with
a clapper or by a mallet, they gave out a clear pleasant tone and
maintained vibration for a considerable time. In the shape of bells,
sounding plates and tubes, this kind of Jade is still greatly desired
by the connoisseurs. Frequently such bells are met with cut in the form
of a fish, suspended by a thong. Truly may it be said that what the
Chinese do not know is not worth the knowing!
Your
Chinese craftsman invariably combined artistry with utility. He
scarcely, if ever, bothered to lavish his time and the cunning of his
hand on an object which could not be put to practical use. Bird and
cicada cages, lamp bases, candlestick holders, trays, vases, bowls,
cups, snuff boxes, perfume bottles, were but a few of the objects,
besides articles for personal adornment, to which these patient
craftsmen in Jade devoted endless labour.
And
what pride they took in the results of their efforts! The greatest of
them were known by name far and wide within their own land, and the
hall-mark of their particuÂlar genius was plainly manifest to the
initiated, as the sign manual of Rembrandt or Tintoretto, or Giotto or
Monet, is with us. But alas, gone for ever I fear has an epoch in the
life of the Mongolian race when artistic achievements meant everything
to the elect and the time and patience devoted to their attainment
counted for nothing.
The most famous work on Chinese Jade is called Ku Yil fou pu. It
is really a collection consisting of about one hundred illustrated
books describing in detail notable pieces of ancient Jade. It was
published in 1176, and is embellished with 700 figures. There is also a
list of the Jade which belonged to the first Emperors of the Southern
Sung Dynasty.
