SYMBOLICAL DESIGNS
_A._--EMBLEMS IN ANIMALS.
We have already remarked how the Chinese employed ornament to their
works in porcelain, not alone to please the eye, but to elevate the
mind at the same time. It is evident that the realisation of these two
aims must have been dependent not alone upon the highest technical
skill, but upon the religious knowledge either possessed by the artist
or handed down in traditional form from generation to generation. Hence
the character of their work was determined and imbued by religious
influences.
In every age pottery has been a vehicle for the display of art, and the
wonderful productions of the East embody in symbolised form the highest
aspirations of religions with which we are but imperfectly acquainted.
The deer (Chinese _luh_, Japanese _roku_) is also an emblem of
longevity. A white stag frequently accompanies the god of longevity.
It sometimes carries in its mouth another emblem, the fungus. A deer,
however, is also used as a symbol of official emolument or prosperity,
having the same sound as the word for the latter (_luh_). It is
probably for this reason that we find a fawn accompanying the Japanese
god of talent, Toshitoku.
The fox (Chinese _hu_, Japanese _kitsu-ne_) is considered, especially
in Japan, as a very mysterious animal. There are several wonderful
legends concerning it in Mitford's "Tales of Old Japan." It is said to
attain the same age as the hare, when it is admitted to the heavens
and becomes the celestial fox. It controls the official seals of high
officials.
The hare (Chinese _tu_, Japanese _usagi_) is sacred to the moon, where
the Taoists believe it to live, pounding the drugs that form the elixir
of life. It is stated to live one thousand years, and to become white
when it has reached the first five hundred years. The hare, often
miscalled a rabbit, occurs on porcelain, both as a decoration and as a
mark.
The stork (Chinese _ho_, Japanese _tsuru_) is one of the commonest
emblems of longevity. It is said to reach a fabulous age, and when six
hundred years old to drink, but no longer eat; after two thousand years
to turn black. It occurs as a mark.
The tortoise (Chinese _kwei_, Japanese _ki_ or _kame_) was also a
supernatural animal, and its shell was used in divination. The tortoise
with a hairy tail is depicted in Japan as an attendant on the god of
old age, and is used as an emblem of longevity. A Chinese phrase,
_Kwei-ho-tung-chun_, signifies "May your days be as long as the
tortoise and stork."
_B._--EMBLEMS IN TREES.
Among plants are three trees, which, though not all, strictly speaking,
emblems of longevity, are closely connected with it; these are the
pine-tree, bamboo, and plum. These three trees are termed by the
Japanese in combination _Sho-chiku-bai_. The Chinese say "the pine,
bamboo, and plum are like three friends, because they keep green in
cold weather."
The bamboo (Chinese _chuh_, Japanese _take_) is another emblem, owing
probably to its durability. Its elegant form causes it frequently to be
depicted on works of art, both in China and Japan.
The gourd (Chinese _hu-lu_, Japanese _hiotan_ or _fuku be_) is also
an emblem of longevity, especially in Japan, owing perhaps to its
durability when dried.
The peach (Chinese _tao_, Japanese _momo_) is a symbol of marriage,
but also of longevity. Great virtues were attributed to the peach,
especially that which grew near the palace of Si-Wang-Mu, Queen of the
Genii, on which the fruit ripened but once in three thousand years. It
is represented with a bat as a mark.
The pine-tree (Chinese _sung_, Japanese _matsu_) is a very common
emblem, and to be found on many specimens. Its sap was said to turn
into amber when the tree was one thousand years old.
The plum-tree or prunus (Chinese _mei_, Japanese _mume_), though not
properly an emblem of longevity, is indirectly connected with it, as
the philosopher, Lao Tsze, the founder of the Taoist sect, is said
to have been born under a plum-tree. It forms the decoration of the
porcelain erroneously termed "may flower" or "hawthorn pattern."
_C._--EMBLEMS IN FLOWERS.
=Artemesia.=--The artemesia was used by the Chinese with the sweet flag
to allay pain and to drive away demons.
=Azalea.=--The azalea, without having any special symbolical
signification, was eminently useful for decorative purposes, because,
as a common flower on the hills of the north-east provinces, it gave
brightness to a scene of surpassing beauty in the central flowery land.
=Camellia.=--The camellia bears the same name as the tea plant, and the
term _cha_ is used to denote any infusion, just as the word "tea" is
with us, as when we speak of beef-tea, camomile-tea, and so on.
=Chrysanthemum.=--Chrysanthemums, like the asters, were reared
for their beauty. They are, perhaps, the commonest form of flower
decoration on Oriental china, and we cannot be surprised at this
when we consider the variety and the richness of the colour of this
beautiful plant. It was an emblem of mid-autumn--more than that, it was
a symbol of pleasurable enjoyment--hence its presence on a piece of
porcelain given as a token of esteem, also a wish that all should be
well with the recipient.
=Cockscomb.=--The cockscomb was very much admired by the Chinese, and
was not alone used as a decoration for porcelain, but for many of those
interesting pictures on glass which portray birds and flowers, and
which, though painted in a similar way to the early paintings on glass
known to Western nations, exceeded them by the brilliancy of their
colours and by their exact resemblance to nature.
=Convolvulus.=--The convolvulus was painted around the edges of tanks
and pools, not alone for decoration, but because the leaves of some
varieties made a very succulent green food.
=Flag, or Iris.=--The flag, or iris, known as the sweet flag, was
placed at the doors of houses to prevent all manner of evil from
entering, but it had a material use as a medicine much used for its
spicy warmth.
=Fungus.=--The fungus when dried was very durable. It grew at the
roots of trees, and many imitations of it in gilt wood, or even dried
specimens of the fungus itself, were frequently used as decoration in
the temples. In pictures of Lao-tsze and the Immortals it is used as
a symbol of longevity or immortality, hence it is found carried in
the mouth of the white stag, which is also an emblem of immortality.
Occasionally it is used as a mark on the bases of specimens of old
Kang-he blue, in which case it often has lines around its base to
represent the grass through which it grows.
=Jasmine.=--The jasmine, a sweet-smelling white flower, is largely
grown for its scent, but still more as a favourite flower amongst the
Chinese women for personal ornament, its twigs and clusters or blossoms
being wound in the hair, and it was planted in the pots in the houses.
=Lotus, or Nelumbium.=--The lotus, or _nelumbium_, was a sacred
flower representing the creative power in the Buddhist religion.
Representations of it frequently occurred not alone in connection with
Buddhism, but also with Taoism. Kwan-Yin is often shown seated upon the
lotus. Ho Seen-koo has the lotus as her emblem; and, generally, whether
considered with regard to its utility or to its beauty the sacred lotus
was placed by the Chinese at the head of the cultivated flowers. It
has a very close resemblance to our English water lily, having the
stock inserted near the centre of the leaf. Both seeds and root are
articles of food, and, when cultivated for that purpose rather than for
ornament, covers large areas of lakes and marshes.
=Narcissus.=--The narcissus is an emblem of good luck for the coming
year. Just as with us in England the narcissus is a harbinger of
spring, so in the new year at Canton the budding flowers of the
narcissus, almond, plum, peach, and bellflower, all are emblematic, all
express a wish for coming prosperity.
=Magnolia.=--The magnolia has immense flowers and has been selected as
the emblem of sweetness and beauty. The name in Chinese means "secretly
smiling," and to the Chinese it suggests the lovely smile of a sweet
maiden. Where in designs on porcelain beautiful women are drawn this
flower usually accompanies them. China furnishes several species of
this lovely flowering plant. Its medicinal use is secured from the bark
employed as a febrifuge.
=Myrtle.=--The myrtle grows as a wild plant with lovely rose-coloured
flowers, one species of it produces clusters of berries, which are
eaten as fruit.
=Oleander.=--This flower is prized because of its beauty and fragrance.
The tender rose pink lends itself easily to schemes of porcelain
decoration. Members of the same group, less attractive, but still
pretty, are the yellow milk-weed and the red periwinkle.
=Olive.=--The olive is noted for the fragrance of the clusters of
minute flowers of white and yellow. This plant flowers through a great
part of the year. A branch of sweet-smelling olive was a reward of
literary merit. It was also symbolical of studious pursuits, and of
sweetness generally.
=Peach.=--The peach blossoms were placed in doorways at the New Year
as the "peach charm." A branch of the tree, covered with blossoms, was
supposed to prevent the entry of evil demons into the home.
=Peony.=--Next to the chrysanthemum the peony was effective in the
decoration of Chinese porcelain. It was a tree in that land, valued for
its fine and variegated flowers. It was emblematical of good fortune,
but if the plant did not supply beautiful flowers and green leaves,
if the leaves fell off and its flowers suddenly faded, such a change
foreshadowed poverty or some overwhelming disaster. It was also an
emblem of love and affection, and therefore eminently appropriate for
use on presentation pieces of porcelain.
=Poppy.=--The poppy was not alone grown for the production of opium,
but for its beautiful flowers.
=Rose.=--This flower was as great a favourite with the Chinese as
with all other nations. Many species and varieties were natives of
this country. Like the jasmine, it was used by the women for personal
adornment.
=Tobacco.=--This plant was grown almost everywhere in China, but its
strength varied according to soil and climate. In the north it was of a
pale colour, while further south it is said to owe its reddish colour
to being steeped in a solution of opium.
XXIII
DATE
MARKS ON
ORIENTAL
PORCELAIN