Chapter XIX: 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.

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.]

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.]

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.]

_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.]

(_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.

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.]

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.]

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.]

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.]

_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.]

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.

(_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.]

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.]

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.

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.]

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.

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.]

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.

_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.]

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.

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.]

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.]

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.]

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.]

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.]

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