CHINA
CHINA
liant than those of the Mimg epoch. On the contrary, owing to their more profuse employment, the latter often convey an impression of greater richness and solidity. Green was the dominant colour of the Kang-hsi experts. ‘Their porcelains constitute the «< Famille Verte’? of French collectors. In combina- tion with figure subjects there are usually found landscapes with fantastic rocks and partially conven- tionalized trees, in the colours of which nature is not always consulted. ‘The medallion fashion of decora- tion, though already familiar, may be said to have first come into large favour in this era. It constantly occurs on the necks of vases or in other secondary positions. ‘The subjects within the medallions are, for the most part, flowering shrubs, dragons, pheenixes, or miniature landscapes. It must be admitted, how- ever, that in the case of the larger Kang-As7 specimens, wealth and brilliancy of decorative effect rather than grace or vigor of artistic conception constituted a chief merit. Only in some of the choicest pieces did the potter apparently think of anything beyond a striking ensemble. We was generally stiff and conventional, re- peating his figure subjects with persistence as stubborn as that which marks his Occidental confrére’s love of the nude. From this criticism must be excepted the little cups and bowls of egg-shell China for which the Kang-hsi era was scarcely less famous than the Chéng-hwa. On these exquisite specimens of keramic skill groups of bending grasses, bunches of flowers, blossoms and branches, and so forth are represented with fidelity and grace. It is difficult to speak too highly of this egg-shell ware. Its technique is perfect, the purity and brilliancy of the enamels not being more remarkable than the skill displayed in applying them.
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