Page 147 - Chinese Art, Vol II By Stephen W. Bushell
P. 147

PORCELAIN.                        29

            could not be made of porcelain.  The censors of the time indited
            a series of urgent protests against the expenditure by the emperor
            of so much money on mere articles of luxury, which are preserved
            in the ceramic archives.  The court indents were truly conceived on a
            magnificent scale; 26,350 bowls with 30,500 saucer-dishes to match,
            6,000 ewers with 6,900 wine-cups, and 680 large garden fish-bowls
            to  cost  forty taels each, being requisitioned among a number of
            oth_>r things in the year 1554.  These indents, derived from the
            archives of Ching-te-chen, and  all dated, are a mine  of  exact
            knowledge for the investigation of gla/cs and styles of decoration,
            now that Chinese ceramic termmology is becoming better known.
            In the year 1544, for example, we find an order  for  1,340  table
            services  of twenty-seven pieces each  ; 380 to be painted in blue
            on a white ground with a pair of dragons surrounded by clouds  ;
            160 to be white, with dragons engraved in the paste under  the
            glaze  160 coated in monochrome brown of fond laqiie, or  "  dead
                 ;
            leaf " tint  ; 160 monochrome turquoise-blue  ;  160 coral or iron-red
            {fan hung), instead of the copper-red [hsien hung) of the grand fctt
            previously required;  160 enamelled yellow; and 160 enamelled
            bright green.  In the  face  of these documents  it  is no longer
            permissible to stigmatise any of the above single colours as sub-
            sequent inventions, although Pere d'EntrecoUes  did  so  in  the
            case of the fond laque, the izil-chin (or bruni) of the Chinese, a glaze
                                                    "
            affording all shades of brown from chocolate to  old gold."
              Hung Wu, the founder of the Ming dynasty, rebuilt the imperial
            manufactory  at Ching-te-chen  in the second year  of  his reign
            (1369), and the manufacture has become  concentrated  at  this
            place and been gradually developed under the direct patronage
            of the later emperors.  From this time forward, in fact, artistic work
            in porcelain has become a monopoly of  Ching-te-chen,  in  the
            jirovince  of Kiangsi.  All the older glazes of repute have been
            reproduced here in succession, and many newer methods of deco-
            ration have been invented, to be distributed from its kilns throughout
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