There are, besides, all manner of figures—human, animal, or mythical—but they belong rather to the chapter on ornamental motives.
CHAPTER XVII
MOTIVES OF THE DECORATION
Chinese decoration, its motives and its meaning, might form the subject for a substantial and very interesting volume. But it can only be treated here in a summary fashion by enumerating a few of the motives which occur most frequently in porcelain. The designs on the earlier wares have already been discussed in the chapters dealing with the Ming and the preceding periods, but in view of the conservatism of the Chinese artists a certain amount of repetition will be inevitable in discussing the ornament of the Ch’ing dynasty porcelain.
If we except some of the hybrid designs on the export wares which were made for people unfamiliar with Chinese thought, we may assume that there is a meaning in all Chinese decoration apart from its ornamental intention; and this applies not only to the central motives but also as a rule to the subsidiary ornament such as borders and formal patterns. Consequently it is clear that a study of this inner meaning is a necessary condition for the full appreciation of the decorated porcelain.
Figure subjects and symbolical ornaments probably require the most explanation for the Western student; but unfortunately the former are often so difficult to identify that we have to be content with general headings such as court scenes, military scenes, dramatic subjects, illustrations of romance, etc. Possibly to the unusually well-read native most of these scenes would recall some known story, but the European can only hope to identify one here and there by a lucky chance. He can, of course, take a book of Chinese legends and by the exercise of a little imagination find a story for every scene; but such methods are not to be recommended, and it is infinitely preferable to give the design no label at all unless the identification is fully established. That at least leaves the question open.
Plate 133.—Late famille rose Enamels.
Fig. 1.—Bowl painted in soft enamels, attendants of Hsi Wang Mu in boats. Mark, Shên tè t’ang chih. Tao Kuang period. Diameter 6⅞ inches. British Museum.
Fig. 2.—Imperial Fish Bowl with five dragons ascending and descending, borders of wave pattern, ju-i pattern, etc., famille rose enamels. Late eighteenth century. Height 20 inches. Burdett-Coutts Collection.