The Japanese potters could never vie with the Chinese in the production of glazes: the wonderful monochromes and polychromes of the Middle Kingdom had no peers anywhere.
Nevertheless he persevered, and in 1838 we find him producing not only green and yellow monochromes, but also greyish white and mirror-black glazes of high excellence.
There remains, too, a wide domain in which the Chinese developed high skill, whereas the Japanese can scarcely be said to have entered it at all; namely, the domain of monochromes and polychromes, striking every note of color from the richest to the most delicate; the domain of truit and fiamb glazes, of yO-pien-yao (transmutation ware), and of egg-shell with incised or translucid decoration.
Miyagawa soon began to cast about for a better inspiration, and found it in Adoption of the monochromes and polychromes of the Chinese Chinese Kang-hsi and Yung-cheng kilns.
The KiOto artists process is much easier than that of his rivals, and although his monochromes are often of most pleasing delicacy and fine tone, they do not belong to the same category of technical excellence as the wares they imitate.
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