Page 148 - Chinese Art, Vol II By Stephen W. Bushell
P. 148

30                   CHINESE ART.
                 China, and sent by trade routes to  alJ parts of  tlie non-Chinese
                 world.  The  other  factories have  either  disajjpeared  altogether
                 or degenerated  to provide a coarser ware adapted only for local
                 consumption.
                   The one exception to this general rule is the factory  of Tehua,
                 in the province of Fuchien (Fuhkien), alluded to above, where the
                 white Chien Tz'u  is produced.  The  potteries  were  established
                 here early  in  the Ming dynasty and  are  still  working.  Their
                 characteristic  production  is  \\\e -pai  fe'a, the  "  white porcelain"
                 par excellence of the Chinese, the hlanc de Chine of the older French
                 ceramic writers.  It  differs widely from other oriental porcelain,
                 the paste of smooth texture being of a creamy-white tint resembling
                 ivory, while the rich thick glaze, which has a satiny aspect, like
                 the surface of soft paste porcelain, blends closely with the paste
                 underneath.  During  the  Ming  dynasty  these  potteries  were
                 celebrated for their well-modelled images of Buddhist  divinities,
                 such as Maitreya, the coming Buddha  ; Avalokitesvara, the Goddess
                 of Mercy; the Buddhist Saint Bodhidharma; together with the
                 immortals of the Taoist cult and many others. A fine statuette
                 of Kuan Ti of this period in the Salting collection, moulded in ivory
                 white Fuchien porcelain  is illustrated  in Fig.  9.  It represents
                 Kuan Yii, a hero of the civil wars of the third century, who was
                 deified a thousand years ago, and  is  still worshipped as a state
                 god.  Seated  in a wooden  chair carved with branches  of pine
                 and sprays of prunus, of dignified mien, with frowning features
                 and flowing beard and mustachios, clad in a cloak over a coat of
                 mail bound with a jade-studded girdle, the figure is invested with
                 the thick velvety glaze peculiar to this province.  An eclectic pair
                 of delicately moulded images  in the same  collection represents
                 Bodhidharma the Buddhist,  in company with Chung-li Ch'uan,
                 the leader of the Taoist genii, wielding the fan with which he re-
                 vives the souls of the dead.
                  A group of ivory-white Fuchien jrorcelain, selected from sj)ecimens
   143   144   145   146   147   148   149   150   151   152   153