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Page732, Volume_05
Page732, Volume_05
The primitive potters of ancient and modern times have all striven to decorate their wares with colour. The simplest, and therefore the earliest, colour decoration was carried out in natural earths and clays. The clays are so varied in composition that they fire to every shade of colour from white to grey, cream, buff, red, brown, or even to a bronze which is almost black. One clay daubed or painted upon another formed the primitive palette of the potter, especially before the invention of glaze. V/'hen glaze was used these natural clays were changed in tint, and native earths, other than clays, containing iron, manganese and cobalt, were gradually discovered and used. It is also surprising to note that some of the very earliest glazes were coloured glasses containing copper or iron (the green, turquoise and yellow glazes of the ancient Egyptians and Assyrians). Marvellous work was wrought in these few materials, but the era of the finest pottery-colour dawns with the Persian, Syrian and Egyptian work that preceded the Crusades. By this time the art of glazing pottery with a clear soda-lime glaze had been thoroughly learnt. Vases, tiles, &c., shaped in good plastic clay, were covered with a white, highly siliceous coating ht to receive glazes of this type, and giving the best possible ground for the painted colours then known. W ith this rudimentary technique the potters of the countries south and east of the Mediterranean produced, between the 9th and 16th centuries of our era, a type of pottery that remains ideal from the point of View of colour: for, with nothing more than the greens given by oxide of copper and iron, the turquoise of pure copper, the deep yet vivid blue of cobalt, the beautiful uncertain purple of manganese, and in certain districts the rich red of Armenian bole, they achieved colour schemes that have never been surpassed in their brilliant yet harmonious richness.
When the Coating of white siliceous clay was replaced by an
opaque tin-enamel as in Spain, Italy, France, Holland, &c., a
necessary change in the colour schemes resulted. At first only the
copper-greens and cobalt-blues could be used on such a ground;
the fine man anese purple turned to brown or black and the rich
iron-reds to filthy shades of yellow. We cannot wonder that the
Spanish-Arab potters paid more attention to their lustre decoration,
for' that was the natural thing to do. How strong and line a palette
could be evolved for use on a tin-enamel ground was shown by the
Italian majolists of the 15th and 16th centuries; and when the
later developments of tin-enamelled pottery took place in France,
Holland, Germany, &c., their colour schemes are only echoes of
Italian majolica crossed with Chinese porcelain. Delft, Nevers,
Moustiers and Rouen may each charm us with its individuality;
Nuremberg and other south German towns may show us that they
too had mastered the use of tin-enamel; yet our minds always go
back to the colour schemes of Italian majolica and of the Persian and
Syrian pottery that lie behind and beyond them.
The colours already spoken of were either clay colours or what are
known as “ under glaze” colours, because they were painted on tht
pottery before the glaze was fired.
The earliest glazes of the Egyptians appear not to have been white, but were coloured throughout their substance, and this use of coloured glazes as apart from painted colour was developed alon with the painted decoration by the later Egyptian, Syrian ang Persian potters. Green, yellow and brown glazes were almost the only artistic productions of the medieval European potters' kilns, and their use everywhere preceded the introduction of painted pottery. The most extensive application of coloured glazes was, however, that made by the Chinese, who developed this type of colour decoration before they used painted patterns in under glaze colour. The earliest Chinese porcelains, and the hard-fired stone wares out of which their porcelain arose, were decorated in this way, and the beauty of many of the early Sung coloured glazes has never been surpassed.
With the exceedingly refractory felspathic glazes of Chinese porcelain very few underglaze colours could be used; and the prevalence of blue and white among the early specimens of Chinese porcelains is due to the fact that cobalt was almost the only substance known to the potters of the Ming dynasty which would endure the high temperature needed to melt their glazes. Consequently the Chinese were driven to invent the method of painting in coloured fusible glasses on the already fired glaze. They adopted for this purpose the coloured enamels used on metal; hence the common term “ enamel decoration, ” which is so generally applied to painting in those colours which are attached to the already fired glaze by retiring at a lower temperature. With the introduction of this many coloured Chinese porcelain into Europe the same practice was eagerly followed by our European potters, and a new palette of colours and fresh styles of decoration soon arose amongst us. Painting in onglaze colours, being executed on the fired glaze, resembles glass painting, and it generally offers a striking contrast both in technique and colour-quality to the painting executed in colours under the glaze. In the former the work can be highly finished and the most mechanical execution is possible, but the colours are neither so rich nor so brilliant as under-glaze colours, nor have they the same softness as is given by the slight spread of the under-glaze colour when the glaze is melted over it.
It must be pointed out that the colour possibilities in any method of pottery decoration are largely dependent on the temperature at which the colour needs to be fired. The clay colours are naturally more limited in range than the under-glaze colours, and these in their turn than the on-glaze colours.
When, about the middle of the 18th century, European pottery took on its modern form, of earthenware made after the English fashion, and porcelain like the French and German, the lead or felspathic glazes used brought about another revolution in the potter's palette. The growing ideal of mechanical perfection discounted the freedom of the earlier brushwork, and printed patterns, or painting that might almost have been printed, removed the mind still farther from the richness of painted faience or majolica. It is useless to look for the glorious colour of Persian faience, Italian majolica, or Chinese porcelain, in modern wares produced by manufacturing processes where mechanical perfection is demanded to a degree undreamt of before the 19th century. The finest modern pottery colour is only to be sought in the work of those enthusiasts and experimenters who are striving to produce work as rich and free as the best of past times.
Wikisource contiene el original de o sobre 1911 Encyclopædia Britannica/Ceramics/Colours. En el cual se ha basado este artículo.