A mooring with Ancestors Hall

Superb painting depicting a daily scene by the Pearl River, in China’s Guangdong Province. On the bank, a group of traditional Cantonese architectural structures amongst trees, from which stands out a temple. Towards the front a pair of banners and a stand, probably a food stall, surrounded by three Chinese figures attired in typical Qing Dynasty (1644-1911) costume.

            Careful observation of this tranquil landscape highlights some elements that assist in its identification. On the foreground, close to the bank and facing a temple, which they frame, two squared plinths supporting two large poles, each flying an imposing banner. The composition in centred on the stone built single floored worship building, of traditional Cantonese architecture referred to as Lingnan, which adjoins a two floored structure with balconies, surely a wealthy family abode. The former, a temple destined to worshipping the family ancestors, or Ancestors Hall, is emphasized by the tall, mooring poles. These halls are closely related to Confucian culture and philosophy, being dedicated to ancestors worshipping, or key families’ forebears, in the Chinese tradition.

            The banners inscription reads “Imperial Scholar Ren Chen year”. In the Sexagenary cycle, the Ren Chen year is 1832, or 1772, in this instance most certainly the former, corresponding to the 12th year of Emperor Dao Guang’s reign - in the Qing Dynasty – when the painting was produced. In 1832 there was effectively a court scholar from Canton, named Luo Bingzhang (1793-1867), who reached the highest level that the Imperial examination could possibly confer a candidate; the grade of Jinshin, the reason for its nomination for the prestigious Hanlin Academy.

            Luo was subsequently nominated Vice-Governor of Hubei Province (1848), Governor of Hunan (1850-53) and Viceroy of Sichuan (1860-1867). As such, it is highly likely that this Ancestors’ Hall relates to his own family, and that the inscription may reflect a tribute from his relatives, honoured as they were, by the great distinction awarded.

            Imperial scholars ranked very highly in China. Of extensive knowledge, particularly in the fields of literature and art, including calligraphy and Confucian studies, they controlled the Imperial administration and the local life up to the early 20th century.

            On the dock, next to the banner poles, a straw parasol harbours three men, two possible stall holders of popular characteristics, and a third, perhaps a customer, that stand or sit around a table with foodstuffs. In the river sails a sampan, a Chinese wooden made vessel, doubling as live-in accommodation, which seems to be about to moor. Widespread in Guangdong Province, these vessels, commonly steered by women, were homes as well as livelihoods. Completing the scene, some small single floored structures, one wooden and thatched standing out from the right, in which a figure seems to be working.

            China trade paintings are pictorial compositions of European influence depicting Canton’s port scenes, its trading factories, and daily life, of which this depiction is a major example.

We must send a special thank you to Martyn Gregory[1] and to Terri Cheung[2] for the precious input regarding this painting, which has been included in the present text.