POLYCHROMAITIC GLAZES
managed with virtual uniformity of results. The colouring material was applied by insufflation, 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-pien porcelains of the Chien-lung potters yield to none of their predecessors 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 purple, 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 excellent, the pâte—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 indicates 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 Chiun-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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