CHINA
POLYCHROMAITIC GLAZES
managed with virtual uniformity of results. The colouring material was applied by insufHation, and the outcome was a bluish grey or slate ground marbled with dark brown and showing a rosy tinge. All the tones of colour, however, varied slightly according to the conditions of the kiln, and hence the name ‘“Yao- pien”’ is appropriate. The best specimens of this variety appear to date from the Yung-ching era (1723- 1736), but as a general rule the Yao-pzen porcelains of the C/zen-/ung potters yield to none of their pred- ecessors in technical excellence.
The Lu-yao-pien, or green transmutation ware, is a choicer and rarer variety than the last. Its body colour is transparent green, passing into azure or pur- ple, and over these fields floats a dappling or net-work of brown ochre. The glaze conveys an impression of thickness and depth, but is in reality applied in a moderately liquid condition. The technique is ex- cellent, the pate —as is also the case with the Lan- yao-pien — being fine porcelain. The best examples of both varieties usually have a year-mark impressed in seal character. There is no positive evidence to show that either the Lan-yao-pien or the Lu-yao-pien was produced during the Ming dynasty, though the statement quoted above from the “Annals of Fu- liang”’ with reference to “oil green,”’ probably indi- cates a similar glaze.
Differing from both of the above sufficiently to be easily distinguished, is a variety of Yao-pien to which American collectors have applied the term “ Robin’s- egg glaze,” but which in China has the name CAzun- tien, or “‘ imperial spotted ware.” As is the case with every class of transmutation ware, no two specimens of this variety are exactly alike. The choicest kind
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