RAS-1974 — Page 80

RASHKB Journal 皇家亞洲學會香港分會學刊 All AI Reviewed

KEITH G. STEVENS

Chinese writing brushes, the predominant colour used being gold. The gold leaf, bought from China or Europe in packs of one hundred two inch squares, is more expensive than gold paint, but more commonly used as it wears better. These tiny squares of pure gold leaf are applied after gold size has been painted on to the appropriate parts of the image (Plates 23 and 24). The gold size is a highly viscous mixture of varnish and other oils which after about two hours, becomes tacky; the gold leaf is then applied. The gold leaf is removed from its waxed paper with an ordinary camel hair artist's brush and placed on to the treated part of the image. The tiny slivers of gold which fall to one side are collected on to pieces of waxed paper and carefully used to fill in gaps on the less exposed parts of the image and between the two inch sheets. A softer brush is then used to rub down the gilded parts to burnish them (Plate 25).

Some images are decorated with a combination of gold leaf and paint. When particularly ordered, old fashioned colouring may be used. This consists of a home-made mixture of water, a gum medium and crumbly coloured powder brought from China many years ago (Plate 26).

Painted images are varnished with a commercial varnish and allowed to dry. Finally, the bits and bobs are added. Usually this is a woman's task, although the more particular master carvers insert the beard made of horsehair or imported theatrical wig hair themselves (Plate 27). The hair is tightly bunched and inserted into five holes bored into the cheeks and chin of the image and trimmed, the instrument most frequently used for this task being a dentist's probe! The flywhisks, hat-bobbles, swords, rings, sceptres, spears, staffs and maces are carved or made separately and inserted into the image, usually only in the presence of the customer. Many of the smaller protruding parts of the head-dress, flags and weapons are cut from old tin cans. These final operations are carried out with tremendous flourish and panache, and the handing over ceremony is preceded by more tea drinking and conversation.

The consecration of the image in the temple, monastery or home is carried out by a Taoist or Buddhist priest. If Taoist he may, in a trance, invite the spirit to enter the image or may in a simple ceremony "open the god's eyes" by painting in the pupils. In the North and Central China, most commonly at a Buddhist ritual, it

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74 KEITH G. STEVENS Chinese writing brushes, the predominant colour used being gold. The gold leaf, bought from China or Europe in packs of one hundred two inch squares, is more expensive than gold paint, but more commonly used as it wears better. These tiny squares of pure gold leaf are applied after gold size has been painted on to the appropriate parts of the image (Plates 23 and 24). The gold size is a highly viscous mixture of varnish and other oils which after about two hours, becomes tacky; the gold leaf is then applied. The gold leaf is removed from its waxed paper with an ordinary camel hair artist's brush and placed on to the treated part of the image. The tiny slivers of gold which fall to one side are collected on to pieces of waxed paper and carefully used to fill in gaps on the less exposed parts of the image and between the two inch sheets. A softer brush is then used to rub down the gilded parts to burnish them (Plate 25). Some images are decorated with a combination of gold leaf and paint. When particularly ordered, old fashioned colouring may be used. This consists of a home-made mixture of water, a gum medium and crumbly coloured powder brought from China many years ago (Plate 26). Painted images are varnished with a commercial varnish and allowed to dry. Finally, the bits and bobs are added. Usually this is a woman's task, although the more particular master carvers insert the beard made of horsehair or imported theatrical wig hair themselves (Plate 27). The hair is tightly bunched and inserted into five holes bored into the cheeks and chin of the image and trimmed, the instrument most frequently used for this task being a dentist's probe! The flywhisks, hat-bobbles, swords, rings, sceptres, spears, staffs and maces are carved or made separately and inserted into the image, usually only in the presence of the customer. Many of the smaller protruding parts of the head-dress, flags and weapons are cut from old tin cans. These final operations are carried out with tremendous flourish and panache, and the handing over ceremony is preceded by more tea drinking and conversation. The consecration of the image in the temple, monastery or home is carried out by a Taoist or Buddhist priest. If Taoist he may, in a trance, invite the spirit to enter the image or may in a simple ceremony "open the god's eyes" by painting in the pupils. In the North and Central China, most commonly at a Buddhist ritual, it

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74 KEITH G. STEVENS Chinese writing brushes, the predominant colour used being gold. The gold leaf, bought from China or Europe in packs of one hun. dred two inch squares, is more expensive than gold paint, but more commonly used as it wears better. These tiny squares of pure gold leaf are applied after gold size has been painted on to the appro- priate parts of the image (Plates 23 and 24). The gold size is a highly viscous mixture of varnish and other oils which after about two hours, becomes tacky; the gold leaf is then applied. The gold leaf is removed from its waxed paper with an ordinary camel hair artist's brush and placed on to the treated part of the image. The tiny slivers of gold which fall to one side are collected on to pieces of waxed paper and carefully used to fill in gaps on the less exposed parts of the image and between the two inch sheets. A softer brush is then used to rub down the gilded parts to burnish them (Plate 25). Some images are decorated with a combination of gold leaf and paint. When particularly ordered, old fashioned colouring may be used. This consists of a home-made mixture of water, a gum medium and crumbly coloured powder brought from China many years ago (Plate 26). Painted images are varnished with a commercial varnish and allowed to dry. Finally, the bits and bobs are added. Usually this is a woman's task, although the more particular master carvers insert the beard made of horsehair or imported theatrical wig hair themselves (Plate 27). The hair is tightly bunched and inserted into five holes bored into the cheeks and chin of the image and trimmed, the instrument most frequently used for this task being a dentist's probe! The flywhisks, hat-bobbles, swords, rings, sceptres, spears, staffs and maces are carved or made separately and inserted into the image, usually only in the presence of the customer. Many of the smaller protruding parts of the head-dress, flags and weapons are cut from old tin cans. These final operations are carried out with tremendous flourish and panache, and the handing over cere- mony is preceded by more tea drinking and conversation. The consecration of the image in the temple, monastery or home is carried out by a Taoist or Buddhist priest. If Taoist he may, in a trance, invite the spirit to enter the image or may in a simple ceremony "open the god's eyes" by painting in the pupils. In the North and Central China, most commonly at a Buddhist ritual, it

2026-05-12 19:55:37 · Baseline

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KEITH G. STEVENS

Chinese writing brushes, the predominant colour used being gold. The gold leaf, bought from China or Europe in packs of one hun. dred two inch squares, is more expensive than gold paint, but more commonly used as it wears better. These tiny squares of pure gold leaf are applied after gold size has been painted on to the appro- priate parts of the image (Plates 23 and 24). The gold size is a highly viscous mixture of varnish and other oils which after about two hours, becomes tacky; the gold leaf is then applied. The gold leaf is removed from its waxed paper with an ordinary camel hair artist's brush and placed on to the treated part of the image. The tiny slivers of gold which fall to one side are collected on to pieces of waxed paper and carefully used to fill in gaps on the less exposed parts of the image and between the two inch sheets. A softer brush is then used to rub down the gilded parts to burnish them (Plate 25).

Painted images are varnished with a commercial varnish and allowed to dry. Finally, the bits and bobs are added. Usually this is a woman's task, although the more particular master carvers insert the beard made of horsehair or imported theatrical wig hair themselves (Plate 27). The hair is tightly bunched and inserted into five holes bored into the cheeks and chin of the image and trimmed, the instrument most frequently used for this task being a dentist's probe! The flywhisks, hat-bobbles, swords, rings, sceptres, spears, staffs and maces are carved or made separately and inserted into the image, usually only in the presence of the customer. Many of the smaller protruding parts of the head-dress, flags and weapons are cut from old tin cans. These final operations are carried out with tremendous flourish and panache, and the handing over cere- mony is preceded by more tea drinking and conversation.

RAS-1974 — Page 80

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