Page 295 - Chinese Art, Vol II By Stephen W. Bushell
P. 295

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                                ENAMELS, ETC.                      85

            for the art of the decorator than porccLiin.  The copper body,
           however thin, gives out a metallic ring when struck, instead of the
            clear musical note which  distinguishes  porcelain.  The  surface,
           moreover, is rarely flawless, and the colours, brilliant as they may
            be, have a garish quality, which make the copper enamels, they
           ckclare, displeasing and appropriate only for the decoration of the
           inner apartments.  The author of the Wrn fang ssn k'ao, a well-
           known book on the apparatus of a  writer's study, published in
            17S2, speaking of the Yang  Tz'i'i, says  :
             " One often sees incense-urns and flower vases, wine-cups and saucers,
           bowls, and dishes, ewers for wine, and round boxes for cakes and fruit, painted
           in very brilliant colours  ; but, although vulgarly called porcelain, these things
           have nothing of the pure translucency of true porcelain.  They are only fit
           for use as ornaments of ladies' apartments—not at all for the chaste furniture
           of the library of a simple scholar."
             Enamel painting on copper was stigmatised from the first as a
           foreign art by the Chinese, and it has never taken firm root in the
           country.  Even in Canton it has gradually died out so that nothing
           of any importance has been produced since the reign of Ch'ien Lung,
           which closed in 1795.  All the specimens figured here may therefore
            be taken to be prior to this last date.
             The finest piece in the museum is the graceful wine pot, of square
            section with indented corners, an upright handle and gold-tipped
            cover, which is illustrated here in Fig. 98.  It is decorated with a rose-
           coloured rouge d'or ground brocaded with floral scrolls and butter-
            flies, interrupted on the four sides and handle by panel pictures
            delicately painted with flowers and butterflies on a white ground  :
            the curved spout  is fashioned with a dragon's head pursuing a
            flaming jewel.
              The circular dish, in Fig. 99,  is painted in the middle in a six-
            lobed panel with a picture of the Taoist Goddess of Flowers, Hiia
            Hsien, accompanied by two female attendants and  a  phoenix,
            crossing the sea-waves on a dragon, which  is pursuing a whirling
            jewel  ; the three carry on their shoulders baskets of flowers, the
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