Page 272 - Chinese Art, Vol II By Stephen W. Bushell
P. 272

78                   CHINESE ART.
                   the north wall of the Tartar city, in accordance with the usual
                   custom, was consecrated as a temple, and became the great Lama
                   monastery Yung Ho Kung.   The lamassery was provided with a
                   number of sets of ritual vessels and altar paraphernalia of conven-
                   tional design decorated in the best style of the period in cloisonne
                   enamels with symbolical designs of appropriate character. A magnifi-
                   cent set of five, incense urn, pricket candlesticks and pair of flower
                   vases, over six feet high, used to stand on carved marble pedestals
                   in the principal courtyard of the temple  ;  but the Russians, who
                   made the monastery their headquarters in 1900, are said to have
                   carried off most of the cloisonne vessels, and this imposing row is
                   now perhaps to be seen somewhere in St. Petersburg,  if not at the
                   Hermitage itself.
                     Cloisonne enamels of theCh'ien Lnng period {1736-1795) manifest
                   a certain improvement in technical finish in every detail. The models
                   are well chosen and the scheme of decoration  is generally worthy
                   of the form.  There is no pitting of the surface, the colours, if not
                   so viv'id and lustrous as of old, are harmoniously combined, and the
                   bronze accessories often mounted on the pieces are heavily and richly
                   gilded.  This last point  is useful as a means of distinction of the
                   modern enamels of Peking workshops, which are not only made
                   more hurriedly and less carefully finished, but are sparingly gilded
                   with the help of an electric battery, instead of being lavishly coated
                   with concentrated amalgams of gold fi.xed in the fire.
                     There is a fine and comprehensive collection of Chinese enamels
                   in the museum, some of the most important pieces of which came
                   from the summer palace at Yuan Ming Yuan after  it had been
                   sacked  in  i860. The  illustrations may be conveniently grouped
                   under two headings, the cloisonnds and champleves being placed
                   first, the painted enamels afterwards.
                               Cloisonnj? and, Champlevk Enamels.
                     The large globular incense- burner illustrated in Fig. 86 is marked
                   underneath with an incised seal Chivg T'ni nien chili "Made in the
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