Note.—This example is believed to be the largest specimen of reticulated work of the Ming period known to exist, and is equally remarkable for the high quality of its artistic work.
From the Collection of G. R. Davies, Esq.
VASE. RETICULATED PORCELAIN.
A very rare and fine quality reticulated bulbous-shaped Vase with short neck. The body is decorated with figures, trees, &c., in a bold design. The shoulder, which is supported from the top by a band of blue, is decorated with various flowers and leaves. The base, which is a conventional design, is also supported from the centre by dark and light blue bands. The whole vase is brilliantly enamelled in aubergine, blue, yellow, &c. Ming period. This piece is a specimen of the coloured glazes on biscuit in which, after the piercing of the pattern on the air-dried clay has been carried out, it is fired in the kiln before being glazed. In classification this would be in the "Celadon biscuit" class. The reticulation in this specimen, though not so fine as in the other example which we have given, is very wonderful. How skilful the potter must have been to carve such an intricate pattern from a sun-dried vase! How each stroke of the tool must have had careful attention, so that, whilst aiming at a lace-like effect, the body of the vase should still be strong enough to bear the biscuit firing without breaking! Of course care had to be exercised in the painting, which was rarely in monochrome; generally, yellow, green, blue, maroon, and aubergine were employed. Then the second firing took place. In nearly all biscuit Celadon the paste or body is thinner than in ordinary Celadon, because the pattern had to be cut into and through it. To this class belongs the Ming Celadon, having the figures and other ornament in relief.
XIX
DECORATED
WITH
COLOURED
ENAMELS
CHAPTER XIX
DECORATED WITH COLOURED ENAMELS
The section of porcelain which deals with decoration in colours is a revelation of the ingenuity, art, and industry of the Chinese potter. The difference between the Chinese productions and European china are striking; in fact, they cannot be compared. With the Chinese, the porcelain manufacture was a matter of custom, almost of religion. The gift of a piece of porcelain marked every solemn ceremony—the new year, the birthday, the marriage never passed without the presentation of a cup or vase which bore an inscription or a symbol of good wishes, or a character meaning either longevity or earthly happiness. Indeed, the visitor to the Chinese home could see not only cups and vases, but teapots, dishes, and plates with varied decoration and brilliant colouring, each telling its own story. Sometimes the teapots were made in the form of Chinese characters. On some pieces were the familiar scenes of the home life or of the public life which give us glimpses of the manners of a people, still imperfectly known and less understood, who for centuries opposed the strongest barriers to the curiosity of Europeans. On other pieces were depicted subjects drawn from the sacred legends or from the principal scenes of well-known wars.
Then the birds and animals each with its meaning, each a symbol! The peach blossom, the lotus, the dragon of the Emperors or of the princes appear side by side with the kylin, the Korean lion or dog of Fô, the sacred Ho-Ho birds, or Fong-Hoang, &c. On the plates and dishes specimens of the Oriental flowers were spread out in all the glory of vivid colour—peonies and chrysanthemums, lotus and azalea, with insects and butterflies no less gorgeous and certainly no less emblematical. Other specimens had for decoration rocks and trees with birds of rich plumage, and fishes with scales of golden hue.