Digitized by the Internet Archive
in 2016 with funding from
Getty Research Institute
https://archive.org/details/catalogueofchine00getz_1
A
■t'.' I.
I I .. .
I
II
‘/M’f
X ; i
s\
M •
;
f. '
i, . ■ V
f ’
r
*
/
. »
)
%
i t
I
'1 1 &
i'-
f
>
^ This edition of “ A Catalogue of Chinese Porcelains
consisting of one hundred numbered copies, was
printed for Mr. Charles P. Taft, of Cincin-
nati, at the DeVinne Press, NewYork
nineteen hundred and four
No.
t
A CATALOGUE OF
CHINESE PORCELAINS
in
6
Z
d
03
>
3
O'
CO
a
3
CO
H
vO
6
Z
^cy
S ji
S •£
IE 6(1
c
g UJ
^ o
U
e
o
lE
A CATALOGUE OF
CHINESE PORCELAINS
COLLECTED BY
MR. AND MRS. CHARLES P. TAFT
CINCINNATI, OHIO
WITH NOTES AND ILLUSTRATIONS
COMPILED AND DESCRIBED BY
JOHN GETZ
NEW YORK
PRIVATELY PRINTED
MCMIV
Copyright, 1904, by
CHARLES P. Taft
/
►
PREFACE
HE private Collection of Chinese Porcelains formed by
Mr. and Mrs. Charles P. Taft of Cincinnati, described
and illustrated in the following pages, contains uni-
formly important specimens as well as interesting and
noteworthy groups that exemplify the high technical
skill attained during the early periods of the ceramic art
in China, and which are held in great esteem by all
connoisseurs to-day.
Covering so many centuries in the history of this art, these objects in
porcelain, by their surpassing qualities and preeminence, fairly indicate
that the transcendent success of their kind, whether owned in private or
museum aggregations, contributed largely to the glory of those past epochs
to which they are ascribed by native and other authorities.
The creations of Chinese ceramists justly enjoy universal celebrity and
favor, their singular beauty and exquisite richness making them harmoni-
ous adjuncts to tasteful and esthetic surroundings the world over. Deco-
rative applicability, together with a subtle charm of refinement, is always
gratifying ; and we know that such objects won the enthusiastic admira-
tion of kings and emperors, in Europe as in the far East.
[ix]
PREFACE
A former French minister to the Imperial court at Pekin, and a keen
connoisseur as well as collector, once said to the writer, “There are porce-
lains and porcelains, as there are diamonds and diamonds”; the inference
is so apt and to the point, that its repetition here may be pardonable.
The subtlety of rare old porcelain, which after the lapse of centuries
shows no loss of color or sign of decay, its mature appearance combined
with innate freshness, its brilliancy and translucency of glazes, and its sym-
metry and dignity of form, whether invested with a solid color or a clev-
erly balanced distribution of design, contribute each in its own way to
the inimitable character of those objects in fired kaolinic clay.
The taste for Oriental porcelains reached Europe early in the seven-
teenth century, but until recent years the real gems in porcelain remained
utterly unknown to the Western world. Only at rare intervals a few pieces
which showed the native gout began to appear, and they, indeed, proved
a revelation in America as well as in Europe ; such isolated apparitions
in porcelain, coming from time to time, staggered amateurs by their beauty,
and, it may be also said, by their unheard-of values.
It has taken the Western world over a century to pass beyond the ante-
room of this captivating art in China, and to reach the cabinets of the
prized, the ne plus ultra treasures owned by mandarins or by Manchu
princes of the Celestial Empire. These precious objects have excited the
interest of collectors the world over, but it may be safely stated that not
before the great Tai-ping rebellion were such examples in porcelain seen
outside of China.
These fragile products, these fascinating and unobtrusive objects of art,
have been destined to wander far, and from country to country, from
mansion to mansion, always inspiring new delight, affording a field for the
display of cultivated taste, and furnishing a stimulating pastime, as well as
contributing by their presence to a quiet dignity of surroundings. Such
are the real attributes of rare Chinese porcelains.
The acknowledgments of the compiler are due to Mr. B. Duveen for
his collaboration and interest in this work.
[xl
HISTORICAL
BRIEF outline of the early history of Chinese Porce-
lain is deemed not out of place here, as an introduc-
tory to the following pages. Documentary evidences
concerning porcelains of remote epochs are rather
abstruse; either the specimens described cannot be
traced, or they are now entirely lost through progres-
sive diminution. The literature remains abundant,
but for practical purposes is useless without accompanying illustrations.
M. Stanislas Julien,Sn his translations of early Chinese records, refers to
a certain blue glazed ware called “Tong Ngeou-thao’’or “Tung-ou-t’ao,“
said to have been produced during the Chin dynasty (A.D. 265-419),
and Dr. Bushell, in his splendid work, alludes also to this dynasty as
producing a blue ware called “P’iao-tzii,” which is described as “re-
sembling in color the pale-blue shade (P’iao) of certain silks.”
Sinologues proved by their researches that the kaolinic paste which
properly constitutes porcelain, as we know it to-day, had not yet appeared
at this early period; that, in fact, all the products referred to in the
^ Histoire de la Fabrication de la Porcelaine Chinoise, Paris, 1856.
[xi]
HISTORICAL
Chinese annals of ceramic art as “Thao” or “T’ao” could have been
only a sort of pottery or stoneware solidly glazed over with the enamel
colors.
The word “Tzu,” used in ancient documents, came into use during
the Han dynasty (202 B.C. to 220 A.D.), and designates a kind of porce-
lain made from a stone called “Tzu-chi,” which was found in the dis-
trict of Tzii-tcheou (d’Entrecolles). This so-called porcelain has a fair
ring, and doubtless is the product referred to in the annals as “Tzii,”
in contradistinction to the pottery “T’ao.” In this connection it should
be noted that a vitrified stoneware of a grayish color was made in China
long before what may be called true porcelain, and has been even repro-
duced in comparatively late periods. The covering of heavy glazing
makes it difficult to distinguish this stoneware from porcelain unless the
difference be noticeable at the foot.
With the product made under the T’angs (A.D. 618-906) the ini-
tiative and somewhat nebulous era in the history of ceramic art was
brought to a close and doubt ceases ; for Sinologists, in a consensus of
opinion, are content to accept the literary evidence of this dynasty with
regard to the invention of real porcelain. We learn that “vases were
made of a white color, solid and thin, of sonorous sound, and of grace-
ful form” ; that this new product was in great vogue and called “ Yao,”
to distinguish it from the former product “Thao” (or “T’ao”), the
word “Yao” literally signifying an object baked in a kiln, whether
porcelain or pottery.
Before entering upon this interesting dynasty of the T’angs mention
should be made of the rather short Sui dynasty (A.D. 581-617) just
preceding it, as names of places and potters are disclosed in the contem-
porary annals that should not be omitted in any history, however brief.
In this period the Emperor decreed that the inhabitants of Ching-nan-chen,
afterward called Ching-te-chen (King-te-chen), should make vases as a
tribute for Imperial use.
Chinese authors specify a kind of green glazed ware called “Lou-tzii,”
that was made under Ho Chou, or Ho Kuei-lin, President of the Board
Ixii]
HISTORICAL
of Works, as a substitute for glass, the secret of making which (according
to Monkhouse) had been lost. The other product referred to was called
“ T’ao Y u ” (pottery jade), as it resembled a certain kind of jade-stone, semi-
transparent and of vitreous appearance. It may be concluded that both
these wares belong to the celadon variety.
During the first years of the T’ang dynasty (period of Wou-te, 612 ),
native authors likewise state that a potter named Ho Chung-ch’u (Ho
Tchong-thsou) made porcelain with a white body and brilliant as polished
jade, famed as “ Ho-yao,” or porcelain of Ho. It is further recorded that
Ho Chung-ch’u, together with other inhabitants of Hsin P’ing,^ was
ordered to make vases for the palace (Professor Hirth is of the opinion
that this potter made real porcelain).
It is assumed, from the impressions conveyed through the foregoing
particulars, that such productions had intrinsically the same translucent
kaolinic substance, more or less vitrified by complete baking, which, with
the white color, is taken properly to constitute the quality of porcelain.
M. Grandidier also concluded, in his work, that all earlier product referred
to as “Thao” was only a sort of pottery made of earth and stone, enameled
but less thoroughly fired.
It may be interesting to note that during the T’ang dynasty the follow-
ing different descriptions of porcelain (besides the more famous products
already alluded to), named after towns and places where made, are enu-
merated : ue,, “ Hung-chou-yao,” “ Yo-yao,” “ Ting-yao,” “ Shou-yao,”
“ Yueh-yao,” and “ Shu-yao.” It is assumed that some may not have
been porcelain ; but the last-named, which was made at Ta-i, in the
Szechuan province, probably was porcelain, if the description that it
was “ snow-white,” had a “ clear ring,” and was also “ thin and strong,”
is correct.
At the close of this dynasty a noted porcelain was produced under the
direction of the Prince Tsien-lieou ( 907 ), called “ Pi-se-yao,” or “Porce-
^ TTie name Hsin P’ing was changed, before the
end of the T’ang dynasty, to its present name,
Feou-liang. It is the chief source for kaolin and
other materials used in the manufacture of porce-
lain in China.
[ xiii ]
HISTORICAL
lain of the hidden color.” M. Julien described it as blue, although it is
more likely to be the wonderful bluish-green celadon made at Jiichou,
described by other writers as superior to the Imperial “ Kuan-yao ” and
” Ko-yao.” The glaze is described in an old Chinese manuscript of the
sixteenth century, by a native collector, who saw a specimen of this porce-
lain during his life, as of a “ pale-green color, clear and lustrous, like
a precious emerald in tint, the whole surface covered with marks like
those on cracked ice.” From the often defective translations of Chinese
descriptions of porcelains made under this dynasty and the following
short dynasties (from 907 to 953), we can only gather that most of
these objects were modeled after ancient bronze vessels, and are now
doubtless extinct, so that it may be truly said that literary evidence only
of such porcelains exists to-day.
Under the posterior Chou dynasty (A.D. 954-959) the Emperor Shih-
tsung (Ch’ai-tsong) gave his family name to a certain hard-paste porce-
lain made during his reign, which was also termed ‘‘ Ju-yao ” (Imperial
porcelain), and later, under Sungs, was called “Ch’ai-yao.” It was this
sovereign who issued an order, famous in ceramic literature, ‘‘that porce-
lain for the palace should thenceforth be made the color of the sky as
seen between clouds after a rain.” Chinese authors state that this color
was ‘‘ blue as the sky,” ‘‘ brilliant as a mirror,” ‘‘ thin as paper,” and
‘‘resonant as a Khang” (a musical stone of polished jade), and that it
also was ‘‘ distinguished for its fineness and crackle.” It is further
recorded that those objects in porcelain of Ch’ai (‘‘ Ch’ai-yao ”) ^ were
so prized in subsequent years that fragments thereof were set in gold and
worn as personal ornament.
During the long and remarkable dynasty of the Sungs (A.D. 960-1259)
the manufacture of porcelain received considerable attention from the court,
and attained an artistic development that was appreciated only in later
^ The colored glazes referred to in this epoch
and the beginning of the Sung, other than green
or so-called celadons, were purple, black, ivory-
white, and the pale blue called by the Chinese
“ moonlight ” and by the Western collectors
“ clair de lune ” ; and it is assumed that it was
this latter-colored glaze which was then desig-
nated as “ ju ” porcelain, or “ Ch’ai-yao,” after
this Emperor’s fcimily name.
[xiv]
HISTORICAL
years. Imperial factories were established at several places, the most
notable being the foundation, by Imperial decree, of a factory at Chang-
nan-tchin, which under Emperor King-te, or Ching-te (1004-1007), was
changed to King-te-chen, or Ching-te-chen, as it is written in some Eng-
lish works.
This Emperor ordered all the objects made for the palace to be in-
scribed underneath with the four words “ King-te-nien-tchi,” so that we
find here the record of a date-mark on vases for the first time. These
porcelains were at once distinguished for the brightness of the glaze, the
perfection of material, and the beauty of their forms ; and soon thereafter
they were imitated in many places and circulated throughout the empire
as “porcelains of King-te-tchin” (Julien).
Imperial factories were also established beween 1 1 07 and 1117 at
Pien-liang, the present department of K’ai-feng (Honan province), where
they made the so-called vases of the magistrates, termed “ Kuan-yao,” that
were of special quality and became famous in after years as “ Imperial
porcelain.” It is recorded that they were thin and sometimes glazed in a
moonlight color, bluish or dark green, and pale green ; that the upper rim
was brown, and the foot of “iron-red” color. These vases also, it is
said, have been imitated in various places and at later periods ; but such
pieces are described as inferior to the originals.
The products at these different factories, including those of Lung-
ch’iian, appear to have been especially celadon, although moon-white and
bluish or dark green are also mentioned ; M. Julien referred to a “ blue
porcelain,” made at the beginning of this dynasty, although Sinological
erudition has since proved that this porcelain was really not blue, but “pale
green,” or like the “ green of onions.” It is possible to identify the prod-
ucts of Lung-ch’iian, owing to marked peculiarities ; they are especially
characterized by the ferruginous rim at the foot, as alluded to above.
Other celadons of early periods exist, showing the white paste, where
unglazed, to be colored with a rusty-red wash, made in imitation of this
famous product or to simulate the true celadon, called “ Ko-yao,” and
“ Chang-yao,” made by the elder of two brothers, famous potters, named
Ixv]
HISTORICAL
Chang, natives of Ch’uchow, who lived between the eleventh and twelfth
centuries, and produced the same peculiar results with their clay, in the
Lung-ch’uan district, where they worked together.
These brothers were both renowned for their porcelains ; but the elder,
Chang Sheng-i, was considered the more clever. He is said to have used
a brown-colored clay of fine quality and covered it with glaze that was
crackled and had the appearance of “fish roe”; he also produced vases of
the color of rice, and it is stated that his objects had the iron-colored
rim at the opening and at the foot. History records the fact that during
the last years of this d)masty potters tried in vain to imitate his work, and
that the clay they used was poor and the color of the glaze less agreeable.
The “younger brother,” Chang Sh^ng-erh, made pieces of the same
colors without being crackled; the French translations specify among his
products pieces of an olive-green color, and also that others resembled
very ancient forms, probably copied from bronzes of the Han dynasty.
A blue of light color is also referred to as produced by “the younger
brother” ( as he is termed in the Chinese records), that, as described, could
possibly be a sort of “clair-de-lune” glaze (distinguished by a heavy bluish-
turquoise tone, sometimes mottled or marked with a purplish tint) stated
to have had an effect as if covered with dew, but this later characteristic
is also attributable to old celadon, or “Martabani.”
The embellishment of Sung celadons, as well as all the porcelain of this
early period, was confined to engraving and modeling in low relief. Most
of the specimens were crackled, and the different shades of glazes are
described as resembling the colors of pale emeralds, onion-sprouts, greenish
egg-shells, moss or grass green, while a few are designated as bluish-green,
and others as having a gray-toned green (the real celadon color). Next
to these, the “cream” or “buff-colored” glazes were most popular.
Another type of enamel porcelain of this epoch is referred to in litera-
ture, and identified with existing specimens.^ It was known as “Chiin-
yao,” or “Chiin-chou-yao,” the factories being situated at Chiin-chou(in
the district now called Yu-chou), prefecture of K’ai Feng-fu, province of
'According to the able Sinologue, Professor F. Hirth, Ph.D.
[xvi]
HISTORICAL
Honan. A variety of colored glazes was produced at these kilns ; native
documents describe the aubergine purple of manganese, or the violet of the
skin of wild apples (“ Kia-pi-pe ”) ; another shade is likened to the color of
prune-skins (“ Mei-tseu-tsing ”) ; a vermilion-red is also referred to; and
the “moonlight” glaze we know as “clair de lune.” Objects were also
produced showing a variegated glazing, called “ Yao-pien ” by the Chinese,
“ transmutation ” by the English, and “ flambe ” by the French. From this
we may gather that the potters of Chiin have attempted innovations, at
least in colors, if not in forms.
It is also evident that the paste varied much in quality, as a sandy-yellow-
ish paste is referred to in the annals, made at other factories, which could
only have been coarse and inferior to the paste used on the “transmuta-
tion ” and celadon objects at the Chiin kilns.
In the Chinese Chronicle translated by M. Julien it is stated that in the
district of Ki-tcheou (Chi-chow : later called Lou Lin-h’ieng) two clever
artist potters worked together: Chou-ong (“venerable Chou”) produced
many curiosities in porcelain, such as birds and animals ; but the daughter,
Chou-ciao(“belleChou”), surpassed her father in fineness of workmanship
and ornamentation. Their productions, of whatever color, sold for almost
as high as the porcelains of Chang, the elder of the two famed brothers
before referred to. Five kilns in the district are mentioned, and their com-
bined product came to the market at Yong-ho, and was called“Ki-tcheou-
yao”; but the porcelain of the Chou family was most highly esteemed.
When the dynasty of Sung passed southward to Hang-chou (A.D. 1127),
a superintendent or officer named Shao Ch’ing Chang established a small
factory or kiln in the new capital, and made porcelain of a good quality,
called “Nei-yao” (porcelain of the palace), and specially noted for its bril-
liant color and transparent enamel. It was also called “ Kuan-yao ” (porce-
lain of the government), to distinguish it from that made under the Sungs
of the North, or at the eastern capital.
Under the Mongolian dynasty of Yiian (1260-1367), a tax was put
upon all porcelain not made for the palace, for which reason the industry
materially suffered and also retrograded.
[ xvii ]
HISTORICAL
In the fourth volume of (Chinese) “ Porcelains made at King-te-tchin ”
(translated by M. Julien) is mentioned a potter, named P’ong-kiun-pao
(or Peng Chiin-pao), who established himself at Ho-cheou, in the prov-
ince of King-nan-tchin ; among the pieces enumerated as made by him are
white vases called “Che-yao,” which indicates a form with compressed
center, like a beaker. This artist excelled, however, in copying ancient
vases, such as “ Ho-yao ” and “ Ting-chou ” (known as “New Ting-yao”),
and it is recorded that his best copies were difficult to distinguish from
the older products.
The same author also states that a porcelain called “Tch’u-fu-yao” was
made for the Emperor ; and that the material was white and plastic, the
ornamentation-flowers, etc., being modeled in the paste and then enam-
eled.
It is elsewhere recorded that a porcelain called “Shu-fu-yao” was
white and thin, with engraved decoration, said to have been copied from
the white “Ting-chou ” examples of the northern Sung dynasty.^ Nearly
all these objects in porcelain were made after ancient models of the Han
dynasty; a large number were sacrificial vessels, incense-burners, copied
from objects made in the remote bronze era.
Large vases and bowls were also made in brilliant monochrome glazes.
A reference is made to the talent of decoration which developed in his
period, but which appears to have been confined to coarsely painted
flowers or filling out engraved lines with colored enamels for the empha-
sizing of certain details.
Other vases, it is stated by native authors, were made in the countries
east and west of Che-king, or Chien-chang, that had grace and elegance
like those of ancient make ; but the kilns fell into disuse, and not a ves-
tige remains of the factories. It is presumed that the porcelain coming
from some of these provinces was gritty, and therefore counted as unfit
^ Hsiang Tzii-ching, after describing a speci- (the Ming), of the reign of Yung-lo and Hsiian-te,
men of Shu-fu porcelain decorated with dragons decorated with patterns engraved under a white
in the midst of clouds, and with lion’s-head handles, glaze, was made after this Shu-fu porcelain, which
all faintly engraved in the paste under a white was itself copied from the Ting-chou porcelain of
glaze, states that “ the porcelain of his own dynasty the northern Sung dynasty.”
[ xviii ]
HISTORICAL
for the palace. The fact is, that while nearly all details on porcelain
given by native authors are more or less faulty in description, or scanty in
the extreme, it is especially so with the products made outside of Impe-
rial factories ; they are particularly wrapped in mystery, and will doubt-
less remain so.
The foregoing outlines concerning the early history of ceramics are de-
rived from tmstworthy translations of Chinese literature, and may be suf-
ficient here to follow the progress of this art from the remote periods of
which we have native testimony to this, the present dynasty. The Chinese
are conceded to have been the first to make porcelain, but their claims to
its greater antiquity have been refuted by Western Sinologues. The real
advent of porcelain, according to the views of these authorities, dates from
between the seventh and ninth centuries, the exact period, as it may ap-
pear, being in dispute.
The descriptions of the varieties of porcelain hitherto enumerated pos-
sess, besides their historical interest, some value in that we may trace back
certain well-defined types and colors.
Very few specimens manufactured prior to the advent of the Sung dy-
nasty have survived to the present day ; and even of the Sung and Yiian
productions the originals and finer kinds have almost entirely disappeared.
Such specimens as have withstood the many dangers of the subsequent
eight centuries are chiefly celadons of considerable solidity (Lung-ch’iian or
Chiin-chou porcelain), small pieces of crackle ware, and probably a few
porcelains of Ting or Ting-chou. As far back as three centuries, even
the best varieties of older products were already scarce, and this is made
evident from the literature of that period, notably from the catalogue and
descriptions preserved by Hsiang Tsii-ching, who then stated that certain
examples seen by him were almost unique. Therefore it is assumed that
many pieces, presumably early Sung, Tang, or Sui, Chin, Wei, and Han,
are only reproductions made by clever copyists of the later Sungs, or under
the Yiian and Ming dynasties, if not of even later periods.
Under the Ming dynasty (l 368 - 1643 ), owing to its length and the
peaceful conditions of the country, the manufacture of porcelain received
[xix]
HISTORICAL
the greatest development ; kilns v^^ere increased, a number of artists and
clever workmen were named for personal achievements in their art, and quan-
tities of fine specimens in polychrome colors were produced. The advent
of “blue and white ’’porcelain may be particularly attributed to this dy-
nasty, as its manufacture predominated among the products of at least three
noted periods, the examples being so remarkable that antiquarians of
China, as well as Western virtuosi or collectors, keep up a continuous
search for them.
It may be stated that “ blue and white ” porcelain started with the first
period of the Ming dynasty, if not at the close of the former dynasty of
Mongols, as a reference is made by Chinese writers to a porcelain deco-
rated in blue, said to have been produced at Lin-ch’uan in the department
of Fu-chou, and at Nan-feng in the department of Chien-chang, both in
province of Kiangsi, at the end of the Yiian dynasty.
These two products appear to have been much preferred to the kind
made at the Imperial factories (King-te-chen), and soon became famous.
During the reign of Hung-wu ( 1368 - 1398 ), the first Ming emperor, a
special factory was established at the foot of Mount Tch’ou-chan in King-
te-chen (Ching-t6-chen), where the products intended for the palace were
specially made, and where a fine quality of porcelain was also produced
for the magistrates. The Emperor ordered all vases to be inscribed with
the date-mark of four or six characters, the former giving the “Nien-hao”
(Imperial name), and the latter including the name of his dynasty. In
this period several colors were in vogue — blue, black, and a pure white,
this last being most esteemed.
The period of Yung-lo ( 1403 - 1426 ), of the Ming dynasty, is among the
most noted. Objects were produced, as in other periods, of varying
quality, but the finest porcelains are of special interest and value. The
“blue and white” porcelain of this era, ranking very high, is perhaps ex-
celled only by those fine soft-paste objects produced under Hsiian-te, the
succeeding period, and that of Ch’eng-hua, a later but most flourishing era.
It is stated in the annals of Feou-liang that the blue employed was
brought from some Mohammedan country (Persia or Arabia) as a tribute,
[xx]
HISTORICAL
and famed as “Mohammedan blue,” or “Su-ma-ni,” to distinguish it from
the native blue, found to be very much inferior.
This epoch was also noted for a brilliant-red decoration, employed on
vases and sometimes on the exterior of bowls or cups having a blue and
white interior design.
Mention is made by native and other authors of fine egg-shell porcelain
produced during this period, called “T’ho-tai” or “T’o-tai, “bodiless, ^
and being “as thin as paper.” A series of fine cups and bowls are de-
scribed, as used either for wine or tea, with dragons and phoenixes among
clouds, and other delicate ornamentation of flowers, faintly engraved and
glazed in white enamel, this decoration appearing only when held to the
light, or showing more plainly when filled with liquid.
The period of Hsuan-te (1426-1435) is most highly praised by the na-
tive authors, sharing with the former era of this dynasty considerable dis-
tinction, on account of the fine “Mohammedan blue” used for decora-
tion. Some authorities state that this beautiful dark-blue (“Su-ma-ni”)
material (for embellishing porcelain) was first used under this Emperor,
although the annals of the Imperial factories refer to this blue under Yung-
lo, as above shown. A brilliant red like fresh blood, also valued, was said
to have been obtained by crushing a precious red-colored stone brought
from the West (Julien). An author styled Hsiang Tzu-ching, a native of
Chia-ho, writing on porcelains of his dynasty, the Mings (near the close
of the sixteenth century), stated that this highly prized red glaze was
derived from powdered rubies, so that after baking in the kiln this bril-
liant coloring shone through the red glaze.^ It was known as “ Pao-shi-
hung,” or “precious-stone red.”^
One of the descriptions left by this author (Tzii-ching) reads:
A wine-pot 6.50 inches high, copied from a similar vessel of carved jade used by the
Emperor. “ The body, slender below, swelling toward the top, is decorated with en-
Bodiless” may also indicate objects made
throughout of pure porcelain instead of (as in the
case of some productions of this period) showing
a combination of coarser materials only coated
with porcelain.
^Dr. Bushell believes that this red was from
copper silicate, and not from powdered rubies.
® Analyzed by M.Salvetat at Sevres, and proved
merely to be “oxyde de fer avec du fondant.”
[xxi]
HISTORICAL
graved cloud scrolls, and bands of geometrical and spiral pattern, with conical cover,
spirally curved handle, and spout molded and engraved in the form of a phoenix head,
all covered with deep red {chi-hung) glaze.”
It is said to have cost the owner two hundred ingots of silver in paper
notes/
Fish-vessels, or jars decorated with three red fish on a pure “snow-
white” ground, were much esteemed, the fish being boldly outlined and
red as “fresh blood.” Occasionally these fish would be represented swim-
ming on the waves engraved in the paste, both on the inside and outside.
A still rarer decoration, found on a wine-cup, is described as
“The white ground decorated inside and outside with cloud scrolls engraved in the
paste, a scroll border above colored crimson; the handle, a dragon of bold design,
molded in high relief, coiled round the top,^ with teeth and four claws fixed in the
rim, enameled vermilion-red.”
Among the ceramists recorded, mention is made of two sisters named
T’a-sieou, who produced delicate cups and other objects with the designs
engraved in the paste. “White vases with blue decoration” were also
much esteemed, especially if the blue was pale, and where the ground
resembled an orange-peel surface, or a faint millet-like elevation. Poly-
chrome decoration, which included the fine red and blue (usually under
the glaze), was also successfully practised and esteemed as something new.
Among objects enumerated by the native author may be noted minia-
ture vases, called “P’ing”; tea-cups, “Ch’a Pei”; conical wine-cups,
“Tou-li Pei”; wine-pots, “Hu”; rouge-box, “Lu Hu”; tazza-shaped
cups, “Pa Pei”; sacrificial vessels, “Yi”; water-dropper, “Shui-chu.”
This period is specially credited with the introduction of the then new
method of perforated decoration; a pattern being cut through the paste
and dipped into glaze, which, when baked, shows the pierced work filled
up with a thin film of glaze, giving a delicate transparency to the design
^ A sum estimated to be equivalent to about
three thousand dollars (Bushell).
^Vessels with a dragon molded in relief upon
the rim are, it may be added, highly esteemed by
the Chinese when intact, partly because of the
artistic ability required successfully to execute the
design, and partly because old specimens are sel-
dom met with undamaged.
[ xxii ]
HISTORICAL
when held to the light. This process has been imitated in Persia as well
as in Europe.
The Ch’eng-hua period (1465-1487) of the Mings, one of the most
important in ceramic annals, was noted for its blue as well as other deco-
ration, although it is stated that the supply of fine blue, previously used,
became exhausted, and that this color on porcelain became inferior in
quality; while the polychrome painting was brought to a high degree of
excellence. An account of the so-called five-color decoration, as we
know it to-day, is also given; the colors referred to, other than blue, are
green, yellow, red, and the manganese, applied on the glazed body, with
the blue always under the glaze.
During the reign of this Emperor all porcelain painted in these colors
was most highly valued; the designs for its decoration were drawn by cele-
brated artists, and some are said even to have been drawn in the palace.
The forms were elegant and original, and the different colors carefully ap-
plied; from the specimens, as we see them now, we may gather that great
progress was made in designs from nature; that flowers and plants were
the objects of special studies, and that motives were supplied by the best
painters, if they did not paint upon the porcelain itself.
In this period is mentioned a distinguished artist named Kao-than-jin,
who made jars decorated with “peonies” and “chickens.” Another
potter, named Ko-tchou, is famed for his wine-cups.^ It is said that their
numerous products served as models for future periods.
During the reign of Hun-chih (1488-1505) a native named Hsiang
Yuan-pien (called also Hsiang Tzii-ching) stated in his notes, written in
the sixteenth century, that a light yellow was most highly valued, but
glazing or enameling in other colors was also practised. The shades of
yellow varied from light to a brown as on a boiled or newly husked
chestnut. An orange shade, and the color of a hibiscus flower, are also
mentioned in the same chronicles.
^ Hsiang Tzii-ching thus describes a pair of cockscombs, narcissus, and other flowers, the fly-
these cups : “ They are of rounded form, swelling ing dragon-fly and crawling mantis, painted after
below, so thin and delicate that one weighs less life, in green, yellow, and crimson enamel.”
than a third of an ounce, and decorated with the
[ xxiii ]
HISTORICAL
In the period of Cheng-te ( 1506 - 1521 ) we find “ Mohammedan blue ”
again referred to, and that the Governor of Yunnan succeeded in obtain-
ing it. Some writers give this particular epoch the credit for its discovery.
This famous “ Hoe’i-tsing,” or cobalt, was by the Emperor’s command
used to decorate Imperial porcelain, and during this period was called “ great
blue ” and also “blue of the head of Buddha.” This beautiful color, of
such superior quality that it cost more than twice its weight in gold, is again
referred to in annals as coming from the West and through Arabia (prob-
ably from Persia).
With this material ceramists were again able to produce a blue similar
to that on the pieces produced under the Emperor Hsuan-te, so that “blue
and white ” came into fashion once more. Genuine examples are to-day
very rare, and marks of these periods cannot be relied upon, as attempts
have been made in all succeeding eras to reproduce such objects. Two
brilliant kinds of red-glazed porcelain were also prized, and over-glaze
decoration is also referred to in this era.
In the reign of Chia-ching, or Kia-tsing ( 1522 - 1566 ), it is stated that a
great deal of “blue and white” was made. The blue was preferred if
darker in color, differing from the pale blue of the former period ; and the
authors say that the best was a mixture of the foreign and native cobalt,
as the former was apt to “run ” when in the kiln.
The foreign blue, however, failed again in later years of this reign ; and,
finally, is no longer mentioned in Chinese ceramic annals.
Decorated porcelain was characterized by the fine, deep colors employed,
and cobalt-blue (under the glaze) was often used in connection with a bril-
liant red, yellow, violet, and bluish-green (over the glaze) on a white ground
and at the present time designated as “five-color” pieces.
Records of this period enumerate especially sacrificial cups (“Tan-sien”)
that imitated white jade and were intended for the palace altars; small
“rouge-boxes” and other cups are also named, and it is stated that single-
color glazes were used, but that one of the supplies (red of copper) failed.
It is also recorded, as in the former epoch, that the Emperor ordered the
decoration of Imperial porcelain to be blue.
[ xxiv ]
HISTORICAL
During this and the succeeding period, Lung-ch’ien (l 567 - 1572 ), lived a
clever potter named Ts’iii-kong (venerable Ts’iii), who was celebrated for
his copies of objects made in earlier periods; his porcelains were con-
sidered the finest of his time. A manufactory of porcelain was also estab-
lished in the province of Tche-kiang (Julien) ; the product, however, was
considered inferior to that made at King-te-chen.
This later reign is particularly noted for certain porcelains that were in-
spired by much older specimens, and especially for decoration by colored
glazes on “biscuit” paste. These specimens were thinly glazed in rich
tones: manganese-purple, yellow, turquoise, and red. When the or-
namentation was in relief, or engraved, differences of outline and surface
would keep the different-colored glazes distinct.
The Lung-ch’ien period ( 1567 - 1572 ) is especially noted through
the existence at that time of a potter who settled at King-te-chen and
produced a great variety of objects, some of which excelled in the
imitation of antiques, — “ amateurs disputing for its possession as soon
as it left his hands.” It is also mentioned “ that they did not mind
paying enormous prices for small pieces.” This statement is interesting
as showing that the really fine pieces were not always intended for the
palace.
With the exception of the so-called “Mohammedan blue,” there is no
tint of cobalt which cannot be found in this latter porcelain. During this
reign, and especially that of Wan-li, which followed, the government was
harassed by the Manchu Tartars, who eventually established the (present)
Ch’ing dynasty. The porcelains produced during these periods are very
much alike. While the product was enormous and large orders came
for the use of the palace, the deterioration of the porcelain, especially
of the wares made at the Imperial factories, became marked, largely owing
to the disorder of the empire and to the failure in the supply of good
materials.
In the period of Wan-li (l 573 - 1619 ), many distinguished ceramists are
mentioned in the Chinese chronicles, on account of their skill in making
reproductions of older porcelains, especially the famous “ Chiin-yao ” porce-
[ XXV ]
HISTORICAL
lain, of the Sung dynasty, and the so-called porcelains of the magistrates,
termed “ Kuan-yao,” which were noted in the twelfth century. At Feou-
liang lived the most famous of these Wan-Ii potters, who retired secretly
to a porcelain-factory, where he was able to make vases of charming ele-
gance. He took the name of Ouin-tao-jin (or Hu-yin-tao-jen), “the old
man who lives in retreat.” Among his other products mentioned in detail
are vases of a purple color, in imitation of antique porcelain. It may be
interesting to note this later color, as it is possible that the bluish tone of
the prune-skin (manganese) is referred to under the Sungs, instead of a
kind of celadon.
Much painting was done over the glaze, and the pieces so decorated
are the “ three-color ” and “ five-color ” pieces which have in late years
especially reached the Western world.
The so-called three-color pieces of this dynasty show a glazing in yel-
low, purple, and green. The yellow is usually of a buff shade, and some-
times dull ; the purple varies from a brownish mouse- to prune-color ; and
the green also varies from a yellowish-green to a strong emerald-color.
The “five-color” specimens are, in fact, blue and white pieces with
yellow-green, purple, and red painting over the glaze. The red color is
usually opaque and varies in brilliancy from a coral-color to a dull, uneven
sienna-red, the other glazes being more or less clear and transparent, with
the exception, perhaps, of the brown-toned (manganese) purple, although
in fine pieces this color is light and shades into a violet of clear transpar-
ency.
In these “five-color” decorations, the portions of the design meant to
remain blue were first painted, and the pieces glazed and baked; then the
rest of the painting (in the other colors) was added over the glaze, and
the object baked again, at a lower temperature. The essential differ-
ence is, that the blue is always under and not over the glaze, whether
in the Wan-li or other Ming periods; while later, under Kang-hsi, for
example, a vitreous blue enamel is generally used over the glaze, although
in rare pieces a blue margin-line under the glaze may be noted, especially
on the “ seven-color ” specimens.
[ xxvi ]
HISTORICAL
It is clearly evident that some potters have practised their art quite
independently, or have established kilns that disappeared with them, and
of these we have no records whatever. This fact may in some measure
account for the many specimens now remaining unidentified.
Very little is chronicled or known about the ceramics produced under
Shun-che, the first Emperor of this Manchu Tartar dynasty, who ascended
the throne in 1 644 and died in 1661.
The country remained in a rather disturbed state during his reign, and
it is therefore doubtful if porcelain was manufactured in any quantity, as
pieces so marked are exceedingly scarce. It is also probable that most of
the products bear Ming marks, and when without marks are possibly
classed under the former dynasty.
The Imperial factories at King-te-chen, which remained closed during
the last years of the Ming dynasty, were not reopened until the Manchu
sovereign had firmly seated himself upon the throne.
The Emperor K’ang-hsi, who reigned from 1662 to 1722, was perhaps
the most able ruler China ever possessed, succeeding to the throne of his
father when but eight years old. Within six years, when at the age of
fourteen, realizing that the regents did not understand the science of gov-
erning, he took the reins in his own hands, ruling with consummate skill
until his death in December, 1722. This Emperor was endowed with
natural ability, activity of mind and body, and interested himself in every
department. A keen sportsman and a great general, he was at the same
time given to learning, and fostered the arts, availing himself also in his
studies of the assistance of French Jesuit missionaries in astronomy, mathe-
matics, and geometry, and on this account aided them often in their diffi-
culties with the Chinese literary classes.
The potteries in the town of King-te-chen (Ching-te-chen) prospered
greatly during his reign, marked strides were made in the manufacture and
decoration of porcelain, and some of the finest examples extant to-day,
here under our eyes, were produced toward the middle of his reign.
This Emperor selected the most suitable men not only for the various
government offices to diffuse education and to encourage art, but great
[ xxvii ]
HISTORICAL
potters to take charge of the Imperial porcelain works in the prefec-
ture of King-te-chen (Ching-te-chen). The factories were not slow to
show the effect of these changes and the kilns also soon increased in
number.
The Imperial factory was burned in 1675, during the rebellion of
Wu San-kuei, but was soon rebuilt, and in 1680 a large order was given
from the palace. The factories at this time were under the supervision
of Lang-ting-so, a name that is great in ceramic history, who retained his
office until 1688; and his product, known as Lang porcelain (called by
the Chinese, after the inventor, “Lang-yao”) is held in the highest esteem
by collectors and connoisseurs.
Another superintendent, Ts’ing-ying-hsuan, was appointed in 1683 for
the Imperial factory, and “Ts’ing-yao” is the porcelain attributed to his
invention or period of superintendence.
To these men is due the credit for the renaissance of ceramic art in the
reign of the Emperor K’ang-hsi.
We have the first descriptions, during the reign of K’ang-hsi, of the
factories of King-te-chen, written by Pere d’Entrecolles, a missionary of the
Society of Jesus, who arrived in China during the year 1 700, and while
there wrote three reports, dated Jao-tcheou, in the province of Feou-liang,
giving an account of the town where the Imperial factory of porcelain was
situated. In a letter dated September 1 , 1 7 1 2, he stated that while his curi-
osity would not have led him to study the subject of the production of
porcelain, he felt that it might be of service to his country and to Europe,
and therefore availed himself of his opportunities. “The town of King-te-
tchin,” he writes, “is only three miles distant from, and a dependency of,
Feou-liang, situated in a plain, and is surrounded by high mountains; the
one to the east, against which the town is built, is outwardly in form of a
semicircle, and from the two adjacent mountains issue two rivers which
unite: one is small, the other very large, and their confluence forms a mag-
nificent port over three miles in length, and a vast basin wherein the river
loses much of its velocity. Frequently in this large harbor are moored two
or three rows of junks. Entering the port, the sight is greeted by immense
[ xxviii ]
HISTORICAL
volumes of smoke and flames/ which mark the outlines of the town against
the crescent of mountains in the background, whose relative position may
perhaps be the reason that King-te-tchin has surpassed all other localities
in the production of porcelain.”
The short reign of the Emperor Yung-cheng (1723-1735), following
that of his father, K’ang-hsi, was nevertheless a most interesting period
in Chinese ceramic art. Yung-cheng, like his father before him, appears
to have taken great interest in all that transpired at the Imperial factories,
situated in the town of King-te-chen (Ching-te-chen), and did not fail
in expressing his gratification at every new discovery, bestowing praise
and admiration upon all such products as they arrived at the Peking
Palace.
As the rose-carmine color, derived from chloride of gold, was discov-
ered during that period, decorators were naturally attracted by its mag-
nificence, and it at once dominated their work. This important innovation
also introduced many new varieties in half-tones with felicitous effects, but
the true explanation may doubtless be found in the superior skill and energy
displayed by the superintendent, Nien-hsi-yao,^ who in 1727 was intrusted
with the management of the Imperial factory, and he personally super-
intended the execution of the Emperor’s orders, and was soon there-
after joined by T’ang-ying, a brilliant decorator (who succeeded to the
directorship later, under Ch’ien-lung). They jointly acquired great repu-
tation, Chinese writers giving both officials credit for special practical
knowledge; they, however, also enlisted the services of the most able
decorators and potters, and were thus able to create objects that were
new or free from archaic imitations, and so this era became transitional as
well as interesting.
^ And bird-like poise on balanced wing
Above the town of King-te-tchin, —
A burning town or seeming so, —
Three thousand furnaces that glow
“All the articles made by Nien-hsi-yao — which
are known as “Nien-yao,” or Nien porcelain —
were graceful in form and of fine workmanship.
Incessantly, and fill the air
With smoke uprising, gyre on gyre,
And painted by the lurid glare
Of jets and flashes of red fire.
Longfellow, " Keramos.”
They were chiefly monochrome in color, but
some were ornamented with painted flowers,
either incised or rendered flat.
[ xxix ]
HISTORICAL
The products of this epoch show a gradual reduction into toned enam-
els from the transparent and clear-colored glazes employed during the
K’ang-hsi regime.
The strong and vigorous rendering which marks specimens of the seven-
teenth century merged into half-tones and more careful finish, but it also
became more hard and stencil-like in exactness.
Superabundant detail in accessories marks many objects of the eigh-
teenth century originated under Yung-cheng. The great master-painting
and -drawing of the Sung and Yiian dynasties were copied, but the decora-
tive force was weakened by added detail or by scrupulous care in finish,
largely the fault of European demands and doubtless extra cost. On the
other hand there exist specimens, which belong also to this period, that
are of great perfection both in technique and purity of paste, where decora-
tion subordinates itself with tact and is arranged so that the pellucid
quality of the porcelain is seen to advantage. Especially is this so in
smaller pieces, where the skill of workmanship is most remarkable.
Naturalistic floral decoration was certainly carried to a perfection un-
known before ; also, much refinement in shape as well as decoration is to
be found on the tmly great pieces (palace objects), which were until very
recent years unrevealed to the Western world.
The dominant rose-color superseded the green of the preceding peri-
ods. The successive predominance of these colors induced Jacquemart
to group them in two classes, — i.e.^ “ famille verte ” and “famille ’’rose,
— which designations may not be very technical, but satisfactorily express
the characteristics of each type, and are now accepted generally, after
some attempts to change them.
The blue and white porcelain of this era is inferior to that of former
epochs, especially owing to the uniform hardness and regularity in design ;
but the fineness and perfect quality of the material give some distinction
and beauty to such pieces.
Porcelain was not looked upon in this period merely as a vehicle for
decoration, but a thing to be admired in itself, hence some wonderful white
specimens exist that are marvels in technique and finish.
[ XXX ]
HISTORICAL
This period was marked also by the production of certain t)^es and
objects which are masterpieces of the Chinese ceramists’ ingenuity and
skilful workmanship. Aside from the delicate egg-shell plates with the
rose backs and wonderful painting, may be mentioned the vases having
the body formed of double shells with varying modes of openwork and
painted decorations in both, and the beautiful hexagonal and octagonal lan-
terns of delicate egg-shell porcelain, reticulated and ornamented with
paintings at once both rare and esteemed for their rich quality.
The fourth Emperor of the present dynasty was Ch’ien- lung ( 1736 -
1795 ) the son and successor of Yung-cheng; and he also protected the
ceramic industry with royal munificence during the sixty years of his reign.
In this period great quantities of fine porcelain were made, and it was
during this reign that European influence began to affect the decoration
and the shapes of Chinese porcelain, due especially to the trade with Hol-
land and the Jesuit missionaries of France, which, started during the short
term of Yung-ch6ng, spread very rapidly.
Imitation of old wares was practised, but rather for native collectors.
Some writers state that a great number of genuine pieces of the Sung
and Ming dynasties were sent from the palace to King-te-chen (Ching-
te-chen) as models for this purpose, although imitation of ancient objects
always existed, as shown by native records, and also by the Jesuit fathers
at the close of the seventeenth century.
The director T’ang-ying, mentioned in the reign of Yung-cheng, con-
tinued his work and produced objects that surpassed all others. He suc-
ceeded in reproducing the effect in porcelain of precious carved enamels,
and that of cloisonne. The desire to imitate other substances, which had
from the first animated the ceramic artists of China, culminated in this
reign with their mastery over colors and combinations.
They copied with wonderful closeness objects in gold, silver, bronze,
jade, lacquer, mother-of-pearl, shells, rhinoceros horn, bamboo, wood,
gourd-skin, marble, carnelian, agate, and archaic or msted iron. They imi-
tated also, at least in pattern and color, bottles of Venetian glass and
Limoges enamels.
[ xxxi ]
HISTORICAL
Special attention was paid at this time (Yung-cheng and Ch’ien-lung)
to the production of “ Yao-pien,”^ flambd, of which Chinese writers dis-
tinguish three kinds, ue,^ two supposed to be due to celestial agency,
and the third to human ingenuity.
Oxidulated copper furnishes vitrifiable painting with a fine red. This,
thrown in a body on a vase, forms the tint called “haricot,” a kind of
fawn-color. With a further quantity of oxygen of equal amount a pro-
toxide is formed, producing a beautiful green that may be changed into
sky-blue by increasing the oxygenation. The tints upon a vase may be
modified indefinitely by a due regulation, at different periods during the
process of baking, of the currents of air admitted ; or.
When a clear fire placed in a strong current draws a considerable column of air, all
the oxygen is not consumed, and part of it combines with the metal ; if, on the other
hand, thick smoke is introduced into the furnace, of which the carbonaceous mass,
greedy of oxygen, absorbs everywhere this gas, necessary for its combustion, the oxides
will be destroyed and the metal completely restored. Placed at a given moment in these
given conditions, by the rapid and simultaneous introduction of currents of mr and of
sooty vapors the “ haricot ” glaze assumes a most picturesque appearance ; the whole
surface of the piece becomes diapered with veins and streaked colorations, changing and
capricious as the flame of spirits ; the red oxidulate, passing by violet into pale blue and
to the green protoxide, evaporates itself even completely upon certain projections which
become white, and thus furnishes happy accidental combinations. (Jacquemart.)
On the whole, the Ch’ien-lung period was distinguished by mastery of
materials, from the plain “self-glazed” piece to the richest landscape,
figure, and flower enamelings, and from the plain surface to the most elabo-
rate modeling and perforations.
^ In the Buddhist temple Pao-kuo-ssu, in Pe-
king, is a famous “ Yao-pien” image of Yuanyin,
a finely designed figure enameled in colors ^ — light
blue, crimson, yellow, and two shades of brown ;
of which, in an ode from his pen engraved on the
shrine, the Emperor Ch’ien-lung says the goddess
descended into the kiln to fashion em exact like-
ness of herself.
[ xxxii ]
BLUE AND WHITE
Although no mention is made of painting or decoration in blue before
the Yiian dynasty (notable for “ Lin-ch’uan-yao ” and “ Nan-teng-yao ”),
yet blue was from the earliest times one of the most favored colors. We
may note that in the Chin dynasty ( 266 - 419 ) blue porcelain (or pottery)
was called “ P’iao-tz’u,” said by Dr. Bushell to resemble a certain pale-
blue shade of silk.
In the T’ang dynasty this blue was called the “color of the distant
hills” in the posterior Chou dynasty ( 954 - 959 ), the “blue of the sky after
rain.” In another period it was called the “ prohibited color,” because it
was reserved for the Emperor or the palace, and not to be seen by the
common people. Under the Sung dynasty ( 960 - 1279 ), although other
colors were also used, the famous porcelain of Jii-chou was of a pale-blue
glaze. The finest Imperial porcelain of this epoch was a sort of peacock-
blue, and the crackled “ Ko-yao,” although mostly celadon, contained
some specimens of a bluish tinge like the celebrated monochrome porce-
lains of Lung-ch’iian.
As no reference is made in early Chinese literature to blue decoration,
Mr. Monkhouse aptly concluded, in his critical notes, that “blue and
white, for practical purposes (that is, for a collector), commenced with
the Ming dynasty ” ; and this refers especially to Wan-li, Hsuan-te,
Cheng-te, and Chia-ching, although later, in the Ch’eng-hua period, the
foreign blue failing, the Chinese used their native blue, prepared from
cobaltiferous ore of manganese. However, during the K’ang-hsi period
it may be said that, with the exception of the fine “ Mohammedan blue ”
(“Su-ma-ni” or “Su-ni-po”), there is no tint of cobalt which cannot
be found. While the Ming blue is boldly painted and dark, and also
distinguishable by more massive forms, the later blue and white porcelain
m
A CATALOGUE OF
is finer in paste and technical perfection, and possesses a gradation and
palpitating quality of color which particularly gives it a charm that one
may miss in older types.
The blue of cobalt differed in its shades at different periods in China,
as appears by statistics; and it requires an acute color sense to define the
niceties and distinctions of one kind from another, without taking into
account the different pastes or glazing as well as forms. Each period
has varied certain shapes, and this variation, however slight, is sufficient for
the Western connoisseur to place the provenance of an object in
accordance.
[ 2 ]
CO
s:
o
X
la
I
c
u)
C
PC
»=■ .$
Cu
3
OQ
CD
o
oT
z
p
tx)
3
OQ
I
^ ^
z
o
CD
3
OQ
I
O
P
tNj
CHINESE PORCELAINS
No. I
Blue Hawthorn Beaker, cabinet size, with wide, flaring neck ; fine white
hard-textured porcelain, perfectly glazed over the blue painting, which
sustains its transparent quality uniformly and agreeably.
The prunus-tree motive starting from the base covers the entire body by its branch-
ing stems, bearing large blossoms and buds, which are carefully held in white reserve
from the relucent blue ground, that is penciled over with darker crossings and reticula-
tions to represent cracking ice, similar in design and coloring to the rare ginger-jars of
this class.
The details of this design are rendered with freedom by a master hand, on a paste
of faultless quality that with its glaze is exceedingly soft to the touch and of rather
oily texture.
The base shows a broad white margin and a clean-cut foot, which underneath bears
a double blue ring-mark, under glaze, and typical of its ascribed period, K’ang-hsi
( 1662 - 1722 ).
Height, 9^/4 inches.
Diameter, 5^/4 inches at rim.
[ 3 ]
A CATALOGUE OF
No. 2
Pair of Jars, blue hawthorn pattern, cylindrical form, with low bell-
shaped covers, fine hard-paste porcelain, invested with a brilliant-blue
painting under a faultless glazing.
The decoration presents a modulated and translucent blue ground, with network
and crossings in a darker shade to resemble the fissures in breaking ice, interrupted by
foliated and fan-shaped medallions, and clusters of prunus or peach blossoms, in white
reserve, distributed here and there over the blue field.
The several panels sustain flowers and herbage growing amid or near large silicic
pointed rocks, all carefully rendered in relucent blue of varying shades.
The covers, v^th knobs, are similarly decorated, and also include fan and leaf me-
dallions with flowers.
A white margin is shown at rim and base.
The underneath foot bears a double blue ring-mark under the glaze.
Period of K’ang-hsi (1662—1722).
Height, 7 V 2 inches.
Diameter, 5 V 2 inches.
[ 4 ]
CHINESE PORCELAINS
No. 3
Pair of Blue and White Bottles, pear shaped, with slender necks, the fine
white-textured porcelain sustaining a landscape decoration painted in
brilliant shades of cobalt-blue under faultless glazing.
Picturesque rocks, trees, shrubs, and water scene showing boatmen, with distant
views of houses, complete a composition suggesting the work of old masters of the Ming
or Sung period, that doubtless inspired the decorator of these objects during the period
of their provenance.
The neck, which is in white, is encircled at the top by several rings, including a
fretted band.
Era of K’ang-hsi (1662-1722).
Height, 7 V 2 inches.
Diameter, 4 inches.
[ 5 ]
A CATALOGUE OF
No. 4
Blue and White Bottle, cabinet size, pear shape, with long neck, of fine
hard-paste porcelain with pellucid texture.
The decoration, painted under a perfect glaze, in brilliant cobalt-blue, consists in the
so-called “ fan pattern ” together with other panels showing symbolic and gift objects ;
these are arranged in six separate vertically formed panels, the fan-shaped medallions
displaying varying subjects carefully rendered, including figures with interior or landscape
accessories.
The neck is encircled at shoulder, center, and rim by a small “ herring-bone ’’-fret
border, from which spring foliated details in arabesque form and conventional lotus
leaves in blue with white stems and outlines.
Underneath foot is white, without mark.
Era of K’ang-hsi (1662-1722).
Height, 10 inches.
Diameter, 4 V 2 inches.
[ 6 ]
s
o
tr
o
(n
q
c\;
S
z
p
ho
7^
3
CW
i“
C/i
in
3
7 n in
cu* 3
»>
3
CTO
zr
c/)
n
o
3
cr
o
Z
p
CHINESE PORCELAINS
No. 5
Covered Confection Bowl, blue and white, of globular shape and fine
hard-paste porcelain, decorated in arabesque design involving four large
lotus flowers, between scrolled stems, painted in dark blue under a
translucent glaze.
The shoulder is encircled by a small chevron fret band of a slightly lighter shade.
The cover sustains a design similar to that of the bowl, and is tipped with a small
grotesque “ dog Fo.”
The underneath foot bears a leaf-mark.
Era of K’ang-hsi (1662-1722).
Height, 5 inches.
Diameter, 3 7e inches.
m
A CATALOGUE OF
No. 6
Small Jar, blue and white, slender ovoid form, fine hard-textured porcelain,
with low flat cover.
The motive of the decoration, which is in brilliant blue under a perfect glaze, consists
in conventionalized “ feather ” or fern scrolls, involving small floral buds with a double
lancet-shape interior : a symbolic design of ancient form found only on small objects of
good quality.
The small cover sustains a similar design.
The foot bears a leaf-mark.
Era of K’ang-hsi (1662— 1 722). i
Height, 6Ve inches.
Diameter, 3 V4 inches.
CHINESE PORCELAINS
No. 7
Small Jar, blue and white, slender ovoid form, fine hard-textured porce-
lain, with low flat cover.
The motive of the decoration, which is in brilliant blue under a perfect glaze, consists
in conventionalized “ feather ” or fern scrolls, involving small floral buds with a double
lancet-shape interior : a symbolic design of ancient form found only on small objects of
good quality.
The small cover sustains a similar design.
The foot bears a leaf-mark.
Era of K’ang-hsi (1662-1722).
Height, 6 inches.
Diameter, 3 inches.
[ 9 ]
A CATALOGUE OF
No. 8
Small Jar, blue and white, slender ovoid form, fine hard-textured porce-
lain, without cover.
The motive of the decoration, which is in brilliant blue under a perfect glaze, consists
in conventionalized “ feather ” or fern scrolls, involving small floral buds with a double
lancet-shape interior : a symbolic design of ancient form found only on small objects of
good quality.
The foot bears a leaf-mark.
Era of K’ang-hsi (1662—1722).
Height, 57s inches.
Diameter, 3 inches.
[101
^ ••
7n
P
3
OQ
ir
c/5
CO
o
z
p
K)
H
D
=r o
Z
o
s
c
0>
cu
D
5
a>
T3
o
CO
&3
D
aQ
3
D-
3“
rD*
H
o
Z
p
75
Cu
3
CJQ
CO
o
O)
z
p
■J.
CHINESE PORCELAINS
No. 9
Blue and White Tea-pot, globular form, with small handle and spout :
fine-textured hard-paste porcelain.
The surface is uniformly covered with a brilliant blue ground, and shows a lotus
arabesque design, in white reserve, involving a naked boy on each side, among the
scrolled sterns.^
A chevron fret borders the rim, and the cover is decorated to match, and carries a
fine white arabesque motive with two shades of blue, and also tipped by a button.
The handle and spout show the glazed white paste with simple decoration.
The foot underneath bears a blue ring with a spherical object with ribbons, symbol
of “ the Pearl " {chin or cA«).
Era of K’ang-hsi (1662-1722).
Height, 4 inches.
Diameter, 4 inches.
' Tlie combination of children and lotus flow- spotless. This motive is usually found only on
ers is Buddhistic and supposed to show that the faultless porcelain,
hearts of youth are good, as the flowers are
[ 11 ]
A CATALOGUE OF
No. 10
Blue and White Tea-pot (ancient wine-vessel), of tall ovoid form, with
attenuated neck and bell-shaped cover, the handle and spout of hard
porcelain twisted to represent cords.
The surface of the body shows slightly relieved white network, vsdth diamond-shaped
panels, painted in deep blue, under the glaze, including a small floral spray in white
reserve.
The shoulder and neck are uniformly decorated in floral arabesque design, and a
similar flowered border finishes the base.
The cover sustains an arabesque motive divided by lines into panels, and is tipped
by a molded fruit knob.
Under foot without mark.
Era of K’ang-hsi (1662-1 722).
Height, 6 V 2 inches.
Diameter, 4 inches.
|I2]
CHINESE PORCELAINS
No. 11
Blue and White Tea-pot, melon-shaped, with bamboo-formed handle and
spout : hard-paste porcelain of fine white texture.
The six grooved and outlined panels are each separately decorated with varying
floral plants in jardinieres with stands.
The small cover is topped by a small button, and is decorated to match motive below.
The foot is vvdthout mark.
Era of K’ang-hsi (1662-1722).
Height, 4V4 inches.
Diameter, 4 inches.
[ 13 ]
A CATALOGUE OF
No. 12
Pair of Small Bottles, blue and white, with compressed body and long
cylindrical neck, of hard-paste porcelain.
Decorated in a lotus-flower arabesque motive, boldly rendered in dark blue, under
the glaze, with stems arranged in conventional form of ornament, characteristic of early
periods.
Long conventional lotus leaves surround the neck from the shoulder, and a small
series of leaves encircle the upper part near the rim, that is finished by a chevron fret
border.
The base is surrounded by a series of dots arranged in groups on the white body.
Era of K’ang-hsi (1662-1722).
Height, 6'/2 inches.
Diameter, 3 V 4 inches.
[ 14 ]
7^
TO
c
0>
C/)
3
cy
3-
2
3
3
*■“
p
OQ
O-
CO
5 ;
3 -
0
5"
■.rt)
7^
3
Q-
3“
CO
O
7^
Cu
3
0Q
ClJ
n>
2
p
cy'
3
CIQ
03
fij
3
Q-
?
3“
CO
O
2
p
4i
s
Oi
Su
n
OJ
3
i:y
2
3
3
0
CfQ
O.
CO
0
3T
FT
3"
CHINESE PORCELAINS
No. 13
Pair of Small Bottles, blue and white, pear-shaped, with small necks,
white semi-soft-paste porcelain, perfect glazing, and pellucid color.
The decoration is in two distinct shades of blue, painted before glazing, and repre-
sents a combination of the so-called “ lace pattern ” and the triangular lancet border
(surrounding the shoulder and base), curiously known as the “ Vandyke pattern,” a motive
more analogous to the Chinese adaptation of the fungus “ Ling-chi.”
The four foliated panels encircling the body show the blue filled in and leaving an
effective arabesque design, in white reserve, involving a lotus flower : the same scheme
is carried into shoulder and base borders and the small panels at neck.
The neck is covered with a flowered diaper minutely drawn, ending at the rim in a
chevron band.
Foot bears a leaf-mark.
Era of K’ang-hsi (1662-1722).
Height, 7 '/2 inches.
Diameter, 4 inches.
A CATALOGUE OF
No. 14
Pair of Blue and White Bottles, pyriform, with slightly compressed and
raised body, ending in a long cylindrical neck : fine hard-paste porce-
lain of perfect texture.
The decoration, which is under brilliant glaze, presents two grotesque dragons
(“ Mang ”) surrounded by flowers and conventionalized flames.
The neck is encircled by ring-bands of various designs, including a nicely drawn open
arabesque motive, together with a curious fern band, and long palm leaves, reaching
near the top, which is finished by simple lines.
The base is embellished with arabesques on a white ground, and the foot underneath
bears a flower-mark.
Era of K’ang-hsi (1662-1722).
Height, 10 inches.
Diameter, 4^4 inches.
[ 16 ]
CHINESE PORCELAINS
No. 15
Blue and White Vase, cabinet size, cylindrical, with attenuated neck, of
fine hard-textured porcelain decorated in cobalt-blue under a pellucid
glazing.
The design consists in numerous bands, several of which are painted in blue scrolled
arabesques on a white ground; the others show blue groundwork with the designs in
reserve : i.e., in the band surrounding middle of vase, on which dragons are represented
with conventionalized flames or nebulae, the ground-color presents a clear vibrating blue,
and the pattern is sometimes designated as “dragon on band.”
Four set foliated panels near shoulder inclose white arabesques that involve small
lotus flowers, surrounded by a free ornamental motive, jointly forming a rich bordering.
A flowered chevron border also surrounds the shoulder and base, while the neck is
inclosed by palm leaves with penciled stems, the remaining portion of neck being white ;
two simple lines finish the under side of rim.
The foot underneath is marked by a double rim.
Its provenance is easily ascribable to the period of K’ang-hsi (1662-1722).
Height, 1 1 ' 0 inches.
Diameter, 4 ' 4 inches.
[D]
A CATALOGUE OF
Garniture formed by five specimens, in “blue and v\^hite,” of the so-called
“Lange-lysen pattern, composed in the following order, and begin-
ning with the center :
No. 16
Tall Jar-shaped Vase, with cover, of pure white hard-paste porcelain,
painted in brilliant dark and lighter shades of blue upon a white body
of translucent texture.
The symmetrical desigir covering the vase presents a series of slightly raised lotus-
petaled panels, which rise in three rows or tiers each doubly outlined in blue, sustain-
ing flowering plants in varied jardinieres upon stands alternately with the graceful fig-
ure of a lady on veranda with balustrade, attired in gracefully flowing robes in a style
of the Ming dynasty, and variously engaged in feminine amusements, motherly devotion
being also depicted on the upper section by the companionship of a child.
The field above the panels, including the shoulder and neck, is filled in with floral
sprays, and also encircled by a band in “herring-bone ’’-fret.
The low bell-shaped cover, with blue knob, is decorated with divisions and similar
alternate subjects.
The foot bears leaf-marks in blue.
Era of K’ang-hsi (1662-1722).
Height, 1 8 V 4 inches.
Diameter, 7 inches.
^ The appellation “Lange-lysen” was first given, and under this term (or “ long Elizas ”) they are
in Holland, to the objects from China with this now generally known in England and America,
design, on account of the long, slender figures ;
[ 18 ]
o
CP
CO
fu
3
D-
?
3“
' n Z
1—0) o
^ 2 “ _
era 01
(T> "
o
C/> Q;
rD ^
D 3
*o
p
z
p
z
O
00
J
I
CHINESE PORCELAINS
No. 17
Pair of Tall Beakers, with the so-called “ Lange-lysen ” pattern; comet
form, with a trumpet-like neck.
The bodies of these beakers are uniformly decorated in brilliant shades of blue upon
a white paste of translucent and pure texture, the decoration varying only in a few de-
tails from that of the companion pieces : i. e., the slightly reused and blue-outlined lotus-
petal panels are here arranged in four tiers or rows ; the largest and the smallest of these
surround the neck, another row fills the central body, and the lower section is encircled
in a like manner.
The uppermost and larger tier of panels, as in the foregoing vase, presents a richly
attired lady accompanied by a child, whom she alternately holds in her arms or has by
her side on a veranda, showing a balustrade and other accessories.
The second row of panels sustains alternately a young lady engaged in practising on
a guitar or a flute and the jardinieres of flowers.
On the third line of panels the figure is shown in graceful poses of a dance with cym-
bal accompaniment, alternating also with the flowering plants ; while in the fourth and
lowest row, a figure of a young lady is presented caressing birds and a rabbit ; the ac-
cessories generally being balustrades and tables or stands.
The field over the panels, in the form of spandrels, is slightly depressed and filled
wath floral sprays; two bands (one in lozenge pattern and the second chevron-fretted)
encircle the globular center of body; and a small “herring-bone ’’-fret is also shown un-
der the top rim, finishing a highly pleasing decoration in deep blue under glaze.
Each specimen bears a leaf-mark with double ring in blue.
Era of K’ang-hsi (1662-1722).
Height, 17' Q inches.
Diameter at top, 8 ', k, inches.
[ 19 ]
A CATALOGUE OF
No. 18
Pair of Tall Jar-shaped Vases, with covers, of the so-called “Lange-
lysen ” type, and of similar form to the center piece.
These vases are uniformly decorated in brilliant shades of blue upon a white ground
of fine quality and even texture; the design, which is symmetrical and equally disposed
over the surface, presents three tiers of lotus-petal panels, that are slightly raised and
encircle the body, each sustaining its own design, edged with blue lines.
The upper row of large panels displays a lady in gracefully flowing attire, daintily oc-
cupied with flowers and dancing the figure appears on each panel against a background
strewn with flowers, and the raison d'etre may be found in the middle row of panels,
representing warriors, noble horsemen, and hunting scenery.
The third and lowest row of panels show, alternately, a lady in graceful pose or slow
dance with tiny fans, and the conventional flower-pots with their stands.
The depressed field above the panels, surrounding the shoulder and the neck, is filled
in with floral sprays and encircled by a “ herring-bone”-fret band.
The low bell-shaped covers have a blue-tipped knob, and are invested with an alter-
nate figure and flower-pot decoration similar to the subjects on lower row of panels.
The paste and the quality of the cobalt-blue exemplify the highest type of their class.
Each foot bears the six character-marks (apocryphal) of Ch’eng-hua (1465-1487),
dynasty of Ming.
Era of K’ang-hsi (1662-1722).
Height, 1 9 V 2 inches.
Diameter, 8 V 2 inches.
^The arrangement of flowers centuries ago was considered an accomplishment for a lady of rank,
and is an art of Chinese origin.
[ 20 ]
7 ^
H
<
p
Z
p
eg
c
(T>
P
3
CL.
O-
<
P
a
P
3
OQ
H
p
Z
p
o
i
CHINESE PORCELAINS
No. 19
Tall Blue and White Vase, cylindrical form with rounded shoulder and
attenuated neck ; so-called club shape, of fine contour.
Hard white-textured and semi-egg-shell porcelain, of rare purity, displaying under
glaze painting of remarkable vitality and in rare deep cobalt.
The spirited warrior subject, carried around vase, represents an episode^ involving
heroes of the wars between “the Three Kingdoms.” Ch’ou Yiin was a famous re-
tainer of Liu Pei (afterward King of Shuh). The latter was at one time (195 A. D.)
defeated by Ts’ao-Ts’ao; and Ch’ou Yiin, in rescuing an infant son of his chief, was
closely pursued by one of the nval leaders, when suddenly a great chasm yawned be-
fore him. Urging his horse {vide escaping horseman), he cleared the chasm and escaped.
The leader of Ts’ao referred to is shown on a dappled horse, followed by a standard-
bearer with several swordsmen at his side.
The third horseman, approaching from behind rocks, is another famous hero, Kuan
Y ii, of the period, distinguished by his burly height and stern mien, seen holding aloft a
long, ancient weapon, and rushing to the aid of his companion in arms, Ch’ou Y iin.
The accessories of landscape include a high silicic peak, water and trees; the roof
of a partly visible royal pavilion, suggesting the proximity of Liu Pei’s domains.
The white tubular neck is encircled by the usual ring-borders, key-fretted and curled-
fungus design, with a line of small dots below.
The fine white foot is without mark.
The drawing is characterized by technical mastery and power of expressing action.
Its provenance may easily be set at the close of the seventeenth century, when the
cobalt-blue was at its best.
Era of K’ang-hsi (1662-1722).
Height, 1 8 '4 inches.
Diameter, 8 inches.
'From the celebrated historical novel “ San-
kua-chih,” or “ Records of the Three Kingdoms.”
This is the most popular work of its kind in
China, and details the triangular contest for the
throne waged by Lu Pei, assisted by Ch’ou Y tin,
Chang Fei, and Kuan Yii, against Ts’ao-Ts’ao,
after his secession from Lu Pei, and the Slian
family, which resulted in the partition of the em-
pire among the house of Han of Szechuen and
those of Wuand of Wei, founded respectively by
Liu-suan-te and Ts’ao Meng-te (A. D. 220-
280).
A CATALOGUE OF
No. 20
preceding:
same bril-
The central
figure is a lady of high rank, surrounded by attendants, receiving an elderly messenger,
who is kneeling ; one of the attendants at her side holds a long tablet, and another be-
hind bears a tall fan of state. The drooping standard is held by a young man, while
two others, bearing banners, suggest the arrival (or departure) of some accredited per-
son or official.
The accessories include a long table ■with vases (one holds the two symbolical feathers
and coral stick), a garden seat, and a large, spiral-bordered screen, which forms the
background, helped by large palm trees and other plants.
The picture, composed 'with decorative skill, is also admirably rendered in the vary-
ing tints of the rare cobalt-blue, and exactly corresponds with its companion in this par-
ticular.
The neck sustains the fretted and other ring-bands, with dots, as in the foregoing.
The foot is also unmarked, and shows the white, perfect porcelain that amateurs praise
so much.
Era of K’ang-hsi (1662-1 722).
Height, 1 8 V 4 inches.
Diameter, 8 inches.
Tall Blue and White Vase, club-shaped, companion to the
fine-textured paste of rare pellucid quality, displaying the
liant deep-blue painting, under an equally perfect glazing.
The pictorial subject, carried around the vase, shows a garden terrace.
[ 22 ]
CHINESE PORCELAINS
No. 21
Tall Blue and White Vase, of graceful baluster form: massive hard
textured porcelain, decorated in very deep cobalt-blue, under the glaze,
in the so-called “tasseled” design.
The motive shows a series of about eleven bands or borders, one above the other;
the principal one on lower section simulates fringed tassels; a second border of similar
design invests the neck, and below each of these are floral arabesque bands; while the
base and shoulder sustain blue scalloped borders with outlines of separation in white
palmation form.
The neck also sustains two such broad borders, one of which connects at shoulder
with two small bands (in chevron and scalloped patterns), and the second is near the
rim, where it is finished by a small band of chevron fret; the inside is similarly treated,
with a small band at the edge.
The under foot is unglazed, and without a mark; its paste and color suggest early
K’ang-hsi, while the form and motive are those of an earlier period.
Height, 17% inches.
Diameter, 7% inches.
[ 23 ]
A CATALOGUE OF CHINESE PORCELAINS
No. 22
Brilliant Blue “Hawthorn” Jar/ with original dome-shaped cover.
The form is ovoid, and identical in contour with other famous specimens seen in but
few collections, and so highly prized.
The paste is of the purest hard texture, fine-grained, exquisitely white, and flawlessly
clear throughout; its decoration is executed in the most precious cobalt-blue, character-
ized by great depth and intensity, and imposed with special care for variations and mot-
tling, as shown by the delicate shadings done before glazing.
The design consists of four separate branches of the prunus or plum tree, known in
China as “ Mei-hwa,” alternately spreading from base and neck, loaded with numerous
finely rounded buds and blossoms; the petals and stems are in white reserve and drawn
with great precision, and the remainder of the body is filled in by the undulating and
cumulus blue color that is much enhanced in deepness by reticulation and crossings
with darker lines to represent cracking ice (symbolizing the breaking up of winter) ; the
rim at neck is finished by a narrow dentate or crenulated band generally noted on the
best “hawthorn” jars of this class.
A white band borders the base, bearing a hair-line in blue, and the foot shows the
typical white-glazed paste without mark.
The jar embodies a masterly technical perfection of type that is attributable only to
the period of the Emperor K’ang-hsi (1662—1 722).
Height, 1 0 V 4 inches.
Diameter, 8 Vs inches.
^ TTiese famous jars, so-called “ hawthorn ” and
“ ginger ” jars, are remarkable for their richness
and depth of color, seldom found on other blue
and white objects; their clear, strong, and full
azure-blue, bordering on the color of a fine sap-
phire, is easily recognizable from later products
and copies of their form and style of decoration.
in which the color will be found either tinged
with violet or of a dull and grayer quality.
The jar here under consideration very proba-
bly belonged to the class used as tribute to Im-
perial favor, and served also as royal presentation
pieces.
[ 24 ]
POWDER BLUE
One of the most intelligent records dealing with the methods and accom-
plishments of Chinese ceramists is embodied in the letters of P' re d’Entre-
colles, a French missionary who went to China in 1 700. These letters cover
a period of twenty-two years (during the reign of the Emperor K’ang-hsi),
contain much information concerning the technique of objects in porce-
lain, and have been of great utility to all subsequent writers on the subject.
The following information, dealing in part with a class that we have
here before us, is extracted from d’Entrecolles’s letter of September, 1712.
Referring to powder blue, he wrote that “the blue used for souffle sur-
faces is very carefully prepared from the time it is mined, and only the
smaller particles of the mineral (cobalt) are selected for the first grade.
“Pieces steeped in this color were not considered as valuable as those
with the color deposited by blowing, a process requiring the utmost care;
and such objects were valued according to the brilliancy of the glazed
result.
“In this process the color is blown, according to the worthy Pere, from
the extremity of a bamboo tube, on which a piece of gauze is attached
to one end, on which the prepared color is put, by dipping, or applied
with a bmsh; then the tube is directed towards surface on an object to
be decorated, and blowm from the other end; the fine powdered bits gradu-
ally cover the required surface uniformly, according to the skill of the deco-
rator.
“If reserved spaces are left, these are painted separately or, after the
glazing, in one variety; the white reserve medallions are also decorated
m cobalt-blue, but before the glaze, and heightened uniformly by the firing
together with the blue souffle.
[ 25 ]
A CATALOGUE OF
“In the production of the second sort the Chinese varied the monotone
color of the souffle treatment by painting in polychrome colors on the
white medallions after the first firing.
“The white reserve spaces partake of many forms; the shapes of a leaf,
flower, or fruit are favorite outlines, and are made by cutting them out in
paper and fixing them when wet on the object before applying the blue”
(so-called powder-blue souffle, termed by the French “bleu de poudre”
and also “bleu fouette”).
[ 26 ]
o;
o
U3
12
s:
a
(n
vj
-4^
J
yH>
>
s:
q
4 -
o
I
2 ^
oj
o
£
>
Oi
<
cy
c/5
0)
73
o
CJ
a>
C
3
0)
OQ
CO
3"
o
3
w
a
rti.
<
Cu
rt>
\,
I
CHINESE PORCELAINS
No. 23
Powder-blue Tea-pot, fine hard-paste porcelain, in the form of a jar, with
handle and short spout, uniformly covered in deep and brilliant blue
souffle glaze, displaying a reserved medallion on two sides, decorated
with flowers growing amid rocks and other herbage, in bright colors,
of the “famille verte” style, on a pellucid white ground.
The upper edge and the base are uniformly surrounded by a string of raised beads,
and the rim is encircled by a gilt-fret band.
The flat cover is tipped by a small knob, and also bears a gilt arabesque tracery.
White foot, without mark.
Era of K’ang-hsi (1662-1722).
Height, 4 inches.
127 ]
A CATALOGUE OF
No. 24
Pair of Cylindrical Vases, “royal blue,” cabinet size and so-called club
shape, of pure white hard-textured porcelain.
The vases are invested with a brilliant blue souffle glaze, including finely penciled
tracery in gilding on the shoulder and also between the reserved white upright panels.
The panels are separately decorated with the figure of a lady, in graceful attitude, carry-
ing a fan, during her promenade in a terraced garden surrounded by balustrade and trees,
the reverse showing flowers and plants all beautifully executed in the “seven” colors of
the “famille verte” palette.
White foot, without mark.
Era of K’ang-hsi (1662—1722).
Height, 9 V 2 inches.
Diameter, 4 inches.
[ 28 ]
CHINESE PORCELAINS
No. 25
Powder-blue Vase, tall cylindrical form, with sloping shoulders, and at-
tenuated and slightly flaring neck (so-called club shape), of fine white
hard-textured paste, with a brilliant blue souffle glaze, varied by a series
of panels reserved in white, and separately painted in polychrome colors
(over the glaze), in the “famille verte” variety.
The four largest panels surrounding the body of the vase are upright, and each dis-
plays a Hoovering plant symbolizing its season of the year; four small square-shaped
panels with inverted comers on the shoulder also hold floral subjects on a white ground.
The neck shows three panels in oblong shape, with flowers and insects.
The specimen throughout is of high quality and shows its period, K’ang-hsi ( 1 662-
1722).
White glazed foot, without mark.
Height, 1 7 inches.
Diameter, 7 '/2 inches.
[ 29 ]
A CATALOGUE OF
No. 26
Powder-blue Bottle, cabinet size, pear shape with slender cylindrical
neck, fine hard-paste porcelain, covered in sapphire-blue souffle under
a brilliant glaze, showing three white reserved panels in quatrefoil form,
separately decorated in “famille verte” colors.
The symbolic objects on one panel display a vase with two peacock feathers and a
piece of coral, and near it a tripod scroll-holder; the other accessories are Taoist attri-
butes. The remaining two panels are similarly decorated and rendered with much
regard for detail, and are painted in “seven” colors.
White foot, without mark.
K’ang-hsi period (1662—1722).
Height, 1 1 V 2 inches.
Diameter, 5% inches.
[ 30 ]
Tl
o
7 n
CL.
co'
0 >
z
D
OQ
p
D-
cn
c
0 >
27
O
W
o
O)
n:;
0
75
O-
z
D
(T>
p
OQ
K>
i“
C
00
'/>
0 )
*n
Tl
o
7 n
D-
H)
z
P
p
OQ
c
K>
(A
rD
O,
rT
CHINESE PORCELAINS
No. 27
Powder-blue Bottle, cabinet size, pyriform, of graceful contour, with small
bulb on neck, fine hard-textured porcelain, covered in brilliant-blue
souffle, and displaying four foliated panels in white reserve.
The two larger panels are quatrefoil, and the two smaller are leaf-shaped, each
separately embellished in “famille verte” floral designs (including birds), carefully de-
picted, in bright transparent colors.
Foot white, without mark.
Produced in the era K’ang-hsi (1662-1722).
Height, 10 inches.
Diameter, 4'/4 inches.
[ 31 ]
A CATALOGUE OF
No. 28
Powder-blue Jar, of ovoid form and graceful contour, with dome cover,
fine white hard-textured porcelain, brilliantly glazed over a rare quality
of “royal-blue” souffle (commonly called “powder blue,” and also
“bleu fouette”), with nine white-reserved panels of varying forms,
separately decorated with “famille verte” floral subjects, over the glaze,
in bright colors, among which green predominates.
The three larger medallions surround the main body, are circular, and display dif-
ferent floral subjects, notably one with a finely drawn branch of peonies and a long-
plumaged Feng-huang, the second with lotus flowers, and the third with chrysanthemums
and peacock; three square-shaped panels with floral stems are below, and the shoulder
sustains the other three, which are fan-shaped and include similar flower-painting on
the pellucid white body-glaze.
The sapphire-blue souffle surface also carries an “ over-glaze ” embellishment in gild-
ing, a floral and herbage tracery between the large medallions, and at base a linear
motive, with lily blossoms; the neck is encircled by a fungiform scallop tracery in gold.
The dome-top cover also carries a round panel with “famille verte” decoration on
the white reserve.
Underneath foot is in white, bearing a blue ring-mark under the glaze.
Era of Kang-hsi (1662-1722).
Height, 12% inches.
Diameter, 1 0 inches.
[ 32 ]
CHINESE PORCELAINS
No. 29
Grand Plaque, of massive fine-textured porcelain, with a deep “powder-
blue” border, and also elaborate gilt tracery that includes a lotus palma-
tion, together with emblematic and gift objects, alternating with chry-
santhemum blossoms.
This border connects with the multifoiled edging, in brilliant-red arabesque motive,
and frames a pictorial subject on central panel, which is painted in transparent colors
of the “famille verte” palette, showing a procession of young people in the foreground,
bearing symbols of various kinds, viewed by a group of ladies, occupying a summer-
house on a high stone terrace, who are doubtless accompanying the singing of the chil-
dren with the music of two instruments. Other children approach from an opposite
direction, rolling a large ball with emblematic or allegorical device of “ riches.” The back-
ground containing a leafless tree, the scene therefore suggests an autumn celebration.
This plate bears a blue hall-mark, indicating a treasured object.
Era of K’ang-hsi (1662-1722).
Diameter, 20 V 2 inches.
[ 33 ]
WHITE PORCELAIN
White porcelain, not intended for decoration in color, is produced in glazed
and unglazed (biscuit) form. The latter is comparatively rare in Chinese
porcelain, and, as a general thing, is found used only on small objects or
statuettes, in molded form, or with perforated embellishments.
Glazed white porcelain is also of two distinct t)^es — i.e., hard and soft
paste; of these the first variety is largest and varies considerably in quality.
Those, however, which may be attributed to the best periods represent
the acme of technical skill and perfection in pure porcelain, and the paste
in such pieces will be generally found of a pure white pellucid texture and
brilliancy, according to its provenance.
The soft-paste porcelain of China is distinguishable more especially by
a very fine crackle in the glazed surface, and a creamy white tint, that in
some specimens resembles new ivory; or, generally speaking, a softer white
is revealed than in the hard-paste porcelain, and in good specimens the
glaze will be found closely blended with the paste, imparting a beautiful
“satiny” texture; and it will be noticed that objects in soft paste are sur-
prisingly light in weight.
The embellishment on objects intended to remain white includes raised
or pressed ornamentation as well as reticulated designs; the “rice-grain”
pattern (a most popular mode) consists in a fret or star diaper motive,
pierced in the body of the porcelain, and then filled in with glaze, leaving
the pattern semi-transparent. The work of piercing the paste requires con-
siderable skill, especially when the design is complicated, such as leaves
and flowers, a dragon, or a phoenix.
The white porcelain from the Imperial factories at King-te-chen (or
Ching-te-chen) is of a most beautiful quality, both in substance and shape;
[ 35 ]
A CATALOGUE OF
and it is interesting to learn from Chinese sources that white porcelain is
used at Peking, in the Imperial household, during times of mourning.
The fine white porcelain made under the Sungs, and known as “Ting-
yao,” is probably the oldest of this type extant, and also the most cele-
brated. Reproduced in nearly every succeeding period, such objects have
remained unrivaled in their translucent and lustrous quality. These prod-
ucts of the early Sungs are described in contemporary annals as resembling
the “mutton-fat” tinge of polished jade, while the later types are some-
what more dull in color, with minutely crackled creamy-white glaze, a
heavier paste being used than on the original product.
Another white porcelain, known as “Fuchien,” was produced during
the Sung dynasty. The best specimens of this type show a pale rice-
toned glaze, while the paste is of a heavy texture with engraved designs
characteristic of this era.
The most noted white porcelain produced during the Yiian dynasty is
known as “Shu-fii,” but native authors state that it was first merely a
copy of the famous “Ting-yao” made under the northern Sungs. Identi-
fied specimens show similar lightly engraved surfaces under the cream or
ivory white glaze, notable for its pleasing soft texture.
The “Fen-ting,” or white Ting porcelain, is a particular kind of soft-
paste porcelain, named also after “Ting-yao” of the Sungs, and made
under the succeeding dynasties down to more recent periods. “Fen-ting-
yao” decorated with blue is highly prized by all collectors, and more gen-
erally known as blue and white “soft-paste” porcelain. It usually has a
fine crackled surface.
The Yung-lo period is celebrated for its white porcelain, as are some
of the later periods of the Ming dynasty, especially Hsuan-te; but the
greater number of extant specimens in white date from the present dynasty.
The finest and technically most perfect of this class were produced during
the K’ang-hsi, Yung-cheng, and Ch’ien-lung periods.
[ 36 ]
2
p
c
cw
D
OQ
ro
Cu
D
O
Q-
o
n
<
cw
O
g:
(7
Cu"
y
2
3
OQ
r^ '
p
i“
C/}
n
n>
D-
k;
n
c
TJ
J
CHINESE PORCELAINS
No. 30
A Multifoil Vase ( “ blanc de Chine ” ), of rare technique, having a
melon-grooved globular body with overhanging lobes that are scal-
loped in fungiform, or lancet-shaped.
The fine white paste blended with the glaze shows a satiny texture as well as a
beautiful design, which is uniformly sustained in low relief, and delicately molded in
the paste ; the arabesque motive, involving the tiger-lily and foliage, is continued on
the round surfaces between the grooves and running into the neck, and the lip of each
fungiform lobe sustains an archaic emblematic bat in low relief.
A raised band of palmation finishes the base.
The underneath panel of foot includes an imposed seal-mark of the era Yung-cheng
( 1723 - 1735 ).
Height, 8 Vs inches.
Diameter, 6 inches.
[ 37 ]
A CATALOGUE OF CHINESE PORCELAINS
Nos. 3] and 32
Two White Cups (“a jour”), of fine hard paste with blue borders.
The fine pierced diaper-work is in combination with five circular-formed medallions
that sustain two figures each in high relief, undercut, and with gilt robes, the heads re-
maining white biscuit ; representing ten Chinese mythological persons — probably the
eight (Pa-sien) legendary beings of the Taoist sect, together 'svith Lao Tsze and Si
Wang, the Genii Queen.
The base is decorated with a band in blue foliation under the glaze, and a second
blue band in blue diapered design encircles the top near the rim.
The foot is white biscuit and of typical texture, produced under the Emperor K’ang-
hsi (1662-1722).
The two cups vary only in the blue border near rim: i,e., one shows a diapered
band at the top, and the second carries instead a dentate band ; otherwise they are alike.
Height, 2 inches.
Diameter, S'/z inches.
[ 38 ]
SINGLE-COLOR SPECIMENS
Among the transcendent creations of Chinese ceremists, aside from
their decorated porcelains, monochrome types have figured with consid-
erable distinction from remote periods to the present day. In a general
way, it may be gathered from early records that single-colored objects
antedate decorated porcelains by many centuries. The several periods
certainly have produced a remarkable variety of monochrome pieces,
and of these the red-colored glazes (derived from the oxide of copper and
gold), — /.c./‘sang de boeuf,” — the “peach-skin” or “peau-de-peche”
“ruby,” and “ rose ’’-carmine (“yen-chi,”) or “rouge d’or” are most es-
teemed ; the other reds which are of the same oxide include the “sang-
de-pigeon,” “ cmshed-strawberry,” and “liver” tints; the reds from the
oxide of iron include the coral and varying shades of vermilion.
COLOR OF THE PEACH
The so-called “peach-bloom” glaze is the rarest of the red varieties.
True specimens of this class are small and of uniformly high character,
in the best quality of paste, perfect glazing, and of singularly attractive
forms. As the number of these beautiful examples are most limited, it
is possible that they were made for the palace by some particular potter
who alone had the secret or skill of producing this glaze. All the au-
thentic pieces bear the characteristic six character marks (in fine blue un-
der the glaze) of the K’ang-hsi period in unique perfection. All later
reproductions are therefore readily distinguishable, and in all particulars,
— glaze, paste, or form, — as also by the marks.
Some writers have concluded that the so-called “peach-bloom” was
an “over-fire” accident when the glazes of the “sang-de-boeuf” varie-
[ 39 ]
A CATALOGUE OF
ties had been used; but it may be proved that these writers could have
seen but few real specimens of the former color. The shapes in the
“ sang-de-boeuf ” variety are totally distinct, just as the forms are dis-
tinct in the “peach-bloom” glazes; therefore an accidental result in
glazing is out of the question with regard to the peach color. Vide Nos.
36 . 37 . and 38 .
COLOR OF OX BLOOD
The particular red-colored glaze known as “sang de boeuf ” was doubtless
first produced under the Mings, and at a period when the paste was not
purely kaolinic. The reason for this hypothesis is the fact that brilliant-
red glazes are often referred to which were not always from iron ; and
that even in later periods, when the paste became whiter and purer by
kaolin, the potters would nevertheless endeavor to simulate the more an-
cient product by using a more gritty body substance, and very old types
exist of this character to-day. The variety of these fine red glazes is
very great, but the best are about exhausted in China, as the native
owners have long since been induced to part with their treasures of this
kind by remarkable temptations from European and American agents.
LANG-YAO
The “sang-de-boeuf” pieces now known more generally as “Lang-
yao” (the Chinese term) may be said to be also out of the market.
This latter type is doubtless the most beautiful as well as technically of
the highest perfection, named after the famous potter Lang-ting-so,
who was a director of the Imperial factory at King-te-chen under the
Emperor K’ang-hsi. A few of the distinct characteristics may be con-
veyed in words and supported with an example in this collection. Vide
No. 35 .
The true “ sang de boeuf ” is without a tinge of purple (all such are
modem and a trade product) ; the color may shade to a brownish-red or
have a tinge like that of old sherry, and when the red partakes of yel-
[ 40 ]
CHINESE PORCELAINS
low it is unquestionably of the true class. Fine pieces are curiously
modeled and always very transparent, with a glaze inclined to be
crackled.
A certain characteristic of the true “Lang-yao” is the correct line
finished at the base, showing the white foundation color, glazed and
without any signs of grinding off ; the same remark applies to the upper
rim, which is usually distinguished by a clean glaze, in either an ivory
tint or a crackled celadon that is clearly defined at the edge.
To produce this color the glaze has to be melted to a perfect fluidity.^
Potters usually cannot prevent it from running down so that the neck is
often thin and streaked, and the overrunning glaze at the foot is often
in the form of drops, or even large masses, that must be broken off
in removing the object from the kiln; then it is necessary to grind
the foot down evenly, which is never the case in the fine objects under
consideration here.
It should also be stated that the true pieces of “ Lang-yao,” or ” sang
de boeuf,” are usually glazed on the interior as well as underneath the foot
in a greenish tint, like a light celadon, or a crackled rice-colored glaze on
the interior or underneath may be also noted. The most remarkable pieces
will be found to have possibly a dash of red along with this glazing.
APPLE-GREEN
Among the green variety, in solid colors, the so-called “apple-green,” a
translucent glaze with a brown crackle, is of the rarest. The body or
paste is usually of the same texture as the “ Lu-lang-yao,” and therefore
it has been assumed by authorities that this color was produced at the same
time, and also under the direction of Lang-ting-so ; especially as this color
is enumerated among glazes in the records of King-te-chen. Vide No.
34 .
^ It has often been stated that these reds are formed different conclusions after their trials,
produced from copper alone ; but potters who and it has been suggested that the oxide of gold
have experimented with this color have usually is necessary to produce such a color.
[ 41 ]
A CATALOGUE OF
Other greens, of iridescent quality, were also invented under Ts*ang
-hsuan, and called “ snake-skin ” color and “ cucumber-green.” Other
varieties of green-tinted glazes have been produced at other periods, but
none so distinguished as the “apple-green,” with its strongly marked
crackle.
C&.ADON
The celadon color, on the other hand, is the oldest of all the green glazes
extant, and is referred to in the earliest periods of ceramic art, especially
predominating in the T’ang dynasty and, later, during the Sungs. Made
in different factories, it also varies in tints and qualities.
The oldest, perhaps, existing to-day is the product known as “Chiin-
chou-yao” and “Ko-yao” of the Sung dynasty. “ Jii-yao,” or “ Kuan-
yao,” is the oldest celadon known in history, but it is doubtful if any speci-
mensexist now. “ Lung-ch’uan-yao,” another celadon, was shipped largely
to India and Persia, where it is known as “Martabani.”
Celadon was first known in Europe during the seventeenth century, and
there it received its name. Vide Glossary.
CRACKLE WARE
The “cafe-au-lait” crackle porcelain is among the oldest of the so-called
single-colored pieces. Crackled vases were called “ Tsui-khi-yao ” under
the southern Sungs’ dynasty, and are described in the history of King-te-
chen, where we learn that the clay employed was coarse and compact,
and that “the vases were thick and heavy.” Some types are termed by
the Chinese “Mi -se ” (the color of yellow millet seed).
It was recorded by Pere d’Entrecolles that at these factories (King-te-
chen) they used “ Hoa-chi” (steatite) powder, and mixed it with the glaze,
from which the vases would exhibit cracks running in every direction, as
though broken into thousands of pieces. They were occasionally rubbed
over with colored inks, red or black; then was seen a network of charm-
ing veins (m either color), imitating the cracks of ice. D’Entrecolles also
states that a kind of glaze called “Tsoui-yeou” was used during his time
[ 42 ]
CHINESE PORCELAINS
(1700-1722) to produce innumerable little cracks over the surface when
applied alone, but that it also rendered the object very brittle, and destroyed
its ringing tone when struck.
IMPERIAL YELLOW AND OTHER TINTS
The so-called “Imperial yellow” is among the most popularly known of
the yellow variety of glazes. Its color resembles very much the yolk
of an egg and is without crackle. The “mustard-yellow” is a heavy,
even enamel color, with a fine network of crackle ; in the finer examples
an iridescence is noticed together with porcelain of light substance and a
brown metallic-colored edge, while in all later examples the paste and glaze
are heavy and coarse, when the iridescence does not count.
Several kinds of light yellow-glazed porcelains, with transparency, were
produced in the K’ang-hsi and the later periods, having a fine even quality
without any crackle, and usually found upon a fine white paste, the finer
examples being almost as thin as egg-shell. Among these may be noted
the canary and citron or lemon-yellow, a straw-color, and a sort of sul-
phur-tinted glaze.
The purest yellows come from antimony, and the orange-tint shows
also the presence of iron.
BLACK COLORS
The black-enameled pieces, usually termed “mirror-black” on account
of their very brilliant and even surface, are noteworthy ; especially those
produced during the K’ang-hsi period, with an iridescence, sometimes re-
sembling the soft black sheen of the raven’s plumage and therefore termed
“ raven’s-wing” black. This iridescence is found only in small specimens,
and when of perfectly uniform quality is most treasured.
Other blacks have been produced, of metallic and more or less oily sur-
face, that date back to more remote periods, and generally have a dense
A CATALOGUE OF
body substance with less kaolin than the black-enameled porcelains of
later periods.
TURQUOISE COLOR
The turquoise-blue glaze is another characteristic color produced by the
Chinese in very early periods, with a great range in its different shades
and quality. The darkest tones with uniform color are the most esteemed,
and particularly those with the shad or “fish-roe” crackle, although there
are some light and very beautiful shades on the smaller objects, especially
those attributed to the period of K’ang-hsi.
OTHER COLORS
Among the other so-called “ solid-color pieces” may be noted, aside from
the various white tints, “robin’s-egg blue,” “pearl,” “ lavender,” “ duck-
egg blue,” “moonlight” or “clair de lune,” “sapphire-blue,” “bleu
fouette” or “ powder-blue” souffle, “ Mazarin blue,” “lapis-blue glaze,”
“salamander-red” souffle (which is like the coral-red from oxide of iron),
“pistachio green,” “camellia-leaf green,” “cucumber-green,” “haricot
vert,” “olive-green,” “ iron-rust ” or “t’ieh-siu” (with small black metallic
specks, or with a metallic luster), “tea-leaf,” “tea-dust” or “ch’a-mo”
(flecked with light spots, or souffle), “olive,” “magenta,” “violet,”
“ plum-color” or “aubergine-purple” (from manganese), and “camelian-
red.”
FLAMBE AND VARIEGATED COLORS
The so-called “flambe ” variety, by itself commonly termed “ splashed ” or
“transmutation” and called in China “Yao-pien,” is said to have been
first an accidental product, although in later periods produced at will. Of
this latter type there exist some beautiful examples which may be attrib-
uted to earlier periods. They have been fully described in several works
on the subject, notably by Dr. Bushell, Monkhouse, Jacquemart and others.
[ 44 ]
CHINESE PORCELAINS
Of the variegated glazes we may also note a kind of marbleized effect of
several colors and a kind of souffle, known as “harlequin” porcelain, and
composed of several colors disposed over the surfaces in clouded effects.
Other glazes of Tsing porcelain imitate iron, bronze, wood, ivory,
agate, etc.
[ 45 ]
A CATALOGUE OF
No. 33
Green Bottle, with cylindrical neck and compressed pear-shaped body, of
fine porcelain covered with a translucent and brilliant-green glaze, re-
sembling dark-colored emerald, or Imperial green jade (“Fai-tsou-i”).
This color is carried solidly from the foot to the interior of neck, and the body sus-
tains a superposed black decoration, displaying a bit of landscape, in which a pine tree,
and also a boat with a man, are principally noticeable, painted on the green body-color
before glazing.
The underneath foot is glazed without mark.
Probably produced during the first part of the eighteenth century (Ch’ang dynasty).
Height, 8 inches.
Diameter, 5 inches.
[ 46 ]
>
XJ
’0_^
0)
p
OQ
z
s
p
OQ
p
VjO
zr
s
3“
o
0>
D
C
p
f?
O)
3
CD
o
Z
p
CHINESE PORCELAINS
No. 34
Small Green Vase (“Lu-lang-yao”), ovoid shape, with low, slightly curved
neck, of dense grayish-white porcelain, invested with a brilliant light
“apple-green” glaze, translucent and like “Imperial” green jade, show-
ing a network of brown crackle uniformly dispersed over the body.
The rim and interior, as underneath the foot, are light celadon glaze with crackle.
Objects with this particularly rare color are attributed by authorities as the product of
Lang-ting-so, period of K’ang-hsi (1662-1722).
Height, 4% inches.
Diameter, 3 '/4 inches.
From the Startseff Collection, Tientsin.
[ 47 ]
A CATALOGUE OF
No. 35
Sang-de-boeuf Bottle (“Lang-yao”), with globular body and cylindrical
neck: white paste of characteristic texture, covered with fine light-
red monochrome glaze, which is sustained with exceptional brilliancy
throughout.
The light pellucid sang-de-bceuf glaze is shown with ruby-like clearness, and with
slight changes or mottling in its translucent color ; beginning from the upper neck, where
the edge is defined by a narrow rim of the soft white body-color, it ends at the foot,
marked by a few delicate flecks or vertical streakings along the neck and some variation
into lighter shades that distinguishes it and its class. A feature, also, is the well-defined
white margin at the base, where great technical perfection is shown in the ending of the
liquescent red glaze with much precision.
The foot of this example has a clean biscuit edge underneath a cream, or “rice-tinted,”
crackle glaze, the interior of neck showing a similar crackle glaze and also bearing a
splashing of the exterior ruby tint.
Made during the prefecture of Lang-ting-so, under the Emperor K’ang-hsi (1662-
1722).
Height, 1 3 inches.
Diameter, 8 V 2 inches.
From the Startseff Collection, Tientsin.
[ 48 ]
CV)
:s:
o
uj
rO
n
o
O'
ff)
cr
a
-Q
cr
•^
o»
n
in
3
3-
>
3
“O
o
3
<
Z
p
CD
in
O)
3.
v>
T5
;t“
a>
D.
n
El)
n
o
c
TD
(D
z
o
/"~N
7n
HD
Oi
fu
c
O
Z
3
OQ
Q-
a
0
c
"O
p
i“
(/i
T5
rt)>
rt>
n
3"
n>
CHINESE PORCELAINS
No. 36
Shallow Coupe, of fine white (“Ts’ing-yao”) porcelain, with the exterior
surface invested in a brilliant peach-colored glaze (“peau-de-peche”),
showing interesting mottling in deeper and lighter tones of the most
esteemed peach-bloom variety, including markings and flecking of a moss-
like green, characteristic of the best examples of its class.
The interior is glazed in white, and the foot is finished by a fine rim, and bears
underneath in blue the six character-marks of K’ang-hsi (1662—1 722).
Height, 1 inches.
Diameter, 4 Va inches.
From the Startseff Collection, Tientsin.
[ 49 ]
A CATALOGUE OF
No. 37
Semi-spherical Coupe, of fine white (“Ts’ing-yao”) porcelain.
This specimen is glazed in a brilliant “peach-bloom” color (“ peau-de-peche”), with
beautiful variations, in its mottling resembling the skin of a ripening peach, and display-
ing deep tones melting into the shade of ashes-of-roses or pale and softer tints, with moss-
green flecks also visible, especially at the small neck: a characteristic coloring found only
in the most unique specimens.
The foot is finished with fine edge, and underneath the white glaze bears in blue the
six character-marks, Ta-tsing, K’ang-hsi, Nien-chi period (1662—1722).
Height, 3 V 2 inches.
Diameter, at base, 5 inches.
From the Startseff Collection, Tientsin.
[ 50 ]
CHINESE PORCELAINS
No. 38
Small Amphora or Vase, elegant in form, of the finest white (“Ts’ing-yao”)
porcelain.
This vase is invested with a bnlliant and deep peach-colored glaze (“couleur-de-
peche ”), solidly and evenly covering the body and the interior of neck, its delicate mottling
imitating the ripened shadings on the skin of a peach ; the form and texture combined make
one of the most prized objects among the rare and beautiful peach-bloom class.
The underneath foot has a fine edge and bears in blue, under glaze, the six char-
acters, Ta-ming, K’ang-hsi, Nien-chi (1662-1722).
Height, 6 inches.
Diameter, 2 Vs inches.
From the Startseff Collection, Tientsin.
[ 51 ]
A CATALOGUE OF
No. 39
Semi-egg-shell Plate, octagonal in form, of hard-paste (“Ts’ing”) porce-
lain; the decoration shows two borders: the inner, with a purplish
enameled ground, involving the lotus, is overlapped by the outer bor-
dering with its foliations, including blossoms and a fret design.
These borders encircle the center panel, depicting a landscape with two women;
one is in a boat, accompanied by a child, and the other is in the foreground upon the
shore, carrying a child on her back, and a tree bearing red blossoms completes the
scene.
The under side is glazed in white.
Late K’ang-hsi or Yung-cheng (1723-1735).
Diameter, 7 V 2 inches.
[ 52 ]
No. 39
Semi-egg-shell Plate
( Y ung-cheng)
r
CHINESE PORCELAINS
No. 40
Reticulated Hanging Vase, of hard white-paste porcelain, resembling
entwining cords or open passementerie work.
The lower and upper loops are glazed in yellow and green; the central network, in
lavender and mahogany-red.
The upper rim is bordered by “scepter heads” in red and gold on a white ground,
which is carried to the flange of neck, and connects at the shoulder with a narrow bro-
caded band in green, a similar band finishing the base.
The interior is bordered at the top with red flowers and stems on a green ground.
The chain is in red with light gold tracery, and the cross-bar is embellished with a
floral design on green glazed ground.
Under foot is glazed in green and bears reticulated circular ornament in red.
Era of K’ang-hsl (1662-1 722).
Height, 6 '4 inches without chain.
Diameter, 4 V 4 inches.
[ 53 ]
A CATALOGUE OF
No. 41
Reticulated Hanging Flower-Vase, hard white (“Ts’ing”) porcelain,
made to resemble netted cords and open passementerie work.
The vase is glazed amber-yellow and striped in black; the several bordered surfaces
form a framing and sustain an interior cylindrical vessel, which at the top is richly deco-
rated with a brocaded band involving blossoms on a green stippled ground.
The exterior rim displays a floral brocaded design with green ground ; and, below, a
red “herring-bone ’’-fret encircles the shoulder; another small border in red fungiform
tracery finishes the base.
The porcelain chains and cross-bar are decorated to imitate gold-inlaid bronze.
The foot is glazed in greenish-white and contains a pierced diamond in a circle.
Attributed to K’ang-hsi (1662—1722).
Height, 6 V 2 inches to top of ring-holders.
Diameter, 4 inches.
[ 54 ]
S
q
c^
y:'
:
o
a
PO
f)
‘o
a
G
O
“C
«n
c
PO
s
q
O
c
PC
■ S
PC
>
u}
<4
C
PC
P
c
D
7 ^ '
z
OQ
o
O
n
=r
0)>
c
OQ
n>
K)
3
Q->
OQ
o"
Cy" OQ
o 5’
OQ OQ
t/> ^
p
v>
0>
z
o
-t^
o
CHINESE PORCELAINS
No. 42
Tall Jar (“rouge d’or”), oviform, and of brilliant-white porcelain.
The jar is painted in nch colors of the “famille rose” variety, with the ground enameled
in a rare and beautiful shade of carmine souffle, of velvety texture; studded with chrys-
anthemum blossoms in various half-tone and opaque enamels, also interrupted by large
white reserved panels and medallions of varied shape (including double circles, fan, and
scroll outlines), which are dispersed over the body and separately decorated with floral
subjects — /.e., peach blossoms, peonies, the “hand of Buddha”,^ and other sprays of flowers
or branches with blossoms.
The shoulder and the base-line are embellished with brocaded borders in green and
blue, in contrasting half-tones, interrupted by small white vignettes that inclose sprigs of
flowers.
The foot is white and without mark.
Era ofYung-cheng (1723 — 1735).
Height, 1 3 inches without cover.
Diameter, 1 0 inches.
■ ^The “hand of Buddha” (“Fo-show”) is a “hand of Fo” or “Buddha”). The fruit is made
peculiar kind of citrus fruit cultivated to terminate to run into rind, the odor of which is powerful and
in long, narrow points like fingers (hence called pleasant.
[ 55 ]
A CATALOGUE OF
No. 43
Grand Jar (“rouge d’or”), of fine oviform contour and brilliant-white
porcelain.
Decorated in half-toned enamel colors typical of the “famille rose” palette, and sus-
taining a beautiful shade of rose souffle, interrupted by various panels in white reserve,
including two large pictorial scrolls that alternate with two leaf-shaped panels having
pointed foliations; the first panel depicts a large terrace occupied by a lady, in court
attire, who is seated holding a fan, accompanied by several children. One of the boys
is amusing himself with a large fish-bowl on a stand, while another boy is talking to a
parrot. The terrace also holds a jardiniere with a lotus plant ; a palm, and a cherry
tree with blossoms, are shown beyond the railing.
The reverse panel is similar, and contains also a garden and terrace subject with
figures.
Another smaller panel represents the form of a citrus fruit, or “hand of Buddha,”
on which a retired mandarin (T’ao-ming^) is depicted, among flowers, in complete
emancipation from care. Epicureanism is also suggested by an attendant boy offering a
duck.
Other silhouetted panels show two worthies, or sages, with wine-pots : members of
a famous coterie of learned men in the third century A.D., according to Thornton (“ His-
tory of China”). They, among other things, pretended that human happiness consisted
in complete freedom from all cares and in unrestrained indulgence in wine, and disre-
garded all ceremonies and laws.
Other leaf-shaped medallions contain landscape, bird, and floral subjects minutely
^T’ao-ming, great-grandson of a famous Chinese A.D. 420, he adopted the name of “Sage of
statesman named T’ao-k’an, was noted no less as the Five Willows,” in allusion to the trees which
a scholar and poet than for his devotion to the he had planted near his house, and ended his
wine-cup. He received an appointment as mag- days drinking, playing upon the lute, and making
istrate, but eighty days afterward chose to resign verses amid the chrysanthemums that embellished
his seals in preference to “bending the back” on the garden of his retreat. He died at the age of
the arrival of a superior functionary, for the sake 62, A.D. 427. (Mayer’s Manual.)
of five measures of rice. Retiring into private life
[ 56 ]
lo'b-aguoH bneiO
(gnarlo-snuY)
No. 43
Grand Jar, Rouge-d or
(Y ung-cheng)
r
CHINESE PORCELAINS
depicted in various colors; interspersed, and around these medallions on the rose-colored
ground, are flying storks in “white-slip” decoration.
The low bell-shaped cover, surmounted by a grotesque “dog Fo,” is modern, and deco-
rated with leaf-shaped panels inclosing floral subjects corresponding to those on the jar.
This large jar shows the characteristic crimson derived from gold, v^th other half-
toned enamels invented under Yung-cheng (1 723-1 735).
Height, 37 inches with cover.
Diameter, 1 8 V 2 inches.
A CATALOGUE OF
No. 44
Grand Decorated Vase (one of a pair), large graceful oviform, with short
neck and cover.
Massive porcelain of fine white texture, the “over-glaze” painting in the sumptuous
“famille rose” palette, presenting, with great decorative skill, a radiant landscape, together
with a scene of court life that doubtless is an adaptation from some master of the Sung
or the Yiien dynasty, changed only in its color-tints in accordance with such enticing
enamels as were employed by the ceramists of the Yung-cheng period, when everything
was made “couleur de rose.”
The central motive displays a summer pavilion, raised on piles over a lotus-pond, and
occupied by an emperor (possibly Yii the Great enjopng life and the beautiful scene
about him after his labors to subdue the great floods in China that existed before his reign.
The potentate is seated and robed in gold; he is holding a closed fan and examining
the work on another, held for his inspection by a young lady, while two attendants
with tall fans stand behind; another, to the left, bears a wine-pot on a tray; to the right,
a “scholar” is approaching from the steps, awciiting his presentation, through a young
courtier standing near, and who also holds a scholar’s emblem.
The pavilion, with its rich blue-tinted roof supported by yellow columns, is also fin-
ished with a rich railing, upon which lotus-flower ornaments are suspended ; and a crimson
valance with a yellow border hangs from the red cornice, completing the accessories.
The surrounding scene, with its gaily dressed young people of the court enjoying their
boating among the flowering lotus, presents a most pleasing picture of animation and
brilliant coloring. The composition is sustained by large-flowering peonies, of gorgeous
tints, growing near silicic rocky masses, and by a stone-arched bridge, that connects
with the summer pavilion. Underneath are seen the boats lazily drifting along the wind-
ing lotus-pond.
^ Y ii the Great was the successor of the Em-
peror Shun, and reputed descendant of the Em-
peror Hwang Ti. He commenced to reign 2205
B.C. His great work was controlling the waters
of the flood that covered the territories of the
empire, a task to which he devoted nine years,
without care for food or raiment. (Mayer’s
Manual.)
[58j
-7 . '
V
"s-S*W'f
jy''#
'S
,-lL
s
q
ru
■■J. ■-
'cr
-p
o
^ ' %'
mmS
C 3
-O c:
;n O
r* "t:
n" w)
ta ' —
S
7-3
Cl
5 '■■
S'
X -.
p- -
•^.{ 7f'- j.*;-
-X. / •
s
q
4-
4.
^ v ^ ■ - 'X. 5.-
'**■■' ■ ' •■;'■• .
'.>A,-^.:
♦ -
'!%■ "k'
•■- i-
1
CHINESE PORCELAINS
The picture subject is inclosed at the shoulder by a broad border in brocaded design
(involving the lotus), with an elaborate scallop-pointed edging that overlaps the white
ground of the landscape below. This border is followed by another immediately above,
with a crimson honeycomb-fret, including white reserve medallions and emblematic attri-
butes; above this, the neck displays fragments of terraces, flowers and herbage, amid
rocky peaks, on a white ground ; this same motive, with its horizontal line indicating a
flooded country, is also shown on the base, over which is a band of lotus palmation, that
also overlaps the landscape subject on the body.
The cover is bell-shaped and topped by a large knob wnth a lotus flower, and sus-
tains a subject similar to that on the vase — i.e., court ladies in boats among the lotus;
the flanged rim is bordered with a diaper design involving four white medallions with
emblems.
Era of the Emperor Yung-cheng (1 723-1 735).
Height, 33 inches.
Diameter, 1 9 ' '2 inches.
A CATALOGUE OF
No. 45
Grand Decorated Vase (one of a pair), large graceful oviform, with short
neck and cover: massive porcelain of fine white texture.
The painting is in the magnificent palette of “famille rose,” and is distributed with
great decorative skill over the entire surface, displaying a radiant landscape in combina-
tion with court life.
The central motive depicted includes an Imperial summer pavilion, with an emperor
(as in the other vase) seated and surrounded by personages of the court. The picture
shows attendants bearing trays with objects of tribute or for presentation; two scholars
are seen to the left of the Emperor, and probably await the bestowing of gifts, while
the Emperor continues his interrupted conversation with the young lady of his court.
The columns of the pavilion are glazed in yellow, supporting a crimson comice that
is also decorated with a yellow border, and a rich roof (like a pagoda), with curling eaves,
glazed in blue to represent porcelain; a crimson valance is also suspended from the
cornice, which, together with a rich railing involving lotus-flowered ornaments, completes
the accessories.
The surrounding landscape is an imposing garden with gaily dressed young court
people, enjoying boating among the flowering lotus, and presents a pleasing picture of
animation and brilliant coloring. The composition is sustained by gorgeous flowering
peonies growing near silicic rocky masses, and by a stone-arched bridge that connects
with the pavilion, and underneath which boats are lazily drifting.
The pictorial scene is inclosed at the shoulder by a broad brocaded border with scallop-
pointed edging in deep rose, involving the lotus flower; this border is followed by another
immediately above, in a crimson honeycombed fret, with white reserved medallions in-
closing emblematic attributes.
The neck displays a white ground with fragments of terraces, including flowers and
herbage amid rocky peaks, all showing above a horizon-line at shoulder. The same
motive, on a white ground, is also shown below on the base, over which a blue band
of lotus palmation, with a crimson outline, overlaps the scene above.
[ 60 ]
CHINESE PORCELAINS
The bell-shaped cover, topped by large knob bearing a lotus blossom, sustains a similar
subject with court ladies in boats among lotus flowers, and is bordered, on the flanged
rim, with a diaper design involving four white medallions with emblems.
Height, 35 inches.
Diameter, 19'/2 inches.
Era of the Emperor Yung-cheng (1 723-1 735).
[ 61 ]
A CATALOGUE OF CHINESE PORCELAINS
No. 46
Seven-bordered Egg-shell Plate, so-called “rose back”: le., a light and
solid rose souffle (“rouge d or”) enameling on the outer band, and its
face richly painted in soft-toned colors of the “famille rose” variety and
Yung-cheng palette.
The decoration consists of so many borders, in varying widths and forms, minutely
drawn, and framing the central picture-panel, that is in the shape of a foliated leaf, and
presents a lady of high rank, in rich attire, who is seated ; near her are two small children
whom she is watching or directing in their amusement: one holds a lotus flower (a favorite
Chinese symbol, which also indicates the season to be summer), and the other boy carries
a gilt toy (“ Ju-i”), wand or scepter. The various accessories are rendered in delicate and
accurate details, on a white ground that reveals a most beautiful quality of porceleun, and
includes two large jars, a table with scrolls, books, and other objects, notably a small vase
with varied articles used by a Taoist student, while a second vase, holding a coral stick
and two peacock feathers, indicates that the family belongs to an official class, having a
“three-grade promotion” at one time, bestowable by the Emperor.
The seven borders include, first: the green arabesque motive with five rose-colored blos-
soms on a gold ground, directly surrounding the center panel ; this border is followed by
a narrow band having a diamond fret in pale green ; then a broader border with conven-
tionalized dragon scrolls in two shades of rose, interrupted by four blue-ground vignettes
with lighter blue arabesques; the fourth border, in a yellow scroll, finishing the top edge of
slope, is followed by a foliated border filled in with a delicate “Y ’’-shaped fret in green;
this band, with its scallops and gilded edge, overlaps the honeycomb reticulation on a lilac
ground, that is also studded with four round archaic scrolls, alternated by four white re-
served medallions containing flowers in natural colors minutely depicted, notably the peony,
chrysanthemum, and aster, edged with a small “T ’’-pattern band.
The seventh and last border (from the inside) bears a conventional Chinese arabesque
in gold, and finishes the rim, or outer edge, of this remarkable plate.
Ascribable to the period of Yung-cheng (1723-1 735), when the carmine, or rose-
color (derived from the chloride of gold), and the half-tone glazes, were first invented.
Diameter, 8'/i6 inches.
Height, i Vs inches.
[ 62 ]
c
D
OQ
O
13 -
rt)>
3
OQ
LO
a
rt>
3
cr
o
Q-
0)
rt»
Q-
m
OQ
OQ
o
f?
cr
p
n
?7-
z
p
-U
c^
CABINET OBJECTS
A SERIES of cabinet objects, enameled in “three colors,” of Ming and
early K’ang-hsi (“Ch’ing”) porcelain, showing unglazed portions of the
biscuit, or a paste with less kaolin, and characteristic of the early periods
under which they were produced.
Included also are so-called tea-pots, although their ancient use is said
to have been for serving spiced wines. Of these objects various types are
represented in polychrome decoration, with the distinctive early “ famille
verte” glazes.
The decoration is executed chiefly in unshaded colors, and the examples,
especially those made under the Emperor K’ang-hsi, show much refine-
ment and delicacy in the handling of the three translucent glazes — i.e.,
green, yellow, and purple (aubergine). These “three-colored” pieces are
so called by the Chinese, in distinction from the “five- ” and “seven-
colored” classes. Black sometimes figures in these types, being used to
outline the designs on the biscuit before the other glazes are employed.
[ 63 ]
A CATALOGUE OF
No. 47
Tea-pot, melon form, of hard-paste porcelain simulating curved and split
bamboos; the spout is also formed like a shoot of bamboo, while the
handle, in imitation of ratan, is glazed in amber-yellow, on which the
black rings imitate wickerwork.
The globular body is painted with small floral decorations of various kinds, in poly-
chrome colors, distributed on the bamboo sections over a white ground, in an alternate
design, and a red-fret band inclosing the neck and base.
The cover is similarly decorated and grooved, and finished with a scalloped edge and
a penciled border.
The foot is white.
Era of K’ang-hsi (1662-1722).
Height, 6V4 inches.
Diameter, 4 inches.
r-
s
q
H
cn
(JC
"i
"S
■“ ^■-
H
'A
s
—
q
■ 4 -
■§
(A
j-
00
H
rt
"U
o
2
o
-C^
m
03
3
OQ
H
03
7s ^
TJ
O
2
p
OD
r
m
CO
T3
2
p
4^
'sO
m
3
OQ
H
7s ^
T3
O
2
p
U1
o
7s
3
OQ
H
rb
o
2
o
s
CHINESE PORCELAINS
No. 48
Tall Wine-pot (its ancient use), of hexagonal form, decorated “ sur bis-
cuit,” with heavy greenish-black enamel of iridescent quality.
Each side sustains raised upright panels in openwork, with bamboo foliage modeled
in relief, simply glazed to show an old-ivory tint over the biscuit, in contrast to the bril-
liant black body-color, that, in turn, is relieved with red flowers and green stems painted
on the shoulders.
A bordering of red and white palm leaves in slight relief finishes the base; while the
neck is invested by a brocaded band stippled in black, and showing a fungiform symbol
on a green ground.
The handle is in shape of a leaping fish, and glazed in yellow; the curved spout,
starting from a rudimentary turtle head, is also in yellow, together with light-tinted man-
ganese.
The lower and upper margins are plain and thinly glazed, leaving the biscuit tint.
The cover also is pierced with a bamboo and foliage motive, and glazed in yellow,
green, and light (manganese) purple.
The foot is in biscuit.
Ascribable to early K’ang-hsi, but its form partakes of the Ming type.
Height, 6'/4 inches with cover.
Diameter, 4 inches.
[ 65 ]
A CATALOGUE OF
No. 49
Ming Spice-bowl, low oviform, with handle and cover, decorated over
hard biscuit paste, in early “famille verte” colored glazes.
The outer and superposed casing, with vertical divisions and braided cord bands, sus-
tains a pierced diaper design, involving a slightly raised flower, with twigs in the six
divisions, glazed in red, yellow, and light (manganese) purple.
The neck is encircled by a red wave motive, penciled in outline against a vermicu-
lated ground. A red and white tracery border surrounds the base.
The rounded handle is glazed in amber-color, and finished with black rings to repre-
sent tied wickerwork.
The cover also sustains a yellow glazed piercing in fret design, with green foliage and
red blossoms, and is finished on the edge with a red border, at the top by a small “dog
Fo.”
The under foot is white.
The porcelain and enamel colors are ascribable to late Ming.
Height, 4 ^, 4 inches.
Diameter, 4* 4 inches.
[ 66 ]
CHINESE PORCELAINS
No. 50
Tall Wine-pot, of hexagonal form, decorated “sur biscuit” in the early
“famille verte” style, including a heavy greenish-black enamel body-
color of brilliant quality.
Each of the six sides contains a raised upright panel with pierced and finely modeled
lotus flowers, glazed in transparent ivory and green tints.
The shoulders sustain a lotus brocaded band of light-green ground, with red and light-
purple flowering, and the neck is also inclosed by a light-green brocaded band, with a
separate fungiform symbol on each side.
The base is finished by a series of red and white palm leaves, and includes a narrow
border in red tracery at the foot.
The handle partakes the curved form of a leaping fish, and is glazed in amber-color,
with red fins; the curved spout springs from the mouth of a turtle in rudimentary form,
and is also glazed in amber-yellow.
The cover is pierced with a lotus design, modeled and picked out in glaze to match
the pot.
The foot is biscuit and without mark.
Ascribed to early K’ang-hsi, the form represents an early Ming type.
Height, 6'/4 inches.
Diameter, 4 inches.
[ 67 ]
A CATALOGUE OF
No. 51
Tea-pot (called also wine-pot), early “famille verte” porcelain.
Cylindrically formed in imitation of bamboo staves joined together, with handle and
spout curved; the grooved divisions formed between the bamboo rings are decorated in
polychrome colors with small floral sprays alternating with roosters on a white glazed
ground, a dotted border inclosing the upper edge and the base.
The flat cover with scalloped edge partakes the form of the split bamboo outline of
the body, has a small raised bamboo branch as knob, and is decorated to match the
tea-pot.
Foot, with biscuit edge, bears a blue hall-mark of “ Praise.”
K’ang-hsi (1662-1722).
Height, 4 inches.
Diameter, 3 '/a inches.
[ 68 ]
ni
S
o
rv
tv
H
H
OQ
D-
'C
3
Ui
Q-
Q
in
B
&3
<
z
p
v-n
4^
a
OQ
D-
D
su
v>
m
n
n '
rD
o
&3
OQ
rt
z
p
v-n
H
rr-
5 '
OQ
Q-
D
P
3
o»
c
0)
H
0>
"D
O
Z
p
u>
Oo
CHINESE PORCELAINS
No. 52
Tea-pot (called also wine-pot), of hard-paste porcelain in early “famille
verte.”
Cylindrically formed, and in imitation of split bamboo joined together, with the handle
and spout curved.
The ring-like divisions of the bamboo are picked out with small floral decorations on
the various tinted grounds, including pale green, light lavender, and amber-yellow.
Its cover partakes the scalloped outline of the pot, and is tipped with a bamboo
twig for handle, and also painted with bamboo foliage, all emblematic and symbolical
of longevity.
Ivory-tinted glaze at the foot, with biscuit rim.
Era of K’ang-hsi (1662-1722).
Height, 3% inches.
Diameter, 3 ’ ^ inches.
[ 69 ]
A CATALOGUE OF
No. 53
Tea-pot (called also wine-pot, from its ancient use), early “famille verte”
porcelain, hexagonal shape, the six sides sustaining slightly raised and
pierced panels on which the lotus flower, with its foliage, is represented
in brilliant colors, including a pale-green body-color.
The sides are inclosed by a bamboo framing, which connects with the square bam-
boo handle and curved spout, all uniformly glazed in a pale violet; the upper surface,
over shoulder, is invested with a small diaper decoration in green; the attenuated neck
is fitted vsnth a small pierced and decorated cover, tipped by a small red button harmo-
nizing with the sides, and bordered in green with hatching.
The foot is glazed in an ivory-toned glaze.
Era of K’ang-hsi (1662-1722).
Height, 6V2 inches including handle.
Diameter, 4 inches.
CHINESE PORCELAINS
No. 54
Pair of Small Vases, with porcelain stands and covers, quatrefoil form
and vertical grooved lines, decorated “sur biscuit.”
The body ot these vases with the covers and stands have a uniform design, carried
out in “three-color” enamels, which prevailed during the dynasty of the Ming, under
the Emperor Ch’^ng-hua.
The features are four foliated panels displaying the tiger-lily, or lotus flower, con-
ventionalized, and glazed in yellow, green, and aubergine (manganese purple), bordered
in multifoil form, and imposed upon a finely penciled diaper ground flowered in green
and yellow, interrupted at the base by a band of palmation, in the same colors, includ-
ing aubergine. A small band of lotus petals, in opposite directions and divided by a
narrow band, encircle the neck and shoulder.
The low octagonal covers have lotus petals, with knob top, and the base is deco-
rated with a fret band and blossoms. The stands are decorated to match the vases,
and also show the biscuit paste unglazed.
Attributed to the dynasty of Ming.
Height, IOV2 inches.
Diameter, 3'/2 inches.
1711
A CATALOGUE OF
No. 55
Hexagonal Case (Butterfly or Cricket Cage), with perforated cover and
slightly raised base or tray.
The six sides of cover show two small oblong piercings, and a square reticulated
ornamentation involving the “swastika” symbol, an ancient mystic diagram and an alle-
gory of the blessing of long life.
The top of cover has a perforated geometrical foliation within a circle, and the re-
maining surface and sides are uniformly decorated with a finely penciled green diaper
with red flowering.
The base also contains oblong perforations, which divide the brocaded border deco-
rations on the six sides.
The interior is unglazed, as is also the foot, showing the biscuit paste to be white.
Attributable as late Ming or early Ch’ing porcelain.
Height, 7^/4 inches including cover and base.
Diameter of cover, 6'/4x6'/4 inches.
[ 72 ]
s
q
't)
%
V tn
n
cr
S
q
ru
CO
s:
q
ru
CO
n
a
cr
‘ta
c
PC
noilBiooab loIoD-aairTT
Three-color decoration
D
(JQ
V)
in
3
n
c
2
p
c^
X
rD
cu
2
9-
p
>-5
0>
CA
n
cr
5 '
n>
5
c;q
in
c
cr
c/> ’
n
c=
71
CJQ*
C
3
o
o
Q-
o
2
p
Ui
00
7^
3
(K
CO
3
K_
n
c
■o
2
p
Ui
O'
CHINESE PORCELAINS
No. 56
Two Small Cups (six-sided), with lotus-formed panels enameled in a
greenish-black, including small chrysanthemums and various other
flowers in blue and ivory-white.
A yellow and white palmation border surrounds the base, and the interior rim is
bordered with a red vermiculated band; included are free floral plants in colors on a
white ground below.
The small foot is glazed in white, without mark.
Era of K’ang-hsi (1662-1722).
Height, 2% inches.
Diameter, 3'/4 inches.
173 ]
A CATALOGUE OF
No. 57
Ming Head-rest, oblong with slightly concave sides, elaborately deco-
rated “sur biscuit” in “three colors,” notably yellow, green, and au-
bergine.
The design suggests two brocaded cloths with scalloped edging, on which appear
two phoenixes, or “ Fung-kwang” (the attributes of an empress), glazed in green and
aubergine on a flowered yellow tessellated ground. The center shows a peony in au-
bergine, and the other flowers are in ivory-white.
The alternating sides have overlapping brocaded bordering, showing a fine diaper
pattern in yellow and green, with a central rosette, representing a coin (emblem of
riches); and to the right and left are medallions, one with landscape of square form,
the other, leaf-shaped, showing allegorical fruit (peach) in a dish; an emblem of mar-
riage.
The other side is similar in its decoration, differing only in the two panels, one being
leaf-shaped with butterflies (symbolical of felicity), and the other in the form of a fan,
with allegorical gift objects (denoting official rank); the top is finished with a fret bor-
der at either end, in lavender, green, and yellow.
The two end panels are sunken and show yellow ground with pomegranates in the
four corners, alternated with the symbol swastika (a mystic diagram), edged with a
yellow, green, and lavender (diamond-fret) border.
Dynasty of Ming, probably Ch’eng-hua (1465-1487).
Size, 14V8 x4'/4x 4V4 inches.
[ 74 ]
CHINESE PORCELAINS
No. 58
Cabinet Figure (seated statue) of KuanYU, sometimes called Kuan-ti, or
“God of War,” brilliantly decorated “sur biscuit” in transparent glazes.
This idol is a deified hero of the civil wars (third century A.D.). Usually with a
slightly frowning mien, he is represented here with dignified features, long whiskers, and
mustaches of real hair. The coat of mail is shown in biscuit form and partly visible at
the chest, under a green glazed robe, that is embellished with yellow and light-purple
(manganese) dragon and arabesques, including large mask on the front. The face, hands,
and feet are reserved in biscuit form.
The open pedestal is partly in biscuit, and enameled in three distinct glazes of the
early “ famille verte ” colors ; a finely executed diaper design with flowering in the form
of brocaded silk.
Ascribed to a late period of the Mings.
Height, 1 1 inches.
Width, 5 inches.
Depth, 3 inches.
[ 75 ]
A CATALOGUE OF
No. 59
Small Cabinet Bottle, of globular form, with long slender neck, of fine
white hard-textured porcelain.
Painted in colored enanrels similar to its companion, but with a . lighter design and
smaller foliage.
The motive includes conventionalized convolvulus flowers, upon delicate wavy vine-
like stems covered with small leaves, and uniformly distributed in red, yellow, green, and
blue over the glaze, in varying tints.
The shoulder carries a brocaded border, with similar detail, on a stippled aubergine
ground, and the cylindrical neck is encircled with a brocaded fret bordering at the
upper rim.
The foot bears a mark like that on its companion (No. 60).
Ascribed to the eighteenth century.
Height, 9Ve inches.
Diameter, 4% inches.
[ 76 ]
s:
q
ru
Q/
n
U)
“2
’ c
■£ n
CO
2
S
n
t)
5:
q
'TD
O
n
tfi
T5
m
CO
o
e
o
D
c
T1
3
Z
p
v-n
n
cr
5 ■
a
Cj
c»
cr
ri
OQ
033
O
Z
p
c>
o
CHINESE PORCELAINS
No. 60
Small Cabinet Bottle, of globular form, with a slender cylindrical neck,
in fine white hard-textured porcelain, and painted in colored enamels.
The design carries conventionalized convolvulus flowers with fine scrolled vines and
leaves ; all are carefully rendered and uniformly disposed in varying tints of green, yel-
low, red, and blue over the glaze.
The shoulder carries a brocaded border, with similar detail and flowers, on a stippled
aubergine ground, and the long neck is encircled by a brocaded fret bordering at the
upper rim.
The foot bears a mark which is an imitation by the Chinese of old delft faience.
Ascribed to the eighteenth century.
Height, 9 ' 2 inches.
Diameter, 4^/4 inches.
A CATALOGUE OF CHINESE PORCELAINS
No. 61
Cabinet Jar, ovoid form, with its own bell-shaped cover; fine white hard-
paste porcelain, decorated in subdued enamel glazes of early “famille
verte” variety.
The body sustains a light-yellow glazing of amber tone, over which a delicately
penciled green arabesque motive is uniformly distributed ; the free design consisting of
long, curved vine stems bearing circular convolvulus blossoms with leaves and numerous
twigs in conventionalized style.
The shoulder carries a brilliant-red floral border, showing the design of buds and
stems in white reserve ; the base is bordered in a blue netted fret (under the glaze), with
a white ground that is inclosed on each side by double lines.
The foot is in white and bears a blue double ring under the glaze.
The cover is similarly decorated in green on a yellow ground, and topped by a white
knob with a red chrysanthemum embellishment.
Produced in the era of K’ang-hsi (1662-1 722).
Height, 1 0 V 2 inches with cover.
Diameter, 8 inches.
[ 78 ]
“FAMILLE VERTE” DECORATION
OVER THE GLAZE
PAINTED WITH FUSIBLE COLORS, AFTER THE GLAZING HAS
BEEN APPLIED TO THE WHITE PASTE AND SUBJECTED TO
THE PROPER FIRING.
The group of tall vases described and illustrated on the following pages,
with decoration upon a white foundation in transparent enameling over
the biscuit paste, form a class by themselves, are so recognized in China,
where they have always held a high place in private collections, and now
rank among the highly prized productions of Eastern ceramics.
Several examples are characteristic types in paste and colors produced
in China under the Mings; others date from the end of that dynasty, or
were produced in the reign of the Emperor K’ang-hsi, when such products
reached a definite character. Their distinctive forms, their beauty, and the
manner in which the enamels are employed to heighten intensity of effect,
combine to attest their provenance.
[ 79 ]
A CATALOGUE OF
No. 62
Grand Vase, tall and graceful, of “balustre” shape, with long spreading
neck: “ famille verte” type of rare quality, and of brilliant white
porcelain, elaborately decorated in rich translucent enamels, and in full
colors of the palette of its period.
The design includes panels of diverse forms that sustain individual subjects, attrac-
tively painted on the white glazed body, and reserved from the intricate green-brocaded
ground-color, with its finely penciled (“honeycombed ”) diaper, over which are interspersed
numerous conventionalized blossoms, in yellow, red, and blue opaque enamels; included
are also various Taoist emblems, shown near the shoulder.
The largest panels are alternately upright and foliated, the former beautifully embellished
with two separate motives — i.e., landscape scene, and a flowering tree with its blossoms
delicately rendered, rooted among rocks, and also enlivened by birds. The two foliated
panels sustain, separately, a landscape with deer, and lotus flowers with birds, all carefully
painted upon the white glazed ground with colors showing a peculiarly delicate luster.
The three lower panels are smaller and in varying outlines of a leaf, displaying alter-
nately floral and bird subjects, a “dog Fo,” and also mountainous landscape with a
distant and barely visible pavilion.
The tubular neck is surrounded by varied leaf-shaped panels, including fan and foli-
ated forms, that sustain separate subjects; notably birds and flowers with landscape; one
panel includes the fabled grotesque Ky-lin (Ch’-lin), emblematic of good government.
The upper rim of neck is finished by a diapered band of “ flowered honeycomb,” in-
terrupted by white vignette panels displaying emblems ; the shoulder is also encircled by
a similar broad honeycomb band, divided by vignettes in white, that show the fabled
and grotesque lion or “dog Fo.”
The base is finished by a diaper band divided by four white vignettes, inclosing
symbolic ornaments, which, together vsnth the others on neck, complete the set of “ Pa-
pao,” or eight “precious things,” distinguished by the ribbons entwined with each.
| 80 ]
Sd .o^^
noileioosb loioo-navaS .aafiV bnBiO
(izH-gnB”^)
■
No. 62
Grand Vase, Seven-color decoration
(K’ang-hsi)
ic'
I
CHINESE PORCELAINS
These tall vases are sometimes called “Imperial” or “Palace Vases,” and their
decoration in “seven” colors is always refined, and of great artistic excellence in details
of drawing.
Era of K’ang-hsi (1662-1722).
Height, 30 inches.
Diameter, 1 1 V 4 inches.
From the Salting Collection, London.
[ 81 ]
A CATALOGUE OF
No. 63
Cylindrical Vase, club-shaped, with rounded shoulder and tubular neck
attenuated and slightly flaring. Fine-textured hard porcelain, decorated
in the “seven-color” palette of K’ang-hsi, “famille verte” type, and
of brilliant quality.
The boldly drawn mountain landscape and figure subject is carried right around and
helped out at the back by large rocks and trees, with conventionalized mist and clouds.
The motive with figures is centered by an emperor, presumably Wu-ti (Han dynasty),
seated in a richly mounted and wheeled palanquin, accompanied by a retinue of at-
tendants and armed body-guard ; in the distance, an approaching army is suggested by
the numerous banners and standards partly visible, among the defiles of a mountain pass.
The subject illustrates an interesting and famous episode in Chinese history (108—101
B.C.) ; the mounted warrior is Li Kuang-li, who had been dispatched two years previously,
with a large following, to avenge the murdering of a former expedition, that had been sent
(also by this Emperor) to a distant domain, ruled by T’a-yiian, who was known to possess
rare blooded horses of a Turkoman strain, that were secreted in one of his provinces
(Ir-schi). This first mission, heavily loaded with presents, and including a large following,
was purposely waylaid on approaching its destination and foully murdered, which led to
a second mission, intrusted to Li Kuang-li, who, as general, headed an army for this pur-
pose, but returned, as shown above, without accomplishing anything or bringing any of
the famous horses, so much desired by his Emperor. On this account the Emperor, who
had traveled to the frontier to meet Li Kuang-li, and discovered his failure, forbade him
or any of his troops to cross the border on pain of death.
Subsequently another invasion of Ir-schi, and against T’a-yiian, was ordered by this
Emperor, including a large army, recruited by the same general, composed of 60,000
men, half of whom were killed in this expedition, conquering T’a-yiian.
Numerous banners are visible, but three bear mystic and rather enigmatical devices :
i.e., one behind the Emperor’s vehicle displays the ancient and curious combination of
mystic points called “ Lo-chou,” inspired in very remote times, and very seldom seen on
porcelain.
[ 82 ]
_ <
Q)
2
o
O'
VjJ
(T)
S’
H
£L
^ <
7^ Si
cu'
TO “H
-U ^
W. i.
?F
z
p
-ti-
<
n
S’
-1. jtW-j
/
. ^
\
CHINESE PORCELAINS
A second banner or standard is in green with purple edging, and shows part of the
popular “eight trigrams” known as “Pa-kwa,” a mystic symbol often seen on porcelain.
Another banner bears the circular symbol “Yang and )dn,” representing the active
and passive principle in development.
This picture, which is so admirably composed, with so much decorative force, is
probably an adaptation from an old painting of remote times, and is here perfectly ren-
dered in harmonious and transparent colors.
The shoulder is encircled by a three-color motive, involving a fungus plant amid waved
lines; and the white-glazed body-color of the neck extends to the upper rim, where it
is finished by a green fret and a line of dots, and below displays four large decorative
characters, “Shou” and “Fu” alternately, in opaque blue enamel.
The base is slightly curved and shows a clean-cut margin in white.
The underneath foot has a blue ring under glaze.
Era of K’ang-hsi (1662-1722).
Height, 1 8 inches.
Diameter, 7 '/2 inches.
183 ]
A CATALOGUE OF
No. 64
Tall Cylindrical Vase, with rounded shoulder and attenuated neck (club
shape), of fine white hard-textured porcelain, richly decorated over the
glaze, in “seven colors” of the “famille verte” variety, of rare brilliancy,
with gilding.
The body is covered with a brocaded design on a stippled green ground, includ-
ing scroll-formed vines, with leaves, and aster flowers, in brilliant red (of iron); this
color also forms a bordering for three large upright panels, which are reserved in white,
and separately painted, bearing the three star gods: The first presents Fu Hsing, “God
of Happiness,” clad in green -with purple trimming, wearing an ancient black head-
covering showing a crest, and holding a long golden tablet in one hand, with the other
stroking his long beard, a boy attendant following, carrying a heavy scroll. The back-
ground includes an elaborate railing, and, above, a line of clouds finishes a dignified
picture.
The second panel sustains Lao Tsze (Shou-lao), the “God of Longevity,” with high
bald head and mobile face, leaning on a long staff, clad in Imperial robes, brocaded with
circular longevity symbols of “Shou” and “ Fu”; a boy attendant is bearing a fabulous
peach (“ Fan-tao”), the attribute of this deity.
The third panel holds Lu Hsing, the “God of Rank,” richly attired in brocaded
robes and holding a “Ju-i” scepter, in red; also attended by a boy who is reaching for
the symbol of rank. A bamboo railing forms an accessory, and completes the panel.
The shoulder sustains a rich brocaded diaper bordering interrupted by four white
foliated medallions, showing Taoist emblems; the white margin-lines, reserved on each
side, are followed by a fungiform or lanceolate bordering, one of which overlaps the
body, and the other is at the edge of neck.
The tubular neck presents a fine white paste simply embellished by three characters,
“Fu,” “Lu,” and “Shou,”^ painted in green and yellow enamel colors over the glaze,
simulating applique brocaded silk. The upper part of neck is encircled by a green
^ Fu, happiness ; Lu, official rank ; Shou, long life; Triad of the Taoist cult.
[ 84 ]
CHINESE PORCELAINS
diaper border followed by small vermiculated bands in a deep coral-red, and the rim
bears a small key-pattern fret.
The base is finished by a scalloped and dentate border, against the green brocaded
field above.
The foot is of line white texture, without mark.
Era of K’ang-hsi (1662-1722).
Height, 1 8 inches.
Diameter, 7 inches at shoulder.
[ 85 ]
A CATALOGUE OF
No. 65
Tall Cylindrica Vase, with rounded shoulder and attenuated neck (club
shape), of fine white hard-textured porcelain, richly decorated over the
glaze in the “famille verte” palette of “seven colors.”
The body of vase is covered with a brilliant brocaded design, including coral-red
lotus flowers, that are dispersed over the transparent and stippled green ground, together
with green leaves; dragons in light green and opaque blue are also involved.
Two large upright panels are reserved and separately embellished with rural land-
scapes: rice and silkworm cultivation and figures.
The first panel shows a group of ladies at a window, with an awning (disclosing an
interior w th racks holding silkworm trays that are referred to in the Poem above) ; one
of these ladies holds a basket. Another lady, carrying mulberry plants, is approaching
the house from an adjoining veranda, followed by an attendant carrying a basket full of
these leaves on his shoulder.
The foreground shows rocks and herbage glazed in varying tints of green; a finely
painted tree is in the background, close to the house. The poem and motive are derived
from a publication known under the name of Kong-chi-t’u, published, under the Emperor
K’ang-hsi’s orders, by the artist Tsiau Ping-chon.^
The second panel represents a watered rice-field, with laborers engaged in sticking
bunches of rice plants into the watered mud near a house; a bridge, and other accesso-
ries of trees, rocks, and herbage, are all carefully and minutely rendered, in brilliant and
transparent glazes of rare clearness, and with considerable regard to perspective values.
A bordering in green key-fret frames these two panels, and the shoulder embellish-
ment begins with a small dentate border, leaving a white margin inclosed between lines,
and a double row of dots, followed by carefully rendered coral-red palmation, and by a
green fret at the junction of neck and shoulder.
^ The painter Tsiau Ping-chon was a native of
Tsi -ning in Shan-tung, and occupied the position
of a director in the Astronomical Board in Pekin.
As an artist he is described by his Chinese biog-
raphers as follows: “In placing his figures he made
the near and the far correspond to the large and
to the small without a mistake, for he worked
according to the method of the West.” “An
observation,” writes Professor Hirth, “ which
seems to be confirmed by his work.”
[ 86 ]
2
p
o^
H
7n
Cu"
P
OQ
<
aj
3
2
p
o^
3
I
CHINESE PORCELAINS
The neck sustains a green diapered ground in purple and yellow penciling, interrupted
by four white reserved panels, that are separately decorated; the two larger show gift
objects (vases and censers), and two fan-shaped medallions conteun flowers. The rim
is bordered by a key-fret in green.
Underneath foot in white and without mark.
Era of K’ang-hsi (1662-1722).
Height, 1 7 inches.
Diameter, 7V2 inches.
[ 87 ]
A CATALOGUE OF
No. 66
Cylindrical Vase, with sloping shoulder and attenuated and slightly flar-
ing neck (commonly known as club shape), of fine hard white porce-
lain, decorated in typical colors of the “famille verte” variety, with
iridescent qualities and much brilliancy.
The elaborate colored motive consists of a series of eleven pictorial subjects, arranged
in tiers and displaying Imperial personages and groups in various engagements, most
probably a representation of historical events, with landscape and interior settings, care-
fully and minutely executed upon the panels, that are disposed upon a green stippled
ground, that is enriched by a superposed painting of storks and blossoms in varied colors.
T wo of the landscape panels, representing a mountainous region of China, are upon the
neck, which is finished by a “herring-bone” band at the rim in green, and a “scepter
head” or fungiformed border in yellow and green enamel surrounds the shoulder.
The white foot bears a blue ring and leaf-mark under the glaze.
The ensemble, its paste, quality of colors, and drawing, clearly indicate the K’ang-hsi
period (1662-1722).
Height, 18 inches.
Diameter, 7 inches.
[ 88 ]
CHINESE PORCELAINS
No. 67
Cylindrical Water-holder, with arched rim and curved spout springing
from dragon’s mouth, the decoration “sur biscuit” in the three colors
prevailing during the Ming dynasty.
A perfect cylindrical form, divided into three sections by raised triple-corded bands
in light amber-colored glaze that, hoop-like, encircle the body.
The upper band and the next lowest have two affixed grotesque lion-masks, with
holes (intended for a handle), and these three divisions so formed are uniformly decorated,
on light transparent green ground, showing finely outlined spiral formations in black,
that, with dashing sprays of water, suggest a whirlwind; various symbolic attributes,
blossoms, and leaves are superposed on this ground, together with horses that are
strongly defined in aubergine and light-amber glaze: the animals are doubtless dnven
into action by the turbulent elements suggested in the design ; they probably represent the
legendary steeds of the Emperor Muh-wang, who ascended the throne 1001 B.C, (the
legends state that he set his famous horses loose after many and long journeys). The
expression of action, marked by such simplicity in drawing, together with the calli-
graphic vitality in touch, suggests their derivation from an artist (possibly Chao Meng-
fu) of the Sung dynasty, who was noted for the painting of these horses.
The shield-like projection on the top is decorated on the outside with a separate
motive including a bird and other details picked out in yellow and aubergine on the
green ground.
The foot is in biscuit and is of characteristic quality.
Era of Ch’eng-hua (1465-1487), Ming dynasty.
Height, 16 finches.
Diameter, 5 ^ 1 2 inches.
[89j
A CATALOGUE OF
No. 68
Tall Rectangular Vase, massive fine white porcelain, with small raised
openwork medallions, brilliantly decorated in “seven colors” of the
“famille verte” palette.
The four upright panels display elaborate “over-glaze” painting, which effectively
involves red lotus blossoms, on a transparent green brocaded ground with arabesques
and foliage, in combination with the raised openwork medallions.
Each side sustains two “a jour” medallions slightly raised; of these the lower are uni-
formly square, and have landscapes with the fabled “dog Fo” in lustrous glazes; the
upper row of medallions are alternately fan-shaped and round, depicting flowering plants
and birds, together with land and water scenes, all carefully executed in the paste and
picked out with bright-colored enamels.
The sides are uniformly inclosed by a narrow green and black border, with the outer
edges showing the glazed white body-color. The decoration on the incline of shoulder
carries the brocaded design from the sides into a raised “ scepter head ” or fungus-like
band in green “ over-glaze,” with a white reserved outline.
The square neck, with its raised band of green palmation upon the white body,
starts from a small key-fret in red glaze, and is finished at the top by a projecting rim,
showing on each side two small green archaic motives.
The base, which is slightly contracted from the body, carries a small diamond-shaped
border, and the lower edge is finished with a small scroll.
The under foot is biscuit, with a glazed sunken panel.
Its period is seventeeth century (late Ming or early K’ang-hsi).
Height, 1 8 V2 inches.
Diameter, 6'/4 inches.
[ 90 ]
H
<4
05
m
S
o
O
CO
k:
o
n
"S
c
PC
-S
rr-
(C
E
S
o
o
OJ
Q.
a
S£ r“
<«
_Q
S
q
'O
Q/
in
rt>
<
H
£L
n>
n
ST
3
OQ
C
<
z
p
o^
00
3
OQ
in
sD
C
Cu
1= >
p_
Q-
z
p
o
3
era
in
a>
<
a
3
O-
0)
H
p
CD
n
c
<
z
p
O'
CHINESE PORCELAINS
No. 69
Tall Square Vase, with figures in relief. The porcelain is of fine hard texture
and massive, decorated in brilliant “famille verte” colors.
The vertical sides, tapering from the shoulder to the base, present a series of four groups,
modeled in high relief and richly glazed : The first includes Lao T sze, the ancient philos-
opher and founder of Taoism, with lofty brow in accordance to traditions, accom-
panied by a boy attendant holding a long stem or a tablet; and a landscape setting in
various colored glazes against a fine white ground.
The second panel holds an official m court attire walking in a terraced garden with
balustrade, accompanied by a boy bearing a long stem with a lotus flower (an emblem
of fruitfulness). A high rocky cliff is in the background, and, above, an inscribed poem
finishes the panel.
The third panel presents an official bearing the “ Ju-i ” wand (of official rank), accom^
panied by a boy carrying a presentation vase. A large growing palm tree is shown, in-
dicating retirement and freedom from the turmoil of life.
The fourth panel presents a warrior with bow, and also a boy, who holds an arrow
with a lancet point (an ornament or symbol), possibly being instructed in archery; an
inscription also adorns this panel.
The square attenuated neck, flaring into a broad rim at the top, decorated with a fret
in green, has raised gift vases below separately picked out in transparent colored glazes.
The bevel shoulder panels are in rich brocaded design, showing red blossoms and green
foliage on a light-green ground ; a similar brocaded pattern fills the panels on the con-
tracted base, which spreads outward.
The foot underneath is biscuit.
Era of K’ang-hsi (1662-1722).
Height, 1 8 inches.
Diameter, 6* 4 inches at foot.
[ 91 ]
A CATALOGUE OF
No. 70
Tall Square Vase, of dense heavy porcelain, v^ith “ famille verte ” decora-
tion: made to hold arrows. This specimen is mounted on a Louis XVI
bronze stand to replace its original porcelain pedestal.
The four quadrangular sides of the vase are alternately embellished with raised and
openwork ornamentation in separate divisions, and with painting in polychrome enamel
colors of the early K’ang-hsi period.
A broad horizontal band with a pale amber-colored ground in “over-glaze” decora-
tions surrounds the middle of this vase, showing a “four-clawed” dragon-like serpent
(Mang), alternately in green and red, surrounded by arabesque foliage in green and lotus
blossoms in red and manganese purple (aubergine) ; this band divides each side into three
distinct sections: The upper, with a white-glazed ground, sustains two separate adorn-
ments — i.e., two raised medallions with blossoms and foliage in bold relief, and a rich
flower and fruit decoration in brilliant colors; the alternating motive being (two) raised
circular “Longevity” characters (“Shou”) in openwork and gilding.
The lower division, with its white ground, contains a circular decorated medallion on
each side, displaying a rampant dragon pursuing the “precious gems,” or pearls, amid
conventional cloud and flame symbols; two of these dragons are green, alternating with
one in aubergine and one in red.
Two narrow and raised key-fret borders in green and purple (aubergine), together
with a third band showing a floral decoration on a stippled ground, finish and emphasize
the middle and upper divisions.
The white body-glaze is slightly tinged with a delicate and barely visible cdladon
shade.
Early K’ang-hsi (1662-1722).
Height, 1 8 Ve inches.
Body, 4 inches square.
,ol4
\ \ .oH
noilBioDab loIoo-navaS ,898 bV HbT iibS
(i8rl-§nB'}^)
No. 71 No. 72
Pair of Tall Cylindrical Vases, Seven-color decoration
(K’ang-hsi)
i
!
CHINESE PORCELAINS
No. 71
Tall Cylindrical Vase (so-called club shape), with sloping shoulders and
attenuated neck, flaring slightly toward the upper rim. White hard-
texture porcelain of fine quality.
The embellishment presents a warrior subject, including a rocky landscape and de-
tached cliff-like formations, in relief and carefully picked out in brilliant colors of the
“ famille verte ” variety with gilding, upon a uniformly white glazed ground.
The central figure (crossing a bridge) represents a burly truculent giant (probably
Kuan Yii or Chung-kwei) clad in official garb. Other mounted warriors are approach-
ing with different ancient arms, including spears, swords, leaded balls and loops.^
In the distance a group of three persons includes an emperor, or commander of high
rank, attended by his standard-bearer displaying the character “ Ling ” (commanding
officer), and a dragon displayed amid the conventional clouds completes a strikingly
vigorous motive.
The shoulder is decorated with a brocaded arabesque design in red, involving chrys-
anthemums and four white reserve medallions that show a separate treatment of flowers
and fruit in several colors, and a small green scalloping finishes the outer edge.
The neck is encircled near the shoulder by a green and black fret band, and two
small scalloped borders form a center division that sustains a red and gold dragon amid
clouds and flames in low relief.
The upper rim is bordered by a fret design penciled in red, and the foot is finished by
an involuted band of spear-heads.
Produced in the eighteenth century (probably toward the end of the reign of K’ang-
hsi).
Height, 29 inches.
Diameter, 8 inches.
^ An ancient weapon of iron or lead attached to a line, which is thrown at an opponent.
The feat is to throw the ball very swiftly from side to side to its full extent.
A CATALOGUE OF
No. 72
Tall Cylindrical Vase (companion to No. 7 1 ), with sloping shoulders and
attenuated neck, flaring slightly toward the upper rim. White hard-
texture porcelain, of fine quality.
The embellishment presents a spirited warrior subject, including a rocky landscape
and detached cliff-like formations, in relief and carefully picked out in brilliant colors of
the “ famille verte ” variety with gilding, upon a uniformly white glazed ground.
Two distinct groups of armed horsemen, in full charge toward each other, are con-
fronted by the appearance of wild animals, including the burly rishi giant Chung-kwei(?).^
A banner shown by one of the groups bears the mystical symbol “Yang and Yin.”
Fragments of rocky landscape with conventional clouds concludes the raised and colored
decoration.
The shoulder is decorated with a brocaded arabesque design in red, involving chrysan-
themums and four white reserve vignettes or panels showing a separate treatment of
flowers and fruit, and a small green scalloping finishes the outer edge.
The neck is encircled, at the shoulder, by a green and black fret band, and two small
scalloped borders form a center division that sustains a red and gold dragon amid clouds
and flames in low relief.
The upper rim is bordered by a fret design penciled in red, and the foot is finished by
an involuted band of spear-heads.
Produced in the eighteenth century (probably toward the end of the reign of K’ang-
hsi).
Height, 29 V 4 inches.
Diameter, 8 inches.
^ A favorite myth of the Chinese. He was supposed to be a ghostly protector of the Emperor
Ming Hwang (713-762 A.D.), and is sometimes shown riding upon a lion or tiger.
[ 94 ]
No. 73
Tall Square Vase
Famille verte, showing the four sides
( K’ang-hsi)
r
CHINESE PORCELAINS
No. I'h
Tall Square Vase, brilliant “ famille verte ’ type (polychrome colors with
the green predominating), its rectangular form tapering downward from
the curved shoulders, with a slightly everted cylindrical neck (mortar-
shaped); the paste is of fine hard texture and rare purity.
The four vertical panels show two separate treatments in superb “over-glaze” decora-
tion and lustrous colors; two sides have a light transparent green ground sustaining in-
dividual floral motives of minute and felicitous detail: one side presents a charming
combination of the peony and magnolia plants, with their blossoms and foliage, in warm
natural tints, springing from behind an open rocky cliff, with pheasants and other birds
contnbuting to the animation; the other green panel carries an old dwarfed peach (or
plum) tree with its stems in aubergine (manganese) glaze, bearing white and yellow
blossoms; they are encircled by many magpies, birds of good omen, hovering about the
fragrance.
The two alternating panels show a white ground with landscape and figures, in the
distinctive colors and classic taste prevailing in China during the seventeenth century,
under the Viceroy Lang-ting-so, at the King-te-chen (Ching-le-chen) factories.
The legendary subject depicted upon one of these panels includes a high mountain
(Kw’en Lun) with steep and rugged ledges, through which a distant sea (“Lake of
Gems”) is visible; in the foreground are gathered legendary beings (Taoist immortals),
assembled, it appears, at the mountain realm of the Genii fairy Hsi-wang-mu, who is
presented nding on the back of a fabled phoenix (Feng-huang) flying to the place of
meeting, attired as a pnncess, with a “ Ju-i” scepter, and nearing the old sage, presumably
Lao Tsze, the ancient Chinese philosopher (termed also “God of Longevity,” and appear-
ing with a less pronounced high forehead than usual), who stands upon a high projecting
ledge; he is about to be charged with an important mission by Hsi-wang-mu for a dis-
tant votary, and, possibly, to receive a “sacred peach” from the Genii fairy.
The fourth panel, on the reverse side, presents a more domestic scene, and one that
may be also interpreted from Chinese legends. Lao Tsze, as history has it, was a very
small man, and is here so represented, and m the act of delivering the “sacred peach”
[ 95 ]
A CATALOGUE OF CHINESE PORCELAINS
of longevity coming from the fabled tree “Fan-tao” growing in the domain of Hsi-wang-
mu, conferring with it the gift of immortality on the venerable person depicted, possibly
the King Mu, who in his travels (B.C. 985) was entertained by this fabled queen of
the Western regions: or it may be the fairy-queen’s future consort, Tung Wang-kung, an
Eastern king.
A young prince stands by this favored mortal, fondly embracing him, while a very
tall person in court attire is holding a scroll, indicating a possible interruption in the read-
ing of a state paper.
A child in a wheel-chair, with an attendant, is engaged in the meantime watching the
antics of three boys passing near the terrace; palms and an old pine tree in the back-
ground complete a masterly handling of this group, that is probably copied from the early
masters of the Sung or the Yuan dynasty.
The four panels described are surrounded by a margin with fine lines, effectively fram-
ing them, and the curved shoulders carry peach blossoms. A medallion, also in the form
of this fruit, with green ground, embellishes the neck, portraying Lao Tsze borne on
clouds and holding a branch of the sacred peach tree, which, legends state, blossoms
every three thousand years and yields its fruit three thousand years later. An inscription
on the neck finishes the fascinating homogeneous decoration of this vase : from a little
poem, entitled “Mu-tan” (Peony), the author of which was Han Tsung, who lived dur-
ing the T’ang dynasty. The poem refers, in part, to “the dew of the fairies’ golden
hand,” and also to “the precious hall,” alluding to the Han-lin Academy. “The jewelled
hall,” a term of respect for the Han-lin (Professor F. Hirth, Ph.D.). S. Lockhart’s
“Manual of Chinese Quotations” gives a transcription of this poem reading: “In the
morning its beauty widely spreads the dew of fairy hands ; at night its fragrance in-
tensely attracts the wind of the Jade-stone hall,” a reference to the reputation of Han-lin
academicians.
The foot is in biscuit, with sunken panel bearing a blue leaf-mark (Artemisia), with
a small ancient inscription under glaze.
its provenance is ascribed to the era of K’ang-hsi (1662-1722).
Height, 19‘/2 inches.
Shoulder, 5^/e x 5^/a inches.
[ 96 ]
GROUP WITH A COLORED FOUNDATION
The tall square vases with a reserved design of transparent enamel glazes
against a colored foundation properly constitute a distinct class by them-
selves, and they have for centuries ranked among the noblest creations of
the Chinese ceramist. Esteemed by native connoisseurs, they have also
held a high place in mandarin and princely collections.
The several examples represented here are of a particularly high order,
with all the characteristic attributes in point of paste, and rare colored
glazes, which easily distinguish them and the period. It may be freely
stated that their degree of excellence in technique, form, and embellish-
ment has not been reached in former eras nor since.
With regard to certain colored glazes which are taken as distinguish-
ing marks, attention may be called especially to the tints of manganese
purple, to their peculiar transparency and shades, and to the emerald and
yellow-toned greens which always characterize the early products of the
K’ang-hsi era, while the yellow enamel color is itself also noteworthy.
Vide Nos. 74 and 75.
|971
A CATALOGUE OF
No. 74
Tall Square Vase, Imperial yellow-glazed ground, with the so-called haw-
thorn blossoms and other symbolic flowering plants, held in reserve.
A fine rectangular form is presented, tapering down from the shoulder, with a slightly
flaring cylindrical neck, like a chemist’s mortar. The porcelain is of fine hard texture
and sustains a most resplendent floral embellishment, that, with changes in the ground-
color, give sumptuousness to its extraordinary decorative splendor.
Each of the four vertical panels carries a superb symbolic decoration of a flowering
plant, that indicates its season — e.g., the fair peony (for spring) is represented in full
bloom, and large; several are colored in brilliant red, relieved by one in purple and another
in white, growing on strongly marked and knotted branches, glazed in neutral aubergine,
springing from amid open rocks and other herbage in var)dng shades of green, and all
carefully rendered, including some birds.
The second panel displays the radiant lotus (for summer) boldly drawn and penciled
in a strong red; the large and long stems are in green, and grow among different ferns,
in shallow water, with several insects hovering above.
The symmetrical chrysanthemum (for autumn) fills the third panel, showing the flowers
carefully penciled in red, with here and there one picked out in purple glaze, growing
from the side, among rocks on an elevation, and in strong outline against the yellow
body-color.
The delicate blossoms of the wild prunus (for winter) fill the fourth panel, showing
many of the flowers in red ; the branches are carefully picked out in aubergine glaze, with
darker hatching of the same tint, and rooted among rocks on the side of a precipice.
The rendering of the finely tapered stems and branches, bearing the blossoms in diminish-
ing sizes, is typical, and tends to give perspective value to the otherwise flat unshaded
coloring. This freely handled floral motive is animated by a few birds hovering above the
fragrant blossoms.
The mortar-shaped neck is also invested with a yellow glaze and flowering plants
involving insects and butterflies, including two dark-green and yellow chevron-fretted
[ 98 ]
.oM
98bV 916Up8 IIbT
luol aril §niworla .bnuoig wollay-lBnsqfnl
(lerl-gnB*^ yJib3)
No. 74
Tall Square Vase
Imperial-yellow ground, showing the four sides
( Early K’ang-hsi)
r
\
CHINESE PORCELAINS
bands that finish the upper and lower edges, with a purple line on either side. Sprays
of floral blossoms finish the shoulders.
A white-edged margin with fine purple lines frames the four panels, and completes
an altogether characteristic decorative design, that is enhanced by the wonderful richness
of the colored enamels, exemplifying one of the rare types produced under the Emperor
K’ang-hsi, and ascribed to the prefecture of Lang.
The foot is partly in biscuit and incloses a sunken white-glazed panel with the six
character-marks in blue of Ch’feng-hua (1465-1487) of the Ming dynasty (apocryphal).
The combined colors attest its provenance as early K’ang-hsi or T s’ing-yao.
Height, 1 9 inches.
Diameter at shoulder, SVg inches.
Diameter at base, 4% inches.
From the collection of Chang-yen Huan, formerly Minister at Washington and
special Imperial envoy to England for the Queen’s Jubilee.
[ 99 ]
A CATALOGUE OF
No. 75
Tall Square Vase, with light-green ground, of the so-called hawthorn
class, its rectangular form tapering downward from the shoulders, with
a slightly flaring cylindrical neck.
The paste is hard and of fine dense texture, agreeably sustaining a soft light-green
glazing that is of rare mottled quality, harmoniously blending with the emblematic
flowering plants, rendered in low tones, with masterly freedom and much delicacy, in
the typical glazes of the early K’ang-hsi palette/
Each of the four vertical sides indicates a season by its distinctive flower — e.g., the
peony, for spring, is represented in aubergine and yellow, with the knotted and strongly
marked branches, in neutral manganese glaze, springing from near large pointed rocks,
amid other herbage, all picked out in various green, purple, and yellow glazes.
The lotus, for summer, is naturally displayed on the second panel, with large leaves,
its seed and long stems growing in shallow water and among ferns and grass; two
ducks in the foreground, together with insects above, lend life and aid the composition.
The chrysanthemum, for autumn, fills the third panel, and is shown clustered among
large rocks that project from the side of an elevation, all carefully glazed in various
greens, yellow, purple, and aubergine, in strong outline against the pale-green ground-
color.
The blossoms of the wild prunus (hawthorn), for winter, are represented on the
fourth side, rooted close to a large pointed rock, with the numerous branches knotted
and knurled to suggest an old tree, and glazed in neutral-toned aubergine with dark
hatchings; the foliage is picked out in var)ong shades of green, while the blossoms are
in white reserve, with yellow in the coronas, carefully drawn in various sizes from the
full-grown blossom to the smallest buds; two magpies hover above, one of which is
yellow and the other purple, while both have green wings ; a small disk represents the
sun on this and on the peony panel.
^The few examples of this class known to-day Ts’ing-ying-hsuan as superintendent, and it was
have been ascribed as made under the prefecture he who especially became famous for such objects,
of Lang, who retained his office until about 1 688; known in China as Ts’ing porcelain,
but in the year 1683 the Emperor appointed
[i00|
era
S’
5
H
.
era
2L
75
o
c
CD
ang-
3
Q-
X)
c
Bi
z
p
D“
C/)
(A
rr
3
o
<
in
5 '
era
(A
0>
£L
c/»
5 -^
1
(
CHINESE PORCELAINS
The four edges of the vase have yellow-glazed margins and a line of aubergine fram-
ing each panel.
The mortar-shaped neck is also invested in pale-green glaze, like the sides, and sus-
tains various flowers, butterflies, and insects which are dispersed over the field; dark-
green and yellow chevron-fretted borders, at the lip and edge of shoulder, accompanied
by a small band in purple manganese, finish the neck. Each shoulder displays emblem-
atic fungus forms, among grasses, in purple and yellow.
The foot is partly in biscuit, and the white-glazed sunken panel bears the six blue
character-marks of the period Ch’eng-hua (1465—1487). Dynasty of the Ming (apoc-
ryphal).
Paste and translucent glazes are characteristic Ts’ing-yao types produced under
K’ang-hsi.
Height, 1 9 ^ 4 inches.
Diameter at shoulders, 5% inches.
Diameter at base, 4% inches.
From the collection of Chang-yen Huan, formerly Minister at Washington and
special Imperial envoy to England for the Queen’s Jubilee.
[ 101 ]
PORCELAINS WITH A BLACK GROUND
These porcelains, showing the reserved design separately treated in
light transparent and opaque enamel colors, form a characteristic class by
themselves. This mode of decoration, originating in China, has for cen-
turies been applied upon both biscuit and the purest white paste. It
may be stated that to fix the opaque black enamel, and to cover the
ground and to assimilate evenly, taxed the skill of the ceramists of early
periods, so that such products afford standards of excellence to all sub-
sequent eras and remain unrivaled to this day.
The dull black enamel color is developed under the action of a central
fire, of an intensity suited to the fusibility of the metallic oxides used.
To produce the desired color white lead is employed, mixed with oxides
of cobaltiferous manganese and copper. In some pieces made in more
recent periods, the black enamel shows clear signs of a treatment to
reduce its natural brilliance in imitation of the older specimens.
The brilliant black enamel is obtained from oxides of manganese and
calcined cobaltiferous ores, with a mixture of certain proportions of fer-
ruginous earth, which gives the brown tinge called in China “Tzii-chin.”
The number of metallic oxides used for other colors, viz., green, yellow,
amber-green, etc., although limited, were combined by the ceramists in
varying mixtures, so as to obtain many contrasting tints of special beauty
and quality.
[ 103 ]
A CATALOGUE OF
No. 76
Square Vase, “ black-hawthorn ” variety, tall, with rectangular body
tapering downward from curved shoulder that unites with the graceful
flaring (mortar-shaped) neck: the porcelain is of dense white kaolinic
paste, and of fine texture, showing at the foot and on the edges of the
four panels.
The four sides are superbly embellished with favorite Mandarin flower subjects, in bril-
liant polychrome colors, pleasingly relieved by the soft greenish-black enameled ground.^
Graceful flowering plants are presented on each vertical panel, that symbolize a
season : i.e., the fair peony for spring, the lotus for summer, the chrysanthemum for
autumn, and the wild prunus (hawthorn) for winter, shov/ing the blossoms in red and
white ; all are skilfully rendered in drawing and in typical colored glaizes, including red
of iron, with the foliage and rugged masses of rocks in various brilliant shades of green ;
the stems are glazed a characteristic manganese (purple tone) employed during the pre-
fecture of Lang, under the Emperor K’ang-hsi.
The neck and four corners of shoulder are separately enriched by sprays of blossoms
and flowers, with the black ground-color of body ; two narrow borders in “ herring-
bone ’ ’ chevrons, picked out in green and yellow glazes, encircle the top and the base
of neck.
The foot is in biscuit, and has a sunken glazed panel bearing the six (apocryphal)
Ming marks of Ch’eng-hua (1465-1487), but the specimen may be ascribed with more
certainty as early K’ang-hsi (1662-1722).
Height, 20 Va inches.
Diameter at shoulder, 5 x 4 ^/4 inches.
Diameter at foot, 4'/2 x 4 V 2 inches.
From the collection of Chang-yen Huan, formerly Minister to Washington and
special Imperial envoy to England at the Queen’s Jubilee.
’ Specimens with a black enameled ground in to us from those remarkable epochs in ceramic art ;
which the design is reserved for a separate glaz- from which we may amply adduce the great skill
ing are among the inventions for which the Chinese of ancient ceramists, aside from any designs by
deserve special credit, as they are technically their great painters which may have inspired them,
among the most notable productions handed down
[ 104 ]
7^
a)
3
(TQ
CO
cy
n
3
3
O)
Ot
O-
OQ
o
3
3
Q-
co
c
&3
3
<
C/l
a
z
p
O'
3
7s
3
OQ
CO
3“
3
CO
JD
C
<
Z
o
I
CHINESE PORCELAINS
No. 77
Tall Square Vase, with “ black-hawthorn ” embellishment, its rect-
angular form tapering downward, and shoulder slightly curved, with
mortar-shaped neck : the paste is of dense kaolinic texture, that shows
on the reserved white margin bordering the edge of each panel.
This vase is invested with a heavy lustrous green-black enamel that attractively
sets off the imposed decoration on the four sides, displaying with fascinating fidelity the
branches of the wild prunus (“ Mei ”) tree, springing alternately from the shoulder or
base, and profusely covering each of the panels with white buds and blossoms,
surrounded by fluttering or flying birds, all picked out and harmoniously glazed in
light transparent colors, with strongly outlined branches glazed in a neutral tint of
aubergine (manganese) shaded by hatched lines and knurls in a darker tone.
The four corners of shoulder bear white clusters of the same blossoms, and the neck,
also in black, holds butterflies and lotus flowers alternately; the square foot is biscuit
(unglazed).
Era of K’ang-hsi (1662-1722).
Height, 1 9 Ve X 5 % inches.
[ 105 ]
A CATALOGUE OF
No. 78
Tall Vase, baluster-formed, of the “ black-hawthorn ” type.
The porcelain, which is of a hard white quality, is invested with a soft greenish-black-
enamel body-color, carrying a typical reserved design of the wild prunus (“ Mei ”) tree,
with its growth of sturdy branches and stems bearing white and green blossoms, with
yellow centers carefully drawn with minutest details and finely disposed upon the body
of the vase, with foliage and birds picked out in varying shades of transparent green and
yellow glaze; the knurled branches, starting from the base, are in neutral-toned auber-
gine (color of manganese), and spring out amid openwork rockery, in varying shades of
green glaze.
The paste, together with the enamel colors and the beautiful contour, jointly present
a typical specimen of the K’ang-hsi era (1662-1 722).
Height, 1 5 V 2 inches.
Broadest diameter, 8 V 4 inches.
[ 106 ]
s
q
O
cr
f)
CO
Ti
49
o
g
«v
-c
n
7
z
p
7n
Lar
P
OQ
3
ro
OQ
CD
ir
(y>
o
■c
m
o '
y
a
o
D
5
Cf>
D-
z
p
CHINESE PORCELAINS
No. 79
Presentation Dish, of fine-textured white porcelain, with exquisite enamel-
ing and finish.
The center panel of face is decorated with a rampant Imperial dragon (five claws),
in lustrous black enamel, pursuing the “ sacred pearl ” among nebulae of fire, relieved by
a light transparent green ground, with double black lines, and bordered by a soft-toned
white glaze.
The under side is bordered with brilliant black glaze, showing two iridescent green
dragons, with five claws, carefully drawn amid conventional fire motives ; underneath
shows a white glazed foot and a circular dragon medallion with nebulae of fire, bearing
the “ Nien-hao ” in four characters.
Era of Ch’eng-hua (1465-1487). Apocryphal, and likely of the Ts’ing dynasty
(K’ang-hsi, 1662-1722).
Height, 1 V 2 inches.
Diameter, 7 inches.
[ 107 ]
A CATALOGUE OF CHINESE PORCELAINS
No. 80
Large Bowl, of fine-grained hard-paste porcelain.
The exterior sustains a freely designed floral motive, picked out in light transparent
glazes, and relieved by a brilliant jet-black ground; the freely drawn flowers include
the peony, magnolia, and hydrangea. The interior is also decorated, showing yellow
and green blossoms with stems and foliage, against a pale white-glazed body.
The white foot bears a blue ring with a grass-mark under the glaze.
Era of Kang-hsi (1662-1722).
Height, 3 V 2 inches.
Diameter, 7 V 2 inches.
[ 108 ]
EARLY SPECIMENS
This group of more primitive pieces may be ascribed to provinces of
China where the manufacture of porcelain or pottery has long been obso-
lete ; their exact date of production, also, remains a mooted question.
It may be stated that the first pieces of their kind which were received
from China were designated by native experts as Sung or Yiian porce-
lains, and nobody then in Europe or in America knew about such classic
Chinese objects. Since, however, they have been absorbed by museums
and figure in some of the most noted collections to-day, others of a simi-
lar type have followed. While such objects were made during the Ming
and also in later periods, it is very possible that these particular pieces
here under our view can be placed as belonging to the transitory era
between the Yiian and the Ming dynasty; and may have been inspired
by more ancient pieces of baked clay in their remote turn.
The examples of this class are always glazed on the biscuit {i.e., paste
baked in a kiln) before the colors are fixed by a second firing, and gen-
erally the biscuit shows through the glaze here and there in various ways,
according to thickness of glaze, accident or intention, and sometimes
owing to the disintegration of the glaze itself or the prevailing conditions
of usage ; but the paste shows in such objects to have less kaolin than
later porcelain, or the porcelain used for other types.
The embellishments, which are modeled in low relief, perforated, or
engraved, afford outlines for the different enamel colors, among which
may be particularly noted a deep lapis-blue, shading into purple or violet,
often resembling the color of plum-skin, or aubergine, amber-yellow, and
a turquoise color varying in tints with epochs of production. The vitre-
ous green is generally used for interior glazing ; on late pieces, however,
this color appears in the embellishment of the exterior.
These specimens possess additional interest by reason of the fact that
they enable us, at this period, to picture to ourselves what some of the
early porcelains or potteries were like.
[ 109 ]
A CATALOGUE OF
No. 81
Cabinet Vase, biberon shape (late Yiian or early Ming), the body wi-
dening upward, with attenuated neck, of dark and heavy-textured
porcelain, sustaining outlined decoration in low relief, picked out in
amber and turquoise-colored glazes, on a dark lapis-blue ground of
unctuous texture.
The design, imposed and engraved on body, consists of a free-flowering stem with
foliage, alternating with an ornamental motive of open coral-like rockery, interspersed
with small aquatic star-shaped figures. The decoration is completed by interlaced
strings of pearls, in white with intaglio pendants in yellow and turquoise, hanging from
the shoulder, and the base is surrounded by rudimentary foliations in turquoise.
The under foot and interior of neck are in dark-brown biscuit.
Yiian dynasty (1260-1367). Ming dynasty (1368-1643).
Height, 12 inches.
Diameter, 5^4 inches.
[ 110 ]
s:
o
00
1
a?
0 >2
in
1 =
CiJ T-<
i\J '■^v>
/t\ ^
c
PO
s:
q
00
(V
2
(4
q
oo
n
U 3
1
>
•'3
c:
o
f)
(4
2
c
PO
C:
n
&3
0 “
3
CIQ
<
3
z
p
CP
in
c
3
OQ
Z
p
CD
r
S’
CU
3
P
cr
<
p
Z
p
00
K)
3
OQ
Vr
CHINESE PORCELAINS
No. 82
Cabinet Vase, biberon form, widening upward, with attenuated neck, of
heavy-textured Yiian or Ming porcelain, sustaining an outlined deco-
ration imposed on the paste, in low engraved relief, and separately
glazed in turquoise, with a dark amber-colored biscuit showing through,
against a ground of dark lapis-toned blue.
The embellishment consists of four slightly raised plants with foliage, glazed in
turquoise-blue, and a scallop-shaped bordering, with strings of beads and floral sprays in
each separation ; the base is encircled by a band with rudimentary ornament and foli-
ated form, also in turquoise.
The interior of neck is in green glaze of vitreous quality, and the foot bears a sunken
panel in the same glaze, with a biscuit rim.
Yiian dynasty (1260-1367). Ming dynasty (1368-1643).
Height, 1 2 inches.
Diameter, 5 ' 2 inches.
A CATALOGUE OF CHINESE PORCELAINS
No. 83
Massive Jar, oviform, reticulated and of heavy Sung paste, with its own
porcelain pedestal, glazed partly in purple, with turquoise and amber-
yellow trimming, “ sur biscuit,” which shows through the edges of
ornamentation and at the foot, with less kaolin than later porcelain.
The outer casing, which is superposed on an interior vase of solid form, presents both
raised and incised ornamentation, that is most vigorously modeled and undercut in the
paste ; the design, which is archaic and rudimentary in parts, presents the eight (Pa-sien)
immortals, or legendary beings, surrounded by conventionalized clouds, and ornate per-
forations.
The figures are partly glazed in deep purple, while their heads and hands are re-
served in the biscuit form.
A bordering in scalloped form, and with openwork inclosing symbols and birds, is
clearly defined by its foliations in turquoise, finished at each upper point with a rosette,
and at the lowest points with tasseled pendants that sustain finely modeled rudimentary
masks of demons, against a shell-like shield ; between the tassel and mask the cords
hold alternately an intaglio ornament and a button.
The base is embellished by a conventional wave border in turquoise-blue, and the
neck is finished by a fringed bordering, with the rim glazed in purplish-blue, and the
interior glazed in a light mottled turquoise.
The foot is in biscuit and shows the paste of gritty pottery texture.
The pedestal is in the form of a raised stand with incisions through the body, glazed
in dark blue and turquoise, with bordering in yellow matching the vase.
Early Sung (960-1 259). ^
Height of vase, 1 1 '/a inches.
Diameter at base, 8 inches.
^ Descriptions of “ Chiin-chou ” pottery of the
Sung dynasty, quoted in the “ T’ao-shuo,” or
treatise on pottery (an early native work), would
lead one to believe that this example could easily
have come from those kilns (eleventh to thirteenth
centuries), as the color of “ prune-skins,” or “ purple-
brown,” or a “ purple-like ink,” is referred to, as
well as a green called “ parrot-green.” The gritty
[ 112 ]
or sandy paste also corresponds with the records
of several authorities.
This example is certainly one of the oldest of
its class that has come before me. The paste differs
from Ming specimens or Ming reproductions of
older t)q3es, and the jar may well be classed as of
an early era in the Sung dynasty. — J. G.
GLOSSARY
>
GLOSSARY
Many of the technical terms are explained in other parts of this book.
Accomplishments, the four (of the Chinese
scholar), music, chess, calligraphy, and painting,
often represented on porcelain.
AMITABHA, the most popular Buddha, both in
China and Japan, dating from the third century
of our era (it is only since the fifth century that
he has been placed in the foreground in China).
Amitabha is supposed to preside with Kwan-
yin over the Paradise in the West, where the
good may enjoy long ages of rest. See S’akya-
muni.
ARHATS (a Sanskrit term meaning “ worthy ” or
“ deserving ”), the immediate disciples of Bud-
dha. The Chinese increased their number from
sixteen to eighteen (Lohan) during the T ang
dynasty. The last two enrolled are constantly
represented apart from the others, their attributes
being the tiger and dragon. The Arhat is the
perfect Arya, attained only by passing through
the different degrees of sainthood, and implies
the possession of supernatural powers.
Armorial Porcelain : during the period of
K’ang-hsi and, later, under Yung-cheng and
Ch’ien-lung, it became customary for nobles and
wealthy individuals in Europe to order porce-
lains made in China bearing their family arms.
Among these may be found the arms of dis-
tinguished families of England and France and
the provinces of the Netherlands.
Aubergine, a purple or plum-colored glazing
derived from the oxide of manganese : aptly
named by the French. Its tint resembles the
rind of an egg-plant.
Bamboo (“ Chu ”) is an emblem of longevity
(owing to its durability) frequently depicted
on porcelain. The bamboo grove was the
resort for scholars in former times.
Bats are constantly depicted on porcelain.
Looked upon as of good omen, when five bats
(“ Wu fu ”) are grouped together it signifies the
five blessings, longevity, riches, love of virtue,
serenity, and an end crowning life ; the Chinese
character for “ bat ” and “ happiness ” having
the same pronunciation.
Biscuit is the product of unglazed paste of porce-
lain which has been baked in a kiln.
Blanc DE Chine, white-glazed porcelain with-
out a colored decoration or painting.
BOCCARO W ARE : a name applied to red or
brown Chinese pottery, which may be dec-
orated in enamel colors or lacquer. On the
most ancient specimens the surface shows a
patinated effect like old bronze.
Body, or Paste, the porcelain substance of
which cui object is made. See Paste.
Brocaded Pattern, a term applied where
the ground or field is covered with an all-over
design in arabesques, or with flowers and foliage
in two or more colors, copied sometimes from
rich textile motives.
Buddhism, called in China the religion of “ F6,”
was introduced into that country during the first
century A.D. Its favorable reception was
due largely to its tenets, which allowed the in-
corporation of strange deities. The first “ Sutra ”
was translated into Chinese in the year A.D.
67, during the time of the later or Eastern Han
dynasty, by Kas’yapa Matanga, a disciple of
S’akyamuni, who entered China with Han
Ming-ti’s embassy on its return from Badakshan.
By its means the Buddhist doctrines first became
known in China. Such translations from the
Sanskrit form the earliest and still continue to
be the most important part of Chinese Bud-
[ 113 ]
GLOSSARY
dhistic literature and art. During the first eight
centuries of the existence of Buddhism in China,
the circle of S’akyamuni’s disciples (Arhats)
comprised the same number as in India (sixteen),
which was increased in the ninth century A.D.
by the enrollment of two additional disciples to
its present complement.
BURGAUT£e, lacquered Chinese porcelain : gen-
erally applied to a black-lacquered ground-
color elaborately inlaid with mother-of-pearl and
plates of silver or gold leaf, or landscapes with
small figures ; produced under K’ang-hsi.
Butterfly Pattern, a mode of embellish-
ment in which this insect appears. The finest
type, as well as the rarest, was produced during
the era of K’ang-hsi, and belongs to the “ fa-
mille-verte ” variety. Butterflies (“ Hu-tieh ”)
are often employed in decoration as a sign of
conjugal felicity, and, in fact, the butterfly may
be called the Chinese Cupid.
CETADON (designated by the Chinese as
“ Ch’ing ”), a pale- or sea-green glaze of rather
wide range in tones, and of varying degrees of
transparency. The word “ celadon ” was first
used to designate the bluish- or greenish-gray
costumes worn on the stage by shepherds, and
came into vogue during 1612 , when the pas-
toral romance “ L’Astree ” was brought out by
Honore d’Urf^, “ Celadon ” being the name of
the hero, who first appeared in such neutral
green cloths, so that this color was named after
him, and became fashionable. Chinese porce-
lain soon thereafter appeared in Europe, and,
being glazed in a light green, this name was
fixed upon it directly ; but in Persia and some
other Eastern countries celadon ware was long
known under the name of “ Martabani.”
CH’-LIN. See Ky-lin.
CHING-TLcHEN (Pekinese). See King-te-
chen.
Chrysanthemum, an emblem of autumn and
symbol of joviality. This flower is valued for
its variety and richness of color.
Citron Fruit. See Hand of Buddha.
Crackle, a term applied to pieces in which the
glaze exhibits a crackled effect running over the
surface like broken ice, obtained by preparing
the respective proportions of steatite, silica, and
alumina in the composition of the glaze ; in this
manner the crackle can be produced in various
sizes at will. The large and more irregular
crackle on old specimens is called “ crab claws,”
and the smallest “ fish-spawn ” or “ shad roe.”
The fine examples of dark turquoise usually have
this latter characteristic.
The oldest crackle ware dates back to the
most remote periods, antedating that in which
porcelain was produced by many centuries.
The type called in China “ Mi-se, ’’ of a pale
ca.ft-au-la.ii color, is probably older than celadon
crackle. Another type of crackle was called
“ Tsui-khi-yao,” and was produced in the
thirteenth century. In some examples the
crackled glaze is a strikmg part of the embellish-
ment, especially when the network of the cracks
is filled with a red or black coloring ; the most
notable being those that exhibit two distinct
effects, a large crackle colored in one stain, and
a smaller in another.
Crickets are frequently kept in special cages,
and persons of high rank as well as others amuse
themselves by irritating two insects in a dish and
then betting on the prowess of their favorites.
Dog FO, sometimes called “lion Fo,” or T’ai
Shih, a chimera with grinning muzzle and sharp
teeth, curly mane, and big claws, generally rep-
resented playing with a ball (“ chu ”) : the
habitual defender of the threshold.
Dragon, emblem of the Emperors of China ;
the number of claws marks the rank of the
wearer. Thus the Imperial dragon, lung, has
five claws; and the dragon of princes of the
third and fourth ranks, only four claws.
The lung, or dragon, is chief of the four Chinese
supernatural beasts. Regarded as the king of
the scaly tribe, in its usual form it is a composite
monster with the scowling head of the camel,
horns of a deer, eyes of a rabbit, ears of a cow,
neck of a snake, scaly serpentine body, claws
of a hawk, formidable paws of a tiger, and
curious flame-like appendages to its shoulders.
The dragon of the sea assumably ascends
in waterspouts, and is regarded as the ruler
of all its phenomena, and as such is worshiped
and feared by Chinese fishermen. The su-
perstition of all classes toward it is probably
a modified relic of the wide-spread serpent-
worship of ancient times. (Williams’s “ Middle
Kingdom.”)
In art, the colors vary according to the taste
of the artists, but white, yellow, and blue
[ 114 ]
GLOSSARY
are perhaps the most frequently seen ; each
shade having its own symbolical meaning, al-
though the huang-lung, or “yellow dragon,”
is the most honored of the series or tribe. As
an emblem of majesty its name is a euphemism
for that of the Emperors of China and Japan ;
the Imperial throne {lung-hao
Ch’eng-hua . . .
^ •/§ Hung-chih . . .
j£ ^ Cheng-te ....
^ Chia-ching . . .
Lung-ch’ing or -ch’ien
M ® Wan-li .....
# e T ai-ch’ang . . .
T^ien-ch’i ....
.... 1628
Dale of Accession
1465
1488
1506
1522
1567
1573
1620
1621
DYNASTY OF THE TS’ING
Title of Reign, or Nien-Kao
I^IM Shun-chih .
^ K’ang-hsi
miE Y ung-cheng
Dale of Accession
Title of Reign, or Nien-hao
. . . 1 644 Chia-ch’ing
1662 Tao-kouang
. . . 1723 ^ ^ Hslen-feng
Ch’ien-lung .... 1736 fp] T’ung-chih
itm Kuang-hsii . . . . 1875
Date of Accession
. 1796
. 1821
. 1851
. 1862
[ 127 ]
• ^
sf
i
: i
GETTY CENTER LIBRARY
3 3125 00958 2335