Chinese pottery and porcelain; vol. 2. Ming and Ch'ing PorcelainHobson, R. L. (Robert Lockhart)
History
Chinese pottery and porcelain; vol. 2. Ming and Ch'ing Porcelain
Hobson, R. L. (Robert Lockhart)
Porcelain, Chinese; Pottery, Chinese
Fig. 2.--Bottle-shaped Vase and Stand moulded in bamboo pattern
and decorated with floral brocade designs and diapers. Height 8¾
inches. _Cope Bequest_ (_Victoria & Albert Museum_).]
In this interesting passage, written in 1722, we have a precise
account of the manufacture of one of the types of porcelain which
have been indiscriminately assigned to the Ming period. This on-biscuit
polychrome was undoubtedly made in the Ming dynasty, but in view of
d’Entrecolles’ description it will be safe to assume that, unless
there is some very good evidence to the contrary, the examples in our
collections are not older than K’ang Hsi. The type is easily identified
from the above quotation, and there is a little group of the wares in
the British Museum, mostly small figures and ornaments with washes
of green, brownish yellow and aubergine purple applied direct to the
biscuit, and on some of the unglazed details the unfired vermilion
still adheres. These coloured glazes are compounded with powdered
flint, lead, saltpetre, and colouring oxides, and the porcelain
belongs to the comprehensive group of _san ts’ai_ or three-colour
ware, although the three colours--green, yellow and aubergine--are
supplemented by a black formed of brown black pigment under one of the
translucent glazes and a white which d’Entrecolles describes[300] as
composed of ⅖ ounce of powdered flint to every ounce of white lead.
This last forms the thin, iridescent film often of a faintly greenish
tinge, which serves as white on these three-colour porcelains. In rare
cases also a violet blue enamel is added to the colour scheme.
A characteristic of this particular type is the absence of any painted
outlines. The colours are merely broad washes bounded by the flow of
the glaze, and this style of polychrome is best suited to figures and
moulded ornamental pieces, in which the details of the design form
natural lines of demarcation for the glazes. On a flat surface this
method of coloration is only suited to such patchy patterns as the
so-called tiger skin and the tortoiseshell wares.
Public-domain text, read in full here on John Shaqi.
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