Page 44 - Chinese Porcelain Vol I, Galland

16 CHINESE PORCELAIN.
"
foreign buyers. Marryat, p. 201, says, The manufacture of
in China consists of two branches — the
porcelain production
of new varieties of form and colour, and the imitation of the
ancient of the From an
porcelains empire (p. 216). inspection
of the it is clear that the art of never met with
paintings, design
encouragement. Indeed, painting was never considered as an
honourable employment even in the palace of the emperor,
but rather a mechanical occupation, intended for the purpose of
in minute detail and without the
copying improvement designs
which had been in use for a thousand
years.
"
The inveterate of the Chinese do not admit in
prejudices
painting either of drawing or perspective.
"
In the narrative of two lay Jesuits, who were induced to
go out to China to become painters to his imperial majesty,
we have some interesting particulars as to their estimation in
the palace and the taste of the emperor. Belleville, a French-
man, and Gherardini, an Italian, were established in the palace
of the Emperor Kang-he in 1698, to paint portraits and decora-
tions of various kinds. As to their art, they were compelled
to all had learned and submit to a new in
forget they style,
conformity to the taste of the nation. The emperor altered
their sketches according to his fancy, and not a word of
remonstrance could be said, for the taste of the ' Son of
'
Heaven was sacred.
" One day that G-herardini had finished a large architectural
in which were columns that to recede in
picture appeared
the Chinese were at and
perspective, first sight stupefied,
believed that he had used some art to the effect.
magic produce
Even the canvas were con-
upon approaching they scarcely
vinced by the touch that it was a visual deception upon a flat
surface. They then cried out there is nothing more con-
trary to nature than to represent distances where there are
actually none, or where they cannot be. The picture was
condemned.
"
Whether from motives of or for
policy contempt strangers,
the emperor refused permission to open a public school of paint-
lest the for should become so as
ing, passion painting general
to prejudice useful works.
"
These artists were not allowed to return home, and both
died in the at an advanced
country age."