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Confucian scholars Stock Photos and Images
RM2T91YGB–Pillow, 11th-12th century, 4 1/2 x 11 7/16 x 8 5/8 in. (11.43 x 29.05 x 21.91 cm), Tz'u-chou ware Stoneware with painted decoration on white slip under a clear glaze, China, 11th-12th century, Painting directly on white slip was one of several decorative techniques practiced at Cizhou kilns. This pillow features a deer painted in its main register. The animal was an auspicious emblem connoting a wish for long life to Daoists and the hope for official title to Confucian scholars. A variety of auspicious animals and flowers were common decoration on painted Cizhou pillows
RM2T91DCM–Books and Scholar’s Objects (Chaekgeori), 19th century, Unknown Korean, 68 1/4 x 172 x 5/8 in. (173.36 x 436.88 x 1.59 cm), Ink and color on paper, Korea, 19th century, During the Confucian dominated Choson dynasty, folding screens showing books and objects related to scholarly pursuits became popular among Korea's educated elite, as well as among those who aspired to that social class. As with this example, they typically featured stacks of bound books and the 'four treasures of the scholar's studio' (brush, paper, inkstone and inksticks). Artists also depicted rare objects
RM2T91E4G–Scholars Playing 'Go' Under Pine Trees, 14th century, 48 1/8 x 27 3/16 in. (122.24 x 69.06 cm) (image)86 x 29 5/16 in. (218.44 x 74.45 cm) (without roller), Ink and color on silk, China, 14th century, This painting depicts a group of five scholars enjoying a game of go in an outdoor setting. It was a Confucian tradition that scholars be embodiments of moral, intellectual, and artistic perfection. The ancient board games of go (weiqi), Chinese chess (xiangqi), and double sixes (liubo) symbolized this valued trait of intellectual refinement. Four of the participants are seated on stools.
RM2T91DRA–Zither (Qin), 1634 (dated by inscription), 47 x 7 x 3 1/2 in. (119.38 x 17.78 x 8.89 cm), Black and red lacquered wood with jade thumb screws, China, 17th century, The zither, or qin, has been regarded as a symbol of enlightenment by the Chinese since Confucian times (6th century BCE). By the seventeenth century, it was a required object in most scholars' studies, if only for display. This rare example has inscriptions on the bottom, including the title Zhong He ('middle harmony') and the number 57.
RM2T91F0H–Autumn Thoughts on a Garden Landscape, 1844, Nukina Kaioku, Japanese, 1778 - 1863, 55 3/4 x 20 in. (141.61 x 50.8 cm) (image), Ink and light color on satin, Japan, 19th century, As the son of a samurai, Kaioku received a proper Confucian education, but his physical frailty prevented him from becoming a warrior. His aptitude for Chinese studies was so great that he became a central figure in a circle of sinophile literary and artistic scholars in Kyoto during the second quarter of the nineteenth century. Ultimately, Kaioku is more famous for his calligraphy
RM2T90G5K–Lotus Flowers and Birds, late 19th century, Unknown Korean, 37 × 11 1/2 in. (93.98 × 29.21 cm) (image, each panel)67 × 107 1/4 × 3/4 in. (170.18 × 272.42 × 1.91 cm) (outer frame), Ink and color on paper, Korea, 19th century, Swallows and kingfishers fly among blooming lotus flowers in this folding screen, which would have likely been displayed during the summer months to decorate a room or a study. While commonly associated with purity in Buddhist thought, lotuses in Korea also symbolized gentlemanly virtues and noble character of the Confucian scholar, the ideal of the elite.
RM2T918T1–Orchids, 1849, Ōtsuki Bankei, Japanese, 1801 - 1878, 14 1/8 x 209 1/2in. (35.9 x 532.1cm), Ink on paper, Japan, 19th century, Since the time of Ch'u Yuan (332-268) in China, the orchid has symbolized the purity and uncompromising moral fortitude of scholars. O tsuki Bankei was renowned as a Confucian scholar and served as an imperial tutor. He was dismayed when Japan was unable to resist demands from western countries to open its ports to international trade in the mid-19th century. For a time he was even imprisoned for his involvement with the resistance forces.
RM2T91F87–Kui Xing (God of Literature), 16th century, 25 x 7 x 5 in. (63.5 x 17.78 x 12.7 cm) (approximate), Bronze with traces of gilding, China, 16th century, Originating as a Daoist deity associated with the constellation Ursa Major, Kui Xing (also called Wen Chang and Wen Di) is worshipped in the third and eighth months as the God of Literature and patron saint of scholars. The surly-looking divinity is represented holding a brush in his right hand while standing on the head of a large fish becoming a dragon. The transformation of a carp into a dragon was a synonym for the literary success
RM2T917CP–Civil Dignitary, 618-906, 39 x 10 x 10 1/4 in. (99.1 x 25.4 x 26 cm), Earthenware with traces of pigment, China, 7th-10th century, Ceramic tomb figures were especially distinguished during the Tang dynasty. Polychrome painting of fine quality was applied to lifelike earthenware sculpture raising these wares to a new level of excellence. The serious, dignified demeanor of a civil official is captured perfectly in this large, well-modeled figure. Elegant in his tall court hat and long robe with flowing sleeves, this dignitary has a realistically modeled face and clasps his hands respectfully
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