Page 228 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
P. 228

211



                                                                  46
                       porcelain industry has fallen ill (diao zhan).”   The idea of decline and crisis in which
                       the porcelain industry was mired served as a counterpoint to the three imperial eras of


                       Kangxi, Yongzheng, and Qianlong that Chen Liu lauded as the pinnacle of porcelain

                       artistry.  Chen particularly lavished praise upon the “official kilns of the Kangxi and


                                                                                                   47
                       Yongzheng period” boldly declaring them as “exhausting the limits of beauty.”   Chen
                       equated these three periods as the highpoint in Chinese porcelain, perhaps in


                       contradistinction to the views of Bushell who made widely known his appraisal of the

                                                                              48
                       Kangxi period as the “most flourishing period of the art.”   Since Chen was concerned

                       with the falling status of Chinese porcelain in the world’s eyes after the years of apex,

                       extending the lifeblood of its pinnacle years was a sensible intellectual strategy.


                       Contrasted with the “brilliance of the periods of Kang and Yong… Today our Chinese

                       porcelain is in sad decline. The workmanship is no good; the material is rough. Thus has

                                                   49
                       perished its original quality.”   Elsewhere in Tao Ya, Chen clarified the nature of the

                       deterioration:

                                     Our Chinese porcelain pieces are highly esteemed, but
                                     today they are no longer what they used to be. And the
                                     reasons are many and complicated. Speaking of the body
                                     biscuit (pei tai), in the past it was made of fine and rich
                                     earth; today it is rough and coarse (kuyu). Speaking of
                                     handiwork (shou gong), in the past the patterns were
                                     skillful and complete, today they are full of flaws. Speaking
                                     of the glaze material, in the past the clay was lustrous and
                                     glossy; today it is dry and parched. Speaking of the color,
                                     in the past the coloring matter was fresh and bright; today it
                                     is dull and blotchy (an bai). Speaking of the shapes; in the
                                     past they had a deep and broad aura of antiqueness; today
                                     they are vulgar and vile.  Speaking of the painters
                                     handicraft (hua shou), in the past they were true to life,
                                     elegant and refined; today it is clumsy and exaggerated.
                                     Speaking of the firing, in the past the vessels came from the
   223   224   225   226   227   228   229   230   231   232   233