Conveying cultural charm above doors and beneath eaves

Rectangular wooden plaques carved with elegant Chinese characters showcasing various calligraphy styles are on display in Emblems of Virtue: Exhibition of Plaque Artifacts, drawing visitors to pause and admire their refined artistry. The exhibition is being held at the Liaoning Provincial Museum, Shenyang, Liaoning province, until July 29.

Suspended above door lintels and beneath eaves in halls, chambers, pavilions, and terraces, these wooden plaques, known as bian'e, stand as a distinctive feature in traditional Chinese architecture.

The exhibition displays 76 exquisite plaques from the Ming (1368-1644) and Qing (1644-1911) dynasties from the collection of the Shenzhen Museum in South China's Guangdong province. Most were collected from Hakka regions in Fujian, Guangdong and Jiangxi provinces.

Jointly organized by the two museums, it showcases the artistic charm and profound cultural essence embodied in these plaques, while also reflecting the cultural lives and social customs of the time.

Boasting a history of more than 2,000 years, alongside rich cultural connotations, traditional Chinese plaques integrate poetry, prose, calligraphy, seal carving, lacquer craftsmanship, architectural art, and folk culture.

"Through concise and refined wording and profound implications, traditional plaques appraise people's virtues and vices and express one's lofty ideals and moral integrity," says Wang Zhonghua, director of the academic research department at the Liaoning Provincial Museum.

She explains that these exhibits often feature regular and running scripts, with a focus on brush technique and artistic style, reflecting the refined elegance of ancient Chinese scholars. The inscriptions use classical, concise wording that conveys profound implications aligned with traditional Confucian philosophies.

Hall and residence name plaques, inscribed with characters ending in tang (hall) or di (residence), are closely associated with a clan or family. Such plaques strengthen clan identity and tie family honor closely to social status.

Hall name plaques were often hung in studies or main halls to express personal ideals and aspirations, in ancestral halls to announce lineages, or outside shops to attract customers with auspicious messages.

On display is a plaque inscribed with yiyi tang. The first two characters, yiyi — taken from The Analects (Lunyu), a compilation of Confucius' ideas — convey the earnest hope that the brothers in the household would remain closely bonded and live together harmoniously.

Residence name plaques were primarily hung at the main entrances or within mansions to represent a family member's social status or scholarly attainment. Their inscriptions are simple and direct, merely stating the owner's identity or political rank.

In ancient times, those who earned scholarly titles in the imperial examination would receive plaques from the imperial court, local authorities, high-ranking officials, or their own clan. The inscriptions are their scholarly titles, such as jinshi, referring to those who passed the final and most difficult stage of the imperial examination.

In addition, officials often presented another kind of plaque to congratulate scholars and praise their literary talent. These plaques abound in extravagant praise, offering a glimpse into the social interactions and networking among the gentry and officialdom.

Each of these plaques was treasured by the scholars' later generations, who carefully preserved and passed them down over time. If damaged or lost, plaques were replicated with identical inscriptions and signatures, but the style and craftsmanship could differ by era.

The custom of presenting longevity plaques for birthday celebrations of the elderly was prevalent among the upper strata of society, including the gentry and wealthy, influential families. The inscriptions on such plaques often quote the classics, either praising the celebrant's virtue or conveying wishes for longevity, health and happiness.

During the Ming and Qing dynasties, local authorities or the gentry class would present plaques to commend the achievements or virtues of an individual or family, aiming to establish behavioral models and promote Confucian ideas. Wang says that these types of plaques hold significant value for the study of local history, folklore and ethical values.

One significant exhibit is a large, red-lacquered wooden plaque with gold inscriptions, bearing the four Chinese characters "ming bo zhe xi", which translates to "fame spreads to western Zhejiang".

The calligraphy was composed by Wang Jie, a prominent Qing Dynasty scholar-official, as evidenced by his seals on the plaque. Yet the recipient was Ling Menglong, an assistant county magistrate in Zhejiang.

According to Wang Zhonghua from the Liaoning Provincial Museum, it is unusual for such a high-ranking official to write a plaque for a low-ranking county official. It reflects that Ling's diligent governance, care for the people, and remarkable achievements earned him widespread esteem.

"This exhibition helps carry forward fine, traditional Chinese culture. It promotes core values such as loyalty, filial piety, virtue, pursuit of learning, and reverence for the elderly, which are deeply embedded in these inscriptions. It also popularizes traditional art such as calligraphy and seal carving, raising public awareness of aesthetics and culture," she says.

"Freed from their architectural contexts, these plaques allow us to appreciate them directly and consider their enduring cultural and intellectual significance today."