Page 328 - Chinese Art, Vol II By Stephen W. Bushell
P. 328

CHINESE ART.
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                   spmgles of gold or coppar sewn on in the intervals.  In modern
                   embroidery work gold and silver wire  is much used, so that the
                   pectoral badge of a mandarin, for instance, may be entirely worked
                   in the two precious metals with the particular bird or grotesque
                   animal distinctive of his rank, solidly ani  brilliantly emblazoned
                   so as to shine like a metallic plate.
                     The designs used  in weaving and embroidery  are  of  varied
                   character, and can be traced back to very ancient times.  An
                   account of their origin and course of development would supply a
                   complete epitome of Chinese art, its application to the decoration
                   of silk textiles being one of  its most important  branches.  The
                   woven textiles, again, have always supplied motives for the decora-
                   tion of other materials, such as metallic enamels and porcelain,
                   accounting for the frequent arrangement of the ornamental designs
                   in foliated panels and medallions on brocaded grounds encircled
                   by bands of diaper.  The constant occurrence of such terms in the
                   description of the decoration of porcelain reveals in fact its textile
                    origin. A Chinese ceramic author estimates that no less  than
                    two-thirds of the designs during the Ming dynasty were taken
                    from ancient brocades or embroidered silks, the remaining  third
                    being either derived from nature or copied from old bronzes
                                                                             ;
                    while some lo per cent, of modern porcelain  is  still ornamented
                    only with brocade patterns.
                      There  are many references  in the ancient  classical books  to
                    embroidered  designs on  flags,  banners,  official  robes,  imperial
                    paraphernalia,  and  the  like.  A  series  of  symbols  frequently
                    met with are the twelve Chang or  "  Ornaments  "  with which the
                    sacrificial robes used  to be embroidered.  They are referred  to
                    in the Shu Ching, the  "  Classic of History," where the Emi)eror
                    Shun wishes,  at  this remote period,  "  to see these emblematic
                    figures of the ancients."  The robes of the emperor, we are told,
                    had  all the twelve figures painted or embroidered upon them
                                                                             ;
                    the hereditary nobles of the  first rank were restricted from the
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