Qing Pinglong is a symbolic figure from the Qingping Longhua tradition. It was discovered in 1986 in Banjing Village, Haidian District, Beijing, and is now housed in the Haidian District Museum. Standing at 11.2 centimeters in height, 11 centimeters in width, and 13 centimeters in length, this small yet intricate artifact resembles a sacred vase or a crouching creature, with its head turned back, long nose raised, and tail attached to its body. A small Aquarius bottle rests on its upper saddle, and the bottle itself is shaped like a tiny trumpet. The base of the object is exposed, revealing a white, hard, and dense porcelain body with an exceptionally high level of craftsmanship. The rest of the surface is coated with a transparent glaze, giving it a pale blue-white appearance that is both pure and crystalline.
The piece makes full use of underglaze decoration techniques. Before glazing, the body features grooves that vary in depth, length, and direction, creating a three-dimensional effect. When the glaze is applied, it becomes slightly thicker and takes on a soft green tone, enhancing the visual impact. This technique mimics the veins, meridians, and bones of a living creature, making the elephant's form more lifelike. Additionally, blue-and-white underglaze patterns are skillfully used. On the white body, elements such as the bridle, saddle, and ponies, along with banana leaf motifs on the bottle, are delicately painted with blue pigment. These details are simple yet elegant, reflecting the refined taste of the era.
One particularly striking feature is the treatment of the eyes. The glazed layer over the eyes is carefully scraped away to reveal a smooth white surface. A small concentric circle is then painted with black glaze, creating a balanced contrast between black and white. This technique enhances the vividness of the eyes, making the animal appear more natural and expressive. The overall design gives the sculpture a sense of "dotting the image," where every detail contributes to the lifelike quality of the piece. Its charming style and exquisite craftsmanship make it a remarkable example of porcelain art that captures both the beauty of life and artistic expression.
In ancient times, elephants were used as working animals for farming. According to the Tang Dynasty text *The Barbarian Book*, elephants were described as being similar to oxen and were commonly used for plowing fields, especially in southern regions. Historical records indicate that elephants played a crucial role in agricultural development, serving as essential laborers. Due to their large size and strength, they were often seen as symbols of peace and stability. One legend tells of a white elephant emerging from Jiuyinshan after a monk received a relic, which was then used to build the Fuling tomb. This story is considered one of the earliest tales related to the Taiping tradition.
Another notable artifact is a bronze elephant statue unearthed in 1975 from Lion-shaped Mountain in Liling City, Hunan Province. This early representation of an elephant served as a wine vessel, shaped like a pictogram. Its trunk connects to the abdomen, functioning as a mouthpiece, while an oval opening on the back allows for pouring. This combination of artistry and practicality showcases the craftsmanship of the Shang Dynasty. The depiction of elephants on artifacts reflects the hopes and aspirations of ancient people for a better life.
As Buddhism spread, the theme of peaceful imagery incorporated religious elements. For instance, in the story of the Eight-Phase Buddha, the first phase involves "the elephant entering the womb." Additionally, the mount of Samantabhadra, known for his virtue, is often depicted as a white elephant. After the Tang and Song dynasties, Buddhist influences became more prominent, and themes of peace and spiritual harmony appeared in various forms of art, including sculptures, murals, and poetry. The Southern Song poet Lu You once wrote: “Taiping is like a heavenly person, and the south is a stranger to the East.†This suggests that elephants, blending agricultural and religious significance, came to symbolize peace and joy. Over time, the meaning of peaceful images evolved into a broader concept—“a world at peace, with every day filled with happiness.â€
During the Qianlong period of the Qing Dynasty, porcelain production reached new heights, with Taiping-themed designs becoming increasingly popular. These included blue-and-white, pastel, and cloisonné styles. Many of these pieces still exist today. For example, the Nanjing Museum houses a pastel porcelain piece that resembles a statue. It has a gourd-shaped aquarium on its back, connected to the elephant’s body, and is decorated with ribbons and pirogues in pastel colors. The detailed craftsmanship highlights the elegance and sophistication of the work, setting it apart from other artifacts.
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