Gu Erniang
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Gu Erniang (
Chinese Chinese can refer to: * Something related to China * Chinese people, people of Chinese nationality, citizenship, and/or ethnicity **''Zhonghua minzu'', the supra-ethnic concept of the Chinese nation ** List of ethnic groups in China, people of ...
: 顧二娘; fl. 17th – 18th centuries) was a famous Chinese
inkstone An inkstone is traditional Chinese stationery. It is a stone mortar for the grinding and containment of ink. In addition to stone, inkstones are also manufactured from clay, bronze, iron, and porcelain. The device evolved from a rubbing tool us ...
artist who lived in the
Qing dynasty The Qing dynasty ( ), officially the Great Qing,, was a Manchu-led imperial dynasty of China and the last orthodox dynasty in Chinese history. It emerged from the Later Jin dynasty founded by the Jianzhou Jurchens, a Tungusic-spea ...
, during the reign of
Kangxi Emperor The Kangxi Emperor (4 May 1654– 20 December 1722), also known by his temple name Emperor Shengzu of Qing, born Xuanye, was the third emperor of the Qing dynasty, and the second Qing emperor to rule over China proper, reigning from 1661 to ...
. Throughout her career, she was regarded as the best of her profession in China. There are at least one dozen surviving inkstones attributed to Gu, but most are likely to be forgeries. No existing inkstone has been proven to have been made by Gu. There is little existing information on Gu's personal life due to the lack of biographical writing about artisans during the Qing dynasty.


Life

Gu was born to the Zou (Chinese: 鄒) family, possibly around 1664. She married Gu Qiming, the heir to the line of Suzhou inkstone carvers established by his father, Gu Delin, who was highly acclaimed in his trade. Gu likely learned inkstone-making from her husband and father-in-law. Following the passing of Delin and Qiming sometime after 1692, Gu took over the household trade. She attained widespread fame for her inkstones during her career from 1700 to 1722. She adopted two sons; one died prematurely, and the other, Gongwang, did not continue the Gu line of inkstone making. Gu died sometime between 1725 and 1733.


Career and Artistry

Gu's career began following the deaths of her father-in-law and husband, who ran a successful inkstone-making business in Zhuanzhu Lane, Suzhou. Within a handful of years after their deaths, Gu had established herself as the heir of the Gu house and had become very successful in her own right. She was often entrusted with enlarging the ink pool of old inkstones, which was considered the most difficult task for an inkstone carver. Gu's patrons often wrote poems and encomiums for the inkstones they received from her, which note information about the motifs she used in her work. She is thereby known to have created "warm," "elegant," "refined," and "subtle" inkstones, which have featured knotted designs, phoenix motifs, apricot blossom and swallow motifs, among others. Gu has additionally been quoted describing her approach to inkstone making:
An inkstone is ''carved from'' a piece of rock; it would have to become round and lively as well as fat and opulent before the wonders of carving is made apparent. If the inkstone appears dull, dry, emaciated, and stiff, it is in fact the original face of the rock. Then what good did the carving do?
The Gu house of inkstone-making reached would reach peak during Gu Erniang's career. She was considered "peerless in her day." Despite her widespread fame and popularity, some contemporaries viewed Gu with dismissal or suspicion, as women were not thought to be rightful heirs in traditional
patrilineage Patrilineality, also known as the male line, the spear side or agnatic kinship, is a common kinship system in which an individual's family membership derives from and is recorded through their father's lineage. It generally involves the inheritan ...
.


Legacy

There are textual records of inkstones created by Gu, mostly from tributes written by her patrons. None of these records indicate that Gu signed her works. However, all existing inkstones attributed to Gu are signed in some way, and these signatures differ greatly from each other. Additionally, no existing inkstone attributed to Gu matches the description of a written record of her work. As a result, most surviving inkstones attributed to Gu are likely to be forgeries. The amount of highly skilled forgeries of Gu's work made during her lifetime is seen as indicative of her fame at the time. The motifs that appear throughout these inkstones also provide insight as to the types of inkstones she was known or thought to produce. Following Gu's death, forgeries of her works were often engraved with poems that promoted an "ultra-feminine persona," presumably to attract collectors. A popular poem described Gu as having
bound feet Foot binding, or footbinding, was the Chinese custom of breaking and tightly binding the feet of young girls in order to change their shape and size. Feet altered by footbinding were known as lotus feet, and the shoes made for these feet were kno ...
, which she used to check the quality of stones brought to her; this detail was likely invented to eroticize Gu, and it is not known if her feet were bound in reality. These portrayals of Gu contradict those by her patrons that knew and met with her during her lifetime. Gu's work continues to be highly prized today; an authentic Gu inkstone is considered a "holy grail" among Chinese inkstone collectors.


Attributed Works

File:Inkstone with phoenix design (front).jpg, ''Inkstone with phoenix design'' (front),
Metropolitan Museum of Art The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 ...
File:Inkstone with phoenix design (back).jpg, ''Inkstone with phoenix design'' (back),
Metropolitan Museum of Art The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 ...


References

{{DEFAULTSORT:Gu Erniang 18th-century Chinese artists 18th-century Chinese women artists