Collecting Small Treasures

Humphrey K.F. Hui

The Chinese adage, “From small you see big,” resonates with Humphrey Hui, one of the world’s foremost collectors of Chinese snuff bottles. These remarkable objets d’art, each small enough to hold in the palm of one’s hand, provide a glimpse of Chinese history, art, and culture. Mr. Hui shared his extensive knowledge of this art form with a fascinated audience at the fifth Curator’s Circle Conversation and Workshop of the 2004 season.

According to Hui, snuff (powdered tobacco that is sniffed up the nostril rather than smoked) was introduced into China in the seventeenth century by European missionaries who presented it to the Emperor as a tribute. The Imperial court developed a liking for the foreign substance, but discovered that the European-style snuff box, with its wide opening, was not suitable for the humid climate of China; the snuff became damp and soiled when exposed to the moist air. Traditional medicine vials with narrow mouths and airtight stoppers were found to be ideal containers for storing snuff, so the Emperor ordered the production of similar vessels that were aesthetically pleasing. Soon the Imperial workshops were creating snuff bottles of amazing variety and beauty. As the custom of snuff use spread, these small treasures became part of the personal apparel of aristocrats and a symbol of social status. In addition, these exquisite containers were often presented as gifts among members of the upper classes and to visiting dignitaries on special occasions.

The construction of a snuff bottle is straightforward: it is a flat-bottomed container, has a narrow opening in the top, a stopper to keep it air-tight, a cork collar cushion between the stopper and the opening, and a spoon to dispense the snuff. Chinese artists and craftsmen went beyond these basic elements to create elaborate designs using a multitude of materials and colors and often incorporated painting, calligraphy, and carving on the exterior surfaces. Hui illustrated the enormous range of materials used by showing slides of snuff bottles made of ceramics; different types of glass; hard stones such as agate, chalcedony, and nephrite; organic materials such as amber, bamboo, and coral; metals such as brass; and enamels such as cloisonné. Many of these bottles were inscribed or painted with symbols, poems or figures; some were carved in relief or had faceted surfaces. A mark frequently appeared at the base identifying the emperor and his reign.

The Denver audience was astounded to learn that some snuff bottles were decorated from the inside. At the workshop the next day, Hui focused on the artists who mastered the specialized techniques needed to create these highly prized and unusual examples of the genre. A transparent or translucent material such as glass, crystal, or amber was the ideal medium for inside decoration. Preparation was important as the interior surface of the bottle had to be somewhat rough so that the water-based inks could adhere properly. The narrow neck of the vessel required the use of a thin bamboo brush with an angled tip. Working in an extremely confined space, these highly skilled artists had to execute their painting or calligraphy in miniature, but also in reverse. Despite the many challenges involved in this type of snuff bottle decorating, the motifs were broad in scope and included landscapes, still life scenes, running script, and, occasionally, animal and human figures. The most sophisticated and advanced designs were portraits of the royal family, court officials, or prominent cultural figures such as opera singers.

Hui noted that snuff bottles are still made in China today. Many contemporary craftsmen were trained by descendants or students of the masters of this art form. The tradition continues, as does the enjoyment and appreciation of these unique objets d’art. Although small in size, they reveal much about China’s history and its artistic contributions to world culture.

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