Fig. 91.—The Fung Hwang. (From the ’Rh Ya.)
The [frontispiece] to this volume is reduced from a large and very beautiful painting on silk, which I was fortunate enough to procure in Shanghai, by an artist named Fang Heng, otherwise styled Sien Tang; it professes to be made according to the designs of ancient books. The original is, I believe, of some antiquity.
In this case the delineation of the bird shows a combination of the characters of the peacock, the pheasant, and the bird of paradise; the comb is like that of a pheasant. The tail is adorned with gorgeous eyes, like a peacock’s, but fashioned more like that of an argus pheasant, the two middle tail feathers projecting beyond the others, while stiffened plumes, as I interpret the intention of the drawing, are made to project from the sides of the back, and above the wings, recalling those of the Semioptera Wallacii. The bird perches, in accordance with tradition, on the Wu-Tung tree. Without pretending to assert that this is an exact representation of the Tung, I fancy that it comes nearer to it than the ordinary Chinese and Japanese representations.
Looking to the history of the appearance of the Fung, the general description of its characteristics, and disregarding the supernatural qualities with which, probably, Taouist priests have invested it, I can only regard it as another example of an interesting and beautiful species of bird which has become extinct, as the dodo and so many others have, within historic times.
Its rare appearance and gorgeousness of plumage would cause its advent on any occasion to be chronicled, and a servile court would only too readily seize upon this pretext to flatter the reigning monarch and ascribe to his virtues a phenomenon which, after all, was purely natural.
APPENDICES.