The Metropolitan Museum of Art holds an early eighteenth-century Chinese export porcelain plate painted with a flower vase, a ji halberd, a stone chime, and flowers. The museum connects the design with the auspicious phrases ping'an jiqing and jiqing ruyi. The plate dates to 1700–1725 and bears the accession number 1995.268.77.
The wordplay begins with the Chinese names of the objects. Vase is 瓶 (píng), which sounds the same as 平 (píng), the character used in words for peace and safety. A stone chime is 磬 (qìng), a homophone of 庆 (qìng), “celebration.” Halberd is 戟 (jǐ), which is close in sound to 吉 (jí), “auspicious.” Because the last pair has different tones in modern Mandarin, it is better described as a near-homophone.
The three objects bring the sounds ping, ji, and qing into the picture. Viewers who knew the objects and the familiar saying could recognize a good wish in what otherwise looks like a still life.
What changes when the vase is paired with other motifs
The vase appears in several established designs. In the Palace Museum's glossary of auspicious motifs, peonies and a vase form 富贵平安 (fùguì píng'ān), a wish for prosperity, honor, and peace. The peony supplies the association with prosperity and honor; the vase contributes the sound ping.
When the vase holds flowers representing the four seasons, the design is known as 四季平安 (sìjì píng'ān), “peace throughout the four seasons.” The 瓶/平 (píng/píng) wordplay remains the same, but the flowers change the full message.
In English-language art history, this kind of picture-wordplay is often called a rebus: an image represents a word, a character, or a sound. That term explains the mechanism. It does not, by itself, establish the historical name of every design. For that, the particular combination and its documented use still matter.
How historians identify an established design
Qing imperial workshop records preserve the names and production instructions of many auspicious designs. Some combinations had become familiar enough that writing down an auspicious phrase could direct an artisan toward a recognized visual pattern. These records help separate historically documented designs from clever interpretations based only on modern pronunciation.
The Palace Museum notes that auspicious designs built from symbolism and homophones became especially widespread during the Ming and Qing periods. This marks a period of popularity, not a definite beginning. Research on Song-dynasty painting has found earlier examples of images used for sound-based wordplay.
Pinyin helps present-day readers see the sound relationships. When interpreting a historical object, however, its date, inscriptions, archival records, and comparable objects offer stronger evidence. Without that context, a plausible pun may still be a later reading.