Page 40 - The art of the Chinese potter By Hobson

THE ART OF THE CHINESE POTTER

or t'u ting. The first named is the rarest and is the most lustrous
in its glaze. The last named is found in a greater variety of shapes,

but the quality of its creamy crackled glaze is inferior, and trans-
lucency is rarely observed in the body.

One of the characteristics which has for centuries been associated

with the Ting ware is the presence of " tear drops " in the glaze.
These marks are due to local aggregations of the glaze where it has
been arrested in its flow over the surface of the vessel. Pieces
were often, but not invariably, fired on their mouth-rims which are
frequently found bound in copper to hide the unglazed portion.

There are numerous Sung specimens of the Ting type which do
not conform with the general features displayed by the Ting yao
proper, and with present knowledge it is impossible to classify
these more narrowly. Probably there was a number of factories

employing similar technique, especially during the latter part of the

Sung dynasty, after the main centre at Ting Chou became dis-
organised. One of the allied classes of white ware has been called

Kiangnan Ting, which implies that it was produced at factories in
Kiangnan, i.e. in the two provinces of Kiangsu and Anhwei. The
features of this type of ware are a creamy glaze and a close crackle.

The effect has not inappropriately been likened to pigskin or to an

ostrich's egg.

The Ting glaze effect is also obtained by placing on the body a
thin white slip and superimposing upon that a transparent film of
glaze. The result is to produce a fine white surface with a " soft-

ness " very similar to that exhibited by the Ting glaze. Many of

the specimens so glazed probably come from the factories of Tz'u
Chou which will be mentioned later, and of other districts in

southern Chihli. 1

During the Ming dynasty the traditions were continued, but the
body of the ware was made of finer porcelain, and a more " glassy "
surface is found. Many of the Ming reproductions, however, are
very hard indeed to distinguish from Sung specimens, especially
the imitative wares made towards the end of the Ming dynasty in

the reigns of Chia Ching and Wan Li.

In the estimation of a very large number of collectors the early
celadons hold the highest place. The green, blue-green, and
green-grey tones displayed by the celadon wares never weary the

1 Kuliihsien and Kichownan have been named in this connection.

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