THE FASCINATION OF CHINESE BRASS

Sun (Auckland), Volume 1, Issue 29, 27 April 1927, Page 10

THE FASCINATION OF CHINESE BRASS

AN ANCIENT CRAFT ART AND UTILITY Jn these modern times of Decorative Art, when one has such an infinite variety from which to choose their ornamental requisites, it is noticeably strange how little used, is Chinese brass for interior decoration. Unlike genuine antiques, Chinese brassware is moderately priced and is within the reach of every purse. To trace the original of the craft would take one back through' the dust and doubt of antiquity, for this impenetrable country has a civilisation that was a thousand years old before the birth of Christ, and still to-day clings to customs that were observed when David was reigning in Jerusalem. For generations the methodical Chinese have laboured at an art that even to-day in our twentieth, century is as antique in design as it was when the craft first flourished. Western civilisation has repeatedly attempted to introduce scientific methods and appliances into China, but these Orientals always recur to the formula: ‘‘What was good enough in 100 B.C. is 2,000 years better to-day.” With modern methods of manufacture time is a precious factor, but the Chinaman has no count of time. He may carry a watch, not for its use, but rather because its tick amuses him, and so he is still as eager to devote patient toil and labour to the perfection of one piece of art work as he was centuries ago, and so with Chinese brassware, the same effort and patience is stamped into every piece. There is a quality about this particular craft .that man’s ingenuity or modern machinery can never successfully imitate. For comparison one has only to compare a piece of Chinese ware with the product of our modern machinery. In the former we find excessive strength, without much beauty, while in the latter we find excessive beauty, symmetrical precision, but no solidity. Man has designed modern machinery, but in doing so has sacrificed permanence® and it is the stamp of solidity that characterises Chinese brass from all others. There is a subtle fascination about this craft that at times is irresistible, and yet it is not for its beauty of design—rather perhaps that it fascinates by its uncommonness. Examine the quaint markings on a brass tray or plaque; do they not suggest something of the primitive? Note the absence of straight lines; this is a typical feature of all Chinese art. One has only to observe the design of the proverbial Willow Pattern, no straight lines or paths are noticeable here. This is in accordance with the simple belief that no demons or malignant earth spirits can follow swiftly along a zig-zag course, and so to the connoisseur who really appreciates beauty and aims at perfect balance in home decoration, Chinese brass must find a place in his or her programme of art. The keynote of all successful interior decoration is moderation; this applies more so to the use of Chinese brass than perhaps anything else. A reception hall stained black with its Indian carpet and Eastern tapestry has perfect balance when a large brass plaque resting at an angle on a blackwood stand is placed in one corner, preferably farthest from the door. A palm will look far more effective in a brass jardiniere supported by its blackwood triangular stand, than in the ordinary earthenware pot, providing, of course, the colour scheme is harmonious.

Theer is a wide variety of Chinese candlesticks to choose from, including pagodas, snakes, twisted, tortise, storks, etc., and a pair of these with suitable fancy candles add effectively to mantelpiece decoration. In fact, there is a piece of Chinese brass suitable for every purpose, and these if used in moderation will create an atmosphere tljat must and will appeal to the most fastidious.

The larger pieces of brass such as Buddhas, incense burners, vases, etc., require a large room to do them justice, and should be placed in such a position as to be seen from every angle; and so to those who are not acquainted with the art of Chinese brassware, it will pay them to examine some of this handiwork. They will find that what at a passing glance seemed crude, will-with repeated association become fascinating. Modern civilisation imitates, but the real art of Chinese brasscraft will always belong to the land of Yellow Men.

Cedar is one of the best timbers to be used for plugging in between the joints of brickwork, in order to secure nail-holes for the joinery. Kauri does not stain when wet, and is, therefore, used for wash troughs or bakers’ troughs. It is the strongest of the pines, and has a fine appearance when worked.. Sawn laths of Oregon arcused for plasterers’ work. The natural seasoning by exposing timber to the free circulation of air takes four years to be effective, and artificial seasoning is much more rapid, as well as beine: thorough. Gas fires cause no dust, ashes or dirt to injure the dainty furnishings of a room and they also obviate the necessity of cleaning grates and hearths. Hence their popularity with the housewife, to whom all the things herein enumerated are bugbears.

Apart from the possession of artistic ability and the gift of making fine drawings upon paper, the modern architect has to be a man of science, something of a mathematician, an engineer and to have some knowledge of a wide variety of subjects such as geology and mechanics.