CHINA
CHINA The same catalogue includes “vases decorated with enamels in the European style” (Y ang-tsat-ki), and says that ‘‘landscapes, figures, flowers, plants, birds and quadrupeds were depicted on these porcelains with marvellous delicacy and perfection.” When it is remembered what a large measure of imperial pa- tronage was extended to the Jesuit missionaries in Kang-hsi’s time, and how they were honoured as the representatives of advanced erudition, it seems natural that not European science only, but European art also, or at any rate the European art tendencies of the age, should have obtained some favour in the Middle Kingdom. Moreover, there were the mar- kets of Europe to be supplied. Japan had adapted herself to their demand at Dutch inspiration, and Chinese keramists had not only Japan’s example to stimulate them, but also the counsel of learned men who, although foreigners, were open recipients of the emperor’s favours. ‘The result may be traced in two directions. Decorative methods became more and more ornate, until they culminated in the infinite elaboration of the later CAzen-/ung porcelains. Look- ing back to the brilliant style of the Lung-ching and Wan-h period (1567-1620), it may, perhaps, be denied that foreign inspiration was needed to develop these into the exuberance of adornment with which their successors were loaded two centuries afterwards. But the difference is not one of degree only. For the dragons and clouds, the phenixes, the sacred horses, the mythical beings, the waves, the fishes and the aquatic plants which chiefly furnished motives to the early keramist, were replaced in later times by elaborate diapers, rich scrolls, soft floral designs and graceful arabesques. Besides, the decorative enamels
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