PULP@CISHK
Everyday
Utensils
生活
器具
The everyday customs of the Manchu people in Jilin Ula exhibit distinct regional and ethnic characteristics. Historically and even today, their daily practices of clothing, food, shelter, transportation, as well as ceremonial traditions and wedding customs, continue to retain traces of their ancient hunting culture.
The Qing Dynasty and Republican era everyday utensils in the collection of the Jilin Manchu Museum include furniture, horse gear, smoking tools, tableware, clocks, and measuring tools. These artifacts vividly reflect the Manchu folk customs of Jilin, while also showcasing the industriousness, simplicity, and wisdom of the Manchu ancestors. Their long-term development in daily life and productive labor gave rise to a brilliant civilization, leaving us with an invaluable cultural heritage. This legacy is an integral part of China's outstanding traditional culture.
Lu Ban’s folding pillow, commonly known as "Xiabai" (literally "blind fold"), is a multifunctional wooden household item crafted from a single plank. Featuring intricate carvings of patterns and inscriptions, it serves both practical and aesthetic purposes. Legend traces its invention back to Lu Ban, a master craftsman from 2,600 years ago.
When unfolded, it functions as a small stool; when folded, it becomes a portable pillow. Its versatile design makes it a convenient and space-saving tool for daily life. The production of Lu Ban’s pillow involves dozens of meticulous steps, including sawing, planing, sanding, drilling, chiseling, hollowing, lacquering, and waxing.
The craftsmanship relies on the principle of "compensating gaps with gaps"—each cut must perfectly align so that two surfaces fit together seamlessly. A single chisel stroke may serve dual purposes, creating interlocking joints (mortise and tenon) where each part depends on the other. This ingenious design embodies the wisdom and creativity of ancient Chinese artisans, showcasing the profound depth of traditional Chinese culture.
Lu Ban's Folding Pillow, Republic of China period
Length: 27.5 cm, Width: 7.3 cm, Height: 12 cm
This is a two-hand analog bracket clock that chimes the hours. It is made of wood, with a horse mounted on top of the bracket. Below the horse are two symmetrical spires, and the base features circular and square gilded copper patterns. The front of the clock has a glass door, and its sides are adorned with copper reliefs of Western figures. The clock face is surrounded by engraved gilded flower petal patterns, with the center of the dial featuring engraved gilded circular patterns. The dial is marked with the factory trademark "TRADE MARK," and the lower section of the clock reveals its visible pendulum.
Made in the Republic of China period, 58 cm tall, 29.2 cm wide, and 12.1 cm thick.
The bracket clock is an analog clock with two pointers. It is made of wood and is missing a horse figure at its base. It has a glass door for its front, surrounded by an inlaid copper pattern. The 12 numbers on the dial are Roman numerals. Gilded gold strings are engraved on the center of the dial, surrounded by more gilded gold patterns.
Wooden bracket clock with inlaid copper motifs, made in the Republic era, 52.5 cm tall, 31.9 cm wide, and 13.5 cm thick.
Wooden gilded bracket clock with copper inlaid, made in the People’s Republic of China, 57.5 cm tall, 32.1 cm wide, and 15.1 cm thick.
The bracket clock is an analog block with two pointers. It is made of wood. The top is carved with bronze relief of peonies and phoenix playing with peonies gilded gold. The front of the clock are glass doors, and the sides have matching reliefs of peonies and gilded patterns of peacocks spreading tail feathers. The dial is engraved with more peonies and snowflakes. The top of the dial has the trademark “白山十五天”, and the bottom of the dial prints the characters “长春市钟表厂” (Chang Chun city clock factory).
Openwork Phoenix and Floral Pattern Mercury Mirror Screen, Republic of China period, maximum height 67.2cm, maximum width 98.2cm.
The screen consists of five panels, the middle panel being the largest, inlaid with a mercury mirror, wooden frame, with openwork carved phoenix patterns at the top, floral crown, and carved floral standing teeth on both sides, placed on an openwork carved floral wooden base. Each panel frame is inlaid with transparent flat glass, the screen center is deep blue, with five panels respectively painted with gold-traced floral patterns, pumpkin, Buddha's hand, peach, pomegranate, qin (a musical instrument), chess, books, paintings, and other decorations, symbolizing many children, much fortune, longevity, and a scholarly and elegant study. The first panel has the inscription "Dongpo's drunken brush, the aroma of wine steaming from the ten fingers, written on the full moon of winter at Leshan Pavilion". The two side panels respectively have the inscription "In the ancient Feng County of Xuzhou, there is a village called Zhu Chen, over a hundred li from the county, where mulberry and hemp grow lushly, a village of only two surnames, generations of marriages, written by the half-drunk old man" (from the Tang Dynasty poet Bai Juyi's "Zhu Chen Village").
The screen has a long history, originating as early as the Western Zhou Dynasty, when it was called "Di" or "Yi", a piece of furniture specifically placed behind the emperor's throne, known as "Fu", a symbol of power. With the changes of the times, the screen is no longer the exclusive preserve of the imperial family but has descended from the court and taken root in the homes of ordinary people in ancient times.
The screen serves functions such as partitioning, beautifying, blocking wind, and coordinating in indoor decoration, thus its position indoors is usually very prominent. Screens mainly come in two types: standing and folding, while purely decorative insert screens appeared later, but their small and delicate form is extremely interesting, thus also deeply loved by people at that time.
Standing teeth, a component of furniture, commonly seen on screens with stands, located in front, behind, and on both sides of the uprights, used to support and clamp the uprights.
Rosewood Dragon Playing with Pearl Pattern Box, Qing Dynasty, length 30cm, width 19.9cm, height 11.4cm.
The box is made of rosewood, rectangular in shape. The box lid is carved with a double dragon playing with pearls pattern and scattered clouds, the sides of the box are fitted with brass carrying rings. The front of the box, where the lid and box meet, is fitted with a square lace openwork bat leaf and a latch for locking, the brass lock front is carved with a double happiness character. This rosewood dragon playing with pearl pattern box was used for a woman's wedding dowry.
Mother-of-Pearl Inlaid Mirror Box with Floral and Bird Motifs, Late Qing Dynasty, Length: 21.3 cm, Width: 12.8 cm, Height: 39.2 cm
This wooden mirror box consists of an upper mirror frame and a lower storage compartment. The mirror frame is adorned with mother-of-pearl inlays of interlaced floral patterns. The box features two drawers, each with copper handles. The body of the box is decorated with mother-of-pearl inlays depicting birds, flowers, and bats.
Mother-of-pearl inlay is a decorative technique where thin pieces of shell or seashell are polished and carved into figures, flowers, birds, or characters, then embedded into the surface of an object. This craft originated in the lacquerware of the Shang Dynasty and reached maturity during the Tang Dynasty. By the Qing Dynasty, mother-of-pearl furniture had reached its peak and was highly favored by the imperial family, becoming an artistic treasure.
Wooden Tea Caddy with Double Handles, Single Hoop, and Figure-Floral Motifs, Late Qing Dynasty, Height: 32 cm, Width: 25.6 cm
This wooden tea caddy is primarily dark purple in color and features an octagonal, rounded body. The front is carved with three gilded scenes depicting figures and flowers. The caddy has a spout opening, allowing tea to be poured without removing the teapot inside. It has double handles and a single removable hoop decorated with gilded phoenix-tail ruyi patterns. This piece is a well-preserved example of late Qing craftsmanship.
Wooden tea caddies were used to hold teapots, helping to maintain the tea’s temperature. The teapot could be placed inside the caddy, with its spout aligned with the caddy’s opening, allowing tea to be poured directly without removal—a design that was both portable and elegant.
Mother-of-Pearl Inlaid Mirror Box with Floral and Bird Motifs, Late Qing Dynasty, Length: 21.3 cm, Width: 12.8 cm, Height: 39.2 cm
This wooden mirror case has two layers: the upper section is a box containing a wooden-framed glass mirror, while the lower section resembles a small cabinet with double doors inset with glass mirrors. When opened, it reveals two tiers with three drawers, each fitted with a copper handle. The lid is secured with four butterfly-shaped copper hinges. The front of the lid features a bat and coin-shaped copper latch, symbolizing "fortune before one’s eyes." The sides of the case are reinforced with fourteen copper hinges of varying sizes, and both sides are fitted with copper carrying handles.
Simple yet elegant, this mirror case was specifically designed for women in the late Qing Dynasty.
Note: A lian (奁) refers to a woman’s vanity case or an exquisitely crafted small box.
The bedside cabinet is made from pine wood and is divided into two parts. The upper cabinet is open facing the front and is stacked with duvets, pillows, and other bedding items, so it’s often called a “duvet grid”. There are four drawers underneath it, which are used to store items like needles, threads, scissors, and awls. The drawers are painted with interlaced flower patterns and there are brass flowers and handles in the center. The bottom cabinet is used to store everyday clothing items and it has double doors. They are equipped with brass hinges, 面叶, handles, and latches. The surface of the cabinet is red and painted with butterfly and flower patterns. The four corners are decorated with “卐” and flower patterns. It has square legs and straight feet, and the bottom of the cabinet is decorated with a peach-patterned baffle. The bedside cabinet is the most important piece of kang furniture to Manchus.
面叶 is a decorative panel in the middle of a cabinet or a box in traditional Chinese furniture that compliments buttons and tags. Usually, it is made up of two parts, one on the left and one on the right (or one on top and one on bottom), but there are also ones made of three parts.
Bedside cabinet, made in the Republic of China period, 157 cm long, 56 cm wide, 188 cm tall.
The kangqin is made of wood and divided into two sections:
The upper section serves as a storage compartment for bedding, with an open front and four drawers underneath. Each drawer front is painted with floral patterns and fitted with a central brass ring handle.
The lower section consists of two outward-opening doors equipped with brass hinges, faceplates, handles, and a bolt. Inside the doors, there is an additional sliding panel door painted with peony flowers and landscape scenes. Between the doors is a movable vertical bolt.
The cabinet is simple and natural in design, yet elegant. It is painted with purple-red lacquer and decorated with gilded motifs, including:
"An Baxian" (Hidden Eight Immortals): A traditional Chinese decorative motif in which symbolic items represent the Eight Immortals from Daoist mythology.
Birds, pomegranates, apples, peaches, and household objects.
Gilded interlocking "hui" (回) patterns surrounding each motif.
The cabinet edges are decorated with gilded interlocking knots, 卐 (swastika) symbols, and floral designs. The lower part features gilded designs of lotus flowers, carp, and the double happiness (囍) symbol.
These patterns convey auspicious meanings, symbolizing wishes for longevity, happiness, prosperity, and abundance year after year.
This kangqin was used by the Manchu people of Jilin Ula, reflecting their cultural and artistic traditions.
An Baxian (Hidden Eight Immortals), Qing Dynasty.
An Baxian is a traditional Chinese decorative motif. The Eight Immortals are legendary Daoist figures, each holding a magical artifact with boundless power. These artifacts are:
Tieguai Li (Iron-Crutch Li): Gourd.
Han Zhongli: Fan.
Lan Caihe: Flower basket.
Zhang Guolao: Drum.
He Xiangu: Lotus flower.
Lü Dongbin: Sword.
Han Xiangzi: Flute.
Cao Guojiu: Jade tablets.
These artifacts are believed to have the ability to dispel evil and bring blessings. In the An Baxian motif, the objects are used as substitutes for the Immortals, creating a subtle and elegant design.
The An Baxian motif became popular during the Kangxi reign of the Qing Dynasty and remained a common decorative theme throughout the Qing period.
Kangqin (Bedside Cabinet with Drawers), Late Qing Dynasty, total length 192cm, width 57cm, height 156cm.