CHINA
POR CELAANTRMCORATED
themselves underwent an alteration. It is a notable fact that all the principal colours of the “ Fami/le Rose’? porcelains, the lemon yellow, the ruby or crimson, the pink, or rose du Barry, and the brilliant black — differing essentially from the dull greenish black of the “ Famille Verte’? wares —are spoken of in the Yao-/u as “ European colours.’’ In fact, the distinct change of genre that occurred at the close of the Kang-hst era, was largely due either to Euro- pean inspiration or to some newly formed conception of European taste. Certainly the keramic decoration of the West two centuries ago had very few features in common with the contemporaneous keramic dec- oration of China. But the difference between the two was much less marked after the “ Famille Rose” type made its appearance. The broken colours and half-tints of the latter had a marked affinity with European style, though the decorative designs chiefly employed might easily be mistaken for Japanese. Moreover, much direct copying of European models and designs took place at the request of foreign traders. Mr. A. W. Franks, of the British Museum, has studied this branch of the subject with his wonted care. In the fine collection presented by him to the nation, numerous specimens of Chinese and Japanese wares are included, betraying unmistakable evidence of foreign influence. His remarks on the subject are well worth quoting : —
The earliest specimens modified to. modern taste would naturally be anything made in China for Japan, or in Japan for China; next, the wares furnished to other Asiatic nations or to Egypt, and lastly those made for Europe.
It would appear from Pere d’Entrecolles and other sources that, in 1712, Japan was a purchaser of porcelain in China,
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