Page 421 - Chinese Art, Vol II By Stephen W. Bushell
P. 421

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                                    PICTORIAL ART.                     145

                side China is the description ol the pecuhar manners and customs
                of the aboriginal  hill  tribes  of the interior known as Miaotzu.
                These interest the Chinese from the light they have thrown upon
                their own ancient  ballads, and they are profusely illustrated in
                manuscript  albums, which  lind  their way  occasionally  to our
                ethnological museums.  Two of the coloured illustrations, rough
                as they are, are reproduced in Figs. 133, 134.  The first shows a
                group singing part-songs, with three men playing stringed  instru-
                ments and a mouth-organ of bamboo pipes, beside two girls clapping
                their hands, while an old woman looks on benevolently standing
                behind.  These meetings  are described as customary  in spring
                for making marriages  ; in another picture a party in gala dress is
                dancing round a maypole hung with banners and branches  of
                flowers.  The second (Fig. 134) shows one of their most peculiar
               customs, which was noted by Marco Polo, and has been described
                by Professor Tylor under the name of  "  couvade."  The father is
                seen through the window of the cottage lying on the couch, nursing
                the new-born babe, and the mother outside coming with his food
               he must be treated as an invalid in this way, we are told, for a
               month,  or  disaster  will  result.  Butler must  surely have been
                thinking of Marco Polo's story of the natives of Zardandan when
               he wrote in " Hudibras  "
                                        ' Chineses go to bed
                                Anil lie in, in their ladies' stead."
                 One branch of art in which the Chinese artist of to-day has not
               altogether forgotten his cunning is that of birds and flowers.  The
               fan in Fig. 135 would prove this, had it been possible to reproduce
               the warm colouring of the gay kingfisher and the soft tints  of  the
               rose-mallow blossom, relieved by the sober shaded greens of the
               leaves.  It is headed Fu jung ts'ui ytt, "  Hibiscus and kingfisher,"
               and is inscribed  "  Painted at the ancient Yen Fu (Peking) in the
               first summer month of the cyclical year hsin mao (a.d.  1831)," with
               the artist's signature and seal attached.
                  S941.                                            3
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