Jones, Owen, 1809-1874. / Examples of Chinese ornament selected from objects in the South Kensington Museum and other collections.
Description of the plates, pp. 9-15 ff.
DESCRIPTION OF THE PLATES. PLATE I. Ornamental Title, arranged from a painted china dish. PLATE II. This plate is taken from a very fine Vase of blue- and-white china. The large flowers are arranged all over the surface of the Vase in equilateral tri- angles, and are united by one continuous main stem, throwing off smaller masses arranged triangularly. The introduction of the ground colour in the centre of the flowers is very valuable, and materially helps the repose of the composition. PLATE III. This plate is arranged from a blue-and-white china Basin, and shows half the circumference of the basin developed. The four pear-shaped masses are very effective. The etched outline lowers on the dark ground are after the Indian manner; so also is the general arrangement of the pendant ornament, except that the scrolls have their ter- minations so peculiarly Chinese. PLATE IV. This plate is taken from a large Vase, similar in general arrangement to that from which Plate II. is taken, but the forms of the Ornament are much less pure. The composition consists of three bats placed triangularly, crossed by three flowers similarly arranged in the opposite direction: these are all united by a continuous stem, throwing off other masses of conventional form. PLATE V. A similar composition on a dark ground. Here repose is obtained by the etching in the ground- colour, on the leaves and flowers. PLATE VI. Part of a pendant Ornament round the top of a magnificent blue-and-white china cistern. In the upper border the lines run in one direction round C I., the bowl. In the lower, one continuous main stem runs through the general forms, embracing all the flowers, which are geometrically arranged. The broad blue line which forms the boundary of the composition is also continuous; and in the form of a pendant arch recalls a form which is common to the Arabian, Persian, Moresque, and indeed all Oriental art. The treatment of the shading of the flowers is also Indian in character. PLATE VII. From a blue-and-white china Dish. Again in this example we see a Persian influence in the flowers round the edge, and in the form of the ex- ternal rim of the dish. PLATE VIII. From a blue-and-white china Bottle. Here we have continuous stems running round the bottle, throwing off flowers right and left, fitting into each other as it were, and yet triangulation is never lost sight of. PLATE IX. Borders from blue-and-white china Bottles PLATE X. Borders from Vases in cloisonne enamel. The same instinct of triangulation may be observed in the colouring of the ornament. PLATE XI. The same principles which are exhibited in Plate II. are to be seen in this specimen from a Bowl in cloisonne enamel. The large flowers are arranged in triangles, crossed by smaller flowers in the opposite direction, and all connected by a con- tinuous stem throwing off leaves and stalks to fill up the ground; all geometrically arranged, and yet not in a manner so apparent as to interfere with the freedom of the composition. The system of triangulation is still further kept up in the colouring. On the left the purple flower is the 9
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