Title: Examples of Chinese ornament selected from objects in the South Kensington museum and other collections
Year: 1867 (1860s)
Authors: Jones, Owen
Publisher: London : S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: Lyrasis Members and Sloan Foundation
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ese secondary masses also balance triangularly, but in a less rigid manner thanwith the larger flowers : the process is continued by the introduction within the inter-mediate spaces of still smaller forms, buds, or stalks, till the whole is filled up, and reposeis obtained by evenness of tint. This method of composition is followed in all the Orientalstyles of ornament: what is peculiar to the Chinese, especially in their large enamelledobjects, is the large relative size of the principal flowers which mark the triangulation ofthe areas ; and it will be seen throughout the plates how cleverly this apparent dispro-portion of the principal points of the composition is got over by the detail on the surfaceof the flower, so that the desirable evenness of tint is preserved. This method of having fixed symmetrically arranged spots, round which run leavesand branches, was characteristic of Roman Ornament, which generally consisted of a scrollgrowing out of another scroll encircling a flower.
Text Appearing After Image:
Roman Ornament. The bulb at the point of junction of the volutes was got rid of during the Byzantineperiod ; and in the Arabian and Moresque, and Oriental styles generally, the end of thescroll becomes flattened out into the form of a leaf; the flowers flow oft the continuousstem. In the Renaissance style the peculiarity of Roman Ornament reappeared, but muchmore sparingly as other elements were introduced : it was subordinate, but still everpresent ; every volute is terminated by a flower. In the Persian, which comes much6 CHINESE ORNAMENT. nearer our present style, the flowers are placed, not at the end of a volute, but at thejunction of two tangential curves; so in the Indian style : in neither of these styles is thesystem of triangulation so rigidly carried out: it is always the guiding principle, but itis more artistically concealed. In the Chinese ornamentation, triangulation is the mamfeature, the geometrical arrangement is absolute and undisguised, but softened by a freetreatm
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