Page 42 - Chinese porcelains collected by Mr. and Mrs. Charles P. Taft, Cincinnati, Ohio, by John Getz

HISTORICAL

lain, of the Sung dynasty, and the so-called porcelains of the magistrates,
termed " Kuan-yao," which were noted in the twelfth century. At Feou-

liang lived the most famous of these Wan-li potters, who retired secretly

to a porcelain-factory, where he was able to make vases of charming ele-

Hegance. took the name of Ouin-tao-jin (or Hu-yin-tao-jen), "the old

man who lives in retreat." Among his other products mentioned in detail

are vases of a purple color, in imitation of antique porcelain. It may be

interesting to note this later color, as it is possible that the bluish tone of

the prune-skin (manganese) is referred to under the Sungs, instead of a

kind of celadon.

Much painting was done over the glaze, and the pieces so decorated

are the " three-color " and " five-color " pieces which have in late years

especially reached the Westem world.

The so-called three<olor pieces of this dynasty show a glazing in yel-
low, purple, and green. The yellow is usually of a buff shade, and some-

times dull ; the purple varies from a brownish mouse- to prune-color ; and

the green also varies from a yellowish-green to a strong emerald-color.

The "five-color" specimens are, in fact, blue and white pieces with
yellow-green, purple, and red painting over the glaze. The red color is

usually opaque and varies in brilliancy from a coral-color to a dull, uneven

sienna-red, the other glazes being more or less clear and transparent, with

the exception, perhaps, of the browni-toned (manganese) purple, although

in fine pieces this color is light and shades into a violet of clear transpar-

ency.

In these "five-color" decorations, the portions of the design meant to

remain blue were first painted, and the pieces glazed and baked ; then the

rest of the painting (in the other colors) was added over the glaze, and

the object baked again, at a lower temperature. The essential differ-

ence is, that the blue is always under and not over the glaze, whether
in the Wan-li or other Ming periods; while later, under Kang-hsi, for

example, a vitreous blue enamel is generally used over the glaze, although

in rare pieces a blue margin-line under the glaze may be noted, especially

on the " seven-color " specimens.