Chats on Oriental China

by J. F. Blacker

KWAN-YIN.

The third illustration of this goddess—the queen of heaven—shows her again in connection with the lotus, the emblem of purity, also the symbol of creative power. The fish, too, is often associated with her and with the gods. There was a noted carp which lived at the bottom of Buddha's lotus pond, but generally the carp is an emblem of longevity, and figures of fish are amongst the charms which frighten away bad demons. The flowers which rise from behind the nimbus or halo round the head of the goddess is the magnolia, the emblem of sweetness and beauty, which, like the prunus, shows its full blossom before the leaves appear. The illustration is the model of a shrine, the back representing a rock in rich aubergine; this is relieved with bamboo plants in green. In the centre, on an upturned lotus flower, is a seated figure of Kwan-Yin in robes of green and yellow; the other portions of her body in biscuit, as are also the leaves of the lotus flower; under these is a giant leaf supporting the whole; on either side of the Kwan-Yin are two male attendants, the one standing on a lotus flower, the other on a leaf; these figures are in biscuit relieved with green enamel. Under the figure of the goddess is a carp in yellow enamel rising from the waves, which are in green, and immediately in front is a sacred vessel in green enamel on an aubergine base.

SI-WANG-MU.

This fabulous being of the female sex, dwelling at the head of the genii, is often represented in the decoration of Chinese porcelain, attended by two or four young girls, either floating in the clouds or riding on a fong-hoang, or phœnix. The illustration gives an important figure of Si-Wang-Mu. The flowing robes are decorated with the 100 Cheous in black, and panels of flowers in rouge de fer, yellow, and bright green. The whole of the background is of brilliant green enamel, the reserves having a pencilled design in black on a pale blue ground. The vest has white hawthorn blossoms on black and green. The under-garment, which reaches to the feet, has a formal floral design in green and rouge de fer on a brilliant yellow ground. The lining of the sleeves is also in brilliant yellow. Around the shoulders, and reaching to the ground on either side, are lotus stems in rich aubergine. The hair is enamelled black, with yellow and aubergine ornaments. The face, hands, and feet are in a rich white glaze. The base fashioned to represent waves in black and white on pale green; on one side of this is a lotus bud, and on the other a large leaf. In the centre of the back of the figure is one of the Buddhistic emblems in green and black on a white ground. The figure is covered throughout with large Crackle.

BUDDHIST DIVINITY.

Od-dpag-med, Amitâbha or Amida. Amida in the attitude of bearing witness and holding the pâtra or bowl to receive alms.

The position of the hands designates the functions which are being carried on by Buddha or by his followers at any given time. These gestures are each illustrative of some idea, and are classified under the name "mudrâs." For instance, the hands placed over one another or reposing wrapped up in the lap indicate meditation; the right hand raised, left hand extended downwards, both with palms outwards, imply teaching and charity; the same with the index fingers only extended is a sign of the possession of the world; right hand extended and palm outward signifies charity; fingers clasped with tips together is the world-wide expression of adoration or of prayer for mercy; right palm on the leg of sitting Buddha with left palm held upwards and outwards is the position for bearing witness; the right hand raised palm outwards with fingers extended is the attitude of blessing; the right hand clasping the index of the left is the habitual attitude of the Buddha supreme and eternal; the head resting on the right palm turned upward signifies meditation on the means of saving mankind. Other magical or mystical positions are: Palms upwards, tips of the thumbs and fingers of each hand touching each other, indicating teaching and direction; right hand extended downwards palm outwards, left hand closed, signifying perfection of conduct; right hand elevated and left closed, as in the last attitude, showing love to others in active charity. The study of the "mudrâs" is quite interesting though unfamiliar.