Chinese pottery and porcelain; vol. 1. Pottery and early waresHobson, R. L. (Robert Lockhart)
History
Chinese pottery and porcelain; vol. 1. Pottery and early wares
Hobson, R. L. (Robert Lockhart)
Porcelain, Chinese; Pottery, Chinese
The result is that where we have no actual specimens to help us, there is
unlimited scope for conflicting theories on the meaning of the original
text. However, as our collections grow and guiding specimens arrive, more
of the Chinese descriptions are explained, and working back from the known
to the unknown we are able to penetrate farther into the obscurities of
the subject.
To take a single instance. The well-known celadon ware, with strongly
built greyish white body, and beautiful smooth, translucent sea-green
glaze, has been identified beyond all doubt with the Lung-ch´üan ware of
Chinese books. When we read of the green porcelain (_ch´ing tz´ŭ_) bowls
with fishes in relief inside or on the bottom, our thoughts at once turn
with confidence to such specimens as Fig. 3, Plate 21, and we realise
that for once we are certain of the meaning of the elusive colour word
_ch´ing_. In the same way other phrases here and there can be run to
earth; and when we meet the same descriptive words in other contexts,
the key to their meaning is already in our hands. In this way no little
profit can even now be got from the study of Chinese works, and it tends
to increase steadily, though, of course, one living example is more
instructive than a host of descriptions.
The Sung wares are true children of the potter's craft, made as they are
by the simplest processes, and in the main decorated only by genuine
potter methods. The adventitious aid of the painter's brush was, it is
true, invoked in a few cases, but even then the pigments used were almost
entirely of an earthy nature, and it is very doubtful if painting in
enamels had yet been thought of. Two years ago enamel-painting on Sung
porcelain would have been denied in the most uncompromising terms. But
the claims of certain specimens of the Tz´ŭ Chou type, with brick-red and
leaf-green enamel on the glaze, to belong to the Sung period have been
so persistently urged that they cannot be entirely ignored. At present
I am unconvinced of their Sung origin; but our knowledge of T´ang wares
has developed with such surprising rapidity that we must be prepared for
similar surprises in connection with the Sung. Meanwhile it would be well
to suspend judgment on this interesting point.
Public-domain text, read in full here on John Shaqi.
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