Page 160 - Chinese Art, Vol II By Stephen W. Bushell
P. 160

34                    CHINESE ART.

                 Queen Elizabeth.  The Ewer (Fig. 21), artistically painted in soft
                 blue with birds and flowers, is mounted with a silver-gilt base, six
                 bands formed as wreaths with cherubs' heads in  relief, a band
                 round the neck, with lip and lid surmounted with three dolphins, and
                 a handle formed of a mermaid with a double-twisted tail, all in silver
                 gilt.  The last of the four pieces, a bowl (Fig. 24), decorated with
                 floral sprays and imperial phcenixes pencilled in typical Ming style,
                 has the mark Wan Li (1573-1619) outlined under the foot in under-
                 glaze blue  ; the rest are unmarked, but arc unmistakable examples
                 of the ceramic style of the same reign.
                   The decoration of Chinese porcelain in under-glaze cobalt blue,
                 as well as in under-glaze copper red, both colours of the grand feu,
                 was already in full vogue in the first half of the fifteenth century
                 during the reign of Hsiian Te.  The adoption of enamels of the
                 muffle stove, identical with those used in cloisonne enamelling on
                 metal, was of somewhat later date.  The enamel colours were first
                 employed as ground washes to relieve and heighten the blue, next
                 used in combination, till they gradually predominated in the scheme
                 of coloured decoration typical of the reign of Wan  Li, and hence
                 generally known  to the Chinese as that  of the  "  Wan Li Five
                 Colours."
                               K'ang Hsi Period   (1662-1722).
                   We have now reached the culminating epoch of the ceramic
                 art in China by common consent of all connoisseurs, eastern and
                 western.  The brilliant renaissance of the art which  distinguishes
                 the reign of K'ang Hsi is shown in every class  ;  in the single-coloured
                 glazes, la qualite maiiresse de la ct'ramiqtie  ; in the painted decora-
                 tions of the grand feu, of the jewel-like enamels of the muffle-kiln,
                 and of their manifold combinations  ; in the pulsating vigour of
                 every shade of blue in the inimitable " blue and  white."  Lang
                T'ing-tso was Viceroy  of  the  united  provinces  of  Kiangsi  and
                 Kiangnan  in the lieginning of the reign, and his name has come
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