Page 49 - Chinese Art, Vol II By Stephen W. Bushell
P. 49

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                                POTTERY.                         7

        example shown in Fig. i, which is extracted from the Chin Shih So,
        cited in Vol.  I., page 75.  The mythological figures inclosed  in a
        rectangular panel surrounded by a geometrical border represent the
        four quadrants  of the Chinese uranoscope, being  :  i. The Blue
        Dragon of the East.  2. The Black Warriors, Tortoise and Serpent
        of the North.  3. The Red Bird of the South.  4. The White Tiger
        of the West.  The eight archaic characters filling in the intervals
        read  Ch'ien  ch'iu wan sui ch'ang lo wei yang,  "  For a thousand
        autumns and a myriad years everlasting joy without end."  There
        are many earthenware roof tiles of corresponding date figured in the
        same book, and the round flanges of the lowest tier are usually
        moulded with inscriptions of like good augury, pencilled so as to fill
       in the circular space with an ornamental design.
         Pottery has always been an important adjunct to Chinese archi-
        tecture, as described in Chap. III., where a brief account was given
       of the use of moulded antefixal ornaments of terra cotta, and of the
       roofing of buildings with enamelled tiles coloured in obedience to
       strict sumptuary laws. The colours employed in China are powdered
       glazes made with a lead flux, and the method of application  is
       worthy of notice, being somewhat like that of the firing of salt-
       glazed ware in Europe.  After the tiles have been appropriately
       stacked in the kiln, the fire is lighted, and at the proper moment of
       combustion the pulverised enamel is thrown in through an aperture
       in the top of the kiln, to fall on the free surfaces of the tiles, melt,
       and coat them   with one of  the  rich deep glazes  of brilliant
       sheen which are so characteristic.  The coloured glazes are used in
       combination, as well as singly, as may be seen in a variety of objects
       in European museums brought from the summer palaces at Yuan
       Ming Yuan which were burned in i860, such as large images of
       Kuan-Yin enamelled with turquoise blue and other soft colours
       posed on purple pedestals, smaller Buddhist images once built in
       the brick walls of temples, dragons, k'ilins, phoenixes, and other
       grotesque figures that once formed antefixal ornaments of walls.
        S941.                                                 E
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