In This Group We Meet A Statue
Credited With A European Influence.
Two opinions are current regarding
this statue:
One refers to it as representing the image of a Portuguese
sailor, the other sees in it a portrait of Marco Polo.
The former view is expressed, as far as I see, for the first time, by
MAYERS and DENNYS (The Treaty Ports of China and Japan, London and Hong
Kong, 1867, p. 162). "One effigy," these authors remark, "whose features
are strongly European in type, will be pointed out as the image of a
Portuguese seaman who was wrecked, centuries ago, on the coast, and whose
virtues during a long residence gained him canonization after death. This
is probably a pure myth, growing from an accidental resemblance of the
features." This interpretation of a homage rendered to a Portuguese is
repeated by C.A. MONTALTO DE JESUS, Historic Macao (Hong Kong, 1902, p.
28). A still more positive judgment on this matter is passed by MADROLLE
(Chine du Sud et de l'Est, Paris, 1904, p. 17). "The attitudes of the
Venerable Ones," he says, "are remarkable for their life-like expression,
or sometimes, singularly grotesque. One of these personalities placed on
the right side of a great altar wears the costume of the 16th century, and
we might be inclined to regard it as a Chinese representation of Marco
Polo. It is probable, however, that the artist, who had to execute the
statue of a Hindu, that is, of a man of the West, adopted as the model of
his costume that of the Portuguese who visited Canton since the
commencement of the 16th century." It seems to be rather doubtful whether
the 500 Lo-han of Canton are really traceable to that time.
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