CHINA
CHINA
the tones of the sous-couverte colours are similar, and the fashions of decoration differ only in one respect, namely, that figure subjects were more affected by the experts of the former era.
The Chien-lung period (1736-1795), which fol- lowed that of Yung-ching, was perhaps the most pro- lific of all Chinese epochs, if considered with respect to the number of specimens it has furnished to West- ern collections. The author of the Tao-/u speaks of the era with great enthusiasm, and his eulogies were not exaggerated. The imperial factories were con- trolled by Tang, commonly called Tang-Kung (the Sieur Tang), and the wares manufactured under his direction are known as Tang-yao. ‘This expert really belongs to the Yung-ching as well as to the C/ien-/ung era. Hecame to Ching-té-chén in 1727, and served, apparently, as assistant-superintendent under Nien, who is mentioned above. But at the commence- ment of Chien-lung’s reign Nien was employed elsewhere on duties of a different character, which occupied him until 1743, when he returned to Kiu- kiang and became joint superintendent of the pot- teries with Tang. These two masters carried the keramic art of China to its zenith. Of Tang it is recorded :— ‘‘ He employed the greatest care in, choosing materials, and all the vases manufactured under his direction were consequently of the most perfect delicacy, brilliancy, and purity. He could also imitate the most celebrated antique wares, never failing to obtain the same degree of elegance and beauty as his originals. He further imitated all varieties of most prized glazes, reproducing them with rare skill. The perfection of his porcelains left nothing to be desired. .. . In his day the
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