Chinese plants images in the painting of Meissen porcelain products

Lyakhovich Ekaterina Viktorovna ORCID: 0000-0002-4982-1630 PhD in Art History Senior Researcher; Asian and African Art Sector; State Institute of Art Studies 125009, Russia, Moscow, Kozitsky lane, 5 katyusha_07007@mail.ru

The study of the processes of art development from the perspective of the intersections of various national and regional traditions can be called a very interesting scientific direction in art history, which remains relevant at the present time. The analysis and interpretation of the complex dynamic relations arising between the Eastern and Western artistic traditions is a rather difficult scientific task. The study of the peculiarities of reception and interpretation of plant subjects of Chinese porcelain painting by Meissen masters requires an analysis not only of the paintings themselves, but also an understanding of the meanings assigned to them in Chinese culture. It should be noted that formal receptive research is not a new trend: for example, questions of the theory of perception and reception of works of art have already been raised in Russian art criticism by such scientists as E. V. Makhrova ^[1] and S. A. Filippov ^[2]. The problem of displaying oriental artistic traditions in European porcelain was considered in their works by L.V. Lyakhova ^[3], D. G. Tkach ^[4], A.V. Troshchinskaya ^[5], S. Feng ^[6]. In recent years, many works have been published covering particular issues of Chinese ornament, for example, articles by H. Cao ^[7], J. Yao ^[8], V.E. Kalashnikova and S. Yang ^[9]. E.V. Peschanskaya's dissertation "Chinese benevolent ornaments in decorative and applied art of the Ming and Qing dynasties" is also of interest for this study ^[10]. In general, it should be noted that despite the attention of domestic and foreign researchers to the processes of interaction between Chinese and European porcelain art, as well as to the study of Chinese ornaments proper, Chinese plant subjects in the painting of Meissen porcelain products did not become a topic of separate research before.

Plant plots are an attribute of the traditional Chinese fine art genre of "flowers and birds" by Huanyao, which was established back in the XI century, as well as its varieties of "insects and herbs" by Caochun. The foundations of this genre were laid in the middle of the classical period (by the Academy of Painting and independent artists of the Song era (960-1279)). A special place in the painting of flowers and birds was occupied by "four perfect [plants]": "bamboo, orchid, blooming wild plum Meihua, chrysanthemum, conveying various facets of spiritual purity" ^{[11, p. 108]}. In addition, a fairly popular plot was the image of a fragment of a branch of zhezhi ("broken branch") — a flowering plum, bamboo, peach, pear, etc.

Each plant element in Chinese culture has a special symbolism, which has been formed over the long history of the country under the influence of various philosophical schools and religious teachings, as a result of which we can talk not only about the secular, but also the religious significance of many plant images. Herbs, flowers, trees, fruits in the national consciousness are carriers of ancient traditions and well–established meanings in the Chinese world picture, they serve to convey the portrait of an "ideal" person ^[12]. M.E. Kravtsova in the "History of Chinese Art" identifies the following types of plants: evergreen, deciduous, flowering (yielding fruits), "male" and "female" ^[13]. Many flowers, for example, lotus, peony, orchid, peach symbolize feminine beauty and charm, other plants, including pine, cedar, wild plum, embody the best qualities of a person, are associated with perseverance of character, fortitude and will to live. Flowers and plants are important attributes of rituals and ceremonies, as well as significant events in Chinese life – weddings, funerals, etc.

Over the history of the evolution of Chinese artistic culture, a system of rules and principles for depicting plant elements has developed. Thus, the collector of the end of the Yuan Dynasty – the beginning of the Ming Dynasty Cao Zhao in the essay "Gegu yaolun" ("Fundamentals of the evaluation of antiquities") He noted how certain objects should be transmitted: "Trees should be curved and covered with growths so that their ancient age can be seen... Flowers and fruits should carry dew drops on all sides, and their inclination should indicate where the wind blows" ^[14]. Chinese artists masterfully combined plant images in their works, complementing them and combining them with animals, birds, insects, creating a world of rich meanings and meanings. Let us further analyze the Chinese plant elements in the painting of Chinese porcelain products, as well as the order of their transfer to the work of European masters.

Let's consider the painting of a Chinese plate created in Jingdezhen in the first quarter of the XVIII century (Fig. 1, above). The painting in the center of the plate contains a chrysanthemum, plum, peony and willow, as well as a grasshopper and a butterfly, which form several meaningful levels. The painting of this sample of Chinese porcelain art, judging by the images of insects and plants, is a classic work that conveys two wishes through "homophones": "to become a high–ranking official" (Guanjui yipin), as well as "may prosperity and eternal youth be with you" (fugui changchun; dosl. wealth, respect, longevity and prosperity).

Fig. 1. From above: a plate with an imari-style painting with symbolic flowers. Porcelain. China, Jingdezhen. The first quarter of the XVIII century. Diameter: 40 cm. Below: a plate with an imari-style painting with symbolic flowers. Porcelain. Meissen, Germany. About 1730. Diameter: 32.3 cm. Dresden State Art Collections, Porcelain collection.

The grasshopper and chrysanthemums on the painting occupy the most prominent position and convey the main benevolent message of the product. In Chinese, the pronunciation of the character grasshopper has traditionally been close to the sound of the word "official", although there are noticeable differences in modern standard Chinese (the words are read as guo and guan, respectively). In turn, chrysanthemum chiu is pronounced the same way as chiu – to be somewhere for a long time (the difference is only in tones). Murals connecting everyday scenes with the solemn and strict world of politics in the decor of Chinese porcelain began to appear from the XV century. By the XVIII century, such a combination – "to become a high–ranking official" - had taken shape as a certain standard decorative model in Chinese porcelain art ^[15]. In addition to this combination, there is also a joint image of a monkey and a bee, which means "gaining nobility" (授予爵位 - shouyu juewei). This is due to the fact that the hieroglyph monkey 猴 hou is consonant with the hieroglyph 候 hou – position, position, and bee 蜂 feng is pronounced in the same way as 封 (feng) – to give, to honor).

A generalized and hyperbolized image of a grasshopper is presented on a Chinese plate, designed to reflect the hidden symbolic meaning. The insect is distinguished by a triangular head and very large wings, while the abdomen occupies a relatively small area for an insect. Throughout history, the grasshopper has been considered an insect worthy of admiration in China. The chirping made by the front wings of males when they want to attract a female or communicate with each other is perceived as a perfect, clear sound. The longer the ancient Chinese enjoyed the chirping of grasshoppers, the more they became convinced that more developed wings made it possible to extract a stronger sound. Therefore, the size of this part of the body of grasshoppers was exaggerated when artistically displayed. Among other things, there is an intention to "impress at first sight", to show how someone can suddenly show incredible strength that others did not even suspect. In this work, the benevolence of "striking at first sight" and "becoming a high-ranking official", in all likelihood, echo each other in the plane of "successful advancement in a political career."

Let's analyze another layer of values related to the time component. The plants represented in the painting – chrysanthemum, plum, peony and willow – in reality practically do not occur together, therefore, in terms of their growth periods, the image can be divided into two parts: spring and autumn. The first season is represented by a plum, a peony, a willow and a butterfly, and the second by a chrysanthemum and a grasshopper. In this regard, another semantic plane of the work is "well–being and eternal youth" (富贵长春 - fugui changchun; dosl. wealth, respect, longevity and prosperity).

The image of the peony, which has become a common symbol since the 8th century, is an obligatory element of the wish for "well-being and eternal youth." Despite the fact that the meaning of the image has undergone some changes, by the XVIII century this flower began to embody "wealth (富 fu) and respect (贵 gui)" ^{[15, p. 168]}, which constitute the well–being of the fugui. The images of plum blossoms, willow and other spring plants are responsible for "longevity (长寿 – changshou) and prosperity (繁荣 – fanzhong)" (together – eternal youth长春 - changchun).

Butterfly images have become popular since the 8th century, but the meaning contained in them is characterized by some abstraction: As a rule, it is associated with people's feelings for each other, but in order to determine a specific meaning, it is necessary to consider these images in conjunction with other images. In this composition, "well–being and eternal youth", butterflies symbolize the harmony of family relations - they are in a certain causal relationship with "well–being (富贵 – fugui)", "longevity (长寿 – changchun)" and "prosperity (繁荣 - fanjun)" ^[16].

From the point of view of visual perception, in this work, the benevolence of "becoming a high–ranking official" is expressed more clearly compared to "well-being and eternal youth" - it can be noted that the artist uses a coloring method that hides the details of the image symbolizing prosperity and youth in order to shade and emphasize images related to career advancement. These features reflect the main intentions of the artist and the final meaning of his work.

Despite the fact that the meaning contained in most of the porcelain painting is benevolent, in this work, thanks to the technique of the image, one can trace the author's view of the connection between the concepts of "becoming a high-ranking official" and "enjoying well-being and eternal youth". The images of a butterfly, a chrysanthemum and a peony located under a grasshopper are similar in terms of general outlines. It can be assumed that the combination and final arrangement of these elements is closely related to the image of the grasshopper and forms the key wish for the work "to become an official of the highest rank." In all likelihood, this represents the causal relationship that the author of the painting sought to convey, the sequential movement in the following order: "emotions → well-being → position."

In this context, there is a certain similarity with the philosophical concepts and ideals of the educated elite of China, Wenren, expressed in the ancient Confucian canon "Da xue" ("The Great Doctrine", a classic work that was considered a must-read among the intelligentsia). In "Da Xue" there is the following comment: "in ancient times, those who wanted to highlight the bright grace in the Celestial Empire pre-ordered their state, those who wanted to streamline their state pre-aligned their family, those who wanted to align their family pre-perfected their personality, those who wanted to perfect their personality pre-straightened their heart, those who wanted to straighten their heart pre-made their thoughts sincere" ^{[17, p. 93]}. Taking into account these philosophical concepts, it can be concluded that the author of the painting sought to convey the following idea through visual images: harmony of relations between family members (contributing to the education of morality) is the basis of well-being in the home, and well-being and prosperity (order in the family), in turn, are important conditions that help family members occupy a relatively high position in politics (and then running the country).

In addition, the work in question combines images of autumn and spring. It can be assumed that in addition to the wishes to "become a high-ranking official" and enjoy "well-being and eternal youth", the presence of two seasons expresses the hope that prosperity in the family will last forever. In Chinese, the concept of 春秋 (before spring and autumn chunqiu) includes the meanings of "chronicle", "time". During the period of feudalism, the main historical concept was the "cyclic theory", which postulated that social progress does not exist, there is only a change of ruling dynasties, the chaotic world and a change in order ^[18]. "The long–divided must be reunited, the long-reunited must be divided" is a saying from a sixteenth-century novel. The "Three Kingdoms" embodies exactly this idea of the instability of change. With regard to porcelain painting, it can be said that the mutual arrangement of the symbols of spring and autumn (Fig. 2) expresses the hope that two such states as "wealth and prosperity in the family" and "the acquisition of high political status by family members" will cyclically replace each other.

Fig. 2. The relative position of the symbols of spring and autumn in a Chinese plate with imari-style painting with symbolic flowers.

The copy of the German artist, made in Meissen in 1730 (Fig. 1, below), is distinguished by the careful elaboration of all the details of the image: for example, the veins on the branches and leaves are shown in the smallest detail. From a formal point of view, a more detailed copy of the image of the original Chinese porcelain is presented here, which, however, lacks the distinction between the main and secondary, as well as causal relationships in the meanings that the Chinese author sought to convey. Significant differences can be found in the transfer of the image of the grasshopper: the European master in the depiction of insects sought to reflect the natural and realistic appearance of the insect, which could cause aesthetic rejection on the part of the Chinese. The Chinese artist took into account not only aesthetic preferences and peculiarities of national perception, but also placed special emphasis on the expression of meaning, which was embodied in the hyperbolized wings of a grasshopper.

In general, both the German product itself and the elements of the painting are smaller in size than the Chinese sample. Almost all the objects in the image are the same in size, which negates their semantic significance. The central place in the painting is occupied by a peony, which also reduces the semantic dominant embodied by the chrysanthemum in the Chinese original. The artist also gives the branch twists and turns, which, in all likelihood, is more in line with the aesthetic tastes of Europeans.

An almost complete copy of the Chinese sample (see Fig. 3, right), in the opinion of the German researcher Ulrich Pitch, is a plate with a painting in the form of a willow (see Fig. 3, left): "it differs only in a smaller size" ^{[19, p. 92]}. Comparing the two works, it can be seen that both plates have a golden border, the geometric ornaments of both works are represented in the form of golden diamonds and red crosses, in which flowers are inscribed. The inner circle of the geometric ornament is a rhombo-meander swastika ornament, which contains scalloped cartouches with flowers inside a Chinese apple tree, as well as four golden chrysanthemum flowers. The core of the plate is reserved for painting in the form of a willow, the branches of which descend on lotuses. A "pseudo–Chinese stamp is found on the Meissen plate - a wormwood leaf in a double blue ring" ^[19].

Fig. 3. On the left: a plate with a painting in the form of a willow. Meisen. 1730. The diameter is 22.9 cm. On the right: a plate with a painting in the form of a willow. China, Jingdezhen. Kangxi period (1662-1722). Diameter: 34 cm. Dresden State Art Collections, Porcelain collection.

A more detailed analysis of the two products shows that in terms of the organization of the line, the German master, for certain reasons, made a lot of simplifications, at the same time, the colors of the Meissen painting are not so complex and rich, perhaps this is due to a certain influence of cultural concepts, materials, techniques of creating a work. The Chinese plate is distinguished by the multiplicity and complexity of its symbolic content – not only does each individual symbol have its own meaning, but also their combination gives rise to new meanings. In this regard, we can talk about the simplification of the German copy, in which certain formal changes of the original symbols occurred and, as a result, the loss of original meanings, as a result of which the Meissen copy could not fully embody the cultural connotations of the Chinese model.

In the original product, the central image – willow – occupies the largest space. The Chinese master embodied how a withered old tree gives new shoots – this idea is connected with the idiomatic expression of chengyu: "kumu fengchun", which literally means "spring has come for a withered tree", i.e. implies finding a new life, returning to life ^{[20, p. 278]}. Obviously, in terms of color and lines, the German artist was unable to reproduce the features of the image of a withered tree, as a result of which there was a loss of the important meaning of the work.

Analyzing the importance of sustainable turnover, two levels of its content in Chinese culture can be distinguished: vernacular and Buddhist. The vernacular meaning of chengyu "spring has come for a withered tree" arose quite late and began to mean vitality, in a broad sense – the excellent health of an elderly person.

The Buddhist significance of chengyu stems from the "Jing De Lamp Records", a treatise of the Northern Song (960-1127), written by the monk Shi Daoyuan. According to the treatise, Buddhist laws are not secular, but flow from them, while it rarely happens that "spring has come for a withered tree" ^[20]. The meaning of this is that Buddhist teaching is difficult to comprehend, while Buddhist truths require deep comprehension, which is achieved by accidental and rare penetration or comprehension of a person. Thus, the saying "spring has come for a withered tree" began to mean a person comprehending Buddhist teachings, "a withered tree" indicates a person's ability to learn Buddhist truths, and "the onset of spring" symbolizes a new spiritual life.

In this regard, when interpreting the original Chinese work, the combination of secular and Buddhist meanings in it should be taken into account.

Symbols such as willow, plum blossoms, chrysanthemums, lotuses and peonies can be found in the painting. Willow is an important symbol in Chinese culture, its spreading branches brought shade to travelers and were praised by poets and artists. It was believed that willow contributed to the expulsion of spirits and evil spirits, was a symbol of fertility and harvest of the earth, in Buddhism willow is associated with meekness and compassion, since Bodhisattva Guan-yin "sprinkles living water using a willow branch" ^{[21, p. 37]}. The lotus is also an important Buddhist flower, a symbol of purity, perfection, nobility, and refinement. In Confucianism, he is associated with the best qualities of an intellectual, because he grows up in dirt, but retains his purity.

In general, plum blossoms, chrysanthemums and lotuses had a connection with the literary artists of Ancient China, i.e., intellectual scientists in the Confucian system, and were the embodiment of worthy human qualities. In popular culture, these three flowers were not only a symbol of high moral qualities, but also a glorification of a healthy physical form of a person, and in combination with the flowers of the Chinese apple tree, they acquired even greater benevolent significance. In this regard, it can be assumed that this product had a ritual character.

In the worldly view, the chrysanthemum is a symbol of a person who is not negatively influenced. In addition, on the 9th of the 9th month of the lunar calendar, the double nine holiday or the Chongyangze Chrysanthemum Festival is celebrated. The number nine in China is a symbol of longevity, so the holiday itself gradually evolved into Longevity Day. It was believed that the chrysanthemum, blooming in autumn, is not afraid of the cold, so the flower also became a symbol of health and longevity of the elderly, in works of art it often appeared with the hieroglyph "壽" shaw, meaning longevity (Fig. 4).

Fig. 4. Decor in the form of chrysanthemums and the hieroglyph longevity "寿". The Ming Era (mid-XIV – mid-XVII centuries).

Combinations of four chrysanthemums with Chinese apple blossoms are found on the inner border of the original. The flowers of the Chinese apple tree symbolize prosperity, in addition, the hieroglyph "棠" from the name of the flower "海花" (Haitanhua) is consonant with the hieroglyph "堂", which means "hall", as well as "clan, clan", therefore, in combination with the chrysanthemum as a symbol of longevity, the painting acquires the meaning of wishing longevity to the whole family. The combination of four chrysanthemums and the flowers of the Chinese apple tree probably means wishing prosperity to the family, since there is an expression "shishi tongtan" (dosl. four generations under one roof). However, such a combination may also be determined by aesthetic considerations.

Plum blossoms symbolize modesty, fortitude, sublimity and purity. They bloom in the cold period – after the Spring festival – therefore, like chrysanthemums, they have significant vitality. Combinations of swastika and Southwastic signs "卍", "卐" are made around plum flowers, which, in all probability, have a connection with Buddhism and vital forces.

Summarizing the above, we can conclude with the greatest degree of confidence that this plate was created as a gift with a benevolent meaning – a wish for longevity, and was used as a decorative object during family celebrations, but not as an applied one. Its symbolic meaning and information are concentrated in the middle and gradually expand and acquire a more mundane character towards the borders, gradually moving from explicit Buddhist meanings in the center to general wishes at the edges.

It can be assumed that this plate was intended for a very wealthy representative of the intelligentsia who believed in Chan Buddhism. The symbolism of the painting extols the qualities and virtues of an intellectual (plum blossoms, chrysanthemums, lotuses) and at the same time confirms the depth of his faith. The combination of Buddhist symbols with wishes for longevity shows the connection of Buddhism with the worldly principle, and also has the importance of popularizing Buddhism.

In general, these ambiguous and rich symbols of Chinese culture were not reliably read by the German artist in terms of semantics, which was partially lost in his copy. This is confirmed by Ulrich Pietsch, pointing out that "the author interpreted the branches of the weeping willow as wheat stalks, in much the same way as the Meissen creators of the so-called onion pattern perceived the Chinese pomegranate as an onion" ^{[19, p. 92]}.

Let's consider two porcelain plates (see 5, 7), which demonstrated an appeal to the theme "magpies at the top of a plum tree" by Xishan Meishao, which is quite popular in China. In Chinese, these hieroglyphs are consonant with the phraseological unit Xishan meishao, which literally means "happiness on the eyebrows" or "joyful appearance". The embodiment of this plot on handicrafts meant the hope of a happy event (the achievement of "fullness of happiness"). So, in the porcelain paintings dedicated to this topic, combinations of images of magpies and plum trees were used, which also included the meaning of the good news with the beginning of the new year in spring.

The expressive methods used in the painting of the Chinese plate (Fig. 5) are distinguished by originality: through the images of magpies and color contrasts of plum flowers, the master managed to convey temporary layers: three birds in the left and middle parts of the painting correspond to the traditional embodiment of the theme "magpies on the tops of plum trees", and in time they embody the present. The magpie on the right is about to land on a tree branch, which means receiving good news in the future. Thus, the benevolent meaning of the painting of a Chinese product is developing over time.

Fig. 5. A plate with a painting in the genre of "flowers and birds". Porcelain, polychrome painting. China, Jingdezhen. Kangxi period (1662-1722). The dimensions are unknown.

In addition, plum flowers, which are of secondary importance in the painting, are not made with red or pink pigments, meaning that spring has already come: starting from the just blooming white plum buds, a color transition is made to large red flowers at the end of the branch, which means the real process of the arrival of spring, which together with the magpie in the right part of the painting He hints at the future onset of spring and expresses hopes for receiving good news. From the point of view of the coloristic organization of the painting, we can talk about the harmony and balance of shades and the integrity of the palette of the work.

In all likelihood, the painting of the plate was made with colored glaze "phalanzai", which originated during the reign of the Kangxi Emperor. This painting is characterized by the richness and density of colors, which often created the effect of European painting. It is also possible that the master turned to the technique of overglaze painting with delicate fencai paints. In general, the painting demonstrates the lightness and purity of shades with some transitions and a certain retouching effect.

Thanks to the innovative use of color techniques and some weakening of the boundary lines, you can feel the splendor of the plumage and weightlessness of the bellies of birds, they are easily and gracefully organized in the painting space. At the same time, in the painting of the German model (Fig. 6), magpies seem more ponderous: their bodies and plumage form stronger contrasts with the background, which gives them weight and creates a feeling of instability, as if they were falling down.

Fig. 6. A plate with a painting in the genre of "flowers and birds" and a relief by Sulkovsky. Porcelain, polychrome painting. Meissen, 1735. The dimensions are unknown.

Analyzing the pictorial forms and the coloristic solution of the European plate, one can find some shortcomings, while it is obvious that during the copying process the master could not read and interpret the deep meaning inherent in the images. For example, the claws of a magpie perching on a branch are depicted parallel to the branch, it is also located lower than the bird in the center of the painting, which visually corresponds to the direction of the plum branch and the downward trend. In the painting of the European plate, the magpie on the right is located high enough, as if it flies up from a tree, while the weight created by the color gives rise to a feeling of some contradiction.

The image of the magpie on the left is not so detailed: in the Chinese original, the fulcrum of the bird's claws is located in the middle of the branch, and the claws are directed from the center back, giving the audience a sense of stability in this dynamic form, the bird on the left in the painting of the European plate holds its claws to the edge of the branch, it seems as if it loses its balance and is about to fall down.

Let's focus on another Chinese sample dedicated to the traditional plot of "the magpie at the top of the plum tree" (Fig. 7). In contrast to the Chinese plate painting discussed above (Fig. 5), the artist depicted only one bird here, while it is possible to note the deliberate reduction in the size of the magpie, due to which spatial relations of "proximity of the large and remoteness of the small" are formed and the artist manages to create the impression that the bird flies up to the branches of a flowering plum from afar. This feeling of movement and flight symbolizes the future and means that events will happen soon that will bring happiness. Thus, the Chinese master embodied the temporal characteristics not by focusing on different objects, but only through the "feeling" of movement.

Fig. 7. A plate with a painting in the genre of "flowers and birds". China, Jingdezhen. The first quarter of the XVIII century. Dresden State Art Collections, Porcelain collection.

In this painting, another semantic layer can be distinguished, associated with the length in the present tense and the stable expression of Jinshan Tianhua (to embroider brocade with flowers, peren. enjoy new happiness when everything is good; double grace). This phrase is often used as a metaphor describing "the decoration of what is already beautiful", and is used in the meaning of "joyful events constantly occur one after another." The outlines of the scroll in this painting refer to the art of writing on brocade and silk in Ancient China, in addition, the artist emphasizes the softness of the fabric in various ways. The texture of brocade can be traced in the softness and richness of the images, in the organization of the overall composition and details of the image. The encircling ornament does not act as a limiter, but serves as a background to emphasize the layering of the painting. The feeling of soft matter is also created due to the visual perception of contour lines in conjunction with the shape of the dish. The idea of the Chinese author is emphasized by a number of details: for example, veins are depicted on the turned-up edge, creating a feeling of fluffy delicate texture, the bends of the scroll are transferred asymmetrically, which also enhances the feeling of the fabric. Such a decision by the artist allows us to organically combine two themes of the product's painting: "brocade embroidered with patterns" ("double grace") and "magpie on a plum" ("fullness of happiness").

Looking at the product further, it can be noted that there is an element of possibility in the painting: the key image – "magpie on a plum" – represents a possible "future" or symbolizes happiness. A similar meaning is expressed by means of "embroidered brocade" (grace descended becomes even more beautiful), which clarifies the state of affairs in the "present". Nevertheless, the necessary prerequisite for "double grace" is the presence of something good that happened earlier, so it is reasonable to assume that the specific images presented in the painting indicate "happy events" that have already taken place in the past. These temporal relationships in the image also demonstrate the presence of a causal relationship between the themes - "magpie on the plum" ("fullness of happiness") and "embroidered brocade" ("double grace").

In the central part of the painting, plants such as bamboo and plum are made. In the traditional culture of Ancient China, plum, orchid, bamboo and chrysanthemum are "male" flowers, as they reflect the principles that men of the intellectual elite should possess: for example, plum symbolizes "truthfulness" and "firmness", and bamboo – "steadfastness" and "modesty".

At the same time, a lotus flower appears in the ornament running along the perimeter of the product (this can be understood by the lotus seed capsule depicted in the center of the flower). Zhou Dongyi (1017-1073), an outstanding representative of neo-Confucianism based on the philosophy of the disciples of Confucius, believed that representatives of the teaching should embody such qualities as "straightforwardness" and "purity" ^[15]. The image of the lotus appearing in the work in question can easily be mistaken for dahlia (dahlia, a "relative" of chrysanthemum), however, this flower most often symbolizes health and longevity, which is completely unrelated to the environment of fresh bamboo and spring plum, which personify youth and lightness. These plants show that the moral qualities of the best noble men are represented on the painting – the execution of the image is actually distinguished by tangible masculine strength.

Analyzing the details of the image, you can see that bamboo does not differ in height and slimness: the painting shows a very young shoot, the top of which sways in the wind. This image evokes associations with the concept of "zhoguan" in Chinese – the age of twenty, the time when young men of Ancient China came of age. Thus, bamboo, in all likelihood, symbolizes the growing up of a young man from a family of intellectuals.

Judging by the direction in which the bamboo shoot rises, it tends to touch the branches of the plum; the flight path of the magpie also coincides with the growth vector of the bamboo. In Chinese, the image of herbs and trees with intertwining trunks or branches is called "lian li" (连理), which figuratively means mutual love and marriage, at the same time, the hieroglyph 喜 (si) from the expression 喜上 (xishan meishao – "magpie on a plum") has a similar meaning. In this regard, it should be assumed that the past events indicated by the "embroidered brocade" are the official maturation of a certain young man from a family of intellectuals and his entry, through a marriage contract, into kinship with another family of the same status. It should be clarified that equality of social status was an extremely important element of marriage in Ancient China and this feature can be traced in the image and organization of plants executed on the painting. The plant images here emphasize the qualities of the intellectual elite, and also meet the commercial purpose of creating such a product: only representatives of high society could afford to buy such a masterpiece. This conclusion indicates the reasonableness of the interpretation of the "magpie on the plum" as a symbol of events that will take place in the "future".

In general, the porcelain sample in question contains the following meanings: hope for the spiritual and physical health of members of a noble family of intellectuals, harmonious ties with representatives of another family of equal status (marriage in Ancient China often implied a relationship of peace and harmony between two surnames and the interweaving of their common interests), contributing to prosperity and procreation.

Let's consider a copy of the Chinese model made in Meissen in 1730 (Fig. 8). This product is a fairly formal copy of the original, which has clearly lost its deep connotations. From the point of view of perception, this copy embodies a static state limited by the limits of a certain time and space, and as the main goal mainly pursues the aesthetics of pure decorativeness. To a certain extent, the European master only copies the original image and adds his own detail – a magpie sitting on a branch to create a sense of stability and stability. Most likely, the artist who copied the ornament had no idea that the spatial relationships of the original drawing personified the "future". It is also obvious that the European artist could not capture the inner content of the images, details and hints of a foreign culture hidden from the understanding of foreigners in the original product. In particular, the images of flowers in the European replica are much softer, which is significantly different from the "masculine" meaning that is invested in them in Chinese culture. The feeling of the softness of the fabric is also missing in the painting of this plate: perhaps the European master mistook the turned-up edge for a scroll of a painting in the technique of traditional Gohua painting and therefore depicted it compact and heavy. In addition, the ornament on the edge of the product was perceived by the artist as a kind of "border" decor, and also the image of the lotus, which the master conveyed in the form of a chrysanthemum, was not read. As mentioned above, in the semantic content, the chrysanthemum is associated with longevity, therefore it cannot be introduced into the semantic field of the original painting.

Fig. 8. A plate with a painting in the genre of "flowers and birds". Meissen, 1730. Diameter: 21.9 cm. Dresden State Art Collections, Porcelain collection.

In conclusion, we note that a comparative analysis of the means of visual language characteristic of Chinese and European porcelain, as well as the symbolic content of the paintings, made it possible to identify meanings that were lost or misinterpreted in the process of interpreting and translating the "text" embodied in the painting of porcelain products, as well as reconstruct the process of loss of symbolic meanings.

Based on the comparison of Chinese samples and their interpretations in European art of the XVII – XVIII centuries, it became obvious that the originals not only differ in the subtle transfer of images, but also encode the social and moral norms of the era. The European variants as the results of copying indicate that the artists carried out a thorough study of the original and sought to preserve the original elements as much as possible, even if they did not understand their meaning and functions. Due to the lack of knowledge about the symbolic meanings of Chinese imagery, European craftsmen created products that lost touch with the original meanings.