Chinese Art (Temporis Collection)
lesser buildings at the sides. A pair of carved stone lions guard the entrance, flanked by lofty twin columns of wood which are mounted with banners and lanterns on high days and holidays. The gateway is large and roofed to form a vestibule, in which are ranged, on either side, gigantic figures of the four great kings of the devas, Ssu ta t’ien wang, guarding the four quarters. In the middle are generally enshrined small effigies of Maitreya, the Buddhist Messiah, conceived as an obese Chinaman
cultivated varieties of which supply the favourite art motifs of the carver. Some of the flowers are selected for their religious associations. The lotus, or lien hua, a rose-coloured variety of the Nelumbium speciosum, is sacred to Buddhism. It is the hieratic emblem of purity as it develops its delicious jade-white rhizomes under the mud and lifts its rosy blossoms unsullied in the air. The happy entrant into paradise is seated upon its broad calyx; it therefore forms the resting-place of
and came back without accomplishing his mission. Roman merchants came by sea to Kattigara (Indochina China) in 166 A.D., appearing in the annals as envoys from the emperor Marcus Aurelius Antoninus, and later arrivals of Roman traders were reported at Canton in 226, 284. Meanwhile, the overland route to the north, which had been interrupted by the Parthian wars, was re-opened, and many Buddhist missionaries came to Lo Yang from Parthia and Samarkand, as well as from Gandhara in Northern India.
coarser ware adapted only for local consumption. The one exception to this general rule is the factory of Têhua, in the province of Fuchien (Fuhkien), where the white Chien Tz’u is produced. The potteries were established here early in the Ming Dynasty. Their characteristic production is the pai tz’u, the “white porcelain“ par excellence of the Chinese, the blanc de Chine of the older French ceramic writers. It differs widely from other Oriental porcelain, the paste of smooth texture being of a
with tracery panels. It is surrounded by a circular moat with marble balustrades crossed by four bridges leading to the central doors. [See p. 46] On the sides of the courtyard in which it stands are two long, cloistered buildings sheltering 189 upright stone steles covered with inscriptions over the front or back. The inscriptions comprise the complete text of the thirteen “classics,” and were engraved by the emperor Ch’ien Lung, in emulation of the Han and Tang dynasties, both of which had the