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KERAMIC STUDIO 
THE FONG HOANG 
HISTORIC ORNAMENT— CHINESE 
(Continued from August, number.) 
HERE are five traditional colors: red, 
blue, yellow, black and white, which 
are often used symbolically, for 
though wanting in ideality, the high- 
est form of art, the Chinese are yet 
not without symbolism. Blue repre- 
sents the east, red the south, white 
the west and black the" north. The 
sky is represented by blackish blue, 
the earth by yellow. Certain forms 
are also symbolical, the circle repre- 
senting fire, the dragon water, the square the earth, deer the 
mountains. The dragon has another symbolic meaning. It 
is used everywhere to represent the protective power, hence 
it is the emblem of imperial rank. The dragon also represents 
the Father in the Chinese Trinity. The Fong Hoang (the 
Phoenix), a peculiar bird sometimes represented with the tail 
of a peacock, is emblematic of the continued rehabilitation of 
power, thus it indicates the rank of magistrates who dispense 
the law of the protective (or imperial) power from age to age. 
The Phoenix, according to tradition, rises from its own ashes 
every hundred years, thus it is symbolic of the resurrection 
(the Son in the Chinese Trinity). The other symbolic or 
sacred animals are the Dog of Fo, and the sacred horse. 
Other animals are represented in Chinese art and have their 
own interpretation. Of course, in adapting Chinese forms to 
modern decoration we have no right 'to use their symbolism 
unless it agrees with our own, for unless we are Chinese our- 
selves there can be no real inwardness of meaning and we 
want no sham in art. 
The Deluge is frequently represented in Chinese art. No. 
15 of the August number is a good representation, as well as 
the picture of the sacred horse in this number. In embroid- 
eries the deluge is delineated around the circular edge of a 
skirt, thus representing the circular horizon. The waves are 
full of queer objects and especially of the eyes of fishes, 
which reminds the writer of one of her earliest recurring 
nightmares arising from seeing this very style of design, when 
she imagined the floor, the water, and the walls, full of eyes. 
It may be, in a way, the childish Oriental way of expressing 
the " all-seeing eye," as you will find it represented in number- 
less conventional designs. 
Porcelain is claimed by the Chinese to have been invented 
in the year 2,600 B. C. by Hoangi, who was made a God 
for this benefaction to the human race. As the first por- 
celain was made for the imperial family, it was distin- 
guished by the color distinctive of that dynasty, and as 
different colors were used in different dynasties to distinguish 
degrees of rank, one can learn by the color of a piece of old 
Chinese porcelain, its approximate age,>t least, in what dynas- 
ty it was made, and of what rank its original possessor. The 
imperial color has been blue, white, green and is now yellow, 
the color of the Tai Tsing dynasty now reigning. 
Modern Chinese consider the ancient pieces of pottery 
and porcelain of the greatest value artistically. The highest 
point in art was reached between 1465 and 1487. The decay 
is attributed to the distribution of labor, one workman paint- 
ing skies another mountains, another birds, etc., so no piece 
is entirely conceived and executed by the same artist — natur- 
ally it loses artistic value. 
THE DRAG! >N 
Application to 
Modern 
Design 
The borders 1 to 5 inclusive are very effec- 
tive on punch bowls or chop dishes or any 
piece of pottery where band decorations are 
desired. Where it is wished to use a narrower 
border with them, No. 2 in August will go very well with No. 
i in September, No. 14 in August with No. 3 in September, 
Nos. 7 and 8 in August with No. 4 in September, Nos. 3 to 
9 inclusive in August with No. 5 in September. The upper 
part of No. 2 makes a good narrow de- 
sign to go with the entire border. The 
border and center of No. 6 can be used 
without the balance of the design, which 
is very intricate but beautiful. No 7 
makes a good chop dish border. No 8 
repeated makes an 8-inch plate border. 
Tea Caddy. — We reproduce the 
design which was printed in the August 
number in order to emphasize the mean- 
ing of the study of Historic Ornament. 
Instead of the all-over Chinese design in the body of the caddy 
we introduce a modern design evolved from that design. A 
repetition of the design will complete the band around the 
tea caddy. 
THE DOG OF FO 
THE SACRED HORSE 
Owen Jones says that "the study of Historic Ornament 
is for the progressive development of the forms of the past." 
We study the art of different nations and different ages that 
we may gather, like the bee, the pollen from every flower and 
