Chinese and Japanese Enamels.
The rarer examples of Chinese art date back to the beginning of the Ming period in 1368, continuing until its close in 1643. The charm of these early examples is at once recognizable when they are compared with others of a later date. Fig. 87 represents a large Ming bowl florally decorated in rich red, yellow, and white on a background of cobalt blue outside and turquoise blue within. Quite a different style of decoration is shown in Fig. 88; the design of butterflies and gourd-vine tracery being carried out in Pekin enamels in five colours. This remarkably fine box, so charmingly formed, contains a set of nine sweetmeat dishes, each one bordered with bats of cobalt blue on a lighter blue ground, on the cover of the outer box being the Shu monogram. Another splendid piece, represented in Fig. 89, is typical of a different style of decoration. This fine bowl, also of the Ming period, is florally enamelled, the inside showing the pattern outlined by wire cloisons upon a white ground, the flowers being worked in five colours. This bowl, which is four inches high, is represented in the illustration as standing on a beautifully carved stand of about equal height. These choice pieces are illustrated by the courtesy of Messrs. Glendining & Co., Ltd., at whose well-known London auction rooms they recently changed hands. The second great period of Chinese art is that of the Ching Dynasty, which commenced in 1644 and extended until more recent times. While to some extent the art and the decorative effect of that period was inferior to that of to-day, when judged from the present-day standard of modern art, there was a rare beauty about the old designs. The enamels of the Ching Dynasty were carefully prepared and placed, and the colouring soft and yet rich. The preparation of coloured matter by experts of that period when the best ceramics of China were made, has always been a subject of admiration and wonder to the potters and enamellers of more recent years. Examples of these charming wares are not exceptionally rare, among the collectable pieces being cups and bowls, exquisitely designed kettles, tiers of boxes, water vessels, round and oblong dishes, and incense burners. Some of the bowls with covers are of quaint forms, a favourite one being that of a peach. Vases of which the base is enamel are often further enriched by ornaments of copper-gilt. Among the rarer little curios seen in a representative collection may be mentioned small water droppers, mostly made in the eighteenth century.
FIG. 87.—BOWL OF THE MING PERIOD.
FIG. 89.—MING BOWL.
FIG. 88.—BOX OF PEKIN ENAMEL.
The Ch'ien Lung period which followed extended from 1736 to 1796, and included many candlesticks and altar pieces as well as braziers, some of the copper vessels being practically encrusted with enamels, some of the finer ornamentation being attached to the ground-work as additional or supplementary decorative effects. As in the earlier periods much labour was expended on the production of the many fine temple sets which were presented to such uses. The exceptionally fine altar set wrought in cloisonné enamels, illustrated in Fig. 90, is of the Ch'ien Lung period, and consists of a beautifully designed koro, supported on legs in the form of tigers' heads, two candlesticks 18 in. high, and a pair of vases. The style of decoration is very rich, being turquoise blue ground on which are floral designs in red, green, dark blue, yellow, and other bright colours. The pieces stand on brass-gilt foundations, which rest on carved wooden stands, the set forming an extremely interesting group, typical of the highest art of the Ch'ien Lung period. There are many richly ornamented and extremely valuable specimens of more recent date admired by connoisseurs of art in the galleries and curio-shops; but however beautiful they are the collector of the older curios appraises their values from a modern commercial standpoint, and does not view them as he would antiques.