Chinese pottery and porcelain; vol. 1. Pottery and early waresHobson, R. L. (Robert Lockhart)
History
Chinese pottery and porcelain; vol. 1. Pottery and early wares
Hobson, R. L. (Robert Lockhart)
Porcelain, Chinese; Pottery, Chinese
On the other hand, a greater age has been credited to these pillows in
the belief that they are "corpse pillows" recovered from ancient tombs,
a theory for which a quotation from a Ming writer in the _T´ao shuo_ is
responsible.[242] It is stated that "the pillows of ancient porcelain
that are two feet and a half long and six inches broad may be used.
Those only one foot long are known as 'corpse pillows,' and are among
the things found in ancient tombs; and even when these are of white Ting
Chou porcelain of the Sung dynasty, they ought not to be used." Now the
pillows made by Chang and others are rarely more than a foot long, and
according to this passage should be regarded as corpse pillows. But I
cannot help thinking that either the measurements given are incorrect, or
that the figures are inaccurately quoted; for apart from the difficulty of
making porcelain pillows thirty inches long, such a size would be wholly
unnecessary, and is, in fact, more than twice the length of the ordinary
Chinese pillow, as we know from existing examples in various materials.
At the present day there is no such distinction in size between the two
sorts of pillow, and de Groot[243] assures us that the head of the corpse
is rested on a small pillow "not differing from those in use among the
living."
From the same passage in the _T´ao shuo_ we learn that a curious belief
existed in China that porcelain pillows were "efficacious in keeping the
eyes clear and preserving the sight, so that even in old age fine writing
can be read," and that this belief obtained as early as the Sung dynasty,
much use of such pillows having been made in the court of Ning Tsung.
Among the many types of Tz´ŭ Chou ware, old and new, figures and
statuettes, usually of deities, played an important part. There are
examples of coarse modern figures in the British Museum, but there are
others,[244] strong and forcefully modelled, which rank with the best
ceramic statuary. These, no doubt, belong to the older and better periods.
A good example is shown in Plate 32.
Public-domain text, read in full here on John Shaqi.
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