Chapter II

1 2 3 4 5 6 How delightful this branch of the _Moo-lee_ flower

7 8 9 10 11 12 13 14
In the full plot of flowers blowing freely none excels it

15 16 17 18 19 20 I the owner will wear this gathered branch

21 22 23 24 25 26 27 Wear it yet fear, the flower seen, men will envy.]

I have thought it not amiss to subjoin a few other airs of the popular kind, which were written by the same gentleman at Canton, who made the drawings of their musical instruments.

CHINESE POPULAR AIRS.

[Music: No. I.]

[Music: No. II.]

[Music: No. III.]

[Music: No. IV.]

[Music: No. V.]

[Music: No. VI.]

[Music: No. VII.]

[Music: No. VIII.]

[Music: No. IX.]

They have no other notion of noting down music than that of employing a character expressing the name of every note in the scale; and even this imperfect way they learned from Pereira the Jesuit. They affected to dislike the Embassador's band which they pretended to say produced no music, but a confusion of noises; yet the Emperor's chief musician gave himself a great deal of trouble in tracing out the several instruments on large sheets of paper, each of its particular size, marking the places of the holes, screws, strings, and other parts, which they conceived necessary to enable them to make others of a similar construction.

It would be difficult to assign the motive that induced Father Amiot to observe, that "the Chinese, in order to obtain their scale of notes or gamut perfect, were not afraid of submitting to the most laborious operations of geometry, and to the most tedious and disgusting calculations in the science of numbers;" as he must have known, that they were altogether ignorant of geometry, and that their arithmetic extended not beyond their _Swan-pan_. Of the same nature is the bold and unfounded assertion of another of the Jesuits, "that the musical system of the Chinese was borrowed from them by the Greeks and Egyptians, anterior to the time of Hermes or Orpheus!"

With regard to painting, they can be considered in no other light than as miserable daubers, being unable to pencil out a correct outline of many objects, to give body to the same by the application of proper lights and shadows, and to lay on the nice shades of colour, so as to resemble the tints of nature. But the gaudy colouring of certain flowers, birds, and insects, they imitate with a degree of exactness and brilliancy to which Europeans have not yet arrived. To give distance to objects on canvas, by diminishing them, by faint colouring, and by perspective, they have no sort of conception. At _Yuen-min-yuen_ I found two very large paintings of landscapes which, as to the pencilling, were done with tolerable execution, but they were finished with a minuteness of detail, and without any of those strong lights and masses of shade, which give force and effect to a picture; none of the rules of perspective were observed, nor any attempt to throw the objects to their proper distances; yet I could not help fancying that I discovered in them the hand of an European. The old eunuch, who carried the keys of the room, frequently asked me, when looking at these pictures, if I did not think his countrymen were excellent painters; and having one day expressed great admiration for the talents of the artist, he led me into a recess of the room, and opening a chest, supported upon a pedestal, he observed, with a significant look, he was now going to produce something that would astonish me. He then took out several large volumes, which were full of figures, drawn in a very superior style and tinted with water colours, representing the several trades and occupations carried on in the country; but they seemed to be stuck against the paper, having neither shadow nor foreground, nor distance, to give them any relief. On the opposite page to each figure was a description, in the Mantchoo Tartar and the Chinese languages. Having turned over one of the volumes, I observed, on the last page, the name of _Castaglione_, which at once solved the riddle. On re-examining the large pictures in the hall, I found the same name in the corner of each. While going through the volume, the old eunuch frequently asked, if any one in Europe could paint like the Chinese? but, on my pointing to the name, and repeating the word _Castaglione_, he immediately shut the book and returned them all into the chest, nor, from that time, could I ever prevail upon him to let me have another sight of them. On enquiry, I found that Castaglione was a missionary in great repute at court, where he executed a number of paintings, but was expressly directed by the Emperor to paint all his subjects after the Chinese manner, and not like those of Europe, with broad masses of shade and the distant objects scarcely visible, observing to him, as one of the missionaries told me, that the imperfections of the eye afforded no reason why the objects of nature should also be copied as imperfect. This idea of the Emperor accords with a remark made by one of his ministers, who came to see the portrait of His Britannic Majesty, "that it was great pity it should have been spoiled by the dirt upon the face," pointing, at the same time, to the broad shade of the nose.

Ghirrardini, an European painter, published an account of his voyage to China, where, it appears, he was so disgusted that, having observed how little idea they possess of the fine arts, he adds, with rather more petulancy than truth, "these Chinese are fit for nothing but weighing silver, and eating rice." Ghirrardini painted a large colonnade in vanishing perspective, which struck them so very forcibly that they concluded he must certainly have dealings with the Devil; but, on approaching the canvas and feeling with their hands, in order to be fully convinced that all they saw was on a flat surface, they persisted that nothing could be more unnatural than to represent distances, where there actually neither was, nor could be, any distance.

It is scarcely necessary to add any thing further with regard to the state of painting in China. I shall only observe, that the Emperor's favourite draughtsman, who may of course be supposed as good or better than others of the same profession in the capital, was sent to make drawings of some of the principal presents to carry to his master, then in Tartary, as elucidations of the descriptive catalogue. This man, after various unsuccessful attempts to design the elegant time-pieces of Vulliamy, supported by beautiful figures of white marble, supplicated my assistance in a matter which he represented as of the last importance to himself. It was in vain to assure him that I was no draughtsman; he was determined to have the proof of it; and he departed extremely well satisfied in obtaining a very mean performance with the pencil, to copy after or cover with his China ink. Every part of the machines, except the naked figures which supported the time-piece and a barometer, he drew with neatness and accuracy, but all his attempts to copy these were unsuccessful. Whether it was owing to any real difficulty that exists in the nice turns and proportions of the human figure, or that by being better acquainted with it we more readily perceive the defects in the imitation of it, or from the circumstance of the human form being concealed in this country in loose folding robes, that caused the Chinese draughtsman so completely to fail, I leave to the artists of our own country to determine: but the fact was as I state it; all his attempts to draw these figures were preposterous.

As to those specimens of beautiful flowers, birds, and insects, sometimes brought over to Europe, they are the work of artists at Canton where, from being in the habit of copying prints and drawings, carried thither for the purpose of being transferred to porcelain, or as articles of commerce, they have acquired a better taste than in the interior parts of the country. Great quantities of porcelain are sent from the potteries to Canton perfectly white, that the purchaser may have them painted to his own pattern: and specimens of these bear testimony that they are no mean copyists. It has been observed, however, that the subjects of natural history, painted by them, are frequently incorrect; that it is no unusual thing to meet with the flower of one plant set upon the stalk of another, and having the leaves of a third. This may formerly have been the case, from their following imperfect patterns, or from supposing they could improve nature; but having found that the representations of natural objects are in more request among foreigners, they pay a stricter attention to the subject that may be required; and we found them indeed such scrupulous copyists, as not only to draw the exact number of the petals, the stamina, and pistilla of a flower, but also the very number of leaves, with the thorns or spots on the foot-stalk that supported it. They will even count the number of scales on a fish, and mark them out in their representations, and it is impossible to imitate the brilliant colours of nature more closely. I brought home several drawings of plants, birds, and insects, that have been greatly admired for their accuracy and close colouring; but they want that effect which the proper application of light and shade never fails to produce. The coloured prints of Europe that are carried out to Canton are copied there with wonderful fidelity. But in doing this, they exercise no judgment of their own. Every defect and blemish, original or accidental, they are sure to copy, being mere servile imitators, and not in the least feeling the force or the beauty of any specimen of the arts that may come before them; for the same person who is one day employed in copying a beautiful European print, will sit down the next to a Chinese drawing replete with absurdity.

Whatever may be the progress of the arts in the port of Canton, they are not likely to experience much improvement in the interior parts of the country, or in the capital. It was the pride rather of the monarch, and of his ministers, that made them reject the proposal of Castaglione to establish a school for the arts, than the apprehension, as stated by the missionaries, that the rage for painting would become so general, as to be prejudicial to useful labour.

In a country where painting is at so low an ebb, it would be in vain to expect much execution from the chissel. Grotesque images of ideal beings, and monstrous distortions of nature, are sometimes seen upon the ballustrades of bridges, and in their temples, where the niches are filled with gigantic gods of baked clay, sometimes painted with gaudy colours, and sometimes plastered over with gold leaf, or covered with a coat of varnish. They are as little able to model as to draw the human figure with any degree of correctness. In the whole empire there is not a statue, a hewn pillar, or a column that deserves to be mentioned. Large four-sided blocks of stone or wood are frequently erected near the gates of cities, with inscriptions upon them, meant to perpetuate the memory of certain distinguished characters; but they are neither objects of grandeur nor ornament, having a much closer resemblance to a gallows than to triumphal arches, as the missionaries, for what reason I know not, have thought fit to call them.

The intention of these monumental erections will appear from some of their inscriptions.

I.

_Honour granted by the Emperor._
_The grateful odour of one hundred years._
_Retirement._ _Tranquillity._