Qing Pinglong is a ceremonial 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. The statue stands at 11.2 centimeters in height, 11 centimeters in width, and 13 centimeters in length. Its design resembles a sacred vessel, with a prone posture, head turned back, long nose raised, and a tail attached to its body. A small Aquarius bottle rests on the upper saddle, resembling a tiny trumpet. The base of the object is exposed, revealing a white, hard, and densely packed porcelain body with an exceptionally high degree of refinement.
The entire surface, except for the base, is covered with a transparent glaze, featuring a pale blue-white hue that is pure and crystal clear. The piece makes full use of underglaze decoration techniques. Before the glaze was applied, grooves were carefully carved into the body, varying in depth, length, and direction. When the glaze was added, it became slightly thicker, giving off a soft greenish tone that accentuates the details, like veins, meridians, and bones, making the elephant's form more vivid and lifelike.
In addition, underglaze blue-and-white decoration is also used skillfully. On the white body, the bridles, saddles, and ponies are drawn in delicate blue patterns, creating a refined and elegant aesthetic. The eyes are especially unique—first, the glaze is scraped away to reveal the white ground, then a small concentric circle is painted with black glaze, enhancing the contrast between black and white, making the eyes more expressive and natural. This technique gives the animal a charming, almost "dotting the image" effect, showcasing both artistic beauty and the vitality of life.
Historically, elephants were used as working animals in agriculture. Records from the Tang Dynasty mention that elephants were common in southern regions, used for farming and even their dung was burned. This close relationship with agriculture, combined with their massive and powerful presence, led people to associate them with peace and prosperity. According to legend, after a monk received a concession, a white elephant emerged from Jiuyinshan, and its color was used to build the Fuling tomb. This story is believed to be one of the earliest legends related to Taiping.
Another notable example is a bronze elephant statue unearthed in 1975 from Liling City, Hunan Province. Shaped like a lion, this artifact served as a wine vessel, with its trunk connected to the abdomen acting as a mouthpiece. An oval opening on the back allowed for pouring. This blend of artistry and functionality reflects the cultural significance of elephants in ancient China.
As Buddhism spread, the imagery of peaceful elephants incorporated religious elements. For instance, in the story of the Eight-Phase Buddha, the first phase involves “Taking the elephant into the womb,†and the mount of Samantabhadra is often depicted as a white elephant. After the Tang and Song dynasties, Buddhist themes became more prominent in art, including sculptures, murals, and poetry. Southern Song poet Lu You once wrote: “Taiping is like a celestial being, and the south is a stranger to the East.†This indicates that elephants, symbolizing both agricultural culture and religious beliefs, had come to represent peace and joy.
During the Qianlong period of the Qing Dynasty, porcelain craftsmanship reached its peak. Many pieces featured Taiping Youxiang (peaceful images) as their theme, including blue-and-white, pastel, and cloisonné styles. These works remain in museums around the world. For example, the Nanjing Museum houses a pastel porcelain piece shaped like an elephant, with a gourd-shaped aquarium on its back, decorated with ribbons and pirogues in pastel colors. The intricate craftsmanship highlights the elegance and artistry of these artifacts.
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