Antique 19th-century Chinese Pith Painting, Banquet with Tea Ceremony




An original 19th-century watercolour painting, Antique 19th-century Chinese Pith Painting Banquet with Tea Ceremony.

This large scale, vibrant watercolour on pith depicts seven figures engaged in a ceremonious ritual involving tea. The pith is laid secured to a backing card by traditional blue mounting ribbons along the four edges.

The figures are elaborately dressed in imperial-looking costume, painted with exquisite detail. Two of the standing gowned figures appear to be serving the kneeling figure who holds out his cup, a whole roast pig waiting on the table behind. This elaborate scene of ritual and feast represents Chinese imperial order and abundance.

Unsigned.
The pith is discoloured and there are losses and scratches as shown.
16.5cm x 28.2cm.
Unframed.

Delicate pith paintings by local Chinese artists were collected by Western travellers and merchants from around 1825 onwards. By 1833 the monopoly of trade by the English East India Company had come to an end, opening the China trade to dozens of British companies and seeing the number of merchants and volume of trade flourish. Paintings on pith were produced in port cities to meet the Western demand for local Chinese souvenirs. Relatively inexpensive and conveniently portable, they were often glued into albums to provide protection on the long voyage home.

Typically the paintings would depict attractive local subjects such as cultivated flora, indigenous birds and insects, and local trades, customs and costumes. The painting style would combine a traditional Chinese approach of flattened sweeps of colour with aspects of Western influence in detail and realism.

Pith paper behaves very differently from conventional rag or woodpulp paper. Rather than being plant fibres matted together into a layer, pith is composed of plant cells sliced directly from the inner tissue of the Tetrapanex papyrifera plant, native to Southern China and Taiwan. 

This unique composition makes it extremely vulnerable to damage by moisture and other environmental factors, becoming very brittle over time and subject to distinctive cracking. It is rare, therefore, that such paintings survive in pristine condition. Being routinely tipped onto album pages, they also often bear glue marks and related discolouration. 

Pith also behaves unlike conventional paper as a painting support. Watercolour and gouache paint readily absorb into the plant cells of the pith to create a rich, velvety depth of colour, and then paint pools in relief on the surface, producing exquisitely vibrant raised details, of sparkling, jewel-like intensity.

Pith paintings are a fascinating record of the history, activities and socio-cultural exchanges taking place between China and the West in the 19th century. The juxtaposition of robust vibrancy of paint and translucent fragility of support is an enchanting combination prized by collectors around the world.

JB-412


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