20 LAUFER, THE DECORATIVE ART OF THE AMUR TRIBES. 



Since the cock is a new-comer in that region, it is not surprising that it plays 

 no part in the mythology of the natives, as it does with the Chinese. In their 

 opinion, the cock is a symbol of the sun, because it announces the rising of the 

 sun. Besides the earthly cocks, there is a heavenly cock, which, perched on a 

 tree, sings at sunrise. This tree is the willow, which also symbolizes the sun. 

 The cock is sometimes called in Chinese &quot; he who enlightens the night ; &quot; and the 

 sun, &quot;the golden cock.&quot; Besides, it belongs to the class of animals that protect 

 man from the evil influences of demons. Live white cocks are sometimes used 

 in funeral rites. 



Regarding the representation of the cock in Chinese art, only a few general 

 facts may be stated, as this branch of research is little explored, and investiga 

 tions of ornaments have unfortunately been almost neglected. Japanese art is 

 based wholly on Chinese, and the ground on which it stands is somewhat better 

 known. The ordinary domestic fowls are frequently depicted by Japanese artists, 

 the cock being the favorite among them. It is painted on hanging scrolls, and 

 modelled in wood, bronze, porcelain, and other materials. Most frequent and 

 admired is the painted design of a cock standing on a drum (taiko) ; and in this 

 case the sides (or one side) of the drum are decorated with a triskeles (tomoye or 

 mitsutomoye). This is the well-known circular diagram divided into three segments 

 (see Figs. 2-9, Plate xvi). 



Single Cocks. On Plate vi we have four examples of the cock drawn true 

 to nature. Fig. i shows the typical form of cock cut out of paper, and used as 

 a pattern for embroidery. Head and eye are circular, the beak semicircular. 

 On the head is a bipartite crest shaped like a fish-tail. To the back is attached a 

 quadrifid wing, and a tripartite tail almost convoluted. The feet are missing. 

 On the body is a conventionalized fish, the upper border-line of which runs 

 parallel to the outline of the cock s body ; the under border-line, shaped partly 

 like a brace, partly like an invected line, being composed of three portions, 

 indicating head, body, and tail. Fig. 2 is an embroidery-pattern representing 

 a similar type of cock, but with some remarkable differences. This cock holds a 

 fish in its beak. The motive is, of course, far from being realistic. It does 

 not convey the idea that the cock devours the fish : its meaning is purely em 

 blematical. The wing-feathers are indicated by four teeth, projecting from a line 

 generated from the beak, which line continues into a scroll parallel to the out 

 line of the body, and representing a fish-tail. The tail-feathers are highly 

 developed, showing six parallel flukes. The body is cut into a double spiral. 

 The space between the beak and neck of the cock is so formed as to represent 

 a bird s beak. 



Fig. 3, Plate vi, is a weaving-pattern, whether of Chinese or Japanese 

 provenience is uncertain. It consists of circular fields in which are designed 

 realistic cocks, whose somewhat stiff forms are attributable to the technique 

 of weaving. Comb, beak, eyes, feet, feathers, plumage, and, in all, nine wing 

 and tail feathers, are indicated. There are slight but delicate differences in 



