CHINA
CHINA
term which almost became a synonym for “ Ming enamelled porcelains.” ‘The example set by these wares undoubtedly exercised strong influence on the style of the Japanese Imari potters, just then begin- ning to practise the art of decoration with enamels. In both wares is found the same massing of full-bod- ied, brilliant enamels with strong, heavy blue under the glaze. The Japanese, however, very soon de- parted from the stiff, conventional fashions of the Chinese decorator, and developed a much more artis- tic style. But the advantage in colours remained always with the experts of the Middle Kingdom. The purity and lustre of their enamels and the depth of their blue sous-couverte were so unrivalled as to be characteristic.
The TYao-/u records the names of two celebrated potters who flourished during the Lung-ching and Wan-h eras. ‘They have already been referred to in connection with porcelains different from the class now under consideration. But they must be men- tioned here also. One, by name Tsui, lived in the middle of the sixteenth century. He excelled in re- producing the choice wares of Hsuan-té and Chéng- hwa eras. ‘ During his lifetime his productions were held in the highest esteem. They were called Tsuz- Kung-yao (porcelains of the Sieur Tsui). All over the empire men purchased them with the keenest empressement. Among his pieces the cups were sensi- bly larger than those of the periods Hswan-té and Chéng-hwa, but in delicacy and beauty they were entirely similar.” The second expert, Hu, flourished towards the close of the same century. Chiefly re- markable for imitations of Sung specimens, he seems to have also produced small pieces enamelled after
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