Page 285 - Vol_2_Archaeology of Manila Galleon Seaport Trade

15 A Study of the Chinese Influence on Mexican Ceramics 259

large, they can appear as elongated medallions, or combined with other decorative
elements (Cortina 1997: 54). Many repetitive decorative patterns common in
Chinese porcelain were also imitated. These included the lotus panels, a variety of
ocean waves, ruyi heads, and diaper patterns in different shapes.
But it is on the ornamental motifs that we would like to center our attention.
A single porcelain object usually contains several motifs (Fig. 15.3), each one with
a speci!c symbolism and sometimes the same element can signify different things
depending on slight variations in its features, such as the number of claws on a
dragon (Macintosh 1986: 153; Rinaldi 1989: 102; Wilson 1990: 286). The profu-
sion of elements represented indicates that the overall meaning of a decorative
program in a porcelain vessel can be quite complex. People in China would have
been familiar with the meaning of these motifs and the decoration of a vessel can
often indicate its intended use (Macintosh 1986: 153).
Deer, representing longevity and prosperity, normally come in pairs or groups of
!ve in Chinese porcelain and were often represented alongside the sacred mush-
room Lingzhi (Fig. 15.4b) (Canepa 2008: 33; Macintosh 1986: 153; Rinaldi 1989:
79). In colonial majolica, a single deer can appear as a central element surrounded
by generic vegetation (Fig. 15.4a). Horses are a symbol of perseverance and speed
in porcelain (Macintosh 1986: 128); while not often depicted in majolica, they
sometimes appear with a rider or pulling a carriage. Ducks, the symbol of marital
happiness and faithfulness, were frequently depicted in export porcelain along with
the motif of a bird on a rock (Macintosh 1986: 153; Rinaldi 1989: 83, 101). The last
motif, typical of Chinese porcelain, was greatly simpli!ed and both !gures lost their
details (Lister and Lister 2001: 92). While the symbolism of the different animals
and the conventions of their representation got lost, the Chinese practice of placing

Fig. 15.3 Porcelain found in the San Jerónimo Convent, Mexico City, showing different
decorative motifs