W HITECH APEL ART GALLERY £5ummer Exhibition, 1901. July 25TH to September 4.TH. 12 noon till 10 p.m. 1 f««®y- p OPIUM SETTEE. ®3 ® • T€MPL £ House fiOOM ® ® BEDROOM CLASS./ * 5 y L t ! WAY IN Chinese Htfe aiib Hrt INTRODUCTION. THE CO UNTRY. —China is the second largest country in the World. It occupies about a quarter of the Asiatic Continent. Its area, over 4,000,000 square miles, is greater than the whole of Europe, and its population is about 400,000,000. China is a very rich country teeming with agricultural and mineral wealth, and producing silk, tea, spices, drugs, and other useful and valuable articles in great quantities. It is well watered, possessing some of the finest rivers of the world, and a coast line of over 2000 miles with first-class harbours. THE PEOPLE OF CHINA have little in common with Europeans. Their characteristics are in marked contrast to those of most other peoples, but they are highly intelligent, and capable of holding their own even among Europeans. The great mass of the people are agriculturists. Among the classes, education is general, though the teaching is restricted to the study of the classics. Officials are chosen by examination among the class known as literati, men who have shown their skill in essays based on the writings of Mencius and Confucius. In nearly every respect the Chinese idea is in marked contrast to our own. When in mourn- > ing, we wear black, the Celestial dons white, We greet our friends by shaking their hands, the Chinaman shakes his own and bows. We read from left to right, they read from the top of the page to the bottom and from right to left. Curious and interesting though the character- istics of the Chinese are, the HISTORY OF CHINA is even more absorbing. Its records go back over a period of moie than 4000 years, "2 Starting from the year 2637 before the Christain Era. The portion of Chinese History which possesses the greatest interest for us is that which deals with the intercourse between China and European Countries. The first Englishman to visit China was Captain Weddell, who entered the Chukiang* in 1634, two hundred and sixty seven years ago, and found his way to Canton City. He was well received by the natives, with whom he developed friendly relations, and bartered his cargo of English wares for silk, cotton, tobacco, and a " drug " which he had never before seen, called tea. On his return to England, Weddell found a ready market for the curios and produce he had brought back. The Tea, especially, attracted attention. Its qualities were speedily appreciated, and it readily fetched five guineas a pound ! The demand for the new beverage soon exhausted the supply, and other merchant adventurers sailed for China and took up the trade. After 160 years of intercourse with China, the British government decided to attempt to strengthen the friendly relations between the two countries, and George III. sent Lord Macartney on a Mission to the Emperor Keen Lung at Pekin. The Envoy was charged with friendly messages and many costly gifts. He arrived at the Chinese capital in 1794 an< ^ was received by the Emperor with all honour. Lord Macartney does not appear however to have made the most of his opportunities. He neither sought to negotiate a treaty with China, nor strove to obtain extended privileges for the British traders, who were still restricted to Canton. Twenty-two years later a second Mission was sent to China under Lord Amherst, who found Keen Lung's successor Kiaking on the throne, an Emperor far less liberal-minded than his predecessor, who raised so many difficulties respecting the proposed audience that Lord Amherst returned to England without having effected his purpose. * Kiang=river, hence Chu Kiang=Chu or Pearl River. 3 All this while foreign trade had been increasing at Canton. Most of the British commerce was carried on by the East India Company, which employed a considerable fleet for the despatch of opium, cotton, and other Indian produce to China in return for silk and tea. This attracted the attention of the jealous Mandarins, who resented the traffic with foreigners, whom they regarded with contempt, while they became further em- bittered by the fact that they were not permitted to share in the profits which were being made. A pretext was soon found to serve as an excuse for persecution. An old decree, long disregarded, was raked up from the Chinese Archives, forbid- ding the growth, sale or traffic in opium. The Mandarins spared no pains in holding the foreigners up to contempt, and after a continuous persecution, extending over several years, a plot was formed to massacre the whole of the British merchants at Canton. Fortunately they got warning of the plot, and fled to a barren island at the mouth of the river, known as Hongkong. Then followed the so-called Opium War, which was terminated by the Treaty of Nankin, on the 29th August, 1842, This treaty opened five Ports to British Trade, ceded the Island of Hongkong to Great Britain for ever, and decreed the payment of an indemnity. But the lesson taught the Chinese did not last long. Inspired by the Mandarins, the people lost no opportuninty of insulting the foreigners, and finally, in 1856, a British ship, the " Arrow," was seized by the Chinese. Then ensued the second China war, in which the English were aided by the French* Having forced their way to Tientsin, the Chinese offered terms, and the Treaty of Tientsin, signed on the 26th June, extended" the privileges accorded by the Treaty of Nankin. The Chinese had not, however, the least idea of abiding by the treaty. It was only signed in order to stay the advance of the allied forces, and as soon as the troops had been withdrawn, hostilities were recom- menced and the campaign had to be renewed 4 until a strong French and English force fought its way to the Capital and entered Pekin in October i860, when the Chinese again agreed to meet the demands of the allies. The most important right accorded by the Treaty of Tientsin was the placing of a British Minister in the Celestial Capital. From 1861 to 1900 relations between China and England were friendly. Neither the incidence of the Franco-Chinese War in 1884, or the more critical China-Japanese War in 1894-5, disturbed the pacific relations between the two countries. Considerable changes, however, occurred in the the interval, and a strongly marked intensification in the anti-foreign feeling w r hich the Mandarins had succeeded in arousing throughout the country, became evident when in 1898 Germany seized the Port of Kiao Chau, and in order to maintain the balance of power in the far East, her example was followed by Russia seizing Port Arthur and England leasing in compensation Wei-Hai-Wei. The outcome was the fanning of the flame which had been smouldering for some years. Direct encouragement was given to the anti- foreign element by the Empress Dowager, and the result was the rising of last year in North China, and siege of the Pekin Li gations. It remains only to draw attention to the enormous Trade which this country has developed in China. During 1899, the last year for which official returns are available, the Trade of Greater Britain with China amounted to ^47,704,000. The exhibition now on view at the White- chapel Art Gallery affords an opportunity for studying the customs and arts of the Chinese. From the periodical lectures, much can be learned of this interesting people who boast a civilisation anterior to that of any other nation. It is hoped that the public w r ill avail themselves of these opportunities, and gain some knowledge of a country and a people with which the interests of this Empire are intimately connected. WHITECHAPEL ART GALLERY, HIGH STREET, WHITECHAPEL. SUMMER EXHIBITION, 1901. CATALOGUE. 1 Chinese National Flag. Imperial yellow. This Flag was taken in 1900 at the Shai-Hai-Kuan Forts, which surrendered to Sir Walter Hillier with 18 men, while the Chinese garrison num- bered 5,000. 2 Door Spirits. These are painted on every front door in China to ward off evil spirits. 3 Figure of a Soldier in uniform. 4 Group of Swords. Certain Chinese soldiers carry two swords in each sheath, and use one in each hand. 5 Street scene in China. Chinese cities are very crowded. The children and animals jostle the wealthy as they are carried in their Sedan chairs. The shop signs are very gay in colour. The houses are low, but the roofs are much ornamented with carved dragons. In the background rises a Pagoda* a kind of tower peculiar to China. 6 Collection of 36 photographs of Chinese scenes and people. The subject of each is written on the photograph. 7 Map of Asia. China is coloured green and occupies nearly one- third of the Continent. 6 8 Five Pictures on Paper Scrolls. These are used for decorating rooms, and are rolled up when not wanted. This series represents " The Pilgrim's Progress " in Chinese dress. The pilgrim first visits a Temple of the God Buddha (No. 3), and finding his prayer unanswered he is directed to pray to God, and his burden falls from him. 9-10 Two small Maps of China. In No. 9 the ports granted to England (Wei-Hai- Wei) and to Germany (Kiao-Chan) are coloured red. In No. 10 existing and proposed railways are marked. China, which is as large as Europe, has only one large line of railway open, that running through Pekin, the capital, to the sea. 11-12 Pair of " Umbrellas of Ten Thousand Names." One way of honouring a person in China is to present him with a vast umbrella of silk, decorated with the names of the givers. These umbrellas are much prized, and are carried in the funeral procession of the man to whom they were given. These umbrellas were given by the Chinese inhabi- tants of Pekin to Miss Smith, for protecting them during the troubles last year. The big black letters at the top mean that " Miss Smith came to assist and sustain with hope the people of the Capital." BAY 1. BEDROOM (Mandarin Class). This room represents a room in Central or South China. In North China, where it is very cold, large brick stoves serve as beds. The Chinese have rich decorations and furniture, but little idea of comfort. The Room contains — 13 A very fine Inlaid Bed, From Ningpo, in Central China, the centre of the inlaid furniture manufacture. The Chinese do not have soft mattresses, but lie on wadded quilts. 14 Small Round Table and two Stools, Meant for Chess players. Also from Ningpo. 15 Bride's Box, red lacquer. 7 1 6 Chinese Paintings. Chinese paintings are severely judged by European authorities/ We are told, for instance, " even the best painters have no proper idea of perspective, or of blending light and shade, but the objects are exhibited as much as possible on a flat surface, as if the painter drew his picture from a balloon. They eminently fail in delineating the human figure in its right proportions, position and expressions,, and in grouping the persons introduced into a piece in natural altitudes. The study of the human figure in all its proportions has not been attended to by painters any more than its anatomy has by surgeons. Shadows upon portraits are considered a great defect, and, in order to avoid them, a front view is generally taken. Landscapes are painted without shading, the remote objects being as minutely depicted as those in the foreground. Their colouring is executed with great skill and accuracy — too much, indeed, in many cases, so that the painting loses something of the effect it would otherwise have, from the scrupulous minuteness of the detail, though it looks well in paintings of flowers, animals, costumes, ornaments and other single objects." On the other hand, a talented authoress (Mrs. Little) speaks of " the exquisite pictures of flowers and birds to be seen at the British Museum. " Again, she says, " Before Giotto was born, the Chinese were painting living human figures, such as they cannot paint now. It is, however,, true that in Chungking, the only Chinese city I know really well, there is, to this day, an artist who paints flowers, as a connisseur, the head of an English technical school, pronounced, as only one man in England could. And how does this poor artist sell his pictures? Of course, it will never be believed in England that he is an artist at all,, when I tell the sad truth — he sells them by the square foot ! And when you decide to buy a picture, he — measuies it ! " 17 Large Ancestor Scroll Picture. These pictures are painted of the head of the family often shortly before his death. His descendants preserve them very jealously and it is only very occasionally that, as in the case of the present picture, the family are induced to part with such an heirloom through poverty. The picture is finely painted, especially the head, and the workmanship is excellent, as the colours have not faded though the picture has been much exposed in various climates. From it a good impression can be gathered of the dignity of a highly-placed Chinaman. The badge on his breast, being an animal, shows that this man was an army official, if he had been a civil official it would have been some kind of bird. The 8 opaque blue button on his cap shows he was of the fourth grade. He is wearing a rich fur-lined winter robe of which there are no examples in the exhibition. 1 8 Mirror In a richly-carved wooden frame. From Ningpo. 19 Three Red Lacquer Tables. Lacquer. — The Chinese and Japanese are un- rivalled in the manufacture of lacquer. All their household utensils are made of lacquer. The varnish employed is the resin-like juice which flows from cuts made in the bark of the Varnish tree. There are many different kinds of lacquered goods made m China and Japan, the best-known in England being "Japanned tea-trays." The beautiful red lacquer, of which there are specimens here, and in Cases C and K, differs from other lacquer in the fact that it is carved after it has been laid on. It was formerly made in the great city of Soochow, but that city was almost entirely destroyed in the terrible Tai- Ping Rebellion, 50 years ago, and the secret of the art has been lost. 20 Side Table, From Wenchow, near Ningpo. The inlay here is raised, that of Ningpo furniture is flat. 21 Figure in woman's dress. 22 Figure in woman's dress. 23 Figure in woman's dress. In China female dress approaches that of the male sex much more closely than it does in European coun- tries. There is a jacket or tunic with extremely wide sleeves, and a pair of very loose trousers. But, in addition, the poorest woman on occasions of ceremony, and the fine lady at all times, wears a skirt, coming near the ground, but not sweeping it. In winter, like the men, the women have wadded garments or furs, and put on one robe over another, till they have secured sufficient warmth. Embroidery is a good deal used for the decoration of dresses; and ladies of wealth and position rejoice in robes of wonderful beauty and magnificence. 24-25 Round Inlaid Tables, From Ningpo. Cleverly made and put together without nails or glue. 26 Set of Red Lacquer Lanterns. From Soochow. Candles are burnt in these lanterns. 27 Richly Embroidered Collars for women. 9 28 Embroideries. The abundant uses to which the art of embroidery is applied by the Chinese comes as a surprise to most people visiting their country, and no wonder, therefore, that this Exhibition is richer in this respect than in most others as the acquisition of specimens of embroi- dery is by no means difficult, scarcely more so than the collection of left-off clothing among ourselves. Many foreign ladies who would not touch a Chinaman's clothes, buy these old and soiled garments discharged from the large stores held by the pawn-shops of Chinese cities, and use them in ornamenting their drawing- rooms. The chief uses to which embroidery is put are for the official robes of Mandarins and their families ; petticoats for ladies ; shoes for women and men, and all other adjuncts of dress, such as purses, spectacle- cases, fans, etc. Then there are banners, altar-cloths, and the gorgeous dresses of the dirty mob that form the processions at weddings, funerals and religious pageants. Every house, however poor, has its embroi- dered pieces for covering tables and chairs at New Year or other festivities, whilst the rich, in addition, hang their walls with costly tapestries and panels or scrolls in which embroidery plays a large part. Much of all this is very beautiful, and many of the specimens, to be seen here are worthy of admiring attention. 28a Pair of very fine Scrolls, Many hundreds of years old. The colours are softer and more beautiful than those the Chinese use now 3 compare them with the crude blue of the embroidery (No. 26). The scenes painted are land- scapes in the gorges of the Chinese mountains. In No. 23 some Buddhist monks are making a pilgrimage to some mountain monastery. 28b Four Water-colour Paintings of Chinese Ladies. These are beautiful in colour but the drawing of the figures is conventional. 29 A Banner from the Temple near Canton. Frequently the Chinese have preferred to embroider in silks where we should paint. The scene is one of the eight famous views of Canton. In the foreground are English men-of-war and Englishmen bearing presents which the Chinese choose to consider tribute to the Emperor, whose guards, with a yellow banner, lead the way. The embroideries on the walls show the skill of the Chinese in this branch of art. The work is mostly done by men. Their eye for colour, and power of evolving an exquisite conventional pattern, while faith- fully copying nature in details, have placed the Chinese in front of ajU othjer workers in this ajt* IO 30 Strips of Matting. The Chinese rarely have carpets. In the South they put matting on the floor, and in the North fur rugs. They have raised platforms in their houses on which they sit or lie. 31 Piece of modern Embroidery. 31 a A rich man's fur travelling Hood. Used in winter in North China. 32 Washstand inlaid with mother-o'-pearl, and blue Nankin washing-basin and water-bottle. 33 Portrait in oil of Linchong, Agent of Tingqua, a Hong Merchant. Painted by Lamqua in Canton between 1850 and i860. 34 Collection of Figures carved from roots. The Chinese take great trouble in carving these eccentric figures. As with the veins in jade and soap- stone, they like to let the natural form dictate the design. 35 Carved wooden Screen for photographs. 36 Small Dressing Table, with a Native Dressing Case containing a sliding looking-glass and drawers for brushes and combs. 37 Small Rug from North China. 38 Bear Skin. 39 Set of eight Scrolls. 40 Pair of Tea-poys. 41 Pair of Scrolls presented to Sir Walter Hillier by the inhabitants of a town near Tientsin. Last autumn the foreign troops were looting. Sir Walter Hillier, on whom they depended fcr supplies, told them that if they continued to rob the Chinese he would cease to provide them with food. This threat saved the Chinese, who presented these scrolls as a token of gratitude. BAY 2. TEMPLE OR JOSS-HOUSE. Joss is the pidgin-English word for worship. Joss- House therefore means House of Prayer. These build- ings are very numerous in China. They are usually small, and do not differ much from private houses, outside. The buildings open on to a, series of courts II Temples in China contain many images of Gods and worthies, men who are prayed to as Gods after living and dying nobly. There are three kinds of Temples in China, the Confucian, Taouist and Buddhist. Confucius was a wise man who lived 600 years before Christ, and wrote many books, which are much studied by the Chinese and form the basis of their system of education. In Confucian Temples there are usually no images, but written tablets, with the name of Confucius and his greatest followers. The Taouists reverence Lao-Tse, another teacher, who lived about the same time as Confucius. He was less practical than Confucius,, and urged men to medi- tation. His followers pay special reverence to their ancestors. This practice of Ancestor worship is care- fully observed by the Chinese, and has much influence on their lives, leading them to be obedient and, in their turn, to desire sons who shall respect them. The third kind of Temple is built in honour of Buddha. Buddhism was introduced into China about 1900 years ago. Its founder was a Hindoo, Cakya- Mouni. He believed that the way to obtain perfection was by gradually killing all earthly desires until the mind became wholly filled with heavenly longings. He and his many disciples are reverenced as Gods. Buddha is represented seated on the sacred flower of the Lotus, wrapt in meditation. The Lotus, the beautiful water-lily, that rises out of the mud and slime, is taken as the type of the soul springing from the earthly body. The Temple contains — 42 Four Photographs of Temples. 43 Copy of Flag captured from the Rebels, in 1895, in Formosa. The tiger is the emblem of war-like courage and wisdom. It is supposed to live 1,000 years, turning white when aged 500 years. 44 Priests performing Ceremonies before the Idols. This gives an idea of the number of idols in a Temple. 45 Ceremonial Procession round the Idols of Buddha and two of his chief followers. 46 Buddhist Disciples reciting prayers with a Priest to a God on the right. The Buddhist priests shave their heads. 47 Buddhist Priest breaking tiles placed over coins. This practice is supposed to open doors for the spirits of the dead to pass to the next world. 12 48 Two Priests worshipping a superior Priest A Mandarin is offering Joss-sticks (sticks of incense), and another man is looking on. 49 Large Scroll. A deified warrior or an armed guardian of the Temple. 50 Tom-tom from Sigoine. 51 God of the Lower World. 52 God of Fire. 53 Kwanyin, the Many-armed. K wan j' in is generally represented as a woman, the Goddess of Mercy ; sometimes, however, Kwanyin appears as a God with countless arms. 54 God of Plays and Music. 55 Small Image of the God of War. The Chinese are not fond of war, though they con- stantly show much courage and endurance. Their reverence for intellect, and the elaborate system of education carried on for so many hundreds of years, make the Chinese despise mere might and look down on soldiers,, whom they used to maintain merely as police. China, until this century, was so much isolated and so far more powerful than the neighbouring coun- tries, that the need for defence was almost forgotten. Part of the dislike the Chinese feel for foreigners is the helplessness, mixed with contempt, which they feel before the powerful guns and ships which stran- gers introduce. 56 Bronze Incense-burner. 57 A Scroll representing the Taouist Gods and worthies. At the bottom, on the left, people are praying to the Gods for children,, which the Gods hold in their arms ; on the right a man is having his future told by a sage. 58 Buddhist Shrine. With three images. The central figure is that of a woman, and is very curious, not being one of the usual Buddhist deities. 59 Kwanyin, the Goddess of Mercy. She is a Buddhist deity, and, in China, takes some- what the same place that the Virgin Mary does in the Roman Catholic Church. 13 60 A large Drum, It is called a Tang-Koo, and is used in Temples. The top is covered with skin. 6 1 A small double Drum,, made of two skulls. Such fantastic instruments delight Chinese worship- pers. 62-63 Tables supporting Bironze Tablets. 64 Ancestral Tablet, Such as the Taouists place in their Temples, to com- memorate the names of their ancestors. Filial piety is the greatest of all virtues in Chinese eyes. The respect shown to parents and the observ- ances paid at their tombs make all the Chinese greatly wish to have sons, and consequently early marriages and large families are common in China, even among the very poor. In the State the Emperor, takes the place of a father, and the same absolute obedience is due to him. Stories of dutiful children are constantly quoted. One son, whose mother was fond of fish, lay on the ice till he thawed it to catch some for her Another went to bed first to let the mosquitos have their fill of him. 65 Buddhist's Rosary. 66 Buddhist Book of Devotions. 67-68-69 Images of Buddha, Buddha is represented seated, with hands and feet crossed, wrapt in meditation. These images are made of wood gilded, and are very old. 70 An Altar Table with pewter candlesticks and jars for incense. 71 Image of a Buddhist God, Not Buddha himself. It is seated in a chair such as is used for idols in Chinese Temples. 72 Te-Ching. An instrument of Temple music, used in Confucian litanies. When the prayers begin bells are struck, and when they end the plates of wood and metal on this instrument are struck. 14 73 Large Vase of Copper-gilt, decorated with Cloisonne Enamel, Taken from the Summer Palace near Pekin by the British troops, in i860. Cloisonne enamel is so called because the colours are separated by ' cloisons, 5 (a French word meaning com- partments). The maker of an article in cloisonne first constructs a vessel in copper of the form desired. On this he traces the pattern of the intended enamel- ling. Next,, following the pattern, he brazes on to the vessel flattened brass wires, which divide the sur- face into compartments. Into each compartment he puts a lump of enamel of the proper colour. The vessel is then baked, this process causing the enamel to stick fast and to fill completely the compartments Finally the surface is carefully polished. Cloisonne is expensive to make, on account both of the amount of labour and of the high skill required. A large article of good quality is worth some hundreds of pounds. The value of cloisonne depends on its dura- bility, the absence of flaws in the enamel, the fineness of the work, the tastefulness of the design and the rich- ness of the colouring. (See also middle shelf in Case L.) 74 Long Scroll Representing Taouist worthies on a pilgrimage with Lao-Tse, the founder of Taouism, at the bottom, mounted on an ox. 75 Scroll A woman on the left is praying to Kwanyin, the Goddess of Mercy, while two fierce-looking attendants stand below. 76 A very ancient picture of Buddha. The colours are very beautiful, though the picture has suffered damage. Sanscrit letters at the bottom show that this picture is from a Lama Temple. The Lamas are the priests who rule Thibet, a mountainous country North of India, nominally subject to China. No strangers are allowed to enter Thibet, and there the Buddhist religion is most rigidly practised. 76A Case containing a Fan of carved tortoiseshell, with feathers of the Argus pheasant. Fans. — No nation uses fans more than the Chinese. The men have fans of special shapes. Palm leaves are used by the poorer people, painted paper, feathers, and embroidered silk by the rich. Fans are used for for many purposes in China : as bellows to blow up the fires, as hats and sunshades, or as dusters. So much do fans enter into the life of the people,, that a deserted wife is spoken of as " an autumn fan." i5 BAY 3. TRADES. 77 Fifty pictures of Chinese Workmen, painted on rice-paper. The workmen in China are famous for their industry and cheerfulness. Their tools are very simple, yet a silversmith, provided only with a few nails, a hammer, and a lamp, and sitting cross-legged by the roadside, will produce beautiful and elaborate pieces of work. 78 Figure in the Dress of the poorer classes in China. Coolie's Dress — Jacket, Coat,, Trousers and Hat. The climate of China is very hot in summer, and throughout most of the country, cold in winter ; in the North,, far colder than in England. Also, it is not the custom of the people to warm their rooms with artificial heat. Under these circumstances it is necessary that their clothing should be as cool as possible at one period of the year, while securing warmth for them at the other period. The working man in China is clothed in cotton all the year round. In summer he wears nothing but a loose cotton jacket and a still looser pair of trousers made of the same material. "When dressed for an entertainment or ceremony of some kind, he gathers the ends of his trousers round his ankles, by means either of a band or of a kind of long gaiter, and changes the jacket for a long, loose gown, descending nearly to the ground. For cooler weather he possesses clothes which are lined, and for really cold weather, clothes thickly wadded with cotton wool. He has also sleeveless waistcoats, which are put cn, not inside, but outside, his jacket or coat (see Clay Figures in Case B, an old man with a bird on a stick). As all these gar- ments are loose and will go on over each other, he has no difficulty in piling on enough covering to keep him warm in extremely severe weather. On c his feet he wears socks, with cloth shoes that have very thick soles. These soles are for the most part made of layers of cloth stitched very tightly together ; and, though they are very unsuitable for muddy roads, they give much more warmth than an Englishman's leather boots. He ordinarily makes no difference in the covering for his head, whether in the house or out of doors, and, as a rule, goes bare-headed ; but he may have a straw hat to keep off the sun, a small cap, if the weather be chilly, and a fur hat or hood, if he be exposed to very severe weather. The cotton cloth of which his dress is made, is generally a stout material,, grown, spun, and woven in Chisa, and though sometimes left white* is, for the most part, dyed a dark blue. i6 79 Figure of Woman of poorer class. Dressed in a jacket wadded with cotton. 80 Chinese Wheel-barrow. These are pushed by one man ; when the load is very heavy a second man pulls as leader. Eight people can sit on one barrow, and as much as 4 tons is carried. When the wind is favourable, a sail is hoisted. These vehicles, having only one wheel, are very useful on the execrable roads in China. No oil is used in the wheel, the Chinese being pleased by the groaning which the varnished wood makes as it turns. 81 Three richly Embroidered Dresses. These are ornamented with five-clawed dragons. The central robe,, being yellow, could only be worn in real life by the Emperor. This robe is a theatre robe. The ordinary mandarins would have dragons with only four claws embroidered on their robes. The robes at the sides would only be worn by Imperial Princes if they are not also theatrical properties. 82 Two Glass Cases containing Wax Figures in theatrical dress. 83 A Picture, painted in oil by a Chinese artist. This picture is painted more in accordance with European methods than most Chinese pictures. The subject is a ceremonial procession in honour of the son of a rich man, who has just come out top in the final National Examinations, and who is also being married. A theatrical performance, free to the public, is being given in honour of the Gods by the happy family. 84 A Model of a Machine worked by foot for pump- ing water up into the Rice-fields. 85 Collection of Tools and Market Bag. 86 A Peking Well-basket. 87 Half-size Model of a Wheel-barrow, With straps, cushion, basket and cover complete. 88 Model of a Junk. Chinese Junks appear very small in comparison with the monster vessels of Europe. Still, many of them have a capacity of several hundred tons. The junks of different parts of China differ very much in detail ; but in general characteristics they are the same : they have a low, bulging hull, with a high forecastle and high stern. They are flat -bottomed, and possess no 17 keel, so that they can be beached, when required, with little trouble. The want of a keel is in some degree compensated by the immense rudder, which goes very deep down, and can be lifted when the vessel is in shallow water. Junks' are ordinarily built in water- tight compartments, which give great protection, if they strike upon anything. A representation of an eye will always be found on either side of the bow in sea- going vessels. For, says the Chinaman, half in joke and half in earnest,, " suppose no got eye, how fashion can see." A junk has ordinarily three masts ; a large one has, sometimes, four. There is only one sail on each mast, except that a small balloon sail is sometimes hoisted above the permanent sail. The sails are generally made of matting, but sometimes of canvas. Junks are good sea boats : they can sail fast before the wind, but cannot do much when the wind is contrary. The general employment of steamers in recent years has much interfered with the use of junks, as of other classes of sailing vessels, for making long voyages. But a considerable number of them still visit the Malay Archipelago,, in addition to trading along the coast of China. Chinese sailors are skilful seamen and are much employed on European vessels in the Eastern seas. BAY 4. WATER - COLOUR SKETCHES By Miss Gordon-Cumming. 88a Pair of Scrolls of Taouist Deities. 89 Hill covered with horse-shoe shaped graves, On the island of Nantai, which is the foreign con- cession at Foo Chow. 90 Mountains on the way up the Min River. 91 Foo Chow City, Showing the former C.M.S. Station and others. In the distance lies Pagoda anchorage, and on the summit of the blue mountain (Mt. Kushan) is a celebrated Buddhist monastery. 92 A Village and fine old Bridge, Six miles above Foo Chow. 93 On the Min (or Yuen Foo) River. White houses showing black wooden beams, like those at Chester. 94 Back stairs leading from the old C.M.S. Mission Station, by which the women escaped, when the mob burnt the Theological College. i8 95 Small Buddhist Monastery. On an island near Foo Chow. 96 Village of Tch-ni-Kow, on the Min (or Yuen Foo) River, Not very far from the place where the Rev. R. Stewart and party were massacred. 97 The Bridge of a Thousand Ages, at Foo Chow. 98 Belfry of a Temple of Ning-Po. 99 Junks and Sampans. Beating gongs and burning incense to propitiate the Dragon of the Waters,, ere sailing. Observe the method of loading timber, which is floated down from the mountains, and is here tied outside the junk. 100 A Pai-low, or arch of richly sculptured stone, Erected to the honour of a man or woman deemed specially worthy — for instance, one who has allowed the Chinese doctor to cut off one or two ounces of flesh, to make a medicine to save the life of a parent. 101 A small part of the Bridge of a Thousand Ages, at Foo Chow. At Foo Chow. A successful student is being carried back to his village in triumph. 102-103 Junks and Sampans on the River Min. 104 The Goddess of Mercy seated on her Dragon. 105 Mountains in Manchuria. Until twenty years ago (about A.D. 1880) these had been untouched by any Protestant Mission. Then a small Medical Mission was established at Monkden, the capital, and to-day there are 25,000 baptized Chris- tians, each of whom has been long kept on probation ere being admitted to baptism, and each knows that, so far from reaping any temporal advantage, he risks bitter persecution, even to death. 106 Mountains in Manchuria. 107 Prayer Wheel of Thibet. 108 The Image Wheel of North China. 109 The Book Wheel of Japan. These three paintings illustrate the mechanical wor- ship of Buddhism as shown in the so-called Prayer Wtieel, Image Wheel, and Book Wheel. 19 In Thibet, one sentence of praise, " Hail to the Jewel who sits on the Lotus throne," is written thousands of times, and placed in cylinders, either small ones to carry in the hand, or huge ones which are made to rotate by working a crank. In the Lama Temple of North China, images of the 500 disciples of Buddha are thus honoured, while in Japan all the sacred books are placed in a lacquered case,, and the whole are made to revolve on a pivot. Thus, without mental effort, the persons turning the machines accumulate vast stores of merit. no Small Towers to contain ashes of Priests who have been cremated. In the neighbourhood of Ning Po. in Horse-shoe shaped graves of the laity in South China. Observe the letters to the dead which are laid on several graves, with stones to prevent the wind from blowing them away. Sacrifices to and for the dead are a very heavy item in national expenditure. 112 A common type of Buddhist Temple, Showing three Scarlet Altars to the three Buddhas. In the court is a brasier, in which to burn paper offer- ings for the dead — money, houses, horses, clothes. It is supposed that in the unseen world of spirits these gifts will become real. 1 1 3-1 14 The North and South Altars at the Temple of Heaven. Each consists of three terraces of pure white marble, beautifully sculptured. Beneath the blue-tiled Pagoda is a tablet bearing the name of " The Almighty God of Heaven." 115 The Temple of Heaven, The Emperor is himself the sole priest here, and on three nights, annually, escorted by all his greatest nobles, he comes here to offer burnt sacrifices and most solemn worship, to the Great God of Heaven. 116 Buddha as one person. The yellow robed monk is adoring his name on a tablet. 117 Granite Altar in a Temple to Confucius. No image is legitimate ; only a tablet bearing his name — the invariable ancestral tablet. 118 Goddess standing on a serpent's head. 20 H9 A common type of Buddhist Temple, with Theatre, In the theatre, plays, lasting three days and nights, are acted to u amuse the Idols I " 120 Gates through which you pass from the Chinese City of Peking into the Tartar City. 121 Quaint Bridge of white marble in the ground of the Summer Palace. 122 Moat dividing Imperial from Forbidden City — Peking. All yellowish-tiled roofs denote Imperial property. 123 Lake in Forbidden City — Peking. The yellow roofs at the head of the lake are those of the Emperor's Palace, in the centre of Peking. No foreigner is allowed to approach nearer. This was sketched from a white marble bridge. 124 Covered Bridge, on granite pillars, near Ningpo. 125 Rest-House on the way to Tien-Dong. 126 Approach to Tien-Dong Through gorgeous thickets of Azaleas. 127 General view of Tien-Dong Buddhist Monastery. 128 Interior of the Temple of the Buddhist Monas- tery of Tien-Dong (i.e., " The Heavenly Child In the mountains near Ning Po. The monks are reciting offices for the dead. Miss Gordon Cumming's party lodged at several of the monasteries, and they found that the monks wore crimson hoods over their yellow or grey robes. 129 Bamboos. These fringe the rivers in many districts. 130 Tientsin, on the Pei-Ho. The Port of Peking. Observe the distant graves of North China — a mound on a square base, instead of the horse-shoe shape of South China. 131 White marble Bridge in the grounds of the Summer Palace, near Peking. 21 132 Ancient Bronze Astrolabe (Astronomical Instru- ment) at Peking. 133 Ancient Bronze Pagoda, in the grounds of the Emperor's Summer Palace, near Peking. 134 The Three Great Pure Ones. The Buddhas of the Past, the Present, and the Future. 135 A busy Street in Foo Chow. 136 View near Foochow. — "The Lovers' Leap." Coolies in rain coats and hats. The chair in which the artist was carried about the country. In rainy weather the bearers wore rain-coats of dried grass, like thatch. In the foreground is a horse-shoe shaped grave. 137 Junks and Sampans at Foo Chow. Each Sampan (or covered boat to carry passengers) is the only home of a whole family,, sometimes of three generations ; yet they are the cleanest houses in China, and space is always reserved for a small shrine, where offerings are daily made to the Goddess of Mercy. 138 Macao. A Portuguese city in South China. Its chief sources of revenue are the Chinese gambling houses. In the distant shadow are the graves of the poet Camoens, and of Robert Morrison, the first Protestant Missionary. 139 A busy scene in Canton. Canton is the Southern Capital of China. The upright sign boards tell the fanciful name of each shop. Note the incense-sticks, never forgotten, to the little Idol at the doorstep 140 Distant View of Foo Chow. 141 The Town of Victoria, on the Island of Hong Kong. A zig-zag railway conveys fortunate foreigners to their cool sleeping quarters on the Peak, 1800 feet above the sea level. 142 Kulangsu. The foreign concession on an island facing Amoy. 143 Kakchio. A Mission station. 144 The Town of Victoria, on the Island of Hong Kong. 22 45 Kowloon. Britain's recent acquisition on the mainland of China, as seen from the Island of Hong Kong. A Mission station. 146 Swatow. 147 The Racecourse and Cemeteries at the entrance to " Happy Valley," Hong Kong. A Chinese crowd always looks blue, indigo being the cheapest, and, therefore, the prevalent dye. 148 Kowloon. 149 Macao. CASE C. SILVER SNUFF BOXES, ETC. 150 Collection of Chinese Snuff-bottles. These beautiful little bottles are worked in very hard stones ; the veins being skilfully allowed to decide the design in some cases. No. 23 is of hairstone, the black hairs being a mineral — tourmaline — imbedded in rock crystal. 151 Set of three silver Nail Cases. The rich Chinese allow their nails to grow to great length. Long nails prove that people do no work with their hands, and are wealthy. To protect the nails silver cases are made. 152 Collection of modern Chinese silver Spoons. 153 Models in silver of Wheel-barrow, and Ox-driver. 154 Model of a Sedan Chair. 1 55 Pepper-pots in the form of Pagodas. 156 Model of a Pekin Chair. 157 Three silver models of Chinese Junks. 158 Carved Red Lacquer Box. 159 Carved Red Lacquer Tea-cup. 160 Tea-cosy and two Card-cases in Canton Embroi- dery. 1 61 Ancient yellow Tiles from the Tombs of the Ming Emperors. 23 1 62 A Charm worn to keep off evil. 163 Collection of Chinese Locks. As robberies are very common in China, these locks are made as elaborate and secret as possible. Several apparently show no opening for the key, until certain parts are pressed. 164 Whistles. These are tied to pigeons and make a great noise when the birds fly. 165 Collection of four copper Boxes containing Buddhist pictures. These are worn fastened round the chest. 166 Chinese Spectacles and Cases. 167 Ivory Opium-Pipe. 168 Ancient copper Coins (one in the form of a sword). 169 Ivory model of an Opium-Couch. 170 Carved Beak of a Bird. CASE D. BRONZES. The art of working on bronze has been in the possession of the Chinese from a very ancient period, for at the time of the Shang dynasty, which com- menced B.C. 1783, it had arrived at an advanced stage. It was connected with their primitive religious beliefs, and many massive urns, vasqs and other articles have been unearthed from ancient tombs of which all traces have been lost. The excessive reverence of the Chinese for the set forms of antiquity led them to adhere through all times to the ancient models, which have been copied to the most minute particulars for centuries, but the introduction of Buddhism in the first century of our era experienced a widening influence upon the Chinese art-worker and expanded the narrow range of his efforts. Taouist idols and symbols also began to afford subjects to the artizan, and then the expansion embraced the human figure and very many natural objects, until the art culminated in the grand reign of K'ang Hi, A.D. 1662- 1723, when the finest specimens were produced. 2 4 171 Brass Incense Burner. In the form of a Ky-lin, an imaginary monster (modern Chinese). 172 Brass Incense Burner. In the form of three elephants' heads (Indian design) 173 Vase of rock crystal. 174 Antique Bell (1,000 years old). 175 Thibetan Temple Instrument. 176 Very antique bronze Vessel for a Temple. At least 2,000, possibly 4,000 years old. The makers of porcelain took their designs from these early bronze vessels. 177 Ancient bronze Vessel. In the form of a goose. Vessels of this form were used for holding the wine at Imperial banquets as a warning to the guests not to get drunk. 178 Old bronze piece of Altar Furniture. Inlaid with the Chinese key pattern, which is very much like the favourite Greek pattern. 179 Ancient bronze Vase. Gold and silver inlay ; abcut A.D. 1200. 180 Archaic bronze Sacrificial Vessel, with cover, Decorated with monster heads, in the primitive style of Chinese art, earlier than B.C. 500. 181 Ancient bronze Temple Vessel with handles. Elaborately inlaid with gold and silver ; about A.D. 1400. 182 Bronze (over 1,000 years o)d). 183 Large bronze Vessel. Inlaid with gold; very ancient. 184 Modern bronze Figure of a Deity, With a pilgrim's bottle on the back. 185 Candlestick on tortoise (400 years old). 25 86 Looking-glass on water-ox (1,300 years old). 87 Bronze Ladle. 88 Set of Altar Vessels. Bronze 3 inlaid with gold. Reign of Suan-Te, a.d. 1426. 89 Bronze Vessel with Persian lettering. 90 Prayer Mill. From a Lama monastery in Thibet. 91 Set of bronze Altar Ornaments, with Persian lettering. 92 Pair of handsome brass Water-pots. Ornamented with silver and copper. 93 Ivory Chop-sticks in gold case. 94 Large bronze Incense Burner, with Ky-lin on the top. The twisted rope forms the figure of a Chinese con- stellation. 95 Handsome brass Japanese Mirror Plaques in Chinese stands. 96 Brass Mirror in ebony stand. CASE M. 97 Two jewelled Trees, in imitation Cloisonne enamel pots. The flowers are made of coral and jade. 98 Carved wooden Figure of a Buddhist Priest. 99 Pair of Soapstone Dragons. Imitation of Jade. 00 Large dark green Jade Vase. 01 Ebony Staff with carved Jade Plaques. These staffs are given as tokens of friendship. ;02 Carved Soapstone Ornaments. 26 203 Magnificent antique Incense-burner of Cloisonne Enamel. At the top is a gilt Lion-dog. 204 Box and Figures of carved Ivory from Canton. 205 Two sets of Wine Cups. Made of polished cocoa-nut, with silver linings. These cups are made in Hainan. 206 Pewter Pot for warming wine, from Hainan. 207 Pale green Jade Vase. Carved from one piece of Jade of remarkable size. 208 Chinese Toy. Cleverly constructed balance. END WALL. 209 Piece of Embroidery. The subject is the favourite Chinese story of the Hundred Children. A good king of old had a hundred children, whose adventures are the subject of many pieces of embroidery. 210 Scrolls from Central China. In connection with the Centenary of the London Missionary Society, the converts in Central China sent their congratulations to the English churches in most approved Chinese fashion. On all joyous occasions, birthdays, wedding-days, and the like, a Chinese gentle- man is sure to receive from his courteous friends scrolls or tablets, containing, in carefully balanced sentences, congratulatory expressions of regard. Four Chinese characters : ' Yung Kwei Shang-ti 1 ('Glory be to God), are worked up in gold cord into bold relief, as indicating the great end in which the labours of the Society find issue. 211 CASE E. — Chinese Money. China presents the curious spectacle of an empire without a gold and silver currency. The cash, a small copper coin the size of a halfpenny but thinner has been for centuries the medium of exchange. The cash is made with a square hole in the centre for conveni- ence in carrying. Inside the raised outer rim of the coin are four Chinese characters, two being the style of the Emperor's reign and two meaning current coin. The objection to cash is their great weight. It is necessary to hire men to carry the coins when any 27 one wants to take enough to pay the expenses of a journey or a shopping expedition. Moreover cash have not the same value in all parts of China, and the exact value is a constant ground for dispute and extortion. At present about 32 cash go to a penny. The Arabian traders introduced the use of silver by weight to the Chinese. Silver is reckoned in taels which contain one ounce each, and are worth about 2/4. Silver is carried about in the curious shaped blocks of 50 or 100 taels, of which there are specimens in the case. Paper notes were issued by the government in Polo's time. Formerly no one dared refuse government paper-money on pain of death, but at present the doubt as to whether the government will redeem its notes prevents their ready acceptance. Formerly Mexican, now x\merican dollars are much used in China. The Chinese cut them up into pieces of the value they need. Specimens of these fragments can be seen in the case. Only a country where the majority of the people were very poor and the cost of living very small, could endure such a clumsy currency as the cash of China. WALL. 212 A piece of Paper Money. Issued by the Ming Rulers about a.d. 1368, not long after Marco Polo's residence in China. The Venetian traveller was much struck by the use of paper money in China, and begins nearly every chapter in his account of his travels, " The inhabitants of this city are idolaters and use paper money." 213 Government Paper Note of 1858. These notes are not as readily received as the notes of Banks in Case F, as no one can be sure the Govern- ment will redeem them. 214 Paper Cash. The Chinese burn these paper copies of their money, as they think that by doing so they will provide the dead with money in the next world. 215 Scroll, wedding gift. Double Chinese character 216 Pictures of the God and Goddess of the Kitchen. These are put up in every kitchen in China once a year, and the old pictures burnt. The God and Goddess of the kitchen are supposed to ascend to heaven once a year and give a report to the Gods of what the family have been doing during the year. 28 217 Large piece of Embroidery. The story of the Hundred Children is worked on it. 218 Scroll. The characters say it was presented, with the umbrella, to Sir Walter Hillier, H.C.M. for Korea, with the respect of all the Chinese inhabitants of Korea. CASE F. SHOES AND SMALL ARTICLES. 219 Set of carved wooden Models of Chairs, Boats, etc., peculiar to China. 220 A complete set of Embroidered Cases. Such as a Chinese gentleman would carry. These consist of a fan case, spectacle case, purse for paper notes, snuff bag and tobacco pouch. 221 Portions of Shell fired by the Chinese into the British Legation at Pekin last year. Picked up by the daughters of the late Ambassador at Pekin, Sir Claude Macdonald, G.C.M.G. 222 Blue Waist-belt, with fine silver Dragon clasp. This is the regular belt worn by Chinese gentlemen. 223 Chinese Compass. The use of the compass was known to the Chinese long before it was known to Europeans. 224 Exact Model of an official Sedan Chair. 225 Set of Artificial Flowers and Butterflies, for hair decoration. 226 Pair of enamelled earrings with jade rings attached ; and Pair of Beetles made of King- fishers' feathers, for hair decoration. 227 Paper money case of Pekin Embroidery. Notice the semi-Russian design and colouring of this North Chinese work, due to Manchu-Tartar influence. 2Q 228 Collection of Women's Shoes. The character of a Chinese woman's shoes and stockings will depend on whether her feet have been artificially cramped or not. The descendants of the Manchu Tartars, the race which conquered China two hundred and fifty years ago, all have large feet. So have a few classes of Chinese, women, such as the boat women at Canton, and a small number of the very poor, especially country peasant women. But, speaking generally, the great mass of the women of China have their feet more or less cramped. The practice has been known for at least a thousand years. Various stories are told as to its origin. But probably it was commenced simply because women found that men admired small feet, aad was gradually carried to its present terrible extreme. 229 A pair of Babies' Shoes. 230 Exact plaster models of cramped women's feet — from a hospital in China. 231 Shoemaker's window model, from, Canton. Notice the great variety in form and shape of these shoes. Every district and every class has its peculiar form. Some of the women who work in the fields have feet and shoes as small as these. The title given to cramped feet by the Chinese is *' Golden Lilies." 232 Shoe on raised canvas-covered frame. Such as is worn by Manchu women, adding height and dignity. 233 Shoes, showing Cantonese Embroidery. CASE G. PRINTING, ETC. The Chinese were familiar with the art of printing several centuries before it was known in Europe. But, until quite recently, their invariable practice was to print from blocks and not from moveable type. In block printing, a slab of wood is taken of the size of a double page of the intended book, and on this the words are cut with a sharp knife. Only one side of the paper is printed on : the leaf is folded down the middle, and is attached to the book by the loose edges. (See No. 188.) The use of moveable type, which has made some progress during the last few years, presents to the 3o Chinese printer difficulties which are unknown to the European. As there is no alphabet in Chinese writing, each type must represent a complete word. The printer thus requires to have at hand from six thou- sand to tea thousand different types, according as his copy u contains merely common words or raier ones. Chinese writing begins from the right hand and leads down the page So, the first page in their books comes where the last page in ours does. 234 Impression of Imperial Seal. 235 Specimens of two Wooden Printing Blocks. One is new, the other has been inked. 236 A Chinese Book : large print, from blocks. This book is a little work in lines of three words, and is the first put into the hands of Chinese children. It begins with the words, " All men are by nature good." 237 A Book by a Chinese Viceroy, Chang, appealing for Reforms. It has been translated into English under the mis- leading title " China's Only Hope," and has had a large circulation. 238 Wooden Block for printing Visiting Cards. 239 Chinese Visiting Cards. The larger the printing on the card, the greater its owner wished his dignity to be considered. 240 Numbers of the Peking Gazette. Printed in Peking, from moveable t)< T pes, of a very coarse character. The Peking Gazette is the oldest newspaper in the world. It is published daily, and contains : ftrst y Court news ; secondly, Decrees issued by the Emperor ; thirdly, Reports to him from high officials. {a) Number for 29th August, 1892 (shut). (b) Number for 9th May, 1893 (open). [c) Double page of the Gazette (unfolded). 241 Chinese Bank-book and Case. 242 Collection of Chinese Writing Implements. The Chinese write with brushes fined down to a delicate point. They mix the ink by rubbing the black inkstick with water on the stone ink-slab. The paper is kept in position by a brass frame. At the side is a green pottery rest for the brushes or pens. Chinese letters are very elaborate. Each Chinese character 3* expresses a word. Excellence in writing is considered a fine art, like painting, and specimens of a famous writer's hand are preserved as works of art. 243 Printed specimens from a fine writer's "Copper- plate " characters. The Chinese language has no alphabet. They can- not, therefore, make up words with letters. Each word being represented by one character, the Chinese are, consequently, obliged to have many thousand characters. The earliest characters were pictures of the object. These pictures have been slightly modified in use. A mountain represented at first by three peaks aAa has now the character ill. Many more characters are obtained by combining the first charac- ters. Those for the sun and moon combined mean " brightness." Chinese handwriting corresponds more closely than English to the printed form, but a more flowing hand is allowed, which differs considerably from print. The sounds in Chinese are limited in number, and are monotonous. The language is meant to appeal to the eye rather than to the ear. The Chinese are wonderfully skilful in writing, copying long books with- out a mistake or an irregular character. 244 Running-hand Characters. 245 Specimen of fine print : Shanghai, 1884. 246 A Chinese Official Despatch and its Envelope. A Chinese letter or despatch differs in its arrange- ment from an English one. In the first line (on the right) there are the name and titles of the writer. As these will be the same for all the despatches written by him, they are generally printed from a block kept in his office. Next comes the body of the letter. Finally, the name of the person to whom the letter is sent, and the date. At its beginning and its end the letter is stamped in red with the writer's official seal. On the envelope, to the right,, are printed the name and titles of the sender, to the left are writted those of the per- son addressed. The envelope is stamped at each end with the writer's seal, in order that it may not be surreptitiously opened. 247 Private Letters and their Envelopes. These are in rather less formal and more hurried handwriting