Page 245 - Chinese Art, Vol II By Stephen W. Bushell
P. 245

GLASS.      —                  69

            examinations  !  " referring to the two final examinations for official
            degrees and the subsequent competition in the palace.
              It  is to the Arabs, no doubt, that the Chinese owe the technique
            of enamelled glass.  The period of  its introduction was probably
            that of the Mongol dynasty (1260-1367).  This was the time when
            the Arab glass-workers produced  their most  finished examples,
            and it was also the time, as we have seen already, when the inter-
            course between China and Islam, by land as well as by sea, was
            most frequent.  Some confirmation of this theory is afforded by the
            recent discovery in mosques of the western provinces of China of
            a number of hanging lamps and swelling bottles of characteristic
            shape, enamelled in colours with Arabic motives in connection
            with lettered scrolls pencilled in Arabic script, some of which are
            now to be seen in American collections.
              Arabic scrolls of similar character are often engraved on Chinese
            glass up to the present day, as they are, for example, in the two
            specimens which have been chosen for illustration in Figs. 84, 85,
            and which are thus described on the labels  :
              Vase, one of a pair.  Dark blue glass, with flattened spherical
            body engraved in relief with Arabic inscriptions within lobed com-
            partments.  Carved underneath  in  relief with the seal of Yung
            Cheng  (1723-1735).  Posed on  a wooden  stand  covered  with
            Chinese brocade.  i20-'83.
              Bottle, one of a pair.  Purple glass, with bulbous body and ex-
            panding neck, decorated with Arabic  lettering within engraved
            spaces of oval and foliated outlines.  i2i-'83.
              The Muslim inscriptions, like those of the bronze incense burner
            illustrated in Vol.  I., Fig. 43, are religious formula; in the debased
            script  peculiar  to  Chinese Mohammedanism.  The  tall  bottles
            have quite a modern look, and may possibly have been carved by
            the Chinese curio-dealer to give them a surreptitious value, as the
            wall is evidently too thin to bear the work, so that the graver has
             not been able to avoid perforating  it  in one '^spot.  A row  of
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