GALLERY 11

Thorne Miniature Room: Chinese Interior, Traditional (about 1937) by Mrs. James Ward Thorne

11展厅

索恩迷你屋：中国传统家居（约1937年），詹姆斯·沃德·索恩夫人

If you’re looking for a rooster in this miniature Chinese interior, you won’t fi nd it, but you will fi nd tiny, period-appropriate shadow puppets and musical instruments that would have been used to celebrate the Chinese New Year and other festive occasions. You’ll also notice that this open, light-fi lled space is perfectly divided into halves; symmetry was a hallmark of traditional Chinese design. It was believed that spatial balance would contribute to overall order in the home.

虽然在这间迷你屋里看不到公鸡的身影，但屋里有与年代相衬的，在春节或其他节庆场合常见的迷你皮影和乐器。

追求对称美是传统中式设计的特色，这间采光通透的厅堂被分为左右对称的两部分。中国人认为家居空间的平衡

有助于家庭整体秩序的构建。

Gallery 133

Wellhead with Roosters (1st century B.C. /A.D.), Han dynasty (206 B.C.–A.D. 220)

133展厅

井口，公元前1世纪到公元1世纪，汉（公元前206年-公元220年）

This rooster-topped sculpture is a classic example of mingqi. Literally “spirit objects” or “bright objects,” mingqi are miniature fi gurines that were made for and buried with the deceased to accompany and comfort them in the afterlife. This mingqi is a replica of an indispens-

able feature of everyday life, a wellhead, the structure that holds a pulley and bucket to draw water from a well. As a mingqi, the wellhead symbolically provided water for the deceased.

这件顶部有陶制公鸡的井口是一件典型的明器（即冥器）。明器，字面意思为神明之物，或是明亮的物体，实际上是专

门为往生者制造的微缩模型。作为随葬品，明器在九泉之下陪伴和慰藉往生者。这件明器表现的井口是中国古代日常

生活不可或缺之物——在井轱辘上系上水桶，可从井里打水，象征着为往生者提供水源。

GALLERY 134

Vessel in the Form of a Goose or Mandarin Duck (First half of 8th century), Tang dynasty (618–907)

134展厅

三彩鸳鸯形器，8世纪上半叶，唐（618年-907年）

This earthenware vessel is another mingqi or spirit animal but was created hundreds of years after the piece above. Its superb quality of form, degree of detail, and luminous glaze showcase the technical development of mingqi over the centuries. Whether depicting a Mandarin duck or a goose, this mingqi is unusual; most lifelike depictions of animals during the Tang dynasty were of animals that represented the power and prestige of their tomb owners, like horses or camels. Mandarin ducks and geese, on the other hand, symbolized peace, prosperity, and marital fi delity.

同样是明器，这件陶器比上面的水井晚了几百年。它的精美外形、淋漓尽致的细节和清晰明亮的釉层无不体现了几个

世纪以来明器工艺的进步。无论匠人想表现的是鸳鸯或鹅，这件明器都非同寻常——栩栩如生的唐代动物雕塑，如

马或骆驼，多为表现墓主权势；而鸳鸯或鹅则象征了宁静、繁荣，以及对婚姻忠贞。

Mini-tour

Chinese Lunar New Year It’s the Year of the Rooster, the 10th animal of the 12-year Chinese zodiac cycle. Whether you say “cock-a-doodle-doo,” “gou gou,” or “kukuriku,” celebrate the Lunar New Year with a visit to some of the museum’s remarkable roosters (and other fowl friends).

迷你导览

中国农历新年

2017年迎来了鸡年，鸡在中国传统十二生肖中排名第十。不同文化中都有公鸡叫的拟

声词，无论您熟悉的是英文儿歌“cock-a-doodle-doo”，中文的“咯咯”声，或是欧

亚各地俗语中的“kukuriku”，我们欢迎您到芝加哥艺术博物馆，参观以鸡为主题的

展品（还有它的家禽小伙伴），庆祝中国农历新年！

Continue the New Year celebration!

Join us in the Museum Café for stir-fry and dumplings. After lunch, explore the museum with our audio guide or pocketguide—both available in Mandarin.

继续我们的新年庆祝活动！

欢迎您到博物馆餐厅品尝中式小炒和水饺。用餐后，可以带着我们的中文语音导览或《中文袖珍参观指南》继续探

索博物馆。

Share your visit on our Weibo and Wechat!

记得在微博和微信上分享您在博物馆度过的新年！

For more information about celebrating Chinese New Year at the Art Institute of Chicago, visit artic.edu/zh.

欲知芝加哥艺术博物馆中国新年庆祝活动的更多信息，请访问芝加哥艺术博物馆中文页面 artic.edu/zh.

GALLERY 134

Rooster, Page from Beiping Stationery Papers (Peiping Jianpu) (1934)

134展厅

鸡竹图，《北平笺谱》（1934年）

One can’t quite imagine writing over this image of a proud rooster crowing and strutting across the page. Indeed, though it is stationery paper, the bright colors indicate it was not intended for letter writing but to stand as an independent work of art. The print was part of a collection of stationery papers commissioned in 1933 to preserve the declining art form. Zheng Zhenduo, an eminent professor of literature at Yenching University, gathered old plates from stationery

shops in Peking and had them printed by contemporary craftsmen. From this assemblage of prints, Lu Xun, China’s foremost literary figure, selected this piece as one of 340 sheets for the final collection.

神态倨傲的雄鸡啼叫着悠闲漫步，虽本是笺纸，但不可想像将字写在这样的画上！事实上，明亮的色彩表明这确实

是一件艺术品。制笺艺术式微之时，燕京大学文学教授郑振铎从北京的文具店里收集了旧版笺样，并交由当时的工

匠们印刷制作。这幅画即为1933年委托制作的作品之一。中国最知名的文学家鲁迅最终将其编印进了著名的340幅

《北平笺谱》。

GALLERY 134

Three Roosters and Blossoming Apricots (1895) by Ren Yi

134展厅

杏园公鸡图，1895年，任颐

Chinese artwork often includes visual-verbal puns, and by representing three roosters together, this image may have several layers of meaning. The first character that makes up the word rooster in Chinese, gong, means duke, and representations of three roosters traditionally refer to the son, grandson, and great-grandson of a virtuous official of the Han dynasty (220 b.c.–a.d. 220), all of whom achieved the rank of duke. The apricot also holds auspicious meaning: the second character of the Chinese word for apricot, yuan,

means first, and by including these flowers in this hanging scroll, the artist likely alluded to placing first in the imperial examinations, a ranking that would have determined one’s appointment to the government civil service.

传统中国艺术品常包含意象和语言的双关。这幅画轴中出现了三只公鸡，这一意象可能有几层意义。公鸡中的“公”，

是中国古代的爵位名，三只公鸡在传统意义上代表了汉朝的贤臣，其子，孙和曾孙都取得了的禄爵。画中的杏园也有

吉祥的寓意：“园”与“元”同音，“元”意为事物之首，在立轴中表现杏园，画家或寄寓了在科举考试中，金榜题名

高中状元的意思，而高中状元则意味着跻身仕途。

GALLERY 134

Dish with Mandarin Ducks in a Lotus Pond (12th century), Jin dynasty (1115–1234)

134展厅

定窑荷塘鸳鸯碟，金（1115–1234年）

Mandarin ducks, those symbols of marital fidelity, make an appear-ance again in this elegant dish depicting an idyllic water garden. Known as Ding ware, this type of monochromatic ceramic was

esteemed by the imperial court and by elite society for its simple forms; smooth, clear glaze; and subtle underglaze decoration. China’s earliest and finest whitewares were produced in the Ding prefecture (southeast of modern-day Beijing) between the late 10th and 12th centuries, where craftsmen replaced carved decoration with molded ornamentation, so that the wares could be mass-produced.

这件精美的瓷碟，描绘了宜人的水榭景色，鸳鸯作为忠贞婚姻的象征再次出现。纯色的定窑陶瓷，以其简约的造

型，平滑透明的釉面，辅以精妙的釉下彩纹饰，受到宫廷和名士的推崇。公元10世纪末到12世纪，工匠们用模制纹

饰取代手工刻纹，在定州（现位于北京东南处）大量生产了中国古代最早，最为精美的白瓷。

GALLERY 105

Incense Burner in the Form of a Duck (12th century), Song dynasty (960–1279)

105展厅

青白瓷鸭型香炉（12世纪），宋（公元960–1279年）

Once again a duck is at the center of this fine porcelain object, a delicately carved incense burner. When incense was burned in this vessel, the fragrant smoke would have wafted gently from the duck’s

beak as well as from the two holes on the sides beneath its feet. Pleasant scents—whether spices, perfumes, or incenses—permeated secular as well as religious life in China. Poets and painters praised incense for its efficacy in dissipating gloom and stimulating artistic creativity. At home, incense was most commonly burned in metal braziers, which often took the shape of real or imaginary birds or animals.

这件精美的青白瓷香炉的中心立着一只鸭子雕像，当香在炉中燃烧时，芳香会从鸭嘴和脚两侧的孔中轻轻溢出。无

论是香料，香水，还是熏香，令人愉悦的的芳香早已渗透进中国人的世俗和宗教生活里。中国古代诗人和画家都曾

在作品中赞扬焚香不仅可以排解烦忧，还可以激发艺术灵感。在普通人家里，熏香通常会放在真实或传说中的 鸟

和动物形状的金属火盆中燃烧。