The lateness of this latter date and the use of the word “delicacy” in the description of the piece lead us naturally to that peculiarly refined type of late famille verte in which the ware is of eggshell thinness, the painting extremely dainty and delicate, and the colours rather pale but of perfect purity. Such are the well-known “birthday plates” with the reign mark of K’ang Hsi on the back and the birthday salutation in seal characters on the border: wan shou wu chiang—“a myriad longevities without ending!” They are reputed to have been made for the Emperor’s sixtieth birthday which fell in the year 1713, but the story is supported by no evidence of any kind, and they would have been equally appropriate for any Imperial birthday. The character of these wares is more suggestive of the Yung Chêng period, and it is probable that they belong to the extreme limit of the long reign of K’ang Hsi. To this period then we shall assign these and the whole group of kindred porcelains, the plates with designs similar to those of the “birthday plates,” but without the inscribed border, the small eggshell plates with one or two figures painted in the same delicate style, others with a single spray of some flowering shrub almost Japanese in its daintiness, and occasional bowls and vases with decoration of the same character. See Plate 113.

For extreme delicacy of treatment is by no means a feature of the K’ang Hsi famille verte in general, in which the Ming spirit with its boldness and vigour still breathed. It is rather a late development in the decadence of the ware, heralding the more effeminate beauty of the famille rose, and were it not for the evidence of the birthday plates I believe many connoisseurs would be tempted to ascribe these delicate porcelains to a much later reign.

Such, however, is the evolution of the famille verte during the sixty years of the K’ang Hsi period, from the strong colours and forceful Ming-like designs of the earlier specimens to the mature perfection of the splendid wares made about 1700, and thence by a process of ultra-refinement to the later types in which breadth of treatment gives place to prettiness and the strong thick enamels to thinner washes of clear, delicate tints. These thin transparent colours continued in use; indeed, they are a feature of a special type of enamelling which will be discussed with the Yung Chêng wares; but the pure famille verte may be said to have come to an end with the last years of the reign of K’ang Hsi. Later reproductions of course exist, for no style of decoration is ever wholly extinct in Chinese art, but they are merely revivals of an old style, which even before the end of the K’ang Hsi period had reached the stage of transition to another family. The opaque enamels of the famille rose palette had already begun to assert themselves. Timid intruders at first—a touch of opaque pink, a little opaque yellow and arsenical white breaking in upon the old harmony of transparent tints—they gradually thrust the famille verte enamels into a subsidiary position, and in the succeeding reigns rose pinks entirely dominate the field.

A word must be said of the use of the famille verte painting in combination with other types of decoration, in the subordinate position of border patterns or more prominently in panel designs. Exquisite effects are obtained by the latter in a ground of coral red, or where a brilliant powder blue field is broken by shapely panels with flowering plants and birds and other familiar vehicles for famille verte colouring. Occasionally we find the enamels actually painted over a powder blue or an ordinary blue glaze, but the combination is more peculiar than attractive; for the underlying colour kills the transparent enamels, and the enamels destroy the lustre of the blue ground. Indeed, it is probable that in many cases these freak decorations were intended to hide a faulty background.

A similar painting over the crackled green lang yao glaze has already been described, and it occurs over the grey white crackles, and rarely but with much distinction, over a pale celadon glaze. But perhaps the most effective combination of this kind is that in which a pale lustrous brown or Nanking yellow is the ground colour. The quiet and refined effects of this union are well exhibited by a small group of vases, bowls, and dishes in the Salting Collection.

Something has already been said of the use of underglaze blue in combination with famille verte enamels. The blue is either an integral part of the general design as in the Wan Li “five colour” scheme, or it forms a distinct decoration by itself, apart from the enamels, though sharing the same surface. The latter use is exemplified by a pair of bottles in the Salting Collection which have blue patterns on the neck and famille verte decoration on the body, consisting of landscape panels surrounded by brocade patterns.[321] But the great drawback to this union of underglaze and overglaze colours is usually apparent. The blue was liable to suffer in the subsequent firings necessitated by the enamels, even though those firings took place at a relatively low temperature. Probably the potter would not expose his finest blue to such risks, but at any rate the blue of this mixed decoration is rarely of first-rate quality.

There is one group of porcelain which combines the underglaze blue with on-glaze enamels, and which deserves special notice if only because it has been recently favoured with particular attention by collectors. This is what we are pleased to call “Chinese Imari.” Our ceramic nomenclature has never been noted for its accuracy, and like good conservatives we hold firmly to the old names which have been handed down from days when geography was not studied, and from ancestors who were satisfied with old Indian china, or Gombroon ware, as names for Chinese porcelain. So Meissen porcelain is still Dresden, the blue and white of Ching-tê Chên is Old Nanking, Chinese export porcelain painted at Canton with pink roses is Lowestoft, and the ware made at Arita, province of Hizen, in Japan, is Imari, because that is the name of the seaport from which it was shipped. In fact, there are many shops where you cannot make yourself understood in these matters unless you call the wares by the wrong name.

The Arita porcelain in question, this so-called Imari, was made from the middle of the seventeenth century onwards, and it must have competed seriously with the export wares of Ching-tê Chên. At any rate, it was brought to Europe in large consignments by the Dutch traders, who enjoyed the privilege of a trading station on the island of Deshima, after the less politic Portuguese had been driven out of Nagasaki in 1632. For the moment we are specially concerned with two types of Arita ware. The first is distinguished by slight but artistic decoration in vivid enamels of the famille verte, supplemented by gilding and occasionally by underglaze blue. Favourite designs are a banded hedge, prunus tree, a Chinese boy and a tiger or phœnix; two quails in millet beside a flowering prunus; simple flowering sprays or branches coiled in circular medallions; or only a few scattered blossoms. Whatever the nature of the design, it was artistically displayed, and in such a manner as to enhance without concealing the fine white porcelain. This is what the old catalogues call the première qualité coloriée de Japon, and a very popular ware it was in eighteenth century Europe, when it was closely copied on the early productions of the St. Cloud, Chantilly, Meissen, Chelsea, and other porcelain factories. To-day it is commonly known as Kakiemon ware, because its very distinctive style of decoration is traditionally supposed to have been started by a potter named Kakiemon, who, with another man of Arita, learned the secret of enamelling on porcelain from a Chinese merchant about the year 1646.

The second type was made entirely for the European trade, and it is distinguished by large masses of dark, cloudy blue set off by a soft Indian red (derived from oxide of iron) and gilding. These colours are supplemented by touches of green, yellow, and aubergine enamels, and occasionally by a brownish black. The ware itself is heavy, coarse and greyish, but its rough aspect is well concealed by irregular and confused designs of asymmetrical panels surrounded by mixed brocade patterns. The panels often contain Chinese figures, phœnixes, lions, floral designs of chrysanthemums, peony and prunus, a basket of flowers, rough landscapes or garden views. They are medleys of half-Chinese, half-Japanese motives, a riot of incoherent patterns, but not without broad decorative effect thanks to the bold masses of red, blue and gold. Such is the typical “Old Imari.” There is, however, a finer and more Japanese variety of the same group which is distinguished by free use of the chrysanthemum rosette, and the Imperial kiri (paulonia imperialis), and by panels of diaper pattern and floral designs alternating and counter-changed in colour, the grounds now red, now blue, and now gold. The same colour scheme prevailed in this sub-group, and the dark blue was usually netted over with gold designs.

It was no doubt the success which these wares met in European commerce that induced the Chinese to take a lesson from their pupils, and to adopt the “Imari” style. At any rate, they did copy all these types, sometimes very closely, sometimes only in part. Thus in some cases the actual Japanese patterns as well as the colour scheme are carefully reproduced, in others the Japanese colour scheme is employed on Chinese patterns or vice versa, and, again, there are cases in which passages of Japanese ornament are inserted in purely Chinese surroundings. But whether pure or diluted the Japanese style is unmistakable to those who have once learnt to know its peculiarities, of which masses of blue covered with gilt patterns and the prominence of red and gold are the most conspicuous.

There will, of course, always be a few specimens the nationality of which will be difficult to decide, but to anyone familiar with Chinese and Japanese porcelain the distinction between the Chinese “Imari” and its island prototype is, as a rule, a simple matter. The Chinese porcelain is thinner and crisper, its glaze has the smooth oily sheen and faintly greenish tint which are peculiar to Chinese wares, and the raw edge of the base rim is slightly browned. The Japanese porcelain, on the other hand, is whiter in the Kakiemon ware, greyer and coarser in the “Old Imari,” and the glaze in both cases has the peculiar bubbled and “muslin-like” texture which is a Japanese characteristic. The Japanese underglaze blue is dark and muddy in tone, the Chinese bright, and purer, and the other colours differ, though not perhaps so emphatically. The iron red of the Chinese, for instance, is thinner and usually lighter in tone than the soft Indian red or thick sealing-wax colour of the Japanese; and to those who are deeply versed in Oriental art there is always the more subtle and less definable distinction, the difference between the Chinese and Japanese touch and feeling.

Plate 108 is a fine specimen which shows the blend of Chinese motives and the Japanese colouring.

The general character of the Chinese “Imari” is that of the K’ang Hsi period, to which most of the existing specimens will be assigned; but it is clear that the Chinese continued to use Japanese models in the succeeding reign, for the last three items in the Imperial list of porcelain made in the Yung Chêng period comprise wares “decorated in gold and in silver in the style of the Japanese.”[322]