in the decorative arts, rigid or folding hand-held device used throughout the world since ancient times; it has been used for cooling, air circulation, or ceremony and as a sartorial accessory.
The rigid fan has a handle or stick with a rigid leaf, or mount. The folding fan is composed of sticks (the outer two called guards) held together at the handle end by a rivet or pin. On the sticks is mounted a leaf that is pleated so that the fan may be opened or closed. A variant of the folding fan is the brisé (French, “broken”) fan, in which the sticks are wider and bladelike and connected at the top by a ribbon or thread, so that they will overlap when the fan is opened to form the equivalent of a leaf.
Pictorial evidence suggests that the early fans were all of rigid type and, though shapes varied considerably, were derived from the leaf form. Feather fans in which feathers were fixed radially at one end of the handle are illustrated in Pharaonic Egyptian reliefs. Rigid fans also played an important part in Assyrian, Indian, and ancient Chinese ceremonies. The flabellum, a metal disk mounted on a long handle, was used in medieval church ceremony; it was held by the deacon and used pro muscis fugandis, “to drive away flies.”
Another variant of the rigid fan is the banner fan, which resembles a small flag in that the leaf, often of rectangular shape, is attached to one side of the handle. Known in India and elsewhere, this form was also in favour in Italy during the Renaissance and may well have been introduced to Europe from the Orient.
The fan has played an important part in Chinese and Japanese life. Fans were carried by men as well as women, and there were many classes of fans, each reserved for some special purpose. Thus, in Japan the fans of courtiers differed from those of the warrior caste, while the fans prescribed for the formal tea ceremony were unlike those used on the stage. With so much significance attached to the fan in the Far East, a great deal of attention was paid to its decoration, and the exquisite taste displayed in the embellishment of high-quality Chinese and Japanese fans has never really been equalled. In Europe the painting of fan leaves was, until the 19th century, the work of artisans—clever decorators at best. In China, on the other hand, many of the great painters devoted their talents to the decoration of fans, and the resulting works of art were not always mounted for actual use.
The rigid fan was apparently the more common type in China up to the end of the Sung dynasty, but during the Ming dynasty (1368–1644) the folding fan seems to have come into fashion. The folding fan was invented in the Far East (by the Japanese in the 7th century &AD;, it is sometimes claimed), and it is possible that a few examples of such Eastern folding fans reached Europe during the Middle Ages. The Portuguese traders who opened up the sea route to China in the 15th century, however, were probably the first to bring Oriental fans to Europe in any quantity, and thereafter the importation of these curios increased. By the end of the 17th century enormous consignments of Chinese and, to a lesser extent, Japanese fans were reaching Europe. These were mostly of rather poor quality by Oriental standards, for they were made for the less discriminating European market; but the intricacy and skill with which even they were fashioned caught the imagination of Europeans, who bought them eagerly.
In the West the amount and style of decoration varied with European fashion and ranged from small-scale reproductions of 17th-century wall paintings to simple pleated fans with guards of mother-of-pearl. The fans ranged in size from a radius of about 8 inches during the first three decades of the 19th century to more than 20 inches in the Victorian period. After about 1900 use of the fan began to die out.
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