Page 254 - Oriental Series Japan and China, Brinkly

CHINA

term which almost became a synonym for " Ming
enamelled porcelains." The example set by these

wares undoubtedly exercised strong influence on the
style of the Japanese Imari potters, just then begin-
ning to practise the art of decoration with enamels.
In both wares is found the same massing of full-bod-
ied, brilliant enamels with strong, heavy blue under

the glaze. The Japanese, however, very soon de-

parted from the stiff, conventional fashions of the

Chinese decorator, and developed a much more artis-

tic style. But the advantage in colours remained
always with the experts of the Middle Kingdom.

The purity and lustre of their enamels and the depth

of their blue sous-couverte were so unrivalled as to be

characteristic.

The Tao-lu records the names of two celebrated

potters who flourished during the Lung-ching and
Wan-H eras. They have already been referred to in

connection with porcelains different from the class

now under consideration. But they must be men-
tioned here also. One, by name Tsui, lived in the

middle of the sixteenth century. He excelled in re-

producing the choice wares of Hsuan-te and Cheng-

hwa eras. " During his lifetime his productions were
held in the highest esteem. They were called Tsui-

Kung-yao (porcelains of the Sieur Tsui). All over

the empire men purchased them with the keenest
empressement. Among his pieces the cups were sensi-

bly larger than those of the periods Hsuan-te and
Cheng-hwa, but in delicacy and beauty they were

entirely similar." The second expert, Hu, flourished

towards the close of the same century. Chiefly re-
markable for imitations of Sung specimens, he seems
to have also produced small pieces enamelled after

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