Chinese Ceramics

porcelain, ware, london, blue, bushell, monochromes and red

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Kiang Hsi monochromes are numerous. We find the pale yellow ("husked chestnut") on white glaze. The American's °peach bloom," the Chinese pin-kwo-ts'ing, is a pale red be coming pink in some parts, mottled in others, with russet spots displayed on a background of celadon tint. It is a grand-feu transmutation effect in underglaze, and is a or freak demonstration. Blue monochromes are in numerable in this period, such as the "bleu soufflé,' applied by insufflation ; most noted, however, is the "mazarine" (dark) blue; the turquoise or "kingfisher" blue (fei ts'ui) is another. The green monochromes about equal the blues in number: "Apple," "leaf," °cucum ber" (Kua p'i lii) greens are famous.

Yung Ching Period (1723-35).— The product of this reign is highly refined. In it we find the well-known °armorial china," certain sets of ware decorated with the coat of arms of the European and American owners. They have caused much trouble and discussion among collectors through the writer Chaffers errone ously attributing the ware to the English town of Lowestoft. Even to this day, after full proof of its being of Chinese manufacture it is often termed "Sino-Lowestoft." Snuff bottles of this 'and the next reign are scarcely equaled and are highly prized. The paste of this reign is whiter, less blue than former periods. Under glaze red hung) painting is much used, some combined with the underglaze blue. Greatest of monochromes now is the wonderful famine rose ware in "egg-shell" saucers, dishes, plates, coffee and tea services of lovely finish. The "rouge red" and "ju-jube red" (derived from gold) and pinks are admired the world over and pieces are costly. The delicate color is imposed on the back of the ware, and im parts an incomparable effect with the white upper surface of these "rose hacks" and "ruby backs." Chien Lung Period (1736-95).— Mono chromes follow former periods, including blue and-white (often running to archaic bronze forms). To this reign belong lavenders, clair de limes (celadon), violets, souffle and plain blues and a deep lapis lazuli. The common blue

has a poor dull indigo tinge. The potters of this time showed their wonderfully expert powers in °reticulated" and other open work on perfume boxes, lanterns, insect cages, spill vases, etc. "Rice grain" (grains de cis) pattern was done on the body by small perforations filled in with transparent glaze. By covering the surface with black lacquer and inlaying patterns with mother-of-pearl the potters produced their lac burgauti ware. The powerful European in fluence exerted during the last two reigns created a bastard ware of degraded European design in Chinese paste. The later porcelains are not of art interest. A peculiar ware is that known as *clobber.* It is decorated porcelain ware made in China on which the Western painter has 'improved* the underglaze designs with overglaze decoration and some gilding.

Brinkley, Captain, China) (Vol. IX, London 1906) ; Burton, W., (Por celain) (London 1912) ; Bushell, S. W., 'Chinese Porcelain, Sixteenth Century' (a translation from a Chinese MS., Oxford 1908); Bushell, S. W., 'Chinese Porcelain before the Present Dynasty' (Peking, 1886) ; Bushell, S. W.,. 'Description , of Chinese Pottery and Porcelain) (a translation of the T'ao shoo, Oxford 1910) Bushell, S. W., 'Oriental Ce ramic Art' (Walters Collection, New York 1891) ; Bushell, S. W., 'Chinese Art' (London 1909)•, Dillon, E., 'Porcelain' (New York) ; Franks, A. W., 'Catalogue of a Collection of Oriental Porcelain and Pottery' (London 1879) ; Grandidier, E., 'La Ceramique Chinoise' (Paris 1894) ; Gulland, W. G., 'Chinese Por celain) (London 1902) ; Hirth, F., 'Ancient Porcelain) (Leipzig 1::.:) ; Hobson, R. L., 'Chinese Pottery and Porcelain' (New Yoric 1915); Hobson, R. L., 'The New Chaffers> (London 1913) ; Jacquemart, A., and E, Le Blanc, (Histoire de la porcelains' (Paris 1862); Laufer, Berthold, 'Chinese Pottery of the Han Dynasty' (Leyden 1909); Monkhouse, Cosmo, 'A History and Description of Chinese Por celain' (London 1901) • Muensterberg, O., 'Chinesische Kunstgeschichte' (Esslingen a/N 1910-12).

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