CHAPTER VTHE CHIEF OF THE FABULOUS ANIMALS AND TWO GODDESSES
We have dealt shortly with the religions of China, and it is necessary to note in this connection how the emblems of the various religions became embodied as part of the decoration of porcelain; in fact, figures of the gods and goddesses were made associated with the symbols which seemed to indicate their work, and these comprised the dragon, the kylin, the lion, and the Fung-Hwang, Fwang-Hwang, Fong-Hoang or Ho-Ho Bird. N.B.—Variously spelt.
The dragon is a familiar object on Chinese porcelain, and being the Imperial arms it typifies all that is powerful and indeed terrible. Especially sacred is the dragon of heaven—lung; butli, the dragon of the sea, andkiau, the dragon of mountains and marshes, are also worshipped and feared. The dragons are either scaly, winged, horned, hornless, or rolled up before rising to the sky in spring, or plunging into the water in autumn. The Imperial dragon is armed with five claws on each of itsfour members, and is used as an emblem by the Emperor's family, and by princes of the highest two ranks. The four-clawed dragon is used by princes of the third or fourth class. Mandarins and princes of the fifth rank have, as an emblem, the four-clawed serpent. The three-clawed dragon—the Imperial dragon of Japan—is, in China, the one commonly used for decoration. The sacred pearl, adorned with the Yang and the Yin, representing the male and female elements in nature, always appears to be attracting the dragon.
THE DRAGON.
THE DRAGON.
The kylin, or k'i-lin, was an animal symbolising longevity and good government. It is often foundupon porcelain as a part of the decoration. Its form is more like a deer than anything else, though it has the hoofs of a horse and the tail of an ox. Its head is like that of the dragon, and the body may or may not be covered with scales. In its mouth a bundle of scrolls or some symbol may often be found. Other monsters, notably the Corean lion, also called the Dog of Buddha or the Dog of Fô, are called kylins, but the true kylin is as described above. Though hideous in aspect, it shows the kindest disposition, and is so gentle that it would not step upon a worm.
THE TRUE KYLIN.
THE TRUE KYLIN.
This animal, often miscalled kylin, is the habitual defender of Buddhist altars and temples, hence its name, the Dog of Buddha or the Dog of Fô. Its appearance is almost always menacing with its sharp, powerful teeth and claws. In reality it is a sort of lion transformed. It has a bushy, often abristling, mane and a tufted tail. It is found painted on vases, or modelled in relief on the top of the covers for vases. When found as a figure the lion is usually playing with a ball, the lioness with a cub. He is one of four animals representing power and energy. The others are the elephant, leopard, and tiger.
COREAN LION OR DOG OF FÔ.
COREAN LION OR DOG OF FÔ.
This bird, pre-eminent for elegance and benevolence, seems to have been a kind of pheasant, or some say a bird of paradise. It would neither injure living insects nor growing herbs, but lived in the highest regions of the air, and only descended to earth as theharbinger of good tidings—happy events to individuals, prosperous reigns to emperors. On Chinese porcelain either one or two birds are used with a decoration of rocks, trees, and flowers, and in such decorations it is known as theFong-Hoang, orHo-Hobird. It is frequently represented carrying a scroll. In the illustration this scroll has fillets around it.
THE PHŒNIX.
THE PHŒNIX.
Amongst the goddesses were two who were especially esteemed. Si-Wang-Mu, the goddess of theKuen-lung mountains, was a being of the female sex, the head of troups of genii who held from time to time intercourse with favourite disciples amongst the emperors. She is usually represented as riding upon the Ho-Ho amongst the clouds with her attendants, or she rests by the borders of the Lake of Gems, where grows the peach-tree of the genii, whose fruit confers the gift of immortality which Si-Wang-Mu bestows upon those favourite beings who for self-abnegation and devotion to the needs of others have deserved to be admitted into her presence. From this Lake of Gems, too, she sent out winged birds with azure blue feathers who served as her attendants and messengers.
Perhaps even more popular than Si-Wang-Mu was Kwan-Yin, to whom full reference will be made later. Both Si-Wang-Mu and Kwan-Yin are found as decorations upon Oriental porcelain and also as figures, some of the finest of which, shown in our illustrations, date from the Ming period. The eight Immortals will also be spoken of later. These are found in sets of figures or in a group of eight or nine. In the group of nine, Lao-tseu, the founder of Taoism, is the ninth figure.
KWAN-YIN. MING.This example is very rare, inasmuch as the two attendants form a part of the actual figure, and this, if not unique, is exceptionally rare. The robe in this instance is decorated with the 100 Shows or Cheous (emblems of longevity) in black on an apple-green ground; the cape has a small floral design in black on aubergine with green border; the head-dress is of brilliant green with lotus flowers in aubergine, yellow, blue, and black; the head, neck, and hands in biscuit. The small figure on the knee is in a yellow robe, relieved with a small design in black; the attendant on the right of the figure has an aubergine robe with a collar in blue; the head-dress and peach which she carries in her hand are in black; the attendant on the left has garments with a small black design on a green ground; the upper portion of the body is in biscuit, except the hair, which is fashioned in a knob at the back and is enamelled black. The pedestal has in the centre panel a reserve containing a sacred carp arising from the waves; this is enamelled in black, yellow, aubergine, and green, on a white ground, and is surrounded with a margin of blue. The front side panels have Joo-e-heads, from which ribbons are depending, in green, black, and yellow, on white ground. The two back panels have chrysanthemums and leaves in aubergine, green, and black, on a white ground.
KWAN-YIN. MING.
This example is very rare, inasmuch as the two attendants form a part of the actual figure, and this, if not unique, is exceptionally rare. The robe in this instance is decorated with the 100 Shows or Cheous (emblems of longevity) in black on an apple-green ground; the cape has a small floral design in black on aubergine with green border; the head-dress is of brilliant green with lotus flowers in aubergine, yellow, blue, and black; the head, neck, and hands in biscuit. The small figure on the knee is in a yellow robe, relieved with a small design in black; the attendant on the right of the figure has an aubergine robe with a collar in blue; the head-dress and peach which she carries in her hand are in black; the attendant on the left has garments with a small black design on a green ground; the upper portion of the body is in biscuit, except the hair, which is fashioned in a knob at the back and is enamelled black. The pedestal has in the centre panel a reserve containing a sacred carp arising from the waves; this is enamelled in black, yellow, aubergine, and green, on a white ground, and is surrounded with a margin of blue. The front side panels have Joo-e-heads, from which ribbons are depending, in green, black, and yellow, on white ground. The two back panels have chrysanthemums and leaves in aubergine, green, and black, on a white ground.
This example is very rare, inasmuch as the two attendants form a part of the actual figure, and this, if not unique, is exceptionally rare. The robe in this instance is decorated with the 100 Shows or Cheous (emblems of longevity) in black on an apple-green ground; the cape has a small floral design in black on aubergine with green border; the head-dress is of brilliant green with lotus flowers in aubergine, yellow, blue, and black; the head, neck, and hands in biscuit. The small figure on the knee is in a yellow robe, relieved with a small design in black; the attendant on the right of the figure has an aubergine robe with a collar in blue; the head-dress and peach which she carries in her hand are in black; the attendant on the left has garments with a small black design on a green ground; the upper portion of the body is in biscuit, except the hair, which is fashioned in a knob at the back and is enamelled black. The pedestal has in the centre panel a reserve containing a sacred carp arising from the waves; this is enamelled in black, yellow, aubergine, and green, on a white ground, and is surrounded with a margin of blue. The front side panels have Joo-e-heads, from which ribbons are depending, in green, black, and yellow, on white ground. The two back panels have chrysanthemums and leaves in aubergine, green, and black, on a white ground.
ANOTHER KWAN-YIN. MING.So many references are made to the goddess Kwan-Yin, and she is represented in such a number of statuettes, that no collection of Chinese porcelain would be complete without her. Sometimes she is seated, at others she is standing. Often she is found in white of various tints, but the finest specimens are painted with coloured enamels. Here we have a most beautiful and valuable example in enamel colours of a seated figure of Kwan-Yin. The robe is of pale green relieved with a formal floral design in aubergine, yellow, and black. The neck is adorned with a necklet of beads in yellow enamel. The head-dress is of rich apple-green decorated with a swastika in yellow and with Cheou characters in black. There are also medallions, each containing a hawthorn leaf in green on an aubergine and black ground. The hair is of black enamel; face, neck, hands, and sceptre in biscuit. The figure is supported on an oblong pedestal, which is surmounted by an upturned lotus flower; the leaves of this are in pale green and aubergine. The front is represented as a sunk panel, on which is a very early diaper design in yellow, green, aubergine, and black. The four corners are incised. The sides of the pedestal are decorated with branches of hawthorn blossoms in green, black, and aubergine, on a white ground, whilst on the back is a river scene with junk, rock, trees, &c., in yellow, green, and black, unglazed on a white ground. Ming period.
ANOTHER KWAN-YIN. MING.
So many references are made to the goddess Kwan-Yin, and she is represented in such a number of statuettes, that no collection of Chinese porcelain would be complete without her. Sometimes she is seated, at others she is standing. Often she is found in white of various tints, but the finest specimens are painted with coloured enamels. Here we have a most beautiful and valuable example in enamel colours of a seated figure of Kwan-Yin. The robe is of pale green relieved with a formal floral design in aubergine, yellow, and black. The neck is adorned with a necklet of beads in yellow enamel. The head-dress is of rich apple-green decorated with a swastika in yellow and with Cheou characters in black. There are also medallions, each containing a hawthorn leaf in green on an aubergine and black ground. The hair is of black enamel; face, neck, hands, and sceptre in biscuit. The figure is supported on an oblong pedestal, which is surmounted by an upturned lotus flower; the leaves of this are in pale green and aubergine. The front is represented as a sunk panel, on which is a very early diaper design in yellow, green, aubergine, and black. The four corners are incised. The sides of the pedestal are decorated with branches of hawthorn blossoms in green, black, and aubergine, on a white ground, whilst on the back is a river scene with junk, rock, trees, &c., in yellow, green, and black, unglazed on a white ground. Ming period.
So many references are made to the goddess Kwan-Yin, and she is represented in such a number of statuettes, that no collection of Chinese porcelain would be complete without her. Sometimes she is seated, at others she is standing. Often she is found in white of various tints, but the finest specimens are painted with coloured enamels. Here we have a most beautiful and valuable example in enamel colours of a seated figure of Kwan-Yin. The robe is of pale green relieved with a formal floral design in aubergine, yellow, and black. The neck is adorned with a necklet of beads in yellow enamel. The head-dress is of rich apple-green decorated with a swastika in yellow and with Cheou characters in black. There are also medallions, each containing a hawthorn leaf in green on an aubergine and black ground. The hair is of black enamel; face, neck, hands, and sceptre in biscuit. The figure is supported on an oblong pedestal, which is surmounted by an upturned lotus flower; the leaves of this are in pale green and aubergine. The front is represented as a sunk panel, on which is a very early diaper design in yellow, green, aubergine, and black. The four corners are incised. The sides of the pedestal are decorated with branches of hawthorn blossoms in green, black, and aubergine, on a white ground, whilst on the back is a river scene with junk, rock, trees, &c., in yellow, green, and black, unglazed on a white ground. Ming period.
KWAN-YIN.The third illustration of this goddess—the queen of heaven—shows her again in connection with the lotus, the emblem of purity, also the symbol of creative power. The fish, too, is often associated with her and with the gods. There was a noted carp which lived at the bottom of Buddha's lotus pond, but generally the carp is an emblem of longevity, and figures of fish are amongst the charms which frighten away bad demons. The flowers which rise from behind the nimbus or halo round the head of the goddess is the magnolia, the emblem of sweetness and beauty, which, like the prunus, shows its full blossom before the leaves appear. The illustration is the model of a shrine, the back representing a rock in rich aubergine; this is relieved with bamboo plants in green. In the centre, on an upturned lotus flower, is a seated figure of Kwan-Yin in robes of green and yellow; the other portions of her body in biscuit, as are also the leaves of the lotus flower; under these is a giant leaf supporting the whole; on either side of the Kwan-Yin are two male attendants, the one standing on a lotus flower, the other on a leaf; these figures are in biscuit relieved with green enamel. Under the figure of the goddess is a carp in yellow enamel rising from the waves, which are in green, and immediately in front is a sacred vessel in green enamel on an aubergine base.
KWAN-YIN.
The third illustration of this goddess—the queen of heaven—shows her again in connection with the lotus, the emblem of purity, also the symbol of creative power. The fish, too, is often associated with her and with the gods. There was a noted carp which lived at the bottom of Buddha's lotus pond, but generally the carp is an emblem of longevity, and figures of fish are amongst the charms which frighten away bad demons. The flowers which rise from behind the nimbus or halo round the head of the goddess is the magnolia, the emblem of sweetness and beauty, which, like the prunus, shows its full blossom before the leaves appear. The illustration is the model of a shrine, the back representing a rock in rich aubergine; this is relieved with bamboo plants in green. In the centre, on an upturned lotus flower, is a seated figure of Kwan-Yin in robes of green and yellow; the other portions of her body in biscuit, as are also the leaves of the lotus flower; under these is a giant leaf supporting the whole; on either side of the Kwan-Yin are two male attendants, the one standing on a lotus flower, the other on a leaf; these figures are in biscuit relieved with green enamel. Under the figure of the goddess is a carp in yellow enamel rising from the waves, which are in green, and immediately in front is a sacred vessel in green enamel on an aubergine base.
The third illustration of this goddess—the queen of heaven—shows her again in connection with the lotus, the emblem of purity, also the symbol of creative power. The fish, too, is often associated with her and with the gods. There was a noted carp which lived at the bottom of Buddha's lotus pond, but generally the carp is an emblem of longevity, and figures of fish are amongst the charms which frighten away bad demons. The flowers which rise from behind the nimbus or halo round the head of the goddess is the magnolia, the emblem of sweetness and beauty, which, like the prunus, shows its full blossom before the leaves appear. The illustration is the model of a shrine, the back representing a rock in rich aubergine; this is relieved with bamboo plants in green. In the centre, on an upturned lotus flower, is a seated figure of Kwan-Yin in robes of green and yellow; the other portions of her body in biscuit, as are also the leaves of the lotus flower; under these is a giant leaf supporting the whole; on either side of the Kwan-Yin are two male attendants, the one standing on a lotus flower, the other on a leaf; these figures are in biscuit relieved with green enamel. Under the figure of the goddess is a carp in yellow enamel rising from the waves, which are in green, and immediately in front is a sacred vessel in green enamel on an aubergine base.
SI-WANG-MU.This fabulous being of the female sex, dwelling at the head of the genii, is often represented in the decoration of Chinese porcelain, attended by two or four young girls, either floating in the clouds or riding on afong-hoang, or phœnix. The illustration gives an important figure of Si-Wang-Mu. The flowing robes are decorated with the 100 Cheous in black, and panels of flowers inrouge de fer, yellow, and bright green. The whole of the background is of brilliant green enamel, the reserves having a pencilled design in black on a pale blue ground. The vest has white hawthorn blossoms on black and green. The under-garment, which reaches to the feet, has a formal floral design in green androuge de feron a brilliant yellow ground. The lining of the sleeves is also in brilliant yellow. Around the shoulders, and reaching to the ground on either side, are lotus stems in rich aubergine. The hair is enamelled black, with yellow and aubergine ornaments. The face, hands, and feet are in a rich white glaze. The base fashioned to represent waves in black and white on pale green; on one side of this is a lotus bud, and on the other a large leaf. In the centre of the back of the figure is one of the Buddhistic emblems in green and black on a white ground. The figure is covered throughout with large Crackle.
SI-WANG-MU.
This fabulous being of the female sex, dwelling at the head of the genii, is often represented in the decoration of Chinese porcelain, attended by two or four young girls, either floating in the clouds or riding on afong-hoang, or phœnix. The illustration gives an important figure of Si-Wang-Mu. The flowing robes are decorated with the 100 Cheous in black, and panels of flowers inrouge de fer, yellow, and bright green. The whole of the background is of brilliant green enamel, the reserves having a pencilled design in black on a pale blue ground. The vest has white hawthorn blossoms on black and green. The under-garment, which reaches to the feet, has a formal floral design in green androuge de feron a brilliant yellow ground. The lining of the sleeves is also in brilliant yellow. Around the shoulders, and reaching to the ground on either side, are lotus stems in rich aubergine. The hair is enamelled black, with yellow and aubergine ornaments. The face, hands, and feet are in a rich white glaze. The base fashioned to represent waves in black and white on pale green; on one side of this is a lotus bud, and on the other a large leaf. In the centre of the back of the figure is one of the Buddhistic emblems in green and black on a white ground. The figure is covered throughout with large Crackle.
This fabulous being of the female sex, dwelling at the head of the genii, is often represented in the decoration of Chinese porcelain, attended by two or four young girls, either floating in the clouds or riding on afong-hoang, or phœnix. The illustration gives an important figure of Si-Wang-Mu. The flowing robes are decorated with the 100 Cheous in black, and panels of flowers inrouge de fer, yellow, and bright green. The whole of the background is of brilliant green enamel, the reserves having a pencilled design in black on a pale blue ground. The vest has white hawthorn blossoms on black and green. The under-garment, which reaches to the feet, has a formal floral design in green androuge de feron a brilliant yellow ground. The lining of the sleeves is also in brilliant yellow. Around the shoulders, and reaching to the ground on either side, are lotus stems in rich aubergine. The hair is enamelled black, with yellow and aubergine ornaments. The face, hands, and feet are in a rich white glaze. The base fashioned to represent waves in black and white on pale green; on one side of this is a lotus bud, and on the other a large leaf. In the centre of the back of the figure is one of the Buddhistic emblems in green and black on a white ground. The figure is covered throughout with large Crackle.
BUDDHIST DIVINITY.Od-dpag-med, Amitâbha or Amida. Amida in the attitude of bearing witness and holding the pâtra or bowl to receive alms.The position of the hands designates the functions which are being carried on by Buddha or by his followers at any given time. These gestures are each illustrative of some idea, and are classified under the name "mudrâs." For instance, the hands placed over one another or reposing wrapped up in the lap indicate meditation; the right hand raised, left hand extended downwards, both with palms outwards, imply teaching and charity; the same with the index fingers only extended is a sign of the possession of the world; right hand extended and palm outward signifies charity; fingers clasped with tips together is the world-wide expression of adoration or of prayer for mercy; right palm on the leg of sitting Buddha with left palm held upwards and outwards is the position for bearing witness; the right hand raised palm outwards with fingers extended is the attitude of blessing; the right hand clasping the index of the left is the habitual attitude of the Buddha supreme and eternal; the head resting on the right palm turned upward signifies meditation on the means of saving mankind. Other magical or mystical positions are: Palms upwards, tips of the thumbs and fingers of each hand touching each other, indicating teaching and direction; right hand extended downwards palm outwards, left hand closed, signifying perfection of conduct; right hand elevated and left closed, as in the last attitude, showing love to others in active charity. The study of the "mudrâs" is quite interesting though unfamiliar.
BUDDHIST DIVINITY.
Od-dpag-med, Amitâbha or Amida. Amida in the attitude of bearing witness and holding the pâtra or bowl to receive alms.
The position of the hands designates the functions which are being carried on by Buddha or by his followers at any given time. These gestures are each illustrative of some idea, and are classified under the name "mudrâs." For instance, the hands placed over one another or reposing wrapped up in the lap indicate meditation; the right hand raised, left hand extended downwards, both with palms outwards, imply teaching and charity; the same with the index fingers only extended is a sign of the possession of the world; right hand extended and palm outward signifies charity; fingers clasped with tips together is the world-wide expression of adoration or of prayer for mercy; right palm on the leg of sitting Buddha with left palm held upwards and outwards is the position for bearing witness; the right hand raised palm outwards with fingers extended is the attitude of blessing; the right hand clasping the index of the left is the habitual attitude of the Buddha supreme and eternal; the head resting on the right palm turned upward signifies meditation on the means of saving mankind. Other magical or mystical positions are: Palms upwards, tips of the thumbs and fingers of each hand touching each other, indicating teaching and direction; right hand extended downwards palm outwards, left hand closed, signifying perfection of conduct; right hand elevated and left closed, as in the last attitude, showing love to others in active charity. The study of the "mudrâs" is quite interesting though unfamiliar.
The position of the hands designates the functions which are being carried on by Buddha or by his followers at any given time. These gestures are each illustrative of some idea, and are classified under the name "mudrâs." For instance, the hands placed over one another or reposing wrapped up in the lap indicate meditation; the right hand raised, left hand extended downwards, both with palms outwards, imply teaching and charity; the same with the index fingers only extended is a sign of the possession of the world; right hand extended and palm outward signifies charity; fingers clasped with tips together is the world-wide expression of adoration or of prayer for mercy; right palm on the leg of sitting Buddha with left palm held upwards and outwards is the position for bearing witness; the right hand raised palm outwards with fingers extended is the attitude of blessing; the right hand clasping the index of the left is the habitual attitude of the Buddha supreme and eternal; the head resting on the right palm turned upward signifies meditation on the means of saving mankind. Other magical or mystical positions are: Palms upwards, tips of the thumbs and fingers of each hand touching each other, indicating teaching and direction; right hand extended downwards palm outwards, left hand closed, signifying perfection of conduct; right hand elevated and left closed, as in the last attitude, showing love to others in active charity. The study of the "mudrâs" is quite interesting though unfamiliar.
THE GOD OF THE LEARNED.Amongst the figures of the gods, in a country where literature is the sole passport to success, where examinations on the knowledge of that literature lasted for days, and where the results of the examinations meant so much, it would be quite natural that a high place should be given to the god of literature. Here we have a magnificent specimen, possibly worth about £4,000. It is a figure, of extraordinary size, of Wan Chong (God of Literature). The robe, of exceptionally brilliant green enamel, is decorated with clouds in aubergine, white, yellow, and black; the centre having a large panel containing a flying stork and clouds inrouge de fer, yellow, green, and aubergine, on a white ground, the whole of this surrounded by a narrow margin of aubergine and black. Above this panel, and going round the waist, is a girdle in high relief; this is decorated with small hawthorn blossoms ofrouge de fer, raised from a ground of rich aubergine; the borders of the garment contain hawthorn blossoms in aubergine, yellow, blue, and black, on a deep green ground. The exposed hand, which is movable, is of white biscuit, whilst the face is glazed in white, and the headdress and feet are of brilliant black enamel. Attention may be called to the sublime expression and modelling of the features in this figure, which can without doubt rank as one of the finest and most important pieces of the period.
THE GOD OF THE LEARNED.
Amongst the figures of the gods, in a country where literature is the sole passport to success, where examinations on the knowledge of that literature lasted for days, and where the results of the examinations meant so much, it would be quite natural that a high place should be given to the god of literature. Here we have a magnificent specimen, possibly worth about £4,000. It is a figure, of extraordinary size, of Wan Chong (God of Literature). The robe, of exceptionally brilliant green enamel, is decorated with clouds in aubergine, white, yellow, and black; the centre having a large panel containing a flying stork and clouds inrouge de fer, yellow, green, and aubergine, on a white ground, the whole of this surrounded by a narrow margin of aubergine and black. Above this panel, and going round the waist, is a girdle in high relief; this is decorated with small hawthorn blossoms ofrouge de fer, raised from a ground of rich aubergine; the borders of the garment contain hawthorn blossoms in aubergine, yellow, blue, and black, on a deep green ground. The exposed hand, which is movable, is of white biscuit, whilst the face is glazed in white, and the headdress and feet are of brilliant black enamel. Attention may be called to the sublime expression and modelling of the features in this figure, which can without doubt rank as one of the finest and most important pieces of the period.
Amongst the figures of the gods, in a country where literature is the sole passport to success, where examinations on the knowledge of that literature lasted for days, and where the results of the examinations meant so much, it would be quite natural that a high place should be given to the god of literature. Here we have a magnificent specimen, possibly worth about £4,000. It is a figure, of extraordinary size, of Wan Chong (God of Literature). The robe, of exceptionally brilliant green enamel, is decorated with clouds in aubergine, white, yellow, and black; the centre having a large panel containing a flying stork and clouds inrouge de fer, yellow, green, and aubergine, on a white ground, the whole of this surrounded by a narrow margin of aubergine and black. Above this panel, and going round the waist, is a girdle in high relief; this is decorated with small hawthorn blossoms ofrouge de fer, raised from a ground of rich aubergine; the borders of the garment contain hawthorn blossoms in aubergine, yellow, blue, and black, on a deep green ground. The exposed hand, which is movable, is of white biscuit, whilst the face is glazed in white, and the headdress and feet are of brilliant black enamel. Attention may be called to the sublime expression and modelling of the features in this figure, which can without doubt rank as one of the finest and most important pieces of the period.
THE TAOIST DIVINITIES.The first of these divinities is Laò-tseù, the founder of Taoism. He is usually represented holding a book whilst seated on a buffalo. He lived to a great age in a hermitage situated on a mountain side, when one day a buffalo, ready harnessed, came where he was, and when he had mounted it he was carried away to the west. Chang-Ti, the god of heaven, is represented seated upon a horse and holding a tablet. Héou Tou, goddess of the earth, appears in the dress of an empress. The gods of the stars have various names, but they may be found as images, and we give some of them. Sou Sing, god of the Pole Star and of the North, is usually seated on a stool; before him lies a tortoise enveloped in the coils of a serpent. Koéï Sing, the god of the Great Bear, carries the writing pencil, or brush, and an ingot of silver, symbol of the fortune which is secured by knowledge. He also carries a bushel measure. Nan Kiun Lao, or Chô, is the incarnation of Laò-tseù and the god of the Southern Cross. He holds a sceptre and rides upon a mule.Amongst the very old statuettes may be found some that are very ancient, dating from the Sung dynasty (960-1279). These are of violet and blue Celadon. Fou Hi, the first Emperor of China, is a specimen of these figures in the Musée Guimet at Paris. To him is ascribed the invention of agriculture and writing. Chen Noung, the inventor of medicine; Fô, Lô, and Chô, the three gods of happiness, and many others.The illustration is an exceptionally fine and rare figure of Kouan-ti, the god of war, seated on a horse. The armour is in green with yellow edgings, belt, &c.; the under-garments in aubergine, and black boots. The head-dress is green. The horse aubergine and black. All the trappings, including saddle and saddle-cloth, in green and aubergine. Period, Ming.
THE TAOIST DIVINITIES.
The first of these divinities is Laò-tseù, the founder of Taoism. He is usually represented holding a book whilst seated on a buffalo. He lived to a great age in a hermitage situated on a mountain side, when one day a buffalo, ready harnessed, came where he was, and when he had mounted it he was carried away to the west. Chang-Ti, the god of heaven, is represented seated upon a horse and holding a tablet. Héou Tou, goddess of the earth, appears in the dress of an empress. The gods of the stars have various names, but they may be found as images, and we give some of them. Sou Sing, god of the Pole Star and of the North, is usually seated on a stool; before him lies a tortoise enveloped in the coils of a serpent. Koéï Sing, the god of the Great Bear, carries the writing pencil, or brush, and an ingot of silver, symbol of the fortune which is secured by knowledge. He also carries a bushel measure. Nan Kiun Lao, or Chô, is the incarnation of Laò-tseù and the god of the Southern Cross. He holds a sceptre and rides upon a mule.Amongst the very old statuettes may be found some that are very ancient, dating from the Sung dynasty (960-1279). These are of violet and blue Celadon. Fou Hi, the first Emperor of China, is a specimen of these figures in the Musée Guimet at Paris. To him is ascribed the invention of agriculture and writing. Chen Noung, the inventor of medicine; Fô, Lô, and Chô, the three gods of happiness, and many others.The illustration is an exceptionally fine and rare figure of Kouan-ti, the god of war, seated on a horse. The armour is in green with yellow edgings, belt, &c.; the under-garments in aubergine, and black boots. The head-dress is green. The horse aubergine and black. All the trappings, including saddle and saddle-cloth, in green and aubergine. Period, Ming.
The first of these divinities is Laò-tseù, the founder of Taoism. He is usually represented holding a book whilst seated on a buffalo. He lived to a great age in a hermitage situated on a mountain side, when one day a buffalo, ready harnessed, came where he was, and when he had mounted it he was carried away to the west. Chang-Ti, the god of heaven, is represented seated upon a horse and holding a tablet. Héou Tou, goddess of the earth, appears in the dress of an empress. The gods of the stars have various names, but they may be found as images, and we give some of them. Sou Sing, god of the Pole Star and of the North, is usually seated on a stool; before him lies a tortoise enveloped in the coils of a serpent. Koéï Sing, the god of the Great Bear, carries the writing pencil, or brush, and an ingot of silver, symbol of the fortune which is secured by knowledge. He also carries a bushel measure. Nan Kiun Lao, or Chô, is the incarnation of Laò-tseù and the god of the Southern Cross. He holds a sceptre and rides upon a mule.
Amongst the very old statuettes may be found some that are very ancient, dating from the Sung dynasty (960-1279). These are of violet and blue Celadon. Fou Hi, the first Emperor of China, is a specimen of these figures in the Musée Guimet at Paris. To him is ascribed the invention of agriculture and writing. Chen Noung, the inventor of medicine; Fô, Lô, and Chô, the three gods of happiness, and many others.
The illustration is an exceptionally fine and rare figure of Kouan-ti, the god of war, seated on a horse. The armour is in green with yellow edgings, belt, &c.; the under-garments in aubergine, and black boots. The head-dress is green. The horse aubergine and black. All the trappings, including saddle and saddle-cloth, in green and aubergine. Period, Ming.
WEN-TCHANG. CHIEF OF THE FIVE GODS OF LETTERS.A figure of the god of Wisdom; the robe decorated with clouds in aubergine, green, and white, on a brilliant yellow ground; the cape on the shoulders has a gold tracery design on deeprouge de fer, whilst at the back the ornamentation is carried out in formal flowers in green and aubergine on a white ground; on either side of the robe are two sacred dragons, finely drawn and enamelled in green, aubergine, and blue; the under-garment, which reaches to the feet, is decorated with flying storks in black and white, and peaches inrouge de ferand green, on a plain apple-green ground, and the border has a light pencilled design on deep green. Above the folded arms is part of another garment, decorated in the centre with a cheou in gold on a pink ground; the remainder of this has small yellow flowers on stippled green; the left hand, which is hidden under the folds of the garment, contains a Joo-e in gold; the head is of white glazed porcelain, the crown in biscuit, whilst the hair, eyebrows, whiskers, beard, and moustache are in brilliant black enamel. The third eye, which is seen in the centre of the forehead, is supposed to represent the faculty possessed by this deity of seeing more than any other person or god, for with the aid of this third eye he was able to see not only what took place externally, but to read into the innermost depths of a man's soul, as well as the past, present, and future. The figure is supported on a rectangular stand, the front of which is decorated with a bold diaper design in aubergine, yellow, and black, on a pale green ground, whilst in the corners are Joo-e heads in yellow, green, and aubergine. The panels at the sides have in each a large flower in yellow and aubergine, with green lotus leaves on a white ground; in the back panel of the upper portion of this pedestal is a large drawing of a running dragon, which has a yellow head, aubergine tail and mane, and a green and black body; the four remaining panels have flowers and leaves in green, aubergine, and yellow, on a biscuit ground. Ming period. Possibly another form of Wan Chong.
WEN-TCHANG. CHIEF OF THE FIVE GODS OF LETTERS.
A figure of the god of Wisdom; the robe decorated with clouds in aubergine, green, and white, on a brilliant yellow ground; the cape on the shoulders has a gold tracery design on deeprouge de fer, whilst at the back the ornamentation is carried out in formal flowers in green and aubergine on a white ground; on either side of the robe are two sacred dragons, finely drawn and enamelled in green, aubergine, and blue; the under-garment, which reaches to the feet, is decorated with flying storks in black and white, and peaches inrouge de ferand green, on a plain apple-green ground, and the border has a light pencilled design on deep green. Above the folded arms is part of another garment, decorated in the centre with a cheou in gold on a pink ground; the remainder of this has small yellow flowers on stippled green; the left hand, which is hidden under the folds of the garment, contains a Joo-e in gold; the head is of white glazed porcelain, the crown in biscuit, whilst the hair, eyebrows, whiskers, beard, and moustache are in brilliant black enamel. The third eye, which is seen in the centre of the forehead, is supposed to represent the faculty possessed by this deity of seeing more than any other person or god, for with the aid of this third eye he was able to see not only what took place externally, but to read into the innermost depths of a man's soul, as well as the past, present, and future. The figure is supported on a rectangular stand, the front of which is decorated with a bold diaper design in aubergine, yellow, and black, on a pale green ground, whilst in the corners are Joo-e heads in yellow, green, and aubergine. The panels at the sides have in each a large flower in yellow and aubergine, with green lotus leaves on a white ground; in the back panel of the upper portion of this pedestal is a large drawing of a running dragon, which has a yellow head, aubergine tail and mane, and a green and black body; the four remaining panels have flowers and leaves in green, aubergine, and yellow, on a biscuit ground. Ming period. Possibly another form of Wan Chong.
A figure of the god of Wisdom; the robe decorated with clouds in aubergine, green, and white, on a brilliant yellow ground; the cape on the shoulders has a gold tracery design on deeprouge de fer, whilst at the back the ornamentation is carried out in formal flowers in green and aubergine on a white ground; on either side of the robe are two sacred dragons, finely drawn and enamelled in green, aubergine, and blue; the under-garment, which reaches to the feet, is decorated with flying storks in black and white, and peaches inrouge de ferand green, on a plain apple-green ground, and the border has a light pencilled design on deep green. Above the folded arms is part of another garment, decorated in the centre with a cheou in gold on a pink ground; the remainder of this has small yellow flowers on stippled green; the left hand, which is hidden under the folds of the garment, contains a Joo-e in gold; the head is of white glazed porcelain, the crown in biscuit, whilst the hair, eyebrows, whiskers, beard, and moustache are in brilliant black enamel. The third eye, which is seen in the centre of the forehead, is supposed to represent the faculty possessed by this deity of seeing more than any other person or god, for with the aid of this third eye he was able to see not only what took place externally, but to read into the innermost depths of a man's soul, as well as the past, present, and future. The figure is supported on a rectangular stand, the front of which is decorated with a bold diaper design in aubergine, yellow, and black, on a pale green ground, whilst in the corners are Joo-e heads in yellow, green, and aubergine. The panels at the sides have in each a large flower in yellow and aubergine, with green lotus leaves on a white ground; in the back panel of the upper portion of this pedestal is a large drawing of a running dragon, which has a yellow head, aubergine tail and mane, and a green and black body; the four remaining panels have flowers and leaves in green, aubergine, and yellow, on a biscuit ground. Ming period. Possibly another form of Wan Chong.
ANOTHER TAOIST GOD.A figure of Piu-hwo carrying his fly-whisk, with which he was supposed to have the power to revive the dead. He is represented in a flowing robe of a brilliant brownish-black enamel. The head, fly-whisk, hand, feet, and base in unglazed biscuit; the features and expression remarkably well portrayed.The Taoist divinities are the chief objects of attention amongst Chinese figure-makers, who in beautiful bronze and no less beautiful porcelain commemorated the traditions of past ages. Kwan-Yin, Amitâbha, or Amida, and some others are Buddhists both in China and Japan, but the great Taoist divinities, headed by Laô-Tseù, the founder of Taoism, seem to be specially honoured by the potters. The deities of heaven and earth, the sidereal gods of the constellations, the secondary divinities, such as Fô, Lô, and Chô, the three gods of happiness, and the gods of fortune and letters are all to be found in porcelain. The eight immortals belong to the inferior rank ofChensorEsprits. They are described in a special chapter elsewhere, still, we must remark that in blue and coloured decoration on vases, dishes, &c., they are constantly met with, so that it is well to be familiar with their appearance and with their symbols. Han Chung-le, the president of thepâchens, and Tsaou Kwo-kiu carry fly-whisks beside their proper symbols, and so do the others occasionally.There still remain the divinities of the earth, of whom Si-Wang-Mu was the chief. The gods of the seasons, the cities, the mountains, and the sea, all had their functions duly recognised. One word of advice is here necessary. The old Ming figures are valuable, and forgeries are numerous. So are the early Kang-he figures such as this.
ANOTHER TAOIST GOD.
A figure of Piu-hwo carrying his fly-whisk, with which he was supposed to have the power to revive the dead. He is represented in a flowing robe of a brilliant brownish-black enamel. The head, fly-whisk, hand, feet, and base in unglazed biscuit; the features and expression remarkably well portrayed.The Taoist divinities are the chief objects of attention amongst Chinese figure-makers, who in beautiful bronze and no less beautiful porcelain commemorated the traditions of past ages. Kwan-Yin, Amitâbha, or Amida, and some others are Buddhists both in China and Japan, but the great Taoist divinities, headed by Laô-Tseù, the founder of Taoism, seem to be specially honoured by the potters. The deities of heaven and earth, the sidereal gods of the constellations, the secondary divinities, such as Fô, Lô, and Chô, the three gods of happiness, and the gods of fortune and letters are all to be found in porcelain. The eight immortals belong to the inferior rank ofChensorEsprits. They are described in a special chapter elsewhere, still, we must remark that in blue and coloured decoration on vases, dishes, &c., they are constantly met with, so that it is well to be familiar with their appearance and with their symbols. Han Chung-le, the president of thepâchens, and Tsaou Kwo-kiu carry fly-whisks beside their proper symbols, and so do the others occasionally.There still remain the divinities of the earth, of whom Si-Wang-Mu was the chief. The gods of the seasons, the cities, the mountains, and the sea, all had their functions duly recognised. One word of advice is here necessary. The old Ming figures are valuable, and forgeries are numerous. So are the early Kang-he figures such as this.
A figure of Piu-hwo carrying his fly-whisk, with which he was supposed to have the power to revive the dead. He is represented in a flowing robe of a brilliant brownish-black enamel. The head, fly-whisk, hand, feet, and base in unglazed biscuit; the features and expression remarkably well portrayed.
The Taoist divinities are the chief objects of attention amongst Chinese figure-makers, who in beautiful bronze and no less beautiful porcelain commemorated the traditions of past ages. Kwan-Yin, Amitâbha, or Amida, and some others are Buddhists both in China and Japan, but the great Taoist divinities, headed by Laô-Tseù, the founder of Taoism, seem to be specially honoured by the potters. The deities of heaven and earth, the sidereal gods of the constellations, the secondary divinities, such as Fô, Lô, and Chô, the three gods of happiness, and the gods of fortune and letters are all to be found in porcelain. The eight immortals belong to the inferior rank ofChensorEsprits. They are described in a special chapter elsewhere, still, we must remark that in blue and coloured decoration on vases, dishes, &c., they are constantly met with, so that it is well to be familiar with their appearance and with their symbols. Han Chung-le, the president of thepâchens, and Tsaou Kwo-kiu carry fly-whisks beside their proper symbols, and so do the others occasionally.
There still remain the divinities of the earth, of whom Si-Wang-Mu was the chief. The gods of the seasons, the cities, the mountains, and the sea, all had their functions duly recognised. One word of advice is here necessary. The old Ming figures are valuable, and forgeries are numerous. So are the early Kang-he figures such as this.
THE IMMORTALS.These Pa Sien are eight in number. They attained immortality in various ways, but the eating of the peach, which is carried as an emblem by Han Chung-le, the god of longevity, and whose fruit confers the gift of immortality, seems to have been indispensable. The illustrations show three figures of two of these gods bearing their emblems.On the right is a figure of Han Seang-tsze. This personage was a nephew of the great philosopher, Han-Yu, who lived in the first century. The robe is of rich green enamel relieved with medallions, each of which contains a fabulous animal in aubergine, yellow, and white, on very pale green ground; the collar is of aubergine with black tracery design; the under-garment, the skirt of which reaches to the feet, is of yellow with a small design in black. In his right hand he carries his flute (Tieh); this, as well as the hand and head, in biscuit.Another figure of the same god in quite a different style of decoration. Note the flute emblem. It belongs to the same set as the next.In the centre is a figure of Chang Ko-laou, who is supposed to have lived in the seventh century. His robe is of aubergine, decorated with flowers and flying birds in pale blue, yellow, white, and black; the undergarment, which reaches to the feet, is stippled green ground, with a formal design in black. The head-dress is a brilliant black enamel, as are also the bamboo tubes and rod which he carries in his right hand; the latter and the face are in biscuit, and the beard is aubergine. All of these are Ming.
THE IMMORTALS.
These Pa Sien are eight in number. They attained immortality in various ways, but the eating of the peach, which is carried as an emblem by Han Chung-le, the god of longevity, and whose fruit confers the gift of immortality, seems to have been indispensable. The illustrations show three figures of two of these gods bearing their emblems.On the right is a figure of Han Seang-tsze. This personage was a nephew of the great philosopher, Han-Yu, who lived in the first century. The robe is of rich green enamel relieved with medallions, each of which contains a fabulous animal in aubergine, yellow, and white, on very pale green ground; the collar is of aubergine with black tracery design; the under-garment, the skirt of which reaches to the feet, is of yellow with a small design in black. In his right hand he carries his flute (Tieh); this, as well as the hand and head, in biscuit.Another figure of the same god in quite a different style of decoration. Note the flute emblem. It belongs to the same set as the next.In the centre is a figure of Chang Ko-laou, who is supposed to have lived in the seventh century. His robe is of aubergine, decorated with flowers and flying birds in pale blue, yellow, white, and black; the undergarment, which reaches to the feet, is stippled green ground, with a formal design in black. The head-dress is a brilliant black enamel, as are also the bamboo tubes and rod which he carries in his right hand; the latter and the face are in biscuit, and the beard is aubergine. All of these are Ming.
These Pa Sien are eight in number. They attained immortality in various ways, but the eating of the peach, which is carried as an emblem by Han Chung-le, the god of longevity, and whose fruit confers the gift of immortality, seems to have been indispensable. The illustrations show three figures of two of these gods bearing their emblems.
On the right is a figure of Han Seang-tsze. This personage was a nephew of the great philosopher, Han-Yu, who lived in the first century. The robe is of rich green enamel relieved with medallions, each of which contains a fabulous animal in aubergine, yellow, and white, on very pale green ground; the collar is of aubergine with black tracery design; the under-garment, the skirt of which reaches to the feet, is of yellow with a small design in black. In his right hand he carries his flute (Tieh); this, as well as the hand and head, in biscuit.
Another figure of the same god in quite a different style of decoration. Note the flute emblem. It belongs to the same set as the next.
In the centre is a figure of Chang Ko-laou, who is supposed to have lived in the seventh century. His robe is of aubergine, decorated with flowers and flying birds in pale blue, yellow, white, and black; the undergarment, which reaches to the feet, is stippled green ground, with a formal design in black. The head-dress is a brilliant black enamel, as are also the bamboo tubes and rod which he carries in his right hand; the latter and the face are in biscuit, and the beard is aubergine. All of these are Ming.
BUDDHIST DIVINITIES AND HAN CHUNG-LE.Images in porcelain of Buddhist divinities are exceedingly rare. Gautama Buddha may be found in pictures surrounded by sixteen Arhats and four guardians of the world. These Arhats are five hundred in number, and the sixteen occupy a rank superior to the others, under the name of Sthaviras, or "the seniors." Unfortunately, the details of their lives are little known. In Mr. Salting's Collection there are a number of Arhats, which should be seen.A pair of seated figures of Buddhistic deities. The robe of one has an aubergine skirt, and the other bright green; the body is ornamented with sacred jewels in biscuit, as are the head, hands, and feet; one has the Buddhistic crown and coronet in green and yellow, whilst the other has only a crown. Supported on pedestals fashioned as tree trunks, on which there is a vase in aubergine and a bird in green and white. In the centre of each panel of the base, which is of bright green enamel, are Kylin heads, yellow in one instance and aubergine in the other. These are early Ming.In the middle is a figure of Han Chung-le, the first and greatest of the Taoist immortals, who is supposed to have found the Elixir of Life, and lived to attain the great age of 127 years. The robe is of brilliant green enamel, decorated with flying storks and clouds in aubergine, green, yellow, white, and black; the head and hands are in biscuit, the flowing beard is in black, as is also the fan with which he revived the souls of the dead. Ming of a later type.
BUDDHIST DIVINITIES AND HAN CHUNG-LE.
Images in porcelain of Buddhist divinities are exceedingly rare. Gautama Buddha may be found in pictures surrounded by sixteen Arhats and four guardians of the world. These Arhats are five hundred in number, and the sixteen occupy a rank superior to the others, under the name of Sthaviras, or "the seniors." Unfortunately, the details of their lives are little known. In Mr. Salting's Collection there are a number of Arhats, which should be seen.A pair of seated figures of Buddhistic deities. The robe of one has an aubergine skirt, and the other bright green; the body is ornamented with sacred jewels in biscuit, as are the head, hands, and feet; one has the Buddhistic crown and coronet in green and yellow, whilst the other has only a crown. Supported on pedestals fashioned as tree trunks, on which there is a vase in aubergine and a bird in green and white. In the centre of each panel of the base, which is of bright green enamel, are Kylin heads, yellow in one instance and aubergine in the other. These are early Ming.In the middle is a figure of Han Chung-le, the first and greatest of the Taoist immortals, who is supposed to have found the Elixir of Life, and lived to attain the great age of 127 years. The robe is of brilliant green enamel, decorated with flying storks and clouds in aubergine, green, yellow, white, and black; the head and hands are in biscuit, the flowing beard is in black, as is also the fan with which he revived the souls of the dead. Ming of a later type.
Images in porcelain of Buddhist divinities are exceedingly rare. Gautama Buddha may be found in pictures surrounded by sixteen Arhats and four guardians of the world. These Arhats are five hundred in number, and the sixteen occupy a rank superior to the others, under the name of Sthaviras, or "the seniors." Unfortunately, the details of their lives are little known. In Mr. Salting's Collection there are a number of Arhats, which should be seen.
A pair of seated figures of Buddhistic deities. The robe of one has an aubergine skirt, and the other bright green; the body is ornamented with sacred jewels in biscuit, as are the head, hands, and feet; one has the Buddhistic crown and coronet in green and yellow, whilst the other has only a crown. Supported on pedestals fashioned as tree trunks, on which there is a vase in aubergine and a bird in green and white. In the centre of each panel of the base, which is of bright green enamel, are Kylin heads, yellow in one instance and aubergine in the other. These are early Ming.
In the middle is a figure of Han Chung-le, the first and greatest of the Taoist immortals, who is supposed to have found the Elixir of Life, and lived to attain the great age of 127 years. The robe is of brilliant green enamel, decorated with flying storks and clouds in aubergine, green, yellow, white, and black; the head and hands are in biscuit, the flowing beard is in black, as is also the fan with which he revived the souls of the dead. Ming of a later type.
THE TAOIST IMMORTALS.A large arbour or shrine in brilliant green and yellow enamels. In the various sections are the figures of the eight immortals, wearing green, yellow, and aubergine robes; on the right-hand upper portion is a small figure of a dove in biscuit. At the base, rising from the waves, is a carp, and also a frog.Although the Chinese potters had at their command an endless list of gods, goddesses, saints, and devils in their mythology, they appear to have loved to draw and to model the eight immortals, Kwan-Yin, Si-Wang-Mu, and other Taoist divinities, to the exclusion of all except a few Buddhist gods. This seems to be due to their intense desire for a long life as the highest good. Constant use is found for the character Show, which is written in a hundred different ways, as shown in the robes of Kwan-Yin and Si-Wang-Mu in the illustrations of those goddesses. Such pieces as those given here are rare, although these divinities and the eight immortals are very often depicted on pieces in blue and white, and on many specimens in coloured enamels. It is curious to notice how, when they are in the heavens, they are carried upon the clouds; when upon earth Han Chung-le and Han Seang-tse ride upon a fan; Tsaou Kwo-kiu on a log; Chang Ko-laou stands on a frog; Lan Tsae-ho on her basket, and carries her symbol, the lotus; Leu Tung-pin stands on his sword; Ho Seen-koo on a willow-branch, and Le Tee-kwae sits on his gourd. Ming.
THE TAOIST IMMORTALS.
A large arbour or shrine in brilliant green and yellow enamels. In the various sections are the figures of the eight immortals, wearing green, yellow, and aubergine robes; on the right-hand upper portion is a small figure of a dove in biscuit. At the base, rising from the waves, is a carp, and also a frog.Although the Chinese potters had at their command an endless list of gods, goddesses, saints, and devils in their mythology, they appear to have loved to draw and to model the eight immortals, Kwan-Yin, Si-Wang-Mu, and other Taoist divinities, to the exclusion of all except a few Buddhist gods. This seems to be due to their intense desire for a long life as the highest good. Constant use is found for the character Show, which is written in a hundred different ways, as shown in the robes of Kwan-Yin and Si-Wang-Mu in the illustrations of those goddesses. Such pieces as those given here are rare, although these divinities and the eight immortals are very often depicted on pieces in blue and white, and on many specimens in coloured enamels. It is curious to notice how, when they are in the heavens, they are carried upon the clouds; when upon earth Han Chung-le and Han Seang-tse ride upon a fan; Tsaou Kwo-kiu on a log; Chang Ko-laou stands on a frog; Lan Tsae-ho on her basket, and carries her symbol, the lotus; Leu Tung-pin stands on his sword; Ho Seen-koo on a willow-branch, and Le Tee-kwae sits on his gourd. Ming.
A large arbour or shrine in brilliant green and yellow enamels. In the various sections are the figures of the eight immortals, wearing green, yellow, and aubergine robes; on the right-hand upper portion is a small figure of a dove in biscuit. At the base, rising from the waves, is a carp, and also a frog.
Although the Chinese potters had at their command an endless list of gods, goddesses, saints, and devils in their mythology, they appear to have loved to draw and to model the eight immortals, Kwan-Yin, Si-Wang-Mu, and other Taoist divinities, to the exclusion of all except a few Buddhist gods. This seems to be due to their intense desire for a long life as the highest good. Constant use is found for the character Show, which is written in a hundred different ways, as shown in the robes of Kwan-Yin and Si-Wang-Mu in the illustrations of those goddesses. Such pieces as those given here are rare, although these divinities and the eight immortals are very often depicted on pieces in blue and white, and on many specimens in coloured enamels. It is curious to notice how, when they are in the heavens, they are carried upon the clouds; when upon earth Han Chung-le and Han Seang-tse ride upon a fan; Tsaou Kwo-kiu on a log; Chang Ko-laou stands on a frog; Lan Tsae-ho on her basket, and carries her symbol, the lotus; Leu Tung-pin stands on his sword; Ho Seen-koo on a willow-branch, and Le Tee-kwae sits on his gourd. Ming.
FABULOUS ANIMALS. THE DOG OF BUDDHA, THE DOG OF FÔ, OR THE COREAN LION.The fabulous animals and birds are few; most of them are, however, met with so frequently on porcelain that it is necessary to be quite familiar with these fantastic creatures in order to grasp the meaning of the Chinese decoration. Thefong-hoang, a singular and immortal bird, is dealt with elsewhere. The animals are four in number—the dragon, the kylin, the dog of Fô, and the tortoise with a hairy tail. The last was an emblem of longevity, and is usually an attendant on the god of longevity. Another power was its ability to assume various transformations, and still a third was its enormous strength. We shall only emphasise here the differences between the kylin and the dog of Fô, to which the name kylin is so often erroneously applied. The kylin resembles a stag in its body, whilst the dog of Fô is much more like a lion; in fact, with its head, face, mane, teeth, and claws, it does not require a vivid imagination to take it for a lion. The lion and the unicorn may fairly indicate the dog of Fô and the kylin.We show a pair of so-called kylins, the one playing with a cub and the other holding a sacred ball; the bodies of brilliant green enamel, with decorations of aubergine, yellow, and black; supported on square pedestals, the fronts having a bold diaper design, the sides decorated with butterflies and flowers in aubergine, green, yellow, and black, on a pale apple-green ground; on the back of each pedestal are four sacred emblems in aubergine, green, and yellow, on biscuit. Ming.
FABULOUS ANIMALS. THE DOG OF BUDDHA, THE DOG OF FÔ, OR THE COREAN LION.
The fabulous animals and birds are few; most of them are, however, met with so frequently on porcelain that it is necessary to be quite familiar with these fantastic creatures in order to grasp the meaning of the Chinese decoration. Thefong-hoang, a singular and immortal bird, is dealt with elsewhere. The animals are four in number—the dragon, the kylin, the dog of Fô, and the tortoise with a hairy tail. The last was an emblem of longevity, and is usually an attendant on the god of longevity. Another power was its ability to assume various transformations, and still a third was its enormous strength. We shall only emphasise here the differences between the kylin and the dog of Fô, to which the name kylin is so often erroneously applied. The kylin resembles a stag in its body, whilst the dog of Fô is much more like a lion; in fact, with its head, face, mane, teeth, and claws, it does not require a vivid imagination to take it for a lion. The lion and the unicorn may fairly indicate the dog of Fô and the kylin.We show a pair of so-called kylins, the one playing with a cub and the other holding a sacred ball; the bodies of brilliant green enamel, with decorations of aubergine, yellow, and black; supported on square pedestals, the fronts having a bold diaper design, the sides decorated with butterflies and flowers in aubergine, green, yellow, and black, on a pale apple-green ground; on the back of each pedestal are four sacred emblems in aubergine, green, and yellow, on biscuit. Ming.
The fabulous animals and birds are few; most of them are, however, met with so frequently on porcelain that it is necessary to be quite familiar with these fantastic creatures in order to grasp the meaning of the Chinese decoration. Thefong-hoang, a singular and immortal bird, is dealt with elsewhere. The animals are four in number—the dragon, the kylin, the dog of Fô, and the tortoise with a hairy tail. The last was an emblem of longevity, and is usually an attendant on the god of longevity. Another power was its ability to assume various transformations, and still a third was its enormous strength. We shall only emphasise here the differences between the kylin and the dog of Fô, to which the name kylin is so often erroneously applied. The kylin resembles a stag in its body, whilst the dog of Fô is much more like a lion; in fact, with its head, face, mane, teeth, and claws, it does not require a vivid imagination to take it for a lion. The lion and the unicorn may fairly indicate the dog of Fô and the kylin.
We show a pair of so-called kylins, the one playing with a cub and the other holding a sacred ball; the bodies of brilliant green enamel, with decorations of aubergine, yellow, and black; supported on square pedestals, the fronts having a bold diaper design, the sides decorated with butterflies and flowers in aubergine, green, yellow, and black, on a pale apple-green ground; on the back of each pedestal are four sacred emblems in aubergine, green, and yellow, on biscuit. Ming.
EMBLEMS IN BIRDS.Amongst the symbols used in decoration a bird on a perch is frequently found. The meaning of the symbol depends upon the kind of bird. The parrot—the speaking bird—warns women to be faithful to their husbands. The stork and crane are emblems of longevity, ducks and geese are types of conjugal affection, and as such they are carried in wedding processions. Quails were valued because of their fierceness in fighting. The magpie was a bird of good augury, which is regarded as sacred by the present reigning family, whilst the crow was a foreteller of evil. The peacock is largely valued for the tail feathers, which designate official rank. A piece of coral and two feathers indicate the promotion of a mandarin three steps at a time, a similar coral and four feathers means five steps at a time. The pheasant is an emblem of beauty, it is often used instead of the phœnix orfong-hoang. Amongst the Chinese, gold and silver pheasants of extraordinary beauty give themotiffor the rich decoration of "pheasant plates," and the varieties of the colours remind them of the duty of practising the various virtues.Here are a pair of pheasants, the plumage in yellow, black, brown, and green, the bodies of pale apple-green. Each bird is seated upon a tall rock enamelled in rich olive green; this is covered with flowering branches in high relief, or decorated in varied colour enamels. Supported on ormolu bases, Louis XVI. period. Other birds, such as eagles, falcons, and hawks, may be found in figures or groups. Early Kang-he.
EMBLEMS IN BIRDS.
Amongst the symbols used in decoration a bird on a perch is frequently found. The meaning of the symbol depends upon the kind of bird. The parrot—the speaking bird—warns women to be faithful to their husbands. The stork and crane are emblems of longevity, ducks and geese are types of conjugal affection, and as such they are carried in wedding processions. Quails were valued because of their fierceness in fighting. The magpie was a bird of good augury, which is regarded as sacred by the present reigning family, whilst the crow was a foreteller of evil. The peacock is largely valued for the tail feathers, which designate official rank. A piece of coral and two feathers indicate the promotion of a mandarin three steps at a time, a similar coral and four feathers means five steps at a time. The pheasant is an emblem of beauty, it is often used instead of the phœnix orfong-hoang. Amongst the Chinese, gold and silver pheasants of extraordinary beauty give themotiffor the rich decoration of "pheasant plates," and the varieties of the colours remind them of the duty of practising the various virtues.Here are a pair of pheasants, the plumage in yellow, black, brown, and green, the bodies of pale apple-green. Each bird is seated upon a tall rock enamelled in rich olive green; this is covered with flowering branches in high relief, or decorated in varied colour enamels. Supported on ormolu bases, Louis XVI. period. Other birds, such as eagles, falcons, and hawks, may be found in figures or groups. Early Kang-he.
Amongst the symbols used in decoration a bird on a perch is frequently found. The meaning of the symbol depends upon the kind of bird. The parrot—the speaking bird—warns women to be faithful to their husbands. The stork and crane are emblems of longevity, ducks and geese are types of conjugal affection, and as such they are carried in wedding processions. Quails were valued because of their fierceness in fighting. The magpie was a bird of good augury, which is regarded as sacred by the present reigning family, whilst the crow was a foreteller of evil. The peacock is largely valued for the tail feathers, which designate official rank. A piece of coral and two feathers indicate the promotion of a mandarin three steps at a time, a similar coral and four feathers means five steps at a time. The pheasant is an emblem of beauty, it is often used instead of the phœnix orfong-hoang. Amongst the Chinese, gold and silver pheasants of extraordinary beauty give themotiffor the rich decoration of "pheasant plates," and the varieties of the colours remind them of the duty of practising the various virtues.
Here are a pair of pheasants, the plumage in yellow, black, brown, and green, the bodies of pale apple-green. Each bird is seated upon a tall rock enamelled in rich olive green; this is covered with flowering branches in high relief, or decorated in varied colour enamels. Supported on ormolu bases, Louis XVI. period. Other birds, such as eagles, falcons, and hawks, may be found in figures or groups. Early Kang-he.