Page 82 - J. P Morgan Collection of Chinese Art and Porcelain

HISTORICAL INTRODUCTION

SHAN KAO, SHUI CHANG HSI CH'aO CHI WAN CHIH CH^N
"The mountains are high, "A gem among rare trinkets

the rivers long" of a joyful reign"

—5. SYMBOLS AND OTHER PICTORIAL MARKS

The Chinese have a special fancy for devices, and use
them in conventional groups for the decoration of por-

celain as well as, singly, as marks. They may be con-

veniently arranged in five sub-divisions:

(a.) Symbols of ancient Chinese lore. The eight tri-
grams of divination (pa kna), and the dualistic
yin-yang symbol. The eight musical instruments
(pa yin). The twelve ornaments {shih-erh chang)

—embroidered on sacrificial robes.

(b.) Buddhist Symbols. The eight emblems of happy
augury {pa chi hsiang). The seven parapher-

nalia {cVi pao) of a chakravartin, or universal

—sovereign.

{c.) Taoist Symbols. The eight attributes {pa an
hsien) of the immortal genii, vi^., the fan with
which Chung-li Ch'iian revives the souls of the
dead; the sword of supernatural power wielded
by Lii Tung-pin; the magic pilgrim' s-gourd of Li

T'ieh-kuai; the castanets of Ts'ao Kuo-ch'iu; the

basket of flowers carried by Lan Ts'ai-ho; the
bamboo tube and rods of Chang Kuo; the flute of

Han Hsiang Tzu; the lotus-flower oi Ho Hsien Ku.

A multitude of emblems of longevity, the sum-
mum bonum of the Taoist, such as the deer, tor-

toise and stork; the hare, pounding the elixir
vitce in the moon; the pine, bamboo, and prunus;

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