THE CERAMIC ART IN CHINA. 399 



celadon ware had one or sometimes two bands of ornamentation of a 

 deeper green than the body of the vase. This deeper tone might, how- 

 ever, have been produced by a double layer of glaze ; in any case the 

 peculiarity would not amount to ornamentation in several colors in the 

 sense in which I use that expression. Again, the single specimen of 

 black Tingchou porcelain illustrated (and indeed ever seen) by Hsiang 

 Tzu-ching is described as "a duck-headed vase, bottle shape, with swell- 

 ing body and ringed neck, which curves over to end in a duck's head, 

 a round orifice with a small cover being on the convexity of the curve. 

 The black color is painted on the head and neck, gradually fading away 

 on the body of the vase, which is enamelled white."* This description 

 conveys the idea that the head and neck of the duck were covered with 

 black glaze, the body of the vase with white glaze, and that in the bak- 

 ing the former spread downwards and gradually merged into the white 

 of the body. It in no way invalidates the conclusion above suggested. 

 It will be advisable to examine in greater detail the several varie- 

 ties of porcelain manufactured under this dynasty ; following the order 

 of merit usually ascribed to them by Chinese writers. 



JU-YAO. 



Ju-yao or Juchou porcelain. — Chinese authors state that the porcelain 

 manufactured at Tingchou (see p. 402), being unfit for presentation 

 to the emperor, the establishment of a factory for the manufacture of 

 more suitable articles was ordered at Juchou, in Honan province. Ac- 

 cording to some writers the defect of the Tingchou ware was its gritty 

 character; according to others, the frequency of cracks caused by too 

 rapid or careless baking. As, however, they agree in ascribing the in- 

 troduction of Ju-yao and its success to the early part of the Sung dynasty, 

 i. e., to the very time from which date the finest specimens of the Ting- 

 chou porcelain, it is difficult not to conclude that native authors, writing 

 centuries later, have ascribed the establishment of this factory to erro- 

 neous causes. 



The finest specimens, which were very thin and delicate, were supe- 

 rior to imperial ware {Kuan-yao), and were of either plain or crackled t 



*Bu8helI: Op. cit. No. 35. 



t Crackling (craquelure) was originally considered in Europe a defect of baking, 

 which resulted from a lack of homogenlty between paste and glaze, causing one to 

 contract more rapidly than did the other. It was not till a comparatively recent date 

 that the actual facts came to be appreciated, namely, that in the eyes of the Chinese 

 the craquelure is a species of decoration, and that they have a special kind of en- 

 amel, into the composition of which steatite enters largely, the sole object of which 

 is to produce this curious appearance. By means of this enamel they can at will 

 cover the surface of a vase with any one of a variety of craquelure, either large 

 " like cracks in ice," or small as " the fishroe," " the dodder" or " the crabs' claws. " 

 In some specimens, bands are found crackled separating other bands not crackled ; 

 or colors, usually either black or red, are rubbed into the crackling to render it more 

 apparent, or to impart a tinge to the entire surface. lu other specimens again. 



