Symbolism In Chinese Art

I^I^HE

CHINA SOCIETY

.^'i

SYMBOLISM IN CHINESE ART

1^=^

liY

W. PERCEVAL YETTS

IONS\

l3

[Read before the Society on January, i

All Rights

Reserved'^

i8^^\

191

2!

/

THE CHINA SOCIETY

SYMBOLISM IN CHINESE ART

BY

W. PERCEVAL YETTS

[Read before the Society on January, i8*, 191 V

•^

All Rights Reserved

SYMBOLISM IN CHINESE ART "..'.

.BY

;,;.

W. PERCEVAL YETTS.

Ladies and Gentlemen,

One Art

of the most distinctive and striking features of Chinese the symbolic character of

is

From

expression.

the earliest times the Chinese artist his exerted his

the intention

with

skill

its

producing not merely objects

of

pleasing to the eye, but at the

same time emblems conveying

a definite meaning.

Another

it

feature

largely

Unfortunately

retrospective.

The remnants

of a once voluminous clas-

us very meagre information, and, owing

sical, hterature afford

the

adherence to ancient typeS;

but scanty data for investigating the origins of

exist

the national Art.

to

is

follows that to understand Chinese symbolism

must be

study

there

:

essential

and hence our

"

nature of Chinese building, few archi-

insubstantial

monuments of extreme age survive to the present Happily we do possess some examples of culture which

tectural

day.

date back to a remote period of Chinese history, and help to illuminate the I

refer

that

dim past of

in the first place to the

archaeologists

Chou

dynasties,

doubt that here stage,

this the oldest existing civilization.

assign

i.e.

we

and perhaps

B.C. find

also in

to

the

bronze vessels and bells time

1766—249. the its

national

most

of the

There seems art

in

in

its

little

primitive

characteristic stage, be-

cause as yet unmodified by foreign influences.

Second

Shang and

V

^

;

importance only to the bronzes must be classed

the carved and inscribed fragments of bone and tortoise shell

about a dozen years ago buried

discovered

in the

north of

Honan.

These fragments number several thousands, and are considered by competent authorities to date from a period not later

certainly

see

shall

than

(B.

We

C. 1122-249).

few of them that are decorated show

the

that

Chou

the

designs identical with those found on the early bronzes.

During the Chou period national

historical

and

ceremonial

art.

Emperor

self-styled First

himself on

veneration

innovator anterior

but

However,

down

in

the

the evolution of

for

of things did not

this state

survive the ruin of the house of Chou, for soon after

long the

formed a basis

records

and culture reached

Traditions handed

a high pitch of development. old

life

also

the for

Obsessed by vanity,

past.

attempted to his

he sought to destroy the people's

throne,

the

own

wipe out

to

relics

all

under

this tyrant

evidence of culture

Not only the

reign.

the bronzes came

of these precious

century B. C.) established

(3''^

classical literature

his ban,

and possessors

of the past were obliged to conceal

them as best they could

order to save them from de-

in

struction.

From

time to time during the succeeding centuries hidden

were discovered, and as each came

bronzes

considered a happy

omen

was duly chronicled

in the national

Gradually a in

critical

A. D. 1092 an

Some

lished. classic

900

15

it

was

of great importance, and the event

annals as a sacred prodigy.

study of ancient bronze developed, and illustrated

years

book on the

later

there

and, besides, a text

subject

was pub-

appeared the famous

on bronzes, the Po-ku-tHi fj "^

illustrations,

to light

H full

It

•

contains over

of most valuable

information concerning the symbolic meaning of various forms of ornament.

The compiler

of this

was an archaeologist and

may be

work,

Wang Fu

art critic of repute,

^

'^^

and

by name,

his opinions

accepted as embodying the most reliable traditions

of his day.

I

propose, therefore, to follow his explanation

and

of designs decorating the early bronzes,

should like to

I

take this opportunity of acknowledging the valuable advice

me by

kindly given to

Mr. Lionel Giles

in the translation of

several difficult passages of the Po-ku-t'u.^^^^^^^^^^^^^^:

The with

only in

not

Chinese

call

points

pictographs

out,

in

5f^. As

bronzes attributed to continuous

Latej the

To an

The

^^^J

or

(see

Fig.

i).

period, consists of a non-

elements became joined

separate in

till

the course of time the "thunder intricate

form of

agricultural people such as the Chinese

emblem possessed a

Rain was essential to for

that

such as found on the

was often represented by a most

decoration. this

form,

Shang

the

together and elaborated, pattern"

is

formed by separate pairs of the simple

pattern

figure.

art

the author of the

and thunder

clouds

primitive

its

modern

design was evolved from archaic

this

representing

The meander

in

and thunder pattern"

simply the "thunder pattern" Po-ku-f-tL

also

meander or key-pattern.

the

as

"cloud

it

but

ancient

known

commonly

spiral

met

simplest ornament and the one most frequently

significance of

their

supreme importance.

very existence, and the symbol

thunder typified the down-pour that brought the heaven-

sent gift of abundance.

Knowing eulogistic

this,

possible

is

it

remarks made by

for

us

Wang Fu

to

appreciate

the

concerning a certain

bronze caldron of the Chou dynasty, which to the uninitiated

might appear commonplace and even ugly (Fig. says in the course of his

description —

ii).

He

"The lozenge-shaped

spaces are occupied by the 'cloud and thunder pattern' sur-

rounding

a

small

nipple

in

the

centre.

nourishes mankind, while clouds and thunder

The

things.

influence

k''uei

against

single

vessel,

plete!

How

yet

^ the all

excellent

For the nipple fertilise

growing

dragon, moreover, exerts a restraining sin

the

of greed.

Here we have but a

eternal principles are there

com-

was the philosophy of the ancients!"

THUNDER

CLOUD

From

©© ©© (S

"Ancient Script" "a/*

"^

forms of the

characters for

From

Shuo wen.

[E)

the

Cited

in

Shuo wen

dictionary

ku S/it(o

chou

pu.^

II,

wen.

"cloud" and "thunder" scription

65.

found in an

in-

on a Chou vessel

re-

Also

produced in a Japanese publication, Collection

of Chinese Bronze

Antiques.

Note.

'

is

— In Shuo wen en (3

given as the "ancient script"

form of

jm

©

(9) Primitive ornament

TAKEN from ShANG

and CHOU BRONZES AND FROM THE HONAN

(3I

"to revolve".

o

Identified with in

Po ku

t'-u^

^f V,

8.

CARVED BONES

1513 On the

Meanders of the Chou period

Modern meander

Fig.

I.

a carved bone from

collection of Mr. L.

C. Hopkins.

JHSllHSir

x^.

jyi nj^Jl^

Table to explain the evolution of the Chinese meander.

ku 23-

NOTE TO As Dr. Hirth

first

FIG.

I.

pointed out, the recognition by Chinese archaeologists

of the pictographic origin of the meander goes back to early times.

(See

Uber den Mdander und das Triquetrutn in der Chinesischen und J^apanischen Ornamentik.) For proof he quotes a book that appeared some fifty years From this passage Dr. Hirth infers that, though the before the Po-ku-fu. symbolic meaning of the meander had never been forgotten, the derivation of the pattern from ancient characters had been lost sight of and was rediscovered about the middle of the eleventh century. There seems no doubt that the "thunder" element in the meander was evolved chiefly from forms symbolising the rolling or reverberating quality In a letter to the present writer Mr. L. C. Hopkins says, of thunder.

"Strictly speaking,

revolve,

(

Co

)

and

nD

I

are the early forms of

[^

hui^ to

and when alone do not represent the word lei, thunder, though used may have symbohsed it. I believe the true early character

decoratively they

for

lei,

was three

to

be

ffl

I

(or four) wheels

fien, fields)

e

(wrongly supposed by

many Chinese

with or without the zigzag for the lightning

flash.

imagine the wheel was adopted to symbolise the rolling of thunder, and

that later, to

make assurance doubly

added, as for example in the character

sure, the character

fcl fcJ

•"

\\^ )

hui,

was

The dragon manner, realistic

referred

but

and

terrifying

k'tiei

called

dragon.

the

As

cicada.

form (Fig.

They

tao-fieh

Fig.

represented

in

conventional

appears

it

We

iii).

a

in

a more

see besides two

designed to carry out the same mission as

other symbols the

is

next illustration

the

in

to

^^

usual,

the

of a creature

and a pattern representing the

Caldron of the Chou period (from

II.

is

mask

are the hideous

meander

is

Po-ktc-t'-u).

employed to

fill

up

the intervening spaces.

The name as "glutton".

fao-fiek

has been translated by Dr. Legge

Much might be

said about this curious figure,

but time does not permit of more than a statement that

it

represents no specific individual or animal, but merely stands for

an embodiment of and a warning against the vices of

sensuality It is

and

avarice.

more easy

to recognise the cicada

^

in this cloisonne

Yetts,

"Symbolism",

Fig. III.

Bronze

sacrificial

wine vessel of ancient type. (Property of Capt. Evans, R. A.)

The dragon

referred

manner,

in

realistic

other

but

and

terrifying

As

cicada.

form

They

tao-tich

Fig.

represented

(Fig',

designed to carry

s^-mbols

the

is

next illustration

the

the k'uci dragon. called

to

We

in).

out

usual,

the

conventional in

a

more

see besides two

same mask of

the

are the hideous

^^

a

appears

it

mission as a creature

and a pattern representing the

Caldron of the Cliou period (irom

II.

is

in

meander

is

Po-Jai-t'-u).

employed

to

fill

up

the intervening spaces.

The name as

"glutton".

fao-t'ieh

has

been

Much might be

translated

by Dr. Legge

said about this curious figure,

but time does not permit of more than a statement that

it

represents no specific individual or animal, but merely stands for

an

embodiment of and

sensuality It

is

and

a warninof asfainst the vices of

avarice.

more easy

to recognise the cicada

^

in this

cloisonne

Yctls,

"Syniljolisnv',

Yetts,

"Symbolism".

Fig. IV.

Cloisonne censer. (Victoria

&

Albert Museum.)

modern date

censer of comparatively

The Po-ku-tu though it be, it may

(Fig. iv).

says of the cicada that "tiny creature

serve

nevertheless

to

does the restraint ancient

known

that It

common

as the "fish"

shown

well

is

and

of cupidity

not so

yet

great ideas, signifying as

illustrate

"^

as those

^^

An

vice."

it

ornament as

already described

or "fish-scale pattern"

^

is

^t^.

the celebrated caldron preserved in the

in

monastery on Silver Island near Chinkiang. Much antiquarian has been devoted to this famous vessel.

literature

It

pos-

sesses an interesting inscription of which Dr. Bushell published

a translation

with a picture of the caldron in his

together

known book on Chinese

well

to indicate that

date

its

Again we turn

we

find

the

art

will

catch

that

people.

for

nor

fish,

seems

will

an explanation, and

a king's subjects, and

to

An

to that of ruling.

of angling

no

Po-ku-tu

compared

are

inscription

not later than about 800 B. C.

is

to the

fish

The

Art.

unskilled angler

a tactless prince win over his

.--".-

These few examples of the early bronzes.

I

have shown may be taken as

Examination

Chinese was limited.

It

is

a large number proves

'of

that the range of decorative motives

typical

employed by the ancient

difficult to

find

any ornamented

bronze of great antiquity that does not bear one or more three

of the

commonest symbolic forms,

the fao-fiek, and the primitive dragon.

be monotonous did they not recur

the meander,

viz,

This repetition would

in endless variations

and

combinations.

^

Less commonly met with are a number of other figures

which

I

have not yet mentioned.

the "recumbent silkworm"

For

instance,

^1j|, which perhaps

there

is

alludes to

an ancient national industry, and also various representations of thunder sides to

which

differ

from the meander.

a vast number of animal forms which

consider

appear on

here

in

detail.

sacrificial vessels

The was

There are beit

is

impossible

some

that

to indicate the kind of

meat

significance of

Yctts,

"Svmbnlism".

¥l<j:.

IV.

Cloisonne censer. (\'ictoi-ia

&

Albert Museum.)

modern date

censer of comparatively

The

(Fig. iv).

says of the cicada that "tiny creature though

serve

nevertheless

does

the

ancient

It

of cupidity

not

common

yet

well

is

so

as the "fish"

shown

;^

and

may

it

An ornament

vice."

it

as

those already described

as

^

be,

great ideas, signifying as

illustrate

restraint

known

that

to

it

Po-ku-t'u

or "fish-scale pattern"

l^^^

is

|^.

the celebrated caldron preserved in the

in

monastery on Silver Island near Chinkiang. Much antiquarian has

literature

been devoted to

famous

this

vessel.

It

pos-

sesses an interesting inscription of which Dr. Bushell published

a

together

translation

with a picture of the caldron in his

known book on Chinese

well

to indicate that

date

its

Again we turn

we

find

the

art

will

catch

that

compared

are

fish

to

to that of ruling.

nor

fish,

inscription

seems

not later than about 800 B. C.

to the Po-kic-f-ti for

of angling

no

is

The

Art.

will

an explanation, and

a king's subjects, and

An

unskilled angler

a tactless prince win over his '

people.

These few examples of the early bronzes.

I

have shown may be taken as typical

Examination of a large number proves

that the range of decorative motives

Chinese was limited.

It

is

employed by the ancient

difficult to

find

any ornamented

bronze of great antiquity that does not bear one or more three

of the

commonest symbolic forms,

the fao-tHeh, and the primitive dragon.

be monotonous did they not recur

the meander,

viz.

This repetition would

in endless variations

and

combinations.

Less

which

I

commonly met with are a number of other figures For instance, there is have not yet mentioned.

the "recumbent silkworm" B^^'^, which perhaps alludes to an ancient national industry, and also various representations

which

of thunder sides to

differ

from the meander.

a vast number of animal forms which

consider

appear on

here

in

detail.

sacrificial vessels

The was

There are beit

is

impossible

some

that

to indicate the kind of

meat

significance of

8

which the

for

utensil

was intended

the ritual worship of

in

ancestors.

As

continued

Many

made

but

of deception,

mementos of an proud.

exact

of the

of

antiquity

copies

in

modern

of comparatively

many of have been made the

satisfy

which

demand

the

the

nation

is

bronze or porcelain are

may be

type.

for

justly still

and often

art,

found applied to objects

must be remembered,

It

these replicas of ancient sacrificial vessels

too, that

for

to

are manufactured not

specimens of national

earliest

designs of 3,000 years ago

censers

They

the present day.

to

purposes

for

known, reproduction of ancient objects has

well

is

the

since

aromatic

first

century

substances

B. C.

to

act as

imported about

first

that time.

Some which

I

Chinese

sceptics

have challenged the antiquity of the designs

have described as forming the basis of indigenous

To meet

Art.

these doubts

many bone

evidence afforded by

fresh

of the recent discovery

in

I

Honan.

would advance the

objects forming part

Nearly

all

bones are inscribed with archaic characters, authority of Mr. L. C.

the

grounds to a period not

epigraphic

Chou

My

dynasty.

opportunity of these

Hopkins

of

Possibly

and we have

for assigning later

them on

than that of the

thanks are due to Mr. Hopkins for the

making drawings of a representative group

important

nificance of

these carved

(Fig. v), the full ethnological sig-

relics

which remains to be determined.

some of them represent

may belong Good Augury"

insignia of rank, or else

category of "Marvellous Objects

they

to

of

such as are figured in the famous Shan-

the

tung sculptures of the second century A. D. leave

to

consider

later

with

the

rebus type

Some we

will

of symbols.

Others bear the same designs we saw decorating the bronzes.

Here are the tao-Pieh, bent silk-worm".

and

fish (see

k'uei dragon, meander,

Also we find the

Note, Fig.

v).

and "recum-

tortoise, tiger or leopard,

lO

/ I

r

SCALE ONc lh4C H Fig. V.

Carved and ornamented bone objects of the Chou period. (From the collection of Mr, L. C. Hopkins.)

NOTE TO

FIG. V.

This group is selected from a large number of carved bone objects which formed part of the collection discovered in Honan. They are covered, except on the decorated parts, with incised characters of the type characteristic of the Chou period. These characters are omitted in Fig. v, since they do not : /' help to illustrate our subject. a.

b.

c.

.

d.

K

flat bone carved in the. shape of a sacrificial wine vessel, and, like most ancient bronzes, decorated with a fao-tHeh mask. A grotesque animal. It can be identified from its resemblance to figures described as k'-uei dragons in the works on ancient bronze. Probably an amulet in rebus form. Two musical stones {chHng) are joined with a disc {pi) between them, the three together meaning, "May doubled good fortune certainly be attained" (see p. 27). The lower chHng is decorated with what probably is one of the earliest known examples of the primitive continuous meander. Model of a two-edged sword. The hilt is ornamented with a fao-fieh and several examples of the "recumbent silkworm". It is interesting to note that this model bears a close resemblance to a sword of the Chou period pictured in the well-known catalogue, Hsi chHng ku

chien, e.

XXXVIII,

5.

This carving probably represented the heads and fore quarters of two tigers or leopards. One head has been broken off. The bone is stained green and the markings are painted on in reddish brown. Its

shape and the presence of holes in

may have been

a handle fixed to the

its

lower edge suggest that

lid of

some

it

vessel.

f,g,h. Amulets of the rebus type as explained in the text (see p. 27). It should be remarked that g is probably one of the oldest extant examples of a very

common

Chinese symbol, the "couple of fish"

"^ -^

12 If

we

are to believe classical literature, the arts of weaving

and embroidering any practised

in

known examples

Many

-j-'

old

still

to very

not older than

Unfortunately there are no

used to decorate

remote antiquity.

known

A.D.

textile fabrics

Among

the ear-

"Twelve Ornaments"

as the

According to the Shu-ching they were

(Fig- vi).

+ # £

%.

1L

if

extant older than about the sixth century

a group of symbols

Hi ;^

as

quite

ancient China.

of the designs

must date back liest is

are

silk

ill ^^'^c

'K

Fig. VI.

ts'-ai

t'-u

by the Emperor Shun

^

as being ancient even

referred to

at that distant date

as

the

translated

—

figures

stars, the

hui^ Section

more than 2,000 B. C.

by Dr. Legge runs thus

emblematic

moon, the

on Dress).

The Twelve Ornaments (from San

of the

:

ancients,

— —

The passage "I wish to see

the

sun,

the

mountain, the dragon, and the flowery

13 fowl,

which are depicted on the upper garment^ the temple-

cup,

the

aquatic

the

grass,

and the symbol of

hatchet,

—

on the lower garment:

flames, the grains of rice, the

which are embroidered

distinction,

/ wish

to see

these displayed

all

with the five colours, so as to form the official robes

yours to adjust them clearly." Pt.

I,

p.

'^--"

80).

Only the Emperor had the set of twelve painted or

The

were

nobles

it

[Chinese Classics^ Vol.

/:;::.;; vr:;.^;^

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;

^vv:

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is

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;:

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right to

wear the complete

embroidered on

his sacrificial robes.

restricted

the

to

symbols according to their rank.

use

of certain

These archaic

of the

figures

still

decorate state vestments, and some of them are often found

on porcelain and on other works of

among emblem

1^

||^

The two fu

may be taken

are

as the

of a warrior, but the original meaning of the other

doubtful.

is

The axe

commonest.

the

art.

It

is

used at the present day to signify

"embroidered".

Many are

of the fundamental inventions of Chinese civilization

attributed

to

the

legendary Yellow

Emperor who

supposed to have reigned two and a half millennia B.

and included

among

his reputed

achievements

of a systematic study of astronomy. the

that

of the

division

celestial

is

At any

is

C,

the institution rate

we know

sphere into twenty-eight

was conceived more than 3,000 years ago, mentioned In the Chou Ritual.

constellations for

it

is

^

The character used for these constellations is taken to mean the "mansions" or "resting-places" of the sun and moon in their revolutions. Seven of these stellar "mansions" were allotted heaven.

to

The quadrants were

we

all

"

influence over national

the

associated with four animals

Four Supernatural Creatures" P^ jjjj ) which, know, maintain their importance and exert an

(often called the

as

each of the four quadrants of the vault of

life

domain of geomancy.

to the present day, especially in

They

are represented with con-

siderable artistic merit on this bronze mirror (Fig.

vii).

14

The "Azure Dragon"

^^

presides

VermiHon Bird" :^ ,^ (i. over the southern, the "White Tiger"

quarter, the

"

and the "Black Warrior" northern

(see

and a year,

Fig. VII.

it

^^

south,

eastern

the Chinese phoenix)

Q^

over the western

the tortoise) over the

e.

xiii).

Mirror of the T'ang period, A. D. 618-905,

which

the

From an analogy between a day can be understood how these animals further

Fig.

symbolised the four seasons. east,

(i.

e.

over

hence

corresponds

which suggests Summer.

(From Hsi chHng ku

The morning sun to

By

Spring

;

at

is

chien).

in the

noon

it

is

similar parallelism the

west corresponds to Autumn, and the north to Winter.

A

consideration of the primitive age of Chinese Art would

be incomplete without mention of the familiar set of symbols called the

pa-kua f\

^

.

This group

is

constantly employed

15

and perhaps

a decoration,

as

other

when

ago,

Legend dates

designs.

was revealed

it

surpasses

it

its

in antiquity all

origin about 5,000 years

Fu Hsi -^

to the mythical

^

by markings on the back of a creature called a "dragonhorse"

The

f|,^. formed the basis of ancient philosophy and

pa-ktia

They

divination.

amulet (Fig.

Fig. VIII.

represented

are

viii).

The

centre

is

on

both sides

of this

by a

circular

occupied

Amulet bearing the "Eight Trigrams" and the common

felicitous

phrase, "Happiness as the Eastern Sea; Longevity like the Southern Mountain."

figure

used

^fc®

or "Source of Existence".

Regulating

to

symbolise

Powers"

^^

which together create

all

the

,

the

"Great It is

Principle"

divided into the

yang phenomena the

Ultimate

^

"Two

and the yin |^

of Nature.

Around

emblem are grouped the eight trigrams themThe former selves, composed of unbroken and broken lines. stand essentially for the yang, the latter for the yin. Hence the

central

the

three whole lines, (called chHen

^),

correspond to the

unalloyed yang or male principle, and thus to heaven and creative power; while the three broken ones, (called k-un i:^)

correspond to the yin or female principle, and so to terrestrial matter and productiveness.

From

the

pa-kua

as

a

starting-point

the

imaginative

ingenuity of sages evolved an endless series of permutations

i6

and combinations of

linear figures,

which were supposed to

provide a ckie to the mysteries of Nature.

we have had to deal with an indigenous growth, but now we come to an age of foreign influences that so added to and modified native traditions that it may be said So

far

have brought about a renaissance of Chinese Art.

to

Under the great Han dynasty, which reigned two

barriers

two

centuries

after

about

Christ,

the

were broken down that had hitherto isolated the

Middle Kingdom

some

and

before

centuries

for

from the

No

of the world.

rest

doubt

intercourse of a commercial kind with outside nations

126 B. C, but that was the date

had taken place before

West was first estabfamous minister Chang Ch'ien

when regular communication with In

lished.

year

that

the

the

returned from his mission to the Indo-Scythians, and brouofht

back

He

during his travels.

and had come ried

in

much

him

with

touch with Grecian culture.

back to China several

see

that

collected

had learnt something of Buddhism

plants, of

and pomegranate are most important

we

knowledgfe

alien

foreign civilization

He

also car-

which the grape-vine

Thus

for our purpose.

first

made

its

influence felt

through the channels of trade and diplomacy. Since the beginning of our era this transmission of ideas

was aided by a

still

— that of

more potent agency

religion.

Missionaries of Christianity (Syrian and European), of Mani-

cheism,

of Islam,

—

and

above

Buddhism, received a welcome

became

in

all

in

importance

—

of

China, where they inevitably

apostles not only of their respective creeds but also

of their national culture.

Buddhism was not 67,

and

firmly established in China

for several centuries

made no

till

A. D.

great headway.

revival took place about the middle of the

fifth

A

century and

the whole country was flooded with examples of Buddhistic Art. several

Most important remains following

belonging to

this

and

to

centuries have been excavated in Eastern

Yetts, "Symbolism".

Fig. IX.

Blue and white porcelain dish decorated with the "Eight Lucky-

Emblems" and

the conventional lotus design. (Author's Collection.)

17

Turkestan during" the

last

name

connection with which the

in

These

twenty years.

discoveries,

of Dr. Stein

is

familiar,

viewed together with the results of Prof. Chavannes' recent archaeological survey in Northern China, demonstrate in the clearest

Art to

manner the transmission of ancient Mediterranean the Far East via Assyria, Persia, Bactria, Gandhara

and Turkestan.

An image

found by Prof, Chavannes

^

Yiin-kang

at

|^

in

in

one of the grottos

Shansi illustrates to what an extra-

ordinary extent the practice of indiscriminately copying Greek

models existed This figure

The

the

petasiLs

of

of the great Buddhist revival.

time

endowed with

is

distinct deities.

hand,

the

at

attributes of

thyrstLs of

Dionysus

of Poseidon in

trident

Hermes crowns

its

left,

is

than three

less

held in

its

right

while the winged

(See Mission Archeo-

head.

its

no

logique dans la Chifie Septentrionale^ Plate 117.)

Thus we see world of alien

theme

favourite

that

Buddhism not only introduced a whole

mythology which for

sion of these

To

new

centuries

provided a

Chinese painters, sculptors, and designers

every branch of Art, but

in

for

It

also directed the very expres-

ideas along the lines of

Western

tradition.

the present day Greco-Indian and Persian elements are

found mingled with the purely native decoration.

Perhaps Chinese

/V "^

no

artist

Ji^i

symbols

are

more

often

employed by the

than those called the "Eight Lucky Emblems"

group taken mainly from the numerous objects

3-

supposed to have figured on the sole of the Buddha's

They form (Fig. IX).

At

the

chief decoration

this dish

'-— y-^-

'

the top

on the back of

foot.

is

the canopy, an attribute of royalty.

surrounded with flames,

is

the

"Wheel

Next,

of the Law", which

heralds the coming of a ChakravartI or Universal Monarch.

Sometimes the wheel used

in

is

replaced by a large bell such as

Buddhist temples.

Next comes a

is

state umbrella

employed throughout the East as a symbol of high rank.

Vetts,

"Symbolism"

Fig. IX.

Blue and white porcelain dish decorated with the "Eight Lucky Emblems" and the conventional lotus design. (Author's Collection.)

Turkestan during the

name

connection with which the

in

viewed toeether with the

These

twenty years.

last

discoveries,

of Dr. Stein

results of Prof.

familiar,

is

Chavannes' recent

archaeoloeical survey in Northern China, demonstrate in the clearest

Art

to

manner the transmission of ancient Mediterranean the Far East via Assyria, Persia, Bactria, Gandhara

and Turkestan.

An

^

Ylin-kang-

at

Chavannes

imao-e found bv Prof. [;6|

in

in

one of the

<^"rottos

Shansi illustrates to what an extra-

ordinary extent the practice of indiscriminately coi>ying- Greek

models existed This figure

at

the

The

trident

dans

Thus

of Dionysus its

is

than three

less

held in

its

while the winged

"

Ikiddhism not only introduced a whole

mythology which

theme

for

right

(See JMission Archco-

head.

its

left,

no

Chine Scptentrionali\ Plate 117.)

la

world of alien

for

centuries

provided

a

Chinese painters, sculptors, and designers

every branch of Art, but

in

attributes of

of l^oscidon in

w^e sec that

favourite

of the o-reat Buddhist revival.

fJiyrsiis

of Ilermes crowns

petasiis logiqtie

time

endowed with

is

distinct deities.

hand,

the

it

also directed the very expres-

sion of these new^ ideas along the lines of Western tradition.

To

the present day Greco-Indian and Persian elements are

found mingled wdth the purely native decoration.

Perhaps Chinese

/\ "^

no

artist

jjj^,

symbols

are

more

employed by the

often

than those called the "Eight Lucky Emblems"

a group taken mainly from the numerous objects

supposed to have figured on the sole of the Buddha's

Thev form (Fig-

At

the

chief decoration

IX).

.,,

the top

is

.^

on the

back of

this dish

.:,.,. _^^_.

the canopy, an attribute of royalty.

surrounded with flames,

is

the

foot.

"Wheel

Next,

of the Law", which

heralds the coming of a Chakravarti or Universal Monarch.

Sometimes the used

in

wdieel

Buddhist

is

replaced by a large bell such as

temples.

Next comes a

is

state umbrella

employed throughout the East as a symbol of high rank.

i8

The

though

longevity,

The conch

at religious festivals

Here

be an emblem of

it

is

also

is

used as a wind instrument

one of the insignia of

royality.

the familiar sacred lotus, and here the jar used for

is

containing the

•,

taken to

is

was probably derived from the mystic

it

of Vishnu.

sign

knot

endless

so-called

We

relics.

—

a pair of

marriage and hence

fishes representing

The Han

taken on

very ancient Chinese symbol

of a

guise

find the Buddhist fish has

period

was remarkable

fertility.

for

another

impulse

which profoundly modified national

Taoism,

a

However

^ ^ about

lofty

refer to

I

supposed to have been founded by the

religion

sage Lao Tzii

art.

religious

and

the seventh century B. C.

spiritual the original teaching of this

^

may have been, the doctrine of Tao did not survive many generations before it sank to the level of mere The promise of a blissful immortality to be materialism.

philosopher

attained after a

prolongation of earthly existence.

artificial

of

of virtue and self-sacrifice suggested the

life

Taoism charlatans

who pandered

and that immortality might be gained by

gold,

into

eating and drinking out of vessels Further,

^f

it

China.

In

fungus

[ling-chih

eternal Just

these

of jade.

fountain

made

of gold thus produced.

was believed that "Three

existed

iJj

[Ij

to the popular

Alchemists declared that cinnabar was transmu-

longing. table

multiplied

Under the cloak

in

Isles

of the Blest"

the Eastern Sea opposite the coast of

supposed abodes of immortals the sacred

^^) Whoso

grew, ate

and wine flowed from a

and drank of them attained

life.

before

the

Han

period the famous "First Emperor"

despatched an expedition of several thousand boys and to search for these marvellous islands. later,

with

under the the

Han Emperor Wu,

another mission set out

same purpose, and the Emperor himself

to the coast far distance.

girls

Less than a century

travelled

hoping to catch a glimpse of the islands

in

the

Yetts,

"Symbolism".

Fig. X.

Bronze hill-censer of the

Han

(Victoria

&

period. Albert Museum.)

k'etts,

"Symbolism".

19

About was

time

this

made

first

(i.

e.

the

first

and second centuries B. C.)

the type of censer called po-shan-lu

U

M.

l-U

•

a learned essay Mr. Berthold Laufer has shown that a

In

such

hill-censer

as this

probably represents one of

x)

(Fig-,

the "Isles of the Blest" rising out of the sea, which

by the large open dish

Han

of the

at

its

is

typified

(See Chinese Pottery

base.

Dynasty^ pp. 174—198).

Later these island abodes of Immortals and the marvels

became a

contained

they

who

poets,

delighted

favourite

set in romantic scenery

palaces,

members

of the Taoist mythology.

of an

acquisition

and peopled with

compete

In order to

and Buddhism the votaries

Confucianism

with

successfully

and

artists

pantheon was another

of later Taoism.

feature

materialistic

extensive

for

mysterious world of

portraying a

in

fantastic

The

theme

of the church of Tao during the early centuries of our era

found the

two

systems,

rival

own celebrities. Though it is pa-hsien

In

coration.

to

adopt favourite

but also to canonise

outside

/\ f[l]

are very

attributes

only

my

subject to

go

deities

many

of

of their

into questions of

mention must be made of a group known as

mythology, the

not

necessary

it

this

"Eight

or

commonly employed of brocade

piece

group are represented by

their

because

Immortals", in all

forms of de-

members of

four

emblems

their

—

-

the

a pair of casta-

nets,

a crutch and a pilgrim's gourd, a magic sword, and a

lotus

bloom

a fan,

(Fig. xi).

The remaining

bamboo tube and

a

Without going

flowers.

separately,

it is

principles.

The

rods, a flute,

into

the

sufficient to state that

flowers

Several

we ^ifC fll]

and a basket of

meaning of each

one

they symbolise Taoistic

cult of immortality led to

being used as emblems of longevity.

brocade

attributes comprise

a number of objects

In the

same

piece of

find a vase containing sacred fungus, narcissus 'fS

,

bamboo

twigs,

and a bunch of peaches.

of these serve separately to typify immortality, but

\'etts,

"Svnibulisin"

Fig.

XL

Brocade. (Victoria

&

Albert Museum.)

19

About was

made

first

|^

out of the sea, which

rising-

by the large open dish

Han

and second centuries B. C.)

^.

[Jj

as this (Fig. x) probably represents one of

the "Isles of the Blest"

of the

first

essay Mr. Berthold Laufer has shown that a

such

hill-censer

the

e.

(i.

the type of censer c^W^d. po-shan-hi

learned

a

In

time

this

at

typified

(See Chinese Pottery

base.

its

is

Dynasty^ pp. 174—198).

Later these island abodes of Immortals and the marvels

became a

contained

they

who

poets,

delighted

portraying

in

theme

for

and

artists

mysterious world of

a

set in romantic scenery

palaces,

fantastic

favourite

and peopled with

members of the Taoist mythology. The acquisition of an extensive pantheon was another of later Taoism.

feature

materialistic

and Buddhism the votaries

Confucianism

with

successfully

compete

In order to

of the church of l^ao during the early centuries of our era

found the

two

systems,

rival

own celebrities. Though it is pa-Jisien

attributes

coration.

outside

/\

|[lj

are very In

this

nets,

a crutch

lotus

bloom

fan,

a

my

subject to

made

"Eight

or

their

(Fig, xi).

separately,

it

principles.

The

The remaining

of their

known

because

all

as

their

forms of de-

members of

—

the

a pair of casta-

is

o-oino-

attributes comprise

rods, a flute,

into

the

sufficient to state that

and a basket of

meaning:

of

1

bamboo

twigs,

one

number of objects

In the

same

find a vase containing sacred fungus,

flowers 7[C f[1] 'f^

each

they symbolise Taoistic

cult of immortality led to a

being used as emblems of longevity.

Several

in

four

emblems

of

into questions of

Immortals",

of brocade

piece

many

of a groujj

commonly employed

bamboo tube and

brocade we

go

deities

and a pilgrim's gourd, a magic sword, and a

Without

flowers.

adopt favourite

but also to canonise

group are represented by

a

to

mention must be

mytholog)', the

only

not

necessary

it

piece of narcissus

and a bunch of peaches.

of these serve separately to typify immortality, but

20 probably they are associated here

symboHsm we

a kind of

shall consider later.

to state that this combination

portrayed

Chinese Art.

in

God

shipping the

popular subject

which

of Longevity"

one of a

is

called,

is

in

It

must

—

suffice

emblematic of a scene often

is

It

represented

is

order to form a rebus

in

J

f[1]

"Divine Genii worjg!l

^

The same

•

the next illustration (Fig.

by a Ming

set of paintings

xii),

The

artist.

venerable being here depicted forms the central figure to a

way amid Shou Lao ^;^,

procession of Taoist notables shown wending their

romantic

scenery

bent with years,

and

feathered

in

respect.

surrounded by attendants holding various

sits

There

of his attributes. of him,

pay him

to

is

a dish of peaches placed in front

the foreground stands the patriarch of the

The

tribe.

stork

and

powers of longevity,

is

with extraordinary

credited

therefore often represented as

is

the aerial messenger of Taoist deities, bringing from paradise the

its

beak. In

very

familiar

to

^

much elongated its

original

often

of

head

it

sent

good

all

it

carries in

acquainted with things Chinese.

meaning "as you

,

S,

letter

its

Shaped

wish".

essential feature

fashioned like the sacred fungus.

is

use as

which

fate

hand the God of Longevity holds an object

his right

called y?/-2 ^(j

that

human

clouds the tablets of

in

may have

a

gift

been,

by one

at

seems

It

like a

be

to

Whatever

present day

the

is

it

is

friend to another as a token

will.

Frequently the pine, bamboo, and prunus are represented

grouped together as emblems of longevity. because winter;

they the

apparently

last

favourite

and

branches It

is

of

a

appear on tree

till

is

it

leafless

reaches

and an

the prunus blossom, a

by the way. Western dealers

persist in calling

throughout the

hardly necessary to point out what

motive of decoration

flower which,

flourish

because blossoms

lifeless

extreme old age. a

evergreen

are

The two former

"hawthorn".

in porcelain will

Yetts,

"Symbolism".

Fig. XII.

Lao by the Ming Sung Mou-chin.

Picture of Shou artist

;

:

(Author's Collection.)

20 probably they are associated here

symboHsm we

a kind of

portrayed

Chinese Art.

in

God

the

shipijing

po}nilar subject wliich

It

represented

is

called,

is

in

It

must

suffice

emblematic of a scene often

is

of Longevity"

one of a

is

shall consider later.

combination

to state that this

—

order to form a rebus

in

^

f[]j

"Divine Genii wor-

j^

^

The same

.

the next illustration (Fig.

by a Minor

set of i^aintino's

xii),

The

artist.

venerable being" here depicted forms the central figure to a

way amid Shou Lao ft^,

procession of Taoist notables shown wending their

scenery

romantic

bent with years,

to

and

feathered

powers

in

respect.

surrounded by attendants holding various

sits

There

of his attributes. of him,

pay him

a dish of peaches placed in front

is

the foreground stands the patriarch of the

The

tribe.

stork

and

of longevity,

is

with extraordinary

credited

therefore often represented as

is

the aerial messenger of Taoist deities, bringing from paradise the

its

beak. in

familiar

called yV/-/

to

^p ^^

much elongated that its

sent

use

good

as

all

meaning "as

,

S,

letter

its

may have

a

essential feature

at

;

is

like

a

be

to

Whatever it

is

friend to another as a token

will.

they the

apparently

are

bamboo, and

favourite

everfrreen

because

last lifeless

extreme old age. a

seems

It

present day

the

])runus are represented

grouped together as emblems of longevity.

winter

carries in

Shaped

wish".

)"0u

been,

by one

gift

b'requently the pine,

because

it

acquainted uith things Chinese.

fashioned like the sacred funous.

is

original

often

of

head

it

which

fate

hand the God of Longevity holds an object

his right

very

human

clouds the tablets of

in

is

flourish

of

a

throuL>hout

appear on

blossoms

branches It

and

The two former

tree

till

it

leafless

reaches

the

and an

hardly necessary to point out what

motive of decoration

is

the prunus blossom, a

llower which, by the way, Western dealers in porcelain will persist in calling

"hawthorn".

Yetts,

"Symbolism".

Fig. XII.

Lao by the Ming Sung Mou-chin. [ou-chin.

Picture of Shou

'

artist

'

(Author's Collection.)

Vetts,

"Symbolism".

^.f^'l^

^^

3

J-

f=1

^

-fe

-^ '« y

^

/It)

-^

IT

>

^i^'

Ji Fig. XIII.

K

fi -t

:^,

/^

.^|i

^Y^

Mirror of the T'ang period, A. D. 618-905. ~~~

(From Chin shih

so.')

21

Han

Let us turn again to the another

importation.

foreign

a learned

to

article

period

order to consider

in

Chavannes has written

Prof.

prove that the group known as the

"Twelve Animals" was borrowed from the Turks, and was used

China certainly as early as the

in

(See

era.

T''oung-pao, Vol. VII,

This zodiac of twelve In China

East.

known

as

the

it is

is

first

century of our

many

nations of the

1906.)

common

to

held to correspond to a set of characters

"Twelve Earthly Branches" which together

with the "Ten Heavenly Stems" form a series of sixty combinations used for

Each

naming the

day and hour,

month,

year,

years, months, days

with one of these twelve animals

;

therefore,

he should taken

do

unless

so,

for

associated

and every Chinese knows

under which animal he was born.

well

is

and hours.

It

is

essential that

no important step throughout

life

under the auspices of his particular animal.

Indeed, this mysterious influence extends even beyond his

and

taken into consideration

is

A

We

in the disposal of his corpse. this

and other

groups executed with considerable

skill

(Fig.

of the

xiii).

see in the centre a plain circle or button, perhaps repre-

senting the "Great Ultimate Principle".

of the

"

Four Quadrants".

and next

rat,

pig,

animals, lations

Outside these the "Eight Trigrams",

dog,

The outermost

snake.

Next are the animals

them the "Twelve Animals",

to

fox,

tiger,

— dragon, hare,

monkey, goat, horse, and

cock,

zodiac

viz.

is

composed of twenty-eight

each corresponding to one of the ancient constelalready

described.

This series of twenty-eight ani-

Perhaps

it

coeval with the duodenary group, and probably there

is

mals is

life,

T'ang dynasty shows

mirror

zodiacal

is

is

not

mentioned

in

the ancient classics.

some connection between the animals

that

appear

in

two.

Certainly,

the

same

the group of twelve figure also in

the larger zodiac.

The Chinese

craftsman

constantly

makes use of

fabulous animals for decorative purposes.

certain

The group known

22 as the "Four Supernatural Creatures" it

comprises the dragon, phoenix, unicorn, and tortoise.

and foremost comes the dragon.

First

a I

common;

the most

is

emblem and deserves much more

national

have time

to give

identity of the Chinese dragon.

come under

headings

four

remains

is

essentially

attention than

it.

There has been much speculation as

fossilised

It

:

zoological

Briefly, the various theories

—

that

First,

it

based on

is

vague memory of some

represents a

or

the

to

pre-historic monster, such as the ichthyosaurus.

Secondly, that

has no prototype

it

in nature,

but

is

merely

an imaginative creation. Thirdly, that

And

last

it

has been borrowed from foreign mythology.

and most

form of the

modified

that

likely,

alligator

We

found to the present day

—

-^^

^^^^^

^^

^^

Dragon"

found

dragons decorating belong to

-

to fall

in

the

Shantung

modern censer

Another

called the

is

frequently reproduced.

this

is

chHh

Intermediate the "Yellow

sculptures.

(Fig. xiv)

The

appear to

this class.

The modern dragon :

in, v^).

between the primitive and modern

type

— of a

antlers

ii,

without horns or scales,

form,

iB9l-

follows

said

have seen specimens of the k'uei dragon decorating

primitive

in

in

the primitive and the modern.

ancient bronze and carved bone (Figs,

lung

nothing else than a

They may be

been described and pictured.

two groups

is

Several different kinds of dragons have

the River Yangtse.

into

it

"It

carries

stag.

described by a Chinese author as

is

on

forehead horns resembling the

its

has the head of a camel, the eyes

It

of a hare, the cars of a bull, the neck of a snake, the belly of a frog, scales like a like

a

)^

^

with

tiger." .)

its

(Quoted

fish,

talons like an eagle,

in the

Another writer

and paws

great Materia Medica, i^

states that

It

'^

has no ears, but hears

horns.

Perhaps the

earliest

known example

that answers to this

"Symbolism".

Yetts,

Fig.

XIV.

Modern censer decorated

Fig.

Fig.

XVI.

Tile discs from the at

XV.

Bronze decorated with

modern dragons.

with archaic dragons.

Ming Tombs

Nanking.

Fig

XVII.

Carved wood supports to screen. (Author's Collection.)

22

"Four Supernatural Creatures"

as the it

comprises the dragon, phoenix, unicorn, and tortoise.

and foremost comes the dragon.

I'irst

a I

common;

the most

is

emblem and deserves much more

national

have time

to orive

identity of the Chinese dragon.

come under

headings

four

remains

is

essentially

attention than

it.

There has been much speculation as

fossilised

It

that

First,

based on

is

it

vague memory of some

represents a

or

zoological

Briefly, the various theories

—

:

the

to

pre-historic monster, such as the ichthyosaurus.

Secondly, that

it

has no prototype

but

in nature,

is

merely

an miacrmative creation. Thirdly, that

And

it

and most

last

form

modified

has been borrowed from foreign mythology. that

likely,

Several different kinds of dra^'ons have

They may be

been described and pictured. two groups

We

—

said

to

fall

the primitive and the modern.

have seen specimens of the k'uei dragon decorating

ancient bronze and carved bone (Figs, primitive

king ^^

It

.

ii,

without horns or scales,

form,

-^ll

is

still

^

Dragon"

-^||

found

dragons decorating

Nb).

iii,

frequently reproduced.

the

in

Shantung

modern censer

this

Another

called the

is

between the primitive and modern

type

in

nothing else than a

of the alligator found to the present day in

the River Yan^tse.

into

is

it

is

chHh

Intermediate the "Yellow

sculptures.

(Fig. xiv)

The

appear

to

belonor to this class.

The modern dragon follows: antlers

— of

"It

a

described by a Chinese author as

is

carries on

stag.

its

has

It

forehead horns resembling the

the

head of a camel, the eyes

of a hare, the cars of a bull, the neck of a snake, the belly of a frog, scales like a like a tiger." jpPI

with

^

•)

its

(Quoted

fish,

in

Another writer

talons like an eagle,

and paws

the great Materia Medica, i^

states that

it

^

has no ears, but hears

horns.

Perhaps the

earliest

known example

that answers to this

Vetts,

"Symbolism".

Fie.

XIV.

]\Iodern censer decf)rate(l

Fig.

XV.

Fig.

XVI.

Tile discs from the at

llron/.e

decorated

witli

modern dragons.

with archaic dragons.

Ming Tombs

Nanking.

Fig

XVII. ;,

Carved wood supports to screen.

(Author's Collection.)

Yetts, "Symbolism".

Fig.

XVIII.

T'^an painted

on yamen

wall.

(From Wei-hai-wei.)

Fig.

XIX.

(From

Sacrificial

Officers'

wine

vessel.

Mess, R. M. B., Chatham.)

23 description

is

the one found pictured in the Shantung sculp-

tures of the second century A. D. (See Chavannes, Mission

Everyone

Archeologique^ Plate 30.)

of dragon

•,

is

familiar with this class

indeed, most people expect to find

emanating from China. Near

its

mouth

is

it

on everything

generally represented

a ball surrounded with flames and clouds (Fig. xv).

commonly

This ball

some have described it as the sun and Dr. Hirth has brought evidence to show that it is an emblem of thunder [Chinesische Studien^ p. 232, et seq.). The symbolic meaning of the dragon is a wide subject. is

called a "pearl";

;

We

saw that native archaeologists have assigned the

variety

k^uei

admonisher

of

role

In this connection

avarice.

to

the

greed and

against

would venture to suggest that

I

the familiar monster found painted on the screen-wall in front

yamen

of every It is

^

designated by f-an

Standing as

"avarice". vice,

a direct descendant of the

is

cannot

it

it

the

,

a salutary warning to

dragon.

same character as

that for

does for the embodiment of

by reason of

fail

k''uei

the

its

The dragon, Quadrant,

is

besides

is

who must yamen (Fig.

for the latter's

it

xvni).

the Eastern

par

excellence of

That

consistent with

encounter

being associated with

considered the representative

the watery element.

Flood

hideous aspect to convey

official,

every time he enters or leaves his

this

it

should typify Spring, Rain, and identification with the alligator,

its

emergence from hibernation synchronises with

the coming of Spring and the rainy season.

As an emblem

of royalty the dragon has been used from

Why

the earliest times.

apparent,

unless

as

this

tile

emperor

The

should have this meaning

bringer of rain

agricultural people as of

on

it

not

was regarded by an

The dragon the first Ming

paramount importance.

from the tomb at Nanking of

figures as a sign of imperial rank (Fig. xvi).

other

tile

(Fig. xvi)

is

we are accustomed Chinese name is feng M

bird which Its

it

is

.

decorated with the fabulous to describe as the "phoenix". It

seems that

this

designation

Yctts, "Symbolism".

r^^^^y^^^mmimm:*'^^^

Fig.

XVIII.

T''(7n

painted on yauicii wall.

(From Wei-hai-wei.)

Fig.

XIX.

Sacrificial

wine

(From Oflkers' Mess, R. M.

vessel.

B.,

Chatham.)

description

the one found pictured in the Shantung- sculp-

is

tures of the second century A. D. (See

Everyone

Archeologique^ Plate 30.) of dragon

;

is

Chavannes, Mission

familiar with this class

indeed, most people expect to find

emanating from China. Near

mouth

its

is

it

on everything

generally represented

a ball surrounded with flames and clouds (Fig. xv). is

commonly

sun

;

and Dr. Hirth has brou^jht evidence

an emblem of thunder {C/iincsiscke

The symbolic meaning

We

saw

the

variety

k'tiei

native

that

of the dragon

In this connection

avarice.

is

is

it

a wide subject. the

to

and

greed

against

would venture

I

show that

to

have assigned

admonisher

of

as the

It

Stiidien^ p. 232, ct seq.).

archaeolojjists

role

This ball

some have described

called a "pearl";

to sucjijest that

the familiar monster found painted on the screen-wall in front

yamen

of every It

is

^

designated by t-an

Standing

"avarice". vice,

a

a direct descendant of the

is

cannot

it

it

to

the

its

official,

every time he enters or leaves his

The dragon, Quadrant,

is

Flood for the

is

That

consistent with

latter' s

it

it

.

the Eastern

with pai'-

of

excellcfice

should typify Spring, Rain, and identification with the

its

this

who must encounter yamen (Fig. xvni).

considered the representative

the watery element.

as that for

hideous aspect to convey

being associated

besides

dragon.

does for the embodiment of

by reason of

fail

warning

salutary

as

same character

the

,

k''uei

alligator,

emergence from hibernation synchronises with

the coming of Spring and the rainy season.

As an emblem

of royalty the dragon has been used from

Why

the earliest times.

apparent,

unless

as

this

emperor

The

tile

it

paramount importance.

from the tomb

The dragon

Nankingf of the

at

other

tile

(Fig. xvi)

is

we are accustomed Chinese name is/cv/^ M.

not

is

was regarded by an

first

figures as a sign of imperial rank (Fig. xvi).

bird wdiich Its

should have this meaning

bringer of rain

agricultural people as of

on

it

Minof :

:

decorated with the fabulous to describe as the "phoenix". It

seems that

this

designation

24 includes two distinct varieties, an archaic kind like a pheasant

found on

ancient bronzes, and a later representation which

combines

apparently

peacock.

Prof.

fying

latter

the

Nos.

i,

pheasant

and

out a strong case for identi-

variety with the peacock attendant on the

the person of Hsi

Sinica^

of

characteristics

made

Giles has

Greek goddess Hera, in

the

whom he Wang Mu

believes to have been sinicised

® 3E

fl^

(^^^ Adversaria

•

9.)

Under the name of the "Vermilion

Bird"

we have seen

fhig presiding over the southern quadrant of the uranoscope. Hence it stands for the sun and warmth, and for

the

summer and abundant harvests. These felicitous associations may explain why the ancient classics describe the advent of a feng as heralding some particularly auspicious event. The feng was employed by the Empress of China as her special badge. Our tile shows a simple conventional form of this

but

motive,

often

is

it

elaborated and provides a

highly decorative design.

The

next supernatural animal

the Chinese unicorn (Fig. xix).

connect

to

it

with any actual animal, though quite possibly

may have been some

it

but

that

described as

Its

with scales like a

fish.

The predominant and benevolence are

extinct

remained at the time of

told

that the

earliest

mention of the lin

Book of Odes, Several centuries later it was having the body of a deer, the tail of an ox,

single horn.

and

The

had been captured.

and a

still

now

Tradition states that the sage actually saw one

occurs in the

we

rare kind of quadruped

of which a few examples

Confucius.

the lin or ck'i-lin |^J|p|, There seems little evidence

is

to

that

it

end of

that,

though able

that

when

this

body

is

said to be sometimes covered

quality of ihe lin all

living things.

perfect goodwill

As examples

of this

not even tread on growing grass,

will its

is its

horn

for war,

it

is

covered with

wishes for peace.

amiable creature appears

it

flesh to It is

show

believed

portends some

25 auspicious

such

event,

the

as

There

of a wise sovereign.

when Confucius came into The tortoise has been the

markings on

universe.

the world.

from the

credited

It

known

well

is

a

shell

its

"

Fu Hsi

"Eight Trigrams" to

clue

the mysteries of the

to

dragon-horse"

and that the

;

revealing the

in

shells of tortoises

were anciently employed as one of the chief elements art of divination.

We

times

earliest

that one of these sacred crea-

with the

collaborated

tures

a legend that one was seen

is

messenger to the human race, conveying by

being a

with

of a sage or the rule

birth

^^^

^^^^^^^^^^^ :

have seen the

^

;^

:

in the

under the name of the "Black

tortoise

Warrior" presiding over the Northern Quadrant and standing

symbol

as a Its

for Winter.

well-known powers of longevity cause

it

be frequently

to

employed as an emblem of that much desired possession. It

probably to act

is

in this capacity that

sculptured to carry on

means the

a tortoise

back an inscribed

its

subject of the

stele, for

is

often

by

monument becomes endowed

this

with

the stable and everlasting qualities characteristic of the animal.

Zoological symbolism must not be

more about the

thing

Just as the

the

tiger

of

lord

lion.

chief of all aquatic creatures, so

is

land

all

without saying some-

and a few words about the

tiger,

dragon

left

These

animals.

is

two share the

position of prime importance in the mysterious pseudo-science called feng-shid.

The

ancient bronzes, and

ment on the with a ring in

sides its

tiger

its

is

head

is

of bronze

mouth.

It

figured on still

many

reproduced as an orna-

and porcelain

vessels, often

frequently appears in a grotes-

que form which native archaeologists designate a \^.'

The

tiger symbolises military prowess.

of special

terror

to

demons, and

walls to scare malignant spirits

of the most

is

"

quadruped"

It is

therefore

an object

painted on

away from the neighbourhood

of houses and temples.

The

lion

motive was unknown

in

ancient Chinese Art,

26

and probably

its

Han

History

period.

appearance was on pottery of the

earliest

us that in 87 A. D. hons were

tells

sent to China as tribute, but, according to Mr. Laufer, those

Han

found on pottery and bronze mirrors of the not copied from

When

models. as

it

life

time were

but derived from Mycenian and Greek

occurring

company with the

in

grape-vine,

does on the mirrors, the lion doubtless stands for an of Dionysus.

attribute

The kind borrowed from European

Art bore a strong resemblance to nature. another Hon prototype.

I

mane and

that

appeared

seems

later

refer to the snarling

In contrast to to

it,

have no Hving

monster loaded with shaggy

fantastic curls so often represented in pairs at the

of temples and other buildings.

entrances

This

is

the con-

wake

ventionalized lion of India, one of the followers in the

of Buddhism and one which by virtue of ficance has persisted to the present day.

religious signi-

its

At

first

no doubt

employed as defender of the Law and protector of sacred edifices,

it

soon became popular

shows a pair of

for secular use.

lions decorating side supports

Fig. xvii

belonging to

a large carved-wood screen.

Apart from the plants possessing Chinese Art shows a wide range of sufficient

for

our purpose to

notice

religious

floral

symbolism.

mum

lotus

It is

a constantly occurring

group called the "Flowers of the Four Seasons".

peony represents Spring, the

significance,

Summer,

The

tree-

the chrysanthe-

Autumn, and the wild plum Winter.

The Chinese language being

monosyllabic and having but

few vocables to express a vast number of written characters, it

offers great

class

scope for the employment of the rebus.

of symbolism

is

This

varied and large, but time does not

permit of more than a few representative examples.

Returning to the bone carvings of the Chou age, we find proof of the

extreme antiquity of the rebus.

most frequently occurring emblems cJiHng

@

(Fig. v, c,g, h).

is

One

of the

the musical stone called

ChHng\\.2Js> a

homophone J^ which

N'cUs,

"Syniliolism"

rig".

XX.

Porcelain plate painted in copper-red. (xA.uthor"s

Collection.)

Yetts,

"Symbolism".

Fig.

XXI.

Porcelain beaker. (Salting Collection.)

27

means "good

hence we are

luck",

justified in believing

and

carving, shaped like a musical stone

have been an amulet designed

to

The

and longevity. seems

wearer success

its

with a round hole in the middle

disc

have been a favourite shape.

to

combined,

tortoise

to bring

a

Besides being a

.

badge of rank and one of the group known as the "MarObjects

vellous

same sound

of

word used

as the

^

homophone, pi

On

pi "must".

a "pen",

for

its

.

frequently used to represent

is still

the strength of this fact

(Fig.

v

/")

—

a rebus meaning

is

it

seems

justifiable

of a disc and a tortoise

suppose that the combination

to

^

name pi has the Now, another "must" i}l^

Good Augury"

"The

certain attainment

of old age".

This beautifully decorated plate

Longevity

(Fig. xx).

variant of the character

represented,

trebly

is

^

a mass of symbolism

is

by a peach

,

in

by a

fanciful

the centre, and

by a border of conventionalised heads of the sacred fungus. Happiness, fti

Jg and

bat

progeny

is

^

>^.

,

is

by

typified

two homophones, the

its

"Buddha's hand" citron

^^-

A

symbolised by a pomegranate because

conspicuous for lotus

j||g

its

decoration

Thus,

to

multitudinous

a

it

is

a

fruit

conventional

a rebus signifying "combination"

forms

make

The

seeds.

numerous

gift

of such a plate

equivalent

is

may attain the threefold blesand many children, the sunimum

wishing that the recipient

to

sing of happiness, long

bonwn

of

all

life,

Chinese desires.

This graceful vase

At

rebus motive (Fig.

xxi).

magnolia

cherry

^

M^

^ ^,

'ffi

3S(S)' '

lotus

Below,

plants

"(May you Lastly

the top a group

apple

represents the sentence

"(May you dwell

honours".

two common forms of the

illustrates

in)

herons

^ ^ suggest

composed of

(j^)^, and :

yil

Pang fu

tree-peony ktiei

3£

^

jade halls (and enjoy) wealth and

S

among- a luxuriant orowth of

the wish,

Lm

lien

sheng

^ )^

[f^

follow) the road that leads to continuous promotion".

we have

to consider a

numerous

class

which comes

Yetls,

"Syinbolisiu""

Fig.

XXI.

Porcelain beaker. (Salting Collection.)

27

means

"good

hence we

luck",

are justified in believing a

and

carving, shaped like a musical stone

have been an amulet designed

to

The

and longevity. seems

to brinof

have been a favourite shape.

to

wearer success

its

with a round hole

disc

combined,

tortoise

the middle

in

being a

Besides

.

badge of rank and one of the group known as the "MarObjects

vellous

of

same sound

as the

homophone,

/>i

suppose

to

(Fig. y

of old

a "pen",

"must"

for

has the

Now, another

.

it

seems

justifiable

of a disc and a tortoise

combination

the

—

"The

certain attainment

ao-e".

This beautifully decorated plate (Fig.

jJl^\

^

/>z

frequently used to represent

is still

a rebus meaning

is

name

its

the strength of this fact

that

/)

word used

^

On

pi "must".

Good Augury"

Longevity

xx).

variant of the character

represented,

trebly

is

^

a mass of symbolism

is

by a peach

,

in

b}^

a

fanciful

the centre, and

by a border of conventionalised heads of the sacred fungus. Happiness, /?/

,

is

by

typified

two homophones, the

its

"Buddha's hand" citron '^ ^A numerous symbolised by a pomegranate because it is a fruit

^g and

bat

progeny

is

conspicuous lotus

5^

jjfg

^

for

decoration

Thus,

.

its

to

multitudinous

a

The

conventional

a rebus signifying "combination"

forms

make

seeds.

gift

of such a plate

is

equivalent

may attain the threefold blesand many children, the siuniinini

wishing that the recipient

to

sing of happiness, long of

bo7i2ii)i

This

all

life,

Chinese desires.

(graceful

vase

At

rebus motive (Fig.

xxi).

magnolia

cherry

WM *^

'^E

^,

3S(H)' '

lotus

Below,

plants

"(May you Lastly

the top a group

apple

I'epresents the sentence

"(May you dwell

honours".

two common forms of the

illustrates

in)

herons

^ ^ suggest

composed of

(j^)^, and :

y'll

t'auo-

tree-peony

fu hici 3S

^

jade halls (and enjoy) wealth and

^

among

a luxuriant growth of

the wish, Lzl lien shcug

^ )^

|)^

follow) the road that leads to continuous promotion".

we have

to consider a

numerous

class

which comes

28

under the generic term of the "Hundred Antiques" includes

It

—

sources,

"j^

an indefinite number of objects drawn from Buddhist, Taoist, and secular.

~^ all

For purposes of

decoration they seem to be mixed up indiscriminately.

^

or "Eight Precious Things" are oftefi The pa-pao /\ They comprise a jewel, cash, lozenge, pair of represented.

books, painting, musical stone, pair of rhinoceros-horn cups,

and an artemisia

A

leaf.

large vase from the Salting Collection shows a curiously

heterogeneous collection of objects (Fig. nent

is

bolical

an archaic vase holding two peacock's feathers symof

and

rank

official

branch

Lucky Emblems" represent

"Eight

We

and Buddhist elements. the

a

of

coral

Attributes of the "Eight Im.mortals" and

longevity.

the

Most promi-

xxii).

scholar's

a

study,

lute

typifying

some of

respectively Taoist

find also the parajDhernaha of

to

stand

for the art of music,

various antique bric-a-brac such as the connoisseur loves, and at the foot of the vase a portrait of the

In conclusion,

is

it

paper has touched

Enough has been earliest

times

God

of Longevity.

hardly necessary to point out that

merely the fringe of said,

symbolic

my

this vast subject.

however, to indicate that from the motives

have formed the basis of

Chinese decoration, and, farther, that the greater part of

this

symbolism has been concerned with the happiness brought by material prosperity.

What

is

the explanation

of this quality so characteristic

of Chinese Art? It

is

found

in

the national belief,

happy import themselves help represent

-,

that

emblems of

to confer the blessings they

and, secondly, that the benefit derived from the

good things of bliss

first,

this

world

beyond the grave.

Is

more tangible than problematic

Yetts,

"Symbolism".

Fig.

XXII.

Porcelain vase decorated with the

"Hundred Antiques". (Salting Collection.)

28

under the IncUides

It

—

sources,

term of the "Hundred Antiques"

^-eneric

an

number of

indefinite

objects

Buddhist, Taoist, and secular.

^ ~^

drawn from

all

For purposes of

decoration they seem to be mixed up indiscriminately.

^

or 'TLiglit Precious Thino;s" are often The pa-pao /\ represented. They comprise a jewel, cash, lozenge, pair of

books, painting-, musical stone, pair of rhinocerosdiorn cups,

and an artemisia

A

leaf.

large vase from the Salting" Collection shows a curiously

lietcrogeneous collection of objects (Fig.

nent

an archaic vase holding- two peacock's feathers sym-

is

of

bolical

the

and

rank

official

branch

of

Lucky Iv.nblems" represent

bright

We

and lUiddhist elements. the

a

coral

Attributes of the "Fight Immortals" and

longevity. "

Most promi-

xxii).

scholar's

a

stud\-,

lute

stand

some of

respectively Taoist

find also the

to

typifying-

paraphernalia of

for the

art of music,

various anticjue bric-a-brac such as the connoisseur loves, at the foot of the vase a portrait of the

conclusion,

In

has

pa])er

is

it

touched

bhiough has been earliest

times

God

of Longevity.

hardly necessary to point out that

merely said,

symbolic

the

fringe

and

my

of this vast subject,

how^ever, to indicate that from the

motives

have formed the basis of

Chinese decoration, and, farther, that the greater part of

this

svmbolism has been concerned with the happiness brought by material prosperity.

What

is

the -explanation

of this quality so characteristic

of Chinese Art? It

is

found

in

the national belief,

happv import themselves help represent

;

and,

good things of bliss

first,

that

emblems of

to confer the blessings they

secondly, that the benefit derived from the this

world

beyond the grave.

is

more tangible than problematic

Yetts,

"Symbolism".

Fig.

XXII.

Porcelain vase decorated with the

"Hundred Antiques". (Sallhig Collection.)

w&i^^m^ipf^^sisuKmm^

PRINTED

13Y

E. J.

13K1LL,

LEYDEN (HOLLAND).

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Yetts, T.P,

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