Snuff Bottles

Inside-painted snuff bottle with landscape, 1903, Ma Shaoxuan,Chinese, 1869–1939, Glass and paint, green glass stopper, 96.39.28

Inside-painted snuff bottle with blossoming lotus, 1914,Ma Shaoxian, Chinese, active ca. 1899–1939, Rock crystal and paint, jade stopper, 96.39.38

Inside-painted snuff bottle with cricket, dragonflies, and butterfly, 1887, Zhou Leyuan, Chinese, 19th century, Rock crystal and paint, coral-colored glass stopper, 96.39.33

Inside-painted snuff bottle with donkey rider in wintry landscape, 1895, Ding Erzhong, Chinese, active ca. 1895–1905, Rock crystal and paint, pink glass stopper with walrus ivory collar, 96.39.36

Snuff bottle, ca. 1895, Yan Yutian, Chinese, active ca. 1890–1907, Rock crystal and paint, coral-colored glass stopper with white glass bead finial, 96.39.34

SNUFF CULTURE IN CHINA

Coming in the 17th century to China from Europe, snuff-taking was an expensive and exotic habit that signified the user’s wealth, fashion sense, and status aspirations. It was essential to have a number of flavors for different aromas and different social occasions, such as sharing snuff after a meal, in a garden, or on the street. By the 18th century, snuff bottles were highly desirable gifts among those at the imperial court. By the 19th century, the habit became democratized and common in lower classes. With mass interest came mass production of snuff bottles. After snuff-taking declined at the end of the imperial age, the private delight of collecting snuff bottles overtook their functional use.

Snuff bottles come in many different mediums, such as porcelain, carved hardstone, or painted glass. Not all were functional; some were decorative collectibles. They were admired for many reasons besides as a container for snuff: their charming, toy-like size; the smooth, cool surface; and the natural patterns of agate or quartz, which the carver would sometimes artistically enhance as motifs.

In the 19th century, artists started to add miniature paintings on the inside of glass bottles, passing down skills in workshops or from father to sons (and nephews). Here we have the examples of Zhou Leyuan and two followers, Yan Yutian and Ma Shaoxuan; Ma Shaoxuan’s nephew and pupil, Ma Shaoxian; and the Ye Family Studio founded by Ye Zhongshan. It was a family affair to cultivate a “brand.”