ž—š—”‹ƒ–Ž›ƒ•‹†‡ƒ‹””‡‰—Žƒ”ƒ‹Š—‰ƒ”†‡”‘ Ǥ (乾隆皇帝, 1711–1799), Calligraphy Š‡—‹“—‡‘‘Ǧ•Šƒ’‡†ˆ‘”™ƒ•— Šˆƒ˜‘—”‡†‹ ƒŽŽ‹‰”ƒ’Š› Leaf of a Letter of Su Shi 御臨蘇軾尺 ƒ• ™‡ŽŽǤ —”‹‰ –Š‡ ‹‰ †›ƒ•–›ǡ ‹–‡ŽŽ‡ –—ƒŽ• ‡Œ‘›‡† ‘’‘•‹‰ 牘〈新歲展慶帖〉, Qing dynasty, ink on –Š‡‹”’‘‡•‘ˆƒŽ‡ƒ˜‡•Ǥ‘ƒ†Œ—•––Š‡’‘‡‹–‘ƒ‘‘Ǧ•Šƒ’‡† paper, 30.2x48.5 cm. •Š‡‡–ǡ–Š‡›™‘—Ž†•‘‡–‹‡•‘˜‡™‘”†•ˆ”‘‡ƒ Š•‡–‡ ‡–‘–Š‡ National Palace Museum, Taipei •—„•‡“—‡–Ž‹‡‹‘”†‡”–‘ ”‡ƒ–‡ƒ‘”‡˜‹˜‹†•–”— –—”‡ǤŠ‡•ƒ‡ (故扇001237N000000002). •‘’Š‹•–‹ ƒ–‡†ƒ‡•–Š‡–‹ •™ƒ•’ƒ••‡†‘„›–Š‡‹‰†›ƒ•–›Ǥ’‡”- ‘”•™‡”‡ƒŽ•‘‡–Š—•‹ƒ•–‹ ƒ„‘—–’”ƒ –‹•‹‰–Š‡‹”ƒ”–‹•–‹ Š‘„„›‘ ˆ‘Ž†‹‰ˆƒ•ǤŠ‡ ƒŽŽ‹‰”ƒ’Š›Ž‡ƒˆ‘ˆ’‡”‘”‹ƒŽ‘‰ȋ乾隆 皇帝ǡͳ͹ͳͳȂͳ͹ͻͻȌ‘™ƒ•ƒŽŽ‹‰”ƒ’Š›‡ƒˆ‘ˆƒ‡––‡”‘ˆ -Šؖ†ïǡŽƒ–‡͹Ȍ‹•ƒ‡šƒ ȋ臨蘇軾尺牘 À󕊿‹Š— ’Ž‡‘ˆ–Š‹•™‹†‡•’”‡ƒ†–”ƒ†‹–‹‘Ǥ”ƒ‹‡†‹„‘–Šƒ”–‹ƒŽ ƒ”–•ƒ†Ž‹–‡”ƒ–—”‡ˆ”‘ƒ›‘—‰ƒ‰‡ǡŠ‡™ƒ•Ž‹‡™‹•‡ƒ ‡š“—‹•‹–‡ ‘‘‹••‡—”‘ˆϐ‹‡ƒ”–•ǡ‡•’‡ ‹ƒŽŽ›ˆƒ ‘ŽŽ‡ –‹‘•Ǥ In this particular fan leaf, the emperor demonstrates his talent ‹ ƒŽŽ‹‰”ƒ’Š›‹Š‹•”‡†‹–‹‘‘ˆƒŽ‡––‡”„›—Š‹ȋ蘇軾ǡͳͲ͵͸ǦͳͳͲͳȌǡ ƒ†‘”‡‰‡‡”ƒŽŽ›–Š‡—‹“—‡™”‹–‹‰”Š›–ŠŠ‡™ƒ•ƒ„Ž‡–‘ƒ’’Ž›‹ ™”‹–‹‰Š‹‡•‡’‘‡–”›‘•— Šƒ‘‘Ǧ•Šƒ’‡†ˆƒŽ‡ƒˆǤ

AUST-AGDER-ARV 2018 113 Plate 8. Jin Cheng (金城, also Kungpah T. King, 1878-1926), Shanshui 山水, 1913, ink on silk, 22x34.7 cm. British Museum, London (1993,1225,0.10).

‹–‡”ƒ–‹’ƒ‹–‡” ‹Š‡‰ȋ金城ǡƒŽ•‘—‰’ƒŠǤ‹‰ǡͳͺ͹ͺǦͳͻʹ͸Ȍ ‹•‘™ˆ‘”ƒ‘–Š‡”™‘”™Š‡”‡Š‡™”‘–‡ƒ††”‡™‘„‘–Š•‹†‡•‘ˆ ƒ”‘—†• ”‡‡ˆƒ Ž‹’’‡†™‹–Šƒ‹˜‘”› ƒ‡ǤŠ‹•ˆƒ™‘”‘™ „›–Š‡–‹–Ž‡‘ˆƒ†• ƒ’‡ȋ山水Šƒ•Š—‹ǡŽƒ–‡ͺȌǡ ™‡•‡‡–™‘ƒ‰‹- ϐ‹ ‡–’‹‡••–ƒ†‹‰ƒ•‹†‡–Š‡”‹˜‡”™‹–Šƒ ‘––ƒ‰‡‘‘‡•‹†‡‘ˆ–Š‡ • ”‡‡ǡƒ– Š‡†‘–Š‡‘–Š‡”•‹†‡‘ˆ–Š‡•ƒ‡• ”‡‡„›Š‹• ƒŽŽ‹‰”ƒ’- Š›‹ƒƒ” Šƒ‹ •‡ƒŽ• ”‹’–•–›Ž‡ȋ篆書œŠ—•ŠóȌǤŠ‡–‡š–‘ˆŠ‹‡•‡ calligraphy associates the principles of nature and the elements of the —‹˜‡”•‡™‹–Š–Š‡’”‹ ‹’Ž‡•‘ˆ ‘†— –ˆ‘”ƒ”—Ž‡”ƒ†Š‹•‹‹•–‡”•Ǥ ‹Š‡‰†‡†‹ ƒ–‡†–Š‹•ˆƒ–‘Š‹•ˆ”‹‡†ƒŠ‹“‹‰ȋ顏世清ǡͳͺ͹͵Ǧ ͳͻʹͻȌǤ‹‹Žƒ”Ž›ǡ–Š‡Š‹‡•‡ˆ‘Ž†‹‰ˆƒ‹–Š‡‘ŽŽ‡ –‹‘™ƒ• Plate 9. Anonymous Chinese artist, ƒ‰‹ˆ–ˆ”‘ƒ‹Š— Š—ȋ賴樹春Ȍ–‘Š‹•ˆ”‹‡†Š—‹ȋ秋灵). Chinese folding fan in the KUBEN Collection, Arendal (AAM.08308) The Chinese folding fan in the KUBEN Collection Š‡Š‹‡•‡ˆ‘Ž†‹‰ˆƒ‹–Š‡‘ŽŽ‡ –‹‘ȋǤͲͺ͵ͲͺǡŽƒ–‡ͻȌ ‹•ƒ‰‘‘†‡šƒ’Ž‡‘ˆŠ‘™ƒ ƒŽŽ‹‰”ƒ’Š‹•–™‘—Ž†ƒ””ƒ‰‡–Š”‡‡•‡’ƒ”ƒ–‡ poems into an integrated composition on a single moon-shaped fan Ž‡ƒˆǤˆƒ”‡™‡ŽŽ‰‹ˆ–ˆ”‘ƒ‹Š— Š—–‘Š‹•ˆ”‹‡†Š—‹ǡ–Š‡ˆ‘Ž†‹‰ ˆƒ‹•ƒ ‘‡‘”ƒ–‹‘‘ˆ–Š‡‹”ˆ”‹‡†•Š‹’ƒ•™‡ŽŽƒ•ƒ„Ž‡••‹‰–‘Š— ‹ƒ–Š‹•†‡’ƒ”–—”‡ǤŠ‡–”ƒ• ”‹’–‹‘‘ˆ–Š‡–‡š–ˆ‘ŽŽ‘™•–Š‡™”‹–‹‰ discipline of traditional Chinese calligraphy in that sentences go from ”‹‰Š––‘Ž‡ˆ–ǡƒ††‘™™ƒ”†•ˆ”‘–‘’–‘„‘––‘Ǥ Š‡ϐ‹”•–’‘‡‘–Š‡Ž‡ƒˆ™ƒ• ‘’‘•‡†„›ƒ’‘‡–‘ˆ–Š‡ƒ‰ †›ƒ•–›ǡƒ‡†‹‹ȋ李頎ǡϐŽǤ͸ͻͲǦ͹ͷͳȌǤ‹†‡†‹ ƒ–‡†–Š‡’‘‡–‘Š‹•

114 AUST-AGDER-ARV 2018 ›‘—‰ ˆ”‹‡†ǡ ‡‹ ƒ ȋ魏萬Ȍǡ ™Š‘ ™ƒ• Ž‡ƒ˜‹‰ –‘ Šƒ‰ǯƒ ȋ長安, ’”‡•‡–Ǧ†ƒ›‹ǯƒ西安), capital of the Tang empire at that time. In the ’‘‡ǡŠ‡‡š’”‡••‡•Š‹••‘””‘™ˆ‘”„‡‹‰•‡’ƒ”ƒ–‡†ˆ”‘Š‹•‹–‹ƒ–‡ ˆ”‹‡†ǡ„—–ƒŽ•‘‡ ‘—”ƒ‰‡•‡‹ƒ–‘ ‘–‹—‡Š‹••–—†‹‡•‡ˆˆ‘”–Ž‡•- •Ž›ǡƒ†‘––‘™ƒ•–‡Š‹•–‹‡‹•‡‡‹‰’Ž‡ƒ•—”‡ǤŠ‡–‹–Ž‡‘ˆ–Š‡’‘‡ ‹•Dz ƒ”‡™‡ŽŽ–‘‡‹ƒdzȋ送魏萬之京 •Ö‰°‹œŠÄŒÄ‰Ȍǣ

朝聞遊子唱離歌，昨夜微霜初渡河。 Šž‘™±›×—œᐼ Š‰ŽÀ‰µǡœ—×›°™µ‹•Š—¢‰ Šó†îŠ± 鴻雁不堪愁裏聽，雲山況是客中過。 Š×‰›„ Š×—Žᐼ–Љǡ›ï•Š¢—‰•Š¿°œŠÛ‰‰—Ö 關城曙色催寒近，御苑砧聲向晚多。 ‰—¢ Š±‰•Šî•° —ÄŠžŒ¿ǡ›î›—œŠµ•Šµ‰š‹‰™ᐻ†—Û 莫見長安行樂處，空令歲月易蹉跎。ͳͲ ÖŒ‹Šž‰ǯ¢šÀ‰Ž° ŠîǡÛ‰Ž¿‰•—¿›—°›¿ —Û–—×

Š‡–”ƒ˜‡ŽŽ‡”•ǯ’ƒ”–‹‰Ǧ•‘‰•‘—†•‹–Š‡†ƒ™Ǥ ƒ•–‹‰Š–ƒϐ‹”•–ˆ”‘•– ƒ‡‘˜‡”–Š‡”‹˜‡”Ǣ †–Š‡ ”›‹‰‘ˆ–Š‡™‹Ž†‰‡‡•‡‰”‹‡˜‡•›•ƒ†Š‡ƒ”– ‘—†‡†„›ƒ‰Ž‘‘‘ˆ Ž‘—†›‘—–ƒ‹•ǤǤǤ ‡”‡‹–Š‡ ƒ–‡‹–›ǡ–Š‡†ƒ›™‹ŽŽϐŽ—•Š ‘Ž†

AUST-AGDER-ARV 2018 115 †™ƒ•Š‹‰ǦϐŽƒ‹Ž•“—‹ ‡„›–Š‡‰ƒ”†‡•ƒ––™‹Ž‹‰Š–Ȃ ‘™Ž‘‰•ŠƒŽŽ–Š‡ ƒ’‹–ƒŽ ‘–‡–›‘—ǡ Š‡”‡–Š‡‘–Š•ƒ†–Š‡›‡ƒ”••‘˜ƒ‹Ž›‰‘„›ǫ11

Š‡ˆ‘ŽŽ‘™‹‰’‘‡™ƒ• ‘’‘•‡†„›ƒ‘–Š‡”’”‘‹‡–’‘‡–‘ˆ–Š‡ ƒ‰†›ƒ•–›ǡ— —ȋ杜甫ǡ͹ͳʹȂ͹͹ͲȌǤ‡•’‡ –‡†ƒ•‘‡‘ˆ–Š‡‰”‡ƒ- –‡•–‘ˆ–Š‡Š‹‡•‡’‘‡–•ǡŠ‡‹•ƒŽ•‘‘™ƒ•–Š‡Dz’‘‡–ǦŠ‹•–‘”‹ƒdzƒ† –Š‡Dz’‘‡–Ǧ•ƒ‰‡dz„›• Š‘Žƒ”•‘ˆ‘†‡”Š‹‡•‡Ž‹–‡”ƒ–—”‡Ǥ –Š‹•’ƒ”- –‹ —Žƒ”’‘‡ ƒŽŽ‡†Dz‡ƒ†‡”‹‰‹˜‡”Ȃ™‘‘‡•dzȋ曲江二首“ó Œ‹¢‰°”•Šᐽ—Ȍǡ— —†‡• ”‹„‡•–Š‡’Ž‡ƒ•—”‡•ƒ† ƒ”‡ˆ”‡‡Ž‹ˆ‡‘ˆ•‡‹- ‘”Ž‹–‡”ƒ–‹ǡ‡Œ‘›‹‰‰‘‘†™‹‡ƒ†ƒ’’”‡ ‹ƒ–‹‰–Š‡• ‡‡”›‘ˆƒ–—”‡ ƒ”‘—†–Š‡‹˜‡”Š—ǡ•‡ƒ•‘‡†„›„—––‡”ϐŽ‹‡•’ƒ••‹‰•™‹ˆ–Ž›ƒ‘‰ –Š‡ ϐŽ‘™‡”• ƒ† †”ƒ‰‘ϐŽ‹‡• ϐŽ‹’’‹‰ Ž‹‰Š–Ž› ƒ„‘˜‡ ™ƒ–‡”ǤŠ‡ ‹†›ŽŽ‹  • ‡‡”›†‡• ”‹„‡†‹–Š‡’‘‡‹•–›’‹ ƒŽˆ‘”Š‹‡•‡‹–‡ŽŽ‡ –—ƒŽ•–”ƒ‹- ‡†‹ƒ ‹‡–Š‹‡•‡’Š‹Ž‘•‘’Š›ǣ

朝回日日典春衣，每日江頭盡醉歸。 Šž‘Š—À”¿†‹ᐻ Šó›Äǡ³‹”¿Œ‹¢‰–×—Œᐼœ—¿‰—Ä 酒債尋常行處有，人生七十古來稀。 ‹ᐾœŠ‹šï Šž‰šÀ‰ Šᐾ›ᐽ—ǡ”±•Šµ‰“Ä•ŠÀ‰ᐾŽž‹šÄ 穿花蛺蝶深深見，點水蜻蜓欵欵飛。 Š—¢Š—¢Œ‹ž†‹±•ŠµŒ‹ǡ†‹ᐻ•Š—ᐼ“Љ–À‰—ᐻˆµ‹ 傳語風光共流轉，暫時相賞莫相違。12 Š—ž›ᐾˆµ‰‰—¢‰‰Ö‰Ž‹ïœŠ—ǡœŠ•ŠÀš‹¢‰•Šᐻ‰Öš‹¢‰™±‹

 ‘‡„ƒ ˆ”‘–Š‡ ‘—”–‡ƒ Š†ƒ›ƒ†’ƒ™•‘‡•’”‹‰ Ž‘–Š‹‰ǡ ˜‡”›†ƒ› ”‡–—”–‘–Š‡”‹˜‡”ƒ•†”—ƒ•  ƒ„‡Ǥ Šƒ˜‡ƒ›†‡„–•ˆ‘”™‹‡ƒŽŽ‘˜‡”–Š‡’Žƒ ‡ǡ ‘”‡–‘Ž‹˜‡–‘•‡˜‡–›Šƒ•ƒŽ™ƒ›•„‡‡——•—ƒŽǤ •‡‡–Š‡„—––‡”ϐŽ‹‡•‰‘†‡‡’‡”ƒ††‡‡’‡”„‡–™‡‡–Š‡ϐŽ‘™‡”•ǡ ††”ƒ‰‘ϐŽ‹‡•‹Ž‡‹•—”‡†ϐŽ‹‰Š–„‡–™‡‡†”‘’•‘ˆ™ƒ–‡”Ǥ •™‡ǯ”‡–‘Ž†ǡ’ƒ••‹‰–‹‡‹•ƒŽ™ƒ›•‘–Š‡‘˜‡ǡ ‘Ž‹––Ž‡–‹‡–‘‘™‡ƒ Š‘–Š‡”ǣ™‡•Š‘—Ž†‘–„‡ƒ’ƒ”–Ǥ13

ˆ–‡”–Š‡•‡–™‘’‘‡•ǡƒ‹Š— Š—Šƒ••‹‰‡†Š‹•ƒ‡ƒ†ƒ††‡† Š‹•„Ž‡••‹‰–‘Š—‹Ǥ ‡–Š‡ ‘–‹—‡•–‘ϐ‹ŽŽ—’–Š‡„Žƒ’ƒ”–‘ˆ –Š‡ ˆƒ ™‹–Š –Š‡ ϐ‹”•– –™‘ •‡–‡ ‡• ˆ”‘ ƒ‘–Š‡” ’‘‡ Dz‡ƒ† –‘‡˜‘–‡›•‡Žˆdzȋ求自試 “‹ïœ¿•Š¿Ȍǡ™”‹––‡„›‘—Šƒ‰ȋ竇常, ͹Ͷ͸ǦͺʹͷȌǤŽ•‘ƒ’‘‡–‘ˆƒ‰†›ƒ•–›ǡ‘—Šƒ‰ ƒ‡ˆ”‘ƒŽ‹–‡- ”ƒ–‹ˆƒ‹Ž›™Š‡”‡ˆ‘—”‘ˆŠ‹•„”‘–Š‡”•™‡”‡’‘‡–•Ǥ –Š‹•’‘‡ǡ‘— Šƒ‰‡š’”‡••‡†Š‹•™‹ŽŽ‹‰‡••–‘†‡˜‘–‡Š‹•‘™Ž‡†‰‡–‘Š‹•„‡Ž‘- ˜‡† ‘—–”›ǡƒ†–Šƒ–Š‡™‘—Ž†‰”ƒ–‡ˆ—ŽŽ›ƒ’’”‡ ‹ƒ–‡‹–‹ˆ–Š‡ ‘—–”› ‹”‡–—”ƒ ‡’–‡†Š‹•’ƒ–”‹‘–‹•ǣ

116 AUST-AGDER-ARV 2018 仙禁祥雲合，高梧彩鳳遊。š‹¢ Œ¿‰ š‹ž‰ ›ï Š±ǡ ‰¢‘ ™ï ᐻ‹ ˆ°‰ yóu 沈冥求自試，通鑒果蒙收。 Š±À‰“‹ïœ¿•Š¿ǡ–ې‰Œ‹‰—ᐽ±‰ •ŠÛ—14

–Š‡ƒ”ƒ†‹•‡™Š‡”‡‰ƒ–Š‡”‡†ƒ—•’‹ ‹‘—• Ž‘—†•ǡƒ‰‹ϐ‹ ‡–’Š‘- enixes are strolling, ‡†‹–ƒ–‡–‘†‡ƒ†–‘†‡˜‘–‡›•‡Žˆ–‘› ‘—–”›‹ˆ•Š‡™‘—Ž†–ƒ‡ me…15

–Š‹•ˆƒǡ•‘‡ Šƒ”ƒ –‡”•™‡”‡‹•™”‹––‡ȋƒ”‡†‹”‡†Ȍǡ’”‘- „ƒ„Ž›„‡ ƒ—•‡‘ˆ–Š‡‹ƒ —”ƒ–‡‡‘”›‘ˆ–Š‡™”‹–‡”ǡ‘”’‡”Šƒ’• the poem circulated in different versions due to accumulations of • ”‹„ƒŽ‹•–ƒ‡•‘˜‡”–‹‡ǡ™Š‹ Š‹•ƒŽ‘•–„‘—†–‘Šƒ’’‡™Š‡ Ž‹–‡”ƒ”› ™‘”• ƒ”‡ ‘’‹‡† „› Šƒ†Ǥ ‘‡–”› ‹ „‘‘• ™ƒ• ‰‡‡”ƒŽ- ly expensive and Chinese intellectuals had to either memorize the ’‘‡•‘”–”ƒ• ”‹„‡–Š‡‹’‡”•‘ƒŽ ‘ŽŽ‡ –‹‘•ǤŠ‡ˆƒŽ‡ƒˆ‹–Š‡ KUBEN Collection is made of š—¢’ƒ’‡”ƒ†‘—–‡†‘•–‹ •–Šƒ– ƒ”‡‘™ƒ•Dz‰”ƒ••Š‘’’‡”•ǯŽ‡‰•dzǡ‡ƒ‹‰–Šƒ––Š‡”‹„•ƒ”‡–Š‹‡” –Šƒ–Š‡•–‹ •ǤŠ‡†‡ ‘”ƒ–‹‘•‘–Š‡ϐ‹”•–ƒ†Žƒ•–‘ˆ–Š‡„ƒ„‘‘ ‰—ƒ”†•–‹ •ƒ”‡„‘–Š’ƒ‹–‡†™‹–Š”‡†Žƒ “—‡”ƒ†‘”ƒ‡–‡†™‹–Š carved patterns.

Reception of adaptation of folding fans in Europe ”‘ ƒ ‡ƒ”Ž› •–ƒ‰‡ǡ ƒ– Ž‡ƒ•– •‹ ‡ –Š‡ ƒ ‹‡– ”‡‡ ƒ† ‘ƒ ’‡”‹‘†•ǡ—”‘’‡ƒˆƒ•™‡”‡ƒ†‡‹–Š‡•Šƒ’‡‘ˆ’ƒŽ‡––‡•ƒ––ƒ Š‡† –‘Ž‘‰Šƒ†Ž‡•ǤŠ‡‘ƒ‡’‡”‘”•ƒ†‘„Ž‡•”‡‰ƒ”†‡†ˆƒ•ƒ• Ž—š—”‹‘—•’‘••‡••‹‘•–Šƒ–™‡”‡‡‹–Š‡”—•‡†„›–Š‡•‡Ž˜‡•‘”Šƒ†- Ž‡†„›–Š‡‹”•‡”˜ƒ–•Ǥͳ͸ –Š‡‹††Ž‡‰‡•ǡˆƒ•ƒŽ•‘ƒ’’‡ƒ”‡†‹–Š‡ •‡”˜‹ ‡‘ˆ–Š‡Š—” ŠǤ‡šƒ’Ž‡‘ˆ–Š‹•‹•’”‡•‡”˜‡†‹—‘‘†‹ ‘œƒǡ‹Žƒǡ ™Š‡”‡ ƒ ϔŽƒ„‡ŽŽ— ȋ ‡”‡‘‹ƒŽ ˆƒȌ ™ƒ• †‡˜‘–‡† –‘ ƒ‹– ‡ƒǦƒ’–‹•–‡„›Š‡‘†‘Ž‹†ƒǡ–Š‡‘„ƒ”†—‡‡‘ˆ –ƒŽ›ƒ––Š‡ end of the seventh century. It is similar to the old Egyptian fans, sha- ped as a semi-circular feather fan on a long pole. ‹–Š –Š‡ ‘•‘Ž‹†ƒ–‹‘ ‘ˆ ‡™ –”ƒ†‡ ™‹–Š •‹ƒ ‹ –Š‡ •‹š–‡‡–Š

‡–—”›ǡ –Š‡ ‘”–—‰—‡•‡ „”‘—‰Š– „ƒ  ˆ‘Ž†‹‰ ˆƒ• ˆ”‘ ƒ’ƒǤ Š‡ Plate 10. Attributed to François ‡™ ‘‘†‹–›•‘‘„‡ ƒ‡’‘’—Žƒ”ƒ‘‰„‘–Š‡ƒ†™‘‡ Clouet (1515-1572), miniature of 17 throughout the continent.  ‘„Ž‡ •‘˜‡”‡‹‰• •— Š ƒ• ƒ–Š‡”‹‡ †‡ Queen Catherine de Medici, c. 1555, ‡†‹ ‹ȋͳͷͳͻǦͳͷͺͻǡŽƒ–‡ͳͲȌǡŽ‹œƒ„‡–Š ȋͳͷ͵͵Ǧͳ͸Ͳ͵Ȍͳͺƒ†”‹ ‡•• watercolour on vellum laid down on Ž‹œƒ„‡–Šȋͳͷͻ͸Ȃͳ͸͸ʹȌ19 ƒƒŽŽ„‡•‡‡’‘•‹‰‹’‘”–”ƒ‹–•Š‘Ž†‹‰ card, 60x44 mm. Victoria and Albert ‰Žƒ‘”‘—•ˆ‘Ž†‹‰ˆƒ•ƒ†‡ˆ”‘ˆ‡ƒ–Š‡”•ǡƒ’‘’—Žƒ”•›„‘Ž‘ˆ•–ƒ- Museum, London (P.26-1954).

AUST-AGDER-ARV 2018 117 –—•ƒ†ƒƒ ‡••‘”›‘ˆˆƒ•Š‹‘ƒ„Ž‡ƒ—•‡‡––Š”‘—‰Š‘—–—”‘’‡Ǥ ”‘–Š‡Žƒ–‡ϐ‹ˆ–‡‡–Š‘”‡ƒ”Ž›•‹š–‡‡–Š ‡–—”›ǡˆ‡ƒ–Š‡”ˆƒ••–—†- †‡†™‹–ŠŒ‡™‡Ž•ƒ†’”‡ ‹‘—•ƒ–‡”‹ƒŽ•„‡ ƒ‡•–ƒ†ƒ”†‡“—‹’‡– among European courtiers. ›ͳ͸͹͵ǡ–Š‡ ”‡ Šˆƒƒ—ˆƒ –—”‡”•Šƒ†‡•–ƒ„Ž‹•Š‡†ƒ†‹•–‹ – reputation and organized themselves as a separate guild. In England, –Š‡ •‘Ǧ ƒŽŽ‡† ‘”•Š‹’ˆ—Ž ‘’ƒ› ‘ˆ ƒ ƒ‡”• ™ƒ• ‡•–ƒ„Ž‹•Š‡† ‹ͳ͹Ͳͻ–‘ ‘–”‘Žƒ†’”‘–‡ ––Š‡‰Ž‹•Šˆƒƒ‡”•ˆ”‘ˆ‘”‡‹‰ competitors.ʹͲ–Š‡” ‘—–”‹‡••— Šƒ• –ƒŽ›ƒ†–Š‡‡–Š‡”Žƒ†•Šƒ†ƒ —„‡”‘ˆ•ƒŽŽˆƒ –‘”‹‡••’‡ ‹ƒŽ‹œ‹‰‹ˆƒ’”‘†— –‹‘Ǥ‘‰–Š‡ǡ –Š‡ ”‡ Š ƒ—ˆƒ –—”‡”• ™‡”‡ –Š‡ ‘•– ’”‘•’‡”‘—• †—‡ –‘ –Š‡‹” ‰—‹Ž†•›•–‡Ǥ ‘‘†‡‘‹ƒ–‘”ˆ‘”ƒŽŽ–Š‡•‡‡–‡”’”‹•‡•™ƒ• –Š‡‹ϐŽ—‡ ‡ˆ”‘Š‹‡•‡ˆƒ’”‘†— –‹‘ƒ†–Š‡ƒ†ƒ’–ƒ–‹‘‘ˆ–Š‡•‡ ‘†‡Ž•–‘ƒ—”‘’‡ƒƒ”‡–Ǥ Š‡ ‹’‘”–ƒ ‡ ‘ˆ †‹’Ž‘ƒ–‹  ƒ† ‘‡” ‹ƒŽ ‘–ƒ – „‡–™‡‡ Š‹ƒƒ†—”‘’‡‹–Š‡•‡˜‡–‡‡–Š ‡–—”›Šƒ•–”ƒ†‹–‹‘ƒŽŽ›„‡‡ —†‡”‡•–‹ƒ–‡† ƒ• ƒ •–‹—Ž—• –‘ –Š‡ ‹‰ ‘—”–Ǥ ˆ–‡” ‡‡”ƒŽ Š‹Š ƒ‰ ȋ施琅ǡ ͳ͸ʹͳǦͻ͸Ȍ ‘“—‡”‡† ‘”‘•ƒ ȋ‘™ ƒ‹™ƒȌǡ ’‡”‘” ƒ‰š‹ȋ康熙ǡͳ͸ͷͶǦͳ͹ʹʹȌƒ‰”‡‡†–‘‰”ƒ†—ƒŽŽ›Ž‹ˆ––Š‡ƒ”‹–‹‡’”‘Š‹- „‹–‹‘‘ˆ–”ƒ†‹‰‹‘—–ŠǦƒ•–•‹ƒˆ”‘ͳ͸ͺ͵‘™ƒ”†•Ǥ21 Foreign tra- †‡™ƒ•ϐ‹”•–’‡”‹––‡†ˆ‘”–Š‡—– Šƒ•– †‹ƒ‘’ƒ›ȋVerenigde ‘•–Ǧ †‹• Š‡‘’ƒ‰‹‡ǡȌƒ†–Š‡Žƒ–‡”ˆ‘”‘–Š‡”•ƒ•™‡ŽŽǤ• ƒ”‡•—Ž–ǡ–”ƒ†‡™‹–Š–Š‡‡ƒ•–‡”Š‹‡•‡ ‘ƒ•–ƒŽ ‹–‹‡•‰”‡™’”‘‰”‡•- •‹˜‡Ž›ǤŠ‡‹‰ ‘—”–‡•–ƒ„Ž‹•Š‡†ˆ‘—”ƒ”‹–‹‡ —•–‘•œ‘‡•–Šƒ– †‡ϐ‹‡†–Š‡–”ƒ†‡™‹–Šˆ‘”‡‹‰ Ž‹‡–•Ǥ ”‘–Š‡‡ƒ”Ž›ͳ͹ͲͲ•ǡŠ‹‡•‡ ƒ”–‹•–• ƒ† ”ƒˆ–•‡ Ž—•–‡”‡† ‹ –Š‡•‡ Šƒ”„‘—”• ‹ ‘”†‡” –‘ ‘ˆˆ‡”

Plate 11. Anonymous Chinese artist, fan making, c. 19th century, ink and colours on paper, 37.5x30 cm, painted in China with inscription ‘裱扇面 (biao shan mian, mounting the surface of the fan)’. Trustees of the British Museum, London (1944,1120,0.4.1-100).

118 AUST-AGDER-ARV 2018 Plate 12. Anonymous Chinese artist, fan with view of foreign factories at Canton, c. 1800-25, paper, ivory sticks, 24x45 cm, made in China. Rijksmuseum, Amsterdam (BK-2008-105).

–Š‡‹” ƒ”–‹•–‹  •‡”˜‹ ‡• –‘ ˆ‘”‡‹‰‡”•Ǥ — Š ƒ ‘’‡–‹–‹˜‡ ‘‡” ‹ƒŽ ‡˜‹”‘‡–Ž‡†–‘ƒ”‡‡™ƒŽ‹–Š‡ƒ”–‘ˆˆƒƒ‹‰Ǥ ͳ͹ͷ͹ǡ†—‡–‘‹Ž‹–ƒ”›ƒ†‡ ‘‘‹  ‘ ‡”•ǡ–Š‡‹‰ ‘—”–‹- ’Ž‡‡–‡†ƒ‡™ˆ‘”‡‹‰–”ƒ†‡’‘Ž‹ › ƒŽŽ‡†–Š‡Ǯ•‹‰Ž‡Ǧ’‘”– ‘‡” ‡ systemȋ一口通商›ÄÜ—–ې‰•Š¢‰ǡ‘”–Š‡ǮCanton SystemǯȌǤŠ‡•›•- –‡ „ƒ””‡† ‘ǦŠ‹‡•‡ •Š‹’• ˆ”‘ ƒ ‡•• –‘ ‡˜‡”› Š‹‡•‡ ’‘”– expect Canton to stop the diminution of imperial and local revenues ‹‘—–ŠŠ‹ƒƒ†–‘’”‡˜‡–ˆ‘”‡‹‰˜‡••‡Ž•ˆ”‘•ƒ‹Ž‹‰–‘–Š‡‹- perial capital.22 When, as a result, European traders could only pur- Šƒ•‡‡” Šƒ†‹•‡‹ƒ–‘ǡ ‘‡” ‹ƒŽ ‘’‡–‹–‹‘„‡ ƒ‡ˆ—”‹‘- —•ƒ†ƒŽŽ•‘”–•‘ˆ™‘”•Š‘’•„‡ ƒ‡ Ž—•–‡”‡†‹ƒ ‘†‡•‡†ƒ”‡ƒǡ ƒ‹Ž› ‹ –Š”‡‡ ’ƒ”–‹ —Žƒ” •–”‡‡–•ǡ ƒŽŽ‡† ‡™ Š‹ƒ –”‡‡– ȋ同文街 א‰™±Œ‹µȌǡŽ†Š‹ƒ–”‡‡–ȋ靖遠街 ¿›—ᐻŒ‹µȌƒ† ‘‰ƒ‡ȋ荳 欄街֗ŽžŒ‹µȌǤ23Š‹••‹–—ƒ–‹‘•–‹—Žƒ–‡†ˆƒƒ‡”•–‘ ”‡ƒ–‡ƒ ”‹ Š˜ƒ”‹‡–›‘ˆˆƒŽ‡ƒ˜‡•‹–‡†‡†‡•’‡ ‹ƒŽŽ›ˆ‘”‡š’‘”–ƒ”‡–•Ǥ‡ get a lively impression of life in these shops from a series of contem- ’‘”ƒ”›‹ŽŽ—•–”ƒ–‹‘•–Šƒ–™‡”‡ƒ†‡ƒ†•‘Ž†‹„‘†‡†’ƒ’ŠŽ‡–•Ǥ  ‘‡‘ˆ–Š‡ǡƒŠ‹‡•‡ˆƒƒ‡”‹•‹–Š‡’”‘ ‡••‘ˆ‰Ž—‹‰Ž‡ƒ˜‡•–‘ ˆƒ•–‹ •ȋŽƒ–‡ͳͳȌǤ ˆ”‘–‘ˆŠ‹™‡ ƒ•‡‡•‡˜‡”ƒŽϐ‹‹•Š‡†ˆ‘Ž†‹‰ fans in a drying process. ‹–Š–Š‡‹–‡•‹ϐ‹ ƒ–‹‘‘ˆŠ‹‡•‡‡š’‘”–•ǡƒ–‘‡•‡ˆƒ•™‹–Š • ‡‡•‘ˆ–Š‡ ‹–›ƒ†‹–•‹Šƒ„‹–ƒ–•„‡ ƒ‡’ƒ”–‹ —Žƒ”Ž›ˆƒ•Š‹‘ƒ„Ž‡ ‹—”‘’‡Ǥ‘–ƒ„Ž‡‡šƒ’Ž‡‘ˆ–Š‹•‹•ƒˆƒƒ†‡‹ƒ–‘ƒ”‘—† ͳͺͲͲ–‘ͳͺʹͷǡ‘™‹–Š‡ ‘ŽŽ‡ –‹‘‘ˆ‹Œ•—•‡—ǡ™Š‹ Š ƒ„‡ •‡‡‹Žƒ–‡ͳʹǤ –Š‡ ‡–”‡•–ƒ†•ƒ’ƒ‰‘†ƒ™‹–ŠŠ‹‡•‡Š‘—•‡•ǡ

AUST-AGDER-ARV 2018 119 Plate 13. Anonymous Chinese artist, ivory brisé fan with the initials C. G. T. (Cecilia Geertruy Tierens), c.1800-25, ivory, 34x192.cm, made in China. Ri- jksmuseum, Amsterdam (BK-1953-43-A).

„ƒ„‘‘•ƒ†”‹˜‡”•‹†‡Ǥ––Š‡”‹‰Š–ƒ†Ž‡ˆ–•‹†‡‘ˆ–Š‡Ž‡ƒˆǡ™‡ϐ‹† ‹ŽŽ—•–”ƒ–‹‘•‘ˆ–™‘Š‹‡•‡ˆƒ‹Ž›‰ƒ–Š‡”‹‰•ǡ™‹–Š Š‹Ž†”‡ ƒ””›‹‰ ‰‹ˆ–„‘š‡•–‘–Š‡‹”‰”ƒ†’ƒ”‡–•Ǥ‡˜‡”ƒŽ‘ˆ–Š‡’‡”•‘•†‡’‹ –‡†‘ the fan carry fans themselves. Considering its exquisitely pierced ivory •–‹ •ƒ†‰—ƒ”†•ǡ‹–‹•‘–†‹ˆϐ‹ —Ž––‘‹ƒ‰‹‡™Š›–Š‡—”‘’‡ƒ‡”- Šƒ–•‡ƒ”‡†ƒŽ— ”ƒ–‹˜‡ˆ‘”–—‡„›•Š‹’’‹‰–Š‡•‡ˆƒ•„ƒ –‘–Š‡‹” countries.24‘–Š‡”’‹‡” ‡†‹˜‘”›ˆƒȋŽƒ–‡ͳ͵Ȍǡƒ†‡ƒ”‘—†ͳͺͲͲǡ •Š‘™•ƒ‡˜‡Š‹‰Š‡”Ž‡˜‡Ž‘ˆ–‡ Š‹ ƒŽƒ Š‹‡˜‡‡–‹–Šƒ––Š‡ƒ”–‹•– Šƒ•”‡’Žƒ ‡†–Š‡ƒ–‡”‹ƒŽ‹–Š‡Ž‡ƒˆǡ™Š‹ Š‹•‘”†‹ƒ”‹Ž›ƒ†‡ˆ”‘ ’ƒ’‡”‘”•‹Žǡ™‹–Š’‹‡ ‡•‘ˆ‹˜‘”›Ǥƒ Š‹˜‘”›•Ž‹ ‡‹•ϐ‹‡Ž›‡‰”ƒ˜‡† –‘ ‘’Ž‡–‡ƒ‡’‹–‘‡‘ˆŠ‹‡•‡†ƒ‹Ž›Ž‹ˆ‡ǣ’‡‘’Ž‡”‡•–‹‰—†‡”„ƒ- ƒƒ–”‡‡•ǡ†”‹‹‰–‡ƒǡ„”‹‰‹‰ ƒ––Ž‡ƒ ”‘••ƒ„”‹†‰‡ǡ•ƒ‹Ž‹‰ƒ„‘ƒ–ǡ ™”‹–‹‰Ž‡––‡”•ǡƒŽŽ‘ˆ–Š‹••—””‘—†‹‰–Š‡‹‹–‹ƒŽ•Ǥ ǤǤŠ‡—’’‡” ’ƒ”–‘ˆ–Š‡ˆƒ‹•†‡ ‘”ƒ–‡†™‹–Šƒ—•’‹ ‹‘—•ƒ‹ƒŽ••— Šƒ•†”ƒ‰‘• ƒ†’Š‘‡‹š‡•ǡƒ•™‡ŽŽƒ••‘‡—•‹ ‹ƒ•’Žƒ›‹‰–Š‡‹”‹•–”—‡–•Ǥ ƒ•™‡”‡ƒ—ˆƒ –—”‡†–Š”‘—‰Š‘—–—”‘’‡‹–Š‡ˆ‘ŽŽ‘™‹‰ ‡- turies. Imported fans from China and Japan continued to have a share

Plate 14. Nicolas Pierre Loir, fan screen, c. 1660-70, etching, paper, 147x290 mm, possibly designed in France. Rijksmuseum, Amsterdam (RP-P-OB-8545).

120 AUST-AGDER-ARV 2018 ‹–Š‡ƒ”‡–ǡ„—–‹–Š‡‡‹‰Š–‡‡–Š ‡–—”›ǡ–Š‡—”‘’‡ƒˆƒƒ‡”• —‹–‡† ™‹–Š ‘–Š‡” ƒ”–‹•ƒ• ƒ† ƒ”–‹•–• ƒ† ‡˜‡–—ƒŽŽ› ƒ’–—”‡† –Š‡ ƒŒ‘”‹–› ‘ˆ –Š‡ —”‘’‡ƒ ƒ”‡–Ǥ25 ”‡ Š ƒ”–‹•–• •— Š ƒ• –‘‹‡ ƒ––‡ƒ— ȋͳ͸ͺͶǦͳ͹ʹͳȌ ƒŽ‘‰ ™‹–Š ‘–Š‡” ’ƒ‹–‡”• ™Š‘ Šƒ† †‡˜‘–‡† –Š‡•‡Ž˜‡•–‘ˆƒ’ƒ‹–‹‰ȋ’ƒ•–‘”ƒŽ• ‡‡•ǡ‡– ǤȌǡ‡‰”ƒ˜‡††‡•‹‰• Plate 15. Anonymous European artist, for folding fan leaves and hand screens that served as inspiration for rococo-styled ivory brisé sticks, c. ‘–Š‡”ˆƒ’ƒ‹–‡”•‹–Š‡ˆ‘ŽŽ‘™‹‰ ‡–—”›ȋŽƒ–‡ͳͶȌǤʹ͸—”‹‰–Š‹• 1750-70, ivory, 30 cm. Rijksmuseum, ’‡”‹‘†ǡƒ› ”‡ƒ–‹˜‡ ˆƒ• ™‡”‡ ‹˜‡–‡†ǡ •— Š ƒ• –Š‡ ’—œœŽ‡ ˆƒǡ Amsterdam (BK-1979-91). ™Š‹ Š•Š‘™•†‹ˆˆ‡”‡–’‹ –—”‡•ƒ ‘”†‹‰–‘–Š‡™ƒ›‹–‹•ˆ‘Ž†‡†Ǥ ƒ• ‹Žƒ ‡ǡ™‹–Š‹””‘”•ǡ‘‘‰”ƒ•ǡ•‹‰ƒ–—”‡•ƒ†ƒŽ„—•ǡƒ•™‡ŽŽƒ• „‡•’ƒ‰Ž‡†’‹”‡ˆƒ•ǡ‰”ƒ†—ƒŽŽ› ‘’Ž‡–‡†–Š‡”ƒ‰‡‘ˆˆƒ•ƒ† ‡•–ƒ„Ž‹•Š‡†–Š‡‹””‘Ž‡‹†‡ ‘”ƒ–‹˜‡ƒ”–Ǥ27”‘ˆ‡••‹‘ƒŽˆƒƒ‡”•ǡƒ• ™‡ŽŽƒ•–Š‡†‹ˆˆ‡”‡–’ƒ”–•—•‡†–‘’”‘†— ‡ˆƒ•ǡ™‡”‡ƒŽ•‘ƒŽŽ‘™‡†–‘ ‹” Ž‡Ž‹„‡”ƒŽŽ›ƒ ”‘••„‘”†‡”•ǤŠ—•‹–‹•‘ˆ–‡†‹ˆϐ‹ —Ž––‘†‡–‡”‹‡ –Š‡‘”‹‰‹‘ˆƒˆƒ‹ƒ ”‡†‹„Ž‡ƒ‡”Ǥ ‘”‡šƒ’Ž‡ǡƒŽ‡ƒˆ’ƒ‹–‡†‹ ”ƒ ‡‹‰Š–Šƒ˜‡„‡‡‘—–‡†‘•–‹ •ƒ†‰—ƒ”†• ƒ”˜‡†’”‡˜‹‘- —•Ž›‹Š‹ƒǡƒ†Ž‹‡™‹•‡ǡƒ‡™Ž›ƒ†‡Š‹‡•‡ˆƒ ‘—Ž†„‡”‡‘- —–‡†‘””‡†‡ ‘”ƒ–‡†™‹–Š•‘‡‘”‡’”‡ ‹‘—•Œ‡™‡ŽŽ‡”›ȋŽƒ–‡ͳͷȌǤ ‘”–Š‹•”‡ƒ•‘ǡ—”‘’‡ƒˆƒ•ƒ”‡Šƒ”†–‘†‡ϐ‹‡ ”‡†‹„Ž›™‹–Š”‡‰ƒ”† –‘–Š‡‹”•’‡ ‹ϐ‹ ‘”‹‰‹•ǤŠ‹•‹•ƒŽ•‘–”—‡‘ˆ–Š‡–Š”‡‡ˆ‘Ž†‹‰ˆƒ•‹–Š‡ KUBEN Collection.

Plate 16. Anonymous European artist, Three European folding fans (XURSHDQIROGLQJIDQZLWK¿JXUHVDQG rosettes, c. 17th century. KUBEN in the KUBEN Collection Collection, Arendal (AAM.08309). The three European folding fans in the KUBEN Collection ”‡ϐŽ‡ ––Š‡†‡˜‡Ž‘’‡–‘ˆˆƒƒ—ˆƒ –—”‹‰‹–Š‡ seventeenth and eighteenth century. The oldest ‘‡‹•†‡ ‘”ƒ–‡†™‹–Šϐ‹‰—”‡•ƒ†”‘•‡––‡•–Šƒ– ƒ„‡†ƒ–‡†–‘–Š‡•‡˜‡–‡‡–Š ‡–—”›ȋŽƒ- –‡ͳ͸ȌǤ‡”›Ž‹‡Ž›’—” Šƒ•‡†ˆ”‘ ”ƒ ‡ǡ–Š‹• ˆ‘Ž†‹‰ˆƒŠƒ•‹–••‹ŽŽ‡ƒˆ‘—–‡†‘‹‡–‡‡ ‹˜‘”›”‹„•ǤŠ‡‘–‹ˆ‘–Š‡Ž‡ƒˆ™ƒ•ƒ†‡„›–Š‡ technique called †± ‘—’ƒ‰‡ǡ‹™Š‹ Š–Š‡ƒ”–‹•– —––Š‡ decorative pieces from the coloured print ȋŽƒ’‘—’±‡Ȍ and then glued them to the fan leaf. The theme on the leaf •Š‘™•ƒ•‘’Š‹•–‹ ƒ–‡†ƒ™‹–ŠŠ‹•™‹ˆ‡”‡ Ž‹‹‰‹ˆ”‘–‘ˆ ƒ‰ƒ”†‡ˆ‡ ‡†‡ ‘”ƒ–‡†™‹–Š–Š”‡‡ ”‡ ŠŽ‹Ž›•›„‘Ž•ȋϔŽ‡—”Ǧ de-lisȌƒ†ƒ™”‡ƒ–ŠǤ‰‹”Ž‘–Š‡Ž‡ˆ–ǡ’”‘„ƒ„Ž›–Š‡‹”†ƒ—‰Š–‡”ǡ‹• •–ƒ†‹‰‘–Š‡ˆ‡ ‡ƒ†Š‘Ž†‹‰ƒϐŽ‘”ƒŽˆ‘Ž†‹‰ˆƒ‹Š‡”Ž‡ˆ–Šƒ†Ǥ —””‘—†‡†„›ˆ”—‹––”‡‡•ƒ†”‘•‡––‡•ǡ–Š‡‹ŽŽ—•–”ƒ–‹‘‘–Š‡ˆƒ’”‡- •‡–•ƒ‹†›ŽŽ‹ • ‡‡‹ƒ ‘”†ƒ ‡™‹–Š–Š‡’”‡†‘‹ƒ––ƒ•–‡‹–Š‡ ‘ ‘ ‘’‡”‹‘†ǤŠ‡‹˜‘”›•–‹ •™‡”‡’”‘„ƒ„Ž›’ƒ‹–‡†ƒ–ƒŽƒ–‡”•–ƒ-

AUST-AGDER-ARV 2018 121 ‰‡ǡƒ•–Š‡„Ž—‡ƒ†”‡†ϐŽ‘”ƒŽ’ƒ––‡”•™‹–Šƒ˜‹˜‹†–Š”‡‡Ǧ†‹‡•‹‘ƒŽ ‘—–Ž‹‡ƒ”‡‘–’ƒ‹–‡†‹ƒ•‹‹Žƒ”•–›Ž‡Ǥ ‘™‡˜‡”ǡ‹–‹•ˆƒ• ‹ƒ–‹‰–‘ ‘–‹ ‡–Šƒ–„‘–Š‰—ƒ”†•‘ˆ–Š‡ˆƒƒ”‡†‡ ‘”ƒ–‡†™‹–Š”‘—†ƒ”‘”‹ƒŽ ’ƒ––‡”• ‹” Ž‡†‹‰‘Ž†ƒ†™‹–Š†ƒ ‹‰™‘‡‹—”‘’‡ƒ†”‡••‡•Ǥ The second fan in the KUBEN Collection is in some respects similar –‘–Š‡ˆƒŒ—•–‡–‹‘‡†ȋŽƒ–‡ͳ͹ȌǤ –‹•†‡ ‘”ƒ–‡†™‹–ŠϐŽ‘”ƒŽƒ†Žƒ ‡ ‘–‹ˆ•ƒ†’”‘„ƒ„Ž›’”‘†— ‡†ƒ–•‘‡–‹‡‹–Š‡‡‹‰Š–‡‡–Š ‡–—”›Ǥ –‹• Šƒ”ƒ –‡”‹œ‡†„›ƒ„‡ƒ—–‹ˆ—Ž ‘„‹ƒ–‹‘‘ˆ’‹‡” ‡†‹˜‘”›•–‹ • ƒ††‡Ž‹ ƒ–‡Šƒ†’ƒ‹–‹‰ǡ ‘„‹‡†™‹–Š‘ ‘ ‘Ǧ•–›Ž‡†‰‘Ž†‡ —”- ˜‡•ƒ†Ž‡ƒ˜‡•ǡ™‹–Š ‘Ž‘—”ˆ—Ž”‘•‡––‡™”‡ƒ–Š•‘‹–•Ž‡ƒˆǤŠ‡ˆƒŠƒ• –Š‹”–‡‡•–‹ •ƒ†–™‘‰—ƒ”†•ǡƒŽŽ‘ˆ™Š‹ Šƒ”‡†‡Ž‹ ƒ–‡Ž›‡‰”ƒ˜‡†ǡ ’‹‡” ‡†ƒ†‡„‡††‡†™‹–Š’‹‡ ‡•‘ˆ‰‘Ž†Ǥ Š‡–Š‹”†ˆƒȋŽƒ–‡ͳͺȌ™ƒ•’”‘„ƒ„Ž›ƒ—ˆƒ –—”‡†ƒ–•‘‡–‹‡ ‹–Š‡Žƒ–‡‡‹‰Š–‡‡–Š ‡–—”›ǤŠ‡Ž‡ƒˆ‹•ƒ†‘”‡†™‹–Š’‘”–”ƒ‹–•‘ˆ–™‘ ’‘Ž‹–‹ ƒŽϐ‹‰—”‡•–Šƒ–™‡”‡ƒ••ƒ••‹ƒ–‡††—”‹‰–Š‡ ”‡ Š‡˜‘Ž—–‹‘ǡ ‡ƒǦƒ—Žƒ”ƒ–ȋͳ͹Ͷ͵Ǧͳ͹ͻ͵ǡ ”‡ Š’‘Ž‹–‹ ‹ƒǡŒ‘—”ƒŽ‹•–ƒ†’Š›•‹- ‹ƒȌƒ†‘—‹•Ǧ‹ Š‡ŽŽ‡‡Ž‡–‹‡”ǡƒ”“—‹•†‡ƒ‹–Ǧ ƒ”‰‡ƒ—ȋͳ͹͸ͲǦ ͳ͹ͻ͵ǡ ”‡ Š’‘Ž‹–‹ ‹ƒƒ†Žƒ™›‡”ȌǤ‘–Šƒ”‡”‡‰ƒ”†‡†ƒ•Ǯmartyrs de Žƒ±’—„Ž‹“—‡ˆ”ƒ­ƒ‹•‡ȋƒ”–›”•‘ˆ–Š‡ ”‡ Š‡’—„Ž‹ ȌǯǤ‹–Š–™‡–› •–‹ •ƒ†–™‘‰—ƒ”†•ǡ–Š‡ˆ‘Ž†‹‰ˆƒ‹•†‡ ‘”ƒ–‡†™‹–Šƒ˜ƒ”‹‡–›‘ˆ ”‘•‡––‡• ƒ† ϐŽ‘”ƒŽ „”ƒ Š‡• ‹ †‹ˆˆ‡”‡– ‘Ž‘—”•Ǥ Š‡ ‹ŽŽ—•–”ƒ–‹‘ ‹

Plate 17. Anonymous European artist, European folding fan ZLWKÀRUDODQGODFHPRWLIV c. 18th century. KUBEN Collection, Arendal (AAM.M.1003).

122 AUST-AGDER-ARV 2018 Plate 18. Anonymous European DUWLVW(XURSHDQIROGLQJIDQZLWK¿JXUHV from the French Revolution, c. 18th century. KUBEN Collection, Arendal (AAM.M.1004). –Š‡ ‡–”‡’”‡•‡–•ƒ”ƒ–‘–Š‡Ž‡ˆ–ƒ†ƒ‹–Ǧ ƒ”‰‡ƒ—‘–Š‡”‹‰Š–ǡ ™Š‡”‡ƒ•ƒ”‹ƒ‡ǡ–Š‡‡’‹–‘‡‘ˆ‹„‡”–›ǡ‹•’Žƒ ‡†‹–Š‡‹††Ž‡Ǥƒ- rianne, ‘”‹‘’Š‡†‡Žƒ±’—„Ž‹“—‡ȋ”‹—’Š‘ˆ–Š‡‡’—„Ž‹ Ȍǯǡƒ–‹‘- ƒŽ•›„‘Ž‘ˆ–Š‡ ”‡ Š‡’—„Ž‹ ǡ‹•Š‘Ž†‹‰–Š‡‹˜‹ ”‘™ȋƒ–‹ǣ corona civicaǡƒ Šƒ’Ž‡–‘ˆ‘ƒŽ‡ƒ˜‡•™‘˜‡–‘ˆ‘”ƒ ”‘™Ȍƒ„‘˜‡ –Š‡Š‡ƒ†‘ˆƒ”ƒ–ƒ†ƒ‹–Ǧ ƒ”‰‡ƒ—ǡ‡†‘”•‹‰–Š‡™‹–Šƒ Žƒ••‹- ƒŽ‡„Ž‡‘ˆ’”‡•–‹‰‡ˆ”‘–Š‡‘ƒ‡’—„Ž‹ ƒ‡”ƒǤ‡‡ƒ–Š–Š‡‹” ’‘”–”ƒ‹–•ǡ–Š‡”‡‹•ƒ”‹„„‘™‹–Š–Š‡‹”ƒ‡•ƒ†–Š‡™‘”†•Ǯ‹„‡”–±ǡ Unité ȋ‹„‡”–›ǡ‹–›ȌǯǤŠ‡ˆƒ ƒ–Š—•„‡ ‘•‹†‡”‡†ƒ’‹‡ ‡‘ˆ’‘Ž‹- –‹ ƒŽ’”‘’ƒ‰ƒ†ƒǡ‹˜‘‹‰–Š‡ƒ”–›”†‘‘ˆƒ”ƒ–ƒ†ƒ‹–Ǧ ƒ”‰‡ƒ— in order to salute the ideals of the revolution. The folding fans represented in the KUBEN Collection highlight different aspects of a fascinating part of our shared cultural history. Š‹Ž‡–Š‡Š‹‡•‡ˆƒ†‹• —••‡†‹–Š‡ϐ‹”•–’ƒ”–‘ˆ–Š‡ƒ”–‹ Ž‡‹•”‡- presentative of the artistic preparation and learned appreciation of fans in a traditional Chinese setting, the three European fans are good ‡šƒ’Ž‡•‘ˆŠ‘™–Š‡‘”‹‡–ƒŽ–”ƒ†‹–‹‘‘ˆˆƒǦƒ‹‰™ƒ•”‡ϐ‹‡†ƒ† ˆ‘—†‡™ˆ‘”•‘ˆ‡š’”‡••‹‘ƒ•—”‘’‡ƒ’”‘†— ‡”•‰ƒ‹‡† ‘ϐ‹- †‡ ‡ƒ†‡š’‡”–‹•‡ǤŠ‡ˆƒ•‡‡†–‘„‡—†‡”•–‘‘†‹Ž‹‰Š–‘ˆ–Š‡‹” •’‡ ‹ϐ‹  —Ž–—”ƒŽ‘”‹‰‹ƒ•™‡ŽŽƒ•ƒ„”‘ƒ†‡” —Ž–—”ƒŽ ‘–‡š–Ǥ–Š‡‹” ‘™–‡”•ǡ–Š‡•‡’‡”•’‡ –‹˜‡• ƒ‰‹˜‡—•ƒˆ—”–Š‡”—†‡”•–ƒ†‹‰‘ˆ –Š‡ —Ž–—”ƒŽ„ƒ ‰”‘—†‘ˆ‘”‹‡–ƒŽ‘„Œ‡ –•‹–Š‡‘ŽŽ‡ –‹‘Ǥ

AUST-AGDER-ARV 2018 123 Noter ͳ ƒ›‘”ǡ—•ƒǤCollecting FansǡͳͻͺͲǡ‘†‘ǣƒ••‡ŽŽ–†Ǥǡ’Ǥ͸Ǥ ʹ ƒŽ•‡›ǡ‹ŽŽ‹ƒƒ””ƒ ŠƬ ”‹‡†ƒǡƒ—‡ŽǤ‘ŽŽ‹‡”ǯ• › Ž‘’‡†‹ƒ with ‹„Ž‹‘‰”ƒ’Š›ƒ† †‡šǡ˜‘ŽǤͻǤƒ ‹ŽŽƒ†— ƒ–‹‘ƒŽ‘Ǥǡ‘†‘ǡͳͻͺ͵ǡ’Ǥ ͷͷ͸Ǥ ͵ ‹ƒǡ ‘‰Ž‹ǤChinese Fans: Artistry and Aestheticsǡ‘‰‹˜‡””‡••ǡƒ ”ƒ ‹• ‘ǡʹͲͲͲǡ’ǤͳʹǤ 4 Verschuer, Charlotte von.  ”‘••–Š‡’‡”‹Ž‘—••‡ƒǣ ƒ’ƒ‡•‡–”ƒ†‡™‹–ŠŠ‹ƒ ƒ†‘”‡ƒˆ”‘–Š‡•‡˜‡–Š–‘–Š‡•‹š–‡‡–Š ‡–—”‹‡•ǡ‘”‡ŽŽ‹˜‡”•‹–›ǡ‡™ ‘”ǡʹͲͲ͸ǡ’Ǥ͹ʹǤ 5 —––ǡ —Ž‹ƒƒ†Ž‡šƒ†‡”ǡ ±Ž°‡ǤZ‰‹ǣƒŠ‹•–‘”›‘ˆ–Š‡ ƒ’ƒ‡•‡ˆƒǡƒ—’Š‹ —„Ž‹ ƒ–‹‘ǡ‘†‘ǡͳͻͻʹ’ǤͳͶǤ ͸ •ƒ‰ǡƒ‘ǤǼ‘”‡–Šƒ‡‡’‹‰ ‘‘ŽǣŠ‹‡•‡ˆƒ•ƒ†ˆƒ’ƒ‹–‹‰ǽǡArt, ‘›ƒŽ–ƒ”‹‘—•‡—ǡͳƒ”ǤʹͲͲʹǡ’ǤͳͲǤ ͹ Š‹Š‘—“‹ƒ石守謙ǤDz山水隨身:十世紀日本摺扇的傳入中國與山水畫扇 在十五至十七世紀的流行ƒ†• ƒ’‡‘ ‘Ž†‹‰ ƒǣŠ‡”ƒ•‹••‹‘‘ˆ ƒ’ƒ‡•‡ ‘Ž†‹‰ ƒ–‘Š‹ƒ‹–Š‡ͳͲ–Š‡–—”›ƒ†–Š‡‹” —Žƒ–‹‘‘ˆ ƒ†• ƒ’‡ ƒƒ‹–‹‰‹ͳͷ–ŠǦͳ͹–Š‡–—”›Š‹ƒdzǡ美術史研究集刊 ‘—”ƒŽ of Art Historyǡ˜‘ŽǤʹͻǡ‡’–ǤʹͲͳͲǡ’’Ǥ͸Ǧͳ͵Ǥ 8 ibid., pp. 15-19. 9 ibidǤǡ’’ǤʹͷǦʹ͸Ǥ ͳͲ 孫洙 —Š—‡†Ǥǡ《唐詩三百首 Š‡ƒ–Š‘Ž‘‰›‘ˆ–Š”‡‡ —†”‡†ƒ‰‘‡• ȏͳ͹͸ͶȐ》, 中華書局Š‘‰Š—ƒŠ—Œ—ǡƒ‹’‡‹ǡͳͻͷͻǡ˜‘ŽǤ ǡ‘ǤͳǤ ͳͳ ›‡”ǡ‹––‡”Ǣ ‹ƒ‰ƒ‰Š—ǤŠ‡ ƒ†‡‘—–ƒ‹ǣ A Chinese Anthology of the Š”‡‡ —†”‡†ƒ‰‘‡•ǡŽˆ”‡†Ǥ‘’ˆǡ‡™‘”ǡͳͻʹͻǤ˜‘ŽǤ ǡ‘Ǥͳǡ ȋͳ͹͵ȌǤ 12 曹寅Cao Yin、彭定求 ‡‰‹‰“—‹等et al.,《御定全唐詩 Complete Tang ‘‡•》, 揚州詩局刻本 Yangzhou Inscription, 清康熙‹‰›ƒ•–›ǡƒ‰š‹ ‡”‹‘†，ͳ͹Ͳ͸ǡ˜‘ŽǤʹʹͷǡ‘Ǥͳ͸Ǥ 13 Hung, W. — —ǣŠ‹ƒǯ• ”‡ƒ–‡•–‘‡–Ǥ ƒ”˜ƒ”†‹˜‡”•‹–›”‡••ǡƒ„”‹†‰‡ǡ ƒ••Ǥǡͳͻͷʹǡ’’ǤͳʹͺǦͳʹͻǤ ͳͶ ‹ǡ‡‰ǡ‡–ƒŽǤǡ‘’Ž‡–‡ƒ‰‘‡•ǡ˜‘ŽǤʹ͹ͳǡ‘ǤʹͲǤ ͳͷ ”ƒ•Žƒ–‡†„›–Š‡ƒ—–Š‘”‘ˆ–Š‹•ƒ”–‹ Ž‡Ǥ ͳ͸ •Š–‘ǡƒ””‹‡ƒ›ǤDzŠ‡‡ ‘”ƒ–‘”ƒ† —”‹•Š‡”ǣ ƒ•dzǡInterior Novelties, ˜‘ŽǤʹͶǡ‘Ǥͷǡ—‰ǤǡͳͺͻͶǡ’ǤͳͺʹǤ ͳ͹ Ž—ǡ‹Ž›•ǤDz ƒ•ǣ ƒ•ˆ”‘–Š‡‘ŽŽ‡ –‹‘dzǡŠ‡—ŽŽ‡–‹‘ˆŠ‹Žƒ†‡Ž’Š‹ƒ —•‡—‘ˆ”–ǡ˜‘ŽǤͺͶǡ‘Ǥ͵ͷͺȀ͵ͷͻǡ’”‹‰ͳͻͺͺǡ’Ǥ͵Ǥ ͳͺ ‘™ ‘–‹‡–ƒŽƒ”–‹•–ǡ—‡‡Ž‹œƒ„‡–Š , c. 1575, oil on panel, ͳͳ͵Ͳš͹ͺ͹ǡƒ–‹‘ƒŽ‘”–”ƒ‹– ƒŽŽ‡”›ǡ‘†‘ȋ ʹͲͺʹȌǤͳͻ ‘„‡”– ‡ƒ‡ȋ ǤͳͷͷͳȂͳ͸ͳͻȌǡ”‹ ‡••Ž‹œƒ„‡–ŠȋŽ‹œƒ„‡–Š‘ˆ‘Š‡‹ƒǡ–Š‡Ǯ‹–‡” —‡‡ǯȌǡ‰‡†‡˜‡ǡͳ͸Ͳ͵ǡ‘‹Ž‘ ƒ˜ƒ•ǡͳ͵ͷǤͻšͻͷǤʹ ̹ƒ–‹‘ƒŽƒ”‹–‹‡ —•‡—ǡ‘†‘ȋ Ͷʹ͵͹ȌǤ ʹͲ Ž—ǡDz ƒ•ǣ ƒ•ˆ”‘–Š‡‘ŽŽ‡ –‹‘dzǡ’Ǥ͵Ǥ 21 Wang, 清朝柔遠記‹‰‘—”–ƒ† –• ‘”‡‹‰ˆˆƒ‹”•ǯ‘Ž‹ ›ǣͷͼͺͺǦͷ;ͽͺ ȏͷ;ͿͷȐǡ’’Ǥ͵ͷǦ͵͸Ǥ 22 ibidǤǡ’’ǤͳͲʹǦͳͲͶǤ ʹ͵ ƒ”‰‡–ǡ‹ŽŽ‹ƒƒ† —ƒ‰ǡŠ‹Œ‹ƒ黃時鑒. 十九世紀中國市井風情—三百 六十行—•–‘•†‘†‹–‹‘•‘ˆŠ‹‡•‡‹–›–”‡‡–•‹ͷͿ–Š‡–—”›ǣ͹ͼͶ Professions in ChinaǡŠƒ‰Šƒ‹ —Œ‹Š—„ƒ•Š‡上海古籍出版社ǡŠƒ‰Šƒ‹ǡ 1999. ʹͶ ƒ›‘”ǡCollecting Fansǡ’ǤͺͶǦͺͷǤ 25 Ibid., p. 4. ʹ͸ Ibid., p. 5. ʹ͹ •Š–‘ǡDzŠ‡‡ ‘”ƒ–‘”ƒ† —”‹•Š‡”ǣ ƒ•dzǡ’ǤͳͺʹǤ

124 AUST-AGDER-ARV 2018 Bibliography •Š–‘ǡƒ””‹‡ƒ›ǤDzŠ‡‡ ‘”ƒ–‘”ƒ† —”‹•Š‡”ǣ ƒ•dzǡInterior Novelties, vol. ʹͶǡ‘Ǥͷǡ—‰ǤǡͳͺͻͶǤ Ž—ǡ‹Ž›•ǤDz ƒ•ǣ ƒ•ˆ”‘–Š‡‘ŽŽ‡ –‹‘dzǡŠ‡—ŽŽ‡–‹‘ˆŠ‹Žƒ†‡Ž’Š‹ƒ—•‡— of Artǡ‘ŽǤͺͶǡ‘Ǥ͵ͷͺȀ͵ͷͻȋ’”‹‰ͳͻͺͺȌǤ ›‡”ǡ‹––‡”Ǣ ‹ƒ‰ƒ‰Š—ǤŠ‡ ƒ†‡‘—–ƒ‹ǣ A Chinese Anthology of the Three —†”‡†ƒ‰‘‡•ǡŽˆ”‡†Ǥ‘’ˆǡ‡™‘”ǡͳͻʹͻǤ Cao Yin 曹寅、‡‰‹‰“—‹彭定求et al.，《御定全唐詩‘’Ž‡–‡ƒ‰‘‡•》， 揚州詩局刻本 Yangzhou Inscription，清康熙 ‹‰›ƒ•–›ǡƒ‰š‹‡”‹‘†ǡͳ͹Ͳ͸ Ž‘”›ǡǤǤǡ‘‘„‘—– ƒ•ǡ‡™‘”Ȁ‘†‘ǣƒ ‹ŽŽƒƒ†‘ǤǡͳͺͻͷǤ ƒŽ•‡›ǡ‹ŽŽ‹ƒƒ””ƒ ŠƬ ”‹‡†ƒǡƒ—‡ŽǤ‘ŽŽ‹‡”ǯ• › Ž‘’‡†‹ƒǡ˜‘ŽǤͻǤƒ - ‹ŽŽƒ†— ƒ–‹‘ƒŽ‘Ǥǡ‘†‘ǡͳͻͺ͵Ǥ Hung, W. — —ǣŠ‹ƒǯ• ”‡ƒ–‡•–‘‡–Ǥ ƒ”˜ƒ”†‹˜‡”•‹–›”‡••ǡƒ„”‹†‰‡ǡƒ••Ǥǡ 1952. —––ǡ —Ž‹ƒǢ Ž‡šƒ†‡”ǡ ±Ž°‡Ǥ Z‰‹ǣ ƒ Š‹•–‘”› ‘ˆ –Š‡ ƒ’ƒ‡•‡ ˆƒǡ ƒ—’Š‹ —„Ǥǡ ‘†‘ǡͳͻͻʹǤ ƒ›‘”ǡ—•ƒǤCollecting Fansǡ‘†‘ǣƒ••‡ŽŽ–†ǤǡͳͻͺͲǤ —ǡƒ‡Žƒ ‡””‹•ŠǤDz ‹‡”–ƒ†–Š‡ ƒͳͺ͸ͲǦͳͻ͵Ͳdzǡ ‘—”ƒŽ‘ˆ‡•‹‰ ‹•–‘”›, ‘ŽǤͳ͹ǡ‘Ǥ͵ȋʹͲͲͶȌǤ ‹ƒǡ ‘‰Ž‹ǤChinese Fans: Artistry and Aestheticsǡ‘‰‹˜‡””‡••ǡƒ ”ƒ ‹•- ‘ǡʹͲͲͲǤ ƒ”‰‡–ǡ‹ŽŽ‹ƒƒ† —ƒ‰ǡŠ‹Œ‹ƒ黃時鑒. 十九世紀中國市井風情—三百六十行 —•–‘•†‘†‹–‹‘•‘ˆŠ‹‡•‡‹–›–”‡‡–• ͷͿ–Š‡–—”›ǣ͹ͼͶ”‘ˆ‡••‹‘•  ChinaǤŠƒ‰Šƒ‹ —Œ‹Š—„ƒ•Š‡上海古籍出版社ǡŠƒ‰Šƒ‹ǡͳͻͻͻǤ Š‹ Š‘—“‹ƒ 石守謙ǡ Dz山水隨身ǣ十世紀日本摺扇的傳入中國與山水畫扇在十五 至十七世紀的流行ƒ†• ƒ’‡‘ ‘Ž†‹‰ ƒǣŠ‡”ƒ•‹••‹‘‘ˆ ƒ’ƒ‡•‡ ‘Ž- †‹‰ ƒ–‘Š‹ƒ‹–Š‡ͳͲ–Š‡–—”›ƒ†–Š‡‹” —Žƒ–‹‘‘ˆƒ†• ƒ’‡ ƒƒ‹- –‹‰‹ͳͷ–ŠǦͳ͹–Š‡–—”›Š‹ƒdzǡ ‘—”ƒŽ‘ˆ”– ‹•–‘”›美術史研究集刊, vol. 29, ‡’–ǤʹͲͳͲǤ —Š—孫洙 ed.,《唐詩三百首Š‡ƒ–Š‘Ž‘‰›‘ˆ–Š”‡‡ —†”‡†ƒ‰‘‡•ȏͳ͹͸ͶȐ》, Š‘‰Š—ƒŠ—Œ—中華書局, Taipei, 1959. Verschuer, Charlotte von.  ”‘••–Š‡’‡”‹Ž‘—••‡ƒǣ ƒ’ƒ‡•‡–”ƒ†‡™‹–ŠŠ‹ƒƒ†‘- ”‡ƒˆ”‘–Š‡•‡˜‡–Š–‘–Š‡•‹š–‡‡–Š ‡–—”‹‡•ǡ‘”‡ŽŽ‹˜‡”•‹–›ǡ‡™‘”ǡʹͲͲ͸Ǥ Wang, Zhichun 王之春. 清朝柔遠記‹‰‘—”–ƒ† –• ‘”‡‹‰ˆˆƒ‹”•ǯ‘Ž‹ ›ǣͷͼͺͺǦ ͷ;ͽͺȏͷ;ͿͷȐǤʹͲͲͺ–Š‡†ǤŠ‘‰Š—ƒŠ—Œ—中華書局ǡ‡‹Œ‹‰ǡͳͺͻͳǤ

AUST-AGDER-ARV 2018 125 Yichieh (Mireille) Shih fra Taiwan

Omkring i Nord-Europa befinner det seg ca. 40 små portrett-skulptu- rer modellert i leire i Kina på 1700-tallet. Skulpturene er portretter av europeiske sjøoffiserer, mannskaper på handelsskip fra Danmark-Nor- ge, England og Nederland; de er laget mens mannskapene oppholdt seg i den kinesiske byen Kanton under handelsekspedisjoner dit midt på 1700-tallet. Figurene er ulike og viser stående eller sittende menn, fremstilt som individer, trolig med stor portrettlikhet. To av disse figu- rene befinner seg på KUBEN i Arendal, en gave til Arendals Museum midt på 1800-tallet. Den ene som er portrettert var eieren av Merdø- gaard, kinakapteinen Zacharias Allewelt. Yichieh (Mireille) Shih fra Taiwan besøkte i 2014 Arendal for å se de to figurene som tilhører KUBEN. Hun er født og oppvokst på Tai- wan og har master i kunsthistorie fra Taipei med vekt på europeisk kunst. Hennes interesser går også i retning sosialantropologi. Hun har praktisk erfaring i museumsarbeid ved to museer i Taipei, et arkeolo- gisk museum og et dukkemuseum; og gjennom studiene har hun blitt godt kjent med Det nasjonale palassmuseet som har store samlinger fra de keiserlige palasser i Bejing. Hun er – i disse dager – i ferd med å fullføre PhD i kunsthistorie ved Universitetet i Geneve (Université de Genève); hennes veileder er professor Jan Blanc.

126 AUST-AGDER-ARV 2018 Yichiehs morsmål er kinesisk og hun behersker dessuten flere euro- peiske språk. Hennes studieobjekt i kunsthistorie er de små skulpture- ne; hun har reist Europa rundt og besøkt museer og private hjem for selv å ta hver enkelt av dem i øyesyn. I 2014 kontaktet hun KUBEN og to ganger har hun besøkt Arendal. Kubens kinesiske leirskulpturer, Allewelt og Lawson, har hun fått et nært forhold til. I Arendal er det flere interessante objekter i tilknytning til den dansk-norske kinafar- ten. Modellen av «Dronningen av Danmark», Allewelts skip, i Tromøy kirke – som har hengt under kirketaket siden 1700-tallet – måtte hun se. Også Merdøgaard, Allewelts hjem, med et rom som kalles «Kinas- alen», ønsket hun selvfølgelig å besøke. En utstillingskatalog fra det danske Handel og Søfartsmuseet (i dag MS Søfart) i Helsingør fortalte om enda en skulptur av denne typen som var i privat eie i Norge. Fredrik Zimmer var ung marineoffiser da han besøkte Kanton på 1740- tallet; som voksen ble han sjef for marinebasen i Stavern. Hans etter- kommere har fremdeles den lille skulpturen som de tar godt vare på og med glede og velvilje lot Yichieh studere. Bakgrunnen for disse små skulpturene av malt ubrent leire er at europeiske sjøfartsnasjoner opprettet regelmessig handelsforbindelse med India, Filipinene, Kina og Japan. England og Nederland var de ledende i denne trafikken, men kompaniene i Danmark-Norge og Sve- rige var også svært aktive. Gjennom denne handelen lærte folk i Østen europeerne å kjenne, og omvendt. KUBEN har en av landets største etnografiske samlinger, og ganske mange gjenstander er faktisk fra Kina. De fleste er brakt hjem av sjø- folk. Noen av disse gjenstandene har kinesisk skrift, og for de fleste av oss blir dette ikke annet enn «kinesiske skrifttegn». Yichieh kan lese disse tegnene. Hva var mer naturlig enn å vise henne noen av disse gjenstandene med kinesisk tekst og se om hennes kunnskaper kunne gi oss bedre forståelse? En av KUBENs gjenstander er en vifte med mange kinesiske skrift- tegn. Hva kunne denne teksten dreie seg om? «Hva står det her?» var mitt enkle spørsmål til Yichieh. Teksten viste seg å være klassisk kine- sisk poesi fra mer enn tusen år tilbake, skrevet til en venn som skulle reise bort. Hun har selv oversatt klassisk kinesisk poesi til engelsk i sitt arbeid med denne artikkelen! Teksten utviklet seg til en artikkel om bildekunst og poesi, vifter og viftemakeri som nærmest har vært en egen sjanger i kinesisk kunsthis- torie. I Europa ble produksjon av vifter til kunstindustri i flere land. Hennes artikkel gir unik innsikt i flere gjenstander fra KUBENs samlinger.

Karl Ragnar Gjertsen

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