Emperor Kang-hsi especially appreciated 15th Century enamels from Flanders, and toward the latter years of his 60-year reign, he invited the Jesuit priest Jean Baptiste Cravereau to Peking to teach the technique to Chinese artisans. In letters to their superiors in Rome, the priests mentioned a need f'or more such enameling masters to come to China. As a result, this medium-which was generally neglected by Western artists after the 16th and 17th Century-found new and influential admirers in China.

One of the frequent motifs used on snuff bottles produced during the reign of Emperor Chien-lung is the mixing of Chinese themes with Western scenery and portraits, producing both exotic and delightful results. Jesuit priests such as Fathers Castiglione and Attiret were consigned by the emperor to do sketches for artisans, who would then copy them on enamel snuff bottles. This process introduced the Western "solid perspective" technique to China.

Among the great rarities on the international antique market are snuff bottles from Yi-hsing, on the western shore of Lake Tai Hu in Kiangsu Province, a locale also famous for its teaware. It may seem peculiar that snuff bottles of clay could compete in value with those of glass, enamel, jade, ivory, and precious stones. In fact, many experts say that Yi-hsing snuff bottles leave much to be desired in the way of artistic designs and glazes. But the Yi-hsing bottle, like the teaware, was known f'or its excellence in preserving the aroma and flavor of its contents. As time passed, the law of supply and demand made these humbler bottles of fired clay also highly valued.

Antique markets aside, today's ordinary viewer-East or West-can take great pleasure in the shapes and designs of these miniature works of art. The snuff bottle is a delightful example of a mundane functional object rising to the heights of aesthetic refinement.