Page 269 - Oriental Series Japan and China, Brinkly

PORCELAIN DECORATED

fact that such colours had not yet been added to

the decorator's palette. Independent observation and

the direct testimony of Chinese virtuosi establish be-

yond all doubt the fact that the use of ruby enamel
and half-tints, such as rose colour and light pink, com-
menced in the closing years of the Kang-hsi era, and
began to be largely practised in the following reign.

Collectors may be assured that, with very rare excep-

tions, good specimens of the Famille Rose belong to
one or other of the two eras Tung-ching (17231736),

or Chien-lung (1736-1795). To be strictly accurate,

the epoch of the family's most highly developed
manufacture ought, perhaps, to be extended so as to

include the opening years of the Chia-tsing era say,
;

up to 1 8 1 o. But such precision is seldom possible or

essential.

The presence of ruby enamel passing through rose

to very light pink and the prevalence of half-tints
or broken colours are sufficiently characteristic of this

beautiful porcelain. It is further distinguished by

white, or greenish white enamel, which does not ap-
Apear on other wares.
general and even more easily

recognised feature is that many of the enamels of the
Famille Rose are not vitreous : they do not show the

brilliant transparency that marks the decoration of
the " Famille Verte." It was natural that in using
the soft, subdued colours, more like the pigments

of the Western potter than the original vitrifiable

enamels of the Chinese, the Ching-te-chen artist

should vary his decorative fashions. He no longer

took figure subjects as his principle models, but sought

inspiration rather in the floral kingdom ; blossoms and
fruits offering a field exceptionally suited to his new
palette. More charmingly decorated ware it would

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