Page 407 - Oriental Series Japan and China, Brinkly

POLYCHROMATIC GLAZES

managed with virtual uniformity of results. The

colouring material was applied by insufflation, and
the outcome was a bluish grey or slate ground marbled
with dark brown and showing a rosy tinge. All the

tones of colour, however, varied slightly according to

the conditions of the kiln, and hence the name "Tao-
"
pien is appropriate. The best specimens of this

variety appear to date from the Yung-ching era (1723-

1736), but as a general rule the Tao-pien porcelains
of the Chien-lung potters yield to none of their pred-

ecessors in technical excellence.

The Lu-yao-pien, or green transmutation ware, is a

choicer and rarer variety than the last. Its body

colour is transparent green, passing into azure or pur-

ple, and over these fields floats a dappling or net-work

of brown ochre. The glaze conveys an impression

of thickness and depth, but is in reality applied in a

moderately liquid condition. The technique is ex-

cellent, the pate as is also the case with the Lan-

yao-pien being fine porcelain. The best examples

of both varieties usually have a year-mark impressed
in seal character. There is no positive evidence to

show that either the Lan-yao-pien or the Lu-yao-pien

was produced during the Ming dynasty, though the
the " Annals of Fu-
slitaantgem"enwtitqhuoretfeedreancbeovteo from
green," probably indi-
" oil

cates a similar glaze.

Differing from both of the above sufficiently to be

easily distinguished, is a variety of Tao-pien to which
American collectors have applied the term " Robin's-
egg glaze," but which in China has the name Chiun-
tien, or " imperial spotted ware." As is the case with

every class of transmutation ware, no two specimens

of this variety are exactly alike. The choicest kind

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