Page 278 - Chinese Art, Vol II By Stephen W. Bushell
P. 278

8o                   CHINESE ART.

                  palace use.  The bottom of the basin is filled with a pair of imperial
                  phoenixes flying through sprays of Moutan peonies which  fill  in
                  the rest of the medallions  ; the fluted sides and broad foliated rim,
                  outside as well as inside, are panelled with dragon scrolls, coloured
                  alternately dark blue and green on a turquoise ground.
                    The graceful vase in Fig. 89 is also apparently a Ming piece, dating,
                  perhaps, from the reign of Wan Li.  The bottom, richly  gilt,  is
                  engraved with a pair of crossed vajra thunderbolts, or iorjh, in-
                  closing a triune symbol, indicating  its canonical use in a Lama
                  temple.  The gilded bronze dragon posed on the shoulder, and
                   loosely coiled round the neck of the vase  is powerfully designed,
                   while the fret bands which define the coloured decoration are very
                  delicately engraved.  The floral scrolls are enamelled in the usual
                  colours relieved by a ground of sky-blue tone.
                    The remaining four pieces of cloisonne enamel which follow are
                   referred to the present dynasty, and are all, doubtless, productions
                  of the palace workshops of Peking.  Fig. 90 is an incense- burner
                  with hieratic designs of varied origin interwoven with floral scrolls
                   to form a conventional decoration of singular beauty,  inlaid in
                   shaded greens and whites tipped with pink, on blue and black
                   grounds.  The handles of gilded copper are shaped in the form of
                   gariidas, the broad openwork band round the cover is composed of
                   interlacing dragons, and its knob simulates a lotus poi perforated
                   at the top with seven holes for the seeds, which  are movable
                   studs of gilded bronze.  The borders and projecting ridges are
                   lightly incised with bands of fret, suggestive of clouds, and the eyes
                   of the t'ao-t'ieh ogre peer out in the midst of the floral bands.
                     An elephant with a vase on its back appears in Fig. qi, intended
                   originally to be posed on a Buddhist altar, as a sacred animal of the
                   law.  The elephant  is mottk'd  white, the  vase, saddle, brocaded
                   saddle-cloth, and the harness hung with tasselled strings of jewels
                   are inlaid with colours.
                     The strange-looking object in Fig. 92, which looks at first sight
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