Page 80 - Chinese Art, Vol II By Stephen W. Bushell
P. 80

14                  CHINESE ART.
                  religious images, sacred figures and grotesque animals, besides an
                   infinity of smaller ornamental and  fantastic  curiosities.  These
                  potteries are distinguished  for the  qualities of the glazes with
                   which the dark brown body is invested.  One of them, a  sojtfflr
                   blue, was copied in the imperial porcelain manufactory by T'ang
                   Ying, from a specimen specially sent from the palace at Peking for
                   the purpose.
                    The glazes are usually of the mottled and variegated class, the
                   prevailing ground being cobalt blue, which may be streaked and
                   flecked with green and pass into olive-brown towards the rim.
                   But several other colours occur, such as manganese purple, camellia-
                  leaf green, and crackled greys  ;  they are usually colours of the
                   demi-grand feu, but include a brilliant red of  sang-de-bceuf tone
                   running down in thick lustrous waves.  In some pieces the sur-
                   face is only partially covered, the glaze stopping short in an irregu-
                  larly curved line before it reaches the bottom, congealing in thick
                  drops, so that a third of the vase may be left bare.  In this  it
                   resembles some of the ancient wares of the Sung dynasties with
                   which it may be confounded if special attention be not paid to the
                  distinctive characteristics of the paste.
                    Three typical specimens of Kuang Yao have been selected from
                   the Museum for illustration, without attempting to refer them
                   to any of the particular potteries of the province.  The  first.
                         is a vase of dense kaolinic faience modelled in relief with
                   Fig. 4,
                   ornamental motives taken from the lotus, covered with a gray
                   crackled glaze  ;  the base  is encircled by a double tier of lotus
                  petals, a conventional blossom is seen in the foreground springing
                   from a scroll on the shoulder of the vase, and its swelling lip dis-
                  plays a ring of studs, simulating the seeds of a lotus pod.
                    The second, Fig. 5, is a tall, gracefully shaped vase of grayish
                  stoneware, with a pear-shaped body tapering to a long slender
                   neck, bulging at the top, ornamented with archaic dragons (ch'ih
                  lung)  coiling round  the shoulder of the vase executed  in high
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