THE DRESDEN COLLECTION
The Dresden Collection of porcelain is probably the most ancient in
Europe as far as the Oriental portion is concerned. According to its
learned Director, Dr. Theodore Graesse, it was chiefly brought together
by Augustus the Strong, King of Poland and Elector of Saxony, between
the years 1694-1705. These specimens were afterwards made use of to
decorate the Dutch, or, as it was subsequently called, the Japanese,
Palace. After being for many years stored away in the vaults of the
Palace, they have now been set out in the Johanneum Palace, where they
are well seen.
In order, it is said, to prevent the courtiers from making away with
the royal property, every specimen in the old collection was marked
with numbers, accompanied by various signs, engraved through the glaze
on the lathe, and therefore indelible. To avoid high numbers and to
facilitate classification, a particular sign was used for each kind of
porcelain. These marks must have been put on at an early date, as they
are only to be found on the more ancient specimens of Meissen porcelain
in the collection at Dresden.
The classes and marks were as follows:--
Japanese porcelain, distinguished by the addition of a cross to the
number.
"Green Chinese porcelain" (that is, principally painted in green
enamel), marked by an I.
White Chinese porcelain, marked with a triangle.
"Red Chinese porcelain" (that is, principally decorated in red), marked
with an arrow.
Blue and white "Indian porcelain" (chiefly Chinese blue and white),
including crackle, marked with a zig-zag line. See symbolical mark 31.
"Old Indian porcelain," marked with a parallelogram.
"Indian and Saxon black porcelain," marked with a P.
The cross mark is of value as showing the opinion entertained in
Europe at so early a time as to what was Japanese, but must of course
be accepted with some reserve. It may be added that nearly all the
Japanese specimens are what we know as "Old Japan," made in Imari for
exportation. The triangle is useful to help us in distinguishing white
Oriental from early Dresden, Fulham, or Plymouth porcelain, which were
close copies of the first. The most curious specimens are those marked
with a parallelogram, and are called _Old_ Indian. Many of these appear
to be Oriental porcelain, originally white, and decorated in Europe,
probably in Holland. The same style of painting is to be found on
five vases bearing the arms and initials of Augustus the Strong, said
to have been ordered for the King by the Dutch in 1703, but probably
executed in Holland. These vases seem to be Chinese porcelain with
ornaments in very low relief, over which the arms have been painted,
together with a decoration in the Japanese style.
XXVII
_SECTION II_
JAPANESE
PORCELAIN
AND
POTTERY
SECTION II
CHAPTER XXVII
A SHORT SKETCH AND MARKS OF JAPANESE PORCELAIN AND POTTERY
Although we do not possess any complete documentary evidence on
Ceramics in Japan, and although much of what we do know has been
obtained by Englishmen in that country, there is no doubt that this
art had its origin in remote antiquity, and that the Japanese seem
always to have possessed in a high degree a very vivid sentiment
of decoration, happily combined with an extraordinary facility of
execution.
The making of porcelain only dates from the beginning of the sixteenth
century, when Shonsui, returning from China, where he had learned the
secrets of the trade, constructed several furnaces in localities where
he found the necessary materials. He settled at Arita, in Hizen, the
nearest port to which is Imari, a name familiar to all collectors as a
common name for all Japanese porcelain. But this old Imari is always
white with designs painted in blue under the glaze.
A hundred years after an Imari potter learnt, under the direction of a
Chinese established at Nagasaki, the art of painting and decorating in
various colours the porcelain which he sold to Chinese merchants. They
in their turn exported it to Europe through the East India Company,
so that considerable quantities arrived in England, where it is found
to-day in a large number of families which have preserved the tastes of
their forefathers. Arita or Imari were names indifferently applied to
this porcelain.
Amongst the other numerous works where pottery and porcelain were
made the following list comprises the chief: Awata, Banko or Imbe,
Kaga or Kutani, with beautiful red and gold decoration; Kioto, Kishu,
Nabeshima, Satsuma, Soma, Sanda, Séto (in the province of Owari, to-day
one of the largest centres of production), and Tokio.
Japanese porcelain is distinguished from Chinese by a closer imitation
from nature in the flowers and birds, and, above all, by much more
correct design, more chaste and elegant in the representation of the
human figure. The marks are often impressed or stamped in a circle,
oblong or oval, and frequently, too, Chinese marks are imitated.
It will be useful to indicate some characteristics of the chief of the
factories mentioned above.
IMARI, ARITA, OR HIZEN PORCELAIN.
The oldest Imari has been referred to before. The period of the
seventeenth century is noted for decoration with enamels over the
glaze. The paste or body was fine and pure, the glaze milk-white, soft,
yet not wanting in brilliancy, forming a ground harmonising with the
severely simple decoration. The enamel colours were few, but clear and
rich in tone, chiefly a dull red, a grass-green, and a lilac-blue. The
decorative subjects were, most commonly, floral medallions; but the
dragon, Phœnix, bamboo plum (prunus flower), birds fluttering over
a sheaf of corn, and various diaper patterns were constantly used.
The designs, sparsely scattered over the surface, give each as wide
a margin as possible. The Imari ware, "old Japan ware" exported in
the eighteenth and nineteenth centuries, was a distinct type, made to
please European taste. The decoration is usually violet, red, and gold
added to a plain white glaze or to the blue and white.
HIRADO BLUE AND WHITE PORCELAIN.
This is said to mark the highest degree of perfection and beauty ever
attained. The paste is fine, pure, and white, free from the dark gritty
particles found nearly always in Imari ware. The blue--the only colour
employed, with rare exceptions--is exquisitely soft and clear and seems
to float in the milk-white, velvet-like glaze. The designs are of many
subjects, etched with wonderful skill. Only within the last few years
in Europe did the passion for blue and white induce Japanese owners
to sell, and the supply was soon exhausted. It is well to note that
modern imitations are not pure white, but greenish, and they are less
perfectly potted. It was from Hirado porcelain that Bow and Plymouth
modelled their pieces with raised shells and seaweed, and Dresden, too,
copied the figures, birds, and flowers in relief. Hirado was a private
kiln where the workmen were forbidden to sell without permission.
NABESHIMA WARE.
The feudal chief of Hizen at his private kilns produced blue and white
porcelain of fine paste and colour, and generally with a characteristic
combination of red. The potters did not, as a rule, use marks, but
they copied Chinese marks on pieces which were reproductions of Chinese
patterns. Like Hirado, Nabeshima had no occasion to mark as though the
porcelain was intended for sale.
[Illustration: Fig. 1.--THE FIVE CLAWS.]
[Illustration: Fig. 2.--HO-HO BIRD.]
The designs and symbolical marks copied from China have the same
meaning to the Japanese.
The dragon is often found as a design, in various colours and in
gold. The place of dragons in Buddhism explains their frequent
appearance--indeed, they are "the masters of the world." If they are
offended they punish men with plague, pestilence, and famine. Hence
they must be propitiated.
[Illustration: Fig. 3.--DOG OF FÔ.]
[Illustration: Fig. 4.--THE KYLIN.]
Fig. 1 shows the five claws of the best kind of dragon-decorated
Oriental, said to be made for Imperial use.
Fig. 2 is the Fong-Hoang, sometimes called the Ho-Ho bird. This was
the symbol of the sovereigns of China before the five-clawed dragon.
Drawings of this bird vary very much; when represented in the air the
feet are thrown back.
Fig. 3 is the dog of Fô, or Buddha, often called the Korean lion, still
more often, and wrongly, the kylin. The one is the lion transformed, and
Fig. 4, the kylin, is more like the unicorn. Its head resembles that
of a dragon. Often its body is covered with scales, and its hoofs are
cloven.
XXVIII
SATSUMA
POTTERY, &c.
CHAPTER XXVIII
SATSUMA POTTERY
Whilst in porcelain Japan copied Chinese patterns, in pottery native
talent had full scope for its original and personal character, so ably
shown both in shape and decoration. Amongst all the pottery Satsuma
takes the first place; indeed, no collection is complete unless it has
a specimen, although fine pieces are very rare. Much of what is called
old Satsuma has been produced at Kyoto and Yokohama for export, and
has very little in common with the ware so highly prized by collectors
in Japan. Showy, brilliant, and decorative reproductions are met with
frequently, but neither in paste or painting are they comparable.
Real old Satsuma, at first sight, looks like ivory, and the designs
display infinite care, the colours being low in tone, whilst the gold
is pencilled with such a multitude of minute lines as to be truly
wonderful.
The glazes are often enamelled; yellow and black, both remarkable, but
exceedingly rare, are monochromes; so, too, is olive-green, which is
seldom used alone, but in conjunction with a dark yellow or dark brown.
Various articles, such as tea jars, teapots, and incense boxes, have
usually these glazes. Another glaze, called "Flambées," or "Flammées,"
is like shot-silk, _e.g._, red jasper and violet, and violet and blue.
The colouration, no doubt at first accidental, was later obtained by
the combination of metals with the oxygen in the air and during the
firing, so that the results were defined and certain.
The old potters confined their decorations to diapers, floral subjects,
landscapes, and the Chinese subjects--the Ho-Ho birds, the mythical
lion, the dragon, and the kylin.
Two kinds of pottery were made at Satsuma, and the self-glazes, either
monochrome or flambée, are, for the most part, applied to the red, and
not to the white kind. In other words, the paste or body of the piece
is red, and by comparing a few specimens the difference between that
and the white can soon be determined.
When the potter cuts the turned piece from the clay on the wheel he
uses a string; and in Satsuma ware the string-mark can be detected
on the bottom of the piece. Again, the Satsuma potter turned the
throwing-wheel with the left foot, but other potters used the right;
hence the spiral in the paste is from left to right in Satsuma, from
right to left in other factories. Pure white faïence, cleverly moulded
and reticulated, was a celebrated and favourite product of the ancient
potters.
Spurious Satsuma is one of the most common and disfiguring features of
both public and private collections.
KYOTO POTTERY.
Much of the later pottery from Kyoto was made in imitation of Satsuma.
At the Paris Exhibition of 1878, such imitations of pieces decorated
in relief had a great success. But Kyoto has one name which stamps
the seventeenth century productions as marking the adoption of the
representative Japan style. There was Ninsei, who shook himself free
from the influence of China and Korea, and, having acquired the secrets
of decoration with enamels, he set to work to practice and impart them
in the various factories at Kyoto where he worked.
He introduced a crackle, which of itself is a test between old and
modern ware. The glaze was of a light buff or cream colour, and the
crackle was nearly circular and very fine, and is best described
as "fish-roe crackle." The paste of his pieces varied from hard,
close brick-red clay to a fine-textured yellowish grey. The coloured
glazes--blue, green, red, black, and gold--were also introduced by him
to the Kyoto kilns. The black glaze was run over a grass-green one,
so as to give brilliancy of effect, whilst panels of cream crackle on
the surface were painted in diaper patterns or with floral designs
in gold, silver, or coloured enamels. Another glaze, since imitated
successfully, was a pearl white with a kind of pink blush spreading
through it.
As a rule Ninsei marked his pieces; the mark is given. Two or three
hundred dollars are readily paid in Japan for a small bowl of the
best type, so genuine specimens are exceedingly rare in Europe. It
is well to reiterate two tests which may be easily applied to Ninsei
pieces--the paste is hard and brick-red or yellowish grey in colour,
and the crackles are equal and circular in shape.
AWATA WARE.
Here, too, Satsuma ware has in recent years been largely imitated.
At the Amsterdam Exhibition a fine collection was on view. But Awata
had kilns as early as the beginning of the seventeenth century, and
a clever workman, Kinkôzan, about a century later, did much to bring
back the reputation lost after Ninsei's influence had passed away. The
glaze under his treatment was creamy and lustrous. The enamels, which
harmonised so well with the glaze, were grass-green, ultramarine, and
red. Gold was almost invariably used in decoration. Silver, purple, and
yellow are most uncommon.
It must be borne in mind that the majority of the Awata pieces were
unmarked.
Generally, three rules are equally valuable in judging the age of all
Kyoto wares, including Awata and other places close by. First, the
paste of the old pieces is close-grained and hard; second, the glaze
has a lustre, which may be due to atmospheric influence long continued;
third, the enamel colours are carefully painted, and are very bright
and clear.
Marks:--
(1) The chrysanthemum, arms or crest of the Mikado.
(2) The kiri, said to be stamped on articles for royal use exclusively.
(3)(4)(5) Satsuma marks.
(6) The marshmallow, crest of Tokougava Satsuma ware.
(7) Ninsei's name; stamped with sunk letters, Kyoto.
(8) Shimizu, a maker's name, in a long oval. Kyoto.
(9) Taizan, a potter of Kyoto.
(10)(11) Used at Kyoto by Yeiraku.
(12) Awata ware, also used in a small size.
(13) Awata, mark of another factory.
(14) On pottery made in imitation of Satsuma.
(15) Awata. Kinkôzan's mark stamped.
(16) Seal character, "Prosperity."
(17) Seal character, "Gold."
(18) Seal character, "Felicity."
(19) Shigen, a maker's name, probably Kyoto.
(20) Seal character, "Happiness."
(21) Seal character, "Precious."
(22) Inscribed mark, "An eternal spring of riches and honours."
(A) Crest of Shimadzou, Prince of Satsuma.
(B) Crest of Ikeda, Prince of Bizen.
Other blasons of Japanese princes.
The sale prices of "Old Japanese" will, for a little, vary the subject
under consideration. The demand is great, the supply limited; so prices
will rise higher yet.
Old Imari dish, painted with vase of flowers, having shaped panels on
dark blue and gold ground, £7 7s.
Set of three octagonal vases--old Imari--similar decoration, with
festoons and tassels on the shoulders, £36 5s.
A pair octagonal vases--old Imari--similar decoration, £65 2s.
Another dish, old Imari, vase of flowers in centre, Ho-Ho birds round
the border, with flowers. Colours: red, blue, and gold. £12 12s.
_From the Hayashi Collection._--Hirado cat, life-size, couching. £20 8s.
(NOTE.--Hirado, Hirato, or Harito are used indifferently.)
_At the same sale._--Two Arita porcelain cups, £5; two scent or incense
burners, £4 4s.
_Other sales._--Bowl, in Ninsei pottery, £26; scent burner, Satsuma,
£28 16s.; vase, Bizen ware, £26; blue, red, and gold ground, probably
Imari, £10; another vase, decorated with Ho-Ho birds, same colours as
the last, Hôtel Drouot, Paris, £100; bottles, pair of old Imari, fluted
and painted in red, blue, and gold, £27 6s.; vases and covers, pair,
old Hizen, decorated with birds, flowers, wheels, and scrolls in rich
colours and gold, £35 14s.
It must be remembered that the finest Japanese, copied from Chinese
models, is sold frequently as Chinese.
[Illustration: NABÉSHIMA, PRINCE OF HIZEN.]
[Illustration: HOSSOKAWA, PRINCE OF HIGO.]
[Illustration: MATSOU-OURA, PRINCE OF HIRADO.]
[Illustration: MALDA, PRINCE OF KAGA.]
[Illustration: MOÔRI, PRINCE OF NAGATO.]
XXIX
BIZEN
OR IMBE, &c.
CHAPTER XXIX
BIZEN OR IMBE
The chief objects made at Bizen were vases, incense-burners, and
numerous figures of animals and persons. Amongst the last are found a
number of mythical divinities illustrating the two religions of Japan,
Shintoism and Buddhism, especially the latter. Before me, as I write,
is a good specimen of old Bizen. It is the figure of Hotei, the god of
Contentment. Brown glazed ware with a paste of fine, hard red clay. He
is standing on a wind-bag with his dress open to his waist, and his
laugh is typical of the wonderful facial expression often to be found
in Oriental figures. The pottery of Bizen was made at a very early
date, but the early specimens were of a coarse, gritty red paste with
no glaze, and only common articles were made. Then, in the sixteenth
century, more attention was paid to the preparation of the clay, and
Chinese copies were imitated. The most valued pieces of this old Bizen
are those stamped with a new moon or a cherry blossom. A century later
a white-brown paste, fine and nearly as hard as porcelain, was used
largely for figures. This was followed by the use of the red clay. It
is interesting to notice the glaze applied to this kind of Bizen. The
figure of Hotei illustrates this unique bronzing, as it were. The
colour and metallic lustre are so good that the figure has often been
mistaken for bronze. Choice specimens are to be found with salt glazes,
brown, grey, and white, and of these the last is rarest. One other
peculiarity of all Bizen is that the glaze is absorbed into the paste;
this is said to be due to continued firing. When struck the pieces ring
very clearly, whilst the modern production has a dead, dull sound. The
Bizen pottery of our own time is degenerate. The monstrosities to be
found in curiosity shops are neither artistic nor interesting.
KUTANI PORCELAIN AND POTTERY.
Kutani, in the province of Kaga, produced pottery of dark clay with
a light chocolate glaze about the middle of the seventeenth century.
Later, one of the potters, who was sent to Hizen for the purpose,
brought back information which led to great improvement. At the end of
that century, and early in the next, two wares were produced. One is
marked by a deep green glaze, which formed an effective and striking
decoration, but other glazes were also used on these other wares,
notably deep purple, yellow, and a soft blue. The other class was an
imitation of Hizen ware, with the difference that blue under the glaze
was not associated with enamel colours over the glaze. In addition to
the colours mentioned a beautiful red was introduced and gold was added.
The artistic designs were purely Japanese bits of nature-painting,
tiny landscapes, birds on plum branches, and other simple but striking
subjects of this kind. The contrast to the Imari ware, with its bold
masses of blossoms and colours, is as great as it is with modern
Kutani. The latter often has peacocks, groups of brilliant peonies and
chrysanthemums, brightly dressed women and wonderful old men, cocks
upon barrels, and other well-known subjects. The only figures on old
Kutani are children playing.
The paste is of a bad colour, a kind of dirty white. It passes from
stoneware to porcelain, according to the nature of the clay, much of
which was imported, and which was sometimes mixed with the clay found
at Kutani. The other makers of porcelain frequently sent their pieces
in a white state to be decorated here, and this was done especially
from Arita. From this it will be seen that the Kutani mark appears
on porcelain varying in composition. Thus there are stoneware and
excellent porcelain. Some of it will bear comparison with the best
Hizen egg-shell. What tests should be applied to find out whether the
specimen submitted is old Kutani or not? One has been given--it is
this: blue under the glaze is not employed in conjunction with enamel
decoration. Then there is the tone of the blue. Reference has been made
to the rich blue of Imari, the exquisite soft and clear blue of Hirado,
but the Kutani blue is, like the paste often is, inferior in quality.
The glaze, however, has a wax-like surface which is distinctive. In the
coloured specimens the severe nature of the decoration and the beauty
and lustre of the enamels are characteristic features.
But Kutani copied Chinese originals in the best style, so that if such
specimens were bought in China they would pass for good examples of
the best period. But in Japan, as in China, porcelain is made of two
earths, one fusible, the other infusible, and owing to the difference
in the matter of firing, most Japanese porcelain has spur-marks or
small projections on the bottom, produced by the supports used in the
process of firing. Otherwise, the same means are employed in making and
decorating porcelain in both countries.
KENZAN WARE.
Ninsei and Kinkozan have been mentioned as celebrated potters, Kenzan
and Yeiraku must be added to them. Kenzan at first imitated the
Ninsei ware of Kyoto, but, being himself an artist and a brother of
the celebrated painter Ogato Korin, he soon developed an original and
genuine Japanese style in which striking results were produced with
a seeming absence of laboured detail. The simplicity of a branch of
prunus blossoms, a few nodding reeds or grasses, a little group of
birds amidst the foliage, the distant hill seen through the midst,
suited the space available for decoration. He used black, brown, green,
blue, and purple in plain colours, and enamels as well as gold. His
early work was done on Awata pottery, but his style is unmistakable,
and he marked all his pieces with his name "Kenzan." Other specimens
of his bold outline sketches are found on a coarse ware with a gritty
paste. At a later period he went to Iriya, in Tokio, but owing to
unsatisfactory materials for the making of pottery nothing very
great was accomplished. His productions are exceedingly rare and
proportionately valuable. His family still have a kiln near Kyoto, and
his son and grandson imitated his style, including the mark, with some
success.
YEIRAKU WARE.
There is an ancient pottery at Kyoto, founded by a family named Sozen
and later Yeiraku, a title bestowed upon them by the Prince of Kü or
Kishu. The present potter is of the same name and he still makes
earthenware and porcelain. It was about 1600 when Yeiraku--then
Zengoro-Hozen--began to make unglazed tea urns as his ancestors had
done. As a recreation he tried experiments with pastes and glazes,
which attracted considerable attention, and secured for him an
invitation from the Prince of Kishu to come to his province. Here
Yeiraku ware was made, so called from the stamp it bears. Zengoro made
glazes his special study, and produced rich combinations of turquoise,
blue, purple, and yellow, but more than these was his successful
coral-red glaze, made in imitation of the old Chinese "vivid red" of
the Yung-lo period. This last achievement gained for him the gift of a
golden stamp, "Yeiraku," and the name which the family has borne for
so many years. Yeiraku's skill was often tested by orders to copy all
sorts of Chinese, Korean, and even Dutch pieces, which he did so well
that the original and its imitation could not be distinguished. Yeiraku
was wealthy now, and could have gone into easy retirement. Yet such
was his love of his art that he worked on. He had produced the purple,
yellow, turquoise, green, and the blue and white, also the coral red
and enamelled porcelains of China, but he tried fruitlessly to get the
tin glaze of Delft and the various glazes of lakes of the Chinese.
The illustrations given of the goddess Kuwanon, in Chinese Kouanyin or
Kwan Yin, show one of the most interesting of the Buddhist deities.
She was reincarnated at least thirty-three times, as a man, a woman, a
demon, and so on, for the greatest good of humanity. Still, it is in
the feminine form that her figure is most frequently found in Japanese
porcelain and pottery, as well as in Chinese. Her hair is in the style
of Louis XIV., she wears a necklace bearing an ornament in the form of
a cross, and, being "the giver of children," she is holding a little
child, whilst Loung-nou and Hoang-tchen-sai, her two servants, stand
at her right and left. Perhaps the rarest of these figures is in the
cream-white porcelain of Nankin. A figure of this goddess was recently
sold for £45.
XXX
KISHU
PORCELAIN
AND
POTTERY, &c.
CHAPTER XXX
KISHU PORCELAIN AND POTTERY, ETC.
Both porcelain and pottery were made at Wakayama, and are known as
Kishu ware. The ornamentation consisted of formal patterns in low
relief, the intervening spaces being filled with coloured glazes,
chiefly blue, deep purple, and yellow, though green and white were not
unfrequently used. Perhaps the most common was a ground of purple,
with the scroll-work in relief and some parts of it covered with
turquoise-blue. Some very fine pieces had a rich green glaze marbled
with purple with medallions in other colours. These glazes are amongst
the finest produced in Japan.
The paste varied from porcelain to stoneware, and, like many factories,
was sometimes white, sometimes a red grey. It was fine in texture, and
hard.
Yeiraku's work was largely done in this private kiln, and many of
the pieces bear his stamp. It is said that he made from five to ten
specimens of any object he undertook to produce, that the best was
chosen and the rest destroyed.
BANKO POTTERY.
As early as 1680 a factory was established at a village near Tokio,
and produced articles which resembled some of the Kutani wares, but
towards the end of the eighteenth century a rich amateur, Gozayemon,
who had previously acquired a great reputation as a copyist, was
induced by the then Shogun to leave Isé and to continue his work in
Tokio, where his productions became the fashion, partly because of
their merits, partly owing to the difficulty experienced in securing
them.
He now adopted the purely Japanese style, and combined with it the
beauty of the Chinese glazes in different colours, and it was when he
ceased to be an imitator and became an originator that he became an
artist. He imitated every kind of ware, from coarse Korean pottery
and the brilliant colours of China to the severe styles of Ninsei and
Kenzam. His pieces were generally marked. He also made many imitations
of Dutch delft.
After his death, the son of a dealer of Isé, into whose hands the
formula of Gozayemoné had fallen, assumed the name of Banko, after
having bought the stamp from his grandson. He made a peculiar kind of
stoneware, unglazed, in which the mould, made up of several sections,
was placed inside the clay to be modelled. Hence, on the outside, the
lines of the skin of the hand are shown, and the designs are as sharp,
if not sharper, inside as outside the pottery, which from this method
of working had to be very thin. He also decorated pieces with storks,
dragons, &c., in relief and other pieces, with clever designs in
coloured slips on a green or deep brown ground. This Isé Banko ware is
nearly always stamped.
SOMA WARE.
This is a most peculiar ware, which consisted chiefly of small
teacups or bowls, having a rough indented surface on the outside,
but remarkably smooth to the lips, with a horse in relief or painted,
sometimes tied to a stake. The name of the ware and the badge were
derived from the Prince of the territory. The ceremony of tea-drinking
amongst the Japanese was almost a cult. The rites were followed under
the direction of a Tchadjin, or master of the ceremonies, and, amongst
other usages, the shape and decoration of the cups varied with the
season. Some were made by hand instead of by the aid of a wheel, and
most of the factories tried to satisfy the native connoisseur.
SANDA WARE.
In 1690 a kiln was erected by the Prince of the province of Setsu
to imitate Chinese Celadon. At first pottery was made, but towards
the end of the eighteenth century porcelain methods were brought
from Arita with such successful results that the excellent sea-green
Celadon of Sanda attained great celebrity, in some degree owing to the
considerable quantity of it which was made. In colour Sanda Celadon is
bright green, less warm than that of China and less delicate than the
Nabeshima ware.
SHEBA WARE.
The eggshell porcelain of Japan is not ancient, but near Tokio a
factory produces saki cups which are exceedingly pretty, being elegant
in shape and decoration and having a thin delicate paste. Sometimes
they are covered outside with basket-work, very finely woven.
NOTES ON OTHER WARES.
At Seto, in Owari province, both porcelain and pottery were made;
the former was an importation from Arita, which has now become so
important that porcelain in Japan is known as Seto-mono or Seto ware.
Here, too, was made a kind of stoneware much esteemed by the tea clubs.
At Inuyama, also in Owari, imitations of Chinese porcelain were made,
and called Agaye. Many kilns are still at work here.
At Karatsu, in Hizen, was an ancient factory, now closed, which had a
great reputation for the manufacture of the utensils required by the
tea clubs.
At Nagano-mura, a pottery produced ware with a streaky glaze, but not
painted. Close by, Iga made a singularly rough ware.
At Sobara-mura, Takatori ware, chiefly vases to hold incense, of a rich
brown glazed stoneware, was manufactured. Many makers in various kilns
made the bowls for drinking tea, which was the finest green tea, ground
to powder, frothed up with a brush, and passed in a bowl from hand to
hand. Raku ware, so called from the inscribed mark Raku (happiness),
consisted chiefly of tea-bowls.
Nothing need be said of the modern Japanese potters. The greater part
of the modern imports is too bad for words, and none need be wasted
on it. Yet, amidst much that is thoroughly bad, there are still some
master potters in Kyoto, Tokio, Yokohama, Seyfou, and elsewhere, whose
work is well worth buying.
It will be well to remember that old Japanese has two classes, one with
a white, semi-transparent paste with very simple designs--a plum-tree
and two quails, the tortoise with the hairy tail, the phœnix, a few
storks, or more rarely a Japanese lady in full dress. The colours used
were red, a pale but bright blue, an apple-green, and an unusual lilac
often with the butterfly mark. Dresden, Chelsea, St. Cloud, and other
works imitated this class.
The second class, also imitated in Europe, as at Derby, for example,
had the chrysanthemum and peony decoration; the ornaments are in
compartments or panels, enclosing mythical animals. Specimens before
me are decorated with a deep blue and gold. The other colours chiefly
used are a deep red and a bright black and green. The kiri or kiku
flower, with seventeen blossoms and three leaves, is frequently used.
It is the Imperial badge. The covers of the vases and jars have figures
in Japanese dress or Korean lions on the top. Most of the beautifully
decorated specimens were made for export, the Japanese value the
rough, artistic, but characteristic work.
MARKS.
[Illustration: MARKS]
(1) Kutani, or Kaga, often with other marks. This is the Prince's mark.
(2-5) Kutani ware; red, blue, and gold.
(6-7) Kutani porcelain, usually very fine.
(8) "Made at Kutani in Great Japan."
(9) Ohi Ware Kaga.
(10) Ohi ware, Kaga.
(11) "Happiness," Kaga. The open window mark.
(12-13) Kenzan, inscribed marks.
(14) Kenzan, stamped, letters sunk.
(15) Kenzan painted in brown.
(16-18) Yeiraku. The Nagano-mura is an offshoot in Awaji, same mark.
(19) "Made by Yeiraku in Great Japan."
(20-21) Kishu. Both marks stamped in the paste.
(22) Banko. Two stamped marks. On thin teapots, greyish brown ware.
(23) Banko. Two stamped marks.
(24) Nishina, a family name.
[Illustration: MARKS]
(25, 26, 27) Soma. Stamped in oblong or oval panel, the oval being the
older. On the outside of some pieces with these marks the crest of the
Prince of Soma (_A_) is found with a prancing horse tied between two
stakes.
MARKS IN THE FORM OF SYMBOLS.
This is a common form of marking Chinese porcelain and Chinese
symbolical ornaments, and were often copied. The five examples given (B
to F) are frequently found on Japanese porcelain:
(B) A swastika, Buddhist symbol, also a family crest.
(C) A flower with five leaves, in red.
(D and E) Two varieties of a plant.
(F) A leaf, in blue outlined in gold.
XXXI
_SECTION III_
SALE
PRICES
OF THE
LOUIS
HUTH
COLLECTION
SECTION III
CHAPTER XXXI
SALE PRICES OF THE LOUIS HUTH COLLECTION
(_Published by kind permission of the Editor of "The Connoisseur."_)
OLD NANKIN PORCELAIN.
£ s. d.
Vase and cover, oviform, painted with
ladies in a garden, 11½ in. high 63 0 0
Bottles, pair, with long necks, painted
with dragons and flames, 10¼ in.
high 88 4 0
Bottles, pair, with oviform bodies and
long slender necks, entirely painted
with formal flowers and arabesque
foliage, and with dark blue bands
round the shoulders, containing
scrolls and blossom reserved in
white, 7¾ in. high 262 10 0
Vase and cover, tall oviform, painted
with ladies and boys in a garden,
11¼ in. high 56 14 0
Canisters and covers, set of three
diamond-shaped, painted with audiences,
groups of warriors, and an
execution scene, 12¼ in. high 52 10 0
Sprinklers, pair, with a band of
mirror-shaped dark-blue panels round the
centre, and vandyke borders, containing
formal flowers and foliage
reserved in white, the necks delicately
pencilled with a marbled
design, 7¼ in. high 165 0 0
Vases and covers, set of three oviform,
and two cylindrical beakers and
covers, entirely painted with tiger-lily
ornament and conventional
blossoms, 5½, 6¾, and 7 in. high 346 10 0
Vases, pair, cylindrical, painted with
bands of formal arabesque foliage,
and with alternate blue bands, with
dragons and scrolls reserved in white,
11¼ in. high 220 10 0
Vases, pair, cylindrical, powdered-blue,
painted with fishermen, Sages,
flowers, &c., in upright and circular
panels, 10¼ in. high 150 0 0
Beaker, painted with branches of flowering
prunus, the background pencilled
with blue, 18¾ in. high 140 0 0
Vases and covers, pair, oviform, painted
with peonies, cherry-trees, sparrows
and rocks, in shaped panels divided
by trellis-pattern bands, 16½ in.
high 220 0 0
Vases and covers, set of three oviform,
and a pair of beakers, painted with
audiences, plantain and vases of
flowers, 16½ in. and 18 in. high 1,550 0 0
Vase and cover, oviform prunus-pattern,
of the highest quality, finely painted
with branches of flowering prunus
on marbled-blue ground, 10¼ in.
high 6,195 0 0
Bottles, pair, pear-shaped, with blue
panels containing flowers and leafage
reserved in white, the necks
pencilled with marbled pattern in
blue, 7½ in. high 75 12 0
Ewer, with pencilled marbled groundwork
and dark-blue heart-shaped
panels, containing scrolls reserved
in white, 6½ in. high. 56 14 0
Bottles, pair, with long necks, painted
with pendant lanterns and korōs,
palm-leaves on the necks, 9½ in.
high 52 10 0
Vases and covers, pair, two-handled,
painted with fans and utensils in
mirror-shaped panels and sprays of
flowers, 11 in. high 65 2 0
Dishes, pair, with blue ground, decorated
with seeding peonies and foliage
reserved in white, and painted with
flower-branches round the well,
18½ in. diameter 54 12 0
Bottle, with compressed body and nearly
cylindrical neck, painted with seeding
peonies and foliage, and palm-leaves
round the neck, 18 in. high 294 0 0
Bowls and covers, pair, cylindrical, with
marbled-blue ground and prunus-blossom
in white, painted with
flowering plants and birds in mirror
and fan-shaped panels, 7½ in. high 231 0 0
Vase and cover, oviform, painted with
panels of prunus-branches and birds
on a trellis groundwork, and with
lambrequin-shaped panels round the
shoulder and foot, containing formal
flowers reserved in white on blue
ground, 24 in. high 136 10 0
Vase and cover, oviform, painted with
rocky landscapes and baskets of
flowers, and with lambrequin-shaped
panels round the shoulders and
foot, with scroll foliage reserved in
white on blue ground, the cover
surmounted by a small figure of a
kylin, 23¼ in. high 78 15 0
Bottles, pair, powdered-blue, painted
with vases of flowers and utensils
in mirror-shaped panels, 11½ in.
high 241 10 0
Vases and covers, pair, powdered-blue,
painted with river scenes, flowering
plants and utensils in variously
shaped panels, 19 in. high 756 0 0
Bottles, pair, powdered-blue, with bulbous
necks, painted with river scenes,
flowers and utensils in variously
shaped panels, 18 in. high 420 0 0
Jars and covers, pair, mandarin, painted
with bands of arabesques and alternate
blue bands decorated with
dragons, flames, and leafage reserved
in white, 42 in. high 1,942 10 0
Cisterns, pair, circular, entirely painted
with formal flowers and foliage, and
with a band of beaded ornament
round the top, 27 in. diameter 210 0 0
Bowl, painted with groups of various
flowers, locusts and other insects,
5¾ in. diameter; and a bowl, with
flowers, insects and reptiles, 5¾ in.
diameter 89 5 0
Bowl and cover, small cylindrical, painted
with mirror-shaped panels of flowers
on marbled-blue ground, with prunus-blossom
reserved in white, 5½ in.
high 81 18 0
Vase, cylindrical, painted with arabesque
foliage, and with a blue band round
the centre decorated with dragons
reserved in white, 11 in. high 86 2 0
Another vase, nearly similar, 10½ in.
high 90 6 0
Bottles, pair, pear-shaped, painted with
pendant lanterns and other ornament,
and with branches of flowers
round the necks, 11½ in. high 54 12 0
Bowls and covers, pair, cylindrical
powdered-blue, painted with river scenes,
flowers and utensils in circular
medallions, 6¾ in. high 199 10 0
Jardinières, pair, with prunus-blossom
reserved in white on marbled-blue
ground, mounted with Louis XVI.
ormolu handles chased with foliage
and shells, and gadrooned borders,
8 in. diameter 90 6 0
Bottle, with long neck, painted with
kylins playing with balls, and a
dragon on the neck, 18 in. high 50 8 0
Vase, painted with an audience and
figures on a terrace, 21¾ in. high 52 10 0
Vase, painted with a procession in a
rocky landscape, 16½ in. high 63 0 0
Vases and covers, set of three, painted
with landscapes, cranes, deer and
other animals in panels with key-pattern
borders, 19½ in., 20 in., and
20½ in. high 54 12 0
Dishes, pair, large, painted with
flowering plants in the centre in petal
panels on trellis-pattern ground, the
border composed of arabesque foliage,
among which are figures of
peacocks and baskets of fruit in
four panels, 21¾ in. diameter 115 10 0
Pair of ditto, similar 115 10 0
Cistern, octagonal, painted with
medallions of arabesque foliage,
characters in the centre, and a band of
palm-leaves round the shoulder, 25½ in.
diameter 52 10 0
Bottle, double gourd-shaped, painted with
gourds and foliage, and a band of
key-pattern round the centre, 26 in.
high 115 10 0
Cisterns, pair, circular, painted with
river scenes in the interior,
chrysanthemums and lotus outside, 25 in.
diameter, on walnut-wood stands 44 2 0
CHINESE ENAMELLED PORCELAIN.
Tea service, with ruby ground, pencilled
with flowers in grisaille in shaped
panels, consisting of tea-pot, cover
and stand, a cream-jug and cover,
two cups and saucers, and two small
saucer-dishes 240 0 0
Vase, square-shaped, enamelled with
quails and flowering trees on white
ground, the handles coral-colour
and gold, 10¾ in. high 136 0 0
Bottles, pair, pear-shaped, with bulbous
necks, with spiral pink and white
bands, and enamelled with figures
and branches of flowers in colours,
10½ in. high 58 16 0
Stand, oblong, enamelled with dragons
with the Sacred Jewel, in green,
mauve and yellow, 11¼ in. wide 52 10 0
Bowl, ruby-coloured, enamelled with a
kakémono and branches of flowering
prunus, 7½ in. high 100 0 0
Vases, pair, "_famille verte_" fluted, formed
as bamboo canes, enamelled with
small sprays of flowers and grasses
on green and yellow ground, on
octagonal open stands, enamelled
green, 8½ in. high 320 0 0
Vase, oviform, with bright green ground,
enamelled with dragons and formal
flowers in mauve, with arabesque
foliage reserved in white, and with
unglazed kylins'-mask handles, 12 in.
high 400 0 0
Bottle, powdered-blue, of triple
gourd-shape, enamelled with peonies, other
flowers and grasses, in "_famille verte_,"
in mirror and fan-shaped panels,
10¼ in. high 357 0 0
Beakers, pair, with bulbous centres; }
the necks are finely enamelled }
with a bright green ground, upon }
which is formally arranged a }
design of flowers and foliage, }
enamelled mauve, the centre part }
similarly decorated, but with }
conventional flowers in green on yellow }
ground, and with a band of }
green vandyke panels below; the }
lower half of the beakers is }
powdered-blue, 10½ in. high } 2,700 0 0
}
Vase and cover, oviform, of somewhat }
similar design to the preceding, }
the lower part powdered-blue, and }
the upper portion and the cover }
enamelled with formal flowers and }
foliage in green on yellow ground, }
12½ in. high }
Bottles, pair, triple gourd-shaped, the
lower part decorated with medallions
of masks, utensils and emblems,
on a floral groundwork, in
black and gold, the centre part
pencilled with kylins and flames, in
rouge-de-fer and gold, on white
ground, the necks powdered-blue,
with Ho-Ho birds in gold, 21½ in.
high 480 0 0
Bottles, pair, small gourd-shaped, with
engraved yellow ground, enamelled
with sprays of flowers in colours,
7 in. high 115 10 0
Vase, inverted pear-shaped, with engraved
yellow ground, enamelled
with branches of flowers, 10¼ in.
high 66 3 0
Vases, pair, oviform egg-shell, enamelled
with houses by a river, a bridge,
and figures in a summer-house, and
with gilt necks and feet, 10¾ in.
high 304 10 0
Vases, set, three oviform, the
groundwork encrusted with branches of
flowers, and with upright panels
enamelled with Sages and other
figures in landscapes, 7¼ in. and
8½ in. high 189 0 0
Figures of parrots, pair, enamelled
turquoise and dark blue, and mounted
on Louis XV. ormolu scroll plinths,
9¾ in. high 220 10 0
Part of a tea-service, with pale yellow
and black trellis-ground decorated
with plume ornament in mauve,
consisting of cream-jug and cover,
canister and cover, two stands, and
four cups and saucers 131 5 0
Bowls and covers, set, three, enamelled
with chrysanthemums, branches of
begonia, and sparrows, and with
pink diaper-pattern border, 6 in.
diameter 105 0 0
Tea-service, lotus-pattern, consisting of
tea-pot, milk-jug, canister, bowl and
covers, and four cups and three
saucers; and two small plates,
enamelled in pink and green, and
with branch handles 94 10 0
Basin, with brown and pink exterior,
pencilled with tiger-lilies and other
flowers in gold, the interior enamelled
with a magician, 4¾ in.
diameter 54 12 0
Basin, with apple-green ground, pencilled
with flowers and grasses in
gold, 4⅝ in. diameter 79 16 0
Ewer and cover, powdered-blue oviform,
enamelled with a stream, lotus
plants and prunus-tree, with birds
in "_famille verte_" in shaped panels,
the ground pencilled with gold,
8¼ in. high 378 0 0
Dishes, pair, powdered-blue, enamelled
with kylins, Ho-Ho birds and utensils
in "_famille verte_," in mirror-shaped
panels, 16 in. diameter 378 0 0
Vase, "_famille verte_," of nearly
cylindrical form, with crimson ground,
finely enamelled with branches of seeding
peonies, arabesque foliage and
dragons, and with pale green and
yellow lambrequin-shaped panels
round the borders containing formal
flowers, mounted with ormolu rim
and plinth, with Sphinx supports,
21½ in. high 600 0 0
Lantern, oviform egg-shell, with finely
stippled green ground, enamelled
with an audience and ladies on a
terrace, in "_famille verte_" in two
oblong panels on a groundwork
of flowers and butterflies 410 0 0
Bowl, enamelled with cranes in black
and white and waves in green on
yellow ground, 10 in. diameter; and
a dish, with cranes in black and
white on pale yellow ground, 11½ in.
diameter 79 16 0
Basins and stands, pair, small, enamelled
with peonies, and with pink
exteriors 71 8 0
Bowls and covers, pair, basket-pattern,
with panels of pierced honey-comb
pattern, enamelled with chrysanthemums 189 0 0
Dish, circular, open-work border enamelled
with vases and utensils on
coloured diaper ground, 9¼ in.
diameter 273 0 0
Plates, pair, octagonal, enamelled with
ladies and children by a stream, in
brown border with green trellis edge,
7¾ in diameter 78 15 0
Bowl, with branches of flowers in the
interior, and medallions of flowers
outside on an incised green and
white ground, 10¼ in. diameter 58 16 0
Jar, cylindrical, with pale green ground,
decorated with flying cranes in black
and white, 7 in. high 260 0 0
Vase, oviform egg-shell, enamelled with
ladies in a landscape, carrying vases,
19 in. high 99 15 0
Vase, oviform, with marbled-green
ground, enamelled with peonies, a
tree, and birds, 19½ in. high 105 0 0
Dishes, pair, large, in the Imari taste,
enamelled with vases of flowers and
a fence in the centre, and with scroll-shaped
panels of flowers and birds
on the border on blue ground with
chrysanthemums in red and gold,
21 in. diameter 173 5 0
Vase, cylindrical, with pencilled blue
scale-pattern ground, enamelled
with lotos, begonias, and other
flowers in panels, in "_famille verte_,"
10¾ in. high 89 5 0
Dish, egg-shell, enamelled with a peacock
and peonies in the centre, four
panels of pink diaper ornament on
the border on blue ground, 7¾ in.
diameter 100 0 0
Saucer-dish, with ruby back enamelled
with a kakémono and flowers in the
centre and with pale blue marbled
border with blossom in white, 8 in.
diameter 115 10 0
Plates, pair, octagonal, enamelled with
flower-sprays in the centre and with
ruby panels on the border on blue
ground, enamelled with peonies,
7½ in. diameter 136 10 0
Bowls, pair, small white, with pierced
trellis-pattern sides, decorated with
small medallions of figures modelled
in high relief and gilt, 3¾ in.
high 60 0 0
Box and cover, "_famille verte_" square,
enamelled with a crane and emblems,
on green and yellow trellis-pattern
groundwork, 4 in. square 70 0 0
Cup, "_famille verte_," octagonal, on foot,
enamelled with chrysanthemums,
iris, and other flowers, and insects
in compartments, 4¾ in. high 54 12 0
Bowl, with dark green wave-pattern
ground, decorated inside and out
with horses, waves, shells, and
blossom reserved in white and
partly enamelled mauve, 8¼ in.
diameter 350 0 0
Bowl, with apple-green ground, decorated
with a flowering prunus-tree
reserved in white, heightened with
mauve enamel, 7¾ in. diameter 370 0 0
Saucer-dish, black ground, enamelled
with chrysanthemums, rocks, and
flowering prunus-tree, 7¾ in. diam. 145 0 0
Milk-jug and cover, curiously enamelled
with trumpeters, in colours on black
enamelled ground 40 0 0
Cups and saucers, pair of egg-shell,
similar 55 0 0
Basin, similar, 5½ in. diameter 50 0 0
Cups and saucers, pair, with black
ground, enamelled with prunus and
panels of flowers, in green, mauve
and buff, the interiors decorated
with sprays of flowers in red, blue,
and green 120 15 0
Jug and cover, barrel-shaped, with green
enamelled ground, entirely decorated
with formal flowers and
leafage reserved in white, mounted
with old English silver borders and
billet, 7 in. high 370 0 0
Vase, with yellow ground, enamelled
with a pheasant, peony, and rocks
in green and mauve, and with
palm-leaves round the neck, 10½ in.
high 900 0 0
Bottles, pair, with spherical bodies and
long cylindrical necks, entirely
enamelled with formal flowers and
foliage in "_famille verte_,"
8¾ in. high 450 0 0
Vases, pair, oviform coral-coloured,
entirely decorated with formal
flowers and arabesque foliage
reserved in white, 7¾ in. high 110 0 0
Bottle, gourd-shaped, of nearly similar
design, 12 in. high 300 0 0
Vase, oviform egg-shell, enamelled with
a lady seated at a table, and with
vases at the side, 8¼ in. high 180 0 0
Another, enamelled with Sages and
other figures in a mountainous
landscape, 8¼ in. high 70 0 0
Vases, pair, egg-shell, with turquoise
ground, enamelled with coast scenes
and figures in the European taste,
8¼ in. high 52 10 0
Bottle, pear-shaped, with black ground,
entirely decorated with formal
flowers and small scroll foliage
reserved in white, 16¾ in. high 651 0 0
Cistern, oval, enamelled with festoons of
flowers in the European taste, and
panels of figures in the interior, the
outside enamelled with pink and
green chequer-pattern, mounted on
Louis XVI. ormolu plinth, with
gadroon and riband border, 18 in.
wide 567 0 0
Bottle, of triple-gourd shape, enamelled
with bright green ground, decorated
with formal flowers and arabesque
foliage reserved in white, 11¼ in.
high 600 0 0
Lanterns, pair, egg-shell, of oviform
shape, finely enamelled with an
audience and figures on a terrace,
8¾ in. high 1,200 0 0
Bowls and covers, pair, enamelled with
vases of flowers, utensils and emblems
in colours, mounted with
Louis XVI. ormolu borders chased
with rosettes and ribands, lions'-mask
and ring handles, and lions'-claw
stands of the same, the covers
surmounted by cone ornaments,
15½ in. high 336 0 0
INDEX
A
Amida, 69
Animals, emblems in, 51, 299
Animals, fabulous, 51
Apple-green, 179, 272
Arita ware, 352
Armorial china, 48
Artemesia, 301
_Aubergine_, 106, 280
Awata ware, 361
Azalea, 302
B
Bamboo, 301
Bamboo drum, an emblem, 341
Banko ware, 377
Base, 17
Bat, 327, 329
Beaker, 17
Biscuit, 17, 209
Bizen ware, 367
Black-mirror, 106, 169
Black under green, 106, 216
_Blanc de chine_, 46, 137, 150
Blue, 107, 114, 160, 169, 183, 251
Blue and red, 125, 194
Blue and white, 107, 114, 137, 183
Blue, mazarine, 251
Blue, powdered, 115, 215, 243
Body or paste, 17
Borders, 220
Bottle, 17
Brown glaze, 161, 173
Buddha, 39
Buddhism, 39
Buddhist divinities, 68, 81
Burnt-in, 17
C
_Café-au-lait_, 173
Carp, 275
Celadon, 17, 33, 98, 107, 115, 124, 159, 166
_Chair de poule_, 152
Chakra, 255
Cheou or Chow, 61, 82, 151, 329
Chinese characters, plain, text and seal, 310, 314
Ching-hwa, 98, 101
Christians in China, 93, 98
Chrysanthemum, 302
_Clair-de-lune_, 113, 123, 162
Clobbered ware, 201
Coffee-colour glaze, 161
Colours, glazes, &c., 18, 155, 169, 213
Colours, order of discovery, 45
Colours, three, five, 18
Conch shell, 325
Confucianism, 37, 256
Copper-red, _vert de cuivre_, 46
Coral red ground, 113, 126, 259
Corean lion, 55, 85
Crackle, 163, 177
D
Date marks, 309, 314
Date marks, how to read, 311
Deer, 123, 299
Deer, _mille cerfs_, 123
Diapers, 129
Dog of Fô, Corean lion, 55, 85, 150, 355
Double circle or rings, 108
Dragons, 53, 263, 355
Dresden Collection, 347
Dynasties, early, 91, 97, 105
Dynasty, Ming, 95
Dynasty, Tsing, 103
E
East India Company, 287
Egg-shell, 18, 127, 232, 267, 268
Eight immortals, 78, 82, 339
Elizabeth, Queen, 100
Emblematic designs, 299, 325
Emblematic gestures, 69
Emblems in animals, 299
Emblems in birds, 86
Emblems in flowers, 300
Emblems in trees, 301
Enamel, 18, 33
Enamels, coloured, 141, 143, 213, 271
F
_Familles_ (Families)--
_Jaune_--Yellow, 47, 252
_Noire_--Black, 47, 106, 169, 216
_Rose_--Rose, 48, 111, 122, 127, 143, 243, 264
_Verte_--Green, 47, 106, 116, 143, 228
_Feuille morte_, 155, 173
Fong Hoang, 56, 355
Fox, 300
Fenting, soft paste, 18, 31
Figures, 18
Fir or pine, 301
Fish, 326
Five-colour, 18, 78,
Flambé, 155, 165, 169
Flute-emblem, 341
Forgeries, 24, 126, 311
Forms, 18
Fungus, 303, 326
G
Gasnault, M., 149
Ginger jar, oviform vase, 193
Glaze, 18, 32
Glazes, self-colour, 33, 153
Glazes, simple, 153
Glazes, variegated, 155
Globber, 202
Gold, reds from, 116, 264
Gombron ware, 100
Gourd, 301
_Grand feu_, 18
Graviata, 18, 143
Green, delicate, 276
Green family--_Famille verte_, 47, 106, 116, 143, 228
Green, Ming, 272
H
Hard paste, 29
Hare, 300, 326
Hawthorn pattern, 144, 192, 227, 301
Heen-fung, 144
Hirado ware, 353
History of porcelain, 89
Hizen ware, 352
Ho-Ho bird, 56, 354
Honorific marks, 312
Hundred antiques, 18
Hung-woo, 97, 100
Huth Collection, sale prices, 385
I
Imari ware, 142, 352
Imbe ware, 369
Imitations of Oriental porcelain, 293
Immortals, 78, 82, 339
Iron-red, _rouge de fer_, 116, 196, 215
J
Jacquemart, M., 149
Jade, 102, 161
Japanese marks, 362, 365, 381-383
Japanese porcelain and pottery, 351
Jesuits in China, 98
Joo-e-head decoration, 61, 136, 240, 247
Joo-e-head, symbol, 327
K
Kang-he, 103, 183, 214
Kaolin, 18, 32
Kea-king, 139
Kea-tsing, 102
Keen-lung, 119, 264
Kenzan ware, 372
Kiau, dragon, 263
Kiln, 18, 32, 47
King-te-chin, 92, 121, 144, 184
Kishu ware, 375
Korea, lion of, 55, 85
Kouan-ti, 73
Kutani ware, 370
Kwang-shiu, 144
Kwan-Yin, 58, 61, 62, 65, 150, 373
Kylin, 54, 85, 355
Kyoto ware, 360
L
Lange-Lysen, 190, 232
Lang-yao, 156, 275
Lao-tseu, 39, 58, 73, 77, 301, 339
Leaf mark, 326
Li, dragon, 195, 263
"Long Elizas," 191, 232
Longevity, god of, 151
Lotus, 255, 303, 326
Lowestoft, 202
Lung, dragon, 263
M
Magnolia, 304
Mandarin, 18, 129, 133, 283
Mandarin china, 136, 283
Marks--
Date, 314
Grass, 310
Hall, 321
How to read, 311, 317-319
Seal, 310, 315, 319
Text, 310
Mazarine blue, 169, 243, 251
Mice china, 18
_Mille cerfs_, 41, 123
_Mille fleurs_, 123
Ming, 61, 95, 214, 273, 312
Mirror black, 106, 161, 169
_Morte feuille_, 155, 173
Moulds, 18
Mudrâs, hand gestures, 69
Mythical deities, 61, 78, 82, 337
N
Nabeshima ware, 353
Naga, 18
Nankin blue, 183, 312
Neck, 19
Nien-hao, 92, 105, 107, 311
O
Ornaments, 19
Overglaze enamels, 18, 33, 143, 213, 271
Oviform, 231
Oxides, 165
P
Pa-Kwa, 112, 195, 329
Pa-sien or Pa-chen, 78, 82, 339
Paste or Body, 19
Peach, 301, 304, 327
Peach bloom or peach blow, 112, 170
Peach-tree, 301
Pearl, 325
Pekin ware, 19
Peony, 305
Pe-tun-tze, 19, 31
Pheasant, 86
Phœnix, 56
Pierced or reticulated porcelain, 152, 205, 207
Pierced patterns, 143, 209
Pin points, 19
Piu-hwo, Taoist god, 77
Poutai, 151
Powder or powdered blue, 115, 155, 215, 243, 246, 249
Prunus blossom, 192, 227, 301
Q
Queen Elizabeth, 100
Queen of heaven, Si-Wang-Mu, 57, 66
R
Rabbit, 300
Red, 48, 161, 173
Red, underglaze with blue, 126, 194
Religion and Mythology, 35
Reserves or compartments, 115, 220
Reticulated porcelain, 152, 205, 207
Rice bowls, 142
Rose, 116, 264
Rose family--_Famille rose_, 48, 111, 116, 122, 264
_Rouge de fer_, iron red, 116, 196, 215, 231, 259, 261
Ruby-backed plates, 116, 127, 267
Ruby-backed plates, sale prices, 127
S
Sale Prices--Huth Collection, 387
" " Japanese, 364
Sanda Ware, 379
_Sang de bœuf_, 113, 124, 156
Satsuma ware, 357
Seal, 310, 316, 319
Seven borders, 129
Sheba ware, 379
Shell, conch, 325
Show, or Cheou, 61, 82, 151, 329
Single or self-colour glazes, 153, 161
Si-Wang-Mu, 57, 66, 301
Slip, 19
Soft paste, Fenting, 18, 31
Soma ware, 378
Splashed, tiger, 166
Statuettes, 18, 343
Stork, 300, 327
Suen-tih, 97, 99, 159
Sung dynasty, 92, 161, 179
Swastika, 136, 256, 279, 326
Symbolical marks, 325, 384
Symbols or emblems, 299, 325, 327
T
Taoism, 38
Taoist immortals, 76, 78, 82, 339
Taou-kwang, 142
Tests, 191, 371
Three-colour, 18, 106
Tiger splashed, 167
Tortoise, 300
Transfer printing, 137
Truité, 179
Tsing dynasty, 103
Tung-che, 144
U
Under-glaze blue, 107, 114, 183
Under-glaze red, 126
Unicorn, or kylin, 54, 85
V
Vases, 19
Vitreous enamels, 18
W
Wan Chong, 70
Wan leih, 18, 106
Warham, Archbishop, 98
Wen-tchang, God of Wisdom, 74
White, 45, 147
Willow pattern, 19
Y
Yang and Yin, 113, 329
Yao-pien, 19, 165
Yeiraku ware, 372
Yellow Family--_Famille jaune_, 47, 252
Yellow glaze, 160, 173
Yulan, 247
Yung-ching, 109
Yung-lo, 18, 98, 101
UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON
* * * * *
Transcriber's Notes
1. Characters in small caps have been replaced by all caps.
2. In this file, underscores have been used to represent _italic text_ and equal signs for =bold text=.
3. Illustration Table page number 79/97 has been corrected, incorrect in book.
4. Where the description of an image precedes the image, it has been moved
to AFTER the image, so as to avoid confusion.
End of Project Gutenberg's Chats on Oriental China, by J. F. Blacker