mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" NK 4565!h69" """"^*^ "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ % //3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS. WILLOUGHBY HODGSON AUTHOR OF " HOW TO IDENTIFY OLD CHINA " WITH FORTY ILLUSTRATIONS CHICAGO A. C. McCLURG & CO. LONDON: METHUEN & CO. 1907 6c I n ; k A It - VO Qxa *-'". NN^ST TO MRS. HUGH VERRALL IN MEMORY OF MANY HAPPY HOURS SPENT IN THE STUDY AND QUEST OF OLD CHINA CONTENTS Introduction White Single Coloured Glazes Variegated Glazes Crackled Porcelain How to Distinguish between English and Chinese Underglaze Blue Underglaze Blue . Other Colours Used Under the Glaze Blue and White "Nankin" Services . Enamelled in Colours Overglaze Famille Verte .... Famille Rose .... Other Varieties of Porcelain Decorated in Colours .... Graviata or Pekin Ware. Fen-ting, Soft Paste Porcelain . Chinese Porcelain with European Designs Chinese Porcelain Decorated in England FAGB I 19 29 40 44 49 56 80 81 84 90 96 106 108 no 112 1x8 viii CONTENTS PAGE Hints and Suggestions . • I20 Some Dynasties and Periods . 125 Mythical Persons . 129 Fabulous and Other Animals 138 Some Date-marks Explained . 143 Some Symbols . 151 Glossary . iSS Books Recommended . 157 Some Recent Sale Prices . 158 Some Date-marks . . 165 Some Marks in the Form of Devices . 167 Some Symbols . 171 Index 173 LIST OF PLATES f. II. in. IV. V. VI. VII. VIII. IX. X. XI, XII. XIII. XIV. XV. XVI. XVII. XVIII. XIX. XX. XXI. XXII. BLANC DE CHINE TO FACE PAGE Frontispiece 24 32 34 40 48 SO 54 S8 60 POWDERED BLUE COLOURED GLAZE AND CRACKLE VARIEGATED GLAZE, FLAMB£ . PRUNUS VASE OP THE HUTH COLLECTION BLUE AND WHITE ASTER PLATE ,, „ BASKET AND FIR TREE PATTERNS „ „ "LONG ELIZA" VASE BLUE DRAGON BOWL, DRAGON SAUCER IN COLOURS BLUE AND WHITE LANDSCAPE AND "LOVE CHASE" PLATES . . . ... 64 BLUE AND WHITE LATTICE-COVERED PORCELAIN . 66 BLUE AND OTHER COLOURS IN UNDERGLAZE . . 8 "nankin" CHINA . . ... 70 "tiger spotted" and FAMILLB VERTE . . 74 FIGURES OF LION AND LIONESS OF KOREA . . 76 WINE POTS IN "FUH" AND " SHOU " CHARACTERS. 78 BAMBOO TEAPOT, FAMILLE VERTE GOBLET, VASE WITH BATS AND LIZARDS . . . . 80 FAMILLE VERTE BOWLS . . . . 82 FIVE-COLOUR BOWLS . . ... 84 FAMILLE VERTE VASES, WITH SYMBOLS BLACK-GREEN VASE, ENAMELLED IN COLOURS . . 90 LIST OF PLATES TO FACE PAGE XXni. BLACK - GREEN OVIFORM VASE, ENAMELLED IN COLOURS . . . . • 92 XXIV. VASE DECORATED WITH "the HUNDRED antiques" 94 XXV. CORAL RED VASE . . . . • 95 XXVI. FAMILLE ROSE PLATES . . . • °^ XXVIL CHINESE DESIGNS COPIED AT WORCESTER . . 9^ XXVIII. RUBY-BACKED EGG-SHELL PLATE, SEVEN BORDERS . lOO XXIX. TEA-POVS AND SAUCER OF CH'iEN-LUNG PERIOD . 101 XXX. RUBY-BACKED EGG-SHELL, YELLOW GROUND . . 102 XXXI. FAMILLE ROSE EGG-SHELL . ... IO3 XXXII. PLATES WITH FISH AND PEACOCK DECORATION . IO4 XXXm. PIERCED ORNAMENTS UNDER THE GLAZE . . I06 XXXIV. "mandarin" BOWL AND SAUCER . . . 107 XXXV. GRAVIATA OR " PEKIN " BOWL . . . I08 XXXVI. BOTTLE OF FEN-TING OR SOFT PASTE PORCELAIN . IIO XXXVII. "LOWESTOFT" VASE, ARMORIAL PLATE . . II4 XXXVIIL "JESUIT china" . . . . . II6 XXXIX. BOWL AND SAUCER, " THOUSAND FLOWER " DESIGN 122 XL. PLATES DECORATED WITH TAOIST IMMORTALS . I30 PREFACE THERE is doubtless much valuable Chinese porcelain in this country and in America about which its owners know very little ; and at a time when attention has been drawn to it by the high prices realised in London sale-rooms many people desire to know more about their possessions and the subject generally. It has seemed to me therefore that a cheap and simple book may be acceptable. This little work is not put forth in any sense as a finished history and description of Chinese porcelain, but is written solely to help the amateur to make a beginning in the study of the most interesting and difficult branch of Ceramic Art. Whilst there are many ex- haustive and expensive works which afford help and pleasure to the connoisseur, there is xii PREFACE at present no book to assist the mere tyro or the ordinary collector who may be the owner of valuable china, and who, even if he be the fortunate possessor of some fine work upon Chinese porcelain, may find considerable diffi- culty in understanding it. I think that when the amateur has mastered some of the difficulties presented by Chinese porcelain he will find the subject so engrossing that he will require very little stimulus to make him wish to deepen his knowledge ; and if my book has helped him to this happy state I shall not have written in vain. At the risk of being monotonous I have re- peated some items of information more than once, in order that any section of the book may be studied separately. Whilst writing for the amateur, however, I have thought it well to procure illustrations of really fine specimens of Chinese porcelain in addition to those more generally met with. These should prove interesting to all collectors, of whatever standing. They will also show PREFACE xiii the reader the heights to which, if fortune favour him, he may attain. In preparing my book I have studied the works of Dr. Bushell, the late Mr. Cosmo Monkhouse, Mr. Edward Dillon, M. Jacque- mart, Mr. Joseph Marryat, the Catalogue of the Franks Collection (now in the British Museum), and the letters of P^re D'Entrecolles. To these I owe a deep debt of gratitude, I would specially thank Mr. Alfred Trapnell for his practical and sympathetic kindness, and for granting me the use of his magnificent Catalogue, from which many of my illustrations and all the "Marks" are taken. To Messrs. Duveen Brothers (of Bond Street) I am in- debted for the beautiful photographs from their unique collection which they have given me ; and to Mr. R. W. Partridge (St. James's Street) for his kindness in allowing the Prunus Vase of the Huth Collection and specimens of powdered blue to be photographed. My thanks are also due to the authorities at the British Museum, and at South Kensington, xiv PREFACE for the assistance and the facilities they have afforded for the arranging and photographing of specimens; and to H.M. Stationery Office for permission to quote from and copy the marks and symbols in the Catalogue of the late Sir W. Franks' Collection. To several kind friends I also tender my thanks for their kindness in allowing their valuable porcelain to be photographed. EXMOUTH, July, 1905 INTRODUCTION WHEN we consider the antiquity of Chinese porcelain and the perfection to which it had been brought long ages before any artistic perception had pierced the dark- ness of our own land, we must surely have a feeling akin to that of the Queen of Sheba, when she had seen the wonders of King Solomon and his court. This is perhaps hardly the attitude in which to approach a subject of deep and thrilling interest, but it is a fact, nevertheless, that we are compelled to bow before the superior wis- dom and creative power of the Oriental, dating back to a time when the greater part of the world was still wrapped in barbaric gloom. Native Chinese historians of all ages have written about the invention of porcelain, but a good deal that they have said must be looked upon as purely legendary. Thus, the prehis- toric Emperor Huang-ti, who ascended the throne in 2697 B.C., and is said to have reigned 2 OLD CHINESE PORCELAIN one hundred years, is credited with the inven- tion, and the Emperor Yu-ti-Shun is said to have made it before he commenced to reign, in 2255 B.C.; but the late Mr. Cosmo Monkhouse, in his book/ points out that from the earliest times the Chinese have given the name Tz'u (porcelain) to any ware which had a good ring, so that it is more than probable that at first a stone ware or pottery was called by this name. There is, however, better evidence that during the Han dynasty (206 B.C.-220 a.d.) , porcelain proper was made at Hsin-p'ing or Hwai-ning-hien, in the province of Honan. Very little progress, however, seems to have been made till the Wei dynasty, a.d. 220-65, when two manufactories were at work which supplied porcelain for the use of the Imperial households. Under the T'Sin dynasty, which ended in 419 a.d., we first hear of blue porce- lain, which was of fine quality and greatly esteemed, and which was made at Wen-tcheon, in the province of Tche-kiang. During the Sui dynasty, green porcelain and a white porcelain, described as being as "bright as jade," are first heard of as being made for the use of the Emperor. ' History and Description of Chinese Porcelain. INTRODUCTION 3 The industry made considerable progress during the T'ang dynasty (a.d. 618-907). Seven manufactories were in existence, each ^ making a different kind of ware, which bore its name. Whether porcelain was made at each of these factories is open to doubt, but that it had been invented at this time is clearly proved by the evidence of an Arab who trav- elled in the ninth century. Mr. Cosmo Monk- house quotes this evidence, translated by M. Reinaud : " There is in China a very fine clay with which they make vases, which are as transparent as bottles ; water is seen through them. These vases are made of clay." We now come to a period which has left its mark upon the history of Chinese porcelain, as showing how the high artistic and poetical instinct of the Oriental was applied to his work. During the reign of the Emperor Chin- Tsung (a.d. 954) a very beautiful porcelain was made in the province of Honan. It is described as being "blue as the sky, thin as paper, shining as a looking-glass, and giving out a sound like a musical instrument when struck " ; but it had one defect, the base or feet of the pieces were of a coarse yellow colour. The beautiful blue is said to have been the 4 OLD CHINESE PORCELAIN outcome of a poetic and artistic fancy of the Emperor, who ordered that in future all por- celain made for the Imperial household should be "the colour of the blue of heaven seen between the clouds after rain." Fragments of this wonderful porcelain were in after years so much treasured that they were used, set in gold, as ornaments on caps and as jewels strung on silk. During the Sung dynasty, 960-1279, the industry flourished. This was a time of great wealth and prosperity in China. Imperial factories were at work at Pein-liang in Honan, and it was here that the famous " Magistrates' vases" were made, called Kwan-yao. These are described as being of a mauvy blue, thin in texture, and with brown mouths ; some were ornamented with veins of crackle, and the base was the colour of iron. A large proportion of the porcelain made during this dynasty was of the Cdladon type, the colours being bright red, yellow, blue, purple, brown, and black, often ornamented with crackle decoration, and two artists named Chang became famous — the one for his blue vases, and the other for his fine thin vases of "rice colour." Between the years 1004 and 1007, marks were first INTRODUCTION 5 used on porcelain, the Emperor having issued a decree that a mark should be inscribed under all pieces made for the Imperial Palace. After the Mongol invasion, when the Chinese were driven south, manufactories were established in many places. At Lui-ling, in the district of Kin-gan-fou, two celebrated artists named Chou are said to have earned a great reputation. ' The elder was surnamed "Venerable," and the other — his daughter — was called " Fair," They excelled in the making of vases, and the daughter is said to have decorated her work with flowers ; but whether painted or moulded in relief does not appear. Towards the close of the Sung period the colours most esteemed were "moon-white," pale blue, and dark green, and the famous Imperial factory at King-te-chen, founded in the King-te period, 1004-7, was supplying large quantities of porcelain for the Emperor's household. A history of this factory, written by a native magistrate in 181 5, was compiled from ancient documents, and has been trans- lated by M. Stanislas Julien.^ This work has been of the greatest value to writers and ' Histoire de la Fabrication de la Porcelaine Chinoise. 6 OLD CHINESE PORCELAIN collectors, and with that of Dr. BushelP (late physician at the British Legation at Pekin) forms the most exhaustive and interesting history of Chinese porcelain in existence, whilst the recent work by Mr. Edward Dillon^ is a most welcome and useful addition to these. The Yuen dynasty (i 260-1367) was estab- lished by the Mongol prince, Kublai Khan. The Tartar tribes had for centuries harassed the Chinese, who during the T'Sin period had built the Great Wall of China, to guard against their incursions. This wall (surely the greatest wonder of the world) stretched along a frontier of twelve hundred and fifty miles, and seems to have constituted an efficient barrier for cen- turies. As, however, the Chinese advanced in civilisation, the Tartars made greater efforts to conquer them, and at last, during the latter part of the Sung dynasty, the Chinese appealed for aid to the Mongols, who, having assisted their allies to drive out the common enemy, took possession of the country for themselves. The first action of Kublai Khan was to remove his capital to Pekin. This Mongol invader seems to have been a most advanced and en- ' Oriental Ceramic Art. ^ Porcelain. INTRODUCTION 7 lightened prince, and it is recorded of him that he sent an ambassador to the Pope, asking that a hundred missionaries might be sent to preach in his country. During his reign it is certain that Chinese porcelain first became well known in Europe. This may have been largely due to the Crusaders, who would have had oppor- tunities of acquiring Oriental treasures during their wandering in the East ; but there is no doubt that Kublai Khan encouraged commerce, and being related to the rulers of other coun- tries in Western Asia, he had every opportunity to do this. That great Venetian traveller Marco Polo lived twenty-seven years in China during this reign, and from his accounts we may gather that the court of Kublai Khan was most luxu- rious, magnificent, and artistic in its tastes. On his return to Venice, Marco Polo brought many treasures, one of which — an incense burner, of porcelain — is still in existence. This state of almost modern civilisation, however, did not long survive the death of Kublai Khan, and in 1366 a Chinese claimant ascended the throne. The long and famous Ming dynasty (1368- 1644) was a time of great development in the 8 OLD CHINESE PORCELAIN manufacture of porcelain. It has been called par excellence the "blue and white" period, because not only was blue and white porcelain first heard of during the early part of the dynasty, but the majority of porcelain manu- factured was of this kind, although many other colours were used. The Emperor Hung-wu (1368- 1 398) was the first to order that porcelain for the Imperial use should be marked with four characters under the base. The most celebrated colour of the Ming period was " Mohammedan Blue." This was brought from Persia, or some neighbouring country, as tribute, and pieces decorated with it were highly valued. In the period of Ching-Hwa (1465-88) the blue colour failed, but, nothing daunted, the Chinaman set to work to improve his painting and designs, which he brought to great perfection, and we are told that about the year 1530 two cups of the Ching-Hwa period were valued at ;^300. Further supplies of blue were obtained, but these also failed during the Lung- King and Wan-leih periods, 1 567-1620, as did also the China clay. This latter misfortune, however, the Oriental overcame by covering the inferior clay with a coloured glaze. The principal INTRODUCTION 9 manufactures during the Ming dynasty may roughly be stated thus : — The Kung-wu period, 1368-99, during which black, blue, and white were the most highly esteemed ; but gold decoration on dark blue was first used. Yung-lo, 1403-25. Painted with birds, fishes, and flowers, also with lions playing with a ball either in clouds or in the waves of the sea. Egg-shell porcelain was invented. Hsiian-Te, 1426-36. Vases painted with blue flowers, those of pale blue being much valued. A bright red was introduced, and was used for painting fish, which are found in the decoration, and were moulded as handles for vases. Insects, dragons, and the phoenix were also beautifully and realistically painted, and small cups were finely ornamented on the in- side. Ch'eng-hua, 1465-87. The blue colour having failed, blue and white of this period is inferior, the colour being of a grey tinge ; but the drawing and painting were improved. During the Cheng-Te period, 1506-22, a lovely red colour was introduced ; also a new cobalt blue. In the Chia Ching or Kea-tsing period, lo OLD CHINESE PORCELAIN 1 567-1620, remarkably fine flower-painted vases were made ; also white cups in imitation of jade. During the next periods — those of Lung- Ch'ing, 1567-73, and Wan-leih— the blue colour again failed, and also the China clay, which led to the use at that time of a coloured glaze, de- signed to hide the rough body. During these periods, enamel colours were improved, and the "three colour" and "five colour" pieces were first introduced ; also the green known as " famille verte " ; but the blue and white porcelain still predominated. The latter period of the Ming dynasty was so hampered by wars with the Tartars, that the manufacture of porcelain was practically at a standstill. Before this time, Oriental porcelain had become comparatively well known all over Europe, where it was treasured by kings and nobles. In the year 1447 Mathieu de Coussy, the French historian, speaks of a letter written to the Sultan of Egypt by Charles VII. of France, asking him to assist French enterprise in the sea ports of the Levant ; this letter ends with the following request : " Si te mande par le dit Ambassadeur un present a savoir trois INTRODUCTION 1 1 escuelles de pourcelaine de Sinant, deux grands plats, ouvertz de pourcelaine, deux touques (oval vessel, or vase) verdes de pourcelaine, deux bouquetz (bottle with handles) de pour- celaine ouvere." This modest request reveals to us the strong desire of kings at that time to become possessors of the much-coveted porce- lain. Francis I. of France was a collector, and had a museum for his curiosities, amongst which were " vases and dishes of porcelain curiously wrought." In our own country Queen Elizabeth, who expected and demanded valuable gifts from her courtiers, received from Lord Burleigh, on New Year's Day, 1588, a " porringer of white porse- lyn garnished with gold," and from Mr. Robert Cecil "a cuppe of grene pursselyn." These, and doubtless most of the china brought to England at this time, came through Spain and Portugal, but it was still somewhat of a rarity, and was most highly valued. Authors of the sixteenth century, writing about it seriously, affirmed that porcelain remained buried in the ground a hundred years before the body and glaze came to perfection, and, as we know, that learned man, Lord Bacon, wrote about " mines of porselyn." 12 OLD CHINESE PORCELAIN The great Ch'ing dynasty (1644 to the present time) has been the most prolific. Immense quantities of beautiful designs and colours have been introduced, and all old varieties copied. It is more than probable that the greater part of the porcelain to be met with in private collections to-day has been made during this dynasty, even though it bear some earlier mark, for with the Orientals to copy meant that even the smallest detail should be reproduced, and so entirely did they succeed that the connoisseur finds it almost impossible in some cases to distinguish between the two. The Emperor K'ang-Hsi (1662-1722), who reigned peacefully for sixty years, did all in his power to encourage ceramic art. His viceroy, Lang-Ting-tso, a most cultured and artistic man, made a great name as the inventor of two new coloured glazes, the one a brilliant pure red called " Sang-de-boeuf," and the other the pale apple green called after him, " Lang-yao." It was towards the end of this period that the French Jesuit missionary, Pere D'Entrecol- les, first began to write his now famous letters.^ The first of these was written in 1712 from Jao-chan to the head of the Jesuit Order in ' Letires Edifiantes ef Curieuses. INTRODUCTION 13 Paris, These letters formed the earliest and most valuable information received in Western Europe as to the methods employed in the manufacture of porcelain, as well as supplying a striking history of Chinese life and manners at that time. There is little doubt that it was to them that Cookworthy, of Plymouth, owed the information which led to his discovery of the ingredients of true porcelain. It seems also more than probable that the potters at Dresden and St. Cloud were in like manner indebted to Pere D'Entrecolles. In one of his letters the Father describes King-te-Chen, with its long street and popula- tion of a million souls, its magnificent temple, dedicated to the Queen of Heaven, and built by a Chinese merchant who had amassed a large fortune in " The Indies," and the gleam and glare from three thousand furnaces. We can picture the weird scene which these burn- ing kilns must have presented at night, the account of which inspired Longfellow's lines : — A burning town or seeming so, Three thousand furnaces that glow Incessantly, and fill the air With smoke uprising, gyre on gyre, And painted by the lurid glare Of jets and flashes of red fire. 14 OLD CHINESE PORCELAIN The letters of P^re D'EntrecolIes are most thrilling and interesting reading. He describes the process of manufacture very minutely, tells how the painters were no better than common workmen, and speaks of them as "guex " (poor beggars) ; he also states that some pieces of porcelain passed through the hands of seventy workmen before they were complete. In his day the forger seems to have been as great an institution as he is to-day, and the Father gives a most entertaining account of the methods of a great mandarin who honoured him with his friendship. This worthy was the Viceroy of King-te-Chen. He procured a special kind of clay to make vases and other vessels, which he copied from valuable old specimens and baked in a special way. When completed, these were boiled in a utensil con- taining "very greasy soup," in which they remained for a month, after which they were transferred to "the most foul drain in the neighbourhood," and, having been thus well seasoned, were found to be so admirable as to warrant their being presented to noble per- sons as valuable antiques. During the Yung-ch^n period (1722-35) the rose family (Famille rose), so called from INTRODUCTION 15 the beautiful rose colour, obtained from gold, with which it was decorated, is said by some authorities to have been invented, whilst others assign it to the K'ang-hsi period. Old forms and pieces of single glaze decoration were largely copied ; indeed, the principal manu- factures of this reign were copies of ancient works. Under the Emperor Ch'ien-lung (1735-96), who reigned sixty years, a great impetus was given to the manufacture of porcelain. Very large quantities were made, which were re- markable for their excellence and decoration, whilst that which was designed for the Imperial households was specially beautiful. From this time, however, a decadence set in, and during the Tai-ping rebellion much valuable porcelain was destroyed, and the celebrated factories at King-te-Chen came to an end. Since that time to the present day porcelain has con- tinued to be made ; but as far as the collector is concerned his interest in later varieties is not great, though specimens made during the reign of the Emperor Tao-Kwang (1821-50) have of late years been much sought after by the collector on account of their beauty in design and decoration. 1 6 OLD CHINESE PORCELAIN Having discovered the commercial value of porcelain made for domestic use, and the large demand for antiques, both in their own and in other countries, the Chinese set themselves to work to make and copy these, losing thereby much of the poetic individuality which gives such a unique charm to genuine old examples. One reason why the collecting of porcelain is so deeply interesting to the collector is its history, or, rather, one might say the histories of the lives of men which are written upon it. In our own country the story in its beginnings is a sad one, when we remember the number of lives which were spent in finding out such elementary secrets as those of body and glaze, secrets which long ages before had been re- vealed to the Oriental. Indeed, our greatest triumphs in ceramic art are as child's play when compared with those of the Chinese. A study of the methods of these inscrutable people, as applied to the art they loved, cannot fail to be elevating, taking us, as it does, right into the heart of a most cultured nation. All that was best in poetry, in painting, and in literature, seems to have been used as in- spiration, and all that was precious, dignified, and stately in religious ceremonies finds ex- INTRODUCTION 17 pression here. Indeed, it seems almost im- possible to realise that these beautiful works of art, signed, it may be, " Scholarship, lofty as the hills and the Great Bear," " Riches, honour, and enduring spring," or "A gem amongst precious vessels of rare jade," were made and decorated by paid workpeople. They would seem rather to be surrounded by such an atmosphere of dignity and veneration as to suggest works of love, which the workmen felt honoured in performing. We are apt in these days to look upon the Chinese as the cheap labourers of the world, and as a people standing still, upon whom the door is closed. This may be so, but it is not possible that the long ages of culture which lie behind are lost. The nation may be sleep- ing, to awake some day like a giant refreshed, when she will show us once more her wonder- ful creative power, and make us feel again the poetry and beauty which underlie her works of art. HOW TO IDENTIFY OLD CHINESE PORCELAIN WHITE THREE kinds of white porcelain were made by the Chinese, namely, that which had been prepared, glazed, and fired in the ordinary way, and which was intended to be decorated in colours over the glaze ; secondly, that which was known as " biscuit," and which was unglazed porcelain, with a dull surface ; and thirdly, the beautiful white glazed porce- lain which was not intended for decoration in colours. The first of these three was largely imported into Europe in the eighteenth century, and much of it came to our own country, where it was painted at Chelsea and other factories. It also formed the body of the so-called Oriental " Lowestoft," to which I shall refer later on. The white "biscuit" porcelain, which is rare and valuable, is generally carved and pierced 19 20 OLD CHINESE PORCELAIN with fretwork. It is exceedingly thin, and has the appearance of having been pared down by the lathe. Some pieces are decorated entirely in open fretwork, and in other glazed pieces the fretwork is divided by raised medal- lions ornamented with figures in biscuit in high relief and with sprays of flowers ; such pieces will be seen illustrated on Plate I. This pair of bowls is in the late Sir W. Franks's collec- tion at the British Museum, and are described in the catalogue as having "five medallions with figures in biscuit in high relief; in one of them, the god of Longevity ; in each of the others, two figures standing — probably the Pa-Sien or eight immortals ; between the medallions is pierced fretwork." Sometimes this white biscuit porcelain was decorated by a simple design of lines incised in the paste. Boxes were made of it for the vermilion used by the Chinese in writing, and small biscuit porcelain receptacles which were designed to carry about fighting crickets, also pencil-holders, and little screens with landscapes in relief; these latter somewhat resemble those white glass or porcelain pictures which can be bought in Switzerland, and which we sometimes see hanging in windows, or used as lamp shades WHITE 21 and candle screens, the landscape showing up when the light shines through them. The kind of white porcelain, however, most usually met with in collections is the beautiful creamy white, with a glaze like satin. This was most highly estimated in France in the seventeenth century, where it earned the sobri- quet of " Blanc-de-Chine." It was largely copied at St. Cloud, and, in fact, by all early European manufactories. At Dresden and Buen Retiro pieces ornamented with the raised white hawthorn pattern were made in exact imitation of the Oriental, and the latter factory copied the cream tinge and satiny glaze of the Chinese original with wonderful accuracy. In our own country the Blanc-de-Chine was closely imitated at Bow and Chelsea ; indeed, at the former white porcelain with raised haw- thorn pattern became famous as characteristic of that factory. Later on a feature of the Plymouth manufactory was the white porcelain figures in exact imitation of Oriental deities ; some of these are exceedingly clever, but owing to the fact that they show all the imperfections of glaze and firing characteristic of Plymouth, they cannot be easily mistaken. Of the " Blanc-de-Chine " now in existence. 22 OLD CHINESE PORCELAIN the greater part came from Te-Hoa in the province of Fuchien, but I fancy most of the specimens in private collections to-day date from a time subsequent to the Ming dynasty, which closed in 1642. There are, however, authentic specimens made during this period, and even earlier ; in fact, Chinese historians speak of beautiful white porcelain made as early as the Tang dynasty, 618-907 a.d. ; and during the Sung period, which ended in 1279, it be- came famous as the white Ting porcelain, named after Ting-Yao of that dynasty, and this name was associated with all white wares for many years. The Ting porcelain was thin as egg-shell, and was generally engraved with designs incised in the body under the glaze, which could hardly be seen till held up to the light. In the Franks Collection at the British Museum are two bowls which are de- scribed in the catalogue as "Thin ivory-white Chinese porcelain. Very small base and wide rim, in which are six indentations. Inside are two five-clawed dragons, very faintly engraved in the paste and glazed over. In the centre an inscription, also engraved under the glaze in an ancient Seal character, being the mark of the period Yung-lo, 1403-1424." WHITE 23 Perhaps the best-known pieces of Blanc-de- Chine are the statuettes of Buddhist deities ; of these, the goddess Kwan-yin (Plate II.) is most frequently met with. She is sometimes re- presented as seated upon a rock with dragons at her feet, or more often upon a lotus flower ; on either side are boy attendants, and in her lap or upon her arm is a child ; sometimes she carries a peach. This figure, of which there are several varieties, has a Madonna-like ap- pearance, and I know a case where a lady kept one on a table in her bedroom with her religious books, under the impression that it represented the Madonna and Child, and who was horrified when I pointed out her mistake. The figure of Kuan-Ti, the god of War, is also well known. The original of this god was one Kuan-Yu, a hero who distinguished him- self in the Civil Wars of the third century. He was deified more than a thousand years years ago, and is still worshipped. Kuan-Ti is represented as seated on a carved wooden chair ; he has a haughty bearing, frowning features, and flowing moustache and beard ; his cloak covers a coat of mail, and his girdle is studded with precious jade. Figures of animals, generally of the fabulous 24 OLD CHINESE PORCELAIN description, cocks, and other birds, were also made in white porcelain, and also little seals (see Plate I.) in the form of a cube, on which a tiny animal is seated ; on the seal, inscriptions are engraved in relief. Two such seals were found in an Irish bog many years ago, and there has been much speculation as to their previous history. Of the animals, the fabulous lion is perhaps the best known (Plate II.). He is represented as seated on a rectangular base with a tube at the side for joss-sticks ; his tail and mane are curled and twisted and tied with ribbon ; his mouth is open, showing rows of teeth, and from it falls a thick strand of silk, ending in a ball under one paw. Statuettes of kylins (strange animals — a mixture of deer, rhinoceros, and dragon), elephants, dragons, and cocks, are not so often met with, and the figure of a crab resting on a lotus leaf with a flower at the termination of the stem is a rare example of this white porcelain. Libation cups (Plate II.) were also made for use in religious ceremonies ; these are a thicker and heavier porcelain, and are generally oval in shaipe, but are sometimes octagonal ; the latter are decorated with raised figures, and impressed ornaments of horses and PLATE II WHITE. "BLANC DE CHINE" 1. OVAL LIBATION CUP of ivory white Chinese porce- Inin ornaraented with mouUled branches and standing on a base composed of stems. Height, 2J,- in. Diameter, 4 by 3^ in. 2. S'I\4TUETTE OF THE GODDESS KAVAN-YIN. Seated upon a lotus flower. In her lap is a child, and at the base are dragons moulded in relief and boy attendants. Height, 12 in. 3. FIGURE OF A LION, with twisted mane and tail, one paw resting upon a ball, and a tube at the side for joss slicks. Height, 5-I in. WHITE 25 other animals, very faintly outlined under the glaze. The oval cups are supported by feet, or a base formed of the moulded stems of prunus (hawthorn), or of magnolia branches. They are decorated with these flowers in relief, and with moulded ornaments, consisting of fish, kylins, storks, and dragons ; and in some cases the name of the maker or owner will be found pricked in Chinese characters in the paste. Of the Statuettes and Libation cups, those which have a fine creamy tint are the most valuable ; the glaze is very soft, and seems to be one with the paste, and when looked through in a strong light it has a milky appearance. Another kind of Blanc-de-Chine is of a cold blue-white tinge, and is not so valuable ; but in the History of King-ti-Chen, translated by M. Stanislas Julien,^ three whites are described, namely, "of the snow," "of the moon," and of "flour." Of course, other articles than those described were made in white porcelain, such as vases and beakers, which were generally decorated with ornaments incised in the paste, or with moulded devices of fish, flowers, and fabulous animals ; also delicate cups and saucers, de- ' Histoire de la Fabrication de la Porcelain Chinoise. 26 OLD CHINESE PORCELAIN signed to represent the petals of an open flower by lines and veining incised in the paste under the glaze, and sometimes veined with gold, and having a tiny gold centre. Two famous pieces of white porcelain of great antiquity still exist, the one an incense- burner, brought to Venice in the thirteenth century by that great traveller, Marco Polo, when he returned from China, where he had probably visited the factory at King-te-Chen, in the province of Fuchien. This piece (Plate I.) has been frequently copied by the Chinese, and in the Franks Collection at the British Museum such a copy may be seen. It is described as a " basin " (it looks more like a casket with cover and stand), "eight-sided, with ornaments moulded in relief. Ivory-white Chinese porcelain. The basin has eight feet and four handles ; each side is ornamented with three bands, inclosing scrolls and other devices of an ancient bronze style ; the cover has a knob at each angle, and is ornamented with an iris surrounded by prunus ; the spaces between are pierced ; the central knob is wanting. The stand has a raised knob at each angle, and eight low feet ; in the centre is a large flower surrounded by small detached WHITE 27 scrolls, all impressed ; on the outside are panels like those on the bowl." The second historical specimen is to be seen in the Dresden Gallery, where there is a par- ticularly fine collection of Oriental porcelain, of which this is the oldest piece. It is said to have been brought by a Crusader from Palestine, and is a plate set with uncut rubies and emeralds in gold filigree, and is marked with the word " Fuh " (happiness) in Chinese characters. These two pieces bear striking testimony to the skill of the Oriental, and to the high state of perfection to which he had brought his art many centuries ago. A special kind of white porcelain from King-t^-chen was made for the Imperial household, to be used in times of mourning. It was exceedingly fine in texture, and the shapes used were delicate and graceful. The decoration consisted of five clawed dragons incised in the paste under the glaze, which could hardly be seen till held up to the light. In contrast to the blue and white porcelain and that decorated in enamels over the glaze, the Blanc-de-Chine will generally be found to be unglazed on the under side, with the biscuit body exposed to view. 28 OLD CHINESE PORCELAIN In the Franks Collection at the British Museum may be seen two bricks of white porcelain taken from the wonderful " porcelain " tower built by the Emperor Yung-lo (1403-24). This building was nine storeys high, and the bricks were of five colours ; but while the white ones were of true porcelain, the others were only of glazed pottery. SINGLE COLOURED GLAZES POTTERY covered with a single coloured glaze has been made in China from the earliest days ; indeed, it seems practically cer- tain that the wonderful Yu-yao, or "blue as the sky after rain," was of this description ; and even earlier — in the fifth century of our era — we read of specimens in imitation of jade, of red, and of green porcelain, which were, most probably, pottery covered over with coloured glazes. Later on, translucent porcelain was treated in the same manner, though undoubtedly some specimens are of inferior porcelain, or of a kind of stone-ware which would probably have been used at a time when the China clay failed. The colouring matter used in these glazes was derived from oxides of iron, copper, and in later times gold. At first the colours used were blue, red, and brown only, as these alone would bear the heat of the kiln. These colours are now spoken of as "grand feu" colours. 29 30 OLD CHINESE PORCELAIN Later on it was