Page 290 - Oriental Series Japan and China, Brinkly

CHINA

The same catalogue includes " vases decorated with
the European style " (Yang-tsai-ki}, and
enamels in

says that " figures, flowers, plants, birds

landscapes,

and quadrupeds were depicted on these porcelains

with marvellous delicacy and perfection." When it

is remembered what a large measure of imperial pa-

tronage was extended to the Jesuit missionaries in

Kang-hsi's time, and how they were honoured as the

representatives of advanced erudition, it seems natural

that not European science only, but European art

also, or at any rate the European art tendencies of

the age, should have obtained some favour in the

Middle Kingdom. Moreover, there were the mar-

kets of Europe to be supplied. Japan had adapted

herself to their demand at Dutch inspiration, and

Chinese keramists had not only Japan's example to

stimulate them, but also the counsel of learned men

who, although foreigners, were open recipients of

the emperor's favours. The result may be traced in

two directions. Decorative methods became more

and more ornate, until they culminated in the infinite
elaboration of the later Chien-lung porcelains. Look-
ing back to the brilliant style of the Lung-ching and
Wan-li period (15671620), it may, perhaps, be

denied that foreign inspiration was needed to develop
these into the exuberance of adornment with which

their successors were loaded two centuries afterwards.

But the difference is not one of degree only. For
the dragons and clouds, the phoenixes, the sacred
horses, the mythical beings, the waves, the fishes and
the aquatic plants which chiefly furnished motives
to the early keramist, were replaced in later times by
elaborate diapers, rich scrolls, soft floral designs and

graceful arabesques. Besides, the decorative enamels

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