68 
KERAMIC STUDIO 
HISTORIC ORNAMENT 
CHINESE 
HINESE art is fixed and unprogressive : the principles it has evolved 
are for all times. The different authorities are most diverse in 
their opinions, so the only thing left for us to do is to study 
their designs and judge for ourselves. We cannot fail to derive 
advantage from the study at any rate. It is a conventional art in 
every respect. The Chinese seem never to have received any- 
thing from other people. They have lived an isolated life for 
centuries and their art is as isolated and strange as themselves. They have 
created within themselves a style apart, except for certain geometric forms 
common to all races. The Chinese art, like the people, is of the highest 
antiquity. They, at a very remote period, evolved a school of art of a very 
important kind. In general principles it so nearly resembles the art of the 
Mohammedan races that it is presumed by one author of authority, that it was 
derived from them, but considering all the characteristics of the Chinese and 
their racial prejudices, it is much safer to assert that the art of other oriental 
nations was strongly influenced by the Chinese. Certain it is, that with the 
exception of a grotesqueness, which is essentially Chinese, it would not be diffi- 
cult to take almost any purely conventional Chinese ornament and by simply 
varying color and correcting drawing, convert it into an Indian or Persian or 
other oriental design. 
The Chinese have no architectural art, that is, no form that suggests 
ideality, nobility, grandeur ; hence, their extreme fancifulness of ornament. As 
M. de Chavannes says, "This people seems bound to occupy itself exclusively 
with details." Variety with the Chinese is the first element of beauty, every- 
thing is sacrificed to that idea. They have a horror of angles, which are seldom 
seen except in their peculiar fret work which is singularly like the Greek. They 
torture their imagination to disguise these angles, they give free play to a dis- 
ordered imagination, always endeavoring, like their own jugglers, to conceal the 
real idea, by a pretense of a totally different one. This is best illustrated in 
their furniture, where the final destination of an article is disguised almost 
beyond recognition. The Chinese are close observers of nature and faithful in 
expression of her principles, though the mode of expression is characteristically 
grotesque. They show fidelity in copying forms, but lack the taste to idealize. 
They pay not the slightest attention to the laws of perspective or shadow. It is 
not, however, because they do not understand them, but because their theories 
are totally against natural representation. They are lacking in true art, yet 
their ornament is treated with so much imagination, their coloring is so rich, 
they show such varied and charming use of it, that their productions in decora- 
tions are marvels of harmony and effect— in many respects superior to all other 
nations. In conception of pure form they are behind even barbarous people, 
though they possess it in a minor degree as shown by their vases which are 
remarkable for beauty of outline, but are often spoiled by grotesque ornaments 
built up on the surface, not growing naturally out of it nor having any connec- 
tion with the decoration. However, they have taught us to understand one 
thing — "The beauty in ugliness." 
Their most successful efforts are those where geometric figures form the 
basis of the design. Even then they show an imperfect idea of the distribution 
of spaces, but instinct of color balances form. With all Orientals they possess 
this happy instinct of balancing and harmonizing color. There is nothing crude 
or harsh in any combination, the eye is perfectly satisfied with the balance and 
arrangement of color and form, though there is an absence of the purity of 
drawing of other orientals, of the Greek, the Arab, the Moor, and even the 
Mohammedan races of the present day. 
The Chinese are pre-eminently colorists, they are able to balance, with equal 
success, the fullest tones and the most delicate shades, they are successful not. 
only with the primary colors but equally with the secondaries and tertiaries. 
Ife^lfefel 
