CHINA
nishes happy accidents. And since the Chinese, as in the case of craquelé, are so sure of their technique that they can manufacture one pair of vases in which red predominates, and another of which the almost blue ground is strewn with red and lilac flames, they also make statuettes with the flesh colour disappearing under blue or green garments; or tea-pots in the shape of a peach, having a blue base, a violet body, and a bright red top." M. Jacquemart's enthusiasm carries him a little too far; it leads him to class with Yao-pien ware specimens, in the manufacture of which different glazes were applied to different parts. Otherwise, his description of the varied effects shown by this remarable ware is vivid and excellent. In China the Yao-pien is compared to the variety of jade called Pih, some kinds of which are bluish and others have a greenish tinge like the deep sea. The potter's object was to imitate the cloudy, spotted appearance of this beautiful stone, and he often succeeded admirably. The author of the "Annals of Fu-liang" compares the Yu-lu or Yao-pien glaze to precious green jade the brilliant heart of which is flecked with white. This description conveys a good idea of the choicest Yao-pien: the glaze seems to be transparent, and clouds or flecks of colour float in its depths.
Passing from this general description to special varieties, note may first be taken of the Lan-yao-pien, or blue Yao-pien. This glaze illustrates an interesting fact; namely, that the Chinese nomenclature is systematic. It includes in the Yao-pien class practically all glazes the colours of which are in any respect due to accidental conditions of firing. The Lan-yao-pien is evidently a ware of which the manufacture was
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