Page:Brinkley - China - Volume 1.djvu/47

 keramists under the Sung dynasty, but that, like many of their successors, to be by and by spoken of, they preferred the artistic qualities of a soft, tender pâte. Only with the latter as a basis was it possible to produce the lustrous, translucid, and yet solid glaze so much valued by connoisseurs, who compared it to mutton fat or fine jade.

In addition to the white, purple, and black varieties of the Ting-yao, tradition says that a red glaze was manufactured. It was called Hung-ting. Julien, in his translation of the Tao-lu, says that the red Ting-yao was much valued, but no specimens of it appear to have survived, nor is subsequent mention made of it.

It need scarcely be observed that genuine specimens of the original Ting-yao are very difficult to procure. It was, however, imitated with success in subsequent eras. During the Yuan dynasty (1260-1369) an expert called Pêng Chün-pao, whose factory was at Ho-chou in the province of Kiang-nan, distinguished himself by such imitations. His ware was known as Hsin-Ting-yao (New Ting-yao). It is said to have been exceedingly fragile, so that few pieces are likely to have been handed down to late generations. The Ting-yao chiefly known to collectors is a product of the Ching-tê-chên factories during the Ming (1367-1644) and early part of the present dynasty. This is not necessarily an imitation of the early Ting-yao, being usually of superior technique. The potter of the Ming and Tsing eras was not so faithful to his models that he deemed it necessary to reproduce their blemishes as well as their beauties. He may have been occasionally baffled by the richness, lustre, and tone of the early glazes, but the wares themselves he could easily excel, and in