We shall later on have to look upon this question
from a reversed point of view, and we shall have to notice how the fictile wares of other countries were influenced, and finally in part replaced by the products of the kilns of King-te-chen. For in any general history of porcelain this influence of the East upon the West, together with the return current from West to East, is the central question. By bearing in mind these mutual influences a simplicity and unity are given to this history which we might look for in vain in that of any other art of equal importance.
How the porcelain of King-te-chen found its way at first to the surrounding minor states--to Korea, to Indo-China, and to Japan--and was more or less successfully copied in these countries; how, on the other hand, in India and in Persia the foreign ware, though long in general use, was never imitated;[104] and how, finally, after reaching the Christian West this porcelain influenced and in part replaced the homemade fayence, even before the secret of its composition was discovered--these, I think, are the prime factors in the history of porcelain.
It will, however, be convenient to say something of the porcelain made in the surrounding countries, especially in Japan, before taking up the subject of the Chinese commerce with Europe, for this reason among others: the products of the Japanese kilns became so inextricably mixed up with those of King-te-chen in the course of their journey to the West, that it would be impossible to treat of the one class apart from the other.
But before ending with the porcelain of China we must take a rapid glance at a large and complicated group--that decorated wholly or in part in European style.
Quite early in the century, perhaps before 1700, figures and groups in plain white ware, for the most part attired in the European costume of the day, were exported from China. Many of these grotesque figures may be seen in the great Dresden collection, and a few in the British Museum. Later on it became the fashion for the European merchants at Canton to supply the native enamellers of that city with engravings, to be copied by them in colours on the white ware sent down from King-te-chen. In other cases the captain of a Dutch or English vessel lying in the Canton roads would employ a native artist to decorate a plate or dish with a picture of his good ship.