Page 200 - Oriental Series Japan and China, Brinkly

CHINA

motives borrowed chiefly from ancient bronzes. Too
frequently the painting itself is weak and mechanical.
That it was more likely to assume this character than

to display originality and vigour, may be gathered
from the records. " Each variety of round vase dec-

orated with blue sous couverte," says the Tao-lu, is

manufactured by hundreds. If the pictures are not

identical, great irregularity results. For this reason,

the expert who sketches the design does not study

the art of laying on the colours and per contra, the
;

man who applies the colours does not learn how to

sketch. Thus each employs his hand always on the

same object without dividing his attention. Those

who sketch and those who colour are separated in

the same studio so that their work may be uniform."

And what this uniformity of work actually meant in

practice will be understood from the account of M.

d'Entrecolles : "The business of painting is di-

vided, in one studio, between a large number of

workmen. One's sole duty is to form the first col-

oured ring seen near the rim of the piece ; another

traces flowers for yet another to paint. One confines

himself to sketching landscapes, another does not go

beyond birds and animals." What was gained in

celerity by this division of labour was often lost in

originality. Yet these Kang-hsi porcelains are always

redeemed by their fine colour, whether the artistic

features of their decoration be good or bad. In

many of the better specimens bands of scroll pattern

or diapers, incised in the pate, surround the bases and

rims, adding appreciably to the decorative effect. In

others the blue decoration is confined to medallions,

the whole of the rest of the surface being occupied
by arabesques in low relief.

150