Whatever the verdict may be on the technical qualities of these rugged pieces as compared with more finely finished porcelain, there can be no doubt of the artistic merit of the subtle glaze colours, and I have seen people whose undoubted taste in other forms of art had not previously been directed to things ceramic, display a sudden and unexpected enthusiasm over the rough Yüan bowls. The peculiar shape of these bowls—which, without their foot take the form of a half coco–nut—has raised the question whether it can be in any way connected with the Polynesian khava bowls. The latter are actually made of coco–nut, and, curiously enough, their interior after much use acquires a vivid patina, whose colour recalls some of the Yüan tz´ŭ glazes. The resemblance, however, remarkable as it is, can only be accidental, for it is practically certain that the tints of these ceramic glazes were quite unforeseen. Long use has usually given the surface of the Yüan tz´ŭ a smooth, worn feeling, but in its first freshness the glaze had a very high and brilliant lustre. This is shown by a few pieces which have lately been sent from China, where they were excavated evidently on the site of the old factory, and still remain in their seggars or fireclay cases to which they became attached by some accident in the kiln. These and other spoilt pieces or wasters would be of immense interest if only the circumstance of their finding had been faithfully recorded. Unfortunately, however, they passed through many hands before reaching Europe, and we have only hearsay to support the statement that they were found in the neighbourhood of Honan Fu. The locality is a likely enough spot and not remote from Chün Chou, but we must consider that the real origin of the Yüan tz´ŭ has yet to be settled, and we must still remain in doubt whether the ware is a coarse variety of Sung Chün Chou ware, a continuation of that manufacture in the Yüan dynasty, or the production of a different factory. Judging from the character of the glazes, I am inclined to accept the first two alternatives, which are not mutually exclusive, for while many of the specimens have the appearance of Sung wares, there is every reason to suppose that the manufacture continued through the Yüan period. The formula, "Sung or Yüan ware of Chün type," adopted in the catalogue of the exhibition at the Burlington Fine Arts Club in 1910, is a discreet compromise which may well be retained till further evidence from China is forthcoming.
The evidence of Sir Aurel Stein's excavations in the regions of Turfan, imperfect as it is, points to the existence of this kind of ware at least as early as the Sung dynasty. Fragments with the typical glaze of the so–called Yüan–tz´ŭ were found, for instance, on a site which was thought to have been closed in the Sung dynasty, and again at Vash–shahri, which was "believed to have been occupied down to the eleventh or twelfth century." Making ample allowance for error in calculating the dates of these buried cities, we may still fairly consider that some of these finds come within the limits of the Sung dynasty.
Chien
yao
This ware, which has already been mentioned in several passages, originated at Chien–an, but the factory was subsequently removed to the neighbouring Chien–yang. Both places are in the Chien–ning Fu, in the province of Fukien, and the term Chien yao derives from the character chien, which occurs in all these place names. The beginning of the manufacture is unknown, but it certainly dates back to the early Sung period, being mentioned in a tenth–century work,[278] and the potteries were still flourishing at the commencement of the Yüan dynasty.[279] A characteristic specimen figured in Plate 42 is a tea bowl with soft, dark brown earthenware body and thick, lustrous, purplish black glaze, mottled and streaked with golden brown. The brown forms a solid band at the mouth and tails off into streaks and drops on the sides, finally disappearing in a thick mass of black. The spots and streaks of brown suggested to Chinese writers the markings on a partridge's breast or on hare's fur, and the bowls are usually known as "hare's fur cups"[280] or "partridge cups." The dark colour of the glaze made them specially suitable for the tea–testing competitions which were in fashion in the Sung period, the object of the contest being to see whose tea would stand the largest number of waterings, and it was found that the least trace of the tea was visible against the black glaze of the Chien bowls. The testimony of an eleventh–century writer[281] on this point is of interest. "The tea," he says, "is light in colour and suits the black cups. Those made at Chien–an are purplish black (kan hei) with markings like hare's fur. Their material, being somewhat thick, takes long to heat, and when hot does not quickly cool, which makes them specially serviceable. No cups from any other place can equal them. Green (ch´ing) and white cups are not used in the tea–testing parties."
Plate 42.—Two Temmoku Bowls, dark–bodied Chien yao of the Sung dynasty.
Fig. 1.—Tea Bowl (p´ieh), purplish black glaze flecked with silvery drops. Diameter 7 1/2 inches. Freer Collection. Fig. 2.—Tea Bowl with purplish black glaze shot with golden brown. Height 3 3/4 inches. British Museum.
The Chinese tea contests were adopted by the Japanese, who elaborated them into the curious ceremony known as Cha no yu, which later assumed a semi–political aspect. The Japanese Cha jin (initiates of the tea ceremony) have always prized the Chien yao bowls, to which they gave the name temmoku, and Brinkley speaks of a great variety of Chien yao glazes which he saw in Japan. Of some he says that "on a ground of mirror black are seen shifting tints of purple and blue; reflections of deep green, like the glossy colour of the raven's wing; lines of soft silver, regular as hair." The tea–testing contests seem to have lost popularity in China at an early date, and late Ming writers took little interest in the partridge cups, which one[282] at least of them voted "very inferior." In Japan, on the other hand, the vogue of the tea ceremonies has continued unabated to modern times, and no doubt the Chien bowls were eagerly acquired by the Japanese æsthetes. Hence their rarity in China to–day. Moreover, the Japanese potters of Seto and elsewhere have copied them with astonishing cleverness, so that the best Seto imitations are exceedingly difficult to distinguish from the originals. The ordinary run of the Japanese copies, however, are recognised by a body of lighter tint and finer, more porcellanous texture, besides their general imitative character and the Japanese touch which is learnt by observation but is not easy to define in words.