DECORATED WITH COLOURED ENAMELS
The section of porcelain which deals with decoration in colours is a
revelation of the ingenuity, art, and industry of the Chinese potter.
The difference between the Chinese productions and European china are
striking; in fact, they cannot be compared. With the Chinese, the
porcelain manufacture was a matter of custom, almost of religion. The
gift of a piece of porcelain marked every solemn ceremony--the new
year, the birthday, the marriage never passed without the presentation
of a cup or vase which bore an inscription or a symbol of good wishes,
or a character meaning either longevity or earthly happiness. Indeed,
the visitor to the Chinese home could see not only cups and vases,
but teapots, dishes, and plates with varied decoration and brilliant
colouring, each telling its own story. Sometimes the teapots were made
in the form of Chinese characters. On some pieces were the familiar
scenes of the home life or of the public life which give us glimpses of
the manners of a people, still imperfectly known and less understood,
who for centuries opposed the strongest barriers to the curiosity of
Europeans. On other pieces were depicted subjects drawn from the sacred
legends or from the principal scenes of well-known wars.
Then the birds and animals each with its meaning, each a symbol!
The peach blossom, the lotus, the dragon of the Emperors or of the
princes appear side by side with the kylin, the Korean lion or dog
of Fô, the sacred Ho-Ho birds, or Fong-Hoang, &c. On the plates and
dishes specimens of the Oriental flowers were spread out in all the
glory of vivid colour--peonies and chrysanthemums, lotus and azalea,
with insects and butterflies no less gorgeous and certainly no less
emblematical. Other specimens had for decoration rocks and trees with
birds of rich plumage, and fishes with scales of golden hue.
Amongst these dazzling enamel colours four are most attractive and
seem to dominate over all the others. Arranging them in families and
placing them in order of age, we should take the black family, the
green family, the yellow family, and the rose family. These all show
the brilliant tones of a perfected production, and singularly enough
they were, with one exception, ascribed to the Tsing dynasty; they
began to be made in the Kang-he period of that dynasty. Such was the
generally received opinion. Further investigation has shown that, with
the exception of the "_famille rose_," most of these were made during
the Ming dynasty, and attention is being drawn to this fact more and
more as time reveals many undoubtedly fine pieces of the older dynasty.
It may be objected that these fine pieces are later Chinese copies
with the old dates, and the objection has certainly some grounds,
but we must remember that the invention of translucid porcelain and
its decoration was quite fabulous with regard to its antiquity, and
we must further bear in mind that the regulations of the social and
political life of the Chinese, the organisation of the family, which
scarcely permitted the son to follow any other profession than that of
his father, perpetuated the trades of a calling or trade. The routine
practice, if this expresses the idea better, forbade all initiative in
the mere worker. Inspiration creating new forms and colours depended
upon the genius who presided over the Imperial manufactories. These
and other causes brought this result, that art and industry rested
almost stationary, reproducing the same types, the same forms, the
same decoration, which responded to the demands, habits and customs of
a people whose needs scarcely varied. Under these conditions, which
furnish food for reflection, when we inquire, "Is this old china or
not?" we must note that the mere inspection of hard porcelain made
of kaolin, which is almost unalterable with time, will never reveal
to the most expert the date of its creation. It is true that certain
pieces bear an inscription indicating this or that date, but the number
of these is very limited, for the use of date marks does not appear
to have been adopted by the Chinese before the end of the fifteenth
century. Although it may be objected that these marked specimens are
later Chinese copies, and that similarly decorated specimens have
simply the old dates recopied, it is quite possible that many of them
which are thought to have been imitations may be really old. It will
be difficult even for the expert to be certain in his differentiation
between fine old Ming and Kang-he.
Coming in the same period as the three Kang-he enamel colours are
the two underground glaze grounds powder-blue and coral-red. True
powder-blue is Kang-he, but it has been copied, and badly, right on
to our own times, whilst in coral red--"_rouge de fer_"--the later
Keen-lung specimens can fairly be said to rival those of the earlier
period. It is doubtful whether this rivalry would apply to any other
class of porcelain.
_A._--THE BLACK FAMILY--"_FAMILLE NOIR_."
This magnificent production, of which we give examples in our
illustrations, is usually ascribed to Kang-he, possibly it may be
earlier. Its characteristic quality was a black ground covered with
almost invisible green glaze. The body of these pieces was decorated
with flowers in yellow, green, and white, and with butterflies. A
common form of decoration--if any can be called common in dealing with
such a rare product--was that the panels were decorated with emblems
of the seasons. A tree of peony with green, white, and grey blossoms
appears to us to be fantastic, but the peony in China grew to the
height of 12 ft. The chrysanthemum with flowers of similar colours
formed a second panel, the guelder rose with green and white blossoms
made the third, whilst the fourth had the lotus flower with tall green
and grey flowers growing at the foot of green rocks at the edge of a
green lake. The prunus blossom in white or pale green was often used
for floral decoration, and yellow finches with green wings, white
storks, white butterflies and bees are often found. So, too, is a
green-faced dragon with a long brilliant green body in coils, sporting
itself in mid-air. Reference to our illustrations will bring out other
forms of decoration treated at some length.
[Illustration: BLACK FAMILY--"FAMILLE NOIRE."
This rare class, which is well exemplified by the fine specimens in the
Salting Collection in the Museum at South Kensington, seems to have had
the decoration applied in outline or in colour to white porcelain, and
then the black ground was filled in. The black is thin and the tint is
not intense. The decoration may be left white, or "_famille verte_"
or "_famille rose_," &c. In these respects it differs from the modern
ware, in which the enamel is thick, and the painting of the flowers and
insects is far from being brilliant. Such pieces have no value.
The illustration shows a rare pair of hexagonal Teapots, divided into
six pierced panels, which are decorated with hawthorn blossom, bamboo
plant, and the peach-tree, on each side; the ground of brilliant black
enamel. Springing from the base are acantha leaves, decorated in _rouge
de fer_, in high relief; the base decorated with a light tracery design
on apple-green; the necks divided into six panels in apple-green,
bright green, and yellow, on which are Joo-e-heads in aubergine on
various shades of green. The covers reticulated with design of hawthorn
and branches; the stems in aubergine on green and _rouge de fer_. The
handles are formed as dolphins; the head of each is in aubergine, the
back in _rouge de fer_, and the body in yellow. The spouts are seen
issuing from monster heads, the latter in aubergine, the former in
brilliant yellow. Kang-he.]
[Illustration: BLACK FAMILY--"FAMILLE NOIRE."
A very artistic octagonal-shaped Bowl, divided into four panels, on
which are represented the flowers of the four seasons, decorated in
green, white, and aubergine, on a brilliant black background. Dividing
the panels are four sections of a diamond diaper design in green and
yellow; at the base of each of these is a Joo-e-head in green and
black. Surrounding the whole of the panels at the base is a light
tracery design in black on yellow ground. At the bottom of the interior
is an octagonal panel, decorated with rocks, flowers, and foliage
in green, aubergine, and yellow, on black ground. Inside the rim is
decorated with four panels of diaper design in green and yellow, in the
centre of each of which there is a small reserve containing flowers in
various colours on black ground, the outer portion of each having an
aubergine border. Dividing these four panels are four small reserves,
containing flowers in various colours on a seeded yellow ground.
Supported on a carved wood stand. In this piece the diaper decoration,
in green and yellow, which distinguishes early Ming and Kang-he, is
again prominent. These diapers are largely used in borders too. Many
of them can be traced in our illustrations, such as the key pattern,
the T, the swastika, Joo-e-head, trellis, triangle, herring-bone,
honeycomb, ring, diamond, as here, plain, sometimes it is flowered;
lozenge, coin, scroll, fish-roe, octagons and squares, net-work,
petal-work, speckled-work to imitate fish-skin, scale, curl, Y-work.
They should be studied. Kang-he period.]
[Illustration: BLACK FAMILY--"FAMILLE NOIRE."
The pair of square-shaped tapering Vases of brilliant black enamel.
Three of the four seasons are shown, in which are depicted the flowers
of the seasons in green, yellow, white, and aubergine. On the shoulders
there are flowers in similar colours, whilst each neck is decorated
with peonies in green, yellow, and aubergine, all having the same
brilliant black ground. On the vase showing a single face there is
the spring scene of peach-trees with flowers and birds. The rocks are
conventional in form, whilst the branches and trunks of the trees in
aubergine show the darker markings in sepia. To the left of the other
vase we find the summer flower, the lotus, in full bloom, with storks
wading in the water; to the right the autumn flower, the chrysanthemum,
bears a gorgeous display of bloom. In the top left corner, a
butterfly--emblem of conjugal felicity--is flitting round the flowers.
The fourth season--the plum and early rose--is not shown.
The black glaze used here must not be confounded with that which was
invented in the Keen-lung period, because the Keen-lung glaze was
applied in one process. The Kang-he black was a dull black glazed over
with green. The painting of the flowers, &c., was first carried out in
proper colours, then the black was applied to block out the design,
and finally the thin but brilliant green was painted over the black.
Variations in the colour scheme may be found. Some have the flowers,
&c., left in white upon the black ground. Others have similar drawing
white with black ground, only the green glaze was carried all over the
piece, so that whilst the ground remained black the decoration was all
coloured green. The examples are of the Kang-he period.]
[Illustration: BLACK FAMILY--"FAMILLE NOIRE."
_A pair of large-sized pear-shaped Beaker Vases._
This quality of old Chinese porcelain is very rare and valuable. The
two vases are so shown as to exhibit the usual method adopted by the
Chinese in decorating two objects similar in shape. The European
style is to decorate the two objects making a pair in precisely the
same way. The Orientals reversed the patterns so as to give a right
and a left view of them. In these vases the tree trunk and the floral
pattern on the one vase takes an opposite direction in the other, so
that when they are placed side by side, as in the illustration, they
make a balanced design. These are most extraordinary examples of the
rare "_famille noire_" porcelain, and of their kind are undoubtedly
the finest known specimens. The background is of a brilliant black,
decorated with rocks in bright green, and two birds in various
brilliant colours. Coming from the back of the rock is a peony,
exquisitely drawn and brilliantly enamelled in yellow. The flowers on
the corresponding side to this are bright green with white stalks. The
reverse has peonies. The base and the upper part is almost covered with
white hawthorn in a brilliant vitreous white; the neck decorated with
sprays of flowers and hawthorn in white and brilliant coloured enamels.
A great feature of the body of the vase is the branches of trees on
either side, carried out in aubergine in the most perfect gradation of
colour. The designs are opposite in each vase, and thus form a complete
pair. The vases are in perfect condition, and of the Kang-he period.
Extreme height, 27 inches; height of stand, 3½ inches. Value,
£10,000.]
[Illustration: BLACK FAMILY--"FAMILLE NOIRE."
(_a_) A small oviform bottle-shaped Vase, with expanding neck,
decorated with rocks, prunus blossom, and branches, in various greens,
white, aubergine, and yellow, on a brilliant black enamel ground.
(_b_) An oviform beaker-shaped Vase decorated with prunus blossom
and branches, similar to the above in colour. Birds in brilliant
colours. Black ground. Neither M. Jacquemart nor Franks nor Gulland
give very much information about this class of porcelain--black ground
covered with an almost invisible green glaze. As in the blue and
white class, there are found sprays or branches of white prunus with
the "ascending" and the "descending" stem in what has been so long
miscalled the "hawthorn pattern." The difference is, of course, one
of ground colour. The blue in the one is under the glaze, and in the
other the black is painted on the white china in its biscuit state
when the other decoration has first been burnt in. The process appears
to be this. First the white or coloured pattern is burnt in, in the
first firing in the kiln, leaving the ground white. To this the black
ground is applied and again burnt in. Over this black ground the green
wash is painted, and at the same time coloured decoration added where
necessary, causing another visit to the kiln. Finally the whole is
covered with a fine transparent glaze and receives its final firing. It
seems that unless a process similar to this were adopted the smoothness
and beauty of the magnificent decoration could never be attained. Note
in one illustration the "ascending" stem and in the other the stem is
"descending" over the body and ascending in the neck. Both pieces are
Kang-he.]
_B._--THE GREEN FAMILY--"_FAMILLE VERTE_."
The green family in its finest form is undoubtedly a Kang-he
production, but all of the decoration was not in green. Brilliant
enamel colours were combined with gilding, and flowers such as the
white chrysanthemum, the lotus, the prunus are frequently found in
conjunction with black speckled diapers and large panels decorated with
various subjects with small reserves decorated with fishes, crabs, and
prawns. Figure painting in the green family is not uncommon. Si-Wang-Mu
on the borders of the Lake of Gems, mounted warriors in a battle
scene or simply marching, and various other military subjects are not
uncommon. The ancient pine-tree and the peony are frequently met with,
but it is the green, one of the most beautiful enamel colours ever
used, which constitutes the attraction in this "_famille verte_" class,
to which family belong many of the figures now known as Ming figures,
such as the dog of Fô, having a white body with yellow, green and gold
protuberances, green head and green, grey, and red mane and tail. The
bases of such figures are usually in diamond or other diapers, which
may be further decorated with a single red peach blossom. The earlier
Ming figures as a rule have the flesh, face, arms, and hands unglazed.
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
A rare and very beautiful oviform Vase, containing on the body two
large panels, one with a bird on the branch of a plum-tree, the
other with a peony on the branch of a tree under which is a large
chrysanthemum and foliage. On each side there are two other panels,
one circular, the other leaf shape; these contain as to the former,
insects, and the latter, cocks. All the panels are surrounded with
a narrow border of yellow, black, and aubergine; the body of the
vase richly enamelled with flowers and foliage in blue, green, and
aubergine, on a bright black ground. At the base is a broad band of
formal design in aubergine, yellow, and _rouge de fer_, on apple-green.
At the bottom of the neck is a broad band with flowers in _rouge de
fer_, green, blue, and aubergine, on a stippled black ground; this is
divided by four reserves containing carp and other fishes in _rouge
de fer_, green, and black, on white, the borderings of green and
yellow; under this is a band of Joo-e-heads in aubergine, blue, and
green, alternately, depending from a narrow margin containing a formal
design in _rouge de fer_ and green on a black ground. The neck has two
leaf-shaped panels containing river scenes; the remainder decorated
in uniformity to the vase. At the top of the neck is a key design in
black on green; depending from this a wave pattern border in aubergine,
black, and green; this is repeated at the base of the neck, having
under it a narrow band containing chrysanthemums and foliage in _rouge
de fer_, aubergine, green, and yellow on stippled green ground. The
whole of the panels in rich "_famille verte_" colours. Kang-he period.
NOTE.--The connoisseur will at once detect in this vase qualities
hardly ever met with in Chinese porcelain. The technique leaves nothing
to be desired, and the quality of the enamels and porcelain is of the
very highest.
From the Collection of G. R. Davies, Esq.]
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
The long, slim ladies' figures so often found in the decoration of very
fine Kang-He blue and white represent what were known to the Dutchmen
as _Lange Lijsen_, _Lange Lysen_, or "slender damsels." This name is
familiar in its English form of "Long Elizas." The older pieces gave
these figures very large heads, which later were drawn smaller. The
style of hairdressing is also different. Bearing in mind the fact that
imitations continued right down through the dynasties, drawing alone
cannot be relied on as an indication of age.
Our illustration is an egg-shell Lantern, one of a pair, in the finest
quality "_famille verte_" on white. It shows a court lady and gentleman
playing "Go," seated upon a terrace. At the table is also seated a
nobleman of high rank, five other female figures being attendants.
The remainder of the decoration is of trees with flowering branches,
clouds, rocks, &c. Surrounding the neck is a diaper design in aubergine
and black on a bright green ground, this band being intersected with
four small reserves containing flowers in green and yellow on a white
ground; the neck has trellis design in _rouge de fer_ on a white
ground, relieved with four flowers in green and black; the base is
similarly treated, and above this is a broad band of brilliant green
enamel decorated with a pencilled Grecian key design in black. Kang-he
period.]
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
The illustration is a set of three Vases of the highest quality
"_famille verte_," square-shaped, tapering towards the base, decorated
with enamel colours in which green predominates, but with fine blues,
soft yellows, and black. The middle vase represents two views. On the
left is a mountain stream running through a deep gorge with rocks and
mountain peaks rising in the middle and far distance. In the foreground
is one man riding and another walking across the bridge over the
stream. On the right is a similar background of mountains. Down the
stream is a boatman steering his laden boat by the aid of a pole.
Nearer is a house with a lady looking out at the door. Below is a man
fishing.
On the left vase there are two scenes from everyday life. One
represents a man playing the _Kin_, or Chinese lute; below a man is
talking to a boy; a horse stands behind them. The other shows two men
playing "go bang" whilst a lady looks on; near them, on the other side
of the hedge, two men are conversing during a walk. On the neck of the
vase is a _cheou_ or _show_ character, meaning longevity.
On the right vase, left side, is a house in the foreground with a
mountain scene stretching away in the distance. From the window of
the house a Taoist is speaking with Leu Tung-pin, one of the eight
immortals, whose feet are on the clouds, whilst his sword is as usual
slung across his back. On the other side, high up amongst the hills,
are _Lange Lyzen_, one of whom is dancing. Below are two dignitaries in
conversation with a servant standing near. In the foreground of both
sides are trees in a landscape. Kang-he period.]
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
This example shows how faithfully the Chinese could utilise the scenes
of their daily life for illustration. In this respect it is well worthy
of careful study. It belongs to the Kang-he period.
A large beaker-shaped Vase of the highest quality "_famille verte_,"
finely drawn, and decorated with subjects illustrating the rice
industry. Near the base is the figure of a man ploughing the rice
field, with a water buffalo, in aubergine and yellow. Just above,
inside a building, which is of aubergine and green, is a man sorting
the rice. Again, above this, on the left, are two girls, one in a
yellow robe, the other in blue, preparing the twine necessary for
laying out the field. On the other side are children and women in
green, yellow, and blue robes, gathering the rice; whilst underneath
these are two men showing the process of weighing. In the centre, above
this, are three other figures, one carrying the rice in a tray, and
the others showing the process of winnowing. The remainder of the body
of the vase has finely drawn trees with flowering branches thickly
enamelled, whilst at the top is a broad diaper-pattern band with yellow
flowers on a green ground; this band has at top and bottom a narrow
margin of aubergine, and is intersected with four small reserves
containing utensils in green, yellow, aubergine, and black, on a white
ground. The neck is similarly enamelled, and shows on one side men
sowing the rice, and on the other a lady is reclining, whilst in front
of her are two attendants.]
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
_Large hexagonal Arrow Stand._
Although the Chinese think very highly of a life free from worldly
turmoil, yet they were warriors too. Here we have a fine example
of a porcelain arrow stand, decorated with raised ornament, with
pierced ornament, and with fine enamel colouring. We note the peach
branch--emblem of marriage and long life--to which magic virtues were
attributed. Possibly this emblem indicated the reward of the warrior,
when his work as a soldier was finished. The presence of the immortals,
again, was the expression of the universal desire for long life which
has always existed in China, and the immortals, who had eaten the
peach--the fruit of immortality--represent this ever-to-be-coveted
object. Referring to the illustration, the arrow stand is decorated in
high relief, with peaches on branches in aubergine, _rouge de fer_,
green, and yellow, on a white ground. At the top is a broad band richly
enamelled in "_famille verte_" colours with flowers and foliage on a
stippled ground bordered with the key design in black on bright green.
Separating a band of Joo-e-heads, enamelled in yellow, blue, green, and
black, is a narrow margin in plain apple-green. At the base are six
reclining figures of immortals in "_famille verte_" colours, whilst
above these is a band similar to that at the top. This is supported on
a hexagonal base richly enamelled with flowers in "_famille verte_"
colours. Period, Kang-he.]
[Illustration: GREEN FAMILY--"FAMILLE VERTE."
The Vase given as an illustration belongs to the "_famille verte_"
class, and deserves careful attention from the fact that it is useful
to be able to read off the points in any given piece. Take the shape
first. It is a gourd-shaped bottle with spreading mouth. On it are seen
three circular panels, called also reserves or compartments. The bottom
one, as may be easily seen, contains a basket of flowers with a ribbon
on the top. The one on the left is filled with utensils--a word used
for this kind of decoration. Note the vases with flowers, the books
bound with a filet and the leaf symbol. The other round panel shows a
bird on a branch of the peony in flower. Butterflies, &c., are also
shown.
The groundwork of the two bulging bodies is a diaper pattern of the
most elaborate curl-work, through which runs a conventional pattern of
stems, leaves, and flowers of the peony.
Now begin at the spreading mouth and trace the diapers downwards. The
first pattern is the "flowered honeycomb," then a small rectangular
diaper. Passing to the base of the first bulge, we find a narrow
"Joo-e-head" band, below that "flowered octagons and squares," then
flowered "triangle-work" in another band. Still more "flowered octagons
and squares" follow, having next below a diaper of "treble scale"
pattern. Last of all comes alternately a light and dark rectangular
pattern. It will be noted that the diapers are broken by small
"Joo-e-head" reserves painted with utensils, flowers, and views.
Kang-he period. Decoration of the reserves in "_famille verte_."]
_C._--THE POWDERED BLUE, WITH ENAMEL COLOURS.
The powder or powdered blue family has been referred to already and
the manner in which the blue is applied has been explained. Though
this colour, like the others, had perhaps its rise, and its greatest
perfection, in the Kang-he period, yet many specimens of extremely
fine quality are ascribed to Yung-ching and Keen-lung. There are,
however, no specimens of true powder-blue that belong to any other
than the Kang-he period. The art was evidently lost, and when it was
attempted, in the reign of the Emperor Keen-lung, the nearest approach
was what is known as mazarine blue, which is entirely different, being
much heavier in tone and not powdered, and it is these pieces which
have "_famille-rose_" decoration, and this places beyond all doubt the
period to which they belong. Where the powder-blue has reserves, as
is almost always the case, they may be filled with decoration in blue
under the glaze, or with "_famille verte_" applied over the glaze.
Or again, and in the later periods of Yung-ching and Keen-lung, the
various shaped white reserves may have "_famille rose_" decoration.
Similar flowers were used in decorating these pieces in reserves,
as we have mentioned before. A general test of the older pieces is
the presence of the joo-e head, which either ornaments the rims in
small panels or is the shape adopted for the large panels. These are
decorated with garden landscapes with figures, and official emblems
in various colours such as green, yellow, grey, red, and even other
blue enamel colours. Other scenes represent the god of longevity
presenting the red peach of long life to a child held by a person of
rank. Generally, however, the subjects used have decorations varying
comparatively little, although the treatment of these subjects differs
considerably in the colour scheme.
[Illustration: POWDER-BLUE WITH "FAMILLE VERTE" AND WITH BLUE AND WHITE
DECORATION.
(_a_) A powder-blue Pot and Cover. The body has two large square-shaped
panels decorated with flowers, birds, &c., in "_famille verte_"; it
also has two panels form of pomegranate fruit decorated in greens
and red, and two fan-shaped panels with flowers in black on a yellow
ground. The lid has two panels form of peach fruit in greens and red,
and two fan-shaped panels with flowers, &c., in "_famille verte_" Very
unusual specimen. Kang-he.
A pair of powder-blue teapots relieved with panels decorated with
flowers in "_famille verte_." The lids are surmounted with so-called
kylins, dogs of Fô, or Corean lions. Kang-he.
(_b_) An elegant-shaped powder-blue Vase, relieved with various
Joo-e-head panels, decorated with flowers, &c., beautifully enamelled
in "_famille verte_," with gold pencilling between panels. Mounted with
a rim of ormolu. Kang-he.
A pair of powder-blue bottle-shaped Vases with three Joo-e-head-shaped
panels on the body, decorated with vases, utensils, &c., in blue
and white, and three leaf-shaped panels decorated with flowers,
butterflies, &c., on the neck, also in blue and white. Kang-he period.
The panels of vases, &c., are often decorated with emblems of the
seasons by means of flowers and landscapes. Thus, spring may be shown
by a mountain scene with the prunus or peach in bloom before its leaves
appear, or by another with two ladies under the willow. Spring flowers
are the large white magnolia or the yulan with the peony. The yulan
magnolia is often confounded with the guelder-rose, though the former,
like the peach, blossoms before its leaves appear. It is a magnolia,
one of eighty-five species. Summer is pictured by pines, poplars,
reeds, lotus, hydrangea, pinks, and flags; autumn by chrysanthemums,
birds, butterflies, russet leaves of the oak and its acorns, by scenes
of ladies gathering fruit, and of swollen rivers and autumn tints
generally. Winter is indicated by the prunus or plum, by early roses or
winter scenes.]
[Illustration: POWDER-BLUE WITH "FAMILLE VERTE" DECORATION.
A pair of very fine quality, large size, powder-blue Plates with
Joo-e-shaped panels in the centre, and eight small panels or reserves
round the border. It will be noticed that the patterns of the
decoration on the two plates is not the same. The central panel on the
left has a fine landscape with figures in conversation. The smaller
panels are alternately decorated with a small landscape, and with
flowers. The gilt pattern, too, so often used with powder-blue, and so
quickly lost, is clearly shown on the blue ground, giving a further
decoration of flowers not alone in compartments, but also over all the
blue surface. The other plate has the central panel decorated with
a landscape and some striking cloud forms. The small panels are all
decorated with flowers. There are only traces of the formal golden
chrysanthemum pattern, which, besides, is again different to that on
the other plate. Both have a mountainous coast scene in the distance
with a pagoda and trees. Both, too, in middle distance a house and a
weeping willow. Besides this class of powder-blue with green family
decoration, it is also very effective, though not so brilliant, with
blue under-glaze landscapes, figures, and flowers in similar panels
to those we have described-that is, the Joo-e-head panel. Special
attention should be paid to the variation of the Joo-e outline. The
Joo-e-head itself is given amongst the symbolical marks. The catalogue
description is sometimes like this, "Joo-e head-shaped reserves," or
again "Joo-e-head-shaped Y diaper." Kang-he period.]
[Illustration: MAZARINE BLUE.
A pair of mazarine blue Jars and Covers, having two leaf-shaped panels.
These are from a set of five, three vases and two beakers. These are
finely decorated with storks and other birds and flowers in "_famille
rose_" enamel. Various small panels as on the covers are similarly
decorated with flowers. The covers themselves are surmounted by dogs
of Fô or Corean lions. These are ascribed to Keen-lung, and may be
taken as an attempt to copy Kang-he powder-blue. They are covered with
a rich blue enamel named mazarine, after the cardinal of that name.
This is opaque and generally darker in colour than the powder-blue. One
is applied as a colour enamel--that is mazarine; the other is colour
powdered or dabbed on--that is powder-blue. The mazarine blue comes
really under the Celadon class as a "self" colour. The leaf-shaped
panels or reserves are in white surrounded by a faint dull red outline
of the leaf. The blue enamel is not alone used with "_famille rose_"
decoration as in the illustration, but it is also combined with
"_famille verte_" either with or without red scroll-work as a ground
diaper. The vases made in pairs have usually a right and a left--that
is, the pattern is reversed. Here we have an example of the contrary,
the two specimens are identical. The leaf-panel runs down from the top
to the point at the bottom on the right in both, and birds, flowers,
and trees are as nearly alike as possibly could be expected.
NOTE.--The decoration in blue enamel colour was an addition of the
early part of the Tsing dynasty; no Ming specimen has been identified
having the blue over the glaze.]
_D._--GREEN AND YELLOW FAMILY--"_FAMILLE JAUNE_."
An elegant combination is found in this early product, where the two
prominent colours are green and yellow. Sometimes the body may have a
black ground covered with almost invisible green glaze, but the main
decoration is green, aubergine, and yellow, although other colours such
as red, especially red triangle work, is frequently found. These pieces
probably originated in the Ming period, but were recopied later. They
have reserves such as those mentioned before, decorated with Buddhist
emblems or with subjects such as a prince and princess of the Imperial
house walking in a garden with two Ho-Ho birds, and a landscape where
ladies are conversing and men are in attendance. Amongst the symbols
are to be found the official one of the branch of coral with the
peacock's feathers. The diapers are very varied and the joo-e-head
decoration is frequently found. The frontispiece gives a good idea of
this form of decoration, and its description should be noted.
In speaking of the rare examples, yellow-ground, as well as black and
green, could be ranked quite in the first order; in fact, they are
almost the rarest kind. Specimens of these families were made at the
end of the Ming period, and it is a very moot point to-day whether the
fine examples, which we know, belong to the end of the Ming or the
beginning of the Kang-he.
[Illustration: GREEN AND YELLOW FAMILY--"FAMILLE JAUNE."
A tall square taper-shape Vase, decorated with a bold design of lotus
flowers, foliage, and birds, in various greens, aubergine, and black
on brilliant yellow; on the shoulders in each corner is a Joo-e-head
design in aubergine and green; the edgings in white biscuit with black
borderings. This is a very interesting decoration. The surface of the
water is represented by the numerous short horizontal lines. In the
water, the lotus, the sweet-flag, and other water-loving plants are
growing, just as if the artist had made his drawing from the banks of
an actual pond in the open air. Besides being beautiful, the lotus is
the sacred flower of Buddha. Its large tulip-like flowers may be white
or tinted pink, blue or yellow, and they hang over broad leaves, in
shape like the nasturtium leaf. It does not lie upon the water like the
water-lily, but stands up from it upon a strong stem. The drawing shows
bud, flower, and seed-pod. It is the last which is usually carried
as an emblem by the goddess, Ho Seen-koo, though it may be a bud or
a full-blown flower. The lotus belongs to the water-lily family, and
the sacred lotus was anciently used in religious rites in Egypt and
Assyria, whilst the Greeks dedicated it to the nymphs. Its constant use
as an emblem seems to come from its wheel-like form. Like the Chakra,
or "Wheel of the Law," it typifies the doctrine of perpetual cycles of
existence. In fact, the spokes of the Chakra are often lotus-shaped.
Kang-he period.]
[Illustration: GREEN AND YELLOW FAMILY--"FAMILLE JAUNE."
An oval-shaped Jardinière, decorated with a diaper design in
brilliant green and yellow enamels. The body is divided into four
quatrefoil-shaped panels containing altar utensils and vases, which
are most artistically drawn and enamelled in various greens, yellows,
aubergine, and black, on a white ground. The diaper pattern which forms
the groundwork is the diamond design, but the double lines cutting the
diamond are so arranged to form the swastika. The swastika--"the ten
thousand things"--is sometimes found as a mark upon blue and white or
painted Chinese porcelain of fine quality. It may occur alone, or with
a border of two oblongs like a seal shape, or four swastikas may be
found in a similar border. In the front of the quatrefoil-shaped panel
on the vases is another symbol, one of the hundred _Cheous_ or _Shows_,
the emblem of longevity. The curious instrument lying behind the vases
is the lute wrapped in its cover. This stringed instrument consists
of a board four feet long eighteen inches wide, convex above and flat
below, where two holes open into hollows. There are seven strings. It
is very ancient and constitutes an emblem of harmony. As Confucius
writes: "Happy union with wife and children is like the music of lutes
and harps." The other instrument represents a guitar, which was made in
many forms, from the bamboo stick thrust into a cylinder of the same
material, having only two strings, to the _pipa_, having four strings,
like those of the violin. Kang-he.]
_E._--CORAL RED GROUND.
If there is another class which deserves mention it is that having a
coral red ground thickly powdered it may be with white chrysanthemum
leaves and flowers, decorated with joo-e-head ornaments or ornamented
with deep rose, grey and white, yellow and white, pale blue and white,
prunus blossom powdered upon a golden iced diaper, the emblem of the
coming spring. This coral red ground--"_rouge de fer_"--differs from
all the others in this class because it is an under-glaze decoration.
It is essentially a Kang-he production, although some very fine
specimens have the Keen-lung mark.
The reader has no doubt noticed the rivalry between these periods, and
the values of coral red specimens are more affected by quality than
perhaps by age.
[Illustration: CORAL RED GROUND--"ROUGE DE FER."
The piece of coral was an emblem of the official class, and this
coral-red ground is, as its name implies, an imitation of this. It
is an under-glaze ground, in which the colour was derived from iron.
Over-glaze enamels were used for decoration with fine effect, such as
the greens, the yellows, and the reds from gold. Blue over the glaze
dates from Kang-He, and it is early.
Our illustration shows a very fine cylindrical Jar, with receding neck
and spreading lid with knob. The body decorated with formal scroll
and leaf pattern, with a double band of conventional white lotus.
The shoulder and base decorated with a broad band of Joo-e-shaped
reserves, bordered alternately with narrow bands of blue and grey
edged with green; the smaller space between edged with a paler green.
Red reserves, so formed, decorated with conventional chrysanthemums
with brilliant green leaves. On the shoulder above, four circular,
green-edged, white medallions, and four oval, green-edged, red spaces
ornamented with chrysanthemum flowers. At the base a narrow band of
green and red diamond rice diaper on a white ground. The neck decorated
with two shaped oval red medallions, edged with grey on a speckled
green ground powdered with red chrysanthemum. The reserve decorated
with coiled white fire dragons (mang) among white fire-forms on a
coral-red ground. Above and below this decoration, narrow bands of
scroll and flower diaper patterns. Lid with a slightly decorated white
knob, ornamented with similar pattern to that on the shoulder of the
vase. Height, 21 in. Period, Kang-he.]
[Illustration: CORAL RED GROUND--"ROUGE DE FER."
The dragon is the Emperor's emblem, as the phœnix or Fong-Hoang is
that of the Empress. We find the "_lung_" or "_long_" dragon of the
sky, the "_li_" dragon of the sea, and the "_kiau_" dragon of the
marshes. There are scaly dragons, and others winged, horned, hornless,
and rolled. The four highest ranks of princes are permitted to use the
five-clawed dragon, but the fifth rank of the princes and the mandarins
use a dragon or serpent with four claws. This, treated conventionally,
is the well-known "mang" which is shown in the body and necks of
the vase used as an illustration. The expressions, "dragon's seat,"
"dragon's bed," "dragon's face," "dragon's head," &c., are easily
understood when "emperor" is substituted for "dragon."
A tall, rouleau-shaped Vase, containing six circular panels with formal
floral design in "_rouge de fer_," blue, and white, on apple-green;
the body of the vase with dragons and formal flowers in yellow, blue,
green, white, and aubergine, on deep "_rouge de fer_." At the base is
a narrow band of diaper design with black lines on green ground; this
contains four small reserves with a flower and foliage in "_rouge de
fer_" and green on a white ground, the bordering of yellow and blue.
The band separating the neck has a running dragon and clouds in blue;
yellow, "_rouge de fer_," and white, on apple-green; whilst the neck
is treated uniformly with the body of the vase, excepting that at the
top there is a narrow band of diaper pattern in aubergine, green, and
black, with four small reserves containing fruit and foliage in "_rouge
de fer_" and green on white ground. Period, Kang-he.]
_F._--THE ROSE FAMILY--"_FAMILLE ROSE_."
We noted that the rose enamel was used in decoration by Yung-ching. The
same rose decoration was continued by Keen-lung, which had an especial
form of decoration consisting of the rose and white peony with the
prunus--the so-called hawthorn. Frequently, too, there is a swastika
trellis. We have dealt somewhat fully with the ruby-back plates as a
branch of the rose family. This ruby and peach blossom rose ground was
applied to vases with very telling effect. As, in the black family, the
ground was a black covered with an almost invisible green glaze, so in
this family we get a peach blossom rose ground often powdered with pale
blue, yellow, grey and white chrysanthemum blossoms. The reserves are
often fan-shaped, and the decoration in these reserves consists of the
usual subjects or emblems in brilliant enamel colours. Similar flowers
to those noted before as the emblems of the seasons are frequently
found. These include pale rose and blue and white peony, pale rose and
white rose, peach blossom, chrysanthemums, the oleander with single
rose and white prunus blossom. These rose pieces are extremely elegant
and very rare. They date from the Yung-ching period, in which they
reached their highest perfection, under Keen-lung the standard of
excellence was nearly as high.
[Illustration: ROSE FAMILY--"FAMILLE ROSE."
_Egg-Shell Porcelain. Ruby-Back Plates._
The central Plate has the rim decorated with the noted octagon and
square diaper pattern so often found on egg-shell pieces, and used on
every piece shown in the photograph. This pattern is often intercepted
by reserves. The plate has three leaf-shaped reserves decorated with
white peony, ruby peach, and yellow persimmon. There are three other
reserves having formal golden flowers with green leaves. The whole
centre of the plate represents a domestic scene where a lady of high
rank, seated, is giving instructions to two children. In the background
are vases and a table on which is a plant. The back of the rim is ruby
coloured. Diameter, 8¼ inches. Period, Keen-lung. The two other
plates are also ruby-backed. They have on the rim three Joo-e-head
reserves containing fruit and flowers in brilliant colours. The central
decoration consists of vases of flowers in enamels of the finest
quality. The octagon and square diaper pattern is blue on the inner
rim and pink on the broad band forming the outer rim. The cups and
saucers are no less beautiful. The border is relieved with reserves,
and the inner rim of octagon and square diaper surrounds a hexagonal
central reserve of Joo-e-head design. In this reserve there are baskets
of flowers and bouquets in brilliant colours enamelled on a white
ground. This group shows many of the peculiarities of the rose family
decoration with regard to diaper pattern, shape of the reserves, and
the general character of the ornament.]
[Illustration: EGG-SHELL PORCELAIN.
An oviform egg-shell Vase, beautifully painted, with ladies in the
landscape carrying vases. The whole in rich enamel colours. Yung-ching
period. Height, 19½ in. without stand. This is one of the largest
known examples of egg-shell porcelain. This vase is painted in the most
elaborate and beautiful style, which was brought to great perfection
under Keen-lung. Some collectors are inclined to attribute such
egg-shell with delicate pencillings to the Yung-ching era, though
specimens which have been found with marks have been Keen-lung, and as
time passes on Yung-ching will secure more and more support.
The lady carrying the vase is looking to her companion. Between them
is an animal, either a deer or a kylin. The vase contains a branch of
coral and two peacock's feathers, indicating a mandarin who has risen
three steps at a time, as the coral and four feathers indicate a rise
of five steps. The paintings of the figures and the vegetation are most
minutely executed, and the rich enamels are delicately shaded with
"_verte_," "_rose_," and other tints, showing tree-stems and rocks in
their natural colours. As in all classes, some specimens are better
than others, but this piece is one of unsurpassed excellence. To this
egg-shell class belong the ruby-back plates, which are amongst the
most desirable specimens of Chinese art. The same delicate handling in
painting and colouring distinguishes them all. Figures are enamelled
in pale green, pink, yellow, &c.; trees with green foliage have their
trunks and branches with sepia on a pale lavender ground, whilst the
cloud forms, slightly defined, fade away into the distance.]
_G._--OTHER ENAMEL COLOURS.
The decorations of the green family are rather severe in character.
They might be termed Chinese classical, because they are so largely
influenced by religion. The same remarks apply to the black family.
The rose family, on the contrary, with its lovely borders and varied
designs, generally represents familiar Chinese subjects and scenes from
social life.
The enamel colours which follow are amongst the rarest and most
beautiful products of China, taking rank with those pieces which
are never dear, though the prices at which they are sold may be
astonishing.
[Illustration: APPLE-GREEN GROUND.
The coloured glazes are very numerous, but the apple-green ground
is rare and consequently very much valued. Besides the painting,
these pieces, having coloured grounds, are further decorated by
ornament raised in relief, or pierced, when the paste is soft, with
reticulations.
The Chinese made puzzle cups with a small figure of a man inside, which
would hold a liquid till it reached his shoulder, when the whole of the
contents were syphoned out through a hole in the bottom of the cup.
They also made puzzle vases or jugs, having a raised hollow coil round
the neck, which, through the handle, was connected with the interior of
the vessel. The old English puzzle jug had a similar device, in which
the difficulty was to drink the contents without spilling them.
Here is a Puzzle Teapot or Wine-pot in the form of a peach, the Fruit
of Life; the groundwork of pale apple-green decorated with flowers in
yellow, aubergine, green, and black. In the centre on either side is
a large white panel containing in the one a gentleman of rank with
an attendant bringing him tea; this is decorated in various greens,
yellow, and aubergine. On the other side is a house towards which is
coming a flying stork; this is enamelled in similar colours, and both
panels are surrounded by a cloud design in yellow, green, aubergine,
and black. The base, spout, and handle have black patches on aubergine
ground; while both the latter are held to the body by branches of
leaves which are in high relief and enamelled in brilliant green. Ming
biscuit, so-called.]
[Illustration: APPLE-GREEN GROUND. LANG-YAO.
An unusual form of decoration is shown in this illustration. In China
the carp and perch are often found in the decoration of small reserves.
Indeed, the immortals are often drawn standing upon a fish, and
modelled as figures standing on fishes, crabs, or crawfish. The effects
of fish culture as carried on by the Chinese is very marked in the case
of the carp, which are often seen with monster-like projecting eyes and
tufted or lobed tails. They are kept in garden ponds or in large jars
in which are placed rocks covered with moss and water-plants, which
furnish the decoration in the illustration. The wonderful drawing of
the fish in all sorts of positions is to be noted. So, too, is the
marvellous arrangement of the water-plants, which fall gracefully into
the scheme of decoration. All is still in the deep water, but on the
shoulders are the water-lilies, and above them are the waves seemingly
agitated by the rough wind. To recapitulate and to give the colours we
specially call attention to this fine pair of square taper-shaped vases
which are in all probability unique as a pair, decorated with fishes
and aquatic plants in aubergine, green, yellow, black, and white, on
a pale apple-green ground; the edges and borderings of yellow enamel.
At the shoulders over each corner is a water-lily with foliage in
green, yellow, and black; the necks decorated with horses in yellow and
aubergine, going through waves of green and white enamel; the upper
portion of pale apple-green. Called Lang-yao to indicate that it was
discovered by Lang Ting-tso, superintendent of the Imperial works at
King-te-chin. This piece is Kang-he.]
[Illustration: DELICATE GREEN GROUND.
A double gourd-shaped Vase, of noble proportions, one of a pair,
decorated with an imposing Vandyke design, containing peonies and a
formal floral design in rich yellow and black enamels on a pale green
ground. Each section is surrounded by a broad band of "_rouge de fer_"
containing formal flowers in white. The top of the lower portion of
the vase has a broad band of diaper design containing formal flowers
on various colour grounds; this band is divided with four reserves,
each containing a formal design in green and "_rouge de fer_" on bright
yellow ground. The waist of the vase has a half-section diaper design
in green and "_rouge de fer_." Around the neck is a deep band of a
bold trellis design in "_rouge de fer_," blue, yellow, and black. They
are supported on finely chased ormolu bases of Louis XVI. period; the
mounts for the lips _en suite_. Period, Kang-he.
Here, again, we note diaper designs. On the top of the neck is a
honey-comb diaper cut with sectors of a circle forming a geometrical
flower pattern, which is further decorated by white and coloured
formal flowers with six petals. The top of the lower portion has the
honey-comb and square pattern decorated with geometrical flowers,
whilst the lower part of the upper section has the honey-comb diaper
with lines radiating from the centre so as to give a formal flower
design.
Fine pieces of old Chinese porcelain are often found mounted in French
ormolu. The examples from the Jones Collection, Victoria and Albert
Museum, are fine pieces of old Crackle porcelain with finely chased
ormolu mounts.]
[Illustration: DELICATE GREEN GROUND.
A pair of Imperial hedge-sparrow egg tint and white Vases with a very
beautiful clear glaze. The white is a series of scrolls and flowers,
and geometrical designs over the whole of the body and neck. Marked
on base "Kea-king." Period, 1796-1821. In these two vases may be seen
some of the most delicate and beautiful work of the later period. In
paste, colour, and decoration they are exquisite. The green class
includes apple-green, camellia-green, Celadon, pea-green, sea-green,
and turquoise-green. The delicate green, indicated by the term
"hedge-sparrow egg tint," is just a shade different from all of the
others, and the application of the white enamel decoration over the
green is most artistic and delicate. The conventional design is based
upon a flower and its leaves, though the Joo-e-head and swastika are
easily seen, the former below the central flower, and two swastikas,
one on each side. At the top of the neck below the lip is a diaper of
Joo-e-heads. The bottom of the neck has a Greek key pattern, so has the
bottom rim. On the shoulder is a border of Joo-e-heads and conventional
bats. The swastika is a mystical sign, with which is associated a
hidden meaning of a religious kind. It is regarded as the emblem of
the heart of Buddha--that is, his inner true teaching. It has also a
further signification: it indicates ten thousand years. The bat and the
Joo-e-head are treated in the section on Symbols, but we may say that
the bat is an emblem of felicity, and the Joo-e of amity and goodwill.]
[Illustration: AUBERGINE ENAMEL GROUND.
A very remarkable pair of aubergine flat-shaped Vases with lion-head
ring handles; the decoration is a spray of chrysanthemums in blue,
green, and white, on the one side; and a spray of hawthorn in white,
aubergine, green, and blue, on the reverse, in brilliant enamels in
sunk relief. Supported on carved wood stands. Extreme height, including
stand, 12½ inches. Ming. Aubergine is a very difficult colour to
describe. It is the colour of the fruit of the egg-plant, from which
the name is derived. It has a remarkable range of tints, but the
predominant one is purple, on the one side it becomes almost sepia and
on the other almost orange. It is rarely used as a ground colour as it
is in this case, but it is a delightful thin wash applied when thick
enamels cannot be used, and it is so transparent that a darker colour
can be seen through it. Hence its frequent use in the trunks of trees
and in branches of flowers where the markings of the bark may be made
visible. Again, it is frequently employed in painting the roofs of
houses where a wide wash gives a bold and highly decorative effect, the
purple shade being transparent allows the black, in which the design
is sketched, to show through. In the example given not alone is the
ground of aubergine, but other shades of the same colour are used in
the decoration, which has this unusual feature, it is not raised, but
depressed or sunk in.]
[Illustration: MANDARIN CHINA.
Painted in colours over the glaze, with gilt scroll-work. This pair of
conical egg-shell Vases with short necks is 18 in. high. There is no
mark. M. Jacquemart divides the Mandarin class into seven sections,
which he distinguishes by the decoration:--
(1) Pieces having painted in compartments with Indian ink backgrounds
and gold borders.
(2) Where the spaces between the reserves or compartments are covered
with gilt scroll-work diaper or pattern as in the illustration.
(3) With black borders and key pattern in gilt, usually having iron-red
grounds.
(4) With variegated grounds, designs in iron-red and black, pink and
other colour filagree-work.
(5) With spaces between the reserves covered with round dots or points
resembling shagreen either green or white. When the dots and ground are
white the Chinese name it "chicken's flesh."
(6) With indented wreaths or flowers traced in the paste and decoration
in under-glaze blue and over-glaze enamelled medallions.
(7) In _camaieu_ or in a single colour under or over the glaze, usually
mandarin, blue and white.
The egg-shell Mandarin is the best of this class. Generally the
porcelain is rather thick than thin. Often it has the wavy surface
which shows that it has been cast and moulded. Then, too, the
decoration is usually painted, not enamelled. This process changes
the tone of the colouring. The rose tints derived from gold become
purplish; lilac, water-green, bright iron-red, and a curious
rust-colour called chamois are common. Stippling and hatching are
applied to the flesh and to the folds of the draperies. Often the
ground-work with its dotted surface is covered with turquoise-green or
turquoise-blue. The paintings on the reserves of the examples given
will show the miniature-like character of the decoration. The examples
given are Keen-lung.]
XX
PORCELAIN
OF THE
EAST INDIA
COMPANY