‘Mandarin’ folding fan with a view of Canton (Guangzhou)

Nineteenth century, Daoguang reign (1820-1850), “Mandarin” handheld fan. Of folding semi-circular type and decorated with an exuberant topographic scene depicting Canton (Guangzhou), it is accompanied by its original storage case.

The monture is composed of fourteen lacquered and gilt wooden ribs and two guards – joined by a metal riveted head – and a double, pleated and starched paper leaf of gouache painted decoration.

Centrally placed on the fan’s main face a panoramic view of the Port of Canton. On the foreground the Pearl River, busy with Chinese and foreign vessels and, clearly visible on the riverbank, four of the thirteen foreign trading outposts and their gardens. From left to right, and identified by their respective flags, the American, French, British and Dutch compounds, the latter flag with inverted colours. Clearly emerging from the British garden, the church is identifiable by its window openings and whitewashed volumes.

The trading outposts’ buildings, also known as factories or Hong, denote a clear oriental influence. In 1840 the buildings windows were fitted with bamboo blinds – to filter the sun and cool the atmosphere - and in 1848 the church was built. Considering that the “Clubhouse” and the “Boathouse” are still absent, both iconic landmarks built in the late 1840’s close to the river and neighbouring the American compound garden – and often mentioned by traders and portrayed in contemporary paintings[1] - it is possible to conclude that this image was produced in approximately 1848-1849.

Huddled along the river a variety of Chinese vessels such as sampan – with curved, matting covered cabins driven by traders that, beyond selling their wares, would provide a range of services to both indigenous and foreign communities; junks, some of considerable tonnage – keel vessels of fully battened sails that carried cargo and passengers; official vessels known as “mandarin ships”, of various shapes and sizes and identifiable by their numerous oars; Tanka – wide stern vessels, narrowing towards the bow, part covered by vine matting supported by a bamboo structure. These were usually steered by women and destined to passenger transport, although they could also be converted into coastal abodes while moored by the river banks.

Amongst the density of trading and passenger vessels, two “Flower Boats”, easily recognisable by their two storey cabins of prominent entrance arches, by their green coloured decoration and by the trellis panels in the bedrooms and reception areas. With their rounded sterns and flat platforms with no masts or sails, they were slow moving vessels propelled by long oars. The contemporary fascination for these boats related to their purpose as luxurious brothels, which also served scrumptious meals with musical accompaniment. In night darkness their lit lanterns would make them easily recognisable.

To complete the scene two steam ships, one of English red ensign and black hull, the other white of United States of America flag. Their presence is an important clue for the painting dating, as the Hong Kong / Canton fluvial link was started in 1848 by the Hong Kong and Canton Steam Packet Company, with two ships.

This Guangzhou landscape is framed by an oval cartouche of Buddhist and Confucian decorative elements such as oriental floral and foliage motifs and auspicious symbols in shades of green, pink, aubergine, orange, yellow and blue, similarly to contemporary “Famille Rose” and “Canton” porcelain decoration, on a beige background.

Standing out from these frames, the books of erudition and science; the fly whisk, the attribute of greater deities; the frog of unattainable; the precious vase of abundance, associated to the teachings of Buddha; the shell, a good augur emblem; the lantern, symbol of happiness and festivity; the peony, queen of flowers; the lotus flower, much liked by Chinese people and an allusion to Summer.

These elements are repeated on the border surrounding the fan leaf, in association to others, such as the eternal knot, a symbol of infinite knowledge; the swastika, a symbol of longevity and the pair of coins (shuang quan), a symbol of wealth.

On the obverse, filling the whole leaf surface, a scene centred on a pavilion with various figures around a table and dressed in ancient Han attire. The male figures stand out by their Jurchen or Manchu tonsure – bald head, with long braid at the nape and Mandarin cap of red tassel.

As is usual in this type of depiction, the scene in centred on a river - source of life and prosperity – that edges the lower margins of the composition, and on the faraway mountains, which create a connection between earth and heaven, the conscience of eternity. The encircling decorative border repeats the same symbolic foliage motifs adopted at the front, but on a blue ground instead.

On the fan sticks, of gilt decoration on a black lacquered ground, a depiction of a river edge garden populated by five Chinese figures and encircled by a fence, linking a pavilion to entry gates. A double outlined lobate band frames the scene, separating it from a field of flowers, foliage branches and stylised peaches (táozi 桃子) – traditionally associated to longevity and immortality – on a dotted background. These diverge from a centrally placed butterfly (hudié 蝴蝶), in an allusion to happiness, summer and frivolous and sensual pleasures.

This iconography is reinforced on the guards, which are populated by male figures, butterflies and sun shaped flowers.

The fan is stored in a rectangular lacquered wooden case, its cover decorated with double lobate cartouches, each with two gilt male figures within gardens. Standing out from one scene a pavilion with a Chinese coin – symbol of wealth and one of the eight “precious things”. On the other a man converses with a seated figure. On the case remaining outer surfaces, decoration of stylised foliage elements.

The inner lid is lined in gouache painted blue silk, with allegorical motifs, namely bats, pearls and fish amongst green foliage and pink flowers.

The chronological dating of this fan depicting a view of Canton is defined by the church building date (1848) and the absence of both the “Clubhouse” and the “Boathouse” to be erected towards the end of the decade. This depiction is coherent with the remaining decoration of this fan, whose iconography is contemporary to Emperor Daoguang (1820-1850), who, at this time, was regent of China.