232 files changed, 17 insertions, 44436 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..8b66f12
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #68762 (https://www.gutenberg.org/ebooks/68762)
diff --git a/old/68762-0.txt b/old/68762-0.txt
deleted file mode 100644
index a49df98..0000000
--- a/old/68762-0.txt
+++ /dev/null
@@ -1,17965 +0,0 @@
-The Project Gutenberg eBook of Chinese pottery and porcelain; vol.
-II., by Robert L Hobson
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Chinese pottery and porcelain; vol. II.
-       An account of the potter's art in China from primitive times to
-       the present day.
-
-Author: Robert L Hobson
-
-Release Date: August 16, 2022 [eBook #68762]
-
-Language: English
-
-Produced by: Chris Curnow, Joseph Cooper, Karin Spence and the Online
-             Distributed Proofreading Team at https://www.pgdp.net
-
-*** START OF THE PROJECT GUTENBERG EBOOK CHINESE POTTERY AND
-PORCELAIN; VOL. II. ***
-
-
-
-Transcriber’s Notes:
-
-1. [chch] = Chinese character. [chch 2] = 2 Chinese Characters, etc.
-
-2. Items marked wth an asterisk (*): Pieces mentioned here from the
-British Museum collection.
-
-3. The items marked with two asterisks (**) are stated to have been
-copied from old specimens in the palace collections.]
-
-
-
-
-                     CHINESE POTTERY AND PORCELAIN
-
-
-
-
-                   _This Edition is limited to 1500
-                       copies, of which this is_
-
-                              _No._  669
-
-  [Illustration:
-
-  Covered Jar or Potiche, painted with coloured enamels on the
-  biscuit. Eight petal-shaped panels with flowering plants, birds
-  and insects on the sides; with a band of smaller petals below
-  enclosing lotus flowers, and borders of red wave pattern and
-  floral sprays. Base unglazed. Early part of the K’ang Hsi period
-  (1662–1722)
-
-  Height 25 inches. _British Museum._]
-
-
-
-
-                     CHINESE POTTERY AND PORCELAIN
-
-                AN ACCOUNT OF THE POTTER’S ART IN CHINA
-                FROM PRIMITIVE TIMES TO THE PRESENT DAY
-
-                                  BY
-
-                          R. L. HOBSON, B.A.
-
-  Assistant in the Department of British and Mediæval Antiquities and
-     Ethnography, British Museum. Author of the “Catalogne of the
-      Collection of English Pottery in the Department of British
-           and Mediæval Antiquities of the British Museum”;
-           “Porcelain: Oriental, Continental, and British”;
-             “Worcester Porcelain”; etc; and Joint Author
-                        of “Marks on Pottery.”
-
-      _Forty Plates, in Colour and Ninety-six in Black and White_
-
-                                VOL. II
-
-                       Ming and Ch’ing Porcelain
-
-                       CASSELL AND COMPANY, LTD
-                London, New York, Toronto and Melbourne
-                                 1915
-
-
-
-
-                               CONTENTS
-
-
-    CHAPTER                                                        PAGE
-
-     1. THE MING [chch] DYNASTY, 1368–1644 A.D.                       1
-
-     2. HSÜAN TÊ [chch 2] (1426–1435)                                 7
-
-     3. CH’ÊNG HUA [chch 2] (1465–1487) AND OTHER REIGNS             22
-
-     4. CHIA CHING [chch 2] (1522–1566) AND LUNG CH’ING [chch 2]
-          (1567–1572)                                                34
-
-     5. WAN LI [chch 2] (1573–1619) AND OTHER REIGNS                 58
-
-     6. THE TECHNIQUE OF THE MING PORCELAIN                          91
-
-     7. MISCELLANEOUS PORCELAIN FACTORIES                           107
-
-     8. THE CH’ING [chch] DYNASTY, 1644–1910                      117
-
-     9. K’ANG HSI BLUE AND WHITE                                    128
-
-    10. K’ANG HSI POLYCHROME PORCELAINS                             145
-
-    11. K’ANG HSI MONOCHROMES                                       176
-
-    12. YUNG CHÊNG [chch 2] PERIOD (1723–1735)                    200
-
-    13. CH’IEN LUNG [chch 2] (1736–1795)                          227
-
-    14. EUROPEAN INFLUENCES IN THE CH’ING DYNASTY                   250
-
-    15. NINETEENTH CENTURY PORCELAINS                               262
-
-    16. PORCELAIN SHAPES IN THE CH’ING DYNASTY                      272
-
-    17. MOTIVES OF THE DECORATION                                   280
-
-    18. FORGERIES AND IMITATIONS                                    304
-
-
-
-
-                            LIST OF PLATES
-
-
-    COVERED JAR OR POTICHE _(Colour)                      Frontispiece_
-
-    Painted with coloured enamels on the biscuit. Eight petal-shaped
-    panels with flowering plants, birds and insects on the sides;
-    with a band of smaller petals below enclosing lotus flowers, and
-    borders of red wave pattern and floral sprays. Base unglazed.
-    Early part of the K’ang Hsi period (1662–1722). _British Museum._
-
-    PLATE                                                   FACING PAGE
-
-
-     59. WHITE EGGSHELL PORCELAIN BOWL WITH IMPERIAL DRAGONS FAINTLY
-           TRACED IN WHITE SLIP UNDER THE GLAZE                       4
-
-           Mark of the Yung Lo period (1403–1424), incised in the
-             centre in archaic characters.
-
-           Fig. 1.--Exterior. Fig. 2.--Interior view. _British
-             Museum._
-
-
-     60. REPUTED HSÜAN TÊ PORCELAIN                                   8
-
-           Fig. 1.--Flask with blue decoration, reputed to be Hsüan
-             Tê period. _British Museum._
-
-           Fig. 2.--Brush rest. (?) Chang Ch’ien on a log raft;
-             partly biscuit. Inscribed with a stanza of verse and
-             the Hsüan Tê mark. _Grandidier Collection._
-
-
-     61. PORCELAIN WITH _san ts’ai_ GLAZES ON THE BISCUIT             8
-
-           Fig. 1.--Wine jar with pierced casing, the Taoist
-             Immortals paying court to the God of Longevity,
-             turquoise blue ground. Fifteenth century._Eumorfopoulos
-             Collection._
-
-           Fig. 2.--Screen with design in relief, horsemen on a
-             mountain path, dark blue ground. About 1500. _Benson
-             Collection._
-
-
-     62. BARREL-SHAPED GARDEN SEAT (_Colour_)                        16
-
-           Porcelain with coloured glazes on the biscuit, the
-             designs outlined in slender fillets of clay. A lotus
-             scroll between an upper band of clouds and a lower
-             band of horses in flying gallop and sea waves.
-             Lion-mask handles. About 1500 A.D. _British Museum._
-
-
-     63. BALUSTER VASE                                               24
-
-           With designs in raised outline, filled in with coloured
-           glazes on the biscuit; dark violet blue background.
-           About 1500. _Grandidier Collection (Louvre)._
-
-
-     64. FIFTEENTH CENTURY POLYCHROME PORCELAIN                      24
-
-           Fig. 1.--Vase with grey crackle and peony scrolls in
-             blue and enamels. Ch’êng Hua mark. _British Museum._
-
-           Fig. 2.--Vase with turquoise ground and bands of floral
-             pattern and winged dragons incised in outline and
-             coloured green, yellow and aubergine. _S. E. Kennedy
-             Collection._
-
-           Fig. 3.--Box with bands of _ju-i_ clouds and pierced
-             floral scrolls; turquoise and yellow glazes in dark
-             blue ground. _Grandidier Collection._
-
-
-     65. MING _san ts’ai_ PORCELAIN                                  24
-
-           Fig. 1.--Vase with winged dragons, _san ts’ai_ glazes
-             on the biscuit, dark blue ground. Dedicatory inscription
-             on the neck, including the words “Ming Dynasty.”
-             Cloisonné handles. _S. E. Kennedy Collection._
-
-           Fig. 2.--Figure of Kuan-yin, turquoise, green and
-             aubergine glazes, dark blue rockwork. Fifteenth century.
-             _Grandidier Collection._
-
-           Fig. 3.--Vase with lotus scrolls, transparent glazes in
-             three colours. Late Ming. _Grandidier Collection._
-
-
-     66. PORCELAIN WITH CHÊNG TÊ MARK                                32
-
-           Fig. 1.--Slop bowl with full-face dragons holding
-             _shou_ characters, in underglaze blue in a yellow
-             enamel ground. _British Museum._
-
-           Fig. 2.--Vase with engraved cloud designs in transparent
-             coloured glazes on the biscuit, green ground.
-             _Charteris Collection._
-
-
-     67. BLUE AND WHITE PORCELAIN. Sixteenth Century                 32
-
-           Fig. 1.--Bowl with Hsüan Tê mark. _Dresden Collection._
-
-           Fig. 2.--Covered bowl with fish design. _Dresden
-             Collection._
-
-           Fig. 3.--Bottle, peasant on ox. _Eumorfopoulos Collection._
-
-           Fig. 4.--Bottle with lotus scrolls in mottled blue.
-             _Alexander Collection._
-
-
-     68. BLUE AND WHITE PORCELAIN. Sixteenth Century                 40
-
-           Fig. 1.--Perfume vase, lions and balls of brocade. _V.
-             and A. Museum._
-
-           Fig. 2.--Double gourd vase, square in the lower part.
-             Eight Immortals paying court to the God of Longevity,
-             panels of children (_wa wa_). _Eumorfopoulos Collection._
-
-           Fig. 3.--Bottle with medallions of _ch’i-lin_ and incised
-             fret pattern between. Late Ming. _Halsey Collection._
-
-
-     69. SIXTEENTH CENTURY PORCELAIN                                 40
-
-           Fig. 1.--Bowl of blue and white porcelain with silver
-             gilt mount of Elizabethan period. _British Museum._
-
-           Fig. 2.--Covered jar, painted in dark underglaze blue
-             with red, green and yellow enamels; fishes and water
-             plants. Chia Ching mark. _S. E. Kennedy Collection._
-
-
-     70. PORCELAIN WITH CHIA CHING MARK                              40
-
-           Fig. 1.--Box with incised Imperial dragons and lotus
-             scrolls; turquoise and dark violet glazes on the
-             biscuit. _V. and A. Museum._
-
-           Fig. 2.--Vase with Imperial dragons in clouds, painted
-             in yellow in an iron red ground. _Cologne Museum._
-
-
-     71. SIXTEENTH CENTURY PORCELAIN                                 40
-
-           Figs. 1 and 2.--Two ewers in the Dresden Collection,
-             with transparent green, aubergine and turquoise glazes
-             on the biscuit, traces of gilding. In form of a phœnix,
-             and of a crayfish.
-
-           Fig. 3.--Bowl with flight of storks in a lotus scroll,
-             enamels on the biscuit, green, aubergine and white in a
-             yellow ground. Chia Ching mark. _Alexander Collection._
-
-
-     72. VASE WITH IMPERIAL FIVE-CLAWED DRAGONS IN CLOUD SCROLLS
-             OVER SEA WAVES  (_Colour_)                              46
-
-           Band of lotus scrolls on the shoulder. Painted in dark
-             Mohammedan blue. Mark on the neck, of the Chia Ching
-             period (1522–1566) in six characters. _V. & A. Museum._
-
-
-     73. TWO BOWLS WITH THE CHIA CHING MARK (1522–1566), WITH
-             DESIGNS OUTLINED IN BROWN AND WASHED IN WITH
-             COLOURS IN MONOCHROME GROUNDS (_Colour_)                50
-
-           Fig. 1.--With peach sprays in a yellow ground.
-             _Alexander Collection._
-
-           Fig. 2.--With phœnixes (_feng-huang_) flying among
-             scrolls of _mu-tan_ peony. _Cumberbatch Collection._
-
-
-     74. TWO BOWLS WITH GILT DESIGNS ON A MONOCHROME GROUND.
-             PROBABLY CHIA CHING PERIOD (1522–1566) (_Colour_)       54
-
-           Fig. 1.--With lotus scroll with etched details on a
-             ground of iron red (_fan hung_) outside. Inside is
-             figure of a man holding a branch of cassia, a symbol
-             of literary success, painted in underglaze blue. Mark
-             in blue, _tan kuei_ (red cassia).
-
-           Fig. 2.--With similar design on ground of emerald green
-             enamel. Mark in blue in the form of a coin or _cash_
-             with the characters _ch’ang ming fu kuei_ (“long life,
-             riches and honours”).
-
-
-     75. MING PORCELAIN                                              64
-
-           Fig. 1.--Tripod Bowl with raised peony scrolls in
-             enamel colours. Wan Li mark. _Eumorfopoulos
-             Collection._
-
-           Fig. 2.--Blue and white Bowl, Chia Ching period. Mark,
-             _Wan ku ch’ang ch’un_ (“a myriad antiquities and
-             enduring spring”). _Kunstgewerbe Museum, Berlin._
-
-           Fig. 3.--Ewer with white slip _ch’i-lin_ on a blue
-             ground. Wan Li period. _Eumorfopoulos Collection._
-
-           Fig. 4.--Gourd-shaped Vase with winged dragons and fairy
-             flowers, raised outlines and coloured glazes on the
-             biscuit. Sixteenth century. _Salting Collection._
-
-
-     76. BLUE AND WHITE PORCELAIN. Sixteenth Century                 64
-
-           Fig. 1.--Vase with monster handles, archaic dragons.
-             _Halsey Collection._
-
-           Fig. 2.--Hexagonal Bottle, white in blue designs. Mark,
-             a hare. _Alexander Collection._
-
-           Fig. 3.--Bottle with “garlic mouth,” stork and lotus
-             scrolls, white in blue. _Salting Collection._
-
-           Fig. 4.--Vase (_mei p’ing_), Imperial dragon and scrolls.
-             Wan Li mark on the shoulder. _Coltart Collection._
-
-
-     77. TWO EXAMPLES OF MING BLUE AND WHITE PORCELAIN IN THE
-             BRITISH MUSEUM (_Colour_)                               72
-
-           Fig. 1.--Ewer of thin, crisp porcelain with foliate
-             mouth and rustic spout with leaf attachments. Panels
-             of figure subjects and landscapes on the body: “rat
-             and vine” pattern on the neck and a band of hexagon
-             diaper enclosing a cash symbol. Latter half of the
-             sixteenth century.
-
-           Fig. 2.--Octagonal Stand, perhaps for artist’s colours.
-             On the sides are scenes from the life of a sage.
-             Borders of _ju-i_ pattern and gadroons. On the top are
-             lions sporting with brocade balls. Painted in deep
-             Mohammedan blue. Mark of the Chia Ching period
-             (1522–1566).
-
-
-     78. PORCELAIN WITH PIERCED (_LING LUNG_) DESIGNS AND BISCUIT
-             RELIEFS. Late Ming                                      74
-
-           Fig. 1.--Bowl with Eight Immortals and pierced swastika
-             fret. _S. E. Kennedy Collection._
-
-           Fig. 2.--Bowl with blue phœnix medallions, pierced
-             trellis work and characters. Wan Li mark. _Hippisley
-             Collection._
-
-           Fig. 3.--Covered Bowl with blue and white landscapes and
-             biscuit reliefs of Eight Immortals. _Grandidier
-             Collection._
-
-
-     79. WAN LI POLYCHROME PORCELAIN                                 80
-
-           Fig. 1.--Vase (_mei p’ing_) with engraved design, green
-             in a yellow ground, Imperial dragons in clouds, rocks
-             and wave border. Wan Li mark. _British Museum._
-
-           Fig. 2.--Bottle with pierced casing, phœnix design, etc.,
-             painted in underglaze blue and enamels; cloisonné
-             enamel neck. _Eumorfopoulos Collection._
-
-           Fig. 3.--Covered Jar, plum blossoms and symbols in a
-             wave pattern ground, coloured enamels in an aubergine
-             background. _British Museum._
-
-
-     80. COVERED JAR OR POTICHE (_Colour_)                           84
-
-           Painted in iron red and green enamels, with a family
-           scene in a garden, and brocade borders of _ju-i_ pattern,
-           peony scrolls, etc. Sixteenth century. _Salting
-           Collection, V. & A. Museum._
-
-
-     81. BEAKER-SHAPED VASE OF BRONZE FORM (_Colour_)                88
-
-           With dragon and phœnix designs painted in underglaze
-           blue, and red, green and yellow enamels: background of
-           fairy flowers (_pao hsiang hua_) and borders of “rock
-           and wave” pattern. Mark of the Wan Li period (1573–1619)
-           in six characters on the neck. An Imperial piece.
-           _British Museum._
-
-
-     82. LATE MING PORCELAIN                                         90
-
-           Fig. 1.--Jar of Wan Li period, enamelled. Mark, a hare.
-             _British Museum._
-
-           Fig. 2.--Bowl with Eight Immortals in relief, coloured
-             glazes on the biscuit. _Eumorfopoulos Collection._
-
-           Figs. 3, 4 and 5.--Blue and white porcelain, early
-             seventeenth century. _British Museum._
-
-
-     83. VASE                                                        90
-
-           With blue and white decoration of rockery, phœnixes,
-             and flowering shrubs. Found in India. Late Ming
-             period. _Halsey Collection._
-
-
-     84. VASE OF BALUSTER FORM WITH SMALL MOUTH (_mei p’ing_).
-            (_Colour_)                                               96
-
-           Porcelain with coloured glazes on the biscuit, the
-             designs outlined in slender fillets of clay. A meeting
-             of sages in a landscape beneath an ancient pine tree,
-             the design above their heads representing the mountain
-             mist. On the shoulders are large _ju-i_ shaped lappets
-             enclosing lotus sprays, with pendent jewels between;
-             fungus (_ling chih_) designs on the neck. Yellow glaze
-             under the base. A late example of this style of ware,
-             probably seventeenth century. _Salting Collection,
-             V. & A. Museum._
-
-
-     85. VASE (_Colour_)                                            104
-
-           With crackled greenish grey glaze coated on the exterior
-           with transparent apple green enamel: the base unglazed.
-           Probably sixteenth century. _British Museum._
-
-
-     86. FUKIEN PORCELAIN. Ming Dynasty                             112
-
-           Fig. 1.--Figure of Kuan-yin with boy attendant. Ivory
-             white. _Eumorfopoulos Collection._
-
-           Fig. 2.--Bottle with prunus sprigs in relief, the glaze
-             crackled all over and stained a brownish tint.
-             _Eumorfopoulos Collection._
-
-           Fig. 3.--Figure of Bodhidharma crossing the Yangtze on
-             a reed. Ivory white. _Salting Collection, V. & A.
-             Museum._
-
-
-     87. IVORY WHITE FUKIEN PORCELAIN                               112
-
-           Fig. 1.--Libation Cup. About 1700. _British Museum._
-
-           Fig. 2.--Cup with sixteenth century mount. _Dresden
-             Collection._
-
-           Fig. 3.--Incense Vase and Stand. About 1700. _British
-             Museum._
-
-
-    88. TWO EXAMPLES OF THE UNDERGLAZE RED (_chi hung_)OF THE K’ANG
-            HSI PERIOD (1662–1722), SOMETIMES CALLED _lang yao_.
-            (_Colour_)                                              120
-
-           Fig. 1.--Bottle-shaped Vase of dagoba form with
-             minutely crackled _sang-de-bœuf_ glaze with passages
-             of cherry red. The glaze ends in an even roll short of
-             the base rim, and that under the base is stone-coloured
-             and crackled. _British Museum._
-
-           Fig. 2.--Bottle-shaped Vase with crackled underglaze red
-             of deep crushed strawberry tint. The glaze under the
-             base is pale green crackled. _Alexander Collection._
-
-
-     89. THREE EXAMPLES OF K’ANG HSI BLUE AND WHITE PORCELAIN
-             IN THE BRITISH MUSEUM (_Colour_)                       132
-
-           Fig. 1.--Ewer with leaf-shaped panels of floral
-             arabesques, white in blue, enclosed by a mosaic
-             pattern in blue and white: stiff plantain leaves on
-             the neck and cover. Silver mount with thumb-piece.
-
-           Fig. 2.--Deep Bowl with cover, painted with “tiger-lily”
-             scrolls. Mark, a leaf.
-
-           Fig. 3.--Sprinkler with panels of lotus arabesques, white
-             in blue, and _ju-i_ shaped border patterns. A diaper of
-             small blossoms on the neck. Mark, a leaf.
-
-
-     90. COVERED JAR FOR NEW YEAR GIFTS (_Colour_)                  138
-
-           With design of blossoming prunus (_mei hua_) sprays in
-           a ground of deep sapphire blue which is reticulated
-           with lines suggesting ice cracks; dentate border on the
-           shoulders.  _V. & A. Museum._
-
-
-     91. BLUE AND WHITE K’ANG HSI PORCELAIN                         142
-
-           Fig. 1.--Triple Gourd Vase, white in blue designs of
-             archaic dragons and scrolls of season flowers.
-             _Dresden Collection._
-
-           Fig. 2.--Beaker, white magnolia design slightly raised,
-             with blue background. _British Museum._
-
-           Fig. 3.--“Grenadier Vase,” panels with the Paragons of
-             Filial Piety. _Dresden Collection._
-
-
-     92. BLUE AND WHITE K’ANG HSI PORCELAIN                         142
-
-           Fig. 1.--Sprinkler with lotus design. _British Museum._
-
-           Fig. 2.--Bottle with biscuit handles, design of graceful
-             ladies (_mei jên_). _Fitzwilliam Museum (formerly D.
-             G. Rossetti Collection)._
-
-           Fig. 3.--Bottle with handles copied from Venetian glass.
-             _British Museum._
-
-
-     93. BLUE AND WHITE PORCELAIN                                   142
-
-           Fig. 1.--Tazza with Sanskrit characters. Ch’ien Lung
-             mark. _British Museum._
-
-           Fig. 2.--Water Pot, butterfly and flowers, steatitic
-             porcelain. Wan Li mark. _Eumorfopoulos Collection._
-
-           Fig. 3.--Bowl, steatitic porcelain. Immortals on a log
-             raft. K’ang Hsi period. _British Museum._
-
-
-     94. PORCELAIN DECORATED IN ENAMELS ON THE BISCUIT              142
-
-           Fig. 1.--Ewer in form of the character _Shou_
-             (Longevity); blue and white panel with figure designs.
-             Early K’ang Hsi period. _Salting Collection._
-
-           Fig. 2.--Ink Palette, dated 31st year of K’ang Hsi
-             (1692 A.D.). _British Museum._
-
-
-     95. TWO EXAMPLES OF PORCELAIN, PAINTED WITH COLOURED
-             ENAMELS ON THE BISCUIT, THE DETAILS OF THE DESIGNS
-             BEING FIRST TRACED IN BROWN. K’ANG HSI PERIOD
-             (1662–1722) (_Colour_)                                 150
-
-           Fig. 1.--One of a pair of Buddhistic Lions, sometimes
-             called Dogs of Fo. This is apparently the lioness,
-             with her cub: the lion has a ball of brocade under
-             his paw. On the head is the character _wang_ (prince),
-             which is more usual on the tiger of Chinese art.
-             _S. E. Kennedy Collection._
-
-           Fig. 2.--Bottle-shaped Vase and Stand moulded in bamboo
-             pattern and decorated with floral brocade designs and
-             diapers. _Cope Bequest, V. & A. Museum._
-
-
-     96. VASE OF BALUSTER FORM PAINTED IN COLOURED ENAMELS ON
-             THE BISCUIT (_Colour_)                                 154
-
-           The design, which is outlined in brown, consists of a
-             beautifully drawn prunus (_mei hua_) tree in blossom
-             and hovering birds, besides a rockery and smaller
-             plants of bamboo, etc., set in a ground of mottled
-             green. Ch’êng Hua mark, but K’ang Hsi period
-             (1662–1722). _British Museum._
-
-
-     97. SQUARE VASE (_Colour_)                                     156
-
-           With pendulous body and high neck slightly expanding
-             towards the top: two handles in the form of archaic
-             lizard-like dragons (_chih lung_), and a pyramidal
-             base. Porcelain painted with coloured enamels on the
-             biscuit, with scenes representing Immortals on a log
-             raft approaching Mount P’eng-lai in the Taoist
-             Paradise. K’ang Hsi period (1662–1722). _British
-             Museum._
-
-
-     98. K’ANG HSI PORCELAIN WITH ON-BISCUIT DECORATION. _Dresden
-             Collection_                                            160
-
-           Fig. 1.--Teapot in form of a lotus seed-pod, enamels
-             on the biscuit.
-
-           Fig. 2.--Hanging Perfume Vase, reticulated, enamels
-             on the biscuit.
-
-           Fig. 3.--Ornament in form of a Junk, transparent _san
-             ts’ai_ glazes.
-
-
-     99. K’ANG HSI PORCELAIN WITH ON-BISCUIT DECORATION             160
-
-           Fig. 1.--Ewer with black enamel ground, lion handle.
-           _Cope Bequest, V. & A. Museum._
-
-           Fig. 2.--Figure of the Taoist Immortal, Ho Hsien Ku,
-             transparent _san ts’ai_ glazes. _S. E. Kennedy
-             Collection._
-
-           Fig. 3.--Vase and Stand, enamelled on the biscuit.
-             _Cope Bequest._
-
-
-    100. SCREEN WITH PORCELAIN PLAQUE, PAINTED IN ENAMELS ON THE
-             BISCUIT                                                160
-
-           Light green background. K’ang Hsi period (1662–1722).
-             _In the Collection of the Hon. E. Evan Charteris._
-
-
-    101. VASE WITH PANELS OF LANDSCAPES AND _po ku_ symbols in
-             _famille verte_ ENAMELS                                160
-
-           In a ground of underglaze blue trellis pattern. K’ang
-             Hsi period (1662–1722). _Dresden Collection._
-
-
-    102. TWO DISHES OF _FAMILLE VERTE_ PORCELAIN IN THE DRESDEN
-             COLLECTION. K’ang Hsi period (1662–1722)               160
-
-           Fig. 1.--With birds on a flowering branch, brocade
-             borders. Artist’s signature in the field.
-
-           Fig. 2.--With ladies on a garden terrace.
-
-
-    103. CLUB-SHAPED (_rouleau_) VASE (_Colour_)                    166
-
-           Finely painted in _famille verte_ enamels with panel
-             designs in a ground of chrysanthemum scrolls in iron
-             red; brocade borders. Last part of the K’ang Hsi
-             period (1662–1722). _Salting Collection, V. & A.
-             Museum._
-
-
-    104. THREE EXAMPLES OF K’ANG HSI _famille verte_ PORCELAIN      168
-
-           Fig. 1.--Square Vase with scene of floating cups on the
-             river; inscription with cyclical date 1703 A.D.;
-             _shou_ characters on the neck. _Hippisley Collection._
-
-           Fig. 2.--Lantern, with river scenes. _Dresden
-             Collection._
-
-           Fig. 3.--Covered Jar of _rouleau_ shape, peony scrolls
-             in iron red ground, brocade borders. _Dresden
-             Collection._
-
-
-    105. COVERED JAR PAINTED IN _famille verte_ ENAMELS             168
-
-           With brocade ground and panel with an elephant (the
-             symbol of Great Peace). Lion on cover. K’ang Hsi
-             period (1662–1722). _Dresden Collection._
-
-
-    106. K’ANG HSI _famille verte_ PORCELAIN. _Alexander
-             Collection_                                            168
-
-           Fig. 1.--Dish with rockery, peonies, etc., birds and
-             insects.
-
-           Fig. 2.--“Stem Cup” with vine pattern.
-
-
-    107. _Famille verte_ PORCELAIN MADE FOR EXPORT TO EUROPE. K’ang
-             Hsi period (1662–1722). _British Museum_               168
-
-         Fig. 1.--Vase with “sea monster” (_hai shou_).
-
-         Fig. 2.--Dish with basket of flowers. Mark, a leaf.
-
-         Fig. 3.--Covered Jar with _ch’i-lin_ and _fêng-huang_
-           (phœnix).
-
-
-    108. DISH PAINTED IN UNDERGLAZE BLUE AND _famille verte_ ENAMELS.
-             (_Colour_)                                             172
-
-           In the centre, a five-clawed dragon rising from waves
-             in pursuit of a pearl. Deep border in “Imari” style
-             with cloud-shaped compartments with chrysanthemum
-             and prunus designs in a blue ground, separated by
-             close lotus scrolls reserved in an iron red ground in
-             which are three book symbols. K’ang Hsi period
-             (1662–1722). _Alexander Collection._
-
-
-    109. FIGURE OF SHOU LAO, TAOIST GOD OF LONGEVITY                176
-
-           Porcelain painted with _famille verte_ enamels. K’ang
-             Hsi period (1662–1722). _Salting Collection, V. & A.
-             Museum._
-
-
-    110. TWO EXAMPLES OF THE “POWDER BLUE” (_ch’ui ch’ing_) PORCELAIN
-             OF THE K’ANG HSI PERIOD (1662–1722) IN THE VICTORIA
-             AND ALBERT MUSEUM (_Colour_)                           182
-
-           Fig 1.--Bottle of gourd shape with slender neck: powder
-             blue ground with gilt designs from the Hundred
-             Antiques (_po ku_) and borders of _ju-i_ pattern,
-             formal flowers and plantain leaves.
-
-           Fig. 2.--Bottle-shaped Vase with _famille verte_ panels
-             of rockwork and flowers reserved in a powder blue
-             ground. _Salting Collection._
-
-
-    111. TWO EXAMPLES OF SINGLE-COLOUR PORCELAIN IN THE SALTING
-             COLLECTION (VICTORIA AND ALBERT MUSEUM). (_Colour_)    186
-
-           Fig. 1.--Bottle-shaped Vase of porcelain with landscape
-             design lightly engraved in relief under a turquoise
-             blue glaze. Early eighteenth century.
-
-           Fig. 2.--Water vessel for the writing table of the form
-             known as _T’ai-po tsun_ after the poet Li T’ai-po.
-             Porcelain with faintly engraved dragon medallions
-             under a peach bloom glaze; the neck cut down and
-             fitted with a metal collar. Mark in blue of the K’ang
-             Hsi period (1662–1722) in six characters.
-
-
-    112. THREE FIGURES OF BIRDS, LATE K’ANG HSI PORCELAIN, WITH
-             COLOURED ENAMELS ON THE BISCUIT                        192
-
-           Fig. 1.--Stork. _British Museum._
-
-           Fig. 2.--Hawk. _S. E. Kennedy Collection._
-
-           Fig. 3.--Cock. _British Museum._
-
-
-    113. PORCELAIN DELICATELY PAINTED IN THIN _famille verte_ ENAMELS.
-             About 1720                                             192
-
-           Fig. 1.--Dish with figures of Hsi Wang Mu and attendant.
-             Ch’êng Hua mark. _Hippisley Collection._
-
-           Fig. 2.--Bowl with the Eight Immortals. _S. E. Kennedy
-             Collection._
-
-
-    114. HANGING VASE WITH OPENWORK SIDES, FOR PERFUMED FLOWERS     192
-
-           Porcelain painted in late _famille verte_ enamels. About
-             1720. Blackwood frame. _Cumberbatch Collection._
-
-
-    115. VASE OF BALUSTER FORM (_Colour_)                           206
-
-           With ornament in white slip and underglaze red and blue
-           in a celadon green ground: rockery, and birds on a
-           flowering prunus tree. Yung Chêng period (1723–1735).
-           _Alexander Collection._
-
-
-    116. YUNG CHÊNG PORCELAIN                                       208
-
-           Fig. 1.--Imperial Rice Bowl with design of playing
-             children (_wa wa_), engraved outlines filled in with
-             green in a yellow ground, transparent glazes on the
-             biscuit. Yung Chêng mark. _British Museum._
-
-           Fig. 2.--Blue and White Vase with fungus (_ling chih_)
-             designs in Hsüan Tê style. _Cologne Museum._
-
-
-    117. YUNG CHÊNG PORCELAIN                                       208
-
-           Fig. 1.--Vase with prunus design in underglaze red and
-             blue. _C. H. Read Collection._
-
-           Fig. 2.--Imperial Vase with phœnix and peony design in
-           pale _famille verte_ enamels over underglaze blue
-           outlines. _V. & A. Museum._
-
-
-    118. EARLY EIGHTEENTH CENTURY ENAMELS                           208
-
-           Fig. 1.--Plate painted at Canton in _famille rose_
-             enamels (_yang ts’ai_ “foreign colouring”). Yung
-             Chêng period. _S. E. Kennedy Collection._
-
-           Fig. 2.--Arrow Stand, painted in late _famille verte_
-             enamels. About 1720. _V. & A. Museum._
-
-
-    119. YUNG CHÊNG PORCELAIN, PAINTED AT CANTON WITH _FAMILLE ROSE_
-             ENAMELS. _British Museum._                             208
-
-           Fig. 1.--“Seven border” Plate.
-
-           Fig. 2.--Eggshell Cup and Saucer with painter’s marks.
-
-           Fig. 3.--Eggshell Plate with vine border.
-
-           Fig. 4.--Armorial Plate with arms of Leake Okeover.
-             Transition enamels, about 1723.
-
-
-    120. COVERED JAR OR POTICHE, PAINTED IN _famille rose_ OR
-             “FOREIGN COLOURS” (_yang ts’ai_) WITH BASKETS OF
-             FLOWERS (_Colour_)                                     222
-
-           Deep borders of ruby red enamel broken by small panels
-             and floral designs. On the cover is a lion coloured
-             with enamels on the biscuit. From a set of five vases
-             and beakers in the _Collection of Lady Wantage_. Late
-             Yung Chêng period (1723–1735).
-
-
-    121. TWO BEAKERS AND A JAR FROM SETS OF FIVE, _famille rose_
-             ENAMELS. Late Yung Chêng porcelain                     224
-
-           Fig. 1.--Beaker with “harlequin” ground. _S. E. Kennedy
-             Collection._
-
-           Fig. 2.--Jar with dark blue glaze gilt and leaf-shaped
-             reserves. _Burdett-Coutts Collection._
-
-           Fig. 3.--Beaker with fan and picture-scroll panels,
-             etc., in a deep ruby pink ground. _Wantage
-             Collection._
-
-
-    122. WHITE PORCELAIN WITH DESIGNS IN LOW RELIEF                 232
-
-           Fig. 1.--Vase, peony scroll, _ju-i_ border, etc.
-             Ch’ien Lung period. _O. Raphael Collection._
-
-           Fig. 2.--Bottle with “garlic mouth,” Imperial dragons
-             in clouds. Creamy crackled glaze imitating Ting ware.
-             Early eighteenth century. _Salting Collection._
-
-           Fig. 3.--Vase with design of three rams, symbolising
-             Spring. Ch’ien Lung period. _W. Burton Collection._
-
-
-    123. EIGHTEENTH CENTURY GLAZES (_Colour_)                       236
-
-           Fig. 1.--Square Vase with tubular handles, and
-             apricot-shaped medallions on front and back. _Flambé_
-             red glaze. Ch’ien Lung period (1736–1795). _British
-             Museum._
-
-           Fig. 2.--Bottle-shaped Vase with deep blue (_ta ch’ing_)
-             glaze: unglazed base. Early eighteenth century.
-             _British Museum._
-
-           Fig. 3.--Vase with fine iron red enamel (_mo hung_) on
-             the exterior. Ch’ien Lung period (1736–1795). _Salting
-             Collection, V. & A. Museum._
-
-
-    124. MISCELLANEOUS PORCELAINS                                   240
-
-           Fig. 1.--Magnolia Vase with _flambé_ glaze of crackled
-             lavender with red and blue streaks. Ch’ien Lung
-             period. _Alexander Collection._
-
-           Fig. 2.--Bottle with elephant handles, yellow, purple,
-             green, and white glazes on the biscuit. Ch’ien Lung
-             period. _British Museum._
-
-           Fig. 3.--Dish with fruit design in lustrous transparent
-             glazes on the biscuit, covering a faintly etched
-             dragon pattern. K’ang Hsi mark. _British Museum._
-
-
-    125. CH’IEN LUNG WARES. _Hippisley Collection_                  240
-
-           Fig. 1.--Brush Pot of enamelled Ku-yüeh-hsüan glass.
-             Ch’ien Lung mark.
-
-           Fig. 2.--Bottle, porcelain painted in Ku-yüeh style,
-             after a picture by the Ch’ing artist Wang Shih-mei.
-
-           Fig. 3.--Imperial Presentation Cup marked _hsü hua t’ang
-             chih tsêng_.
-
-           Fig. 4.--Medallion Vase, brocade ground with bats in
-             clouds, etc. Ch’ien Lung mark.
-
-
-    126. VASE WITH “HUNDRED FLOWER” DESIGN IN _famille rose_
-             ENAMELS.                                               240
-
-           Ch’ien Lung period (1736–1795). _Grandidier
-             Collection, Louvre._
-
-
-    127. VASE PAINTED IN MIXED ENAMELS. THE HUNDRED DEER.           240
-
-           Late Ch’ien Lung period. _Grandidier Collection, Louvre_
-
-
-    128. CH’IEN LUNG PORCELAIN. _British Museum_                    248
-
-           Fig. 1.--Vase with “rice grain” ground and blue and
-             white design.
-
-           Fig. 2.--Vase with “lacework” designs. Ch’ien Lung mark.
-
-           Fig. 3.--Vase with the Seven Worthies of the Bamboo
-             Grove in _lac burgauté_.
-
-           Fig. 4.--Vase with “robin’s egg” glaze.
-
-
-    129. OCTAGONAL VASE AND COVER, PAINTED IN _famille rose_
-             ENAMELS                                                248
-
-           Ch’ien Lung period (1736–1795). _One of a pair in the
-             Collection of Dr. A. E. Cumberbatch._
-
-
-    130. VASE WITH PEAR-SHAPED BODY AND WIDE MOUTH; TUBULAR
-             HANDLES (_Colour_)                                     254
-
-           Porcelain with delicate _clair de lune_ glaze
-             recalling the pale blue tint of some of the finer
-             Sung celadons. About 1800. _British Museum._
-
-
-    131. EIGHTEENTH CENTURY PAINTED PORCELAIN                       264
-
-           Fig. 1.--Plate painted in black and gold, European
-             figures in a Chinese interior. Yung Chêng period.
-             _British Museum._
-
-           Fig. 2.--Dish with floral scrolls in _famille rose_
-             enamels in a ground of black enamel diapered with
-             green foliage scrolls. Ch’ien Lung period. _Wantage
-             Collection._
-
-
-    132. Vase painted in mixed enamels, an Imperial park and a
-             bevy of ladies                                         264
-
-           Deep ruby pink borders with coloured floral scrolls
-             and symbols. Ch’ien Lung mark. About 1790. _Wantage
-             Collection._
-
-
-    133. LATE _famille rose_ ENAMELS                                280
-
-           Fig. 1.--Bowl painted in soft enamels, attendants of
-             Hsi Wang Mu in boats. Mark, _Shên tê t’ang chih_.
-             Tao Kuang period. _British Museum._
-
-           Fig. 2.--Imperial Fish Bowl with five dragons ascending
-             and descending, borders of wave pattern, _ju-i_
-             pattern, etc., _famille rose_ enamels. Late eighteenth
-             century. _Burdett-Coutts Collection._
-
-
-    134. PORCELAIN SNUFF BOTTLES.  Eighteenth Century. _British
-             Museum_                                                280
-
-           Fig. 1.--Subject from the drama, black ground. Yung
-             Chêng mark.
-
-           Fig. 2.--Battle of demons, underglaze blue and red.
-             Mark, _Yung-lo t’ang_.
-
-           Fig. 3.--Blue and white “steatitic” ware.
-
-           Fig. 4.--Crackled cream white _ting_ glaze, pierced
-             casing with pine, bamboo and prunus.
-
-           Fig. 5.--“Steatitic” ware with Hundred Antiques design
-             in coloured relief. Chia Ch’ing mark.
-
-
-
-
-                     CHINESE POTTERY AND PORCELAIN
-
-
-
-
-                               CHAPTER I
-
-              THE MING [chch] DYNASTY, 1368–1644 A.D.
-
-
-As we have already discussed, so far as our imperfect knowledge
-permits, the various potteries which are scattered over the length and
-breadth of China, we can now concentrate our attention on the rising
-importance of Ching-tê Chên. From the beginning of the Ming dynasty,
-Ching-tê Chên may be said to have become the ceramic metropolis of the
-empire, all the other potteries sinking to provincial status. So far
-as Western collections, at any rate, are concerned, it is not too much
-to say that 90 per cent. of the post-Yüan porcelains were made in this
-great pottery town.
-
-What happened there in the stormy years which saw the overthrow of
-the Mongol dynasty and the rise of the native Ming is unknown to us,
-and, indeed, it is scarcely likely to have been of much interest.
-The Imperial factories were closed, and did not open till 1369, or,
-according to some accounts, 1398.[1] If we follow the _Ching-tê Chên
-T’ao lu_, which, as its name implies, should be well informed on
-the history of the place, a factory was built in 1369 at the foot of
-the Jewel Hill to supply Imperial porcelain (_kuan tz’ŭ_), and
-in the reign of Hung Wu (1368–1398) there were at least twenty kilns
-in various parts of the town working in the Imperial service. They
-included kilns for the large dragon bowls, kilns for blue (or green)
-ware (_ch’ing yao_), “wind and fire”[2] kilns, seggar kilns
-for making the cases for the fine porcelain, and _lan kuang_
-kilns, which Julien renders _fours à flammes étendues_. The last
-expression implies that the heat was raised in these kilns by means of
-a kind of bellows (_kuang_) which admitted air to the furnace,
-and Bushell’s rendering, “blue and yellow enamel furnaces,” ignores an
-essential part of both the characters[3] used in the original.
-
-From this time onward there is no lack of information on the nature
-of the Imperial wares made during the various reigns, but it must be
-remembered that the Chinese descriptions are in almost every case
-confined to the Imperial porcelains, and we are left to assume that
-the productions of the numerous private kilns followed the same lines,
-though in the earlier periods, at any rate, we are told that they were
-inferior in quality and finish.
-
-The Hung Wu [chch 2] palace porcelain, as described in the _T’ao
-lu_, was of fine, unctuous clay and potted thin. The ware was left
-for a whole year to dry, then put upon the lathe and turned thin, and
-then glazed and fired. If there was any fault in the glaze, the piece
-was ground down on the lathe, reglazed and refired. “Consequently the
-glaze was lustrous (_jung_) like massed lard.” These phrases
-are now so trite that one is tempted to regard them as mere Chinese
-conventionalities, but there is no doubt that the material used in
-the Ming period (which, as we shall see presently, gave out in the
-later reigns) was of peculiar excellence. The raw edge of the base rim
-of early specimens does, in fact, reveal a beautiful white body of
-exceedingly fine grain and smooth texture, so fat and unctuous that one
-might almost expect to squeeze moisture out of it.
-
-The best ware, we are told, was white, but other kinds are mentioned.
-A short contemporary notice in the _Ko ku yao lun_,[4] written in
-1387, says, “Of modern wares (made at Ching-tê Chên) the good examples
-with white colour and lustrous are very highly valued. There are,
-besides, _ch’ing_[5] (blue or green) and black (_hei_) wares
-with gilding, including wine pots and wine cups of great charm.” Such
-pieces may exist in Western collections, but they remain unidentified,
-and though there are several specimens with the Hung Wu mark to be seen
-in museums, few have the appearance of Ming porcelain at all. There is,
-however, a dish in the British Museum which certainly belongs to the
-Ming dynasty, even if it is a century later than the mark implies.
-The body is refined and white, though the finish is rather rough, with
-pits and raised spots here and there in the glaze and grit adhering
-to the foot rim; but it is painted with a free touch in a bright
-blue, recalling the Mohammedan blue in colour, the central subject a
-landscape, and the sides and rim divided into panels of floral and
-formal ornament. It must be allowed that the style of the painting is
-advanced for this early period, including as it does white designs
-reserved in blue ground as well as the ordinary blue painting on a
-white ground.
-
-
-                    _Yung Lo_ [chch 2] (1403–1424)
-
-The usual formulæ are employed by the _T’ao lu_ in describing the
-Imperial ware of this reign. It was made of plastic clay and refined
-material, and though, as a rule, the porcelain was thick, there
-were some exceedingly thin varieties known as _t’o t’ai_[6] or
-“bodiless” porcelains. Besides the plain white specimens, there were
-others engraved with a point[7] or coated with vivid red (_hsien
-hung_). The _Po wu yao lan_,[8] reputed a high authority on
-Ming porcelains and written in the third decade of the seventeenth
-century, adds “blue and white” to the list and gives further details of
-the wares. The passage is worth quoting in full, and runs as follows:
-“In the reign of Yung Lo were made the cups which fit in the palm of
-the hand,[9] with broad mouth, contracted waist, sandy (_sha_)
-foot, and polished base. Inside were drawn two lions rolling balls.
-Inside, too, in seal characters, was written _Ta Ming Yung Lo nien
-chih_[10] in six characters, or sometimes in four[11] only, as fine
-as grains of rice. These are the highest class. Those with mandarin
-ducks, or floral decoration inside, are all second quality. The cups
-are decorated outside with blue ornaments of a very deep colour,
-and their shape and make are very refined and beautiful and in a
-traditional style. Their price, too, is very high. As for the modern
-imitations, they are coarse in style and make, with foot and base burnt
-(brown), and though their form has some resemblance (to the old), they
-are not worthy of admiration.”
-
-As may be imagined, Yung Lo porcelain is not common to-day, and the
-few specimens which exist in our collections are not enough to make
-us realise the full import of these descriptions. There are, however,
-several types which bear closely on the subject, some being actually
-of the period and others in the Yung Lo style. A fair sample of the
-ordinary body and glaze of the time is seen in the white porcelain
-bricks of which the lower story of the famous Nanking pagoda was built.
-Several of these are in the British Museum, and they show a white
-compact body of close but granular fracture; the glazed face is a pure,
-solid-looking white, and the unglazed sides show a smooth, fine-grained
-ware which has assumed a pinkish red tinge in the firing. The coarser
-porcelains of the period would, no doubt, have similar characteristics
-in body and glaze. The finer wares are exemplified by the white bowls,
-of wonderful thinness and transparency, with decoration engraved in
-the body or traced in delicate white slip under the glaze and scarcely
-visible except as a transparency. Considering the fragility of these
-delicate wares and the distant date of the Yung Lo period, it is
-surprising how many are to be seen in Western collections. Indeed, it
-is hard to believe that more than a very few of these can be genuine
-Yung Lo productions, and as we know that the fine white “egg shell”
-porcelain was made throughout the Ming period and copied with great
-skill in the earlier reigns of the last dynasty, it is not necessary
-to assume that every bowl of the Yung Lo type dates back to the first
-decades of the fifteenth century.
-
-  [Illustration: Plate 59.--White Eggshell Porcelain Bowl with
-  Imperial dragons faintly traced in white slip under the glaze.
-
-  Mark of the Yung Lo period (1403–1424) incised in the centre in
-  archaic characters. 1. Exterior. 2. Interior view. Diameter 8¾
-  inches. _British Museum._]
-
-It is wellnigh impossible to reproduce adequately these white
-porcelains, but Plate 59 illustrates the well-known example in the
-Franks Collection, which has long been accepted as a genuine Yung Lo
-specimen. It represents the _ya shou pei_ in form, with wide mouth
-and small foot--the contracted waist of the _Po wu yao lan_; the
-foot rim is bare at the edge, but not otherwise sandy, and the base is
-glazed over, which may be the sense in which the word “polished”[12] is
-used in the _Po wu yao lan_. The ware is so thin and transparent
-that it seems to consist of glaze alone, as though the body had
-been pared away to vanishing point before the glaze was applied--in
-short, it is _t’o t’ai_ or “bodiless.” When held to the light
-it has a greenish transparency and the colour of melting snow, and
-there is revealed on the sides a delicate but exquisitely drawn design
-of five-clawed Imperial dragons in white slip (not etched, as has
-too often been stated), showing up like the water-mark in paper. On
-the bottom inside is the date-mark of the period etched with a point
-in four archaic characters (see vol. i, p. 213). A more refined and
-delicate ceramic work could hardly be imagined.
-
-Close to this bowl in the Franks Collection there are two smaller bowls
-or, rather, cups which in many ways answer more nearly the description
-of the _ya shou pei_,[13] though they are thick in substance
-and of coarser make. They have straight spreading sides, wide at the
-mouth, with foliate rim, and contracted at the foot. The foot rim is
-bare of glaze, but the base is covered. They are of an impure white
-ware with surface rather pitted, and inside is a lotus design traced
-in white slip under the glaze and repeated in radiating compartments.
-These are perhaps a product of the private factories. The same form is
-observed among the blue and white porcelain in two small cups, which
-are painted in blue with a landscape on the exterior and with bands
-of curled scrolls inside and the Yung Lo mark in four characters. The
-base is unglazed, and though they are undoubtedly intended to represent
-a Yung Lo type, these not uncommon bowls can hardly be older than the
-last dynasty. Another blue and white bowl in the Franks Collection has
-the Yung Lo mark and the scroll decoration inside, and on the exterior
-a long poem by Su Shih, covering most of the surface. It is painted in
-a grey blue, and the ware, though coarse, has the appearance of Ming
-manufacture, perhaps one of the late Ming copies which are mentioned
-without honour in the _Po wu yao lan_. It is, however, of the
-ordinary rounded form.[14]
-
-Hsiang Yüan-p’ien illustrates in his Album one Yung Lo specimen, a low
-cylindrical bowl of the “bodiless” kind, “thin as paper,” with a very
-delicate dragon and phœnix design, which is seen when the bowl is
-held to the light and carefully inspected. This style of ornament is
-described as _an hua_ (secret decoration), but it is not stated
-whether, in this case, it was engraved in the paste or traced in white
-slip.
-
-The mention of “fresh red” (_hsien hung_), which seems to have been
-used on the Yung Lo porcelain as well as in the succeeding Hsüan Tê
-period, brings to mind a familiar type of small bowl with slight
-designs in blue inside, often a figure of a boy at play, the exterior
-being coated with a fine coral red, over which are lotus scrolls
-in gold. There are several in the British Museum, and one, with a
-sixteenth-century silver mount, was exhibited at the Burlington Fine
-Arts Club in 1910.[15] The term _hsien hung_ is certainly used for an
-underglaze copper red on the Hsüan Tê porcelain, and it is doubtful
-whether it can have been loosely applied to an overglaze iron red on
-the earlier ware. For the bowls to which I refer have an iron red
-decoration, though it is sometimes wonderfully translucent and, being
-heavily fluxed, looks like a red glaze instead of merely an overglaze
-enamel (see Plate 74). Several of these red bowls have the Yung Lo
-mark, others have merely marks of commendation or good wish. Their form
-is characteristic of the Ming period, and the base is sometimes convex
-at the bottom, sometimes concave. They vary considerably in quality,
-the red in some cases being a translucent and rather pale coral tint,
-and in others a thick, opaque brick red. Probably they vary in date as
-well, the former type being the earlier and better. It is exemplified
-by an interesting specimen in the Franks Collection marked _tan kuei_
-(red cassia), which indicates its destination as a present to a
-literary aspirant, the red cassia being a symbol of literary success.
-This piece has, moreover, a stamped leather box of European--probably
-Venetian--make, which is not later than the sixteenth century. This,
-if any of these bowls, belongs to the Yung Lo period, but it will be
-seen presently that the iron red was used as an inferior but more
-workable substitute for the underglaze red in the later Ming reigns,
-and, it must be added, these bowls are strangely numerous for a
-fifteenth-century porcelain. That they are a Yung Lo type, however,
-there is little doubt, for this red and gold decoration (_kinrande_
-of the Japanese) is the adopted style which won for the clever Kioto
-potter, Zengoro Hozen, the art name _Ei raku_, i.e. Yung Lo in Japanese.
-
-
-
-
-                              CHAPTER II
-
-                   HSÜAN TÊ [chch 2] (1426–1435)
-
-
-In this short reign, which Chinese writers regard as the most brilliant
-period of their porcelain industry, the number of kilns occupied with
-the Imperial orders had increased to fifty-eight, the majority of them
-being outside the Imperial factory and distributed among the private
-factories. According to the _T’ao lu_,[16] the clay used at this
-time was red and the ware like cinnabar, a statement which is difficult
-to reconcile with the glowing description of the jade-like white altar
-cups and other exquisite objects for which the reign was celebrated.
-It is, of course, possible that a dark coloured body was employed in
-some of the wares, as was done at other periods, or it may be that the
-words are hyperbolically used to describe a porcelain of which the
-exposed parts of the body assumed a red colour in the firing. This
-latter peculiarity is noticeable on specimens of later Ming porcelain,
-particularly the blue and white of the Chia Ching period. But in any
-case a red biscuit cannot have been invariable or even characteristic
-of the period, for no mention is made of such a feature in the _Po
-wu yao lan_, which gives by far the fullest account of the Hsüan Tê
-porcelain.
-
-The description in the _Po wu yao lan_,[17] which seems to
-have been generally accepted, and certainly was largely borrowed by
-subsequent Chinese works, may be freely rendered as follows:
-
-“Among the wares of the Hsüan Tê period there are stem-cups[18]
-decorated with red fish. For these they used a powder made of red
-precious stones from the West to paint the fish forms, and from the
-body there rose up in relief in the firing the precious brilliance of
-the fresh red ravishing the eye. The brown and blackish colours which
-resulted from imperfect firing of the red are inferior. There were
-also blue decorated wares, such as stem-cups with dragon pine and plum
-designs, wine stem-cups with figure subjects[19] and lotus designs,
-small cinnabar pots and large bowls in colour red like the sun, but
-with white mouth rim, pickle pots and small pots with basket covers and
-handles in the form of bamboo joints, all of which things were unknown
-in ancient times. Again, there were beautiful objects of a useful kind,
-all small and cleverly made with finely and accurately drawn designs.
-The incense vases, trays and dishes[20] were made in large numbers, and
-belong to a common class. The flat-sided jars with basket covers, and
-the ornamented round pots with flanged[21] mouth for preserving honey,
-are very beautiful and mostly decorated in colours (_wu ts’ai_). The
-white cups, which have the character _t’an_ (altar) engraved inside the
-bowl, are what are known as 'altar cups.’ The material of these things
-is refined and the ware thick, and the form beautiful enough to be used
-as elegant vases in the true scholar’s room. There are besides white
-cups for tea with rounded body,[22] convex[23] base, thread-like foot,
-bright and lustrous like jade, and with very finely engraved[24] dragon
-and phœnix designs which are scarcely inferior to the altar cups. At
-the bottom the characters _ta ming hsüan tê nien chih_[25] are secretly
-engraved in the paste, and the texture of the glaze is uneven, like
-orange peel.[26] How can even Ting porcelain compare with these? Truly
-they are the most excellent porcelains of this reign, and unfortunately
-there have not been many to be seen since then. Again, there are the
-beautiful barrel-shaped seats, some with openwork ground, the designs
-filled in with colours (_wu ts’ai_), gorgeous as cloud brocades, others
-with solid ground filled in with colours in engraved floral designs, so
-beautiful and brilliant as to dazzle the eye; both sorts have a deep
-green (_ch’ing_) background. Others have blue (_lan_) ground,
-filled in with designs in colours (_wu ts’ai_), like ornament carved
-in cobalt blue (_shih ch’ing_, lit. stone blue). There is also blue
-decoration on a white ground and crackled grounds like ice. The form
-and ornament of these various types do not seem to have been known
-before this period.”
-
-  [Illustration: Plate 60.--Reputed Hsüan Tê Porcelain.
-
-  Fig. 1.--Flask with blue decoration, reputed to be Hsüan Tê
-  period. Height 3¼ inches. _British Museum_.
-
-  Fig. 2.--Brush Rest. (?) Chang Ch’ien on a log raft; partly
-  biscuit. Inscribed with a stanza of verse and the Hsüan Tê mark.
-  Length 6 inches.
-
-  _Grandidier Collection._]
-
-  [Illustration: Plate 61.--Porcelain with _san ts’ai_ glazes
-  on the biscuit.
-
-  Fig. 1.--Wine Jar with pierced casing, the Taoist Immortals
-  paying court to the God of Longevity, turquoise blue ground.
-  Fifteenth century. Height 11½ inches. _Eumorfopoulos
-  Collection._
-
-  Fig. 2.--Screen with design in relief, horsemen on a mountain
-  path, dark blue ground. About 1500. Height 14 inches. _Benson
-  Collection._]
-
-It will be seen from the above that the Hsüan Tê porcelains included
-a fine white, blue and white and polychrome painted wares, underglaze
-red painted wares, and crackle. The last mentioned is further specified
-in the _Ch’ing pi tsang_ as having “eel’s blood lines,”[27] and
-almost rivalling the Kuan and Ju wares. The ware was thick and strong,
-and the glaze had the peculiar undulating appearance (variously
-compared to chicken skin, orange peel, millet grains, or a wind ruffled
-surface) which was deliberately produced on the eighteenth century
-porcelains.
-
-Another surface peculiarity shared by the Hsüan Tê and Yung Lo wares
-was “palm eye” (_tsung yen_) markings, which Bushell explains as
-holes in the glaze due to air bubbles. It is hard to see how these can
-have been other than a defect. Probably both these and the orange peel
-effects were purely fortuitous at this time.
-
-Of the various types which we have enumerated, the white wares need
-little comment. The glaze was no doubt thick and lustrous like mutton
-fat jade, and though Hsiang in his Album usually describes the white of
-his examples as “white like driven snow,” it is worthy of note that in
-good imitations of the ware particular care seems to have been given to
-impart a distinct greenish tint to the glaze.
-
-The honours of the period appear to have been shared by the “blue and
-white” and red painted wares. Out of twenty examples illustrated in
-Hsiang’s Album, no fewer than twelve are decorated chiefly in red,
-either covering the whole or a large part of the surface or painted
-in designs, among which three fishes occur with monotonous frequency.
-The red in every case is called _chi hung_, and it is usually
-qualified by the illuminating comparison with “ape’s blood,” and in one
-case it is even redder than that!
-
-The expression _chi hung_ has evidently been handed down by oral
-traditions, for there is no sort of agreement among Chinese writers
-on the form of the first character. The _T’ao lu_ uses the character
-[chch], which means “sacrificial,” and Bushell[28] explains this “as
-the colour of the sacrificial cups which were employed by the Emperor
-in the worship of the Sun.” Hsiang uses the character [chch] which
-means “massed, accumulated.” And others use the character [chch] which
-means “sky clearing,” and is also applied to blue in the sense of the
-“blue of the sky after rain.” In the oft quoted list of the Yung Chêng
-porcelains we find the item, “Imitations of Hsüan _chi hung_ wares,
-including two kinds, _hsien hung_ (fresh red) and _pao shih hung_
-(ruby red).” There can be little doubt that both these were shades of
-underglaze red derived from copper oxide, a colour with which we are
-quite familiar from the eighteenth century and later examples.
-
-For in another context we find the _hsien hung_ contrasted with
-_fan hung_, which is the usual term for overglaze iron red,
-and the description already given of the application of _pao shih
-hung_ leaves no doubt whatever that it was an underglaze colour. The
-two terms are probably fanciful names for two variations of the same
-colour, or perhaps for two different applications of it, for we know
-that it was used as a pigment for brushwork as well as in the form of a
-ground colour incorporated in the glaze. The secret of the colour seems
-to have been well kept, and the general impression prevailing outside
-the factories was that its tint and brilliancy were due to powdered
-rubies, the red precious stone from the West which gave the name to the
-_pao shih hung_.[29] It is known that in some cases such stones
-as cornelian (_ma nao_) have been incorporated in the porcelain
-glazes in China to increase the limpidity of the glaze. This is reputed
-to have happened in the case of the Ju yao, but neither cornelian nor
-ruby could serve in any way as a colouring agent, as their colour would
-be dissipated in the heat of the furnace. The real colouring agent of
-the _chi hung_ is protoxide of copper. If there were nothing else
-to prove this, it would be clear from the fact hinted in the _Po wu
-yao lan_ that the failures came out a brownish or blackish tint.
-This colour has always proved a difficult one to manage, and in the
-early part of the last dynasty, when it was freely used after the
-manner of the Hsüan Tê potters, the results were most unequal, varying
-from a fine blood red to maroon and brown, and even to a blackish tint.
-
-The peculiar merits of the Hsüan Tê red were probably due in some
-measure to the clay of which the ware was composed, and which contained
-some natural ingredient favourable to the development of the red. At
-any rate, we are told[30] that in the Chia Ching period (1522–1566)
-“the earth used for the _hsien hung_ ran short.”
-
-Among the favourite designs[31] expressed in the Hsüan Tê red were
-three fishes, three fruits,[32] three funguses, and the character
-_fu_ (happiness) repeated five times.[33] All these are mentioned
-among the Yung Chêng imitations. A good idea of the fish design is
-given by a cylindrical vase in the Franks Collection, which is plain
-except for two fishes in underglaze red of good colour, and rising in
-slight relief in the glaze. The glaze itself is of that faint celadon
-green which was apparently regarded as a necessary feature of the
-Hsüan Tê copies, and which incidentally seems to be favourable to the
-development of the copper red. The _sang de bœuf_ red of the last
-dynasty is avowedly a revival of the Hsüan Tê red in its use as a glaze
-colour. Indeed, certain varieties of the _sang de bœuf_ class
-are still distinguished as _chi hung_. The large bowls, “red as
-the sun and white at the mouth rim,” as mentioned in the _Po wu yao
-lan_, have a counterpart in the large bowl of the last dynasty with
-_sang de bœuf_ glaze, which, flowing downwards, usually left a
-colourless white band at the mouth.
-
-The Hsüan Tê period extended only to ten years, and specimens of Hsüan
-red are excessively rare to-day, even in China. It is doubtful if a
-genuine specimen exists outside the Middle Kingdom, but with the help
-of the old Chinese descriptions and the clever imitations of a later
-date,[34] there is no difficulty in imagining the vivid splendours of
-the “precious stone red” of this brilliant period.
-
-Among the “blue and white” wares of all periods, the Hsüan Tê
-porcelain is unanimously voted the first place by Chinese writers, and
-its excellence is ascribed principally to the superior quality of an
-imported mineral variously described as _su-ni-p’o_, _su-p’o-ni_ and
-_su-ma-ni_. These outlandish names are, no doubt, attempts to render
-in Chinese the foreign name of the material, which was itself probably
-the name of the place or people whence it was exported. There is little
-doubt that this mysterious substance was the same species as the
-Mohammedan blue (_hui hui ch’ing_) of the following century. Indeed,
-this latter name is applied to it in Hsiang’s Album. The Mohammedan
-blue was obtained from Arab traders, and its use for painting on
-pottery had been familiar in the Near East, in Persia and Syria for
-instance, at least as early as the twelfth century.[35] The _su-ni-p’o_
-blue was no doubt imported in the form of mineral cobalt, and though
-there was no lack of this mineral in the neighbourhood of Ching-tê
-Chên, the foreign material was of superior quality. It was, however,
-not only expensive but unsuited for use in a pure state. If applied by
-itself, it had a tendency to run in the firing, and it was necessary
-to blend it with proportions of the native mineral varying from one
-in ten for the finest quality to four in six for the medium quality.
-The native mineral used by itself tended to be heavy and dull in tone,
-owing to its inability to stand the intense heat of the kiln, and was
-only employed alone on the coarser wares. The supply of Mohammedan
-blue was uncertain and spasmodic. It ceased to arrive at the end of
-the Hsüan Tê period, and it was not renewed till the next century (see
-p. 29). Its nature, too, seems to have varied, for we are expressly
-told that the Hsüan Tê blue was pale in tone while the Mohammedan
-blue of the sixteenth century was dark. Possibly, however, this was
-not so much due to the nature of the material as to the method of its
-application, for Chinese writers are by no means unanimous about the
-paleness of the Hsüan Tê blue. The _Ch’ing pi ts’ang_, for instance,
-states that “they used _su-p’o-ni_ blue and painted designs of dragons,
-phœnixes, flowers, birds, insects, fish and similar forms, deep and
-thickly heaped and piled and very lovely.”
-
-Authentic specimens of Hsüan Tê blue and white are virtually unknown,
-but the mark of the period is one of the commonest on Chinese porcelain
-of relatively modern date. In most cases this spurious dating means
-nothing more than that the period named was one of high repute; but
-there is a type of blue and white, usually bearing the period mark of
-Hsüan Tê, which is so mannered and characteristic that one feels the
-certainty that this really represents one kind at least of the Hsüan
-porcelain. It is usually decorated in close floral scrolls, and the
-blue is light dappled with darker shades, which are often literally
-“heaped and piled” (_tui t’o_) over the paler substratum.
-
-I have seen examples of this style belonging to various periods, mostly
-eighteenth century, but some certainly late Ming[36] (see Plate 67,
-Fig. 4). Seven examples of Hsüan blue and white porcelain are figured
-in Hsiang’s Album,[37] comprising an ink pallet, a vase shaped like a
-section of bamboo, a goose-shaped wine jar, a vase with an elephant
-on the cover, a tea cup, a sacrificial vessel, and a lamp with four
-nozzles. In five of these the blue is confined to slight pencilled
-borders, merely serving to set off the white ground, which is compared
-to driven snow. The glaze is rich and thick, and of uneven surface,
-rising in slight tubercles likened to “grains of millet.” This is the
-“orange skin” glaze. The blue in each case is _hui hu[38] ta ch’ing_
-(deep Mohammedan blue). Of the two remaining instances, one is painted
-with a dragon in clouds, and the other with “dragon pines,” and in the
-latter case the glaze is described as “lustrous like mutton fat jade,”
-and the blue as “of intensity and brilliance to dazzle the eye.”
-
-The impression conveyed by all these examples is that they represent a
-type quite different from that described as “heaped and piled,” a type
-in which delicate pencilling was the desideratum, the designs being
-slight and giving full play to the white porcelain ground. It is, in
-fact, far closer in style to the delicately painted Japanese Hirado
-porcelain than to the familiar Chinese blue and white of the K’ang Hsi
-period.
-
-Plate 60 illustrates a little flask-shaped vase in the Franks
-Collection, which purports to be a specimen of Hsüan Tê blue and white
-porcelain. It has a thick, “mutton fat” glaze of faint greenish tinge,
-and is decorated with a freely drawn peach bough in underglaze blue
-which has not developed uniformly in the firing. The colour in places
-is deep, soft and brilliant, but elsewhere it has assumed too dark a
-hue.[39] Its certificate is engraved in Chinese fashion on the box
-into which it has been carefully fitted--_hsüan tz’ŭ pao yüeh p’ing_,
-“precious moon vase of Hsüan porcelain”--attested by the signature
-Tzŭ-ching, the studio name of none other than Hsiang Yüan-p’ien, whose
-Album has been so often quoted. Without attaching too much weight to
-this inscription, which is a matter easily arranged by the Chinese,
-there is nothing in the appearance of this quite unpretentious little
-vase which is inconsistent with an early Ming origin.
-
-On the same plate is a brush rest in form of a log raft, on which is a
-seated figure, probably the celebrated Chang-Ch’ien, floating down the
-Yellow River. The design recalls a rare silver cup of the Yüan dynasty,
-which was illustrated in the _Burlington Magazine_ (December,
-1912). Here the material is porcelain biscuit with details glazed and
-touched with blue, and the _nien hao_ of Hsüan Tê is visible on
-the upper part of the log beside two lines of poetry. Whether this
-brush rest really belongs to the period indicated or not, it is a rare
-and interesting specimen. Two other possible examples of Hsüan Tê blue
-and white are described on p. 32.
-
-  [Illustration: PLATE 62
-
-  Barrel shaped Garden Seat: porcelain with coloured glazes on the
-  biscuit, the designs outlined in slender fillets of clay. A lotus
-  scroll between an upper band of clouds and a lower band of horses
-  in flying gallop and sea waves. Lion mask handles. About 1500
-  A.D.
-
-  Height 14¼ inches. _British Museum._]
-
-As to the other types of Hsüan ware named in the _Po wu yao lan_,
-with one exception I can find no exact counterpart of them in existing
-specimens, though parts of the descriptions are illustrated by examples
-of apparently later date. Thus the form of the white tea cups, “with
-rounded body, convex base, and thread-like foot,” is seen in such bowls
-as Fig. 1 of Plate 74, which is proved by its mount to be not later
-than the sixteenth century. Other examples of these bowls will be
-discussed later. They are characterised by a convexity in the centre
-which cannot be shown in reproductions.
-
-The secret decoration (_an hua_) consists of designs faintly traced
-usually with a sharp-pointed instrument in the body and under the
-glaze. There is an excellent example of this in a high-footed cup in
-the Franks Collection which has the Hsüan Tê mark, the usual faintly
-greenish glaze, beneath which is a delicately etched lotus scroll
-so fine that it might easily be overlooked and is quite impossible
-to reproduce by photographic methods. It is, no doubt, an early
-eighteenth-century copy of Hsüan ware.
-
-The one exception mentioned above is the type represented by the
-“barrel-shaped seats.” The description of these leaves no room for
-doubt that they belonged to a fairly familiar class of Ming ware, whose
-strength and solidity has preserved it in considerable quantity where
-the more delicate porcelains have disappeared. Plate 62 gives a good
-idea of the Ming barrel-shaped garden seat, “with solid ground filled
-in with colours in engraved floral designs.” The other kind, “with
-openwork ground, the designs filled in with colours (_wu ts’ai_),
-gorgeous as cloud brocades,” must have been in the style of Plate 61.
-These styles of decoration are more familiar to us on potiche-shaped
-wine jars and high-shouldered vases than on garden seats, but the type
-is one and the same. Quite a series of these vessels was exhibited at
-the Burlington Fine Arts Club in 1910, and they are fully described
-in the catalogue. Some had an outer casing in openwork; others had
-the designs outlined in raised threads of clay, which contained the
-colours like the ribbons of cloisonné enamel[40]; in others, again,
-the patterns were incised with a point. The common feature of all of
-them was that the details of the pattern were defined by some emphatic
-method of outlining which served at the same time to limit the flow
-of the colours. The colours themselves consist of glazes containing a
-considerable proportion of lead, and tinted in the usual fashion with
-metallic oxides. They include a deep violet blue (sometimes varying to
-black or brown), leaf green, turquoise, yellow,[41] and a colourless
-glaze or a white slip which served as white colour, though at times the
-white was represented merely by leaving the unglazed body or biscuit to
-appear. These coloured glazes differ from the on-glaze painted enamels
-in that they are applied direct to the body of the ware, and are fired
-at a relatively high temperature in the cooler parts of the great
-kiln, a circumstance expressed by the French in the concise phrase,
-_couleurs de demi-grand feu_.[42]
-
-The central ornament consisted chiefly of figures of sages or deities
-in rocky landscape, or seated under pine trees amid clouds, dragons in
-clouds, or beautiful lotus designs; and these were contained by various
-borders, such as floral scrolls, gadroons, _ju-i_ head patterns,
-fungus scrolls, and symbols hanging in jewelled pendants. As a rule,
-the larger areas of these vases are invested with a ground colour and
-the design filled in with contrasting tints. Sometimes the scheme of
-decoration includes several bands of ornament, and in this case--as
-on Plate 62--more than one ground colour is used. The _Po wu yao lan_
-speaks of green (_ch’ing_) and dark blue (_lan_) grounds, and existing
-specimens indicate that the dark violet blue was the commonest ground
-colour. Next to this, turquoise blue is the most frequently seen; but
-besides these there is a dark variety of the violet which is almost
-black, and another which is dark brown, both of which colours are based
-on cobaltiferous oxide of manganese. It has already been observed that
-this type of decoration was frequently used on a pottery body as well
-as on porcelain.
-
-The question of the antiquity of the above method of polychrome
-decoration is complicated by the contradictory accounts which Dr.
-Bushell has given of a very celebrated example, the statuette of
-the goddess Kuan-yin in the temple named Pao kuo ssŭ at Peking.
-The following reference to this image occurs in the _T’ung ya_,
-published in the reign of Ch’ung Chêng (1625–1643): “The Chün Chou
-transmutation wares (_yao pien_) are not uncommon to-day. The Kuan-yin
-in the Pao kuo ssŭ is a _yao pien_.” Dr. Bushell, who visited the
-temple several times, gives a minute description of the image, which
-contains the following passage[43]: “The figure is loosely wrapped in
-flowing drapery of purest and bluest turquoise tint, with the wide
-sleeves of the robe bordered with black and turned back in front to
-show the yellow lining; the upper part of the cloak is extended up
-behind over the head in the form of a plaited hood, which is also
-lined with canary yellow.” To the ordinary reader, such a description
-would be conclusive. A fine example of Ming porcelain, he would say,
-decorated with the typical coloured glazes on the biscuit. Bushell’s
-comment, however, is that the “colours are of the same type as those
-of the finest flower pots and saucers of the Chün Chou porcelain of
-the Sung dynasty.” It should be said that the temple bonzes insist
-that they can trace the origin of the image back to the thirteenth
-century. If these are indeed the typical Chün Chou glazes, then all
-our previous information on that factory, including Bushell’s own
-contributions, is worthless. In another work,[44] however, the same
-writer states that it (the image in question) is “really enamelled in
-'five colours’--turquoise, yellow, crimson, red brown and black.” This
-is precisely what we should have expected, and it can only be imagined
-that Bushell in the other passage was influenced by the statement in
-the _T’ung ya_ that it was a furnace transmutation piece, a statement
-probably based on the superstition that it was a miraculous likeness
-of the goddess, who herself descended into the kiln and moulded its
-features. As to the other temple tradition, that it was made in the
-thirteenth century, it is not necessary to take that any more seriously
-than the myth concerning its miraculous origin, which derives from the
-same source.
-
-It is hardly necessary to state that all the existing specimens of this
-class (and they are fairly numerous) do not belong to the Hsüan Tê
-period. Indeed, it is unlikely that more than a very small percentage
-of them were made in this short reign. Whether the style survived the
-Ming dynasty is an open question; but it is safe to assume that it was
-largely used in the sixteenth century.
-
-The discussion of this group of polychrome porcelain leads naturally
-to the vexed question of the introduction of enamel painting over the
-glaze. By the latter I mean the painting of designs on the finished
-white glaze in vitrifiable enamels, which were subsequently fixed in
-the gentle heat of the muffle kiln (_lu_)--_couleurs de petit feu_, as
-the French have named them. No help can be got from the phraseology of
-the Chinese, for they use _wu ts’ai_ or _wu sê_ (lit. five colours)
-indifferently for all kinds of polychrome decoration, regardless of
-the number of colours involved or the mode of application. There is,
-however, no room for doubt that the delicate enamel painting, for which
-the reign of Ch’êng Hua (1465–1487) was celebrated, was executed with
-the brush over the fired glaze. It is inconceivable that the small,
-eggshell wine cups with peony flowers and a hen and chicken “instinct
-with life and movement” could have been limned by any other method.
-If this is the case, then what could the Chinese writers mean when
-they contrasted the _wu ts’ai_ ornament of the Hsüan Tê and Ch’êng
-Hua periods, but that the same process of painting was in use in both
-reigns? The Ch’êng Hua colours were more artistic because they were
-thin and delicately graded, while the Hsüan Tê _wu ts’ai_ were too
-thickly applied.[45] For this reason, if for no other, we may rightly
-infer that painting in on-glaze enamels was practised in the Hsüan Tê
-period, if, indeed, it had not been long in use.[46]
-
-There is another and an intermediate method of polychrome decoration
-in which the low-fired enamels (_de petit feu_) are applied direct to
-the biscuit, as in the case of the _demi-grand feu_ colours, but with
-the difference that they are fixed in the muffle kiln. This method was
-much employed on the late Ming and early Ch’ing porcelains, and it will
-be discussed later; but it is mentioned here because there are several
-apparent examples of it in Hsiang’s Album, one[47] of which is dated
-Hsüan Tê. The example in question is a model of the celebrated Nanking
-pagoda, and it is described as _wu ts’ai_, the structure being white,
-the roofs green, the rails red, and the doors yellow, while the date
-is painted in blue. I have hesitated to assume that this is intended
-to represent an on-glaze painted piece, though there is much in the
-description to indicate such a conclusion; but it is certainly either
-this or a member of the class under discussion, viz. decorated in
-enamels of the muffle kiln applied to the biscuit.[48] In either case
-it proves the knowledge of vitrifiable enamels at this period to all
-who accept the evidence of Hsiang’s Album.
-
-Examples of Hsüan Tê polychrome porcelain enumerated in the _T’ao
-shuo_ included wine pots in the form of peaches, pomegranates,
-double gourds, a pair of mandarin ducks and geese; washing dishes (for
-brushes) of “gong-shaped outline,” with moulded fish and water-weeds,
-with sunflowers and with lizards; and lamp brackets, “rain-lamps,”
-vessels for holding bird’s food, and cricket[49] pots (see vol. i, p.
-188).
-
-Specimens of on-glaze painted porcelain with the Hsüan Tê mark are
-common enough, but I have not yet seen one which could be accepted
-without reserve. Perhaps the nearest to the period is a specimen in the
-Franks Collection, a box made of the lower part of a square vase which
-had been broken and cut down. It was fitted with a finely designed
-bronze cover in Japan, and it is strongly painted in underglaze blue
-and the usual green, yellow, red and purple on-glaze enamels. The mark
-is in a fine dark blue, and the porcelain has all the character of a
-Ming specimen.
-
-There is, in the same collection, a dish of a different type, but
-with the Hsüan Tê mark in Mohammedan blue and other evidences of Ming
-origin. The glaze is of a faintly greenish white and of considerable
-thickness and lustre, and the design consists of lotus scrolls in gold.
-Painting in gold in the Hsüan Tê period is mentioned in the _T’ao
-shuo_[50] in connection with the pots for holding the fighting
-crickets alluded to above.
-
-
-
-
-                              CHAPTER III
-
-           CH’ÊNG HUA [chch 2] (1465–1487) AND OTHER REIGNS
-
-
-The Ch’êng Hua porcelain shares with that of the Hsüan Tê period the
-honours of the Ming dynasty, and Chinese writers are divided on the
-relative merits of the two. Unfortunately, no material remains on
-which we might base a verdict of our own, but we may safely accept the
-summing up which the _Po wu yao lan_, the premier authority on early
-Ming wares, gives as follows[51]: “In my opinion, the blue and white
-porcelain of the Ch’êng Hua period does not equal that of the Hsüan Tê,
-while the polychrome of the Hsüan period does not equal that of the
-'model[52] emperor’s’ reign. The reason is that the blue of the Hsüan
-ware was _su-ni-p’o_[53] blue, whereas afterward it was all exhausted,
-and in the Ch’êng Hua period only the ordinary blue was used. On
-the other hand, the polychrome (_wu ts’ai_) decoration on the Hsüan
-ware was deep and thick, heaped and piled, and consequently not very
-beautiful; while on the polychrome wares of the Ch’êng Hua period the
-colours used were thin and subdued,[54] and gave the impression of a
-picture.”[55] Elsewhere we read that the Hsüan Tê porcelain was thick,
-the Ch’êng Hua thin, and that the blue of the Hsüan blue and white was
-pale, that of the Ch’êng Hua dark; but on this latter point there are
-many differences of opinion, and among the wares made at the Imperial
-factory in the Yung Chêng period we are told that there were “copies
-of Ch’êng Hua porcelain with designs pencilled in pale blue (_tan
-ch’ing_).”[56]
-
-The only types of Ch’êng Hua porcelain considered worthy of mention
-by Chinese writers are the polychrome, the blue and white, and the
-red monochrome, though doubtless the other methods of previous reigns
-were still used. Stress is laid on the excellence of the designs which
-were supplied by artists in the palace,[57] and on the fine quality of
-the colours used, and an interesting list of patterns is given in the
-_T’ao shuo_,[58] which includes the following:
-
-1. Stem-cups (_pa pei_), with high foot, flattened bowl, and spreading
-mouth; decorated in colours with a grape-vine pattern.
-
-“Among the highest class of Ch’êng Hua porcelain these are unsurpassed,
-and in workmanship they far excel the Hsüan Tê cups.” Such is the
-verdict of the _Po wu yao lan_, but they are only known to us by later
-imitations.
-
-A poor illustration of one of these is given in Hsiang’s Album,[59]
-and we are told in the accompanying text that the glaze is _fên pai_,
-“white like rice powder,” while the decoration, a band of oblique vine
-clusters and tendrils, is merely described as _wu ts’ai_ (polychrome),
-but it is obviously too slight to be executed by any other method than
-painting with enamels on the glaze. The price paid for this cup is
-stated as one hundred taels (or ounces) of silver.
-
-2. Chicken cups (_chi kang_), shaped like the flat-bottomed,
-steep-sided, and wide-mouthed fish bowls (_kang_), and painted in
-colours with a hen and chickens beneath a flowering plant.
-
-A valuable commentary on Ch’êng Hua porcelains is given by a late
-seventeenth-century writer in notes appended to various odes (e.g.
-on a “chicken cup” and on a Chün Chou vase). The writer is Kao
-Tan-jên, who also called himself Kao Chiang-ts’un, the name appended
-to a long dissertation on a Yüan dynasty silver wine cup, which now
-belongs to Sir Robert Biddulph and was figured in the _Burlington
-Magazine_.[60] “Ch’êng Hua wine cups,” he tells us, “include a great
-variety of sorts. All are of clever workmanship and decoration, and are
-delicately coloured in dark and light shades. The porcelain is lustrous
-and clear, but strong. The chicken cups are painted with a _mu
-tan_ peony, and below it a hen and chicken, which seem to live and
-move.” Another writer[61] of the same period states that he frequented
-the fair at the _Tz’ŭ-iên_ temple in the capital, where porcelain
-bowls were exhibited, and rich men came to buy. For Wan Li porcelain
-the usual price was a few taels of silver; for Hsüan Tê and Ch’êng Hua
-marked specimens two to five times that amount; but “chicken cups”
-could not be bought for less than a hundred taels, and yet those who
-had the means did not hesitate to buy, and porcelain realised higher
-prices than jade.
-
-An illustration in Hsiang’s Album[62] gives a poor idea of one of
-these porcelain gems, which is described as having the sides thin as
-a cicada’s wing, and so translucent that the fingernail could be seen
-through them. The design, a hen and chicken beside a cock’s-comb plant
-growing near a rock, is said to have been in the style of a celebrated
-Sung artist. The painting is in “applied colours (_fu sê_), thick and
-thin,” and apparently yellow, green, aubergine and brown. Like that of
-the grape-vine cup, it is evidently in enamels on the glaze.
-
-3. Ruby red bowls (_pao shao wan_)[63] and cinnabar red dishes (_chu
-sha p’an_). These were, no doubt, the same as the “precious stone red
-(_pao shih hung_) and cinnabar bowls red as the sun,” described in the
-chapter on Hsüan Tê porcelain. Kao Chiang-ts’un remarks on these that
-“among the Ch’êng wares are chicken cups, ruby red bowls, and cinnabar
-dishes, very cleverly made, and fine, and more costly than Sung
-porcelain.”
-
-4. Wine cups with figure subjects and lotuses.
-
-5. “Blue and white” (_ch’ing hua_) wine cups, thin as paper.
-
-6. Small cups with plants and insects (_ts’ao ch’ung_).[64]
-
-7. Shallow cups with the five sacrificial altar vessels (_wu kung
-yang_).
-
-8. Small plates for chopsticks, painted in colours.
-
-9. Incense boxes.
-
-10. All manner of small jars.
-
-All these varieties are mentioned in the _Po wu yao lan_, which
-gives the place of honour to the grape-vine stem-cups. The only kind
-specifically described as blue and white is No. 5, and the inference is
-that the other types were usually polychrome.
-
-  [Illustration: Plate 63.--Baluster Vase
-
-  With designs in raised outline, filled in with coloured glazes on
-  the biscuit; dark violet blue background. About 1500. Height 14¾
-  inches.
-
-  _Grandidier Collection_ (_Louvre_).]
-
-  [Illustration: Plate 64.--Fifteenth-century Polychrome Porcelain.
-
-  Fig. 1.--Vase with grey crackle and peony scrolls in blue
-  and enamels. Ch’èng Hua mark. Height 16¼ inches. _British
-  Museum._
-
-  Fig. 2.--Vase with turquoise ground and bands of floral pattern
-  and winged dragons incised in outline and coloured green, yellow
-  and aubergine. Height 22 inches. _S. E. Kennedy Collection._
-
-  Fig. 3.--Box with bands of _ju-i_ clouds and pierced floral
-  scrolls; turquoise and yellow glazes in dark blue ground.
-  Diameter 10 inches. _Grandidier Collection._]
-
-  [Illustration: Plate 65.--Ming _san ts’ai_ Porcelain.
-
-  Fig. 1.--Vase with winged dragons, _san ts’ai_ glazes on the
-  biscuit, dark blue ground. Dedicatory inscription on the neck,
-  including the words “Ming dynasty.” Cloisonné handles. Height 22¼
-  inches. _S. E. Kennedy Collection._
-
-  Fig. 2.--Figure of Kuan-yin, turquoise, green and aubergine
-  glazes, dark blue rockwork. Fifteenth century. Height 28 inches.
-  _Grandidier Collection._
-
-  Fig. 3.--Vase with lotus scrolls, transparent glazes in
-  three colours. Late Ming. Height 20 inches. _Grandidier
-  Collection._]
-
-The following designs are enumerated and explained by Kao Chiang-ts’un
-in the valuable commentary which has already been mentioned:--
-
-11. Wine cups with the design known as “the high-flaming candle
-lighting up red beauty,” explained as a beautiful damsel holding a
-candle to light up _hai-t’ang_ (cherry apple) blossoms.
-
-12. Brocade heap pattern[65]; explained as “sprays of flowers and fruit
-massed (_tui_) on all sides.”[66]
-
-13. Cups with swings, with dragon boats, with famous scholars and with
-children.
-
-The swings, we are told, represent men and women[67] playing with
-swings (_ch’iu ch’ien_): the dragon boats represent the dragon boat
-races[68]; the famous scholar (_kao shih_) cups have on one side Chou
-Mao-shu, lover of the lotus, and on the other T’ao Yüan-ming sitting
-before a chrysanthemum plant; the children (_wa wa_) consist of five
-small children playing together.[69]
-
-14. Cups with grape-vines on a trellis, fragrant plants, fish and
-weeds, gourds, aubergine fruit, the Eight Buddhist Emblems (_pa chi
-hsiang_), _yu po lo_ flowers, and Indian lotus (_hsi fan lien_) designs.
-
-None of these need explanation except the Buddhist Emblems, which are
-described on p. 298, and the _yu po lo_, which is generally explained
-as a transcription of the Sanskrit _utpala_, “the dark blue lotus.”
-
-Though the reader will probably not have the opportunity of identifying
-these designs on Ch’êng Hua porcelain, they will help him in the
-description of later wares on which these same motives not infrequently
-occur. The nine illustrations[70] of Ch’êng Hua porcelain in Hsiang’s
-Album, for the most part feebly drawn and badly coloured, form an
-absurd commentary on the glowing descriptions in the text. Their chief
-interest lies in their bearing on the question of polychrome painting.
-In some cases the designs have all the appearance of on-glaze enamels;
-in others they suggest transparent glazes or enamels on the biscuit.
-The colours used are green, yellow and aubergine brown, the _san ts’ai_
-or “three colours,” notwithstanding which the decoration is classed
-under the general term _wu ts’ai_ (lit. five colours), or polychrome.
-The phrases used to describe the colouring include _wu ts’ai_, _fu sê_,
-_t’ien yu_, of which _fu sê_[71] means “applied colours,” which might
-equally suggest on-glaze enamels or on-biscuit colours, and _t’ien
-yu_[72] decidedly suggests on-biscuit colouring. On the other hand, in
-one case[73] we are expressly told that the “colour of the glaze is
-lustrous white and the painting _upon it_[74] consists of geese, etc.,”
-an unequivocal description of on-glaze painting.
-
-Though the Ch’êng Hua mark is one of the commonest on Chinese
-porcelain, genuine examples of Ch’êng Hua porcelain are virtually
-unknown in Western collections. The Imperial wares of the period were
-rare and highly valued in China in the sixteenth century, and we can
-hardly hope to obtain them in Europe to-day; but there must be many
-survivors from the wares produced by the private kilns at the time,
-and possibly some few examples are awaiting identification in our
-collections. Unfortunately, the promiscuous use of the mark on later
-wares, the confused accounts of the blue in the “blue and white,”
-and the conflicting theories on the polychrome decoration, have all
-helped to render identifications difficult to make and easy to dispute.
-The covered cake box in the Bushell collection, figured by Cosmo
-Monkhouse[75] as a Ch’êng Hua specimen, is closely paralleled in make
-and style of decoration by a beaker-shaped brush pot in the Franks
-Collection.[76] Both are delicately pencilled in pale blue; both have a
-peculiar brown staining in parts of the glaze and a slight warp in the
-foot rim. In the British Museum piece, however, the foot rim is grooved
-at the sides to fit a wooden stand, a feature which was not usual
-before the K’ang Hsi period, and something in the style of the drawing
-is rather suggestive of Japanese work. There is, however, another
-specimen in the Franks Collection[77] which is certainly Chinese of the
-Ming dynasty, and possibly of the Ch’êng Hua period, of which it bears
-the mark. It is a vase of baluster form, thick and strongly built, with
-great weight of clay at the foot, and unfortunately, like so many of
-the early polychrome vases which have come from China in recent years,
-it is cut down at the neck. It has a greyish crackled glaze, painted
-with a floral scroll design, outlined in brown black pigment and washed
-in with leaf green, yellow, manganese purple and bluish green enamels,
-which are supplemented by a little underglaze blue, and the mark is in
-four characters in blue in a sunk panel under the base.
-
-Though too clumsy to belong to any of the groups of Imperial wares
-described in the _Po wu yao lan_, this vase is certainly an old
-piece, and possibly the production of one of the private factories of
-the Ch’êng Hua period. In the Eumorfopoulos and Benson Collections[78]
-there are a few examples of these massive-footed vases, most of them
-unfortunately incomplete above, decorated in polychrome glazes with
-engraved or relief-edged designs, but not, as a rule, in on-glaze
-enamels. These are clearly among our earliest examples of polychrome
-porcelain, and we should expect to find here, if anywhere, specimens of
-the coloured porcelain of the fifteenth century. See Plate 64.
-
-Though the fifteenth century was distinguished by two brilliant
-periods, there are considerable gaps in the ceramic annals of the time.
-The reign of the Emperor Chêng T’ung,[79] who succeeded to the throne
-in 1436, was troubled by wars, and in his first year the directorate of
-the Imperial factory was abolished; and, as soldiers had to be levied,
-relief was given by stopping the manufacture of porcelain for the
-palace. In 1449 this emperor was actually taken captive by the Mongols,
-and his brother, who took his place from 1450 to 1456 under the title
-of Ching T’ai,[80] reduced the customary supplies of palace wares in
-1454 by one third. The reign of Ching T’ai is celebrated for cloisonné
-enamel on metal.
-
-In 1457, when Chêng T’ung was released and returned to the throne under
-the title of T’ien Shun[81] (1457–1464), the Imperial factory was
-re-established, and the care of it again entrusted to a palace eunuch.
-There are no records, however, of the wares made in these periods,
-though we may assume that the private factories continued in operation
-even when work at the Imperial pottery was suspended. The directorship
-was again abolished in 1486, and porcelain is not mentioned in
-the official records until the end of the reign of Hung Chih[82]
-(1488–1505).
-
-In Hsiang’s Album[83] we are told that the pale yellow of the Hung Chih
-period was highly prized, and that the polychrome wares vied with those
-of the reign of Ch’êng Hua. Four examples are given: an incense burner,
-a cup moulded in sunflower design, and a spirit jar (all yellow),
-besides a gourd-shaped wine pot with yellow ground and accessories in
-green and brown, apparently coloured glazes or enamels applied to the
-biscuit. The yellow glazes are described as pale yellow (_chiao_[84]
-_huang_), and likened to the colour of steamed chestnuts (_chêng
-li_[85]) or the sunflower (_k’uei hua_[86]).
-
-The yellow colour is of old standing in Chinese ceramics. We have
-found it on T’ang pottery, in the _mi sê_ of the Sung period, in the
-blackish yellow of the Yüan ware made at Hu-t’ien, and in the early
-Ming porcelains. Peroxide of iron or antimony are the usual metallic
-bases of the colour, and it was used either in high-fired glazes or
-in enamels of the muffle stove. The yellow for which the Hung Chih
-period was noted was a yellow glaze, applied direct to the biscuit, or
-added as an overglaze to the ordinary white porcelain. When applied to
-the biscuit it assumes a fuller and browner tint than when backed by
-a white glaze. These yellow glazes often have a slightly mottled or
-stippled look, the colour appearing as minute particles of yellow held
-in suspension in the glaze.
-
-Marked examples, purporting to be Hung Chih yellow, are occasionally
-seen, but the most convincing specimen is a saucer dish in the Victoria
-and Albert Museum, of good quality porcelain, with a soft rich yellow
-glaze and the Hung Chih mark under the base in blue. Part of its
-existence was spent in Persia, where it was inscribed in Arabic with
-the date 1021 A.H., which corresponds to 1611 A.D.
-
-A beautiful seated figure of the goddess Kuan-yin in the Pierpont
-Morgan Collection, not unlike Plate 65, Fig. 2, but smaller, is
-decorated with yellow, green and aubergine glazes on the biscuit, and
-bears a date in the Hung Chih period which corresponds to 1502.
-
-A dish of fine white porcelain with the Hung Chih mark is in the
-British Museum, and examples of the blue and white of the period may
-be seen in the celebrated Trenchard bowls. These last are the earliest
-known arrivals in the way of Chinese porcelain in this country, and
-they were given by Philip of Austria, King of Castile, to Sir Thomas
-Trenchard in 1506. One of them is illustrated in Gulland’s _Chinese
-Porcelain_,[87] with a description written by Mr. Winthrop after a
-personal inspection. The decoration consists of floral scrolls outside
-and a fish medallion surrounded by four fishes inside. The account of
-the colour, however, is not very flattering: “One of the bowls bore
-this decoration very distinctly traced in blackish cobalt, while the
-other bowl had a very washed-out and faded appearance.” The ware itself
-is described as “rather greyish.” Probably these bowls were made for
-the export trade, and need not necessarily be regarded as typical of
-the Hung Chih blue and white.
-
-
-                    _Chêng Tê_ [chch 2] (1506–1521)
-
-The reign of Chêng Tê, though not mentioned in the _Po wu yao lan_
-and but briefly noticed in the _T’ao shuo_, must have been an
-important period in the history of Chinese porcelain. The _yü ch’i
-ch’ang_ (Imperial ware factory) was rebuilt[88] and the direct
-supervision of a palace eunuch renewed. The porcelain, we are told in
-the _T’ao lu_, was chiefly blue painted and polychrome, the finest
-being in the underglaze red known as _chi hung_. An important
-factor in the blue decoration was the arrival of fresh supplies of the
-Mohammedan blue.[89] The story is that the governor of Yunnan obtained
-a supply of this _hui ch’ing_ from a foreign country, and that it
-was used at first melted down with stone for making imitation jewels.
-It was worth twice its weight in gold. When, however, it was found
-that it would endure the heat of the kiln, orders were given for its
-use in porcelain decoration, and its colour was found to be “antique
-and splendid.” Hence the great esteem in which the blue and white of
-the period was held.[90] The merit of this new Mohammedan blue was its
-deep colour, and the choicest kind was known as “Buddha’s head blue”
-(_Fo t’ou ch’ing_). Its use at this period was not confined to the
-Imperial factory, for we read that the workmen stole it and sold it to
-the private manufacturers. In the following reign a method of weighing
-the material was instituted, which put an end to this pilfering.
-
-Some account has already been given[91] of this material and its use in
-combination with the commoner native mineral blue. It was, no doubt,
-the blue used on Persian, Syrian and Egyptian pottery of the period
-exported by the Arab traders. One of the oldest routes[92] followed by
-Western traders with China was by river (probably the Irrawady) from
-the coast of Pegu, reaching Yung-ch’ang, in Yunnan, and so into China
-proper. This will explain the opportunities enjoyed by the viceroy of
-Yunnan. There were, of course, other lines of communication between
-China and Western Asia by sea and land, and a considerable interchange
-of ideas had passed between China and Persia for several centuries, so
-that reflex influences are traceable in the pottery of both countries.
-Painting in still black under a turquoise blue glaze is one of the
-oldest Persian methods of ceramic decoration, and we have seen that it
-was closely paralleled on the Tz’ŭ Chou wares (vol. i, p. 103).
-
-It is related that a thousand Chinese artificers were transplanted
-to Persia by Hulagu Khan (1253–1264), and it is probable that they
-included potters. At any rate, the Chinese dragon and phœnix appear
-on the Persian lustred tiles of the fourteenth century. At a later
-date Shah Abbas (1585–1627) settled some Chinese potters in Ispahan.
-Meanwhile, quantities of Chinese porcelain had been traded in the
-Near East, where it was closely copied by the Persian, Syrian and
-Egyptian potters in the sixteenth century. The Persian pottery and
-soft porcelain of this time so closely imitates the Chinese blue and
-white that in some cases a very minute inspection is required to
-detect the difference, and nothing is commoner than to find Persian
-ware of this type straying into collections of Chinese porcelain.[93]
-Conversely, the Persian taste is strongly reflected in some of the
-Chinese decorations, not only where it is directly studied on the
-wares destined for export to Persia, but in the floral scrolls on the
-Imperial wares of the Ming period. The expressions _hui hui hua_
-(Mohammedan ornament or flowers) and _hui hui wên_ (Mohammedan
-designs) occur in the descriptions of the porcelain forwarded to
-the palace, and there can be little doubt that they refer to floral
-arabesque designs in a broad sense, though it would, of course, be
-possible to narrow the meaning to the medallions of Arabic writing not
-infrequently seen on Chinese porcelain, which was apparently made for
-the use of some of the numerous Mohammedans in China.
-
-An interesting series of this last-mentioned type is exhibited in the
-British Museum along with a number of bronzes similarly ornamented.
-Many of these are of early date, and five of the porcelains bear the
-Chêng Tê mark and unquestionably belong to that period. These comprise
-a pair of vases with spherical tops which are hollow and pierced
-with five holes, in form resembling the peculiar Chinese hat stands;
-the lower part of a cut-down vase, square in form; an ink slab with
-cover, and a brush rest in the form of a conventional range of hills.
-The body in each case is a beautiful white material, though thickly
-constructed, and the glaze, which is thick and of a faint greenish
-tinge, has in three of these five pieces been affected by some accident
-of the firing, which has left its surface dull and shrivelled in places
-like wrinkled skin.[94] The designs are similar throughout--medallions
-with Arabic writing surrounded by formal lotus scrolls or cloud-scroll
-designs, strongly outlined and filled in with thin uneven washes of a
-beautiful soft Mohammedan blue. The glaze being thick and bubbly gives
-the brush strokes a hazy outline, and the blue shows that tendency
-to run in the firing which we are told was a peculiarity of the
-Mohammedan blue if not sufficiently diluted with the native mineral
-cobalt. The inscriptions are mainly pious Moslem texts, but on the
-cover of the ink slab is the appropriate legend, “Strive for excellence
-in penmanship, for it is one of the keys of livelihood,” and on the
-brush rest is the Persian word _Khāma-dān_ (pen rest). In the same
-case are three cylindrical vases, apparently brush pots, decorated in
-the same style but unmarked. One has dark Mohammedan blue and probably
-belongs to the next reign. The other two, I venture to think, are
-earlier. They are both of the same type of ware, a fine white material,
-which takes a brownish red tinge in the exposed parts, and the glaze,
-which is thick and of a soft greenish tint, has a tendency to scale off
-at the edges. The bases are unglazed and show the marks of a circular
-support. The larger piece is remarkably thick in the wall, and has a
-light but vivid blue of the Mohammedan sort; the smaller piece is not
-quite so stoutly proportioned, but the blue is peculiarly soft, deep,
-and beautiful, though it has run badly into the glaze, and where it has
-run it has changed to a dark indigo.[95] One would say that this is
-the Mohammedan blue, almost pure; and if, as I have suggested, these
-two specimens are earlier types, they can only belong to the Hsüan Tê
-period.
-
-Another blue and white example with Chêng Tê mark in the British Museum
-is of thinner make and finer grain; but, as it is a saucer-dish, this
-refinement was only to be expected. It is painted in a fine bold style,
-worthy of the best Ming traditions, with dragons in lotus scrolls, but
-the blue is duller and greyer in tone than on the pieces just described.
-
-Two specimens of Chêng Tê ware are figured in Hsiang’s Album,[96] one
-a tripod libation cup of bronze form and the other a lamp supported
-by a tortoise, and the glaze of both is “deep yellow, like steamed
-chestnuts.”
-
-  [Illustration: Plate 66.--Porcelain with Chêng Tê mark.
-
-  Fig. 1.--Slop Bowl with full-face dragons holding _shou_
-  characters, in underglaze blue in a yellow enamel ground. Height
-  3½ inches. _British Museum._
-
-  Fig. 2.--Vase with engraved cloud designs in transparent
-  coloured glazes on the biscuit, green ground. Height 8⅛ inches.
-  _Charteris Collection._]
-
-  [Illustration: Plate 67.--Blue and White Porcelain. Sixteenth
-  Century.
-
-  Fig. 1.--Bowl with Hsüan Tê mark. Diameter 4 inches. _Dresden
-  Collection._
-
-  Fig. 2.--Covered Bowl with fish design. _Dresden Collection._
-
-  Fig. 3.--Bottle, peasant on an ox. Height 8½ inches.
-  _Eumorfopoulos Collection._
-
-  Fig. 4.--Bottle with lotus scrolls in mottled blue. Height 9
-  inches. _Alexander Collection._]
-
-The Chêng Tê mark is far from common, but it occurs persistently on
-certain types of polychrome porcelain. One is a saucer-dish with carved
-dragon designs under a white glaze, the depressions of the carving
-and a few surrounding details being washed over with light green
-enamel. The design consists of a circular medallion in the centre
-enclosing a dragon among clouds, and two dragons on the outside, the
-space between them faintly etched with sea waves. The ware is usually
-thin and refined. These dishes are not uncommon, and it is difficult
-to imagine that they can all belong to such an early period. On the
-other hand, one also meets with copies of the same design with the
-Ch’ien Lung mark (1736–1795), which display unmistakable difference in
-quality. Another type has the same green dragon design with engraved
-outlines set in a yellow ground, and in most cases its antiquity is
-open to the same doubts. It is certain, however, that these pieces
-represent a style which was in vogue in the Chêng Tê period. A small
-vase of this kind was the only piece with the Chêng Tê mark in the
-exhibition at the Burlington Fine Arts Club in 1910,[97] and it had
-the appearance of a Ming specimen. A good example of this Chêng Tê
-polychrome belonging to the Hon. Evan Charteris is illustrated in Fig.
-2 of Plate 66. It has the designs etched in outline, filled in with
-transparent green, yellow and aubergine glazes, the three colours
-or _san ts’ai_ of the Chinese; and the Chêng Tê mark is seen on the
-neck.[98] And a square bowl in the British Museum, similar in body
-and glaze to the blue and white specimens with Arabic inscriptions,
-is painted in fine blue on the exterior with dragons holding _Shou_
-(longevity) characters in their claws, the background filled in with a
-rich transparent yellow enamel. This piece (Plate 66, Fig. 1) has the
-mark of Chêng Tê in four characters painted in Mohammedan blue, and is
-clearly a genuine specimen.
-
-
-
-
-                              CHAPTER IV
-
-  CHIA CHING [chch 2] (1522–1566) AND LUNG CH’ING [chch 2] (1567–1572)
-
-
-The Imperial potteries at Ching-tê Chên were busy in the long reign
-of Chia Ching, grandson of Ch’êng Hua, under the supervision of one
-of the prefects of the circuit who took charge in place of the palace
-eunuch of previous reigns. Chinese accounts of the porcelain of this
-important period, summarised in the _T’ao shuo_, include passages from
-the late Ming and therefore almost contemporary works, the _Shih wu
-kan chu_ and the _Po wu yao lan_. In the former we are told that the
-Mohammedan blue was largely used, but that the material for the “fresh
-red” (_hsien hung_)[99] was exhausted, and that the method of producing
-the red colour was no longer the same as of old, the potters being
-capable only of making the overglaze iron red called _fan hung_. The
-_Po wu yao lan_ gives a more intimate description of the ware, and the
-passage[100]--the last in that work on the subject of porcelain--may be
-rendered as follows:--
-
-“Chia Ching porcelain includes blue-decorated and polychrome wares of
-every description; but unfortunately the clay brought to the place from
-the neighbouring sources in Jao Chou gradually deteriorated, and when
-we compare these two classes of porcelain with the similar productions
-of the earlier periods of the dynasty the (Chia Ching) wares do not
-equal the latter. There are small white bowls (_ou_) inscribed inside
-with the character _ch’a_ [chch 1] (tea), the character _chiu_ [chch 1]
-(wine), or the characters _tsao t’ang_ [chch 2] (decoction of dates),
-or _chiang t’ang_[101] [chch 2] (decoction of ginger); these are the
-sacrificial altar vessels regularly used by the Emperor Shih Tsung
-(i.e. Chia Ching), and they are called white altar cups, though in form
-and material they are far from equalling the Hsüan Tê vessels. The Chia
-Ching shallow wine cups with rimmed mouth,[102] convex centre,[103]
-and foot with base rim,[104] decorated outside in three colours with
-fish design, and the small vermilion boxes, no bigger than a “cash,”
-are the gems of the period. As for the small boxes beautifully painted
-with blue ornament, I fear that the Imperial factories of after times
-will not be able to produce the like. Those who have them prize them as
-gems.”
-
-A few supplementary comments in the _T’ao shuo_ further inform
-us that the Mohammedan blue of the Chia Ching period was preferred
-very dark (in contrast with the pale blue of the Hsüan Tê porcelain),
-that it was very lovely, and that supplies of this blue arrived
-providentially at the time when the “fresh red” failed[105]; and also
-that the supplies of earth from Ma-ts’ang were daily diminishing till
-they were nearly exhausted, and consequently the material of the ware
-was far from equalling that of the Hsüan Tê period. The _T’ao lu_
-adds practically nothing to the above statements.
-
-Fortunately, there are still to be found a fair number of authentic
-specimens of Chia Ching porcelain, but before considering these in
-the light of the Chinese descriptions, it will be helpful as well
-as extremely interesting to glance at the lists of actual porcelain
-vessels supplied to the palace at this time. From the eighth year of
-this reign, the annual accounts of the palace porcelains have been
-preserved in the Annals of Fou-liang, from which they were copied in
-the provincial topographies. Two of these lists (for the years 1546
-and 1554) are quoted by Bushell,[106] and a general summary of them is
-given in the _T’ao shuo_.[107] To quote them in full here would
-take too much space, but the following notes may be useful to the
-reader, who, with his knowledge of the later porcelains, should have
-no difficulty in reconstructing for himself the general appearance of
-the court wares of the time.
-
-The actual objects[108] supplied consisted chiefly of fish bowls
-(_kang_), covered and uncovered jars (_kuan_), of which some were
-octagonal, bowls (_wan_), dinner bowls (_shan wan_) of larger size,
-saucer dishes (_tieh_) and round dishes (_p’an_), tea cups (_ch’a
-chung_), tea cups (_ou_), wine cups (_chiu chan_), and libation cups
-(_chüeh_) with hill-shaped saucers (_shan p’an_) to support their three
-feet, various vases (_p’ing_), slender ovoid jars for wine (_t’an_),
-ewers or wine pots (_hu p’ing_), and wine seas (_chiu hai_) or large
-bowls. A large number of complete dinner-table sets (_cho ch’i_) occur
-in one of the lists, and we learn from the _T’ao shuo_ that uniform
-sets with the same pattern and colours throughout were an innovation
-of the Ming dynasty. A set[109] comprised 27 pieces, including 5 fruit
-dishes (_kuo tieh_), 5 food dishes (_ts’ai tieh_), 5 bowls (_wan_), 5
-vegetable dishes (_yün tieh_), 3 tea cups (_ch’a chung_), 1 wine cup
-(_chiu chan_), 1 wine saucer (_chiu tieh_), 1 slop receptacle (_cha
-tou_), and 1 vinegar cruse (_ts’u chiu_). The slop receptacle appears
-to have been a square bowl used for the remnants of food (see Plate 66,
-Fig. 1).
-
-The sacrificial vessels of the period included tazza-shaped bowls and
-dishes (_pien tou p’an_), large wine jars (_t’ai tsun_), with swelling
-body and monster masks for handles, “rhinoceros” jars (_hsi tsun_) in
-the form of a rhinoceros carrying a vase on its back, besides various
-dishes, plates, cups, and bowls of undefined form.
-
-The decorations are grouped in six headings:--
-
-(1) Blue and white (_ch’ing hua pai ti_, blue ornament on a white
-ground), which is by far the largest.
-
-(2) Blue ware, which included blue bowls (_ch’ing wan_), sky-blue bowls
-(_t’ien ch’ing wan_), and turquoise bowls (_ts’ui ch’ing wan_). In
-some cases the ware is described as plain blue monochrome, and in one
-item it is “best blue monochrome” (_t’ou ch’ing su_), while in others
-there are designs engraved under the glaze (_an hua_). In others,
-again, ornament such as dragons and sea waves is mentioned without
-specifying how it was executed. Such ornament may have been etched
-with a point in the blue surface,[110] or pencilled in darker blue on
-a blue background or reserved in white in a blue ground. Another kind
-is more fully described as “round dishes of pure blue (_shun ch’ing_)
-with dragons and sea waves inside, and on the exterior a background of
-dense cloud scrolls[111] with a gilt[112] decoration of three lions and
-dragons.” Bushell[113] speaks of the “beautiful mottled blue ground for
-which this reign is also remarkable,” and which, he says, was produced
-by the usual blend of Mohammedan and native blue suspended in water.
-
-(3) Wares which were white inside and blue outside.
-
-(4) White ware, plain[114] or with engraved designs under the glaze
-(_an hua_, lit. secret ornament).
-
-(5) Ware with brown glaze in two varieties, _tzŭ chin_ (golden brown),
-and _chin huang_ (golden yellow), with dragon designs engraved under
-the glaze. These are the well-known lustrous brown glazes, the former
-of dark coffee brown shade, and the latter a light golden brown.
-
-(6) Ware with mixed colours (_tsa sê_), which included bowls and
-dishes decorated in iron red[115] (_fan hung_) instead of the “fresh
-red” (_hsien hung_); others with emerald green colour (_ts’ui lü sê_);
-bowls with phœnixes and flowers of Paradise in yellow in a blue ground;
-cups with blue cloud and dragon designs in a yellow ground; boxes with
-dragon and phœnix designs engraved under a yellow glaze; dishes with
-design of a pair of dragons and clouds in yellow within a golden brown
-(_tzŭ chin_) ground; and globular bowls with embossed[116] ornament in
-a single-coloured ground.
-
-To these types Bushell adds from other similar lists crackled ware
-(_sui ch’i_), tea cups of “greenish white porcelain” (_ch’ing pai
-tz’ŭ_), which seems to be a pale celadon, and large fish bowls with pea
-green (_tou ch’ing_) glaze.
-
-The source of the designs of the porcelain is clearly indicated in
-the following passage in the _T’ao shuo_[117]: “Porcelain enamelled
-in colours was painted in imitation of the fashion of brocaded silks,
-and we have consequently the names of blue ground, yellow ground, and
-brown gold (_tzŭ chin_) ground. The designs used to decorate it were
-also similar, and included dragons in motion (_tsou lung_), clouds
-and phœnixes, _ch’i-lin_, lions, mandarin ducks, myriads of gold
-pieces, dragon medallions (_p’an lung_, lit. coiled dragons), pairs
-of phœnixes, peacocks, sacred storks, the fungus of longevity, the
-large lion in his lair, wild geese in clouds with their double nests,
-large crested waves, phœnixes in the clouds, the son-producing lily,
-the hundred flowers, phœnixes flying through flowers, the band of
-Eight Taoist Immortals, dragons pursuing pearls, lions playing with
-embroidered balls, water weeds, and sporting fishes. These are the
-names of ancient brocades, all of which the potters have reproduced
-more or less accurately in the designs and colouring of their
-porcelain.”
-
-The following analysis of the designs named in the Chia Ching lists
-will show that the blue and white painters of the period took their
-inspiration from the same source:--
-
-
-=Floral Motives.=
-
-Celestial flowers (_t’ien hua_), supporting the characters _shou
-shan fu hai_ [chch 4], “longevity of the hills and happiness
-(inexhaustible as) the sea.”
-
-Flowers of the four seasons (the tree peony for spring, lotus for
-summer, chrysanthemum for autumn, and prunus for winter).
-
-Flowering and other plants (_hua ts’ao_).
-
-The myriad-flowering wistaria (_wan hua t’êng_).
-
-The water chestnut (_ling_).
-
-The pine, bamboo, and plum.
-
-Floral medallions (_t’uan hua_).
-
-Indian lotus (_hsi fan lien_).
-
-Knots of lotus (_chieh tzŭ lien_[118]).
-
-Interlacing sprays of lotus supporting the Eight Precious Symbols or
-the Eight Buddhist Emblems.[119]
-
-Branches of _ling chih_[120] fungus supporting the Eight Precious
-Symbols.
-
-_Ling chih_ fungus and season flowers.
-
-Lotus flowers, fishes, and water weeds.
-
-Floral arabesques (_hui hui hua_).
-
-Flowers of Paradise (_pao hsiang hua_) [chch 3].
-
-The celestial flowers and the flowers of Paradise are no doubt similar
-designs of idealised flowers in scrolls or groups.[121] The _pao
-hsiang hua_, which is given in Giles’s Dictionary as “the rose,” is
-rendered by Bushell “flowers of Paradise” or “fairy flowers.” Judging
-by the designs with this name in Chinese works, and also from the fact
-that the rose is a very rare motive on Chinese wares before the Ch’ing
-dynasty, whereas the _pao hsiang hua_ is one of the commonest in
-the Ming lists, Bushell’s rendering is probably correct in the present
-context.
-
-
-=Animal Motives=, mythical or otherwise.
-
-Dragons, represented as pursuing jewels (_kan chu_); grasping jewels
-(_k’ung chu_); in clouds; emerging from water; in bamboo foliage and
-fungus plants; among water chestnut flowers; among scrolls of Indian
-lotus; emerging from sea waves and holding up the Eight Trigrams (_pa
-kua_); holding up the characters _fu_ [chch] (happiness) or _shou_
-[chch] (longevity), as on Fig. 1 of Plate 66.
-
-Dragons of antique form. These are the lizard-like creatures
-(_ch’ih_) with bifid tail which occur so often in old bronzes and
-jades.
-
-Dragon medallions (_t’uan lung_).
-
-Nine dragons and flowers.
-
-Dragons and phœnixes moving through flowers.
-
-Dragon, and phœnixes with other birds.
-
-Phœnixes flying through flowers.
-
-A pair of phœnixes.
-
-Lions[122] rolling balls of brocade.
-
-Flying lions.
-
-Hoary[123] lions and dragons.
-
-Storks in clouds.
-
-Peacocks (_k’ung ch’iao_) and _mu-tan_ peonies.
-
-Birds flying in clouds.
-
-Fish and water weeds.
-
-Four fishes.[124]
-
-
-=Human Motives.=
-
-Children (_wa wa_) playing.
-
-Three divine beings (_hsien_) compounding the elixir of
-Immortality.
-
-Two or four Immortals.
-
-The Eight Immortals (_pa hsien_) crossing the sea; or paying court
-to the god of Longevity (_p’êng shou_), or congratulating him
-(_ch’ing shou_).
-
-A group of divine beings (_hsien_) paying court to the god of
-Longevity.
-
-Two designs of doubtful meaning may be added here:
-
-(1) “Jars decorated with _chiang hsia pa chün_,”[125] a phrase
-which means “the eight elegant (scholars) of Chiang-hsia (i.e. below
-the river),” but has been translated by Bushell, using a variant
-reading,[126] as “the eight horses of Mu Wang.” The latter rendering
-ignores the presence of _chiang hsia_, and the former, though
-a correct reading of the original, is not explained in any work of
-reference to which I have had access.
-
-(2) “Bowls with _man ti ch’iao_,” lit. “graceful (designs) filling
-the ground.” The meaning of _ch’iao_ is the difficulty, and
-Bushell in one translation[127] has rendered it “graceful sprays of
-flowers,” which sorts well with rest of the phrase, but in another[128]
-he has assumed that it means “graceful beauties” in reference to the
-well-known design of tall, slender girls, which the Dutch collectors
-named _lange lijsen_ (see Plate 92, Fig. 2). The latter rendering,
-however, goes badly with _man ti_, “filling the ground,” which is
-certainly more applicable to some close design, such as floral scroll
-work. This is, however, a good example of the difficulty of translating
-the Chinese texts, where so much is left to the imagination, and
-consequently there is so much room for differences of opinion.
-
-  [Illustration: Plate 68.--Blue and White Porcelain. Sixteenth
-  Century.
-
-  Fig. 1.--Perfume Vase, lions and balls of brocade. Height 8¾
-  inches. _V. & A. Museum._
-
-  Fig. 2. Double Gourd Vase, square in the lower part. Eight
-  Immortals paying court to the God of Longevity, panels of
-  children (_wa wa_). Height 21 inches. _Eumorfopoulos
-  Collection._
-
-  Fig. 3.--Bottle with medallions of _ch’i-lin_ and incised
-  fret pattern between. Late Ming. Height 9 inches. _Halsey
-  Collection._]
-
-  [Illustration: Plate 69.--Sixteenth Century Porcelain.
-
-  Fig. 1.--Bowl of blue and white porcelain with silver gilt mount
-  of Elizabethan period. Height 3¾ inches. _British Museum._
-
-  Fig. 2.--Covered Jar, painted in dark underglaze blue with red,
-  green and yellow enamels; fishes and water plants. Chia Ching
-  mark. Height 17 inches. _S. E. Kennedy Collection._]
-
-  [Illustration: Plate 70.--Porcelain with Chia Ching mark.
-
-  Fig. 1.--Box with incised Imperial dragons and lotus scrolls;
-  turquoise and dark violet glazes on the biscuit. Diameter 9½
-  inches. _V. & A. Museum._
-
-  Fig. 2.--Vase with Imperial dragons in clouds, painted in yellow
-  in an iron red ground. Height 8½ inches. _Cologne Museum._]
-
-  [Illustration: Plate 71.--Sixteenth Century Porcelain.
-
-  Figs. 1 and 2.--Two Ewers in the Dresden Collection, with
-  transparent green, aubergine and turquoise glazes on the biscuit,
-  traces of gilding. In form of a phœnix (height 11 inches), and of
-  a crayfish (height 8¼ inches).
-
-  Fig. 3.--Bowl with flight of storks in a lotus scroll, enamels on
-  the biscuit, green, aubergine and white in a yellow ground. Chia
-  Ching mark. Diameter 7 inches. _Alexander Collection._]
-
-
-=Emblematic Motives.=
-
-Heaven and Earth, and the six cardinal points (_ch’ien k’un liu
-ho_[129]), or “emblems of the six cardinal points of the Universe.”
-
-_Ch’ien_ and _k’un_ are the male and female principles which are
-represented by Heaven and Earth, and together make up the Universe. The
-identification of these emblems is obscure. They might simply be the
-Eight Trigrams (_pa kua_), which are explained next, for two of these
-are known as _ch’ien_ and _k’un_, and together with the remaining six
-they are arranged so as to make up eight points of the compass. But in
-that case, why not simply say _pa kua_ as elsewhere?
-
-On the other hand, we know that certain emblems were used in the Chou
-dynasty[130] in the worship of the six points of the Universe, viz. a
-round tablet with pierced centre (_pi_) of bluish jade for Heaven; a
-yellow jade tube with square exterior (_ts’ung_) for Earth; a green
-tablet (_kuei_), oblong with pointed top, for the East; a red tablet
-(_chang_), oblong and knife-shaped, for the South; a white tablet, in
-the shape of a tiger (_hu_), for the West; and a black jade piece of
-flat semicircular form (_huang_) for the North. All these objects are
-illustrated in Laufer’s _Jade_, but as they have not, to my knowledge,
-appeared together in porcelain decoration, the question must for the
-present be left open.
-
-       *       *       *       *       *
-
-The _pa-kua_ [chch 2] or Eight Trigrams, supported by dragons or by
-waves and flames.
-
-These are eight combinations of triple lines. In the first the lines
-are unbroken, and in the last they are all divided at the centre, the
-intermediate figures consisting of different permutations of broken and
-unbroken lines (see p. 290). These eight diagrams, by which certain
-Chinese philosophers explained all the phenomena of Nature, are
-supposed to have been constructed by the legendary Emperor Fu Hsi (B.C.
-2852) from a plan revealed to him on the back of the “dragon horse”
-(_lung ma_) which rose from the Yellow River.[131] Among other things,
-they are used to designate the points of the compass, one arrangement
-making the first figure represent the South (also designated
-_ch’ien_[chch] or Heaven), and the last figure the North (also
-designated _k’un_[chch] or Earth), the remaining figures representing
-South-West, West, North-West, North-East, East, and South-East.
-
-       *       *       *       *       *
-
-The _pa pao_ [chch 2], or Eight Precious Symbols, supported by fungus
-sprays.
-
-These are usually represented by (1) a sphere or jewel, which seems
-to have originally been the sun disc; (2) a circle enclosing a
-square, which suggests the copper coin called a “cash”; (3) an open
-lozenge, symbol of victory or success; (4) a musical stone (_ch’ing_);
-(5) a pair of books; (6) a pair of rhinoceros horns (cups); (7) a
-lozenge-shaped picture (_hua_); (8) a leaf of the artemisia, a plant of
-good omen, which dispels sickness. (See p. 299.)
-
-       *       *       *       *       *
-
-The _pa chi hsiang_ [chch 3], or Eight Buddhist Symbols, supported on
-lotus scrolls.
-
-These symbols, which appeared among the auspicious signs on the foot
-of Buddha, comprise (1) the wheel (_chakra_), which is sometimes
-replaced by the hanging bell; (2) the shell trumpet of Victory; (3)
-the umbrella of state; (4) the canopy; (5) the lotus flower; (6) the
-vase; (7) the pair of fish, emblems of fertility; (8) the angular knot
-(representing the entrails), symbol of longevity. (See p. 298.)
-
-The hundred forms of the character _shou_ (longevity)--_pai shou
-tz’ŭ_.
-
-       *       *       *       *       *
-
-_Ju-i_ sceptres and phœnix medallions.
-
-The _ju-i_ [chch 2] (“as you wish”) sceptre brings fulfilment of
-wishes, and is a symbol of longevity (see vol. i., p. 227). The head of
-the _ju-i_, which has a strong resemblance to the conventional form of
-the _ling chih_ fungus, is often used in borders and formal patterns
-variously described as “_ju-i_ head patterns,” “cloud-scroll patterns,”
-or “_ju-i_ cloud patterns.”
-
-Close ground patterns of propitious clouds (_yung hsiang yün ti_).
-
-Cloud designs are propitious because they symbolise the fertilising
-rain, and they are commonly represented by conventional scrolls as well
-as by the more obvious cloud patterns.
-
-       *       *       *       *       *
-
-Crested sea waves (_chiang ya hai shui_).
-
-_Chiang ya_ [chch 2] (lit. ginger shoots) is rendered by Bushell
-“crested waves,” the metaphor being apparently suggested by the curling
-tops of the young plant.
-
-Cups decorated[132] with the characters _fu shou k’ang ning_ [chch 4]
-(happiness, long life, peace, and tranquillity).
-
-A blue and white vase with these characters in medallions framed by
-cloud scrolls on the shoulders is shown on Plate 68.
-
-
-=Miscellaneous Motives.=
-
-The waterfalls of Pa Shan [chch 2] in the province of Szechuan.
-
-Gold weighing-scales (_ch’êng chin_ [chch 2]).
-
-A design named _san yang k’ai t’ai_ [chch 4], a phrase alluding to the
-“revivifying power of spring,” and said by Bushell to be symbolised by
-three rams. Cf. Fig. 2 of Plate 122.
-
-The mark of the Chia Ching period, though not so freely used as
-those of Hsüan Tê and Ch’êng Hua, has been a favourite with Japanese
-copyists, whose imitations have often proved dangerously clever. Still,
-there are enough genuine specimens in public and private collections in
-England to provide a fair representation of the ware. In studying these
-the blue and white will be found to vary widely, both in body material
-and in the colour of the blue, according to the quality of the objects.
-
-Plate 77 illustrates a remarkably good example of the dark but vivid
-Mohammedan blue on a pure white ware of fine close grain with clear
-glaze. The design, which consists of scenes from the life of a sage,
-perhaps Confucius himself, is painted in typical Ming style, and
-bordered by _ju-i_ cloud scrolls and formal brocade patterns. The Chia
-Ching blue is often darker[133] and heavier than here, resembling thick
-patches of violet ink, to use Mr. Perzynski’s phrase. This powerful
-blue is well shown in the large vase given by Mr. A. Burman to the
-Victoria and Albert Museum (Plate 72), and by a fine ewer in Case 22 in
-the same gallery. The latter has an accidentally crackled glaze on the
-body with brownish tint, due, no doubt, to staining.
-
-On the other hand, a large double-gourd vase in the British Museum,
-heavily made (probably for export), is painted with the eighteen
-Arhats, or Buddhist apostles, in a dull greyish blue, which would
-certainly have been assigned to the Wan Li period were it not for the
-Chia Ching mark. This is, no doubt, the native cobalt without any
-admixture of Mohammedan blue.
-
-The body material in these specimens varies scarcely less than the
-blue. In the colour stand on Plate 77 the ware is a pure clean white,
-both in body and glaze. On other specimens--particularly the large,
-heavily built jars and vases made for export to India and Persia--the
-ware is of coarser grain, and the glaze of grey or greenish tone. The
-tendency of the Ming biscuit to assume a reddish tinge where exposed
-to the fire is exaggerated on some of these large jars, so that the
-exposed parts at the base and foot rim are sometimes a dark reddish
-brown. Doubtless the clay from different mines varied considerably,
-and the less pure materials would be used on these relatively coarse
-productions. On the other hand, the better class of dish and bowl made
-for service at the table is usually of clean white ware, potted thin
-and neatly finished, and differing but little in refinement from the
-choice porcelains of the eighteenth century. Such are the dragon dish
-described on p. 32 and the polychrome saucers which will be mentioned
-presently.
-
-The export trade with Western Asia and Egypt, both by sea and land,
-must have been of considerable dimensions in the middle of the
-sixteenth century. Broken pieces of Chinese blue and white are found
-on all the excavated sites in the Near East, and the influence of the
-Chinese porcelain is clearly seen in the blue, or blue and brown,
-painted faience made in Persia, Syria, and Egypt in the sixteenth
-century. The reflex influence of Persia on the Chinese wares has
-already been noted, and it is clear that Persian taste was studied
-by the makers of the dishes, bottles, pipes, and other objects with
-birds and animals in foliage and floral scrolls of decidedly Persian
-flavour, which are still frequently found in the Near East. It was this
-type of Chinese porcelain which inspired Italian maiolica potters in
-their decoration _alla porcellana_, as well as the decorators of
-the Medici or Florentine porcelain, the first European porcelain of
-any note. Françesco Maria, the patron of the Medici porcelain, died
-in 1587, and as little, if any, of the ware was made after his death,
-the rare surviving examples may be safely taken as reflecting, where
-any Chinese influence is apparent, the influence of the mid-sixteenth
-century porcelains.
-
-  [Illustration: PLATE 72
-
-  Vase with Imperial five-clawed dragons in cloud scrolls over
-  sea waves: band of lotus scrolls on the shoulder. Painted in
-  dark Mohammedan blue. Mark on the neck, of the Chia Ching period
-  (1522–1566) in six characters.
-
-  Height 21 inches. _Victoria and Albert Museum._]
-
-An interesting series of Ming blue and white export wares collected
-in India was lent to the Burlington Fine Arts Club in 1910 by
-Mrs. Halsey. It included a few Chia Ching specimens, and among them a
-melon-shaped jar with lotus scrolls in the dark blue of the period.
-This melon form has been popular with the Chinese potters from T’ang
-times, and it occurs fairly often in the Ming export porcelains. A
-companion piece, for instance, at the same exhibition was decorated
-with handsome pine, bamboo, and plum designs. Others, again, are
-appropriately ornamented with a melon vine pattern, a gourd vine, or a
-grape vine with a squirrel-like animal on the branches. The drawing of
-these pieces is usually rough but vigorous, the form is good, and the
-blue as a rule soft and pleasing; and though entirely wanting in the
-superfine finish of the choice K’ang Hsi blue and white, they have a
-decorative value which has been sadly underrated.
-
-The polychrome porcelains of the Chia Ching period are rarer than
-the blue and white, but still a fair number of types are represented
-in English collections. Of the colours applied direct to the biscuit
-the early glazes of the _demi-grand feu_--turquoise, aubergine
-violet, green and yellow--were doubtless applied as in the previous
-century to the large wine jars, vases and figures in the round. An
-unusual specimen of this class is the marked Chia Ching cake box
-in the Victoria and Albert Museum, illustrated on Plate 70. The
-design--Imperial dragons among floral scrolls--is traced with a
-point in the paste and covered with a delicate turquoise glaze, the
-background being filled with violet aubergine. Similarly engraved
-designs coloured by washes of transparent glazes in the three
-colours--green, yellow and aubergine brown--are found with the Chia
-Ching mark as with that of Chêng Tê, and Plate 73 illustrates two
-singularly beautiful bowls with designs outlined in brown and washed
-in with transparent glazes. The one has flowering branches of prunus,
-peach and pomegranate in white, green and aubergine in a yellow ground,
-and the other phœnixes and floral scrolls in yellow, green and white in
-a ground of pale aubergine. Both have the Chia Ching mark. Fig. 2 of
-Plate 71 is another member of the same group, with a beautiful design
-of cranes and lotus scrolls in a yellow ground. There are, besides,
-examples of these yellow and aubergine glazes in monochrome. A good
-specimen of the latter with Chia Ching mark in the British Museum has
-fine transparent aubergine glaze with iridescent surface, the colour
-pleasantly graded, which contrasts with the uniform smooth glaze and
-trim finish of a Ch’ien Lung example near to it.
-
-Two interesting ewers in the Dresden collection (Figs. 1 and 2 of Plate
-71) probably belong to this period, or at any rate to the sixteenth
-century. They are fantastically shaped to represent a phœnix and a
-lobster, and are decorated with green, yellow, aubergine and a little
-turquoise applied direct to the biscuit. Parts of the surface have been
-lightly coated with gilding, which has almost entirely disappeared.
-These pieces are mentioned in an inventory of 1640, and a lobster
-ewer precisely similar was included in the collection made by Philipp
-Hainhofer in the early years of the seventeenth century.[134]
-
-Among the examples of on-glaze enamels of this period are those in
-which the coral red derived from iron oxide (_fan hung_) is
-the most conspicuous colour. This red is often highly iridescent,
-displaying soft ruby reflections like Persian lustre; at other
-times it is richly fluxed, and has a peculiarly vitreous and almost
-sticky appearance. The former effect is well seen in a small saucer
-in the British Museum, which has a wide border of deep lustrous red
-surrounding a medallion with lions and a brocade ball in green. The
-latter is seen on a square, covered vase in the same case, decorated
-on each side with full-faced dragons in red and the usual cloud
-accessories in inconspicuous touches of green and yellow. The yellow
-enamel of the period is often of an impure, brownish tint and rather
-thickly applied, but these peculiarities of both yellow and red
-continued in the Wan Li period.
-
-  [Illustration: PLATE 73
-
-  Two Bowls with the Chia Ching mark (1522–1566), with designs
-  outlined in brown and washed in with colours in monochrome
-  grounds.
-
-  Fig. 1 with peach sprays in a yellow ground. Diameter 8 inches.
-  _Alexander Collection._
-
-  Fig. 2 with phœnixes (_fêng-huang_) flying among scrolls
-  of _mu-tan_ peony. Diameter 7 inches. _Cumberbatch
-  Collection._]
-
-The combination of enamel colours with underglaze blue, which was so
-largely used in the Wan Li period as to be generally known by the name
-_Wan li wu ts’ai_ (Wan Li polychrome), is not unknown on Chia Ching
-wares. The wide-mouthed jar, for instance, from the collection of Mr.
-S. E. Kennedy[135] (Plate 69, Fig. 2) is decorated with a design of
-fish among water plants in deep Chia Ching blue combined with green,
-yellow and iron red enamels; and a small bottle-shaped vase in the
-British Museum has the same blue combined with on-glaze red, green,
-yellow and aubergine, the design being fish, waves, and water plants.
-The greens of this and the Wan Li period include various shades--bright
-leaf green, pale emerald, and a bluish green[136] which seems to
-be peculiar to the late Ming period.
-
-A box in the collection of Dr. C. Seligmann has a dragon design
-reserved in a blue ground and washed over with yellow enamel, on which
-in turn are details traced in iron red; and another peculiar type of
-Chia Ching polychrome in the Pierpont Morgan Collection (Cat. No. 882)
-is a tea cup with blue Imperial dragons inside, “on the outside deep
-yellow glaze with decoration in brownish red of intensely luminous
-tone, derived from iron, lightly brushed on the yellow ground: the
-decoration consists of a procession of boys carrying vases of flowers
-round the sides of the cup with addition of a scroll of foliage
-encircling the rim.” Both these specimens have the Chia Ching mark.
-
-Allusion has already been made (p. 6) to a type of bowl which belongs
-to the Ming period, though opinions differ as to the exact part of
-that dynasty to which it should be assigned. The bowls vary slightly
-in form, but the most usual kind is that shown on Plate 74 with
-well rounded sides. A common feature, which does not appear in the
-photograph, is a convex centre. Others, again, are shallow with concave
-base, but no foot rim. The decoration of those in the British Museum
-includes (1) a coral red exterior with gilt designs as described on
-p. 6, combined with slight underglaze blue interior ornament, (2) a
-beautiful pale emerald green exterior similarly gilt, with or without
-blue ornament inside, and (3) a single specimen with white slip
-traceries in faint relief under the glaze inside, the outside enamelled
-with turquoise blue medallions and set with cabochon jewels in Persia
-or India. There are similar bowls in the Dresden collection, with pale
-sky blue glaze on the exterior. As already noted, one or two of the
-red bowls have the Yung Lo mark, but, as a rule, they are marked with
-phrases of commendation or good wish,[137] such as _tan kuei_ (red
-cassia, emblem of literary success), _wan fu yu t’ung_ (may infinite
-happiness embrace all your affairs!) Two of them are known to have
-sixteenth-century European mounts, viz. the red bowl mentioned on p. 6,
-and a green specimen in the British Museum.[138] Without denying the
-possibility of some of the red examples dating back to the Yung Lo
-period, the conclusion is almost irresistible that we have here in one
-case the _fan hung_ decoration which replaced the _hsien hung_ in the
-Chia Ching period, and in another the _ts’ui lü_ (emerald green), named
-among the colours of the Imperial Chia Ching porcelains.
-
-The Chia Ching monochromes already mentioned include white, blue, sky
-blue, lustrous brown, turquoise, green, yellow, and aubergine, with or
-without designs engraved in the paste (_an hua_). None of these call
-for any further comment, unless it be the distinction between blue and
-sky blue of the Imperial wares. The former, no doubt, resulted from
-the Mohammedan blue (blended with native cobalt) mixed with the glaze,
-and must have been a fine blue of slightly violet tone: the latter was
-apparently the lavender-tinted blue which goes by the name of sky blue
-on the more modern porcelains.
-
-We read in more than one passage in the Chinese works that the
-imitation of the classical porcelains of Hsüan Tê and Ch’êng Hua was
-practised in the Chia Ching period, and the name of a private potter
-who excelled in this kind of work has been preserved. A note on this
-artist, given in the _T’ao lu_[139] under the heading _Ts’ui kung[140]
-yao_, or Wares of Mr. Ts’ui, may be rendered as follows:--
-
-“In the Chia Ching and Lung Ch’ing periods there lived a man who was
-clever at making porcelain (_t’ao_). He was famed for imitations of the
-wares in the traditional style and make of the Hsüan Tê and Ch’êng Hua
-periods, and in his time he enjoyed the highest reputation. The name
-given to his wares was Mr. Ts’ui’s porcelain (_ts’ui kung yao tz’ŭ_),
-and they were eagerly sought in all parts of the empire. As for the
-shape of his cups (_ch’ien_), when compared with the Hsüan and Ch’êng
-specimens[141] they differed in size but displayed the same skill and
-perfection of design. In the blue and polychrome wares his colours were
-all like the originals. His were, in fact, the cream of the porcelains
-made in the private factories (_min t’ao_).”
-
-  [Illustration: PLATE 74
-
-  Two Bowls in the British Museum with gilt designs on a monochrome
-  ground. Probably Chia Ching period (1522–1566)
-
-  Fig. 1 with lotus scroll with etched details on a ground of iron
-  red (_fan hung_) outside. Inside is figure of a man holding
-  a branch of cassia, a symbol of literary success, painted in
-  underglaze blue. Mark in blue, _tan kuei_ (red cassia.)
-  Diameter 4½ inches.
-
-  Fig. 2 with similar design on ground of emerald green enamel.
-  Mark in blue in the form of a coin or _cash_ with the
-  characters _ch’ang ming fu kuei_ (long life, riches and
-  honours!). Diameter 4¾ inches.]
-
-It is interesting to note that the imitation of the early Ming
-porcelains began as soon as this, and we may infer from the usual
-Chinese procedure that the marks of the Hsüan Tê and Ch’êng Hua periods
-were duly affixed to these clever copies.
-
-
-                  _Lung Ch’ing_ [chch 2] (1567–1572)
-
-We read in the _T’ao shuo_[142] that the Imperial factory was
-re-established in the sixth year of this reign (1572), and placed under
-the care of the assistant prefects of the district. This would seem to
-imply that for the greater part of this brief period the Imperial works
-had been in abeyance. Be this as it may, there was no falling off in
-the quantity of porcelain commanded for the Court, and the extravagant
-and burdensome demands evoked a protest from Hsü Ch’ih, the president
-of the Censorate,[143] in 1571. It was urged among other things that
-the secret of the copper red colour (_hsien hung_) had been lost,
-and that the potters should be allowed to use the iron red (_fan
-hung_) in its place: that the size and form of the large fish bowls
-which were ordered made their manufacture almost impossible: that
-the designs for the polychrome (_wu ts’ai_) painting were too
-elaborate, and that square boxes made in three tiers were a novelty
-difficult to construct. Fire and flood had devastated Ching-tê Chên,
-and many of the workmen had fled, and he (the president) begged that a
-large reduction should be made in the palace orders.
-
-We are not told whether this memorial to the emperor had the desired
-effect. In the case of the next emperor a similar protest resulted in
-a large reduction of the demands. But the document discloses several
-interesting facts, and among other things we learn that the designs for
-some of the ware and for the coloured decoration were still sent from
-the palace as in the days of Ch’êng Hua.
-
-The official lists of porcelain actually supplied to the Court of Lung
-Ch’ing have been briefly summarised in the _T’ao shuo_[144];
-but they do not include any new forms, and the motives of decoration
-were in the main similar to those recorded in the Chia Ching lists.
-The following, however, may be added to the summary in the previous
-chapter:--
-
-The _yü tsan hua_, rendered in Giles’s Dictionary as the “tuberose,” by
-Bushell as the “iris.”
-
-Clumps of chrysanthemum flowers.
-
-Interlacing scrolls of _mu-tan_ peony.
-
-_Ch’ang ch’un_ (long spring) flowers, identified by Bushell with the
-“jasmine.”
-
-A “joyous meeting,” symbolised according to Bushell by a pair of
-magpies.
-
-The Tartar pheasant (_chai chih_).
-
-The season flowers supporting the characters [chch 4] _ch’ien k’un
-ch’ing t’ai_, “Heaven and earth fair and fruitful!”
-
-Monsters (_shou_) in sea waves.
-
-Flying fish.
-
-Historical scenes (_ku shih_), as well as genre subjects (_jên wu_).
-
-Children playing with branches of flowers.
-
-This last design occurs both in the form of belts of foliage scrolls,
-among which are semi-nude boys, and of medallions with a boy holding a
-branch, on blue and white and polychrome wares of the late Ming period.
-But it is a design of considerable antiquity, and it is found engraved
-on the early Corean bowls which, no doubt, borrowed from Sung originals.
-
-Though all these designs are given under the general heading of blue
-and white, we may infer that the polychrome which is occasionally
-mentioned was used in combination with the blue. Thus the mention of
-“phœnixes in red clouds flying through flowers,” of “nine red dragons
-in blue waves,” and of “a pair of dragons in red clouds,” recalls
-actual specimens which I have seen of Lung Ch’ing and Wan Li boxes
-with designs of blue dragons moving through clouds touched in with
-iron red. Again, where the blue designs are supplemented with “curling
-waves and plum blossoms in polychrome (_wu ts’ai_),” one thinks of the
-well-known pattern of conventional waves on which blossom and symbols
-are floating, as on Plate 79. Other types of decoration mentioned are
-yellow grounds and white glaze, both with dragon designs engraved under
-the glaze (_an hua_), peacocks and _mu-tan_ peonies in gilding, and
-moulded ornament. A specific example of the last are the lions which
-served as knobs on the covers of the ovoid wine jars (_t’an_).
-
-The author of the _T’ao shuo_ pays a handsome tribute to the skill
-of the late Ming potters. “We find,” he says, “that the porcelain of
-the Ming dynasty daily increased in excellence till we come to the
-reigns of Lung Ch’ing and Wan Li, when there was nothing that could not
-be made.” At the same time he finds fault with a particular kind of
-decoration which was encouraged by the degraded and licentious tastes
-of the Emperor Lung Ch’ing, and seems to have only too frequently
-marred the porcelain of the period.[145]
-
-The rare examples of marked Lung Ch’ing porcelain in our collections
-do not call for special comment, and the unmarked specimens will
-hardly be distinguished from the productions of the succeeding Wan
-Li period. There are, however, two boxes in the British Museum which
-may be regarded as characteristic specimens of the Imperial blue and
-white porcelains. Both are strongly made with thick but fine-grained
-body material and a glaze of slightly greenish tone; and the designs
-are boldly sketched in strong outline and washed in with a dark indigo
-blue. One is a square box with four compartments decorated with
-five-clawed dragons in cloud scrolls, extended or coiled in medallions
-according as space demanded; and the other is oblong and rectangular,
-and painted on the sides (the cover is missing) with scenes of family
-life (_jên wu_). In both cases the base is unglazed except for a sunk
-medallion in which the six characters of the Lung Ch’ing mark are
-finely painted in blue.
-
-
-
-
-                               CHAPTER V
-
-             WAN LI [chch 2] (1573–1619) AND OTHER REIGNS
-
-
-The long reign of Wan Li, the last important period of the Ming
-dynasty, is certainly the best represented in European collections, a
-circumstance due to the ceramic activity of the time not less than to
-its nearness to our own age. In the first year of the reign orders were
-given that one of the sub-prefects of Jao-chou Fu should be permanently
-stationed at Ching-tê Chên to supervise the Imperial factory. It
-appears that he proved a stern taskmaster, and at the same time that
-the potters were severely burdened by excessive demands from the
-palace. The picture drawn by the censor in the previous reign of the
-afflicted condition of the potters, and the story told elsewhere[146]
-how they had made intercession daily in the temple of the god that the
-Imperial orders might be merciful, are fitting preface to the tale of
-the dragon bowls told as follows by T’ang Ying,[147] the director of
-the factory in the first half of the eighteenth century.
-
-“By the west wall of the Ancestral-tablet Hall of the spirit who
-protects the potters is a dragon fish bowl (_lung kang_). It is
-three feet in diameter and two feet high, with a fierce frieze of
-dragons in blue and a wave pattern below. The sides and the mouth are
-perfect, but the bottom is wanting. It was made in the Wan Li period of
-the Ming. Previously these fish bowls had presented great difficulty in
-the making, and had not succeeded, and the superintendent had increased
-his severity. Thereupon the divine T’ung took pity on his fellow
-potters, and served them by alone laying down his life. He plunged into
-the fire, and the bowls came out perfect. This fish bowl was damaged
-after it had been finished and selected (for palace use), and for a
-long time it remained abandoned in a corner of the office. But when
-I saw it I sent a double-yoked cart and men to lift it, and it was
-brought to the side of the Ancestral-tablet Hall of the god, where it
-adorns a high platform, and sacrifice is offered. The vessel’s perfect
-glaze is the god’s fat and blood; the body material is the god’s body
-and flesh; and the blue of the decoration, with the brilliant lustre of
-gems, is the essence of the god’s pure spirit.”
-
-The deification of T’ung was a simple matter to the Chinese, who
-habitually worship before the tablets of their ancestors; but he seems
-to have become the genius of the place, and in this capacity to have
-superseded another canonised potter named Chao,[148] who had been
-worshipped at Ching-tê Chên since 1425.
-
-To add to the difficulties experienced by the potters in satisfactorily
-fulfilling the Imperial demands, it had been reported in 1583 that
-the supplies of earth from Ma-ts’ang were practically worked out, and
-though good material was found at Wu-mên-t’o, which is also in the
-district of Fu-liang, the distance for transport was greater, and as
-the price was not correspondingly raised the supply from this source
-was difficult to maintain. Consequently we are not surprised to learn
-that in this same year another memorial was forwarded to the emperor by
-one of the supervising censors, Wang Ching-min, asking for alleviation
-of the palace orders, and protesting specifically against the demands
-for candlesticks, screens, brush handles, and chess apparatus as
-unnecessarily extravagant. It was urged at the same time that blue
-decoration should be substituted for polychrome, and that pierced work
-(_ling lung_) should not be required, the objection to both these
-processes being that they were difficult to execute and meretricious in
-effect.
-
-It is stated in the _T’ao lu_[149] that the supply of Mohammedan blue
-had ceased completely in the reign of Wan Li, and that on the other
-hand the _chi hung_ or underglaze copper red was made, though it was
-not equal in quality to the _hsien hung_ or _pao shih hung_[150] of
-the earlier periods. Both these assertions are based on the somewhat
-uncertain authority of the _T’ang shih ssŭ k’ao_, and though the
-truth of the second is shown by existing specimens, the first is only
-partially true, for there are marked examples of Mohammedan blue in the
-British Museum and probably elsewhere. Either there were supplies of
-the Mohammedan material in hand at the beginning of the reign, or they
-continued to arrive for part at least of the period.
-
-The lists of porcelain supplied to the Court of Wan Li may be consulted
-with advantage, and the extracts from those of the previous reigns may
-be supplemented by the following, which, though not necessarily new
-forms and designs, do not appear in the Chia Ching and Lung Ch’ing
-records:--
-
-
-=Forms.=
-
-Trays for wine cups (_pei p’an_).[151]
-
-Beaker-shaped[152] vases (_hu p’ing_ [chch 2]).
-
-Flat-backed wall vases in the form of a double gourd split vertically.
-
-Chess boards (_ch’i p’an_).
-
-Hanging oil lamps[2] (_ch’ing t’ai_ [chch 2]).
-
-Pricket candlesticks (_chu t’ai_). See _Cat. B. F. A._, 1910, E 6: a
-pricket candlestick with cloud and dragon designs in blue and the Wan
-Li mark.
-
-Jars for candle snuff (_chien chu kuan_).
-
-Screens (_p’ing_).
-
-Brush handles (_pi kuan_).
-
-Brush rests (_pi chia_).
-
-Brush pots (_pi ch’ung_). Apparently the cylindrical jars usually
-known as _pi t’ung_.
-
-Fan cases (_shan hsia_).
-
-Water droppers for the ink pallet (_yen shui ti_).
-
-Betel-nut boxes (_pin lang lu_).
-
-Handkerchief boxes (_chin lu_).
-
-Hat boxes (_kuan lu_).
-
-Cool seats (_liang tun_), for garden use in summer.
-
-
-=Motives for Painted Decoration.=
-
-    _Floral, etc.:_
-
-Lily flowers (_hsüan hua_).
-
-Hibiscus (_kuei_) flowers on a brocade ground.
-
-Round medallions of season flowers.
-
-Flower designs broken by medallions of landscape.
-
-Marsh plants.
-
-Sections of water melons (_hsi kua pan_).
-
-Foreign pomegranates; sometimes tied with fillets.
-
-The sacred peach.
-
-Medallions of peach boughs with the seal character _shou_
-(longevity).
-
-Apricot (_hsing_) foliage.
-
-Pine pattern brocade.
-
-Ginseng (_hsien_).
-
-Hemp-leaved (_ma yeh_) Indian lotus.
-
-Borders of bamboo foliage and branching prunus.
-
-Grape-vine borders.
-
-
-    _Animals, etc.:_
-
-Monsters: variously described as _hai shou_ (sea monsters) and
-_i shou_ (strange monsters).
-
-Nine blue monsters in red waves.
-
-Strange monsters attending the celestial dragon.
-
-Sea horses.
-
-Full-faced dragons (_chêng mien lung_). See Plate 66.
-
-Medallions of archaic dragons (_ch’ih_) and tigers.
-
-Ascending and descending dragons.
-
-Couchant, or squatting (_tun_) dragons.
-
-Flying dragons.
-
-The hundred dragons.
-
-The hundred storks.
-
-The hundred deer. (As in the “Hundred Shou Characters” and other
-similar phrases, the “hundred” is merely an indefinite numerative
-signifying a large number.)
-
-Elephants with vases of jewels (of Buddhistic significance).
-
-Water birds in lotus plants.
-
-Six cranes, “symbolising the cardinal points of the universe” (_liu
-ho ch’ien k’un_).
-
-Phœnixes among the season flowers.
-
-Bees hovering round plum blossom.
-
-
-    _Human:_
-
-Men and women (_shih nü_).
-
-Medallions with boys pulling down (branches of) cassia (_p’an kuei_).
-
-The picture of the Hundred Boys.
-
-_Fu_, _Lu_, _Shou_ (Happiness, Rank, and Longevity). It is not stated
-whether the characters only are intended, or, as is more probable, the
-three Taoist deities who distribute these blessings.
-
-
-=Emblematic Motives and Inscriptions.=
-
-The eight Buddhist emblems, bound with fillets (_kuan t’ao_).
-
-_Ju-i_ sceptres bound with fillets.
-
-_Ju-i_ cloud borders (_ju i yün pien_).
-
-Midsummer holiday symbols (_tuan yang chieh_). Explained by Bushell as
-sprigs of acorns and artemisia hung up on the fifth day of the fifth
-moon.
-
-Emblems of Longevity (_shou tai_), e.g. gourd, peach, fungus, pine,
-bamboo, crane, deer.
-
-The “monad symbol” (_hun yüan_), which is apparently another name
-for the _yin yang_, and the Eight Trigrams. See p. 290.
-
-Lozenge symbols of victory (_fang shêng_).
-
-“The four lights worshipping the star of Longevity” (_ssŭ yang p’êng
-shou_).
-
-Spiral (_hui_ [chch 1]) patterns.
-
-Sanskrit invocations (_chên yen tz’ŭ_). See Plate 93.
-
-Ancient writings found at Lo-yang (_lo shu_). Lo-yang (the modern
-Honan Fu) was the capital of the Eastern Han (25–220 A.D.).
-
-Inscriptions in antique seal characters (_chuan_).
-
-Dragons holding up the characters [chch 4] _yung pao wan shou_ (ever
-insuring endless longevity); and [chch 6] _yung pao hung fu ch’i t’ien_
-(ever insuring great happiness equalling Heaven).
-
-Borders inscribed [chch 4] _fu ju tung hai_ (happiness like the
-eastern sea); and [chch 8] _fêng t’iao yü shun t’ien hsia t’ai p’ing_
-(favouring winds and seasonable rain: great peace throughout the
-empire).
-
-“A symbolical head with hair dressed in four puffs”[153] bearing the
-characters [chch 4] _yung pao ch’ang ch’un_ (ever insuring long spring).
-
-Taoist deities holding the characters [chch 8] _wan ku ch’ang ch’un
-ssŭ hai lai ch’ao_ (through myriads of ages long spring; tribute
-coming from the four seas); or the same sentiment with _yung pao_ (ever
-insuring) in place of _wan ku_.
-
-Dragons in clouds holding the characters [chch 2] _shêng shou_, the
-emperor’s birthday.
-
-
-=Miscellaneous.=
-
-Representations of ancient coins (_ku lao ch’ien_).
-
-Landscapes (_shan shui_).
-
-Necklaces (_ying lo_ [chch 2]).
-
-Jewel mountains in the sea waves (_pao shan hai shui_). This
-is, no doubt, the familiar border pattern of conventional waves with
-conical rocks standing up at regular intervals.
-
-Round medallions (_ho tzŭ_, lit. boxes) in brocade grounds.
-
-Most of these designs are given under the heading of “blue and
-white,” though, as in the Lung Ch’ing list, the blue is in many cases
-supplemented by colour or by other forms of decoration such as patterns
-engraved in the body (_an hua_), and “designs on a blue ground,” the
-nature of them not explained, but no doubt similar to those described
-on p. 61. The method of reserving the decoration in white in a blue
-ground (_ch’ing ti pai hua_) is specifically mentioned under the
-heading of “mixed decorations.” The supplementary decoration consists
-of on-glaze enamels mixed with the underglaze blue; bowls with coloured
-exterior and blue and white inside or vice versa; yellow grounds with
-designs engraved under the glaze; gilded fishes among polychrome water
-weeds, and other gilded patterns; curling waves in polychrome and plum
-blossoms; red dragons in blue waves, the red either under or over the
-glaze; relief designs (_ting chuang_[154]) and pierced work (_ling
-lung_[155]).
-
-The “mixed colours” included garden seats with lotus designs, etc.,
-in polychrome (_wu ts’ai_) and with aubergine brown (_tzŭ_) lotus
-decoration in a monochrome yellow ground; tea cups with dragons in
-fairy flowers engraved under a yellow glaze; yellow ground with
-polychrome (_wu ts’ai_) decoration; banquet dishes, white inside, the
-outside decorated with dragons and clouds in red, green, yellow, and
-aubergine.
-
-The custom of minutely subdividing the work in the porcelain factories
-so that even the decoration of a single piece was parcelled out among
-several painters existed in the Ming dynasty, though perhaps not
-carried so far as in the after periods. It is clear that under such
-a system the individuality of the artists was completely lost, and
-we never hear the name of any potter or painter who worked at the
-Imperial factory. In the private factories probably the division of
-labour was less rigorous, and it is certain that many of the specimens
-were decorated by a single brush. But even so, signatures of potters
-or painters are almost unknown; and only one or two private potters
-of conspicuous merit at the end of the Ming period are mentioned by
-name in the Chinese books. Mr. Ts’ui, for instance, has already been
-mentioned in the chapter on the Chia Ching period, and three others
-occur in the annals of the Wan Li period.
-
-  [Illustration: Plate 75.--Ming Porcelain.
-
-  Fig. 1.--Tripod Bowl with raised peony scrolls in enamel colours.
-  Wan Li mark. Height 5¾ inches. _Eumorfopoulos Collection._
-
-  Fig. 2.--Blue and white Bowl, Chia Ching period. Mark, _Wan ku
-  ch’ang ch’un_ (“A myriad antiquities and enduring spring!”).
-  Height 3 inches. _Kunstgewerbe Museum, Berlin._
-
-  Fig. 3.--Ewer with white slip _ch’i-lin_ on a blue ground.
-  Wan Li period. Height 9 inches. _Eumorfopoulos Collection._
-
-  Fig. 4.--Gourd-shaped Vase with winged dragons and fairy flowers,
-  raised outlines and coloured glazes on the biscuit. Sixteenth
-  century. Height 8¾ inches. _Salting Collection._]
-
-Of these, the most interesting personality was Hao Shih-chiu,[156]
-scholar, painter, poet, and potter, who signed his wares with the
-fanciful name _Hu yin tao jên_[157] (Taoist hidden in a tea pot), to
-show that he “put his soul” into the making of his pots. He lived, we
-are told,[158] in exaggerated simplicity, in hut, with a mat for a
-door and a broken jar for a window; but he was so celebrated as a man
-of talent and culture that his hut was frequented by the _literati_,
-who capped his verses and admired his wares. The latter were of great
-refinement and exquisitely beautiful, and his white “egg shell”[159]
-wine cups were so delicate as to weigh less than a gramme.[160] No less
-famous were his red wine cups, bright as vermilion, the colour floating
-in the glaze like red clouds. They were named _liu hsia chan_[161]
-(_lit._ floating red cloud cups), which has been poetically rendered
-by Bushell as “dawn-red wine cups” and “liquid dawn cups,” and were
-evidently one of the reds of the _chi hung_ class produced by copper
-oxide in the glaze, like the beautiful wine cups with clouded maroon
-red glaze of the early eighteenth century. All these wares were eagerly
-sought by connoisseurs throughout the Chinese empire. “There were
-also elegantly formed pots (hu), in colour pale green, like Kuan and Ko
-wares, but without the ice crackle, and golden brown[162] tea pots with
-reddish tinge, imitating the contemporary wares of the Ch’ên family at
-Yi-hsing, engraved underneath with the four characters, _Hu yin tao
-jên_.”
-
-The “red cloud” cups are eulogised by the poet Li Jih-hua in a verse
-addressed to their maker as fit to be “started from the orchid pavilion
-to float down the nine-bend river.”[163]
-
-  [Illustration: Plate 76.--Blue and White Porcelain. Sixteenth
-  Century.
-
-  Fig. 1.--Vase with monster handles, archaic dragons. Height 10⅞
-  inches. _Halsey Collection._
-
-  Fig. 2.--Hexagonal Bottle, white in blue designs. Mark, a hare.
-  Height 11½ inches. _Alexander Collection._
-
-  Fig. 3.--Bottle with “garlic mouth,” stork and lotus scrolls,
-  white in blue. Height 11 inches. _Salting Collection._
-
-  Fig. 4.--Vase (_mei p’ing_), Imperial dragon and scrolls.
-  Wan Li mark on the shoulder. Height 15 inches. _Coltart
-  Collection._]
-
-The two other potters of this period whose names have survived are
-Ou of Yi-hsing fame (vol. i., p. 181) and Chou Tan-ch’üan, whose
-wonderful imitations of Sung Ting ware have been described in vol.
-i., p. 94. Many clever imitations of this latter porcelain were
-made at Ching-tê Chên in the Wan Li period, and a special material,
-_ch’ing-t’ien_[164] stone, was employed for the purpose; but the
-followers of Ch’ou Tan-ch’üan were not so successful as their master,
-and their wares are described as over-elaborate in decoration and quite
-inferior to Ch’ou’s productions. There was one type, however, which
-is specially mentioned, the oblong rectangular boxes made to hold
-seal-vermilion. These are described in a sixteenth-century work[165] as
-either pure white or painted in blue, and usually six or seven inches
-long. They are accorded a paragraph in the _T’ao shuo_[166] under
-the heading of _fang ting_ or “imitation Ting ware,” and they were
-probably of that soft-looking, creamy white crackled ware to which
-Western collectors have given the misleading name of “soft paste.”[167]
-
-Another private manufacture specially mentioned in the _T’ao lu_[168]
-was located in a street called _Hsiao nan_ [chch 2] where, we are told,
-“they made wares of small size only, like a squatting frog, and called
-for that reason frog wares (_ha ma[169] yao_). Though coarse, they were
-of correct form; the material was yellowish, but the body of the ware
-was thin; and though small, the vessels were strong. One kind of bowl
-was white in colour with a tinge of blue (_tai ch’ing_), and decorated
-in blue with a single orchid spray or bamboo leaves; and even those
-which had no painted design had one or two rings of blue at the mouth.
-These were called “white rice vessels” (_pai fan ch’i_). There were,
-besides, bowls with wide mouths and flattened rims (_p’ieh t’an_)[170]
-but shallow, and pure white, imitating the Sung bowls. All these wares
-had a great vogue, both at the time and at the beginning of the present
-(i.e. the Ch’ing) dynasty.”
-
-Out of the comparatively large number of Wan Li porcelains in
-European collections the majority are blue and white. This is only
-to be expected, having regard to the preponderance of this style
-of decoration in the Imperial lists, and also to the fact that it
-was found easiest of all processes to execute. In fact, the censor
-pleading on behalf of the potters in 1583 asks that this style may be
-substituted for the more exacting polychrome and pierced work. It has
-already been mentioned that the supplies of Mohammedan blue apparently
-came to an end early in the reign, but there are enough examples of
-this colour associated with the Wan Li mark to show that it was used
-for part at least of the period. One of these is a well-potted bowl
-of fine white porcelain, entirely covered with Sanskrit characters
-(_chên yen tz’ŭ_), in the British Museum; and another piece* is a
-dish moulded in the form of an open lotus flower with petals in relief,
-and in the centre a single Sanskrit character. Both are painted in a
-clear and vivid Mohammedan blue, and have the Wan Li mark under the
-base. A dark violet blue, closely akin to the typical Chia Ching colour
-but with a touch of indigo, occurs on two dishes,* decorated with a
-pair of fishes among aquatic plants and bearing the four characters of
-the Wan Li mark surrounding a cartouche, which contains the felicitous
-legend, “Virtue, culture, and enduring spring” (see vol. i., p. 225).
-An intense but more vivid violet blue, which betrays something of the
-Mohammedan blend, is seen on a ewer* of Persian form, decorated with a
-_ch’i-lin_ reclining before a strangely Italian-looking fountain.
-The ware of this piece, though thick, is of fine grain, and the glaze
-has a faint greenish tinge, and its mark, a hare,[171] (see vol. i., p.
-227) occurs on several other examples of varying quality, but all of
-late Ming character.
-
-Another group of marked Wan Li ware, comprising bowls and dishes
-with trim neat finish and obviously destined for table use, has a
-soft-looking glaze, often much worn, but, even in the less used parts,
-with a peculiar smoothness of surface which is, no doubt, largely due
-to age. There are three examples of this group in the British Museum,
-all painted in the same soft, dark indigo-tinged blue. One is a bowl
-with baskets of season flowers round the exterior, insects, and a
-border of dragon and phœnix pattern; while inside is a blue medallion
-with a full-face dragon reserved in white. The other two are dishes
-with figure subjects and gourd vine borders, which are interesting
-because the painting shows signs of a transition state, part being
-in flat Ming washes, and part showing the marbled effect which was
-afterwards characteristic of the K’ang Hsi blue and white.
-
-In striking contrast with this smooth, soft-surfaced ware is a vase* of
-square, beaker shape, and details which indicate a form derived from
-bronze. Though evidently an Imperial piece, it is of strong, heavy
-build, with a hard thick glaze of greenish tinge, so full of minute
-bubbles as to spread in places a veritable fog over the blue decoration
-beneath. The design, consisting of a dragon and phœnix among sprays of
-(?) lily, with rock and wave borders, is repeated in all the spaces,
-and below the lip in front is the Wan Li mark extended in a single
-line. A similar vase,* but with polychrome decoration, illustrated
-on Plate 81, will serve to show the form and design. Both are fine,
-decorative objects, in a strong, rugged style, which takes no account
-of small fire-flaws and slight imperfections in the glaze. The same
-strong, hard body and glaze is seen again on three flat, narrow-rimmed
-dishes,* which are conspicuous for unusual borders, two having a large
-checker and the third a chevron pattern, in addition to a thin blue
-line on either side of the edge. Sand adhering to the foot rim and
-faint radiating lines scored in the base are indications of rough
-finish, and they are clearly all the work of a private factory perhaps
-catering for the export trade.
-
-A variety of boxes figured in the Imperial lists, destined for holding
-incense, vermilion, chess pieces, handkerchiefs, caps, sweetmeats,
-cakes, etc. A fair number of these have survived and found their way
-into Western collections. Round, square, oblong with rounded ends,
-and sometimes furnished with interior compartments, they are usually
-decorated with dragon designs in dark blue, occasionally tricked out
-with touches of iron red; but miscellaneous subjects also occur in
-their decoration, as in a fine example exhibited at the Burlington Fine
-Arts Club in 1910,[172] which has figure subjects on the cover and a
-landscape with waterfall, probably from a picture of the celebrated
-mountain scenery in Szechuan. Sometimes the covers of these boxes are
-perforated as though to allow some perfume to escape. Other interesting
-late Ming porcelains in the same exhibition were a pricket candlestick
-with cloud and dragon ornament and the Wan Li mark; a curious perfume
-vase (Plate 68, Fig. 1), which illustrates the design of lions sporting
-with balls of brocade, an unmarked piece which might even be as
-early as Chia Ching; and a wide-mouthed vase lent by the Ashmolean
-Museum, Oxford, with the familiar design of fantastic lions moving
-among peonies and formal scrolls on the body and panels of flowers
-separated by trellis diaper on the shoulder. The last is a type which
-is not uncommon, but this particular example is interesting because it
-belonged to one of the oldest collections in England, presented to the
-Oxford Museum by John Tradescant, and mostly collected before 1627.
-
-The export trade with Western Asia was in full swing in the reign of
-Wan Li, and the Portuguese traders had already made their way to the
-Far East and brought back Chinese porcelain for European use. That it
-was, however, still a rare material in England seems to be indicated
-by the sumptuous silver-gilt mounts in which stray specimens were
-enshrined. Several of these mounted specimens still exist, and seven
-of them were seen at the Burlington Fine Arts Exhibition, 1910,[173]
-the date of the mounts being about 1580–1590. Taken, as they may
-fairly be, as typical specimens, they show on the whole a porcelain
-of indifferent quality, with all the defects and virtues of export
-ware--the summary finish of skilful potters who worked with good
-material but for an uncritical public, and rapid, bold draughtsmanship
-in an ordinary quality of blue usually of greyish or indigo tint. The
-most finished specimen was a bowl from the Pierpont Morgan Collection,
-with a design of phœnixes and lotus scrolls finely drawn in blue of
-good quality. Unlike the others, it had a reign mark (that of Wan Li),
-and probably it was made at the Imperial factory. A bottle mounted
-as a ewer from the same collection had a scale pattern on the neck,
-flowering plants and birds on the body, and a saucer dish was painted
-in the centre with a typical late Ming landscape, with mountains, pine
-trees, pagoda, a pleasure boat, and sundry figures. The blue of this
-last piece was of fair quality but rather dull, and it had a double
-ring under the base void of mark. Another bowl had on the exterior
-panel designs with deer in white reserved in a blue ground, in a style
-somewhat similar to that of the bottle illustrated on Plate 76, Fig.
-3. There is a bowl in the British Museum, mounted with silver-gilt
-foot and winged caryatid handles of about 1580 (Plate 69, Fig. 1).
-The porcelain is of fine white material with thick lustrous glaze of
-slightly bluish tint and “pinholed” here and there; and the design
-painted in blue with a faint tinge of indigo consists of a vase with a
-lotus flower and a lotus leaf and three egrets, in a medallion inside
-and four times repeated on the exterior. This is clearly an early Wan
-Li specimen, if, indeed, it is not actually as old as Chia Ching.
-
-The most remarkable collection of Chinese export porcelain is
-illustrated by Professor Sarre[174] from a photograph which he was
-able to make of the _Chini-hane_ or porcelain house attached to the
-mosque of Ardebil, in Persia. Ranged on the floor are some five
-hundred specimens--jars, vases, ewers, and stacks of plates, bowls
-and dishes, many of which had formerly occupied niches in the walls
-of the building erected by Shah Abbas the Great[175] (1587–1628).
-Unfortunately, the conditions were not favourable to photography, and
-the picture, valuable as it is, only permits a clear view of the nearer
-objects, the rest being out of focus and represented by mere shadows
-of themselves. They are, we are told, mainly blue and white, but with
-a sprinkling of coloured pieces, and it is clear from the picture that
-they belong to various periods of the Ming dynasty, mostly to the later
-part. They include, no doubt, presents from the Chinese Court,[176]
-besides the porcelains which came in the ordinary way of trade, and
-we recognise a large vase almost identical with the fine Chia Ching
-specimen on Plate 72: a small-mouthed, baluster-shaped vase, similar in
-form and decoration to a marked Wan Li specimen in the Pierpont Morgan
-Collection[177]; a bowl with lotus scrolls in blotchy blue, recalling
-the style of Plate 67, Fig. 4; a ewer with the curious fountain design
-described on p. 67; besides a number of the ordinary late Ming export
-types and some celadon jars and bulb bowls of a slightly earlier
-period. Some of the pots, we are told, are almost a metre in height.
-Among the tantalising forms in the indistinct background are some large
-covered jars with a series of loop-handles on the shoulders, such as
-are found in Borneo and the East Indies (see vol. i., p. 189).
-
-One of the most attractive types of late Ming export porcelain, and at
-the same time the most easily recognised, consists of ewers, bowls,
-and dishes of thin, crisp porcelain with characteristic designs in
-pale, pure blue of silvery tone; see Plate 77, Fig. 1. The ware is of
-fine, white, unctuous material with a tendency (not very marked) to
-turn brown at the foot rim and in parts where the glaze is wanting.
-The glaze partakes of the faintly greenish tinge common to Ming wares,
-but it is clear and of high lustre. Here, again, a little sand or grit
-occasionally adhering to the foot rim and radiating lines lightly
-scored in the base indicate a summary finish which detracts from
-the artistic effect no more than the obviously rapid though skilful
-brushwork of the decoration. Sharply moulded forms and crinkled
-borders, admirably suited to this thin crisp material, give additional
-play to the lustrous glaze, and the general feeling of the ware is well
-expressed by Mr. F. Perzynski[178] in his excellent study of the late
-Ming blue and white porcelains, in which he remarks that “the artists
-of this group have used thin, brittle material more like flexible metal
-than porcelain.”
-
-The designs as shown in the illustration are typical of the ware.
-
-  [Illustration: PLATE 77
-
-  Two examples of Ming Blue and White Porcelain in the British
-  Museum
-
-  Fig. 1.--Ewer of thin, crisp porcelain with foliate mouth and
-  rustic spout with leaf attachments. Panels of figure subjects and
-  landscapes on the body: “rat and vine” pattern on the neck and a
-  band of hexagon diaper enclosing a cash symbol. Latter half of
-  the sixteenth century. Height 7 inches.
-
-  Fig. 2.--Octagonal stand perhaps for artist’s colours. On the
-  sides are scenes from the life of a sage; borders of _ju-i_
-  pattern and gadroons. On the top are lions sporting with brocade
-  balls. Painted in deep Mohammedan blue. Mark of the Chia Ching
-  period (1522–1566). Diameter 4¾ inches.]
-
-A freely drawn figure of a man or woman usually in garden surroundings,
-standing before a fantastic rock or seated by a table and a
-picture-screen often form the leading motive, though this is varied by
-landscape, floral compositions, spirited drawings of birds (an eagle
-on a rock, geese in a marsh, a singing bird on a bough), or a large
-cicada on a stone among plants and grasses. The borders of dishes and
-the exteriors of bowls are divided into radiating compartments (often
-with the divisions lightly moulded) filled with figures, plant designs,
-symbols, and the like, and separated by narrow bands with pendent
-jewels and tasselled cords, which form perhaps the most constant
-characteristics of the group. Small passages of brocade diapers with
-swastika fret, hexagon and matting patterns, are used to fill up the
-spaces. The finer examples of this group are of admirable delicacy both
-in colour and design; but the type lasted well into the seventeenth
-century and became coarse and vulgarised. It appears in a debased
-form in the large dishes which were made in quantity for the Persian
-and Indian markets, overloaded with crudely drawn brocade diapers and
-painted in dull indigo blue, which is often badly fired and verges on
-black. The central designs on these dishes, deer in a forest, birds in
-marsh, etc., usually betray strong Persian influence.
-
-I am not aware of any specimens of this group, either of the earlier
-or the more debased kinds which bear date-marks, but still a clear
-indication of the period is given by various circumstances. A bowl in
-the National Museum at Munich is credibly stated to have belonged to
-William V., Duke of Bavaria (1579–1597),[179] and a beautiful specimen,
-also a bowl, with silver-gilt mount of about 1585, is illustrated
-by Mr. Perzynski.[180] The characteristic designs of this ware are
-commonplace on the Persian pottery of the early seventeenth century,
-and a Persian blue and white ewer in the British Museum, which is dated
-1616, clearly reflects the same style. The shallow dishes with moulded
-sides are frequently reproduced in the still-life pictures by the Dutch
-masters of the seventeenth century, from whose work many precious hints
-may be taken by the student of ceramics. To give one instance only,
-there are two such pictures[181] in the Dresden Gallery from the brush
-of Frans Snyders (1579–1657).
-
-We shall have occasion later on to discuss more fully another kind of
-blue and white porcelain for which the Chinese and American collectors
-show a marked partiality, and which has received the unfortunate
-title, “soft paste,” from the latter. It has an opaque body, often
-of earthy appearance, and a glaze which looks soft and is usually
-crackled, and the ware is usually of small dimensions, such as the
-Chinese _literatus_ delighted to see in his study, and beautifully
-painted with miniature-like touches, every stroke of the brush clear
-and distinct. Ming marks--Hsüan Tê, Ch’êng Hua, etc.--are not uncommon
-on this ware, and there is no doubt that it was in use from the early
-reigns of the dynasty, but the style has been so faithfully preserved
-by the potters of the eighteenth century that it is wellnigh impossible
-to distinguish the different periods. A dainty specimen with the Wan Li
-mark illustrated in Fig. 2 of Plate 93 will serve to show the delicacy
-and refinement of this exquisite porcelain. At the same time it should
-be mentioned that the imitation Ting wares described on p. 96, vol. i.,
-when painted in blue, are included in this group.
-
-  [Illustration: Plate 78.--Porcelain with pierced (_ling
-  lung_) designs and biscuit reliefs. Late Ming.
-
-  Fig. 1.--Bowl with Eight Immortals and pierced swastika fret.
-  Diameter 3¾ inches. _S. E. Kennedy Collection._
-
-  Fig. 2.--Bowl with blue phœnix medallions, pierced trellis work
-  and characters. Wan Li mark. Height 2¼ inches. _Hippisley
-  Collection._
-
-  Fig 3.--Covered Bowl with blue and white landscapes and biscuit
-  reliefs of Eight Immortals. Height 6½ inches. _Grandidier
-  Collection._]
-
-Two interesting kinds of decoration mentioned in the Wan Li list[182]
-are frequently found in combination with blue and white; these are
-relief (_ting chuang_ or _tui hua_) and pierced work (_ling lung_).
-Though both have been seen in various forms on the earlier wares,
-they occur at this period in a fashion which challenges special
-attention. I allude particularly to the small bowls with or without
-covers, decorated on the sides with unglazed (or “biscuit”) figures
-in detached relief, or with delicately perforated fretwork, or with
-a combination of both. The catalogue[183] of the Pierpont Morgan
-Collection illustrates two covered bowls of the first type with the
-Eight Immortals in four pairs symmetrically arranged on the sides,
-and a “biscuit” lion on the cover doing duty for a handle. A similar
-bowl, formerly in the Nightingale Collection, had the same relief
-decoration and painted designs in the typical grey blue of the Wan
-Li period; and Fig. 3 of Plate 78 represents an excellent example
-from the Grandidier collection. The Chinese were in the habit of
-daubing these biscuit reliefs (just as they did the unglazed details
-of statuettes) with a red pigment which served as a medium for oil
-gilding, but as neither of these coatings was fired they have worn away
-or been cleaned off in the majority of cases. In the Rijks Museum,
-Amsterdam, is a picture[184] by Van Streeck (1632–1678), which shows
-one of these covered bowls with the biscuit reliefs coloured red, and
-Mr. Perzynski[185] alludes to another in a still-life by Willem Kalf
-(1630–1693) in the Kaiser Frederick Museum, Berlin, with the figures
-both coloured[186] and gilt. An excellent example of the second kind
-of decoration is illustrated by Fig. 2 of Plate 78, one of a set of
-four bowls in the Hippisley Collection, with phœnix medallions and
-other decoration in a fine grey blue, the spaces filled with perforated
-designs of the utmost delicacy, veritable “devil’s work,” to borrow a
-Chinese term for workmanship which shows almost superhuman skill. The
-small pierced medallions contain the characters _fu_, _shou_, _k’ang_,
-_ning_[187] (happiness, longevity, peace, and tranquillity), and under
-the base are the six characters of the Wan Li mark. A line cut in the
-glaze (before firing) at the lip and on the base-rim seems to have
-been designed to give a firm hold to a metal mount, a use to which it
-has been actually put in one case; and in another the glazing of the
-mark under the base has been omitted with the result that it has come
-from the kiln black instead of blue. The third kind which combines the
-reliefs and the pierced ornament is illustrated by Fig. 1 of Plate 78.
-The reliefs of these medallions are small and very delicately modelled,
-and the subjects are various, including human and animal figures, birds
-and floral compositions; the borders are often traced in liquid clay,
-which is left in unglazed relief. An example in the British Museum
-has an interior lining washed with blue to serve as a backing for the
-pierced work, and it is painted inside with dragon designs in Wan Li
-grey blue. It bears a mark which occurs on other late Ming porcelains,
-_yü tang chia ch’i_ (beautiful vessel for the Jade Hall).[188]
-Examples of this same pierced and relief work in white, without the
-supplementary blue designs, though rare, are yet to be seen in several
-collections. If marked at all they usually bear the apocryphal date of
-Ch’êng Hua, but an example in the Marsden Perry collection, Providence,
-U.S.A., has the T’ien Ch’i (1621–1627) date under the base, which no
-doubt represents the true period of its manufacture. This intricate
-_ling lung_ work, which the Wan Li censor deprecated as too difficult
-and elaborate, has been perpetuated, though it was probably never more
-beautifully executed than in the late Ming period. The later examples
-are mostly characterised by larger perforations, which were easier
-to manage. There are several references to the pierced and relief
-decorations in the lists of porcelain supplied to the Court of Wan
-Li, e.g. “brush rests with sea waves and three dragons in relief over
-pierced designs, and landscapes,” “landscape medallions among pierced
-work,” and “sacred fungus carved in openwork, and figures of ancient
-cash.” In the finer examples of pierced work the most frequent design
-is the fret or key pattern often interwoven with the four-legged
-symbol known as the swastika, which commonly serves in Chinese for
-the character _wan_ (ten thousand), carrying a suggested wish for
-“long life,” as expressed in the phrase _wan sui_ (Jap. _banzai_), ten
-thousand years. The pierced patterns are carved out of the porcelain
-body when the ware has been dried to a “leather-tough” consistency, and
-the manipulative skill exercised in the cutting and handling of the
-still plastic material is almost superhuman. Similar _tours de force_
-distinguish the Japanese Hirado porcelain, and Owen’s work in our own
-Worcester ware exhibits extraordinary skill, but I doubt if anything
-finer in this style has ever been made than the _ling lung_ bowls of
-the late Ming potters.
-
-Another form of decoration which, if not actually included in the _ling
-lung_ category, is at any rate closely allied to it, is the fretwork
-cut deeply into the body of the ware without actually perforating it,
-the hollows of the pattern being generally left without glaze. This
-ornament is used in borders or to fill the spaces between blue and
-white medallions after the manner of the pierced fretwork, and it was
-evidently contemporaneous with the latter, viz. dating from the late
-Ming period onwards (Plate 68, Fig. 3).
-
-It will be convenient here to consider another type of decoration
-which was probably in use in the early periods of the Ming dynasty,
-certainly in the reign of Wan Li, and which has continued to modern
-times. This is the decoration in white clay varying in thickness from
-substantial reliefs to translucent brush work in thin slip or liquid
-clay, which allows the colour of the background to appear through
-it. The designs are painted or modelled in white against dark or
-light-coloured grounds of various shades--lustrous coffee brown (_tzŭ
-chin_), deep blue, slaty blue, lavender, celadon, plain white, and
-crackled creamy white--and they are usually slight and artistically
-executed. The process, which is the same in principle as in the modern
-_pâte sur pâte_, consisted of first covering the ground with
-colouring matter, then tracing the design in white slip (i.e. liquid
-clay) or building it up with strips of clay modelled with a wet brush,
-and finally covering it with a colourless glaze. In this case the
-white design has a covering of glaze. When a celadon green ground is
-used the design is applied direct to the biscuit and the celadon glaze
-covers the whole, but being quite transparent it does not obscure the
-white slip beneath. Sometimes, however, as in Fig. 3 of Plate 75, the
-design is unglazed and stands out in a dry white “biscuit.” Elaborate
-and beautiful examples of slip decoration were made in the K’ang Hsi
-and later periods, and Pére d’Entrecolles, writing in 1722, describes
-their manufacture, stating that steatite and gypsum were used to form
-the white slip.[189] The Ming specimens are usually of heavier make
-and less graceful form, and distinguished by simplicity and strength
-of design, the backgrounds being usually lustrous brown or different
-shades of blue. They consist commonly of bottles, jars, flower pots,
-bulb bowls, dishes, and narghili bowls, and many of them were clearly
-made for export to Persia and India, where they are still to be found.
-On rare examples the slip decoration is combined with passages of blue
-and white.
-
-There is little to guide us to the dating of these wares, and marks
-are exceptional.[190] There is, however, a flower pot in the British
-Museum with white design of _ch’i-lin_ on a brown ground which has
-the late Ming mark _yü t’ang chia ch’i_[191]; and a specimen with an
-Elizabethan metal mount was exhibited at the Burlington Fine Arts
-Club in 1910.[192] These are, no doubt, of Ching-tê Chên make; but
-there is a curious specimen in the British Museum which seems to be
-of provincial manufacture. It is a dish with slaty blue ground and
-plant designs with curious feathery foliage traced with considerable
-delicacy. The border of running floral scroll has the flowers outlined
-in dots, and the whole execution of the piece is as distinctive as
-the strange coarse base which shows a brown-red biscuit and heavy
-accretions of sand and grit at the foot rim. The same base and the same
-peculiarities of design appeared on a similar dish with celadon glaze
-exhibited by Mrs. Halsey at the Burlington Fine Arts Club in 1910,[193]
-and in the British Museum there are other dishes clearly of the same
-make, but with (1) crackled grey white glaze and coarsely painted blue
-decoration, and (2) with greenish white glaze and enamelled designs
-in iron red and the Ming blue green. It is clear that we have to deal
-here with the productions of one factory, and though we have no direct
-clue to its identity, it certainly catered for the export trade to
-India and the islands; for the enamelled dishes of this type have been
-found in Sumatra. Mrs. Halsey’s dish came from India, and fragments
-of the blue and enamelled types were found in the ruins of the palace
-at Bijapur,[194] which was destroyed by Aurungzebe in 1686. Probably
-the factory was situated in Fukien or Kuangtung, where it would be
-in direct touch with the southern export trade, and the style of
-the existing specimens points to the late Ming as the period of its
-activity.
-
-The process of marbling or “graining” has been tried by potters all the
-world over, and the Chinese were no exceptions. The effect is produced
-either by slips of two or more coloured clays worked about on the
-surface, or by blending layers of clays in two or more colours (usually
-brown and white) in the actual body. Early examples of this marbling
-occur among the T’ang wares, and Mr. Eumorfopoulos has examples of the
-Ming and later periods. One of these, a figure with finely crackled
-buff glaze and passages of brown and white marbling in front and on the
-back, has an incised inscription, stating that it was modelled by Ch’ên
-Wên-ching in the year 1597.[195]
-
-The use of underglaze red in the Wan Li period has already been
-mentioned (p. 59), and though Chinese writers classed it as _chi hung_
-they would not admit it to an equality with the brilliant reds of the
-fifteenth century.[196] Where red is named in the lists of Imperial
-porcelains we are left in doubt as to its nature, whether under or over
-the glaze; but there are two little shallow bowls in the British Museum
-with a curious sponged blue associated with indifferent underglaze red
-painting, which bear the late Ming mark _yü t’ang chia ch’i_.[197] A
-bowl of lotus flower pattern, similar in form to that described on p.
-66, but deeper, and painted with similar designs in pale underglaze
-red, though bearing the Ch’êng Hua mark, seems to belong to the late
-Ming period.
-
-The Wan Li polychromes will naturally include continuations of the
-early Ming types, such as the large jars with decoration in raised
-outline, pierced or carved and filled in with glazes of the _demi-grand
-feu_--turquoise, violet purple, green and yellow--wares with flat
-washes of the same turquoise and purple, incised designs filled in
-with transparent glazes of the three colours (_san ts’ai_), green,
-yellow and aubergine, and, what is probably more truly characteristic
-of this period, combinations of the first and last styles. A good
-example of the transparent colours over incised designs is Fig. 1 of
-Plate 79, a vase of the form known as _mei p’ing_ with green Imperial
-dragons in a yellow ground and the Wan Li mark. All three of the _san
-ts’ai_ colours were also used separately as monochromes with or without
-engraved designs under the glaze, a striking example in the Pierpont
-Morgan Collection being a vase with dragon handles and engraved designs
-under a brilliant iridescent green glaze, “which appears like gold in
-the sunlight.”[198] But though these types persisted, they would no
-doubt be gradually superseded by simpler and more effective methods
-of pictorial decoration in painted outline on the biscuit, filled in
-with washes of transparent enamels in the same three colours. These
-softer enamels, which contained a high proportion of lead and could be
-fired at the relatively low temperature of the muffle kiln, must have
-been used to a considerable extent in the late Ming period, though
-their full development belongs to the reign of K’ang Hsi, and there
-will always be a difficulty in separating the examples of these two
-periods, whether the colours be laid on in broad undefined washes, as
-on certain figures and on the “tiger skin” bowls and dishes, or brushed
-over a design carefully outlined in brown or black pigment. There is
-one species of the latter family with a ground of formal wave pattern
-usually washed with green and studded with floating plum blossoms,
-in which are galloping sea horses or symbols, or both, reserved and
-washed with the remaining two colours, or with a faintly greenish flux,
-almost colourless, which does duty for white. This species is almost
-always described as Ming; and with some reason, for the sea wave and
-plum blossom pattern is mentioned in the Wan Li lists as in polychrome
-combined with blue decoration. But the danger of assuming a specimen to
-be Ming because it exhibits a design which occurred on Ming porcelain
-is shown by an ink pallet in the British Museum, which is dated in the
-thirty-first year of K’ang Hsi, i.e. 1692. This important piece (Plate
-94, Fig. 2) is decorated in enamels on the biscuit over black outlines
-with the wave and plum blossom pattern, the same yellow trellis diaper
-which appears on the base of the vase in Plate 97, and other diaper
-patterns which occur on so many of the so-called Ming figures. This
-piece is, in fact, a standing rebuke to those careless classifiers who
-ascribe all on-biscuit enamel indiscriminately to the Ming period, and
-I am strongly of opinion that most of the dishes,[199] bowls, ewers,
-cups and saucers, and vases with the wave and plum blossom pattern and
-horses, etc., in which a strong green enamel gives the dominating tint,
-belong rather to the K’ang Hsi period. The same kind of decoration is
-sometimes found applied to glazed porcelain, as on Fig. 3 of Plate 79,
-a covered potiche-shaped vase in the British Museum with the design
-of “jewel mountains and sea waves,” with floating blossoms, and _pa
-pao_[200] symbols in green, yellow and white in an aubergine ground,
-supplemented by a few plain rings in underglaze blue. The style of this
-vase and the quality of the paste suggest that it really does belong to
-the late Ming period.
-
-  [Illustration: Plate 79.--Wan Li Polychrome Porcelain.
-
-  Fig. 1.--Vase (_mei p’ing_) with engraved design, green in a
-  yellow ground, Imperial dragons in clouds, rock and wave border.
-  Wan Li mark. Height 15 inches. _British Museum._
-
-  Fig. 2.--Bottle with pierced casing, phœnix design, etc., painted
-  in underglaze blue and enamels; cloisonné enamel neck. Height 23
-  inches. _Eumorfopoulos Collection._
-
-  Fig. 3.--Covered Jar, plum blossoms and symbols in a wave pattern
-  ground, coloured enamels in an aubergine background. Height 15½
-  inches. _British Museum._]
-
-The use of enamels over the glaze was greatly extended in the Wan Li
-period, though practically all the types in vogue at this time can
-be paralleled in the Chia Ching porcelain, and, indeed, have been
-discussed under that heading. There is the red family in which the
-dominant colour is an iron red, either of curiously sticky appearance
-and dark coral tint or with the surface dissolved in a lustrous
-iridescence. Yellow, usually a dark impure colour, though sometimes
-washed on extremely thin and consequently light and transparent,
-and transparent greens, which vary from leaf tint to emerald and
-bluish greens, occur in insignificant quantity. This red family is
-well illustrated by a splendid covered jar in the Salting Collection
-(Plate 80), and by three marked specimens in the British Museum, an
-ink screen, a bowl, and a circular stand. It also occurs on another
-significant piece in the latter collection, a dish admirably copying
-the Ming style but marked _Shên tê t’ang po ku chih_[201] (antique
-made for the Shên-tê Hall), a palace mark of the Tao Kuang period
-(1821–1850). It should be added that this colour scheme[202] is
-frequently seen on the coarsely made and roughly decorated jars and
-dishes with designs of lions in peony scrolls, etc., no doubt made in
-large quantities for export to India and Persia. They are not uncommon
-to-day, and in spite of their obvious lack of finish they possess
-certain decorative qualities, due chiefly to the mellow red, which are
-not to be despised.
-
-But the characteristic polychrome of the period, the _Wan Li wu
-ts’ai_, combines enamelled decoration with underglaze blue, and
-this again can be divided into two distinctive groups. One of these is
-exemplified by Plate 81, an Imperial vase shaped after a bronze model
-and of the same massive build as its fellow in blue and white, which
-was described on p. 67. Here the underglaze blue is supplemented by the
-green, the impure yellow and the sticky coral red of the period, and
-the subject as on the blue and white example consists of dragons and
-phœnixes among floral scrolls with borders of rock and wave pattern.
-The object of the decorator seems to have been to distract the eye
-from the underlying ware, as if he were conscious of its relative
-inferiority, and the effect of this close design, evenly divided
-between the blue and the enamels, is rather checkered when viewed from
-a distance. But both form and decoration are characteristic of the
-Wan Li Imperial vases, as is shown by kindred specimens, notably by a
-tall vase in the Pierpont Morgan Collection, of which the design is
-similar and the form even more metal-like, having on the lower part
-the projecting dentate ribs seen on square bronze and cloisonné beakers
-of the Ming dynasty. Two other marked examples of this colour scheme,
-from which the absence of aubergine is noteworthy, are (1) a ewer
-in the British Museum with full-face dragons on the neck supporting
-the characters _wan shou_ (endless longevity) and with floral
-sprays on a lobed body, and (2) a straight-sided box with moulded
-six-foil elevation, painted on each face with a screen before which
-is a fantastic animal on a stand, and a monkey, dog and cat in garden
-surroundings.
-
-The second--and perhaps the more familiar--group of _Wan Li wu ts’ai_
-is illustrated by Fig. 1 of Plate 82, on which all the colours,
-including aubergine, are represented in company with the underglaze
-blue. There is no longer the same patchy effect, because the blue
-is more evenly balanced by broader washes of the enamel colours,
-particularly the greens. The design of this particular example is a
-figure subject taken from Chinese history (_shih wu_), supplemented
-by a brocade band of floral scroll work on the shoulder and formal
-patterns on the neck and above the base. The former and the latter
-positions are commonly occupied in these vases by a band of stiff
-leaves and a border of false gadroons, both alternately blue and
-coloured. The stiff leaves in this instance are replaced by floral
-sprays, and the coloured designs are outlined in a red brown pigment.
-The mark under the base is the “hare,” which has already been noticed
-on examples of late Ming blue and white.[203] Another late Ming mark,
-_yü t’ang chia ch’i_,[204] occurs on a dish in the British Museum, with
-design of the Eight Immortals paying court to the god of Longevity (_pa
-hsien p’êng shou_), painted in the same style but with a predominance
-of underglaze blue.
-
-  [Illustration: PLATE 80
-
-  Covered Jar or potiche. Painted in iron red and green enamels,
-  with a family scene in a garden, and brocade borders of
-  _ju-i_ pattern, peony scrolls, etc. Sixteenth century.
-
-  Height 17½ inches.
-
-  _Salting Collection_ (_Victoria and Albert Museum_).]
-
-But it is not necessary to multiply instances, for the type is well
-known, and must have survived for a long period. Indeed, many competent
-authorities assign the bulk of this kind of porcelain to the Yung
-Chêng period (1723–1735); and it is undoubtedly true that imitations
-of Wan Li polychrome were made at this time, for they are specifically
-mentioned in the Yung Chêng list of Imperial wares.[205] But I am
-inclined to think that the number of these late attributions has been
-exaggerated, and that they do not take sufficiently into account the
-interval of forty-two years between the reigns of Wan Li and K’ang
-Hsi. It was a distracted time when the potters must have depended
-largely upon their foreign trade in default of Imperial orders, and it
-is probable that much of this ware, characterised by strong, rather
-coarse make, greyish glaze and boldly executed decoration in the Wan Li
-colour scheme, belongs to this intermediate period. The vases usually
-have the flat unglazed base which characterises the blue and white of
-this time.[206] Two handsome beakers, with figure subjects and borders
-of the peach, pomegranate and citron, and a beautiful jar with phœnix
-beside a rock and flowering shrubs, in the British Museum, seem to
-belong to this period, but there are numerous other examples, many of
-which are coarse and crude, and obviously made wholesale for the export
-trade.
-
-Among the various examples of Wan Li polychrome exhibited at the
-Burlington Fine Arts Club in 1910, there was one which calls for
-special mention, a box[207] with panels of floral designs surrounded by
-fruit and diaper patterns in the usual colours of the _wu ts’ai_, with
-the addition of an overglaze blue enamel. It is true that this blue
-enamel was clearly of an experimental nature and far from successful,
-but its presence on this marked and indubitable Wan Li specimen is
-noteworthy. For it has long been an article of faith with collectors
-that this blue enamel does not antedate the Ch’ing dynasty, being,
-in fact, a characteristic feature of the K’ang Hsi _famille verte_
-porcelain. The rule still remains an excellent one, and this solitary
-exception only serves to emphasise its general truth, showing as
-it does that so far the attempts at a blue enamel were a failure.
-But at the same time the discovery is a warning against a too rigid
-application of those useful rules of thumb, based on the generalisation
-from what must, after all, be a limited number of instances.
-
-Marked examples of Wan Li monochromes are rarely seen, but we may
-assume that the glazes in use in the previous reigns continued to be
-made--blue, lavender, turquoise, violet and aubergine brown, yellow in
-various shades, leaf green, emerald green, apple green, celadon, coffee
-brown, and golden brown--besides the more or less accidental effects
-in the mottled and _flambé_ glazes. The plain white bowls of the
-period had a high reputation,[208] and a good specimen in the British
-Museum, though far from equalling the Yung Lo bowl (Plate 59), is
-nevertheless a thing of beauty. The white wares of the Ting type made
-at this time have been already discussed.[209] The monochrome surfaces
-were not infrequently relieved by carved or etched designs under the
-glaze, but it must be confessed that monochromes are exceedingly
-difficult to date. Particular colours and particular processes
-continued in use for long periods, and the distinctions between the
-productions of one reign and the next, or even between those of the
-late Ming and the early Ch’ing dynasties, are often almost unseizable.
-At best these differences consist in minute peculiarities of form and
-potting, in the texture of the body and glaze, and the finish of the
-base, which are only learnt by close study of actual specimens and
-by training the eye to the general character of the wares until the
-perception of the Ming style becomes instinctive. But something further
-will be said on this subject in the chapter on Ming technique.
-
-  [Illustration: PLATE 81
-
-  Beaker-shaped Vase of bronze form, with dragon and phœnix designs
-  painted in underglaze blue, and red, green and yellow enamels:
-  background of fairy flowers (_pao hsiang hua_) and borders
-  of “rock and wave” pattern. Mark of the Wan Li period (1573–1619)
-  in six characters on the neck. An Imperial piece. Carved wood
-  stand with cloud pattern.
-
-  Height 18½ inches.
-
-  _British Museum._]
-
-
-                         THE LAST OF THE MINGS
-
-                     _T’ai Ch’ang_ [chch 2] (1620)
-
-                   _T’ien Ch’i_ [chch 2] (1621–1627)
-
-                  _Ch’ung Chêng_ [chch 2] (1628–1643)
-
-Chinese ceramic history, based on the official records, is silent
-on the subject of the three last Ming reigns, and we are left to
-infer that during the death struggles of the old dynasty and the
-establishment of the Manchu Tartars on the throne work at the Imperial
-factory was virtually suspended. The few existing specimens which bear
-the marks of T’ien Ch’i and Ch’ung Chêng (the T’ai Ch’ang mark is
-apparently unrepresented) are of little merit. A barrel-shaped incense
-vase with floral scrolls and a large bowl with four-clawed dragons
-of the former date in the British Museum are painted the one in dull
-greyish blue, and the other in a bright but rather garish tint of
-the same colour; both have a coarse body material with blisters and
-pitting in the glaze, and the painting of the designs is devoid of any
-distinction. Similarly, a polychrome saucer dish with the same mark
-and in the same collection, decorated with an engraved dragon design
-filled in with purple glaze in a green ground, carries on the early
-tradition of that type of Ming polychrome, but the ware is coarse,
-the design crudely drawn, and the colours impure.[210] From the
-same unflattering characteristics another dish in the British Museum,
-with large patches of the three on-biscuit colours--green, yellow and
-aubergine--may be recognised as of the T’ien Ch’i make. This is a
-specimen of the so-called tiger skin ware, of which K’ang Hsi and later
-examples are known--a ware which, even in the best-finished specimens
-with underglaze engraved designs, is more curious than beautiful. On
-the other hand, one of the delicate bowls with biscuit figures in high
-relief, already described (p. 75), proves that the potters of the T’ien
-Ch’i period were still capable of skilful work when occasion demanded.
-A pair of wine cups in the British Museum, with freely drawn designs of
-geese and rice plants in pale greyish blue under a greyish glaze, are
-the solitary representatives of the Ch’ung Chêng mark.
-
-In the absence of Imperial patronage, and with the inevitable trade
-depression which followed in the wake of the fierce dynastic struggle,
-it was fortunate for the Ching-tê Chên potters that a large trade with
-European countries was developing. The Portuguese and Spanish had
-already established trading connections with the Chinese, and the other
-Continental nations--notably the Dutch--were now serious competitors.
-The Dutch East India Company was an extensive importer of blue and
-white porcelain, and we have already discussed one type of blue and
-white which figures frequently in the Dutch pictures of the seventeenth
-century.
-
-There is another group of blue and white which can be definitely
-assigned to this period of dynastic transition, between 1620–1662. A
-comparative study of the various blue and white types had already led
-to the placing of this ware in the middle of the seventeenth century,
-and Mr. Perzynski, in those excellent articles[211] to which we have
-already alluded, has set out the characteristics of this ware at some
-length, with a series of illustrations which culminate in a dated
-example. There will be no difficulty in finding a few specimens of
-this type in any large collection of blue and white. It is recognised
-by a bright blue of slightly violet tint under a glaze often hazy with
-minute bubbles, which suggested to Mr. Perzynski the picturesque simile
-of “violets in milk.” Other more tangible characteristics appear in
-the designs, which commonly consist of a figure subject--a warrior or
-sage and attendant--in a mountain scene bordered by a wall of rocks
-with pine trees and swirling mist, drawn in a very mannered style and
-probably from some stock pattern. Other common features are patches of
-herbage rendered by pot-hook-like strokes, formal floral designs of a
-peculiar kind, such as the tulip-like flower on the neck of Fig. 4 of
-Plate 82; the band of floral scroll work on the shoulder of the same
-piece is also characteristic. In many of the forms, such as cylindrical
-vases and beakers, the base is flat and unglazed, and reveals a good
-white body, and European influence is apparent in some of the shapes,
-such as the jugs and tankards.
-
-As for the dating of this group, an early example of the style of
-painting in the Salting Collection[212] has a silver mount of the
-early seventeenth century, and a tankard of typical German form in the
-Hamburg Museum has a silver cover dated 1642.[213] There is, besides, a
-curious piece in the British Museum, the decoration of which has strong
-affinities to this group. It is a bottle with flattened circular body
-and tall, tapering neck, with landscape and figures on one side and
-on the other a European design copied from the reverse of a Spanish
-dollar, and surrounded by a strap-work border. The dollar, from a
-numismatic point of view, might have been made equally well for Philip
-II. (1556–1598), Philip IV. (1621–1665), or Charles II. (1665–1700),
-but there can be little doubt from the style of the ware that it
-belonged to one of the two earlier reigns.
-
-A comparison of the ware and the blue of this group leads to the
-placing of the fairly familiar type illustrated by Figs. 3 and 5
-of Plate 82 in the same intermediate period, and similarly certain
-specimens of polychrome, with underglaze blue and the usual enamels,
-display the characteristic body and blue painting, and even some of the
-decorative mannerisms. These specimens, particularly when of beaker
-form, are often finished off with a band of ornament engraved under the
-glaze.
-
-  [Illustration: Plate 82.--Late Ming Porcelain.
-
-  Fig. 1--Jar of Wan Li period, enamelled. Mark, a hare. Height 9
-  inches. _British Museum._ Fig. 2. Bowl with Eight Immortals
-  in relief, coloured glazes on the biscuit. Height 3¼ inches.
-  _Eumorfopoulos Collection._
-
-  Figs. 3, 4 and 5.--Blue and white porcelain, early seventeenth
-  century. Height of Fig. 5, 17 inches. _British Museum._]
-
-  [Illustration: Plate 83.--Vase
-
-  With blue and white decoration of rockery, phœnixes, and
-  flowering shrubs. Found in India. Late Ming period. Height 22
-  inches. _Halsey Collection._]
-
-
-
-
-                              CHAPTER VI
-
-                  THE TECHNIQUE OF THE MING PORCELAIN
-
-
-Although the processes involved in the various kinds of decoration and
-in the different wares have been discussed in their several places, a
-short summary of those employed in the manufacture of the Ching-tê Chên
-porcelain during the Ming period will be found convenient. The bulk of
-the materials required were found in the surrounding districts, if not
-actually in the Fou-liang Hsien. The best kaolin (or porcelain earth)
-was mined in the Ma-ts’ang mountains until the end of the sixteenth
-century, when the supply was exhausted and recourse was had to another
-deposit at Wu-mên-t’o. The quality of the Wu-mên-t’o kaolin was
-first-rate, but as the cost of transport was greater and the manager
-of the Imperial factory refused to pay a proportionately higher price,
-very little was obtained. The material for the large dragon bowls, and
-presumably for the other vessels of abnormal size, was obtained from
-Yü-kan and Wu-yüan and mixed with powdered stone (_shih mo_) from
-the Hu-t’ien district. Other kaolins, brought from Po-yang Hsien and
-the surrounding parts, were used by the private potters, not being
-sufficiently fine for the Imperial wares.
-
-The porcelain stone, which combined with the kaolin to form the two
-principal ingredients of true porcelain, came from the neighbourhoods
-of Yü-kan and Wu-yüan, where it was pounded and purified in mills
-worked by the water power of the mountains, arriving at Ching-tê Chên
-in the form of briquettes. Hence the name _petuntse_,[214] which,
-like kaolin, has passed into our own language, and the term _shih
-mo_ (powdered stone) used above.
-
-The glaze earth (_yu t’u_) in various qualities was supplied from
-different places. Thus the Ch’ang-ling material was used for the blue
-or green (_ch’ing_) and the yellow glazes, the Yi-k’êng for the pure
-white porcelain, and the T’ao-shu-mu for white porcelain and for “blue
-and white.” This glazing material was softened with varying quantities
-of ashes of lime burnt with ferns or other frondage. Neither time nor
-toil was spared in the preparation of the Imperial porcelains, and
-according to the _T’ung-ya_[215] the vessels were, at one time at any
-rate, dried for a whole year after they had been shaped and before
-finishing them off on the lathe. When finished off on the lathe they
-were glazed and dried, and if there were any inequalities in the
-covering they were glazed again. Furthermore, if any fault appeared
-after firing they were put on the lathe, ground smooth, and reglazed
-and refired.
-
-It was not the usual custom with Chinese potters to harden the ware
-with a slight preliminary firing before proceeding to decorate and
-apply the glaze, and consequently such processes as underglaze painting
-in blue, embossing, etc., were undergone while the body was still
-relatively soft and required exceedingly careful handling. The glaze
-was applied in several ways--by dipping in a tub of glazing liquid
-(i.e. glaze material finely levigated and mixed with water), by
-painting the glaze on with a brush, or by blowing it on from a bamboo
-tube, the end of which was covered with a piece of tightly stretched
-gauze. One of the last operations was the finishing off of the foot,
-which was hollowed out and trimmed and the mark added (if it was to be
-in blue, as was usually the case) and covered with a spray of glaze.
-To the connoisseur the finish of the foot is full of meaning. It is
-here he gets a glimpse of the body which emerges at the raw edge of
-the rim, and by feeling it he can tell whether the material is finely
-levigated or coarse-grained. The foot rim of the Ming porcelains is
-plainly finished without the beading or grooves of the K’ang Hsi wares,
-which were evidently designed to fit a stand[216]; and the raw edge
-discloses a ware which is almost always of fine white texture and close
-grain (often almost unctuous to the touch), though the actual surface
-generally assumes a brownish tinge in the heat of the kiln. The base
-is often unglazed in the case of large jars and vases, rarely in the
-cups, bowls, dishes, or wine pots, except among the coarser types of
-export porcelain. A little sand or grit adhering to the foot rim and
-radiating lines under the base caused by a jerky movement of the lathe
-are signs of hasty finish, which occur not infrequently on the export
-wares. The importance of the foot in the eyes of the Chinese collector
-may be judged from the following extract from the _Shih ch’ing jih
-cha_[217]:--
-
-   “Distinguish porcelain by the vessel’s foot. The Yung Lo
-   'press-hand’ bowls have a glazed bottom but a sandy foot;
-   Hsüan ware altar cups have 'cauldron’[218] bottom (i.e. convex
-   beneath) and wire-like foot; Chia Ching ware flat cups decorated
-   with fish have a 'loaf’ centre[219] (i.e. convex inside) and
-   rounded foot. All porcelain vessels issue from the kiln with
-   bottoms and feet which can testify to the fashion of the firing.”
-
-It is not always easy unaided by illustration to interpret the Chinese
-metaphors, but it is a matter of observation that many of the Sung
-bowls, for instance, have a conical finish under the base, and that the
-same pointed finish appears on some of the early Ming types, such as
-the red bowls with Yung Lo mark. The “loaf centre” of the Chia Ching
-bowls seems to refer to the convexity described on p. 35. The blue and
-white conical bowls with Yung Lo mark (see p. 6) have, as a rule, a
-small glazed base and a relatively wide unglazed foot rim.
-
-But this digression on the nether peculiarities of the different wares
-has led us away from the subject of glaze. The proverbial thickness and
-solidity of the early Ming glazes, which are likened to “massed lard,”
-are due to the piling up of successive coatings of glaze to ensure a
-perfect covering for the body, and the same process was responsible
-for the undulating appearance of the surface, which rose up in small
-rounded elevations “like grains of millet” and displayed corresponding
-depressions.[220] This uneven effect, due to an excess of glaze, was
-much prized by the Chinese connoisseurs, who gave it descriptive
-names like “millet markings,” “chicken skin,” or “orange peel,” and
-the potters of later periods imitated it freely and often to excess.
-Porcelain glazes are rarely dead white, and, speaking generally, it
-may be said that the qualifying tint in the Ming period was greenish.
-Indeed, this is the prevailing tone of Chinese glazes, but it is
-perhaps accentuated by the thickness of the Ming glaze. This greenish
-tinge is most noticeable when the ware is ornamented with delicate
-traceries in pure white clay or slip under the glaze.
-
-  [Illustration: PLATE 84
-
-  Vase of baluster form with small mouth (_mei p’ing_).
-  Porcelain with coloured glazes on the biscuit, the designs
-  outlined in slender fillets of clay. A meeting of sages in a
-  landscape beneath an ancient pine tree, the design above their
-  heads representing the mountain mist. On the shoulders are large
-  _ju-i_ shaped lappets enclosing lotus sprays, with pendent
-  jewels between: fungus (_ling chih_) designs on the neck.
-  Yellow glaze under the base. A late example of this style of
-  ware, probably seventeenth century.
-
-  Height 11 inches.
-
-  _Salting Collection_ (_Victoria and Albert Museum_).]
-
-As for the shape of the various Ming wares, much has already been
-said in reference to the various lists of Imperial porcelains, more
-particularly with regard to the household wares such as dishes,
-bowls, wine pots, boxes, etc. No precise description, however, is
-given in these lists of the actual forms of the vases, and we have
-to look elsewhere for these. There are, however, extracts from books
-on vases[221] and on the implements of the scholar’s table in the
-_T’ao shuo_ and the _T’ao lu_, in which a large number of shapes are
-enumerated. Observation of actual specimens shows that bronze and metal
-work supplied the models for the more elaborate forms which would
-be made, partly or wholly, in moulds. These metallic forms, so much
-affected by the Chinese _literatus_, though displaying great cleverness
-in workmanship and elaboration of detail, are not so pleasing to the
-unprejudiced Western eye as the simple wheel-made forms of which the
-Chinese potter was a perfect master. Of the latter, the most common in
-Ming porcelains are the potiche-shaped covered jar (Plate 80) and the
-high-shouldered baluster vase with small neck and narrow mouth (Plate
-84), which was known as _mei p’ing_ or prunus jar from its suitability
-for holding a flowering branch of that decorative flower. Next to
-these, the most familiar Ming forms are the massive and often clumsy
-vases of double gourd shape, or with a square body and gourd-shaped
-neck, bottles with tapering neck and globular body, ovoid jars,
-melon-shaped pots with lobed sides, jars with rounded body and short
-narrow neck, all of which occur in the export wares. These are, as a
-rule, strongly built and of good white material, and if the shoulders
-are contracted (as is nearly always the case) they are made in
-two sections, or more in the case of the double forms, with no pains
-taken to conceal the seam. Indeed, elaborate finish had no part in the
-construction of these strong, rugged forms, which are matched by the
-bold design and free drawing of the decoration. I may add that sets of
-vases hardly come within the Ming period. They are an un-Chinese idea,
-and evolved in response to European demands. The mantelpiece sets of
-five (three covered jars and two beakers) are a development of the
-mid-seventeenth century when the Dutch traders commanded the market.
-The Chinese altar-set of five ritual utensils is the nearest approach
-to a uniform set, consisting as it did of an incense burner, two flower
-vases, and two pricket candlesticks, often with the same decoration
-throughout.
-
-The Ming bowls vary considerably in form, from the wide-mouthed,
-small-footed bowl (_p’ieh_) of the early period to the rounded forms,
-such as Fig. 1 of Plate 74. In some cases the sides are moulded in
-compartments, and the rims sharply everted. Others again are very
-shallow, with hollow base and no foot rim; others follow the shape
-of the Buddhist alms bowl with rounded sides and contracted mouth;
-and there are large bowls for gold-fish (_yü kang_), usually with
-straight sides slightly expanding towards the upper part and broad
-flat rims, cisterns, hot-water bowls with double bottom and plug hole
-beneath, square bowls (Plate 66, Fig. 1) for scraps and slops, and
-large vessels, probably of punch-bowl form, known as “wine seas.” The
-commonest type of Chinese dish is saucer-shaped, but they had also
-flat plates bounded by straight sides and a narrow rim, which has no
-relation to the broad, canted rim of the European plate constructed to
-carry salt and condiments.
-
-The Chinese use porcelain plaques for inlaying in furniture and
-screens, or mounting as pictures, and there are, besides, many objects
-of purely native design, such as barrel-shaped garden seats for summer
-use, cool pillows, and hat stands with spherical top and tall, slender
-stems. But it was only natural that when they began to cater for the
-foreign market many foreign forms should have crept in, such as the
-Persian ewer with pear-shaped body, long elegant handle and spout, the
-latter usually joined to the neck by an ornamental stay: the hookah
-bowl: weights with wide base and ball-shaped tops for keeping down
-Indian mats, etc., when: spread on the ground; and at the end of the
-Ming period a few European shapes, such as jugs and tankards. In the
-Ch’ing dynasty European forms were made wholesale.
-
-       *       *       *       *       *
-
-In considering the colours used in the decoration, we naturally take
-first the limited number which were developed in the full heat of
-the porcelain furnace, the _couleurs de grand feu_ of the French
-classification. These were either incorporated in the glazing material
-or painted on the porcelain body and protected by the glaze. Chief
-among them was blue, which we have already discussed in its various
-qualities. The Mohammedan blue--the _su-ni-p’o_ of the Hsüan Tê period
-and the _hui hui ch’ing_ of the reigns of Chêng Tê and Chia Ching--was
-an imported material of pre-eminent quality but of uncertain supply.
-It was supplemented--and, indeed, usually blended--with the native
-mineral[222] which was found in several places. Thus the _po-t’ang_
-blue (so called from a place name) was found in the district of
-Lo-p’ing Hsien in the Jao-chou Fu; but the mines were closed after a
-riot in the Chia Ching period, and its place was taken by a blue known
-as _shih-tzŭ ch’ing_ (stone, or mineral, blue) from the prefecture of
-Jui-chou in Kiangsi. According to Bushell[223] the _po-t’ang_ blue was
-very dark in colour, and it was sometimes known as _Fo t’ou ch’ing_
-(Buddha’s head blue) from the traditional colour of the hair of Buddha.
-Another material used for painting porcelain was the _hei chê shih_
-(black red mineral) from Hsin-chien in Lu-ling, which was also called
-_wu ming tzŭ_. It was evidently a cobaltiferous ore of manganese and a
-blue-producing mineral, doubtless the same as the _wu ming i_ (nameless
-wonder), which we have already found in use as a name for cobalt.
-
-Much confusion exists, in Chinese works, on the subject of these blues,
-and it is stated in one place that the “Buddha head blue” was a variety
-of the _wu ming i_, which would make the _po t’ang_ blue and the _wu
-ming i_ and the _wu ming tzŭ_ one and the same thing. In effect they
-were the same species of mineral, and the local distinctions are of no
-account at the present day except in so far as they explain the variety
-of tints in the Ming blue and white. It is, however, interesting to
-learn from a note on Mohammedan blue in the K’ang Hsi Encyclopædia
-that the native mineral, when carefully prepared, was very like the
-Mohammedan blue in tint.
-
-All these blues were used either for painting under the glaze or for
-mixing with the glaze to form ground colours or monochromes, which
-varied widely in tint, according to the quantity and quality of the
-cobalt, from dark violet blue (_chi ch’ing_) through pale and
-dark shades of the ordinary blue colour to slaty blue and lavender.
-Some of them--notably the lavender and the dark violet blue--are
-often associated with crackle, being used as an overglaze covering a
-greyish white crackled porcelain. This treatment of the surface is
-well illustrated by a small covered jar in the British Museum with a
-dark violet blue apparently uncrackled but covering a crackled glaze.
-Two lavender blue bowls in the Hippisley Collection with the Chêng Tê
-mark are similarly crackled. Other Ming blue monochromes are a small
-pot found in Borneo and now in the British Museum with a dark blue of
-the ordinary tint used in painted wares, and a wine pot in the same
-collection with dragon spout and handle of a peculiar slaty lavender
-tint strewn with black specks, the colour evidently due to a strain of
-manganese in the cobalt.
-
-Next in importance to the blue is the underglaze red derived from
-copper, which was discussed at length in connection with the Hsüan Tê
-porcelains.[224] Its various tints, described as _hsien hung_ (fresh
-red), _pao shih hung_ (ruby red), and cinnabar bowls “red as the
-sun,” are, we may be sure, more or less accidental varieties of the
-capricious copper red. The same mineral produced the _sang de bœuf_,
-maroon and liver reds, and probably the peach bloom[225] of the K’ang
-Hsi and later porcelains.
-
-Other colours incorporated in the high-fired glaze in the Ming period
-are the pea green (_tou ch’ing_) or celadon, and the lustrous brown
-(_tzŭ chin_) which varied from coffee colour to that of old gold. Both
-of these groups derived their tint from iron oxide, carried in the
-medium of ferruginous earth. The use of two or more of these coloured
-glazes on one piece is a type of polychrome which was doubtless used on
-the Ming as on the later porcelains.
-
-The glazes fired at a lower temperature, in the cooler parts of the
-great kiln, and known for that reason as _couleurs de demi-grand feu_,
-include turquoise (_ts’ui sê_), made from a preparation of old copper
-(_ku t’ung_) and nitre; bright yellow (_chin huang_), composed of 1⅕
-oz. of antimony mixed with 16 oz. of pulverised lead; bright green
-(_chin lü_), composed of 1⅖ oz. of pulverised copper, 6 oz. of powdered
-quartz and 16 oz. of pulverised lead; purple (_tzŭ sê_), composed of 1
-oz. of cobaltiferous ore of manganese, 6 oz. of powdered quartz and 16
-oz. of pulverised lead. These colours, melting as they did at a lower
-temperature than that required to vitrify the porcelain body, had to be
-applied to an already fired porcelain “biscuit.”[226]
-
-The irregular construction of the Chinese kilns resulted in a great
-variety of firing conditions, of which the Chinese potter made good
-use; so that, by a judicious arrangement of the wares, glazes which
-required a comparatively low temperature were fired in the same kiln
-as those which needed the same heat as the porcelain body itself. The
-glazes just enumerated are familiar from the large covered jars, vases,
-garden seats, etc., with designs raised, carved, or pierced in outline,
-many of which date from the fifteenth century.[227] Their manufacture
-continued throughout the Ming period, both in porcelain and pottery,
-and in the latter, at any rate, continued into the Ch’ing dynasty.
-
-Another group of glazes applied likewise to the biscuit and fired in
-the temperate parts of the kiln differs from the last mentioned in its
-greater translucency.[228] These are the _san ts’ai_ or three colours,
-viz. green, yellow and aubergine, all of which contain a considerable
-proportion of lead, and differ little in appearance from the on-glaze
-enamels of the muffle kiln. They were used either as monochromes, plain
-or covering incised designs, or in combination to wash over the spaces
-between the outlines of a pattern which had been incised or painted on
-the biscuit.
-
-Finally, the enamels of the _Wan li wu ts’ai_,[229] overglaze
-colours used in addition to underglaze blue, were composed of a
-vitreous flux coloured with a minute quantity of metallic oxide. The
-flux, being a glass containing a high percentage of lead, was fusible
-at such a low temperature that it was not possible to fire them in the
-large kiln. Consequently these enamels were painted on to the finished
-glaze, a process which greatly increased the freedom of design, and
-fired in a small “muffle” or enameller’s kiln, where the requisite heat
-to melt the flux and fix the colours could be easily obtained.
-
-Though the _T’ao shuo_, in the section dealing with Ming technique,
-makes a general allusion to painting in colours on the glaze, the only
-specific reference to any colour of the muffle kiln, excepting gold,
-is to the red obtained from sulphate of iron (_fan hung sê_). This, we
-are told, was made with 1 oz. of calcined sulphate of iron (_ch’ing
-fan_) and 5 oz. of carbonate of lead, mixed with Canton ox-glue to make
-it adhere to the porcelain before it was fired. This is the iron red,
-the _rouge de fer_ of the French, which varies in tint from orange or
-coral to deep brick red, and in texture from an impalpable film almost
-to the consistency of a glaze, according to the quantity of lead flux
-used with it. On the older wares it is often deeply iridescent and
-lustrous, owing to the decomposition of the lead flux. This _fan hung_
-is the colour which the Chia Ching potters were fain to substitute for
-the underglaze copper red (_chi hung_) when the usual material for that
-highly prized colour had come to an end, and difficulty was experienced
-in finding an effective substitute.
-
-The remaining colours of the on-glaze palette are more obviously
-enamels; that is to say, glassy compounds; and as they were, in
-accordance with Chinese custom, very lightly charged with colouring
-matter, it was necessary to pile them on thickly where depth of colour
-was required.
-
-Hence the thickly encrusted appearance of much of the Chinese enamelled
-porcelain. The Wan Li enamels consisted of transparent greens of
-several shades (all derived from copper), including a very blue green
-which seems to have been peculiar to the Ming palette, yellow (from
-antimony) pale and clear or brownish and rather opaque, and transparent
-aubergine, a colour derived from manganese and varying in tint from
-purple to brown. Two thin dry pigments--one an iron red and the other
-a brown black colour derived from manganese--were used for drawing
-outlines; and the brown black was also used in masses with a coating
-of transparent green to form a green black colour, the same which is
-so highly prized on the _famille noire_ porcelains of the K’ang Hsi
-period. As for the blue enamel of the K’ang Hsi period, it can hardly
-be said to have existed before the end of the Ming dynasty.[230]
-
-Gilding, which was apparently in use throughout[231] the Ming period,
-was applied to the finished porcelain and fired in the muffle kiln. The
-gold leaf, combined with one-tenth by weight of carbonate of lead, was
-mixed with gum and painted on with a brush. The effect, as seen on the
-red and green bowls (Plate 74), was light and filmy, and though the
-gold often has the unsubstantial appearance of size-gilding, in reality
-it adheres firmly[232] and is not easily scratched.
-
-Of the other processes described in the _T’ao shuo_,[233] embossed
-(_tui_ [chch]) decoration was effected by applying strips or shavings
-of the body material and working them into form with a wet brush.
-Some of the more delicate traceries, in scarcely perceptible relief,
-are painted in white slip. Engraved (_chui_ [chch]) decoration was
-effected by carving with an iron graving-tool on the body while it was
-still soft. And so, too, with the openwork (_ling lung_), which has
-already been described.[234] All these processes were in use in one
-form or another from the earliest reigns of the Ming dynasty, and some
-of them, at any rate, have been encountered on the Sung wares. High
-reliefs, such as the figures on the bowls described on p. 74, would
-be separately modelled and “luted” on by means of liquid clay; and,
-as already noted, these reliefs were often left in the biscuit state,
-though at times we find them covered with coloured glazes. It is hardly
-necessary to add that the same processes were applied to pottery, and
-that the reliefs took many other forms besides figures, e.g. dragon
-designs, foliage, scrollwork, symbols, etc.
-
-  [Illustration: PLATE 85
-
-  Vase with crackled greenish grey glaze coated on the exterior
-  with transparent apple green enamel: the base unglazed. Probably
-  sixteenth century.
-
-  Height 14 inches.
-
-  _British Museum._]
-
-The crackled glazes of the Sung period were still made, though the Ming
-tendency was to substitute painted decoration for monochrome; and we
-have already noted the crackled blue and lavender in which a second
-glaze is added to a grey white crackle. This process is particularly
-noticeable in the “apple green” monochromes (Plate 85), both of the
-Ming and Ch’ing dynasties, in which a green overglaze itself uncrackled
-is washed on to a crackled stone grey porcelain. The green is often
-carried down over the slightly browned biscuit of the foot rim, forming
-a band of brown. But this, so far from being a peculiarity of the
-Ming technique, is much more conspicuous on the porcelains of the early
-eighteenth century, when it was the constant practice to dress the foot
-rim of the crackled wares with a brown ferruginous earth in imitation
-of the “iron foot” of their Sung prototypes.
-
-The work at the Imperial factory[235] was divided between twenty-three
-departments, nine of which were occupied with accessories, such as
-the making of ropes and barrels, general carpentry, and even boat
-building. Five separate departments were employed in making the large
-bowls, the wine cups, the plates, the large round dishes, and the tea
-cups; another in preparing the “paste” or body material, and another in
-making the “seggars” or fireclay cases in which the ware was packed in
-the kiln. Five more were occupied in the details of decoration, viz.
-the mark and seal department, the department for engraving designs, the
-department for sketching designs, the department for writing, and the
-department for colouring.
-
-It does not appear that the work of decoration was so minutely
-subdivided in the Ming period as in later times, when we are told that
-a piece of porcelain might pass through more than seventy hands; but it
-is clear, at least, that the outlining and filling in of the designs
-were conducted in separate sheds. This is, indeed, self-apparent
-from the Ming blue and white porcelains, the designs of which are
-characterised by strong and clear outlines filled in with flat washes
-of colour.
-
-With regard to the actual designs, we are told that in the Ch’êng
-Hua period they were drawn by the best artists at the Court, and
-from another passage[236] it is clear that the practice of sending
-the patterns from the palace continued in later reigns as well.
-Such designs would no doubt accumulate, and probably they were
-collected together from time to time and issued in the form of
-pattern books.[237] Another method in which the painters of Ming
-blue and white were served with patterns is related in the _T’ao
-shuo_[238]:--“For painting in blue, the artists were collected each
-day at dawn and at noon, and the colour for painting was distributed
-among them. Two men of good character were first selected, the
-larger pieces of porcelain being given to one, the smaller pieces
-to the other; and when they had finished their painting, the amount
-of the material used was calculated before the things were taken to
-the furnace to be baked. If the results were satisfactory, then the
-pieces were given as models to the other painters, and in the rest of
-the pieces painted, the quantity of the colour used and the depth of
-the tint was required to be in exact accordance with these models.”
-There was little scope for originality or individual effort under
-this system, where everything, even to the amount of material used,
-was strictly prescribed. To translate their model with feeling and
-accuracy was the best that could be expected from the rank and file.
-But with the manual skill and patient industry for which the Chinese
-are proverbial, and the good taste which prevailed in the direction
-of the work, it was a system admirably suited to the task, and it
-unquestionably led to excellent results.
-
-As to the systems in use in the private factories we have no
-information, but we may fairly assume that their processes were much
-the same; and that, not having the benefit of the designs sent from
-Court, they were more dependent upon the pattern books and stock
-designs more or less remotely connected with the work of famous
-painters.
-
-
-
-
-                              CHAPTER VII
-
-                   MISCELLANEOUS PORCELAIN FACTORIES
-
-
-Although from the Ming period onwards our interest is almost entirely
-centred in Ching-tê Chên, there were other factories which cannot be
-altogether ignored. A certain number have already been mentioned at the
-end of the first volume, our scanty information being drawn chiefly
-from the pottery section of the K’ang Hsi Encyclopædia. The same
-monumental work includes in another part[239] a discourse on porcelain
-(_tz’ŭ ch’i_), in which several additional factories are named. The
-passage in question is prefaced by a quotation from the _Tien hung k’ai
-wu_, a late-seventeenth century manual, in which we are told that the
-white earth (_o t’u_[240]) necessary for the manufacture of fine and
-elegant ware was found in China in five or six places only[241]: viz.
-at Ting Chou, in the Chên-ting Fu in Chih-li, at Hua-ting Chou in the
-Ping-liang Fu in Shensi, at P’ing-ting Chou in the T’ai-yüan Fu in
-Shansi, and at Yü Chou in the K’ai-fêng Fu in Honan, in the north; and
-at Tê-hua Hsien in the Ch’üan-chou Fu in Fukien, at Wu-yüan Hsien and
-Ch’i-mên Hsien in the Hui-chou Fu, in Anhui, in the south. As to the
-wares made in these localities, we are told that the porcelains of the
-Chên-ting and K’ai-fêng districts were generally yellow and dull and
-without the jewel-like brilliancy, and that all put together were not
-equal to the Jao Chou ware. It would appear, then, that the Ting Chou
-factories so noted in Sung times were still extant, though they had
-lost their importance. For the rest, the Ch’i-mên district supplied
-Ching-tê Chên with the raw material, the Tê-hua wares will be discussed
-presently, and we have no information about the productions (if any) of
-the other localities.
-
-The province of Fukien apparently contained several factories
-besides the important centre at Tê-hua. The Annals of Ch’üan-chou
-Fu (celebrated as a trading port in the Middle Ages), for instance,
-are quoted with reference to a porcelain (_tz’ŭ ch’i_) manufacture
-at Tz’ŭ-tsao in the Chin-chiang Hsien, and three other places in the
-district of An-ch’i are named as producers of white porcelain which was
-inferior to that of Jao Chou. Similarly, the Annals of Shao-wu Fu, on
-the north-east border of the province, allude to white porcelain made
-at three places,[242] the factory at T’ai-ming in An-jen being the
-best, but all were far from equalling the Jao Chou ware.
-
-The district of Wên-chou Fu (formerly in the south of Fukien but now
-transferred to northern Chekiang) was noted for pottery in the distant
-days of the Chin dynasty (265–419 A.D.), and for the “bowls
-of Eastern Ou.”[243] Of its subsequent ceramic history we have no
-information, but there is an interesting specimen in the British Museum
-which seems to bear on the question. It is an incense burner in the
-form of a seated figure of the god of Longevity on a deer, skilfully
-modelled in strong white porcelain and painted in a good blue in the
-Ming style; and on the box in which it came was a note to the effect
-that it is Wên-chou ware. If there is any truth in this legend (and it
-would be quite pointless if untrue), then a blue and white porcelain in
-the style of the better class of Ming export ware was made at Wên-chou.
-
-Another interesting specimen in the same museum, which should also be
-mentioned here, is a bottle with wide straight neck, of fine white ware
-thickly potted, with soft, smooth-worn glaze painted in a greyish blue
-with a medley of flowers, fruit, insects, and symbols, completed by
-borders of _ju-i_ heads and stiff leaves. It is marked under the base
-in a fine violet blue, _fu fan chih ts’ao_, which, rendered “made on
-the borders of Fukien,” might refer to the factories at Shao-wu Fu or
-even Wên-chou Fu. This is another piece which has many affinities with
-the late Ming export blue and white.
-
-But the Fukien porcelain _par excellence_ is a white ware of
-distinctive character and great beauty which was and still is made
-at Tê-hua Hsien, in the central part of the province.[244] This is
-the _blanc de Chine_ of the French writers and the modern Chien yao
-of the Chinese, but to be carefully distinguished from the ancient
-Chien yao with mottled black glaze which was made in the Sung dynasty
-at Chien-yang in the north of the province.[245] The _T’ao lu_[246]
-informs us that the porcelain industry at Tê-hua began in the Ming
-dynasty, that the cups and bowls usually had a spreading rim, that the
-ware was known as _pai tz’ŭ_ (white porcelain), that it was rich and
-lustrous but, as a rule, thick, and that the images of Buddha were very
-beautiful. This condensed account is supplemented by a few remarks in
-the K’ang Hsi Encyclopædia,[247] from which we gather that the material
-for the ware was mined in the hills behind the Ch’êng monastery and
-that it was very carefully prepared, but if the porcelain was worked
-thin it was liable to lose shape in the kiln, and if it was too thick
-it was liable to crack. At first it was very expensive, but by the time
-of writing (about 1700) it was widely distributed and no longer dear.
-
-Tê-hua porcelain is, in fact, a fine white, highly vitrified material,
-as a rule very translucent and covered with a soft-looking, mellow
-glaze which blends so intimately with the body that they seem to be
-part and parcel of one another. The glaze varies in tone from ivory or
-cream white to the colour of skim milk, and its texture may be aptly
-described by the homely comparison with blancmange. When the ivory
-colour is suffused by a faint rosy tinge, it is specially prized; but
-I can find no reason for supposing that the cream white and milk white
-tints represent different periods of the ware. On the contrary, there
-is good evidence to show that they were made concurrently.
-
-As the ware is with few exceptions plain white or white decorated
-with incised, impressed, moulded, or applied ornaments of a rather
-formal and often archaic character, there will always be a difficulty
-in determining the date of the finer specimens, viz. whether they
-are Ming or early Ch’ing. The nature of the ware itself is a most
-uncertain guide, for one of the most beautiful examples of the material
-which I have seen is a figure of a European soldier which cannot be
-older than 1650. I need hardly say that owners of Fukien porcelain,
-particularly of the figures, habitually give themselves the benefit of
-this ever present doubt, and that these pieces are usually listed in
-sale catalogues as Ming or early Ming according to taste. This attitude
-is fundamentally illogical, for the ware is still made at the present
-day, and the Ming specimens in modern collections are likely to be the
-exception, and not, as optimistic owners would lead one to suppose, the
-rule. But in any case it will be more convenient to deal with the ware
-as a whole in the present chapter than to attempt the difficult task of
-treating its different periods separately, even though the bulk of our
-examples belong to the Ch’ing dynasty.
-
-Tê-hua porcelain can be conveniently studied in the British Museum,
-where there is a fairly representative collection comprising more
-than a hundred specimens. It includes a number of the figures for
-which the factories were specially noted, of deities and sages such
-as Kuan-yin, goddess of Mercy; Kuan-yü, god of War; Bodhidharma, the
-Buddhist apostle; Manjusri, of the Buddhist Trinity; Hsi-wang-mu, the
-Taoist queen of the west; the Taoist Immortals; besides small groups
-representing romantic or mythological subjects such as Wang Chih
-watching the two spirits of the pole stars playing chess. But the
-favourite subject of the Tê-hua modeller was the beautiful and gracious
-figure of Kuan-yin, represented in various poses as standing on a cloud
-base with flowing robes, seated in contemplation on a rocky pedestal,
-or enthroned between her two attributes, the dove--which often carries
-a necklace of pearls--and the vase of nectar, while at her feet on
-either side stand two diminutive figures representing[248] her follower
-Lung Nü (the dragon maid), holding a pearl, and the devoted comrade
-of her earthly adventures Chên Tsai. The Kuan-yin of this group is
-reputed to have been the daughter of a legendary eastern King named
-Miao-chuang, but other accounts make the deity a Chinese version of the
-Buddhist Avalokitesvara, and it is certain that her representations
-as the Kuan-yin with eleven heads and again with a “thousand” hands
-reflect Indian traditions. In the latter manifestations the sex of the
-deity is left in doubt, but there can be no question on that head when
-she is represented with a babe in her arms as “Kuan-yin the Maternal,”
-to whom childless women pray, a figure strangely resembling our images
-of the Virgin and Child. Indeed, we are told[249] that the Japanese
-converts to Christianity in the sixteenth century adopted the Kuan-yin
-figure as a Madonna, and that there is in the Imperial Museum in the
-Ueno Park, Tokio, a remarkable collection of these images among the
-Christian relics. There is, however, another deity with whom this
-Kuan-yin may easily be confounded, viz. the Japanese Kichimojin, also
-“the Maternal,” the Sanskrit Hâriti, who was once the devourer of
-infants but was converted by Sakyamuni and was afterwards worshipped as
-the protector of children. This deity figures in Japanese pictorial art
-as a “female holding a peach and nursing in her bosom an infant, whose
-hands are folded in prayer. In front stand two nude children, one of
-whom grasps a peach, the other a branch of bamboo.”[250]
-
-Among the Tê-hua porcelains in the British Museum are no fewer than
-nine specimens--groups, figures, or ornamental structures--with figures
-in European costumes which date from the middle to the end of the
-seventeenth century. One, a soldier apparently Dutch, about 1650,
-is well modelled in deliciously mellow and translucent cream white
-porcelain. Most of the others are more roughly designed, and vary in
-tint from cream to milk white.
-
-It is said that the natives of the Fukien province are among the most
-superstitious of the Chinese, and Bushell[251] sees a reflection of
-this religious temperament in the nature of the Tê-hua wares. If this
-is so, they must have had exalted opinions of their European visitors,
-whom they often furnish with the attributes of Chinese divinities,
-representing them in positions and poses which seem to caricature
-native deities and sages. There is, for instance, an ornament in form
-of a mountain retreat with a shrine in which is seated a figure in a
-three-cornered European hat and a Buddha-like attitude. Another group
-consists of a European mounted on a _ch’i-lin_, posing as an
-Arhat, and another of a European standing on a dragon’s head which
-would symbolise to the Chinese the attainment of the highest literary
-honours.
-
-There are, besides, in the British Museum collection figures of animals
-and birds, the Buddhist lion, the cock, the hawk, or the parrot,
-mostly fitted with tubes to hold incense sticks; and there are a pair
-of well modelled figures of Chou dogs.
-
-As for the vessels of Tê-hua porcelain, they consist chiefly of incense
-vases and incense burners, libation cups shaped after bronze or
-rhinoceros horn models, brush pots, wine cups, water vessels for the
-study table and the like (often beautifully modelled in the form of
-lotus leaves or flowers), boxes, tea and wine pots, cups and bowls, and
-more rarely vases.
-
-An extensive trade was done with the European merchants, whose
-influence is apparent in many of the wares, such as coffee cups with
-handles, mugs of cylindrical form or globular with straight ribbed
-necks in German style, and “barber-surgeons’ bowls” with flat pierced
-handles copied from silver models. Indeed, the superficially European
-appearance of some of these pieces has led serious students to mistake
-them for early Meissen porcelain and even for that nebulous porcelain
-supposed to have been made by John Dwight, of Fulham, at the end of the
-seventeenth century. Père d’Entrecolles[252] incidentally mentions the
-fact that some Ching-tê Chên potters had in the past removed to Fukien
-in the hope of making profits out of the European traders at Amoy, and
-that they had taken their plant and even their materials with them, but
-that the enterprise was a failure.
-
-Conversely, the influence of the Tê-hua wares is obvious in many of the
-early European porcelains, such as those made at Meissen, St. Cloud,
-Bow, and Chelsea, which were often closely modelled on the Fukien
-white. There is, indeed, a striking similarity between the creamy
-soft-paste porcelain of St. Cloud and the creamy variety of the _blanc
-de chine_, both having the same mellow, melting appearance in the glaze.
-
-  [Illustration: Plate 86.--Fukien Porcelain, Ming Dynasty.
-
-  Fig 1.--Figure of Kuan-yin with boy attendant. Ivory white.
-  Height 10¼ inches. _Eumorfopoulos Collection._
-
-  Fig. 2.--Bottle with prunus sprigs in relief, the glaze crackled
-  all over and stained a brownish tint. Height 9⅛ inches.
-  _Eumorfopoulos Collection._
-
-  Fig. 3.--Figure of Bodhidharma crossing the Yangtze on a reed.
-  Ivory white. Height 7½ inches. _Salting Collection_ (_V. &
-  A. Museum_).]
-
-  [Illustration: Plate 87.--Ivory White Fukien Porcelain.
-
-  Fig. 1.--Libation Cup. About 1700. Length 3⅞ inches. _British
-  Museum._
-
-  Fig. 2.--Cup with sixteenth-century mount. Height 2 inches.
-  _Dresden Collection._
-
-  Fig. 3.--Incense Vase and Stand. About 1700. Diameter 6¾ inches.
-  _British Museum._]
-
-It would be possible to guess from these European copies, if we had no
-other means, the character of the Tê-hua porcelain of the K’ang Hsi
-period with its quaintly moulded forms, its relief decoration of prunus
-sprigs, figures of Immortals, deer, etc., the only conspicuously absent
-type being the incised[253] ornament which was unsuited to the European
-ware. But there is no lack of actual specimens of the period of
-active export which extended from about 1650–1750. Naturally they vary
-greatly in quality, which depends on the purity and translucence of
-the ware whether it be cream or milk white, and on the soft aspect
-and rich lustre of the glaze. A large series, which may be taken as
-representative of the K’ang Hsi period, was collected by Augustus
-the Strong, and is still to be seen at the Johanneum at Dresden; or,
-rather, part of it is still there, for much of that historic collection
-was given away or pilfered from time to time, and many specimens with
-the Dresden catalogue numbers engraved are now to be found in our own
-museums. Many of the figures at Dresden have evidently been coated
-with a kind of black paint, which probably served as a medium for oil
-gilding, but this unfired colouring has worn away, and only traces now
-remain.
-
-Occasionally one finds among the Tê-hua wares a specimen with dry
-appearance and crazed or discoloured glaze, defects due to faulty
-firing or to burial in damp soil. Such pieces are surprising in a
-ware with such apparent homogeneity of body and glaze, and the crazed
-examples might be easily mistaken for one of the _t’u ting_ (or
-earthy Ting ware) types.
-
-As to the history of the factories, it is expressly stated in the
-_T’ao lu_ that they were started in the Ming dynasty. No account
-need be taken of the few legendary specimens to which tradition assigns
-an earlier origin than this, such as the so-called flute of Yoshitsune,
-a twelfth-century hero of Japan, and the incense burner in St. Mark’s,
-Venice, which is reputed to have been brought from China by Marco Polo.
-The latter is of the same model as Fig. 3 of Plate 87, perhaps from the
-same mould, and I have seen at least half a dozen others in London. A
-third piece which was long regarded as a document is the jewelled white
-plate in the Dresden collection, supposed to have been brought back
-from Syria by a Crusader in the twelfth century. The story is no doubt
-apocryphal, but in any case it has no real bearing on the question,
-for the plate is not Fukien ware but a specimen of white Ching-tê Chên
-porcelain with a “shop mark” in underglaze blue. It has been set with
-jewels in India or Persia, like a sixteenth-century bowl in the British
-Museum, but the “Crusader plate” is probably a century later.
-
-Brinkley[254] asserts, without giving any authority, that the Tê-hua
-industry was virtually discontinued at the end of the eighteenth
-century, and revived in recent years. The latter part of the
-statement is unquestionably true, for we have the eye-witness of a
-missionary[255] who visited the place about 1880 and describes the
-manufactory as the most extensive of its kind in Fukien--“pottery,
-pottery everywhere, in the fields, in the streets, in the shops. In
-the open air children are painting the cups. Each artist paints with
-his own colour and his own few strokes, whether a leaf, a tree, a
-man’s dress or beard, and passes it over to his neighbour, who in
-turn applies his brush to paint what is his share in the decoration.”
-Unfortunately there is no reason to suppose that the writer made his
-observations with an expert eye which would make a distinction between
-pottery and porcelain, but in any case it is certain that he found a
-vast ceramic industry in full blast at Tê-hua.
-
-With reference to the modern ware Brinkley says[256]: “A considerable
-number of specimens are now produced and palmed off upon unwary
-collectors. But the amateur can easily avoid such deceptions if he
-remembers that in genuine pieces of ivory white the ware is always
-translucid when held up to the light, a property which, if not entirely
-absent, is only possessed in a comparatively slight degree by the
-modern product. The general quality of the glaze and the technique
-of a piece should be sufficient guides, but if any doubt remains an
-examination of the base of the specimens will probably dispel it. In
-the old ware the bottom of a vase or bowl, though carefully finished,
-is left uncovered, whereas the modern potter is fond of hiding his
-inferior pâte by roughly overspreading it with a coat of glaze.”
-
-Probably these observations are in the main correct, but experience
-shows that relative opacity and glazed bases are by no means confined
-to modern wares. Still, if the collector aims at acquiring pieces of
-good colour, whether cream or milk white, with translucent body, pure
-glaze and sharp modelling, he is not likely to go far astray.
-
-The description quoted above of the painting of modern Fukien ware
-is interesting in view of the common assertion that the Tê-hua white
-porcelain was never painted. This assertion is probably based on a
-passage in the first letter of Père d’Entrecolles: “Celle (i.e. la
-porcelaine) de Fou-kien est d’un blanc de neige qui n’a nul éclat et
-qui n’est point mélangé de couleurs.” On the other hand, a distinct
-reference is made to the painting in colours in a modern Chinese
-work.[257] Unfortunately, the question has been complicated by the
-existence of many pieces of Fukien white which have been enamelled
-in Europe. In the first half of the eighteenth century in Holland,
-Germany, and elsewhere, there were decorators busy enamelling white
-porcelain of whatever kind they could get, and the _blanc de
-chine_ offered a ready subject for this treatment. The decoration
-thus added was usually in Oriental taste, and might be confused with
-indifferent Chinese work. Many of these pieces are in the British
-Museum. On the other hand, there are in the same collection two
-cups with roughly painted floral designs in green and red which
-are obviously Chinese, though they might well have been painted in
-the mechanical method described by Mr. Dukes, which was probably
-traditional. Mr. Eumorfopoulos possesses several good examples of this
-painted Fukien ware, one of which may be described to show the style
-of painting affected. It is executed in leaf green, lustrous red, and
-the turquoise green which we associate with the Wan Li period, and
-the form--a double-bottomed bowl--is likewise reminiscent of the Ming
-dynasty.
-
-The Japanese, whose traditions have often proved most misleading,
-have frequently classed the Fukien white as Corean porcelain
-(_haku-gorai_ or white Corean), probably because specimens reached
-them from the Corean ports. In the British Museum, for instance, there
-is a beautiful white incense vase, formerly in the collection of Mr.
-Ninagawa of Tokio, and labelled by him as “Corean porcelain, 500 years
-old.” It has all the characteristics of the finest cream white Fukien
-ware of late Ming or K’ang Hsi period, and if this piece is Corean,
-then I do not believe that even the subtle perception of the Japanese
-could find any difference between Corean and Fukien white. It is only
-right to add that other Japanese experts have pronounced it Chinese.
-Incidentally, I may mention that the base of this vase is glazed.
-
-Marks were occasionally used by the Tê-hua potters, either incised or
-stamped in seal form,[258] on the bottoms of cups and other vessels,
-and on the backs of figures. Reign marks are rare, but apocryphal
-dates of the Hsüan Tê period occasionally occur, as on a figure of Li
-T’ieh-kuaì in the British Museum. Others consist of potters’ marks too
-often illegible because the thick glaze has filled up the hollows of
-the stamps, fanciful seal marks, frets, whorls, and occasionally the
-swastika symbol. A few examples are given in vol. i., p. 222.
-
-
-
-
-                             CHAPTER VIII
-
-                 THE CH’ING [chch] DYNASTY, 1644–1910
-
-
-The reigns of the Manchu chieftains T’ien Ming, T’ien Tsung, and Ts’ung
-Tê (1616–1643) are included in the chronology of the Ch’ing or Pure
-Dynasty, but it is more usual to reckon that period from 1644, when
-the Emperor Shun Chih [chch 2] was firmly established on the throne
-after the suicide of the last of the Mings. Little is known of the
-ceramic history of the seventeen years during which Shun Chih occupied
-the throne. The official records which deal only with the Imperial
-factory are almost silent, and when they do speak it is merely to
-chronicle failures. It is clear, however, that the Imperial factory
-at Ching-tê Chên had again been opened; for orders were sent in 1654
-for a supply of large “dragon bowls” for the palace gardens. They were
-to be 2½ feet high, 3½ feet in diameter, 3 inches thick at the sides,
-and 5 inches at the bottom. For four years the potters wrestled with
-this difficult order without success. This time there was no “divine
-T’ung” to purchase success by a holocaust of himself; and eventually
-the Emperor was persuaded to withdraw the command. No better fortune
-attended an order given in 1659 for oblong plaques (3 feet by 2½ feet,
-and 3 inches thick) which were intended for veranda partitions.
-
-Beyond these two negative items there is no information of the reign of
-Shun Chih in the Chinese books, and the porcelain itself is scarcely
-more illuminating, for authentic marked examples of this period are
-virtually unknown. A figure already mentioned as bearing the date 1650
-belongs rather to the pottery section, but it shows that the traditions
-of the Ming glazes of the _demi-grand feu_ were still kept alive.
-The blue and white and the polychrome made in the private factories at
-this time have been discussed with the transition wares (pp. 89 and
-90), and for the rest we can only assume that the Shun Chih porcelains
-are not to be distinguished from those of the last Ming reigns on the
-one hand, and those of the early years of K’ang Hsi on the other.
-
-Reflecting on the insignificance of the Shun Chih porcelains, one is
-tempted to ask how it is that the celebrated Lang T’ing-tso, whose
-name is usually associated with the beautiful Lang yao of the K’ang
-Hsi period, did not succeed in raising the wares of this period to a
-more conspicuous level. Lang T’ing-tso was governor of Kiangsi from
-1654 and viceroy of Kiangsi and Kiangnan from 1656–1661 and again from
-1665–1668. His name is mentioned (according to Bushell,[259] at any
-rate, for I have not been able to verify the statement) in connection
-with the efforts to make the dragon bowls for the palace in 1654; but
-we shall return to this point in discussing the Lang yao.
-
-Meanwhile, we pass to the reign of K’ang Hsi [chch 2] (1662–1722),
-the beginning of what is to most European collectors the greatest
-period of Chinese porcelain, a period which may be roughly dated from
-1662–1800. Chinese literary opinion gives the preference to the Sung
-and Ming dynasties, but if monetary value is any indication the modern
-Chinese collector appreciates the finer Ch’ing porcelains as highly
-as the European connoisseur. These latter wares have, at any rate,
-the advantage of being easily accessible to the Western student, and
-they are not difficult to obtain provided one is ready to pay the high
-price which their excellence commands. It will be no exaggeration to
-say that three quarters of the best specimens of Chinese porcelain in
-our collections belong to this prolific period, and they may be seen
-in endless variety in the museums and private galleries of Europe and
-America, nowhere perhaps better than in London itself.
-
-  [Illustration: PLATE 88
-
-  Two examples of the underglaze red (_chi hung_) of the K’ang
-  Hsi period (1662–1722), sometimes called _lang yao_
-
-  Fig. 1.--Bottle-shaped Vase of dagoba form with minutely crackled
-  _sang-de-bœuf_ glaze with passages of cherry red. The glaze
-  ends in an even roll short of the base rim, and that under the
-  base is stone-coloured and crackled. Height 8½ inches.
-
-  _British Museum._
-
-  Fig. 2.--Bottle-shaped Vase with crackled underglaze red of deep
-  crushed strawberry tint. The glaze under the base is pale green,
-  crackled. Height 10¾ inches.
-
-  _Alexander Collection._]
-
-With regard to the porcelains made in the early years of K’ang Hsi
-there is very little information, and their special excellence has
-been assumed mainly on the supposition that the Viceroy Lang T’ing-tso
-exercised a beneficent influence on the wares of this period. He is
-reputed to have been sponsor of the Lang yao, which in the ordinary
-acceptation of the term[260] includes the beautiful _sang de
-bœuf_ red, an apple green crackle, and perhaps a cognate crackled
-green glaze on which are painted designs in _famille verte_ enamels.
-The explanation of the term _lang yao_ is far from clear, and, as
-already hinted, the connection of the viceroy Lang T’ing-tso with this
-or any other of the K’ang Hsi porcelains is by no means established.
-Bushell[261] accepted the derivation of Lang yao from the first part
-of the viceroy’s name as representing the best of several Chinese
-theories, and on the supposition that “the ceramic production of this
-time has retained the name of the viceroy, in the same way as the names
-of Ts’ang Ying-hsüan, Nien Hsi-yao, and T’ang Ying, who were in turn
-superintendents of the Imperial potteries, were afterwards given to the
-_Ts’ang yao_, _Nien yao_, and _T’ang yao_.” There are many objections
-to this reasoning. In the first place, Lang T’ing-tso was viceroy of
-the two provinces of Kiangsi and Kiangnan for three or four years only
-(1665–1668) during the reign of K’ang Hsi, and it was only in his
-capacity as viceroy of Kiangsi that he would have been concerned with
-Ching-tê Chên, even supposing that the man who had charge of two large
-provinces could find time to devote himself to the details of ceramic
-manufactures. Secondly, it is nowhere recorded that Lang T’ing-tso was
-concerned in any way with the direction of the potteries, so that there
-is in this respect no parallel between him and the directors Ts’ang,
-Nien, and T’ang. Thirdly, the history of Ch’ing-tê Chên as given in the
-_T’ao lu_, and the history of Chinese porcelain as given in the _T’ao
-shuo_, make no mention whatever of _lang yao_ or of Lang T’ing-tso,
-while the former takes special notice of the wares of Ts’ang, Nien, and
-T’ang, and the latter discusses T’ang’s work at some length. Had so
-important a person as the viceroy of two provinces been connected with
-the invention or perfection of such celebrated wares as the _lang yao_,
-the occurrence would hardly have escaped the notice of the Chinese
-chronicler.
-
-There are other attempts to explain the name _lang yao_. In the
-catalogue of Mr. A. B. Mitford’s collection[262] it is stated that “the
-Lang family were a family of famous potters who possessed the secret
-of this peculiar glaze and paste. They became extinct about the year
-1610.” Bushell[263] dismisses this with the comment that “the family is
-apocryphal and the porcelain antedated,” and in the same passage gives
-an alternative theory, viz. “this name has been derived by some Chinese
-of less weight from that of Lang Shih-ning, an artist protégé of the
-Jesuits,[264] who also lived in the reign of K’ang Hsi, and whose
-pictures are still appreciated.”
-
-The evidence for all these versions seems to be equally defective.
-They are, in fact, mere assertions, and the reader can take his choice
-of any of them, provided he does not insist on Mr. Mitford’s date
-(anterior to 1610), for all authorities are now agreed that the _lang
-yao_ is a K’ang Hsi production. The fact is that the name has been
-handed down without any explanation, and the current theories are of
-comparatively modern construction. The secret of the _lang yao_
-consisted in the first instance in the knowledge of means to produce
-a brilliant red glaze from copper oxide. It was not a new discovery,
-but merely a revival of the wonderful “precious stone” red of the
-early Ming period.[265] The supplies of some essential ingredient
-for this colour had failed in the Chia Ching period,[266] and the
-secret of the true colour had been temporarily lost. This secret was
-now recovered probably by a potter of the name of Lang, and that
-name has been associated with it ever since. So far from the _lang
-yao_ being limited to the early part of the reign of K’ang Hsi or
-to the few years when Lang T’ing-tso might have been concerned with
-it, there can be little doubt that the _sang de bœuf_ red or red
-_lang yao_ is the special colour described in detail by Père
-d’Entrecolles in 1712, and again in 1722 under the significant name
-of _yu li hung_, or “red in the glaze.” The reader can judge for
-himself from the description given in the second letter[267]: “This
-red _inside the glaze_ is made with granulated red copper and the
-powder of a certain stone or pebble of a reddish colour. A Christian
-doctor told me that this stone was a kind of alum, used in medicine.
-The whole is pounded in a mortar and mixed with a boy’s urine and
-the ordinary porcelain glaze; but I have not been able to ascertain
-the quantities of the ingredients, for those in possession of the
-secret take good care not to divulge it. This mixture is applied to
-the porcelain before it is fired and no other glaze is used; but care
-has to be taken that the red colour does not run to the bottom of the
-vase during the firing. They tell me that when they intend to apply
-this red to porcelain they do not use porcelain stone (_petuntse_)
-in the body, but they use in its place, mixed with the porcelain
-earth (_kaolin_), a yellow clay prepared in the same manner as
-the _petuntse_. Probably it is a kind of clay specially suited
-to receive this colour.” Would that the worthy father had named the
-possessors of the secret! Had it been a Jesuit family, is it likely
-that he would not have said so? But here, at any rate, is not only such
-an accurate description of the manufacture of the _sang de bœuf_
-red that little need be added to it, but also a valuable commentary on
-the obscure passages in which the allusion is made to the brilliant
-red of the Hsüan Tê and other early Ming periods. For what is the
-reddish stone or pebble but the “red precious stone from the West,”
-which played a mysterious part in the _pao shih hung_ of the Hsüan
-Tê period? Chinese tradition has imagined this stone to have been the
-ruby, on the impossible assumption that the red colour of the glaze
-was derived from the red of the ruby. But it was, in all probability,
-cornaline (the _ma nao_ used in the Sung porcelain of Ju Chou) or
-amethystine quartz, and its only function would have been to increase
-the brilliancy and transparence of the glaze, the red colour being
-entirely due to copper oxide. It is interesting, too, to note that the
-composition of the porcelain body was varied to suit this red colour,
-and that a yellow clay was substituted for the porcelain stone, in view
-of the alleged difficulties in obtaining the proper “earth for the
-fresh red (_hsien hung_)” in the Chia Ching period. In a similar
-manner a more earthy composition was found to be more sympathetic than
-the pure white porcelain to some of the other monochromes, as may be
-observed in existing specimens of turquoise blue.
-
-The _lang yao_, then, is the _chi hung_ of the K’ang Hsi period, the
-brilliant blood red commonly known by the French name _sang de bœuf_,
-and to-day it is one of the most precious monochromes. A choice example
-illustrated on Plate 88 shows the changing tints from a brilliant
-cherry red below the shoulder to the massed blood red where the
-fluescent glaze has formed thickly above the base. The colour flowing
-down has left an even white band round the mouth, and has settled in
-thick coagulations on the flat parts of the shoulders and again above
-the base; but in spite of its apparent fluidity the glaze has stopped
-in an even line without overrunning the base. The glaze under the base
-is of pale buff tone and crackled, and a careful examination of the
-surface generally shows that a faint crackle extends over the whole
-piece. The glaze, moreover, is full of minute bubbles and consequently
-much pinholed, and the red colour has the appearance of lying on the
-body in a dust of minute particles which the glaze has dragged downward
-in its flow and spread out in a continuous mass, but where the colour
-and the glaze have run thick the particles reappear in the form of a
-distinct mottling or dappling.
-
-To obtain the best colour from the copper oxide in this glaze
-it was necessary to regulate the firing to a nicety, the margin
-between success and failure being exceedingly small. Naturally, too,
-the results varied widely in quality and tone; but the permanent
-characteristics of the K’ang Hsi _sang de bœuf_ are (1) a brilliant
-red varying in depth and sometimes entirely lost in places,[268] but
-always red and without any of the grey or grey blue streaks which
-emerge on the _flambé_ red and the modern imitations of the _sang de
-bœuf_; (2) the faint crackle of the glaze; (3) the stopping of the
-glaze at the foot rim. The colour of the glaze under the base and
-in the interior of vases varied from green or buff crackle to plain
-white. The secret of this glaze, which Père d’Entrecolles tells us was
-carefully guarded, seems to have been lost altogether about the end
-of the K’ang Hsi period. Later attempts to obtain the same effects,
-though often successful in producing large areas of brilliant red, are
-usually more or less streaked with alien tints such as grey or bluish
-grey, and are almost invariably marred by the inability of the later
-potters to control the flow of the glaze which overruns the foot rim
-and consequently has to be ground off. But it is highly probable that
-the modern potter will yet surmount these difficulties, and I have
-actually seen a large bowl of modern make in which the ox-blood red
-was successfully achieved on the exterior (the interior was relatively
-poor), and the flow of the glaze had been stopped along the foot rim
-except in one or two small places where the grinding was cleverly
-masked. So that it behoves the collector to be on his guard.
-
-Fig. 2 of Plate 88 shows another type of red, also classed as _lang
-yao_, which has the same peculiarities of texture as the _sang de
-bœuf_, but the colour is more of a crushed-strawberry tint, and has in
-a more marked degree that thickly stippled appearance which suggests
-that the colour mixture has been blown on to the ware through gauze.
-This is probably the _ch’ui hung_ or _soufflé_ red mentioned by Père
-d’Entrecolles in connection with the _yu li hung_. The same glaze
-is often found on bowls, the colour varying much in depth and the
-base being usually covered with a crackled green glaze beneath. This
-crackled green is a very distinctive glaze, highly translucent and full
-of bubbles, like the red _lang yao_, and it is sometimes found covering
-the entire surface of a vase or bowl and serving as a background for
-paintings in _famille verte_ enamels. It seems, in fact, to be the true
-green _lang yao_, and one is tempted to ask if it was not in reality
-intended to be a _sang de bœuf_ red glaze from which a lack of oxygen
-or some other accident of the kiln has dispelled all the red, leaving
-a green which is one of the many hues produced by copper oxide under
-suitable conditions. These conditions might well be present in such an
-enclosed space as the foot of a bowl; and if they happened to affect
-the whole of the piece, what more natural than to trick out the failure
-with a gay adornment of enamel colours?
-
-On the other hand, what is commonly known as green _lang yao_ is
-the brilliant emerald or apple green crackle which has already been
-discussed on p. 102. But why this colour should be connected in any
-way with the Lang or any particular family is a mystery. The method
-of producing it is transparently obvious--a green enamel laid over a
-stone-coloured crackle; and there are examples of all periods from
-the Ming down to modern times. Indeed, the modern specimens are only
-distinguished with the greatest difficulty from the old.
-
-       *       *       *       *       *
-
-To return to the history of the period from which we digressed to
-discuss the _lang yao_, the progress of the reviving industry suffered
-a rude set-back between 1674–1678 when the Imperial factory was
-destroyed during the rebellion of Wu San-kuei, viceroy of Yunnan. It
-is improbable that up to this time any notable development had taken
-place in the manufacture of porcelain, and those who think to flatter
-a specimen by suggesting that it is “_very_ early K’ang Hsi” are likely
-to be paying a doubtful compliment. When, however, peace was restored
-and the factory rebuilt, a veritable renaissance of the porcelain
-industry began. In 1680[269] an official of the Imperial household was
-sent to reside at the factory and to superintend the work; and we are
-told in the _T’ao shuo_[270] that “previously to this the first-class
-workmen had been levied from the different districts of Jao Chou;
-but now all this forced labour was stopped, and as each manufactory
-was started the artisans were collected and materials provided, the
-expenses being defrayed from the Imperial exchequer and the money paid
-when due, in accordance with the market prices. Even the expenses for
-carriage were not required from the different districts. None of the
-proper duties of the local officers were interfered with; both the
-officials and the common people enjoyed the benefit, and the processes
-of manufacture were all much improved.”
-
-The success of this new movement was assured by the appointment in
-1682 of Ts’ang Ying-hsüan [chch 3] to the control of the Imperial
-works. We are not told how long this distinguished person retained the
-directorship, but his merits are clearly indicated in the encomiums
-of a subsequent director, the celebrated T’ang Ying. In his “History
-of the God of the Furnace Blast,” the latter states that when Ts’ang
-was in charge of the factory the god laid his finger on the designs
-and protected the porcelain in the kiln, so that it naturally came
-out perfect. Unfortunately, the notice of Ts’ang’s work in the _T’ao
-lu_[271] is in the conventional style, and extremely meagre. The earth
-used, we are told, was unctuous, the material lustrous and thin. Every
-kind of colour was made, but the snake-skin green (_shê p’i lü_), the
-eel yellow (_shan yü huang_), the (?) turquoise ([chch 2] _chi ts’ui_),
-and the “spotted yellow” ([chch 3] _huang pan tien_) were the most
-beautiful. The monochrome (_chiao_)[272] yellow, the monochrome brown
-or purple (_tzŭ_), the monochrome green, the _soufflé (ch’ui)_ red and
-the _soufflé_ blue, were also beautiful. The Imperial factory under the
-administration of T’ang-ying imitated these glaze colours.
-
-Most of these colours explain themselves. The _soufflé_ red is no
-doubt the same as the _ch’ui hung_ described by Père d’Entrecolles and
-discussed above with the so-called _lang yao_. The _soufflé_ blue will
-be no other than the familiar “powder blue.” But the “spotted yellow”
-is an ambiguous term, for the Chinese _huang pan tien_[273] might
-mean a yellow glaze spotted with some other colour, a mottled yellow,
-or even a glaze with yellow spots like that of a rare vase in the
-Eumorfopoulos Collection, which has a brown black glaze flecked with
-greenish yellow spots.
-
-Bushell identified the spotted yellow glaze with the “tiger skin,”
-with its patches of green, yellow and aubergine glazes applied to
-the biscuit, which in the finer specimens is etched with dragon
-designs.[274]
-
-This is practically all the direct information which the Chinese annals
-supply on the K’ang Hsi period, but in contrast with this strange
-reticence we have a delightful account of the industry at Ching-tê Chên
-during this important time in the two oft-quoted letters[275] written
-by the Jesuit father, d’Entrecolles, in 1712 and 1722. The worthy
-father’s work lay among the potters themselves, and his information was
-derived from first-hand observation and from the notes supplied by his
-potter converts, with whatever help he was able to extract from the
-Annals of Fou-liang and similar native books. No subsequent writer has
-enjoyed such a favoured position, and as his observations have been
-laid under heavy contribution ever since, no apology is necessary for
-frequent reference to them in these pages.
-
-
-
-
-                              CHAPTER IX
-
-                       K’ANG HSI BLUE AND WHITE
-
-
-Western collectors have agreed to give the place of honour to the K’ang
-Hsi blue and white. The Ming wares of the same kind, mainly from lack
-of adequate representation, have not yet been fully appreciated; and in
-the post-K’ang Hsi periods the blue and white took an inferior status,
-owing to the growing popularity of enamelled wares. The peculiar
-virtues of the K’ang Hsi blue and white are due to simple causes.
-Blue was still regarded as the best medium for painted designs, and
-the demand for it, both in China and abroad, was enormous. The body
-material was formed of carefully selected clay and stone, thoroughly
-levigated and freed from all impurities. No pains were spared in the
-preparation of the blue, which was refined over and over again until
-the very quintessence had been extracted from the cobaltiferous ore.
-Naturally this process was costly, and the finest cobalt was never used
-quite pure; even on the most expensive wares it was blended with a
-proportion of the lower grades of the mineral, and this proportion was
-increased according to the intended quality of the porcelain. But the
-choicest blue and white of this period was unsurpassed in the purity
-and perfection of the porcelain, in the depth and lustre of the blue,
-and in the subtle harmony between the colour and the white porcelain
-background; and the high standard thus established served to raise the
-quality of the manufacture in general.
-
-Vast quantities of this blue and white were shipped to Europe by the
-Dutch and the other East India companies, who sent extensive orders
-to Ching-tê Chên. It need hardly be said that this export porcelain
-varied widely in quality, but it included at this time wares of the
-highest class. Indeed, in looking through our large collections
-there are surprisingly few examples of the choice K’ang Hsi blue and
-white which cannot be included in the export class, as indicated by
-the half-Europeanised forms of plates, jugs, tankards, and other
-vessels, and by the fact that the vases are made in sets of five. But
-considering that it was made to suit purchasers of such varied tastes
-and means, it is surprising how little of this K’ang Hsi porcelain is
-bad. Even the roughest specimens have a style and a quality not found
-on later wares, and all have an unquestionable value as decoration.
-
-It would be futile to attempt to describe exhaustively the different
-kinds of K’ang Hsi blue and white and the innumerable patterns with
-which they are decorated. We must confine our descriptions to a few
-type specimens, but first it will be useful to give the points of a
-choice example. Such a vessel, whatever its nature, will be potted with
-perfect skill, its form well proportioned and true. The surface will
-be smooth, because the material is thoroughly refined and the piece
-has been carefully trimmed or finished on the lathe, and finally all
-remaining inequalities have been smoothed away with a moist feather
-brush before the glazing. The ware will be clean and white, and the
-glaze[276] pure, limpid, and lustrous, but with that faint suspicion of
-green which is rarely absent from Chinese porcelain. The general effect
-of the body and glaze combined is a solid white like well set curds.
-The base, to which the connoisseur looks for guidance, is deeply cut
-and washed in the centre with glaze which reaches about half-way down
-the sides of the foot rim. This patch of glaze is usually pinholed,
-as though the nemesis of absolute perfection had to be placated by
-a few flaws in this inconspicuous part. The rim itself is carefully
-trimmed, and in many cases grooved or beaded, as though to fit a wooden
-stand,[277] and the unglazed edge reveals a smooth, close-grained
-biscuit whose fine white material is often superficially tinged with
-brown in the heat of the furnace. The decoration is carefully painted
-in a pure sapphire blue of great depth and fire, and singularly free
-from any strain of red or purple--a quality of blue only obtained by
-the most elaborate process of refining. The designs, as on the Ming
-porcelains, are first drawn in outline; but, unlike the strong Ming
-outlines, these are so faint as to be practically unobserved; and the
-colour is filled in, not in flat washes, as on the Ming blue and white,
-but in graded depths of pulsating blue. This procedure is clearly shown
-by two interesting bowls in the British Museum. They are identical
-in form and were intended to match in pattern; but in one the design
-(the Eight Immortals of the Wine Cup) is completed, while on the other
-it remains in outline only, giving us a wonderful illustration of
-the beautiful firm touch with which the artists traced these faint
-outlines. The work of decoration was systematically subdivided in the
-Chinese factory, and Père d’Entrecolles tells us that “one workman is
-solely occupied with the ring which one sees on the border of the ware;
-another outlines the flowers, which a third paints; one does the water
-and the mountains, another the birds and animals.”[278] Whatever the
-advantages and disadvantages of this divided labour, the designs on the
-blue and white were admirably chosen to show off the fine qualities
-of the colour; and it is to the blue that the collector looks first.
-The distinction between the various qualities of blue hardly admit
-of verbal definition. It can only be learnt by comparing the actual
-specimens, and by training the eye to distinguish the best from the
-second best.
-
-The patterns are not always blue on a white ground. Many of the most
-beautiful results were obtained by reserving the design in white in a
-blue ground, and both styles are often combined on the same piece. The
-second is fairly common on the K’ang Hsi porcelains, being specially
-suited to the lambrequins, arabesques, and formal patterns which were a
-favourite decoration at this time. See Plates 89 and 91.
-
-  [Illustration: PLATE 89
-
-  Three examples of K’ang Hsi Blue and White Porcelain in the
-  British Museum
-
-  Fig. 1.--Ewer with leaf-shaped panels of floral arabesques,
-  white in blue, enclosed by a mosaic pattern in blue and white:
-  stiff plantain leaves on the neck and cover. Silver mount with
-  thumb-piece. Height 7⅛ inches.
-
-  Fig. 2.--Deep bowl with cover, painted with “tiger-lily” scrolls.
-  Mark, a leaf. Height 7½ inches.
-
-  Fig. 3.--Sprinkler with panels of lotus arabesques, white in
-  blue, and _ju-i_ shaped border patterns. A diaper of small
-  blossoms on the neck. Mark, a leaf. Height 7⅛ inches.]
-
-The choicest materials were lavished on the porcelains with these
-formal designs, which consisted now of bands of _ju-i_ shaped
-lappets[279] filled with arabesque foliage, forming an upper and lower
-border, between which are floral sprays, now of a belt of three or four
-palmette-like designs, similarly ornamented, and linked together round
-the centre of a vase or bottle; of large, stiff, leaf-shaped medallions
-borrowed, like the patterns which fill them, from ancient bronzes,
-and of ogre-head designs from a similar source; of successive belts of
-arabesque scrolls and dragon designs covering cylindrical jars; of a
-mosaic of small blossoms, or of network diapers recalling the pattern
-of a crackled porcelain. The white on blue process is constant in a
-well known decoration in which archaic dragons, floral arabesques,
-roses or peonies are arranged in “admired disorder” over the whole
-surface of a cylinder vase or a triple gourd, as on Plate 91. Sometimes
-the roses occupy the greater part of the design, and among them are
-small oval or round blank medallions, which have earned for the pattern
-the name of “rose and ticket.”
-
-This type of ware is represented in almost every variety in the Dresden
-collection, and there are examples of the “rose and ticket” jars in
-the _Porzellan-zimmer_ of the Charlottenburg Palace. Both these
-collections are mainly composed of the export porcelain sent from
-China in the last decades of the seventeenth century, and the latter
-is practically limited to the presents made by the English East India
-Company to Queen Sophia Charlotte of Prussia (1688–1705). The white on
-blue patterns are also freely used in combination with blue and white
-to form borders and to fill in the ground between panels.
-
-As for the blue on white designs, they are legion. There are the old
-Ming favourites such as the Court scenes, historical and mythological
-subjects, pictorial designs, such as ladies looking at the garden
-flowers by candlelight.[280] There are landscapes after Sung and Ming
-paintings, the usual dragon and phœnix patterns, animal, bird, and
-fish designs, lions and mythical creatures, the familiar group of a
-bird (either a phœnix or a golden pheasant) on a rock beside which
-are peony, magnolia, and other flowering plants. Panel decoration,
-too, is frequent, the panels sometimes petal-shaped and emphasised by
-lightly moulded outlines, or again mirror-shaped, circular, fan-shaped,
-leaf-shaped, oval, square, etc., and surrounded by diapers and “white
-in blue” designs. The reserves are suitably filled with figure subjects
-from romance, history, or family life, mythical subjects such as the
-adventures of Taoist sages, the story of Wang Chi watching the game of
-chess, Tung-fang So and his peaches, or, if numerical sequences are
-needed, with the Four Accomplishments (painting, calligraphy, music and
-chess), the flowers of the Four Seasons, the Eight Taoist Immortals,
-the Eight Immortals of the Wine Cup, etc. Another favourite panel
-design is a group of vases, furniture, and symbolical objects from the
-comprehensive series known as the Hundred Antiques.[281] Sometimes
-the whole surface of a vase is divided into rows of petal-shaped
-compartments filled with floral designs, figure subjects, birds and
-flowers or landscapes. Plate 91, Fig. 3, from a set of five, is one of
-the large vases in the Dresden collection which, tradition says, were
-obtained by Augustus the Strong from the King of Prussia in exchange
-for a regiment of dragoons. It is decorated with panels illustrating
-the stories of the Twenty-four Paragons of Filial Piety.
-
-Some of the purely floral patterns strike perhaps a more distinctive
-note. The “aster pattern,” for instance, is a design of stiff,
-radiating, aster-like flowers usually in a dark tone of blue and
-displayed on saucer dishes or deep covered bowls. Some of the specimens
-of this class appear to be a little earlier than K’ang Hsi. The
-so-called “tiger-lily” pattern illustrated by Fig. 2 of Plate 89 is
-usually associated with deep cylindrical covered bowls of fine material
-and painted in the choicest blue. A beaker (Plate 91, Fig. 2) shows a
-characteristic treatment of the magnolia, parts of the blossoms being
-lightly sculptured in relief and the white petals set off by a foil of
-blue clouding. It evidently belongs to a set of five (three covered
-jars and two beakers) made as a _garniture de cheminée_ for the
-European market.
-
-The squat-bodied bottle (Plate 92, Fig. 1) illustrates a familiar
-treatment of the lotus design, with a large blossom filling the front
-of the body.
-
-But perhaps the noblest of all Chinese blue and white patterns is the
-prunus design (often miscalled hawthorn) illustrated by Plate 90, a
-covered vase once in the Orrock Collection and now in the Victoria and
-Albert Museum. The form is that of the well-known ginger jar, but these
-lovely specimens were intended for no banal uses. They were filled with
-fragrant tea or some other suitable gift, and sent, like the round cake
-boxes, by the Chinese to their friends at the New Year, but it was not
-intended that the jars or boxes should be kept by the recipients of the
-compliment.
-
-The New Year falls in China from three to seven weeks later than in our
-calendar, and it was seasonable to decorate these jars with sprays and
-petals of the flowering prunus fallen on the ice, which was already
-cracked and about to dissolve. The design is symbolic of the passing of
-winter and the coming of spring; and the vibrating depths of the pure
-sapphire blue broken by a network of lines simulating ice cracks form
-a lovely setting for the graceful prunus sprays reserved in the pure
-curd-like white of the ware.
-
-The prunus pattern has been applied to every conceivable form, whether
-to cover the whole surface or to serve as secondary ornament in the
-border of a design or on the rim of a plate, and the prunus jar
-appears in all qualities of blue and on porcelain good and bad, old
-and new. The graceful sprays have become stereotyped and the whole
-design vulgarised in many instances; and in some cases the blossoms are
-distributed symmetrically on a marbled blue ground as a mere pattern.
-But nothing can stale the beauty of the choice K’ang Hsi originals, on
-which the finest materials and the purest, deepest blue were lavished.
-The amateur should find no difficulty in distinguishing these from
-their decadent descendants. The freshness of the drawing, the pure
-quality of the blue, and the excellence of body, glaze, and potting
-are unmistakable. The old examples have the low rim round the mouth
-unglazed where the rounded cap-shaped cover fitted, and the design on
-the shoulders is finished off with a narrow border of dentate pattern.
-The original covers are extremely rare, and in most cases have been
-replaced with later substitutes in porcelain or carved wood.
-
-There are, besides, a number of types specially prevalent among the
-export porcelains, some purely Chinese in origin, others showing
-European influence. Take, for example, the well-known saucer dish with
-mounted figures of a man and a woman hunting a hare--a subject usually
-known as the “love chase”--a free and spirited design, rather sketchily
-painted in pale silvery blue. The porcelain itself is scarcely less
-characteristic, a thin, crisp ware, often moulded on the sides with
-petal-shaped compartments, and in many ways recalling the earlier type
-described on p. 70. It is, however, distinguished from the latter class
-by slight differences in tone and finish which can only be learnt by
-comparison of actual specimens. It is, moreover, almost always marked
-with a _nien hao_ in six characters, whereas marks on the other type
-are virtually unknown. The _nien hao_ is usually that of Ch’êng Hua,
-but an occasional example with the K’ang Hsi mark gives the true date
-of the ware.
-
-A quantity of this porcelain was brought up by divers from wrecks of
-old East Indiamen in Table Bay, among which was the _Haarlem_, lost in
-1648,[282] though most of the ships were wrecked at later dates. It
-is a thin and sharply moulded ware, often pure eggshell, and the blue
-varies from the pale silvery tint to vivid sapphire. The usual forms
-are of a utilitarian kind--plates, saucer dishes, cups and saucers,
-small vases and bottles, jugs, tankards, and the like--and the designs
-are not confined to the “love chase,” but include other figure subjects
-(e.g. a warrior on horseback carrying off a lady,[283] and various
-scenes from romance and family life), floral designs, deer, phœnixes,
-fish, birds, etc., and perhaps most often the tall female figures,
-standing beside flowering shrubs or pots of flowers, which are vulgarly
-known as “long Elizas,” after the Dutch _lange lijsen_ (see Plate 92,
-Fig. 2).
-
-Graceful ladies (_mei jên_) are familiar motives in Chinese
-decoration, but this particular type, usually consisting of isolated
-figures in small panels or separated from each other by a shrub or
-flowerpot, and standing in a stereotyped pose, are, I think,[284]
-peculiar to the export wares of the last half of the seventeenth
-century.
-
-This same type of thin, crisply moulded porcelain was also painted with
-similar designs in _famille verte_ enamels over the glaze. It has a
-great variety of marks, the commonest being the apocryphal Ch’êng Hua
-date-mark, while others are marks of commendation,[285] such as _ch’i
-chên ju yü_ (a rare gem like jade), _yü_ (jade), _ya_ (elegant), and
-various hall-marks.
-
-  [Illustration: PLATE 90
-
-  Covered Jar for New Year gifts, with design of blossoming prunus
-  (_mei hua_) sprays in a ground of deep sapphire blue, which
-  is reticulated with lines suggesting ice cracks: dentate border
-  on the shoulders
-
-  Height 10 inches. _Victoria and Albert Museum._]
-
-Yet another group of superior quality is obviously connected with the
-European trade by a peculiar mark (see vol. i., p. 228) resembling the
-letter C or G. It is most commonly represented by pairs of bottles with
-globular body and tall, tapering neck, decorated with flowing scrolls
-of curious rosette-like flowers, a design stated with much probability
-to have been copied from Dutch delft. As the Dutch design in question
-had evidently been based on a Chinese original, the peculiar nature
-of the flowers explains itself. There are other instances of patterns
-bandied in this way between the Far East and the West. The same
-peculiar floral scroll appears in _famille verte_ associated with
-the same mark; and the same G mark occurs on two rare bottles in the
-collection of Mr. J. C. J. Drucker, which have blue and white painting
-on the neck and _famille verte_ designs in the finest enamels on the
-body. A deep bowl in the Eumorfopoulos collection with _famille verte_
-panels of symbols from the Hundred Antiques, and a ground of green
-“prunus” pattern, bears the same mark. Neither of these last examples
-can be even remotely connected with Dutch influence, so that we may
-dismiss the suggestion that the letter in the mark is intended to be
-a D, standing for D(elft), for this reason quite apart from the fact
-that such a mark on Delft ware is non-existent. I imagine that the true
-explanation is that this peculiar mark is a merchant’s sign placed by
-order on the goods made for some particular trader.
-
-A close copy of the “wing handles” of Venetian glass on certain blue
-and white bottles (Plate 92, Fig. 3), the appearance of Prince of
-Wales’s feathers in the border of a plate and of an heraldic eagle in
-the well of a salt cellar, no less than many forms obviously Western
-in origin, further emphasise the close relations between the Ching-tê
-Chên potters and European traders.[286] An immense quantity of
-indifferent blue and white was made for the European table services,
-and summarily decorated with baskets of flowers, the usual flowering
-plant designs, close patterns of small blossoms, floral scrolls with
-large, meaningless flowers, ivy scrolls, passion flowers, and numerous
-stereotyped designs, such as dragons in sea waves, prunus pattern
-borders, pine tree and stork, a garden fence with rockery and flowering
-shrubs, groups from the Hundred Antiques, a parrot on a tree stump,
-etc. The blue of these pieces is usually rather dull and heavy, but
-the ware has the characteristic appearance of K’ang Hsi porcelain, and
-was evidently made for the most part about the year 1700. If marked
-at all, the marks are usually symbols, such as the double fish, the
-lozenge, the leaf, a tripod vase, and a strange form of the character
-_shou_ known as the “spider mark” (see vol. i., p. 225). The
-plates are often edged with lustrous brown glaze to prevent that
-chipping and scaling to which the Chinese glaze was specially liable on
-projecting parts of the ware.[287]
-
-Something has already been said[288] of another very distinctive class
-of blue and white for which the misleading name of “soft paste” has
-been widely adopted. The term is of American origin and has been too
-readily accepted, for it is not only inaccurate as a description,
-but is already current in Europe for a totally different ware, which
-it describes with greater exactitude, viz. the artificial, glassy
-porcelains made at Sèvres and Chelsea and other factories, chiefly in
-France and England, in the middle of the eighteenth century. In actual
-fact the Chinese ware to which the term “soft paste” is applied has
-an intensely hard body. The glaze, however, which is softer than that
-of the ordinary porcelain, contains a proportion of lead, and if not
-actually crackled from the first becomes so in use, the crackle lines
-being usually irregular and undecided.
-
-A detailed description of the manufacture of this ware is given by Père
-d’Entrecolles,[289] though he is probably at fault in supposing that
-its chief ingredient was a recent discovery in 1722. It was made, he
-says, with a mineral called _hua shih_ (in place of kaolin), a stone of
-glutinous and soapy nature, and almost certainly corresponding to the
-steatite or “soapy rock” which was used by the old English porcelain
-makers at Bristol, Worcester and Liverpool. “The porcelain made with
-_hua shih_,” to quote Père d’Entrecolles, “is rare and far more
-expensive than the other porcelain. It has an extremely fine grain; and
-for purposes of painting, when compared with ordinary porcelain, it is
-almost as vellum to paper. Moreover, this ware is surprisingly light
-to anyone accustomed to handle the other kinds; it is also far more
-fragile than the ordinary, and there is difficulty in finding the exact
-temperature for its firing. Some of the potters do not use _hua shih_
-for the body of the ware, but content themselves with making a diluted
-slip into which they dip their porcelain when dry, so as to give it a
-coating of soapstone before it is painted and glazed. By this means it
-acquires a certain degree of beauty.” The preparation of the _hua shih_
-is also described, but it is much the same as that of the kaolin, and
-the composition of the steatitic body is given as eight parts of _hua
-shih_ to two of porcelain stone (_petuntse_).
-
-There are, then, two kinds of steatitic porcelain, one with the body
-actually composed of _hua shih_ and the other with a mere surface
-dressing of this material. The former is light to handle, and opaque;
-and the body has a dry, earthy appearance, though it is of fine grain
-and unctuous to touch. It is variously named by the Chinese[290]
-_sha-t’ai_ (sand bodied) and _chiang-t’ai_ (paste bodied), and when the
-glaze is crackled it is further described as _k’ai pien_ (crackled).
-
-The painting on the steatitic porcelain differs in style from that
-of the ordinary blue and white of this period. It is executed with
-delicate touches like miniature painting, and every stroke of the
-brush tells, the effects being produced by fine lines rather than by
-graded washes. The ware, being costly to make, is usually painted by
-skilful artists and in the finest blue. Fig. 3, of Plate 93, is an
-excellent example of the pure steatitic ware, an incense bowl in the
-Franks collection, of which the base and a large part of the interior
-is unglazed and affords a good opportunity for the study of the body
-material. The glaze is thin and faintly crackled, and the design--Hsi
-Wang Mu and the Taoist Immortals--is delicately drawn in light, clear
-blue.
-
-The second type, which has only a dressing of steatite over the
-ordinary body, has neither the same lightness nor the opacity of the
-true steatitic ware, but it has the same soft white surface, and is
-painted in the same style of line drawing.
-
-There are, besides, other opaque and crackled wares painted in
-underglaze blue, which are also described as “soft paste,” and, indeed,
-deserve the name far more than the steatitic porcelain. The creamy,
-crackled copies of old Ting wares, for instance, made with _ch’ing
-tien_ stone,[291] are occasionally enriched with blue designs; and
-the ordinary stone-coloured crackle with buff staining is also painted
-at times with underglaze blue,[292] or with blue designs on pads of
-white clay in a crackled ground.
-
-On the other hand, there are numerous wares of the Yung Chêng and
-Ch’ien Lung periods which are probably composed in part, at least, of
-steatite. They are usually opaque, and the surface is sometimes dead
-white, sometimes creamy and often undulating like orange peel, and in
-addition to blue decoration, enamel painting is not infrequent on these
-later types. The purely steatitic porcelains are generally of small
-size, which was appropriate to the style of painting as well as to the
-expensive nature of the material. The furniture of the scholar’s table,
-with its tiny flower vases for a single blossom, its brush washers and
-water vessels of fanciful forms, its pigment boxes, etc., were suitable
-objects for the material, and many of these little crackled porcelains
-are veritable gems. Snuff bottles are another appropriate article, and
-a representative collection of snuff bottles will show better than
-anything the great variety of these mixed wares and so-called “soft
-pastes.”
-
-It has been already observed that crackled blue and white porcelain
-of the steatitic kind is found with the date marks of Ming Emperors,
-and there can be little doubt that it was made from early Ming times,
-but as the style of painting seems to have known no change it will be
-always difficult to distinguish the early specimens. It is safe to
-assume that almost all the specimens in Western collections belong to
-the Ch’ing dynasty, a few to the K’ang Hsi period, but the bulk of the
-better examples to the reigns of Yung Chêng and Ch’ien Lung. Modern
-copies of the older wares also abound.
-
-  [Illustration: Plate 91.--Blue and White K’ang Hsi Porcelain.
-
-  Fig. 1.--Triple Gourd Vase, white in blue designs of archaic
-  dragons and scrolls of season flowers. Height 36½ inches.
-  _Dresden Collection._
-
-  Fig. 2.--Beaker, white magnolia design slightly raised, with blue
-  background. Height 18 inches. _British Museum._
-
-  Fig. 3.--“Grenadier Vase,” panels with the Paragons of Filial
-  Piety. Height 44 inches. _Dresden Collection._]
-
-  [Illustration: Plate 92.--Blue and White K’ang Hsi Porcelain.
-
-  Fig. 1.--Sprinkler with lotus design. Height 6¼ inches.
-  _British Museum._
-
-  Fig. 2.--Bottle with biscuit handles, design of graceful ladies
-  (_mei jen_). Height 11 inches. _Fitzwilliam Museum
-  (formerly D. G. Rosetti Collection)_.
-
-  Fig. 3.--Bottle with handles copied from Venetian glass. Height
-  6¼ inches. _British Museum._]
-
-  [Illustration: Plate 93.--Blue and White Porcelain.
-
-  Fig. 1.--Tazza with Sanskrit characters. Ch’ien Lung mark. Height
-  4¼ inches. _British Museum._
-
-  Fig. 2.--Water Pot, butterfly and flowers, steatitic porcelain.
-  Wan Li mark. Height 1⅞ inches. _Eumorfopoulos Collection._
-
-  Fig. 3.--Bowl, steatitic porcelain. Immortals on a log raft.
-  K’ang Hsi period. Diameter 5¾ inches. _British Museum._]
-
-  [Illustration: Plate 94.--Porcelain decorated in enamels on the
-  biscuit.
-
-  Fig. 1.--Ewer in form of the character _Shou_ (Longevity);
-  blue and white panel with figure designs. Early K’ang Hsi period.
-  Height 8¾ inches. _Salting Collection._
-
-  Fig. 2.--Ink Palette, dated 31st year of K’ang Hsi (1692
-  A.D.). Length 5¼ inches. _British Museum._]
-
-An interesting passage in the first letter[293] of Père d’Entrecolles
-describes a curious kind of porcelain, of which the secret had already
-been lost. It was known as _chia ch’ing_ or “blue put in press,”
-and it was said that the blue designs on the cups so treated were
-only visible when the vessel was filled with water. The method of
-the manufacture is described as follows: “The porcelain to be so
-decorated had to be very thin; when it was dry, a rather strong blue
-was applied, not to the exterior in the usual manner, but on the
-interior to the sides. The design usually consisted of fish, as being
-specially appropriate to appear when the cup was filled with water.
-When the colour was dry a light coating of slip, made with the body
-material, was applied, and this coating enclosed the blue between
-two layers of clay. When this coating was dry, glaze was sprinkled
-inside the cup, and shortly afterwards the porcelain was placed on the
-wheel. As the body had been strengthened on the interior, the potter
-proceeded to pare it down outside as fine as possible without actually
-penetrating to the colour. The exterior was then glazed by immersion.
-When completely dry it was fired in the ordinary furnace. The work is
-extremely delicate, and requires a dexterity which the Chinese seem no
-longer to possess. Still, they try from time to time to recover the
-secret of this magical painting, but without success. One of them told
-me recently that he had made a fresh attempt, and had almost succeeded.”
-
-No example of this mysterious porcelain is known to exist, and it is
-probable that the whole story is based on some ill-grounded tradition.
-It is true that water will bring out the faded design on certain old
-potteries, but this is due to the action of the water in restoring
-transparency to a soft decayed glaze. But how the water or any other
-liquid could affect the transparency of a hard, impenetrable porcelain
-glaze, still less influence the colour concealed beneath a layer of
-clay and glaze, is far from clear. Indeed, the whole story savours of
-the “tall tales” quoted in chap. x. of vol. i.
-
-But perhaps it will not be inappropriate to mention here another
-peculiar type of blue and white, which, if we may judge by the early
-date mark usually placed upon it, throws back to some older model. The
-design, usually a dragon, is delicately traced with a needle point on
-the body of the ware, and a little cobalt blue is dusted into the
-incisions.[294] The glaze is then applied, and when the piece is fired
-and finished the dragon design appears faintly “tattooed” in pale blue.
-The effect is light and delicate, but of small decorative value, and
-the few examples which I have seen are redeemed from insignificance
-by a peculiarly beautiful body of pure glassy porcelain. They bear an
-apocryphal Ch’êng Hua mark, but evidently belong to the first half of
-the eighteenth century, to the Yung Chêng, or perhaps the late K’ang
-Hsi period.
-
-
-
-
-                               CHAPTER X
-
-                    K’ANG HSI POLYCHROME PORCELAINS
-
-
-Broadly speaking, the polychrome porcelains of the Ming and K’ang
-Hsi periods are the same in principle, though they differ widely
-in style and execution. The general types continued, and the first
-to be considered is that in which all the colours are fired in the
-high temperature of the large kiln, comprising underglaze blue and
-underglaze red, and certain slips and coloured glazes. Conspicuous
-among the last is a pale golden brown commonly known as Nanking
-yellow, which is found in narrow bands or in broad washes, dividing
-or surrounding blue designs, and is specially common on the bottles,
-sprinklers, gourd-shaped vases, and small jars exported to Europe in
-the last half of the seventeenth century. The golden brown also darkens
-into coffee brown, and in some cases it alternates in bands with buff
-crackle and pale celadon green.
-
-A deep olive brown glaze is sometimes found as a background for
-ornament in moulded reliefs which are touched with underglaze blue and
-red. A fine vase of this type is in the Salting Collection, and a good
-example was given by Mr. Andrew Burman to the British Museum. Both seem
-to be designed after bronze models.
-
-But the central colour of this group is undoubtedly the underglaze
-red. Derived from copper it is closely akin to the red of the _chi
-hung_ glaze, and both were conspicuous on the Hsüan Tê porcelain,
-both fell into disuse in the later Ming periods, and both were revived
-in the reign of K’ang Hsi.
-
-I have seen two examples of this colour in combination with underglaze
-blue bearing the hall mark _chung-ho-t’ang_, and cyclical dates
-corresponding to 1671 and 1672 respectively. In neither of these
-pieces, however, was the red very successful, and probably the better
-K’ang Hsi specimens belong to a later period of the reign. It was,
-however, always a difficult colour to fire, and examples in which the
-red is perfectly developed are rare. As a rule, it tends to assume a
-maroon or dark reddish brown tint.
-
-Nor is the method of its application always the same. Sometimes it is
-painted on in clean, crisp brush strokes; at others it is piled up in
-thick washes which flow in the firing and assume some of the qualities
-and the colour of _sang de bœuf_ red, even displaying occasional
-crackle; on other pieces again a “peach bloom” tint is developed.[295]
-On two of the best examples in the Franks Collection, where a deep
-blood red is combined with a fine quality of blue, it is noteworthy
-that the surface of the white glaze has a peculiar dull lustre. This,
-I understand, is due to “sulphuring” in the kiln, a condition which,
-whether accidental or intentional, is certainly favourable to the red
-colour. It is also noticeable that the red is particularly successful
-under a glaze which is faintly tinged with celadon green such as is
-often used on imitations of Ming porcelains, and it was no doubt this
-consideration which led to the frequent use of celadon green in this
-group. The celadon is used either as a ground colour for the whole
-piece or in parts only of the design, and the addition of white slip
-further strengthened the palette. With these colours some exquisite
-effects have been compassed in such designs as birds on prunus boughs
-and storks among lotus plants, the main design being in blue, the
-blossoms in white slip slightly raised and touched with red, and the
-background plain white, celadon green (Plate 115), and sometimes pale
-lavender blue. The celadon and pale lavender vases with this decoration
-were favourites with the French in the eighteenth century, and many
-sets of vases and beakers in this style have been furnished with
-sumptuous ormolu mounts by the French goldsmiths.
-
-The painting in underglaze red, which was revived in the K’ang Hsi
-period, continued with success in the succeeding reigns of Yung Chêng
-and Ch’ien Lung (indeed it has not ceased to this day), but the bulk
-of the finer examples in our collections seem to belong to the late
-K’ang Hsi and the Yung Chêng periods. The underglaze red is used alone
-as well as in combination, and some of its most successful effects are
-found on small objects like colour boxes and snuff bottles.
-
-The black or brown pigment used for outlining designs under the
-softer enamel colours such as green and yellow, though in one sense an
-underglaze colour, does not belong to this group.
-
-From this group of polychrome porcelain we pass to another in which the
-colour is given by washes of various glazes. A few of the high-fired
-glazes are employed for this purpose, especially blue in combination
-with celadon green and white, and a few clay slips, of which the
-commonest is a dressing of brown clay applied without any glaze and
-producing an iron-coloured surface. The most familiar members of this
-group are small Taoist figures of rough but vivacious modelling with
-draperies glazed blue, celadon and white,[296] and the base unglazed
-and slightly browned in the firing. Collectors are tempted to regard
-these figures as late or modern productions, but examples in the
-Dresden collection prove that this technique was employed in the K’ang
-Hsi period. In the same collection there are numbers of small toy
-figures, such as monkeys, oxen, grotesque human forms, etc., sometimes
-serving as whistles or as water-droppers. They are made of coarse
-porcelain or stoneware with a thin dressing of brown ferruginous clay,
-and touches of high-fired glazes. The appearance of these, too, is so
-modern that we realise with feelings of surprise that they formed part
-of the collection of Augustus the Strong.
-
-The polychrome porcelain coloured with glazes of the _demi-grand
-feu_ (i.e. glazes fired in the more temperate parts of the large
-kiln) has been discussed in the chapters on the Ming period.[297]
-The group characterised by green, turquoise and aubergine violet,
-semi-opaque, and minutely crackled is not conspicuous among K’ang
-Hsi porcelains; indeed it seems to have virtually ceased with the
-Ming dynasty. The individual colours, however, were still used as
-monochromes; in combination they are chiefly represented by aubergine
-violet and turquoise in broad washes on such objects as peach-shaped
-wine pots, Buddhist lions with joss-stick holders attached, parrots,
-and similar ornaments.
-
-The other three-colour group, composed of transparent green, yellow
-and aubergine purple glazes, usually associated with designs finely
-etched with a metal point on the body, were freely used in the K’ang
-Hsi and Yung Chêng periods in imitation of Ming prototypes. Such
-specimens are often characterised by extreme neatness of workmanship
-and technical perfection of the ware. The best-known examples are thin,
-beautifully potted rice bowls, with slightly everted rim, and a design
-of five-clawed Imperial dragons traced with a point and filled in with
-a colour contrasting with that of the ground, e.g. green on yellow, or
-green on aubergine, all the possible changes being rung on the three
-colours. Being Imperial wares these bowls are usually marked with the
-_nien hao_ of their period, but such is the trimness of their make
-that collectors are tempted to regard them as specimens of a later
-reign. But here again the Dresden collection gives important evidence,
-for it contains a bowl of this class with dragons in a remarkable
-purplish black colour (probably an accidental variety of the aubergine)
-in a yellow ground. It bears the mark of the K’ang Hsi period.
-
-The application of similar plumbo-alcaline glazes to a commoner type of
-porcelain is described by Père d’Entrecolles[298]:--“There is a kind
-of coloured porcelain which is sold at a lower rate than the enamelled
-ware just described.... The material required for this work need not
-be so fine. Vessels which have already been baked in the great furnace
-without glaze, and consequently white and lustreless, are coloured by
-immersion in a bowl filled with the colouring preparation if they are
-intended to be monochrome. But if they are required to be polychrome
-like the objects called _hoam lou houan_,[299] which are divided
-into kinds of panels, one green, one yellow, etc., the colours are
-laid on with a large brush. This is all that need be done to this
-type of porcelain, except that after the firing a little vermilion
-is applied to certain parts such as the beaks of birds, etc. This
-vermilion, however, is not fired, as it would evaporate in the kiln,
-and consequently it does not last. When the various colours have been
-applied, the porcelain is refired in the great furnace with the other
-wares which have not yet been baked; but care is taken to place it at
-the bottom of the furnace and below the vent-hole where the fire is
-less fierce; otherwise the great heat would destroy the colours.”
-
-  [Illustration: PLATE 95
-
-  Two examples of Porcelain painted with coloured enamels on the
-  biscuit, the details of the designs being first traced in brown.
-  K’ang Hsi period (1662–1722)
-
-  Fig. 1.--One of a pair of Buddhistic Lions, sometimes called Dogs
-  of Fo. This is apparently the lioness, with her cub: the lion has
-  a ball of brocade under his paw. On the head is the character
-  _wang_ (prince) which is more usual on the tiger of Chinese
-  art. Height 18 inches. _S. E. Kennedy Collection._
-
-  Fig. 2.--Bottle-shaped Vase and Stand moulded in bamboo pattern
-  and decorated with floral brocade designs and diapers. Height 8¾
-  inches. _Cope Bequest_ (_Victoria & Albert Museum_).]
-
-In this interesting passage, written in 1722, we have a precise
-account of the manufacture of one of the types of porcelain which
-have been indiscriminately assigned to the Ming period. This on-biscuit
-polychrome was undoubtedly made in the Ming dynasty, but in view of
-d’Entrecolles’ description it will be safe to assume that, unless
-there is some very good evidence to the contrary, the examples in our
-collections are not older than K’ang Hsi. The type is easily identified
-from the above quotation, and there is a little group of the wares in
-the British Museum, mostly small figures and ornaments with washes
-of green, brownish yellow and aubergine purple applied direct to the
-biscuit, and on some of the unglazed details the unfired vermilion
-still adheres. These coloured glazes are compounded with powdered
-flint, lead, saltpetre, and colouring oxides, and the porcelain
-belongs to the comprehensive group of _san ts’ai_ or three-colour
-ware, although the three colours--green, yellow and aubergine--are
-supplemented by a black formed of brown black pigment under one of the
-translucent glazes and a white which d’Entrecolles describes[300] as
-composed of ⅖ ounce of powdered flint to every ounce of white lead.
-This last forms the thin, iridescent film often of a faintly greenish
-tinge, which serves as white on these three-colour porcelains. In rare
-cases also a violet blue enamel is added to the colour scheme.
-
-A characteristic of this particular type is the absence of any painted
-outlines. The colours are merely broad washes bounded by the flow of
-the glaze, and this style of polychrome is best suited to figures and
-moulded ornamental pieces, in which the details of the design form
-natural lines of demarcation for the glazes. On a flat surface this
-method of coloration is only suited to such patchy patterns as the
-so-called tiger skin and the tortoiseshell wares.
-
-The Dresden collection is peculiarly rich in this kind of _san
-ts’ai_, but though two or three of the specimens (Plate 71, Figs. 1
-and 2) differing considerably from the rest, are clearly of the Ming
-period, the great majority are undoubtedly contemporaneous with the
-forming of the collection, viz. of the K’ang Hsi period. The latter
-include numerous figures, human and animal, and ornaments such as the
-junk on Plate 98, besides some complicated structures of rocks and
-shrines and grottos, peopled with tiny images and human figures. To
-this group belong such specimens as the “brinjal bowls,” with everted
-rim and slight floral designs engraved in outline and filled in with
-coloured glaze in a ground of aubergine (brinjal) purple. There are
-similar specimens with green ground, and both types are frequently
-classed with Ming wares. Some of them may indeed belong to the late
-Ming period,[301] but those with finer finish are certainly K’ang Hsi.
-They are usually marked with rough, undecipherable seal marks in blue,
-which are commonly known as shop marks.
-
-Some of the figures of deities, birds and animals, besides the
-small ornamental objects such as brush-washers in the form of lotus
-leaves and little water vessels for the writing table are of very
-high quality, skilfully modelled and of material far finer than that
-described by d’Entrecolles. Fig. 2, Plate 99, a statuette of Ho
-Hsien-ku, one of the Eight Immortals, is an example. The flesh is in
-white biscuit, showing the fine grain of the porcelain, white to-day,
-though possibly it was originally coloured with unfired pigment and
-gilt as was often the case. The glazes on this finer quality of ware,
-especially the green and the aubergine, are peculiarly smooth and
-sleek, and the yellow is fuller and browner than on the kindred ware,
-enamelled on the biscuit, which we now proceed to investigate.
-
-The French term, _émaillé sur biscuit_, is used somewhat broadly to
-cover the coloured glazes just described, as well as the enamels proper
-of the muffle kiln. We shall try to confine the expression, “on-biscuit
-enamels,” to the softer, verifiable enamels which are fired at a lower
-temperature and in a smaller kiln or muffle. These are, in fact, the
-same enamels as are used in the ordinary _famille verte_ porcelain
-painted over the finished glaze, but when applied direct to the biscuit
-they have a slightly darker and mellower tone, the background of
-biscuit reflecting less light than the glittering white glaze.
-
-  [Illustration: PLATE 96
-
-  Vase of baluster form painted in coloured enamels on the biscuit.
-  The design, which is outlined in brown, consists of a beautifully
-  drawn prunus (_mei hua_) tree in blossom and hovering birds,
-  beside a rockery and smaller plants of bamboo, etc., set in a
-  ground of mottled green. Ch’êng Hua mark but K’ang Hsi period
-  (1662–1722)
-
-  Height 16¾ inches. _British Museum._]
-
-Though the colour scheme of this group is substantially the same as
-that of the _san ts’ai_ glazes, and though the enamels when used in
-wide areas are not always easily distinguished from the glazes, the
-former do, in fact, differ in containing more lead, being actually
-softer and more liable to acquire crackle and iridescence, and in some
-cases there are appreciable differences in tint. The yellow enamel,
-for instance, is as a rule paler, and even when of a dark tint it has
-a muddy tone wanting in the fullness and strength of the yellow glaze;
-the green enamel varies widely in tone from the glaze, and includes,
-besides, several fresh shades, among which is a soft apple green
-of great beauty; and the aubergine is less claret coloured and often of
-a decidedly pinkish tone.
-
-But perhaps the most distinctive feature of this _san ts’ai_ of
-the muffle kiln is the careful tracing of the design in a brown black
-pigment on the biscuit. The transparent enamels are washed on over
-these black outlines, and give appropriate colours without obscuring
-the design which is already complete in itself.[302] The same brown
-black pigment[303] is also used over wide areas, laid on thickly and
-washed with transparent green to form the fine green black which is so
-highly prized. Like so much of the porcelain with coloured ornament
-applied to the biscuit this large group has been indiscriminately
-assigned to the Ming dynasty. The lack of documentary evidence has
-made it difficult to combat this obvious fallacy, obvious because
-the form and style of decoration of the finest specimens are purely
-K’ang Hsi in taste and feeling; but, while fully recognising that the
-scheme of decoration was not a new one, but had been in use in the
-Ming porcelains, I would point a warning finger again[304] to the ink
-slab in the British Museum with its design of aubergine plum blossoms
-on conventional green waves, its borders of lozenge and hexagon
-diaper, all enamelled on the biscuit, and in the characteristic style
-habitually described as Ming in sale catalogues, but actually dated
-1692. Another consideration is the quantity of these pieces in the
-Dresden collection which consists mainly of K’ang Hsi wares, and the
-presence of several examples (e.g. bamboo vases such as Fig. 2 of Plate
-95) in the rooms of the Charlottenburg Palace, which were furnished
-mainly with presents made by the British East India Company to Queen
-Sophia Charlotte (1668–1705).
-
-Marks are rare on this group, as a whole, though they occur fairly
-frequently on the large vases, the commonest being the date mark of the
-Ch’êng Hua period. No one would, however, seriously argue a fifteenth
-century date from this mark which is far more common than any other on
-K’ang Hsi porcelain; and I have actually seen the K’ang Hsi mark on
-one or two specimens which appeared to be perfectly genuine. Curiously
-enough the K’ang Hsi mark is more often a sign of a modern imitation,
-but this in view of the perverse methods of marking Chinese porcelain
-is in itself evidence that the modern copyist regards the reign of
-K’ang Hsi as the best period of manufacture for this style of ware.
-
-  [Illustration: PLATE 97
-
-  Square Vase with pendulous body and high neck slightly expanding
-  towards the top: two handles in the form of archaic lizard-like
-  dragons (_chih lung_), and a pyramidal base. Porcelain
-  painted with coloured enamels on the biscuit, with scenes
-  representing Immortals on a log raft approaching Mount P’êng-lai
-  in the Taoist Paradise. K’ang Hsi period (1662–1722)
-
-  Height 20½ inches. _British Museum._]
-
-The noblest examples of this group, and perhaps the finest of all
-Chinese polychromes, are the splendid vases with designs reserved
-in grounds of green black, yellow or leaf green. Plates 96, 97 and
-Frontispiece will serve to illustrate the colours and at the same
-time some of the favourite forms[305] of these sumptuous pieces, the
-baluster vase, and the square vase with pendulous body, pyramidal
-base, and two handles usually of archaic dragon form. The favourite
-design for the decoration of these forms is the flowering prunus tree,
-beside a rockery with a few bright plumaged birds in the branches, one
-of the most familiar and at the same time most beautiful of Chinese
-patterns (see Plate 96). The flowers of the four seasons--peony, lotus,
-chrysanthemum and prunus--form a beautiful decoration for the four
-sides of another favourite form, a tall vase of square elevation with
-sides lightly tapering downwards, rounded shoulders, arid circular
-neck, slightly flaring at the mouth. The specimens illustrated are in
-the British Museum, but there is a wonderful series of these lordly
-vases in the Salting Collection, and in the Pierpont Morgan and Altmann
-Collections in New York. To-day they are rare, and change hands at
-enormous prices. Consequently all manner of imitations abound, European
-and Oriental, the modern Chinese work in this style being often highly
-successful. But the most insidious copies are the deliberate frauds
-in which old K’ang Hsi vases are stripped of a relatively cheap
-form of decoration, the glaze and colour being removed by grinding,
-and furnished with a cleverly enamelled design in colours on the
-biscuit. The actual colours are often excellent, and as the ware seen
-at the base is the genuine K’ang Hsi porcelain even the experienced
-connoisseur may be deceived at first, though probably his misgivings
-will be aroused by something in the drawing which betrays the copyist,
-and a searching examination of the surface will reveal some traces of
-the sinister treatment to which it has been subjected or the tell-tale
-marks, such as black specks or burns, left on the foot rim by the
-process of refiring. There is much truth besides in the saying that
-things “look their age,” and artificial signs of wear imparted by
-friction and rubbing with sand or grit are not difficult for the
-experienced eye to detect.
-
-As already noted, the black of the precious black-ground vases, the
-_famille noire_ as they are sometimes called, is formed by
-overlaying a dull black pigment with washes of transparent green
-enamel. The result is a rich greenish black, the enamel imparting life
-and fire to the dull pigment; and as the green is fluxed with lead it
-tends to become iridescent, giving an additional green _reflet_
-to the black surface. The modern potters have learnt to impart an
-iridescence to their enamels, and one often sees a strong lustre on
-specimens which are clearly “hot from the kiln”; but these enamels
-have a sticky appearance differing widely from the mellow lustre which
-partial decay has spread over the K’ang Hsi colours. It will be found,
-besides, that the shapes of the modern copies are wanting in the grace
-and feeling of the originals.
-
-This type of porcelain enamelled on the biscuit is particularly well
-suited to statuettes and ornamental objects of complex form. The
-details of the biscuit remain sharp and clear, and there is no thick
-white glaze to soften the projections and fill up the cavities, for the
-washes of transparent enamel are too slight to obscure the modelling.
-Consequently we find in this style of ware all the familiar Chinese
-figures, the Buddhist and Taoist deities, demigods, and sages, which,
-like our own madonnas and saints, mostly conform to well established
-conventions, differing mainly in their size, the quality of their
-finish, the form of their bases or pedestals, and the details of the
-surface colouring. Of these the figures of Kuan-yin[306] are the most
-frequent and the most attractive, the compassionate goddess with
-sweet pensive face, mounted on a lotus pedestal or a rocky throne
-and sometimes canopied with a cloak which serves as a hood and a
-covering for her back and shoulders. She has moreover a long flowing
-robe open at the neck, and displaying a jewelled necklace on her bare
-bosom. There are, besides, the god of Longevity: the Eight Immortals:
-Tung-fang So with his stolen peaches: the star-gods of Longevity, Rank,
-and Happiness: the twin genii of Mirth and Harmony: Kuan-ti, the god
-of War, on a throne or on horseback: Lao-tzŭ on his ox: the demon-like
-Kuei Hsing, and the dignified Wên Ch’ang, gods of Literature; and all
-the throng. There are a few animal forms such as the horse, the ox, the
-elephant, the mythical _ch’i-lin_, and most common of all the Buddhist
-lions (sometimes called the dogs of Fo), usually in pairs, one with a
-cub, and the other playing with a ball of brocade, mounted on an oblong
-base, to which is attached, in the smaller sizes at any rate, a tube
-for holding incense sticks. Other familiar objects are four-footed
-or tripod stands for manuscript rolls, boxes for brushes colours,
-etc., ink screens, water pots of fanciful shape for the writing
-table, picture plaques (Plate 100), supper sets made up of a number
-of small trays which fit together in the form of a lotus flower[307]
-or a rosette, perforated boxes and hanging vases for fragrant flowers
-(Fig. 2 of Plate 98), “butterfly cages,” and “cricket boxes.” Another
-well-known specimen represents the famous T’ang poet, Li T’ai-po, the
-Horace of China, reclining in drunken stupor against a half overturned
-wine jar, the whole serving as a water vessel for the writing table.
-
-Instances of the combination of on-glaze and on-biscuit enamels in the
-same piece also occur. Thus on the splendid black-ground potiche in
-the Franks Collection (Frontispiece) passages of white glaze have been
-inserted to receive the coral red colour which apparently could not
-be applied to the biscuit. And conversely in the ordinary _famille
-verte_ decoration on the glaze there are sometimes inserted small
-areas of on-biscuit enamels on borders, handles, base ornaments,
-etc. Such combinations give an excellent opportunity for observing
-the contrast between the softer, fuller tints on the biscuit and the
-brighter, more jewel-like enamels on the white glaze. In rare instances
-we find passages of blue and white decoration associated with the
-on-biscuit enamels as on the curious ewer illustrated by Fig. 1 of
-Plate 94. Blue and white is similarly combined with decoration in
-coloured glazes on the biscuit in a late Ming jar in the Victoria and
-Albert Museum (Case 9, No. 4396–57).
-
-  [Illustration: Plate 98.--K’ang Hsi Porcelain with on-biscuit
-  decoration.
-
-  _Dresden Collection._
-
-  Fig. 1.--Teapot in form of a lotus seed-pod, enamels on the
-  biscuit. Height 2¾ inches.
-
-  Fig. 2.--Hanging Perfume Vase, reticulated, enamels on the
-  biscuit. Height 3½ inches.
-
-  Fig. 3.--Ornament in form of a junk, transparent _san ts’ai_
-  glazes. Height 11½ inches.]
-
-  [Illustration:
-
-  Plate 99.--K’ang Hsi Porcelain with on-biscuit decoration.
-
-  Fig. 1.--Ewer with black enamel ground, lion handle. Height 8¾
-  inches. _Cope Bequest_ (_V. & A. Museum_).
-
-  Fig. 2.--Figure of the Taoist Immortal, Ho Hsien Ku, transparent
-  _san ts’ai_ glazes. Height 10⅛ inches. _S. E. Kennedy
-  Collection._
-
-  Fig. 3.--Vase and Stand, enamelled on the biscuit. Height 8¾
-  inches. _Cope Bequest._]
-
-  [Illustration: Plate 100.--Screen with Porcelain Plaque, painted
-  in enamels on the biscuit.
-
-  Light green background. K’ang Hsi period (1662–1722). Total
-  height 22½ inches.
-
-  _In the Collection of the Hon. E. Evan Charteris._]
-
-  [Illustration: Plate 101.--Vase with panels of landscapes and
-  _po ku_ symbols in _famille verte_ enamels
-
-  In a ground of underglaze blue trellis pattern. K’ang Hsi period
-  (1662–1722). Height 32 inches. _Dresden Collection._]
-
-  [Illustration: Plate 102.--Two Dishes of _famille verte_
-  Porcelain in the _Dresden Collection_. K’ang Hsi period
-  (1662–1722).
-
-  Fig. 1.--With birds on a flowering branch, brocade borders.
-  Artist’s signature in the field. Diameter 16 inches.
-
-  Fig. 2.--With ladies on a garden terrace. Diameter 21 inches.]
-
-The familiar phrase, _famille verte_, was first used by Jacquemart as a
-class name for the enamelled porcelains on which green plays a leading
-part. According to this definition it should include the _Wan li wu
-ts’ai_, the Ming enamelled porcelain, as well as much of the on-biscuit
-enamelled wares, in addition to the typical K’ang Hsi enamelled
-porcelain to which usage has specially consecrated the term. A direct
-descendant of the _Wan li wu ts’ai_, the _famille verte_ includes
-the combinations of underglaze blue with the translucent on-glaze
-enamels green, yellow, and aubergine, and the coral red (derived from
-iron), the French _rouge de fer_, which is so thin that it
-resembles a pigment rather than a vitreous enamel. Add to these the
-brown black pigment, which is used to trace the outlines of the design
-and with a covering of green to form the green black, and we have one
-type of _famille verte_ which differs in no essential from the Wan
-Li prototype. It is, in fact, no easy matter to find the line which
-divides the two groups. The nature of the ware and the style of the
-painting are the best guides; and the study of the K’ang Hsi blue and
-white will be a great help in this delicate task.
-
-But the real K’ang Hsi _famille verte_, which we might call the _K’ang
-hsi wu ts’ai_, is distinguished by the addition of an overglaze blue
-enamel which enhanced the brilliancy of the colour scheme, and at the
-same time removed the necessity of using underglaze and overglaze
-colours together.[308] It is not to be supposed, however, that the
-underglaze blue disappeared entirely from the group. The old types
-were always dear to the Chinese mind, and there were frequent revivals
-of these in addition to the special wares,[309] such as the “Chinese
-Imari,” in which this kind of blue was essential. There are indeed
-examples of both blues on the same pieces.
-
-The history of this overglaze blue enamel has already[310] been
-partially discussed, and evidence has been given of its tentative
-use in the Wan Li porcelain. A passage in the second letter of Père
-d’Entrecolles[311] actually places its invention about the year 1700,
-but the worthy father’s chronology (based no doubt chiefly on hearsay)
-is often at fault. It is fairly certain, however, that the blue enamel
-was not used to any extent before the Ch’ing dynasty, owing no doubt to
-the fact that it had not been satisfactorily made until that date.
-
-A beautiful enamel of violet blue tone, it is an important factor of
-the _famille verte_ decoration, and the merits of a vase or dish are
-often decided on the purity and brilliance of this colour alone. There
-is, however, something in the nature of the enamel which seems to
-affect the surrounding glaze; at any rate, it is often ringed about
-by a kind of halo of dull lustre, reflecting faint rainbow tints to a
-distance of perhaps an inch from the edge of the blue. It is as though
-an exhalation from the blue enamel deposited a thin film of lustre on
-the glaze, and it is a very frequent occurrence, though not always in
-the same conspicuous degree. Collectors who are ever looking for a sign
-have been tempted to hail its presence as a sure proof of antiquity.
-But it is by no means constant on the old _famille verte_, and it has
-yet to be proved that the same enamel will not produce a similar effect
-on the modern glaze.
-
-In view of the appreciation of _famille verte_ porcelain at the
-present day a contemporary criticism will be of interest. D’Entrecolles
-in his first letter,[312] referring to “porcelain painted with
-landscapes in a medley of almost all the colours heightened with
-gilding,” says: “They are very beautiful, if one pays a high price, but
-the ordinary wares of this kind are not to be compared with blue and
-white.” And again,[313] following an exact description of painting with
-enamel colours on the finished glaze and of the subsequent refiring of
-the ware, we read: “Sometimes the painting is intentionally reserved
-for the second firing; at other times they only use the second firing
-to conceal defects in the porcelain, applying the colours to the faulty
-places. This porcelain, which is loaded with colour, is not to the
-taste of a good many people. As a rule one can feel inequalities on the
-surface of this kind of porcelain, whether due to the clumsiness of the
-workmen, to the exigencies of light and shade in the painting, or to
-the desire to conceal defects in the body of the ware.”
-
-The tenor of these criticisms will not be endorsed by the modern
-collector of K’ang Hsi porcelain. _Famille verte_ porcelain is
-enthusiastically sought, and even indifferent specimens command a
-high price, while the really choice examples can only be purchased
-by the wealthy. As to the inequalities on the surface, the second of
-the three reasons hazarded by d’Entrecolles is nearest the truth. The
-enamels used by the Chinese porcelain painter contain a remarkably
-small percentage of colouring oxide, and one of the characteristics
-of _famille verte_ colours is their transparency. To obtain full
-tones and the contrast between light and shade (even to the limited
-extent to which the Chinese use this convention) it was necessary
-to pile up the layers of colour at the risk of unduly thickening the
-enamel. But the connoisseur of to-day finds nothing amiss in these
-jewel-like incrustations of colour, so long as the enamels are pure and
-bright, and have not scaled off or suffered too severely from the wear
-to which their prominent surface is exposed.
-
-It seems[314] that when the porcelain was destined to receive on-glaze
-enamels (without any underglaze blue) a special glazing mixture was
-used in which only one part of the softening element[315] was combined
-with thirteen of the ordinary glazing fluid. This glaze was very white
-and strong, and too opaque to do justice to an underglaze blue.
-
-There is a reference in the first letter of Père d’Entrecolles to
-a white colour which was used on the “porcelain painted in various
-colours.” It was fluxed with lead like the other enamel colours, and
-it was also used mixed with the latter to modify their tint. In fact
-there can be little doubt that it was arsenical white, an opaque white
-familiar on the Yung Chêng and Ch’ien Lung porcelains, and prominent in
-the _famille rose_ palette, but not usually suspected of such an
-early appearance as 1712, the date of the letter in question.
-
-The designs of the _famille verte_ porcelain, like those on the blue
-and white, are first traced in outline and then filled in with washes
-of colour. The outlines are in a dry dull pigment of red or brown black
-tint, inconspicuous in itself, but acquiring prominence when covered
-with transparent enamel. M. Grandidier tried to formulate certain rules
-for these outlines which, if reliable, would simplify greatly the task
-of dating the porcelains. On Ming ware, he said, the outlines were
-blue; on K’ang Hsi wares the face and body outlines were red, those of
-the vestments and other objects black. Unfortunately the first of these
-generalisations is wholly wrong, and the second pointless, because only
-partly right.
-
-Omitting the underglaze blue as foreign to this particular group of
-_famille verte_ under discussion, the colours consist of dark leaf
-green often of a mottled appearance, a beautiful light apple green,
-which is characteristic of the K’ang Hsi wares just as the blue green
-is of the sixteenth century polychrome, an aubergine colour (derived
-from manganese) which varies from purple brown to rosy purple, a yellow
-of varying purity and usually of brownish tone, a green black formed
-of the brown black pigment under washes of transparent green, a blue
-enamel of violet tone, and the thin iron red. The blue enamel and the
-red are sometimes omitted, leaving a soft harmony of green, aubergine
-and yellow in which green plays the chief part. A little gilding is
-often used to heighten parts of the design.
-
-As for the shapes of the _famille verte_ porcelain, they are
-substantially the same as those of the blue and white and call for
-no further comment. The designs, too, of the painted decoration are
-clearly derived from the same sources as those in the blue and white,
-viz. books of stock patterns, pictures, illustrations of history
-and romance, and of such other subjects as happened to be specially
-appropriate or of general interest.
-
-To take a single instance of a pictorial design, the familiar rockery
-and flowering plants (peony, magnolia, etc.) and a gay-plumaged
-pheasant lends itself to effective treatment in enamel colours. It
-is taken from a picture, probably Sung in origin, but there are many
-repetitions of it in pictorial art, one of which by the Ming painter
-Wang-yu is in the British Museum collection.[316] The original is said
-to have been painted by the Emperor Hui Tsung in the beginning of the
-twelfth century. Another familiar design--quails and millet--is reputed
-to have been painted by the same Imperial artist.
-
-A good instance of the kind of illustrated book which supplied the
-porcelain decorator with designs is the _Yü chih kêng chih t’u_
-(Album of Ploughing and Weaving, compiled by Imperial order),
-which deals with the cultivation of rice and silk in some forty
-illustrations. It was first issued in the reign of K’ang Hsi, and
-there are copies of the original and of several later editions in the
-British Museum. A specimen of _famille rose_ porcelain in the
-Franks Collection is decorated with a scene from this work, and in the
-Andrew Burman Collection there are two _famille verte_ dishes with
-designs from the same source. In the Burdett Coutts Collection, again,
-there is a polygonal bowl with subjects on each side representing
-the various stages of cotton cultivation, evidently borrowed from an
-analogous work.
-
-  [Illustration: PLATE 103
-
-  Club-shaped (_rouleau_) Vase finely painted in _famille
-  verte_ enamels with panel designs in a ground of chrysanthemum
-  scrolls in iron red; brocade borders. Last part of the K’ang Hsi
-  period (1662–1722)
-
-  Height 17 inches. _Salting Collection_ (_Victoria and
-  Albert Museum_).]
-
-Signatures and seals of the artist usually attached to a stanza
-of verse, or a few phrases which allude to the subject, are often
-found in the field of the pictorial designs. Fig. 1 of Plate 102,
-for instance, belongs to a series of beautiful dishes in the Dresden
-collection, which display the same seal--apparently[317] _wan
-shih chü_ (myriad rocks retreat), the studio name not, I think, of the
-porcelain painter but of the artist whose picture was copied on the
-porcelain. There are numerous examples of similar seals in the field
-of the design, and we shall return to the subject later in a place
-where important issues turn on the solution of the problem which it
-raises.[318]
-
-The types of _famille verte_ porcelain are extremely numerous, almost
-as varied as those of the blue and white (p. 136). Like the latter they
-include much that was obviously made for European consumption, and most
-of the groups which were singled out from the mass of blue and white
-for special description can be paralleled in the _famille verte_. The
-thin, crisp, moulded ware with petal-shaped panels and lobed borders,
-the group with the “G” mark, and many other types are found with the
-same peculiarities of paste and glaze, and even the same design painted
-in on-glaze enamels. As in the case of the blue and white, the quality
-of this export ware varies widely, and the individual specimens will
-be judged by the drawing of the designs and the purity and fire of the
-enamels.
-
-A few of the more striking types are illustrated on Plates 103 and 104.
-Perhaps the most sumptuous effects of this colour scheme are displayed
-in the vases decorated with panel designs surrounded by rich diapers
-borrowed from silk brocades. A favourite brocade pattern consists of
-single blossoms or floral sprays woven into a ground of transparent
-green covering a powder of small brown dots. This dotted green ground
-is commonly known as “frog’s spawn,” and another diaper of small
-circles under a similar green enamel is easily recognised under the
-name of “fish roe.” But the variety of these ground patterns is great,
-and in spite of their prosaic nomenclature they render in a singularly
-effective manner the soft splendour of the Chinese brocades.
-
-In dating the _famille verte_ porcelains the collector will find
-his study of the blue and white of great assistance. There is, for
-instance, the well-known type of export ware--sets of vases with
-complex moulding, and dishes and plates, etc., with petal-shaped lobes
-on the sides or borders. The central design of the decoration commonly
-consists of _ch’i lin_, and phœnix, sea monsters (_hai shou_), storks
-or ducks beside a flowering tree or some such familiar pattern; and
-the surrounding petal-shaped panels are filled each with a growing
-flower, or a vignette of bird and plant, plant and insect, or even a
-small landscape. These bright but often perfunctorily painted wares
-are paralleled in the early K’ang Hsi blue and white. They are among
-the first Chinese polychrome porcelains to be copied by the European
-potters. See Plate 107.
-
-In the purely native wares the early Ch’ing _famille verte_ is
-distinguished by strong and rather emphatic colouring, the energy
-of the drawing and the breadth of design which recall the late Ming
-polychromes. The zenith of this style of decoration was reached about
-1700, say between 1682 and 1710. This is the period of the magnificent
-vases with panel designs in brocaded grounds, or with crowded figure
-subjects, Court scenes, and the like, filling large areas of the
-surface, such vases as may be seen in the splendid series of the
-Salting Collection or in the Grandidier Collection in the Louvre. They
-are probably children of the great renaissance which began under the
-auspices of Ts’ang Ying-hsüan. Dated examples are extremely rare, and
-consequently the square vase on Plate 104 assumes unusual importance on
-account of the cyclical date which occurs in the long inscription, “the
-29th day of the 9th moon of the _kuei mo_ year,” which we can hardly
-doubt is 1703. Incidentally another side of this vase illustrates the
-celebrated scene of the wine cups started from the “orchid arbour to
-float down the nine-bend river.”[319]
-
-Another example with a cyclical date (the year _hsin mao_, and no
-doubt 1711) is a globular water bottle “of the highest quality and
-technique, decorated with transparent luminous enamels of great beauty
-and delicacy,” in the Pierpont Morgan Collection.[320] But in this case
-the date is attached to a verse in the field of the decoration, and it
-may belong to the design rather than to the porcelain.
-
-  [Illustration: Plate 104.--Three Examples of K’ang Hsi _famille
-  verte_ Porcelain.
-
-  Fig. 1.--Square Vase with scene of floating cups on the river;
-  inscription with cyclical date 1703 A.D.; _shou_ characters
-  on the neck. Height 18⅜ inches. _Hippisley Collection._
-
-  Fig. 2.--Lantern with river scenes. Height 13¾ inches. _Dresden
-  Collection._
-
-  Fig. 3.--Covered Jar of _rouleau_ shape, peony scrolls in
-  iron red ground, brocade borders. Height 22 inches. _Dresden
-  Collection._]
-
-  [Illustration: Plate 105.--Covered Jar painted in _famille
-  verte_ enamels
-
-  With brocade ground and panel with an elephant (the symbol of
-  Great Peace). Lion on cover. K’ang Hsi period (1662–1722). Height
-  21¼ inches. _Dresden Collection._]
-
-  [Illustration: Plate 106.--K’ang Hsi _famille verte_
-  Porcelain. _Alexander Collection._
-
-  Fig. 1.--Dish with rockery, peonies, etc., birds and insects.
-  Diameter 16¼ inches.
-
-  Fig. 2.--“Stem Cup” with vine pattern. Height 5¾ inches.]
-
-  [Illustration: Plate 107.--_Famille verte_ Porcelain made
-  for export to Europe. K’ang Hsi period (1662–1722). _British
-  Museum._
-
-  Fig. 1.--Vase with “sea monster” (_hai shou_).
-
-  Fig. 2.--Dish with basket of flowers. Mark, a leaf. Diameter 11
-  inches.
-
-  Fig. 3.--Covered Jar with _ch’i-lin_ and _fêng-huang_
-  (phœnix).]
-
-The lateness of this latter date and the use of the word “delicacy”
-in the description of the piece lead us naturally to that peculiarly
-refined type of late _famille verte_ in which the ware is of eggshell
-thinness, the painting extremely dainty and delicate, and the
-colours rather pale but of perfect purity. Such are the well-known
-“birthday plates” with the reign mark of K’ang Hsi on the back and the
-birthday salutation in seal characters on the border: _wan shou wu
-chiang_--“a myriad longevities without ending!” They are reputed to
-have been made for the Emperor’s sixtieth birthday which fell in the
-year 1713, but the story is supported by no evidence of any kind, and
-they would have been equally appropriate for any Imperial birthday. The
-character of these wares is more suggestive of the Yung Chêng period,
-and it is probable that they belong to the extreme limit of the long
-reign of K’ang Hsi. To this period then we shall assign these and the
-whole group of kindred porcelains, the plates with designs similar
-to those of the “birthday plates,” but without the inscribed border,
-the small eggshell plates with one or two figures painted in the same
-delicate style, others with a single spray of some flowering shrub
-almost Japanese in its daintiness, and occasional bowls and vases with
-decoration of the same character. See Plate 113.
-
-For extreme delicacy of treatment is by no means a feature of the K’ang
-Hsi _famille verte_ in general, in which the Ming spirit with its
-boldness and vigour still breathed. It is rather a late development in
-the decadence of the ware, heralding the more effeminate beauty of the
-_famille rose_, and were it not for the evidence of the birthday plates
-I believe many connoisseurs would be tempted to ascribe these delicate
-porcelains to a much later reign.
-
-Such, however, is the evolution of the _famille verte_ during the sixty
-years of the K’ang Hsi period, from the strong colours and forceful
-Ming-like designs of the earlier specimens to the mature perfection
-of the splendid wares made about 1700, and thence by a process of
-ultra-refinement to the later types in which breadth of treatment gives
-place to prettiness and the strong thick enamels to thinner washes of
-clear, delicate tints. These thin transparent colours continued in use;
-indeed, they are a feature of a special type of enamelling which will
-be discussed with the Yung Chêng wares; but the pure _famille verte_
-may be said to have come to an end with the last years of the reign
-of K’ang Hsi. Later reproductions of course exist, for no style of
-decoration is ever wholly extinct in Chinese art, but they are merely
-revivals of an old style, which even before the end of the K’ang Hsi
-period had reached the stage of transition to another family. The
-opaque enamels of the _famille rose_ palette had already begun to
-assert themselves. Timid intruders at first--a touch of opaque pink,
-a little opaque yellow and arsenical white breaking in upon the old
-harmony of transparent tints--they gradually thrust the _famille verte_
-enamels into a subsidiary position, and in the succeeding reigns rose
-pinks entirely dominate the field.
-
-A word must be said of the use of the _famille verte_ painting in
-combination with other types of decoration, in the subordinate position
-of border patterns or more prominently in panel designs. Exquisite
-effects are obtained by the latter in a ground of coral red, or
-where a brilliant powder blue field is broken by shapely panels with
-flowering plants and birds and other familiar vehicles for _famille
-verte_ colouring. Occasionally we find the enamels actually painted
-over a powder blue or an ordinary blue glaze, but the combination
-is more peculiar than attractive; for the underlying colour kills
-the transparent enamels, and the enamels destroy the lustre of the
-blue ground. Indeed, it is probable that in many cases these freak
-decorations were intended to hide a faulty background.
-
-A similar painting over the crackled green _lang yao_ glaze has already
-been described, and it occurs over the grey white crackles, and rarely
-but with much distinction, over a pale celadon glaze. But perhaps
-the most effective combination of this kind is that in which a pale
-lustrous brown or Nanking yellow is the ground colour. The quiet and
-refined effects of this union are well exhibited by a small group of
-vases, bowls, and dishes in the Salting Collection.
-
-Something has already been said of the use of underglaze blue in
-combination with _famille verte_ enamels. The blue is either an
-integral part of the general design as in the Wan Li “five colour”
-scheme, or it forms a distinct decoration by itself, apart from the
-enamels, though sharing the same surface. The latter use is exemplified
-by a pair of bottles in the Salting Collection which have blue patterns
-on the neck and _famille verte_ decoration on the body, consisting
-of landscape panels surrounded by brocade patterns.[321] But the great
-drawback to this union of underglaze and overglaze colours is usually
-apparent. The blue was liable to suffer in the subsequent firings
-necessitated by the enamels, even though those firings took place at
-a relatively low temperature. Probably the potter would not expose
-his finest blue to such risks, but at any rate the blue of this mixed
-decoration is rarely of first-rate quality.
-
-  [Illustration: PLATE 108
-
-  Dish painted in underglaze blue and _famille verte_ enamels.
-  In the centre, a five-clawed dragon rising from waves in pursuit
-  of a pearl. Deep border in “Imari” style with cloud-shaped
-  compartments with chrysanthemum and prunus designs in a blue
-  ground, separated by close lotus scrolls reserved in an iron
-  red ground in which are three book symbols. K’ang Hsi period
-  (1662–1722)
-
-  Diameter 19½ inches. _Alexander Collection._]
-
-There is one group of porcelain which combines the underglaze blue
-with on-glaze enamels, and which deserves special notice if only
-because it has been recently favoured with particular attention by
-collectors. This is what we are pleased to call “Chinese Imari.”
-Our ceramic nomenclature has never been noted for its accuracy, and
-like good conservatives we hold firmly to the old names which have
-been handed down from days when geography was not studied, and from
-ancestors who were satisfied with old Indian china, or Gombroon ware,
-as names for Chinese porcelain. So Meissen porcelain is still Dresden,
-the blue and white of Ching-tê Chên is Old Nanking, Chinese export
-porcelain painted at Canton with pink roses is Lowestoft, and the ware
-made at Arita, province of Hizen, in Japan, is Imari, because that is
-the name of the seaport from which it was shipped. In fact, there are
-many shops where you cannot make yourself understood in these matters
-unless you call the wares by the wrong name.
-
-The Arita porcelain in question, this so-called Imari, was made from
-the middle of the seventeenth century onwards, and it must have
-competed seriously with the export wares of Ching-tê Chên. At any
-rate, it was brought to Europe in large consignments by the Dutch
-traders, who enjoyed the privilege of a trading station on the island
-of Deshima, after the less politic Portuguese had been driven out of
-Nagasaki in 1632. For the moment we are specially concerned with two
-types of Arita ware. The first is distinguished by slight but artistic
-decoration in vivid enamels of the _famille verte_, supplemented
-by gilding and occasionally by underglaze blue. Favourite designs are
-a banded hedge, prunus tree, a Chinese boy and a tiger or phœnix; two
-quails in millet beside a flowering prunus; simple flowering sprays
-or branches coiled in circular medallions; or only a few scattered
-blossoms. Whatever the nature of the design, it was artistically
-displayed, and in such a manner as to enhance without concealing
-the fine white porcelain. This is what the old catalogues call the
-_première qualité coloriée de Japon_, and a very popular ware it
-was in eighteenth century Europe, when it was closely copied on the
-early productions of the St. Cloud, Chantilly, Meissen, Chelsea, and
-other porcelain factories. To-day it is commonly known as Kakiemon
-ware, because its very distinctive style of decoration is traditionally
-supposed to have been started by a potter named Kakiemon, who, with
-another man of Arita, learned the secret of enamelling on porcelain
-from a Chinese merchant about the year 1646.
-
-The second type was made entirely for the European trade, and it
-is distinguished by large masses of dark, cloudy blue set off by
-a soft Indian red (derived from oxide of iron) and gilding. These
-colours are supplemented by touches of green, yellow, and aubergine
-enamels, and occasionally by a brownish black. The ware itself is
-heavy, coarse and greyish, but its rough aspect is well concealed by
-irregular and confused designs of asymmetrical panels surrounded by
-mixed brocade patterns. The panels often contain Chinese figures,
-phœnixes, lions, floral designs of chrysanthemums, peony and prunus,
-a basket of flowers, rough landscapes or garden views. They are
-medleys of half-Chinese, half-Japanese motives, a riot of incoherent
-patterns, but not without broad decorative effect thanks to the bold
-masses of red, blue and gold. Such is the typical “Old Imari.” There
-is, however, a finer and more Japanese variety of the same group
-which is distinguished by free use of the chrysanthemum rosette, and
-the Imperial kiri (paulonia imperialis), and by panels of diaper
-pattern and floral designs alternating and counter-changed in colour,
-the grounds now red, now blue, and now gold. The same colour scheme
-prevailed in this sub-group, and the dark blue was usually netted over
-with gold designs.
-
-It was no doubt the success which these wares met in European commerce
-that induced the Chinese to take a lesson from their pupils, and to
-adopt the “Imari” style. At any rate, they did copy all these types,
-sometimes very closely, sometimes only in part. Thus in some cases the
-actual Japanese patterns as well as the colour scheme are carefully
-reproduced, in others the Japanese colour scheme is employed on Chinese
-patterns or vice versa, and, again, there are cases in which passages
-of Japanese ornament are inserted in purely Chinese surroundings. But
-whether pure or diluted the Japanese style is unmistakable to those who
-have once learnt to know its peculiarities, of which masses of blue
-covered with gilt patterns and the prominence of red and gold are the
-most conspicuous.
-
-There will, of course, always be a few specimens the nationality of
-which will be difficult to decide, but to anyone familiar with Chinese
-and Japanese porcelain the distinction between the Chinese “Imari”
-and its island prototype is, as a rule, a simple matter. The Chinese
-porcelain is thinner and crisper, its glaze has the smooth oily sheen
-and faintly greenish tint which are peculiar to Chinese wares, and the
-raw edge of the base rim is slightly browned. The Japanese porcelain,
-on the other hand, is whiter in the Kakiemon ware, greyer and coarser
-in the “Old Imari,” and the glaze in both cases has the peculiar
-bubbled and “muslin-like” texture which is a Japanese characteristic.
-The Japanese underglaze blue is dark and muddy in tone, the Chinese
-bright, and purer, and the other colours differ, though not perhaps so
-emphatically. The iron red of the Chinese, for instance, is thinner and
-usually lighter in tone than the soft Indian red or thick sealing-wax
-colour of the Japanese; and to those who are deeply versed in Oriental
-art there is always the more subtle and less definable distinction, the
-difference between the Chinese and Japanese touch and feeling.
-
-Plate 108 is a fine specimen which shows the blend of Chinese motives
-and the Japanese colouring.
-
-The general character of the Chinese “Imari” is that of the K’ang Hsi
-period, to which most of the existing specimens will be assigned; but
-it is clear that the Chinese continued to use Japanese models in the
-succeeding reign, for the last three items in the Imperial list of
-porcelain made in the Yung Chêng period comprise wares “decorated in
-gold and in silver in the style of the Japanese.”[322]
-
-
-
-
-                              CHAPTER XI
-
-                         K’ANG HSI MONOCHROMES
-
-
-In passing to the K’ang Hsi monochromes we enter a large field with
-boundaries ill defined. Many of the colours are legacies from the
-Ming potters, and most of them were handed on to after generations;
-some indeed have enjoyed an unbroken descent to the present day.
-Consequently there are few things more difficult in the study of
-Chinese porcelain than the dating of single-colour wares.
-
-In some cases the origin of a particular glaze has been recorded, and
-within certain limits the style of the piece will guide us in assessing
-its age; but how often must we be content with some such non-committal
-phrase as “early eighteenth century,” which embraces the late K’ang
-Hsi, the Yung Chêng and the early Ch’ien Lung periods? On the other
-hand, the careful student observes certain points of style and finish,
-certain slight peculiarities of form which are distinctive of the
-different periods, and on these indefinite signs he is able to classify
-the doubtful specimens. To the inexpert his methods may seem arbitrary
-and mysterious, but his principles, though not easy to enunciate, are
-sound nevertheless.
-
-  [Illustration: Plate 109.--Figure of Shou Lao, Taoist God of
-  Longevity.
-
-  Porcelain painted with _famille verte_ enamels. K’ang Hsi
-  period (1662–1722). Height 17¼ inches. _Salting Collection_
-  (_V. & A. Museum_).]
-
-We have already had occasion to discuss a few of the K’ang Hsi
-monochromes in dealing with the question of _lang yao_. But besides
-the _sang de bœuf_ there is another rare and costly red to which the
-Americans have given the expressive name of “peach bloom.” Since their
-first acquaintance with this colour in the last half of the nineteenth
-century,[323] American collectors have been enamoured of it, and as
-they have never hesitated to pay vast sums for good specimens, most
-of the fine “peach blooms” have found their way to the United States,
-and choice examples are rare in England. “The prevailing shade,” to
-quote from Bushell’s description, “is a pale red, becoming pink
-in some parts, in others mottled with russet spots, displayed upon a
-background of light green celadon tint. The last colour occasionally
-comes out more prominently, and deepens into clouds of bright apple
-green tint.” The Chinese, in comparing the colour, have thought of the
-apple rather than the peach; it is _p’in-kuo hung_ (apple red), and
-the markings on it are _p’in-kuo ch’ing_ (apple green), and _mei kuei
-tzŭ_ (rose crimson). Another Chinese name for the colour is _chiang-tou
-hung_ (bean red), in allusion to the small Chinese kidney-bean with its
-variegated pink colour and brown spots.
-
-It is generally supposed that, like the _sang de bœuf_, the “peach
-bloom” owes its hue to copper oxide, and that all the accessory tints,
-the russet brown and apple green, are due to happy accidents befalling
-the same colouring medium in the changeful atmosphere of the kiln.[324]
-This precious glaze is usually found on small objects such as water
-pots and brush washers for the writing table (see Plate 111[325]),
-and snuff bottles, and a few small elegantly formed flower vases of
-bottle shape, with high shoulders and slender neck, the body sometimes
-moulded in chrysanthemum petal design, or, again, on vases of slender,
-graceful, ovoid form, with bodies tapering downwards, and the mouth
-rim slightly flaring. In every case the bottom of the vessel shows a
-fine white-glazed porcelain with unctuous paste, and the K’ang Hsi
-mark in six blue characters written in a delicate but very mannered
-calligraphy, which seems to be peculiar to this type of ware, and to a
-few choice _clair de lune_ and celadon vases of similar form and make.
-
-The colour in the peach bloom glaze, as in the _sang de bœuf_, is
-sometimes fired out and fades into white or leaves a pale olive green
-surface with only a few spots of brown or pink to bear witness to the
-original intention of the potter. The glaze is sometimes crackled and
-occasionally it runs down in a thick crystalline mass at the base of
-the vessel.
-
-Needless to say this costly porcelain has claimed the earnest attention
-of the modern imitator. The first real success was achieved by a
-Japanese potter at the end of the last century. He was able to make
-admirable copies of the colour, but failed to reproduce adequately the
-paste and glaze of the originals. I am told that he was persuaded to
-transfer his secret to China, and with the Chinese body his imitations
-were completely successful. The latter part of the story is based
-on hearsay, and is given as such; but it is certain that there are
-exceedingly clever modern copies of the old peach blooms in the market;
-otherwise how could an inexpert collector in China bring home half a
-dozen peach blooms bought at bargain prices?
-
-The copper red used in painting underglaze designs[326] will sometimes
-develop a peach bloom colour, and there is a vase in the British Museum
-with parti-coloured glaze in large patches of blue, celadon, and a
-copper red which has broken into the characteristic tints of the peach
-bloom vases.
-
-Another red of copper origin allied to the _sang de bœuf_ and the
-peach bloom, and at times verging on both, is the maroon red, which
-ranges from crimson to a deep liver colour. There are wine cups of this
-colour whose glaze clouded with deep crimson recalls the “dawn red”
-of the wine cups made by Hao Shih-chiu.[327] Sometimes the red covers
-part only of the surface, shading off into the white glaze. The finer
-specimens have either a crimson or a pinkish tinge, but far more often
-the glaze has issued from the kiln with a dull liver tint.
-
-Naturally the value of the specimens varies widely with the beauty of
-the colour. The pinker shades approach within measurable distance of
-the pink of the peach bloom, and they are often classed with the latter
-by their proud owners; but the colour is usually uniform, and lacks the
-bursts of russet brown and green which variegate the true peach bloom,
-and the basis of the maroon is a pure white glaze without the celadon
-tints which seem to underlie the peach bloom. It may be added that the
-maroon red glaze is usually uncrackled.
-
-As to the overglaze red, which is known by the names of _mo hung_
-(painted red) and _ts’ai hung_ (enamel red), it is the colour
-derived from iron, and it was used both as one of the enamels of the
-_famille verte_ palette and as a monochrome. In both capacities it
-figured on Ming porcelain, and was fully discussed in that connection.
-On K’ang Hsi wares it varied in tone from dark brick red to a light
-orange, according to the density of the pigment, and in texture from
-a thin dry film to a lustrous enamel, according to the quantity of
-fluxing material[328] combined with it. Among the richly fluxed
-varieties is a fine tomato colour of light, translucent tone. Sometimes
-the iron red is found as sole medium for painted designs, as on a
-rouleau vase in the Salting collection, but more commonly it serves as
-a ground colour between panels of enamelled ornament (Plate 103), or in
-border passages. In these last two positions it is usually of a light
-orange shade, and broken by floral scrolls reserved in white. A dark
-shade of the same pigment is also used in diapers of curled scrolls,
-forming a groundwork for enamelled decoration. There are besides
-beautiful examples of a pure red monochrome formed of this colour, but
-I have only met with these among the later wares.
-
-       *       *       *       *       *
-
-The blue monochromes include a large number of glazes varying in depth
-and shade with the quality and quantity of the cobalt which is mingled
-with the glazing material. These are _chiao ch’ing_ (blue monochrome
-glazes), and they are all high-fired colours. They include the _chi
-ch’ing_[329] or deep sky blue, whose darker shades are also named
-_ta ch’ing_ (_gros bleu_), the slaty blue, the pale clear blue,[330]
-the dark and light lavender shades, and the faintly tinted _clair de
-lune_ or “moon white” (_yüeh pai_), in which the amount of cobalt used
-must have been infinitesimal. But it would be useless to attempt to
-catalogue the innumerable shades of blue, which must have varied with
-every fresh mixture of colour and glaze and every fresh firing.
-
-There is, however, another group materially different from the
-ordinary blue glazes. In this the colour was applied direct to
-the body, as in blue and white painting, and a colourless glaze
-subsequently added, with the natural result that the blue seems to be
-incorporated with the body of the ware rather than with the glaze.
-There were several ways of applying the colour, each producing a
-slightly different effect. The cobalt powder could be mixed with water,
-and washed on smoothly with a brush, or dabbed on with a sponge to give
-a marbled appearance, or it could be projected on to the moistened
-surface in a dry powder, through gauze stretched across the end of a
-bamboo tube.
-
-The result of the last process was an infinity of minute specks of
-blue, a massing of innumerable points of colour. This is the well-known
-“powder blue,” the _bleu soufflé_, or blown blue described by Père
-d’Entrecolles in his second letter[331]: “As for the _soufflé_ blue
-called _tsoui tsim_ (_ch’ui ch’ing_), the finest blue, prepared in
-the manner which I have described, is used. This is blown on to the
-vase, and when it is dry the ordinary glaze is applied either alone or
-mixed with _tsoui yeou_ (_sui yu_), if crackle[332] is required.” We
-are further told that as on the blue and white a glaze softened with a
-considerable proportion of lime was necessary for the perfection of the
-colour.
-
-The “powder blue” seems to have been a new invention in the K’ang Hsi
-period. Under the name of _ch’ui ch’ing_ (blown blue) it figures in the
-_T’ao lu_[333] among the triumphs of Ts’ang Ying-hsüan’s directorate.
-It is certainly a singularly beautiful colour effect, and worthy of the
-homage it has received from collectors and ceramic historians. Though
-the blue used was as a rule of the finest quality, it varied much in
-intensity and tone with the nature of the cobalt and amount applied.
-Probably the majority of collectors would give the palm to the darker
-shades, but tastes differ, and the lighter tones when the blue is pure
-sapphire have found whole-hearted admirers. A notable feature of the
-powder blue is its surprising brilliancy in artificial light, when most
-other porcelain colours suffer eclipse.
-
-  [Illustration: PLATE 110
-
-  Two examples of “Powder Blue” (_ch’ui ch’ing_) Porcelain
-  of the K’ang Hsi period (1662–1722), in the Victoria and Albert
-  Museum
-
-  Fig. 1.--Bottle of gourd shape with slender neck: powder blue
-  ground with gilt designs from the Hundred Antiques (_po ku_)
-  and borders of _ju-i_ pattern, formal flowers and plantain
-  leaves. Height 7½ inches.
-
-  Fig. 2.--Bottle-shaped Vase with _famille verte_ panels of
-  rockwork and flowers reserved in a powder blue ground. Height 7
-  inches. _Salting Collection._]
-
-It was used indifferently as a simple monochrome or as a ground
-in which panel decoration was reserved, the panels painted in
-_famille_ _verte_ enamels or in blue and white; and in both cases
-the blue surface was usually embellished with light traceries in gold.
-Plate 110 illustrates both types. Both are highly prized by collectors,
-and change hands at high prices when of the good quality which is usual
-on the K’ang Hsi specimens. We have already noted[334] the occasional
-decoration of the powder blue ground with designs in _famille verte_
-enamels, and Père d’Entrecolles[335] records another process of
-ornamentation which was applied to all the blue grounds of this group,
-viz. the washed, the sponged, and the powder blues: “There are workmen
-who trace designs with the point of a long needle on this blue whether
-_soufflé_ or otherwise; the needle removes as many little specks of
-dry blue as are necessary to form the design; then the glaze is put
-on.” From this precise description it is easy to recognise this simple
-but effective decoration. There are two examples in the British Museum
-with dragon designs etched in this fashion, the one in a washed blue,
-and the other in a sponged blue ground. The pattern appears in white
-outline where the blue has been removed by the needle and the porcelain
-body exposed.
-
-Long usage has given sanction to the term “mazarine blue.” It was
-applied to the dark blue ground colour of eighteenth century English
-porcelain, and in the contemporary catalogues the name “mazareen” was
-given to any kind of deep blue from the mottled violet of Chelsea to
-the powdery _gros bleu_ of Worcester. In reference to Chinese porcelain
-it is used to-day with similar freedom for the _ta ch’ing_ or dark sky
-blue and for the powder blue. Assuming that the phrase derives from the
-famous Cardinal Mazarin, it cannot in its original sense have had any
-reference to powder blue, for the Cardinal died in 1661, and, if he
-had a weakness for blue monochrome, it must have been for some variety
-of the _chiao ch’ing_ or blue glazes proper which were current at the
-end of the Ming and the beginning of the Ch’ing dynasties. At the
-present day it is impossible to guess the true shade of mazarine blue,
-and we must be content to regard it as a phrase connoting a deep blue
-monochrome the exact definition of which has gone beyond recall.[336]
-
-The K’ang Hsi mark is sometimes found on porcelain coated with a very
-dark purplish blue glaze with soft looking surface and minute crackle.
-It is apparently one of those glazes which are fired in the temperate
-parts of the kiln, and its use is more frequent on porcelains of a
-slightly later period.
-
-Finally, the turquoise blue, variously named _fei ts’ui_ (kingfisher
-blue) and _k’ung ch’iao lü_ (peacock green), was freely used as a
-monochrome on figures and ornamental wares. It is a colour which
-descends from Ming times, and whose use has continued unchecked to the
-present day, so that it is often extremely difficult to give a precise
-date to any particular specimen, especially if the object happens to be
-of archaic form, a copy of an old bronze or the like. Its nature has
-already been discussed[337] among the Ming glazes, and one can only
-say that the K’ang Hsi pieces have all the virtues of the K’ang Hsi
-manufacture--fine material, good potting, shapely form, and beautiful
-quality of colour. The tint varies widely from the soft turquoise blue
-of kingfisher feathers to a deep turquoise green, and some of the most
-attractive specimens are mottled or spotted with patches of greenish
-black. The glaze is always minutely crackled, and has sufficient
-transparency to allow engraved or carved designs on the body to be
-visible. It is a colour which develops well on an earthen body, and the
-potters often mixed coarse clay with the ware which was intended to
-receive the turquoise glaze; but this, I think, was mainly practised
-after the K’ang Hsi period, and the K’ang Hsi specimens will, as a
-rule, be found to have a pure white porcelain basis.
-
-As in the Ming wares, the turquoise sometimes shares the field
-with an aubergine purple of violet tone, both colours being of the
-_demi-grand feu_. The purple is also used as a monochrome. There
-are, in fact, two aubergine purple monochromes, the one a thick and
-relatively opaque colour sometimes full of minute points as though it
-had been blown on like the powder blue, the other a thin transparent
-(and often iridescent) glaze of browner tone. Both are derived from
-cobaltiferous ore of manganese, both have descended from the Ming
-period, and have already been discussed as monochromes and as colours
-applied to the biscuit.
-
-  [Illustration: PLATE 111
-
-  Two examples of Single-colour Porcelain in the Salting Collection
-  (Victoria and Albert Museum)
-
-  Fig. 1.--Bottle-shaped Vase of Porcelain with landscape design
-  lightly engraved in relief under a turquoise blue glaze. Early
-  eighteenth century. Height 8½ inches.
-
-  Fig. 2.--Water Vessel for the Writing Table of the form known as
-  _T’ai-po tsun_ after the poet Li T’ai-po. Porcelain with
-  faintly engraved dragon medallions under a peach bloom glaze; the
-  neck cut down and fitted with a metal collar. Mark in blue of the
-  K’ang Hsi period (1662–1722) in six characters. Height 2¾ inches.]
-
-The cobaltiferous ore of manganese is the same material which is used
-to give a blue colour, but in this case the manganese is removed, and
-the cobalt rendered as pure as possible. For the manganese if in excess
-produces a purplish brown, and its presence in however small a
-quantity gives the blue a purple or violet strain. By the simple method
-of graduating the amount of manganese which was allowed to remain with
-the cobalt the potters were able to obtain many intermediate shades
-between dark blue and purple for their monochrome glazes.
-
-The green monochromes are scarcely less numerous than the blue. There
-are the transparent greens of apple or leaf green shades whether even
-or mottled, which have been described among the glazes applied to the
-biscuit and among the enamels of the _famille verte_. These were used
-as monochromes and ground colours; and closely akin to them are (1)
-the cucumber green (_kua p’i lü_), in which a yellowish leaf green is
-heavily mottled with darker tints, and (2) the snake skin green (_shê
-p’i lü_), a deep transparent green with iridescent surface, one of the
-colours for which the directorate of Ts’ang Ying-hsüan was celebrated.
-There are good examples of both in the Salting Collection, but it would
-be useless to reproduce them except in colour.
-
-There are the apple and emerald green crackles (in both cases a
-green glaze overlying a grey or stone-coloured crackle), but these
-have already been discussed.[338] A somewhat similar technique
-characterises the series of semi-opaque and crackled green glazes of
-camelia leaf, myrtle, spinach, light and dark sage, dull emerald and
-several intermediate tints. These are soft-looking glazes with small
-but very regular crackle,[339] and their surface often has a “satiny”
-sheen which recalls the Yi-hsing glazes. They are evidently glazes
-of the _demi-grand feu_, and the colouring agent is doubtless
-copper, though apparently modified with other ingredients. How far this
-particular group was used in the K’ang Hsi period is hard to say. Most
-of the specimens which I have seen give me the impression of a later
-make, but as there are a few which might come within the K’ang Hsi
-limits I have taken this opportunity to discuss them.
-
-There is one specimen of a rare green in the British Museum to which I
-cannot recall a parallel. It is a bowl with the ordinary white glaze,
-but covered on the exterior with a very bright yellowish green, like
-the young grass with the sun shining on it. It is, perhaps, rather in
-the nature of an enamel than a glaze, but the ware has the appearance
-of age and should belong to the early part of the K’ang Hsi period.
-
-Most of the green glazes are low fired, melting in the temperature
-of the _demi-grand feu_ and the muffle kiln. The high-fired greens
-are those of celadon class. There is the _lang yao_[340] green, which
-has been discussed under that heading, a crackled glaze, in colour
-intermediate between apple green and the sea green celadon, and with a
-surface texture hazy with bubbles like the _sang de bœuf_, to which it
-is a near relation. This soft and beautiful colour has been described
-as a “copper celadon,” and though Dr. Bushell refuses his blessing on
-the name it seems to me a particularly happy expression. For the colour
-apparently results from the same copper medium which under slightly
-different firing conditions produces the _sang de bœuf_ red and at the
-same time its tint approaches very nearly to the typical celadon green.
-
-The true celadon glaze was freely employed on the early Ch’ing
-porcelains, especially on those of K’ang Hsi and Yung Chêng periods.
-It is a beautiful pale olive or sea green colour, made light by the
-pure white porcelain beneath which its transparent nature permits to
-shine through. Compared with the Sung celadons as we know them,[341]
-the Ch’ing dynasty ware is thinner in material and glaze, wanting in
-the peculiar solidity of appearance of the ancient wares; the body
-is whiter and finer, and the base is usually white with the ordinary
-porcelain glaze. There is, moreover, no “brown mouth and iron foot,”
-unless indeed this feature has been deliberately added by means of a
-dressing of ferruginous clay, a make-up which is too obvious to deceive
-the initiated. There were, however, some careful imitations of the
-ancient celadons made at this time and got up with the appearance of
-antiquity, but these were exceptional productions.[342]
-
-Père d’Entrecolles, writing in 1722, alludes to the K’ang Hsi celadon
-in the following terms[343]:--“I was shown this year for the first
-time a kind of porcelain which is now in fashion; its colour verges
-on olive and they call it _long tsiven_. I saw some which was called
-_tsim ko_ (_ch’ing kuo_), the name of a fruit which closely resembles
-the olive.” The _long tsiven_ is clearly a transliteration of the
-characters which we write _Lung-ch’üan_, the generic name of the old
-celadons; but it is odd that Père d’Entrecolles should not have seen
-copies of this glaze before 1722, for its use must have been continuous
-at Ching-tê Chên from very early times, and we have found reference to
-it in various periods of the Ming dynasty. It is evident, however, that
-the colour was enjoying a fresh burst of popularity just at this time.
-D’Entrecolles gives a few further notes which concern its composition.
-His recipe is substantially the same as that given in Chinese works,
-viz. a mixture of ferruginous earth, which would contribute a
-percentage of iron oxide, with the ordinary glaze.[344] He also states
-that _sui yu_ (crackle glaze) was added if a crackled surface was
-required, and there are numerous examples of this kind of ware to be
-seen. The most familiar are the vases with crackled celadon or grey
-green glaze interrupted by bands of biscuit carved with formal patterns
-and stained to an iron colour with a dressing of ferruginous earth.
-Monster heads with rings (loose or otherwise) serve as twin handles on
-these vases, which are designed after bronze models. These crackled
-celadons are evidently fashioned after an old model, but they have
-been largely imitated in modern times, and almost every pawnbroker’s
-window displays a set of execrable copies (often further decorated in
-underglaze blue) which are invariably furnished with the Ch’êng Hua
-mark incised on a square brown panel under the base.
-
-The yellow monochromes of the K’ang Hsi period are mostly descendants
-of the Ming yellows. There is the pale yellow applied over a white
-glaze reproducing the yellow of “husked chestnuts,” for which the Hung
-Chih (q.v.) porcelains were celebrated; and there is a fuller yellow,
-usually of browner shade, applied direct to the biscuit. Yellow is
-one of the Imperial colours, the usual tint being a full deep colour
-like the yolk of a hen’s egg, and the Imperial wares are commonly
-distinguished by five-clawed dragons engraved under the glaze. Other
-glazes[345] used on the services made for the Emperor are the purplish
-brown (aubergine) and the bright green of camelia leaf tint, which
-with the yellow make up the _san ts’ai_ or three colours. In fact
-the precise shades of these colours are those used on finer types
-of three-colour porcelain[346] with transparent glazes fired in the
-temperate part of the great kiln. All these glazes tend to become
-iridescent with age.
-
-The colouring medium of the pale yellow is antimony combined with
-a proportion of lead, and iron oxide is added to give the glaze an
-orange or brown tinge.[347] It is noticeable that the yellow applied
-to the biscuit is usually browner in tone. This is the nature, if we
-may judge from the excellent coloured illustrations in the Walters
-catalogue,[348] of the eel yellow (_shan yü huang_), a brownish colour
-of clouded smoky appearance, and one of the few glazes named in the
-_T’ao lu_ as a speciality of the directorate of Ts’ang Ying-hsüan.
-The other yellow associated with the name of Ts’ang is the “spotted
-yellow” (_huang pan t’ien_), discussed on p. 127. Its identification
-is uncertain, and Brinkley describes it as “stoneware with a dark
-olive green glaze with yellow speckles,” while Bushell (_O. C. A._, p.
-317) regards it as a “tiger skin” glaze with large patches of yellow
-and green enamel, the same as the _huang lü tien_ (yellow and green
-spotted), which he quotes from another context.
-
-All these varieties belong to the _couleurs de demi-grand feu_; but
-there are besides several varieties of yellow enamels fired in the
-muffle kiln. Of these the transparent yellow was used as a ground
-colour in the K’ang Hsi period, but the opaque varieties, such as the
-lemon yellow, etc., belong rather to a later period. Among the latter I
-should include the crackled mustard yellow, though examples of it have
-often been assigned to the K’ang Hsi and even earlier reigns. There is,
-for instance, a bottle-shaped vase with two elephant handles in the
-Victoria and Albert Museum, which Bushell[349] regarded as a specimen
-of the old _mi-sê_ (“millet colour”) glaze of the Sung dynasty. A
-careful examination shows that this crackled brownish yellow is made in
-much the same fashion as the apple green and the sage green crackles,
-viz. a yellow glaze or enamel overlying a stone-coloured crackle. This
-is not a Sung technique, but rather an imitative method belonging
-perhaps to the Yung Chêng period, when old glazes and archaic shapes
-were reproduced with wonderful skill and truth.
-
-There is a solitary specimen of a high-fired glaze of pale buff yellow
-colour in the British Museum, which perhaps should be ranked with the
-yellow monochromes, though its appearance suggests an exceptional
-effect of the pale _tzŭ chin_ or “Nanking yellow” glaze. And a
-rare vase in the Peters Collection has a minutely crackled brownish
-yellow glaze clouded with dark olive in bold markings like those of
-tortoiseshell.
-
-Another Ming monochrome freely used in the K’ang Hsi period is the
-lustrous brown (_tzŭ chin_), formed like the celadon by mixing
-ferruginous earth called _tzŭ chin shih_ with the ordinary glaze.
-Presumably the quantity of this material was greater in the brown glaze
-than in the celadon. Père d’Entrecolles describes this glaze in its
-diverse shades of bronze, coffee and dead-leaf brown, but he makes the
-curious error of proclaiming it a new invention in 1722.[350] He also
-refers to its use on the exterior of white cups and as a ground colour
-in which white panels were reserved. “On a cup or vase,” he tells us,
-“which one wished to glaze with brown, a round or square of damped
-paper was applied in one or two places; after the glaze had been laid
-on, the paper was peeled off, and the unglazed space was painted in
-red or blue. This dry, the usual glaze was applied to the reserve by
-blowing or by some other method. Some of the potters fill the blank
-spaces with a ground of blue or black, with a view to adding gilt
-designs after the first firing.”
-
-There were other methods of decorating these panels, and perhaps
-the most familiar is that in which the early _famille rose_
-enamels were employed. This combination of brown ground with panels
-of floral designs in thick opaque rose red, yellow, white and green
-was a favourite with the Dutch exporters. In fact this ware is still
-called Batavian, the old catalogue name derived from the Dutch East
-Indian settlement of Batavia, which was an entrepot for far-Eastern
-merchandise. The date of the Batavian porcelain is clearly indicated by
-the transition enamels as late K’ang Hsi.
-
-The _tzŭ chin_ brown was used as a monochrome in all its various shades
-from dark coffee colour to pale golden brown, and the lighter and more
-transparent shades were sometimes laid over engraved decoration. In
-the British Museum there are two candlesticks, the stems of which
-with dragon designs in full relief are in an intensely dark _tzŭ
-chin_ glaze, so dark, indeed, that the tops have been exactly matched
-in the deep brown ware made by Böttger of Dresden about 1710, the
-latter polished on the lathe to simulate the lustrous surface of the
-Chinese glaze. In the same collection are two saucer dishes of dark
-_tzŭ chin_ glaze of fine quality painted with slight floral designs
-in silver.[351] This kind of decoration must have been singularly
-effective in its original state, but the silver does not stand the test
-of time, and though it still firmly adheres its surface has turned
-black. An unusual effect is seen on a vase in the Peters collection
-which has a lustrous coffee brown glaze passing into olive and clouded
-with black; and a very rare specimen in the same collection has a
-“leopard skin” glaze of translucent olive brown with large mottling of
-opaque coffee brown. The latter piece bears the Wan Li mark.
-
-The lightest shade of this colour is what has been described as Nanking
-yellow.[352] It is used as a monochrome or as a ground colour with
-panels usually of _famille verte_ enamels, and sometimes with enamelled
-decoration applied over the brown glaze itself. It is clear that the
-_sui yu_ or crackle glaze was sometimes mixed with the _tzŭ chin_, for
-we find many examples of beautiful lustrous brown crackle. They have,
-however, in many cases an adventitious tinge of grey or green, for
-which the crackle glaze is perhaps responsible.
-
-A near relation to the _tzŭ chin_ (brown gold) glaze is the _wu chin_
-(black gold), a lustrous black glaze obtained by mixing a little impure
-cobaltiferous ore of manganese (or coarse blue material[353]) with
-the _tzŭ chin_ glaze. Like the latter the black is an intensely hard
-glaze fired in the full heat of the great kiln, and it has a lustrous
-metallic surface which earned for it the name of “mirror black.”[354]
-This glaze seems to have really been a K’ang Hsi innovation,[355] and
-possibly it was a confusion with this fact which led d’Entrecolles into
-his erroneous statement about the date of the lustrous brown.
-
-  [Illustration: Plate 112.--Three figures of Birds, late K’ang Hsi
-  Porcelain, with coloured enamels on the biscuit.
-
-  Fig. 1.--Stork. Height 17¼ inches. _British Museum._
-
-  Fig. 2.--Hawk. Height 10 inches. _S. E. Kennedy Collection._
-
-  Fig. 3.--Cock. Height 13½ inches. _British Museum._]
-
-  [Illustration: Plate 113.--Porcelain delicately painted in thin
-  _famille verte_ enamels. About 1720.
-
-  Fig. 1.--Dish with figures of Hsi Wang Mu and attendant. Ch’êng
-  Hua mark. Diameter 6¾ inches. _Hippisley Collection._
-
-  Fig. 2.--Bowl with the Eight Immortals. Diameter 8⅞ inches. _S.
-  E. Kennedy Collection._]
-
-  [Illustration: Plate 114.--Hanging Vase with openwork sides, for
-  perfumed flowers. _Cumberbatch Collection._
-
-  Porcelain painted in late _famille verte_ enamels. About
-  1720. Blackwood frame. Total height 17 inches.]
-
-The mirror black is usually a monochrome tricked out with gilt
-traceries, but as in the case of the powder blue the light Chinese
-gilding is usually worn away, and often its quondam presence can now
-only be detected by a faint oily film which appears when the porcelain
-is held obliquely to the light. It is a common practice to have this
-lost gilding replaced by modern work.
-
-There are several large vases of triple-gourd form in the
-Charlottenburg Palace with the upper and lower lobes coated with
-gilt mirror black, and the central bulb enamelled with _famille
-verte_ colours; and another use of the glaze as panel decoration in
-a lustrous brown ground has already been noted in an extract from Père
-d’Entrecolles; it is also found on rare specimens as a background for
-panels of _famille verte_ enamelling. But its most effective use
-is as a pure monochrome only relieved by faint gilding, and some of the
-choicest K’ang Hsi specimens have soft brown reflexions in the lustre
-of the surface. Another and probably a later type of mirror black is a
-thick lacquer-like glaze with signs of minute crackle.
-
-There is a type of glaze which, though variegated with many tints,
-still belongs to the category of monochromes. This is the _flambé_,
-to use the suggestive French term which implies a surface shot with
-flame-like streaks of varying colour. This capricious colouring,
-the result of some chance action of the fire upon copper oxide in
-the glaze, had long been known to the Chinese potters. It appeared
-on the Chün Chou wares of the Sung and Yüan dynasties, and it must
-have occurred many times on the Ming copper monochromes; but up to
-the end of the K’ang Hsi period it seems to have been still more or
-less accidental on the Ching-tê Chên porcelain, if we can believe
-the circumstantial account written by Père d’Entrecolles in the year
-1722[356]:--“I have been shown one of the porcelains which are called
-_yao pien_, or transmutation. This transmutation takes place in the
-kiln, and results from defective or excessive firing, or perhaps from
-other circumstances which are not easy to guess. This specimen which,
-according to the workman’s idea, is a failure and the child of pure
-chance, is none the less beautiful, and none the less valued. The
-potter had set out to make vases of _soufflé_ red. A hundred pieces
-were entirely spoilt, and the specimen in question came from the kiln
-with the appearance of a sort of agate. Were they but willing to take
-the risk and the expense of successive experiments, the potters would
-eventually discover the secret of making with certainty that which
-chance has produced in this solitary case. This is the way they learnt
-to make porcelain with the brilliant black glaze called _ou kim_ (_wu
-chin_); the caprice of the kiln determined this research, and the
-result was successful.”
-
-It is interesting to read how this specimen of _flambé_ resulted from
-the misfiring of a copper red glaze, no doubt a _sang de bœuf_; for in
-the most common type of _flambé_ red (see Plate 123, Fig. 1) passages
-of rich _sang de bœuf_ emerge from the welter of mingled grey, blue and
-purple tints. The last part of d’Entrecolles’ note was prophetic, for
-in the succeeding reigns the potters were able to produce the _flambé_
-glaze at will.
-
-There are, besides, many other strangely coloured glazes which can
-only be explained as misfired monochromes of the _grand feu_, those
-of mulberry colour, slaty purple, and the like, most of which were
-probably intended for maroon or liver red, but were altered by some
-caprice of the fire. But it would be useless to enumerate these erratic
-tints, which are easily recognised by their divergence from the normal
-ceramic colours.
-
-The French have always been partial to monochrome porcelains. In the
-eighteenth century they bought them eagerly to decorate their hotels
-and châteaux, and enshrined them in costly metal mounts. But as the
-style of the mounting, rococo in the early part of the century,
-neo-classical in the latter part, was designed to match the furniture
-of the period, the oriental shapes were often sacrificed to the
-European fashion. Dark blue and celadon green were favourite colours,
-if we may judge by surviving examples, and to-day enormous prices are
-paid for Chinese monochromes fitted with French ormolu mounts by the
-Court goldsmiths, such as Gouthière, Caffieri, and the rest.[357]
-But these richly mounted pieces have more interest as furniture and
-metal work, and the ceramophile regards them askance for their foreign
-and incongruous trappings, which disturb the pure enjoyment of the
-porcelain.[358]
-
-It remains to consider the white porcelain, that is to say the
-porcelain which was intended to remain white and undecorated with any
-form of colouring. White was the colour used by the Court in times
-of mourning, and large services of white porcelain were made for the
-Emperor on these occasions. But it is not to be supposed that all the
-beautiful white wares were made solely for this purpose.[359] They
-have always been highly esteemed by the Chinese from the early Ming
-times, when the Yung Lo bowls and the white altar cups of Hsüan Tê were
-celebrated among porcelains, down to the present day. Many exquisite
-whites were made in the early reigns of the Ch’ing dynasty, and as with
-so many of the perennial monochromes their exact dating is full of
-difficulty. We are not concerned here with the _blanc de chine_
-or white porcelain of Tê-hua in Fukien, which has already been
-discussed, but with the white of Ching-tê Chên, the glaze of which is
-distinguished from the former by its harder appearance, and its bluish
-or greenish tinge.
-
-The latter was made to perfection in the K’ang Hsi period. Having no
-colours to distract the eye from surface blemishes, nothing short of
-absolute purity could satisfy the critic. In choice specimens the paste
-was fine, white and unctuous, the glaze clear, flawless, and of oily
-lustre,[360] the form was elegant and the potting true. Such pieces
-without blemish or flaw are the very flower of porcelain, whether they
-be of eggshell thinness (_t’o t’ai_), half eggshell (_pan t’o t’ai_),
-or of the substance of ordinary wares.
-
-But though innocent of colour the white porcelain was rarely without
-decoration. The finest Imperial services were usually delicately etched
-under the glaze with scarcely visible dragon designs. Other kinds have
-the ornament strongly cut, such as the eggshell cups and saucers with
-patterns of hibiscus, lotus, or chrysanthemum petals firmly outlined,
-or the vases with full-bodied designs in low relief obtained by carving
-away the ground surrounding the pattern.[361] Others have faint
-traceries or thickly painted patterns in white slip, in steatite,[362]
-or in fibrous gypsum under the glaze. A fuller relief was obtained by
-pressing in deeply cut moulds or by applying strips and shavings of
-the body clay, and working them into designs with a wet brush after
-the manner of the modern _pâte sur pâte_. There are still higher
-reliefs in K’ang Hsi porcelain, figures, and symbolical ornaments,
-formed separately in moulds and “luted” on to the ware with liquid
-clay, but these generally appeared on the enamelled wares, and are
-themselves coloured. The applied reliefs on the white wares are usually
-in unglazed biscuit, and there are, besides, pierced and channelled
-patterns, but these processes have been fully described among the late
-Ming wares,[363] and nothing further need be said of them, except that
-they were employed with supreme skill and refinement by the K’ang Hsi
-potters. Père d’Entrecolles[364] alludes to these perforated wares in
-the following passage:--“They make here (i.e. at Ching-tê Chên) another
-kind of porcelain which I have never yet seen. It is all pierced _à
-jour_ like fretwork, and inside is a cup to hold the liquid. The cup
-and the fretwork are all in one piece.” Wares of various kinds with
-solid inner lining and pierced outer casing are not uncommon in Chinese
-porcelain and pottery. Sometimes, however, the cups are completed
-without the inner shell, like Fig. 2, of Plate 78, which could be
-fitted with a silver lining if required to hold liquid.
-
-Objects entirely biscuit are exceptional. There are, however, two small
-Buddhistic figures, and two lions of this class in the British Museum,
-and curiously enough both are stamped with potter’s marks, which is
-itself a rare occurrence on porcelain. The former bear the name of
-Chang Ming-kao and the latter of Ch’ên Mu-chih (see vol. i., page 223).
-Bushell[365] tells us that the Chinese call biscuit porcelain _fan
-tz’ŭ_ (turned porcelain), a quaint conception which implies that
-the ware is turned inside out, as though the glaze were inside, and
-the body out; and this illusion is occasionally kept up by applying a
-touch of glaze inside the mouth of the unglazed vessel.
-
-Biscuit porcelain is specially suitable for figure modelling, because
-the sharpness of the details remains unobscured by glaze. It has been
-largely employed in European porcelain factories for this purpose, but
-the Chinese seem to have been prejudiced against this exclusive use of
-the material. As a rule they reserve it for the fleshy parts of their
-figures, giving the draperies a coating of glaze or of enamel or both.
-A rare example of the use of biscuit is illustrated in the catalogue of
-the Walters Collection (_O. C. A._, Plate XXIX.), a white bottle
-with a dragon carved out of the glaze and left in biscuit.
-
-The white wares so far described were made of the ordinary porcelain
-body and glaze, but there is another group of whites which is ranked
-with the so-called “soft pastes.” This is a creamy, opaque and often
-earthy-looking ware, the glaze of which is almost always crackled.
-It is in fact an imitation of the old Ting yao (q.v.), and its
-soft-looking surface and warm creamy tone are seen to perfection in
-small vases, snuff bottles, and ornamental wares. Indeed, the elegantly
-shaped and finely potted vessels of this soft, ivory crackle are among
-the gems of the period.
-
-Crackle is a feature which is common to many of the monochromes, and
-incidental mention has frequently been made of it in the preceding
-pages. It is essentially a Chinese phenomenon, dating back to the Sung
-dynasty, and there are various accounts of the methods employed to
-produce it. We are speaking of the intentional crackle which is clearly
-defined and usually accentuated by some colouring matter rubbed into
-the cracks, as opposed to the accidental crazing which appears sooner
-or later on most of the glazes of the _demi grand feu_, and on many
-low-fired enamels. One crackling process used by the Sung potters has
-been described on p. 99, vol. i. Another method is mentioned in the
-K’ang Hsi Encyclopædia,[366] viz. to heat the unglazed ware as much as
-possible in the sun, then plunge it into pure water. By this means a
-crackle was produced on the ware after the firing.
-
-But the normal process in the Ch’ing dynasty seems to have been to
-mix a certain ingredient with the glaze which produced a crackle when
-fired. There are constant references to this ingredient under the name
-of _sui yu_ (crackle glaze) in the letters of Père d’Entrecolles in
-connection with various monochromes, and in the first letter,[367] the
-following definite account appears:--“It is to be observed that when
-no other glaze but that composed of white pebbles[368] is added to the
-porcelain, the ware turns out to be of a special kind known as _tsoui
-ki_ (_sui ch’i_ = crackled ware). It is marbled all over and split up
-in every direction into a infinite number of veins. At a distance it
-might be taken for broken porcelain, all the fragments of which have
-remained in place. It is like mosaic work. The colour produced by this
-glaze is a slightly ashen white.”
-
-The effect of this ingredient of the glaze whatever its composition may
-have been is easily understood. All porcelain and pottery undergoes a
-considerable amount of contraction--from loss of moisture, etc.--in
-the kiln, and to obtain a perfectly even glaze it is necessary that
-the contraction of the glaze should be the same as that of the body.
-Clearly this ingredient caused the glaze to contract to a greater
-extent than the body, and so to split up into minute fissures. The
-Chinese were able to control to a great extent the size and nature of
-the crackle, as is shown by the appearance of alternate bands of large
-and small crackle on the same piece. The methods of colouring the
-crackle include rubbing red ochre, ink, and decoction of tea leaves
-into the cracks before the ware was quite cool. Another method is
-described by Bushell (_O. C. A._, p. 511) by which a white crackled
-ware was stained pink or crimson. The vessel was held in the fire in an
-iron cage until thoroughly heated, and then water mixed with gold-pink
-colouring matter was blown on to it. This, however, is a later process.
-Most of the monochrome glazes are occasionally crackled, but the most
-characteristic colours of the crackle glazes are the greyish white (the
-_blanc un peu cendré_ of Père d’Entrecolles), and light buff, which
-were probably intended to recall the ash colour (_hui sê_) and the
-millet colour (_mi sê_) of the Sung _Ko yao_. Some of the light buff or
-“oatmeal” crackles of the early Ch’ing period are peculiarly refined
-and beautiful.
-
-Though this has seemed a favourable opportunity for discussing crackle
-glazes it is not to be supposed that they were a speciality of the
-K’ang Hsi period. They are common to every age since the Sung dynasty,
-and probably they were never made in such abundance and with such care
-as in the Yung Chêng and early Ch’ien Lung periods.
-
-
-
-
-                              CHAPTER XII
-
-                YUNG CHÊNG [chch 2] PERIOD (1723–1735)
-
-
-The Emperor, K’ang Hsi, was succeeded by his son, who reigned from
-1723–1735 under the title Yung Chêng. The interest which the new ruler
-had taken as a prince in ceramic manufactures is proved by a passage
-in the first letter (written in 1712) of Père d’Entrecolles in which
-he instances among remarkable examples of the potter’s skill a “great
-porcelain lamp made in one piece, through which a torch gave light to
-a whole room. This work was ordered seven or eight years ago by the
-Crown Prince.” We are further told that the same prince had ordered the
-manufacture of various musical instruments in porcelain. These could
-not all be made, but the most successful were flutes and flageolets,
-and a set of chimes made of nine small, round and slightly concave
-plaques, which hung in a frame, and were played with drum-sticks.
-Apparently the Emperor continued to take an intimate interest in the
-industry after he had ascended the throne, for he commanded his brother
-the prince of Yi to announce personally to T’ang Ying his appointment
-at Ching-tê Chên in 1728.
-
-At the beginning of the reign the direction of the Imperial factory was
-in the hands of Nien Hsi-yao,[369] who, in his capacity of inspector
-of customs at Huai-an Fu,[370] dispensed the funds for the Imperial
-porcelain. A brief note in the _T’ao lu_,[371] under the heading
-“Nien ware of the Yung Chêng period,” sums up in the usual compressed
-style of Chinese ceramic writers the character of the porcelain made
-at this time. The duty of Nien, inspector of customs at Huai-an Fu,
-we read, was to select the materials, and to see that the porcelain
-was furnished to the Imperial orders. The ware was extremely refined
-and elegant. The coloured porcelains were sent twice monthly to
-Nien at the Customs, and forwarded by him to the Emperor. Among the
-vases (_cho ch’i_) many were of egg colour, and of rounded form,
-lustrous and pure white like silver. They combined blue and coloured
-decoration, and some had painted, engraved, etched, or pierced ornament
-all ingeniously fashioned. Imitation of the antique and invention of
-novelties, these were truly the established principles of Nien.
-
-The interesting list of wares made at the Imperial factory which is
-given in detail on pp. 223–226 supplies a full commentary on this
-meagre notice, illustrating the types which are merely hinted in
-the _T’ao lu_ and specifying the particular kinds of antiques
-which were reproduced and many of the new processes invented in this
-reign. With regard to the last, however, it appears that the chief
-credit was due to Nien’s gifted assistant, T’ang Ying. Most of the
-actual processes, such as carving, engraving, piercing _à jour_,
-embossing in high and low relief, blowing on of the glazes, painting
-in enamels, in gold and in silver,[372] have already been described in
-previous chapters. Indeed we may assume that all the science of the
-K’ang Hsi potters was inherited by their successors in the Yung Chêng
-period, and we need only concern ourselves with the novelties and the
-specialities of the period.
-
-A few words should be said first about the ware itself. Necessary
-variations in the appearance of the Ching-tê Chên porcelain, which
-were due to purely natural causes such as the use of clays of varying
-qualities or those from different localities, have been noted from time
-to time. These differences are generally quite obvious and they explain
-themselves. But apart from these there are numerous instances in which
-the potters have deliberately departed from the normal recipes in order
-to obtain some special effect. Thus we saw that the _ch’ing-tien_
-stone was introduced into the body in imitations of the opaque and
-rather earthy-looking white Ting Chou ware; _hua shih_ (steatite)
-was used for another type of opaque porcelain which offered a
-vellum-like surface to the blue painter; and coarse, impure clays were
-found of great service in the imitation of the dark-coloured body of
-the antique wares.
-
-Many other modifications appear in the porcelain of the first half of
-the eighteenth century. There is, for instance, a very dead white ware,
-soft looking, but translucent, which occurs on some of the choicer
-examples of armorial porcelain.[373] There are several specimens of
-this in the British Museum, one of which bears the early date, 1702,
-while others belong to the Yung Chêng period. Again there is the highly
-vitreous ware evolved by T’ang Ying to imitate the opaque glass of
-_Ku-yüeh-hsüan_; but that will be discussed later.[374] These
-special bodies were mainly employed for articles of small size and
-ornamental design, and they can be studied in all their varieties in
-a representative collection of snuff bottles. The Chinese potters
-lavished all their skill on these dainty little objects. Not only
-do they include every kind of ware, crackled or plain, translucent
-or opaque, but they illustrate in miniature every variety of
-decoration--monochrome, painted, carved, moulded, incised, pierced and
-embossed. Probably the choicest snuff bottles were made in the Yung
-Chêng and Ch’ien Lung periods; but the Chinese have never ceased to
-delight in them, and many beautiful examples were manufactured in the
-nineteenth century, particularly in the Tao Kuang period.
-
-The ordinary Yung Chêng porcelain differs but little from that of the
-previous reign, though it tends to assume a whiter appearance, and
-the green tinge of the glaze is less marked. Moreover, a change is
-noticeable in the finish of the base rim of vases and bowls. Bevelling
-of the edge is less common, and gives place to a rounded or angular
-finish, the foot rim being often almost [symbol: V]-shaped; while the
-slight tinge of brown around the raw edge, which is usual on K’ang Hsi
-wares, is often entirely absent. The actual potting of the porcelain
-displays a wonderful degree of manipulative skill, and the forms,
-though highly finished, are not lacking in vigour. They are, in fact,
-a happy mean between the strong, free lines of the K’ang Hsi and the
-meticulous finish of the later Ch’ien Lung porcelains. The verdict of
-the _T’ao lu_, “extremely refined and elegant,” is fully justified
-by the porcelain itself no less than by its decoration.
-
-Not the least deserving of this praise, though mainly made for export,
-is the important group discussed on page 209, viz. the saucer dishes,
-plates, tea and coffee wares, etc., of delicate white porcelain,
-painted, apparently at Canton, in the _famille rose_ enamels. It
-is an “eggshell” porcelain, white, thin, and beautifully finished,
-and the dainty little conical or bell-shaped tea cups, though without
-handles, are the perfection of table ware. This kind of “eggshell” is
-easily distinguished from the Ming type, which is greener in tone and
-has the appearance of melting snow by transmitted light.
-
-The Yung Chêng period is not conspicuous for blue and white porcelain.
-The perfection of the _famille rose_ colours and the growing
-demand for enamelled wares seem to have withdrawn the attention of the
-potters from their old speciality. Marked examples of Yung Chêng blue
-and white are so uncommon that it is difficult to estimate the merits
-of the ware from them. A saucer dish in the British Museum shows the
-familiar pattern of a prunus spray reserved in white in a marbled blue
-ground; but though the ware itself preserves much of the K’ang Hsi
-character, the blue is dull and grey, and wanting in the vivacity and
-depth of the old models. One would say that little care had been spent
-on the refining of the blue, and without the old perfection of material
-the K’ang Hsi style, with its broad washes of colour, was doomed to
-failure. Considerations of this sort may have led the painters to
-abandon the washes in favour of pencilling in fine lines, a method
-apparent on the armorial porcelain which can be dated to this period.
-Such a treatment of the blue was admirably suited to small objects.
-Indeed it was the usual style of decoration on the steatitic porcelain,
-of which many excellent examples belonging to this time are to be found
-among the snuff bottles, vermilion boxes, and the small, artistic
-furniture of the writing table. On large specimens the effect is thin
-and weak.
-
-On the other hand the Yung Chêng potters, who excelled in reproducing
-the antique, were most successful in their imitation of the old
-Ming blue and whites. The Imperial list[375] includes such items as
-“reproductions of the pale blue painted designs of Ch’êng Hua,” and
-of the dark blue of Chia Ching. An interesting example of a Ming
-reproduction is a bowl in the British Museum, which is painted on the
-exterior with the old design of ladies walking in a garden by candle
-light.[376] In spite of its Yung Chêng mark this piece is obviously a
-copy of a Ming model. The porcelain is white and thick, and the glaze,
-which is of greenish tint, has a peculiar soft-looking surface, while
-the blue design inside is of characteristic Ming colour, though that of
-the exterior is scarcely so successful.
-
-Another type much copied at this period as well as in the succeeding
-reign is that in which the blue is mottled and blotched with darker
-spots, a type discussed among the early Ming wares.[377] And similarly
-such specimens as Fig. 2 of Plate 116, which bears a Hsüan Tê mark,
-doubtless belong to this period of imitative manufacture. It is of
-thick, solid build with smooth, soft-looking glaze, whose bubbled
-texture gives the blue a hazy appearance.
-
-Painting in underglaze red alone, or in combination with underglaze
-blue, was freely practised in the reign of Yung Chêng, and probably
-most of the fine examples of this type in our collections belong to
-this and the succeeding reign (Fig. 1, Plate 117). There is a good
-example with the Yung Chêng mark in the British Museum, a vase of
-“pilgrim-bottle” form with central design of the three emblematic
-fruits--peach, pomegranate, and finger citron, symbols of the Three
-Abundances of Years, Sons and Happiness. The fruits are in a soft
-underglaze red, verging on the peach-bloom tint, and the foliage,
-together with the borders and accessory designs, are pencilled in dark
-blue.
-
-The Imperial list alludes to this decoration under the heading of “red
-in the glaze” (_yu li hung_), including (1) red used alone for
-painted designs, and (2) red foliage combined with blue flowers.[378]
-Examples of both these styles are frequent in large and small objects,
-and especially in the decoration of snuff bottles, which often bear the
-Yung Chêng mark. They are, however, by no means confined to the Yung
-Chêng period, but have continued in uninterrupted use to the present
-day.
-
-  [Illustration: PLATE 115
-
-  Vase of baluster form with ornament in white slip and underglaze
-  red and blue in a celadon green ground: rockery and birds on a
-  flowering prunus tree. Yung Chêng period
-
-  (1723–1735)
-
-  Height 15½ inches. _Alexander Collection._]
-
-Other references in the list[379] to underglaze red painting include
-designs of three fishes,[380] three fruits, three funguses, and five
-bats (for the five blessings) in the Hsüan Tê style, red in a white
-ground; and the same red designs in a celadon green ground, the
-latter combination being a novelty of the previous reign. Plate 115
-is a choice example of the underglaze colours in a celadon ground;
-and similar designs in a pale lavender blue ground, besides other
-combinations of the same colours, coloured slips, and high-fired glazes
-which form the polychrome decoration of the _grand feu_ have been
-already discussed on p. 146. They belong to the Yung Chêng and Ch’ien
-Lung periods no less than to the K’ang Hsi.
-
-Of the other kinds of polychrome, the porcelain with glazes of the
-_demi-grand feu_, and enamels of the muffle kiln in the three
-colours, green, yellow, and aubergine, was still made. It is hardly
-likely that the manufacture[381] which Père d’Entrecolles describes
-in 1722 ceased immediately, and we know that the finer types with
-engraved designs and transparent glazes in the three colours were made
-to perfection at the Imperial factory. Fig. 1 of Plate 116 illustrates
-a bowl of this kind with the Yung Chêng mark and, to judge from its
-exquisite quality, an Imperial piece. The ornament is in green, in a
-full yellow ground. This type of decoration is a legacy from the Ming
-dynasty, and doubtless many of the saucer dishes, bowls, etc., with
-Chêng Tê marks, but with all the trimness and neatness of the Yung
-Chêng wares, belong to the latter period. One variety is actually
-specified in the Imperial list[382] viz. “reproductions of porcelain
-with incised green decoration in a monochrome yellow ground.”
-
-As for the on-glaze enamels of the muffle kiln the old _famille verte_
-colour scheme was to a great and increasing extent supplanted by the
-_famille rose_. It survived, however, in certain modified forms--in the
-delicately painted wares, for example, usually of eggshell thinness and
-decorated in thin, clear, transparent enamels, such as were described
-in connection with the late K’ang Hsi “birthday plates ” (see Plate
-113). And again the same colours were employed in a special type of
-decoration which seems to have originated in the Yung Chêng period,
-though it was freely used in later reigns. In this the design was
-carefully traced in pale blue outlines under the glaze, and filled in
-with light uniform washes of transparent enamels on the glaze. The
-effect is delicate and refined, though somewhat weak in comparison with
-the full, iridescent colours and broad washes of the older _famille
-verte_.
-
-Possibly this style of decoration was intended to reproduce the
-traditional refinement of the Ch’êng Hua cups. The Imperial list[383]
-includes “reproductions of Ch’êng Hua polychrome (_wu ts’ai_),”
-and four exquisite eggshell wine cups in the Hippisley Collection
-which bear the Ch’êng Hua mark, are painted in this fashion.[384]
-Similarly in the Bushell collection there are some beautiful
-reproductions of the Ch’êng Hua “stem-cups,” with grape vine patterns,
-etc., which are no doubt of the same origin. Larger work in the same
-style is illustrated by a fine vase in the Victoria and Albert Museum
-with a phœnix design which suggests an Imperial destination (Plate
-117).
-
-  [Illustration: Plate 116.--Yung Chêng Porcelain.
-
-  Fig. 1.--Imperial Rice Bowl with design of playing children
-  (_wa wa_), engraved outlines filled in with green in a
-  yellow ground, transparent glazes on the biscuit. Yung Chêng
-  mark. Diameter 6 inches. _British Museum._
-
-  Fig. 2.--Blue and white Vase with fungus (_ling chih_)
-  designs in Hsüan Tê style. Height 7½ inches. _Cologne
-  Museum._]
-
-  [Illustration: Plate 117.--Yung Chêng Porcelain.
-
-  Fig. 1.--Vase with prunus design in underglaze red and blue.
-  Height 15 inches. _C. H. Read Collection._
-
-  Fig. 2.--Imperial Vase with phœnix and peony design in pale
-  _famille verte_ enamels over underglaze blue outlines.
-  Height 25⅝ inches. _V. & A. Museum._]
-
-  [Illustration: Plate 118.--Early Eighteenth Century Enamels.
-
-  Fig.1--Plate painted at Canton in _famille rose_ enamels
-  (_yang ts’ai_, “foreign colouring”). Yung Chêng period.
-  Diameter 21½ inches. _S. E. Kennedy Collection._
-
-  Fig. 2.--Arrow Stand, painted in late _famille verte_
-  enamels. About 1720. Height 19¼ inches. _V. & A. Museum._]
-
-  [Illustration: Plate 119.--Yung Chêng Porcelain, painted at
-  Canton with _famille rose_ enamels. _British Museum._
-
-  Fig. 1.--“Seven border” Plate. Diameter 8¼ inches.
-
-  Fig. 2.--Eggshell Cup and Saucer with painter’s marks (see p.
-  212). Diameter of saucer, 4½ inches.
-
-  Fig. 3.--Eggshell Plate with vine border. Diameter 8¼ inches.
-
-  Fig. 4.--Armorial Plate with arms of Leake Okeover. Transition
-  enamels, about 1723. Diameter 8⅞ inches.]
-
-Thirdly, there are the reproductions of the enamelled porcelain of
-the Chêng Tê and Wan Li periods[385] (q.v.), characterised, no doubt,
-by the combination of underglaze blue and overglaze enamels. We have
-already seen[386] from the note on Nien yao in the _T’ao lu_ that
-this combination was conspicuous at this period, and it is probable
-that much of the “five colour” porcelain in late Ming style should
-be dated no further back than the Yung Chêng revival. Other types
-of Ming coloured wares reproduced at this time were “porcelain with
-ornament in Hsüan Tê style in a yellow ground,”[387] which seems to
-mean underglaze blue designs with the ground filled in with yellow
-enamel--a not unfamiliar type--and porcelain with designs painted in
-iron red (_ts’ai hung_) “reproduced from old pieces.”[388] But the most
-prominent feature of the enamelled porcelains of this time is the rapid
-development of the _famille rose_ colours. We have already noted the
-first signs of their coming in the thick rose pink and opaque white,
-which made their appearance in the latter years of K’ang Hsi. The group
-derives its name from its most conspicuous members, a series of rose
-pinks graduating from pale rose to deep crimson, all derived from gold,
-the use of which as a colouring agent for vitreous enamel was only at
-this period mastered by the Chinese potters. It includes besides a
-number of other colours distinguished from those of the _famille verte_
-palette by their relative opacity. They display, moreover, a far wider
-range of tints, owing to scientific blending of the various enamels
-and to the judicious use of the opaque white to modify the
-positive colours. Most of the opaque colours have considerable body,
-and stand out on the porcelain like a rich incrustation, and they
-are laid on not in broad washes, but with careful brush strokes and
-miniature-like touches.
-
-The _famille rose_ colours are known to the Chinese as _juan ts’ai_
-(“soft colours,” as opposed to the _ying ts’ai_, or hard colours of the
-_famille verte_), _fên ts’ai_ (pale colours), or _yang ts’ai_ (foreign
-colours). Their foreign origin is generally admitted, and T’ang Ying
-in the seventeenth of his descriptions of the processes of manufacture
-alludes to them under the heading, “Decorating the round ware and
-vases with foreign colouring.”[389] Painting the white porcelain in
-polychrome (_wu ts’ai_) after the manner of the Europeans (_hsi yang_),
-he tells us, is called foreign colouring, and he adds that the colours
-employed are the same as those used for enamels on metal (_fo lang_).
-Taking this statement with the note on “foreign coloured wares” in the
-Imperial list,[390] where reference is made to painting on enamels (_fa
-lang_) “landscapes and figure scenes, flowering plants and birds,”
-it is evident that _fa lang_ is used here not in the usual sense of
-cloisonné enamel, but for the painted enamels on copper which we
-distinguish as Canton enamels. These, we are told elsewhere,[391] were
-first made in the kingdom of Ku-li, which is washed by the Western sea.
-Ku-li is identified as Calicut, but it does not necessarily follow that
-the Chinese associated the origin of the painted enamels with India.
-The expression was probably used quite vaguely in reference to European
-goods which came by way of India, and does not really conflict with the
-other phrase, _hsi yang_ (Western foreigners), which is always rendered
-“Europeans.”
-
-There is quite a number of references to the foreign or European
-colours in the Imperial list,[392] e.g. “porcelain in yellow after the
-European style,” which Bushell considers to be the lemon yellow which
-originated in this reign; “porcelain in purple brown (_tzŭ_) after
-the European style”; “European red-coloured wares,” i.e. rose pink;
-“European green-coloured wares,” which Bushell explains as pale bluish
-green or _eau de nil_ enamel; and “European black (_wu chin_) wares.”
-In fact the words, “foreign or European,” seem to be practically
-synonymous with “opaque enamel.”[393]
-
-The most complete display of the foreign colouring is given by a
-special group of porcelain which is painted in a characteristic
-and mannered style. It is best known as “eggshell” or “ruby-back”
-porcelain, from the fact that it is usually very thin and translucent
-and beautifully potted, and that the exterior of the dishes and plates
-is often coated with a gold pink enamel varying from pale ruby pink to
-deep crimson. It usually consists of saucer-shaped dishes, plates, and
-tea and coffee wares, obviously intended for European use. Occasionally
-there are vases and lanterns of exquisite lightness and translucency,
-but the vase forms usually required a more substantial construction,
-and such specimens as Plate 120, are strongly built, though decorated
-in the same style as the eggshell wares.
-
-The decoration of these porcelains is scarcely less distinctive than
-their colouring. The central design usually consists of one of the
-following: a Chinese interior with figures of ladies and children,
-groups of vases and furniture, baskets of flowers and dishes of
-fruit, a pheasant on a rock, two quails and growing flowers, a cock
-and peonies, etc.; and these designs are enclosed by rich borders,
-sometimes totalling as many as seven in number, composed of hexagon
-and square, lozenge, trellis or matting diapers, in varying colours,
-and broken by small irregular panels of flowers or archaic dragons.
-There are, of course, many other kinds of decoration on these wares.
-Sometimes the whole design is executed in opaque blue enamel, sometimes
-it is black and gold. On some the borders are simpler, merely
-delicately gilt patterns; on others they are ruby pink, plain or
-broken by enamelled sprays. On the vase forms the ruby either covers
-the entire ground or is broken, as in Plate 121, Fig. 3, by fan-shaped
-or picture-shaped panels with polychrome designs. The painting is, as
-a rule, very finely and carefully executed, but almost always in a
-distinctive style which is closely paralleled by the Canton enamels.
-
-Indeed, it is impossible to resist the conclusion that much of this
-ware was actually decorated in the enamelling establishments at Canton,
-the porcelain itself being sent in the white from Ching-tê Chên. The
-same designs are found on both the porcelain and the enamels, and there
-is one instance at least of an artist whose paintings were used on
-both materials, as is testified by his signature. This is the painter
-whose art-name is _Pai shih shan jên_ (hermit of the white rock), or
-in a shortened form, Pai-shih (see vol. i., p. 223). He was evidently
-a Cantonese, for one of his designs on a saucer in the British Museum
-is inscribed _Ling nan hui chê_ (a Canton picture), the subject being a
-vase of flowers and a basket of fruit. His signature is also attached
-to a dish with cock and peonies in the Victoria and Albert Museum,[394]
-and to a similar design figured by Jacquemart,[395] which also bears
-the date corresponding to 1724. It occurs, besides, fairly frequently
-on Canton enamels, though in this case usually attached to landscape
-designs. In all these instances, however, it is placed in the field of
-the design appended, as a rule, to a stanza of verse or a descriptive
-sentence. This is a usual position for the signature of a painter on
-silk or paper, and we can hardly be wrong in inferring that Pai-shih
-was the artist whose designs were copied on the wares, perhaps one who
-was specially employed to design for the enamellers, rather than an
-actual pot-painter or enameller. The proper place for the signature
-of the latter is underneath the ware, on the base; and here we find
-on a cup and saucer in the British Museum the name apparently of the
-real decorator whose painting is not to be distinguished from that
-on the piece with the Pai-shih signature, just mentioned as in the
-same collection. Under the saucer (Plate 119, Fig. 2) is the seal _Yü
-fêng yang lin_, i.e. Yang Lin of Yü-fêng, an old name for the town of
-K’un-shan; and under the cup is the seal _Yu chai_ (quiet pavilion),
-which is no doubt the studio name of Yang-lin.[396] K’un-shan Hsien is
-situated between Su-chou and Shanghai, in the province of Kiangsu, and
-we are to understand that Yang-lin was either a native of K’un-shan
-or that he resided there--more probably the former, for his work is
-typical of the Canton enamellers. It is, however, probable enough that
-there were decorating establishments working for the European markets
-in the neighbourhood of Shanghai as well as at Canton, just as there
-are still decorating kilns not only at Ching-tê Chên but “at the other
-towns on the river.”[397]
-
-It is highly probable that the brushwork of the Canton enamellers, like
-the enamels themselves, was copied at Ching-tê Chên, and even that
-some of the enamellers migrated thither. A tankard among the armorial
-porcelain in the British Museum, bearing the arms of Yorke and Cocks,
-combines a few touches of underglaze blue with passages of _famille
-rose_ decoration in the Canton style. The blue can only have been
-applied at the place of manufacture, and as no porcelain of this kind
-was actually made at Canton, it is evident that the piece was made and
-decorated elsewhere (which can only mean at Ching-tê Chên), unless we
-assume the improbable alternative that the tankard travelled from the
-factory, bare save for a faintly outlined shield with a saltire in
-blue, to be finished off at Canton.
-
-Needless to say there is much _famille rose_ porcelain in which
-the Cantonese style is not apparent, and this we assume without
-hesitation to have been decorated at Ching-tê Chên.
-
-It only remains to say a few words on the dating of the _famille rose_
-wares and for this we must return to the ruby-back porcelains. Dated
-pieces are rare, but the British Museum is fortunate in possessing a
-few documentary specimens. The most interesting of these is a bowl with
-pale ruby enamel covering the exterior, and a dainty spray of flowers
-in _famille rose_ enamels inside. It is marked in blue under the glaze
-with the cyclical date “made in the _hsin chou_ year recurring” (see
-p. 213). The only year to which this can be referred is 1721, when
-the _hsin chou_ year came round for the second time in the long reign
-of K’ang Hsi.[398] It is of course possible that this bowl was not
-enamelled in the year of its manufacture, but there are two other
-pieces in the same case, an octagonal plate with ruby border and a
-dish, both with the mark of the Dresden collection, and therefore
-not later than the early years of Yung Chêng. A fourth document is a
-ruby-back saucer dish delicately painted with a lady and boys, vases
-and furniture in typical style, which has the mark of the Yung Chêng
-period.
-
-Unfortunately it is no longer possible to regard the year 1724, to
-which the signature Pai-shih is attached on the plate mentioned above,
-as conclusive evidence of the date of decoration.[399] It is certainly
-the date of the design, and it is probable enough that the porcelain
-was painted within a few years of the original picture, but beyond
-that no further inferences can be drawn.[400] The Yorke-Cocks tankard,
-however, to which we have also alluded, must for heraldic reasons have
-been painted between the years 1720 and 1733; and there is an eggshell
-cup and saucer in the British Museum painted in rose pink and other
-enamels of this type, with the arms of the Dutch East India Company and
-the date 1728.
-
-From this cumulative evidence it is clear that the manufacture of
-eggshell dishes and services with _famille rose_ enamels in the
-Canton style and with “ruby backs” was in full swing in the Yung Chêng
-period, and the general tendency to label them all Ch’ien Lung errs on
-the side of excessive caution.
-
-Passing from this particular group, which was affected by special
-influences, the general character of the Yung Chêng enamelled
-decoration is one of great refinement in design and execution. The
-over-elaboration and the overcrowding which are observable on the later
-Ch’ien Lung _famille rose_ are absent at this period. The tendency
-was on the contrary towards elegant and restrained effects, such as a
-flowering spray thrown artistically across the field, birds on a bough
-and other graceful designs which left plenty of scope for the fine
-quality of the white background. It is this nicely balanced decoration
-coupled with the delicacy of the painting and the beautiful finish of
-the porcelain itself, which gives the Yung Chêng enamelled wares their
-singular distinction and charm.
-
-There are still a few special types of painted wares to be noticed
-before passing to the monochromes. One of these is named in the
-Imperial list,[401] under the heading “Porcelain painted in ink
-(_ts’ai shui mo_),” a figurative expression, for Indian ink could
-not stand the heat even of the enamelling kiln, and could never have
-served as a true ceramic pigment. The material used was a dry black or
-brown black pigment derived from manganese, and closely allied to the
-pigment which had long served in a subordinate position for tracing
-outlines. Evidently this material was now greatly improved, and could
-be used for complete designs which resembled drawings in Indian ink or
-in sepia. It is certain, however, that the Chinese, whose methods were
-necessarily empirical, had first experimented with actual ink, for Père
-d’Entrecolles wrote in 1722[402]--“an attempt made to paint in black
-some vases with the finest Chinese ink met with no success. When the
-porcelain had been fired, it turned out white. The particles of this
-black had not sufficient body, and were dissipated by the action of the
-fire; or rather they had not the strength to penetrate the layer of
-glaze or to produce a colour differing from the plain glaze.” Between
-that date and about 1730 when the Imperial list was drawn up, the
-secret of the proper pigment seems to have been mastered, and we find
-the black designs effectively used on Yung Chêng eggshell and other
-wares, alone or brightened by a little gilding. Among other uses it was
-found to be admirably suited for copying the effect of European prints
-and line engravings, a _tour de force_ in which the proverbial
-patience and imitative skill of the Chinese are well exemplified.
-Another effect sometimes mistaken for black painting is produced by
-silvered designs which become rapidly discoloured; but it is generally
-possible to see a slight metallic sheen even on the blackened silver if
-the porcelain is held obliquely to the light.
-
-Another refined and unobtrusive decoration was effected by pencilling
-in pale iron red supplemented with gilding. There is a large series of
-this red and gold porcelain in the Dresden collection, and it seems
-to belong to the late K’ang Hsi or the Yung Chêng period. Another
-telling combination, including black, red and gold, dates from this
-time. The black and gold variety is well illustrated by an interesting
-plate in the British Museum which represents European figures in early
-eighteenth-century costume in a Chinese interior (Plate 131, Fig. 1).
-The Imperial list[403] alludes to the use of silver and gold both to
-cover the entire surface like a monochrome (_mo yin_ and _mo chin_),
-and in painted designs (_miao yin_ and _miao chin_).[404] Three of
-these decorations are said to have been in Japanese style, but the
-precise significance of this is not clear. Gilding was freely used in
-combination with red and blue, and especially over the blue, on Arita
-porcelain, but the application of it does not seem to differ from the
-ordinary Chinese gilding. The one feature common to the Chinese and
-Japanese gilding is its lightness and restraint as compared with the
-heavy gilding of European porcelains.
-
-Plate 125 illustrates a peculiar ware which belongs in part to the
-reign of Yung Chêng and in part to that of Ch’ien Lung. It attempts to
-reproduce the soft colouring on the enamelled glass made by Hu,[405]
-whose studio-name was Ku-yüeh-hsüan (“ancient moon pavilion”). A small
-brush holder[406] of this glass is shown on Fig. 125, an opaque white
-material, not unlike our old Bristol glass, delicately painted in
-_famille rose_ colours with groups of the Seven Worthies of the Bamboo
-Grove. It is said that[407] the Emperor admired the soft colouring on
-this ware, and expressed a wish to see the same effect produced in
-porcelain. T’ang Ying thereupon set out to solve the problem by making
-a highly vitreous body with glassy glaze on which the enamels assumed
-the soft tints of the original model. This type of porcelain, known as
-_fang ku yüeh hsüan_ (“imitation of Ku-yüeh-hsüan”), is greatly prized.
-Mr. A. E. Hippisley has described a small group in the catalogue of his
-collection from which I have been permitted to illustrate an example
-(Plate 125). Mr. Hippisley states that the earlier specimens of the
-glass are marked with the four characters _ta ch’ing nien chih_ (made
-in the great Ch’ing period), the reign name Yung Chêng being omitted;
-the later pieces, of which the brush pot in our illustration is one,
-have the Ch’ien Lung mark in four characters. Bushell[408] has figured
-a yellow glazed snuff bottle with the actual mark _Ku yüeh hsüan chih_
-(see vol. i. p. 219).
-
-The reigns of Yung Chêng and Ch’ien Lung were prolific in monochromes.
-Never since the Sung dynasty had these wares been produced in such
-quantity, and the tale of the glazes was swollen to an unprecedented
-extent by the accumulated traditions of the past centuries, and by the
-inventive genius of T’ang Ying. It is scarcely practicable to attempt
-to distinguish very closely between the Yung Chêng monochromes and
-those of the early years of Ch’ien Lung. The activities of T’ang-ying
-extended from 1728–1749, and we are expressly told that many of the
-types enumerated in the Imperial list were his inventions, besides
-which there was nothing made by the potters of the past which he could
-not reproduce. To enumerate all the colours now used would be merely
-to repeat what has been said under the heading of monochrome porcelain
-in the previous chapters. Moreover, the Imperial list given on page
-223 serves to draw attention to the principal types, and it is only
-necessary here to supplement it with a few comments.
-
-A special feature of the time was the reproduction of the glazes made
-in the classical periods of the Sung and Ming dynasties, and in many
-cases these copies were based on originals lent to the factory from the
-Imperial collections. Thus the Ju, Kuan, Ko, Lung-chüan, Tung-ch’ing,
-Chün and Ting wares, all the specialities of the Sung dynasty, are
-included in the list, and though one type of Kuan glaze is specifically
-stated to have been laid on a white porcelain body, many of the others,
-we read, were provided with special bodies imitating the copper-and
-iron-coloured wares of antiquity. But experience shows that in the
-majority of cases the potters were content to simulate the “brown
-mouth and iron foot” of the dark-bodied Sung wares by dressing the
-mouth and the exposed part of the base with ferruginous clay. This is
-observable on the lavender crackles which imitate the Kuan, and the
-stone grey crackles of the Ko type, by which the Sung originals were
-until recent years represented in most Western collections.
-
-In other cases coarse clays of impure colour, and even earthenware
-bodies were used in the reproductions. The admirable imitations of the
-mottled and _flambé_ Chün glazes which were apparently a special
-triumph of T’ang-ying appear both on a white porcelain which had to be
-carefully concealed by the coloured glazes, and on a soft earthenware
-body. Both these kinds are found with the Yung Chêng mark stamped in
-the paste, and so correct are the glaze effects that even collectors of
-considerable experience have been deceived by specimens from which the
-mark in question has been ground away.
-
-In addition to the copies of the high-fired Chün glazes, there was the
-“Chün glaze of the muffle kiln” (_lu chün yu_) which is described as
-something between the glaze applied to the Yi-hsing stoneware and the
-Kuangtung glazes. The items immediately following this information in
-the Imperial list[409] make it clear that the writer refers to the
-glazes of Ou on the Yi-hsing pottery, and to the blue mottled glazes
-of the Canton stoneware. The enamel which most closely answers to
-the description of this Chün glaze of the muffle kiln[410] is that
-illustrated in Fig. 4 of Plate 128, a vase with dark-coloured foot rim,
-and an opaque greenish blue enamel flecked with dark ruby pink. This
-enamel varies considerably in appearance according to the preponderance
-of the red or the blue in the combination; but it is an enamel of the
-muffle kiln and its markings recall the dappled Chün glazes. I have,
-moreover, seen this glaze actually applied to a teapot of Yi-hsing red
-stoneware. This glaze seems to belong to a type, which was largely
-developed in the Ch’ien Lung period, of glazes resembling if not
-actually imitating the mottled surface of certain birds’ eggs, e.g.
-the robin, the lark, the sparrow, etc. In these instances one colour
-seems to have been powdered or blown on to another, the commonest kind
-having a powdering of ruby pink on pale blue or green. This glaze
-differs from the Chün glaze, described above, only in the size of
-the pink specks. It was probably in experimenting for the effect of
-the _flambé_ Chün glazes that T’ang Ying acquired the mastery of the
-furnace transmutations (_yao pien_) which made it possible for him and
-his successors to produce at will the variegated glazes. These had
-been described by Père d’Entrecolles a few years earlier as accidental
-effects in his time, but the French father already foresaw the day when
-they would be brought under control.
-
-Of the celebrated Ting Chou wares only the fine ivory white Ting
-(_fên ting_) was copied at the Imperial factory; but this does
-not preclude the reproduction of the other kind, the creamy crackled
-_t’u-ting_, in the other potteries. There are, at any rate, many
-lovely porcelains in both styles which appear to belong to the Yung
-Chêng and early Ch’ien Lung periods. Coloured glazes with crackle and
-crackled grey-white of the Ko type were made in great quantity, and
-most of the choicer crackles in our collections, especially those of
-antique appearance but on a white and neatly finished porcelain body,
-date from this time.
-
-The reproductions of Ming monochromes include the underglaze red and
-the purplish blue as in the previous reign, and the eggshell and pure
-white of the Yung Lo and Hsüan Tê periods. The purplish blue or _chi
-ch’ing_ of this time is illustrated by a large dish in the British
-Museum which is further enriched with gilding. It is covered with a
-splendid deep blue of slightly reddish tinge, varying depth and rather
-stippled appearance, and it was found in Turkey, where this colour has
-been much prized. Turquoise green, aubergine purple and yellow of the
-_demi-grand feu_, and the lustrous brown (_tzŭ chin_) in two
-shades, brown and yellow, are all mentioned in the Imperial list as
-used with or without engraved and carved designs under the glaze.
-
-As for the K’ang Hsi porcelains it may be assumed that practically
-all their glaze colours were now reproduced. A few only are specified
-in the list, eel yellow, snake-skin green, spotted yellow, _soufflé_
-red, _soufflé_ blue (powder blue) and mirror black (_wu chin_). The
-term _soufflé_ red may refer to the underglaze red from copper or the
-overglaze iron red. The latter is further subdivided into _mo hung_
-or _ta hung_, the deep red of Ming origin, and the _tsao’rh hung_ or
-jujube red, a softer and more vitreous[411] variety of the same colour
-which Dr. Bushell considered to have originated in the Yung Chêng
-period. On the _soufflé_ red under the glaze we may quote Bushell’s
-remarks[412]: “Two of the colours especially characteristic of the
-Nien yao or 'Nien porcelain’ of this epoch are the _clair de lune_
-or _yüeh pai_, and the bright _soufflé_ copper red.” The latter is
-further described on a vase in the Walters collection “exhibiting the
-characteristic monochrome glaze of bright ruby red tint, and stippled
-surface. The _soufflé_ glaze is applied over the whole surface with the
-exception of a panel of irregular outline reserved on one side, where
-it is shaded off so that the red fades gradually into a nearly white
-ground.” This panel was afterwards filled in with a design in overglaze
-enamels. A tazza in the British Museum has this same red covering
-three-quarters of the exterior, and fading into the white ground. This
-red also occurs in its beautiful translucent ruby tints on a pair of
-small wine cups in the same collection, and on a set of larger cups
-belonging to Mr. Eumorfopoulos. One would say it was the “liquid dawn”
-tint of the celebrated wine cups of the late Ming potter, Hao Shih-chiu.
-
-The _clair de lune_ or moon white (_yüeh pai_), an exquisite glaze
-of palest blue, is illustrated on Plate 130. It is often faintly
-tinged with lavender which bears out its description in the Imperial
-list[413]: “This colour somewhat resembles the Ta Kuan glaze, but the
-body of the ware is white. The glaze is without crackle, and there are
-two shades--pale and dark.” The Kuan glaze, it should be explained, was
-characterised by a reddish tinge.
-
-In addition to the foreign colours which were capable of being used as
-monochromes as well as in painted designs, there are a few other new
-glazes named in the Imperial list. The _fa ch’ing_ (cloisonné blue)
-which “resulted from recent experiments to match” the deep blue of the
-enamellers on copper, is identified by Bushell with the dark sapphire
-blue known as _pao shih lan_ (precious stone blue). It was, we are
-told, darker and bluer than the purplish _chi ch’ing_, and it had not
-the orange peel and palm eye markings of the latter. It has, however,
-a faint crackle, and is apparently a glaze of the _demi-grand feu_.
-We learn elsewhere that this cloisonné blue was one of T’ang-ying’s
-inventions.
-
-Among the yellows are “porcelain with yellow after the European style”
-which is identified by Bushell with the opaque lemon yellow enamel
-introduced at this time, and there are two kinds of _mi sê_ (millet
-colour) glazes,[414] pale and dark, which we are told “differed from
-the Sung _mi sê_.” Bushell’s explanation of the term _mi sê_ given in
-Monkhouse’s _Chinese Porcelain_,[415] traverses his rendering of the
-terms as rice colour in other books: “The Chinese term used here is _mi
-sê_, which Julien first translated _couleur du riz_, and thereby misled
-us all. It really refers to the colour (_sê_) of the yellow millet
-(_huang mi_), not of rice (_pai mi_). _Mi sê_ in Chinese silks is a
-full primrose yellow; in Chinese ceramic glazes it often deepens from
-that tint to a dull mustard colour when the materials are less pure.
-It has often been wondered why the old “mustard crackle” of collectors
-is apparently never alluded to in “L’Histoire des Porcelaines de
-King-tê-chin.” It is necessary to substitute yellow for “rice coloured”
-in the text generally, remembering always that a paler tone is
-indicated than that of the Imperial yellow, which Mr. Monkhouse justly
-likens to the yolk of an egg.”
-
-In Giles’s Dictionary _mi sê_ is rendered “straw colour, the colour of
-yellow millet,” and all my inquiries among Chinese collectors as to
-the tint of the _mi sê_ glaze have led to the same conclusion. One of
-the Chinese experts indicated a bowl with pale straw yellow glaze of
-the K’ang Hsi period as an example of _mi sê_, and this I take to be
-the _mi sê_ which “differed from the Sung colour,” being, in fact, an
-ordinary yellow glaze, following the type made in the Ming dynasty, and
-entirely different in technique from the Sung glazes.
-
-  [Illustration: PLATE 120
-
-  Covered Jar or _potiche_ painted in _famille rose_ or
-  “foreign colours” (_yang ts’ai_) with baskets of flowers:
-  deep borders of ruby red enamel broken by small panels and floral
-  designs. On the cover is a lion coloured with enamels on the
-  biscuit. From a set of five vases and beakers in the collection
-  of Lady Wantage. Late Yung Chêng period (1723–1735)
-
-  Height 34 inches.]
-
-The precise nature of the Sung _mi sê_ which is included among the Ko
-yao, Chün yao and Hsiang-hu wares reproduced by the Yung Chêng potters
-according to the Imperial list is a little doubtful. Possibly one type
-was illustrated by the “shallow bowl with spout: grey stoneware with
-opaque glaze of pale sulphur yellow,” which Mr. Alexander exhibited at
-the Burlington Fine Arts Club in 1910.[416] Another is indicated in the
-Pierpont Morgan collection[417] in a “shallow bowl with greenish
-yellow crackled glaze,” apparently of the type found occasionally in
-Borneo, where such wares are still treasured by the Dyaks. The vase in
-the Victoria and Albert Museum which is figured by Monkhouse (op. cit.,
-Fig. 22) as a specimen of old _mi sê_, appears for reasons already
-given[418] to be a Yung Chêng reproduction of this type. The “mustard
-yellow” which Bushell included under the description _mi sê_ is an
-opaque crackled enamel which can hardly have originated before the Yung
-Chêng period, and it is possible that it resulted from an attempt to
-reproduce the old Sung _mi sê_ crackle.
-
-The following list of the decorations used at the Imperial factory was
-compiled by Hsieh Min, the governor of the province of Kiangsi from
-1729 to 1734.[419] It was translated by Bushell in his _Oriental
-Ceramic Art_; but reference has been made to it so often in these
-pages, and its importance is so obvious, that no apology is necessary
-for giving it in full. The following version is taken from the
-_Chiang hsi t’ung chih_, bk. 93, fols. 11 to 13, and in most cases
-Bushell’s rendering has been followed:--
-
-   1. Glazes of the Ta Kuan period (i.e. Sung Kuan yao) on an
-   “iron” body, including moon white (_yüeh pai_), pale blue
-   or green (_fên ch’ing_) and deep green (_ta lü_).**
-
-   2. Ko glaze on an “iron” body, including millet colour (_mi
-   sê_) and _fên ch’ing_.**
-
-   3. Ju glaze without crackle on a “copper” body: the glaze
-   colours copied from a cat’s food basin of the Sung dynasty, and
-   a dish for washing brushes moulded with a human face.
-
-   4. Ju glaze with fish-roe crackle on a “copper” body.**
-
-   5. White Ting glaze. Only the _fên Ting_ was copied, and
-   not the _t’u Ting_.
-
-   6. Chün glazes. Nine varieties are given, of which five were
-   copied from old palace pieces and four from newly acquired
-   specimens; see p. 000.
-
-   7. Reproductions of the _chi hung_ red of the Hsüan Té
-   period: including fresh red (_hsien hung_) and ruby red
-   (_pao shih hung_).
-
-   8. Reproductions of the deep violet blue (_chi ch’ing_) of
-   the Hsüan Tê period. This glaze is deep and reddish (_nêng
-   hung_), and has orange peel markings and palm eyes.
-
-   9. Reproductions of the glazes of the Imperial factory:
-   including eel yellow (_shan yü huang_), snake-skin green
-   (_shê p’i lü_), and spotted yellow (_huang pan tien_).
-
-   10. Lung-ch’üan glazes: including pale and dark shades.
-
-   11. Tung-ch’ing glazes: including pale and dark, shades.
-
-   12. Reproductions of the Sung millet-coloured (_mi sê_)
-   glaze: copied in form and colour from the fragmentary wares dug
-   up at Hsiang Hu (q.v.).
-
-   13. Sung pale green (_fên ch’ing_) glaze: copied from wares
-   found at the same time as the last.
-
-   14. Reproduction of “oil green” (_yu lü_) glaze: “copied
-   from an old transmutation (_yao pien_) ware like green
-   jade (_pi yü_), with brilliant colour broken by variegated
-   passages and of antique elegance.”
-
-   15. The Chün glaze of the muffle stove (_lu chün_). “The
-   colour is between that of the Kuangtung wares and the Yi-hsing
-   applied glaze[420]; and in the ornamental markings (_hua
-   wên_) and the transmutation tints of the flowing glaze it
-   surpasses them.”
-
-   16. Ou’s glazes, with red and blue markings.
-
-   17. Blue mottled (_ch’ing tien_) glazes: copied from old
-   Kuang yao.
-
-   18. Moon white (_yüeh pai_) glazes. “The colour somewhat
-   resembles the Ta Kuan glaze, but the body of the ware is white.
-   The glaze is without crackle, and there are two shades--pale and
-   dark.”
-
-   19. Reproductions of the ruby red (_pao shao_) of Hsüan Té:
-   in decoration consisting of (1) three fishes, (2) three fruits,
-   (3) three funguses, or (4) the five Happinesses (symbolised by
-   five bats).
-
-   20. Reproductions of the Lung-ch’üan glaze with ruby red
-   decoration of the types just enumerated. “This is a new style of
-   the reigning dynasty.”
-
-   21. Turquoise (_fei ts’ui_) glazes. Copying three sorts,
-   (1) pure turquoise, (2) blue flecked, and (3) gold flecked
-   (_chin tien_).[421]
-
-   22. _Soufflé_ red (_ch’ui hung_) glaze.
-
-   23. _Soufflé_ blue (_ch’ui ch’ing_) glaze.
-
-   24. Reproductions of Yung Lo porcelain: eggshell (_t’o
-   t’ai_), pure white with engraved (_chui_) or embossed
-   (_kung_) designs.
-
-   25. Copies of Wan Li and Chêng Tê enamelled (_wu ts’ai_)
-   porcelain.
-
-   26. Copies of Ch’èng Hua enamelled (_wu ts’ai_) porcelain.
-
-   27. Porcelain with ornament in Hsüan Tê style in a yellow ground.
-
-   28. Cloisonné blue (_fa ch’ing_) glaze.[422] “This glaze
-   is the result of recent attempts to match this colour (i.e. the
-   deep blue of the cloisonné enamels). As compared with the deep
-   and reddish _chi ch’ing_, it is darker and more vividly
-   blue (_ts’ui_), and it has no orange peel or palm eye
-   markings.”
-
-   29. Reproductions of European wares with lifelike designs carved
-   and engraved. “Sets of the five sacrificial utensils, dishes,
-   plates, vases, and boxes and the like are also decorated with
-   coloured pictures in European style.”
-
-  [Illustration: Plate 121.--Two Beakers and a Jar from sets of
-  five, _famille rose_ enamels. Late Yung Chêng Porcelain.
-
-  Fig. 1.--Beaker with “harlequin” ground. Height 15¾ inches. _S.
-  E. Kennedy Collection._
-
-  Fig. 2.--Jar with dark blue glaze gilt and leaf-shaped reserves.
-  Height 21½ inches. _Burdett-Coutts Collection._
-
-  Fig. 3.--Beaker with fan and picture-scroll panels, etc.,
-  in a deep ruby pink ground. Height 14½ inches. _Wantage
-  Collection._]
-
-   30. Reproductions of wares with incised green decoration in a
-   yellow glaze (_chiao huang_).
-
-   31. Reproductions of yellow-glazed wares: including plain and
-   with incised ornament.
-
-   32. Reproductions of purple brown (_tzŭ_) glazed wares:
-   including plain and with incised ornament.
-
-   33. Porcelain with engraved ornament: including all kinds of
-   glazes.
-
-   34. Porcelain with embossed (_tui_) ornament: including all
-   kinds of glazes.
-
-   35. Painted red (_mo[423] hung_): copying old specimens.
-
-   36. Red decoration (_ts’ai hung_): copying old specimens.
-
-   37. Porcelain in yellow after the European style.[424]
-
-   38. Porcelain in purple brown (_tzŭ_) after the European
-   style.
-
-   39. Silvered (_mo yin_) porcelain.
-
-   40. Porcelain painted in ink (_shui mo_): see p. 214.
-
-   41. Reproductions of the pure white (_t’ien pai_)[425]
-   porcelain of the Hsüan Tê period: including a variety of wares
-   thick and thin, large and small.
-
-   42. Reproductions of Chia Ching wares with blue designs.
-
-   43. Reproductions of Ch’êng Hua pale painted (_tan miao_)
-   blue designs.
-
-   44. Millet colour (_mi sê_) glazes. “Differing from the
-   Sung millet colour.” In two shades, dark and light.
-
-   45. Porcelain with red in the glaze (_yu li hung_):
-   including (1) painted designs exclusively in red, (2) the
-   combination of blue foliage and red flowers.[426]
-
-   46. Reproductions of lustrous brown (_tzŭ chin_) glaze:
-   including two varieties, brown and yellow.
-
-   47. Porcelains with yellow glaze (_chiao huang_) decorated
-   in enamels (_wu ts’ai_). “This is the result of recent
-   experiments.”
-
-   48. Reproductions of green-glazed porcelain: including that with
-   plain ground and with engraved ornament.
-
-   49. Wares with foreign colours (_yang ts’ai_). “In
-   the new copies of the Western style of painting in enamels
-   (_fa-lang_) the landscapes and figure scenes, the flowering
-   plants and birds are without exception of supernatural beauty
-   and finish.”[427]
-
-   50. Porcelain with embossed ornament (_kung hua_):
-   including all kinds of glazes.
-
-   51. Porcelain with European (_hsi yang_) red colour.
-
-   52. Reproductions of _wu chin_ (mirror black) glazes:
-   including those with black ground and white designs and those
-   with black ground and gilding.
-
-   53. Porcelain with European green colour.
-
-   54. European _wu chin_ (mirror black) wares.
-
-   55. Gilt (_mo chin_) porcelain: copying the Japanese.
-
-   56. Gilt (_miao chin_)[428] porcelain: copying the Japanese.
-
-   57. Silvered (_miao yin_) porcelain: copying the Japanese.
-
-   58. Large jars (_ta kang_) with Imperial factory (_ch’ang
-   kuan_) glazes. “Dimensions: diameter, at the mouth, 3 ft.
-   4 or 5 in. to 4 ft.; height, 1 ft. 7 or 8 in. to 2 ft. Glaze
-   colours, (1) eel yellow, (2) cucumber (_kua p’i_) green,
-   and (3) yellow and green mottled (_huang lü tien_).”
-
-This last item, which is not included in Bushell’s list, appears to
-be almost a repetition of No. 9, with slightly different phrasing.
-_Huang lü tien_, which is used instead of the difficult phrase
-_huang pan tien_, may perhaps be taken as a gloss on the latter,
-indicating that the spots in the mottled yellow were green. In this
-case it would appear that the “spotted yellow” was a sort of tiger skin
-glaze, consisting of dabs of green and yellow (and perhaps aubergine as
-well). Bushell interpreted it in this sense.
-
-
-
-
-                             CHAPTER XIII
-
-                   CH’IEN LUNG [chch 2] (1736–1795)
-
-
-The brief reign of Yung Chêng was followed by that of his son, who
-ruled under the title of Ch’ien Lung for a full cycle of sixty years,
-at the end of which he abdicated in accordance with his vow that he
-would not outreign his grandfather, K’ang Hsi. Ch’ien Lung was a
-devotee of the arts, and they flourished greatly under his long and
-peaceful sway. He was himself a collector, and the catalogue of the
-Imperial bronzes compiled under his orders is a classic work; but more
-than that, he was personally skilful in the art of calligraphy, which
-ranks in China as high as painting; and he was a voluminous poet. It
-is no uncommon thing to find his compositions engraved or painted on
-porcelain and other artistic materials. Bushell[429] quotes an example
-from a snuff bottle in the Walters Collection; there is a bowl for
-washing wine cups in the Eumorfopoulos Collection with a descriptive
-verse engraved underneath, and entitled, “Imperial Poem of Ch’ien
-Lung”; and a beautiful coral red bowl in the British Museum has a
-similar effusion pencilled in gold in the interior.
-
-His interest in the ceramic art is further proved by the command given
-in 1743 to T’ang Ying to compose a description of the various processes
-of manufacture as a commentary on twenty pictures of the industry which
-belonged to the palace collections; and one of the earliest acts of his
-reign was to appoint the same celebrated ceramist in 1736 to succeed
-Nien Hsi-yao in the control of the customs at Huai-an Fu, a post which
-involved the supreme control of the Imperial porcelain manufacture.
-
-There is little doubt that T’ang Ying[430] was the most distinguished
-of all the men who held this post. He is, at any rate, the one whose
-achievements have been most fully recorded. He was himself a prolific
-writer, and a volume of his collected works has been published with a
-preface by Li Chü-lai. His autobiography is incorporated in the _Chiang
-hsi t’ung chih_; his twenty descriptions of the processes of porcelain
-manufacture are quoted in the _T’ao shuo_ and the _T’ao lu_, and in
-themselves form a valuable treatise on Chinese porcelain; and before
-taking up his post at Huai-an Fu in 1736 he collected together, for
-the benefit of his successors at Ching-tê Chên, the accumulated notes
-and memoranda of eight years. This last work is known as the _T’ao
-ch’êng shih yu kao_ (“Draughts of Instructions on the Manufacture of
-Porcelain”), and the preface[431] quoted in the Annals of Fou-liang
-furnishes some interesting details concerning Tang’s labours. We learn,
-for instance, that when he was appointed to the factory at Ching-tê
-Chên in 1728, he was “unacquainted with the finer details of the
-porcelain manufacture in the province of Kiangsi,” having never been
-there before. He worked with heart and strength, however, sleeping and
-eating with the workmen during a voluntary apprenticeship of three
-years, until in 1731 “he had conquered his ignorance of the materials
-and processes of firing, and although he could not claim familiarity
-with all the laws of transformation, his knowledge was much increased.”
-
-The commissionership of the customs was transferred in 1739 from
-Huai-an Fu to Kiu-kiang, which is close to the point of junction
-between the Po-yang Lake and the Yangtze, and considerably nearer to
-the Imperial factory at Ching-tê Chên, the control of which remained in
-T’ang’s hands until 1749.
-
-The _Ching-tê Chên T’ao lu_[432] is almost verbose on the subject of
-T’ang’s achievements. He had a profound knowledge, it tells us, of
-the properties of the different kinds of clay and of the action of
-the fire upon them, and he took every care in the selection of proper
-materials, so that his wares were all exquisite, lustrous, and of
-perfect purity. In imitating the celebrated wares of antiquity he never
-failed to make an exact copy, and in the imitation of all sorts of
-famous glazes there were none which he could not cleverly reproduce.
-There was, in fact, nothing that he could not successfully accomplish.
-Furthermore, his novelties[433] included porcelains with the following
-glazes and colours: foreign purple (_yang tzŭ_), cloisonné blue (_fa
-ch’ing_), silvering (_mo yin_), painting in ink black (_ts’ai shui
-mo_), foreign black (_yang wu chin_), painting in the style of the
-enamels on copper (_fa lang_), foreign colouring in a black ground
-(_yang ts’ai wu chin_), white designs in a black ground (_hei ti pai
-hua_), gilding on a black ground (_hei ti miao chin_), sky blue (_t’ien
-lan_), and transmutation glazes (_yao pien_). The clay used was white,
-rich (_jang_) and refined, and the body of the porcelain, whether thick
-or thin, was always unctuous (_ni_). The Imperial wares attained their
-greatest perfection at this time.
-
-The preface to T’ang’s collected works, which is quoted in the same
-passage, singles out as special triumphs of his genius the revival of
-the manufacture of the old dragon fish bowls (_lung kang_) and of the
-Chün yao, and the production of the turquoise and rose (_mei kuei_)
-colours in “new tints and rare beauty.” It is obvious from these
-passages that T’ang was responsible for many of the types enumerated
-in Hsieh Min’s list in the preceding chapter, not only among the
-reproductions of antiques but among the new inventions of the period,
-such as the cloisonné blue, foreign purple, silvering, painting in ink
-black, and foreign black. It follows, then, that these novelties could
-not have been made much before 1730, for T’ang was still at that time
-occupied chiefly with learning the potter’s art. It is equally certain
-that he continued to make a specialty of imitating the older wares
-during the reign of Ch’ien Lung, so that we may regard the best period
-of these reproductions as extending from 1730–1750.
-
-In reading the list of T’ang’s innovations the reader will perhaps be
-puzzled by the varieties of black decoration which are included. Before
-attempting to explain them it will be best to review the different
-kinds of black found on Chinese porcelain of the Ch’ing dynasty. There
-is the high-fired black glaze, with hard shining surface likened to
-that of a mirror and usually enriched with gilt traceries. This is the
-original _wu chin_ described by Père d’Entrecolles.[434] The other
-blacks are all low-fired colours of the muffle kiln applied over the
-glaze and ranking with the enamel colours. They include at least five
-varieties: (1) The dry black pigment, derived from cobaltiferous ore
-of manganese, applied like the iron red without any glassy flux. (2)
-The same pigment washed over with a transparent green enamel. This is
-the iridescent greenish black of the _famille verte_, and it continued
-in use along with the _famille rose_ colours in the Yung Chêng and
-Ch’ien Lung periods and onwards to modern times. (3) A black enamel
-in which the same elements--manganese black and copper green--are
-compounded together. This is the modern _wu chin_, of which a sample
-in the Sèvres Museum (from the collection of M. Itier) was described
-by Julien[435] as “noir mat; minerai de manganese cobaltifère et oxyde
-de cuivre avec céruse.” It appears on modern Chinese porcelain as a
-sticky greenish black enamel, inferior in depth and softness to the
-old composite black of the _famille verte_; but for all that, this
-is the _yang wu chin_ (foreign black) of the Yung Chêng and Ch’ien
-Lung periods. In the days of T’ang Ying it was a far superior colour.
-(4) A mottled greenish black occurs as a monochrome and as a ground
-colour with reserved discs enamelled with _famille rose_ colours on the
-exterior of two bowls in the British Museum, both of which have the
-cyclical date, _wu ch’ên_, under the base, indicating the year 1748 or
-1808, probably the latter. (5) An enamel of similar texture but of a
-purplish black colour is used on a snuff bottle in the same collection
-to surround a figure design in underglaze blue. This piece has the Yung
-Chêng mark in red, but from its general character appears to be of
-later date.
-
-In the list of T’ang’s innovations there is _yang wu chin_ (foreign
-black), which is doubtless the same as the _hsi yang wu chin_ (European
-black) of Hsieh Min’s list. It is clear that this is something
-different from the old green black of the _famille verte_ porcelain,
-and we can hardly be wrong in identifying it with the _wu chin_ enamel
-described above in No. 3. Compared with the original mirror black _wu
-chin_ glaze this enamel has a dull surface, and we can only infer that
-the term _wu chin_ had already lost its special sense of metallic
-black, and was now used merely as a general term for black.
-
-Assuming this inference to be correct, the term yang _ts’ai wu chin_
-(foreign painting in a black ground) should mean simply _famille rose_
-colours surrounded by a black enamel ground of the type of either No.
-2 or No. 3. It is, of course, possible that the _wu chin_ here is the
-old mirror black glaze on which enamelling in _famille rose_ colours
-would be perfectly feasible; but I do not know of any example, whereas
-there is no lack of choice porcelains answering to the alternative
-description.
-
-The two remaining types, _hei ti pai hua_ (white decoration in a black
-ground) and _hei ti miao chin_ (black ground gilt), apparently leave
-the nature of the black undefined, but as the expressions appear
-verbatim in the note attached to No. 52 of Hsieh Min’s list, which is
-“reproductions of _wu chin_ glaze,” we must regard the black in this
-case, too, as of the _wu chin_ type. The black ground with gilding can
-hardly refer to anything but the well-known mirror black glaze with
-gilt designs; and the white designs in black ground is equally clearly
-identified with a somewhat rarer type of porcelain in which the pattern
-is reserved in white in a ground of black enamel of the type of No.
-3. There are two snuff bottles in the British Museum respectively
-decorated with “rat and vine,” and figure subjects white with slight
-black shading and reserved in a sticky black enamel ground. Both these
-are of the Tao Kuang period, but there are earlier and larger examples
-elsewhere with a black ground of finer quality. Such a decoration
-is scarcely possible with anything but an enamel black, and though
-there is some inconsistency in the grouping of an enamel and a glaze
-together in Hsieh Min’s list, they were apparently both regarded as
-“reproductions” of the old mirror black _wu chin_.
-
-Out of the remaining innovations ascribed to T’ang’s directorate,
-the _fa ch’ing_ (cloisonné or enamel blue) and the _fa long hua fa_
-(painting in the style of the enamels on copper) have already been
-described in connection with Hsieh Min’s list. The latter expression
-occurs verbatim in the note attached in the Annals of Fou-liang[436]
-to No. 49 of the list, which is “porcelain with foreign colouring,”
-and it clearly refers to the free painting on the Canton enamels for
-reasons already given.[437] It is true that _fa lang_ (like _fo lang_,
-_fu lang_, and _fa lan_, all phrases suggestive of foreign and Western
-origin) is commonly used in reference to cloisonné enamel, but the
-idea of copying on porcelain “landscapes, figure subjects, flowering
-plants, and birds” from cloisonné enamels is preposterous to anyone who
-is familiar with the cramped and restricted nature of work bounded by
-cloisons. It is a pity that Bushell has confused the issue by rendering
-this particular passage “painting in the style of cloisonné enamel” in
-his _Oriental Ceramic Art_.[438]
-
-But, it will be objected, the painting in foreign colours has been
-already shown to have been in full swing some years before T’ang’s
-appointment at Ching-tê Chên. The inconsistency is only apparent,
-however, for it is only claimed that T’ang introduced this style of
-painting on the Imperial porcelain, and it may--and indeed must--have
-been practised in the enamelling establishments at Canton and elsewhere
-for some time before. Indeed, when one comes to consider the list of
-T’ang innovations which we have discussed so far, they are mainly
-concerned with the adaptation of various foreign colours and of
-processes already in use in the previous reign.
-
-Of those which remain, the _t’ien lan_ or sky blue may perhaps be
-identified with a light blue verging on the tint of turquoise, a
-high-fired glaze found occasionally in the Ch’ien Lung monochromes.
-But probably the greatest of T’ang’s achievements was the mastery of
-the _yao pien_ or furnace transmutation glazes, which were a matter
-of chance as late as the end of the K’ang Hsi period. These are the
-variegated or _flambé_ glazes in which a deep red of _sang de bœuf_
-tint is transformed into a mass of streaks and mottlings in which blue,
-grey, crimson, brown and green seem to be struggling together for
-pre-eminence. All these tints spring from one colouring agent--copper
-oxide--and they are called into being by a sudden change of the
-atmosphere of the kiln, caused by the admission of wood smoke at the
-critical moment and the consequent consumption of the oxygen. Without
-the transformation the glaze would be a _sang de bœuf_ red, and in
-many cases the change is only partial, and large areas of the deep red
-remain. Fig. 1 of Plate 123 illustrates a small but characteristic
-specimen of the Ch’ien Lung _flambé_. It will be found that in
-contrast with the K’ang Hsi _sang de bœuf_ these later glazes are
-more fluescent, and the excess of glaze overrunning the base has been
-removed by grinding.
-
-  [Illustration: Plate 122.--White Porcelain with designs in low
-  relief.
-
-  Fig. 1.--Vase, peony scroll, _ju-i_ border, etc. Ch’ien Lung
-  period. Height 7 inches. _O. Raphael Collection._
-
-  Fig. 2.--Bottle with “garlic mouth,” Imperial dragons in clouds.
-  Creamy crackled glaze imitating Ting ware. Early eighteenth
-  century. Height 9½ inches. _Salting Collection._
-
-  Fig. 3.--Vase with design of three rams, symbolising
-  Spring. Ch’ien Lung period. Height 3½ inches. _W. Burton
-  Collection._]
-
-Another development of the _yao pien_ at this time is the use of a
-separate “transmutation” glaze which could be added in large or small
-patches over another glaze, and which assumed, when fired, the usual
-_flambé_ appearance. When judiciously applied the effect of this
-superadded _flambé_ was very effective, but it is often used in a
-capricious fashion, with results rather curious than beautiful. There
-are, for instance, examples of blue and white vases being wholly or
-partially coated with _flambé_, which have little interest except as
-evidence that the potters could now produce the variegated effect at
-will and in more ways than one.
-
-The use of double glazes to produce new and curious effects is
-characteristic of the period. The second glaze was applied in various
-ways by blowing, flecking, or painting it over the first. The Chün
-glaze of the muffle kiln belongs to this type if it has, as I think,
-been correctly identified with the blue green dappled with crimson on
-Fig. 4 of Plate 128; and the bird’s egg glazes mentioned on p. 217
-belong to the same class.[439] Others of a similar appearance, though
-not necessarily of the same technique, are the tea dust (_ch’a yeh
-mo_) and iron rust (_t’ieh hsiu_).
-
-The tea dust glaze has a scum of dull tea green specks over an ochreous
-brown or bronze green glaze, applied either to the biscuit or over an
-ordinary white glazed porcelain; and it seems to have been a speciality
-of the Ch’ien Lung period, though there are known specimens with the
-Yung Chêng mark and many fine examples were made in later reigns. But
-neither this glaze nor double glazes in general are inventions of
-this time. It would be more correct to speak of them as revivals, for
-the early Japanese tea jars, which are based on Chinese originals,
-illustrate the principle of the double glaze, and there are specimens
-of stoneware as old as the Sung if not the T’ang dynasty, with dark
-olive glaze flecked with tea green, and scarcely distinguishable
-from the Ch’ien Lung tea dust. It is stated on the authority of M.
-Billequin (see Bushell, _O. C. A._, p. 518) that a “sumptuary law
-was made restricting the use of the tea dust glaze to the Emperor, to
-evade which collectors used to paint their specimens with imaginary
-cracks,[440] and even to put in actual rivets to make them appear
-broken.”
-
-The iron rust is a dark lustrous brown glaze strewn with metallic
-specks (due to excess of iron), and in the best examples clouded
-with passages of deep red. But these are only two examples of skill
-displayed by the Ch’ien Lung potters in imitating artistic effects in
-other materials. Special success was attained in reproducing the many
-tints of old bronze and its metallic surface. Bright-coloured patina
-was suggested by touches of _flambé_, and the effects of gilding
-or gold and silver inlay were rendered by the gilder’s brush. The
-appearance of inlaid enamels was skilfully copied. “In fact,” to quote
-from the _T’ao shuo_,[441] “among all the works of art in carved
-gold, embossed silver, chiselled stone, lacquer, mother-of-pearl,
-bamboo and wood, gourd and shell, there is not one that is not now[442]
-produced in porcelain, a perfect copy of the original piece.” Nor is
-this statement much exaggerated, for I have seen numerous examples in
-which grained wood, red lacquer, green jade, bronze, and even _mille
-fiori_ glass have been so closely copied that their real nature was
-not detected without close inspection.
-
-Reverting to T’ang’s achievements, we find special mention made of
-the reproductions of Chün yao which have been already discussed in
-detail,[443] and of the revived manufacture of the large dragon fish
-bowls. The latter are the great bowls which caused such distress
-among the potters in the Wan Li period. They are described in the
-_T’ao lu_[444] as being fired in specially constructed kilns, and
-requiring no less than nineteen days to complete their baking. The
-largest size is said to have measured 6 ft.[445] in height, with a
-thickness of 5 in. in the wall, one of them occupying an entire kiln.
-The old Ming dragon bowl found by T’ang Ying[446] at the factory was
-one of the smaller sizes, and measured 3 ft. in diameter and 2 ft. in
-height. They were intended for the palace gardens for keeping gold-fish
-or growing water-lilies, and the usual decoration consisted of Imperial
-dragons. They are variously described as _lung kang_ (dragon
-bowls), _yü kang_ (fish bowls), and _ta kang_ (great bowls).
-
-  [Illustration: PLATE 123
-
-  Eighteenth Century Glazes
-
-  Fig. 1.--Square Vase with tubular handles, and apricot-shaped
-  medallions on front and back. _Flambé_ red glaze. Ch’ien
-  Lung period (1736–1795). Height 6¾ inches.
-
-  _British Museum._
-
-  Fig. 2.--Bottle-shaped Vase with deep blue (_ta ch’ing_)
-  glaze: unglazed base. Early eighteenth century. Height 15¾ inches.
-
-  _British Museum._
-
-  Fig. 3.--Vase with fine iron red enamel (_mo hung_) on the
-  exterior. Ch’ien Lung period (1736–1795). Height 5 inches.
-
-  _Salting Collection (V. & A. Museum)._]
-
-Owing to the tremendous difficulty of firing these huge vessels the
-order for their supply in the reign of Shun Chih was eventually
-cancelled, and no attempt was made to resume their manufacture until
-T’ang’s directorate. The usual fish bowl of the K’ang Hsi period is
-a much smaller object, measuring about 20 in. (English) in diameter
-by 1 ft. in height; but from the note appended to Hsieh Min’s list
-in the _Chiang hsi t’ung chih_ on the Imperial _ta kang_, it appears
-that already (about 1730) the manufacture had been resumed on the old
-scale,[447] for the dimensions of those described are given as from 3
-ft. 4 or 5 in. to 4 ft. in diameter at the mouth, and from 1 ft. 7 or
-8 in. to 2 ft. in height. An example of intermediate size is given on
-Plate 133, one of a pair in the Burdett-Coutts Collection measuring 26½
-in. in diameter by 20 in. in height.
-
-It remains to notice two glaze colours to which T’ang Ying appears
-to have paid special attention: the _fei ts’ui_ (turquoise) and the
-_mei kuei_ (rose colour). The former has already been dealt with in
-connection with Ming, K’ang Hsi, and Yung Chêng porcelain, and it is
-only necessary to add that it occurs in singularly beautiful quality
-on the Ch’ien Lung porcelains, often on vases of antique bronze form,
-but fashioned with the unmistakable “slickness” of the Ch’ien Lung
-imitations. Occasionally this glaze covers a body of reddish colour
-due to admixture of some coarser clay, which seems to have assisted
-the development of the colour, and it is worthy of note that there
-are modern imitations on an earthen body made at the tile works near
-Peking which, thanks to the fine quality of their colour, are liable
-to be passed off as old. I have noticed that Ch’ien Lung monochrome
-vases--especially those which have colours of the _demi-grand feu_ like
-the turquoise--are often unglazed under the base. The foot is very
-deeply cut, and the biscuit is bare or skinned over with a mere film of
-vitreous matter, which seems to be an accidental deposit.
-
-The _mei kuei_ is the colour of the red rose (_mei kuei hua_), and
-it is obviously to be identified with the rose carmines derived from
-gold which were discussed in the last chapter. These tints are found
-in considerable variety in the early Ch’ien Lung porcelains, from
-deep crimson and scarlet or rouge red to pale pink, and they are used
-as monochromes, ground colours, and in painted decoration. A superb
-example of their use as ground colour was illustrated on the border
-of Plate 120, which is probably a Yung Chêng piece. Among the gold red
-monochromes of the the Ch’ien Lung period one of the most striking is a
-dark ruby pink with uneven surface of the “orange peel” type. Mr. S. E.
-Kennedy has a remarkable series of these monochromes in his collection.
-
-Speaking generally, the Ch’ien Lung monochromes repeat the types in
-vogue in the previous reigns of the dynasty with greater or less
-success. Among the greens, the opaque, crackled glazes of pea, apple,
-sage, emerald, and camellia leaf tints described on p. 187 were a
-speciality of the time, and the snake-skin and cucumber tints were
-also made with success. There were, besides, beautiful celadon glazes
-of the _grand feu_, and an opaque enamel of pale bluish green _eau de
-nil_ tint. Underglaze copper red was used both for monochromes and
-painted wares, but with the exception of the liver or maroon colour
-the former had not the distinction of the K’ang Hsi _sang de bœuf_ or
-the Yung Chêng _soufflé_ red. There is a jug-shaped ewer with pointed
-spout in the British Museum which has a fluescent glaze of light liver
-red deepening into crimson, and known in Japan as _toko_. It has the
-Hsüan Tê mark, but I have seen exactly similar specimens with the mark
-of Ch’ien Lung, to which period this colour evidently belongs. On the
-other hand, great improvement is observable in the overglaze coral red
-monochrome derived from iron, whether it be the thin lustrous film of
-the _mo hung_ or the richly fluxed “jujube” red which attains the depth
-and fullness of glaze. Fig. 3, Plate 123, is a worthy example of the
-iron red monochrome of the period. As a thick, even and opaque colour
-this enamel was used in small pieces which wonderfully simulate the
-appearance of red cinnabar lacquer.
-
-An endless variety of blue glazes were used, the pure blue in dark and
-light shades, _soufflé_ or plain, the purplish blues and violets, the
-lavenders and _clair de lunes_. These are mainly high-fired glazes,
-but a favourite blue of this period is a deep purplish blue of soft,
-fluescent appearance and minutely crackled texture which is evidently a
-glaze of the _demi-grand feu_. The “temple of heaven” blue is of this
-nature, though of a purer and more sapphire tint. It is the colour of
-the ritual vessels used in the worship of heaven and of the tiles with
-which the temple was roofed. Another variety of this glaze has the
-same tint, but is harder and of a bubbly, pinholed texture, apparently
-a high-fired colour. The _t’ien ch’ing_ (sky blue) has already been
-mentioned--a lighter colour between lavender and turquoise. And among
-the blue enamels which were sometimes used as monochromes at this time
-is an opaque deep blue of intense lapis lazuli tone.
-
-Among the yellows, in addition to the transparent glazes of the older
-type, there are opaque enamels, including the lemon yellow with rough
-granular texture, the waxen[448] sulphur yellow which often displays
-lustrous patches, and the crackled mustard yellow.
-
-Among the purples and browns there are few changes to note, though much
-of the greenish brown crackle probably belongs to this time; and there
-is little to be said about the white wares except that both the true
-porcelain, whether eggshell or otherwise, and the opaque crackled wares
-of the Ting yao type were still made with exquisite refinement and
-finish. The uneven glaze surface, happily compared to “orange peel,”
-was much affected on the Ch’ien Lung whites in common with many other
-wares of the time. But there were many new enamel monochromes formed by
-blending the _famille rose_ colours, shades of opaque pink, lavender,
-French grey, and green, which are sometimes delicately engraved with
-close scroll patterns all over the surface, a type which is known
-by the clumsy name of _graviata_. These enamel grounds are often
-interrupted by medallions with underglaze blue or enamelled designs,
-as on the vase illustrated in Plate 125, Fig. 4, and on the so-called
-Peking bowls; or, again, they are broken by reserved floral designs
-which are daintily coloured in _famille rose_ enamels. But we are
-already drifting from the monochromes into the painted porcelains of
-the period, and we shall return to the Peking bowls presently.
-
-With regard to the Ch’ien Lung blue and white, little need be added
-to what was said of this kind of ware in the last chapter. It was
-still made in considerable quantity, and T’ang Ying, in his twenty
-descriptions of the manufacture of porcelain, supplies a commentary to
-three pictures[449] dealing with the “collection of the blue material,”
-“the selection of the mineral,” and “the painting of the round ware
-in blue.” From these we learn that large services were made in blue
-and white, and the decoration was still rigidly subdivided, one set
-of painters being reserved for the outlining of the designs and
-another for filling them in, while the plain blue rings were put on
-by the workman who finished the ware on the polishing wheel, and the
-inscriptions, marks and seals were added by skilful calligraphers. The
-blue material was now obtained in the province of Chêkiang, and close
-attention was paid to the selection of the best mineral. There was one
-kind of blue “called onion sprouts, which makes very clearly defined
-strokes, and does not run in the fire, and this must be used for the
-most delicate pieces.” This latter colour is to be looked for on the
-small steatitic porcelains and the fine eggshell cups.
-
-In common with the other Ch’ien Lung types, the blue and white vases
-are often of archaic bronze form, and decorated with bronze patterns
-such as borders of stiff leaves, dragon feet and ogre heads. Another
-favourite ornament is a close pattern of floral scrolls studded with
-lotus or peony flowers, often finely drawn but inclined to be small
-and fussy. These scrolls are commonly executed in the blotchy blue
-described on p. 13, and the darker shades are often thickly heaped up
-in palpable relief with a marked tendency to run into drops. On the
-other hand, one sometimes finds the individual brush strokes, as it
-were, bitten into the porcelain body, and almost suggesting scratched
-lines. Both peculiarities, the thick fluescent blue and the deep brush
-strokes, are observable on a small vase of unusually glassy porcelain
-in the Franks Collection. Two other pieces in the same collection may
-be quoted. One is a tazza or high-footed bowl with a band of Sanskrit
-characters and deep borders of close lotus scrolls, very delicately
-drawn in a soft pure blue, to which a heavily bubbled glaze has given a
-hazy appearance. This piece (Plate 93, Fig. 1) has the six characters
-of the Ch’ien Lung seal-mark in a single line inside the foot. The
-other is a jar which bears the cyclical date corresponding to 1784.
-Like the last, it has a decoration of Buddhistic import, viz. the four
-characters [chch 4] _t’ien chu ên po_ (propitious waves from India),
-each enclosed by formal cloud devices. It is painted in a soft but
-rather opaque blue, and the glaze is again of bubbly texture.
-
-  [Illustration: Plate 124.--Miscellaneous Porcelain.
-
-  Fig. 1.--Magnolia Vase with _flambé_ glaze of crackled
-  lavender with red and blue streaks. Ch’ien Lung period. Height 7
-  inches. _Alexander Collection._
-
-  Fig. 2.--Bottle with elephant handles, yellow, purple, green
-  and white glazes on the biscuit. Ch’ien Lung period. Height 8¼
-  inches. _British Museum._
-
-  Fig. 3.--Dish with fruit design in lustrous transparent glazes on
-  the biscuit, covering a faintly etched dragon pattern. K’ang Hsi
-  mark. Diameter 9⅞ inches. _British Museum._]
-
-  [Illustration: Plate 125.--Ch’ien Lung Wares. _Hippisley
-  Collection._
-
-  Fig. 1.--Brush Pot of enamelled Ku-yüeh-hsüan glass. Ch’ien Lung
-  mark. Height 2⅜ inches.
-
-  Fig. 2.--Bottle, porcelain painted in Ku-yüeh style, after a
-  picture by the Ch’ing artist Wang Shih-mei. Height 7 inches.
-
-  Fig. 3.--Imperial Presentation Cup marked _hsü hua t’ang chih
-  tsêng_. Height 2 inches.
-
-  Fig. 4.--Medallion Vase, brocade ground with bats in clouds, etc.
-  Ch’ien Lung mark. Height 7¼ inches.]
-
-  [Illustration: Plate 126.--Vase with “Hundred Flower” design in
-  _famille rose_ enamels.
-
-  Ch’ien Lung period (1736–1795). Height 19¼ inches. _Grandidier
-  Collection_ (_The Louvre_).]
-
-  [Illustration: Plate 127.--Vase painted in mixed enamels. The
-  Hundred Deer. _Grandidier Collection_ (_Louvre_).
-
-  Late Ch’ien Lung period. Height 18 inches.]
-
-In the commoner types of Ch’ien Lung blue and white, the blue is
-usually of a dullish indigo tint, wanting in life and fire. There is,
-in fact, none of the character of the K’ang Hsi ware; the broad washes,
-the clear trembling sapphire, and the subtle harmony existing between
-the glaze and blue, are all missing. Moreover, the decoration, with its
-careful brushwork and neat finish, has none of the freedom and
-breadth of the older types. On the whole, it is small wonder that the
-collector finds little to arouse enthusiasm in the blue and white of
-this period, if we except the steatitic[450] or “soft pastes,” which
-are eagerly acquired.
-
-Underglaze red painting, and the same in combination with blue or with
-high-fired glazes and coloured slips, celadon, white, golden brown,
-olive brown and coffee brown, were perpetuated from the previous
-reigns; and underglaze blue designs are found accompanied by yellow
-or coral red enamel grounds in old Ming style, and even by _famille
-rose_ painting.
-
-Decoration in transparent glazes of three colours--green, yellow and
-aubergine--applied direct to the biscuit is not common on Ch’ien Lung
-porcelain, but when used it displays the characteristic neatness and
-finish of the period. I suspect that many of the trim rice bowls with
-neatly everted mouth rim and dragon designs etched in outline and
-filled in with aubergine in a green ground, yellow in an aubergine,
-or the other combinations of the three colours, belong to this reign,
-in spite of the K’ang Hsi mark under the base. At any rate, the body,
-glaze and form can be exactly paralleled in other bowls which have a
-Ch’ien Lung mark.
-
-This criticism applies equally to a striking group of porcelain of
-which Fig. 3 of Plate 124 is an example. It consists of bowls and
-dishes, so much alike in decoration that one might suppose all existing
-examples to be parts of some large service. The body is delicately
-engraved with five-clawed dragons pursuing pearls, and somewhat
-inconsequently over these are painted large and boldly designed
-flowering sprays (rose, peony, etc.) or fruiting pomegranate branches
-with black outlines filled in with fine, transparent aubergine, full
-yellow and green in light and dark shades. The remaining ground space
-is coated with the thin greenish wash which does duty for white in
-this colour scheme, but in these particular pieces it is unusually
-lustrous and iridescent. In fact, on the back of a dish in the British
-Museum it has developed patches of golden lustre of quite a metallic
-appearance and similar to those noted on the sulphur yellow monochrome
-described on p. 239. This lustrous appearance, however, is probably no
-more than an exaggerated iridescence, for there is no reason to suppose
-that the Chinese ever used metallic lustre of the Persian or European
-kind.[451] This group of porcelain always bears the K’ang Hsi mark, but
-a comparison with the bowls of later date, both in material and in the
-general finish of the ware and the style of the colouring, irresistibly
-argues a later period of manufacture, unless, indeed, we admit that the
-Imperial bowls of the late K’ang Hsi and the Ch’ien Lung periods are
-not to be differentiated. The finish of these wares, in fact, compares
-more closely with that of the finer Tao Kuang bowls than with the
-recognised types of K’ang Hsi porcelain.
-
-Another kind of on-biscuit decoration of the Ch’ien Lung--and perhaps
-the Yung Chêng--period is best described from a concrete example, viz.,
-Fig. 2 of Plate 124, a pear-shaped bottle in the British Museum with
-sides moulded in shallow lobes, an overlapping frill or collar with
-scalloped outline on the neck, and above this two handles in shape of
-elephants’ heads. The ground colour is a deep brownish yellow relieved
-by borders of stiff leaves with incised outline filled in with smooth
-emerald green; and the collar and handles are white with cloud scroll
-borders of pale aubergine edged with blue. The general colouring, as
-well as the form of this vase, is closely paralleled in fine pottery of
-the same period.
-
-It may be added that _famille rose_ enamels are sometimes used
-in on-biscuit polychrome decoration, but the effect is not specially
-pleasing. Some of the opaque colours serving as monochromes are also
-applied in this way, but here the absence of a white glaze beneath is
-scarcely noticeable, owing to the thickness and opacity of the enamels.
-
-       *       *       *       *       *
-
-But all the other forms of polychrome decoration at this period must
-yield (numerically, at any rate) to the on-glaze painting in _famille
-rose_ enamels, or, as the Chinese have named them, “foreign
-colours.” The nature of these has been fully discussed, but there is
-no doubt that their application was widely extended in the Ch’ien Lung
-period, and one point of difference, at least, is observable in their
-technique, viz. the mixing of the tints in the actual design so as to
-produce the European effect of shading. By this means the graded tints
-in the petals of a flower, and the stratified surface of rocks and
-mountains, are suggestively rendered.
-
-It would be impossible to enumerate the endless varieties of design
-employed in this large group. Contrasting the decoration of his own
-time with that of the Ming porcelain, the author of the _T’ao
-shuo_,[452] which was published in 1774, says: “Porcelain painted
-in colours excelled in the Ming dynasty, the majority of the patterns
-being derived from embroidery and brocaded satins, three or four only
-out of each ten being from nature and copies of antiques. In modern
-porcelain, out of ten designs you will get four of foreign colouring,
-three taken from nature, two copies of antiques, one from embroidery or
-satin brocade.”
-
-In their ordinary acceptation the terms are not mutually exclusive, and
-the last three types might be, and indeed are, all expressed in foreign
-colouring; but presumably the writer refers especially to that kind of
-“foreign colouring” which was directly based on the Canton enamels and
-is illustrated in the ruby-back eggshell dishes.
-
-The designs taken from nature would include figure subjects
-representing personages and interiors, landscapes, growing flowers and
-fruit, and the like, good examples of which are shown on Plates 126 and
-127. The one represents the “Hundred Flowers,” the vase being, as it
-were, one great bouquet and the flowers being drawn naturalistically
-enough to be individually recognised. The other recalls the
-celebrated picture of the “Hundred Deer” by the late Ming artist, Wên
-Chêng-ming.[453]
-
-The copies of antiques would comprise bronze patterns and designs
-borrowed from old porcelain, examples of which are not uncommon. And
-the brocade patterns, in spite of the low proportion assigned to them
-in the _T’ao shuo_, occur in relatively large numbers in Western
-collections. They mostly consist of flowers or close floral scrolls
-in colour, and reserved in a monochrome ground of yellow, blue, pink,
-etc. This is the characteristic Ch’ien Lung scroll work which is used
-both in borders and over large areas such as the exterior of a bowl
-or the body of a vase. The reserved pattern, highly coloured and
-winding through a ground of solid opaque enamel, suggests analogy with
-the scroll grounds of the contemporary cloisonné enamel; but this
-incidental likeness has nothing to do with the question of “painting in
-_fa lang_ style,” which was discussed among T’ang’s innovations.
-The finer Ch’ien Lung porcelains, and especially those enamelled with
-brocade designs, are frequently finished off with a coating of opaque
-bluish green enamel inside the mouth and under the base, a square panel
-being reserved for the mark. Needless to say, with all this weight of
-enamelling little or nothing is seen of the porcelain itself, the fine
-quality of which is only indicated by the neatness of the form and the
-elegance of the finish.
-
-The green black which was discussed earlier in the chapter is used with
-striking effect, both in company with _famille rose_ colours (as
-on Fig. 2 of Plate 131) and without them. An effective decoration of
-the latter kind is shown on a beautiful bottle-shaped vase with wide,
-spreading mouth in the Salting Collection, which is covered with close
-floral scrolls reserved in a ground of black pigment, the whole surface
-being washed over with transparent green. The result is a peculiarly
-soft and rich decoration of green scrolls in a green black ground.
-
-Nor was the iron red--a colour much employed in monochromes at this
-time--neglected in the painted wares. Indeed, it occurs as the sole
-pigment on many pieces, and on others it forms a solid brick red or
-stippled _soufflé_ ground for floral reserves, medallions and panels of
-_famille rose_ enamelling.
-
-Among the opaque enamels a few shades of blue are similarly used, while
-the others, as already mentioned, form plain or engraved backgrounds
-for floral reserves and panel decoration as on Fig. 2 of Plate 125,
-and on the Peking bowls. The latter are so named not because they
-were made at Peking, but because the specimens acquired by Western
-collectors have been chiefly obtained from that source. Many of them
-have the Ch’ien Lung mark, and their ground colours comprise a variety
-of pinks, yellow, green, French grey, dark blue, slaty blue, amaranth,
-lavender, bluish green,[454] delicate greenish white and coral red.
-The medallions on the bowls--usually four in number--are commonly
-decorated with growing flowers, such as the flowers of the four seasons
-in polychrome enamels, while others have figure subjects, frequently
-European figures in landscape setting and with Chinese attributes,
-such as a _ju-i_ or _ling-chih_ fungus. The finish of these bowls is
-extremely fine, and they are well worthy of the Imperial use to which
-they were mostly destined.
-
-The mention of a delicate greenish white enamel on these medallion
-bowls reminds us that this colour is used with exquisite effect for
-borders of floral design, or even for the main decoration of tea
-and coffee wares; and there is a little plate in the British Museum
-with Ch’ien Lung mark on which it appears with a peculiar chilled or
-shrivelled surface as a background for painted designs in iron red.
-
-There is a large class of enamelled porcelain, doubtless made chiefly
-for export, which found its way into our country houses in the last
-half of the eighteenth century. It is painted with panels of figure
-subjects in which rose pink and iron red are uncompromisingly blended,
-and the space surrounding the panels is filled with composite designs
-of blue and white with passages of pink scale diaper or feathery
-gilt scrolls broken by small vignettes in which a bird on a bough,
-insects, growing plants or fragments of landscape are painted in
-_camaieu_ pink, red or sepia. In some cases the panels are framed
-with low, moulded reliefs, which extend into the border spaces, and the
-groundwork in these parts is powdered with tiny raised dots. The wares
-include large punch bowls, bottle-shaped ewers with their basins, and
-sets of five vases, two of which are beakers and three covered jars
-with lion knobs, ovoid or square, and sometimes of eggshell thinness.
-Others again have their panels enclosed by wreaths of flowers and
-foliage or “rat and vine pattern” in full relief, and many of them
-have a glaze of lumpy, “orange peel” texture. The name “Mandarin” has
-been given to these wares because the central figure subjects usually
-contain personages in official dress; and the large punch bowls
-brought back by the tea-merchants are included in this group, though
-the mandarin figures in the panels are in this case often replaced by
-European subjects.
-
-Elaborately moulded and pierced ornament coloured in _famille
-rose_ enamels often appears on the table ware of this period, a
-familiar example being the lotus services in which the motive of
-the pink lotus flower is expressed partly by moulding and partly by
-painting, the tendrils and buds being utilised for feet and handles;
-and there are elegant _famille rose_ teapots which have outer
-casings with panels of prunus, bamboo and pine carved in openwork in
-the style of the Yi-hsing pottery.
-
-Gilding was, of course, freely employed, and, to a lesser extent,
-silvering. Elaborate gilt patterns are found covering dark blue,
-powder blue, lustrous black, bronze green, pale celadon, and iron red
-monochrome grounds; and the finer enamelled vases and bowls are often
-finished off with gilt edging, which does not seem to have been much
-used before this period, though traces of gilding are sometimes seen on
-the lustrous brown edges of the older plates and bowls.
-
-The manual dexterity of the Ch’ien Lung potters is shown in openwork
-carving and pierced designs on lanterns, perfume boxes, insect cages,
-spill vases, etc., but more especially on the amazing vases with
-free-working belts, revolving necks, or decorated inner linings which
-can be turned round behind a pierced outer casing, chains with movable
-links, and similar _tours de force_.
-
-There are, beside, two types of ornament dating from this period which
-demand no little manual skill. These are the lacework and rice grain.
-In the former the design is deeply incised in the body and the whole
-covered with a pale celadon green glaze, and it is usually applied to
-small vases and tazza-shaped cups, the pattern consisting of close and
-intricate Ch’ien Lung scrollwork. The resultant effect is of a very
-delicate green lace pattern, which appears as a partial transparency
-when held to the light (Plate 128, Fig. 2). The rice-grain ornament
-carries the same idea a step farther, for the incised pattern is cut
-right through the body, leaving small perforations to be filled up by
-the transparent glaze. Only small incisions could be made, and these
-generally took the lenticular form which the French have likened to
-grains of rice (Plate 128, Fig. 1). The patterns made in this fashion
-are naturally limited. Star-shaped designs or flowers with radiating
-petals are the commonest, though occasionally the transparencies are
-made to conform to the lines of painted decoration and even of dragon
-patterns.
-
-Both ordinary and steatitic porcelain are used for this treatment; and
-the ware is either plain white or embellished with underglaze blue
-borders and designs, and occasionally with enamels. The effect is light
-and graceful, especially when transmitted light gives proper play to
-the transparencies.
-
-As to the antiquity of this decoration in China, I can find no evidence
-of its existence before the eighteenth century, and I am inclined to
-think it was even then a late development. There are two cups in the
-Hippisley Collection with apocryphal Hsüan Tê dates, but the majority
-of marked examples are Ch’ien Lung or later. Out of fourteen pieces in
-the Franks Collection five have the Ch’ien Lung mark, two have palace
-marks of the Tao Kuang period,[455] and one has a long inscription
-stating that it was made by Wang Shêng-Kao in the fourth month of
-1798.[456] The rest are unmarked. The manufacture continues to the
-present day, and the same process has been freely used in Japan, where
-it is called _hotaru-de_, or firefly decoration. In this type of
-ornament the Chinese were long forestalled by the potters of Western
-Asia, for the rice-grain transparencies were used with exquisite effect
-in Persia and Syria in the twelfth century if not considerably earlier.
-
-It remains to mention a species of decoration which is not strictly
-ceramic. It consists of coating the porcelain biscuit with black
-lacquer in which are inlaid designs in mother-of-pearl, the _lac
-burgauté_ of the French (Plate 128, Fig. 3). This porcelain is known
-by the French name of _porcelaine laquée burgautée_, and it seems
-to have been originally a product of the Ch’ien Lung period; at any
-rate, I can find no evidence of its existence before the eighteenth
-century.
-
-In the Ch’ien Lung period Chinese porcelain reaches the high-water
-mark of technical perfection. The mastery of the material is complete.
-But for all that the art is already in its decline. By the middle of
-the reign it is already overripe, and towards the end it shows sure
-signs of decay. At its best the decoration is more ingenious than
-original, and more pretty than artistic. At its worst it is cloying
-and tiresome. The ware itself is perfectly refined and pure, but
-colder than the K’ang Hsi porcelain. The _famille rose_ painting
-is unequalled at its best for daintiness and finish, but the broken
-tints and miniature touches cannot compare in decorative value with the
-stronger and broader effects of the Ming and K’ang Hsi brushwork. The
-potting is almost perfect, but the forms are wanting in spontaneity;
-and the endless imitation of bronze shapes becomes wearisome, partly
-because the intricate forms of cast metal are not naturally suited to
-the ceramic material, and partly because the elaborate finish of the
-Ch’ien Lung wares makes the imitation of the antique unconvincing. In
-detail the wares are marvels of neatness and finish, but the general
-impression is of an artificial elegance from which the eye gladly
-turns to the vigorous beauty of the earlier and less sophisticated
-types.
-
-  [Illustration: Plate 128.--Ch’ien Lung Porcelain. _British
-  Museum._
-
-  Fig. 1.--Vase with “rice grain” ground and blue and white design.
-  Height 7¾ inches.
-
-  Fig. 2.--Vase with “lacework” designs. Ch’ien Lung mark. Height
-  7¾ inches.
-
-  Fig. 3.--Vase with the Seven Worthies of the Bamboo Grove in
-  _lac burgauté_. Height 14½ inches.
-
-  Fig. 4.--Vase with “robin’s egg” glaze. Height 4⅛ inches.]
-
-  [Illustration: Plate 129.--Octagonal Vase and Cover, painted in
-  _famille rose_ enamels. Ch’ien Lung period (1736–1795).
-
-  Height 35 inches. _One of a pair in the Collection of Dr. A. E.
-  Cumberbatch._]
-
-As already mentioned, T’ang Ying was commanded by the Emperor in 1743
-to arrange and explain twenty pictures of the manufacture of porcelain
-which were sent to him from the palace. In twelve days he completed
-the descriptions which have since been incorporated in various books
-on porcelain, including the _T’ao shuo_ and the _T’ao lu_.
-They have been translated by Julien[457] and by Bushell,[458] and
-as most of their facts have been embodied in the previous pages, it
-would be superfluous to give a verbatim translation of them. The
-following summary, however, will give the drift of them, and Bushell’s
-translation of the _T’ao shuo_ can be consulted for a full
-rendering.
-
-_Illustration_
-
-       I.--COLLECTION OF THE STONES AND FABRICATION OF THE PASTE.
-
-           The porcelain stone (_petuntse_) was obtained at this
-           time from _Ch’i-mên_, in the province of Kiangnan.
-           “That of pure colour and fine texture is used in the
-           manufacture of bowls and vases of eggshell (_t’o-t’ai_),
-           pure white (_t’ien pai_), and blue and white porcelain.”
-           Other earths, including _kaolin_, were mined within the
-           limits of Jao-chou Fu.
-
-      II.--WASHING AND PURIFICATION OF THE PASTE.
-
-     III.--BURNING THE ASHES AND PREPARING THE GLAZE.
-
-           The ashes of burnt lime and ferns were mixed with
-           _petuntse_ in varying proportions to form the glazing
-           material.
-
-      IV.--MANUFACTURE OF SEGGARS.
-
-           The seggars, or fireclay cases, by which the porcelain
-           was protected in the kiln were made of a coarse clay
-           from Li-ch’un, near Ching-tê Chên, and we are told that
-           the seggar-makers also manufactured rough bowls for the
-           use of the workmen from the same material.
-
-       V.--PREPARING THE MOULDS FOR THE ROUND WARE.
-
-      VI.--FASHIONING THE ROUND WARE ON THE WHEEL.
-
-     VII.--FABRICATION OF THE VASES (_cho ch’i_).
-
-    VIII.--COLLECTION OF THE BLUE COLOUR.
-
-           The mineral was obtained at this time from Shao-hsing
-           and Chin-hua in Chêkiang.
-
-      IX.--SELECTION OF THE BLUE MATERIAL.
-
-       X.--MOULDING THE PASTE AND GRINDING THE COLOURS.
-
-      XI.--PAINTING THE ROUND WARE IN BLUE.
-
-     XII.--FABRICATION AND DECORATION OF VASES.
-
-    XIII.--DIPPING THE WARE INTO THE GLAZE OR BLOWING THE GLAZE
-           ON TO IT.
-
-           Three methods of glazing are described: the old method
-           of painting the glaze on with goat’s-hair brush; dipping
-           the ware into a large jar of glaze; and blowing on the
-           glaze with a bamboo tube covered at the end with gauze.
-
-     XIV.--TURNING THE UNBAKED WARE AND HOLLOWING OUT THE
-           FOOT.
-
-           This turning or polishing was done on a wheel. For
-           convenience of handling the foot of the vessel was left
-           with a lump of clay adhering until all the processes,
-           except firing, were complete; the foot was then trimmed
-           and hollowed out, and the mark painted underneath.
-
-      XV.--PUTTING THE FINISHED WARE INTO THE KILN.
-
-     XVI.--OPENING THE KILN WHEN THE WARE IS BAKED.
-
-    XVII.--DECORATING THE ROUND WARE AND VASES IN FOREIGN
-           COLOURING. See p. 242.
-
-   XVIII.--THE OPEN STOVE AND THE CLOSED STOVE.
-
-   Two types of small kiln used to fire the on-glaze enamels.
-
-     XIX.--WRAPPING IN STRAW AND PACKING IN CASKS.
-
-      XX.--WORSHIPPING THE GOD AND OFFERING SACRIFICE.
-
-There are a few illustrations appended to the _T’ao lu_ which
-cover much the same field, but they are roughly drawn. A much better
-set of coloured pictures is exhibited in frames in the Franks
-Collection in the British Museum, showing most of the processes
-described by T’ang.
-
-
-
-
-                              CHAPTER XIV
-
-               EUROPEAN INFLUENCES IN THE CH’ING DYNASTY
-
-
-Hitherto the references to European influence on Chinese porcelain
-have been of an incidental nature. But the use of Western designs on
-the porcelains of the Ch’ing dynasty, and especially in the eighteenth
-century, attained such large proportions that it is necessary to
-treat the wares so decorated as a class apart. A highly instructive
-collection of this type of porcelain is exhibited in the British
-Museum, where it has been subdivided in groups illustrating porcelain
-painted in China with European armorial designs, porcelain painted in
-China after pictures, engravings and other patterns of European origin,
-European forms in Chinese porcelain, and, lastly, Chinese porcelain
-decorated in Europe.
-
-The un-Chinese nature of these decorations, which is apparent at the
-first glance, justifies their segregation. Indeed, the foreign features
-are in many cases so conspicuous that it is small wonder if in days
-when little was known of Chinese ceramic history these wares were
-often attributed to European manufacture. We now know so much of the
-intercourse between China and Europe in the past, and of the enormous
-trade carried on by the various East India companies, that no surprise
-is felt at the idea of orders for table services sent out to China
-with armorial and other designs for their decoration. Not that anyone
-whose eye was really trained to appreciate the peculiarities of Chinese
-porcelain could ever mistake the nature of these wares. The paste and
-glaze are, with few exceptions, uncompromisingly Chinese, no matter
-how closely the decorator with his proverbial genius for imitation may
-have rendered the European design. And even here, if the Oriental touch
-is not betrayed in some detail, the Chinese colours and gilding will
-disclose themselves to the initiate.
-
-It is hardly necessary here to allude to the absurd notion that any
-of this group was made at the little English factory of Lowestoft. If
-an error which has once had currency is ever completely dissipated,
-Chaffers’s great blunder on the subject of Chinese armorial porcelain
-should be forgotten by now. But it is high time that those who are
-fully aware of the facts of the case should abandon the equally
-stupid and wholly illogical expression, “Oriental Lowestoft,” not
-for Lowestoft porcelain decorated in Chinese style, which would be
-reasonable enough, but (save the mark!) for Chinese porcelain decorated
-with European designs. As if, indeed, an insignificant Suffolk pottery,
-which made no enamelled porcelain[459] until about 1770, had any
-influence on the decoration of a Chinese ware which was distributed all
-over Europe during the whole of the century.
-
-The European style of flower painting and the European border patterns
-were used by the Chinese decorators on this class of ware in the last
-half of the century, but they were the patterns which originated at
-Meissen and Sèvres, and which were adopted and developed at Chelsea,
-Derby and Worcester. Any of these wares might have found their way to
-China and served as models to the Canton decorators, but the likelihood
-of Lowestoft porcelain exerting any appreciable influence in the Far
-East is simply laughable.
-
-But to return to the subject of this chapter, the actual European
-shapes found in Chinese porcelain can be dismissed in a few words.
-There are a few figures, such as the well known pair reputed to
-represent Louis XIV. and his queen. These are of K’ang Hsi type, and
-decorated with enamels on the biscuit. And there are numerous groups
-or single figures of the same period in the white Fukien porcelain,
-discussed on p. 111. A few vase forms, copied apparently from Italian
-wares and belonging to a slightly later date, and a curious pedestal
-in the British Museum, modelled in the form of a tree trunk with two
-Cupids in full relief near the top, are purely Western.[460] Needless
-to say, the bulk of the useful ware, being intended for European
-consumption, was made after European models, which speak for themselves.
-
-Much might be written on the painted designs of this class if space
-permitted, but we must be content with citing a few typical instances,
-most of which may be seen in the Franks Collection. To the K’ang Hsi
-period belong some curious imitations of Dutch Delft, in which even
-the potter’s marks are copied, the designs having been, oddly enough,
-borrowed in the first instance from Oriental wares by the Dutch
-potters. There are the so-called “Keyser cups,” tall, covered cups with
-saucers, painted in blue with kneeling figures surrounding a king and
-queen, who probably represent St. Louis of France and his consort; and
-in the border is the inscription, L’EMPIRE DE LA VERTU EST ESTABI
-JUSQ’AU BOUT DE L’UNERS. Another cup has a design of a ship and a
-syren, with legend, GARDES VOUS DE LA SYRENE; and there are
-small plates with the siege of Rotterdam[461] copied in blue from a
-Dutch engraving.
-
-  [Illustration: PLATE 130
-
-  Vase with pear-shaped body and wide mouth; tubular handles.
-  Porcelain with delicate _clair de lune_ glaze recalling the
-  pale blue tint of some of the finer Sung celadons. About 1800
-
-  Height 7¾ inches. _British Museum_.]
-
-But the group which probably commands the greatest interest is that
-known as “Jesuit china,” decorated with subjects bearing on the
-Christian religion. The earliest examples are painted in underglaze
-blue, the Christian designs being accompanied by ordinary Chinese
-ornaments. An early (to judge from the general style of the piece,
-late Ming) example is a pear-shaped ewer, with elongated spout and
-handle, in the Kunstgewerbe Museum, Berlin. On the side is the sacred
-monogram IHS, surrounded by formal ornament, and it has been plausibly
-suggested that the little vessel had been used for Communion purposes.
-A bowl with fungus mark in the Franks Collection has a Crucifixion on
-the exterior, framed in a pattern of cloud-scrolls, and inside with
-truly Chinese tolerance is painted a Buddhist pearl symbol in flames
-and clouds. A cup in the same series with the “jade” mark[462] has a
-Crucifixion half lost among the surrounding arabesque scrolls. These
-two are of the K’ang Hsi period, and were probably made with the pieces
-to which Père d’Entrecolles[463] alludes, in his letter dated 1712, as
-follows: “From the debris at a large emporium they brought me a little
-plate which I treasure more than the finest porcelain made during the
-last thousand years. In the centre of the plate is painted a crucifix
-between the Virgin and St. John, and I am told that this kind
-of porcelain was shipped sometimes to Japan, but that this commerce
-came to an end sixteen or seventeen years ago. Apparently the Japanese
-Christians took advantage of this manufacture at the time of the
-persecution to obtain pictures of our mysteries, and these wares,
-mingled with others in the crates, eluded the vigilance of the enemies
-of our religion. This pious artifice was no doubt eventually discovered
-and rendered useless by more stringent investigation, and that is why
-the manufacture of this kind of ware has ceased at Ching-tê Chên.”
-
-These early types, which are rare to-day, have a special interest
-because they were decorated at Ching-tê Chên, and their general style
-indicates that they were made for Oriental use.
-
-After an interval of some years the Jesuit china reappeared in a
-more sophisticated form, probably the work of Canton decorators. The
-designs, various Biblical scenes, are copied in black and gold from
-European engravings, and they occur on plates with rims, tea and coffee
-services, and other articles of European use. The earliest may date
-from the Yung Chêng period, but they are mostly Ch’ien Lung, and the
-same designs are occasionally executed in enamel colours. In addition
-to the Christian china there are plates and dishes decorated with rings
-of Koranic inscriptions in Arabic, surrounding magic squares, and
-destined for the Mussulman markets.
-
-The Franks Collection includes, besides, numerous examples of
-profane subjects[464] copied in black or in colours from European
-engravings and designs. A striking instance of the patient skill of
-the Chinese copyist is given by two large plates completely covered
-with the designs--the Triumph of Mordecai and Achilles dipped in the
-Styx--copied line for line, apparently, from Le Sueur’s engravings.
-The effect of the fine lines and cross-hatching is perfectly rendered,
-and one would say at first that they had been transfer-printed if
-this process had ever been used by the Chinese. It is amusing, too,
-to find English topical and political subjects rendered on Chinese
-porcelain, mugs and punch bowls, with busts of the Duke of Cumberland,
-Prince Charles Edward, and John Wilkes with appropriate inscriptions.
-There are, too, satirical pictures in the style of Hogarth, and a few
-popular but not overrefined subjects which gain an additional drollery
-from the obviously Chinese rendering of the figures. Many large punch
-bowls still survive decorated to suit their owner’s tastes, with a
-full-rigged ship for the sea captain, a hunting scene for the master
-of hounds, and agricultural designs for the farmer, often proudly
-inscribed with the name of the destined possessor and the date of the
-order. The Chinese touch is usually betrayed in these inscriptions,
-which are obviously reproduced mechanically, and with no compunction
-felt for a letter here and there inverted or misplaced.
-
-These porcelains with European pictorial designs are, as a rule, more
-curious than beautiful, but it cannot be denied that the next group
-with European coats of arms emblazoned in the centre is often highly
-decorative. This is particularly true of the earlier examples in
-which the shields of arms are not disproportionately large, and are
-surrounded with tasteful Chinese designs. The heraldry is carefully
-copied and, as a rule, the tinctures are correct. In the older
-specimens the blue is usually under the glaze, and from this, and from
-the nature of the surrounding decoration in _famille verte_ or
-transition colours, one may assume that the pieces in question were
-decorated at Ching-tê Chên. From the middle of the Yung Chêng period
-onwards a large and constantly increasing proportion of the ware was
-decorated at Canton, in the enamelling establishments which were in
-close touch with the European merchants, and from this time European
-designs begin to encroach on the field of the decoration. Finally,
-in the last decades of the century the Chinese armorial porcelain is
-decorated in purely European style. An important though belated witness
-to the Canton origin of this decoration is a plate in the Franks
-Collection with the arms of Chadwick in the centre, a band of Derby
-blue, and a trefoil border on the rim, and on the reverse in black the
-legend, _Canton in China, 24th Jan^y, 1791_.
-
-Side by side with this armorial porcelain, and apparently also
-decorated at Canton, there was painted a large quantity of table
-ware for Western use with half-European designs in which small pink
-rose-sprays are conspicuous. These are the cheaper kinds of useful ware
-which are found everywhere in Europe, and must have formed a large
-percentage of the export trade in the last half of the eighteenth
-century. The decoration, though usually slight and perfunctory, is
-quite inoffensive and suitable to the purpose of the ware.
-
-But to return to the armorial porcelain: apart from its heraldic and
-decorative value, it is often important to the student of Chinese
-ceramics, because there are specimens which can be dated very
-precisely from the armorial bearings and other internal evidence.
-In the British Museum series there are some twenty pieces belonging
-to the K’ang Hsi period, including an early underglaze blue painted
-dish with arms of Talbot, and one or two specimens of pure _famille
-verte_, including the plate dated 1702, which has already been
-mentioned as being of a peculiar white and glassy-looking ware. There
-are examples with underglaze blue and enamel decoration in the Chinese
-Imari style, and there is a very distinctive group which can be dated
-armorially[465] to the late K’ang Hsi and early Yung Chêng period.
-These latter pieces are usually decorated with a shield of arms in the
-centre in enamel colours, with or without underglaze blue; the sides
-are filled with a band of close floral scrolls or brocade diaper in red
-and gold, broken by small reserves containing flowers and symbols; on
-the rim are similar groups of flowers and symbols and a narrow border
-of red and gold scrolls; and on the reverse are a few floral sprays in
-red. The enamels are of the transition kind, _famille verte_ with
-occasional touches of rose pink and opaque yellow. The porcelain is
-the crisp, sonorous, well potted ware with shining oily glaze of K’ang
-Hsi type, and the accessory ornament is of purely Chinese character.
-A border of trefoil cusps, not unlike the strawberry leaves of the
-heraldic crown, but traceable to a Chinese origin, makes its first
-appearance on this group. It is a common feature of subsequent armorial
-wares, like the narrow border of chain pattern which seems to have come
-into use about 1730.
-
-Dated specimens of Yung Chêng armorial, with painting in the “foreign
-colours,” have been already described.[466] Other examples of this
-period have the decoration in underglaze blue outlines washed with
-thin transparent colours, in black pencilling and in black and gold.
-The border patterns of lacework, vine scrolls, bamboos wreathed with
-foliage and flowers, and fine floral scrolls, are often beautifully
-executed in delicate gilding or in brown and gold.
-
-In the Ch’ien Lung period there was an ever-increasing tendency to
-displace the Chinese patterns in favour of European ornament. About
-the middle of the century small bouquets and scattered floral sprays
-in the well-known Meissen style of painting made their appearance, and
-the gradual invasion of the border patterns by European motives is
-apparent. It may be of interest to note a few of the latter as they
-occur on dated specimens:
-
-1. Light feathery scrolls, gilt or in colours: first half of Ch’ien
-Lung period.
-
-2. Rococo ornaments combined with floral patterns: first half of Ch’ien
-Lung period.
-
-3. Large shell-like ornaments and scroll edged frames of lattice work,
-loosely strung together: early Ch’ien Lung period.
-
-4. Similar motives with more elaborate framework, enclosing diapers,
-and interrupted by four peacocks at regular intervals and generally
-black and gold: about 1740 to 1760.
-
-5. Black and brown hexagon diaper, edged with dragon arabesques in
-gold: an early type of border, but lasting as late as 1780.
-
-6. Composite borders with diapers, symbols, flowers, etc., and
-sometimes including butterflies, half Chinese and half European: on
-specimens ranging from 1765 to 1820.
-
-This last border pattern was adopted at Coalport and in other English
-factories to surround the willow pattern.[467]
-
-In the last decades of the century, such purely European borders as the
-swags of flowers used at Bow and Bristol, floral and laurel wreaths
-and husk festoons; the pink scale patterns of Meissen; ribbons and
-dotted lines winding through a floral band, feather scrolls, etc., of
-Sèvres origin, and afterwards adopted at Worcester, Bristol, Lowestoft
-and elsewhere in England; blue with gilt edges and gilt stars, as on
-the Derby borders, which also derive from Sèvres; and the corn-flower
-sprigs of the French hard-paste porcelains.
-
-A conspicuous feature of the Ch’ien Lung export porcelain in general
-is the use of a thin, washy pink in place of the thick carmine of the
-early _famille rose_. This is a colour common to European porcelain
-of the period, and it may have been suggested to the Chinese by
-specimens of Western wares. We may, perhaps, note here a design
-of Oriental figures (as on the Mandarin porcelain) in pink and red
-surrounded by borders of pink scale diaper, broken by small panels of
-ornament. It has no connection with the armorial group, but it has
-apparently been bandied back and forward from East to West. Based on
-a Chinese original, it was largely copied on English porcelain, such
-as Worcester, Lowestoft, etc., and apparently services of the English
-make found their way east and were copied again at some coast factory,
-or even in Japan, for the export trade. Much of this hybrid ware is
-found in Australia and on the east coast of Africa, and though the
-material and the colours are obviously Oriental, the drawing of the
-faces reflects a European touch. The porcelain is coarse and greyish,
-and the decoration roughly executed, probably in the first decades of
-the nineteenth century.
-
-The trade in Chinese armorial porcelain seems to have gradually died
-out in the nineteenth century, for reasons which are not far to seek.
-As far as England was concerned, the improvements in the manufacture
-both of porcelain and fine earthenware changed her position from that
-of a consumer to that of a producer. In addition to which, a high
-protective duty must have adversely affected the import trade, for we
-read[468] in the notes of Enoch Wood, the Staffordshire potter, that
-alarm was felt in 1803 in the potteries at the “proposed reduction of
-£59 8s. 6d. per cent. from the duty on the importation of Oriental
-porcelain, leaving it at 50 per cent.”
-
-Not the least interesting part of the Franks Collection is the section
-devoted to Chinese porcelain decorated in Europe. In the early years
-of the eighteenth century a number of enamelling establishments
-appeared in Holland and in other countries where glass and pottery were
-decorated in the enamel colours which were then coming into play. As
-the supply of home-made porcelain was as yet practically non-existent,
-the enamellers had to look for this material in the Oriental market.
-Chinese porcelains with slight decoration, plain white wares, or those
-mainly decorated with incised and carved design under the glaze, and
-white Fukien porcelain offered the most suitable surface; and these
-we find treated by Dutch enamellers with the decoration then in vogue
-among the Delft potters. In the British Museum there are plates with
-portraits of Dutch celebrities, with designs satirising John Law’s
-bubble, and even with Japanese and Chinese patterns, especially those
-which the Delft potters were in the habit of copying from the “old
-Imari.” Thus we find the curious phenomenon of Chinese porcelain
-decorated in Europe with Oriental patterns, and, as may be imagined,
-these pieces have caused much perplexity to collectors. They are,
-however, to be recognised by the inferior quality of the enamels and
-the stiff drawing of the copyists. In the case of the Fukien porcelain
-with relief ornament, the decorators often confined themselves to
-touching the raised pattern with colour.
-
-As a rule, these added decorations are crude and unsightly, but there
-were artists of great skill among the German _chambrelans_
-(as these unattached enamellers were called), such men as Ignatius
-Bottengruber and Preussler of Breslau,[469] who flourished about 1720
-to 1730. Their designs of figures, mythical subjects, etc., enclosed by
-baroque scrollwork, were skilfully executed in _camaieu_ red or
-black, heightened with gilding, and their work, which is very mannered
-and distinctive, is highly prized at the present day. Occasionally
-we find the handiwork of the Dutch lapidary on Chinese porcelains, a
-design of birds and floral scrolls being cut through a dark blue or
-brown glaze into the white biscuit.
-
-About the middle of the eighteenth century a more legitimate material
-was found for the European decorator in small quantities of Chinese
-porcelain sent over “in the white.” Regular supplies in this state
-must have been forwarded from Ching-tê Chên to Canton for the
-enamellers there, and, no doubt, the European merchants were able to
-secure a small amount of this. Thus it was that Chinese porcelain is
-occasionally found with decoration by artists whose touch is recognised
-on Chelsea and other wares. It is not necessary to assume that such
-pieces were painted in the Chelsea factory. That may have been the
-case, but we know of important enamelling establishments, such as
-Duesbury’s in London, where Chelsea, Bow and Worcester porcelains
-obtained in the white were decorated to order. It is probable that the
-painters trained in this work afterwards passed into the porcelain
-factories. There are rare examples of Chinese porcelain with transfer
-prints executed at Battersea or even at Worcester, and apparently one
-or two pieces have had inscriptions added at Lowestoft; but, after
-all, this group of decorated Oriental is a very small one, and the
-specimens painted in the style of any particular English factory
-except Chelsea could be counted on one’s fingers. No doubt the same
-proceedings were repeated in various parts of the Continent, and there
-are certainly specimens decorated in the Meissen style, and in one
-piece in the Franks Collection the Meissen mark has been added.
-
-But besides this more or less legitimate treatment of Chinese
-porcelain, there is a large group of hideously disfigured wares known
-by the expressive name of “clobbered china.” On these pieces Chinese
-underglaze decoration has been “improved” by the addition of green,
-yellow, red, and other enamels and gilding, which fill up the white
-spaces between the Chinese painting and even encroach on the blue
-designs themselves. This malpractice dates from the early years of the
-eighteenth century, and we find even choice specimens of K’ang Hsi blue
-and white among the victims. Possibly there was a reaction at this time
-against the Chinese blue and white with which the Dutch traders had
-flooded the country, but it is pitiful to find nowadays a fine vase or
-bottle of this ware plastered with meaningless daubs of inferior colour.
-
-Strange to say, the clobberer became an established institution, and
-he was at work in London in the last century, and maybe he is not yet
-extinct; and, stranger still, his wretched handiwork has been actually
-taken as a model for decoration in English potteries, even to the
-ridiculous travesties of Oriental marks which he often added as the
-last insult to the porcelain he had defaced. As a rule, the clobbered
-decoration occurs on blue and white and follows more or less the lines
-of the original, though it is at once betrayed by its clumsiness and
-the wretched quality of the enamels used. Occasionally the clobberer
-was more ambitious, as on a bottle in the British Museum decorated
-with three spirited monsters in underglaze red. Into this admirably
-spaced design the clobberer has inserted graceless trees and three
-ridiculous figures in classical dress standing in Jack-the-giant-killer
-attitudes with brandished swords over the Chinese creatures. The effect
-is laughable, but it was vandal’s work to deal in this way with choice
-K’ang Hsi porcelain.
-
-
-
-
-                              CHAPTER XV
-
-                     NINETEENTH CENTURY PORCELAINS
-
-                  _Chia Ch’ing_ [chch 2] (1796–1820)
-
-
-There is little to distinguish the porcelain of this reign from that of
-Ch’ien Lung. The old traditions were followed and the high standard of
-technical skill was maintained to a great extent, though in the absence
-of original ideas the natural tendency was towards a gradual decline.
-The blue and white is a mere echo of the Ch’ien Lung blue and white, as
-is shown by a square jar in the Franks Collection, which bears the date
-corresponding to 1819. Another dated specimen in the same collection
-is a little bowl with design of the “Eight Ambassadors of the Tribes
-of Man” mounted on strange beasts, painted in thin garish blue under a
-bubbly glaze. There are well-finished monochromes of the Ch’ien Lung
-type, conspicuous among which is an intense brick red (derived from
-iron), which has all the depth and solidity of a glaze. The enamelled
-wares are in no way inferior to their late Ch’ien Lung models, and the
-medallion bowls with engraved enamel grounds are particularly choice.
-Plate 132, a richly decorated vase belonging to the Lady Wantage,
-illustrates a type common to both periods. The design of ladies of the
-harem in an Imperial pleasure ground is carefully painted in mixed
-colours and enclosed by rich borders of dark ruby pink enamel, brocaded
-with polychrome floral scrolls. Another vase in the same collection
-(marked Chia Ch’ing) has a movable inner lining and pierced outer shell
-richly enamelled in the same style. The blue green enamel of the Ch’ien
-Lung porcelain was freely used to finish off the base and mouth of the
-vases of this time.
-
-Bushell[470] describes as a speciality of the Chia Ch’ing period, vases
-with elaborate scrollwork of various kinds in underglaze blue enhanced
-by a richly gilded background; and the mark of this reign will be found
-on many of the choicer snuff bottles, including those sumptuous little
-vessels with richly carved and pierced outer casing as finely tooled as
-Su Chou or Peking lacquer.
-
-We have already seen that rice-grain decoration was effectively used at
-this time, and no doubt many specimens of the kindred “lacework” were
-also made. In fact in a general classification of Chinese porcelain it
-would be almost superfluous to separate the Chia Ch’ing from the Ch’ien
-Lung groups.
-
-
-                   _Tao Kuang_ [chch 2] (1821–1850)
-
-The reign of Tao Kuang is the last period of which collectors of
-Chinese ceramics take any account. It is true that the general
-deterioration which was already remarked in the previous reign became
-more and more conspicuous towards the middle of the nineteenth century.
-It seemed as though the wells of inspiration in China had dried up and
-the bankrupt arts continued to exist only by virtue of their past.
-Curiously enough the same wave of decadence was felt all the world over
-at this period, and if we compare the porcelain of Tao Kuang with the
-contemporary English and Continental productions we must confess that
-the decadence of China was Augustan beside the early Victorian art.
-The Tao Kuang porcelain in the main is saved from utter banality by
-the high traditions on which it was grounded and by the innate skill
-of the Chinese potters. Indeed there are not a few out of the numerous
-specimens of this period in our collections which have a certain
-individuality and distinction entitling them to a place beside the
-eighteenth-century wares.
-
-But, speaking generally, the porcelain is a weak edition of the Yung
-Chêng types. The forms are correct but mechanical, the monochromes
-are mere understudies of the fine old colours, and the enamels are of
-exaggerated softness and weak in general effect.
-
-There are numerous marked specimens of all varieties in the Franks
-Collection. These include a blue and white vase with bronze designs of
-ogre heads, etc., in the K’ang Hsi style, but painted in pale, lifeless
-grey blue, and a bowl with lotus designs and symbols surrounding four
-medallions with the characters _shan kao shui ch’ang_[471] neatly
-painted in the same weak blue and signed by Wen Lang-shan in the year
-1847. Among the monochromes is a dignified vase of bronze form with
-deep turquoise glaze dated 1844, besides coffee brown bowls, full
-yellow bowls, vases with curiously bubbled glaze of dark liver red, and
-a coral red jar and cover. There is also a large bowl with “tiger skin”
-glaze patched with yellow, green, aubergine and white. All of these
-pieces are lacking in quality and distinction, though I have seen far
-superior specimens of lemon yellow monochrome and tea dust glaze.
-
-The enamelled wares are much more attractive, and many of the rice
-bowls are prettily decorated in soft colours. The Peking or medallion
-bowls, for instance, are little if anything below the standard of
-previous reigns, and in addition to the medallions in engraved enamel
-grounds of pink, green, grey, etc., outside, the interior is often
-painted in underglaze blue. There are tasteful bowls with white bamboo
-designs reserved in a ground of coral red, and there are dishes with
-blackthorn boughs with pink blossom in a white ground. The Yung Chêng
-style of underglaze blue outlines with washes of thin-transparent
-enamels was also affected, but the most characteristic enamelling of
-the period is executed in a mixture of transparent and opaque enamels,
-a blend of _famille verte_ and _famille rose_. This colouring, soft
-and subdued, but often rather sickly in tone, is frequently seen on
-bowls and tea wares with Taoist subjects, such as the Eight Immortals,
-the fairy attendants of Hsi Wang Mu in boats, or the goddess herself
-on a phœnix passing over the sea to the _t’ien t’ang_ or cloud-wrapt
-pavilions of Paradise, preceded by a stork with a peach of longevity in
-its beak. The sea is usually rendered by a conventional wave pattern
-delicately engraved in greenish white, and sometimes the ground of
-the design is washed with the same thin, lustrous, greenish white,
-which was remarked on a group of porcelains described on page 151.
-The porcelain of these bowls has a white, if rather chalky, body and
-a greenish white glaze of exaggerated oily sheen, and of the minutely
-bubbled, “muslin-like” texture which is common to Japanese porcelains.
-But the ordinary Tao Kuang wares are of poor material, greyish in tone
-and coarser in grain, with the same peculiarities in the texture of the
-glaze in an exaggerated degree.
-
-  [Illustration: Plate 131.--Eighteenth Century Painted Porcelain.
-
-  Fig. 1.--Plate painted in black and gold, European figures
-  in a Chinese interior. Yung Chêng period. Diameter 9 inches.
-  _British Museum._
-
-  Fig. 2.--Dish with floral scrolls in _famille rose_
-  enamels in a ground of black enamel diapered with green foliage
-  scrolls. Ch’ien Lung period. Diameter 23¼ inches. _Wantage
-  Collection._]
-
-  [Illustration: Plate 132.--Vase painted in mixed enamels, an
-  Imperial park and a bevy of ladies. _Wantage Collection._
-
-  Deep ruby pink borders with coloured floral scrolls and symbols.
-  Ch’ien Lung mark. About 1790. Height 30 inches.]
-
-A typical example of the fine Tao Kuang rice bowl with Taoist design
-in the Franks Collection, delicately painted in mixed colours, which
-recall the Ku-yüeh-hsüan ware of the early Ch’ien Lung period, has
-the palace mark, _Shên tê t’ang_,[472] in red under the base. A
-specimen with this mark in the Hippisley Collection[473] is inscribed
-with a poem by the Emperor Tao Kuang, definitely fixing the date of
-this hall mark, which is found on choice porcelains made for Imperial
-use. It occurs on a vase of fine workmanship in the British Museum,
-decorated with polychrome five-clawed dragons in a lavender enamel
-ground, of which the base and interior are coated with blue green
-enamel; and we have already[474] commented on an interesting dish with
-archaic designs in Ming red and green, which is explained in the mark
-as an “imitation of the antique made for the _Shên-tê_ Hall.”
-
-It is worthy of note that most of the porcelain with hall and studio
-marks in red belong to the nineteenth century, chiefly to the Tao
-Kuang period. Several of these marks are figured and explained on
-p. 220 (vol. i.), but it may be useful if we describe here a few of
-the specimens on which they occur. The hall mark, _Ch’êng tê t’ang_,
-appears on a shallow bowl in the Franks Collection painted inside with
-a coiled dragon in green and a border of bats in red, while outside
-is a landscape carefully painted in mixed colours in a style similar
-to Plate 125, Fig. 3. The latter has the Imperial hall mark, _Hsü hua
-t’ang_, with addition of the word _tsêng_ (for presentation), and it
-has besides an inscription proclaiming that it is the “cup of him who
-departed as General and returned as Grand Secretary” (_ch’u chiang ju
-hsiang chih pei_). It is painted with a scene in the palace grounds
-with the Emperor receiving a military officer.[475] A pretty bowl in
-the Franks Collection with rockery, flowering plants, fungus, etc., in
-colours has the palace mark, _ssŭ pu t’ang_; and there are two saucer
-dishes with Buddhist decoration of palmettes in cruciform arrangement,
-and a border of Sanskrit characters painted in underglaze blue with
-washes of transparent enamels marked respectively _Ts’ai jun t’ang_,
-and _Ts’ai hua t’ang_ (hall of brilliant colours and hall of brilliant
-decoration), which are probably synonymous.
-
-A distinctive group of porcelain, which seems to belong to the Tao
-Kuang period, consists of small boxes and of vases with landscapes
-and similar elaborate ornament deeply carved in the manner of red
-lacquer. The surface is usually covered with an opaque green or yellow
-monochrome enamel, but occasionally it is left in white biscuit. These
-pieces have almost always a maker’s mark, such as Wang Ping-jung, Wang
-Tso-t’ing (see vol. i., p. 223), and probably come from one factory.
-Bushell[476] also alludes to white unglazed porcelain made at this
-time, and recalling the English Parian ware. It is chiefly seen on
-small objects for the writing table.
-
-The collector will always be glad to secure specimens of the palace
-porcelains of the Tao Kuang period, and of the smaller objects on
-which the weakness of the colouring is not noticeable. There are, for
-instance, many exquisite snuff bottles with the mark of this reign,
-with carved, monochrome and enamelled ornament. On the other hand
-quantities of these little objects coarsely manufactured and sketchily
-decorated were made at this time, and among them the crude specimens
-with a floral spray on one side, a line of verse in grass characters
-on the other, and a granulated border coated with opaque yellowish or
-bluish green enamel, whose supposed discovery in ancient Egyptian tombs
-made a sensation some sixty years ago. It is not difficult to guess how
-these objects traded among the Arabs found their way into the tombs
-which were in course of excavation, but for a time they were believed
-to prove the existence of Chinese porcelain in the second millennium
-before Christ.[477]
-
-Three other types of indifferent ware may be mentioned here in passing.
-They belong to the middle of the nineteenth century, and in part
-at least to the Tao Kuang period. One is painted with a large pink
-peony and foliage in a bright green enamel ground; the second has cut
-flowers, butterflies and insects in strong rose colours on a celadon
-green glaze; and the third has rectangular panels with crowded figure
-subjects in red and pink enclosed by a brocade pattern of flowers,
-fruit and insects as in the second type. This third class is often
-represented by large and rather clumsily shaped vases with two handles
-of conventionalised dragon form, and the border patterns are sometimes
-backed with gilding; but it also occurs in quite recent manufacture in
-tea and toilet services made for the export trade. The porcelain in all
-these cases is of a rough, coarse-grained make, and the reader might
-have been spared a description of them were it not that in spite of
-their inferior quality they are the subject of frequent inquiries.
-
-
-                   _Hsien Fêng_ [chch 2] (1851–1861)
-
-In the third year of Hsien Fêng the T’ai p’ing rebels captured Ching-tê
-Chên and burnt down the Imperial factory, which was not rebuilt till
-1864. The potters themselves were killed or scattered; and, naturally,
-marked examples of this reign are scarce. Such, however, as do exist
-are of little account, and may be regarded as continuations of the Tao
-Kuang manufacture. Bushell[478] mentions vases of good form painted
-in soft colours with nine five-clawed dragons on a white background,
-which is etched in the paste with scrolled waves, and a dinner service
-of bowls, cups and saucer dishes painted in colours with processional
-figures of the eighteen Lohan. And in the British Museum there is a
-large globular bowl on a high foot painted with green dragon designs
-and a bowl with medallions of lanterns and vases separated by lotus
-ornament, neither of which are in any way different from the Tao Kuang
-wares. No doubt a good deal of porcelain was made at the private
-factories even during this troubled period, but the specimens which I
-have seen are not worthy of description.
-
-
-                   _T’ung Chih_ [chch 2] (1862–1873)
-
-When the T’ai p’ing rebels had been expelled from the province of
-Kiangsi by the celebrated viceroy, Li Hung-chang, in 1864, the Imperial
-factory was rebuilt on the old lines by the new director, Ts’ai
-Chin-ch’ing. In the same year a list of the porcelain forwarded to the
-Emperor was drawn up, and it is published in the _Chiang hsi t’ung
-chih_[479] immediately after Hsieh Min’s list. It consists mainly of
-bowls, wine and tea cups, saucer dishes and plates classified as _yüan
-ch’i_ (round ware), and a few vases under the general heading, _cho
-ch’i_; and though there is little originality in the designs, lists of
-this kind are so rare and so instructive that I have no hesitation in
-giving it in full below, following Bushell’s[480] renderings in most
-cases.
-
-Actual examples of T’ung Chih porcelain are not inspiring. Those in
-the British Museum include a covered bowl with coloured sprays in a
-ground of red diaper; a bowl with enamelled sprays on a pale brown
-(_tzŭ chin_) glaze; a saucer with dragons etched under a transparent
-green glaze, the exterior in unglazed biscuit painted in black; a
-cup with red dragons in a ground of black enamel and the cyclical
-date 1868; a low, octagonal bowl with the Eight Trigrams in relief
-outside, the interior of this and of the preceding specimen as well
-being coated with blue green enamel; and a basin enamelled with the
-Eight Ambassadors of the Tribes of Man. The most favourable specimen
-of the ware in the same collection is a carefully painted wedding bowl
-with canary yellow ground and medallions of appropriate symbols, the
-peach-and dragon-headed staff of longevity, the double fish symbol
-of conjugal felicity, and the group of pencil brush, cake of ink and
-_ju-i_ sceptre forming the rebus _pi ting ju i_, “may things be as you
-wish.”
-
-
-    LIST OF IMPERIAL PORCELAINS SUPPLIED IN THE THIRD YEAR OF T’UNG
-                              CHIH (1864)
-
-                          VASES (_cho ch’i_)
-
-   1. Quadrangular vases with apricot medallions and two tubular
-   handles with Chün glaze. [For the shape see Plate 123, and for
-   the glaze see p. 1.]
-
-   2. Vases of the same form with Ko glaze.
-
-   3. Quadrangular vases with the Eight Trigrams (_pa kua_),
-   and Ko glaze. [The form is quadrangular body with round neck and
-   foot, moulded in relief with the trigrams; for the Ko glaze see
-   vol. i., p. 71.]
-
-   4. Vases in form of jade ewers (_yü hu ch’un_) with _chi
-   hung_ (or copper red) glaze.
-
-   5. Vases of the same form, with blue and white decoration and
-   raised threads. [Bushell explains that the surface is divided
-   into patterns or sections by raised rings.]
-
-   6. Vases of the same form, with blue and white decoration with
-   balcony (_lan kan_). [Bushell explains, “garden scenes
-   enclosed by railings.”]
-
-   7. Paper-beater (_chih ch’ui_) vases with the _t’ai
-   chi_ symbol and the glaze of the Imperial factory decorated
-   in colours. [The form is the club-shape or _rouleau_; and
-   the symbol is apparently the _yin-yang_, the Confucian
-   symbol for the Absolute.]
-
-   8. Quadrangular vase with elephant symbol of great peace
-   (_t’ai ping yu hsiang_, a rebus meaning “augury of great
-   peace”). [These are apparently square vases with two handles in
-   form of elephant (_hsiang_) heads.]
-
-                       ROUND WARES (_yüan ch’i_)
-
-   9. Medium-sized bowls with dragons in purple brown (_tzŭ_).
-
-   10. Medium-sized bowls with _chi hung_ glaze.
-
-   11. Large bowls (_wan_) with Indian lotus (_hsi lien_)
-   in blue.
-
-   12. Five-inch dishes (_p’an_), similarly decorated.
-
-   13. Medium-sized bowls with storks and Eight Trigrams (_pa
-   kua_).
-
-   14. Wine cups with narcissus flowers (_shui hsien hua_) in
-   enamels.
-
-   15. Wine cups with spreading rim painted with dragons in red.
-
-   16. Dishes (_p’an_) a foot in diameter decorated in blue with a
-   pair of dragons filling the surface.
-
-   17. Soup bowls (_t’ang wan_) with incised dragons under a dark
-   yellow monochrome glaze. [These, according to Bushell, are
-   smaller and shallower than rice bowls.]
-
-   18. Medium-sized bowls, barrel shaped, with dragons engraved
-   under a yellow monochrome glaze.
-
-   19. Yellow monochrome tea cups.
-
-   20. Medium-sized bowls with dragons engraved under a yellow
-   monochrome glaze.
-
-   21. Medium-sized bowls with the three fruits in groups (_pan
-   tzŭ_[481]) painted in blue. [The fruits are peach, pomegranate
-   and finger citron.]
-
-   22. Soup bowls with expanding rim and dragons incised under
-   yellow monochrome glaze.
-
-   23. Six-inch bowls with a pair of dragons in blue.
-
-   24. One-foot dishes painted in blue with silkworm scrolls
-   (_ts’an wên_) and longevity characters.
-
-   25. Tea cups decorated in blue with _mu hsi_ flowers (a
-   small variety of the _olea fragrans_).
-
-   26. Medium-sized bowls with precious lotus in enamel colours.
-
-   27. Tea cups with white bamboo on a painted red ground.
-
-   28. Six-inch dishes painted in blue with the “three friends”
-   (_san yu_) and figure subjects. [The three friends in floral
-   language are the pine, bamboo and prunus. It is also a name
-   given to the group of Confucius, Buddha, and Lao-tzŭ, who are
-   often represented examining a picture scroll or standing in
-   conversation.]
-
-   29. Tea dishes (_ch’a p’an_) with a pair of dragons in blue.
-   [Bushell describes these as “little trays with upright borders,
-   of oblong, four-lobed, and fluted outline.” They must in fact
-   have closely resembled the old teapot stands of European
-   services.]
-
-   30. Six-inch dishes with green dragons on a ground of engraved
-   water-pattern painted in colour.
-
-   31. One-foot dishes painted in blue with archaic phœnixes
-   (_k’uei fêng_). [These designs are ornaments of bird form,
-   terminating in scrolls such as appear on ancient bronzes.]
-
-   32. Nine-inch dishes with blue ground and dragons in clouds
-   painted in yellow.
-
-   33. Medium-sized bowls with pure white glaze and ruby red (_pao
-   shao_) phœnix medallions.
-
-   34. Tea cups with dragons and clouds painted in yellow in a blue
-   ground.
-
-   35. Six-inch dishes with _chi hung_ (copper red) glaze.
-
-   36. Medium-sized bowls with _chi ch’ing_ (deep violet blue)
-   glaze.
-
-   37. Nine-inch dishes with _chi hung_ glaze.
-
-   38. Soup bowls, barrel shaped, with lustrous brown glaze.
-
-   39. Medium-sized bowls with red phœnix medallions in a celadon
-   (_tung ch’ing_) glaze.
-
-   40. Nine-inch dishes with silkworm scrolls and _ju-i_[482]
-   ornament in enamel colours.
-
-   41. Tea cups enamelled in colours with mandarin ducks and lotus
-   flowers.
-
-   42. Tea bowls (_ch’a wan_) with _chi ch’ing_ glaze.
-
-   43. Tea bowls decorated in colours with the _pa pao_ (eight
-   attributes of the Taoist Immortals; see p. 287).
-
-   44. Large bowls with the Eight Immortals in blue on red
-   enamelled waves.
-
-   45. Medium-sized bowls, blue and white inside, and with coloured
-   lotus flowers outside.
-
-   46. Bowls with the Eight Buddhist symbols of happy augury (_pa
-   chi hsiang_).
-
-   47. Porcelain bowls with green designs and peach yellow ground.
-
-   48. Five-inch dishes with purple and green dragons in a yellow
-   monochrome ground.
-
-   49. Three-inch platters with similar ornament.
-
-   50. Soup bowls of the fourth size (_ssŭ hao_) with green
-   monochrome glaze.
-
-   51. Five-inch dishes with phœnixes in clouds.
-
-   52. Medium-sized bowls with dragons and phœnixes among flowers
-   in coloured enamels.
-
-   53. Four-inch platters (_tieh_) with purple and green dragons in
-   yellow monochrome ground.
-
-   54. Nine-inch dishes painted in colours with the eight Buddhist
-   symbols among flowers.
-
-   55. Large bowls painted in colours with archaic phœnixes
-   (_k’uei fêng_) among flowers.
-
-
-                   _Kuang Hsü_ [chch 2] (1875–1909)
-
-Marked examples of this modern ware in the Franks Collection include a
-saucer with coloured sprays in a cloudy pink enamel ground; a covered
-cup with spout decorated in red with cartouches of seal characters
-accompanied by translations in the ordinary script, and a dish with
-blackthorn bough and pink blossoms in Tao Kuang style. In every case
-the ware is coarse-grained and rough to the touch, while the glaze is
-of the lustrous surface and “musliny” texture, which is characteristic
-of the nineteenth century porcelains; and the painting is mechanical
-and devoid of any distinction. There are two little saucers of better
-quality both in material and painting, with stork and lotus designs in
-mixed enamels and marks[483] which show that they are palace pieces
-made for the Empress Dowager.
-
-But the collector’s interest in Kuang Hsü porcelain is of a negative
-kind. When it is frankly marked he sees and avoids it. But the Chinese
-potters towards the close of the century evidently recovered some part
-of the skill which the ravages of the T’ai p’ing rebels seemed to have
-effectually dissipated; for they succeeded in making many excellent
-_sang de bœuf_ reds and crackled emerald green monochromes which
-have deceived collectors of experience. Even the best, however, of
-these wares should be recognised by inferiority of form and material,
-and in the case of red the fluescent glaze will be found in the modern
-pieces to have overrun the foot rim, necessitating grinding of the base
-rim. There are also fair imitations of the K’ang Hsi blue and white and
-the enamelled vases of _famille verte_ or on-biscuit colours, and
-even of the fine black and green grounds. But here again the inferior
-biscuit, the lack of grace in the form and the stiffness of the designs
-will be at once observed by the trained eye. When marked most of these
-imitations have the _nien hao_ of K’ang Hsi, and this is almost
-invariable on the modern blue and white.
-
-There is, of course, a great quantity of modern porcelain, chiefly
-enamelled and blue and white, made for the export trade and sold at
-prices which compete successfully with those of the European wares.
-It is chiefly in the style of the K’ang Hsi and Ch’ien Lung wares,
-and is marked accordingly; but the ware is coarse-grained, and the
-decorations summary, and there is no excuse for mistaking these obvious
-reproductions for anything but what they are and, in fact, what they
-pretend to be.
-
-The brief reign of Hsüan T’ung [chch 2] (1909–1911) is a blank so
-far as ceramic history is concerned; and with the fall of the Ch’ing
-dynasty in 1912 the Imperial works ceased its activity, and it remains
-to be seen whether Ching-tê Chên will again have the advantage of a
-state factory to set a standard for the industry in general.
-
-
-
-
-                              CHAPTER XVI
-
-                PORCELAIN SHAPES IN THE CH’ING DYNASTY
-
-
-A considerable number of the forms which Chinese porcelain assumes have
-been described in the chapters dealing with the Ming wares; but these
-may be usefully supplemented by a rapid survey of those employed by
-the potters of the Ch’ing dynasty. The latter will, of course, include
-many of the former because the Chinese delight in reproducing the older
-types.
-
-The brief summary of the eighteenth-century porcelain forms given in
-the opening pages of the _T’ao shuo_[484] begins in the correct style
-with the reproductions of the ancient ritual vessels _tsun_, _lei_,
-_yi_, _ting_, _yu_ and _chüo_. These are all bronze forms, _tsun_ being
-applied to wine vessels, _lei_ to vases ornamented with the meander
-pattern known as “cloud and thunder” scrolls,[485] _yi_ to bowl-shaped
-vessels without feet, _ting_ to cauldrons with three or four legs and
-two handles, _yu_ to wine jars with covers, and large loop handles for
-suspension, and _chüo_ to libation cups of helmet and other shapes.
-The bronze forms are commonly decorated with bronze patterns such as
-the key-fret, archaic dragon and phœnix scrolls, cicada pattern, ogre
-heads and bands of stiff (banana) leaves, either painted, moulded,
-engraved, or carved in relief; and the complicated bronze shapes are
-usually fashioned in moulds, and in many cases furnished with ring
-handles attached to monster heads. Another ritual type manufactured
-in porcelain as well as bronze is the altar set of five pieces (_wu
-kung_), which consists of a _ting_ or tripod incense vase, two flower
-vases, and two pricket candlesticks. A humbler altar set was composed
-of a single censer or a tazza-shaped cup (Plate 93, Fig. 1) for
-flowers, and a pair of lions on stands fitted with tubes for holding
-sticks of incense. The bronze forms have always been used by the
-Chinese potters, but they were specially affected in the archaising
-period of Ch’ien Lung.
-
-In the Western judgment, however, which is unbiased by the associations
-of these antique forms, the true pottery shapes, made on the wheel,
-will appear far more attractive; for nothing can surpass the simple
-rounded forms which sprang to life beneath the deft fingers of the
-Chinese thrower. Their simplicity, grace, and perfect suitability
-for their intended uses have commended them as models to the Western
-potter far more congenial than the cold perfection of the Greek
-vases. Naturally they vary in quality with the skill and taste of the
-individual, but a high level of manual skill ruled among the Chinese
-potters, and their wheel-work rarely fails to please.
-
-It would be useless to attempt to exhaust all the varieties of
-wheel-made forms. Many of them are due to slight alterations of line
-according to the caprice of the thrower. It will be enough to enumerate
-the principal types and to note a few of the more significant changes
-which came in at ascertained periods. By comparing the illustrations
-in different parts of this book, and better still, by comparing the
-specimens in some well classified collection, the reader will soon
-learn to notice the periodical changes of shape. To take the familiar
-bottle-shaped vases as an instance, there is probably no shape on which
-more numerous changes have been rung, nor one which is more susceptible
-to the individual touch; and yet the trained eye will generally
-distinguish the K’ang Hsi bottle from the later forms, though the
-distinction is often more subtle than that which separates the typical
-K’ang Hsi form (Plate 123, Fig. 2) from that with depressed body and
-straight wide neck (Plate 128, Fig. 3), which is characteristic of the
-Ch’ien Lung period.
-
-The K’ang Hsi bottles vary in themselves in length and slenderness
-of neck, and in the form of the body, which may be globular, ovoid,
-barrel shaped or pear shaped. Again they are often of double or even
-triple gourd shape, or plain with a bulbous swelling on the upper part
-of the neck or actually at the mouth. The last variety are called
-“garlic-shaped” bottles by the Chinese. The normal types are used to
-hold a single spray or a flowering branch, but there are others with
-slender necks tapering to a point which are designed for sprinkling
-perfumes and are generally known as sprinklers.
-
-Of flower vases there are numerous varieties: egg-shaped vases;
-baluster-shaped vases with spreading mouth; high-shouldered vases
-with small mouth, the _mei p’ing_ of the Ming period; beakers (_ku_)
-with slender body, swelling belt in the middle and flaring mouth;
-the so-called _yen yen_ vase with ovoid body and high neck with
-trumpet mouth,[486] which is used for some of the choicest K’ang
-Hsi decorations (Plate 101); the _Kuan yin_[487] vase of ovoid form
-with short neck and spreading mouth; the cylindrical vase with short
-straight neck and spreading mouth (Plate 103), called by the French
-_rouleau_ and by the Chinese “paper-beater” (_chih ch’ui p’ing_),
-whence our name “club-shaped.” A smaller form of the same is known to
-the Chinese as _yu ch’ui p’ing_ (oil-beater vase).
-
-There is besides the wide oval jar or _potiche_ with dome-shaped cover
-(_tsun_), and the more slender form known as _t’an_, which often has a
-lion or _ch’i-lin_ on the cover serving as a knob; the tall cylinder
-to hold arrows and the low cylinder for brushes, and numerous pots and
-jars for various uses.
-
-Most of these rounded forms have counterparts among the square and
-polygonal vases which are made in moulds or built up by the difficult
-process of joining together flat bats of clay. The square vases made
-by the latter method were a source of much trouble to the potters
-owing to the danger of imperfect jointing or of warping in the kiln.
-Fig. 1 of Plate 104 illustrates an effective type of the square
-vase with gracefully tapering body, the four sides of which are so
-often appropriately decorated with the flowers of the four seasons.
-Occasionally the angles are flattened, giving an irregular octagonal
-form. Another form selected for sumptuous decoration is the square vase
-with pendulous body and two dragon handles figured on Plate 97; and
-another is the arrow stand and square tube with deeply socketed stand
-and railed border (Plate 118).
-
-The pilgrim bottle supplies an effective model with a flattened
-circular body, small neck and foot, and loops on the periphery to carry
-a cord. These loops tended to disappear when the form had lost its
-first significance and was only regarded as a vase.
-
-The list of Imperial wares made in the reign of T’ung Chih includes
-vases for divining rods of square form with low round neck and base,
-ornamented with _pa kua_ designs in relief; vases with apricot
-medallions and tubular handles like Fig. 1 of Plate 123. Other familiar
-types are the bag-shaped vases with the mouth tied with silk, melon
-and gourd forms, and the vase shaped like a double fish erect on its
-tail or a single fish rising from waves.
-
-To quote a few of the types named in the _T’ao shuo_[488]:--“For
-holding flowers there are vases from two or three inches to five or
-six feet high, round like a _hu_, round and swelling below like a
-gallbladder (_tan_), round and with spreading mouth and contracted
-below like a _tsun_, with flat sides and full angles like a ku, upright
-like bamboo joints, square like a corn measure (_tou_), with contracted
-mouth and flattened sides, with square and round flutings, and cut in
-halves with flat backs for hanging on walls.”
-
-For pot-pourri and for fragrant flowers to perfume the rooms various
-covered jars were provided, hanging vases with reticulated sides
-(Plate 114), and boxes with perforated covers. For growing plants
-there were deep flower pots and shallow bulb bowls, and the large and
-small fish bowls were used for growing water-lilies as well as for
-keeping gold-fish; and shallow bowls were apparently used as arenas for
-fighting crickets.[489] As for the vessels in which the crickets were
-kept, various suggestions have been made in reference to the “cricket
-pots” mentioned in Chinese books, and the name is sometimes given to
-reticulated vases and boxes; but we are told that the cricket prefers a
-damp dwelling, and that their pots were consequently made as a rule of
-absorbent earthenware. There is a snuff bottle decorated with crickets
-in the British Museum, and one is represented perched on an overturned
-pot from which he has apparently escaped, the lid having fallen off.
-This pot is of ordinary ovoid jar form apparently ornamented with
-incised fret pattern.
-
-The apparatus of the library table is peculiarly Chinese; and
-as calligraphy and painting were regarded as among the highest
-accomplishments, so the potter lavished on the implements of the writer
-his most ingenious fancies and his most beautiful workmanship. There
-were porcelain handles for the pencil brush called _pi kuan_; a brush
-rest (_pi ko_) of many fanciful forms (see Fig. 3 of Plate 60) of which
-a miniature range of hills was the commonest; a bed (_pi ch’uang_)
-for it to lie down on, and a cylindrical jar (_pi t’ung_) for it to
-stand up in; vessels called _hsi_ to wash it in, usually of shallow
-bowl form or shaped like crinkled lotus leaves or in some such dainty
-design. There were rests for the writer’s wrist and paper weights of
-fantastic form. For the ink (_mo_), there is the pallet (_mo yen_) for
-rubbing (Plate 94, Fig. 2), and a bed for the ink-cake (_mo ch’uang_),
-a screen (_yen p’ing_) behind which it was rubbed, small water pots
-(_shui ch’êng_) in innumerable shapes and served by a tiny ladle, and
-water droppers (_shui ti_) of quaint and ingenious designs.[490] There
-were rollers for picture scrolls (_hua chou_) with porcelain ends, and
-stands for books in the form of small elegantly shaped tables with
-three or four legs often beautifully painted in enamels on the biscuit.
-
-With these is the incense-burning apparatus which consists of incense
-box (_hsiang ho_), the vase to hold the tiny tongs and shovel used for
-the charcoal and incense, and the urn or burner (_shao hsiang lu_).
-The last appears in very varied shapes, of which the most usual is
-the tripod cauldron (_ting_) with upright ear-handles. Others take
-the purely fantastic form of figures of animals, birds and even human
-beings with open mouth or nostrils to emit the smoke. Tiny vases for a
-single flower are usually placed upon the writing table, the furniture
-of which is completed by seals (_yin_), which are commonly modelled
-after Han dynasty jades with handles in form of camels, tortoises,
-dragons, tigers, etc., and small boxes to contain the seal vermilion
-(_yin sê ch’ih_).
-
-Other porcelain objects which combined use and ornament were plaques
-(_pan_) for screens and slabs for inlaying in pillows, beds, couches
-and verandah partitions; actual pillows of oblong or semicircular shape
-with concave surface, the inside hollow and capable of being filled
-with fragrant herbs; bowls, shaped like the Buddhist alms bowl, for
-holding black and white chess pieces, and the other requisites for
-chess (_wei-ch’i_) or _gô_.
-
-With regard to the plaques, we learn that the Emperor Shun Chih gave
-an order in 1659 for oblong plaques 3 feet by 2½ feet and 3 inches in
-thickness, but these like the large fish bowls were beyond the powers
-of the potters at that time. Indeed Père d’Entrecolles tells us that
-in 1712, the date of his first letter,[491] the potters had much
-difficulty in executing the orders given by the European merchants for
-plaques for table tops, etc., and that the largest practicable size
-was only about a foot square. No advantage was obtained by giving them
-additional thickness to prevent the fatal warping in the kiln, and
-it was found better to make the two faces in separate slabs united
-by cross pieces. Bushell points out that these double plaques were
-frequently sawn apart and mounted in screens, etc., as separate panels.
-The complete plaque is usually decorated on one side with a figure
-subject and on the other with flowers.
-
-We should mention also among miscellaneous objects the beautiful
-hanging lanterns of eggshell thinness or perforated in openwork
-patterns; the barrel-shaped garden seats; the curious hat stands,
-a sphere on top of a tall stem or a little box mounted on long
-curved legs, the top in either case being hollow and perforated to
-hold perfumes or ice or charcoal according to the season; boxes of
-all kinds; small personal ornaments such as hair-pins, ear-rings,
-girdle-clasps, rosary beads, thumb rings, fingernail covers, tubes for
-mandarin feathers, buttons and pendants; the little bottles or flasks
-originally intended for drugs but afterwards consecrated to snuff when
-the Spaniards or Portuguese had introduced the tobacco plant into China
-at the end of the sixteenth century; and finally the ornamental heads
-of opium pipes made chiefly in pottery.
-
-For household use the _T’ao shuo_ enumerates rice spoons, tea spoons
-(_ch’a shih_), sets of chop sticks, vessels for holding candle snuffs,
-wax pots, vinegar droppers, washing basins (_tsao p’ên_), pricket
-candle sticks (_têng ting_), pillows (_chên_), square and round, tubs
-(_p’ên ang_), jars (_wêng_) with small mouth, alms bowls (_po_) with
-globular body and contracted mouth, plates (_tieh_), and bowls (_wan_);
-and for tea and wine parties and dinner services, tea pots, wine
-vessels, bowls, and dishes of every sort.
-
-Bowls (wan) are found in many sizes and shapes, the commonest being the
-small rice bowl; the shallower type was used for soup (_t’ang wan_).
-There are deep bowls with covers which might almost be described as
-jars, and there are tea bowls with covers used for infusing tea in the
-absence of a tea pot. In drinking from these it was usual to tilt the
-cover very slightly so as to leave only a narrow egress for the tea and
-to prevent the leaves accompanying it.
-
-When a tea pot was used, the liquid was served in a tea cup (_ch’a
-chung_) of tall upright form without handle[492] or cover. The
-Chinese cup is not furnished with a saucer in European style, but
-there are straight-edged trays which serve a similar purpose, holding
-one or more cups, and the old tea bowls and wine cups used to be
-provided with a circular stand with hollow ring in which the base of
-the cup could be inserted. The tea pot itself does not seem to be older
-than the Ming dynasty, and before that time tea bowls only had been
-used, the vessels with spouts and handles being reserved for wine and
-other liquids.
-
-A tiny bowl is the usual form of wine cup, but beside these there are
-goblets with deep bowl, and the shallow-bowled _tazze_ with high
-stems, like the early Ming “stem cups.” For ceremonial purposes, the
-wedding cups and libation cups were shaped after bronze ritual vessels
-or rhinoceros horn cups; and wine cups for ordinary use sometimes
-take the ornamental form of a lotus leaf or a flower. The commonest
-form of wine ewer is the Persian type with pear-shaped body, long
-graceful handle and spout. Others take fanciful forms like that of a
-peach or aubergine fruit, a gourd or melon. The peach-shaped ewer with
-opening under the base is the original of our Cadogan tea pot, and we
-need be surprised at nothing in Chinese art when we find this same
-principle and practically the same form in a ewer of T’ang date in the
-Eumorfopoulos collection. The tall cylindrical ewers with body jointed
-like a bamboo, and the front shaped at the top like a tiara, are used
-for sweet syrups.
-
-The Chinese dish is for the most part saucer-shaped. When over half a
-foot in diameter it is called _p’an_, the smaller dishes or platters
-being named _tieh_. There are large dishes for fragrant fruits to
-perfume the room, and lotus-leaf shaped dishes for sweetmeats and
-various small trays of fanciful form for the dinner table; and there
-are the “supper sets” consisting of a varying number of ornamental
-trays which can be used separately, or joined together to form a
-pattern suggesting a lotus or some other many-petalled flower.
-
-In addition to the native Chinese forms there is a host of specialised
-objects made for export and designed in foreign taste; such as the deep
-bowls with pagoda covers for Siam; weights to hold down the corners of
-a mat for India, in form like a door knob mounted on a circular base;
-narghili bowls and ewers for Persia, besides the bottle-shaped pipes
-with mammiform mouthpieces, which sometimes take animal or bird forms
-such as those of the elephant or phœnix; round covered dishes for
-Turkey; and all the familiar objects to meet European requirements. The
-sets of five vases (three covered jars and two beakers) are a purely
-European garniture intended for the mantelpiece or the sideboard.
-
-There are, besides, all manner of figures--human, animal, or
-mythical--but they belong rather to the chapter on ornamental motives.
-
-
-
-
-                             CHAPTER XVII
-
-                       MOTIVES OF THE DECORATION
-
-
-Chinese decoration, its motives and its meaning, might form the subject
-for a substantial and very interesting volume. But it can only be
-treated here in a summary fashion by enumerating a few of the motives
-which occur most frequently in porcelain. The designs on the earlier
-wares have already been discussed in the chapters dealing with the
-Ming and the preceding periods, but in view of the conservatism of the
-Chinese artists a certain amount of repetition will be inevitable in
-discussing the ornament of the Ch’ing dynasty porcelain.
-
-If we except some of the hybrid designs on the export wares which were
-made for people unfamiliar with Chinese thought, we may assume that
-there is a meaning in all Chinese decoration apart from its ornamental
-intention; and this applies not only to the central motives but also
-as a rule to the subsidiary ornament such as borders and formal
-patterns. Consequently it is clear that a study of this inner meaning
-is a necessary condition for the full appreciation of the decorated
-porcelain.
-
-Figure subjects and symbolical ornaments probably require the most
-explanation for the Western student; but unfortunately the former are
-often so difficult to identify that we have to be content with general
-headings such as court scenes, military scenes, dramatic subjects,
-illustrations of romance, etc. Possibly to the unusually well-read
-native most of these scenes would recall some known story, but the
-European can only hope to identify one here and there by a lucky
-chance. He can, of course, take a book of Chinese legends and by the
-exercise of a little imagination find a story for every scene; but such
-methods are not to be recommended, and it is infinitely preferable to
-give the design no label at all unless the identification is fully
-established. That at least leaves the question open.
-
-  [Illustration: Plate 133.--Late _famille rose_ Enamels.
-
-  Fig. 1.--Bowl painted in soft enamels, attendants of Hsi Wang
-  Mu in boats. Mark, _Shên tè t’ang chih_. Tao Kuang period.
-  Diameter 6⅞ inches. _British Museum._
-
-  Fig. 2.--Imperial Fish Bowl with five dragons ascending and
-  descending, borders of wave pattern, _ju-i_ pattern, etc.,
-  _famille rose_ enamels. Late eighteenth century. Height 20
-  inches. _Burdett-Coutts Collection._]
-
-  [Illustration: Plate 134.--Porcelain Snuff Bottles. Eighteenth
-  Century. _British Museum._
-
-  Fig. 1.--Subject from the drama, black ground. Yung Chêng mark.
-  Height 2¾ inches.
-
-  Fig. 2.--Battle of demons, underglaze blue and red. Mark,
-  _Yung-lo t’ang_. Height 3¾ inches.
-
-  Fig. 3.--Blue and white “steatitic” ware. Height 2½ inches.
-
-  Fig. 4.--Crackled cream white _ting_ glaze, pierced casing
-  with pine, bamboo and prunus. Height 3¼ inches.
-
-  Fig. 5.--“Steatitic” ware with Hundred Antiques design in
-  coloured relief. Chia Ch’ing mark. Height 2½ inches.]
-
-These scenes from history and romance were favourite subjects with
-the K’ang Hsi decorators of blue and white and _famille verte_
-porcelains. To instance a few types: the scene of the half-legendary
-Yao with his cavalcade coming to greet the Emperor Shun who is engaged,
-like the Roman Cincinnatus, in ploughing; the episodes of the three
-heroes of the Han dynasty, Chang Liang, Ch’ên P’ing and Han Hsin[493];
-the heroes of the romantic period of the Three Kingdoms (221–265
-A.D.) whose stories may be compared with those of our knights
-of the Round Table; the stories of brigands in the reign of Hui Tsung
-of the Sung dynasty.[494] The story of Su Wu, the faithful minister of
-Han Wu Ti, tending cattle in captivity among the Hiung-nu, is depicted
-on a bowl in the British Museum, and a dish in the same collection
-shows an emperor (perhaps Kao Tsu, the first of the T’ang dynasty)
-surrounded by his captains.
-
-Processional scenes and subjects illustrating the life and customs of
-the times, peaceful domestic scenes with interiors of house or garden
-peopled by women and children, are more common in the _famille
-rose_ period when the warlike tastes of the Manchus had already been
-softened by a long period of peace. A civil procession and a military
-procession sometimes balance each other on two vases, the one being
-the _wên p’ing_ (civil vase), and the other the _wu p’ing_
-(military vase). A mock dragon-procession formed by children at play is
-a not uncommon motive. Indeed playing children (_wa wa_) have been
-from the earliest times a subject frequently and most sympathetically
-depicted on Chinese porcelain. A historical child-scene is that in
-which the boy Ssŭ-ma Kuang broke the huge fish bowl with a stone to let
-out the water and save his drowning companion.
-
-There are many motives intended to appeal to the Chinese literatus,
-and specially suited to ornament the furniture of the writing table.
-Symposia of literary personages, for instance, make an appropriate
-design for a brush pot, or again, the meeting of the celebrated
-coteries, the Seven Worthies of the Bamboo Grove who lived in the
-third century, and the worthies of the Orchid Pavilion, including the
-famous calligrapher, Wang Hsi-chih, who met in the fourth century to
-drink wine, cap verses, and set their cups floating down the “nine-bend
-river” (see Plate 104, Fig. 1). The Horace of China, Li T’ai-po, the
-great T’ang poet, is represented in drunken slumber leaning against an
-overturned wine jar or receiving the ministrations of the Emperor and
-his court. He also figures among the Eight Immortals of the Wine Cup, a
-suitable subject for an octagonal bowl. Poets, painters, and sages are
-often seen in mountain landscapes contemplating the beauties of Nature;
-two sages meeting on a mountain side is a frequent subject and is known
-as the “happy meeting,” or again, it is a single sage, with attendant
-carrying a bowl, book, and fan, or sometimes bringing an offering of a
-goose. In rare instances these figures can be identified with Chinese
-worthies such as Chiang Tzŭ-ya, who sits fishing on a river bank, or
-Chu Mai-ch’ên, the wood-cutter, reading as he walks with his faggots on
-his back.
-
-The stories of the _Twenty-four Paragons of Filial Piety_ provide a
-complete series of popular subjects, which may be seen in the panels
-of Plate 91, Fig. 3. Women are represented by the Virtuous Heroines;
-by celebrated beauties such as Yang Kuei-fei, consort of the T’ang
-ruler Ming Huang,[495] and Hsi Shih, the Chinese Delilah who was the
-undoing of Fu Ch’ai, prince of Wu, in the fifth century B.C.; by the
-poetess Tan Hui-pan, and by a hundred nameless figures which occur
-in genre designs, and by the idealised beauties, _mei jên_ (graceful
-ladies), which the Dutch ungallantly dubbed with the name of _lange
-lijsen_ or long Elizas. The domestic occupations of a lady form another
-series of subjects for polygonal vessels; and women are sometimes
-seen engaged in the Four Subjects of Study--Poetry, Rites, History,
-and Music--or in the Four Liberal Accomplishments--Writing, Painting,
-Music, and Checkers--but the groups who make up these scenes are more
-often composed of men. The game of checkers or _gô_, which is so often
-loosely rendered chess,[496] is _wei ch’i_ the “surrounding game,” a
-favourite Chinese amusement, which figures in two well-known subjects
-of porcelain decoration. One of these is the legend of Wang Chih, the
-Taoist patriarch, watching the game played by two old men, the spirits
-of the Pole Stars, in a mountain retreat; the other is the story of the
-general Hsieh An, who refused to allow the news of an important victory
-to disturb his game.
-
-Ladies of the court picking lotus flowers from boats on an ornamental
-lake in the presence of the Emperor and Empress represent the annual
-Lotus Fête at Peking, and there are numerous scenes in the Imperial
-pleasure grounds in which bevies of ladies from the harem are depicted.
-
-The Eight Ambassadors of the Tribes of Man, the barbarian nations from
-the eight points of the compass, form a processional subject suitable
-for the exterior of bowls and cups. The ambassadors are grotesquely
-drawn figures, sometimes mounted on strange beasts, and carrying gifts
-as tribute to the Emperor. Dreams and visions are depicted in the
-usual Oriental manner by a cloud issuing from the dreamer’s head and
-expanding into a scene which represents the subject of the dream. Thus
-the youthful scholar is seen asleep with a vision of his future dignity
-floating above his head. Divine apparitions are differentiated by the
-presence of clouds around or below the main figures.
-
-Deities and deified mortals are favourite subjects for porcelain
-decoration as well as for figures and groups modelled in the round.
-The three principal Chinese religions--Confucianism, Buddhism, and
-Taoism--exist side by side with perfect mutual toleration. Indeed the
-principles of the one are in many cases incorporated in the others.
-Buddhist and Taoist emblems are freely mingled in decorative art,
-and the three founders--Confucius, Buddha, and Lao-tzŭ--are grouped
-together in friendly conversation or examining a scroll on which is
-drawn the Yin-yang symbol of the duality of Nature.[497]
-
-Confucianism is the religious or rather philosophical system officially
-recognised in China, but its adherents are chiefly among the literati.
-Though it inculcates ancestor-worship, it is not in itself concerned
-with an after life, and it contains few romantic superstitions
-calculated to fire the popular imagination or to suggest motives for
-decorative art. Confucius himself is frequently represented both in
-painting and sculpture, and his meeting with Lao-tzŭ is familiar in
-pictorial art. Confucianism recognises certain canonised mortals, the
-logical outcome of ancestor-worship, and among these the best known
-in art is Kuan Yü, a warrior famous at the end of the Han dynasty,
-who was not, however, canonised until the Sung period, and only in
-1594 raised to the rank of a god (of War) under the title of Kuan
-Ti. It is reasonable to suppose that most of the numerous statuettes
-of this popular deity were made after the latter date. He is usually
-represented as a dignified personage with flowing beard seated in
-full armour with right hand raised in a speaking attitude; but he
-figures also on horseback or beside his charger, and with his faithful
-squires--Chou Ts’ang, who carries a halberd, and Kuan P’ing, his own
-son. Occasionally he is seen seated with a book in his hand, in which
-case he is regarded as a literary rather than a military power.
-
-The gods of Literature have a very large following in China, where
-scholarship has been the key to office for upwards of two thousand
-years, the chief deity of the cult being Wên Ch’ang, or in full, Wên
-Ch’ang ti chün. He is the star god who resides in one of the groups of
-the Great Bear, a dignified bearded figure in mandarin dress seated
-with folded hands or mounted on a mule. A lesser but more popular
-divinity is the demon-faced K’uei Hsing, who was canonised in the
-fourteenth century. Originally a scholar, who though successful in the
-examinations was refused office on the ground of his preternatural
-ugliness, he threw himself in despair into the Yangtze and was carried
-up to heaven on a fish-dragon. He is easily recognised as a demon-like
-person, poised with one foot on the head of a fish-dragon (_yü
-lung_) which is emerging from waves. He brandishes triumphantly in
-his hands a pencil brush and a cake of ink.[498] The fish-dragon is
-itself a symbol of literary aspiration, from the legend that when the
-salmon come every year up the river to the famous falls of Lung-mên
-(the dragon gate), those which succeed in leaping up the falls are
-transformed into fish-dragons. This metamorphosis of the fish as it
-emerges from the water into the dragon is a favourite motive for
-porcelain decoration.
-
-Buddhism, which was officially recognised in China by the Emperor
-Ming Ti in 67 A.D., had a far-reaching influence over the
-arts of sculpture and painting, and the revolution which it worked in
-the greater arts was naturally reflected in the lesser handicrafts.
-Buddhistic motives appear early in the Chinese pottery, and in the
-period with which we are at present concerned, the Buddhist religion
-supplied a great number of motives for the porcelain painter and the
-figure modeller. Sakyamuni himself is depicted or sculptured in various
-poses: (1) As an infant standing on the lotus and proclaiming his
-birth; (2) as an ascetic returning from his fast in the mountains;
-(3) seated cross-legged on a lotus throne with right hand raised in
-teaching attitude, the most frequent representation; (4) recumbent on
-a lotus pillow, in Nirvana; (5) in the Buddhist Trinity holding the
-alms bowl or patra between the Bodhisattvas Manjusri and Samantabhadra.
-These two last when represented singly are usually mounted, Manjusri on
-a lion, and Samantabhadra on an elephant.
-
-But by far the most popular figure of the Buddhist theogony in China
-is Kuan-yin, the Compassionate, and Kuan-yin, the Maternal; in the
-latter capacity she holds a child in her arms and displays a wonderful
-likeness to our images of the Virgin. But a full account of her has
-been given on p. 110, and need not be repeated. Next in popularity
-perhaps is the jolly monk with the hempen bag, Pu-tai Ho-shang, a
-semi-nude, corpulent person, with smiling face, and a large bag full
-of the “precious things.” He is also a great favourite in Japan, where
-he is known as Hotei, and worshipped as the god of Contentment. By the
-Chinese he is also regarded as Mi-lo Fo, the Maitreya or coming Buddha,
-and he has been added by them to the list of Arhats or apostles of
-Buddha. He is often represented surrounded by playful children to whom
-he is devoted.
-
-The Arhats, or Lohan, are all known by their several attributes, but
-in porcelain decoration they usually appear in groups consisting of
-the whole or a large part of their number, which, originally sixteen,
-was increased in China to eighteen by the inclusion of Ho-shang and
-Dharmatrata. The latter is a long-haired individual who carries a vase
-and a fly whisk in his hands and a bundle of books on his back while he
-sits gazing at a small image of Buddha.
-
-He is not to be confused with Tamo, the Indian Bodhidharma, the
-first Chinese patriarch, who came to Lo-yang and remained there in
-contemplation for nine years. The legend is that after his death (about
-530 A.D.) he was seen returning to India wrapped in his shroud
-and carrying one shoe in his hand, the other having been left behind
-in his tomb. This is the guise in which he frequently appears in art
-(Plate 86), and he is often depicted crossing the Yangtze on a reed.
-
-Many of the symbolical ornaments on porcelain have a Buddhistic
-significance, such as the eight emblems (see p. 298), the crossed
-dorjes or thunderbolts of Vajrapani,[499] the Buddhist jewel in a
-leaf-shaped halo of flames; and Sanskrit characters of sacred import
-are used as decoration for bowls and dishes, made no doubt for the use
-of the faithful. The principal animals associated with Buddhist designs
-are the elephant, who carries the jewel vase on his back, the white
-horse (_pai ma_), who brought the Buddhist scriptures across the
-desert from India, the hare, who offered himself as food to Buddha, and
-the Chinese lion who, under the name of the “dog of Fo” (Buddha), acts
-as guardian of Buddhist temples and images.
-
-But the religion which has taken the greatest hold on Chinese
-imagination and which consequently has supplied the largest number of
-motives for their decorative art is undoubtedly Taoism. As originally
-taught by Lao-tzŭ, a contemporary of Confucius, in the sixth century
-B.C., the doctrine of Tao (the Way) pointed to abstraction
-from worldly cares and freedom from mental perturbation as the highest
-good. But just as the later but closely analogous doctrine of Epicurus
-degenerated into the cult of pleasure, so the true teaching of Lao-tzŭ
-was afterwards lost among the adventitious beliefs and superstitions
-which were grafted on to it by his followers. The secret of transmuting
-metals into gold and of compounding the elixir of life became the
-chief preoccupations of the Taoist sages, the latter quest appealing
-particularly to the Chinese with their proverbial worship of longevity;
-and a host of legends grew up concerning mortals who won immortality
-by discovering the elixir, about fairies and the denizens of the Shou
-Shan or Hills of Longevity, about the Isles of the Blessed and the
-palace of Hsi Wang Mu in the K’un-lun mountains. It is this later and
-more popular phase of Taoism which figures so largely in porcelain
-decoration.
-
-Lao-tzŭ is represented as a venerable old man with bald, protuberant
-forehead, who rides upon an ox, the same in features as the god of
-Longevity, Shou Lao, who is in fact regarded as his disembodied spirit.
-Shou Lao, however, is more commonly shown enthroned upon a rocky
-platform in the Hills of Longevity, holding in one hand a curious
-knotted staff, to which are attached rolls of writing, and in the
-other a peach, and surrounded by his special attributes, the spotted
-deer, the stork, and the _ling chih_ fungus. Thus seated he
-receives homage from the Eight Immortals and the other Taoist genii or
-_hsien_, who are as numerous as the fairies of our countryside.
-Other designs represent Shou Lao riding on a deer or flying on the
-back of a stork, or simply standing with his staff and peach, his
-robes embroidered with seal forms of the character _shou_
-(longevity). In this last posture he is often grouped with two other
-popular deities, one in mandarin robes and official hat holding a
-_ju-i_ sceptre, which fulfils every wish, and the other also in
-official robes but holding a babe who reaches out for a peach in his
-other hand. Together they form the Taoist triad, Shou-hsing, Lu-hsing,
-and Fu-hsing, star-gods (_hsing_) of Longevity, Preferment, and
-Happiness. Fu-hsing in addition has sometimes two boy attendants
-carrying respectively a lotus and a hand-organ.
-
-The Eight Taoist Immortals (_pa hsien_) are:--
-
-1. Chung-li Ch’üan, also known as Han Chung-li, represented as a fat
-man, half-draped, who holds a _ling chih_ fungus in one hand and a
-fly-whisk or fan in the other.
-
-2. Lü Tung-pin, a figure of martial aspect armed with a sword to slay
-dragons and evil spirits. He is the patron of barbers.
-
-3. Li T’ieh-kuai, Li with the iron crutch, a lame beggar with a crutch
-and pilgrim’s gourd from which issue clouds and apparitions. He is
-patron of astrologers and magicians.
-
-4. Ts’ao Kuo-ch’iu, in official robes, wearing a winged hat, and
-carrying a pair of castanets. He is patron of mummers and actors.
-
-5. Lan Ts’ai-ho, of uncertain sex, carrying a hoe and a basket of
-flowers. Patron of gardeners and florists.
-
-6. Chang Kuo Lao, the necromancer with the magic mule, of which he kept
-a picture folded up in his wallet. He would make the beast materialise
-from the picture by spurting water on to it; and at other times he
-would conjure it out of a gourd. His attribute is a musical instrument
-consisting of a drum and a pair of rods. He is patron of artists and
-calligraphers, and ranks as one of the gods of Literature.
-
-7. Han Hsiang Tzŭ, who gained admission to the Taoist paradise and
-climbed the peach-tree of Immortality. He is shown as a young man
-playing on a flute, and is specially worshipped by musicians.
-
-8. Ho Hsien Ku, a maiden who wears a cloak of mug-wort leaves and
-carries a lotus. She is patroness of housewives.
-
-The Immortals are commonly represented in a group paying court to Shou
-Lao, or crossing the sea on the backs of various strange creatures or
-other supernatural conveyances on their way to the Islands of Paradise.
-Grouped in pairs they lend themselves to the decoration of quadrangular
-objects.
-
-Other frequenters of the Shou Shan are the twin genii[500] of Union
-and Harmony (_ho ho êrh hsien_), an inseparable pair, depicted as
-ragged mendicants with staff and broom, or as smiling boyish figures,
-the one with a lotus and the other holding a Pandora box of blessings,
-from which a cloud is seen to rise; Tung-fang So, who stole the peaches
-of Hsi Wang Mu and acquired thereby a longevity of nine thousand
-years, is represented as a smiling bearded old man, not unlike Shou
-Lao himself, carrying an enormous peach, or as a boy with a peach to
-recall his youthful exploit. Liu Han, with his familiar three-legged
-toad, a wild-looking person, who waves a string of cash in the air, and
-very closely resembles the Japanese Gama Sennin (the Hou Hsien Shêng
-of China); Wang Tzŭ-ch’iao, who rides on a crane playing a flute, and
-Huang An, the hermit, whose steed is a tortoise. The god of Alchemy is
-figured, according to the identification of a statuette in the Musée
-Guimet, as a tall, draped person with beard and moustaches flowing down
-in five long wisps, a leaf-shaped fan in his left hand, and beside
-him a small figure of a devotee who holds up a book with questioning
-gesture.
-
-The Queen of the Genii is Hsi Wang Mu (Queen Mother of the West). Her
-home is in the K’un-lun mountains, and the peach tree of Longevity
-grows in her gardens. In the tenth century B.C., the Emperor
-Mu Wang is reputed to have visited her palace, and the reception forms
-a pleasing subject for the artist, as does also her return visit paid
-to the Emperor Wu Ti of the Han dynasty. She also figures frequently on
-porcelain with her fair attendants crossing the sea on a raft, flying
-on the back of a phœnix or standing with a female attendant who carries
-a dish of peaches. Her messengers are blue-winged birds like the doves
-of Venus, who carry the fruit of longevity to favoured beings. With
-her attendant phœnix she presents a strong analogy with Juno and her
-peacock; and her Western habitat has favoured the theories which would
-connect her with Græco-Roman mythology, though her consort Hsi Wang
-Fu (King Father of the West and a personage obviously invented _ad
-hoc_) is quite insignificant and has nothing in common with the
-cloud-compelling Jove.
-
-There is a female figure which is scarcely distinguishable from one of
-the attendants of Hsi Wang Mu on the one hand and from Lan Ts’ai-ho
-on the other. This is the Flower Fairy (_Hua hsien_) who carries a
-basket of flowers suspended from a hoe. And there are besides numerous
-magicians of more or less repute, such as Chang Chiu-ko, who is seen
-transforming pieces cut from his scanty garments into butterflies;
-and a host of nameless _hsien_ of local fame who figure in mountain
-retreats, such as the _Ssŭ hao_ or four hoary hermits.[501]
-
-The animals connected with Taoist lore include the eight fabulous
-horses of Mu Wang which brought him to the palace of Hsi Wang Mu. They
-are usually seen at pasture frisking about in wild gambols. The deer,
-the familiar of Shou Lao, is depicted usually with a _ling chih_
-fungus in his mouth; the toad and hare live in the moon where they
-pound the elixir of immortality; and the tortoise develops a long bushy
-tail after a thousand years of existence. All these are suggestive of
-longevity, as is also the crane and a number of flowers, fruits and
-trees such as the pine, bamboo and prunus (the three friends), the
-chrysanthemum, the willow, the peach, the gourd, and more especially
-the _ling chih_ fungus, the _polyporus lucidus_, which was
-originally an emblem of good luck, but afterwards of longevity.
-
-The head of the _ling chih_ closely resembles[502] that of the familiar
-_ju-i_ sceptre which grants every wish, an auspicious object commonly
-seen in the hands of Taoist genii; and the same form occurs in a
-decorative border (see Plate 77, Fig. 2) which is variously known as
-the _ju-i_ head border, the _ju-i_ cloud border, or the cloud-scroll
-border, the conventional cloud being commonly rolled up in this form.
-It will also be found that formal ornaments, pendants and lambrequins
-often take the form of the _ju-i_ head in Chinese decoration.
-
-The attributes of the Eight Immortals occur among the many symbols
-used in porcelain ornament; and among the landscapes will be found
-the gardens of Hsi Wang Mu and Mount P’êng-lai,[503] one of the three
-islands of the blessed, situated in the ocean east of China. Here the
-fountain of life flows in a perpetual stream: “the pine, the bamboo,
-the plum, the peach, and the fungus of longevity grow for ever on its
-shores; and the long-haired tortoise disports in its rocky inlets,
-and the white crane builds her nest on the limbs of its everlasting
-pines.”[504] Presumably, too, the Shou Shan is situated on this
-delectable island; and perhaps also the heavenly pavilion (_t’ien
-t’ang_), which appears among clouds as the goal to which a crane
-is often seen guiding some of the Taoist genii. Possibly, too, the
-conventional border of swirling waves punctuated by conical rocks
-carries a suggestion of the rocky islands of paradise rising from the
-sea.
-
-  [Illustration: Fig. 1.--The Yin-yang and Pa-kua]
-
-There are besides many primitive beliefs traceable for the most part
-to Nature-worship, which prevailed in China long before the days of
-Confucius, Lao-tzŭ or Buddha. Some of these have been incorporated
-in the later religious systems, especially in that of Taoism, which
-was ready to adopt any form of demonology. The oldest system is
-that expounded by the legendary Fu Hsi, in which the phenomena of
-Nature were explained by reference to the mystic diagrams revealed
-to him on the back of a dragon horse (_lung ma_) which rose from the
-Yellow River. These are the _pa-kua_ or eight trigrams formed by the
-permutations of three lines, broken and unbroken, as in Fig. 1. A more
-common arrangement of them is according to the points of the compass,
-and enclosing another ancient device, the Yin-yang, a circle bisected
-by a wavy line, which symbolises the duality of Nature, _yin_ being the
-female and _yang_ the male element.
-
-Demons abound in Chinese superstitions, and the demon face appears
-early in art on the ancient bronzes, from which it was sometimes
-borrowed by the porcelain decorator. This is the face of the _t’ao
-t’ieh_ (the gluttonous ogre) supposed originally to have represented
-the demon of the storm, and as such appropriately appearing against
-a background of “cloud and thunder” pattern, as the key-fret is
-called by the Chinese. Afterwards the _t’ao t’ieh_ seems to have been
-regarded, on homœopathic principles, as a warning against greed. Demons
-also appear in complete form in certain battle scenes and conflicts,
-such as the combat of the demons of the water and of air which proceeds
-in front of a group of Chinese dignitaries seated in the Kin-shan
-temple on the Yangtze river (see Plate 134, Fig. 2).
-
-The sky and the stars of course contribute their quota of divinities.
-Beside the Taoist star-gods of Longevity, Honours and Happiness, there
-is the Jade Emperor or supreme lord of the universe, Yü wang shang
-ti, who is represented in mandarin dress holding a _ju-i_ sceptre and
-closely resembling Lu Hsing, the star-god of Honours. There is, too,
-the goddess of the Moon with a butterfly ornamenting the front of her
-robes, and a mirror in her right hand, besides the other denizens of
-the moon--Liu Han, the moon-hare and the moon-toad. A cassia tree also
-grows in the moon, and the “cassia of the moon” is a symbol of literary
-success.
-
-The Sun is represented as a disc on which is a three-legged bird; and
-it is probable that the sun-disc is represented also in the so-called
-“pearl”[505] which is pursued or grasped by dragons; but this idea
-of the power of the storm threatening the sun was lost sight of in
-later art, and “a dragon pursuing a pearl” was considered a sufficient
-description of the motive. A curious scene depicting a mandarin
-shooting arrows at a dog in the sky alludes to the dog who devours the
-sun and so causes the eclipse.
-
-The zodiacal animals are named on p. 211 (vol. i), and the four points
-of the compass are symbolised by the azure dragon for the East, the
-white tiger for the West, the black tortoise for the North, and the red
-bird for the South. The romance of two stars is embodied in the story
-of the Spinning Maiden (_Chih Nü_) and her lover, the Cowherd (_Ch’ien
-Niu_), who are separated for all the year save on one night when the
-“magpies fill up the Milky Way and enable the Spinning Damsel to cross
-over.”
-
-Chang Ch’ien, the celebrated minister of Han Wu-ti, was one of the
-first great travellers of China, and among the legends which grew
-around his exploits is one which makes him ascend the Milky Way and
-meet the Spinning Damsel herself. This story arose because he was
-reputed to have discovered the source of the Yellow River, which had
-hitherto been supposed to rise in heaven, being in fact a continuation
-of the Milky Way. Chang Ch’ien is sometimes represented in Chinese art
-as floating on a log-raft on the Yellow River, and carrying in his hand
-a shuttle given to him by the Spinning Maiden.[506] The poet Li T’ai-po
-is also figured in the same kind of craft, but he is distinguished by a
-book in place of the shuttle.
-
-Motives borrowed from the animal world are frequent on porcelain,
-though they represent to a large extent mythical creatures, first and
-foremost of which is the dragon. We need not enter into the conflicting
-theories as to the origin of the Chinese dragon. Whether he sprang
-from some prehistoric monster whose remains had come to light, or was
-evolved from the crocodile, he appears in any case to have belonged
-to Nature-worship as the power of the storm and the bringer of
-fertilising rain. There, are, however, various kinds of dragons--those
-of the air, the sea, the earth--and the monster takes many different
-forms in Chinese art. The archaic types borrowed by the porcelain
-decorators from ancient bronzes and jades are the _k’uei lung_ [chch
-2] or one-legged dragon, and the _ch’ih lung_ [chch 2], the former a
-tapir-like creature which is said to have been, like the _t’ao t’ieh_,
-a warning against greed,[507] the latter a smooth, hornless reptile of
-lizard-like form with divided tail, who is also described as a _mang_.
-
-But the dragon (_lung_) _par excellence_ is a formidable monster with
-“bearded, scowling head, straight horns, a scaly, serpentine body, with
-four feet armed with claws, a line of bristling dorsal spines, and
-flames proceeding from the hips and shoulders.” Such is the creature
-painted by the great master of dragon painting, Chang Sêng-yu, of the
-sixth century, and as such he is the emblem of Imperial power and the
-device of the Emperor. The Imperial dragon in the art of the last two
-dynasties has been distinguished by five claws on each of his four
-feet[508]; the four-clawed dragon was painted on wares destined for
-personages of lesser rank. The dragons are usually depicted flying in
-clouds, and pursuing the disc or pearl, which was discussed above, or
-rising from waves. Nine dragons form a decoration specially reserved
-for the Emperor; and on the palace porcelain the dragon and the phœnix
-(_fêng_) frequently appear together as emblems of the Emperor and
-Empress.
-
-The _fêng-huang_,[509] a phœnix-like bird, is usually shown with the
-“head of a pheasant and the beak of a swallow, a long flexible neck,
-plumage of many gorgeous colours, a flowing tail between that of an
-argus pheasant and a peacock, and long claws pointed backward as it
-flies.” It is the special emblem of the Empress. In archaic designs
-there is a _k’uei fêng_ or one-legged phœnix, a bird-like creature
-terminating in scrolls, which, like the corresponding _k’uei lung_,
-occasionally appears in porcelain designs. Another bird-like creature
-scarcely distinguishable from the _fêng_ is the _luan_; the former
-being based, as it is said, on the peacock of India, and the latter
-on the argus pheasant. Another creature of dual nature is the _ch’i
-lin_, commonly called the kylin, which consists of the male (_ch’i_)
-and the female (_lin_). It is in itself a composite animal with the
-“body of a deer, with the slender legs and divided hoofs; the head
-resembles that of a dragon, the tail is curled and bushy, like that
-of the conventional lion, and the shoulders are adorned with the
-flame-like attributes of its divine nature. It is said to attain the
-age of a thousand years, to be the noblest form of animal creation,
-and the emblem of perfect good; and to tread so lightly as to leave
-no footprints, and so carefully as to crush no living creature.”
-Its appearance was the sign of the coming of a virtuous ruler. It
-is important to note that the _ch’i lin_ is quite distinct from the
-Chinese lion, and is also to be carefully separated from the other
-chimera-like creatures known in Chinese art under the general title
-_hai shou_ or sea monsters.
-
-The lion in Chinese art (_shih_ or _shih tzŭ_, the Japanese _shishi_),
-though of qualified ferocity in appearance, is in reality a peaceful,
-docile creature who expends his energy on a ball of silk brocade,
-the streamers from which he holds in his massive jaws. In general
-aspect (Plate 95), in his tufts of hair and his bushy tail, he closely
-resembles the Peking spaniel, who is in fact called after him the lion
-dog (_shih tzŭ kou_). He is usually represented in pairs, the one with
-one foot on a ball of brocade, and the other, presumably the lioness,
-with a cub. The larger lion figures are placed as guardians by the
-gates of Buddhist temples, from which function the lion has earned the
-name of “dog of Fo” (i.e. Buddha); the smaller sizes, usually mounted
-on an oblong base with a tube attached to hold an incense-stick, have
-a place on the domestic altar. Another mythical creature not unlike the
-lion is the _pi hsieh_ of archaic art which is supposed to ward off
-evil spirits.[510]
-
-The king of beasts in China is the tiger (_hu_), whose forehead is
-marked by Nature with the character _wang_ [chch] (prince). He is
-the solar animal, the lord of the mountains, and the chief of all
-quadrupeds. The white tiger represents the western quadrant and the
-autumn; and images of tigers in ancient times served many purposes,
-such as guarding the graves of the dead and summoning the living to
-battle.
-
-In addition to the sea monsters there are sea horses, who speed at a
-flying gallop over waves; and there are the _pai ma_ and _lung ma_
-and the eight horses of Mu Wang, already described, to represent the
-horse in art. The deer is a Taoist emblem of longevity, and also in
-its name _lu_ suggests the auspicious word _lu_ (preferment); and
-there is a fabulous one-horned creature distinct from the _ch’i lin_,
-and known as the _t’ien lu_ or deer of heaven. Rams are sometimes
-represented as personifying the revivifying powers of spring; and the
-monkey occasionally figures in decoration, his name _hou_ suggesting
-another word _hou_, which means to expect (office), and providing
-an appropriate design for presentation to a candidate in the State
-examinations. Another motive suitable for the same purpose is the
-fish leaping from waves, which has been already explained; and fish
-in general are cleverly depicted by the porcelain decorators swimming
-among water plants. The fish has always been a favourite motive in
-China, and in ancient art it appears to have symbolised power and rank.
-The double fish is one of the Buddhist emblems, and also symbolises
-conjugal felicity. The tortoise has already been mentioned among the
-emblems of longevity.
-
-Birds are drawn with wonderful skill and spirit by Chinese artists,
-and they provide a frequent motive both for the painter and figure
-modeller. The crane is the companion of Shou Lao and a symbol of long
-life; a pair of mandarin ducks suggest conjugal affection; egrets among
-lotus plants, geese, and wild duck in marshy landscapes also pleased
-the Chinese fancy. The magpie is an emblem of happiness, and two
-magpies foretell a happy meeting; the cock is the bird of fame, and he
-is often associated with the peony, which is the _fu kuei_ flower, to
-suggest the phrase _kung ming_ (fame), _fu kuei_ (riches and honours!).
-There are other birds which are associated with special trees and
-flowers; the pheasant is often seen perched on a rock beside the peony
-and magnolia; partridges and quails go with millet; swallows with
-the willow; sparrows on the prunus, and so on. A comprehensive group
-represents the “hundred birds” paying court to the phœnix.
-
-The bat is a symbol of happiness from its name _fu_ having the same
-sound as _fu_ (happiness). Among insects, the cicada (at one time
-regarded as a symbol of life renewed after death) is a very ancient
-motive; and the praying mantis who catches the cicada is an emblem
-of courage and perseverance.[511] Fighting crickets are the fighting
-cocks of China, and supply a sporting motive for the decorator; and
-butterflies frequently occur with floral designs or in the decoration
-known as the Hundred Butterflies, which covers the entire surface of
-the vessel with butterflies and insects.
-
-Flower painting is another forte of the Chinese decorator, and some
-of the most beautiful porcelain designs are floral. Conventional
-flowers appear in scrolls, and running designs, especially the lotus
-and peony scrolls and the scrolls of “fairy flowers,” the _pao hsiang
-hua_ of the Ming blue and white. But the most attractive designs are
-the more naturalistic pictures of flowering plants and shrubs, or of
-floral bouquets in baskets or vases. The flowers on Chinese porcelain
-are supple, free, and graceful; and, though true enough to nature to
-be easily identified, are never of the stiff copy-book order which
-the European porcelain painter affected at one unhappy period. A long
-list of the Chinese porcelain flowers given by Bushell includes the
-orchid (_lan_), rose, jasmine, olea fragrans, pyrus japonica, gardenia,
-syringa, several kinds of peony, magnolia (_yü lan_), iris, hydrangea,
-hibiscus, begonia, pink and water fairy flower (_narcissus tazetta_).
-Many more no doubt can be identified, for the Chinese are great
-cultivators as they are great lovers of flowers. In fact, the word
-_hua_ [chch] flowery is synonymous with Chinese, and _chung hua_ [chch
-2] is China. Plate 126 is an example of the Hundred Flower design,
-known by the French name _mille fleurs_, in which the ground of the
-vase is a mass of naturalistic flowers so that the porcelain looks like
-a bouquet.
-
-There are special flowers for the months[512]:--(1) Peach (_t’ao_) for
-February, (2) Tree Peony (_mu tan_) for March, (3) Double Cherry (_ying
-t’ao_) for April, (4) Magnolia (_yü lan_) for May, (5) Pomegranate
-(_shih liu_) for June, (6) Lotus (_lien hua_) for July, (7) Pear
-(_hai t’ang_) for August, (8) Mallow (_ch’iu k’uei_) for September,
-(9) Chrysanthemum (_chü_) for October, (10) Gardenia (_chih hua_)
-for November, (11) Poppy (_ying su_) for December, (12) Prunus (_mei
-hua_) for January. From these are selected four to represent the
-seasons--_mu-tan_ peony for spring, lotus for summer, chrysanthemum for
-autumn, and prunus for winter--which supply charming motives for panel
-decoration or for the sides of quadrangular vases.
-
-The chrysanthemum besides is associated with its admirer T’ao
-Yüan-ming, and the lotus with Chou Mao-shu and the poet Li T’ai-po. But
-as a rule the floral designs carry some hidden meaning, the flowers
-being grouped so as to suggest some felicitous phrase by a play on
-their names.[513] The peony we have seen to be the _fu kuei_ (riches
-and honours) flower; the chrysanthemum, as Dr. Laufer has suggested,
-being the flower of the ninth (_chiu_) month, may connote longevity
-through the word _chiu_ (long-enduring); the prunus (_mei hua_) carries
-the obvious suggestion of _mei_ (beautiful), and instances might easily
-be multiplied.
-
-Among the trees, the cassia suggests literary honours, the willow
-longevity, as also the pine, bamboo and plum, who are called the “three
-friends,”[514] faithful even in the “winter of our discontent.” Among
-the fruits the gourd is an emblem both of long life and of fertility,
-and the three fruits (_san kuo_)--peach, pomegranate and finger
-citron--symbolise the Three Abundances of Years, Sons and Happiness.
-The orange is a symbol of good luck, and no doubt the others which
-occur less frequently contain similar suggestions.
-
-Landscape (_shan shui_) is one of the four main divisions of Chinese
-pictorial art, and it is well represented in porcelain decoration. The
-Sung and Ming masters provided designs which were freely copied, and
-views of the beauty spots of China and of the celebrated parks and
-pleasure grounds were frequently used. It is one of these landscapes
-which the English potters borrowed for the familiar “willow pattern”
-design, and the sentimental tale which some fanciful writer has
-attached to the pattern is a mere afterthought. Figure subjects and
-landscapes are combined in many designs, such as the meeting of sages,
-romantic incidents, besides the more homely motives of field work,
-fishing, rustics returning from the plough mounted on their oxen, and
-the like. The four seasons, too, are represented in landscape with
-appropriate accessories, such as blossoming peach trees in a mountain
-scene for spring, a lake scene with lotus gatherers for summer, a
-swollen river and autumn tints for autumn, and a snowstorm for winter.
-
-A great variety of symbols and emblematical devices appear in the
-porcelain decoration of all periods, whether interwoven with the
-designs, grouped in panels, or placed under the base in lieu of a mark.
-Bushell[515] classifies the most familiar of them under the following
-headings:--
-
-1. Symbols of Ancient Chinese Lore: _Pa-kua_ and _Yin-yang_ (see p.
-290); _Pa yin_ (eight musical instruments); _Shih êrh chang_ (twelve
-ornaments embroidered upon sacrificial robes).
-
-2. Buddhist symbols: _Pa chi hsiang_ (eight emblems of happy augury).
-_Ch’i pao_ (seven paraphernalia of the _chakravartin_ or universal
-sovereign).
-
-3. Taoist symbols: _Pa an hsien_ (attributes of the Eight Immortals).
-
-4. The Hundred Antiques (_Po ku_). _Pa pao_ (the Eight Precious
-Objects).
-
-The _pa-kua_ (eight trigrams) and the _Yin-yang_ symbol of the duality
-of Nature have been described. The eight musical instruments are: (1)
-_Ch’ing_, the sounding stone, a sort of gong usually in form of a
-mason’s square. It forms a rebus for _ch’ing_ (good luck). (2) _Chung_,
-the bell. (3) _Ch’in_, the lute. (4) _Ti_, the flute. (5) _Chu_, the
-box, with a metal hammer inside. (6) _Ku_, the drum. (7) _Shêng_, the
-reed organ. (8) _Hsüan_, the ocarina, a cone with six holes.
-
-The twelve _chang_ or ancient embroidery ornaments are: (1) _Jih_,
-the Sun, a disc in which is a three-legged bird, and sometimes, the
-character _jih_ [chch]. (2) _Yüeh_, the moon; a disc with hare, toad
-and cassia tree, and sometimes the character _yüeh_ [chch]. (3) _Hsing
-ch’ên_, the stars: represented by three stars connected by straight
-lines. (4) _Shan_, mountains. (5) _Lung_, dragons. (6) _Hua ch’ung_,
-the “flowery creature,” the pheasant. (7) _Tsung yi_, the temple
-vessels: one with a tiger design and the other with a monkey. (8)
-_Tsao_, aquatic grass. (9) _Huo_, fire. (10) _Fên mi_, grains of rice.
-(11) _Fu_, an axe. (12) _Fu_, a symbol of distinction[516] (see vol.
-i., p. 227).
-
-The Eight Happy Omens (_pa chi hsiang_) were among the signs on the
-sole of Buddha’s foot. They are usually drawn with flowing fillets
-attached (Fig. 2), and they are as follows: (1) _Lun_, the wheel or
-chakra, sometimes replaced by the bell (_chung_). (2) _Lo_, the shell.
-(3) _San_, the State umbrella. (4) _Kai_, the canopy. (5) _Hua_, the
-(lotus) flower. (6) _P’ing_, the vase. (7) _Yü_, the fish; a pair of
-them.[517] (8) _Ch’ang_, the angular knot representing the entrails; an
-emblem of longevity.[518]
-
-  [Illustration: Fig. 2.--The Pa chi hsiang]
-
-The Seven Gems (_ch’i pao_) are: (1) _Chin lun_, the golden wheel. (2)
-_Yü nü_, the jade-like girl. (3) _Ma_, the horse. (4) _Hsiang_, the
-elephant. (5) _Chu ts’ang shên_, divine guardian of the treasury. (6)
-_Chu ping ch’ên_, general in command of the army. (7) _Ju i chu_ the
-jewels which fulfil every wish; a bundle of jewelled wands bound round
-with a cord.
-
-The _Pa an hsien_, Attributes of the Eight Immortals, as detailed above
-(p. 287), are: (1) _Shan_, the fan of Chung-li Ch’üan. (2) _Chien_,
-the sword of Lü Tung-pin. (3) _Hu lu_, the gourd of Li T’ieh-kuai. (4)
-_Pan_, the castanets of Ts’ao Kuo-chiu. (5) _Hua lan_, the basket of
-flowers of Lan Ts’ai-ho. (6) _Yu ku_, the bamboo tube and rods of Chang
-Kuo Lao. (7) _Ti_, the flute of Han Hsiang Tzŭ. (8) _Lien hua_, the
-lotus flower of Ho Hsien Ku.
-
-The _Po ku_, or Hundred Antiques, is, as its name implies, a
-comprehensive group including all manner of symbols and symbolical
-ornaments, which were frequently grouped together in panel decoration.
-Bushell[519] describes two typical panels on specimens in the Walters
-collection. One contained the apparatus of the scholar and painter,
-viz. books on tables, brushes in vases, water pots and scroll
-pictures, all enveloped with waving fillets mingled with tasselled
-wands and double diamonds, which are symbols of literary success. The
-other contained a tall vase with peonies; a low vase with peacock
-feather, an emblem of high rank; a lion-shaped censer on a four-legged
-stand, the incense smoke from which rises in form of a pair of storks;
-a set of incense-burning implements, a bundle of scroll pictures, a
-_ju-i_ sceptre, a musical stone, a sword, and a paper weight.
-
-A favourite set of _Po-ku_ emblems is the _Pa pao_ (Fig. 3) or Eight
-Precious Objects: (1) _Chu_, the pearl, which grants every wish. (2)
-_Ch’ien_, the “cash,” a copper coin used to symbolise wealth. (3)
-Lozenge, or picture (_hua_). (4) _Fang shêng_, the open lozenge, symbol
-of victory.[520] (5) _Ch’ing_, the musical stone. (6) _Shu_, a pair of
-books. (7) _Chüeh_, a pair of horn-like objects. (8) _Ai yeh_, the leaf
-of the artemisia, fragrant plant of good omen and a preventative of
-disease.
-
-A branch of coral, a silver ingot, a pencil brush and cake of ink
-are common emblems; and the swastika occurs both by itself (vol. i.,
-p. 227) or interwoven with the character _shou_ (vol. i., p. 227),
-or even as a fret or diaper pattern. The swastika is a world-wide
-symbol; in China it is called _wan_, and used as a synonym for _wan_
-(ten thousand), and as such it is regarded as a symbol of _wan shou_
-(endless longevity). A lyre wrapped in an embroidered case, a chess-or
-_gô_-board with round boxes for the white and black pieces, a pair
-of books, and a pair of scroll pictures symbolise the “four elegant
-accomplishments,” _ch’in_, _ch’i_, _shu_, _hua_ (music, chess, writing
-and painting).
-
-  [Illustration: Fig. 3.--The Pa pao]
-
-The figurative aspect of Chinese decoration has been repeatedly
-noticed, and occasional examples of direct play upon words or rebus
-devices have been given incidentally. The Chinese language is
-peculiarly suited for punning allusions, one sound having to do duty
-for many characters; but it is obvious that a fair knowledge of the
-characters is required for reading these rebus designs. There is,
-however, a certain number of stock allusions with which the collector
-can easily make himself familiar. The commonest of these is perhaps
-the bat (_fu_) which symbolises happiness (also pronounced _fu_ in
-Chinese). The Five Blessings (_wu fu_), which consist of longevity,
-riches, peacefulness and serenity, love of virtue and an end crowning
-the life, are suggested by five bats; and a further rebus is formed
-of red bats among cloud scrolls, reading _hung fu ch’i t’ien_, “great
-happiness equally heaven” (_t’ien_); _hung_ being the sound of the
-character for “great, vast,” as well as for red, and red being, so to
-speak, the colour of happiness in Chinese eyes.
-
-Other common rebus designs are suggested by such words as _lu_ (deer),
-_lu_ (preferment); _yü_ (fish), _yü_ (abundance); _ch’ing_ (sounding
-stone), _ch’ing_ (good luck); _ch’ang_ (the intestinal knot), _ch’ang_
-(long); and the composition of the rebus phrase often includes such
-ideas as _lien_ (lotus), _lien_ (connect, combine); _tieh_ (butterfly),
-_tieh_ (to double). But almost every sound in the Chinese spoken
-language represents a considerable number of characters, and it would
-be possible with a little ingenuity to extract several rebus sentences
-out of any complicated decoration. It is well to remember, however,
-that most of the ordinary allusions have reference to some good wish
-or felicitous phrase bearing on the five blessings, on the three
-abundances or on literary success.
-
-To quote a few further instances: the design of nine (_chiu_) lions
-(_shih_) sporting with balls (chü) of brocade has been read[521] _chiu
-shih t’ung chü_, “a family of nine sons living together.” An elephant
-(_hsiang_) carrying a vase (_p’ing_) on its back (_pei_) is read[522]
-_hsiang pei tai p’ing,_ “Peace (p’ing) rules in the north (_pei_).” A
-tub full of green wheat is read[523] _i t’ung ta ch’ing_, “the whole
-empire (owns) the great Ch’ing dynasty.” Three crabs holding reeds is
-read[524] _san p’ang hsieh ch’uan lu_, “three generations gaining the
-first class at the metropolitan examinations.” Two pigeons perched on a
-willow tree is read[525] _êrh pa_ (_k’o_) _t’eng t’ê_, “at eighteen to
-be successful in examinations.”
-
-A group of three objects consisting of a pencil brush (_pi_), a cake
-of ink (_ting_) and a _ju-i_ sceptre crossed one over the other (Fig.
-4), occurs both in the field of the decoration and as a mark under the
-base. It is a pure rebus, reading _pi ting ju i_, may things be fixed
-(_ting_) as you wish (_ju i_, lit. according to your idea). Another
-obvious rebus which occurs as a mark (Fig. 5) consists of two peaches
-and a bat (double longevity and happiness), and floral designs are very
-commonly arranged so as to suggest rebus phrases.
-
-  [Illustration: Fig. 4]
-
-  [Illustration: Fig. 5]
-
-But the Chinese decorator did not always express himself in riddles.
-Inscriptions are frequent on all forms of decorative work, as is
-only natural in a country where calligraphy ranks among the highest
-branches of art. To the foreign eye Chinese writing will not perhaps
-appear so ornamental as the beautiful Neshky characters which were
-freely used for decorative purposes on Persian wares; but for all
-that, its decorative qualities are undeniable, and to the Chinese
-who worship the written character it is a most attractive kind of
-ornament. Sometimes the surface of a vessel is almost entirely occupied
-by a long inscription treating of the ware or of the decoration which
-occupies the remaining part; but more often the writing is limited to
-an epigram or a few lines of verse. The characters as a rule are ranged
-in columns and read from top to bottom, the columns being taken from
-left to right; and rhyming verse is written in lines of three, five
-or seven characters each. The inscriptions are often attested by the
-name or the seal of the author. The Emperor Ch’ien Lung, a prolific
-writer of verses, indited many short poems on the motives of porcelain
-decoration, and these have been copied on subsequent pieces.
-
-As for the style of writing, the ordinary script is the _k’ai shu_,
-which dates from the Chin dynasty (265–419 A.D.), but there are besides
-many inscriptions in which the archaic seal characters _chuan tzŭ_ are
-employed, or at least hybrid modern forms of them; and there is the
-cursive script, known as _ts’ao shu_ or grass characters, which is said
-to have been invented in the first century B.C. The seal and the grass
-characters are often extremely difficult to translate, and require a
-special study, which even highly educated Chinese do not profess to
-have mastered.
-
-Single characters and phrases of auspicious meaning in both seal
-form and in the ordinary script occur in the decoration and also in
-the place of the mark. Many instances have already been noted in the
-chapters dealing with Ming porcelains, such as _fu kuei k’ang ning_
-(riches, honours, peace and serenity), _ch’ang ming fu kuei_ (long
-life, riches and honours), etc., see vol. i., p. 225. The most frequent
-of these characters is _shou_ (longevity), which is written in a great
-variety of fanciful forms, mostly of the seal type. The “hundred forms
-of shou” sometimes constitute the sole decoration of a vase; and as
-already observed[526] the swastika (_wan_) is sometimes combined
-with the circular form of the seal character _shou_ to make the _wan
-shou_ symbol of ten thousand longevities. _Fu_ (happiness) and _lu_
-(preferment) also occur, though less frequently.
-
-Buddhistic inscriptions are usually in Sanskrit characters, but we find
-occasional phrases such as _Tien chu en po_ [chch 4] (propitious waves
-from India) and _Fo ming ch’ang jih_ [chch 4] (the ever bright Buddha)
-in ordinary script or seal, one character in each of four medallions;
-and the sacred name of _O mi t’o fo_ [chch 4], Amida Buddha, similarly
-applied, would serve as a charm against evil.
-
-In addition to the central designs, there is a number of secondary
-ornaments which round off the decoration of a piece of porcelain.
-Chief of these are the border patterns, of which a few favourites
-may be exemplified. At the head of the list comes the Greek key-fret
-or meander (see Plate 12, Fig. 1), which, like the swastika, is of
-world-wide use. On the ancient bronze this pattern was freely used both
-in borders and as a diaper background, and it is described by Chinese
-archæologists as the “cloud and thunder pattern.” It is sometimes
-varied by the inclusion of the swastika, in which case it is known
-as the swastika fret. Another bronze pattern freely borrowed by the
-porcelain decoration is the border of stiff plantain leaves which
-appears appropriately on the neck or stem of an upright vase (see Plate
-89, Fig. 1).
-
-The border of small “S” shaped scrolls is apparently derived from
-silkworm cocoons; but the curled scrolls and another scroll pattern
-with more elaborate curves are intended to suggest clouds. A further
-development of the cloud pattern is scarcely distinguishable from the
-_ju-i_ head border (see Plate 77, Fig. 2). Indeed the terms, “connected
-cloud” pattern, _ju-i_ cloud pattern, and _ju-i_ head pattern, are used
-almost interchangeably by Chinese archæologists.
-
-Conventional waves are represented by a kind of shaded scale pattern
-or a diaper of spiral coils, and the more naturalistic “crested wave”
-border, punctuated by conical rocks, has already been mentioned. There
-are besides narrow borders of zig-zag pattern with diagonal hatching,
-and the ordinary diaper designs, in addition to the familiar gadroons
-and arcaded borders.
-
-The wider borders are usually borrowed from brocade patterns with
-geometrical or floral ornament, broken by three or four oblong panels
-containing symbols or sprays of flowers; and when a similar scheme is
-followed in some of the narrow edgings, the flowers are unhesitatingly
-cut in half, as though the pattern were just a thin strip taken from a
-piece of brocade.
-
-A few special borders have been described on the pages dealing with
-armorial porcelain,[527] among which were the well-known “rat and vine”
-or “vine and squirrel” pattern (see Plate 119, Fig. 3), reputed to have
-first appeared on a picture by the Sung artist, Ming Yüan-chang.[528] A
-rare border formed of red bats side by side occurs on a few plates of
-fine porcelain which are usually assigned to the K’ang Hsi period, but
-are probably much later.
-
-On the whole, the Chinese border patterns are comparatively few in
-number, being in fact a small selection of well-tried designs admirably
-suited to fill the spaces required and to occupy the positions assigned
-to them on the different porcelain forms.
-
-As to the sources from which these and the other designs described in
-this chapter were borrowed by the porcelain decorator, we can only
-speak in general terms. Ancient bronze vessels, metal mirrors, carved
-jades, stamped cakes of ink, embroideries, brocades, handkerchiefs,
-and illustrated books no doubt provided the greater part of them. The
-purely pictorial subjects would be based on the paintings in silk and
-paper which the Chinese arrange in four chief categories: (1) figures
-(_jên wu_),(2) landscape (_shan shui_),(3) nature subjects (_hua niao_,
-lit. flowers and birds), and (4) miscellaneous designs (_tsa hua_).
-Selections of desirable designs from various sources were no doubt
-arranged in pattern books, and issued to the porcelain painters.
-
-
-
-
-                             CHAPTER XVIII
-
-                       FORGERIES AND IMITATIONS
-
-
-With their intense veneration for the antique, it is only natural
-that the Chinese should excel in imitative work, and a great deal
-of ingenuity has been quite legitimately exercised by them in this
-direction. The amateur will sometimes have difficulty in distinguishing
-the clever copies from the originals, but in most cases the material
-and the finish of the work frankly belong to a later period, and
-sometimes all doubt is removed at once by a mark indicating the true
-period of manufacture. But the collector has to be on his guard against
-a very different kind of article, the spurious antique and the old
-piece which has been “improved” by the addition of more elaborate
-decoration or by an inscription which, if genuine, would give it
-historic importance. The latter kind of embellishment is specially
-common on the early potteries of the Han and T’ang periods. Genuine
-specimens taken from excavated tombs have often been furnished with
-dates and dedicatory legends cut into the body of the ware and then
-doctored, to give the appearance of contemporary incisions. But a
-careful examination of the edges of the channelled lines will show
-that they have been cut subsequently to the firing of the ware, when
-the clay was already hard. Had the inscription been cut when the pot
-was made, it would have been incised in a soft unfired substance,
-like the writing of a stylus in wax, and the edges of the lines would
-be forced up and slightly bulging; and if the ware is glazed, some
-of the glaze will be found in the hollows of the inscription. There
-are, besides, minor frauds in the nature of repairs. Pieces of old
-pottery, for instance, are fitted into a broken Han jar; the lost heads
-and limbs of T’ang figures are replaced from other broken specimens,
-and defective parts are made up in plaster. Such additions are often
-carefully concealed by daubs of clay similar to that with which the
-buried specimen had become encrusted. Further than this, Han and T’ang
-figures have been recently manufactured in their entirety, and mention
-has already been made (Vol. I., p. 27) of a factory at Honan Fu, where
-figures and vases with streaked and mottled glazes, fantastic ewers
-with phœnix-spouts and wing-like excrescences, and the like, are made
-with indifferent skill.
-
-The collector of Sung and Yüan wares, too, has many difficulties to
-surmount. The fine imitations made from the Yung Chêng period onwards,
-both in pottery and porcelain, fortunately are often marked; but
-sometimes the mark has been carefully removed by grinding, and the scar
-made up to look like the natural surface. The imitative wares made in
-Kuangtung, at Yi-hsing, and in various Japanese factories have been
-already discussed in the sections concerned; and there is pottery with
-lavender blue, “old turquoise” and splashed glazes resembling the Chün
-types, but made at the present day in Honan and elsewhere, which is
-likely to deceive the beginner. The commonest kind has a buff earthen
-body which is usually washed with a dull brown clay on the exposed
-parts. But such obstacles as these add zest to the collector’s sport,
-and they are not really hard to surmount if a careful study be made of
-the character of authentic specimens. The eye can be easily trained to
-the peculiarities both of the originals and of the various imitative
-types, and no one who is prepared to take a little trouble need be
-afraid of attacking this fascinating part of Chinese ceramics.
-
-The _T’ao lu_[529] quotes an interesting note on the repairing of
-antique wares: “In the _Chu ming yao_ it is stated with regard to old
-porcelain (_tz’ŭ_), such as (incense-) vessels which are wanting in
-handles or feet, and vases damaged at the mouth and edge, that men
-take old porcelain to patch the old, adding a glazing preparation, and
-giving the piece one firing. When finished it is like an old piece,
-and all uniform, except that the patched part is dull in colour. But
-still people prefer these specimens to modern wares. If the process of
-blowing the glaze on to (the joint of the repair) is used in patching
-old wares, the patch is still more difficult to trace. As for specimens
-with flaws (_mao_), I am told that on the Tiger Hill in Su-chou there
-are menders who have earned the name of _chin_ (close-fitters).” The
-collector knows only too well that there are “close-fitters” in Europe
-as well as in China.
-
-Apart from the numerous instances in which early Ming marks[530]
-have been indiscriminately added to later wares, the careful copies
-and imitations of true Ming types are comparatively few. Among the
-imitative triumphs of the Yung Chêng potters a few specialties are
-named, such as blue and white of the Hsüan Tê and the Chia Ching
-periods, and the enamelled decoration of the Ch’êng Hua and Wan Li, but
-reference has already been made to these in their respective chapters.
-The modern Chinese potters make indifferent reproductions of Ming
-types; and the most dangerous are those of the Japanese, who from the
-eighteenth century onward seem to have taken the sixteenth century
-Chinese porcelains as their model. The Chia Ching and Wan Li marks are
-common on these reproductions, which often catch the tone and spirit
-of the Ming ware with disquieting exactitude. A well-trained eye and
-a knowledge of the peculiarities of Japanese workmanship are the only
-protection against this type of imitation.
-
-The high esteem in which the K’ang Hsi porcelains are now held has
-naturally invited imitation and fraud. The ordinary modern specimen
-with a spurious K’ang Hsi mark is, as a rule, feeble and harmless, and
-even the better class of Chinese and Japanese imitations of the blue
-and white and enamelled porcelains of this period are, as a rule, so
-wide of the mark as to deceive only the inexperienced. Many frauds,
-however, have been perpetrated with French copies of _famille verte_,
-of _famille rose_ “ruby-back” dishes, and of vases with armorial
-decoration. These are cleverly made, but the expert will see at once
-that the colours and the drawing lack the true Oriental quality, and
-that the ware itself is too white and cold. Clever copies of Oriental
-porcelain, especially of the _famille rose_, have also been made at
-Herend, in Hungary. But perhaps the most dangerous Continental copies
-are some of the French-made monochromes of dark blue and lavender
-colours, with or without crackle, fitted with ormolu mounts in
-eighteenth century style, which conceal the tell-tale base. Monochromes
-are, as a rule, the most difficult porcelains to date, and the
-well-made modern Chinese and Japanese _sang de bœuf_, apple green, and
-peach bloom are liable to cause trouble, especially when the surface
-has been carefully rubbed and given the appearance of wear and usage.
-The expert looks to the truth of the form, the finish of the base, and
-the character of the clay exposed at the foot rim, and judges if in
-these points the piece comes up to the proper standard.
-
-But without doubt the most insidious of all the fraudulent wares are
-those which have been redecorated. I do not refer to the clobbered[531]
-and retouched polychromes or to the powder blue and mirror black on
-which the gilding has been renewed, but to the devilish ingenuity
-which takes a piece of lightly decorated K’ang Hsi porcelain, removes
-the enamelling, and even the whole glaze if the original ornament
-has been in underglaze blue, and then proceeds to clothe the denuded
-surface in a new and resplendent garb of rich enamel. Naturally, it
-is the most sumptuous style of decoration which is affected in these
-frauds, such as the prunus tree and birds in a ground of black,
-green, or yellow enamel on the biscuit; and the drawing, execution
-and colours are often surprisingly good. The enormous value of this
-type of vase, if successful, repays the expense and trouble involved
-in the _truquage_; and the connoisseur who looks at the base for
-guidance is disarmed because that critical part has been undisturbed,
-and has all the points of a thoroughbred K’ang Hsi piece. If, however,
-his suspicion has been aroused by something unconvincing in the design
-or draughtsmanship, he will probably find upon minute examination some
-indication of the fraud, some trace of the grinding off of the glaze
-which the enamels have failed to cover, suspicious passages at the edge
-of the lip where the old and new surfaces join, or traces of blackening
-here and there which are rarely absent from a refired piece. But if the
-work is really successful, and no ingenuity or skill is spared to make
-it so, his suspicions may not be aroused until too late. Frauds of this
-kind belong to the most costly types, and concern the wealthy buyers.
-The poorer collectors have to deal with small deceits, the adding
-of a _famille verte_ border to a bowl or dish, the retouching
-of defective ornament, the rubbing of modern surfaces to give them
-fictitious signs of wear, the staining of new wares with tobacco juice,
-and other devices easily detected by those who are forewarned. Against
-all these dangers, whether they be from wilful frauds or from innocent
-imitations, I can only repeat that the collector’s sole defence is
-experience and a well-trained eye.
-
-
-
-
-                                 INDEX
-
-
-    Accomplishments, Four, ii. 133, 282, 299
-
-    Adams, H., ii. 136
-
-    Akahada, i. 123
-
-    Alamgir, ii. 13
-
-    Alchemy, god of, ii. 288
-
-    Alexander Collection, i. 51, 56, 57, 68, 115, 121, 125; ii. 49,
-      119, 171, 205, 220
-
-    Alms bowl, ii. 285
-
-    Altar cups, ii. 7, 8, 35, 93
-
-    Altar sets, i. 206; ii. 272
-
-    Ambassadors of the Tribes of Man, eight, ii. 262, 268, 283
-
-    Amida Buddha, ii. 302
-
-    Amoy, i. 184, 202; ii. 112
-
-    Ancestor worship, ii. 283
-
-    Anderson, W., ii. 111, 281, 303
-
-    _An hua_ (secret decoration), ii. 6, 8, 17, 37, 52, 56, 63
-
-    Animal forms, ii. 159
-
-    Animal motives, ii. 292
-
-    Annals of Fou-liang, i. 141, 153, 155; ii. 35, 228, 231
-
-    Annals of Han Dynasty, i. 144
-
-    Annals of the Sui Dynasty, i. 143
-
-    Anthropological Museum at Petrograd, i. 101
-
-    Antiques, the Hundred, ii. 134, 181, 297, 298
-
-    “Ant tracks,” i. 117
-
-    Arabesques, ii. 130, 131, 133
-
-    Arabic writing, ii. 31
-
-    Architectural pottery, i. 201, 205, 206
-
-    Ardebil, ii. 69
-
-    Arhats, i. 35; ii. 43, 285
-
-    Arita, ii. 173
-
-    Armorial porcelain, ii. 202, 203, 251, 256, 257, 258
-
-    Arrow cylinder, ii. 274
-
-    Ary de Milde, i. 178
-
-    Ash colour, _see_ Hui sê.
-
-    “Ashes of roses,” ii. 124
-
-    Ashmolean Museum, Oxford, i, 193; ii. 68
-
-    Astbury ware, i. 178
-
-    Aster pattern, ii. 134
-
-    Attiret, i. 205
-
-    Augustus the Strong, i. _xxiii_, 178; ii. 113, 134
-
-    “Awns,” i. 92
-
-
-    “Baba ghouri,” i. 87
-
-    Bahr, A. W., i. 32, 124, 171
-
-    Bamboo grove, ii. 208, 215, 281
-
-    Bamboo pattern, ii. 149, 264, 269
-
-    Bamboo thread brush marks, i. 92
-
-    Barrel-shaped seats, ii. 8, 15, 17, 97, 277
-
-    Basket of flowers, ii. 67
-
-    Batavian porcelain, ii. 191
-
-    Bats, five, ii. 11, 204, 224, 295, 300, 301
-
-    Battersea, ii. 260
-
-    Bear, the, i. 12
-
-    Bell, Hamilton, i. 114
-
-    Benson Collection, i. 56, 104, 169; ii. 27
-
-    Biddulph, Sir R., ii. 23
-
-    Bijapur, i. 87; ii. 78
-
-    Billequin, M., ii. 233
-
-    Binyon, L., i. 44; ii. 242
-
-    Bird, the red, i. 20, 56
-
-    Birds, ii. 294
-
-    Birds, the Hundred, ii. 295
-
-    “Birthday plates,” ii. 169, 207
-
-    Birthday, the Emperor’s, ii. 63
-
-    Biscuit, ii. 18, 75, 77, 100, 196, 197
-
-    Biscuit figures in high relief, ii. 89
-
-    Black and gold decoration, ii. 215
-
-    Black, brown, ii. 155
-
-    Black, _famille rose_, ii. 210
-
-    Black glaze, varieties of, ii. 156, 159, 192, 229
-
-    Black ground gilt, ii. 231
-
-    Black ground, white decoration in, ii. 231
-
-    Black, mirror, ii. 192, 193, 218, 226, 230
-
-    Black Rock Hill, i. 16
-
-    Blackthorn, ii. 264
-
-    Black Warrior, the, i. 20
-
-    _Blanc de Chine_, ii. 109, 112
-
-    Blessings, five, ii. 300
-
-    “Blue and white,” i. 164; ii. 3, 8, 9, 11, 13, 24, 26, 29, 36, 38,
-      47, 56, 89, 92, 203, 239, 240, 263, 268, 271
-
-    Blue and white, K’ang Hsi, ii. 67, 128–144
-
-    Blue and white porcelain, Ming, ii. 105
-
-    Blue, cloisonné, ii. 219, 220, 224, 229, 231
-
-    Blue, lapis lazuli, ii. 239
-
-    Blue, mazarine, ii. 183
-
-    Blue, mottled, ii. 204
-
-    “Blue of the sky after rain,” i. 41, 42, 52, 54, 62; ii. 10, 179
-
-    Blue painting on Sung wares, i. 99, 104, 158
-
-    Blue, powder, ii. 127, 170, 180, 181, 183, 218
-
-    Blue “put in press,” ii. 143
-
-    Blue, ritual significance of, ii. 195
-
-    Blue, scratched, ii. 144
-
-    Blue, sky, ii. 232, 238
-
-    Blue, soufflé, ii. 127, 180, 218, 224
-
-    Blue, sponged, ii. 180, 183
-
-    Blue, Temple of Heaven, ii. 238
-
-    Blue, turquoise, ii. 99, 184, 185, 229, 237
-
-    Bock, Carl, i. 87
-
-    Bodhidharma, ii. 110, 285
-
-    Book stands, ii. 276
-
-    Border patterns, ii. 67, 257, 258, 302
-
-    Borneo, i. 68, 87, 99, 189, 190, 193; ii. 70, 99, 223
-
-    Börschmann, Herr Ernst, i. 8
-
-    Bottengruber, ii. 260
-
-    Böttger ware, i. 178; ii. 192
-
-    Bow, ii. 112, 258, 260
-
-    Bowls, ii. 277
-
-    Bowls, alms, ii. 285
-
-    Bowls, brinjal, ii. 151
-
-    Bowls, bulb, i. 109, 110, 114
-
-    Bowls, double-bottomed, ii. 115
-
-    Bowls, fish, ii. 36, 59, 117, 229, 234, 275, 281
-
-    Bowls, hookah, ii. 97
-
-    Bowls, medallion, ii. 264
-
-    Bowls, Ming, ii. 97
-
-    Bowls, narghili, ii. 77, 278
-
-    Bowls, Peking, ii. 239, 244, 264
-
-    Bowls, Polynesian khava, i. 129
-
-    Bowls, “press-hand,” ii. 93
-
-    Bowls, rice, ii. 148
-
-    Bowls, soup, ii. 269
-
-    Bowls, swordgrass, i. 110
-
-    Bowls, tea, ii. 5, 278
-
-    Bowls, wedding, ii. 268
-
-    Boxes, ii. 56, 57, 60, 68, 85, 160, 246, 265, 275, 276, 288
-
-    Boy holding a branch, ii. 57
-
-    Boys, Hundred, ii. 62
-
-    Boys in branches, design of, i. 85, 150
-
-    Branches, the Twelve, i. 210
-
-    Bretschneider, i. 62
-
-    Bricks, i. 201, 202, 205
-
-    Brighton Museum, i. 193
-
-    Brinjal bowls, ii. 151
-
-    Brinkley, F., i. 97, 102, 104, 131, 163, 168, 171, 174, 175, 176,
-      190; ii. 111, 113, 114, 190
-
-    Bristol, ii. 141, 258
-
-    British Museum, _passim_
-
-    Brocade designs, ii. 38, 165, 167, 170, 243, 244, 303
-
-    Bronze forms, ii. 272
-
-    Bronze patterns, ii. 240, 243, 247
-
-    Brooke, Lieutenant, i. 10
-
-    Brown, coffee, i. 103
-
-    “Brown mouth and iron foot,” i. 60, 61, 66, 68, 72, 78, 83; ii.
-      188, 217
-
-    Brush pot, ii. 32, 60
-
-    Brush rest, ii. 14, 60, 76, 275
-
-    Brush washers, i. 165
-
-    “Buccaro,” i. 120, 178, 181
-
-    Buddha, ii. 40
-
-    Buddhism, i. 6, 36; ii. 284
-
-    Buddhist emblems, eight, ii. 25, 38, 42, 298
-
-    Bulb bowls, i. 109, 110, 114
-
-    Burdett-Coutts Collection, ii. 164
-
-    Burial customs, i. 14
-
-    Burlington Fine Arts Club Exhibition, catalogue of, i. 104, 114,
-      130, 149, 150, 167, 193, 209; ii. 6, 27, 33, 60, 68, 77, 78, 85
-
-    _Burlington Magazine_, i. 12, 34, 50, 68, 72, 79, 88, 102, 106,
-      123, 163, 168, 171; ii. 14, 17, 23, 70, 73, 75, 89, 90, 105,
-      209, 212, 213, 292
-
-    Burman, A., ii. 43, 145, 164
-
-    Burton, W., i. 47, 49, 50, 154; ii. 127
-
-    Burton and Hobson, ii. 247
-
-    Bushell, S. W., i. _xviii_, 1, 39, 50, 54, 55, 68, 102, 104, 140,
-      143, 145, 154, 159, 160, 162, 165, 168, 206, 218; ii. 1, 2, 8,
-      18, 19, 22, 26, 35, 39, 40, 42, 43, 121, 176, 188, 190, 196, 212,
-      223, 242, 248, 267
-
-    Butterflies, ii. 266, 289, 295
-
-    Butterfly cages, ii. 160
-
-
-    Cadogan Teapot, ii. 278
-
-    Caffieri, ii. 194
-
-    Cairo, i. 87
-
-    Calicut, ii. 209
-
-    Candle design, ii. 25, 133, 203
-
-    Candlesticks, ii. 272
-
-    Canton, i. 166, 184, 188; ii. 202, 212, 251, 260
-
-    Canton Chün, i. 127, 172
-
-    Canton enamels, i. 166, 167; ii. 209, 211, 243
-
-    Canton merchants, ii. 140
-
-    Canton, porcelain decorated at, ii. 211, 256
-
-    Canton ware, i. 167, 171, 172, 179, 190, 193, 194, 198
-
-    Cash, ii. 76, 288
-
-    Cassia tree, ii. 291, 296
-
-    Castiglione, i. 205
-
-    Catalogue of Boston Exhibition, i. 104
-
-    Catalogue of Burlington Fine Arts Club Exhibition, _See_ Burlington
-      Fine Arts Club.
-
-    Catalogue of Loan Exhibition, New York, i. 110, 124
-
-    Catalogue of Morgan Collection, i. 140
-
-    Celadon, i. 32, 39, 46, 54, 76, 77, 80, 81, 84, 85, 87, 88, 114;
-      ii. 77, 146, 188, 266, 270
-
-    Celadon, brownish, i. 85
-
-    Celadon, Corean, i. 51
-
-    Celadon, inlaid, i. 84
-
-    Celadon, Japanese, i. 85
-
-    Celadon, Ming, i. 81
-
-    Celadon, Siamese, i. 88
-
-    Celadon, spotted, i. 80
-
-    Celadon, Sung, i. 81
-
-    Celadon wares, traffic in, i. 88
-
-    _Celadonfrage_, i. 86
-
-    _Ch’a Ching_, i. 37, 40
-
-    Cha no yu, i. 131
-
-    _Ch’a Su_, i. 93
-
-    Ch’a yeh mo, ii. 233
-
-    Chadwick, arms of, ii. 256
-
-    Ch’ai ware, i. 40, 41, 42, 48, 49, 50, 52, 54, 124
-
-    Chain pattern border, ii. 257
-
-    Chalfant, F. H., i. 4
-
-    _Chambrelans_, ii. 260
-
-    Chang, potter, i. 105
-
-    Chang brothers, i. 67, 76
-
-    Chang Ch’ien, i. 6; ii. 14, 291, 292
-
-    Chang Chiu-ko, ii. 289
-
-    _Ch’ang ming fu kuei_, ii. 53
-
-    _Ch’ang nan chih_, i. 156
-
-    Chang-kuo Lao, ii. 284
-
-    Chang Sêng-yu, ii. 292
-
-    _Chang wu chih_, ii. 94
-
-    Chang yao, i. 77
-
-    Chang Ying-wên, i. 41, 60
-
-    Ch’ang-chou Chên, i. 202
-
-    Ch’ang-nan, i. 45
-
-    Chang-tê Fu, i. 101, 105
-
-    Chantilly, ii. 173
-
-    Chao, ii. 59
-
-    Chao family, i. 107
-
-    Chao Ju-kua, i. 86, 188, 189
-
-    Chao-ch’ing Fu, i. 172
-
-    Ch’ao-chou Fu, i. 184
-
-    Characters, grass, ii. 301
-
-    Characters, Sanskrit, ii. 66, 240, 286, 302
-
-    Characters, seal, i. 208, 209; ii. 301
-
-    Characters, the Hundred Shou, ii. 61
-
-    Charles Edward, Prince, ii. 255
-
-    Charlotte, Queen of Prussia, ii. 133, 155
-
-    Charlottenberg Palace, ii. 90, 133, 155, 193
-
-    Charteris, Hon. E., ii. 33
-
-    Chavannes, Prof. E., i. 7, 17
-
-    Chelsea, ii. 112, 140, 173, 183, 251, 260
-
-    Ch’ên Chün, i. 175
-
-    Ch’ên Chung-mei, i. 175, 176
-
-    Ch’ên-lin, i. 82
-
-    Chên Tsai, ii. 110
-
-    Ch’ên Wên-ching, ii. 78
-
-    Chêng Chou, i. 40
-
-    Chêng Ho, ii. 12
-
-    Ch’êng Hua mark, ii. 155, 189, 252
-
-    Ch’êng Hua wares, ii. 22–29, 203, 207, 224, 225
-
-    Ch’êng ni, i. 61
-
-    _Ch’êng tê t’ang_, ii. 265
-
-    Ch’êng Tê wares, ii. 29–33, 207, 208, 224
-
-    Chêng T’ung, ii. 27, 28
-
-    _Chêng tzŭ t’ung_, the, i. 15
-
-    Ch’êng-tu, i. 13, 199
-
-    Chên-ting Fu, i. 53, 89, 94, 156, 199; ii. 107
-
-    Chess, ii. 276, 282
-
-    _Chi Ch’ing_ (dark violet blue), ii. 99, 218, 219, 223, 270
-
-    Chi Chou ware, i. 71, 98, 157
-
-    _Chi hung_ (red), ii. 9, 10, 11, 29, 59, 79, 101, 118, 123, 145,
-      223, 268
-
-    _Ch’i sung t’ang shih hsiao lu_, i. 37
-
-    Chia Ching wares, ii. 11, 34–55, 203, 225
-
-    Chia Ch’ing wares, ii. 262, 263
-
-    _Chiang hsia pa chün_, ii. 40
-
-    _Ch’iang hsi t’ung chih_, i. 53, 60, 118, 141, 153, 154, 159, 181;
-      ii. 223, 228, 237, 267
-
-    Chiang, Memoirs of, i. 92, 155, 156, 158, 159, 160, 161, 162, 163,
-      164; ii. 20
-
-    _Chiang-t’ai_, ii. 141
-
-    _Chiang t’ang_, ii. 34
-
-    Chicago, i. 146
-
-    Chicken cups, ii. _xvii_, 23, 24, 26
-
-    Ch’ien family, i. 38
-
-    _Ch’ien k’un ch’ing t’ai_, ii. 56
-
-    Ch’ien Lung, i. 31; ii. 33, 227–249
-
-    Ch’ien Lung, Imperial poems of, ii. 227, 301
-
-    Ch’ien Lung monochromes, ii. 216
-
-    Ch’ien Niu, ii. 291
-
-    Chien yao, i. 8, 31, 93, 94, 103, 130–135;  ii. 109
-
-    Chien-an, i. 130, 131
-
-    Chien-ning Fu, i. 130, 132, 133; ii. 291
-
-    Chien-yang, i. 130, 164; ii. 109
-
-    _Chih lung_, ii. 157, 292
-
-    _Ch’i-hsia-lei-k’ao_, i. 67
-
-    Chih-t’ien, i. 136
-
-    Children playing with branches of flowers design, ii. 56
-
-    Children (_wa wa_), ii. 40, 281
-
-    _Ch’i-lin_, ii. 67, 293
-
-    _Ch’i-lin_ reclining before fountain, ii. 67
-
-    Chin dynasty, i. 16
-
-    _Chin huang_ (golden yellow), ii. 37
-
-    _Chin lü_, ii. 34
-
-    _Ch’in ting ku chin t’u shu chi ch’êng_, i. 127, 187
-
-    _Ch’in ying wên_, i. 113
-
-    Chinese and Japanese porcelain, the distinction between, ii. 174
-
-    _Chinese Commercial Guide_, i. 184, 187
-
-    Chinese porcelain decorated in Europe, ii. 259
-
-    _Ch’ing_, i. 16, 41, 46, 52, 60
-
-    _Ch’ing pi tsa chih_, i. 38
-
-    _Ch’ing pi ts’ang_, i. 41, 53, 54, 60, 77, 79, 92, 93, 109; ii. 9,
-      11, 13
-
-    _Ch’ing po tsa chih_, i. 52, 96, 97, 157
-
-    Ching T’ai, ii. 27
-
-    _Ch’ing tien_, ii. 142, 201
-
-    _Ch’ing ts’ung_, i. 62
-
-    _Ch’ing tz’ŭ_, i. 46
-
-    _Ch’ing_ ware, i. 76
-
-    _Ch’ing wei t’ang_, ii. 247
-
-    _Ch’ing yi lu_, i. 131
-
-    Ching-tê Chên, i. _xv_, 40, 45, 71, 83, 84, 89, 92, 94, 95, 96,
-      99, 109, 119, 120, 147, 152, 162; ii. 1, 12, 212, 228
-
-    _Ching-tê Chên t’ao lu, passim_
-
-    Ch’ing-yün, ii. 108
-
-    Chini-hane, ii. 69
-
-    Chin-shih, i. 167
-
-    Chin-ts’un, i. 76, 80
-
-    Chipped edges of plates, ii. 140
-
-    _Chiu_, wine, ii. 34
-
-    _Cho kêng lu_, i. 55, 60, 61, 66, 109, 134
-
-    Chou dynasty, i. 3, 44; ii. 41
-
-    Chou, Hui, i. 157
-
-    Chou kao-ch’i, i. 174
-
-    Chou Mao-shu, ii. 25, 296
-
-    Chou Tan-ch’üan, i. 94, 95, 96; ii. 65
-
-    Chou Ts’ang, ii. 284
-
-    Chrome tin, ii. 177
-
-    Chrysanthemum plant, ii. 25, 296
-
-    Ch’üan-chou Fu, i. 86, 188; ii. 108
-
-    _Chü chai tsa chi_, i. 98
-
-    Ch’ü Chih-kao, i. 201
-
-    _Chu fan chih_, i. 86
-
-    Chu Hsi, i. 20
-
-    Chu Mai-chên, ii. 282
-
-    _Chu ming yao_, ii. 305
-
-    _Chü pao shan_, i. 202
-
-    _Chu shih chü_, ii. 167
-
-    _Ch’ŭ yao_, i. 76, 80
-
-    Ch’ŭ-Chou Fu, i. 76, 77, 80, 83, 201
-
-    _Ch’ui ch’ing_, ii. 180, 181
-
-    _Ch’ui hung_, ii. 125
-
-    Chün chou, i. 179, 198
-
-    _Ch’un fêng t’ang sui pi_, i. 77
-
-    Chün glaze of the muffle kiln, i, 120, 177; ii. 217
-
-    Chün-t’ai, i. 109
-
-    Chün wares, i. 41, 42, 48, 62, 109–130, 157, 167, 179, 181; ii. 18,
-      19, 94, 220, 229
-
-    _Ch’ung Chên_, ii. 86
-
-    _Chung-ho-t’ang_, ii. 145
-
-    Church, Sir A., i. 167
-
-    Ch’ü-yang Hsien, i. 199
-
-    Cicada, ii. 73, 295
-
-    _Cicerone_, i. 87
-
-    Citron dishes, ii. 8
-
-    Civil and military vases, ii. 281
-
-    _Clair de lune_, i. 60; ii. 179, 219, 252
-
-    Clays, ferruginous, i. 80
-
-    “Clobbered china,” ii. 261
-
-    Clennell, W. J., i. 155, 156
-
-    Cloisonné blue, ii. 219, 220
-
-    Cloisonné enamels, i. 167; ii. 17, 82, 209, 232, 243
-
-    Cloud and thunder pattern, ii. 272, 290, 302
-
-    Cloud pattern, ii. 302
-
-    “Cloud scroll,” i. 113; ii. 42
-
-    Club shaped, ii. 274
-
-    Cobalt, ii. 12, 98
-
-    Cochin China, i. 144
-
-    Cock, ii. 294
-
-    Cole, Fay-Cooper, i. 87, 189
-
-    Colouring agents, i. 49
-
-    Colours, _famille verte_, ii. 163
-
-    Colours, foreign, ii. 221, 225, 229, 232, 242, 243
-
-    Colours iridescent, ii. 241, 264
-
-    Colours, mixed, ii. 264, 271
-
-    Combed patterns, i. 85, 150
-
-    Confucius, i. 7, 18, 79; ii. 40, 43, 283
-
-    Constantinople, i. 87
-
-    Convex centre, bowls with, ii. 51
-
-    Cope Bequest, ii. 149
-
-    Copper oxide, i. 118, 137; ii. 10, 177, 232
-
-    Copper red, ii. 6, 11, 55
-
-    Coral red, ii, 6, 48, 51
-
-    Corea, i. 39, 134, 148, 150, 151
-
-    Corean design, i. 34, 107; ii. 56
-
-    Corean wares, i. 39, 42, 54, 59, 84, 85, 102, 107, 149, 150, 151;
-      ii. 115
-
-    Cornaline, i. 53; ii. 123
-
-    Cornelian, ii. 10
-
-    Cornflower sprigs, ii. 258
-
-    Corpse pillows, i. 105
-
-    Cotton cultivation, ii. 164
-
-    _Couleurs de demi grand feu_, ii. 18, 20
-
-    _Couleurs de grand feu_, ii. 98
-
-    _Couleurs de petit feu_, ii. 20
-
-    “Crab’s claw” crackle i. 53, 60, 67, 96
-
-    Crab-shell green, i. 117
-
-    Cracked specimens, ii. 233
-
-    Crackle, i. 67, 68, 99, 171; ii. 9, 37, 99, 121, 142, 180, 189,
-      197, 198, 199, 218
-
-    Crackle, apple green, ii. 121, 125, 187
-
-    Crackle, buff, ii. 145
-
-    Crackle, fish roe, i. 53, 67
-
-    Crackle, green, ii. 170
-
-    Crackle, millet, ii. 197
-
-    Crackle, oatmeal, ii. 199
-
-    Crackle, plum blossom, i. 61; ii. 244
-
-    Crane, ii. 288
-
-    “Crane cups,” i. 17
-
-    Cranes, six, ii. 61
-
-    Cricket pots, fighting, i, 188; ii. 21, 160, 275
-
-    Crickets, fighting, ii. 295
-
-    Crucifixion, ii. 252
-
-    Crusader plate, ii. 113
-
-    Crutch, ii. 287
-
-    Cumberbatch Collection, ii. 49
-
-    Cups floating on river, ii. 168, 281
-
-    Cups, Keyser, ii. 252
-
-    Cups, libation, ii. 278
-
-    Cycles, table of, i. 211
-
-    Cyclical dates, i. 210, 213; ii. 213, 230, 240, 268
-
-    Cyclical dates, table of, i. 212
-
-
-    Dana Collection, i. 11
-
-    Date marks, i. 210
-
-    Date marks prohibited, i. 208
-
-    Dated porcelain, ii. 213, 257, 263
-
-    Deer, ii. 286, 294
-
-    Deer, the Hundred, ii. 61, 243
-
-    de Groot, Dr. J. J. M., i. 17, 18, 19, 20, 21, 105; ii. 25, 110
-
-    Delft, i. 178; ii. 139, 251, 252
-
-    Demons, ii. 290
-
-    _Denkmäler Persischer Baukunst_, ii. 69
-
-    Derby, i. 114; ii. 251, 258
-
-    Deshima, ii. 173
-
-    Dharmatrata, ii. 285
-
-    Dillon, E., ii. 26, 51
-
-    Dinner table sets, ii. 36, 267
-
-    Dishes, ii. 278
-
-    Divining rod vases, ii. 274
-
-    Dodder, i. 113
-
-    Dog, ii. 291
-
-    “Dog of Fo,” ii. 39, 149, 160, 293
-
-    Double gourd shape, ii. 94
-
-    Double ring under base, ii. 69
-
-    Dour-er-Raçibi, i. 87
-
-    Dragon, ii. 5, 32, 33, 39, 144, 292
-
-    Dragon and phœnix design, ii. 8, 30, 37, 39, 67, 81
-
-    Dragon and sea waves, ii. 37
-
-    Dragon, azure, i. 20; ii. 291
-
-    Dragon boat design, ii. 25
-
-    Dragon horse, ii. 41, 290
-
-    Dragon medallions, ii. 38, 39
-
-    Dragon of the East, i. 56
-
-    Dragon procession, ii. 281
-
-    Dragon rising from waves, ii. 170
-
-    Dreams, ii. 283
-
-    Dresden collection, i. 178; ii. 48, 51, 80, 112, 133, 134, 147,
-      148, 151, 155, 164, 167, 179, 215, 243;
-      mark of, ii. 213
-
-    Drucker, J. C. J., ii. 139, 170
-
-    Drums, pottery, i. 137
-
-    Ducks on water design, i. 90
-
-    Duesbury, ii. 260
-
-    Dukes, E. J., ii. 114, 115
-
-    Dutch, ii. 89, 111, 191
-
-    Dutch East India Company, ii. 89, 128, 213
-
-    Dutch enamellers, ii. 259
-
-    Dutch pictures, ii. 73, 89
-
-    Dwight, i. 37, 178; ii. 112
-
-    Dyaks, i. 189, 193; ii. 223
-
-
-    Eagle, heraldic, ii. 139
-
-    Eagle on a rock, ii. 73
-
-    Earth, symbol of, ii. 41
-
-    “Earthworm marks,” i. 113, 117
-
-    East India Company, British, ii. 133, 155
-
-    East Indies, ii. 70
-
-    East, symbol of, ii. 41
-
-    Edwards, Mr., i. 148
-
-    “Eel’s blood,” i. 61
-
-    “Egg and tongue” pattern, i. 35
-
-    Egg green, i. 61
-
-    “Egg shell” porcelain, ii. 4, 20, 64, 168, 169, 195, 202, 207, 210,
-      224, 243, 248
-
-    “Egg white,” i. 53, 54, 61, 71
-
-    Egypt, i. 2, 86, 88; ii. 30, 44
-
-    Egyptian tombs, i. 140
-
-    “Eight Ambassadors of the Tribes of Man,” ii. 262, 283
-
-    Eight Emblems of Happy Augury, ii. 297
-
-    Eight Immortals, attributes of, ii. 297
-
-    Eight Immortals of the Wine Cup, ii. 282
-
-    Eight Musical Instruments, ii. 297
-
-    Eight Precious Objects, ii. 297, 298
-
-    _Ei raku_, ii. 6
-
-    Elephants, ii. 61, 242, 269, 286
-
-    Elephant checkers, ii. 282
-
-    Elers, i. 178
-
-    Elixir of life, ii. 286, 289
-
-    _Emaillé sur biscuit_, ii. 152
-
-    Emblematic motives, ii. 41, 62
-
-    Embossed ornament, ii. 37, 102, 224
-
-    Embroidery ornaments, twelve, ii. 297
-
-    Empress Dowager, ii. 271
-
-    Enamel, apple green, ii. 103
-
-    Enamel, _famille rose_, ii. 210
-
-    Enamel glaze, ii. 21
-
-    Enamel on biscuit, ii. 21, 79, 80, 152, 153, 160
-
-    Enamel, white, ii. 163, 245
-
-    Enamelled ornament, i. 161, 162, 163
-
-    Enamelling establishments, ii. 260
-
-    Enamels, Canton, i. 166
-
-    Enamels, mixed, ii. 242
-
-    Enamels on glaze, ii. 18, 48, 160, 161, 170
-
-    Enamels, transition, ii. 169, 257
-
-    Engraved background, ii. 244
-
-    Engraved designs, i. 106; ii. 102, 224
-
-    d’Entrecolles’ letters, Père, i. 83, 84, 147, 154; ii. 77, 112,
-      114, 122, 124, 126, 127, 129, 130, 140, 141, 143, 148, 151, 161,
-      162, 163, 182, 183, 188, 189, 192, 193, 195, 196, 198, 218, 252,
-      276
-
-    Ephesus, i. 87
-
-    Epicurus, ii. 286
-
-    _Erh shih lu_, i. 138
-
-    Etched design, ii. 183, 195
-
-    Eumorfopoulos Collection, i. 29, 31, 34, 35, 42, 57, 59, 63, 69,
-      73, 107, 111, 114, 115, 131, 149, 171, 179, 191, 197, 203, 218;
-      ii. 27, 31, 52, 78, 79, 85, 115, 139, 204, 219, 227, 278
-
-    European influence, i. 205; ii. 90, 135, 209, 250–261
-
-    European merchants, ii. 139
-
-    European shapes, ii. 98, 128, 251
-
-    European subjects, ii. 244, 245, 255, 257
-
-    Ewers, i. 165
-
-    Excavations in Honan, i. 132
-
-    Exports forbidden, i. 88, 189
-
-    Export wares, ii. 44, 68, 70, 73, 78, 81, 85, 108, 128, 167, 202,
-      245, 258, 266, 271, 280
-
-
-    _Fa ch’ing_, ii. 219, 224, 231
-
-    _Fa lan_, ii. 231
-
-    _Fa lang_, ii. 209, 229, 231
-
-    Factories at Peking, ii. 126
-
-    Fairies, ii. 286
-
-    Falkner, Frank, ii. 259
-
-    _Famille noire_, ii. 101, 159
-
-    _Famille rose_, i. 177; ii. 163, 169, 191, 202, 203, 207, 208, 209,
-      210, 213, 214, 221, 242, 247
-
-    _Famille verte_, ii. 85, 121, 125, 136, 137, 160, 161, 162, 163,
-      167, 168, 173, 183, 193, 207, 256
-
-    _Famille verte_, dated examples of, ii. 168
-
-    _Famille verte_ enamels, over blue outlines, ii. 207
-
-    _Fan_, ii. 288
-
-    Fan Ching-ta, i. 136
-
-    _Fan hung_, ii. 10, 34, 35, 37, 48, 52, 55, 101
-
-    _Fan tz’ŭ_, ii. 196
-
-    Fat-shan Chün, i. 123, 171, 172, 179
-
-    Feet, cramping of, i. 24
-
-    _Fei ts’ui_, i. 38; ii. 237
-
-    Fei-kuan, i. 107
-
-    _Fên ch’ing_, i. 53, 54, 59, 60, 67, 71, 99
-
-    _Fên hung_, i. 60, 65
-
-    _Fên ting_, i. 90; ii. 218
-
-    Fêng-kan, i. 56
-
-    _Fêng-huang_, ii. 293
-
-    Field Museum, Chicago, i. 128, 182, 189, 194, 198, 199, 200
-
-    Figures, i. 107, 108, 197, 201; ii. 110, 151, 152, 197, 251, 279,
-      283
-
-    Figures in European costumes, ii. 111, 251
-
-    Figures in high relief, ii. 102
-
-    Firefly decoration, ii. 247
-
-    Fish bowls, ii. 36, 59, 117, 229, 234, 275, 281
-
-    Fish, double, ii. 294
-
-    Fish roe crackle, i. 53, 67
-
-    Fish roe design, ii. 167
-
-    Fish-dragon, ii. 284
-
-    Fishes, i. 78; ii. 7, 9, 11, 40, 204, 224
-
-    FitzWilliam Museum, i. 125, 127
-
-    Five blessings, ii. 300
-
-    Five colours, ii. 19, 20
-
-    Florentine porcelain, ii. 44
-
-    Flower Fairy, ii. 289
-
-    Flower pots, i. 109, 110, 113, 114, 197; ii. 19, 275
-
-    Flower vases, ii. 273, 275
-
-    Flowers, ii. 295
-
-    Flowers, basket of, ii. 67
-
-    Flowers, celestial, ii. 38
-
-    Flowers, fairy, ii. 295
-
-    Flowers for the months, ii. 295
-
-    Flowers, the Hundred, ii. 243
-
-    Flute, ii. 287, 288
-
-    “Flying gallop,” i. 12
-
-    Fly-whisk, ii. 287
-
-    _Fo lang_, ii. 209, 231
-
-    _Fo t’ou ch’ing_, ii. 30, 98
-
-    Foot, finishing off the, ii. 92, 202, 249
-
-    Foot rim, grooved, ii. 26, 92, 129
-
-    Forgeries, ii. 304–307
-
-    Forms, ii. 60, 272–279
-
-    Fou-liang, i. 140, 152
-
-    Fou-liang, Annals of, i. 141, 153, 155; ii. 35, 228, 231
-
-    Franks Collection, i. _xxiii_; ii. 4, 5, 14, 17, 21, 26, 27, 121
-
-    Franks, Sir Wollaston, ii. 212
-
-    Freer Collection, i. 33, 71, 114, 129
-
-    French, A. B., ii. 212
-
-    “Fresh red,” ii. 35, 36, 123
-
-    Fretwork, incised, ii. 76
-
-    Friends, three, ii. 269, 289, 296
-
-    Frog wares, ii. 66
-
-    Frog’s spawn, ii. 167
-
-    Fruits, three, ii. 11, 204, 224, 296
-
-    _Fu_ (happiness), ii. 11
-
-    Fu Chou, i. 16
-
-    _Fu fan chih ts’ao_, ii. 108
-
-    Fu Hsi, ii. 41, 290
-
-    _Fu ju tung hai_, ii. 62
-
-    _Fu kuei_ flower, ii. 294
-
-    _Fu lang_, ii. 231
-
-    Fu, Lu, Shou, ii. 62
-
-    _Fu sê_, ii. 24, 26
-
-    _Fu shou k’ang ning_, ii. 43, 75
-
-    Fu-hsing, ii. 287
-
-    Fukien porcelain, i. 8; ii. 78, 108, 110, 251, 259
-
-    Fulham, i. 178
-
-    “Funeral vases,” i. 56, 147
-
-    Fungus design, ii. 11, 95, 204, 224
-
-    Furnace transmutations, i. 137, 156, 175; ii. 18, 192, 218, 232
-
-
-    G (mark), ii. 136, 137, 167
-
-    Gama Sennin, ii. 288
-
-    Gandhara, i. 17
-
-    Garlic-shaped vases, ii. 273
-
-    Gems, seven, ii. 298
-
-    General, the chess-playing, i. 79
-
-    Genghis Khan, i. 159
-
-    Genii of Mirth and Harmony, Twin, ii. 159, 288
-
-    Gilding, i. 163, 177; ii. 37, 102, 162, 164, 173, 183, 215, 226,
-      231, 246
-
-    Giles, H. A., i. 24
-
-    Ginger jar, i. 182; ii. 134
-
-    Glass, i. 200; ii. 215
-
-    Glass, Bristol, ii. 215
-
-    Glass, _mille fiori_, ii. 234
-
-    Glaze, bird’s egg, i. 177; ii. 217, 233
-
-    Glaze, black, i. 11, 31, 42, 93, 103, 106, 131; ii. 192
-
-    Glaze, chocolate brown, i. 31
-
-    Glaze, crystalline, i. 171, 178
-
-    Glaze, donkey’s liver and horse’s lung, i. 119
-
-    Glaze, dragon skin, i. 110, 113
-
-    Glaze, first use of, i. 8
-
-    Glaze, _flambé_, i. 50, 118, 119, 168, 205; ii. 85, 124, 193, 218,
-      232, 233, 235
-
-    Glaze, Han, i. 10
-
-    Glaze, hare’s fur, i. 93
-
-    Glaze, iron rust, ii. 233
-
-    Glaze, lavender, i. 48, 63, 109, 168
-
-    Glaze, lavender grey, i. 49
-
-    Glaze, lemon yellow, ii. 264
-
-    Glaze, leopard skin, ii. 192
-
-    Glaze, liver, ii. 238
-
-    Glaze, maroon red, ii. 178, 179, 238
-
-    Glaze, Ming, ii. 93
-
-    Glaze, moon white, ii. 224
-
-    Glaze, oil green, ii. 224
-
-    Glaze, old turquoise, i. 48
-
-    Glaze, opalescent, i. 50, 51, 62, 110, 118
-
-    Glaze, peach bloom, ii. 99, 146, 176, 177, 178, 179
-
-    Glaze, pea green, ii. 37, 99
-
-    Glaze, preparing the, ii. 248
-
-    Glaze, red, i. 117; ii. 10, 11, 64, 79
-
-    Glaze, red Chün, i. 117
-
-    Glaze, robin’s egg, i. 120; ii. 217
-
-    Glaze, shrivelled, i. 110; ii. 31, 245
-
-    Glaze, sun-stone, i. 200
-
-    Glaze, T’ang, i. 24, 31
-
-    Glaze, turquoise, i. 48, 103; ii. 18, 99, 127, 184, 185, 224
-
-    Glaze, varieties of black, ii. 229
-
-    Glaze, yellow, ii. 28, 126
-
-    Glaze. _See also_ Black, Blue, Red, Yellow, Green, etc. _Also_
-      _Clair de lune_, _Sang de bœuf_, Crackle, Hare’s fur,
-      Kingfisher’s feathers, Tea dust, Iron rust.
-
-    Glazes, Chün, i. 114, 118, 120
-
-    Glazing, methods of, ii. 92, 249
-
-    Glazing mixture, ii. 163
-
-    Gods of longevity, rank, and happiness, ii. 159
-
-    Goff Collection, i. 193
-
-    Golden brown, ii. 65
-
-    Gombroon ware, i. 148; ii. 173
-
-    Gotha Museum, i. 71, 79
-
-    Gourd shape, ii. 94, 273, 287
-
-    Gouthière, ii. 194
-
-    Graceful ladies, ii. 40, 136
-
-    Græco-Buddhist influence, i. 34
-
-    Græco-Roman influence, i. 35
-
-    _Graffiato_, i. 106, 107, 135
-
-    “Grains of millet,” ii. 13
-
-    Grain pattern, i. 44
-
-    Grandidier Collection, Louvre, i. _xxiii_, 185, 195; ii. 75, 163,
-      168
-
-    Grape vine cup, ii. 24
-
-    Grass characters, ii. 301
-
-    Grasshoppers, ii. 24
-
-    _Graviata_, ii. 239
-
-    Great Bear, ii. 284
-
-    Great Wall of China, i. 202
-
-    Green, ii. 238
-
-    Green, apple, ii. 177, 188
-
-    Green, cucumber tint, ii. 157, 238
-
-    Green, _eau de nil_ tint, ii. 238
-
-    Green, emerald, ii. 37, 51, 52, 271
-
-    “Green of a thousand hills,” i. 82
-
-    Green, opaque bluish, ii. 244
-
-    Green, snake skin, ii. 127, 187, 223, 238
-
-    Grœneveldt, W. P., ii. 12
-
-    Grotto pieces, i. 197; ii. 151
-
-    Grünwedel Expedition, i. 16, 23
-
-    Gulland, W., ii. 29
-
-    Gypsum, ii. 77, 196
-
-
-    _Haarlem_, ii. 136
-
-    Hainhofer, Philipp, ii. 48, 73
-
-    _Hai shou_, ii. 61, 293
-
-    _Hakugorai_, i. 151
-
-    Hall marks, i. 217; ii. 265
-
-    Halsey, Mrs., ii. 13, 47, 78
-
-    Hamburg Museum, ii. 90
-
-    Han dynasty, the, i. 5–22
-
-    Han glaze, i. 10
-
-    _Han hsing_, i. 97
-
-    Handles, i. 165; ii. 277
-
-    Hang Chou, i. 43, 45, 60, 67, 72
-
-    Hang Chou Kuan ware, i. 61, 134
-
-    _Han Kan_, i. 25
-
-    Han Lin College, i. 218
-
-    Han-tan, i. 147
-
-    Hao Shih-chiu, ii. 64, 178, 219
-
-    “Happy meeting,” ii. 282
-
-    Hare mark, ii. 67, 82
-
-    Hare, the, ii. 286, 289, 291
-
-    “Hare’s fur” glaze, i. 93, 94, 113, 131, 133, 164; ii. 108
-
-    Hâriti, ii. 111
-
-    Hat stand, ii. 31, 97, 277
-
-    Hawthorn design, ii. 134
-
-    Heaven, symbol of, ii. 41
-
-    Heaven, Temple of, i. 205; ii. 195, 238
-
-    _Hei chê shih_, ii. 98
-
-    Hêng fêng, i. 201
-
-    Herend, ii. 306
-
-    Heroes of Han dynasty, the three, ii. 281
-
-    “Hill censer,” i. 12
-
-    “Hill jar,” i. 12
-
-    Hippisley, A. E., ii. 64, 122, 216, 290, 292, 300
-
-    Hippisley Collection, ii. 99, 207, 215, 246, 265
-
-    Hirado, ii. 14, 25, 76, 147
-
-    Hirth and Rockhill, i. 86, 88, 188
-
-    Hirth Collection, i. 71
-
-    Hirth, Prof., i. 5, 67, 81, 86, 89, 143, 145, 146, 188; ii. 30
-
-    _Ho_ (colour), i. 40
-
-    Ho Chou, i. 32, 94, 97
-
-    Ho Ch’ou, i. 17, 143, 144, 147
-
-    Ho Chung-ch’u, i. 153
-
-    Ho Hsien-ku, ii. 152
-
-    Honan, i. 193
-
-    Honan Fu, i. 27, 130; ii. 305
-
-    “Honeysuckle” pattern, i. 35
-
-    Hookah bowl, ii. 97
-
-    Ho-pin, i. 1
-
-    Horses of Mu Wang, the eight, ii. 289
-
-    Horses, sea, ii. 294
-
-    Horse, the white, ii. 286
-
-    Hose and McDougall, i. 193
-
-    Ho-shang, ii. 285
-
-    Hotei, ii. 285
-
-    Hou Hsien Shêng, ii. 288
-
-    Hsi Shih, ii. 282
-
-    Hsi Wang Fu, ii. 288
-
-    Hsi Wang Mu, i. 7; ii. 107, 141, 264, 286, 288, 289
-
-    Hsi yao, i. 97
-
-    Hsi Yung Chêng, i. 135
-
-    Hsi-an Fu, i. 15
-
-    Hsiang, i. 105
-
-    _Hsiang Ch’i_, ii. 282
-
-    Hsiang family, i. 199
-
-    _Hsiang ling ming huan chih_, i. 24
-
-    Hsiang yao, i. 96
-
-    Hsiang Yüan-p’ien, i. 50, 54; ii. 14
-
-    Hsiang-hu, i. 71; ii. 220, 224
-
-    Hsiang’s Album, i. _xviii_, 62, 71, 77, 90, 93, 94, 118, 161, 175;
-      ii. 7, 9, 12, 13, 20, 21, 23, 24, 25, 32, 127
-
-    Hsiao Hsien, i. 97
-
-    _Hsiao nan_, ii. 65
-
-    Hsieh An, ii. 282
-
-    Hsieh Min, ii. 223, 229, 230, 231, 237
-
-    _Hsien_, ii. 40, 289
-
-    Hsien Fêng, ii. 267
-
-    _Hsien hung_, ii. 3, 6, 10, 11, 34, 37, 52, 55, 59, 99, 123, 223
-
-    _Hsin Chou_ year, ii. 213
-
-    Hsin-p’ing, i. 141, 152, 156
-
-    _Hsin ting_, i. 94
-
-    Hsing Chou, i. 37, 147
-
-    _Hsiu hua_, i. 91, 101, 161
-
-    _Hsiu nei ssŭ_, i. 59, 60, 61
-
-    Hsü Ch’ih, ii. 35, 55
-
-    Hsü Ching, i. 39, 54, 151
-
-    Hsü Chou, i. 107, 108, 166
-
-    _Hsü hua t’ang_, ii. 265
-
-    _Hsü Shui Hu_, ii. 281
-
-    Hsü Tz’ŭ-shu, i. 93
-
-    Hsü wares, i. 66
-
-    Hsü Yu-ch’üan, i. 175
-
-    Hsüan Chou, i. 201
-
-    _Hsüan ho po ku t’u lu_, i. 44
-
-    Hsüan Tê, ii. 6, 7–21, 22, 24, 32, 204, 246
-
-    Hsüan T’ung, ii. 271
-
-    Hsü-chên, ii. 35
-
-    Hsün-wares, i. 66, 134
-
-    Hu kung, ii. 64
-
-    _Hu yin tao jên_, ii. 64, 65
-
-    _Hua_ (ornament), i. 91; ii. 43, 130
-
-    _Hua hua_ (carved ornament), i. 91, 106
-
-    _Hua shih_ (steatite), i. 99; ii. 141, 196, 198, 201
-
-    Huai-ch’ing Fu, i. 201
-
-    Huang An, ii. 288
-
-    Huang Ti, i. 1
-
-    Huang-chih, i. 143
-
-    Huang-ssŭ, i. 205
-
-    Hua-ting Chou, ii. 107
-
-    _Hui hui ch’ing_, ii. 12, 98
-
-    _Hui hui hua_, ii. 31
-
-    _Hui hui wên_, ii. 31
-
-    _Hui hu ta ch’ing_, ii. 13
-
-    _Hui sê_ (ash colour), i. 61, 67, 71; ii. 199
-
-    Hui Tsung, ii. 164
-
-    Hulagu Khan, ii. 30
-
-    Hundred Antiques, the, ii. 297, 298
-
-    Hundred Birds, ii. 295
-
-    Hundred Deer, the, ii. 61, 243
-
-    Hung Chih, ii. 28, 29
-
-    Hung-chien, i. 108
-
-    Hung Chou, i. 38
-
-    _Hung fu ch’i t’ien_, ii. 62, 300
-
-    Hung Wu, ii. 1, 2
-
-    _Huo yen ch’ing_, i. 113
-
-    Hu-t’ien, i. 160, 163; ii. 28
-
-
-    _I chih_, i. 208; ii. 35, 38
-
-    IHS, ii. 252
-
-    _I shou_, ii. 61
-
-    Imari, ii. 171, 173, 174
-
-    Imari, Chinese, ii. 161, 173, 174
-
-    Imitation of Chia Ching ware, ii. 225
-
-    Imitation of Chün glazes, ii. 217, 268, 223, 224
-
-    Imitation of Chün yao, ii. 234
-
-    Imitation of five colour porcelain, ii. 208
-
-    Imitation of Hsüan Te and Chêng Hua wares, ii. 55, 224
-
-    Imitation of Ko, Kuan, Ju and Lung-ch’üan glazes, ii. 223, 268
-
-    Imitation of mother-of-pearl, ii. 234
-
-    Imitation of peach bloom, ii. 178
-
-    Imitation of Sung wares, ii. 216, 224
-
-    Imitation of the antique, ii. 201, 203, 243
-
-    Imitation of Ting ware, ii. 65, 74, 142, 197, 223
-
-    Imitation of Tung-ch’ing and Lung-ch’üan glazes, ii. 224
-
-    Imitation of various substances in porcelain, ii. 234
-
-    Imitations, i. 83, 117, 119, 120; ii. 11, 43, 82, 156, 203, 304–307
-
-    Immortals, Eight Taoist, i. 79; ii. 40, 110, 134, 141, 159, 287,
-      289
-
-    Immortals of the Wine Cup, Eight, ii. 130, 282
-
-    Imperial colours, ii. 189
-
-    Imperial factory, i. 123, 153; ii. 1, 29, 30, 64, 105
-
-    Imperial porcelains, lists of, ii. 223, 267, 268
-
-    Imperial vases, ii. 81
-
-    Imperial wares, ii. 148, 195, 207, 229
-
-    Incense burners, i. 128, 161, 194, 198, 206; ii. 108, 112, 113, 276
-
-    Incised designs, ii. 112
-
-    Incised fret pattern, ii. 275
-
-    India, i. 88, 193; ii. 44, 76, 278
-
-    Indian lotus, ii. 25, 38
-
-    Indian market, wares for, ii. 73, 76, 78, 81
-
-    Ink pallet, ii. 80, 155, 276
-
-    Ink, porcelain painted in, ii. 214, 225, 229
-
-    Ink screens, ii. 160, 276
-
-    Ink slab, ii. 31
-
-    Inlaid designs, i. 84
-
-    Inlaid ornament, i. 107
-
-    Insect cages, ii. 246
-
-    Inscriptions, i. 177; ii. 62, 112, 252, 301
-
-    Inscriptions, Koranic, ii. 255
-
-    Inscriptions, posthumous, i. 9, 12
-
-    Iridescent colours, ii. 241, 242
-
-    Iron oxide, ii. 189
-
-    _Islam_, i. 148
-
-    Isles of the blessed, ii. 286
-
-    Ispahan, ii. 30
-
-    Italian wares, i. 106; ii. 44
-
-    Itier, M., ii. 10, 230
-
-    I-yang, i. 201
-
-    I-yang Hsien, i. 201
-
-
-    Jacquemart, ii. 160, 211
-
-    Jade Emperor, ii. 291
-
-    Jade, green, i. 82
-
-    Jade Hall, ii. 75
-
-    “Jade” mark, ii. 252
-
-    Jade, ware turned to, i. 99
-
-    Jao-chou Fu, i. 152; ii. 34, 107
-
-    “Jao-chou jade,” i. 156, 157
-
-    Jao-chou wares, old, i. 161
-
-    Japan Society of New York, exhibition of, i. 72, 113
-
-    Japanese patterns, ii. 174
-
-    Japanese porcelains, ii. 264
-
-    _Japanese Temples and their Treasures_, i. 36
-
-    Jesuit china, ii. 252, 255
-
-    Jesuits, ii. 122, 123
-
-    Jewel, Buddhist, ii. 286
-
-    Jewel Hill, i. 154; ii. 1
-
-    Jewels, set with, ii. 51, 113
-
-    Jih-nan, i. 144
-
-    “Joyous meeting” design, ii. 56
-
-    Ju-chou, i. 52, 56
-
-    Ju-chou wares, i. 39, 42, 45, 48, 49, 51, 52–59, 61, 67, 89, 90,
-      92; ii. 9, 10, 123
-
-    _Ju shih wo wên_, i. 41
-
-    _Ju-i_ head or cloud border, i. 113; ii. 289
-
-    _Ju-i_ pattern, ii. 71, 83, 130, 131
-
-    _Ju-i_ sceptre, ii. 42, 287, 289
-
-    Julien, i. 143, 145, 162; ii. 10, 24, 127, 228, 230, 234, 248, 266
-
-    Ju-ning Fu, i. 198
-
-    Junk, ii. 151
-
-
-    Kaga ware, ii. 155
-
-    K’ai-fêng Fu, i. 43, 52, 59, 60, 82, 109
-
-    Kaiser Friederik Museum, i. 148
-
-    Kakiemon ware, ii. 173, 174
-
-    _Kaki temmoku_, i. 31
-
-    Kan Chou, i. 135
-
-    K’ang Hsi, ii. 14, 27, 47, 77, 79, 80, 118, 122, 126, 128–199
-
-    K’ang Hsi blue and white, ii. 67, 128–144
-
-    _K’ang Hsi Encyclopædia_, i. 127, 187; ii. 107, 109, 197
-
-    K’ang Hsi mark, ii. 155, 177, 242, 271
-
-    K’ang Hsi monochromes, ii. 176
-
-    _Kao chai man lu_, i. 38
-
-    Kao Chiang-ts’un, ii. 23, 24, 25
-
-    _K’ao kung chi_, i. 1
-
-    Kao Tan-jên, ii. 23
-
-    Kao Tsung, i. 19
-
-    Kaolin, i. 123, 148; ii. 91, 123, 248
-
-    Karabacek, Professor, i. 86
-
-    Ka-shan, i. 206
-
-    Kennedy Collection, ii. 149, 194, 238
-
-    Kenzan, i. 103
-
-    Kershaw, F. S., i. 12
-
-    Key-fret, ii. 291
-
-    “Keyser cups,” ii. 252
-
-    Khotan, i. 23
-
-    Kichimojin, ii. 111
-
-    Kiln supports, tubular, i. 85
-
-    Kilns, Chinese, ii. 100
-
-    Kilwa, i. 87
-
-    “Kingfisher’s feathers,” i. 82
-
-    _Kinrande_, ii. 6
-
-    Kinsai, i. 22
-
-    Kin-shan, Temple of, i. 205; ii. 291
-
-    _Kinuta seiji_, i. 57
-
-    Kirk, Sir John, i. 87, 88
-
-    Kishiu, i. 197
-
-    Ko Ming-hsiang, i. 168, 171
-
-    Ko ware, i. 45, 48, 49, 65, 67–72, 73, 76, 77, 98, 99, 134, 181;
-      ii. 65, 199, 220
-
-    Ko Yüan-hsiang, i. 168
-
-    _Kochi yaki_, i. 190
-
-    Koranic inscriptions, ii. 255
-
-    _Ku chin t’u shu chi ch’êng_, ii. 107
-
-    _Ku ch’u_, i. 92
-
-    Ku Liu, i. 68
-
-    Ku Ying-t’ai, i. 40
-
-    _Ku yü t’u p’u_, i. 44
-
-    Kua Chou, i. 202
-
-    Kuan Chung, i. 16
-
-    _Kuan ku_, i. 54
-
-    Kuan P’ing, ii. 284
-
-    Kuan Ti, ii. 159, 284
-
-    Kuan wares, i. 45, 48, 49, 51, 59–67, 72, 77, 82, 124, 134, 181;
-      ii. 9, 65, 223
-
-    Kuan Yü, i. 203; ii. 110, 283
-
-    Kuang Hsi, ii. 271
-
-    Kuang Wu, i. 18
-
-    Kuang yao, i. 166, 172; ii. 224
-
-    Kuangtung, i. 123; ii. 78
-
-    Kuangtung wares, i. 166–173; ii. 217, 224
-
-    _Kuan-tzŭ_, the, i. 3
-
-    Kuan-yin, i. 176; ii. 18, 29, 110, 111, 156, 285
-
-    Kuan-yin vase, i. 55
-
-    Kublai Khan, i. 159
-
-    _K’uei fêng_, ii. 269, 293
-
-    _Kuei hai yü hêng chih_, i. 136
-
-    Kuei Hsing, ii. 159, 284
-
-    _Kuei lung_, ii. 292
-
-    Ku-li, ii. 209
-
-    Kümmel, Dr., i. 85
-
-    Kung-ch’un, i. 175, 176
-
-    Kung Hsien, i. 107
-
-    _Kung ming fu kuei_, ii. 294
-
-    Kunstgewerbe Museum, Berlin, i. _xxiii_, 100; ii. 51, 252
-
-    K’un-wu, i. 1
-
-    Kuo Tao-yüan, i. 39, 147
-
-    _Ku-yuëh-hsüan_, ii. 202, 215, 264
-
-    Kylin. See _Ch’i-lin_.
-
-
-    _Lac burgauté_, ii. 247
-
-    Lacework, ii. 246, 263
-
-    Lacquer, ii. 234, 263, 265
-
-    Laffan, Mr., ii. 118
-
-    Lambert, arms of Sir John, ii. 257
-
-    Lamp, porcelain, ii. 200
-
-    Lancastrian pottery, i. 49, 200
-
-    Landscape, ii. 296
-
-    Lang Shih-ning, ii. 122
-
-    Lang T’ing-tso, ii. 118, 121, 122
-
-    _Lang yao_, ii. 118, 119, 121, 122, 123, 124, 170, 176, 188
-
-    _Lange lijsen_, ii. 40, 136, 282
-
-    Lanterns, ii. 246, 277
-
-    Lan Tsa’i-ho, ii. 287, 289
-
-    Lao Yang, i. 26
-
-    Lao-tzŭ, ii. 40, 159, 283, 286
-
-    Lapidary, designs cut by, ii. 260
-
-    _L’Astrée_, i. 78
-
-    Laufer, Berthold, i. 3, 4, 6, 9, 10, 11, 15, 27, 44, 55, 65, 103,
-      144, 182, 188, 189; ii. 41, 289, 294, 295, 296
-
-    Law’s bubble, John, ii. 260
-
-    Le Sueur, ii. 255
-
-    Leaf stencilling, i. 106
-
-    _Lei kung ch’i_, i. 199
-
-    Lei-hsiang, i. 199
-
-    _Lettres édifiantes et curieuses_, ii. 127
-
-    _Li_, a, i. 155
-
-    Li Chü-lai, ii. 228
-
-    _Li Chung-fang_, i. 175
-
-    Li Fêng-ming, i. 62
-
-    _Li hsi yai_, i. 91
-
-    Li Hung-chang, ii. 267
-
-    Li Jih-hua, ii. 65
-
-    _Li ki_, i. 44
-
-    Li Po, i. 23
-
-    _Li t’a k’an k’ao ku ou pien_, i. 41, 127; ii. 115
-
-    _Liang ch’i man chih_, i. 107
-
-    Libation cups, ii. 278
-
-    Library table apparatus, ii. 275
-
-    Life movement, i. 136
-
-    Lin-ch’ing, i. 200, 202
-
-    Lin-ch’uan, i. 164
-
-    _Ling chih_, ii. 38, 95, 286, 289
-
-    _Ling lung_ (pierced work), ii. 59, 63, 74, 76, 102
-
-    _Ling nan hui chê_, ii. 211
-
-    _Ling piao lu i_, i. 166
-
-    Lin-kuei, i. 136
-
-    Lin-tzŭ, i. 4
-
-    Lions, ii. 39, 68, 272, 286, 293
-
-    Lions, Buddhist, ii. 149, 159
-
-    Lions in peony scrolls, ii. 81
-
-    “Liquid dawn cups,” ii. 64, 219
-
-    Li-shui Hsien, i. 76
-
-    Li T’ai-po, ii. 160, 177, 185, 282, 292, 296
-
-    Literary success, symbol of, ii. 291, 299
-
-    Literature, gods of, ii. 284, 287
-
-    _Liu ch’ing jih cha_, i. 52, 60, 92, 96, 113, 132, 133
-
-    Liu Han, ii. 288, 291
-
-    Liu t’ien, i. 67, 76
-
-    Liu Yen-t’ing, i. 55, 56
-
-    Liu-hsün, i. 166
-
-    _Liu-li_, i. 17, 143, 144, 161
-
-    Liu-li-chü, i. 200, 202
-
-    Li-shui Hsien, i. 80
-
-    Liu-t’ien Shih, i. 80
-
-    Liverpool, ii. 141
-
-    Lograft, ii. 292
-
-    Lohan, i. 35; ii. 285
-
-    _Lo kan ma fei_, i. 118
-
-    Lokapalas, i. 27
-
-    Long Elizas, ii. 136, 282
-
-    Longevity, ii. 286
-
-    Longevity, emblems of, ii. 62, 289
-
-    Longevity, god of, ii. 40, 108, 159
-
-    Longevity, hills of, ii. 286
-
-    Lorenzo de Medici, i. 87
-
-    Lorenzo, Magalotti, Count, i. 178
-
-    Lotus, ii. 25, 287, 288, 296
-
-    Lotus, Indian, ii. 25
-
-    Lotus service, ii. 245
-
-    Louis XIV., ii. 252
-
-    Love chase, ii. 134
-
-    Lowestoft, i. 187; ii. 173, 250, 251, 258, 259, 260
-
-    Lo-yang, i. 16, 143; ii. 62, 285
-
-    Lu, i. 188
-
-    Lu Hung-chien, i. 107
-
-    Lu Kuei-mêng, i. 37
-
-    Lu Yü, i. 37
-
-    _Luan_, ii. 293
-
-    _Luan ch’ing_, i. 62
-
-    _Luan pai_, i. 53, 61, 62, 71
-
-    Lu-hsing, ii. 287
-
-    Lung Ch’ing, ii. 55, 56, 57
-
-    _Lung kang_, ii. 229
-
-    _Lung ma_, ii. 41, 294
-
-    Lung Nü, ii. 110
-
-    Lung Shang, i. 201
-
-    Lung-ch’üan wares, i. 45, 46, 48, 49, 61, 72, 76–88, 134, 156, 189;
-      ii. 94, 189
-
-    Lung-mên, ii. 284
-
-    Lustre, golden, ii. 241
-
-    Lyman’s Collection, ii. 78
-
-
-    Ma-Chuang, i. 194
-
-    _Ma-chün_, i. 124
-
-    Ma-k’êng, i. 201
-
-    _Ma nao_, ii. 10, 123
-
-    Ma-ts’ang, ii. 35, 59, 91
-
-    Magnolia blossom cups, i. 95
-
-    Magnolia design, ii. 134
-
-    Magpies, ii. 291, 294
-
-    _Man_, i. 31
-
-    Manchu, ii. 86
-
-    Mandarin porcelain, ii. 245, 259
-
-    Mandarin ducks, ii. 294
-
-    _Mang_, ii. 292
-
-    Manganese, ii. 98, 184
-
-    Manjusri, ii. 110, 285
-
-    Mantis, praying, ii. 295
-
-    Marbling, i. 33, 107; ii. 78
-
-    Marco Polo, i. 22, 43, 86, 188; ii. 113
-
-    Mark, spider, ii. 140
-
-    Marks, i. 207–224
-
-    Marks and symbols, miscellaneous, i. 227
-
-    Marks, cyclical, i. 210
-
-    Marks, date, i. 210
-
-    Marks, hall, i. 217–219; ii. 265
-
-    Marks, imperial, ii. 244
-
-    Marks, numerals as, i. 109
-
-    Marks of commendation, i. 187, 224, 226; ii. 6, 136
-
-    Marks of dedication, i. 224
-
-    Marks of felicitation, i. 224, 225
-
-    Marks of painters, ii. 212
-
-    Marks, palace, ii. 264
-
-    Marks, palace hall, i. 220
-
-    Marks, potters’, i. 221–222
-
-    Marks, prohibited date, i. 208
-
-    Marks, shop, i. 220; ii. 89, 113, 152
-
-    Martaban, i. 77, 88
-
-    _Martabani_, i. 77
-
-    Martin, Dr., i. 34
-
-    Massagetae, i. 144
-
-    “Mat marking,” i. 3
-
-    Mazarin, Cardinal, ii. 183
-
-    “Mazarine blue,” ii. 183
-
-    Measures, Chinese, ii. 234
-
-    Medallion bowls, ii. 264
-
-    Medici porcelain, ii. 44
-
-    _Mei hua_ (prunus), ii. 153
-
-    _Mei jên_, ii. 136, 282
-
-    _Mei p’ing_, ii. 79, 94, 95, 274
-
-    Meissen, i. _xvi_; ii. 112, 173, 251, 258, 261
-
-    Melon-shaped vases, i. 32, 97; ii. 47, 94
-
-    Metal band on mouth, i. 90
-
-    Metallic specks, i. 200
-
-    Metropolitan Museum, New York, i. _xxiii_; ii. 251
-
-    Meyer, A. B., i. 86, 87, 193
-
-    _Mi sê_ (millet colour), i. 68, 71, 99; ii. 28, 190, 199, 220,
-        223, 224, 225
-
-    _Miao hao_, i. 213
-
-    Milky way, ii. 291
-
-    _Mille fiori_ glass, ii. 234
-
-    _Mille fleurs_, ii. 295
-
-    Millet colour. See _Mi sê_.
-
-    Millet markings in glaze, ii. 9, 13, 93
-
-    _Ming ch’ên shih pi chou chai yü t’an_, ii. 52, 57
-
-    Ming colours, ii. 98
-
-    Ming period, porcelain assigned to, ii. 151, 155
-
-    Ming pottery, i. 194
-
-    Ming shapes, ii. 94
-
-    Ming Ti, i. 6; ii. 284
-
-    Ming Tombs, near Nanking, i. 205
-
-    Ming Yüan-Chang, ii. 303
-
-    Minister, the Chinese, ii. 233
-
-    Minoan pottery, i. 2
-
-    Mirror black, ii. 192
-
-    Miscellaneous marks and symbols, i. 227
-
-    Miscellaneous potteries, i. 184–206
-
-    Mitford Collection, ii. 121, 122
-
-    _Mo hung_, ii. 179, 225
-
-    Mohammedan blue, ii. 3, 12, 21, 29, 32, 33, 34, 35, 37, 43, 44, 45,
-      52, 59, 66, 70, 98
-
-    Mohammedan design, ii. 31
-
-    Mohammedan flowers, ii. 31
-
-    Mombasa, i. 87
-
-    Mongols, i. 159, 165; ii. 1, 27
-
-    Monkey in design, ii. 82, 294, 297
-
-    Monkhouse, Cosmo, i. _xviii_, 55, 68, 124; ii. 26, 90, 220, 223
-
-    Months, flowers for, ii. 295
-
-    Monochrome, lustrous brown, ii. 191
-
-    Monochromes, blue, ii. 179
-
-    Monochromes, dating of, ii. 176
-
-    Monochromes, green, ii. 187, 238
-
-    Monochromes, red, ii. 177
-
-    Monochromes, yellow, ii. 189
-
-    Moon, goddess of, ii. 291
-
-    Morgan Collection, Pierpont, i. _xxiv_; ii. 29, 51, 69, 70, 79, 81,
-      116, 118, 156, 168, 220
-
-    Mortuary wares, i. 24
-
-    Mosaic, ii. 133
-
-    Mother-of-pearl, ii. 234, 247
-
-    Motives for painted decoration, ii. 60, 280
-
-    Mott, Mr., i. 168; ii. 177
-
-    Moulds, i. 2, 27
-
-    Mounts, metal, on porcelain, ii. 68, 69, 77
-
-    Mu Wang, Emperor, ii. 288
-
-    Mu Wang, the eight horses of, ii. 289
-
-    Muffle kiln, i. 120, 177; ii. 20, 79, 101
-
-    Munich, National Museum at, ii. 73
-
-    Musée Cernuschi, i. _xxiii_, 56
-
-    Musée Guimet, i. _xxiii_; ii. 288
-
-    Museum für Ostasiatische Kunst, i. 133
-
-    “Musical cups,” i. 39, 146
-
-    Musical instruments, eight, ii. 297
-
-    Musical instruments, porcelain, ii. 201
-
-    “Mustard crackle,” ii. 220
-
-
-    Nagasaki, ii. 173
-
-    Nail heads, i. 53
-
-    _Namako_, i. 167
-
-    Names, potters’, i. 223
-
-    Nan (-ning Fu), i. 137
-
-    Nan-Ch’ang, i. 152
-
-    Nan-fêng Hsien, i. 98, 164
-
-    _Nan ting_, i. 89
-
-    Nanking, i. 153, 187, 202, 206
-
-    Nanking, Old, ii. 173
-
-    Nanking Pagoda, i. 202; ii. 4, 20
-
-    Nan Shan, i. 15
-
-    Nara Collection, i. 23, 25, 32
-
-    Narghili bowls, ii. 77, 278
-
-    Natural History Museum, New York, i. _xxiv_, 182
-
-    Nature worship, ii. 290, 292
-
-    Nei yao, i. 61
-
-    _Neue Rundschau_, i. 35
-
-    Neuwenhais, i. 193
-
-    New Year, Chinese, ii. 134
-
-    New York Exhibition, i. 72, 113
-
-    _Ni ku lu_, i. 218
-
-    Nicholls, Dr., i. 15, 146
-
-    _Nien hao_, i. 213, 214
-
-    Nien Hsi-yao, ii. 121, 200, 227
-
-    Nien yao, ii. 121
-
-    Nightingale Collection, ii. 75
-
-    Ninagawa, Mr., ii. 115
-
-    _Ning chai ts’ung hua_, i. 136
-
-    Ning-kuo Fu, i. 201
-
-    Ningyo-de, i. 164
-
-    North, symbol of, ii. 41
-
-    Northern Sung, i. 52, 54
-
-    Nose drinking, i. 136
-
-    Numerals as marks, i. 109, 110, 113, 114
-
-    Nur-ed-din, i. 87
-
-    Nyo-fu ware, i. 97
-
-
-    O. C. A. (_Oriental Ceramic Art_, by S. W. Bushell), _passim_.
-
-    _Oesterreichische Monatschrift_, i. 86
-
-    O-fu. i. 2
-
-    _O-t’u_ (white earth), ii. 107
-
-    Ogre design, ii. 133, 263, 290
-
-    Old Imari, ii. 174, 260
-
-    “Old Kochi,” i. 190
-
-    _O mi t’o fo_ (Amitabha Buddha), i. 100; ii. 302
-
-    On-biscuit decoration, ii. 242
-
-    On-glaze enamels, ii. 18, 48
-
-    “Onion green,” i. 62
-
-    Opalescence, i. 50
-
-    Openwork designs, i. 177; ii. 102, 245, 246
-
-    Opium pipes, i. 177; ii. 277
-
-    Orange, ii. 296
-
-    Orange peel markings, ii. 8, 9
-
-    Orchid Pavilion, ii. 281
-
-    _Orientalisches Archiv_, i. 145
-
-    “Oriental Lowestoft,” ii. 251
-
-    Ormolu mounts, French, ii. 146, 194
-
-    Ornament, symbolical, ii. 285
-
-    Orrock Collection, ii. 134
-
-    _Ostasiatischer Zeitschrift_, i. 27
-
-    Ou, i. 17, 37, 120, 181; ii. 65, 217
-
-    Ou, Eastern, ii. 108
-
-    Owen, ii. 76
-
-    Ox, ii. 286
-
-    Oxide of copper, i. 118, 137
-
-    Oxides, metallic, i. 49
-
-
-    _Pa chi hsiang_, ii. 25, 42
-
-    _Pa kua_ (Eight Trigrams), ii. 39, 41, 67, 274, 290
-
-    Pa-kwoh, i. 187
-
-    _Pa pao_ (Eight Precious Symbols), ii. 42
-
-    _Pa pei_ (handle cups), ii. 7, 23
-
-    Pa Shan, waterfalls of, ii. 43
-
-    Pagoda, porcelain, i. 202; ii. 4, 20
-
-    _Pai ma_, ii. 286, 294
-
-    _Pai-o_, i. 146
-
-    Pai-shih, ii. 211, 212, 213
-
-    _P’ai-shih-lei-p’ien_, i. 68
-
-    Pai-shui, i. 199
-
-    _Pai-ting_, i. 92, 96
-
-    Pai-t’u Chên, i. 97
-
-    _Pai-tz’ü_, ii. 109
-
-    Painted decoration, i. 161
-
-    Painted T’ang wares, i. 34
-
-    Painted ornament, i. 91
-
-    Painted red flowers, i. 136
-
-    Painted Tz’ŭ ware, i. 101, 103
-
-    Painters’ signatures and seals, ii. 164, 212
-
-    Painting, i. 33
-
-    Painting in enamels, i. 46
-
-    Painting in gold, ii. 21
-
-    Painting porcelain, system of, ii. 63, 105, 106, 163, 239
-
-    Painting, red and green, i. 104
-
-    Pak-hoi, i. 172, 173, 184
-
-    Palace hall marks, i. 220
-
-    Palace porcelain, ii. 1, 271, 293
-
-    “Palm eye” markings, i. 53; ii. 9, 93, 219
-
-    Palmette-like ornaments, i. 28
-
-    Panel decoration, ii. 133
-
-    Pan Fei, i. 24
-
-    _Pan t’o tai_ (“half bodiless”), ii. 3, 195
-
-    P’an Yo, i. 16
-
-    _Pao hsiang hua_, ii. 39, 87, 295
-
-    Pao kuo ssŭ temple, ii. 18
-
-    _Pao shao_, ii. 24, 224
-
-    _Pao shih hung_, ii. 10, 24, 59, 99, 123, 223
-
-    _Pao shih lan_, ii. 219, 224
-
-    Paper-beater, shape, ii. 268, 274
-
-    _Paragons of Filial Piety, the Twenty-Four_, ii. 134, 282
-
-    Paraphernalia, seven, ii. 297
-
-    Parian ware, ii. 266
-
-    Paris Exhibition, i, 173, 184, 187, 188, 202
-
-    Parthian coffins, i. 9
-
-    Parthians, i. 5
-
-    “Partridge cups,” i. 93, 103, 131, 132, 164
-
-    Partridges, ii. 295
-
-    _Pâte sur pâte_, ii. 77, 196
-
-    Pattern books, ii. 105, 303
-
-    Peach, ii. 286, 288, 301
-
-    “Peach bloom,” ii. 99, 146, 176, 177, 178, 179, 185
-
-    Peacocks, ii. 39, 258
-
-    “Pear skin” clay, i. 174
-
-    Pearl or jewel, ii. 291
-
-    Peking, i. 200, 205, 206; ii. 126
-
-    Peking bowls, ii. 239, 244, 264
-
-    Peking lacquer, ii. 263
-
-    Pekingese spaniel, ii. 39, 293
-
-    Peking, tile works near, ii. 237
-
-    Pen rest, ii. 32
-
-    P’êng Chün-pao, i. 94, 97
-
-    P’êng ware, i. 164
-
-    Pêng-lai mount, i. 7; ii. 156, 290
-
-    Peony, ii. 294
-
-    Perfume vase, ii. 68
-
-    Persia, i. 86, 193; ii. 12, 29, 30, 31, 44, 69, 247, 278
-
-    Persian forms, ii. 67
-
-    Persian glazed bricks, i. 9
-
-    Persian Gulf, i. 149
-
-    Persian market, wares for, ii. 73, 77, 81
-
-    Persian monsters, i. 27
-
-    Persian ware, i. 34, 103, 104, 148; ii. 30, 48
-
-    Perzynski, F., i. 27, 35; ii. 43, 70, 73, 74, 75, 89, 90, 105
-
-    Peters Collection, S. T., i. 12; ii. 18, 190, 191, 192
-
-    Peters, S. T., i. 114
-
-    _Petuntse_, i. 148; ii. 91, 123, 248
-
-    Pheasant, ii. 295, 297
-
-    Philippines, i. 87, 189
-
-    Phillips, Rev. H. S., i. 132
-
-    Phœnix, i. 90; ii. 39, 269, 288, 293
-
-    Phœnix ewer, i. 149
-
-    Phœnix Hill, i. 59, 61, 72, 134
-
-    _Pi chuang so yü_, i. 72
-
-    _P’i hsieh_, ii. 294
-
-    P’i-ling, i. 91, 95
-
-    _Pi liu li_, i. 144
-
-    _Pi sê_ (secret colour), i. 38, 39, 40, 54
-
-    _Pi ting ju i_, ii. 301
-
-    _Pi t’ung_, ii, 275
-
-    _P’iao tz’ŭ_, i. 16, 143
-
-    Pictures of manufacture of porcelain, ii. 248
-
-    _P’ieh_, i. 165; ii. 5
-
-    Pierced design, i. 194; ii. 59, 75, 76, 79, 196, 246
-
-    Pigments, unfired, i. 3
-
-    Pilgrim bottles, ii. 274
-
-    Pilkington Tile Works, i. 200
-
-    Pillows, i. 104, 105, 107; ii. 97, 276
-
-    Pine, bamboo and plum design, ii. 47
-
-    _P’ing hua p’u_, i. _xvi_; ii. 94
-
-    _P’ing shih_, ii. 94
-
-    P’ing-ting Chou, i. 97; ii. 107
-
-    P’ing-yang Fu, i. 32, 97
-
-    Pink, ruby, ii. 238
-
-    Pipes, ii. 278
-
-    Plaques, ii. 97, 117, 277
-
-    Plates, ii. 97
-
-    Plates, seven border, ii. 211
-
-    Plum blossom crackle, ii. 244
-
-    Plum blossom design, i. 133
-
-    P’o-hai, i. 148
-
-    _Po shan lu_, i. 12
-
-    _Po t’ang_ blue, ii. 98
-
-    Points of compass, ii. 41
-
-    Polynesian khava bowls, i. 129
-
-    Pomegranate-shaped pots, i. 198
-
-    Pools of glass, i. 171
-
-    Porcelain, archaic specimens of translucent, i. 163
-
-    Porcelain, beginnings of, i. 15, 39, 89, 141–151
-
-    Porcelain, decorated, at Canton, ii. 211
-
-    Porcelain, special kinds of, ii. 201
-
-    Porcelain, white, ii. 195
-
-    Portuguese, ii. 68, 89
-
-    Po-Shan Hsien, i. 103, 107, 188, 200
-
-    _Po wu yao lan_, i. 61, 224
-
-    Po-yang Lake, i. 152
-
-    Pot-hook-like herbage, ii. 90
-
-    Potter Palmer Collection, i. 34, 35
-
-    Potters’ marks, i. 221
-
-    Potters’ names, i. 220, 223; ii. 64
-
-    Pottery, origin of, i. 2
-
-    Precious Objects, Eight, ii. 297, 298
-
-    Precious stone red, ii. 11, 122
-
-    Precious Symbols, Eight, ii. 42
-
-    “Press-hand” bowls, ii. 93
-
-    Preussler, ii. 260
-
-    Pricket candlesticks, ii. 60
-
-    Prints, copying effect of European, ii. 214
-
-    Prunus design, ii. 134, 135, 152
-
-    _P’u shu t’ing chi_, ii. 23
-
-    Puzzle jug, ii. 251
-
-
-    Quails, ii. 295
-
-
-    Radiating lines under base, ii. 92
-
-    Ram, ii. 294
-
-    Rams design, three, ii. 43
-
-    Raphael Collection, i. 63
-
-    “Rat and vine” pattern, ii. 231, 245, 303
-
-    Read, Sir C. Hercules, i. _xxv_, 31
-
-    Rebus designs, ii. 299, 300
-
-    Red and gold decoration, ii. 6
-
-    Red and green family, i. 104
-
-    Red biscuit, ii. 9
-
-    Red, copper, ii. 6, 11, 55
-
-    Red, coral, ii. 6, 48, 51, 160, 238
-
-    Red family of Wan Li porcelain, ii. 81
-
-    Red, _flambé_, ii. 124
-
-    Red in the glaze, ii. 204
-
-    Red, iron, ii. 51, 55, 165, 179, 215, 235, 244
-
-    Red, jujube, ii. 210, 219, 238
-
-    Red, liver, ii. 99, 178, 194, 238
-
-    Red, maroon, ii. 178, 179, 194
-
-    Red, crushed strawberry, ii. 119, 125
-
-    Red, ox-blood, ii. 124
-
-    Red, ritual significance of, ii. 195
-
-    Red, ruby, ii. 221, 224
-
-    Red, soufflé, ii. 127, 193, 194, 218, 219, 224, 238
-
-    Red, underglaze, ii. 10, 79, 99, 119, 145, 146, 204, 205, 241
-
-    Relief work, ii. 74, 196
-
-    Revolving necks, ii. 246, 262
-
-    Rhages, i. 87
-
-    Rhinoceros jars, ii. 36
-
-    de Ricci, M. Seymour, ii. 194
-
-    Rice grain pattern, ii. 246, 247, 263
-
-    Richard’s Geography, i. 56, 172
-
-    Rijks Museum, Amsterdam, ii. 75
-
-    Ring under base, double, ii. 69
-
-    Ritual vessels, ii. 272
-
-    Rock and wave design, ii. 81, 87, 290
-
-    Rockery and flowering plants, ii. 164
-
-    Rococo ornaments, ii. 258
-
-    Rome, i. 5
-
-    Roof tiles, i. 201
-
-    Rookwood Potteries, i. 200
-
-    Rose and ticket pattern, ii. 133
-
-    Rose pinks, ii. 210, 229, 237
-
-    Roth, Ling, i. 87, 193
-
-    Rotterdam, siege of, ii. 252
-
-    _Rouge de fer_, ii. 101, 160
-
-    _Rouleau_ shape, ii. 165, 269, 274
-
-    Rubbing with sand, ii. 159
-
-    “Ruby-back” porcelain, ii. 210, 213, 243
-
-    Rush pattern, i. 44
-
-    Ryoben, i. 36
-
-
-    Sages meeting in landscape, ii. 95
-
-    St. Cloud, ii. 112, 173
-
-    St. Louis of France, ii. 252
-
-    St. Mark’s, Venice, ii. 113
-
-    Sakyamuni, ii. 284
-
-    Saladin, i. 87
-
-    Salting Collection, i. _xxiii_, 197; ii. 81, 83, 90, 95, 145, 156,
-      160, 165, 168, 170, 179, 181, 185, 187, 235, 244
-
-    Salt glaze, ii. 144
-
-    Salvétat, M., ii. 10
-
-    Samantabhadra, ii. 285
-
-    Samarra, i. 101, 148, 149
-
-    Samian ware, i. 31
-
-    _San kuo_, ii. 11
-
-    _San ts’ai_ (three colours), i. 197; ii. 26, 33, 79, 100, 151, 152,
-      153
-
-    _San yang k’ai t’ai_, ii. 43
-
-    _Sang de bœuf_ red, ii. 11, 99, 121, 123, 124, 125, 146, 176, 194,
-      232, 271
-
-    Sanscrit characters, ii. 62, 66, 240, 286, 302
-
-    Sanuki, i. 200
-
-    Sarre, Professor, i. 101, 148; ii. 69
-
-    Sassanian, i. 34
-
-    Sassanian monsters, i. 27
-
-    Satsuma faience, i. 103
-
-    Saucers, ii. 278
-
-    Sawankalok, i. 81, 85, 88
-
-    Scale pattern, ii. 158, 259
-
-    Scholar design, famous, ii. 25
-
-    “Scratched blue,” ii. 144
-
-    Screens, ii. 277
-
-    Seagulls, little, i. 97
-
-    Sea-horses design, ii. 80
-
-    Sea waves, ii. 42
-
-    Seal characters, ii. 301
-
-    Seals, ii. 276
-
-    Seasons, flowers of four, ii. 38, 56, 134, 156, 296
-
-    Seasons, landscape, ii. 297
-
-    Seats, barrel-shaped, ii. 8, 15, 17, 60, 97, 277
-
-    “Secret colour” ware, i. 38, 59
-
-    Seggars, i. 156; ii. 248
-
-    Self-warming cups, i. 138
-
-    Seligmann, Dr. C., ii. 51, 67
-
-    Sepulchral furniture, i. 19
-
-    Sepulchral pottery, Han, i. 14
-
-    Sesamum design, i. 53
-
-    Seto, i. 123, 132
-
-    Sets, dinner-table, ii. 36, 267
-
-    Sets of five vases, ii. 97, 134, 279
-
-    Seven border plates, ii. 211
-
-    Sèvres, i. _xvi_; ii. 140, 251
-
-    Sèvres Museum, i. _xxiii_; ii. 230
-
-    _Sha t’ai_, i. 110, 123, 124, 128; ii. 141
-
-    Shah Abbas, ii. 30, 69
-
-    Shakuan, i. 172
-
-    Shan Chou, i. 201
-
-    _Shan kao shui ch’ang_, ii. 263
-
-    _Shan yü huang_, ii. 126
-
-    Shang dynasty, i. 44
-
-    Shanghai, i. 174, 188; ii. 212
-
-    Shansi, i. 97, 98
-
-    Shantung glass works, ii. 210
-
-    Shao Ch’êng-shang, i. 59
-
-    _Shao yao_, i. 61
-
-    Shao-wu Fu, ii. 108
-
-    _Shê p’i lü_, ii. 126
-
-    _Shên tê t’ang_, ii. 247, 264
-
-    _Shên tê t’ang po ku chih_, ii. 81
-
-    Shêng Tsung, i. 22
-
-    Shên-nung, i. 1
-
-    _Shih ch’ing_ (stone blue), ii. 9
-
-    _Shih ch’ing jih cha_, ii. 93, 305
-
-    Shin Huang Ti, i. 5
-
-    Shih Ta-pin, i. 175, 176, 177
-
-    Shih Tsung, i. 40, 41
-
-    Shih-kao, ii. 196
-
-    Shih-ma, i. 187
-
-    _Shih-mo_ (powdered stone), ii. 91
-
-    _Shih-tzŭ ch’ing_, ii. 98
-
-    Shih-wan, i. 172
-
-    _Shih wu kan chu_, ii. 30, 34
-
-    _Shin sho sei_, i. 94
-
-    Shop marks, i. 220; ii. 89, 113, 152
-
-    Shoso-in, i. 23, 25
-
-    _Shou_, ii. 33, 42, 302
-
-    Shou Characters, the Hundred, ii. 61
-
-    Shou Ch’êng, i. 25
-
-    Shou Chou, i. 40
-
-    Shou-hsing, ii. 287
-
-    Shou Lao, i. 185; ii. 286, 287, 289
-
-    Shou Shan, ii. 286, 288, 290
-
-    _Shou shan fu hai_, ii. 38
-
-    Shu, i. 98, 198
-
-    Shu chiao, i. 98
-
-    _Shu fu_ (mark), i. 161, 162, 163
-
-    _Shu wêng_, i. 98
-
-    _Shuko-yaki_, i. 85
-
-    Shun, the Emperor, i. 1; ii. 281
-
-    Shun Chih, ii. 117, 237
-
-    Shun-tê Fu, i. 39
-
-    _Shuo Wên_, i. 141
-
-    Siam, i. 81; ii. 278
-
-    Silkworm scrolls, ii. 270
-
-    Silvering, i. 161, 163; ii. 20, 175, 192, 215, 225, 226, 229
-
-    Slip decoration, ii. 77
-
-    Smith, Lieut. C., i. 87
-
-    Snuff bottles, ii. 202, 203, 216, 227, 262, 266, 277
-
-    “Soft Chün,” i. 121, 124, 127, 128
-
-    “Soft-paste” porcelain, i. 150; ii. 65, 75, 140, 142, 197, 241
-
-    Soleyman, i. 148
-
-    “Solid agate,” i. 33
-
-    Solon, M. L., i. 181
-
-    Southern Sung, i. 43, 67, 99
-
-    South, symbol of, ii. 41
-
-    Spanish, ii. 89, 252
-
-    Spanish dollar, ii. 90
-
-    Spider mark, ii. 140
-
-    Spinning Maiden, ii. 291, 292
-
-    Spirits of the Doorway, i. 20
-
-    “Spotted blue,” i. 166
-
-    “Spring painting,” ii. 57
-
-    Sprinklers, ii. 273
-
-    “Spur-marks,” i. 11, 53, 118
-
-    Square vases, ii. 274
-
-    Ssŭ Chou, i. 96
-
-    Ssŭ-hao, ii. 289
-
-    Ssŭ-ma Ch’ien, i. 1
-
-    Ssŭ-ma-kuang, ii. 281
-
-    _Ssŭ pu t’ang_, ii. 265
-
-    Ssŭ-t’iao, i. 144
-
-    Ssŭ-tu, ii. 108
-
-    Staff, knotted, ii. 286
-
-    Staffordshire, i. 33, 178
-
-    Stars, ii. 297
-
-    Statuettes, i. 24, 105; ii. 159
-
-    Steatite, ii. 77, 141, 196, 198, 201
-
-    Steatitic porcelain, ii. 141, 142, 203, 240, 246
-
-    Stein, Sir Aurel, i. 23, 25, 28, 31, 32, 107, 134, 149, 193
-
-    Stem-cups, ii. 7, 8, 202, 208
-
-    Stems, the Ten, i. 210
-
-    Storks, ii. 39, 286
-
-    Storks, the Hundred, ii. 61
-
-    Strawberry leaves border, ii. 257
-
-    Stübel Collection, i. _xxiii_, 84
-
-    Studio names, ii. 167, 215
-
-    Study, Four Subjects of, ii. 282
-
-    Su Chou, i. 96, 187, 188, 202
-
-    Su Chou lacquer, ii. 263
-
-    Su Shih, ii. 5
-
-    Su Wu, ii. 281
-
-    _Sui ch’i yao_, i. 99
-
-    Sui dynasty, i. 16, 17
-
-    Sulphate of iron, ii. 101
-
-    “Sulphuring,” ii. 146
-
-    Sultan of Egypt, i. 87
-
-    Sultan’s treasure, i. 87
-
-    _Su-ma-ni_, ii. 12
-
-    Sumatra, ii. 12
-
-    Summer Palace, i. 205
-
-    Sumptuary law, ii. 233
-
-    Sun, Mr., i. 91
-
-    Sun, the, ii. 291
-
-    _Su-p’o-ni_, ii. 12, 13
-
-    _Sung hsiang_, i. 187
-
-    Sung Pharmacopœia, i. 146
-
-    _Sung shih_, ii. 12
-
-    Sung wares, i. 43–51, 104
-
-    _Su-ni-p’o_, ii. 12, 22, 98
-
-    Supper sets, ii. 160, 278
-
-    Swallows, ii. 295
-
-    Swastika, ii. 76, 299, 302
-
-    Swatow, i. 184
-
-    Sword-grass bowls, i. 110
-
-    Symbol of literary success, ii. 6
-
-    Symbols, ii. 268, 297
-
-    Syria, ii. 247
-
-    Syrian pottery, i. 103; ii. 12, 30, 44
-
-    Syrup pots, ii. 278
-
-
-    Table Bay, ii. 136
-
-    _Ta chiao_, ii. 34
-
-    Ta-ch’in, i. 144
-
-    _Ta ch’ing_, ii. 179
-
-    Ta-yi bowls, i. _xvi_
-
-    Ta Yüeh-chih, i. 144
-
-    Tael, i. 175
-
-    Ta-hsin, i. 177
-
-    _T’ai ch’ang_, i. 91; ii. 86
-
-    _T’ai chi_, ii. 268
-
-    T’ai-ming, ii. 108
-
-    T’ai p’ing rebellion, i. 154, 155; ii. 267, 271
-
-    _T’ai p’ing yu hsiang_, ii. 268
-
-    T’ai-po tsun, ii. 177, 185
-
-    T’ai-yüan Fu, i. 97, 194
-
-    Takatori, i. 31
-
-    Taklamakan Desert, i. 25
-
-    _Ta kuan_, i. 59, 60
-
-    Talbot, arms of, ii. 257
-
-    _Ta lü_, i. 65
-
-    Tamo, ii. 285
-
-    Tan, i. 202
-
-    Tan Hui-pan, ii. 282
-
-    _Tan kuei_ (red cassia), ii. 6, 51, 53
-
-    _Tan pai_, i. 61, 67, 71
-
-    _T’an yung_, ii. 34
-
-    Tanagra, i. 24
-
-    _Tan ch’ing_, i. 53, 54
-
-    _T’ang chien kung t’ao yeh t’u shuo_, i. 113
-
-    T’ang, district, i. 55
-
-    T’ang dynasty, i. 166, 201; ii. 233
-
-    _T’ang kuo shih pu_, i. 39
-
-    _T’ang ming_, i. 217
-
-    _T’ang pên ts’ao_, i. 89
-
-    T’ang Pharmacopœia, i. 89, 146
-
-    T’ang polychrome pottery, i. 33
-
-    _T’ang shih ssŭ k’ao_, i. 90, 142; ii. 59
-
-    _T’ang Shu_, i. 201
-
-    T’ang, the President of the Sacrifices, i. _xvii_, 91, 95
-
-    T’ang tomb, i. 101
-
-    T’ang wares, i. _xx_, 11, 16, 23–42, 56, 132; ii. 28, 78
-
-    T’ang wares, base of, i. 26
-
-    _T’ang yao_, ii. 121
-
-    T’ang Ying, i. 71, 141, 166, 167, 181; ii. 59, 121, 126, 200, 201,
-      202, 209, 215, 216, 217, 220, 227, 228, 229, 230, 234, 237, 239,
-      248
-
-    _T’ang ying lung kang chi_, ii. 58
-
-    T’ang’s manufactory, i. 166
-
-    T’ang’s white incense vase, i. 92
-
-    Tantalus cup, ii. 276
-
-    _T’ao_, i. 141, 142
-
-    _T’ao chêng chi shih_, i. 166
-
-    _T’ao Ch’êng shih yü kao_, i. 71; ii. 228
-
-    _T’ao chi lüo_, i. 159
-
-    Tao kuang, ii. 263
-
-    _T’ao lu_, the, _passim_
-
-    _T’ao shuo_, the, _passim_
-
-    _T’ao t’ieh_, ii. 290
-
-    T’ao yin-chü, i. 146
-
-    T’ao yü, i. 147, 153
-
-    T’ao Yüan-ming, ii. 25, 296
-
-    Taoism, i. 7; ii. 286
-
-    Taoist Immortals, Eight, ii. 38
-
-    Tassie, ii. 251
-
-    Tattooed design, ii. 144
-
-    Ta-yi, i. 32, 40, 147
-
-    Tazza-shaped cup, ii. 272
-
-    Tea bowls, ii. 5, 278
-
-    Tea competitions, i. 94, 131
-
-    Tea cup handles, ii. 277
-
-    Tea drinking, i. 178
-
-    “Tea dust,” i. 31, 135; ii. 233, 264
-
-    Tea green, i. 31, 133
-
-    Tea leaves, staining with, ii. 197, 198
-
-    Tea pot, i. 176, 178; ii. 278
-
-    Tear stains, i. 90, 101, 113
-
-    Tê-hua porcelain, i. _xv_; ii. 107, 108, 109, 111, 112, 113, 114,
-        115
-
-    _Temmoku_ ware, i. 31, 131, 132, 133
-
-    Têng, district of, i. 55, 56
-
-    Têng-fêng Hsien, i. 201
-
-    “Three colours,” i. 104, 197; ii. 26, 100, 147, 151, 190, 207, 241
-
-    Three heroes of Han dynasty, ii. 281
-
-    Three kingdoms, ii. 281
-
-    Three-legged bird, ii. 291
-
-    _Ti_ (saucers), i. 110
-
-    _T’ieh hsin_, ii. 233
-
-    _T’ien Ch’i_ ii. 86
-
-    _T’ien ch’ing_, i. 62, 65; ii. 238
-
-    _T’ien chu ên po_, ii. 240
-
-    _T’ien kung k’ai wu_, ii. 107
-
-    _T’ien lan_, i. 117; ii. 232
-
-    _T’ien lu_, ii. 294
-
-    T’ien Ming, ii. 117
-
-    _T’ien pai_, ii. 37, 248
-
-    T’ien Shun, ii. 28
-
-    _T’ien t’ang_, ii. 264, 290
-
-    T’ien Tsung, ii. 117
-
-    Tiger, ii. 294
-
-    Tiger lily design, ii. 131, 134
-
-    Tiger of the West, i. 56
-
-    “Tiger skin,” i. 31; ii. 80, 89, 127, 148, 190, 226, 264
-
-    Tiger, the white, i. 20; ii. 291
-
-    Tiles, i. 187, 194, 201, 202, 205
-
-    Tiles, lustred, ii. 30
-
-    Tin, in the glaze, i. 182
-
-    Ting Chou, ii. 107
-
-    Ting Chou ware, red, i. 158
-
-    Ting Chou wares, i. _xvi_, 40, 45, 52, 85, 89–96, 105, 146, 147
-
-    _Ting chuang_, ii. 63, 74
-
-    Ting type of ware, ii. 86
-
-    Ting ware, i. 45, 78, 89–96, 101, 102, 146
-
-    Ting ware, black, i. 92, 93, 133
-
-    Ting ware, new, i. 94
-
-    Ting ware, Northern, i. 90, 162
-
-    Ting ware, purple, i. 92, 93, 98
-
-    Ting ware, red, i. 92
-
-    Ting ware, Southern, i. 90
-
-    Ting ware, white, i. 146, 149; ii. 201, 218
-
-    Ting yao, imitation of old, ii. 142, 197, 201
-
-    Toad, ii. 289, 291
-
-    _Tobi seiji_, i. 80
-
-    _Toko_, ii. 238
-
-    Tomb wares, i. 17, 24
-
-    Tombs, i. 9, 13, 101
-
-    Tombs, Egyptian, ii. 266
-
-    Torrance, Rev. Thomas, i. 10, 13, 14
-
-    Tortoise, i. 95; ii. 288, 289
-
-    Tortoise of the North, i. 56; ii. 291
-
-    _T’o t’ai_ (“bodiless”), ii. 3, 5, 195, 248
-
-    _Tou ch’ing_, ii. 37, 99
-
-    _Toyei Shuko_, i. 25
-
-    Trade between China and West, mediæval, i. 86
-
-    Tradescant Collection, i, 193; ii. 68
-
-    Trading station, i. 86
-
-    Transfer prints, ii. 260
-
-    Transition enamels, ii. 257
-
-    Translucent porcelain, i. 148
-
-    Transmutation ware, i. 137, 156, 175; ii. 18, 192, 218, 232
-
-    Trenchard bowls, ii. 29
-
-    Trigrams, Eight, ii. 39, 41, 62, 268, 290
-
-    Trumpeter service, ii. 255
-
-    Ts’ai, i. 198
-
-    Ts’ai Chin-ch’ing, ii. 267
-
-    T’sai-hsiang, i. 131
-
-    _Ts’ai hua t’ang_, ii. 265
-
-    _Ts’ai hung_, ii. 179
-
-    _Ts’ai jun t’ang_, ii. 265
-
-    _Ts’ang yao_, ii. 121
-
-    Ts’ang Ying-hsüan, ii, 121, 126, 168, 180, 187, 190
-
-    Ts’ao-chao, i. 40
-
-    Ts’ao Chiung, i. 75
-
-    _Tsao’rh hung_, ii. 218
-
-    _Tsao t’ang_, ii. 34
-
-    _Ts’ao tien yu chi_, ii. 58
-
-    _Tso Ch’uan_, the, i. 2
-
-    _Tsou_, i. 97, 188
-
-    Tsou Hsien, i. 201
-
-    _Ts’ui_, i. 77; ii. 161
-
-    _Ts’ui kung yao_, ii. 52
-
-    Ts’ui, Mr., ii. 52, 64
-
-    _Ts’ui sê_, i. 37
-
-    Ts’ung Tê, ii. 116
-
-    _Ts’ung ts’ui_, i. 109
-
-    Tu, i. 40, 147
-
-    _Tu shu_, i. 76, 166, 201; ii. 197
-
-    _T’u ssŭ wên_, i. 113
-
-    _T’u ting_, i. 90, 91, 92, 94, 97, 98, 135, 164, 168, 190; ii. 113,
-      218
-
-    Tu Yü, i. 16
-
-    Tu-chiu, i. 95
-
-    _T’u k’uai_, i. 27
-
-    _Tu kung t’an tsüan_, i. 62
-
-    Tulip-like flower pattern, ii. 90
-
-    Tun-huang, i. 28
-
-    T’ung, ii. 58, 59, 117
-
-    T’ung Chih, ii. 267
-
-    _Tung ch’ing_, i. 48, 75; ii. 189
-
-    T’ung-chou Fu, i. 199
-
-    Tung-fang So, ii. 133, 159, 288
-
-    Tung-han, i. 176
-
-    _Tung hsiang t’ang_, i. 198
-
-    Tung-p’o, i. 137
-
-    _Tung ya_, ii. 18, 19, 92
-
-    Tung ware, i. 66, 82
-
-    Turfan, i. 16, 23, 31, 36, 101, 107, 130, 134, 149
-
-    Turkestan, i. 86, 193
-
-    Turkey, ii. 218, 279
-
-    Twelve embroidery ornaments, ii. 297
-
-    _Tz’ŭ_ (porcelain), i. 140, 141, 142
-
-    _Tzŭ_ (purple), i. 93, 109
-
-    _Tzŭ chin_ (golden brown), ii. 37, 38, 65, 99, 191, 192
-
-    Tzŭ-ching, ii. 14
-
-    Tz’ŭ Chou ware, i. 46, 91, 101–108, 128, 133, 135, 149, 166, 193,
-        198, 218; ii. 30
-
-    Tz’ŭ-jén Temple, ii. 23
-
-    _Tz’ŭ_ stone, i. 101, 107, 147
-
-    _Tz’ŭ t’ai_ (Chün ware), i. 110, 113, 123, 128
-
-    _Tz’ŭ-tsao_, ii. 108
-
-
-    Urfe, d’, Honoré, i. 78
-
-    Ushaktal, i. 134
-
-
-    Vaidurya, i. 144
-
-    Vajrapani, ii. 286
-
-    Van Eenhorn, i. 178
-
-    Vase organ, i. 138
-
-    Vases, bottle shaped, ii. 273
-
-    Vases, civil and military, ii. 281
-
-    Vases, divining rod, ii. 274
-
-    Vases, flower, ii. 273, 275
-
-    Vases, perfume, ii. 68
-
-    Vases, square, ii. 274
-
-    Vash-shahri, i. 130, 134
-
-    Venetian glass, ii. 139
-
-    Vermilion boxes, ii. 35
-
-    Vermilion pigment, ii. 148
-
-    Victoria and Albert Museum, _passim_
-
-    Violet blue, dark, ii. 99
-
-    Virgin and Child, images of, ii. 111, 285
-
-    Virtuous Heroines, ii. 282
-
-    Voretzsch, i. 206
-
-
-    _Wa wa_(children), ii. 25, 281
-
-    Wall of China, great, i. 5
-
-    Wall vases, ii. 275
-
-    Walters Collection, ii. 227
-
-    _Wan_, ii. 76
-
-    _Wan fu yu t’ung_, ii. 51
-
-    _Wan ku ch’ang ch’un ssŭ hai lai chao_, ii. 62
-
-    Wan Li wares, ii. 24, 57, 58–81, 161, 208, 224
-
-    _Wan Li wu ts’ai_, ii. 48, 81, 82, 100, 160
-
-    _Wan shih chü_, ii. 167
-
-    _Wan shou_, ii. 82
-
-    _Wan shou am chiang_, ii. 169
-
-    Wang Ch’iao, ii. 288
-
-    Wang Chih, ii. 110, 133, 282
-
-    Wang Ching-min, ii. 59
-
-    Wang Hsi Chih, ii. 281
-
-    Wang Ping-jung, ii. 266
-
-    Wang Shêng-kao, ii. 247
-
-    Wang Shih-chêng, i. 201
-
-    Wang-tso, i. 40
-
-    Wang Tso-t’ing, ii. 266
-
-    Wang Wei, i. 23
-
-    Wang-yu, ii. 164
-
-    Wantage Collection, Lady, ii. 221, 262
-
-    Warham bowl, i. 88
-
-    Warner, Langdon, i. 36
-
-    Water droppers, ii. 276
-
-    Waterfall, ii. 68
-
-    Water pots, ii. 276
-
-    Wave and rock pattern, ii. 63
-
-    Wave pattern, i. 137; ii. 56, 302
-
-    Waves and plum blossoms design, ii. 56, 63, 80, 155
-
-    Wedding bowl, ii. 268
-
-    Wei, i. 27
-
-    _Wei ch’i_, ii. 282
-
-    Wei dynasty, i. 16
-
-    Wei Hsien, i. 103, 104
-
-    Weights, ii. 97
-
-    Well-head, i. 12
-
-    Wells Williams, S., i. 172, 184
-
-    Wên, Prince, i. 25
-
-    Wên (Sung minister), i. 99
-
-    Wên Ch’ang, ii. 159, 284
-
-    Wên Chêng-ming, ii. 243
-
-    Wên-chou, i. 143; ii. 108
-
-    _Wên fang ssŭ k’ao_, i. 60
-
-    Wên Lang-shan, ii. 263
-
-    _Wên p’ing_(civil vase) and _wu p’ing_ (military vase), ii. 281
-
-    _Wên-wang_ censers, i. 94
-
-    West, symbol of, ii. 41
-
-    Wheel, potter’s, i. 2
-
-    Whieldon wares, i. 25, 33
-
-    Whitechapel Art Gallery, ii. 233
-
-    “White earth village,” i. 97
-
-    White earth, where found, ii. 107
-
-    White in blue ground design, ii. 130
-
-    White porcelain, ii. 195
-
-    White slip, ii. 5
-
-    White ware, dead, ii. 201
-
-    Wilkes, John, ii. 255
-
-    Williams, Mrs., i. 110, 123
-
-    Willow, ii. 296
-
-    Willow pattern, ii. 258, 296
-
-    Wine cup, ii. 278
-
-    Wine Cup, Eight Immortals of the, ii. 282
-
-    Wine pot, i. 161, 162
-
-    Winter Palace, i, 205
-
-    Winthrop, Mr., ii. 29
-
-    Wolfsbourg, de, ii. 260
-
-    Wood, Enoch, ii. 259
-
-    Worcester, i. 187; ii. 76, 136, 141, 183, 251, 258, 259, 260
-
-    _Wu chên_, ii. 230
-
-    _Wu chin_, ii. 192, 193, 210, 218, 226, 229, 230, 231
-
-    Wu-ch’ing Hsien, i. 200, 202
-
-    Wu chou, i. 40
-
-    _Wu fu_, ii. 11
-
-    Wu I-shan, i. 175
-
-    _Wu kung yang_, ii. 24
-
-    _Wu lao_, ii. 283
-
-    Wu-mên-t’o, ii. 59, 91
-
-    _Wu ming_ tzŭ, ii. 12, 98
-
-    _Wu ming yi_, i. 187; ii. 12, 98
-
-    _Wu-ni_ wares, i. 61, 66, 67, 133, 134, 164
-
-    Wu San-kuei, i. 154; ii. 125
-
-    Wu _sê_, i. 162; ii. 20
-
-    Wu Tao-tzŭ, i. 23, 137
-
-    Wu Ti, i. 7, 11, 15; ii. 288
-
-    _Wu ts’ai_ (“decorated in five colours”), ii. 8, 9, 17, 20, 22, 23,
-      26, 55, 63
-
-
-    Yacut, i. 87
-
-    _Ya ku ch’ing pao shih_, i. 62
-
-    _Ya shou_ pei, ii. 3, 4, 5
-
-    Yang-Chiang, i. 84, 166, 172
-
-    _Yang-hsien ming hu hsi_, i. 139, 174, 176
-
-    Yang Kuei-fei, ii. 282
-
-    _Yang ts’ai_ (foreign colours), ii. 209, 225
-
-    Yangtze, i. 89
-
-    _Yang tz’ŭ_ ware, i. 166, 167
-
-    _Yao_, i. 142
-
-    Yao, ii. 281
-
-    Yao, district of, i. 55, 56
-
-    Yao Niang, i. 24
-
-    _Yao pien_, i. 137, 139, 157, 175; ii. 18, 193, 218, 224, 232
-
-    Yeh-chih, i. 55
-
-    Yellow, eel, ii. 127, 190, 218, 223
-
-    Yellow, European style, ii. 220
-
-    Yellow, mustard, ii. 190, 223
-
-    Yellow, Nanking, ii. 145, 170, 191, 192
-
-    Yellow, ritual significance of, ii. 195
-
-    Yellow, spotted, ii. 126, 127, 190, 218, 223, 226
-
-    Yellow, sulphur, ii. 220, 239
-
-    Yellow ware, i. 160, 163, 187; ii. 28, 190, 239
-
-    Yen-shên Chên, i, 200
-
-    Yen Shih-ku, i. 144
-
-    _Yen yen_ vase, ii. 156
-
-    Yesdijird, i. 34
-
-    Yetts, Dr., ii. 292
-
-    Yi, Prince of, ii. 200
-
-    Yi-chên, i. 200, 202
-
-    Yi Hsien, i. 201
-
-    Yi-hsing, ii. 65, 187
-
-    Yi-hsing Chün, i. 120, 179
-
-    Yi-hsing wares, i. _xv_, 120, 123, 127, 171, 172, 174–183, 188,
-      190, 198; ii. 217, 224, 245
-
-    _Yin hua_, i. 91, 161
-
-    _Yin Yang_, ii. 62, 268, 283, 290
-
-    _Yin yang tsa tsu_, the, i. 19
-
-    Yo Chou, i. 40, 199
-
-    _Yo fu tsa lu_, i. 39
-
-    Yorke and Cocks, arms of, ii. 212, 213
-
-    Yoshitsune, flute of, ii. 113
-
-    _Yu chai_, ii. 212
-
-    _Yü chih kêng chih t’u_, ii. 164
-
-    Yü Chou, i. 109, 124, 128, 147; ii. 107
-
-    _Yü fêng yang lin_, ii. 212
-
-    Yü-hang Hsien, i. 67
-
-    Yü-hang wares, i. 66, 134
-
-    _Yü lan_, i. 53
-
-    _Yu li hung_, ii. 122, 125, 204, 225
-
-    _Yu lü_, ii. 224
-
-    _Yu po lo_, ii. 25
-
-    _Yü t’ang chia ch’i_ mark, i. 218; ii. 75, 77, 79, 82
-
-    _Yu t’u_ (glaze earth), ii. 91
-
-    Yu-tzŭ Hsien, i. 97
-
-    Yü wang shang ti, ii. 291
-
-    Yü-yao, i. 38
-
-    _Yüan chai pi hêng_, i. 55
-
-    Yüan Ming Yüan, i. 205
-
-    Yüan tz’ŭ, i. 110, 124, 128, 129, 130, 164
-
-    Yüan wares, i. 41, 50, 155, 159–165
-
-    Yüeh Chou, i. _xvi_, 17, 37, 38, 39, 40, 54
-
-    _Yüeh pai_, ii. 224
-
-    Yüeh ware, i. 59
-
-    Yuima, the, i. 36
-
-    _Yün hsien tsa chi_, i. 138
-
-    Yün-mên, i. _xvi_
-
-    _Yün shih chai pi t’an_, i. 91, 95
-
-    _Yün tsao_, i. 83
-
-    Yung-ch’ang, ii. 30
-
-    Yung Chêng, i. 45
-
-    Yung Chêng imitations, i. 117, 119, 120; ii. 11, 43, 82
-
-    Yung Chêng list, i. 120
-
-    Yung Chêng mark, ii. 217
-
-    Yung Chêng monochromes, ii. 216
-
-    Yung Chêng wares, ii. 169, 200–226
-
-    Yung-Chou, i. 136
-
-    Yung-ho Chên, i. 98, 99
-
-    Yung Lo bowl, ii. 86
-
-    Yung Lo wares, ii. 3–6, 9, 12, 224
-
-    Yunnan, ii. 29
-
-
-    Zanzibar, i. 86, 87
-
-    _Zeitschrift für Ethnologie_, the, i. 8
-
-    Zengoro Hozen, ii. 6
-
-    Zimmermann, E., i. 87, 145; ii. 5
-
-    Zinc, i. 168, 182
-
-
-   PRINTED BY CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LONDON,
-                             E.C. F 15.115
-
-
-
-FOOTNOTES:
-
-[1] See vol. i, p. 153.
-
-[2] _fêng huo_. Bushell renders “blast furnaces.”
-
-[3] [chch 2] _lan kuang_, lit. “burn tube.” Omitting the radical [chch]
-(_huo_, fire) in both cases, Bushell takes the characters as _lan_
-(blue) and _huang_ (yellow). Possibly Bushell’s edition had variant
-readings.
-
-[4] Bk. vii., fol. 25 recto.
-
-[5] Or, perhaps, “greenish black,” taking the two words together.
-
-[6] [chch 2] lit. “omit body.” A slightly thicker porcelain is known
-as _pan t’o t’ai_, or “half bodiless.”
-
-[7] [chch 2] _ts’ai chui_. These words seem to have been taken to mean
-“decorated with an awl”; but they are better translated separately to
-mean “bright coloured” and “(engraved with) an awl,” the suggestion
-being that _ts’ai_ refers to enamelled porcelain.
-
-[8] Bk. ii., fol. 8 verso.
-
-[9] [chch 3] _Ya shou pei_, lit. “press hand cups.”
-
-[10] “Made in the Yung Lo period of the great Ming dynasty.”
-
-[11] The reading in the British Museum copy is [chch] _pai_ (white),
-which seems to be an error for [hch] _ssŭ_ (four): taken as it stands,
-it would mean written in white slip.
-
-[12] [chch] _hua_, lit. “slippery.” The meanings include “polished,
-smooth, ground,” etc., from which it will be seen that the word could
-equally refer to a glazed surface or an unglazed surface which had been
-polished on the wheel.
-
-[13] This conical form of bowl was by no means new in the Ming period.
-In fact, we are told in the _T’ao shuo_ that it is the _p’ieh_ of the
-Sung dynasty, the old form of tea bowl. See vol. i, p. 175.
-
-[14] There are several others of this type in Continental museums; cf.
-Zimmermann, op. cit. Plate 23.
-
-[15] _Cat._, F 6.
-
-[16] Bk. v., fol. 5.
-
-[17] Bk. ii., fol. 8.
-
-[18] _pa pei_, lit. handle cups. This type, as illustrated in
-Hsiang’s Album (op. cit., No. 54) is a shallow cup or tazza on a tall
-stem which was grasped by the hand.
-
-[19] An example of the figure subjects on Hsüan Tê blue and white is
-given in the _T’ao shuo_, “teacups decorated with figures armed
-with light silk fans striking at flying fire-flies”; see Bushell’s
-translation, op. cit., p. 136.
-
-[20] “Citron dishes” are specially mentioned in the _Wên chên hêng
-ch’ang wu chi_ (_T’ao lu_, bk. viii., fol. 4).
-
-[21] _Ch’ang k’ou_, lit. “shed mouth.”
-
-[22] Lit. “pot-bellied.”
-
-[23] Lit. “cauldron (_fu_) base.”
-
-[24] _an hua_, secret decoration (see p. 6).
-
-[25] “Made in the Hsüan Tê period of the great Ming dynasty.”
-
-[26] Lit. “orange-peel markings (_chü p’i wên_) rise in the glaze.”
-
-[27] i.e. red lines coloured by rubbing ochre into the cracks. See vol.
-i, p. 99.
-
-[28] _O. C. A._, p. 371.
-
-[29] Unfortunately the term _pao shih hung_ has been loosely
-applied in modern times to the iron red. See Julien, op. cit., p.
-91 note: “Among the colours for porcelain painting which M. Itier
-brought from China and offered to the Sèvres factory, there is one
-called _pao shih hung_, which, from M. Salvétat’s analysis, is
-nothing else but oxide of iron with a flux.” In other words, it is a
-material which should have been labelled _fan hung_. This careless
-terminology has led to much confusion.
-
-[30] _T’ao lu_, bk. v., fol. 7 recto.
-
-[31] The _Ch’ing pi tsang_ mentions “designs of flowers, birds,
-fish and insects, and such like forms” as typical ornaments on the red
-painted Hsüan porcelain.
-
-[32] The three fruits (_san kuo_) are the peach, pomegranate, and
-finger citron, which typify the Three Abundances of years, sons and
-happiness.
-
-[33] _Wu fu._ This may, however, be emblematically rendered by five
-bats, the bat (_fu_) being a common rebus for _fu_ (happiness).
-
-[34] See p. 122.
-
-[35] According to Bushell, _O. C. A._, p. 130, “cobalt blue, as we
-learn from the official annals of the Sung dynasty (_Sung shih_, bk.
-490, fol. 12), was brought to China by the Arabs under the name of
-_wu ming yi_.” This takes it back to the tenth century. _Wu ming yi_
-(nameless rarity) was afterwards used as a general name for cobalt
-blue, and was applied to the native mineral. The name was sometimes
-varied to _wu ming tzŭ_. Though we are not expressly told the source of
-the _su-ni-p’o_ blue, it is easily guessed. For the Ming Annals (bk.
-325) state that among the objects brought as tribute by envoys from
-Sumatra were “precious stones, agate, crystal, carbonate of copper,
-rhinoceros horn, and [chch 3] _hui hui ch’ing_ (Mohammedan blue).” See
-W. P. Groeneveldt, _Verhandelingen van het Bataviaasch Genootschap van
-Kunsten en Wetenschappen_, vol. xxxix., p. 92. These envoys arrived
-in 1426, 1430, 1433, 1434, and for the last time in 1486. Sumatra was
-a meeting-place of the traders from East and West, and no doubt the
-Mohammedan blue was brought thither by Arab merchants. Possibly some of
-the mineral was brought back by the celebrated eunuch Chêng Ho, who led
-an expedition to Sumatra in the Yung Lo period. See also p. 30.
-
-[36] See _Cat. B. F. A._, 1910, L 23; a pilgrim bottle belonging
-to Mrs. Halsey, inscribed after export to India with the word Alamgir,
-a name of the famous Aurungzib. Cf. also the fine cylindrical vase in
-the Victoria and Albert Museum (Case 2), with floral scrolls in this
-type of blue combined with underglaze red, and the Hsüan Tê mark.
-
-[37] Op. cit., Nos. 9, 31, 37, 39, 48, 69 and 83.
-
-[38] _Hui hu_ is a variant for _hui hui_ (Mohammedan).
-
-[39] Probably due to over-firing.
-
-[40] On the parallelism between this type of porcelain decoration and
-cloisonné enamel, see _Burlington Magazine_, September, 1912, p.
-320. It is worthy of note that missing parts of these vases, such as
-neck rim or handles, are often replaced by cloisonné enamel on metal,
-which is so like the surrounding porcelain that the repairs are often
-overlooked.
-
-[41] The yellow of this group is usually of a dull, impure tint, but
-there is a small jar in the Peters Collection in New York on which the
-yellow is exceptionally pure and brilliant, and almost of lemon colour.
-
-[42] In these cases the porcelain would be first fired without glaze
-and the colours added when it was in what is called the “biscuit”
-state. In the blue and white ware, on the other hand, and the bulk of
-Chinese glazed porcelain, body and glaze were baked together in one
-firing.
-
-[43] Bushell, _O. C. A._, p. 152.
-
-[44] Translation of the _T’ao shuo_, op. cit., p. 51.
-
-[45] This is the verdict of the _Po wu yao lan_, and it is
-repeated in the _T’ao lu_, see Bushell, op. cit., p. 60.
-
-[46] Painted decoration is mentioned in Chiang’s Memoir of the Yüan
-dynasty (see vol. i, p. 160), but without any particulars; and the
-_Ko ku yao lun_ speaks of _wu sê_ decoration of a coarse kind
-at the end of the Yüan period (see vol. i, p. 161). The latter may, of
-course, refer to the use of coloured glazes.
-
-[47] Op. cit., fig. 77.
-
-[48] The application of these enamels in large washes puts them
-practically in the category of glazes, but for the sake of clearness
-it is best to keep the terminology distinct. After all, the difference
-between a high-fired glaze which is applied to the biscuit and a
-low-fired enamel applied in the same way is only one of degree, but if
-we use the term enamel or enamel-glaze for the colours fired in the
-muffle kiln as distinct from those fired in the porcelain kiln, it will
-save further explanations.
-
-[49] A late Ming writer quoted in the _T’ao lu_ (bk. viii., fol.
-18) says, “At the present day Hsüan ware cricket pots are still very
-greatly treasured. Their price is not less than that of Hsüan Ho pots
-of the Sung dynasty.”
-
-[50] Bushell, op. cit., p. 140.
-
-[51] _Po wu yao lan_, bk. ii., fol. 9 verso.
-
-[52] [chch] _hsien_. The emperor Ch’êng Hua was canonised as Hsien
-Tsung.
-
-[53] See p. 12.
-
-[54] [chch 2] _ch’ien tan_. The _T’ao shuo_, quoting this passage,
-uses a variant reading, _ch’ien shên_ [chch], which Bushell renders
-“whether light or dark.”
-
-[55] _yu hua i_, lit. “have the picture idea.”
-
-[56] See Bushell, _O. C. A._, p. 385.
-
-[57] See Hsiang’s Album, op. cit., fig. 38.
-
-[58] Bk. vi., fols. 7–9, and Bushell’s translation, op. cit., pp. 141–3.
-
-[59] Op. cit., fig. 55.
-
-[60] _Burlington Magazine_, December, 1912, pp. 153–8.
-
-[61] The author of the _P’u shu t’ing chi_ (_Memoirs of the
-Pavilion for Sunning Books_), quoted in the _T’ao shuo_, loc.
-cit.
-
-[62] Op. cit., fig. 64.
-
-[63] Bushell (_T’ao shuo_, p. 142) gives the misleading version,
-“bowls enamelled with jewels” and “jewel-enamelled bowls,” omitting in
-his translation the note in the text which explains their true meaning
-as _pao shih hung_ or ruby red.
-
-[64] [chch 2] _ts’ao ch’ung_ can equally well mean “plants and
-insects” or “grass insects,” i.e. grasshoppers. In fact, Julien
-translated the phrase in the latter sense.
-
-[65] _Chin hui tui_, lit. brocade ash-heaps.
-
-[66] Not as Bushell (_T’ao shuo_, op. cit., p. 143), “medallions
-of flower sprays and fruits painted on the four sides”; _ssŭ mien_
-(lit. four sides) being a common phrase for “on all sides” does not
-necessarily imply a quadrangular object.
-
-[67] _Shih nü_, strangely rendered by Bushell “a party of young
-girls.”
-
-[68] The dragon boats raced on the rivers and were carried in
-procession through the streets on the festival of the fifth day of the
-fifth month. See J. J. M. de Groot, _Annales du Musée Guimet_,
-vol. xi., p. 346. A design of children playing at dragon boat
-processions is occasionally seen in later porcelain decoration.
-
-[69] Cf. the favourite design of children under a pine-tree on Japanese
-Hirado porcelain.
-
-[70] Op. cit., figs. 38, 49, 55, 56, 63, 64, 65, 66 and 76.
-
-[71] [chch 2] Bushell has translated it “diffused colours,” but _fu_ is
-also used for “applying externally” in the medicinal sense, which seems
-specially appropriate here.
-
-[72] [chch 2], lit. “fill up (with) glaze,” the colour of the glaze
-being specified in each case. Cf. _lan ti t’ien hua wu ts’ai_
-(blue ground filled up with polychrome painting), a phrase used to
-describe the decoration of the barrel-shaped garden seats of the Hsüan
-Tê period. See p. 17.
-
-[73] Fig. 63, a cup in form like the chicken cups (_chi kang_).
-
-[74] [chch 2] _ch’i shang._
-
-[75] Op. cit., Plate ii.
-
-[76] See E. Dillon, _Porcelain_, Plate xviii.
-
-[77] See E. Dillon, _Porcelain_, Plate vii.
-
-[78] See _Cat, B. F. A._, 1910, H 21, I 7.
-
-[79] [chch 2]
-
-[80] [chch 2]
-
-[81] [chch 2].
-
-[82] [chch 2].
-
-[83] Op. cit., No. 42.
-
-[84] [chch], delicate, beautiful.
-
-[85] [chch 2].
-
-[86] [chch 2].
-
-[87] Vol. ii., p. 277.
-
-[88] See vol. i, p. 154.
-
-[89] See p. 12.
-
-[90] This account is quoted from the _Shih wu kan chu_, published
-in 1591.
-
-[91] See p. 12.
-
-[92] See Hirth, _China and the Roman Orient_, p. 179.
-
-[93] The converse is equally true, and Chinese porcelain of this kind
-is frequently classed among Persian wares. Indeed, there are not a
-few who would argue that these true porcelains of the hard-paste
-type were actually made in Persia. No evidence has been produced to
-support this wholly unnecessary theory beyond the facts which I have
-mentioned in this passage, and the debated specimens which I have had
-the opportunity to examine were all of a kind which no one trained
-in Chinese ceramics could possibly mistake for anything but Chinese
-porcelain.
-
-[94] This peculiarity occurs on a tripod incense vase in the
-Eumorfopoulos Collection, which in other respects resembles this little
-group, but it is a peculiarity not confined to the Chêng Tê porcelain,
-for I have occasionally found it on much later wares.
-
-[95] A somewhat similar effect is seen on the little flask ascribed to
-the Hsüan Tê period. See p. 14.
-
-[96] Op. cit., Nos. 52 and 80. These are the latest specimens which are
-given by Hsiang Yüan-p‘ien.
-
-[97] _Cat._, H 8.
-
-[98] A similar vase is in the Victoria and Albert Museum.
-
-[99] [chch 3] _hsien hung t’u_, lit. “the earth for the fresh red,” an
-expression which would naturally refer to the _clay_ used in making
-ware of this particular colour, though Bushell has preferred to take it
-in reference to the _mineral_ used to produce the colour itself. See p.
-123.
-
-[100] Bk. ii., fol. 10.
-
-[101] A Ming writer quoted in the _T’ao lu_, bk. viii., fol. 4, adds
-that these cups were marked under the base [chch 2] _chin lu_ (golden
-seal), [chch 2] _ta chiao_ (great sacrifice), [chch 2] _t’an yung_
-(altar use).
-
-[102] _Ch’ing k’ou_, lit. mouth like a gong or sounding stone.
-
-[103] _Man hsin_, lit. loaf-shaped centre.
-
-[104] _Yüan tsu_, lit. foot with outer border.
-
-[105] An extract from the _I Chih_ (quoted in the _T’ao lu_,
-bk. viii., fol. 14) states that “in the 26th year of Chia Ching, the
-emperor demanded that vessels should be made with 'fresh red’ (_hsien
-hung_) decoration; they were difficult to make successfully, and Hsü
-Chên of the Imperial Censorate, memorialised the throne, requesting
-that red from sulphate of iron (_fan hung_) be used instead.” A
-memorial of similar tenor was sent to the emperor by Hsü Ch’ih in the
-succeeding reign.
-
-[106] _O. C. A._, pp. 223–6.
-
-[107] Bk. vi., fols. 9–15. See also Bushell’s translation op. cit., pp.
-145–51, and _O. C. A._, loc. cit.
-
-[108] Some idea of the quantity supplied may be gathered from the
-following items in the list for the year 1546: 300 fish bowls, 1,000
-covered jars, 22,000 bowls, 31,000 round dishes (_p’an_), 18,400
-wine cups.
-
-[109] See Bushell, _O. C. A._, p. 226.
-
-[110] There are examples of this work in the British Museum, in which
-the blue seems to have been sponged on or washed on, and the decoration
-picked out with a needlepoint, and then the whole covered with a
-colourless glaze.
-
-[111] _hsiang yün_, lit. felicitous clouds.
-
-[112] [chch 2] _t’ieh chin_, lit. stuck-on gold.
-
-[113] _O. C. A._, p. 221.
-
-[114] [chch 2] _t’ien pai_, a phrase frequently used in this sense,
-though it is not quite obvious how it derives this meaning from its
-literal sense of “sweet white.”
-
-[115] See p. 34. The _fan hung_ is an overglaze colour of
-coral tint, derived from oxide of iron; the _hsien hung_ is an
-underglaze red derived from oxide of copper.
-
-[116] _jang hua_, lit. “abundant or luxuriant ornament.”
-_Embossed_ is Bushell’s rendering.
-
-[117] See Bushell’s translation, op. cit., p. 151.
-
-[118] [chch 3].
-
-[119] See p. 298.
-
-[120] [chch 2] _ling chih_, a species of agaric, at first regarded
-as an emblem of good luck, and afterwards as a Taoist emblem of
-immortality.
-
-[121] See Bushell, _O. C. A._, p. 563.
-
-[122] [chch 2] _shih tzŭ_. The mythical lion is a fantastic animal with
-the playful qualities of the Pekingese spaniel, which it resembles in
-features. In fact the latter is called the lion dog (_shih tzŭ k’ou_),
-and the former is often loosely named the “dog of Fo (Buddha),” because
-he is the usual guardian of Buddhist temples and images.
-
-[123] [chch] _ts’ang_, azure or hoary.
-
-[124] Named by Bushell mackerel, carp., marbled perch, and another.
-
-[125] [chch 4].
-
-[126] [chch] _chün_, a fleet horse.
-
-[127] Translation of the _T’ao shuo_ (p. 145).
-
-[128] _O. C. A._, p. 227.
-
-[129] [chch 4].
-
-[130] See Laufer, _Jade_, p. 120.
-
-[131] See Mayers, part ii., p. 335.
-
-[132] _hua_ [chch]. Bushell (_T’ao shuo_, p. 146) has rendered this
-with “flowers and inscriptions, etc.” In many cases in these lists it
-is almost impossible to say whether the word _hua_ has the sense of
-_flowers_ or merely _decoration_. The present passage _fu shou k’ang
-ning hua chung_ seems to demand the second interpretation.
-
-[133] This dark blue Chia Ching ware was carefully copied at the
-Imperial factory in the Yung Chêng period. See p. 203.
-
-[134] See _J. Böttger, Philipp Hainhofer und der Kunstschrank Gustav
-Adolfs in Upsala_, Stockholm, 1909, Plate 71. The same interesting
-collection includes a marked Wan Li dish with cloud and stork pattern
-in underglaze blue, two cups, and a set of Indian lacquer dishes with
-centres made of the characteristic Chinese export porcelain described
-on p. 70.
-
-[135] _Cat B. F. A._, D 17.
-
-[136] A good example of this colouring is a large bowl with Chia Ching
-mark in the Kunstgewerbe Museum, Berlin.
-
-[137] See vol. i, p. 225.
-
-[138] Figured in F. Dillon, _Porcelain_, Plate v.
-
-[139] Bk. v., fol. 9 recto.
-
-[140] [chch 2]. _Ts’ui_ is a fairly common name. It occurs as a mark on
-a small figure of an infant in creamy white ware of Ting type in the
-Eumorfopoulos Collection; but it is highly improbable that this piece
-has anything to do with the Mr. Ts’ui here in question.
-
-[141] The _Ming ch’ên shih pi chou chai yü t’an_, quoted in the
-_T’ao lu_, bk. viii., fol. 4, says, “When we come to Chia Ching
-ware then there are also imitations of both Hsüan Tê and Ch’êng Hua
-types (they even are said to excel them). But Mr. Ts’ui’s ware is
-honoured in addition, though its price is negligible, being only
-one-tenth of that of Hsüan and Ch’êng wares.”
-
-[142] Bk. iii., fol. 7.
-
-[143] See Bushell, _O. C. A._, p. 235.
-
-[144] Bk. vi., fol. 16, and Bushell’s translation, p. 152.
-
-[145] See _Ming ch’ên shih pi chou chai yü t’an_ (quoted in
-_T’ao lu_, bk. viii., cf. 4 verso): “For Mu Tsung (i.e. Lung
-Ch’ing) loved sensuality, and therefore orders were given to make this
-kind of thing; but as a matter of fact 'Spring painting’ began in the
-picture house of Prince Kuang Chüan of the Han dynasty....”
-
-[146] See _T’ao lu_, bk. viii., fols. 10 and 11, quoting from the
-_Ts’ao t’ien yu chi_.
-
-[147] _T’ang ying lung kang chi_, quoted in the _T’ao lu_,
-bk. viii., fols. 11 and 12.
-
-[148] Chao was supposed to have displayed superhuman skill in the
-manufacture of pottery in the Chin dynasty (265–419 A.D.).
-
-[149] Bk. v., fol. 8.
-
-[150] For explanation of these terms, see p. 10.
-
-[151] Bushell’s rendering, “cups and saucers,” is misleading if not
-verbally incorrect.
-
-[152] These are Bushell’s renderings.
-
-[153] [chch 3] _ssŭ hsŭ t’ou_, a phrase which would more usually
-refer to the beard than the hair of the head. The above rendering is
-Bushell’s.
-
-[154] [chch 2].
-
-[155] [chch 2].
-
-[156] [chch 3].
-
-[157] [chch 4]. There is an allusion in this name to the story of Hu
-Kung, a magician of the third and fourth centuries, who was credited
-with marvellous healing powers. Every night he disappeared, and it was
-found at length that he was in the habit of retiring into a hollow
-gourd which hung from the door post. See A. E. Hippisley, _Catalogue
-of a Collection of Chinese Porcelains_, Smithsonian Institute,
-Washington, 1900. Hao’s porcelain is also known as _Hu kung yao_
-(the ware of Mr. Pots).
-
-[158] See _T’ao lu_, bk. v., fol. 10, and bk. viii., fol. 7, and
-_T’ao shuo_, bk. vi., fol. 26.
-
-[159] [chch 2] _luan mu_, “the curtain inside the egg,” which conveys
-the idea of extreme tenuity better than the most usual expression, “egg
-shell” porcelain.
-
-[160] Half a _chu_.
-
-[161] [chch 3].
-
-[162] _Tzŭ chin._ Golden brown with reddish tinge (_tzŭ chin tai
-chu_), accurately describes one kind of stoneware tea pots made at
-Yi-hsing (p. 177); but it is not stated whether Hao’s imitations were
-in stoneware or porcelain.
-
-[163] An allusion to the celebrated orchid pavilion at Kuei-chi, in
-Chêkiang, the meeting place of a coterie of scholars in the fourth
-century. The scene in which they floated their wine cups on the river
-has been popularised in pictorial art. See Plate 104 Fig. 1.
-
-[164] [chch 2].
-
-[165] The _K’ao p’an yü shih_.
-
-[166] Bk. vi., fol. 16 recto.
-
-[167] See p. 140.
-
-[168] Bk. v., fol. 10 verso, under the heading, _Hsiao nan yao_
-(Little South Street wares).
-
-[169] [chch 2], apparently referring to the size of the vessels and
-not necessarily implying that they were shaped like a frog. On the
-other hand, small water vessels in the form of a frog have been made in
-China from the Sung period onwards.
-
-[170] [chch 2].
-
-[171] A similar ewer in Dr. Seligmann’s collection is marked with one
-of the trigrams of the _pa kua_.
-
-[172] _Cat._, L 24.
-
-[173] _Cat._, E 19–25.
-
-[174] _Denkmäler Persischer Baukunst_, Plate lii., Text p. 41 and
-Fig. 44.
-
-[175] The same emperor showed his appreciation for Chinese ceramics by
-importing a number of Chinese potters into Persia. See p. 30.
-
-[176] It is recorded that the Emperor Wan Li sent presents of large
-porcelain jars to the Mogul Emperor, and it is likely that similar
-presents had arrived at the Persian Court.
-
-[177] _Cat._, Case X, No. 245, and Plate xv.
-
-[178] _Burlington Magazine_, October, 1910, p. 40.
-
-[179] See _Franks Catalogue_, No. 763.
-
-[180] _Burlington Magazine_, March, 1913, p. 310. See also
-_Hainhofer und der Kunstschrank Gustav Adolfs_, op. cit., Plate
-69, where a set of dishes of India lacquer is illustrated, each mounted
-in the centre with a roundel of this type of porcelain. These dishes
-are mentioned in a letter dated 1628.
-
-[181] Numbered 1191 and 1192. A number of other painters who have
-introduced these Chinese porcelains into their work are named by Mr.
-Perzynski (_Burlington Magazine_, December, 1910, p. 169).
-
-[182] See p. 63.
-
-[183] C 5–7.
-
-[184] _Cat._, No. 112D.
-
-[185] _Burlington Magazine_, December, 1910, p. 169.
-
-[186] The figures sometimes stand out against a background coloured
-with washes of green, yellow and aubergine glaze. See Plate 82, Fig. 2.
-
-[187] See p. 43.
-
-[188] See vol. i., p. 218.
-
-[189] See p. 196.
-
-[190] I have seen occasional specimens with the Wan Li mark.
-
-[191] See vol. i., p. 218.
-
-[192] _Cat._, J 21.
-
-[193] _Cat._, A 33. In the Lymans Collection in Boston there are
-several examples of this ware, including specimens with dark and light
-coffee brown grounds and a jar in blue and white.
-
-[194] A collection of these is in the British Museum, and they include
-many types of late Ming export porcelains.
-
-[195] _Cat. B. F. A._, K 37.
-
-[196] A jar with vertical bands of ornament in a misty underglaze red
-of pale tint in the Eumorfopoulos collection probably belongs to this
-period. Though technically unsuccessful, the general effect of the bold
-red-painted design is most attractive.
-
-[197] See vol. i., p. 218.
-
-[198] _Cat._, J 16.
-
-[199] There is a whole case full of them in the celebrated Dresden
-collection, a fact which is strongly in favour of a K’ang Hsi origin
-for the group.
-
-[200] Eight Precious Things. See p. 299.
-
-[201] See vol. i., p. 219.
-
-[202] The fact that the enamellers’ shops at Ching-tê Chên to this day
-are known as _hung tien_ (red shops) points to the predominance of
-this red family in the early history of enamelled decorations.
-
-[203] See p. 67.
-
-[204] See vol. i., p. 218.
-
-[205] See p. 224.
-
-[206] See p. 90.
-
-[207] H 17, exhibited by Mr. G. Eumorfopoulos.
-
-[208] See p. 4.
-
-[209] See p. 94.
-
-[210] Other saucers of this kind have a decoration of radiating floral
-sprays, and there are bowls of a familiar type with small sprays
-engraved and filled in with coloured glazes in a ground of green or
-aubergine purple. Some of these have a rough biscuit suggesting the
-late Ming period; others of finer finish apparently belong to the K’ang
-Hsi period. They often have indistinct seal marks, known as “shop
-marks,” in blue.
-
-[211] _Burlington Magazine_, December, 1910, p. 169, and March,
-1913, p. 311.
-
-[212] Figured in Monkhouse, op. cit., Fig. 2. The date of the mount
-is disputed, some authorities placing it at the end of the sixteenth
-century.
-
-[213] Figured by Perzynski, _Burlington Magazine_, March, 1913. A
-vase of this style with tulip design in the palace at Charlottenburg
-has a cyclical date in the decoration, which represents 1639 or 1699
-(probably the former) in our chronology.
-
-[214] [chch 3] _pai tun tzŭ_ white blocks.
-
-[215] A sixteenth-century work. See p. 2.
-
-[216] Many observers positively assert that the grooved foot rim does
-not occur on pre-K’ang Hsi porcelain. If this is true, it provides a
-very useful rule for dating; but the rigid application of these rules
-of thumb is rarely possible, and we can only regard them as useful but
-not infallible guides.
-
-[217] Quoted in _T’ao lu_, bk. viii., fol. 6.
-
-[218] _fu ti._
-
-[219] _Man hsin._
-
-[220] See _T’ao shuo_, bk. iii., fol. 7 verso. “Among other
-things the porcelain with glaze lustrous and thick like massed lard,
-and which has millet grains rising like chicken skin and displays palm
-eyes (_tsung yen_) like orange skin, is prized.” The expression
-“palm eyes” occurring by itself in other contexts has given rise to
-conflicting opinions, but its use here, qualified by the comparison
-with orange peel and in contrast with the granular elevations,
-points clearly to some sort of depressions or pittings which, being
-characteristic of the classical porcelain, came to be regarded as
-beauty spots.
-
-[221] e.g. The _P’ing shih_, the _P’ing hua p’u_, and the
-_Chang wu chih_, all late Ming works. An extract from the second
-(quoted in the _T’ao lu_, bk. ix., p. 4 verso) tells us that
-“Chang Tê-ch’ien says all who arrange flowers first must choose vases.
-For summer and autumn you should use porcelain vases. For the hall and
-large rooms large vases are fitting; for the study, small ones. Avoid
-circular arrangement and avoid pairs. Prize the porcelain and disdain
-gold and silver. Esteem pure elegance. The mouth of the vase should be
-small and the foot thick. Choose these. They stand firm, and do not
-emit vapours.” Tin linings, we are also told, should be used in winter
-to prevent the frost cracking the porcelain; and _Chang wu chih_
-(quoted _ibidem_, fol. 6 verso) speaks of very large Lung-ch’üan
-and Chün ware vases, two or three feet high, as very suitable for
-putting old prunus boughs in.
-
-[222] Cobalt, the source of the ceramic blues, is obtained from
-cobaltiferous ore of manganese, and its quality varies according to the
-purity of the ore and the care with which it is refined.
-
-[223] _0. C. A._, p. 263. This very dark blue recalls one of the
-Chia Ching types noted on page 36.
-
-[224] See p. 10.
-
-[225] But see p. 177.
-
-[226] _Biscuit_ is the usual term for a fired porcelain which has
-not been glazed.
-
-[227] See p. 17.
-
-[228] It has been suggested by Mr. Joseph Burton that the opacity of
-the colours described in the preceding paragraphs may have been due to
-the addition of porcelain earth to the glazing material.
-
-[229] See p. 82.
-
-[230] See, however, p. 85.
-
-[231] See p. 2.
-
-[232] The _T’ao lu_ (bk. ix., fol. 17 verso) quotes an infallible
-method for fixing the gold on bowls so that it would never come off;
-it seems to have consisted of mixing garlic juice with the gold before
-painting and firing it in the ordinary way.
-
-[233] Loc. cit., and Bushell, _O. C. A._, p. 268.
-
-[234] See p. 75.
-
-[235] See _T’ao shuo_, bk. iii., fol. 10 verso.
-
-[236] See p. 55.
-
-[237] e.g. The _Chieh tzŭ yüan ma chuan_ of the K’ang Hsi period,
-mentioned by Perzynski, _Burlington Magazine_, March, 1913, p. 310.
-
-[238] Bushell’s translation, op. cit., p. 71.
-
-[239] _Ku chin t’u shu chi ch’êng_, section xxxii., bk. 248,
-section entitled _tz’ŭ ch’i pu hui k’ao_, fol. 13 verso.
-
-[240] [chch 2]
-
-[241] The supplies of porcelain earth in the immediate district of Jao
-Chou Fu were exhausted by this time.
-
-[242] The others were the Ch’ing-yün factory at Ssŭ-tu, and the
-Lan-ch’i factory in the Chien-ning district. The latter district was
-mentioned in vol. i., p. 130, in connection with the hare’s fur bowls
-of the Sung period.
-
-[243] See vol. i., p. 17.
-
-[244] Tê-hua was formerly included in the Ch’üan-chou Fu, but is now in
-the Yung-ch’un Chou.
-
-[245] See vol. i., p. 131.
-
-[246] Bk. vii., fol. 13 verso.
-
-[247] Loc. cit.
-
-[248] According to de Groot, _Annales du Musée Guinet_, vol. xi.,
-p. 195.
-
-[249] Brinkley, _China and Japan_, vol. ix., p. 274.
-
-[250] See W. Anderson, _Catalogue of the Japanese and Chinese
-Paintings in the British Museum_, p. 75.
-
-[251] _O. C. A._, p. 628.
-
-[252] In the letter dated from Jao Chou, September, 1712, loc. cit.
-
-[253] Incised designs on Fukien wares consist of the ordinary
-decoration etched in the body of the ware and of inscriptions which
-have evidently been cut through the glaze before it was fired. The
-latter often occur on wine cups, and are usually poetical sentiments or
-aphorisms, e.g. “In business be pure as the wind”; “Amidst the green
-wine cups we rejoice.”
-
-[254] _Japan and China_, vol. ix., p. 273.
-
-[255] _Everyday Life in China, or Scenes in Fukien_, by E. J.
-Dukes, London, 1885, p. 140. The reference is given by Bushell in his
-_Oriental Ceramic Art_.
-
-[256] Loc. cit., p. 273.
-
-[257] The _Li t’a k’an k’ao ku ou pien_, a copy of which,
-published in 1877, is in the British Museum. This book does not inspire
-confidence, but I give the passage for what it is worth: “When the
-glaze (of the Chien yao) is white like jade, glossy and lustrous, rich
-and thick, with a reddish tinge, and the biscuit heavy, the ware is
-first quality ... Enamelled specimens (_wu ts’ai_) are second
-rate.”
-
-[258] In the Pierpont Morgan collection (vol. i., p. 78), a specimen
-with a blue mark is described as Fukien porcelain; but I should accept
-the description with the greatest reserve, white Ching-tê Chên ware
-being very often wrongly described in this way.
-
-[259] _O. C. A._, p. 294.
-
-[260] In the second volume of the Pierpont Morgan catalogue--which,
-unfortunately, had not the benefit of Dr. Bushell’s erudition--the
-late Mr. Laffan extended the term _lang yao_ so as to embrace the
-magnificent three-colour vases with black ground and their kindred
-masterpieces with green and yellow grounds. It is impossible to justify
-this extension of the term unless we assume that the pieces in question
-were all made between the years 1654–1661 and 1665–1668, while Lang
-T’ing-tso was viceroy of Kiangsi.
-
-[261] _O. C. A._, p. 302.
-
-[262] Quoted in the Franks _Catalogue_, p. 8.
-
-[263] _O. C. A._, p. 302 footnote.
-
-[264] See also Hippisley, _Catalogue_, p. 346, where another
-version is given which makes this Lang actually a Jesuit missionary, a
-version which Mr. Hippisley afterwards abandoned when research in the
-Jesuit records failed to discover any evidence for the statement.
-
-[265] See p. 11.
-
-[266] See p. 34.
-
-[267] Op. cit., Section ix. The paragraph in the first letter runs: “Il
-y en a d’entièrement rouges, et parmi celles-là, les unes sont d’un
-rouge à l’huile, _yeou li hum_; les autres sont d’un rouge soufflé,
-_tschoui hum_ (_ch’ui hung_), et sont semées de petits points à peu
-près comme nos mignatures. Quand ces deux sortes d’ouvrages réüssissent
-dans leur perfection, ce qui est assez difficile, ils sont infiniment
-estimez et extrêmement chers.”
-
-[268] There is a very beautiful glaze effect known as “ashes of roses,”
-which seems to be a partially fired-out _sang de bœuf_. It is a
-crackled glaze, translucent, and lightly tinged with a copper red which
-verges on maroon.
-
-[269] The Emperor K’ang Hsi was specially concerned to encourage
-industry and art, and in 1680 he established a number of factories
-at Peking for the manufacture of enamels, glass, lacquer, etc.
-Père d’Entrecolles mentions that he also attempted to set up the
-manufacture of porcelain in the capital, but though he ordered workmen
-and materials to be brought from Ching-tê Chên for the purpose, the
-enterprise failed, possibly, as d’Entrecolles hints, owing to intrigues
-of the vested interests elsewhere.
-
-[270] Bushell, op. cit., p. 3.
-
-[271] Bk. v., fol. 11.
-
-[272] [chch] lit. watered. This word has been rendered by some
-translators as “pale”; but probably it has merely the sense of “mixed
-with the (glaze) water,” i.e. a monochrome glaze. The recipe given in
-the _T’ao lu_ (see Julien) is incomplete, only mentioning “crystals
-of saltpetre and ferruginous earth (_fer ologiste terreux_).” Another
-_chiao_ which signifies “beautiful, delicate,” is applied to the Hung
-Chih yellow in Hsiang’s Album. See vol. ii., p. 28.
-
-[273] Lit. “yellow distribute spots.” See, however, p. 190.
-
-[274] See O. C. A., p. 317.
-
-[275] The two letters were published in _Lettres édifiantes et
-curieuses_. They are reprinted as an appendix to Dr. Bushell’s
-translation of the _T’ao shuo_. They have been well translated
-by William Burton, in his _Porcelain_, Chap. ix.; Bushell gave a
-_précis_ of them in his O. C. A., Chap, xi., and Stanislas Julien
-quoted them extensively in his _Porcelaine Chinoise_.
-
-[276] Père d’Entrecolles (second letter, section xii.) points out that
-the glaze used for the blue and white was considerably softer than that
-of the ordinary ware, and was fired in the more temperate parts of the
-kiln. The softening ingredient (which consisted chiefly of the ashes of
-a certain wood and lime burnt together) was added to the glaze material
-(_pai yu_) in a proportion of 1 to 7 for the blue and white as
-against 1 to 13 for the ordinary ware.
-
-[277] On some of the large saucer-shaped dishes of this period the foot
-rim is unusually broad and channelled with a deep groove.
-
-[278] See Bushell, _T’ao shuo_, op. cit., p. 192. It is tolerably
-clear that d’Entrecolles in this passage is giving a verbatim rendering
-of a Chinese description. The “flowers” is, no doubt, _hua_, and
-might be rendered “decoration” in the general sense, and the “water and
-the mountains” is, no doubt, _shan shui_, the current phrase for
-“landscape.”
-
-[279] For the shape of the _ju-i_ head, see vol. i., p. 227.
-
-[280] “Flaming silver candle lighting up rosy beauty,” a Ch’êng
-Hua design (see p. 25) but often found in K’ang Hsi porcelain,
-which usually has, by the way, the Ch’êng Hua mark to keep up the
-associations.
-
-[281] For further notes on design, see chap. xvii.
-
-[282] There is a small collection of these porcelains salved from the
-sea and presented to the British Museum by H. Adams in 1853; but there
-is no evidence to show which, if any, were on board the _Haarlem_.
-
-[283] This design was copied on early Worcester blue and white
-porcelain.
-
-[284] In spite of Bushell’s translation of a Ming passage which would
-lead one to think otherwise; see p. 40.
-
-[285] See vol. i., p. 226.
-
-[286] There are frequent allusions to the European trade in the letters
-of Père d’Entrecolles. In the first letter (Bushell, _T’ao shuo_,
-p. 191) a reference is made among moulded porcelains to “celles qui
-sont d’une figure bisarre, comme les animaux, les grotesques, les
-Idoles, les bustes que les Europeans ordonnent.” On p. 193: “Pour
-ce qui est des couleurs de la porcelaine, il y en a de toutes les
-sortes. On n’en voit gueres en Europe que de celle qui est d’un bleu
-vif sur un fond blanc. Je crois pourtant que nos Marchands y en ont
-apporté d’autres.” On p. 202, to explain the high price of the Chinese
-porcelain in Europe, we are told that for the porcelain for Europe new
-models, often very strange and difficult to manufacture, are constantly
-demanded, and as the porcelain was rejected for the smallest defect,
-these pieces were left on the potter’s hands, and, being un-Chinese
-in taste, were quite unsaleable. Naturally the potter demanded a high
-price for the successful pieces to cover his loss on the rejected.
-
-On the other hand, we are told (p. 204) that the mandarins,
-recognising the inventive genius of the Europeans, sometimes asked
-him (d’Entrecolles) to procure new and curious designs, in order that
-they might have novelties to offer to the Emperor. But his converts
-entreated him not to get these designs, which were often very difficult
-to execute and led to all manner of ill-treatment of the unfortunate
-workmen.
-
-On the same page we are told that the European merchants ordered large
-plaques for inlaying in furniture, but that the potters found it
-impossible to make any plaque larger than about a foot square. In the
-second letter (section x.), however, we learn that “this year (1722)
-they had accepted orders for designs which had hitherto been considered
-impossible, viz. for urns (_urnes_) 3 feet and more high, with a
-cover which rose in pyramidal form to an additional foot. They were
-made in three pieces, so skilfully joined that the seams were not
-visible, and out of twenty-five made only eight had been successful.
-These objects were ordered by the Canton merchants, who deal with the
-Europeans; for in China people are not interested in porcelain which
-entails such great cost.”
-
-[287] This defect is noticed by Père d’Entrecolles, who mentions
-another remedy used by the Chinese potters. They applied, he tells us
-in section ii. of the second letter, a preparation of bamboo ashes
-mixed with glazing material to the edges of the plate before the
-glazing proper. This was supposed to have the desired effect without
-impairing the whiteness of the porcelain.
-
-[288] See p. 74.
-
-[289] Second letter, section iv.
-
-[290] See Bushell, O. C. A., p. 320.
-
-[291] See p. 201.
-
-[292] The use of crackle glaze over blue (_porcelaine toute
-azurée_) is noted by Père d’Entrecolles in his first letter. See
-Bushell, op. cit., p. 195.
-
-[293] See Bushell, _T’ao shuo_, p. 197.
-
-[294] A somewhat similar but clumsier decoration was the “scratched
-blue” of the Staffordshire salt glaze made about 1750.
-
-[295] On exceptional examples the red seems to have turned almost
-black, and in some cases it seems to have penetrated the glaze and
-turned brown.
-
-[296] A similar combination of coloured glazes was effectively used on
-the moulded porcelains of the Japanese Hirado factory.
-
-[297] See pp. 48 and 100.
-
-[298] Loc. cit., second letter, section xiv.
-
-[299] Apparently _huang lü huan_, yellow and green (?) circles.
-But without the Chinese characters it is impossible to say which
-_huan_ is intended. The description seems to apply to the “tiger
-skin” ware, where yellow, green and aubergine glazes have been applied
-in large patches. Bushell (_O. C. A._, p. 331) makes this
-expression refer to the specimens with engraved designs in colour
-contrasting with the surrounding ground, such as Fig. 1 of Plate 79;
-but this does not seem to suit the word _huan_.
-
-[300] Loc. cit., section xiv.
-
-[301] See footnote on p. 89.
-
-[302] The same technique is employed on some of the Japanese Kaga wares.
-
-[303] Apparently derived from manganese.
-
-[304] See p. 80.
-
-[305] Another favourite form is the ovoid beaker (see Plate 101),
-which is sometimes called the _yen yen_ vase, apparently from
-_yen_, beautiful. But I only have this name on hearsay, and it is
-perhaps merely a trader’s term.
-
-[306] See p. 110.
-
-[307] A lotus-shaped set in the Salting collection numbers thirteen
-sections.
-
-[308] The underglaze blue almost invariably suffered in the subsequent
-firings which were necessary for the enamels, and, as we shall see, a
-different kind of glaze was used on the pure enamelled ware and on the
-blue and white.
-
-[309] Apart from the cases in which the enamel colours were added to
-faulty specimens of blue and white to conceal defects.
-
-[310] See p. 85.
-
-[311] Op. cit., section vi. “Il n’y a, dit on, que vingt ans ou
-environ qu’on a trouvé le secret de peindre avec le _tsoui_ ou en
-violet et de dorer la porcelaine.” As far as the gilding is concerned,
-this statement is many centuries wrong. The _tsoui_ is no doubt
-the _ts’ui_, which is very vaguely described in section xii.
-(under the name _tsiu_) of the same letter. Here it is stated to
-have been compounded of a kind of stone, but the description of its
-treatment clearly shows that the material was really a coloured glass,
-which is, in fact, the basis of the violet blue enamel.
-
-[312] Bushell, op. cit., p. 193.
-
-[313] Loc. cit., p. 195.
-
-[314] See d’Entrecolles, second letter, section xii.
-
-[315] Burnt lime and wood ashes. See p. 92.
-
-[316] Catalogue of the 1910 exhibition, No. 84.
-
-[317] These seals are usually difficult to decipher, and the one in
-question might be read _shui shih chü_ (water and rock dwelling).
-This would be a matter of small importance did not the signature
-read by Bushell as _wan shih chü_ occur in the Pierpont Morgan
-Collection. Other instances in the same collection are _chu chü_
-(bamboo retreat), _shih chü_ (rock retreat), and _chu shih
-chü_ (red rock retreat). The signature _chu chü_ also occurs on
-a dish in the Dresden collection.
-
-[318] See p. 212.
-
-[319] See p. 64.
-
-[320] Cat., vol. i., p. 156.
-
-[321] Similar bottles in the Drucker Collection have the “G” mark.
-
-[322] _Fang tung yang_, “imitating the Eastern Sea” (i.e. Japan).
-
-[323] The first specimens (according to Bushell, _O. C. A._, p.
-309) to reach America came from the collection of the Prince of Yi,
-whose line was founded by the thirteenth son of the Emperor K’ang Hsi.
-
-[324] The general reader will probably not be much concerned as to
-whether the peach bloom was produced by oxide of copper or by some
-other process. Having learnt the outward signs of the glaze, he will
-take the inner meaning of it for granted. Others, however, will be
-interested to know that practically all the features of the peach bloom
-glaze, the pink colour, the green ground and the russet brown spots
-can be produced by chrome tin fired at a high temperature. I have seen
-examples of these chrome tin pinks made by Mr. Mott at Doulton’s, which
-exhibit practically all the peculiarities of the Chinese peach bloom.
-It does not, of course, follow that the Chinese used the same methods
-or even had any knowledge of chrome tin. They may have arrived at the
-same results by entirely different methods, and the peach bloom tints
-developed on some of the painted underglaze copper reds point to the
-one which is generally believed to have been used; but the difference
-between these and the fully developed peach bloom is considerable,
-and though we have no definite evidence one way or the other, the
-possibilities of chrome tin cannot be overlooked.
-
-[325] The form of this water pot is known (according to Bushell,
-_O. C. A._, p. 318) as the _T’ai-po tsun_, because it was
-designed after the traditional shape of the wine jar of Li T’ai-po, the
-celebrated T’ang poet. In its complete state it has a short neck with
-slightly spreading mouth.
-
-[326] See p. 146.
-
-[327] See p. 64.
-
-[328] i.e. lead glass.
-
-[329] _Chi_, lit. sky-clearing, and _chi ch’ing_ might be
-rendered “blue of the sky after rain.”
-
-[330] There are some bowls and bottles in the Dresden collection with
-glazes of a pale luminous blue which are hard to parallel elsewhere.
-
-[331] Loc. cit., section xvii. In another place (section iii.) we are
-told how the Chinese surrounded the ware with paper during the blowing
-operation, so as to catch and save all the precious material which fell
-wide of the porcelain.
-
-[332] I cannot recall any example of the powder blue crackle which is
-here described.
-
-[333] See Julien, p. 107.
-
-[334] P. 170.
-
-[335] Second letter, section xvii.
-
-[336] The word “mazarine” has become naturalised in the English
-language. Goldsmith spoke of “gowns of mazarine blue edged with fur”;
-and “Ingoldsby” says the sky was “bright mazarine.” See R. L. Hobson,
-_Worcester Porcelain_, p. 101.
-
-[337] See p. 99.
-
-[338] See p. 102.
-
-[339] These glazes generally have the appearance of being in two coats,
-and in some cases there actually seem to be two layers of crackle.
-
-[340] See p. 125.
-
-[341] i.e. the strong heavy types. Chinese literature speaks of thinner
-and more refined celadons of the Sung period, but few of these have
-come down to our day.
-
-[342] Père d’Entrecolles fully describes these spurious celadons. See
-vol. i., p. 83.
-
-[343] Second letter, section vii.
-
-[344] The _T’ao lu_ (see Julien, p. 213) gives this recipe for the
-kind of celadon known as _Tung ch’ing_, and a similar prescription
-with a small percentage of blue added for the variety known as
-_Lung-ch’üan_.
-
-[345] See Bushell, O. C. A., p. 316.
-
-[346] See p. 147.
-
-[347] There are some fine examples of orange yellow monochrome in the
-Peters Collection in New York. The colour was also used with success
-in the Ch’ien Lung period, the mark of which reign occurs on a good
-example in the Peters Collection.
-
-[348] Bushell, _O. C. A._, Plates xxv. and lxxxiii.
-
-[349] See Monkhouse, op. cit., fig. 22. The crackle on the mustard
-yellow glaze is usually small, but there is a fine specimen in the
-Peters Collection with large even crackle. Sometimes this yellow has
-a greenish tinge, and in a few instances it is combined with crackled
-green glaze.
-
-[350] Second letter, section vi.
-
-[351] See Père d’Entrecolles, second letter, section xiii.: “L’argent
-sur le vernis _tse kin (tzŭ chin_) a beaucoup d’éclat.”
-
-[352] See p. 145.
-
-[353] The blue of the cobalt is sometimes clearly visible in the
-fracture of the glaze; and in other cases the black has a decided tinge
-of brown.
-
-[354] d’Entrecolles, loc. cit., section viii.: “Le noir éclatant ou le
-noir de miroir appellé _ou kim_” (_wu chin_).
-
-[355] d’Entrecolles declares that it was the result of many
-experiments, apparently in his own time. See p. 194.
-
-[356] Second letter, section xi.
-
-[357] See M. Seymour de Ricci in the introduction to the _Catalogue
-of a Collection of Mounted Porcelain belonging to E. M. Hodgkins,
-Paris_, 1911, where much interesting information has been collected
-on the subject of French mounts and their designers. He quotes also
-from the _Livre-journal de Lazare Duvaux marchand-bijoutier ordinaire
-du Roy_ (1748–1758), which includes a list of objects mounted for
-Madame de Pompadour and others, giving the nature of the wares and the
-cost of the work.
-
-[358] Persian, Indian, and occasionally even Chinese metal mounts are
-found on porcelain; and Mr. S. E. Kennedy has a fine enamelled vase of
-the K’ang Hsi period with spirited dragon handles of old Chinese bronze.
-
-[359] White was also used in the worship of the Year Star (Jupiter).
-Other colours which have a ritual significance are _yellow_, used
-in the Ancestral Temple by the Emperor, and on the altars of the god
-of Agriculture and of the goddess of Silk; _blue_, in the Temple
-of Heaven and in the Temple of Land and Grain; and _red_, in the
-worship of the Sun.
-
-[360] Brinkley has aptly described it as “snow-white oil.”
-
-[361] Cf. Père d’Entrecolles, second letter, section xviii.: “(The
-designs) are first outlined with a graving-tool on the body of the
-vase, and afterwards lightly channelled around to give them relief.
-After this they are glazed.”
-
-[362] See d’Entrecolles, loc. cit., sections iv. and v. After
-describing the preparation of the steatite (_hua shih_) by mixing
-it with water, he continues: “Then they dip a brush in the mixture and
-trace various designs on the porcelain, and when they are dry the glaze
-is applied. When the ware is fired, these designs emerge in a white
-which differs from that of the body. It is as though a faint mist had
-spread over the surface. The white from _hoa che_ (_hua shih_
-or _steatite_) is called ivory white, _siam ya pe_ (_hsiang
-ya pai_).” In the next section he describes another material used
-for white painting under the glaze. This is _shih kao_, which has
-been identified with fibrous gypsum.
-
-[363] See p. 74.
-
-[364] First letter, Bushell, op. cit., p. 195.
-
-[365] _O. C. A._, p. 533.
-
-[366] _Ku chin t’u shu_, section xxxii., vol. 248, fol. 15. In
-this way, we are told, were produced (1) the thousandfold millet
-crackle and (2) the drab-brown (_ho_) cups. The colour of the
-latter was obtained by rubbing on a decoction of old tea leaves. The
-former is a name given to a glaze broken into “numerous small points.”
-
-[367] See Bushell, _T’ao shuo_, loc. cit., p. 195.
-
-[368] The _Tao lu_ (see Julien, p. 214) informs us that the _sui
-ch’i yu_ (crackle ware glaze) was made from briquettes formed of the
-natural rock of San-pao-p’êng. If highly refined this material produced
-small crackle; if less carefully refined, coarse crackle. In reference
-to _sui ch’i_ in an earlier part of the same work, we are told
-that the Sung potters mixed _hua shih_ with the glaze to produce
-crackle. _Hua shih_ is a material of the nature of steatite, and
-Bushell (_O. C. A._, p. 447) states that the Chinese potters mix
-powdered steatite with the glaze to make it crackle. It is, then,
-highly probable that the “white pebbles” of Père d’Entrecolles and the
-rock of San-pao-p’êng are the same material and of a steatitic nature.
-
-[369] [chch 3]. Another name of this official, _Yen kung_, is
-mentioned in the _T’ao lu_, bk. v., fol. 11 verso.
-
-[370] Situated at the junction of the Grand Canal and the Yangtze.
-
-[371] Loc. cit.
-
-[372] Silvering the entire surface (_mo yin_), as opposed to
-merely decorating with painted designs in silver (_miao yin_),
-appears to have been a novelty introduced by T’ang Ying.
-
-[373] i.e. porcelain services painted with European coats of arms.
-
-[374] See p. 215.
-
-[375] See p. 225, Nos. 41 and 42.
-
-[376] Cf. p. 25, where “high-flaming silver candle lighting up rosy
-beauty” is explained in this sense among the Ch’êng Hua designs.
-
-[377] See p. 13.
-
-[378] See p. 225, No. 45.
-
-[379] See p. 224, Nos. 19 and 20.
-
-[380] A beautiful example of a “stem-cup” in the Eumorfopoulos
-Collection, with three fishes on the exterior in underglaze red of
-brilliant quality and the Hsüan Tê mark inside the bowl, probably
-belongs to this class.
-
-[381] See p. 148.
-
-[382] See p. 225, No. 30.
-
-[383] See p. 224, No. 26.
-
-[384] See _Catalogue_ 300–303. “On each is a miniature group of
-the Seven Worthies of the Bamboo Grove with an attendant bringing a jar
-of wine and flowers. The porcelain is so thin that the design, with all
-the details of colour, can be distinctly perceived from the inside.” It
-is only right to say that their learned possessor has catalogued them
-as genuine examples of the Ch’êng Hua period.
-
-[385] See p. 224, No. 25.
-
-[386] See p. 201.
-
-[387] See p. 224, No. 27.
-
-[388] See p. 225, No. 36.
-
-[389] _T’ao shuo_, bk. i., fol. 15 verso.
-
-[390] See p. 225, No. 49. _Fo-lang_, _fa-lang_, _fu-lang_, and _fa-lan_
-are used indiscriminately by the Chinese in the sense of enamels on
-metal.
-
-[391] In the _T’ao lu_, under the heading _Yang tz’ŭ_. It is
-a curious paradox that the Chinese called _famille rose_ porcelain
-_yang ts’ai_ (foreign colours) and the Canton enamels _yang
-tz’ŭ_ (foreign porcelain). See _Burlington Magazine_, December,
-1912, “Note on Canton Enamels.”
-
-[392] See pp. 224–226, Nos. 29, 37, 38, 49, 51, 53, and 54.
-
-[393] Apart from the rose pinks which are derived from purple of
-cassius, i.e. precipitate of gold, and the opaque white derived from
-arsenic, the colouring agents of the _famille rose_ enamels are
-essentially the same as those of the _famille verte_. The colours
-themselves were brought to Ching-tê Chên in the form of lumps of
-coloured glass prepared at the Shantung glass works. These lumps were
-ground to a fine powder and mixed with a little white lead, and in
-some cases with sand (apparently potash was also used in some cases to
-modify the tones), and the powder was worked up for the painter’s use
-with turpentine, weak glue, or even with water. Cobaltiferous ore of
-manganese, oxide of copper, iron peroxide, and antimony were still the
-main colouring agents. The first produced the various shades of blue,
-violet, purple, and black; the second, the various greens; the third,
-coral or brick red; and the fourth, yellow of various shades. A little
-iron in the yellow gave the colour an orange tone.
-
-The modifications of the green are more numerous. The pure binoxide of
-copper produced the shade used for distant mountains (_shan lü_),
-which could be converted into turquoise by the admixture of white. The
-ordinary leaf green was darkened by strengthening the lead element in
-the flux and made bluer by the introduction of potash in the mixture.
-Combined with yellow it gave an opaque yellowish green colour known as
-_ku lü_ (ancient green); and a very pale greenish white, the “moon
-white” of the enameller, was made by a tinge of green added to the
-arsenious white.
-
-The carmine and crimson rose tints derived from the glass tinted with
-precipitate of gold, which was known as _yen chih hung_ (rouge
-red), were modified with white to produce the _fên hung_ or pale
-pink; and the same carmine was combined with white and deep blue to
-make the amaranth or blue lotus (_ch’ing lien_) colour.
-
-The ordinary brick red (the _ta hung_ or _mo hung_) was derived from
-peroxide of iron mixed with a little glue to make it adhere, but
-depending on the glaze for any vitrification it could obtain. The
-addition of a plumbo-alcaline flux produced the more brilliant and
-glossy red of coral tint known as _tsao’rh hung_ (jujube red).
-
-The dry, dull black derived from cobaltiferous manganese was converted
-into a glossy enamel by mixing with green. This is the _famille
-rose_ black as distinct from the black of the _famille verte_,
-which was formed by a layer of green washed over a layer of dull black
-on the porcelain itself.
-
-There are, besides, numerous other shades, such as lavender, French
-grey, etc., obtained by cunning mixtures, and all these enamels were
-capable of use as monochromes in place of coloured glazes as well as
-for brushwork.
-
-[394] Bushell, _Chinese Art_, vol. ii., fig. 61.
-
-[395] _Histoire de la porcelaine_, pt. viii., fig. 3.
-
-[396] These marks were discussed by Bushell in the _Burlington
-Magazine_, August and September, 1906. They are figured on vol. i.,
-pp. 219 and 223.
-
-[397] Quoted from a letter written to Sir Wollaston Franks by Mr.
-Arthur B. French, who visited Ching-tê Chên in 1882.
-
-[398] Officially the reign of K’ang Hsi dates from 1662–1722, but he
-actually succeeded to the throne on the death of Shun Chih in 1661, so
-that his reign completed the cycle of sixty years in 1721.
-
-[399] As Bushell has done in _Chinese Art_, vol. ii., p. 42.
-
-[400] See “Note on Canton Enamels,” _Burlington Magazine_,
-December, 1912.
-
-[401] See p. 225, No. 40.
-
-[402] Op. cit., second letter, section xx.
-
-[403] Nos. 39 and 55–57.
-
-[404] _Miao_ is used in the sense of to “draw” a picture or design.
-
-[405] Bushell, _O. C. A._, p. 400, explains how the studio name
-was formed by the common device of splitting up Hu [chch] into its
-component parts _ku_ [chch] and _yüeh_ [chch].
-
-[406] From the Hippisley collection, _Catalogue_, p. 408.
-
-[407] _Catalogue of Hippisley Collection_, p. 347.
-
-[408] _Chinese Art_, vol. ii., fig. 74.
-
-[409] See p. 224, Nos. 15–17.
-
-[410] A recipe given in the _T’ao lu_ (bk. iii., fol. 12 verso)
-for the _lu chün_ glaze speaks of “crystals of nitre, rock
-crystal, and (?) cobaltiferous manganese (_liao_) mixed with
-ordinary glaze.” But apart from the uncertain rendering of _liao_
-(which Bushell takes as _ch’ing liao_, i.e. the material used for
-blue painting), it is difficult to see how this composition, including
-the ordinary porcelain glaze, can have been fired in the muffle kiln.
-
-[411] In the jujube red the iron oxide is mixed with the
-plumbo-alcaline flux of the enameller, whereas in the _mo hung_ it
-is simply made to adhere to the porcelain by means of glue, and depends
-for the silicates, which give it a vitreous appearance, on the glaze
-beneath it.
-
-[412] _O. C. A._, p. 360.
-
-[413] See p. 224, No. 18.
-
-[414] See p. 225, No. 44.
-
-[415] Op. cit., p. 67.
-
-[416] _Catalogue_, K. 18.
-
-[417] _Catalogue_, vol. i., p. 38. The colour has already been
-discussed in a note on p. 68 of vol. i. of this book.
-
-[418] See vol. i., p. 68.
-
-[419] See Bushell, _O. C. A._, p. 368
-
-[420] The Chinese is _kua yu_ [chch 2], lit. hanging, suspended or
-applied glaze. The Yi-hsing stoneware was not usually glazed; hence the
-force of the epithet _kua_ applied.
-
-[421] The gold-flecked turquoise has yet to be identified.
-
-[422] Bushell says this is the sapphire blue (_pao shih lan_) of
-the period.
-
-[423] [chch] mo, lit. “rubbed.” Bushell (_O. C. A._, p. 383) explains
-the term _mo hung_ as “applied to the process of painting the coral red
-monochrome derived from iron over the glaze with an ordinary brush.”
-
-[424] Bushell takes this to be the lemon yellow enamel which was first
-used at this time.
-
-[425] See p. 37.
-
-[426] [chch 14] _yu t’ung yung hung yu hui hua chê, yu ch’ing yeh
-hung hua chê._ Bushell (_O. C. A._, p. 386) gives a slightly
-different application of this passage, but the meaning seems to be
-obviously that given above.
-
-[427] This note is given by Bushell, apparently from the Chinese
-edition which he used; but it does not appear in the British Museum
-copy. It is, however, attached to the list as quoted in the _T’ao
-lu_.
-
-[428] As already explained, _miao chin_ refers to gilt designs
-painted with a brush, and _mo chin_ to gilding covering the entire
-surface.
-
-[429] _O. C. A._, p. 50.
-
-[430] [chch 2]
-
-[431] Translated by Bushell, _O. C. A._, p. 398.
-
-[432] Bk. v., fol. 12.
-
-[433] [chch 3], _yu hsin shih_, lit. “also he newly made.” This is
-undoubtedly the sense given by the Chinese original, and Julien renders
-it “il avait nouvellement mis en œuvre.” Bushell, on the other hand,
-translates: “He also made porcelain decorated with the various coloured
-glazes _newly invented_,” a reading which makes the word _chih_ do duty
-twice over, and leaves it doubtful whether T’ang was the inventor of
-these types of decoration or merely the user of them. Both the grammar
-and the balance of the sentences in the original are against this
-colourless rendering.
-
-[434] See p. 192.
-
-[435] _La Porcelaine Chinoise_, p. 216.
-
-[436] See p. 225. “In the new copies of the Western style of painting
-in enamels (_hsi yang fa lang hua fa_), the landscapes and figure
-scenes, the flowering plants and birds are without exception of
-supernatural beauty.”
-
-[437] See p. 209.
-
-[438] P. 397.
-
-[439] An interesting series of these bird’s egg glazes appearing,
-as they often do, on tiny vases was exhibited by his Excellency the
-Chinese Minister at the Whitechapel Art Gallery in November, 1913.
-
-[440] There is a very old superstition in China that cracked or broken
-pottery is the abode of evil spirits. The modern collector abhors the
-cracked or damaged specimen for other reasons, and it is certain that
-such things would not be admitted to the Imperial collections. Many
-rare and interesting pieces which have come to Europe in the past
-will be found on examination to be more or less defective, and it is
-probable that we owe their presence chiefly to this circumstance.
-
-[441] See Bushell’s translation, op. cit., p. 6.
-
-[442] The _T’ao shuo_ was published in 1774.
-
-[443] See vol. i., p. 119.
-
-[444] See Julien, op. cit., p. 101, under the heading _lung kang
-yao_ (kilns for the dragon jars).
-
-[445] The Chinese foot as at present standardised is about two inches
-longer than the English foot, and the Chinese inch is one-tenth of it.
-
-[446] See p. 58.
-
-[447] There are four examples of the large size of fish bowl in the
-Pierpont Morgan Collection, but they are of late Ming date.
-
-[448] Possibly the tint named in the _T’ao shuo_ (Bushell, op.
-cit., p. 5). “They are coloured wax yellow, tea green, gold brown, or
-the tint of old Lama books,” in reference to incense burners of this
-period.
-
-[449] Nos. 8, 9 and 11. See Bushell, _T’ao shuo_, op. cit., pp.
-16–19.
-
-[450] See p. 140.
-
-[451] A plaque in the Bushell Collection with _famille verte_
-painting has also a remarkably lustrous appearance, which I can only
-ascribe to excessive iridescence.
-
-[452] See Bushell’s translation, op. cit. p. 20.
-
-[453] Figured by L. Binyon, _Painting in the Far East_, first
-edition, Plate XIX. There is a fine vase of late Ming blue and white
-porcelain with this design in the Dresden collection.
-
-[454] This green enamel is sometimes netted over with lines suggesting
-crackle studded with prunus blossoms. Possibly this is intended to
-recall both in colour and pattern the “plum blossom” crackle of the
-Sung Kuan yao; see vol. i., p. 61.
-
-[455] _Shên tê t’ang_ and _ch’ing wei t’ang_. See vol. i., p.
-220.
-
-[456] See Burton and Hobson, Marks on _Pottery_ and _Porcelain_, p. 151.
-
-[457] Op. cit., pp. 116–175.
-
-[458] _T’ao shuo_, op. cit., pp. 7–30 and _O. C. A._, ch. xv.
-
-[459] The Lowestoft factory started about 1752, but its earlier
-productions were almost entirely blue and white, often copied, like
-most of the contemporary blue and white from Chinese export wares.
-
-[460] A curious instance of imitation of European ornament is a
-small bowl which I recently saw with openwork sides and medallions,
-apparently moulded from a glass cameo made by Tassie at the end of
-the eighteenth century; and there is a puzzle jug with openwork neck,
-copied from the well known Delft-ware model, in the Metropolitan
-Museum, New York.
-
-[461] Rotterdam was captured by the Spaniards in 1572; but those who
-are interested in the anachronism of Chinese marks will observe that
-these plates have the date mark of the Ch’êng Hua period (1465–1487).
-
-[462] See vol. i., p. 226.
-
-[463] Op. cit., p. 207.
-
-[464] An interesting example of an early eighteenth century service
-with European designs is the “trumpeter service,” of which several
-specimens may be seen in the Salting Collection. It has a design of
-trumpeters, or perhaps heralds, reserved in a black enamelled ground.
-
-[465] One of these pieces, for instance, is a plate with arms of Sir
-John Lambert, who was created a baronet in 1711 and died in 1722. It
-has enamels of the transition kind.
-
-[466] P. 209.
-
-[467] The willow pattern is merely an English adaptation of the
-conventional Chinese landscape and river scene which occurs frequently
-on the export blue and white porcelain of the eighteenth century. That
-it represents any particular story is extremely improbable.
-
-[468] Frank Falkner, _The Wood Family of Burslem_, p. 67.
-
-[469] Another _chambrelan_ who flourished about the same time and
-who worked in the same style was C. F. de Wolfsbourg.
-
-[470] _O. C. A.,_ p. 464.
-
-[471] “The mountains are high, the rivers long.”
-
-[472] See vol. i., p. 220.
-
-[473] _Catalogue_, No. 367.
-
-[474] Vol. i., p. 220.
-
-[475] Hippisley Collection, _Catalogue_, No. 169.
-
-[476] _O. C. A._, p. 469.
-
-[477] This extravagant idea has been long ago exploded, and need not be
-rediscussed. See, however, Julien _Porcelaine Chinoise_, p. xix.,
-and Medhurst, _Transactions of the China Branch of the Royal Asiatic
-Society_, Hong Kong, 1853.
-
-[478] _O. C. A._, p. 470.
-
-[479] Bk. 93, fols. 13–15.
-
-[480] _O. C. A._, pp. 474–83.
-
-[481] Bushell applies the phrase _pan tzŭ_ to the bowls and
-renders it “of ring-like outline.”
-
-[482] Bushell renders _ju-i_ in the general sense, “with words
-of happy augury”; it is, however, applied to ornaments of _ju-i_
-staffs and to borders of _ju-i_ heads.
-
-[483] See vol. i., p. 225.
-
-[484] Bk. i., fols. 1 and 2; see Bushell, op. cit., pp. 3–6.
-
-[485] This is a variety of the key pattern or Greek fret, which is of
-world-wide distribution.
-
-[486] A less usual variety has the ovoid body actually surmounted by a
-beaker
-
-[487] See Bushell, _O. C. A._, p. 797.
-
-[488] See Bushell’s translation, op. cit., p. 4.
-
-[489] See Bushell, _O. C. A.,_ p. 489.
-
-[490] Among others is the “tantalus cup,” with a small tube in the
-bottom concealed by a figure of a man or smiling boy. When the water in
-the cup reaches the top of the tube it runs away from the base.
-
-[491] Loc. cit., p. 204.
-
-[492] The cup with handle was made in the tea services for the European
-market, but the handle is not, as has been sometimes asserted, a
-European addition to the cup. Cups with handles were made in China as
-early as the T’ang dynasty (see Plate 11, Fig. 2); but for both wine
-and tea drinking the Chinese seem to have preferred the handleless
-variety.
-
-[493] When the names are known the incidents can usually be found in
-such works of reference as Mayers’ _Chinese Reader’s Manual_,
-Giles’s _Chinese Biographical Dictionary_, and Anderson’s
-Catalogue of Chinese and Japanese Pictures.
-
-[494] Told in the _Shui Hu Chuan_; see _O. C. A._, p. 570, a
-note in Bushell’s excellent chapter on Chinese decorative motives, of
-which free use has been made here.
-
-[495] A not uncommon subject is the meeting of a young horseman with a
-beautiful lady in a chariot, and it has been suggested that this may be
-the meeting of Ming Huang and Yang Kuei-fei; but the identification is
-quite conjectural.
-
-[496] Another game, _hsiang ch’i_ (elephant checkers), is far
-nearer to our chess.
-
-[497] A group of five old men similarly employed represents the _wu
-lao_ (the five old ones), the spirits of the five planets.
-
-[498] Chang Kuo Lao, the Taoist Immortal, is also regarded as one of
-the gods of Literature; see p. 287.
-
-[499] Vajrapani is one of the gods of the Four Quarters of the Heaven,
-who are guardians of Buddha. They are represented as ferocious looking
-warriors, sometimes stamping on prostrate demon-figures. As such
-they occur among the T’ang tomb statuettes, but they are not often
-represented on the later porcelains.
-
-[500] The Kanzan and Jitoku of Japanese lore.
-
-[501] See _Catalogue of the Pierpont Morgan Collection_, vol. i.,
-p. 156.
-
-[502] Indeed it is likely that the modern _ju-i_ head derives from the
-fungus. The _ju-i_ [chch 2] means “as you wish” or “according (_ju_)
-to your idea (_i_),” and the sceptre, which is made in all manner of
-materials such as wood, porcelain, lacquer, cloisonné enamel, etc., is
-a suitable gift for wedding or birthday. Its form is a slightly curved
-staff about 12 to 15 inches long, with a fungus-shaped head bent over
-like a hook. On the origin of the _ju-i_, see Laufer, _Jade_, p. 335.
-
-[503] The Japanese Mt. Horai.
-
-[504] See Hippisley, _Catalogue_, op. cit., p. 392.
-
-[505] The Buddhist pearl or jewel, which grants every wish.
-
-[506] See a rare silver cup depicting this legend, figured in the
-_Burlington Magazine_, December, 1912.
-
-[507] See W. Perceval Yetts, _Symbolism in Chinese Art_, read
-before the China Society, January 8th, 1912, p. 3.
-
-[508] Hippisley (op. cit., p. 368), speaking of the various dragons,
-says that “the distinction is not at present rigidly maintained, and
-the five-clawed dragon is met with embroidered on officers’ uniforms.”
-
-[509] A dual creature, the _fêng_ being the male and the huang the
-female.
-
-[510] See Laufer, _Jade_, pl. 43.
-
-[511] See Laufer, _Jade_, p. 266.
-
-[512] See Bushell, _Chinese Art_, vol. i., p. 111.
-
-[513] See p. 300.
-
-[514] They also symbolise the three friends, Confucius, Buddha, and
-Lao-tzŭ.
-
-[515] _O. C. A._, p. 106.
-
-[516] It is also used as a synonym for “embroidered,” and when it
-occurs as a mark on porcelain, it suggests the idea “richly decorated.”
-
-[517] Also a symbol of conjugal felicity; and a rebus for _yü_,
-fertility or abundance.
-
-[518] Having the same sound as _ch’ang_ (long).
-
-[519] _O. C. A._, p. 119.
-
-[520] A pair of open lozenges interlaced are read as a rebus _t’ung
-hsin fang shêng_ (union gives success); see Bushell, _O. C.
-A._, p. 120.
-
-[521] Bushell, _O. C. A._, p. 521.
-
-[522] See Hippisley, _Catalogue_ No. 381.
-
-[523] _Ibid._
-
-[524] _Ibid._, No. 388.
-
-[525] _Ibid._
-
-[526] See p. 299.
-
-[527] See p. 258.
-
-[528] See Anderson, op. cit., No. 747.
-
-[529] Bk. viii., fol. 4, quoting the _Shih ch’ing jihcha_.
-
-[530] See chap. xvii. of vol. i., which deals with marks.
-
-[531] See p. 261.
-
-
-Transcriber’s Notes:
-
-1. Obvious printers’, punctuation and spelling errors have been
-   corrected silently.
-
-2. Superscripts are represented using the caret character, e.g.
-   D^r. or X^{xx}.
-
-3. Some hyphenated and non-hyphenated versions of the same words have
-been retained as in the original.
-
-
-*** END OF THE PROJECT GUTENBERG EBOOK CHINESE POTTERY AND PORCELAIN;
-VOL. II. ***
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the
-United States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you will have to check the laws of the country where
-  you are located before using this eBook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that:
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg-tm trademark. Contact the Foundation as set
-forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-Section 3. Information about the Project Gutenberg Literary
-Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation's website
-and official page at www.gutenberg.org/contact
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without
-widespread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our website which has the main PG search
-facility: www.gutenberg.org
-
-This website includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/68762-0.zip b/old/68762-0.zip
deleted file mode 100644
index 6b7c181..0000000
--- a/old/68762-0.zip
+++ /dev/null
diff --git a/old/68762-h.zip b/old/68762-h.zip
deleted file mode 100644
index 5afda25..0000000
--- a/old/68762-h.zip
+++ /dev/null
diff --git a/old/68762-h/68762-h.htm b/old/68762-h/68762-h.htm
deleted file mode 100644
index 1e77a89..0000000
--- a/old/68762-h/68762-h.htm
+++ /dev/null
@@ -1,26471 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
-    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
-  <head>
-    <meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
-    <meta http-equiv="Content-Style-Type" content="text/css" />
-    <title>
-      Chinese Pottery and Porcelian, Volume II, by R. L. Hobson, B.A.&mdash;A Project Gutenberg eBook
-    </title>
-    <link rel="coverpage" href="images/cover.jpg" />
-    <style type="text/css">
-
-body {
-    margin-left: 10%;
-    margin-right: 10%;
-}
-
-    h1,h2,h3 {
-    text-align: center; /* all headings centered */
-    clear: both;
-    font-weight: normal;
-}
-
-h2.smaller   {font-size: 100%;}
-
-h3    {font-size: 90%;}
-
-.subhed { display: block; margin-top: 1em; font-size: 80%; font-weight: normal; }
-
-p {
-    margin-top: .51em;
-    text-align: justify;
-    margin-bottom: .49em;
-    text-indent: 1.2em;
-}
-
-.p-left  {text-indent: 0em; }
-
-.p-left1  {text-indent: 2em; }
-
-.p-min  {margin-top: -.5em;}
-
-.p0       {margin-top: 0em;}
-.p1       {margin-top: 1em;}
-.p2       {margin-top: 2em;}
-.p3       {margin-top: 3em;}
-.p4       {margin-top: 4em;}
-.p6       {margin-top: 6em;}
-
-hr {
-    width: 33%;
-    margin-top: 2em;
-    margin-bottom: 2em;
-    margin-left: 33.5%;
-    margin-right: 33.5%;
-    clear: both;
-}
-
-hr.tb   {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-
-div.chapter {page-break-before: always;}
-
-ul       { list-style-type: none; }
-li.i1 {text-indent: 1em;}
-
-ol.num   { list-style-type: decimal; }
-
-ol.reset  {counter-reset: number 9;}
-
-.hangingindent {
-  padding-left: 2em ;
-  text-indent: -2em ;}
-
-p.drop-cap {
-text-indent: 0em; }
-
-p.drop-cap:first-letter
-{
-float: left;
-margin: 0.1em 0em 0em 0em;
-font-size: 250%;
-line-height:0.85em;
-}
-@media handheld
-{
-  p.drop-cap:first-letter
-  {
-    float: none;
-    margin: 0;
-    font-size: 100%;
-  }
-}
-
-table {
-margin: auto;
-width:auto;
-border: 0;
-border-spacing: 0;
-border-collapse: collapse; }
-
-td {
-padding:  .05em .2em .2em 2.5em;
-border: .1em none white;
-text-align: left;
-text-indent: -2em; }
-
-th.chap {
-font-weight: normal;
-font-size: x-small;
-text-align: left;
-padding-left: 1em; }
-
-th.chap1 {
-font-weight: normal;
-font-size: x-small;
-text-align: left;
-padding-left: 1em;
-padding-top: 1em; }
-
-th.pag {
-font-weight: normal;
-font-size: x-small;
-text-align: right;
-padding-left: 2em; }
-
-th.pag1 {
-font-weight: normal;
-font-size: x-small;
-text-align: right;
-padding-left: 2em;
-padding-top: 2em; }
-
-th.pag2 {
-font-weight: normal;
-font-size: x-small;
-text-align: right;
-padding-left: 2em; }
-
-td.chn {
-text-align: right;
-vertical-align: top;
-padding-right: 1em;  }
-
-td.chn1 {
-text-align: right;
-vertical-align: top;
-padding-right: 1em;
-padding-top: 1em;  }
-
-td.chn2 {
-text-align: right;
-vertical-align: top;
-padding-right: 0em;  }
-
-td.cht {
-text-align: left;
-vertical-align: top;
-padding-left: 1em;
-text-indent: -1em;}
-
-td.cht1 {
-text-align: left;
-vertical-align: top;
-padding-left: 2em;
-text-indent: -1em;}
-
-td.cht2 {
-text-align: left;
-vertical-align: top;
-padding-left: 1em;
-padding-top: 1em;
-text-indent: -1em;}
-
-td.cht3 {
-text-align: left;
-vertical-align: top;
-text-indent: 1em;
-padding-left: 0em;}
-
-td.pag {
-text-align: right;
-vertical-align: bottom;
-padding-left: 4em;}
-
-td.pag1 {
-text-align: right;
-vertical-align: bottom;
-padding-left: 4em;
-padding-top: 1em;}
-
-.pagenum { /* uncomment the next line for invisible page numbers */
-    /*  visibility: hidden;  */
-    position: absolute;
-    left: 92%;
-    font-size: smaller;
-    text-align: right;
-    font-style: normal;
-    font-weight: normal;
-    font-variant: normal;
-} /* page numbers */
-
-
-
-.blockquot {
-    margin-left: 5%;
-    margin-right: 10%;
-    font-size: 90%;
-}
-
-#half-title {  text-align: center;
-                      font-size: 150%; }
-
-.bbox    {border: 2px solid black;
-          text-align: center;
-          width: 40%;
-          margin-left: 30%;
-          margin-right: 30%;
-          margin-top: 2em;}
-
-.center   {text-align: center;
-           text-indent: 0em;}
-
-.xs { font-size: x-small;}
-
-.sm { font-size: small;}
-
-.lg  { font-size: large;}
-
-.smaller  {font-size: 90%; }
-
-.smcap    {font-variant: small-caps;}
-
-.allsmcap {font-variant: small-caps; text-transform: lowercase;}
-
-
-
-/* Images */
-
-img {
-    max-width: 100%;
-    height: auto;
-}
-
-
-.figcenter {
-    margin: auto;
-    text-align: center;
-    page-break-inside: avoid;
-    max-width: 100%;
-}
-
-/* Footnotes */
-.footnotes        {border: 1px dashed;}
-
-.footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
-
-.footnote .label  {position: absolute; right: 84%; text-align: right;}
-
-.fnanchor {
-    vertical-align: super;
-    font-size: .8em;
-    text-decoration:
-    none;
-}
-
-/* Transcriber's notes */
-.transnote {background-color: #E6E6FA;
-    color: black;
-     font-size:smaller;
-     padding:0.5em;
-     margin-bottom:5em;
-     font-family:sans-serif, serif; }
-
-    </style>
-  </head>
-<body>
-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Chinese pottery and porcelain; vol. II., by Robert L Hobson</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Chinese pottery and porcelain; vol. II.</p>
-<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>An account of the potter&#039;s art in China from primitive times to the present day.</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Robert L Hobson</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: August 16, 2022 [eBook #68762]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Chris Curnow, Joseph Cooper, Karin Spence and the Online Distributed Proofreading Team at https://www.pgdp.net</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CHINESE POTTERY AND PORCELAIN; VOL. II. ***</div>
-
-
-
-<p class="transnote">Transcriber's Notes:<br />
-<br />
-1. Items marked wth an asterisk (*): Pieces mentioned here from the
-British Museum collection.<br />
-<br />
-2. The items marked with two asterisks (**) are stated to have been
-copied from old specimens in the palace collections.]</p>
-
-
-
-<p id="half-title" class="p6">CHINESE POTTERY AND PORCELAIN</p>
-
-<div class="chapter">
-
-<p class="bbox p6 center">
-<i>This Edition is limited to 1500</i><br />
-<i>copies, of which this is</i><br />
-
-<i>No.</i> 669</p></div>
-
-<div class="chapter">
-
-  <div class="figcenter" id="i004" style="width: 453px">
-     <img
-    class="p2"
-    src="images/i004.jpg"
-     alt="" />
-     <p class="p0 p-left sm">Covered Jar or Potiche, painted with coloured enamels on the biscuit.
-Eight petal-shaped panels with flowering plants, birds and insects on
-the sides; with a band of smaller petals below enclosing lotus flowers,
-and borders of red wave pattern and floral sprays. Base unglazed. Early
-part of the K’ang Hsi period (1662–1722)</p>
-     <p class="p0 sm" style="float:left">Height 25 inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-</div>
-
-<div class="chapter" style="clear: both">
-<h1 class="smcap p4">Chinese Pottery<br />
- and Porcelain</h1>
-</div>
-
-<p class="center">AN ACCOUNT OF THE POTTER’S ART IN CHINA<br />
- FROM PRIMITIVE TIMES TO THE PRESENT DAY</p>
-
-<p class="center sm p2">BY</p>
-
-<p class="center lg">R. L. HOBSON, B.A.</p>
-
-<p class="center xs">Assistant in the Department of British and Mediæval Antiquities and<br />
-Ethnography, British Museum. Author of the “Catalogne of the<br />
-Collection of English Pottery in the Department of British<br />
-and Mediæval Antiquities of the British Museum”;<br />
-“Porcelain: Oriental, Continental, and British”;<br />
-“Worcester Porcelain”; etc; and Joint Author<br />
-of “Marks on Pottery.”</p>
-
-<p class="center p3"><i>Forty Plates, in Colour and Ninety-six in Black and White</i></p>
-
-<p class="center p3">VOL. II</p>
-
-<p class="center">Ming and Ch’ing Porcelain</p>
-
-<p class="center p4">CASSELL AND COMPANY, LTD<br />
-London, New York, Toronto and Melbourne<br />
-1915</p>
-
-
-<hr class="chap" />
-
-<div class="chapter">
-<h2>CONTENTS</h2>
-</div>
-
-<table summary="officers">
-  <tr>
-    <th class="chap">CHAPTER</th>
-    <th></th>
-    <th class="pag">PAGE</th>
-  </tr>
-
-  <tr>
-    <td class="chn">1.</td>
-    <td class="cht"><span class="smcap">The Ming</span> <img src="images/k_001.jpg" alt="ming"
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- <span class="smcap">Dynasty</span>, 1368–1644 <span class="allsmcap">A.D.</span></td>
-    <td class="pag"><a href="#Page_1">1</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">2.</td>
-    <td class="cht"><span class="smcap">Hsüan Tê</span> <img src="images/k_007.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1426–1435)</td>
-    <td class="pag"><a href="#Page_7">7</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">3.</td>
-    <td class="cht"><span class="smcap">Ch’êng Hua</span> <img src="images/k_022a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1465–1487) <span class="smcap">and Other Reigns</span></td>
-    <td class="pag"><a href="#Page_22">22</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">4.</td>
-    <td class="cht"><span class="smcap">Chia Ching</span> <img src="images/k_034a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1522–1566) <span class="smcap">and Lung Ch’ing</span> <img src="images/k_034b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1567–1572)</td>
-    <td class="pag"><a href="#Page_34">34</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">5.</td>
-    <td class="cht"><span class="smcap">Wan Li</span> <img src="images/k_058.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1573–1619) <span class="smcap">and Other Reigns</span></td>
-    <td class="pag"><a href="#Page_58">58</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">6.</td>
-    <td class="cht"><span class="smcap">The Technique of the Ming Porcelain</span></td>
-    <td class="pag"><a href="#Page_91">91</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">7.</td>
-    <td class="cht"><span class="smcap">Miscellaneous Porcelain Factories</span></td>
-    <td class="pag"><a href="#Page_107">107</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">8.</td>
-    <td class="cht"><span class="smcap">The Ch’ing</span> <img src="images/k_117a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- <span class="smcap">Dynasty</span>, 1644–1910</td>
-    <td class="pag"><a href="#Page_117">117</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">9.</td>
-    <td class="cht"><span class="smcap">K’ang Hsi Blue and White</span></td>
-    <td class="pag"><a href="#Page_128">128</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">10.</td>
-    <td class="cht"><span class="smcap">K’ang Hsi Polychrome Porcelains</span></td>
-    <td class="pag"><a href="#Page_145">145</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">11.</td>
-    <td class="cht"><span class="smcap">K’ang Hsi Monochromes</span></td>
-    <td class="pag"><a href="#Page_176">176</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">12.</td>
-    <td class="cht"><span class="smcap">Yung Chêng</span> <img src="images/k_200a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- <span class="smcap">Period</span> (1723–1735)</td>
-    <td class="pag"><a href="#Page_200">200</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">13.</td>
-    <td class="cht"><span class="smcap">Ch’ien Lung</span> <img src="images/k_227a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1736–1795)</td>
-    <td class="pag"><a href="#Page_227">227</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">14.</td>
-    <td class="cht"><span class="smcap">European Influences in the Ch’ing Dynasty</span></td>
-    <td class="pag"><a href="#Page_250">250</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">15.</td>
-    <td class="cht"><span class="smcap">Nineteenth Century Porcelains</span></td>
-    <td class="pag"><a href="#Page_262">262</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">16.</td>
-    <td class="cht"><span class="smcap">Porcelain Shapes in the Ch’ing Dynasty</span></td>
-    <td class="pag"><a href="#Page_272">272</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">17.</td>
-    <td class="cht"><span class="smcap">Motives of the Decoration</span></td>
-    <td class="pag"><a href="#Page_280">280</a></td>
-  </tr>
-
-  <tr>
-    <td class="chn">18.</td>
-    <td class="cht"><span class="smcap">Forgeries and Imitations</span></td>
-    <td class="pag"><a href="#Page_304">304</a></td>
-  </tr>
-</table>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_vii">[vii]</span></p>
-<h2>LIST OF PLATES</h2>
-</div>
-
-<table summary="illos" class="smaller" style="max-width: 50em">
-  <tr>
-    <td class="chn"></td>
-    <td class="cht"><span class="smcap">Covered Jar or Potiche</span> <i>(Colour)</i></td>
-    <td class="pag"><a href="#i004"><i>Frontispiece</i></a></td>
-  </tr>
-
-
-  <tr>
-    <td></td>
-    <td class="cht1">Painted with coloured enamels on the biscuit. Eight petal-shaped
-panels with flowering plants, birds and insects on the sides; with
-a band of smaller petals below enclosing lotus flowers, and borders
-of red wave pattern and floral sprays. Base unglazed. Early part
-of the K’ang Hsi period (1662–1722). <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <th class="chap1">PLATE</th>
-    <th class="pag2">FACING PAGE</th>
-  </tr>
-
-  <tr>
-    <td class="chn1">59.</td>
-    <td class="cht2"><span class="smcap">White Eggshell Porcelain Bowl with Imperial Dragons
-faintly traced in White Slip under the Glaze</span></td>
-    <td class="pag1"><a href="#i025">4</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Mark of the Yung Lo period (1403–1424), incised in the centre in archaic
-characters.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Exterior. Fig. 2.&mdash;Interior view. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">60.</td>
-    <td class="cht2"><span class="smcap">Reputed Hsüan Tê Porcelain</span></td>
-    <td class="pag1"><a href="#i031">8</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Flask with blue decoration, reputed to be Hsüan Tê period.
-<i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Brush rest. (?) Chang Ch’ien on a log raft; partly biscuit.
-Inscribed with a stanza of verse and the Hsüan Tê mark. <i>Grandidier</i>
-<i>Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">61.</td>
-    <td class="cht2"><span class="smcap">Porcelain with</span> <i>san ts’ai</i> <span class="smcap">Glazes on the Biscuit</span></td>
-    <td class="pag1"><a href="#i033a">8</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Wine jar with pierced casing, the Taoist Immortals paying court
-to the God of Longevity, turquoise blue ground. Fifteenth century.
-<i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Screen with design in relief, horsemen on a mountain path, dark
-blue ground. About 1500. <i>Benson Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">62.</td>
-    <td class="cht2"><span class="smcap">Barrel-shaped Garden Seat</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i043">16</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Porcelain with coloured glazes on the biscuit, the designs outlined in
-slender fillets of clay. A lotus scroll between an upper band of
-clouds and a lower band of horses in flying gallop and sea waves.
-Lion-mask handles. About 1500 <span class="allsmcap">A.D.</span> <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">63.</td>
-    <td class="cht2"><span class="smcap">Baluster Vase</span></td>
-    <td class="pag1"><a href="#i053">24</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With designs in raised outline, filled in with coloured glazes on the biscuit;
-dark violet blue background. About 1500. <i>Grandidier Collection</i>
-<i>(Louvre).</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">64.</td>
-    <td class="cht2"><span class="smcap">Fifteenth Century Polychrome Porcelain</span></td>
-    <td class="pag1"><a href="#i055">24</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with grey crackle and peony scrolls in blue and enamels.
-Ch’êng Hua mark. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Vase with turquoise ground and bands of floral pattern and
-winged dragons incised in outline and coloured green, yellow and
-aubergine. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Box with bands of <i>ju-i</i> clouds and pierced floral scrolls; turquoise
-and yellow glazes in dark blue ground. <i>Grandidier Collection.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_viii">[viii]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">65.</td>
-    <td class="cht2"><span class="smcap">Ming</span> <i>san ts’ai</i> <span class="smcap">Porcelain</span></td>
-    <td class="pag1"><a href="#i057a">24</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with winged dragons, <i>san ts’ai</i> glazes on the biscuit, dark
-blue ground. Dedicatory inscription on the neck, including the
-words “Ming Dynasty.” Cloisonné handles. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Figure of Kuan-yin, turquoise, green and aubergine glazes,
-dark blue rockwork. Fifteenth century. <i>Grandidier Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Vase with lotus scrolls, transparent glazes in three colours. Late
-Ming. <i>Grandidier Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">66.</td>
-    <td class="cht2"><span class="smcap">Porcelain with Chêng Tê Mark</span></td>
-    <td class="pag1"><a href="#i067">32</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Slop bowl with full-face dragons holding <i>shou</i> characters, in
-underglaze blue in a yellow enamel ground. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Vase with engraved cloud designs in transparent coloured
-glazes on the biscuit, green ground. <i>Charteris Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">67.</td>
-    <td class="cht2"><span class="smcap">Blue and White Porcelain</span>. Sixteenth Century</td>
-    <td class="pag1"><a href="#i069">32</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bowl with Hsüan Tê mark. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Covered bowl with fish design. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bottle, peasant on ox. <i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Bottle with lotus scrolls in mottled blue. <i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">68.</td>
-    <td class="cht2"><span class="smcap">Blue and White Porcelain</span>. Sixteenth Century</td>
-    <td class="pag1"><a href="#i079a">40</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Perfume vase, lions and balls of brocade. <i>V. and A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Double gourd vase, square in the lower part. Eight Immortals
-paying court to the God of Longevity, panels of children (<i>wa wa</i>).
-<i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bottle with medallions of <i>ch’i-lin</i> and incised fret pattern between.
-Late Ming. <i>Halsey Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">69.</td>
-    <td class="cht2"><span class="smcap">Sixteenth Century Porcelain</span></td>
-    <td class="pag1"><a href="#i081">40</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bowl of blue and white porcelain with silver gilt mount of
-Elizabethan period. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Covered jar, painted in dark underglaze blue with red, green
-and yellow enamels; fishes and water plants. Chia Ching mark.
-<i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">70.</td>
-    <td class="cht2"><span class="smcap">Porcelain with Chia Ching mark</span></td>
-    <td class="pag1"><a href="#i083">40</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Box with incised Imperial dragons and lotus scrolls; turquoise
-and dark violet glazes on the biscuit. <i>V. and A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Vase with Imperial dragons in clouds, painted in yellow in an
-iron red ground. <i>Cologne Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">71.</td>
-    <td class="cht2"><span class="smcap">Sixteenth Century Porcelain</span></td>
-    <td class="pag1"><a href="#i085">40</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Figs. 1 and 2.&mdash;Two ewers in the Dresden Collection, with transparent
-green, aubergine and turquoise glazes on the biscuit, traces of gilding.
-In form of a phœnix, and of a crayfish.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bowl with flight of storks in a lotus scroll, enamels on the biscuit,
-green, aubergine and white in a yellow ground. Chia Ching
-mark. <i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">72.</td>
-    <td class="cht2"><span class="smcap">Vase with Imperial five-clawed dragons in cloud scrolls
-over sea waves</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i093">46</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Band of lotus scrolls on the shoulder. Painted in dark Mohammedan blue.
-Mark on the neck, of the Chia Ching period (1522–1566) in six
-characters. <i>V. &amp; A. Museum.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_ix">[ix]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">73.</td>
-    <td class="cht2"><span class="smcap">Two Bowls with the Chia Ching mark (1522–1566), with
-designs outlined in brown and washed in with
-colours in monochrome grounds</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i099">50</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;With peach sprays in a yellow ground. <i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;With phœnixes (<i>feng-huang</i>) flying among scrolls of <i>mu-tan</i>
-peony. <i>Cumberbatch Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">74.</td>
-    <td class="cht2"><span class="smcap">Two Bowls with gilt designs on a monochrome ground.
-Probably Chia Ching period</span> (1522–1566) (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i105">54</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;With lotus scroll with etched details on a ground of iron red
-(<i>fan hung</i>) outside. Inside is figure of a man holding a branch
-of cassia, a symbol of literary success, painted in underglaze blue.
-Mark in blue, <i>tan kuei</i> (red cassia).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;With similar design on ground of emerald green enamel. Mark
-in blue in the form of a coin or <i>cash</i> with the characters <i>ch’ang
-ming fu kuei</i> (“long life, riches and honours”).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">75.</td>
-    <td class="cht2"><span class="smcap">Ming Porcelain</span></td>
-    <td class="pag1"><a href="#i117">64</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Tripod Bowl with raised peony scrolls in enamel colours. Wan
-Li mark. <i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Blue and white Bowl, Chia Ching period. Mark, <i>Wan ku ch’ang</i>
-<i>ch’un</i> (“a myriad antiquities and enduring spring”). <i>Kunstgewerbe</i>
-<i>Museum, Berlin.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Ewer with white slip <i>ch’i-lin</i> on a blue ground. Wan Li period.
-<i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Gourd-shaped Vase with winged dragons and fairy flowers,
-raised outlines and coloured glazes on the biscuit. Sixteenth century.
-<i>Salting Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">76.</td>
-    <td class="cht2"><span class="smcap">Blue and White Porcelain</span>. Sixteenth Century</td>
-    <td class="pag1"><a href="#i119">64</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with monster handles, archaic dragons. <i>Halsey Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Hexagonal Bottle, white in blue designs. Mark, a hare. <i>Alexander</i>
-<i>Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bottle with “garlic mouth,” stork and lotus scrolls, white in
-blue. <i>Salting Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Vase (<i>mei p’ing</i>), Imperial dragon and scrolls. Wan Li mark
-on the shoulder. <i>Coltart Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">77.</td>
-    <td class="cht2"><span class="smcap">Two Examples of Ming Blue and White Porcelain in the
-British Museum</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i129">72</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Ewer of thin, crisp porcelain with foliate mouth and rustic
-spout with leaf attachments. Panels of figure subjects and landscapes
-on the body: “rat and vine” pattern on the neck and a band
-of hexagon diaper enclosing a cash symbol. Latter half of the sixteenth
-century.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Octagonal Stand, perhaps for artist’s colours. On the sides
-are scenes from the life of a sage. Borders of <i>ju-i</i> pattern and gadroons.
-On the top are lions sporting with brocade balls. Painted
-in deep Mohammedan blue. Mark of the Chia Ching period (1522–1566).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">78.</td>
-    <td class="cht2"><span class="smcap">Porcelain with pierced (<i>ling lung</i>) designs and biscuit
-reliefs</span>. Late Ming</td>
-    <td class="pag1"><a href="#i133">74</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bowl with Eight Immortals and pierced swastika fret. <i>S. E.</i>
-<i>Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bowl with blue phœnix medallions, pierced trellis work and
-characters. Wan Li mark. <i>Hippisley Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Covered Bowl with blue and white landscapes and biscuit
-reliefs of Eight Immortals. <i>Grandidier Collection.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_x">[x]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">79.</td>
-    <td class="cht2"><span class="smcap">Wan Li Polychrome Porcelain</span></td>
-    <td class="pag1"><a href="#i141">80</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase (<i>mei p’ing</i>) with engraved design, green in a yellow
-ground, Imperial dragons in clouds, rocks and wave border. Wan
-Li mark. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle with pierced casing, phœnix design, etc., painted in underglaze
-blue and enamels; cloisonné enamel neck. <i>Eumorfopoulos</i>
-<i>Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Covered Jar, plum blossoms and symbols in a wave pattern
-ground, coloured enamels in an aubergine background. <i>British</i>
-<i>Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">80.</td>
-    <td class="cht2"><span class="smcap">Covered Jar or Potiche</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i147">84</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Painted in iron red and green enamels, with a family scene in a garden,
-and brocade borders of <i>ju-i</i> pattern, peony scrolls, etc. Sixteenth
-century. <i>Salting Collection, V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">81.</td>
-    <td class="cht2"><span class="smcap">Beaker-shaped Vase of Bronze Form</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i153">88</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With dragon and phœnix designs painted in underglaze blue, and red,
-green and yellow enamels: background of fairy flowers (<i>pao hsiang</i>
-<i>hua</i>) and borders of “rock and wave” pattern. Mark of the Wan
-Li period (1573–1619) in six characters on the neck. An Imperial
-piece. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">82.</td>
-    <td class="cht2"><span class="smcap">Late Ming Porcelain</span></td>
-    <td class="pag1"><a href="#i157">90</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Jar of Wan Li period, enamelled. Mark, a hare. <i>British</i>
-<i>Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bowl with Eight Immortals in relief, coloured glazes on the
-biscuit. <i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Figs. 3, 4 and 5.&mdash;Blue and white porcelain, early seventeenth century.
-<i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">83.</td>
-    <td class="cht2"><span class="smcap">Vase</span></td>
-    <td class="pag1"><a href="#i159">90</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With blue and white decoration of rockery, phœnixes, and flowering
-shrubs. Found in India. Late Ming period. <i>Halsey Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">84.</td>
-    <td class="cht2"><span class="smcap">Vase of Baluster Form with Small Mouth</span> (<i>mei p’ing</i>).
-(<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i167">96</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Porcelain with coloured glazes on the biscuit, the designs outlined in
-slender fillets of clay. A meeting of sages in a landscape beneath
-an ancient pine tree, the design above their heads representing the
-mountain mist. On the shoulders are large <i>ju-i</i> shaped lappets
-enclosing lotus sprays, with pendent jewels between; fungus (<i>ling</i>
-<i>chih</i>) designs on the neck. Yellow glaze under the base. A late
-example of this style of ware, probably seventeenth century. <i>Salting</i>
-<i>Collection, V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">85.</td>
-    <td class="cht2"><span class="smcap">Vase</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i177">104</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With crackled greenish grey glaze coated on the exterior with transparent
-apple green enamel: the base unglazed. Probably sixteenth
-century. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">86.</td>
-    <td class="cht2"><span class="smcap">Fukien Porcelain</span>. Ming Dynasty</td>
-    <td class="pag1"><a href="#i187">112</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Figure of Kuan-yin with boy attendant. Ivory white. <i>Eumorfopoulos
-Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle with prunus sprigs in relief, the glaze crackled all over
-and stained a brownish tint. <i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Figure of Bodhidharma crossing the Yangtze on a reed. Ivory
-white. <i>Salting Collection, V. &amp; A. Museum.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_xi">[xi]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">87.</td>
-    <td class="cht2"><span class="smcap">Ivory White Fukien Porcelain</span></td>
-    <td class="pag1"><a href="#i189">112</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Libation Cup. About 1700. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Cup with sixteenth century mount. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Incense Vase and Stand. About 1700. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">88.</td>
-    <td class="cht2"><span class="smcap">Two Examples of the underglaze red</span> (<i>chi hung</i>)<span class="smcap">of the K’ang
-Hsi period</span> (1662–1722), <span class="smcap">sometimes called</span> <i>lang yao</i>.
-(<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i199">120</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bottle-shaped Vase of dagoba form with minutely crackled
-<i>sang-de-bœuf</i> glaze with passages of cherry red. The glaze ends in
-an even roll short of the base rim, and that under the base is stone-coloured
-and crackled. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle-shaped Vase with crackled underglaze red of deep crushed
-strawberry tint. The glaze under the base is pale green crackled.
-<i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">89.</td>
-    <td class="cht2"><span class="smcap">Three Examples of K’ang Hsi Blue and White Porcelain
-in the British Museum</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i213">132</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Ewer with leaf-shaped panels of floral arabesques, white in blue,
-enclosed by a mosaic pattern in blue and white: stiff plantain
-leaves on the neck and cover. Silver mount with thumb-piece.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Deep Bowl with cover, painted with “tiger-lily” scrolls. Mark,
-a leaf.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Sprinkler with panels of lotus arabesques, white in blue, and
-<i>ju-i</i> shaped border patterns. A diaper of small blossoms on the
-neck. Mark, a leaf.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">90.</td>
-    <td class="cht2"><span class="smcap">Covered Jar for New Year Gifts</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i221">138</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With design of blossoming prunus (<i>mei hua</i>) sprays in a ground of
-deep sapphire blue which is reticulated with lines suggesting ice
-cracks; dentate border on the shoulders. <i>V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">91.</td>
-    <td class="cht2"><span class="smcap">Blue and White K’ang Hsi Porcelain</span></td>
-    <td class="pag1"><a href="#i227">142</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Triple Gourd Vase, white in blue designs of archaic dragons and
-scrolls of season flowers. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Beaker, white magnolia design slightly raised, with blue background.
-<i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;“Grenadier Vase,” panels with the Paragons of Filial Piety.
-<i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">92.</td>
-    <td class="cht2"><span class="smcap">Blue and White K’ang Hsi Porcelain</span></td>
-    <td class="pag1"><a href="#i229">142</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Sprinkler with lotus design. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle with biscuit handles, design of graceful ladies (<i>mei</i>
-<i>jên</i>). <i>Fitzwilliam Museum (formerly D. G. Rossetti Collection).</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bottle with handles copied from Venetian glass. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">93.</td>
-    <td class="cht2"><span class="smcap">Blue and White Porcelain</span></td>
-    <td class="pag1"><a href="#i231">142</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Tazza with Sanskrit characters. Ch’ien Lung mark. <i>British</i>
-<i>Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Water Pot, butterfly and flowers, steatitic porcelain. Wan
-Li mark. <i>Eumorfopoulos Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Bowl, steatitic porcelain. Immortals on a log raft. K’ang
-Hsi period. <i>British Museum.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_xii">[xii]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">94.</td>
-    <td class="cht2"><span class="smcap">Porcelain decorated in enamels on the biscuit</span></td>
-    <td class="pag1"><a href="#i233">142</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Ewer in form of the character <i>Shou</i> (Longevity); blue and white
-panel with figure designs. Early K’ang Hsi period. <i>Salting Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Ink Palette, dated 31st year of K’ang Hsi (1692 <span class="allsmcap">A.D.</span>). <i>British
-Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">95.</td>
-    <td class="cht2"><span class="smcap">Two Examples of porcelain, painted with coloured
-enamels on the biscuit, the details of the designs
-being first traced in brown. K’ang Hsi Period</span>
-(1662–1722) (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i243">150</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;One of a pair of Buddhistic Lions, sometimes called Dogs of
-Fo. This is apparently the lioness, with her cub: the lion has a
-ball of brocade under his paw. On the head is the character <i>wang</i>
-(prince), which is more usual on the tiger of Chinese art. <i>S. E.</i>
-<i>Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle-shaped Vase and Stand moulded in bamboo pattern
-and decorated with floral brocade designs and diapers. <i>Cope</i>
-<i>Bequest, V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">96.</td>
-    <td class="cht2"><span class="smcap">Vase of Baluster Form painted in coloured enamels on
-the biscuit</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i249">154</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">The design, which is outlined in brown, consists of a beautifully drawn
-prunus (<i>mei hua</i>) tree in blossom and hovering birds, besides a
-rockery and smaller plants of bamboo, etc., set in a ground of mottled
-green. Ch’êng Hua mark, but K’ang Hsi period (1662–1722).
-<i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">97.</td>
-    <td class="cht2"><span class="smcap">Square Vase</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i255">156</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With pendulous body and high neck slightly expanding towards the
-top: two handles in the form of archaic lizard-like dragons (<i>chih</i>
-<i>lung</i>), and a pyramidal base. Porcelain painted with coloured
-enamels on the biscuit, with scenes representing Immortals on a
-log raft approaching Mount P’eng-lai in the Taoist Paradise. K’ang
-Hsi period (1662–1722). <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">98.</td>
-    <td class="cht2"><span class="smcap">K’ang Hsi Porcelain with on-biscuit decoration.</span> <i>Dresden
-Collection</i></td>
-    <td class="pag1"><a href="#i259">160</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Teapot in form of a lotus seed-pod, enamels on the biscuit.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Hanging Perfume Vase, reticulated, enamels on the biscuit.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Ornament in form of a Junk, transparent <i>san ts’ai</i> glazes.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">99.</td>
-    <td class="cht2"><span class="smcap">K’ang Hsi Porcelain with on-biscuit decoration</span></td>
-    <td class="pag1"><a href="#i261">160</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Ewer with black enamel ground, lion handle. <i>Cope Bequest,</i>
-<i>V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Figure of the Taoist Immortal, Ho Hsien Ku, transparent
-<i>san ts’ai</i> glazes. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Vase and Stand, enamelled on the biscuit. <i>Cope Bequest.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">100.</td>
-    <td class="cht2"><span class="smcap">Screen with Porcelain Plaque, painted in enamels on the
-biscuit</span></td>
-    <td class="pag1"><a href="#i263">160</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Light green background. K’ang Hsi period (1662–1722). <i>In the</i>
-<i>Collection of the Hon. E. Evan Charteris.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">101.</td>
-    <td class="cht2"><span class="smcap">Vase with panels of landscapes and</span> <i>po ku</i> symbols in
-<i>famille verte</i> <span class="smcap">enamels</span></td>
-    <td class="pag1"><a href="#i265">160</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">In a ground of underglaze blue trellis pattern. K’ang Hsi period
-(1662–1722). <i>Dresden Collection.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_xiii">[xiii]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">102.</td>
-    <td class="cht2"><span class="smcap">Two Dishes of <i>famille verte</i> Porcelain in the Dresden
-Collection</span>. K’ang Hsi period (1662–1722)</td>
-    <td class="pag1"><a href="#i267">160</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;With birds on a flowering branch, brocade borders. Artist’s
-signature in the field.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;With ladies on a garden terrace.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">103.</td>
-    <td class="cht2"><span class="smcap">Club-shaped</span> (<i>rouleau</i>) <span class="smcap">Vase</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i275">166</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Finely painted in <i>famille verte</i> enamels with panel designs in a ground
-of chrysanthemum scrolls in iron red; brocade borders. Last
-part of the K’ang Hsi period (1662–1722). <i>Salting Collection,</i>
-<i>V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">104.</td>
-    <td class="cht2"><span class="smcap">Three Examples of K’ang Hsi</span> <i>famille verte</i> <span class="smcap">Porcelain</span></td>
-    <td class="pag1"><a href="#i279">168</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Square Vase with scene of floating cups on the river; inscription
-with cyclical date 1703 <span class="allsmcap">A.D.</span>; <i>shou</i> characters on the neck.
-<i>Hippisley Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Lantern, with river scenes. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Covered Jar of <i>rouleau</i> shape, peony scrolls in iron red ground,
-brocade borders. <i>Dresden Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">105.</td>
-    <td class="cht2"><span class="smcap">Covered Jar painted in</span> <i>famille verte</i> <span class="smcap">enamels</span></td>
-    <td class="pag1"><a href="#i281">168</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With brocade ground and panel with an elephant (the symbol of Great
-Peace). Lion on cover. K’ang Hsi period (1662–1722). <i>Dresden</i>
-<i>Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">106.</td>
-    <td class="cht2"><span class="smcap">K’ang Hsi</span> <i>famille verte</i> <span class="smcap">Porcelain</span>. <i>Alexander Collection</i></td>
-    <td class="pag1"><a href="#i283">168</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Dish with rockery, peonies, etc., birds and insects.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;“Stem Cup” with vine pattern.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">107.</td>
-    <td class="cht2"><i>Famille verte</i> <span class="smcap">Porcelain made for export to Europe</span>. K’ang
-Hsi period (1662–1722). <i>British Museum</i></td>
-    <td class="pag1"><a href="#i285">168</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with “sea monster” (<i>hai shou</i>).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Dish with basket of flowers. Mark, a leaf.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Covered Jar with <i>ch’i-lin</i> and <i>fêng-huang</i> (phœnix).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">108.</td>
-    <td class="cht2"><span class="smcap">Dish painted in underglaze blue and</span> <i>famille verte</i> <span class="smcap">enamels</span>.
-(<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i291">172</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">In the centre, a five-clawed dragon rising from waves in pursuit of a
-pearl. Deep border in “Imari” style with cloud-shaped compartments
-with chrysanthemum and prunus designs in a blue ground,
-separated by close lotus scrolls reserved in an iron red ground in
-which are three book symbols. K’ang Hsi period (1662–1722).
-<i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">109.</td>
-    <td class="cht2"><span class="smcap">Figure of Shou Lao, Taoist God of Longevity</span></td>
-    <td class="pag1"><a href="#i297">176</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Porcelain painted with <i>famille verte</i> enamels. K’ang Hsi period (1662–1722).
-<i>Salting Collection, V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">110.</td>
-    <td class="cht2"><span class="smcap">Two Examples of the “Powder Blue”</span> (<i>ch’ui ch’ing</i>) <span class="smcap">Porcelain
-of the K’ang Hsi period</span> (1662–1722) <span class="smcap">in the Victoria
-and Albert Museum</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i305">182</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig 1.&mdash;Bottle of gourd shape with slender neck: powder blue ground
-with gilt designs from the Hundred Antiques (<i>po ku</i>) and borders of
-<i>ju-i</i> pattern, formal flowers and plantain leaves.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle-shaped Vase with <i>famille verte</i> panels of rockwork and
-flowers reserved in a powder blue ground. <i>Salting Collection.</i></td>
-    <td class="pag"><span class="pagenum" id="Page_xiv">[xiv]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">111.</td>
-    <td class="cht2"><span class="smcap">Two Examples of Single-colour Porcelain in the Salting
-Collection (Victoria and Albert Museum).</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i311">186</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bottle-shaped Vase of porcelain with landscape design lightly
-engraved in relief under a turquoise blue glaze. Early eighteenth
-century.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Water vessel for the writing table of the form known as <i>T’ai-po</i>
-<i>tsun</i> after the poet Li T’ai-po. Porcelain with faintly engraved
-dragon medallions under a peach bloom glaze; the neck cut down
-and fitted with a metal collar. Mark in blue of the K’ang Hsi
-period (1662–1722) in six characters.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">112.</td>
-    <td class="cht2"><span class="smcap">Three Figures of Birds, Late K’ang Hsi Porcelain, with
-coloured enamels on the biscuit</span></td>
-    <td class="pag1"><a href="#i319">192</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Stork. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Hawk. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Cock. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">113.</td>
-    <td class="cht2"><span class="smcap">Porcelain delicately painted in thin</span> <i>famille verte</i> <span class="smcap">enamels</span>.
-About 1720</td>
-    <td class="pag1"><a href="#i321">192</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Dish with figures of Hsi Wang Mu and attendant. Ch’êng
-Hua mark. <i>Hippisley Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bowl with the Eight Immortals. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">114.</td>
-    <td class="cht2"><span class="smcap">Hanging Vase with openwork sides, for perfumed
-flowers</span></td>
-    <td class="pag1"><a href="#i323">192</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Porcelain painted in late <i>famille verte</i> enamels. About 1720. Blackwood
-frame. <i>Cumberbatch Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">115.</td>
-    <td class="cht2"><span class="smcap">Vase of Baluster Form</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i339">206</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">With ornament in white slip and underglaze red and blue in a celadon
-green ground: rockery, and birds on a flowering prunus tree. Yung
-Chêng period (1723–1735). <i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">116.</td>
-    <td class="cht2"><span class="smcap">Yung Chêng Porcelain</span></td>
-    <td class="pag1"><a href="#i343">208</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Imperial Rice Bowl with design of playing children (<i>wa wa</i>),
-engraved outlines filled in with green in a yellow ground, transparent
-glazes on the biscuit. Yung Chêng mark. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Blue and White Vase with fungus (<i>ling chih</i>) designs in Hsüan
-Tê style. <i>Cologne Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">117.</td>
-    <td class="cht2"><span class="smcap">Yung Chêng Porcelain</span></td>
-    <td class="pag1"><a href="#i345">208</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with prunus design in underglaze red and blue. <i>C. H.</i>
-<i>Read Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Imperial Vase with phœnix and peony design in pale <i>famille</i>
-<i>verte</i> enamels over underglaze blue outlines. <i>V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">118.</td>
-    <td class="cht2"><span class="smcap">Early Eighteenth Century Enamels</span></td>
-    <td class="pag1"><a href="#i347">208</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Plate painted at Canton in <i>famille rose</i> enamels (<i>yang ts’ai</i>
-“foreign colouring”). Yung Chêng period. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Arrow Stand, painted in late <i>famille verte</i> enamels. About 1720.
-<span class="pagenum" id="Page_xv">[xv]</span><i>V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">119.</td>
-    <td class="cht2"><span class="smcap">Yung Chêng Porcelain, painted at Canton with <i>famille rose</i>
-enamels</span>. <i>British Museum.</i></td>
-    <td class="pag1"><a href="#i349">208</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;“Seven border” Plate.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Eggshell Cup and Saucer with painter’s marks.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Eggshell Plate with vine border.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Armorial Plate with arms of Leake Okeover. Transition
-enamels, about 1723.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">120.</td>
-    <td class="cht2"><span class="smcap">Covered Jar or Potiche, painted in</span> <i>famille rose</i> <span class="smcap">or “foreign
-colours”</span> (<i>yang ts’ai</i>) <span class="smcap">with baskets of flowers</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i365">222</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Deep borders of ruby red enamel broken by small panels and floral
-designs. On the cover is a lion coloured with enamels on the
-biscuit. From a set of five vases and beakers in the <i>Collection of</i>
-<i>Lady Wantage</i>. Late Yung Chêng period (1723–1735).</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">121.</td>
-    <td class="cht2"><span class="smcap">Two Beakers and a Jar from sets of five</span>, <i>famille rose</i>
-<span class="smcap">enamels</span>. Late Yung Chêng porcelain</td>
-    <td class="pag1"><a href="#i369">224</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Beaker with “harlequin” ground. <i>S. E. Kennedy Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Jar with dark blue glaze gilt and leaf-shaped reserves. <i>Burdett-Coutts
-Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Beaker with fan and picture-scroll panels, etc., in a deep ruby
-pink ground. <i>Wantage Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">122.</td>
-    <td class="cht2"><span class="smcap">White Porcelain with designs in low relief</span></td>
-    <td class="pag1"><a href="#i379">232</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase, peony scroll, <i>ju-i</i> border, etc. Ch’ien Lung period.
-<i>O. Raphael Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle with “garlic mouth,” Imperial dragons in clouds.
-Creamy crackled glaze imitating Ting ware. Early eighteenth
-century. <i>Salting Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Vase with design of three rams, symbolising Spring. Ch’ien
-Lung period. <i>W. Burton Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">123.</td>
-    <td class="cht2"><span class="smcap">Eighteenth Century Glazes</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i385">236</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Square Vase with tubular handles, and apricot-shaped medallions
-on front and back. <i>Flambé</i> red glaze. Ch’ien Lung period
-(1736–1795). <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle-shaped Vase with deep blue (<i>ta ch’ing</i>) glaze: unglazed
-base. Early eighteenth century. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Vase with fine iron red enamel (<i>mo hung</i>) on the exterior. Ch’ien
-Lung period (1736–1795). <i>Salting Collection, V. &amp; A. Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">124.</td>
-    <td class="cht2"><span class="smcap">Miscellaneous Porcelains</span></td>
-    <td class="pag1"><a href="#i391">240</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Magnolia Vase with <i>flambé</i> glaze of crackled lavender with red
-and blue streaks. Ch’ien Lung period. <i>Alexander Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle with elephant handles, yellow, purple, green, and white
-glazes on the biscuit. Ch’ien Lung period. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Dish with fruit design in lustrous transparent glazes on the
-biscuit, covering a faintly etched dragon pattern. K’ang Hsi mark.
-<i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">125.</td>
-    <td class="cht2"><span class="smcap">Ch’ien Lung Wares</span>. <i>Hippisley Collection</i></td>
-    <td class="pag1"><a href="#i393">240</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Brush Pot of enamelled Ku-yüeh-hsüan glass. Ch’ien Lung
-mark.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Bottle, porcelain painted in Ku-yüeh style, after a picture by
-the Ch’ing artist Wang Shih-mei.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Imperial Presentation Cup marked <i>hsü hua t’ang chih tsêng</i>.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Medallion Vase, brocade ground with bats in clouds, etc. Ch’ien
-Lung mark.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">126.</td>
-    <td class="cht2"><span class="smcap">Vase with “Hundred Flower” design in</span> <i>famille rose</i> <span class="smcap">enamels</span>.</td>
-    <td class="pag1"><a href="#i395">240</a><span class="pagenum" id="Page_xvi">[xvi]</span></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Ch’ien Lung period (1736–1795). <i>Grandidier Collection, Louvre.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">127.</td>
-    <td class="cht2"><span class="smcap">Vase painted in mixed enamels. The Hundred Deer</span>.</td>
-    <td class="pag1"><a href="#i397">240</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Late Ch’ien Lung period. <i>Grandidier Collection, Louvre</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">128.</td>
-    <td class="cht2"><span class="smcap">Ch’ien Lung Porcelain</span>. <i>British Museum</i></td>
-    <td class="pag1"><a href="#i407">248</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Vase with “rice grain” ground and blue and white design.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Vase with “lacework” designs. Ch’ien Lung mark.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Vase with the Seven Worthies of the Bamboo Grove in <i>lac
-burgauté</i>.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Vase with “robin’s egg” glaze.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">129.</td>
-    <td class="cht2"><span class="smcap">Octagonal Vase and Cover, painted in</span> <i>famille rose</i> <span class="smcap">enamels</span></td>
-    <td class="pag1"><a href="#i409">248</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Ch’ien Lung period (1736–1795). <i>One of a pair in the Collection of Dr.</i>
-<i>A. E. Cumberbatch.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">130.</td>
-    <td class="cht2"><span class="smcap">Vase with pear-shaped body and wide mouth; tubular
-handles</span> (<i>Colour</i>)</td>
-    <td class="pag1"><a href="#i417">254</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Porcelain with delicate <i>clair de lune</i> glaze recalling the pale blue tint of
-some of the finer Sung celadons. About 1800. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">131.</td>
-    <td class="cht2"><span class="smcap">Eighteenth Century Painted Porcelain</span></td>
-    <td class="pag1"><a href="#i429">264</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Plate painted in black and gold, European figures in a Chinese
-interior. Yung Chêng period. <i>British Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Dish with floral scrolls in <i>famille rose</i> enamels in a ground of
-black enamel diapered with green foliage scrolls. Ch’ien Lung
-period. <i>Wantage Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">132.</td>
-    <td class="cht2">Vase painted in mixed enamels, an Imperial park and a
-bevy of ladies</td>
-    <td class="pag1"><a href="#i431">264</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Deep ruby pink borders with coloured floral scrolls and symbols. Ch’ien
-Lung mark. About 1790. <i>Wantage Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">133.</td>
-    <td class="cht2"><span class="smcap">Late</span> <i>famille rose</i> <span class="smcap">enamels</span></td>
-    <td class="pag1"><a href="#i449">280</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Bowl painted in soft enamels, attendants of Hsi Wang Mu
-in boats. Mark, <i>Shên tê t’ang chih</i>. Tao Kuang period. <i>British
-Museum.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Imperial Fish Bowl with five dragons ascending and descending,
-borders of wave pattern, <i>ju-i</i> pattern, etc., <i>famille rose</i> enamels.
-Late eighteenth century. <i>Burdett-Coutts Collection.</i></td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td class="chn1">134.</td>
-    <td class="cht2"><span class="smcap">Porcelain Snuff Bottles</span>. Eighteenth Century. <i>British
-Museum</i></td>
-    <td class="pag1"><a href="#i451">280</a></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 1.&mdash;Subject from the drama, black ground. Yung Chêng mark.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 2.&mdash;Battle of demons, underglaze blue and red. Mark, <i>Yung-lo
-t’ang</i>.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 3.&mdash;Blue and white “steatitic” ware.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 4.&mdash;Crackled cream white <i>ting</i> glaze, pierced casing with pine,
-bamboo and prunus.</td>
-    <td class="pag"></td>
-  </tr>
-
-  <tr>
-    <td></td>
-    <td class="cht1">Fig. 5.&mdash;“Steatitic” ware with Hundred Antiques design in coloured
-relief. Chia Ch’ing mark.</td>
-    <td class="pag"></td>
-  </tr>
-</table>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_1">[1]</span></p>
-
-<p class="center p4 lg">CHINESE POTTERY AND PORCELAIN</p>
-</div>
-
-<h2 class="smaller">CHAPTER I<br />
-<span class="subhed">THE MING <img src="images/k_001.jpg" alt="ming"
-style="height:1.5em;  padding:0em 0em ;" /> DYNASTY, 1368–1644 A.D.</span></h2>
-
-<p class="drop-cap p-left">As we have already discussed, so far as our imperfect knowledge
-permits, the various potteries which are scattered over the length and
-breadth of China, we can now concentrate our attention on the rising
-importance of Ching-tê Chên. From the beginning of the Ming dynasty,
-Ching-tê Chên may be said to have become the ceramic metropolis of the
-empire, all the other potteries sinking to provincial status. So far
-as Western collections, at any rate, are concerned, it is not too much
-to say that 90 per cent. of the post-Yüan porcelains were made in this
-great pottery town.</p>
-
-<p>What happened there in the stormy years which saw the overthrow of
-the Mongol dynasty and the rise of the native Ming is unknown to us,
-and, indeed, it is scarcely likely to have been of much interest.
-The Imperial factories were closed, and did not open till 1369, or,
-according to some accounts, 1398.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> If we follow the <i>Ching-tê Chên
-T’ao lu</i>, which, as its name implies, should be well informed on
-the history of the place, a factory was built in 1369 at the foot of
-the Jewel Hill to supply Imperial porcelain (<i>kuan tz’ŭ</i>), and
-in the reign of Hung Wu (1368–1398) there were at least twenty kilns
-in various parts of the town working in the Imperial service. They
-included kilns for the large dragon bowls, kilns for blue (or green)
-ware (<i>ch’ing yao</i>), “wind and fire”[2] kilns, seggar kilns
-for making the cases for the fine porcelain, and <i>lan kuang</i>
-kilns, which Julien renders <i>fours à flammes étendues</i>. The last
-expression implies that the heat was raised in these kilns by means of
-a kind of bellows (<i>kuang</i>) which admitted air to<span class="pagenum" id="Page_2">[2]</span> the furnace,
-and Bushell’s rendering, “blue and yellow enamel furnaces,” ignores an
-essential part of both the characters<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> used in the original.</p>
-
-<p>From this time onward there is no lack of information on the nature
-of the Imperial wares made during the various reigns, but it must be
-remembered that the Chinese descriptions are in almost every case
-confined to the Imperial porcelains, and we are left to assume that
-the productions of the numerous private kilns followed the same lines,
-though in the earlier periods, at any rate, we are told that they were
-inferior in quality and finish.</p>
-
-<p>The Hung Wu <img src="images/k_002a.jpg" alt="hung wu"
-style="height:1.5em;  padding:0em 0em ;" />
- palace porcelain, as described in the <i>T’ao
-lu</i>, was of fine, unctuous clay and potted thin. The ware was left
-for a whole year to dry, then put upon the lathe and turned thin, and
-then glazed and fired. If there was any fault in the glaze, the piece
-was ground down on the lathe, reglazed and refired. “Consequently the
-glaze was lustrous (<i>jung</i>) like massed lard.” These phrases
-are now so trite that one is tempted to regard them as mere Chinese
-conventionalities, but there is no doubt that the material used in
-the Ming period (which, as we shall see presently, gave out in the
-later reigns) was of peculiar excellence. The raw edge of the base rim
-of early specimens does, in fact, reveal a beautiful white body of
-exceedingly fine grain and smooth texture, so fat and unctuous that one
-might almost expect to squeeze moisture out of it.</p>
-
-<p>The best ware, we are told, was white, but other kinds are mentioned.
-A short contemporary notice in the <i>Ko ku yao lun</i>,<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> written in
-1387, says, “Of modern wares (made at Ching-tê Chên) the good examples
-with white colour and lustrous are very highly valued. There are,
-besides, <i>ch’ing</i><a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> (blue or green) and black (<i>hei</i>) wares
-with gilding, including wine pots and wine cups of great charm.” Such
-pieces may exist in Western collections, but they remain unidentified,
-and though there are several specimens with the Hung Wu mark to be seen
-in museums, few have the appearance of Ming porcelain at all. There is,
-however, a dish in the British Museum which certainly belongs to the
-Ming dynasty, even if it<span class="pagenum" id="Page_3">[3]</span> is a century later than the mark implies.
-The body is refined and white, though the finish is rather rough, with
-pits and raised spots here and there in the glaze and grit adhering
-to the foot rim; but it is painted with a free touch in a bright
-blue, recalling the Mohammedan blue in colour, the central subject a
-landscape, and the sides and rim divided into panels of floral and
-formal ornament. It must be allowed that the style of the painting is
-advanced for this early period, including as it does white designs
-reserved in blue ground as well as the ordinary blue painting on a
-white ground.</p>
-
-
-<h3><i>Yung Lo</i> <img src="images/k_003a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1403–1424)</h3>
-
-<p>The usual formulæ are employed by the <i>T’ao lu</i> in describing the
-Imperial ware of this reign. It was made of plastic clay and refined
-material, and though, as a rule, the porcelain was thick, there
-were some exceedingly thin varieties known as <i>t’o t’ai</i><a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a> or
-“bodiless” porcelains. Besides the plain white specimens, there were
-others engraved with a point<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> or coated with vivid red (<i>hsien
-hung</i>). The <i>Po wu yao lan</i>,<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> reputed a high authority on
-Ming porcelains and written in the third decade of the seventeenth
-century, adds “blue and white” to the list and gives further details of
-the wares. The passage is worth quoting in full, and runs as follows:
-“In the reign of Yung Lo were made the cups which fit in the palm of
-the hand,<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a> with broad mouth, contracted waist, sandy (<i>sha</i>)
-foot, and polished base. Inside were drawn two lions rolling balls.
-Inside, too, in seal characters, was written <i>Ta Ming Yung Lo nien
-chih</i><a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a> in six characters, or sometimes in four<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a> only, as fine
-as grains of rice. These are the highest class. Those with mandarin
-ducks, or floral decoration inside, are all second quality. The cups
-are decorated outside with blue ornaments of a very deep colour,
-and their shape and make are very refined and beautiful and in a
-traditional style. Their price, too, is very high.<span class="pagenum" id="Page_4">[4]</span> As for the modern
-imitations, they are coarse in style and make, with foot and base burnt
-(brown), and though their form has some resemblance (to the old), they
-are not worthy of admiration.”</p>
-
-<p>As may be imagined, Yung Lo porcelain is not common to-day, and the
-few specimens which exist in our collections are not enough to make
-us realise the full import of these descriptions. There are, however,
-several types which bear closely on the subject, some being actually
-of the period and others in the Yung Lo style. A fair sample of the
-ordinary body and glaze of the time is seen in the white porcelain
-bricks of which the lower story of the famous Nanking pagoda was built.
-Several of these are in the British Museum, and they show a white
-compact body of close but granular fracture; the glazed face is a pure,
-solid-looking white, and the unglazed sides show a smooth, fine-grained
-ware which has assumed a pinkish red tinge in the firing. The coarser
-porcelains of the period would, no doubt, have similar characteristics
-in body and glaze. The finer wares are exemplified by the white bowls,
-of wonderful thinness and transparency, with decoration engraved in
-the body or traced in delicate white slip under the glaze and scarcely
-visible except as a transparency. Considering the fragility of these
-delicate wares and the distant date of the Yung Lo period, it is
-surprising how many are to be seen in Western collections. Indeed, it
-is hard to believe that more than a very few of these can be genuine
-Yung Lo productions, and as we know that the fine white “egg shell”
-porcelain was made throughout the Ming period and copied with great
-skill in the earlier reigns of the last dynasty, it is not necessary
-to assume that every bowl of the Yung Lo type dates back to the first
-decades of the fifteenth century.</p>
-
-  <div class="figcenter" id="i025" style="width: 490px">
-     <img
-    class="p2"
-    src="images/i025.jpg"
-     alt="" />
-     <p class="p0 p-left">Plate 59.&mdash;White Eggshell Porcelain Bowl with Imperial
-dragons faintly traced in white slip under the glaze.</p>
-     <p class="p0 p-left sm">Mark of the Yung Lo period (1403–1424) incised in the centre in
-archaic characters. 1. Exterior. 2. Interior view.</p>
-     <p class="p0 sm" style="float:left">Diameter 8¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-<p style="clear: both">It is wellnigh impossible to reproduce adequately these white
-porcelains, but Plate <a href="#i025">59</a> illustrates the well-known example in the
-Franks Collection, which has long been accepted as a genuine Yung Lo
-specimen. It represents the <i>ya shou pei</i> in form, with wide mouth
-and small foot&mdash;the contracted waist of the <i>Po wu yao lan</i>; the
-foot rim is bare at the edge, but not otherwise sandy, and the base is
-glazed over, which may be the sense in which the word “polished”<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a> is
-used in the <i>Po wu yao lan</i>. The ware is so thin and transparent
-that it seems to consist of glaze alone, as <span class="pagenum" id="Page_5">[5]</span>though the body had
-been pared away to vanishing point before the glaze was applied&mdash;in
-short, it is <i>t’o t’ai</i> or “bodiless.” When held to the light
-it has a greenish transparency and the colour of melting snow, and
-there is revealed on the sides a delicate but exquisitely drawn design
-of five-clawed Imperial dragons in white slip (not etched, as has
-too often been stated), showing up like the water-mark in paper. On
-the bottom inside is the date-mark of the period etched with a point
-in four archaic characters (see vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_213">213</a>). A more refined and
-delicate ceramic work could hardly be imagined.</p>
-
-<p>Close to this bowl in the Franks Collection there are two smaller bowls
-or, rather, cups which in many ways answer more nearly the description
-of the <i>ya shou pei</i>,<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> though they are thick in substance
-and of coarser make. They have straight spreading sides, wide at the
-mouth, with foliate rim, and contracted at the foot. The foot rim is
-bare of glaze, but the base is covered. They are of an impure white
-ware with surface rather pitted, and inside is a lotus design traced
-in white slip under the glaze and repeated in radiating compartments.
-These are perhaps a product of the private factories. The same form is
-observed among the blue and white porcelain in two small cups, which
-are painted in blue with a landscape on the exterior and with bands
-of curled scrolls inside and the Yung Lo mark in four characters. The
-base is unglazed, and though they are undoubtedly intended to represent
-a Yung Lo type, these not uncommon bowls can hardly be older than the
-last dynasty. Another blue and white bowl in the Franks Collection has
-the Yung Lo mark and the scroll decoration inside, and on the exterior
-a long poem by Su Shih, covering most of the surface. It is painted in
-a grey blue, and the ware, though coarse, has the appearance of Ming
-manufacture, perhaps one of the late Ming copies which are mentioned
-without honour in the <i>Po wu yao lan</i>. It is, however, of the
-ordinary rounded form.<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a></p>
-
-<p>Hsiang Yüan-p’ien illustrates in his Album one Yung Lo specimen, a low
-cylindrical bowl of the “bodiless” kind, “thin as paper,” with a very
-delicate dragon and phœnix design, which<span class="pagenum" id="Page_6">[6]</span> is seen when the bowl is
-held to the light and carefully inspected. This style of ornament is
-described as <i>an hua</i> (secret decoration), but it is not stated
-whether, in this case, it was engraved in the paste or traced in white
-slip.</p>
-
-<p>The mention of “fresh red” (<i>hsien hung</i>), which seems to have
-been used on the Yung Lo porcelain as well as in the succeeding Hsüan
-Tê period, brings to mind a familiar type of small bowl with slight
-designs in blue inside, often a figure of a boy at play, the exterior
-being coated with a fine coral red, over which are lotus scrolls
-in gold. There are several in the British Museum, and one, with a
-sixteenth-century silver mount, was exhibited at the Burlington Fine
-Arts Club in 1910.<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a> The term <i>hsien hung</i> is certainly used
-for an underglaze copper red on the Hsüan Tê porcelain, and it is
-doubtful whether it can have been loosely applied to an overglaze
-iron red on the earlier ware. For the bowls to which I refer have an
-iron red decoration, though it is sometimes wonderfully translucent
-and, being heavily fluxed, looks like a red glaze instead of merely
-an overglaze enamel (see Plate <a href="#i105">74</a>). Several of these red
-bowls have the Yung Lo mark, others have merely marks of commendation
-or good wish. Their form is characteristic of the Ming period, and the
-base is sometimes convex at the bottom, sometimes concave. They vary
-considerably in quality, the red in some cases being a translucent
-and rather pale coral tint, and in others a thick, opaque brick red.
-Probably they vary in date as well, the former type being the earlier
-and better. It is exemplified by an interesting specimen in the Franks
-Collection marked <i>tan kuei</i> (red cassia), which indicates its
-destination as a present to a literary aspirant, the red cassia being a
-symbol of literary success. This piece has, moreover, a stamped leather
-box of European&mdash;probably Venetian&mdash;make, which is not later than the
-sixteenth century. This, if any of these bowls, belongs to the Yung Lo
-period, but it will be seen presently that the iron red was used as an
-inferior but more workable substitute for the underglaze red in the
-later Ming reigns, and, it must be added, these bowls are strangely
-numerous for a fifteenth-century porcelain. That they are a Yung Lo
-type, however, there is little doubt, for this red and gold decoration
-(<i>kinrande</i> of the Japanese) is the adopted style which won for
-the clever Kioto potter, Zengoro Hozen, the art name <i>Ei raku</i>,
-i.e. Yung Lo in Japanese.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_7">[7]</span></p>
-
-<h2 class="smaller">CHAPTER II<br />
-<span class="subhed">HSÜAN TÊ <img src="images/k_007.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1426–1435)</span></h2></div>
-
-<p class="drop-cap p-left">In this short reign, which Chinese writers regard as the most brilliant
-period of their porcelain industry, the number of kilns occupied with
-the Imperial orders had increased to fifty-eight, the majority of them
-being outside the Imperial factory and distributed among the private
-factories. According to the <i>T’ao lu</i>,<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a> the clay used at this
-time was red and the ware like cinnabar, a statement which is difficult
-to reconcile with the glowing description of the jade-like white altar
-cups and other exquisite objects for which the reign was celebrated.
-It is, of course, possible that a dark coloured body was employed in
-some of the wares, as was done at other periods, or it may be that the
-words are hyperbolically used to describe a porcelain of which the
-exposed parts of the body assumed a red colour in the firing. This
-latter peculiarity is noticeable on specimens of later Ming porcelain,
-particularly the blue and white of the Chia Ching period. But in any
-case a red biscuit cannot have been invariable or even characteristic
-of the period, for no mention is made of such a feature in the <i>Po
-wu yao lan</i>, which gives by far the fullest account of the Hsüan Tê
-porcelain.</p>
-
-<p>The description in the <i>Po wu yao lan</i>,<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a> which seems to
-have been generally accepted, and certainly was largely borrowed by
-subsequent Chinese works, may be freely rendered as follows:</p>
-
-<p>“Among the wares of the Hsüan Tê period there are stem-cups<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a>
-decorated with red fish. For these they used a powder made of red
-precious stones from the West to paint the fish forms, and from the
-body there rose up in relief in the firing the precious brilliance of
-the fresh red ravishing the eye. The brown and blackish<span class="pagenum" id="Page_8">[8]</span> colours which
-resulted from imperfect firing of the red are inferior. There were
-also blue decorated wares, such as stem-cups with dragon pine and plum
-designs, wine stem-cups with figure subjects<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a> and lotus designs,
-small cinnabar pots and large bowls in colour red like the sun, but
-with white mouth rim, pickle pots and small pots with basket covers and
-handles in the form of bamboo joints, all of which things were unknown
-in ancient times. Again, there were beautiful objects of a useful kind,
-all small and cleverly made with finely and accurately drawn designs.
-The incense vases, trays and dishes<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a> were made in large numbers, and
-belong to a common class. The flat-sided jars with basket covers, and
-the ornamented round pots with flanged<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a> mouth for preserving honey,
-are very beautiful and mostly decorated in colours (<i>wu ts’ai</i>).
-The white cups, which have the character <i>t’an</i> (altar) engraved
-inside the bowl, are what are known as 'altar cups.’ The material of
-these things is refined and the ware thick, and the form beautiful
-enough to be used as elegant vases in the true scholar’s room. There
-are besides white cups for tea with rounded body,<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a> convex<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a> base,
-thread-like foot, bright and lustrous like jade, and with very finely
-engraved<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a> dragon and phœnix designs which are scarcely inferior to
-the altar cups. At the bottom the characters <i>ta ming hsüan tê nien
-chih</i><a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a> are secretly engraved in the paste, and the texture of
-the glaze is uneven, like orange peel.<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a> How can even Ting porcelain
-compare with these? Truly they are the most excellent porcelains of
-this reign, and unfortunately there have not been many to be seen since
-then. Again, there are the beautiful barrel-shaped seats, some with
-openwork ground, the designs filled in with colours (<i>wu ts’ai</i>),
-gorgeous as cloud brocades, others with solid ground filled in with
-colours in engraved floral designs, so beautiful and brilliant as
-to dazzle the eye; both sorts have a deep green (<i>ch’ing</i>)
-background. Others have blue <span class="pagenum" id="Page_9">[9]</span>(<i>lan</i>) ground, filled in
-with designs in colours (<i>wu ts’ai</i>), like ornament carved in
-cobalt blue (<i>shih ch’ing</i>, lit. stone blue). There is also blue
-decoration on a white ground and crackled grounds like ice. The form
-and ornament of these various types do not seem to have been known
-before this period.”</p>
-
-
-
-
-
-  <div class="figcenter" id="i031" style="width: 463px">
-     <img
-    class="p2"
-    src="images/i031.jpg"
-     alt="" />
-     <p class="p0 center">Plate 60.&mdash;Reputed Hsüan Tê Porcelain.</p>
-     <p class="p0 p-left sm">Fig. 1.&mdash;Flask with blue decoration, reputed to be Hsüan Tê period.
-Height 3¼ inches. <i>British Museum</i>.</p>
-     <p class="p0 p-left sm">Fig. 2.&mdash;Brush Rest. (?) Chang Ch’ien on a log raft; partly biscuit.
-Inscribed with a stanza of verse and the Hsüan Tê mark. Length 6 inches.</p>
-     <p class="p0 sm center"><i>Grandidier Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i033a">
-    <img
-    class="p2"
-    src="images/i033a.jpg"
-    alt="" />
-  </div>
-
-
-  <div class="figcenter" id="i033b" style="width: 446px">
-     <img
-    class="p0"
-    src="images/i033b.jpg"
-     alt="" />
-     <p class="p0 center">Plate 61.&mdash;Porcelain with <i>san ts’ai</i> glazes on the biscuit.</p>
-     <p class="p0 p-left sm">Fig. 1.&mdash;Wine Jar with pierced casing, the Taoist Immortals paying
-court to the God of Longevity, turquoise blue ground. Fifteenth
-century. Height 11½ inches. <i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 p-left sm">Fig. 2.&mdash;Screen with design in relief, horsemen on a mountain
-path, dark blue ground. About 1500. Height 14 inches. <i>Benson
-Collection.</i></p>
-  </div>
-
-<p>It will be seen from the above that the Hsüan Tê porcelains included
-a fine white, blue and white and polychrome painted wares, underglaze
-red painted wares, and crackle. The last mentioned is further specified
-in the <i>Ch’ing pi tsang</i> as having “eel’s blood lines,”<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a> and
-almost rivalling the Kuan and Ju wares. The ware was thick and strong,
-and the glaze had the peculiar undulating appearance (variously
-compared to chicken skin, orange peel, millet grains, or a wind ruffled
-surface) which was deliberately produced on the eighteenth century
-porcelains.</p>
-
-<p>Another surface peculiarity shared by the Hsüan Tê and Yung Lo wares
-was “palm eye” (<i>tsung yen</i>) markings, which Bushell explains as
-holes in the glaze due to air bubbles. It is hard to see how these can
-have been other than a defect. Probably both these and the orange peel
-effects were purely fortuitous at this time.</p>
-
-<p>Of the various types which we have enumerated, the white wares need
-little comment. The glaze was no doubt thick and lustrous like mutton
-fat jade, and though Hsiang in his Album usually describes the white of
-his examples as “white like driven snow,” it is worthy of note that in
-good imitations of the ware particular care seems to have been given to
-impart a distinct greenish tint to the glaze.</p>
-
-<p>The honours of the period appear to have been shared by the “blue and
-white” and red painted wares. Out of twenty examples illustrated in
-Hsiang’s Album, no fewer than twelve are decorated chiefly in red,
-either covering the whole or a large part of the surface or painted
-in designs, among which three fishes occur with monotonous frequency.
-The red in every case is called <i>chi hung</i>, and it is usually
-qualified by the illuminating comparison with “ape’s blood,” and in one
-case it is even redder than that!</p>
-
-<p>The expression <i>chi hung</i> has evidently been handed down by oral
-traditions, for there is no sort of agreement among Chinese writers on
-the form of the first character. The <i>T’ao lu</i> uses the<span class="pagenum" id="Page_10">[10]</span> character
-<img src="images/k_010a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-, which means “sacrificial,” and Bushell<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a> explains this “as
-the colour of the sacrificial cups which were employed by the Emperor
-in the worship of the Sun.” Hsiang uses the character <img src="images/k_010b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- which
-means “massed, accumulated.” And others use the character <img src="images/k_010c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-
-which means “sky clearing,” and is also applied to blue in the sense
-of the “blue of the sky after rain.” In the oft quoted list of the
-Yung Chêng porcelains we find the item, “Imitations of Hsüan <i>chi
-hung</i> wares, including two kinds, <i>hsien hung</i> (fresh red) and
-<i>pao shih hung</i> (ruby red).” There can be little doubt that both
-these were shades of underglaze red derived from copper oxide, a colour
-with which we are quite familiar from the eighteenth century and later
-examples.</p>
-
-<p>For in another context we find the <i>hsien hung</i> contrasted with
-<i>fan hung</i>, which is the usual term for overglaze iron red,
-and the description already given of the application of <i>pao shih
-hung</i> leaves no doubt whatever that it was an underglaze colour. The
-two terms are probably fanciful names for two variations of the same
-colour, or perhaps for two different applications of it, for we know
-that it was used as a pigment for brushwork as well as in the form of a
-ground colour incorporated in the glaze. The secret of the colour seems
-to have been well kept, and the general impression prevailing outside
-the factories was that its tint and brilliancy were due to powdered
-rubies, the red precious stone from the West which gave the name to the
-<i>pao shih hung</i>.<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> It is known that in some cases such stones
-as cornelian (<i>ma nao</i>) have been incorporated in the porcelain
-glazes in China to increase the limpidity of the glaze. This is reputed
-to have happened in the case of the Ju yao, but neither cornelian nor
-ruby could serve in any way as a colouring agent, as their colour would
-be dissipated in the heat of the furnace. The real colouring agent of
-the <i>chi hung</i> is protoxide of copper. If there were nothing else
-to prove this, it would be clear from the fact hinted in the <i>Po wu
-yao lan</i> that the failures came out a brownish or blackish tint.
-This colour has always proved a difficult one to manage, and in the
-early part<span class="pagenum" id="Page_11">[11]</span> of the last dynasty, when it was freely used after the
-manner of the Hsüan Tê potters, the results were most unequal, varying
-from a fine blood red to maroon and brown, and even to a blackish tint.</p>
-
-<p>The peculiar merits of the Hsüan Tê red were probably due in some
-measure to the clay of which the ware was composed, and which contained
-some natural ingredient favourable to the development of the red. At
-any rate, we are told<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a> that in the Chia Ching period (1522–1566)
-“the earth used for the <i>hsien hung</i> ran short.”</p>
-
-<p>Among the favourite designs<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a> expressed in the Hsüan Tê red were
-three fishes, three fruits,<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a> three funguses, and the character
-<i>fu</i> (happiness) repeated five times.<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a> All these are mentioned
-among the Yung Chêng imitations. A good idea of the fish design is
-given by a cylindrical vase in the Franks Collection, which is plain
-except for two fishes in underglaze red of good colour, and rising in
-slight relief in the glaze. The glaze itself is of that faint celadon
-green which was apparently regarded as a necessary feature of the
-Hsüan Tê copies, and which incidentally seems to be favourable to the
-development of the copper red. The <i>sang de bœuf</i> red of the last
-dynasty is avowedly a revival of the Hsüan Tê red in its use as a glaze
-colour. Indeed, certain varieties of the <i>sang de bœuf</i> class
-are still distinguished as <i>chi hung</i>. The large bowls, “red as
-the sun and white at the mouth rim,” as mentioned in the <i>Po wu yao
-lan</i>, have a counterpart in the large bowl of the last dynasty with
-<i>sang de bœuf</i> glaze, which, flowing downwards, usually left a
-colourless white band at the mouth.</p>
-
-<p>The Hsüan Tê period extended only to ten years, and specimens of Hsüan
-red are excessively rare to-day, even in China. It is doubtful if a
-genuine specimen exists outside the Middle Kingdom, but with the help
-of the old Chinese descriptions and the clever imitations of a later
-date,<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a> there is no difficulty in imagining the vivid splendours of
-the “precious stone red” of this brilliant period.</p>
-
-<p>Among the “blue and white” wares of all periods, the Hsüan<span class="pagenum" id="Page_12">[12]</span> Tê
-porcelain is unanimously voted the first place by Chinese writers,
-and its excellence is ascribed principally to the superior quality
-of an imported mineral variously described as <i>su-ni-p’o</i>,
-<i>su-p’o-ni</i> and <i>su-ma-ni</i>. These outlandish names are, no
-doubt, attempts to render in Chinese the foreign name of the material,
-which was itself probably the name of the place or people whence it
-was exported. There is little doubt that this mysterious substance was
-the same species as the Mohammedan blue (<i>hui hui ch’ing</i>) of
-the following century. Indeed, this latter name is applied to it in
-Hsiang’s Album. The Mohammedan blue was obtained from Arab traders, and
-its use for painting on pottery had been familiar in the Near East,
-in Persia and Syria for instance, at least as early as the twelfth
-century.<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a> The <i>su-ni-p’o</i> blue was no doubt imported in the
-form of mineral cobalt, and though there was no lack of this mineral
-in the neighbourhood of Ching-tê Chên, the foreign material was of
-superior quality. It was, however, not only expensive but unsuited for
-use in a pure state. If applied by itself, it had a tendency to run in
-the firing, and it was necessary to blend it with proportions of the
-native mineral varying from one in ten for the finest quality to four
-in six for the medium quality. The native mineral used by itself tended
-to be heavy and dull in tone, owing to its inability to stand the
-intense heat of the kiln, and was only employed alone on the coarser
-wares. The supply of Mohammedan blue was uncertain and spasmodic. It
-ceased to arrive at the end of the Hsüan Tê period, and it was not
-renewed till the next century (see p. <a href="#Page_29">29</a>). Its nature, too,
-seems to have varied, for we are expressly told that the Hsüan Tê blue
-was pale in tone while the Mohammedan blue of the sixteenth century
-was dark.<span class="pagenum" id="Page_13">[13]</span> Possibly, however, this was not so much due to the nature
-of the material as to the method of its application, for Chinese
-writers are by no means unanimous about the paleness of the Hsüan Tê
-blue. The <i>Ch’ing pi ts’ang</i>, for instance, states that “they
-used <i>su-p’o-ni</i> blue and painted designs of dragons, phœnixes,
-flowers, birds, insects, fish and similar forms, deep and thickly
-heaped and piled and very lovely.”</p>
-
-<p>Authentic specimens of Hsüan Tê blue and white are virtually unknown,
-but the mark of the period is one of the commonest on Chinese porcelain
-of relatively modern date. In most cases this spurious dating means
-nothing more than that the period named was one of high repute; but
-there is a type of blue and white, usually bearing the period mark of
-Hsüan Tê, which is so mannered and characteristic that one feels the
-certainty that this really represents one kind at least of the Hsüan
-porcelain. It is usually decorated in close floral scrolls, and the
-blue is light dappled with darker shades, which are often literally
-“heaped and piled” (<i>tui t’o</i>) over the paler substratum.</p>
-
-<p>I have seen examples of this style belonging to various periods, mostly
-eighteenth century, but some certainly late Ming<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a> (see Plate <a href="#i069">67</a>,
-Fig. 4). Seven examples of Hsüan blue and white porcelain
-are figured in Hsiang’s Album,<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">[37]</a> comprising an ink pallet, a vase
-shaped like a section of bamboo, a goose-shaped wine jar, a vase with
-an elephant on the cover, a tea cup, a sacrificial vessel, and a lamp
-with four nozzles. In five of these the blue is confined to slight
-pencilled borders, merely serving to set off the white ground, which
-is compared to driven snow. The glaze is rich and thick, and of uneven
-surface, rising in slight tubercles likened to “grains of millet.” This
-is the “orange skin” glaze. The blue in each case is <i>hui hu<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">[38]</a> ta
-ch’ing</i> (deep Mohammedan blue). Of the two remaining instances, one
-is painted with a dragon in clouds, and the other with “dragon pines,”
-and in the latter case the glaze is described as “lustrous like mutton
-fat jade,” and the blue as “of intensity and brilliance to dazzle the
-eye.”</p>
-
-<p>The impression conveyed by all these examples is that they<span class="pagenum" id="Page_14">[14]</span> represent a
-type quite different from that described as “heaped and piled,” a type
-in which delicate pencilling was the desideratum, the designs being
-slight and giving full play to the white porcelain ground. It is, in
-fact, far closer in style to the delicately painted Japanese Hirado
-porcelain than to the familiar Chinese blue and white of the K’ang Hsi
-period.</p>
-
-<p>Plate <a href="#i031">60</a> illustrates a little flask-shaped vase in the
-Franks Collection, which purports to be a specimen of Hsüan Tê blue and
-white porcelain. It has a thick, “mutton fat” glaze of faint greenish
-tinge, and is decorated with a freely drawn peach bough in underglaze
-blue which has not developed uniformly in the firing. The colour in
-places is deep, soft and brilliant, but elsewhere it has assumed too
-dark a hue.<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a> Its certificate is engraved in Chinese fashion on
-the box into which it has been carefully fitted&mdash;<i>hsüan tz’ŭ pao
-yüeh p’ing</i>, “precious moon vase of Hsüan porcelain”&mdash;attested by
-the signature Tzŭ-ching, the studio name of none other than Hsiang
-Yüan-p’ien, whose Album has been so often quoted. Without attaching
-too much weight to this inscription, which is a matter easily arranged
-by the Chinese, there is nothing in the appearance of this quite
-unpretentious little vase which is inconsistent with an early Ming
-origin.</p>
-
-<p>On the same plate is a brush rest in form of a log raft, on which is a
-seated figure, probably the celebrated Chang-Ch’ien, floating down the
-Yellow River. The design recalls a rare silver cup of the Yüan dynasty,
-which was illustrated in the <i>Burlington Magazine</i> (December,
-1912). Here the material is porcelain biscuit with details glazed and
-touched with blue, and the <i>nien hao</i> of Hsüan Tê is visible on
-the upper part of the log beside two lines of poetry. Whether this
-brush rest really belongs to the period indicated or not, it is a rare
-and interesting specimen. Two other possible examples of Hsüan Tê blue
-and white are described on p. <a href="#Page_32">32</a>.</p>
-
-<p><span class="pagenum" id="Page_15">[15]</span></p>
-
-  <div class="figcenter" id="i043" style="width: 511px">
-     <img
-    class="p2"
-    src="images/i043.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 62</p>
-     <p class="p0 p-left sm">Barrel shaped Garden Seat: porcelain with coloured glazes on the
-biscuit, the designs outlined in slender fillets of clay. A lotus
-scroll between an upper band of clouds and a lower band of horses in
-flying gallop and sea waves. Lion mask handles. About 1500 <span class="allsmcap">A.D.</span></p>
-     <p class="p0 sm" style="float:left">Height 14¼ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-<p style="clear: both">As to the other types of Hsüan ware named in the <i>Po wu yao lan</i>,
-with one exception I can find no exact counterpart of them in existing
-specimens, though parts of the descriptions are illustrated by examples
-of apparently later date. Thus the form of the white tea cups, “with
-rounded body, convex base, and thread-like foot,” is seen in such bowls
-as Fig. 1 of Plate <a href="#i105">74</a>, which is proved by its mount to be not later
-than the sixteenth century. Other <span class="pagenum" id="Page_17">[17]</span>examples of these bowls will be
-discussed later. They are characterised by a convexity in the centre
-which cannot be shown in reproductions.</p>
-
-<p>The secret decoration (<i>an hua</i>) consists of designs faintly
-traced usually with a sharp-pointed instrument in the body and under
-the glaze. There is an excellent example of this in a high-footed cup
-in the Franks Collection which has the Hsüan Tê mark, the usual faintly
-greenish glaze, beneath which is a delicately etched lotus scroll
-so fine that it might easily be overlooked and is quite impossible
-to reproduce by photographic methods. It is, no doubt, an early
-eighteenth-century copy of Hsüan ware.</p>
-
-<p>The one exception mentioned above is the type represented by the
-“barrel-shaped seats.” The description of these leaves no room for
-doubt that they belonged to a fairly familiar class of Ming ware, whose
-strength and solidity has preserved it in considerable quantity where
-the more delicate porcelains have disappeared. Plate <a href="#i043">62</a> gives a good
-idea of the Ming barrel-shaped garden seat, “with solid ground filled
-in with colours in engraved floral designs.” The other kind, “with
-openwork ground, the designs filled in with colours (<i>wu ts’ai</i>),
-gorgeous as cloud brocades,” must have been in the style of Plate <a href="#i033a">61</a>.
-These styles of decoration are more familiar to us on potiche-shaped
-wine jars and high-shouldered vases than on garden seats, but the type
-is one and the same. Quite a series of these vessels was exhibited at
-the Burlington Fine Arts Club in 1910, and they are fully described
-in the catalogue. Some had an outer casing in openwork; others had
-the designs outlined in raised threads of clay, which contained the
-colours like the ribbons of cloisonné enamel<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a>; in others, again,
-the patterns were incised with a point. The common feature of all of
-them was that the details of the pattern were defined by some emphatic
-method of outlining which served at the same time to limit the flow
-of the colours. The colours themselves consist of glazes containing a
-considerable proportion of lead, and tinted in the usual fashion with
-metallic oxides. They include a deep violet blue (sometimes varying to
-black or brown), leaf green, turquoise,<span class="pagenum" id="Page_18">[18]</span> yellow,<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">[41]</a> and a colourless
-glaze or a white slip which served as white colour, though at times the
-white was represented merely by leaving the unglazed body or biscuit to
-appear. These coloured glazes differ from the on-glaze painted enamels
-in that they are applied direct to the body of the ware, and are fired
-at a relatively high temperature in the cooler parts of the great
-kiln, a circumstance expressed by the French in the concise phrase,
-<i>couleurs de demi-grand feu</i>.<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">[42]</a></p>
-
-<p>The central ornament consisted chiefly of figures of sages or deities
-in rocky landscape, or seated under pine trees amid clouds, dragons in
-clouds, or beautiful lotus designs; and these were contained by various
-borders, such as floral scrolls, gadroons, <i>ju-i</i> head patterns,
-fungus scrolls, and symbols hanging in jewelled pendants. As a rule,
-the larger areas of these vases are invested with a ground colour and
-the design filled in with contrasting tints. Sometimes the scheme of
-decoration includes several bands of ornament, and in this case&mdash;as on
-Plate <a href="#i043">62</a>&mdash;more than one ground colour is used. The <i>Po wu
-yao lan</i> speaks of green (<i>ch’ing</i>) and dark blue (<i>lan</i>)
-grounds, and existing specimens indicate that the dark violet blue
-was the commonest ground colour. Next to this, turquoise blue is the
-most frequently seen; but besides these there is a dark variety of the
-violet which is almost black, and another which is dark brown, both of
-which colours are based on cobaltiferous oxide of manganese. It has
-already been observed that this type of decoration was frequently used
-on a pottery body as well as on porcelain.</p>
-
-<p>The question of the antiquity of the above method of polychrome
-decoration is complicated by the contradictory accounts which Dr.
-Bushell has given of a very celebrated example, the statuette of
-the goddess Kuan-yin in the temple named Pao kuo ssŭ at Peking. The
-following reference to this image occurs in the <i>T’ung ya</i>,
-published in the reign of Ch’ung Chêng (1625–1643): “The Chün Chou
-transmutation wares (<i>yao pien</i>) are not uncommon to-day. The
-Kuan-yin in the Pao kuo ssŭ is a <i>yao pien</i>.” Dr.<span class="pagenum" id="Page_19">[19]</span> Bushell,
-who visited the temple several times, gives a minute description of
-the image, which contains the following passage<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">[43]</a>: “The figure is
-loosely wrapped in flowing drapery of purest and bluest turquoise
-tint, with the wide sleeves of the robe bordered with black and turned
-back in front to show the yellow lining; the upper part of the cloak
-is extended up behind over the head in the form of a plaited hood,
-which is also lined with canary yellow.” To the ordinary reader, such
-a description would be conclusive. A fine example of Ming porcelain,
-he would say, decorated with the typical coloured glazes on the
-biscuit. Bushell’s comment, however, is that the “colours are of the
-same type as those of the finest flower pots and saucers of the Chün
-Chou porcelain of the Sung dynasty.” It should be said that the temple
-bonzes insist that they can trace the origin of the image back to the
-thirteenth century. If these are indeed the typical Chün Chou glazes,
-then all our previous information on that factory, including Bushell’s
-own contributions, is worthless. In another work,<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">[44]</a> however, the same
-writer states that it (the image in question) is “really enamelled in
-'five colours’&mdash;turquoise, yellow, crimson, red brown and black.” This
-is precisely what we should have expected, and it can only be imagined
-that Bushell in the other passage was influenced by the statement
-in the <i>T’ung ya</i> that it was a furnace transmutation piece, a
-statement probably based on the superstition that it was a miraculous
-likeness of the goddess, who herself descended into the kiln and
-moulded its features. As to the other temple tradition, that it was
-made in the thirteenth century, it is not necessary to take that any
-more seriously than the myth concerning its miraculous origin, which
-derives from the same source.</p>
-
-<p>It is hardly necessary to state that all the existing specimens of this
-class (and they are fairly numerous) do not belong to the Hsüan Tê
-period. Indeed, it is unlikely that more than a very small percentage
-of them were made in this short reign. Whether the style survived the
-Ming dynasty is an open question; but it is safe to assume that it was
-largely used in the sixteenth century.</p>
-
-<p>The discussion of this group of polychrome porcelain leads naturally
-to the vexed question of the introduction of enamel painting over the
-glaze. By the latter I mean the painting of<span class="pagenum" id="Page_20">[20]</span> designs on the finished
-white glaze in vitrifiable enamels, which were subsequently fixed in
-the gentle heat of the muffle kiln (<i>lu</i>)&mdash;<i>couleurs de petit
-feu</i>, as the French have named them. No help can be got from the
-phraseology of the Chinese, for they use <i>wu ts’ai</i> or <i>wu
-sê</i> (lit. five colours) indifferently for all kinds of polychrome
-decoration, regardless of the number of colours involved or the mode
-of application. There is, however, no room for doubt that the delicate
-enamel painting, for which the reign of Ch’êng Hua (1465–1487) was
-celebrated, was executed with the brush over the fired glaze. It is
-inconceivable that the small, eggshell wine cups with peony flowers and
-a hen and chicken “instinct with life and movement” could have been
-limned by any other method. If this is the case, then what could the
-Chinese writers mean when they contrasted the <i>wu ts’ai</i> ornament
-of the Hsüan Tê and Ch’êng Hua periods, but that the same process of
-painting was in use in both reigns? The Ch’êng Hua colours were more
-artistic because they were thin and delicately graded, while the Hsüan
-Tê <i>wu ts’ai</i> were too thickly applied.<a id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> For this reason, if
-for no other, we may rightly infer that painting in on-glaze enamels
-was practised in the Hsüan Tê period, if, indeed, it had not been long
-in use.<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">[46]</a></p>
-
-<p>There is another and an intermediate method of polychrome decoration in
-which the low-fired enamels (<i>de petit feu</i>) are applied direct
-to the biscuit, as in the case of the <i>demi-grand feu</i> colours,
-but with the difference that they are fixed in the muffle kiln. This
-method was much employed on the late Ming and early Ch’ing porcelains,
-and it will be discussed later; but it is mentioned here because there
-are several apparent examples of it in Hsiang’s Album, one<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">[47]</a> of which
-is dated Hsüan Tê. The example in question is a model of the celebrated
-Nanking pagoda, and it is described as <i>wu ts’ai</i>, the structure
-being white, the roofs green, the rails red, and the doors yellow,
-while the date is painted in blue. I have hesitated to assume that
-this is intended to represent an on-glaze painted piece, though there
-is much in the description to indicate such a conclusion; but it is
-certainly either this or a<span class="pagenum" id="Page_21">[21]</span> member of the class under discussion, viz.
-decorated in enamels of the muffle kiln applied to the biscuit.<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a>
-In either case it proves the knowledge of vitrifiable enamels at this
-period to all who accept the evidence of Hsiang’s Album.</p>
-
-<p>Examples of Hsüan Tê polychrome porcelain enumerated in the <i>T’ao
-shuo</i> included wine pots in the form of peaches, pomegranates,
-double gourds, a pair of mandarin ducks and geese; washing dishes (for
-brushes) of “gong-shaped outline,” with moulded fish and water-weeds,
-with sunflowers and with lizards; and lamp brackets, “rain-lamps,”
-vessels for holding bird’s food, and cricket<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">[49]</a> pots (see vol. i, p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>).</p>
-
-<p>Specimens of on-glaze painted porcelain with the Hsüan Tê mark are
-common enough, but I have not yet seen one which could be accepted
-without reserve. Perhaps the nearest to the period is a specimen in the
-Franks Collection, a box made of the lower part of a square vase which
-had been broken and cut down. It was fitted with a finely designed
-bronze cover in Japan, and it is strongly painted in underglaze blue
-and the usual green, yellow, red and purple on-glaze enamels. The mark
-is in a fine dark blue, and the porcelain has all the character of a
-Ming specimen.</p>
-
-<p>There is, in the same collection, a dish of a different type, but
-with the Hsüan Tê mark in Mohammedan blue and other evidences of Ming
-origin. The glaze is of a faintly greenish white and of considerable
-thickness and lustre, and the design consists of lotus scrolls in gold.
-Painting in gold in the Hsüan Tê period is mentioned in the <i>T’ao
-shuo</i><a id="FNanchor_50" href="#Footnote_50" class="fnanchor">[50]</a> in connection with the pots for holding the fighting
-crickets alluded to above.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_22">[22]</span></p>
-
-<h2 class="smaller">CHAPTER III<br />
-<span class="subhed">CH’ÊNG HUA <img src="images/k_022a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1465–1487) AND OTHER REIGNS</span></h2></div>
-
-<p class="drop-cap p-left">The Ch’êng Hua porcelain shares with that of the Hsüan Tê period the
-honours of the Ming dynasty, and Chinese writers are divided on the
-relative merits of the two. Unfortunately, no material remains on
-which we might base a verdict of our own, but we may safely accept
-the summing up which the <i>Po wu yao lan</i>, the premier authority
-on early Ming wares, gives as follows<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a>: “In my opinion, the blue
-and white porcelain of the Ch’êng Hua period does not equal that of
-the Hsüan Tê, while the polychrome of the Hsüan period does not equal
-that of the 'model<a id="FNanchor_52" href="#Footnote_52" class="fnanchor">[52]</a> emperor’s’ reign. The reason is that the blue
-of the Hsüan ware was <i>su-ni-p’o</i><a id="FNanchor_53" href="#Footnote_53" class="fnanchor">[53]</a> blue, whereas afterward
-it was all exhausted, and in the Ch’êng Hua period only the ordinary
-blue was used. On the other hand, the polychrome (<i>wu ts’ai</i>)
-decoration on the Hsüan ware was deep and thick, heaped and piled, and
-consequently not very beautiful; while on the polychrome wares of the
-Ch’êng Hua period the colours used were thin and subdued,<a id="FNanchor_54" href="#Footnote_54" class="fnanchor">[54]</a> and gave
-the impression of a picture.”<a id="FNanchor_55" href="#Footnote_55" class="fnanchor">[55]</a> Elsewhere we read that the Hsüan Tê
-porcelain was thick, the Ch’êng Hua thin, and that the blue of the
-Hsüan blue and white was pale, that of the Ch’êng Hua dark; but on this
-latter point there are many differences of opinion, and among the wares
-made at the Imperial factory in the Yung Chêng period we are told that
-there were “copies of Ch’êng Hua porcelain with designs pencilled in
-pale blue (<i>tan ch’ing</i>).”<a id="FNanchor_56" href="#Footnote_56" class="fnanchor">[56]</a></p>
-
-<p>The only types of Ch’êng Hua porcelain considered worthy of mention
-by Chinese writers are the polychrome, the blue and white,<span class="pagenum" id="Page_23">[23]</span> and the
-red monochrome, though doubtless the other methods of previous reigns
-were still used. Stress is laid on the excellence of the designs which
-were supplied by artists in the palace,<a id="FNanchor_57" href="#Footnote_57" class="fnanchor">[57]</a> and on the fine quality of
-the colours used, and an interesting list of patterns is given in the
-<i>T’ao shuo</i>,<a id="FNanchor_58" href="#Footnote_58" class="fnanchor">[58]</a> which includes the following:</p>
-
-<p>1. Stem-cups (<i>pa pei</i>), with high foot, flattened bowl, and
-spreading mouth; decorated in colours with a grape-vine pattern.</p>
-
-<p>“Among the highest class of Ch’êng Hua porcelain these are unsurpassed,
-and in workmanship they far excel the Hsüan Tê cups.” Such is the
-verdict of the <i>Po wu yao lan</i>, but they are only known to us by
-later imitations.</p>
-
-<p>A poor illustration of one of these is given in Hsiang’s Album,<a id="FNanchor_59" href="#Footnote_59" class="fnanchor">[59]</a> and
-we are told in the accompanying text that the glaze is <i>fên pai</i>,
-“white like rice powder,” while the decoration, a band of oblique
-vine clusters and tendrils, is merely described as <i>wu ts’ai</i>
-(polychrome), but it is obviously too slight to be executed by any
-other method than painting with enamels on the glaze. The price paid
-for this cup is stated as one hundred taels (or ounces) of silver.</p>
-
-<p>2. Chicken cups (<i>chi kang</i>), shaped like the flat-bottomed,
-steep-sided, and wide-mouthed fish bowls (<i>kang</i>), and painted in
-colours with a hen and chickens beneath a flowering plant.</p>
-
-<p>A valuable commentary on Ch’êng Hua porcelains is given by a late
-seventeenth-century writer in notes appended to various odes (e.g.
-on a “chicken cup” and on a Chün Chou vase). The writer is Kao
-Tan-jên, who also called himself Kao Chiang-ts’un, the name appended
-to a long dissertation on a Yüan dynasty silver wine cup, which now
-belongs to Sir Robert Biddulph and was figured in the <i>Burlington
-Magazine</i>.<a id="FNanchor_60" href="#Footnote_60" class="fnanchor">[60]</a> “Ch’êng Hua wine cups,” he tells us, “include a great
-variety of sorts. All are of clever workmanship and decoration, and are
-delicately coloured in dark and light shades. The porcelain is lustrous
-and clear, but strong. The chicken cups are painted with a <i>mu
-tan</i> peony, and below it a hen and chicken, which seem to live and
-move.” Another writer<a id="FNanchor_61" href="#Footnote_61" class="fnanchor">[61]</a> of the same period states that he frequented
-the fair at the <i>Tz’ŭ-iên<span class="pagenum" id="Page_24">[24]</span></i> temple in the capital, where porcelain
-bowls were exhibited, and rich men came to buy. For Wan Li porcelain
-the usual price was a few taels of silver; for Hsüan Tê and Ch’êng Hua
-marked specimens two to five times that amount; but “chicken cups”
-could not be bought for less than a hundred taels, and yet those who
-had the means did not hesitate to buy, and porcelain realised higher
-prices than jade.</p>
-
-<p>An illustration in Hsiang’s Album<a id="FNanchor_62" href="#Footnote_62" class="fnanchor">[62]</a> gives a poor idea of one of
-these porcelain gems, which is described as having the sides thin as
-a cicada’s wing, and so translucent that the fingernail could be seen
-through them. The design, a hen and chicken beside a cock’s-comb plant
-growing near a rock, is said to have been in the style of a celebrated
-Sung artist. The painting is in “applied colours (<i>fu sê</i>), thick
-and thin,” and apparently yellow, green, aubergine and brown. Like that
-of the grape-vine cup, it is evidently in enamels on the glaze.</p>
-
-<p>3. Ruby red bowls (<i>pao shao wan</i>)<a id="FNanchor_63" href="#Footnote_63" class="fnanchor">[63]</a> and cinnabar red dishes
-(<i>chu sha p’an</i>). These were, no doubt, the same as the “precious
-stone red (<i>pao shih hung</i>) and cinnabar bowls red as the sun,”
-described in the chapter on Hsüan Tê porcelain. Kao Chiang-ts’un
-remarks on these that “among the Ch’êng wares are chicken cups, ruby
-red bowls, and cinnabar dishes, very cleverly made, and fine, and more
-costly than Sung porcelain.”</p>
-
-<p>4. Wine cups with figure subjects and lotuses.</p>
-
-<p>5. “Blue and white” (<i>ch’ing hua</i>) wine cups, thin as paper.</p>
-
-<p>6. Small cups with plants and insects (<i>ts’ao ch’ung</i>).<a id="FNanchor_64" href="#Footnote_64" class="fnanchor">[64]</a></p>
-
-<p>7. Shallow cups with the five sacrificial altar vessels (<i>wu kung
-yang</i>).</p>
-
-<p>8. Small plates for chopsticks, painted in colours.</p>
-
-<p>9. Incense boxes.</p>
-
-<p>10. All manner of small jars.</p>
-
-<p>All these varieties are mentioned in the <i>Po wu yao lan</i>, which
-gives the place of honour to the grape-vine stem-cups. The only kind
-specifically described as blue and white is No. 5, and the inference is
-that the other types were usually polychrome.</p>
-
-  <div class="figcenter" id="i053" style="width: 500px">
-     <img
-    class="p2"
-    src="images/i053.jpg"
-     alt="" />
-     <p class="p0 center">Plate 63.&mdash;Baluster Vase</p>
-     <p class="p0 sm p-left">With designs in raised outline, filled in with coloured glazes on the
-biscuit; dark violet blue background. About 1500. Height 14¾ inches.</p>
-     <p class="p0 sm center"><i>Grandidier Collection</i> (<i>Louvre</i>).</p>
-  </div>
-
-  <div class="figcenter" id="i055" style="width: 422px">
-     <img
-    class="p2"
-    src="images/i055.jpg"
-     alt="" />
-     <p class="p0 center">Plate 64.&mdash;Fifteenth-century Polychrome Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with grey crackle and peony scrolls in blue and enamels.
-Ch’èng Hua mark. Height 16¼ inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Vase with turquoise ground and bands of floral pattern and
-winged dragons incised in outline and coloured green, yellow and
-aubergine. Height 22 inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Box with bands of <i>ju-i</i> clouds and pierced floral
-scrolls; turquoise and yellow glazes in dark blue ground. Diameter 10
-inches. <i>Grandidier Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i057a">
-    <img
-    class="p2"
-    src="images/i057a.jpg"
-    alt="" />
-  </div>
-
-  <div class="figcenter" id="i057b">
-    <img
-    class="p2"
-    src="images/i057b.jpg"
-    alt="" />
-  </div>
-
-  <div class="figcenter" id="i057c" style="width: 450px">
-     <img
-    class="p2"
-    src="images/i057c.jpg"
-     alt="" />
-     <p class="p0 center">Plate 65.&mdash;Ming <i>san ts’ai</i> Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with winged dragons, <i>san ts’ai</i> glazes on the
-biscuit, dark blue ground. Dedicatory inscription on the neck,
-including the words “Ming dynasty.” Cloisonné handles. Height 22¼
-inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Figure of Kuan-yin, turquoise, green and aubergine glazes,
-dark blue rockwork. Fifteenth century. Height 28 inches. <i>Grandidier
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Vase with lotus scrolls, transparent glazes in three colours.
-Late Ming. Height 20 inches. <i>Grandidier Collection.</i></p>
-  </div>
-
-<p><span class="pagenum" id="Page_25">[25]</span></p>
-
-<p>The following designs are enumerated and explained by Kao Chiang-ts’un
-in the valuable commentary which has already been mentioned:&mdash;</p>
-
-<p>11. Wine cups with the design known as “the high-flaming candle
-lighting up red beauty,” explained as a beautiful damsel holding a
-candle to light up <i>hai-t’ang</i> (cherry apple) blossoms.</p>
-
-<p>12. Brocade heap pattern<a id="FNanchor_65" href="#Footnote_65" class="fnanchor">[65]</a>; explained as “sprays of flowers and fruit
-massed (<i>tui</i>) on all sides.”<a id="FNanchor_66" href="#Footnote_66" class="fnanchor">[66]</a></p>
-
-<p>13. Cups with swings, with dragon boats, with famous scholars and with
-children.</p>
-
-<p>The swings, we are told, represent men and women<a id="FNanchor_67" href="#Footnote_67" class="fnanchor">[67]</a> playing with
-swings (<i>ch’iu ch’ien</i>): the dragon boats represent the dragon
-boat races<a id="FNanchor_68" href="#Footnote_68" class="fnanchor">[68]</a>; the famous scholar (<i>kao shih</i>) cups have on one
-side Chou Mao-shu, lover of the lotus, and on the other T’ao Yüan-ming
-sitting before a chrysanthemum plant; the children (<i>wa wa</i>)
-consist of five small children playing together.<a id="FNanchor_69" href="#Footnote_69" class="fnanchor">[69]</a></p>
-
-<p>14. Cups with grape-vines on a trellis, fragrant plants, fish and
-weeds, gourds, aubergine fruit, the Eight Buddhist Emblems (<i>pa chi
-hsiang</i>), <i>yu po lo</i> flowers, and Indian lotus (<i>hsi fan
-lien</i>) designs.</p>
-
-<p>None of these need explanation except the Buddhist Emblems, which
-are described on p. <a href="#Page_298">298</a>, and the <i>yu po lo</i>, which is generally
-explained as a transcription of the Sanskrit <i>utpala</i>, “the dark
-blue lotus.”</p>
-
-<p>Though the reader will probably not have the opportunity of identifying
-these designs on Ch’êng Hua porcelain, they will help him in the
-description of later wares on which these same motives not infrequently
-occur. The nine illustrations<a id="FNanchor_70" href="#Footnote_70" class="fnanchor">[70]</a> of Ch’êng Hua porcelain in Hsiang’s
-Album, for the most part feebly drawn and badly coloured, form an
-absurd commentary on the glowing descriptions<span class="pagenum" id="Page_26">[26]</span> in the text. Their chief
-interest lies in their bearing on the question of polychrome painting.
-In some cases the designs have all the appearance of on-glaze enamels;
-in others they suggest transparent glazes or enamels on the biscuit.
-The colours used are green, yellow and aubergine brown, the <i>san
-ts’ai</i> or “three colours,” notwithstanding which the decoration is
-classed under the general term <i>wu ts’ai</i> (lit. five colours), or
-polychrome. The phrases used to describe the colouring include <i>wu
-ts’ai</i>, <i>fu sê</i>, <i>t’ien yu</i>, of which <i>fu sê</i><a id="FNanchor_71" href="#Footnote_71" class="fnanchor">[71]</a>
-means “applied colours,” which might equally suggest on-glaze enamels
-or on-biscuit colours, and <i>t’ien yu</i><a id="FNanchor_72" href="#Footnote_72" class="fnanchor">[72]</a> decidedly suggests
-on-biscuit colouring. On the other hand, in one case<a id="FNanchor_73" href="#Footnote_73" class="fnanchor">[73]</a> we are
-expressly told that the “colour of the glaze is lustrous white and the
-painting <i>upon it</i><a id="FNanchor_74" href="#Footnote_74" class="fnanchor">[74]</a> consists of geese, etc.,” an unequivocal
-description of on-glaze painting.</p>
-
-<p>Though the Ch’êng Hua mark is one of the commonest on Chinese
-porcelain, genuine examples of Ch’êng Hua porcelain are virtually
-unknown in Western collections. The Imperial wares of the period were
-rare and highly valued in China in the sixteenth century, and we can
-hardly hope to obtain them in Europe to-day; but there must be many
-survivors from the wares produced by the private kilns at the time,
-and possibly some few examples are awaiting identification in our
-collections. Unfortunately, the promiscuous use of the mark on later
-wares, the confused accounts of the blue in the “blue and white,”
-and the conflicting theories on the polychrome decoration, have all
-helped to render identifications difficult to make and easy to dispute.
-The covered cake box in the Bushell collection, figured by Cosmo
-Monkhouse<a id="FNanchor_75" href="#Footnote_75" class="fnanchor">[75]</a> as a Ch’êng Hua specimen, is closely paralleled in make
-and style of decoration by a beaker-shaped brush pot in the Franks
-Collection.<a id="FNanchor_76" href="#Footnote_76" class="fnanchor">[76]</a> Both are delicately pencilled in pale blue; both have a
-peculiar brown staining in parts of the glaze and a slight warp in the
-foot rim. In the British Museum piece, however, the foot rim is grooved
-at the sides<span class="pagenum" id="Page_27">[27]</span> to fit a wooden stand, a feature which was not usual
-before the K’ang Hsi period, and something in the style of the drawing
-is rather suggestive of Japanese work. There is, however, another
-specimen in the Franks Collection<a id="FNanchor_77" href="#Footnote_77" class="fnanchor">[77]</a> which is certainly Chinese of the
-Ming dynasty, and possibly of the Ch’êng Hua period, of which it bears
-the mark. It is a vase of baluster form, thick and strongly built, with
-great weight of clay at the foot, and unfortunately, like so many of
-the early polychrome vases which have come from China in recent years,
-it is cut down at the neck. It has a greyish crackled glaze, painted
-with a floral scroll design, outlined in brown black pigment and washed
-in with leaf green, yellow, manganese purple and bluish green enamels,
-which are supplemented by a little underglaze blue, and the mark is in
-four characters in blue in a sunk panel under the base.</p>
-
-<p>Though too clumsy to belong to any of the groups of Imperial wares
-described in the <i>Po wu yao lan</i>, this vase is certainly an old
-piece, and possibly the production of one of the private factories of
-the Ch’êng Hua period. In the Eumorfopoulos and Benson Collections<a id="FNanchor_78" href="#Footnote_78" class="fnanchor">[78]</a>
-there are a few examples of these massive-footed vases, most of them
-unfortunately incomplete above, decorated in polychrome glazes with
-engraved or relief-edged designs, but not, as a rule, in on-glaze
-enamels. These are clearly among our earliest examples of polychrome
-porcelain, and we should expect to find here, if anywhere, specimens of
-the coloured porcelain of the fifteenth century. See Plate <a href="#i055">64</a>.</p>
-
-<p>Though the fifteenth century was distinguished by two brilliant
-periods, there are considerable gaps in the ceramic annals of the time.
-The reign of the Emperor Chêng T’ung,<a id="FNanchor_79" href="#Footnote_79" class="fnanchor">[79]</a> who succeeded to the throne
-in 1436, was troubled by wars, and in his first year the directorate of
-the Imperial factory was abolished; and, as soldiers had to be levied,
-relief was given by stopping the manufacture of porcelain for the
-palace. In 1449 this emperor was actually taken captive by the Mongols,
-and his brother, who took his place from 1450 to 1456 under the title
-of Ching T’ai,<a id="FNanchor_80" href="#Footnote_80" class="fnanchor">[80]</a> reduced the customary supplies of palace wares in
-1454 by one third. The reign of Ching T’ai is celebrated for cloisonné
-enamel on metal.</p>
-
-<p><span class="pagenum" id="Page_28">[28]</span></p>
-
-<p>In 1457, when Chêng T’ung was released and returned to the throne under
-the title of T’ien Shun<a id="FNanchor_81" href="#Footnote_81" class="fnanchor">[81]</a> (1457–1464), the Imperial factory was
-re-established, and the care of it again entrusted to a palace eunuch.
-There are no records, however, of the wares made in these periods,
-though we may assume that the private factories continued in operation
-even when work at the Imperial pottery was suspended. The directorship
-was again abolished in 1486, and porcelain is not mentioned in
-the official records until the end of the reign of Hung Chih<a id="FNanchor_82" href="#Footnote_82" class="fnanchor">[82]</a>
-(1488–1505).</p>
-
-<p>In Hsiang’s Album<a id="FNanchor_83" href="#Footnote_83" class="fnanchor">[83]</a> we are told that the pale yellow of the Hung
-Chih period was highly prized, and that the polychrome wares vied
-with those of the reign of Ch’êng Hua. Four examples are given: an
-incense burner, a cup moulded in sunflower design, and a spirit jar
-(all yellow), besides a gourd-shaped wine pot with yellow ground and
-accessories in green and brown, apparently coloured glazes or enamels
-applied to the biscuit. The yellow glazes are described as pale yellow
-(<i>chiao</i><a id="FNanchor_84" href="#Footnote_84" class="fnanchor">[84]</a> <i>huang</i>), and likened to the colour of steamed
-chestnuts (<i>chêng li</i><a id="FNanchor_85" href="#Footnote_85" class="fnanchor">[85]</a>) or the sunflower (<i>k’uei hua</i><a id="FNanchor_86" href="#Footnote_86" class="fnanchor">[86]</a>).</p>
-
-<p>The yellow colour is of old standing in Chinese ceramics. We have found
-it on T’ang pottery, in the <i>mi sê</i> of the Sung period, in the
-blackish yellow of the Yüan ware made at Hu-t’ien, and in the early
-Ming porcelains. Peroxide of iron or antimony are the usual metallic
-bases of the colour, and it was used either in high-fired glazes or
-in enamels of the muffle stove. The yellow for which the Hung Chih
-period was noted was a yellow glaze, applied direct to the biscuit, or
-added as an overglaze to the ordinary white porcelain. When applied to
-the biscuit it assumes a fuller and browner tint than when backed by
-a white glaze. These yellow glazes often have a slightly mottled or
-stippled look, the colour appearing as minute particles of yellow held
-in suspension in the glaze.</p>
-
-<p>Marked examples, purporting to be Hung Chih yellow, are occasionally
-seen, but the most convincing specimen is a saucer dish in the Victoria
-and Albert Museum, of good quality porcelain, with a soft rich yellow
-glaze and the Hung Chih mark under the base in blue. Part of its
-existence was spent in Persia, where it was<span class="pagenum" id="Page_29">[29]</span> inscribed in Arabic with
-the date 1021 <span class="allsmcap">A.H.</span>, which corresponds to 1611 <span class="allsmcap">A.D.</span></p>
-
-<p>A beautiful seated figure of the goddess Kuan-yin in the Pierpont
-Morgan Collection, not unlike Plate <a href="#i057a">65</a>, Fig. 2, but smaller, is
-decorated with yellow, green and aubergine glazes on the biscuit, and
-bears a date in the Hung Chih period which corresponds to 1502.</p>
-
-<p>A dish of fine white porcelain with the Hung Chih mark is in the
-British Museum, and examples of the blue and white of the period may
-be seen in the celebrated Trenchard bowls. These last are the earliest
-known arrivals in the way of Chinese porcelain in this country, and
-they were given by Philip of Austria, King of Castile, to Sir Thomas
-Trenchard in 1506. One of them is illustrated in Gulland’s <i>Chinese
-Porcelain</i>,<a id="FNanchor_87" href="#Footnote_87" class="fnanchor">[87]</a> with a description written by Mr. Winthrop after a
-personal inspection. The decoration consists of floral scrolls outside
-and a fish medallion surrounded by four fishes inside. The account of
-the colour, however, is not very flattering: “One of the bowls bore
-this decoration very distinctly traced in blackish cobalt, while the
-other bowl had a very washed-out and faded appearance.” The ware itself
-is described as “rather greyish.” Probably these bowls were made for
-the export trade, and need not necessarily be regarded as typical of
-the Hung Chih blue and white.</p>
-
-
-<h3><i>Chêng Tê</i> <img src="images/k_029.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1506–1521)</h3>
-
-<p>The reign of Chêng Tê, though not mentioned in the <i>Po wu yao lan</i>
-and but briefly noticed in the <i>T’ao shuo</i>, must have been an
-important period in the history of Chinese porcelain. The <i>yü ch’i
-ch’ang</i> (Imperial ware factory) was rebuilt<a id="FNanchor_88" href="#Footnote_88" class="fnanchor">[88]</a> and the direct
-supervision of a palace eunuch renewed. The porcelain, we are told in
-the <i>T’ao lu</i>, was chiefly blue painted and polychrome, the finest
-being in the underglaze red known as <i>chi hung</i>. An important
-factor in the blue decoration was the arrival of fresh supplies of the
-Mohammedan blue.<a id="FNanchor_89" href="#Footnote_89" class="fnanchor">[89]</a> The story is that the governor of Yunnan obtained
-a supply of this <i>hui ch’ing</i> from a foreign country, and that it
-was used at first melted down with stone for making imitation jewels.
-It was worth twice its weight in gold. When, however, it was found
-that it would endure the heat of the kiln, orders were<span class="pagenum" id="Page_30">[30]</span> given for its
-use in porcelain decoration, and its colour was found to be “antique
-and splendid.” Hence the great esteem in which the blue and white of
-the period was held.<a id="FNanchor_90" href="#Footnote_90" class="fnanchor">[90]</a> The merit of this new Mohammedan blue was its
-deep colour, and the choicest kind was known as “Buddha’s head blue”
-(<i>Fo t’ou ch’ing</i>). Its use at this period was not confined to the
-Imperial factory, for we read that the workmen stole it and sold it to
-the private manufacturers. In the following reign a method of weighing
-the material was instituted, which put an end to this pilfering.</p>
-
-<p>Some account has already been given<a id="FNanchor_91" href="#Footnote_91" class="fnanchor">[91]</a> of this material and its use in
-combination with the commoner native mineral blue. It was, no doubt,
-the blue used on Persian, Syrian and Egyptian pottery of the period
-exported by the Arab traders. One of the oldest routes<a id="FNanchor_92" href="#Footnote_92" class="fnanchor">[92]</a> followed by
-Western traders with China was by river (probably the Irrawady) from
-the coast of Pegu, reaching Yung-ch’ang, in Yunnan, and so into China
-proper. This will explain the opportunities enjoyed by the viceroy of
-Yunnan. There were, of course, other lines of communication between
-China and Western Asia by sea and land, and a considerable interchange
-of ideas had passed between China and Persia for several centuries, so
-that reflex influences are traceable in the pottery of both countries.
-Painting in still black under a turquoise blue glaze is one of the
-oldest Persian methods of ceramic decoration, and we have seen that it
-was closely paralleled on the Tz’ŭ Chou wares (vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>).</p>
-
-<p>It is related that a thousand Chinese artificers were transplanted
-to Persia by Hulagu Khan (1253–1264), and it is probable that they
-included potters. At any rate, the Chinese dragon and phœnix appear
-on the Persian lustred tiles of the fourteenth century. At a later
-date Shah Abbas (1585–1627) settled some Chinese potters in Ispahan.
-Meanwhile, quantities of Chinese porcelain had been traded in the
-Near East, where it was closely copied by the Persian, Syrian and
-Egyptian potters in the sixteenth century. The Persian pottery and
-soft porcelain of this time so closely imitates the Chinese blue and
-white that in some cases a very minute inspection is required to
-detect the difference, and nothing is commoner than to find Persian
-ware<span class="pagenum" id="Page_31">[31]</span> of this type straying into collections of Chinese porcelain.<a id="FNanchor_93" href="#Footnote_93" class="fnanchor">[93]</a>
-Conversely, the Persian taste is strongly reflected in some of the
-Chinese decorations, not only where it is directly studied on the
-wares destined for export to Persia, but in the floral scrolls on the
-Imperial wares of the Ming period. The expressions <i>hui hui hua</i>
-(Mohammedan ornament or flowers) and <i>hui hui wên</i> (Mohammedan
-designs) occur in the descriptions of the porcelain forwarded to
-the palace, and there can be little doubt that they refer to floral
-arabesque designs in a broad sense, though it would, of course, be
-possible to narrow the meaning to the medallions of Arabic writing not
-infrequently seen on Chinese porcelain, which was apparently made for
-the use of some of the numerous Mohammedans in China.</p>
-
-<p>An interesting series of this last-mentioned type is exhibited in the
-British Museum along with a number of bronzes similarly ornamented.
-Many of these are of early date, and five of the porcelains bear the
-Chêng Tê mark and unquestionably belong to that period. These comprise
-a pair of vases with spherical tops which are hollow and pierced
-with five holes, in form resembling the peculiar Chinese hat stands;
-the lower part of a cut-down vase, square in form; an ink slab with
-cover, and a brush rest in the form of a conventional range of hills.
-The body in each case is a beautiful white material, though thickly
-constructed, and the glaze, which is thick and of a faint greenish
-tinge, has in three of these five pieces been affected by some accident
-of the firing, which has left its surface dull and shrivelled in places
-like wrinkled skin.<a id="FNanchor_94" href="#Footnote_94" class="fnanchor">[94]</a> The designs are similar throughout&mdash;medallions
-with Arabic writing surrounded by formal lotus scrolls or cloud-scroll
-designs, strongly outlined and filled in with thin uneven washes of a
-beautiful soft Mohammedan blue. The glaze being thick and bubbly gives
-the brush strokes a hazy outline, and the blue shows that tendency
-to run in the firing which we are told was a peculiarity of the
-Mohammedan<span class="pagenum" id="Page_32">[32]</span> blue if not sufficiently diluted with the native mineral
-cobalt. The inscriptions are mainly pious Moslem texts, but on the
-cover of the ink slab is the appropriate legend, “Strive for excellence
-in penmanship, for it is one of the keys of livelihood,” and on the
-brush rest is the Persian word <i>Khāma-dān</i> (pen rest). In the same
-case are three cylindrical vases, apparently brush pots, decorated in
-the same style but unmarked. One has dark Mohammedan blue and probably
-belongs to the next reign. The other two, I venture to think, are
-earlier. They are both of the same type of ware, a fine white material,
-which takes a brownish red tinge in the exposed parts, and the glaze,
-which is thick and of a soft greenish tint, has a tendency to scale off
-at the edges. The bases are unglazed and show the marks of a circular
-support. The larger piece is remarkably thick in the wall, and has a
-light but vivid blue of the Mohammedan sort; the smaller piece is not
-quite so stoutly proportioned, but the blue is peculiarly soft, deep,
-and beautiful, though it has run badly into the glaze, and where it has
-run it has changed to a dark indigo.<a id="FNanchor_95" href="#Footnote_95" class="fnanchor">[95]</a> One would say that this is
-the Mohammedan blue, almost pure; and if, as I have suggested, these
-two specimens are earlier types, they can only belong to the Hsüan Tê
-period.</p>
-
-<p>Another blue and white example with Chêng Tê mark in the British Museum
-is of thinner make and finer grain; but, as it is a saucer-dish, this
-refinement was only to be expected. It is painted in a fine bold style,
-worthy of the best Ming traditions, with dragons in lotus scrolls, but
-the blue is duller and greyer in tone than on the pieces just described.</p>
-
-<p>Two specimens of Chêng Tê ware are figured in Hsiang’s Album,<a id="FNanchor_96" href="#Footnote_96" class="fnanchor">[96]</a> one
-a tripod libation cup of bronze form and the other a lamp supported
-by a tortoise, and the glaze of both is “deep yellow, like steamed
-chestnuts.”</p>
-
-  <div class="figcenter" id="i067" style="width: 440px">
-     <img
-    class="p2"
-    src="images/i067.jpg"
-     alt="" />
-     <p class="p0 center">Plate 66.&mdash;Porcelain with Chêng Tê mark.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Slop Bowl with full-face dragons holding <i>shou</i>
-characters, in underglaze blue in a yellow enamel ground. Height 3½
-inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Vase with engraved cloud designs in transparent coloured
-glazes on the biscuit, green ground. Height 8⅛ inches. <i>Charteris
-Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i069" style="width: 523px">
-     <img
-    class="p2"
-    src="images/i069.jpg"
-     alt="" />
-     <p class="p0 center">Plate 67.&mdash;Blue and White Porcelain. Sixteenth Century.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bowl with Hsüan Tê mark. Diameter 4 inches. <i>Dresden
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Covered Bowl with fish design. <i>Dresden Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bottle, peasant on an ox. Height 8½ inches. <i>Eumorfopoulos
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Bottle with lotus scrolls in mottled blue. Height 9 inches.
-<i>Alexander Collection.</i></p>
-  </div>
-
-<p>The Chêng Tê mark is far from common, but it occurs persistently on
-certain types of polychrome porcelain. One is a saucer-dish with carved
-dragon designs under a white glaze, the depressions of the carving
-and a few surrounding details being washed over with light green
-enamel. The design consists of a circular medallion <span class="pagenum" id="Page_33">[33]</span>in the centre
-enclosing a dragon among clouds, and two dragons on the outside, the
-space between them faintly etched with sea waves. The ware is usually
-thin and refined. These dishes are not uncommon, and it is difficult
-to imagine that they can all belong to such an early period. On the
-other hand, one also meets with copies of the same design with the
-Ch’ien Lung mark (1736–1795), which display unmistakable difference in
-quality. Another type has the same green dragon design with engraved
-outlines set in a yellow ground, and in most cases its antiquity is
-open to the same doubts. It is certain, however, that these pieces
-represent a style which was in vogue in the Chêng Tê period. A small
-vase of this kind was the only piece with the Chêng Tê mark in the
-exhibition at the Burlington Fine Arts Club in 1910,<a id="FNanchor_97" href="#Footnote_97" class="fnanchor">[97]</a> and it had
-the appearance of a Ming specimen. A good example of this Chêng Tê
-polychrome belonging to the Hon. Evan Charteris is illustrated in
-Fig. 2 of Plate <a href="#i067">66</a>. It has the designs etched in outline,
-filled in with transparent green, yellow and aubergine glazes, the
-three colours or <i>san ts’ai</i> of the Chinese; and the Chêng
-Tê mark is seen on the neck.<a id="FNanchor_98" href="#Footnote_98" class="fnanchor">[98]</a> And a square bowl in the British
-Museum, similar in body and glaze to the blue and white specimens
-with Arabic inscriptions, is painted in fine blue on the exterior
-with dragons holding <i>Shou</i> (longevity) characters in their
-claws, the background filled in with a rich transparent yellow enamel.
-This piece (Plate <a href="#i067">66</a>, Fig. 1) has the mark of Chêng Tê in
-four characters painted in Mohammedan blue, and is clearly a genuine
-specimen.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_34">[34]</span></p>
-
-<h2 class="smaller">CHAPTER IV<br />
-<span class="subhed">CHIA CHING <img src="images/k_034a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1522–1566) AND LUNG CH’ING <img src="images/k_034b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em 0em 0em;" />
- (1567–1572)</span></h2></div>
-
-<p class="drop-cap p-left">The Imperial potteries at Ching-tê Chên were busy in the long reign
-of Chia Ching, grandson of Ch’êng Hua, under the supervision of one
-of the prefects of the circuit who took charge in place of the palace
-eunuch of previous reigns. Chinese accounts of the porcelain of this
-important period, summarised in the <i>T’ao shuo</i>, include passages
-from the late Ming and therefore almost contemporary works, the <i>Shih
-wu kan chu</i> and the <i>Po wu yao lan</i>. In the former we are
-told that the Mohammedan blue was largely used, but that the material
-for the “fresh red” (<i>hsien hung</i>)<a id="FNanchor_99" href="#Footnote_99" class="fnanchor">[99]</a> was exhausted, and that
-the method of producing the red colour was no longer the same as of
-old, the potters being capable only of making the overglaze iron red
-called <i>fan hung</i>. The <i>Po wu yao lan</i> gives a more intimate
-description of the ware, and the passage<a id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a>&mdash;the last in that work on
-the subject of porcelain&mdash;may be rendered as follows:&mdash;</p>
-
-<p>“Chia Ching porcelain includes blue-decorated and polychrome wares of
-every description; but unfortunately the clay brought to the place from
-the neighbouring sources in Jao Chou gradually deteriorated, and when
-we compare these two classes of porcelain with the similar productions
-of the earlier periods of the dynasty the (Chia Ching) wares do not
-equal the latter. There are small white bowls (<i>ou</i>) inscribed
-inside with the character <i>ch’a</i> <img src="images/k_034c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (tea), the character
-<i>chiu</i> <img src="images/k_034d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (wine), or the characters <i>tsao t’ang</i>
-<img src="images/k_034e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (decoction of dates), or <i>chiang t’ang</i><a id="FNanchor_101" href="#Footnote_101" class="fnanchor">[101]</a>
-<img src="images/k_034f.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (decoction of ginger);<span class="pagenum" id="Page_35">[35]</span> these are the sacrificial altar vessels
-regularly used by the Emperor Shih Tsung (i.e. Chia Ching), and they
-are called white altar cups, though in form and material they are
-far from equalling the Hsüan Tê vessels. The Chia Ching shallow wine
-cups with rimmed mouth,<a id="FNanchor_102" href="#Footnote_102" class="fnanchor">[102]</a> convex centre,<a id="FNanchor_103" href="#Footnote_103" class="fnanchor">[103]</a> and foot with base
-rim,<a id="FNanchor_104" href="#Footnote_104" class="fnanchor">[104]</a> decorated outside in three colours with fish design, and the
-small vermilion boxes, no bigger than a “cash,” are the gems of the
-period. As for the small boxes beautifully painted with blue ornament,
-I fear that the Imperial factories of after times will not be able to
-produce the like. Those who have them prize them as gems.”</p>
-
-<p>A few supplementary comments in the <i>T’ao shuo</i> further inform
-us that the Mohammedan blue of the Chia Ching period was preferred
-very dark (in contrast with the pale blue of the Hsüan Tê porcelain),
-that it was very lovely, and that supplies of this blue arrived
-providentially at the time when the “fresh red” failed<a id="FNanchor_105" href="#Footnote_105" class="fnanchor">[105]</a>; and also
-that the supplies of earth from Ma-ts’ang were daily diminishing till
-they were nearly exhausted, and consequently the material of the ware
-was far from equalling that of the Hsüan Tê period. The <i>T’ao lu</i>
-adds practically nothing to the above statements.</p>
-
-<p>Fortunately, there are still to be found a fair number of authentic
-specimens of Chia Ching porcelain, but before considering these in
-the light of the Chinese descriptions, it will be helpful as well
-as extremely interesting to glance at the lists of actual porcelain
-vessels supplied to the palace at this time. From the eighth year of
-this reign, the annual accounts of the palace porcelains have been
-preserved in the Annals of Fou-liang, from which they were copied in
-the provincial topographies. Two of these lists (for the years 1546
-and 1554) are quoted by Bushell,<a id="FNanchor_106" href="#Footnote_106" class="fnanchor">[106]</a> and a general summary of them is
-given in the <i>T’ao shuo</i>.<a id="FNanchor_107" href="#Footnote_107" class="fnanchor">[107]</a> To quote them in full here would
-take too much space, but the following notes may be useful to the
-reader,<span class="pagenum" id="Page_36">[36]</span> who, with his knowledge of the later porcelains, should have
-no difficulty in reconstructing for himself the general appearance of
-the court wares of the time.</p>
-
-<p>The actual objects<a id="FNanchor_108" href="#Footnote_108" class="fnanchor">[108]</a> supplied consisted chiefly of fish bowls
-(<i>kang</i>), covered and uncovered jars (<i>kuan</i>), of which
-some were octagonal, bowls (<i>wan</i>), dinner bowls (<i>shan
-wan</i>) of larger size, saucer dishes (<i>tieh</i>) and round dishes
-(<i>p’an</i>), tea cups (<i>ch’a chung</i>), tea cups (<i>ou</i>),
-wine cups (<i>chiu chan</i>), and libation cups (<i>chüeh</i>)
-with hill-shaped saucers (<i>shan p’an</i>) to support their three
-feet, various vases (<i>p’ing</i>), slender ovoid jars for wine
-(<i>t’an</i>), ewers or wine pots (<i>hu p’ing</i>), and wine
-seas (<i>chiu hai</i>) or large bowls. A large number of complete
-dinner-table sets (<i>cho ch’i</i>) occur in one of the lists, and
-we learn from the <i>T’ao shuo</i> that uniform sets with the same
-pattern and colours throughout were an innovation of the Ming dynasty.
-A set<a id="FNanchor_109" href="#Footnote_109" class="fnanchor">[109]</a> comprised 27 pieces, including 5 fruit dishes (<i>kuo
-tieh</i>), 5 food dishes (<i>ts’ai tieh</i>), 5 bowls (<i>wan</i>), 5
-vegetable dishes (<i>yün tieh</i>), 3 tea cups (<i>ch’a chung</i>), 1
-wine cup (<i>chiu chan</i>), 1 wine saucer (<i>chiu tieh</i>), 1 slop
-receptacle (<i>cha tou</i>), and 1 vinegar cruse (<i>ts’u chiu</i>).
-The slop receptacle appears to have been a square bowl used for the
-remnants of food (see Plate <a href="#i067">66</a>, Fig. 1).</p>
-
-<p>The sacrificial vessels of the period included tazza-shaped bowls and
-dishes (<i>pien tou p’an</i>), large wine jars (<i>t’ai tsun</i>), with
-swelling body and monster masks for handles, “rhinoceros” jars (<i>hsi
-tsun</i>) in the form of a rhinoceros carrying a vase on its back,
-besides various dishes, plates, cups, and bowls of undefined form.</p>
-
-<p>The decorations are grouped in six headings:&mdash;</p>
-
-<p>(1) Blue and white (<i>ch’ing hua pai ti</i>, blue ornament on a white
-ground), which is by far the largest.</p>
-
-<p>(2) Blue ware, which included blue bowls (<i>ch’ing wan</i>), sky-blue
-bowls (<i>t’ien ch’ing wan</i>), and turquoise bowls (<i>ts’ui ch’ing
-wan</i>). In some cases the ware is described as plain blue monochrome,
-and in one item it is “best blue monochrome” (<i>t’ou ch’ing su</i>),
-while in others there are designs engraved under the glaze (<i>an
-hua</i>). In others, again, ornament such as dragons and sea waves is
-mentioned without specifying how it was executed. Such ornament<span class="pagenum" id="Page_37">[37]</span> may
-have been etched with a point in the blue surface,<a id="FNanchor_110" href="#Footnote_110" class="fnanchor">[110]</a> or pencilled
-in darker blue on a blue background or reserved in white in a blue
-ground. Another kind is more fully described as “round dishes of
-pure blue (<i>shun ch’ing</i>) with dragons and sea waves inside,
-and on the exterior a background of dense cloud scrolls<a id="FNanchor_111" href="#Footnote_111" class="fnanchor">[111]</a> with a
-gilt<a id="FNanchor_112" href="#Footnote_112" class="fnanchor">[112]</a> decoration of three lions and dragons.” Bushell<a id="FNanchor_113" href="#Footnote_113" class="fnanchor">[113]</a> speaks
-of the “beautiful mottled blue ground for which this reign is also
-remarkable,” and which, he says, was produced by the usual blend of
-Mohammedan and native blue suspended in water.</p>
-
-<p>(3) Wares which were white inside and blue outside.</p>
-
-<p>(4) White ware, plain<a id="FNanchor_114" href="#Footnote_114" class="fnanchor">[114]</a> or with engraved designs under the glaze
-(<i>an hua</i>, lit. secret ornament).</p>
-
-<p>(5) Ware with brown glaze in two varieties, <i>tzŭ chin</i> (golden
-brown), and <i>chin huang</i> (golden yellow), with dragon designs
-engraved under the glaze. These are the well-known lustrous brown
-glazes, the former of dark coffee brown shade, and the latter a light
-golden brown.</p>
-
-<p>(6) Ware with mixed colours (<i>tsa sê</i>), which included bowls and
-dishes decorated in iron red<a id="FNanchor_115" href="#Footnote_115" class="fnanchor">[115]</a> (<i>fan hung</i>) instead of the
-“fresh red” (<i>hsien hung</i>); others with emerald green colour
-(<i>ts’ui lü sê</i>); bowls with phœnixes and flowers of Paradise in
-yellow in a blue ground; cups with blue cloud and dragon designs in a
-yellow ground; boxes with dragon and phœnix designs engraved under a
-yellow glaze; dishes with design of a pair of dragons and clouds in
-yellow within a golden brown (<i>tzŭ chin</i>) ground; and globular
-bowls with embossed<a id="FNanchor_116" href="#Footnote_116" class="fnanchor">[116]</a> ornament in a single-coloured ground.</p>
-
-<p>To these types Bushell adds from other similar lists crackled ware
-(<i>sui ch’i</i>), tea cups of “greenish white porcelain” (<i>ch’ing
-pai tz’ŭ</i>), which seems to be a pale celadon, and large fish bowls
-with pea green (<i>tou ch’ing</i>) glaze.</p>
-
-<p>The source of the designs of the porcelain is clearly indicated<span class="pagenum" id="Page_38">[38]</span> in the
-following passage in the <i>T’ao shuo</i><a id="FNanchor_117" href="#Footnote_117" class="fnanchor">[117]</a>: “Porcelain enamelled
-in colours was painted in imitation of the fashion of brocaded silks,
-and we have consequently the names of blue ground, yellow ground, and
-brown gold (<i>tzŭ chin</i>) ground. The designs used to decorate it
-were also similar, and included dragons in motion (<i>tsou lung</i>),
-clouds and phœnixes, <i>ch’i-lin</i>, lions, mandarin ducks, myriads of
-gold pieces, dragon medallions (<i>p’an lung</i>, lit. coiled dragons),
-pairs of phœnixes, peacocks, sacred storks, the fungus of longevity,
-the large lion in his lair, wild geese in clouds with their double
-nests, large crested waves, phœnixes in the clouds, the son-producing
-lily, the hundred flowers, phœnixes flying through flowers, the band
-of Eight Taoist Immortals, dragons pursuing pearls, lions playing with
-embroidered balls, water weeds, and sporting fishes. These are the
-names of ancient brocades, all of which the potters have reproduced
-more or less accurately in the designs and colouring of their
-porcelain.”</p>
-
-<p>The following analysis of the designs named in the Chia Ching lists
-will show that the blue and white painters of the period took their
-inspiration from the same source:&mdash;</p>
-
-
-<p class="p2"><b>Floral Motives.</b></p>
-
-<p>Celestial flowers (<i>t’ien hua</i>), supporting the characters <i>shou
-shan fu hai</i> <img src="images/k_038a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-, “longevity of the hills and happiness
-(inexhaustible as) the sea.”</p>
-
-<p>Flowers of the four seasons (the tree peony for spring, lotus for
-summer, chrysanthemum for autumn, and prunus for winter).</p>
-
-<p>Flowering and other plants (<i>hua ts’ao</i>).</p>
-
-<p>The myriad-flowering wistaria (<i>wan hua t’êng</i>).</p>
-
-<p>The water chestnut (<i>ling</i>).</p>
-
-<p>The pine, bamboo, and plum.</p>
-
-<p>Floral medallions (<i>t’uan hua</i>).</p>
-
-<p>Indian lotus (<i>hsi fan lien</i>).</p>
-
-<p>Knots of lotus (<i>chieh tzŭ lien</i><a id="FNanchor_118" href="#Footnote_118" class="fnanchor">[118]</a>).</p>
-
-<p>Interlacing sprays of lotus supporting the Eight Precious Symbols or
-the Eight Buddhist Emblems.<a id="FNanchor_119" href="#Footnote_119" class="fnanchor">[119]</a></p>
-
-<p>Branches of <i>ling chih</i><a id="FNanchor_120" href="#Footnote_120" class="fnanchor">[120]</a> fungus supporting the Eight Precious
-Symbols.</p>
-
-<p><span class="pagenum" id="Page_39">[39]</span></p>
-
-<p><i>Ling chih</i> fungus and season flowers.</p>
-
-<p>Lotus flowers, fishes, and water weeds.</p>
-
-<p>Floral arabesques (<i>hui hui hua</i>).</p>
-
-<p>Flowers of Paradise (<i>pao hsiang hua</i>) <img src="images/k_039a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-.</p>
-
-<p>The celestial flowers and the flowers of Paradise are no doubt similar
-designs of idealised flowers in scrolls or groups.<a id="FNanchor_121" href="#Footnote_121" class="fnanchor">[121]</a> The <i>pao
-hsiang hua</i>, which is given in Giles’s Dictionary as “the rose,” is
-rendered by Bushell “flowers of Paradise” or “fairy flowers.” Judging
-by the designs with this name in Chinese works, and also from the fact
-that the rose is a very rare motive on Chinese wares before the Ch’ing
-dynasty, whereas the <i>pao hsiang hua</i> is one of the commonest in
-the Ming lists, Bushell’s rendering is probably correct in the present
-context.</p>
-
-
-<p class="p2"><b>Animal Motives</b>, mythical or otherwise.</p>
-
-<p>Dragons, represented as pursuing jewels (<i>kan chu</i>); grasping
-jewels (<i>k’ung chu</i>); in clouds; emerging from water; in bamboo
-foliage and fungus plants; among water chestnut flowers; among scrolls
-of Indian lotus; emerging from sea waves and holding up the Eight
-Trigrams (<i>pa kua</i>); holding up the characters <i>fu</i> <img src="images/k_039b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-(happiness) or <i>shou</i> <img src="images/k_039c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (longevity), as on Fig. 1 of Plate <a href="#i067">66</a>.</p>
-
-<p>Dragons of antique form. These are the lizard-like creatures
-(<i>ch’ih</i>) with bifid tail which occur so often in old bronzes and
-jades.</p>
-
-<p>Dragon medallions (<i>t’uan lung</i>).</p>
-
-<p>Nine dragons and flowers.</p>
-
-<p>Dragons and phœnixes moving through flowers.</p>
-
-<p>Dragon, and phœnixes with other birds.</p>
-
-<p>Phœnixes flying through flowers.</p>
-
-<p>A pair of phœnixes.</p>
-
-<p>Lions<a id="FNanchor_122" href="#Footnote_122" class="fnanchor">[122]</a> rolling balls of brocade.</p>
-
-<p>Flying lions.</p>
-
-<p>Hoary<a id="FNanchor_123" href="#Footnote_123" class="fnanchor">[123]</a> lions and dragons.</p>
-
-<p>Storks in clouds.</p>
-
-<p>Peacocks (<i>k’ung ch’iao</i>) and <i>mu-tan</i> peonies.</p>
-
-<p><span class="pagenum" id="Page_40">[40]</span></p>
-
-<p>Birds flying in clouds.</p>
-
-<p>Fish and water weeds.</p>
-
-<p>Four fishes.<a id="FNanchor_124" href="#Footnote_124" class="fnanchor">[124]</a></p>
-
-
-<p class="p2"><b>Human Motives.</b></p>
-
-<p>Children (<i>wa wa</i>) playing.</p>
-
-<p>Three divine beings (<i>hsien</i>) compounding the elixir of
-Immortality.</p>
-
-<p>Two or four Immortals.</p>
-
-<p>The Eight Immortals (<i>pa hsien</i>) crossing the sea; or paying court
-to the god of Longevity (<i>p’êng shou</i>), or congratulating him
-(<i>ch’ing shou</i>).</p>
-
-<p>A group of divine beings (<i>hsien</i>) paying court to the god of
-Longevity.</p>
-
-<p>Two designs of doubtful meaning may be added here:</p>
-
-<p>(1) “Jars decorated with <i>chiang hsia pa chün</i>,”<a id="FNanchor_125" href="#Footnote_125" class="fnanchor">[125]</a> a phrase
-which means “the eight elegant (scholars) of Chiang-hsia (i.e. below
-the river),” but has been translated by Bushell, using a variant
-reading,<a id="FNanchor_126" href="#Footnote_126" class="fnanchor">[126]</a> as “the eight horses of Mu Wang.” The latter rendering
-ignores the presence of <i>chiang hsia</i>, and the former, though
-a correct reading of the original, is not explained in any work of
-reference to which I have had access.</p>
-
-<p>(2) “Bowls with <i>man ti ch’iao</i>,” lit. “graceful (designs) filling
-the ground.” The meaning of <i>ch’iao</i> is the difficulty, and
-Bushell in one translation<a id="FNanchor_127" href="#Footnote_127" class="fnanchor">[127]</a> has rendered it “graceful sprays of
-flowers,” which sorts well with rest of the phrase, but in another<a id="FNanchor_128" href="#Footnote_128" class="fnanchor">[128]</a>
-he has assumed that it means “graceful beauties” in reference to the
-well-known design of tall, slender girls, which the Dutch collectors
-named <i>lange lijsen</i> (see Plate <a href="#i229">92</a>, Fig. 2). The latter rendering,
-however, goes badly with <i>man ti</i>, “filling the ground,” which is
-certainly more applicable to some close design, such as floral scroll
-work. This is, however, a good example of the difficulty of translating
-the Chinese texts, where so much is left to the imagination, and
-consequently there is so much room for differences of opinion.</p>
-
-  <div class="figcenter" id="i079a" style="width: 339px">
-     <p class="p2 center">Plate 68.&mdash;Blue and White Porcelain. Sixteenth Century.</p>
-    <img
-    class="p0"
-    src="images/i079a.jpg"
-    alt="" />
-     <p class="p0 sm p-left">Fig. 1.&mdash;Perfume Vase, lions and balls of brocade. Height 8¾ inches.
-<i>V. &amp; A. Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i079b" style="width: 345px">
-    <img
-    class="p2"
-    src="images/i079b.jpg"
-    alt="" />
-     <p class="p0 sm p-left">Fig. 2. Double Gourd Vase, square in the lower part. Eight Immortals
-paying court to the God of Longevity, panels of children (<i>wa
-wa</i>). Height 21 inches. <i>Eumorfopoulos Collection.</i></p>
-  </div>
-
-
-  <div class="figcenter" id="i079c" style="width: 230px">
-     <img
-    class="p2"
-    src="images/i079c.jpg"
-     alt="" />
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bottle with medallions of <i>ch’i-lin</i> and incised
-fret pattern between. Late Ming. Height 9 inches. <i>Halsey
-Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i081" style="width: 380px">
-     <img
-    class="p2"
-    src="images/i081.jpg"
-     alt="" />
-     <p class="p0 center">Plate 69.&mdash;Sixteenth Century Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bowl of blue and white porcelain with silver gilt mount of
-Elizabethan period. Height 3¾ inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Covered Jar, painted in dark underglaze blue with red, green
-and yellow enamels; fishes and water plants. Chia Ching mark. Height 17
-inches. <i>S. E. Kennedy Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i083" style="width: 328px">
-     <img
-    class="p2"
-    src="images/i083.jpg"
-     alt="" />
-     <p class="p0 center">Plate 70.&mdash;Porcelain with Chia Ching mark.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Box with incised Imperial dragons and lotus scrolls; turquoise
-and dark violet glazes on the biscuit. Diameter 9½ inches. <i>V. &amp; A.
-Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Vase with Imperial dragons in clouds, painted in yellow in an
-iron red ground. Height 8½ inches. <i>Cologne Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i085" style="width: 385px">
-     <img
-    class="p2"
-    src="images/i085.jpg"
-     alt="" />
-     <p class="p0 center">Plate 71.&mdash;Sixteenth Century Porcelain.</p>
-     <p class="p0 sm p-left">Figs. 1 and 2.&mdash;Two Ewers in the Dresden Collection, with transparent
-green, aubergine and turquoise glazes on the biscuit, traces of
-gilding. In form of a phœnix (height 11 inches), and of a crayfish
-(height 8¼ inches).</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bowl with flight of storks in a lotus scroll, enamels on the
-biscuit, green, aubergine and white in a yellow ground. Chia Ching
-mark. Diameter 7 inches. <i>Alexander Collection.</i></p>
-  </div>
-
-<p><span class="pagenum" id="Page_41">[41]</span></p>
-
-
-<p class="p2"><b>Emblematic Motives.</b></p>
-
-<p>Heaven and Earth, and the six cardinal points (<i>ch’ien k’un liu
-ho</i><a id="FNanchor_129" href="#Footnote_129" class="fnanchor">[129]</a>), or “emblems of the six cardinal points of the Universe.”</p>
-
-<p><i>Ch’ien</i> and <i>k’un</i> are the male and female principles which
-are represented by Heaven and Earth, and together make up the Universe.
-The identification of these emblems is obscure. They might simply be
-the Eight Trigrams (<i>pa kua</i>), which are explained next, for two
-of these are known as <i>ch’ien</i> and <i>k’un</i>, and together with
-the remaining six they are arranged so as to make up eight points of
-the compass. But in that case, why not simply say <i>pa kua</i> as
-elsewhere?</p>
-
-<p>On the other hand, we know that certain emblems were used in the Chou
-dynasty<a id="FNanchor_130" href="#Footnote_130" class="fnanchor">[130]</a> in the worship of the six points of the Universe, viz. a
-round tablet with pierced centre (<i>pi</i>) of bluish jade for Heaven;
-a yellow jade tube with square exterior (<i>ts’ung</i>) for Earth; a
-green tablet (<i>kuei</i>), oblong with pointed top, for the East; a
-red tablet (<i>chang</i>), oblong and knife-shaped, for the South; a
-white tablet, in the shape of a tiger (<i>hu</i>), for the West; and
-a black jade piece of flat semicircular form (<i>huang</i>) for the
-North. All these objects are illustrated in Laufer’s <i>Jade</i>, but
-as they have not, to my knowledge, appeared together in porcelain
-decoration, the question must for the present be left open.</p>
-
-<hr class="tb" />
-
-<p>The <i>pa-kua</i> <img src="images/k_041a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- or Eight Trigrams, supported by dragons
-or by waves and flames.</p>
-
-<p>These are eight combinations of triple lines. In the first the lines
-are unbroken, and in the last they are all divided at the centre, the
-intermediate figures consisting of different permutations of broken
-and unbroken lines (see p. <a href="#Page_290">290</a>). These eight diagrams, by
-which certain Chinese philosophers explained all the phenomena of
-Nature, are supposed to have been constructed by the legendary Emperor
-Fu Hsi (<span class="allsmcap">B.C.</span> 2852) from a plan revealed to him on the back
-of the “dragon horse” (<i>lung ma</i>) which rose from the Yellow
-River.<a id="FNanchor_131" href="#Footnote_131" class="fnanchor">[131]</a> Among other things, they are used to designate the points
-of the compass, one arrangement making the first figure represent the
-South (also designated <i>ch’ien</i> <img src="images/k_041b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- or Heaven), and the last
-figure the North (also designated <i>k’un</i> <img src="images/k_041c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- or Earth),
-the remaining figures<span class="pagenum" id="Page_42">[42]</span> representing South-West, West, North-West,
-North-East, East, and South-East.</p>
-
-<hr class="tb" />
-
-<p>The <i>pa pao</i> <img src="images/k_042a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-, or Eight Precious Symbols, supported by
-fungus sprays.</p>
-
-<p>These are usually represented by (1) a sphere or jewel, which seems to
-have originally been the sun disc; (2) a circle enclosing a square,
-which suggests the copper coin called a “cash”; (3) an open lozenge,
-symbol of victory or success; (4) a musical stone (<i>ch’ing</i>);
-(5) a pair of books; (6) a pair of rhinoceros horns (cups); (7) a
-lozenge-shaped picture (<i>hua</i>); (8) a leaf of the artemisia, a
-plant of good omen, which dispels sickness. (See p. <a href="#Page_299">299</a>.)</p>
-
-<hr class="tb" />
-
-<p>The <i>pa chi hsiang</i> <img src="images/k_042b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-, or Eight Buddhist Symbols,
-supported on lotus scrolls.</p>
-
-<p>These symbols, which appeared among the auspicious signs on the foot
-of Buddha, comprise (1) the wheel (<i>chakra</i>), which is sometimes
-replaced by the hanging bell; (2) the shell trumpet of Victory; (3)
-the umbrella of state; (4) the canopy; (5) the lotus flower; (6) the
-vase; (7) the pair of fish, emblems of fertility; (8) the angular knot
-(representing the entrails), symbol of longevity. (See p. <a href="#Page_298">298</a>.)</p>
-
-<p>The hundred forms of the character <i>shou</i> (longevity)&mdash;<i>pai shou
-tz’ŭ</i>.</p>
-
-<hr class="tb" />
-
-<p><i>Ju-i</i> sceptres and phœnix medallions.</p>
-
-<p>The <i>ju-i</i> <img src="images/k_042c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (“as you wish”) sceptre brings fulfilment
-of wishes, and is a symbol of longevity (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>). The head
-of the <i>ju-i</i>, which has a strong resemblance to the conventional
-form of the <i>ling chih</i> fungus, is often used in borders and
-formal patterns variously described as “<i>ju-i</i> head patterns,”
-“cloud-scroll patterns,” or “<i>ju-i</i> cloud patterns.”</p>
-
-<p>Close ground patterns of propitious clouds (<i>yung hsiang yün ti</i>).</p>
-
-<p>Cloud designs are propitious because they symbolise the fertilising
-rain, and they are commonly represented by conventional scrolls as well
-as by the more obvious cloud patterns.</p>
-
-<hr class="tb" />
-
-<p>Crested sea waves (<i>chiang ya hai shui</i>).</p>
-
-<p><i>Chiang ya</i> <img src="images/k_042d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (lit. ginger shoots) is rendered by
-Bushell “crested waves,” the metaphor being apparently suggested by the
-curling tops of the young plant.</p>
-
-<p><span class="pagenum" id="Page_43">[43]</span></p>
-
-<p>Cups decorated<a id="FNanchor_132" href="#Footnote_132" class="fnanchor">[132]</a> with the characters <i>fu shou k’ang ning</i>
-<img src="images/k_043a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (happiness, long life, peace, and tranquillity).</p>
-
-<p>A blue and white vase with these characters in medallions framed by
-cloud scrolls on the shoulders is shown on Plate <a href="#i079a">68</a>.</p>
-
-
-<p class="p2"><b>Miscellaneous Motives.</b></p>
-
-<p>The waterfalls of Pa Shan <img src="images/k_043b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- in the province of Szechuan.</p>
-
-<p>Gold weighing-scales (<i>ch’êng chin</i> <img src="images/k_043c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-).</p>
-
-<p>A design named <i>san yang k’ai t’ai</i> <img src="images/k_043d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-, a phrase alluding
-to the “revivifying power of spring,” and said by Bushell to be
-symbolised by three rams. Cf. Fig. 2 of Plate <a href="#i379">122</a>.</p>
-
-<p>The mark of the Chia Ching period, though not so freely used as
-those of Hsüan Tê and Ch’êng Hua, has been a favourite with Japanese
-copyists, whose imitations have often proved dangerously clever. Still,
-there are enough genuine specimens in public and private collections in
-England to provide a fair representation of the ware. In studying these
-the blue and white will be found to vary widely, both in body material
-and in the colour of the blue, according to the quality of the objects.</p>
-
-<p>Plate <a href="#i129">77</a> illustrates a remarkably good example of the dark but
-vivid Mohammedan blue on a pure white ware of fine close grain with
-clear glaze. The design, which consists of scenes from the life of a
-sage, perhaps Confucius himself, is painted in typical Ming style, and
-bordered by <i>ju-i</i> cloud scrolls and formal brocade patterns. The
-Chia Ching blue is often darker<a id="FNanchor_133" href="#Footnote_133" class="fnanchor">[133]</a> and heavier than here, resembling
-thick patches of violet ink, to use Mr. Perzynski’s phrase. This
-powerful blue is well shown in the large vase given by Mr. A. Burman to
-the Victoria and Albert Museum (Plate <a href="#i093">72</a>), and by a fine ewer
-in Case 22 in the same gallery. The latter has an accidentally crackled
-glaze on the body with brownish tint, due, no doubt, to staining.</p>
-
-<p>On the other hand, a large double-gourd vase in the British Museum,
-heavily made (probably for export), is painted with the eighteen
-Arhats, or Buddhist apostles, in a dull greyish blue, which<span class="pagenum" id="Page_44">[44]</span> would
-certainly have been assigned to the Wan Li period were it not for the
-Chia Ching mark. This is, no doubt, the native cobalt without any
-admixture of Mohammedan blue.</p>
-
-<p>The body material in these specimens varies scarcely less than the
-blue. In the colour stand on Plate <a href="#i129">77</a> the ware is a pure clean white,
-both in body and glaze. On other specimens&mdash;particularly the large,
-heavily built jars and vases made for export to India and Persia&mdash;the
-ware is of coarser grain, and the glaze of grey or greenish tone. The
-tendency of the Ming biscuit to assume a reddish tinge where exposed
-to the fire is exaggerated on some of these large jars, so that the
-exposed parts at the base and foot rim are sometimes a dark reddish
-brown. Doubtless the clay from different mines varied considerably,
-and the less pure materials would be used on these relatively coarse
-productions. On the other hand, the better class of dish and bowl made
-for service at the table is usually of clean white ware, potted thin
-and neatly finished, and differing but little in refinement from the
-choice porcelains of the eighteenth century. Such are the dragon dish
-described on p. <a href="#Page_32">32</a> and the polychrome saucers which will be mentioned
-presently.</p>
-
-<p>The export trade with Western Asia and Egypt, both by sea and land,
-must have been of considerable dimensions in the middle of the
-sixteenth century. Broken pieces of Chinese blue and white are found
-on all the excavated sites in the Near East, and the influence of the
-Chinese porcelain is clearly seen in the blue, or blue and brown,
-painted faience made in Persia, Syria, and Egypt in the sixteenth
-century. The reflex influence of Persia on the Chinese wares has
-already been noted, and it is clear that Persian taste was studied
-by the makers of the dishes, bottles, pipes, and other objects with
-birds and animals in foliage and floral scrolls of decidedly Persian
-flavour, which are still frequently found in the Near East. It was this
-type of Chinese porcelain which inspired Italian maiolica potters in
-their decoration <i>alla porcellana</i>, as well as the decorators of
-the Medici or Florentine porcelain, the first European porcelain of
-any note. Françesco Maria, the patron of the Medici porcelain, died
-in 1587, and as little, if any, of the ware was made after his death,
-the rare surviving examples may be safely taken as reflecting, where
-any Chinese influence is apparent, the influence of the mid-sixteenth
-century porcelains.</p>
-
-<p><span class="pagenum" id="Page_45">[45]</span></p>
-
-<div class="figcenter" id="i093" style="width: 619px">
-     <img
-    class="p2"
-    src="images/i093.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 72</p>
-     <p class="p0 sm p-left">Vase with Imperial five-clawed dragons in cloud scrolls over sea waves:
-band of lotus scrolls on the shoulder. Painted in dark Mohammedan
-blue. Mark on the neck, of the Chia Ching period (1522–1566) in six
-characters.</p>
-     <p class="p0 sm" style="float:left">Height 21 inches.</p>
-     <p class="p0 sm" style="float:right"><i>Victoria and Albert Museum.</i></p>
-  </div>
-
-<p style="clear: both">An interesting series of Ming blue and white export wares collected
-in India was lent to the Burlington Fine Arts Club in <span class="pagenum" id="Page_47">[47]</span>1910 by
-Mrs. Halsey. It included a few Chia Ching specimens, and among them a
-melon-shaped jar with lotus scrolls in the dark blue of the period.
-This melon form has been popular with the Chinese potters from T’ang
-times, and it occurs fairly often in the Ming export porcelains. A
-companion piece, for instance, at the same exhibition was decorated
-with handsome pine, bamboo, and plum designs. Others, again, are
-appropriately ornamented with a melon vine pattern, a gourd vine, or a
-grape vine with a squirrel-like animal on the branches. The drawing of
-these pieces is usually rough but vigorous, the form is good, and the
-blue as a rule soft and pleasing; and though entirely wanting in the
-superfine finish of the choice K’ang Hsi blue and white, they have a
-decorative value which has been sadly underrated.</p>
-
-<p>The polychrome porcelains of the Chia Ching period are rarer than
-the blue and white, but still a fair number of types are represented
-in English collections. Of the colours applied direct to the biscuit
-the early glazes of the <i>demi-grand feu</i>&mdash;turquoise, aubergine
-violet, green and yellow&mdash;were doubtless applied as in the previous
-century to the large wine jars, vases and figures in the round. An
-unusual specimen of this class is the marked Chia Ching cake box
-in the Victoria and Albert Museum, illustrated on Plate <a href="#i083">70</a>. The
-design&mdash;Imperial dragons among floral scrolls&mdash;is traced with a
-point in the paste and covered with a delicate turquoise glaze, the
-background being filled with violet aubergine. Similarly engraved
-designs coloured by washes of transparent glazes in the three
-colours&mdash;green, yellow and aubergine brown&mdash;are found with the Chia
-Ching mark as with that of Chêng Tê, and Plate <a href="#i099">73</a> illustrates two
-singularly beautiful bowls with designs outlined in brown and washed
-in with transparent glazes. The one has flowering branches of prunus,
-peach and pomegranate in white, green and aubergine in a yellow ground,
-and the other phœnixes and floral scrolls in yellow, green and white in
-a ground of pale aubergine. Both have the Chia Ching mark. Fig. 2 of
-Plate <a href="#i085">71</a> is another member of the same group, with a beautiful design
-of cranes and lotus scrolls in a yellow ground. There are, besides,
-examples of these yellow and aubergine glazes in monochrome. A good
-specimen of the latter with Chia Ching mark in the British Museum has
-fine transparent aubergine glaze with iridescent surface, the colour
-pleasantly graded, which contrasts with the uniform smooth glaze and
-trim finish of a Ch’ien Lung example near to it.</p>
-
-<p><span class="pagenum" id="Page_48">[48]</span></p>
-
-<p>Two interesting ewers in the Dresden collection (Figs. 1 and 2 of Plate
-<a href="#i085">71</a>) probably belong to this period, or at any rate to the sixteenth
-century. They are fantastically shaped to represent a phœnix and a
-lobster, and are decorated with green, yellow, aubergine and a little
-turquoise applied direct to the biscuit. Parts of the surface have been
-lightly coated with gilding, which has almost entirely disappeared.
-These pieces are mentioned in an inventory of 1640, and a lobster
-ewer precisely similar was included in the collection made by Philipp
-Hainhofer in the early years of the seventeenth century.<a id="FNanchor_134" href="#Footnote_134" class="fnanchor">[134]</a></p>
-
-<p>Among the examples of on-glaze enamels of this period are those in
-which the coral red derived from iron oxide (<i>fan hung</i>) is
-the most conspicuous colour. This red is often highly iridescent,
-displaying soft ruby reflections like Persian lustre; at other
-times it is richly fluxed, and has a peculiarly vitreous and almost
-sticky appearance. The former effect is well seen in a small saucer
-in the British Museum, which has a wide border of deep lustrous red
-surrounding a medallion with lions and a brocade ball in green. The
-latter is seen on a square, covered vase in the same case, decorated
-on each side with full-faced dragons in red and the usual cloud
-accessories in inconspicuous touches of green and yellow. The yellow
-enamel of the period is often of an impure, brownish tint and rather
-thickly applied, but these peculiarities of both yellow and red
-continued in the Wan Li period.</p>
-
-<p><span class="pagenum" id="Page_49">[49]</span></p>
-
-  <div class="figcenter" id="i099" style="width: 492px">
-     <img
-    class="p2"
-    src="images/i099.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 73</p>
-     <p class="p0 p-left">Two Bowls with the Chia Ching mark (1522–1566), with designs outlined
-in brown and washed in with colours in monochrome grounds.</p>
-     <p class="p0 sm p-left">Fig. 1 with peach sprays in a yellow ground. Diameter 8 inches.
-<i>Alexander Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2 with phœnixes (<i>fêng-huang</i>) flying among scrolls of
-<i>mu-tan</i> peony. Diameter 7 inches. <i>Cumberbatch Collection.</i></p>
-  </div>
-
-<p>The combination of enamel colours with underglaze blue, which was so
-largely used in the Wan Li period as to be generally known by the name
-<i>Wan li wu ts’ai</i> (Wan Li polychrome), is not unknown on Chia
-Ching wares. The wide-mouthed jar, for instance, from the collection of
-Mr. S. E. Kennedy<a id="FNanchor_135" href="#Footnote_135" class="fnanchor">[135]</a> (Plate <a href="#i081">69</a>, Fig. 2) is decorated with a design of
-fish among water plants in deep Chia Ching blue combined with green,
-yellow and iron red enamels; and a small bottle-shaped vase in the
-British Museum has the same blue combined with on-glaze red, green,
-yellow and aubergine, the design being fish, waves, and water plants.
-The greens of this and the Wan Li period include various shades&mdash;bright
-leaf green, pale <span class="pagenum" id="Page_51">[51]</span>emerald, and a bluish green<a id="FNanchor_136" href="#Footnote_136" class="fnanchor">[136]</a> which seems to
-be peculiar to the late Ming period.</p>
-
-<p>A box in the collection of Dr. C. Seligmann has a dragon design
-reserved in a blue ground and washed over with yellow enamel, on which
-in turn are details traced in iron red; and another peculiar type of
-Chia Ching polychrome in the Pierpont Morgan Collection (Cat. No. 882)
-is a tea cup with blue Imperial dragons inside, “on the outside deep
-yellow glaze with decoration in brownish red of intensely luminous
-tone, derived from iron, lightly brushed on the yellow ground: the
-decoration consists of a procession of boys carrying vases of flowers
-round the sides of the cup with addition of a scroll of foliage
-encircling the rim.” Both these specimens have the Chia Ching mark.</p>
-
-<p>Allusion has already been made (p. <a href="#Page_6">6</a>) to a type of bowl which belongs
-to the Ming period, though opinions differ as to the exact part of
-that dynasty to which it should be assigned. The bowls vary slightly
-in form, but the most usual kind is that shown on Plate <a href="#i105">74</a> with
-well rounded sides. A common feature, which does not appear in the
-photograph, is a convex centre. Others, again, are shallow with concave
-base, but no foot rim. The decoration of those in the British Museum
-includes (1) a coral red exterior with gilt designs as described on
-p. <a href="#Page_6">6</a>, combined with slight underglaze blue interior ornament, (2) a
-beautiful pale emerald green exterior similarly gilt, with or without
-blue ornament inside, and (3) a single specimen with white slip
-traceries in faint relief under the glaze inside, the outside enamelled
-with turquoise blue medallions and set with cabochon jewels in Persia
-or India. There are similar bowls in the Dresden collection, with pale
-sky blue glaze on the exterior. As already noted, one or two of the
-red bowls have the Yung Lo mark, but, as a rule, they are marked with
-phrases of commendation or good wish,<a id="FNanchor_137" href="#Footnote_137" class="fnanchor">[137]</a> such as <i>tan kuei</i>
-(red cassia, emblem of literary success), <i>wan fu yu t’ung</i> (may
-infinite happiness embrace all your affairs!) Two of them are known to
-have sixteenth-century European mounts, viz. the red bowl mentioned on
-p. <a href="#Page_6">6</a>, and a green specimen in the British Museum.<a id="FNanchor_138" href="#Footnote_138" class="fnanchor">[138]</a> Without denying
-the possibility of some of the red examples dating back to the Yung<span class="pagenum" id="Page_52">[52]</span>
-Lo period, the conclusion is almost irresistible that we have here in
-one case the <i>fan hung</i> decoration which replaced the <i>hsien
-hung</i> in the Chia Ching period, and in another the <i>ts’ui lü</i>
-(emerald green), named among the colours of the Imperial Chia Ching
-porcelains.</p>
-
-<p>The Chia Ching monochromes already mentioned include white, blue, sky
-blue, lustrous brown, turquoise, green, yellow, and aubergine, with or
-without designs engraved in the paste (<i>an hua</i>). None of these
-call for any further comment, unless it be the distinction between blue
-and sky blue of the Imperial wares. The former, no doubt, resulted from
-the Mohammedan blue (blended with native cobalt) mixed with the glaze,
-and must have been a fine blue of slightly violet tone: the latter was
-apparently the lavender-tinted blue which goes by the name of sky blue
-on the more modern porcelains.</p>
-
-<p>We read in more than one passage in the Chinese works that the
-imitation of the classical porcelains of Hsüan Tê and Ch’êng Hua was
-practised in the Chia Ching period, and the name of a private potter
-who excelled in this kind of work has been preserved. A note on this
-artist, given in the <i>T’ao lu</i><a id="FNanchor_139" href="#Footnote_139" class="fnanchor">[139]</a> under the heading <i>Ts’ui
-kung<a id="FNanchor_140" href="#Footnote_140" class="fnanchor">[140]</a> yao</i>, or Wares of Mr. Ts’ui, may be rendered as follows:&mdash;</p>
-
-<p>“In the Chia Ching and Lung Ch’ing periods there lived a man who was
-clever at making porcelain (<i>t’ao</i>). He was famed for imitations
-of the wares in the traditional style and make of the Hsüan Tê and
-Ch’êng Hua periods, and in his time he enjoyed the highest reputation.
-The name given to his wares was Mr. Ts’ui’s porcelain (<i>ts’ui kung
-yao tz’ŭ</i>), and they were eagerly sought in all parts of the empire.
-As for the shape of his cups (<i>ch’ien</i>), when compared with the
-Hsüan and Ch’êng specimens<a id="FNanchor_141" href="#Footnote_141" class="fnanchor">[141]</a> they differed in size but displayed the
-same skill and perfection of design. In the blue and polychrome wares
-his colours were all like the originals. His were, in fact, the cream
-of the porcelains made in the private factories (<i>min t’ao</i>).”</p>
-
-<p><span class="pagenum" id="Page_53">[53]</span></p>
-
-  <div class="figcenter" id="i105" style="width: 508px">
-     <img
-    class="p2"
-    src="images/i105.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 74</p>
-     <p class="p0 p-left">Two Bowls in the British Museum with gilt designs on a monochrome
-ground. Probably Chia Ching period (1522–1566)</p>
-     <p class="p0 sm p-left">Fig. 1 with lotus scroll with etched details on a ground of iron red
-(<i>fan hung</i>) outside. Inside is figure of a man holding a branch
-of cassia, a symbol of literary success, painted in underglaze blue.
-Mark in blue, <i>tan kuei</i> (red cassia.) Diameter 4½ inches.</p>
-     <p class="p0 sm p-left">Fig. 2 with similar design on ground of emerald green enamel. Mark in
-blue in the form of a coin or <i>cash</i> with the characters <i>ch’ang
-ming fu kuei</i> (long life, riches and honours!). Diameter 4¾ inches.</p>
-  </div>
-
-<p><span class="pagenum" id="Page_55">[55]</span></p>
-
-<p>It is interesting to note that the imitation of the early Ming
-porcelains began as soon as this, and we may infer from the usual
-Chinese procedure that the marks of the Hsüan Tê and Ch’êng Hua periods
-were duly affixed to these clever copies.</p>
-
-
-<h3><i>Lung Ch’ing</i> <img src="images/k_055.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1567–1572)</h3>
-
-<p>We read in the <i>T’ao shuo</i><a id="FNanchor_142" href="#Footnote_142" class="fnanchor">[142]</a> that the Imperial factory was
-re-established in the sixth year of this reign (1572), and placed under
-the care of the assistant prefects of the district. This would seem to
-imply that for the greater part of this brief period the Imperial works
-had been in abeyance. Be this as it may, there was no falling off in
-the quantity of porcelain commanded for the Court, and the extravagant
-and burdensome demands evoked a protest from Hsü Ch’ih, the president
-of the Censorate,<a id="FNanchor_143" href="#Footnote_143" class="fnanchor">[143]</a> in 1571. It was urged among other things that
-the secret of the copper red colour (<i>hsien hung</i>) had been lost,
-and that the potters should be allowed to use the iron red (<i>fan
-hung</i>) in its place: that the size and form of the large fish bowls
-which were ordered made their manufacture almost impossible: that
-the designs for the polychrome (<i>wu ts’ai</i>) painting were too
-elaborate, and that square boxes made in three tiers were a novelty
-difficult to construct. Fire and flood had devastated Ching-tê Chên,
-and many of the workmen had fled, and he (the president) begged that a
-large reduction should be made in the palace orders.</p>
-
-<p>We are not told whether this memorial to the emperor had the desired
-effect. In the case of the next emperor a similar protest resulted in
-a large reduction of the demands. But the document discloses several
-interesting facts, and among other things we learn that the designs for
-some of the ware and for the coloured decoration were still sent from
-the palace as in the days of Ch’êng Hua.</p>
-
-<p>The official lists of porcelain actually supplied to the Court of Lung
-Ch’ing have been briefly summarised in the <i>T’ao shuo</i><a id="FNanchor_144" href="#Footnote_144" class="fnanchor">[144]</a>;
-but they do not include any new forms, and the motives of decoration
-were in the main similar to those recorded in the Chia Ching lists.
-The following, however, may be added to the summary in the previous
-chapter:&mdash;</p>
-
-<p><span class="pagenum" id="Page_56">[56]</span></p>
-
-<p>The <i>yü tsan hua</i>, rendered in Giles’s Dictionary as the
-“tuberose,” by Bushell as the “iris.”</p>
-
-<p>Clumps of chrysanthemum flowers.</p>
-
-<p>Interlacing scrolls of <i>mu-tan</i> peony.</p>
-
-<p><i>Ch’ang ch’un</i> (long spring) flowers, identified by Bushell with
-the “jasmine.”</p>
-
-<p>A “joyous meeting,” symbolised according to Bushell by a pair of
-magpies.</p>
-
-<p>The Tartar pheasant (<i>chai chih</i>).</p>
-
-<p>The season flowers supporting the characters <img src="images/k_056.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>ch’ien k’un
-ch’ing t’ai</i>, “Heaven and earth fair and fruitful!”</p>
-
-<p>Monsters (<i>shou</i>) in sea waves.</p>
-
-<p>Flying fish.</p>
-
-<p>Historical scenes (<i>ku shih</i>), as well as genre subjects (<i>jên
-wu</i>).</p>
-
-<p>Children playing with branches of flowers.</p>
-
-<p>This last design occurs both in the form of belts of foliage scrolls,
-among which are semi-nude boys, and of medallions with a boy holding a
-branch, on blue and white and polychrome wares of the late Ming period.
-But it is a design of considerable antiquity, and it is found engraved
-on the early Corean bowls which, no doubt, borrowed from Sung originals.</p>
-
-<p>Though all these designs are given under the general heading of blue
-and white, we may infer that the polychrome which is occasionally
-mentioned was used in combination with the blue. Thus the mention of
-“phœnixes in red clouds flying through flowers,” of “nine red dragons
-in blue waves,” and of “a pair of dragons in red clouds,” recalls
-actual specimens which I have seen of Lung Ch’ing and Wan Li boxes with
-designs of blue dragons moving through clouds touched in with iron red.
-Again, where the blue designs are supplemented with “curling waves
-and plum blossoms in polychrome (<i>wu ts’ai</i>),” one thinks of the
-well-known pattern of conventional waves on which blossom and symbols
-are floating, as on Plate <a href="#i141">79</a>. Other types of decoration mentioned are
-yellow grounds and white glaze, both with dragon designs engraved
-under the glaze (<i>an hua</i>), peacocks and <i>mu-tan</i> peonies
-in gilding, and moulded ornament. A specific example of the last are
-the lions which served as knobs on the covers of the ovoid wine jars
-(<i>t’an</i>).</p>
-
-<p>The author of the <i>T’ao shuo</i> pays a handsome tribute to the skill
-of the late Ming potters. “We find,” he says, “that the porcelain of
-the Ming dynasty daily increased in excellence till<span class="pagenum" id="Page_57">[57]</span> we come to the
-reigns of Lung Ch’ing and Wan Li, when there was nothing that could not
-be made.” At the same time he finds fault with a particular kind of
-decoration which was encouraged by the degraded and licentious tastes
-of the Emperor Lung Ch’ing, and seems to have only too frequently
-marred the porcelain of the period.<a id="FNanchor_145" href="#Footnote_145" class="fnanchor">[145]</a></p>
-
-<p>The rare examples of marked Lung Ch’ing porcelain in our collections
-do not call for special comment, and the unmarked specimens will
-hardly be distinguished from the productions of the succeeding Wan
-Li period. There are, however, two boxes in the British Museum which
-may be regarded as characteristic specimens of the Imperial blue and
-white porcelains. Both are strongly made with thick but fine-grained
-body material and a glaze of slightly greenish tone; and the designs
-are boldly sketched in strong outline and washed in with a dark indigo
-blue. One is a square box with four compartments decorated with
-five-clawed dragons in cloud scrolls, extended or coiled in medallions
-according as space demanded; and the other is oblong and rectangular,
-and painted on the sides (the cover is missing) with scenes of family
-life (<i>jên wu</i>). In both cases the base is unglazed except for a
-sunk medallion in which the six characters of the Lung Ch’ing mark are
-finely painted in blue.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_58">[58]</span></p>
-
-<h2 class="smaller">CHAPTER V<br />
-<span class="subhed">WAN LI <img src="images/k_058.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1573–1619) AND OTHER REIGNS</span></h2></div>
-
-<p class="drop-cap p-left">The long reign of Wan Li, the last important period of the Ming
-dynasty, is certainly the best represented in European collections, a
-circumstance due to the ceramic activity of the time not less than to
-its nearness to our own age. In the first year of the reign orders were
-given that one of the sub-prefects of Jao-chou Fu should be permanently
-stationed at Ching-tê Chên to supervise the Imperial factory. It
-appears that he proved a stern taskmaster, and at the same time that
-the potters were severely burdened by excessive demands from the
-palace. The picture drawn by the censor in the previous reign of the
-afflicted condition of the potters, and the story told elsewhere<a id="FNanchor_146" href="#Footnote_146" class="fnanchor">[146]</a>
-how they had made intercession daily in the temple of the god that the
-Imperial orders might be merciful, are fitting preface to the tale of
-the dragon bowls told as follows by T’ang Ying,<a id="FNanchor_147" href="#Footnote_147" class="fnanchor">[147]</a> the director of
-the factory in the first half of the eighteenth century.</p>
-
-<p>“By the west wall of the Ancestral-tablet Hall of the spirit who
-protects the potters is a dragon fish bowl (<i>lung kang</i>). It is
-three feet in diameter and two feet high, with a fierce frieze of
-dragons in blue and a wave pattern below. The sides and the mouth are
-perfect, but the bottom is wanting. It was made in the Wan Li period of
-the Ming. Previously these fish bowls had presented great difficulty in
-the making, and had not succeeded, and the superintendent had increased
-his severity. Thereupon the divine T’ung took pity on his fellow
-potters, and served them by alone laying down his life. He plunged into
-the fire, and the bowls came out perfect. This fish bowl was damaged
-after it had been finished and selected (for palace use), and for a
-long time it remained abandoned in a corner of the office. But when
-I saw it I sent a double-yoked cart and men to lift it, and it was
-brought to the side of<span class="pagenum" id="Page_59">[59]</span> the Ancestral-tablet Hall of the god, where it
-adorns a high platform, and sacrifice is offered. The vessel’s perfect
-glaze is the god’s fat and blood; the body material is the god’s body
-and flesh; and the blue of the decoration, with the brilliant lustre of
-gems, is the essence of the god’s pure spirit.”</p>
-
-<p>The deification of T’ung was a simple matter to the Chinese, who
-habitually worship before the tablets of their ancestors; but he seems
-to have become the genius of the place, and in this capacity to have
-superseded another canonised potter named Chao,<a id="FNanchor_148" href="#Footnote_148" class="fnanchor">[148]</a> who had been
-worshipped at Ching-tê Chên since 1425.</p>
-
-<p>To add to the difficulties experienced by the potters in satisfactorily
-fulfilling the Imperial demands, it had been reported in 1583 that
-the supplies of earth from Ma-ts’ang were practically worked out, and
-though good material was found at Wu-mên-t’o, which is also in the
-district of Fu-liang, the distance for transport was greater, and as
-the price was not correspondingly raised the supply from this source
-was difficult to maintain. Consequently we are not surprised to learn
-that in this same year another memorial was forwarded to the emperor by
-one of the supervising censors, Wang Ching-min, asking for alleviation
-of the palace orders, and protesting specifically against the demands
-for candlesticks, screens, brush handles, and chess apparatus as
-unnecessarily extravagant. It was urged at the same time that blue
-decoration should be substituted for polychrome, and that pierced work
-(<i>ling lung</i>) should not be required, the objection to both these
-processes being that they were difficult to execute and meretricious in
-effect.</p>
-
-<p>It is stated in the <i>T’ao lu</i><a id="FNanchor_149" href="#Footnote_149" class="fnanchor">[149]</a> that the supply of Mohammedan
-blue had ceased completely in the reign of Wan Li, and that on the
-other hand the <i>chi hung</i> or underglaze copper red was made,
-though it was not equal in quality to the <i>hsien hung</i> or <i>pao
-shih hung</i><a id="FNanchor_150" href="#Footnote_150" class="fnanchor">[150]</a> of the earlier periods. Both these assertions are
-based on the somewhat uncertain authority of the <i>T’ang shih ssŭ
-k’ao</i>, and though the truth of the second is shown by existing
-specimens, the first is only partially true, for there are marked
-examples of Mohammedan blue in the British Museum and probably
-elsewhere. Either there were supplies of the Mohammedan material in
-hand at the<span class="pagenum" id="Page_60">[60]</span> beginning of the reign, or they continued to arrive for
-part at least of the period.</p>
-
-<p>The lists of porcelain supplied to the Court of Wan Li may be consulted
-with advantage, and the extracts from those of the previous reigns may
-be supplemented by the following, which, though not necessarily new
-forms and designs, do not appear in the Chia Ching and Lung Ch’ing
-records:&mdash;</p>
-
-
-<p class="p2"><b>Forms.</b></p>
-
-<p>Trays for wine cups (<i>pei p’an</i>).<a id="FNanchor_151" href="#Footnote_151" class="fnanchor">[151]</a></p>
-
-<p>Beaker-shaped<a id="FNanchor_152" href="#Footnote_152" class="fnanchor">[152]</a> vases (<i>hu p’ing</i> <img src="images/k_060a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />).</p>
-
-<p>Flat-backed wall vases in the form of a double gourd split vertically.</p>
-
-<p>Chess boards (<i>ch’i p’an</i>).</p>
-
-<p>Hanging oil lamps<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> (<i>ch’ing t’ai</i> <img src="images/k_060b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />).</p>
-
-<p>Pricket candlesticks (<i>chu t’ai</i>). See <i>Cat. B. F. A.</i>, 1910,
-E 6: a pricket candlestick with cloud and dragon designs in blue and
-the Wan Li mark.</p>
-
-<p>Jars for candle snuff (<i>chien chu kuan</i>).</p>
-
-<p>Screens (<i>p’ing</i>).</p>
-
-<p>Brush handles (<i>pi kuan</i>).</p>
-
-<p>Brush rests (<i>pi chia</i>).</p>
-
-<p>Brush pots (<i>pi ch’ung</i>). Apparently the cylindrical jars usually
-known as <i>pi t’ung</i>.</p>
-
-<p>Fan cases (<i>shan hsia</i>).</p>
-
-<p>Water droppers for the ink pallet (<i>yen shui ti</i>).</p>
-
-<p>Betel-nut boxes (<i>pin lang lu</i>).</p>
-
-<p>Handkerchief boxes (<i>chin lu</i>).</p>
-
-<p>Hat boxes (<i>kuan lu</i>).</p>
-
-<p>Cool seats (<i>liang tun</i>), for garden use in summer.</p>
-
-
-<p class="p2"><b>Motives for Painted Decoration.</b></p>
-
-<p class="p-left1"><i>Floral, etc.:</i></p>
-
-<p>Lily flowers (<i>hsüan hua</i>).</p>
-
-<p>Hibiscus (<i>kuei</i>) flowers on a brocade ground.</p>
-
-<p>Round medallions of season flowers.</p>
-
-<p>Flower designs broken by medallions of landscape.</p>
-
-<p>Marsh plants.</p>
-
-<p><span class="pagenum" id="Page_61">[61]</span></p>
-
-<p>Sections of water melons (<i>hsi kua pan</i>).</p>
-
-<p>Foreign pomegranates; sometimes tied with fillets.</p>
-
-<p>The sacred peach.</p>
-
-<p>Medallions of peach boughs with the seal character <i>shou</i>
-(longevity).</p>
-
-<p>Apricot (<i>hsing</i>) foliage.</p>
-
-<p>Pine pattern brocade.</p>
-
-<p>Ginseng (<i>hsien</i>).</p>
-
-<p>Hemp-leaved (<i>ma yeh</i>) Indian lotus.</p>
-
-<p>Borders of bamboo foliage and branching prunus.</p>
-
-<p>Grape-vine borders.</p>
-
-
-<p class="p-left1 p2"><i>Animals, etc.:</i></p>
-
-<p>Monsters: variously described as <i>hai shou</i> (sea monsters) and
-<i>i shou</i> (strange monsters).</p>
-
-<p>Nine blue monsters in red waves.</p>
-
-<p>Strange monsters attending the celestial dragon.</p>
-
-<p>Sea horses.</p>
-
-<p>Full-faced dragons (<i>chêng mien lung</i>). See Plate <a href="#i067">66</a>.</p>
-
-<p>Medallions of archaic dragons (<i>ch’ih</i>) and tigers.</p>
-
-<p>Ascending and descending dragons.</p>
-
-<p>Couchant, or squatting (<i>tun</i>) dragons.</p>
-
-<p>Flying dragons.</p>
-
-<p>The hundred dragons.</p>
-
-<p>The hundred storks.</p>
-
-<p>The hundred deer. (As in the “Hundred Shou Characters” and other
-similar phrases, the “hundred” is merely an indefinite numerative
-signifying a large number.)</p>
-
-<p>Elephants with vases of jewels (of Buddhistic significance).</p>
-
-<p>Water birds in lotus plants.</p>
-
-<p>Six cranes, “symbolising the cardinal points of the universe” (<i>liu
-ho ch’ien k’un</i>).</p>
-
-<p>Phœnixes among the season flowers.</p>
-
-<p>Bees hovering round plum blossom.</p>
-
-
-<p class="p-left1 p2"><i>Human:</i></p>
-
-<p>Men and women (<i>shih nü</i>).</p>
-
-<p>Medallions with boys pulling down (branches of) cassia (<i>p’an
-kuei</i>).</p>
-
-<p><span class="pagenum" id="Page_62">[62]</span></p>
-
-<p>The picture of the Hundred Boys.</p>
-
-<p><i>Fu</i>, <i>Lu</i>, <i>Shou</i> (Happiness, Rank, and Longevity). It
-is not stated whether the characters only are intended, or, as is more
-probable, the three Taoist deities who distribute these blessings.</p>
-
-
-<p class="p2"><b>Emblematic Motives and Inscriptions.</b></p>
-
-<p>The eight Buddhist emblems, bound with fillets (<i>kuan t’ao</i>).</p>
-
-<p><i>Ju-i</i> sceptres bound with fillets.</p>
-
-<p><i>Ju-i</i> cloud borders (<i>ju i yün pien</i>).</p>
-
-<p>Midsummer holiday symbols (<i>tuan yang chieh</i>). Explained by
-Bushell as sprigs of acorns and artemisia hung up on the fifth day of
-the fifth moon.</p>
-
-<p>Emblems of Longevity (<i>shou tai</i>), e.g. gourd, peach, fungus,
-pine, bamboo, crane, deer.</p>
-
-<p>The “monad symbol” (<i>hun yüan</i>), which is apparently another name
-for the <i>yin yang</i>, and the Eight Trigrams. See p. <a href="#Page_290">290</a>.</p>
-
-<p>Lozenge symbols of victory (<i>fang shêng</i>).</p>
-
-<p>“The four lights worshipping the star of Longevity” (<i>ssŭ yang p’êng
-shou</i>).</p>
-
-<p>Spiral (<i>hui</i> <img src="images/k_062a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />) patterns.</p>
-
-<p>Sanskrit invocations (<i>chên yen tz’ŭ</i>). See Plate <a href="#i231">93</a>.</p>
-
-<p>Ancient writings found at Lo-yang (<i>lo shu</i>). Lo-yang (the modern
-Honan Fu) was the capital of the Eastern Han (25–220 <span class="allsmcap">A.D.</span>).</p>
-
-<p>Inscriptions in antique seal characters (<i>chuan</i>).</p>
-
-<p>Dragons holding up the characters <img src="images/k_062b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>yung pao wan shou</i>
-(ever insuring endless longevity); and <img src="images/k_062c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />  <i>yung pao hung fu
-ch’i t’ien</i> (ever insuring great happiness equalling Heaven).</p>
-
-<p>Borders inscribed <img src="images/k_062d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>fu ju tung hai</i> (happiness like the
-eastern sea); and <img src="images/k_062e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>fêng t’iao yü shun t’ien hsia t’ai
-p’ing</i> (favouring winds and seasonable rain: great peace throughout
-the empire).</p>
-
-<p>“A symbolical head with hair dressed in four puffs”<a id="FNanchor_153" href="#Footnote_153" class="fnanchor">[153]</a> bearing the
-characters <img src="images/k_062f.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>yung pao ch’ang ch’un</i> (ever insuring long
-spring).</p>
-
-<p>Taoist deities holding the characters <img src="images/k_062g.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>wan ku ch’ang
-ch’un ssŭ hai lai ch’ao</i> (through myriads of ages long spring;<span class="pagenum" id="Page_63">[63]</span>
-tribute coming from the four seas); or the same sentiment with <i>yung
-pao</i> (ever insuring) in place of <i>wan ku</i>.</p>
-
-<p>Dragons in clouds holding the characters <img src="images/k_063a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>shêng shou</i>,
-the emperor’s birthday.</p>
-
-
-<p class="p2"><b>Miscellaneous.</b></p>
-
-<p>Representations of ancient coins (<i>ku lao ch’ien</i>).</p>
-
-<p>Landscapes (<i>shan shui</i>).</p>
-
-<p>Necklaces (<i>ying lo</i> <img src="images/k_063b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />).</p>
-
-<p>Jewel mountains in the sea waves (<i>pao shan hai shui</i>). This
-is, no doubt, the familiar border pattern of conventional waves with
-conical rocks standing up at regular intervals.</p>
-
-<p>Round medallions (<i>ho tzŭ</i>, lit. boxes) in brocade grounds.</p>
-
-<p>Most of these designs are given under the heading of “blue and
-white,” though, as in the Lung Ch’ing list, the blue is in many
-cases supplemented by colour or by other forms of decoration such
-as patterns engraved in the body (<i>an hua</i>), and “designs on a
-blue ground,” the nature of them not explained, but no doubt similar
-to those described on p. <a href="#Page_61">61</a>. The method of reserving the
-decoration in white in a blue ground (<i>ch’ing ti pai hua</i>) is
-specifically mentioned under the heading of “mixed decorations.” The
-supplementary decoration consists of on-glaze enamels mixed with the
-underglaze blue; bowls with coloured exterior and blue and white inside
-or vice versa; yellow grounds with designs engraved under the glaze;
-gilded fishes among polychrome water weeds, and other gilded patterns;
-curling waves in polychrome and plum blossoms; red dragons in blue
-waves, the red either under or over the glaze; relief designs (<i>ting
-chuang</i><a id="FNanchor_154" href="#Footnote_154" class="fnanchor">[154]</a>) and pierced work (<i>ling lung</i><a id="FNanchor_155" href="#Footnote_155" class="fnanchor">[155]</a>).</p>
-
-<p>The “mixed colours” included garden seats with lotus designs, etc.,
-in polychrome (<i>wu ts’ai</i>) and with aubergine brown (<i>tzŭ</i>)
-lotus decoration in a monochrome yellow ground; tea cups with dragons
-in fairy flowers engraved under a yellow glaze; yellow ground with
-polychrome (<i>wu ts’ai</i>) decoration; banquet dishes, white inside,
-the outside decorated with dragons and clouds in red, green, yellow,
-and aubergine.</p>
-
-<p>The custom of minutely subdividing the work in the porcelain factories
-so that even the decoration of a single piece was parcelled out among
-several painters existed in the Ming dynasty, though<span class="pagenum" id="Page_64">[64]</span> perhaps not
-carried so far as in the after periods. It is clear that under such
-a system the individuality of the artists was completely lost, and
-we never hear the name of any potter or painter who worked at the
-Imperial factory. In the private factories probably the division of
-labour was less rigorous, and it is certain that many of the specimens
-were decorated by a single brush. But even so, signatures of potters
-or painters are almost unknown; and only one or two private potters
-of conspicuous merit at the end of the Ming period are mentioned by
-name in the Chinese books. Mr. Ts’ui, for instance, has already been
-mentioned in the chapter on the Chia Ching period, and three others
-occur in the annals of the Wan Li period.</p>
-
-  <div class="figcenter" id="i117" style="width: 584px">
-     <img
-    class="p2"
-    src="images/i117.jpg"
-     alt="" />
-     <p class="p0 center">Plate 75.&mdash;Ming Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Tripod Bowl with raised peony scrolls in enamel colours. Wan
-Li mark. Height 5¾ inches. <i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Blue and white Bowl, Chia Ching period. Mark, <i>Wan ku ch’ang
-ch’un</i> (“A myriad antiquities and enduring spring!”). Height 3
-inches. <i>Kunstgewerbe Museum, Berlin.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Ewer with white slip <i>ch’i-lin</i> on a blue ground. Wan Li
-period. Height 9 inches. <i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Gourd-shaped Vase with winged dragons and fairy flowers,
-raised outlines and coloured glazes on the biscuit. Sixteenth century.
-Height 8¾ inches. <i>Salting Collection.</i></p>
-  </div>
-
-<p>Of these, the most interesting personality was Hao Shih-chiu,<a id="FNanchor_156" href="#Footnote_156" class="fnanchor">[156]</a>
-scholar, painter, poet, and potter, who signed his wares with the
-fanciful name <i>Hu yin tao jên</i><a id="FNanchor_157" href="#Footnote_157" class="fnanchor">[157]</a> (Taoist hidden in a tea
-pot), to show that he “put his soul” into the making of his pots. He
-lived, we are told,<a id="FNanchor_158" href="#Footnote_158" class="fnanchor">[158]</a> in exaggerated simplicity, in hut, with a mat
-for a door and a broken jar for a window; but he was so celebrated
-as a man of talent and culture that his hut was frequented by the
-<i>literati</i>, who capped his verses and admired his wares. The
-latter were of great refinement and exquisitely beautiful, and his
-white “egg shell”<a id="FNanchor_159" href="#Footnote_159" class="fnanchor">[159]</a> wine cups were so delicate as to weigh less
-than a gramme.<a id="FNanchor_160" href="#Footnote_160" class="fnanchor">[160]</a> No less famous were his red wine cups, bright as
-vermilion, the colour floating in the glaze like red clouds. They
-were named <i>liu hsia chan</i><a id="FNanchor_161" href="#Footnote_161" class="fnanchor">[161]</a> (<i>lit.</i> floating red cloud
-cups), which has been poetically rendered by Bushell as “dawn-red wine
-cups” and “liquid dawn cups,” and were evidently one of the reds of
-the <i>chi hung</i> class produced by copper oxide in the glaze, like
-the beautiful wine cups with clouded maroon red glaze of the early
-eighteenth century. All these wares were eagerly sought by connoisseurs
-throughout <span class="pagenum" id="Page_65">[65]</span>the Chinese empire. “There were also elegantly formed
-pots (hu), in colour pale green, like Kuan and Ko wares, but without
-the ice crackle, and golden brown<a id="FNanchor_162" href="#Footnote_162" class="fnanchor">[162]</a> tea pots with reddish tinge,
-imitating the contemporary wares of the Ch’ên family at Yi-hsing,
-engraved underneath with the four characters, <i>Hu yin tao jên</i>.”</p>
-
-<p>The “red cloud” cups are eulogised by the poet Li Jih-hua in a verse
-addressed to their maker as fit to be “started from the orchid pavilion
-to float down the nine-bend river.”<a id="FNanchor_163" href="#Footnote_163" class="fnanchor">[163]</a></p>
-
-  <div class="figcenter" id="i119" style="width: 456px">
-     <img
-    class="p2"
-    src="images/i119.jpg"
-     alt="" />
-     <p class="p0 center">Plate 76.&mdash;Blue and White Porcelain. Sixteenth Century.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with monster handles, archaic dragons. Height 10⅞ inches.
-<i>Halsey Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Hexagonal Bottle, white in blue designs. Mark, a hare. Height
-11½ inches. <i>Alexander Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bottle with “garlic mouth,” stork and lotus scrolls, white in
-blue. Height 11 inches. <i>Salting Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Vase (<i>mei p’ing</i>), Imperial dragon and scrolls. Wan Li
-mark on the shoulder. Height 15 inches. <i>Coltart Collection.</i></p>
-  </div>
-
-<p>The two other potters of this period whose names have survived are
-Ou of Yi-hsing fame (vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>) and Chou Tan-ch’üan, whose
-wonderful imitations of Sung Ting ware have been described in vol.
-i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>. Many clever imitations of this latter porcelain were
-made at Ching-tê Chên in the Wan Li period, and a special material,
-<i>ch’ing-t’ien</i><a id="FNanchor_164" href="#Footnote_164" class="fnanchor">[164]</a> stone, was employed for the purpose; but the
-followers of Ch’ou Tan-ch’üan were not so successful as their master,
-and their wares are described as over-elaborate in decoration and quite
-inferior to Ch’ou’s productions. There was one type, however, which
-is specially mentioned, the oblong rectangular boxes made to hold
-seal-vermilion. These are described in a sixteenth-century work<a id="FNanchor_165" href="#Footnote_165" class="fnanchor">[165]</a> as
-either pure white or painted in blue, and usually six or seven inches
-long. They are accorded a paragraph in the <i>T’ao shuo</i><a id="FNanchor_166" href="#Footnote_166" class="fnanchor">[166]</a> under
-the heading of <i>fang ting</i> or “imitation Ting ware,” and they were
-probably of that soft-looking, creamy white crackled ware to which
-Western collectors have given the misleading name of “soft paste.”<a id="FNanchor_167" href="#Footnote_167" class="fnanchor">[167]</a></p>
-
-<p>Another private manufacture specially mentioned in the <i>T’ao
-lu</i><a id="FNanchor_168" href="#Footnote_168" class="fnanchor">[168]</a> was located in a street called <i>Hsiao nan</i> <img src="images/k_065a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />where, we are told,
-“they made wares of small size only, like a
-squatting frog, and<span class="pagenum" id="Page_66">[66]</span> called for that reason frog wares (<i>ha ma<a id="FNanchor_169" href="#Footnote_169" class="fnanchor">[169]</a>
-yao</i>). Though coarse, they were of correct form; the material was
-yellowish, but the body of the ware was thin; and though small, the
-vessels were strong. One kind of bowl was white in colour with a tinge
-of blue (<i>tai ch’ing</i>), and decorated in blue with a single orchid
-spray or bamboo leaves; and even those which had no painted design
-had one or two rings of blue at the mouth. These were called “white
-rice vessels” (<i>pai fan ch’i</i>). There were, besides, bowls with
-wide mouths and flattened rims (<i>p’ieh t’an</i>)<a id="FNanchor_170" href="#Footnote_170" class="fnanchor">[170]</a> but shallow,
-and pure white, imitating the Sung bowls. All these wares had a great
-vogue, both at the time and at the beginning of the present (i.e. the
-Ch’ing) dynasty.”</p>
-
-<p>Out of the comparatively large number of Wan Li porcelains in
-European collections the majority are blue and white. This is only
-to be expected, having regard to the preponderance of this style
-of decoration in the Imperial lists, and also to the fact that it
-was found easiest of all processes to execute. In fact, the censor
-pleading on behalf of the potters in 1583 asks that this style may be
-substituted for the more exacting polychrome and pierced work. It has
-already been mentioned that the supplies of Mohammedan blue apparently
-came to an end early in the reign, but there are enough examples of
-this colour associated with the Wan Li mark to show that it was used
-for part at least of the period. One of these is a well-potted bowl
-of fine white porcelain, entirely covered with Sanskrit characters
-(<i>chên yen tz’ŭ</i>), in the British Museum; and another piece* is a
-dish moulded in the form of an open lotus flower with petals in relief,
-and in the centre a single Sanskrit character. Both are painted in a
-clear and vivid Mohammedan blue, and have the Wan Li mark under the
-base. A dark violet blue, closely akin to the typical Chia Ching colour
-but with a touch of indigo, occurs on two dishes,* decorated with a
-pair of fishes among aquatic plants and bearing the four characters of
-the Wan Li mark surrounding a cartouche, which contains the felicitous
-legend, “Virtue, culture, and enduring<span class="pagenum" id="Page_67">[67]</span> spring” (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a>).
-An intense but more vivid violet blue, which betrays something of the
-Mohammedan blend, is seen on a ewer* of Persian form, decorated with a
-<i>ch’i-lin</i> reclining before a strangely Italian-looking fountain.
-The ware of this piece, though thick, is of fine grain, and the glaze
-has a faint greenish tinge, and its mark, a hare,<a id="FNanchor_171" href="#Footnote_171" class="fnanchor">[171]</a> (see vol. i., p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>) occurs on several other examples of varying quality, but all of
-late Ming character.</p>
-
-<p>Another group of marked Wan Li ware, comprising bowls and dishes
-with trim neat finish and obviously destined for table use, has a
-soft-looking glaze, often much worn, but, even in the less used parts,
-with a peculiar smoothness of surface which is, no doubt, largely due
-to age. There are three examples of this group in the British Museum,
-all painted in the same soft, dark indigo-tinged blue. One is a bowl
-with baskets of season flowers round the exterior, insects, and a
-border of dragon and phœnix pattern; while inside is a blue medallion
-with a full-face dragon reserved in white. The other two are dishes
-with figure subjects and gourd vine borders, which are interesting
-because the painting shows signs of a transition state, part being
-in flat Ming washes, and part showing the marbled effect which was
-afterwards characteristic of the K’ang Hsi blue and white.</p>
-
-<p>In striking contrast with this smooth, soft-surfaced ware is a vase* of
-square, beaker shape, and details which indicate a form derived from
-bronze. Though evidently an Imperial piece, it is of strong, heavy
-build, with a hard thick glaze of greenish tinge, so full of minute
-bubbles as to spread in places a veritable fog over the blue decoration
-beneath. The design, consisting of a dragon and phœnix among sprays of
-(?) lily, with rock and wave borders, is repeated in all the spaces,
-and below the lip in front is the Wan Li mark extended in a single
-line. A similar vase,* but with polychrome decoration, illustrated
-on Plate <a href="#i153">81</a>, will serve to show the form and design. Both are fine,
-decorative objects, in a strong, rugged style, which takes no account
-of small fire-flaws and slight imperfections in the glaze. The same
-strong, hard body and glaze is seen again on three flat, narrow-rimmed
-dishes,* which are conspicuous for unusual borders, two having a large
-checker and the<span class="pagenum" id="Page_68">[68]</span> third a chevron pattern, in addition to a thin blue
-line on either side of the edge. Sand adhering to the foot rim and
-faint radiating lines scored in the base are indications of rough
-finish, and they are clearly all the work of a private factory perhaps
-catering for the export trade.</p>
-
-<p>A variety of boxes figured in the Imperial lists, destined for holding
-incense, vermilion, chess pieces, handkerchiefs, caps, sweetmeats,
-cakes, etc. A fair number of these have survived and found their way
-into Western collections. Round, square, oblong with rounded ends,
-and sometimes furnished with interior compartments, they are usually
-decorated with dragon designs in dark blue, occasionally tricked out
-with touches of iron red; but miscellaneous subjects also occur in
-their decoration, as in a fine example exhibited at the Burlington Fine
-Arts Club in 1910,<a id="FNanchor_172" href="#Footnote_172" class="fnanchor">[172]</a> which has figure subjects on the cover and a
-landscape with waterfall, probably from a picture of the celebrated
-mountain scenery in Szechuan. Sometimes the covers of these boxes are
-perforated as though to allow some perfume to escape. Other interesting
-late Ming porcelains in the same exhibition were a pricket candlestick
-with cloud and dragon ornament and the Wan Li mark; a curious perfume
-vase (Plate <a href="#i079a">68</a>, Fig. 1), which illustrates the design of lions
-sporting with balls of brocade, an unmarked piece which might even be
-as early as Chia Ching; and a wide-mouthed vase lent by the Ashmolean
-Museum, Oxford, with the familiar design of fantastic lions moving
-among peonies and formal scrolls on the body and panels of flowers
-separated by trellis diaper on the shoulder. The last is a type which
-is not uncommon, but this particular example is interesting because it
-belonged to one of the oldest collections in England, presented to the
-Oxford Museum by John Tradescant, and mostly collected before 1627.</p>
-
-<p>The export trade with Western Asia was in full swing in the reign of
-Wan Li, and the Portuguese traders had already made their way to the
-Far East and brought back Chinese porcelain for European use. That it
-was, however, still a rare material in England seems to be indicated
-by the sumptuous silver-gilt mounts in which stray specimens were
-enshrined. Several of these mounted specimens still exist, and seven
-of them were seen at the Burlington Fine Arts Exhibition, 1910,<a id="FNanchor_173" href="#Footnote_173" class="fnanchor">[173]</a>
-the date of the mounts being about 1580–1590. Taken, as they may
-fairly be, as typical specimens, they show on the<span class="pagenum" id="Page_69">[69]</span> whole a porcelain
-of indifferent quality, with all the defects and virtues of export
-ware&mdash;the summary finish of skilful potters who worked with good
-material but for an uncritical public, and rapid, bold draughtsmanship
-in an ordinary quality of blue usually of greyish or indigo tint. The
-most finished specimen was a bowl from the Pierpont Morgan Collection,
-with a design of phœnixes and lotus scrolls finely drawn in blue of
-good quality. Unlike the others, it had a reign mark (that of Wan Li),
-and probably it was made at the Imperial factory. A bottle mounted
-as a ewer from the same collection had a scale pattern on the neck,
-flowering plants and birds on the body, and a saucer dish was painted
-in the centre with a typical late Ming landscape, with mountains, pine
-trees, pagoda, a pleasure boat, and sundry figures. The blue of this
-last piece was of fair quality but rather dull, and it had a double
-ring under the base void of mark. Another bowl had on the exterior
-panel designs with deer in white reserved in a blue ground, in a
-style somewhat similar to that of the bottle illustrated on Plate <a href="#i119">76</a>,
-Fig. 3. There is a bowl in the British Museum, mounted with
-silver-gilt foot and winged caryatid handles of about 1580 (Plate <a href="#i081">69</a>,
-Fig. 1). The porcelain is of fine white material with thick
-lustrous glaze of slightly bluish tint and “pinholed” here and there;
-and the design painted in blue with a faint tinge of indigo consists
-of a vase with a lotus flower and a lotus leaf and three egrets, in
-a medallion inside and four times repeated on the exterior. This is
-clearly an early Wan Li specimen, if, indeed, it is not actually as old
-as Chia Ching.</p>
-
-<p>The most remarkable collection of Chinese export porcelain is
-illustrated by Professor Sarre<a id="FNanchor_174" href="#Footnote_174" class="fnanchor">[174]</a> from a photograph which he was
-able to make of the <i>Chini-hane</i> or porcelain house attached to
-the mosque of Ardebil, in Persia. Ranged on the floor are some five
-hundred specimens&mdash;jars, vases, ewers, and stacks of plates, bowls
-and dishes, many of which had formerly occupied niches in the walls
-of the building erected by Shah Abbas the Great<a id="FNanchor_175" href="#Footnote_175" class="fnanchor">[175]</a> (1587–1628).
-Unfortunately, the conditions were not favourable to photography, and
-the picture, valuable as it is, only permits a clear view of the nearer
-objects, the rest being out of focus and represented by mere shadows
-of themselves. They are, we are told, mainly blue and<span class="pagenum" id="Page_70">[70]</span> white, but with
-a sprinkling of coloured pieces, and it is clear from the picture that
-they belong to various periods of the Ming dynasty, mostly to the later
-part. They include, no doubt, presents from the Chinese Court,<a id="FNanchor_176" href="#Footnote_176" class="fnanchor">[176]</a>
-besides the porcelains which came in the ordinary way of trade, and
-we recognise a large vase almost identical with the fine Chia Ching
-specimen on Plate <a href="#i093">72</a>: a small-mouthed, baluster-shaped vase, similar in
-form and decoration to a marked Wan Li specimen in the Pierpont Morgan
-Collection<a id="FNanchor_177" href="#Footnote_177" class="fnanchor">[177]</a>; a bowl with lotus scrolls in blotchy blue, recalling
-the style of Plate <a href="#i069">67</a>, Fig. 4; a ewer with the curious fountain design
-described on p. <a href="#Page_67">67</a>; besides a number of the ordinary late Ming export
-types and some celadon jars and bulb bowls of a slightly earlier
-period. Some of the pots, we are told, are almost a metre in height.
-Among the tantalising forms in the indistinct background are some large
-covered jars with a series of loop-handles on the shoulders, such as
-are found in Borneo and the East Indies (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>).</p>
-
-<p>One of the most attractive types of late Ming export porcelain, and at
-the same time the most easily recognised, consists of ewers, bowls,
-and dishes of thin, crisp porcelain with characteristic designs in
-pale, pure blue of silvery tone; see Plate <a href="#i129">77</a>, Fig. 1. The ware is of
-fine, white, unctuous material with a tendency (not very marked) to
-turn brown at the foot rim and in parts where the glaze is wanting.
-The glaze partakes of the faintly greenish tinge common to Ming wares,
-but it is clear and of high lustre. Here, again, a little sand or grit
-occasionally adhering to the foot rim and radiating lines lightly
-scored in the base indicate a summary finish which detracts from
-the artistic effect no more than the obviously rapid though skilful
-brushwork of the decoration. Sharply moulded forms and crinkled
-borders, admirably suited to this thin crisp material, give additional
-play to the lustrous glaze, and the general feeling of the ware is well
-expressed by Mr. F. Perzynski<a id="FNanchor_178" href="#Footnote_178" class="fnanchor">[178]</a> in his excellent study of the late
-Ming blue and white porcelains, in which he remarks that “the artists
-of this group have used thin, brittle material more like flexible metal
-than porcelain.”</p>
-
-<p>The designs as shown in the illustration are typical of the ware.</p>
-
-<p><span class="pagenum" id="Page_71">[71]</span></p>
-
-  <div class="figcenter" id="i129" style="width: 414px">
-     <img
-    class="p2"
-    src="images/i129.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 77</p>
-     <p class="p0 p-left">Two examples of Ming Blue and White Porcelain in the British Museum</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Ewer of thin, crisp porcelain with foliate mouth and rustic
-spout with leaf attachments. Panels of figure subjects and landscapes
-on the body: “rat and vine” pattern on the neck and a band of hexagon
-diaper enclosing a cash symbol. Latter half of the sixteenth century.
-Height 7 inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Octagonal stand perhaps for artist’s colours. On the sides
-are scenes from the life of a sage; borders of <i>ju-i</i> pattern and
-gadroons. On the top are lions sporting with brocade balls. Painted
-in deep Mohammedan blue. Mark of the Chia Ching period (1522–1566).
-Diameter 4¾ inches.</p>
-  </div>
-
-<p><span class="pagenum" id="Page_73">[73]</span></p>
-
-<p>A freely drawn figure of a man or woman usually in garden surroundings,
-standing before a fantastic rock or seated by a table and a
-picture-screen often form the leading motive, though this is varied by
-landscape, floral compositions, spirited drawings of birds (an eagle
-on a rock, geese in a marsh, a singing bird on a bough), or a large
-cicada on a stone among plants and grasses. The borders of dishes and
-the exteriors of bowls are divided into radiating compartments (often
-with the divisions lightly moulded) filled with figures, plant designs,
-symbols, and the like, and separated by narrow bands with pendent
-jewels and tasselled cords, which form perhaps the most constant
-characteristics of the group. Small passages of brocade diapers with
-swastika fret, hexagon and matting patterns, are used to fill up the
-spaces. The finer examples of this group are of admirable delicacy both
-in colour and design; but the type lasted well into the seventeenth
-century and became coarse and vulgarised. It appears in a debased
-form in the large dishes which were made in quantity for the Persian
-and Indian markets, overloaded with crudely drawn brocade diapers and
-painted in dull indigo blue, which is often badly fired and verges on
-black. The central designs on these dishes, deer in a forest, birds in
-marsh, etc., usually betray strong Persian influence.</p>
-
-<p>I am not aware of any specimens of this group, either of the earlier
-or the more debased kinds which bear date-marks, but still a clear
-indication of the period is given by various circumstances. A bowl in
-the National Museum at Munich is credibly stated to have belonged to
-William V., Duke of Bavaria (1579–1597),<a id="FNanchor_179" href="#Footnote_179" class="fnanchor">[179]</a> and a beautiful specimen,
-also a bowl, with silver-gilt mount of about 1585, is illustrated
-by Mr. Perzynski.<a id="FNanchor_180" href="#Footnote_180" class="fnanchor">[180]</a> The characteristic designs of this ware are
-commonplace on the Persian pottery of the early seventeenth century,
-and a Persian blue and white ewer in the British Museum, which is dated
-1616, clearly reflects the same style. The shallow dishes with moulded
-sides are frequently reproduced in the still-life pictures by the Dutch
-masters of the seventeenth century, from whose work many precious hints
-may be taken by the student of ceramics. To give one instance only,
-there are two such pictures<a id="FNanchor_181" href="#Footnote_181" class="fnanchor">[181]</a><span class="pagenum" id="Page_74">[74]</span> in the Dresden Gallery from the brush
-of Frans Snyders (1579–1657).</p>
-
-<p>We shall have occasion later on to discuss more fully another kind of
-blue and white porcelain for which the Chinese and American collectors
-show a marked partiality, and which has received the unfortunate
-title, “soft paste,” from the latter. It has an opaque body, often
-of earthy appearance, and a glaze which looks soft and is usually
-crackled, and the ware is usually of small dimensions, such as the
-Chinese <i>literatus</i> delighted to see in his study, and beautifully
-painted with miniature-like touches, every stroke of the brush clear
-and distinct. Ming marks&mdash;Hsüan Tê, Ch’êng Hua, etc.&mdash;are not uncommon
-on this ware, and there is no doubt that it was in use from the early
-reigns of the dynasty, but the style has been so faithfully preserved
-by the potters of the eighteenth century that it is wellnigh impossible
-to distinguish the different periods. A dainty specimen with the Wan Li
-mark illustrated in Fig. 2 of Plate <a href="#i231">93</a> will serve to show the
-delicacy and refinement of this exquisite porcelain. At the same time
-it should be mentioned that the imitation Ting wares described on p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>, vol. i., when painted in blue, are included in this group.</p>
-
-  <div class="figcenter" id="i133" style="width: 563px">
-     <img
-    class="p2"
-    src="images/i133.jpg"
-     alt="" />
-     <p class="p0 center">Plate 78.&mdash;Porcelain with pierced (<i>ling lung</i>)
-designs and biscuit reliefs. Late Ming.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bowl with Eight Immortals and pierced swastika fret. Diameter
-3¾ inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bowl with blue phœnix medallions, pierced trellis work and
-characters. Wan Li mark. Height 2¼ inches. <i>Hippisley Collection.</i></p>
-     <p class="p0 sm p-left">Fig 3.&mdash;Covered Bowl with blue and white landscapes and biscuit reliefs
-of Eight Immortals. Height 6½ inches. <i>Grandidier Collection.</i></p>
-  </div>
-
-<p>Two interesting kinds of decoration mentioned in the Wan Li list<a id="FNanchor_182" href="#Footnote_182" class="fnanchor">[182]</a>
-are frequently found in combination with blue and white; these are
-relief (<i>ting chuang</i> or <i>tui hua</i>) and pierced work (<i>ling
-lung</i>). Though both have been seen in various forms on the earlier
-wares, they occur at this period in a fashion which challenges special
-attention. I allude particularly to the small bowls with or without
-covers, decorated on the sides with unglazed (or “biscuit”) figures
-in detached relief, or with delicately perforated fretwork, or with
-a combination of both. The catalogue<a id="FNanchor_183" href="#Footnote_183" class="fnanchor">[183]</a> of the Pierpont Morgan
-Collection illustrates two covered bowls of the first type with the
-Eight Immortals in four pairs symmetrically arranged on the sides,
-and a “biscuit” lion on the cover doing duty for a handle. A similar
-bowl, formerly in the Nightingale Collection, had the same relief
-decoration and painted designs in the typical grey blue of the Wan
-Li period; and Fig. 3 of Plate <a href="#i133">78</a> represents an excellent <span class="pagenum" id="Page_75">[75]</span>example
-from the Grandidier collection. The Chinese were in the habit of
-daubing these biscuit reliefs (just as they did the unglazed details
-of statuettes) with a red pigment which served as a medium for oil
-gilding, but as neither of these coatings was fired they have worn away
-or been cleaned off in the majority of cases. In the Rijks Museum,
-Amsterdam, is a picture<a id="FNanchor_184" href="#Footnote_184" class="fnanchor">[184]</a> by Van Streeck (1632–1678), which shows
-one of these covered bowls with the biscuit reliefs coloured red, and
-Mr. Perzynski<a id="FNanchor_185" href="#Footnote_185" class="fnanchor">[185]</a> alludes to another in a still-life by Willem Kalf
-(1630–1693) in the Kaiser Frederick Museum, Berlin, with the figures
-both coloured<a id="FNanchor_186" href="#Footnote_186" class="fnanchor">[186]</a> and gilt. An excellent example of the second kind
-of decoration is illustrated by Fig. 2 of Plate <a href="#i133">78</a>, one of a set of
-four bowls in the Hippisley Collection, with phœnix medallions and
-other decoration in a fine grey blue, the spaces filled with perforated
-designs of the utmost delicacy, veritable “devil’s work,” to borrow a
-Chinese term for workmanship which shows almost superhuman skill. The
-small pierced medallions contain the characters <i>fu</i>, <i>shou</i>,
-<i>k’ang</i>, <i>ning</i><a id="FNanchor_187" href="#Footnote_187" class="fnanchor">[187]</a> (happiness, longevity, peace, and
-tranquillity), and under the base are the six characters of the Wan Li
-mark. A line cut in the glaze (before firing) at the lip and on the
-base-rim seems to have been designed to give a firm hold to a metal
-mount, a use to which it has been actually put in one case; and in
-another the glazing of the mark under the base has been omitted with
-the result that it has come from the kiln black instead of blue. The
-third kind which combines the reliefs and the pierced ornament is
-illustrated by Fig. 1 of Plate <a href="#i133">78</a>. The reliefs of these medallions
-are small and very delicately modelled, and the subjects are various,
-including human and animal figures, birds and floral compositions; the
-borders are often traced in liquid clay, which is left in unglazed
-relief. An example in the British Museum has an interior lining
-washed with blue to serve as a backing for the pierced work, and it
-is painted inside with dragon designs in Wan Li grey blue. It bears
-a mark which occurs on other late Ming porcelains, <i>yü tang chia
-ch’i</i> (beautiful vessel for the Jade Hall).<a id="FNanchor_188" href="#Footnote_188" class="fnanchor">[188]</a> Examples of this
-same<span class="pagenum" id="Page_76">[76]</span> pierced and relief work in white, without the supplementary blue
-designs, though rare, are yet to be seen in several collections. If
-marked at all they usually bear the apocryphal date of Ch’êng Hua,
-but an example in the Marsden Perry collection, Providence, U.S.A.,
-has the T’ien Ch’i (1621–1627) date under the base, which no doubt
-represents the true period of its manufacture. This intricate <i>ling
-lung</i> work, which the Wan Li censor deprecated as too difficult and
-elaborate, has been perpetuated, though it was probably never more
-beautifully executed than in the late Ming period. The later examples
-are mostly characterised by larger perforations, which were easier
-to manage. There are several references to the pierced and relief
-decorations in the lists of porcelain supplied to the Court of Wan
-Li, e.g. “brush rests with sea waves and three dragons in relief over
-pierced designs, and landscapes,” “landscape medallions among pierced
-work,” and “sacred fungus carved in openwork, and figures of ancient
-cash.” In the finer examples of pierced work the most frequent design
-is the fret or key pattern often interwoven with the four-legged
-symbol known as the swastika, which commonly serves in Chinese for
-the character <i>wan</i> (ten thousand), carrying a suggested wish
-for “long life,” as expressed in the phrase <i>wan sui</i> (Jap.
-<i>banzai</i>), ten thousand years. The pierced patterns are carved out
-of the porcelain body when the ware has been dried to a “leather-tough”
-consistency, and the manipulative skill exercised in the cutting and
-handling of the still plastic material is almost superhuman. Similar
-<i>tours de force</i> distinguish the Japanese Hirado porcelain, and
-Owen’s work in our own Worcester ware exhibits extraordinary skill, but
-I doubt if anything finer in this style has ever been made than the
-<i>ling lung</i> bowls of the late Ming potters.</p>
-
-<p>Another form of decoration which, if not actually included in the
-<i>ling lung</i> category, is at any rate closely allied to it, is
-the fretwork cut deeply into the body of the ware without actually
-perforating it, the hollows of the pattern being generally left without
-glaze. This ornament is used in borders or to fill the spaces between
-blue and white medallions after the manner of the pierced fretwork, and
-it was evidently contemporaneous with the latter, viz. dating from the
-late Ming period onwards (Plate <a href="#i079a">68</a>, Fig. 3).</p>
-
-<p>It will be convenient here to consider another type of decoration
-which was probably in use in the early periods of the Ming dynasty,<span class="pagenum" id="Page_77">[77]</span>
-certainly in the reign of Wan Li, and which has continued to modern
-times. This is the decoration in white clay varying in thickness from
-substantial reliefs to translucent brush work in thin slip or liquid
-clay, which allows the colour of the background to appear through
-it. The designs are painted or modelled in white against dark or
-light-coloured grounds of various shades&mdash;lustrous coffee brown (<i>tzŭ
-chin</i>), deep blue, slaty blue, lavender, celadon, plain white, and
-crackled creamy white&mdash;and they are usually slight and artistically
-executed. The process, which is the same in principle as in the modern
-<i>pâte sur pâte</i>, consisted of first covering the ground with
-colouring matter, then tracing the design in white slip (i.e. liquid
-clay) or building it up with strips of clay modelled with a wet brush,
-and finally covering it with a colourless glaze. In this case the
-white design has a covering of glaze. When a celadon green ground is
-used the design is applied direct to the biscuit and the celadon glaze
-covers the whole, but being quite transparent it does not obscure the
-white slip beneath. Sometimes, however, as in Fig. 3 of Plate <a href="#i117">75</a>, the
-design is unglazed and stands out in a dry white “biscuit.” Elaborate
-and beautiful examples of slip decoration were made in the K’ang Hsi
-and later periods, and Pére d’Entrecolles, writing in 1722, describes
-their manufacture, stating that steatite and gypsum were used to form
-the white slip.<a id="FNanchor_189" href="#Footnote_189" class="fnanchor">[189]</a> The Ming specimens are usually of heavier make
-and less graceful form, and distinguished by simplicity and strength
-of design, the backgrounds being usually lustrous brown or different
-shades of blue. They consist commonly of bottles, jars, flower pots,
-bulb bowls, dishes, and narghili bowls, and many of them were clearly
-made for export to Persia and India, where they are still to be found.
-On rare examples the slip decoration is combined with passages of blue
-and white.</p>
-
-<p>There is little to guide us to the dating of these wares, and marks
-are exceptional.<a id="FNanchor_190" href="#Footnote_190" class="fnanchor">[190]</a> There is, however, a flower pot in the British
-Museum with white design of <i>ch’i-lin</i> on a brown ground which
-has the late Ming mark <i>yü t’ang chia ch’i</i><a id="FNanchor_191" href="#Footnote_191" class="fnanchor">[191]</a>; and a specimen
-with an Elizabethan metal mount was exhibited at the Burlington Fine
-Arts Club in 1910.<a id="FNanchor_192" href="#Footnote_192" class="fnanchor">[192]</a> These are, no doubt, of Ching-tê Chên make;
-but there is a curious specimen in the British Museum which seems to
-be of provincial manufacture. It is a dish with slaty blue ground<span class="pagenum" id="Page_78">[78]</span> and
-plant designs with curious feathery foliage traced with considerable
-delicacy. The border of running floral scroll has the flowers outlined
-in dots, and the whole execution of the piece is as distinctive as
-the strange coarse base which shows a brown-red biscuit and heavy
-accretions of sand and grit at the foot rim. The same base and the same
-peculiarities of design appeared on a similar dish with celadon glaze
-exhibited by Mrs. Halsey at the Burlington Fine Arts Club in 1910,<a id="FNanchor_193" href="#Footnote_193" class="fnanchor">[193]</a>
-and in the British Museum there are other dishes clearly of the same
-make, but with (1) crackled grey white glaze and coarsely painted blue
-decoration, and (2) with greenish white glaze and enamelled designs
-in iron red and the Ming blue green. It is clear that we have to deal
-here with the productions of one factory, and though we have no direct
-clue to its identity, it certainly catered for the export trade to
-India and the islands; for the enamelled dishes of this type have been
-found in Sumatra. Mrs. Halsey’s dish came from India, and fragments
-of the blue and enamelled types were found in the ruins of the palace
-at Bijapur,<a id="FNanchor_194" href="#Footnote_194" class="fnanchor">[194]</a> which was destroyed by Aurungzebe in 1686. Probably
-the factory was situated in Fukien or Kuangtung, where it would be
-in direct touch with the southern export trade, and the style of
-the existing specimens points to the late Ming as the period of its
-activity.</p>
-
-<p>The process of marbling or “graining” has been tried by potters all the
-world over, and the Chinese were no exceptions. The effect is produced
-either by slips of two or more coloured clays worked about on the
-surface, or by blending layers of clays in two or more colours (usually
-brown and white) in the actual body. Early examples of this marbling
-occur among the T’ang wares, and Mr. Eumorfopoulos has examples of the
-Ming and later periods. One of these, a figure with finely crackled
-buff glaze and passages of brown and white marbling in front and on the
-back, has an incised inscription, stating that it was modelled by Ch’ên
-Wên-ching in the year 1597.<a id="FNanchor_195" href="#Footnote_195" class="fnanchor">[195]</a></p>
-
-<p>The use of underglaze red in the Wan Li period has already been
-mentioned (p. <a href="#Page_59">59</a>), and though Chinese writers classed it as<span class="pagenum" id="Page_79">[79]</span> <i>chi
-hung</i> they would not admit it to an equality with the brilliant
-reds of the fifteenth century.<a id="FNanchor_196" href="#Footnote_196" class="fnanchor">[196]</a> Where red is named in the lists
-of Imperial porcelains we are left in doubt as to its nature, whether
-under or over the glaze; but there are two little shallow bowls in the
-British Museum with a curious sponged blue associated with indifferent
-underglaze red painting, which bear the late Ming mark <i>yü t’ang
-chia ch’i</i>.<a id="FNanchor_197" href="#Footnote_197" class="fnanchor">[197]</a> A bowl of lotus flower pattern, similar in form to
-that described on p. <a href="#Page_66">66</a>, but deeper, and painted with similar designs
-in pale underglaze red, though bearing the Ch’êng Hua mark, seems to
-belong to the late Ming period.</p>
-
-<p>The Wan Li polychromes will naturally include continuations of
-the early Ming types, such as the large jars with decoration in
-raised outline, pierced or carved and filled in with glazes of
-the <i>demi-grand feu</i>&mdash;turquoise, violet purple, green and
-yellow&mdash;wares with flat washes of the same turquoise and purple,
-incised designs filled in with transparent glazes of the three
-colours (<i>san ts’ai</i>), green, yellow and aubergine, and, what is
-probably more truly characteristic of this period, combinations of
-the first and last styles. A good example of the transparent colours
-over incised designs is Fig. 1 of Plate <a href="#i141">79</a>, a vase of the form known
-as <i>mei p’ing</i> with green Imperial dragons in a yellow ground
-and the Wan Li mark. All three of the <i>san ts’ai</i> colours
-were also used separately as monochromes with or without engraved
-designs under the glaze, a striking example in the Pierpont Morgan
-Collection being a vase with dragon handles and engraved designs
-under a brilliant iridescent green glaze, “which appears like gold in
-the sunlight.”<a id="FNanchor_198" href="#Footnote_198" class="fnanchor">[198]</a> But though these types persisted, they would no
-doubt be gradually superseded by simpler and more effective methods
-of pictorial decoration in painted outline on the biscuit, filled in
-with washes of transparent enamels in the same three colours. These
-softer enamels, which contained a high proportion of lead and could be
-fired at the relatively low temperature of the muffle kiln, must have
-been used to a considerable extent in the late Ming period, though
-their full development belongs to the reign of K’ang Hsi, and there
-will always be a difficulty in separating the examples of these two<span class="pagenum" id="Page_80">[80]</span>
-periods, whether the colours be laid on in broad undefined washes, as
-on certain figures and on the “tiger skin” bowls and dishes, or brushed
-over a design carefully outlined in brown or black pigment. There is
-one species of the latter family with a ground of formal wave pattern
-usually washed with green and studded with floating plum blossoms,
-in which are galloping sea horses or symbols, or both, reserved and
-washed with the remaining two colours, or with a faintly greenish flux,
-almost colourless, which does duty for white. This species is almost
-always described as Ming; and with some reason, for the sea wave and
-plum blossom pattern is mentioned in the Wan Li lists as in polychrome
-combined with blue decoration. But the danger of assuming a specimen to
-be Ming because it exhibits a design which occurred on Ming porcelain
-is shown by an ink pallet in the British Museum, which is dated in the
-thirty-first year of K’ang Hsi, i.e. 1692. This important piece (Plate
-<a href="#i233">94</a>, Fig. 2) is decorated in enamels on the biscuit over black outlines
-with the wave and plum blossom pattern, the same yellow trellis diaper
-which appears on the base of the vase in Plate <a href="#i255">97</a>, and other diaper
-patterns which occur on so many of the so-called Ming figures. This
-piece is, in fact, a standing rebuke to those careless classifiers who
-ascribe all on-biscuit enamel indiscriminately to the Ming period, and
-I am strongly of opinion that most of the dishes,<a id="FNanchor_199" href="#Footnote_199" class="fnanchor">[199]</a> bowls, ewers,
-cups and saucers, and vases with the wave and plum blossom pattern and
-horses, etc., in which a strong green enamel gives the dominating tint,
-belong rather to the K’ang Hsi period. The same kind of decoration is
-sometimes found applied to glazed porcelain, as on Fig. 3 of Plate <a href="#i141">79</a>,
-a covered potiche-shaped vase in the British Museum with the design
-of “jewel mountains and sea waves,” with floating blossoms, and <i>pa
-pao</i><a id="FNanchor_200" href="#Footnote_200" class="fnanchor">[200]</a> symbols in green, yellow and white in an aubergine ground,
-supplemented by a few plain rings in underglaze blue. The style of this
-vase and the quality of the paste suggest that it really does belong to
-the late Ming period.</p>
-
-  <div class="figcenter" id="i141" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i141.jpg"
-     alt="" />
-     <p class="p0 center">Plate 79.&mdash;Wan Li Polychrome Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase (<i>mei p’ing</i>) with engraved design, green in a
-yellow ground, Imperial dragons in clouds, rock and wave border. Wan Li
-mark. Height 15 inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle with pierced casing, phœnix design, etc., painted in
-underglaze blue and enamels; cloisonné enamel neck. Height 23 inches.
-<i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Covered Jar, plum blossoms and symbols in a wave pattern
-ground, coloured enamels in an aubergine background. Height 15½ inches.
-<i>British Museum.</i></p>
-  </div>
-
-<p>The use of enamels over the glaze was greatly extended in the Wan Li
-period, though practically all the types in vogue at this time can
-be paralleled in the Chia Ching porcelain, and, indeed, have been
-discussed under that heading. There is the red family in which <span class="pagenum" id="Page_81">[81]</span>the
-dominant colour is an iron red, either of curiously sticky appearance
-and dark coral tint or with the surface dissolved in a lustrous
-iridescence. Yellow, usually a dark impure colour, though sometimes
-washed on extremely thin and consequently light and transparent,
-and transparent greens, which vary from leaf tint to emerald and
-bluish greens, occur in insignificant quantity. This red family is
-well illustrated by a splendid covered jar in the Salting Collection
-(Plate <a href="#i147">80</a>), and by three marked specimens in the British Museum, an
-ink screen, a bowl, and a circular stand. It also occurs on another
-significant piece in the latter collection, a dish admirably copying
-the Ming style but marked <i>Shên tê t’ang po ku chih</i><a id="FNanchor_201" href="#Footnote_201" class="fnanchor">[201]</a>
-(antique made for the Shên-tê Hall), a palace mark of the Tao Kuang
-period (1821–1850). It should be added that this colour scheme<a id="FNanchor_202" href="#Footnote_202" class="fnanchor">[202]</a> is
-frequently seen on the coarsely made and roughly decorated jars and
-dishes with designs of lions in peony scrolls, etc., no doubt made in
-large quantities for export to India and Persia. They are not uncommon
-to-day, and in spite of their obvious lack of finish they possess
-certain decorative qualities, due chiefly to the mellow red, which are
-not to be despised.</p>
-
-<p>But the characteristic polychrome of the period, the <i>Wan Li wu
-ts’ai</i>, combines enamelled decoration with underglaze blue, and
-this again can be divided into two distinctive groups. One of these is
-exemplified by Plate <a href="#i153">81</a>, an Imperial vase shaped after a bronze model
-and of the same massive build as its fellow in blue and white, which
-was described on p. <a href="#Page_67">67</a>. Here the underglaze blue is supplemented by the
-green, the impure yellow and the sticky coral red of the period, and
-the subject as on the blue and white example consists of dragons and
-phœnixes among floral scrolls with borders of rock and wave pattern.
-The object of the decorator seems to have been to distract the eye
-from the underlying ware, as if he were conscious of its relative
-inferiority, and the effect of this close design, evenly divided
-between the blue and the enamels, is rather checkered when viewed from
-a distance. But both form and decoration are characteristic of the
-Wan Li Imperial vases, as is shown by kindred specimens, notably by a
-tall vase in the Pierpont Morgan Collection, of which the design is
-similar and the<span class="pagenum" id="Page_82">[82]</span> form even more metal-like, having on the lower part
-the projecting dentate ribs seen on square bronze and cloisonné beakers
-of the Ming dynasty. Two other marked examples of this colour scheme,
-from which the absence of aubergine is noteworthy, are (1) a ewer
-in the British Museum with full-face dragons on the neck supporting
-the characters <i>wan shou</i> (endless longevity) and with floral
-sprays on a lobed body, and (2) a straight-sided box with moulded
-six-foil elevation, painted on each face with a screen before which
-is a fantastic animal on a stand, and a monkey, dog and cat in garden
-surroundings.</p>
-
-<p>The second&mdash;and perhaps the more familiar&mdash;group of <i>Wan Li wu
-ts’ai</i> is illustrated by Fig. 1 of Plate <a href="#i157">82</a>, on which all the
-colours, including aubergine, are represented in company with the
-underglaze blue. There is no longer the same patchy effect, because
-the blue is more evenly balanced by broader washes of the enamel
-colours, particularly the greens. The design of this particular example
-is a figure subject taken from Chinese history (<i>shih wu</i>),
-supplemented by a brocade band of floral scroll work on the shoulder
-and formal patterns on the neck and above the base. The former and
-the latter positions are commonly occupied in these vases by a band
-of stiff leaves and a border of false gadroons, both alternately blue
-and coloured. The stiff leaves in this instance are replaced by floral
-sprays, and the coloured designs are outlined in a red brown pigment.
-The mark under the base is the “hare,” which has already been noticed
-on examples of late Ming blue and white.<a id="FNanchor_203" href="#Footnote_203" class="fnanchor">[203]</a> Another late Ming mark,
-<i>yü t’ang chia ch’i</i>,<a id="FNanchor_204" href="#Footnote_204" class="fnanchor">[204]</a> occurs on a dish in the British Museum,
-with design of the Eight Immortals paying court to the god of Longevity
-(<i>pa hsien p’êng shou</i>), painted in the same style but with a
-predominance of underglaze blue.</p>
-
-<p><span class="pagenum" id="Page_83">[83]</span></p>
-
-  <div class="figcenter" id="i147" style="width: 514px">
-     <img
-    class="p2"
-    src="images/i147.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 80</p>
-     <p class="p0 p-left">Covered Jar or potiche. Painted in iron red and green enamels, with a
-family scene in a garden, and brocade borders of <i>ju-i</i> pattern,
-peony scrolls, etc. Sixteenth century.</p>
-     <p class="p0 sm" style="float:left">Height 17½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>Salting Collection</i> (<i>Victoria and Albert Museum</i>).</p>
-  </div>
-
-<p style="clear: both">But it is not necessary to multiply instances, for the type is well
-known, and must have survived for a long period. Indeed, many competent
-authorities assign the bulk of this kind of porcelain to the Yung
-Chêng period (1723–1735); and it is undoubtedly true that imitations
-of Wan Li polychrome were made at this time, for they are specifically
-mentioned in the Yung Chêng list of Imperial wares.<a id="FNanchor_205" href="#Footnote_205" class="fnanchor">[205]</a> But I am
-inclined to think that the number of these late attributions has been
-exaggerated, and that they do not take sufficiently into account the
-interval of forty-two years between the <span class="pagenum" id="Page_85">[85]</span>reigns of Wan Li and K’ang
-Hsi. It was a distracted time when the potters must have depended
-largely upon their foreign trade in default of Imperial orders, and it
-is probable that much of this ware, characterised by strong, rather
-coarse make, greyish glaze and boldly executed decoration in the Wan Li
-colour scheme, belongs to this intermediate period. The vases usually
-have the flat unglazed base which characterises the blue and white of
-this time.<a id="FNanchor_206" href="#Footnote_206" class="fnanchor">[206]</a> Two handsome beakers, with figure subjects and borders
-of the peach, pomegranate and citron, and a beautiful jar with phœnix
-beside a rock and flowering shrubs, in the British Museum, seem to
-belong to this period, but there are numerous other examples, many of
-which are coarse and crude, and obviously made wholesale for the export
-trade.</p>
-
-<p>Among the various examples of Wan Li polychrome exhibited at the
-Burlington Fine Arts Club in 1910, there was one which calls for
-special mention, a box<a id="FNanchor_207" href="#Footnote_207" class="fnanchor">[207]</a> with panels of floral designs surrounded
-by fruit and diaper patterns in the usual colours of the <i>wu
-ts’ai</i>, with the addition of an overglaze blue enamel. It is true
-that this blue enamel was clearly of an experimental nature and far
-from successful, but its presence on this marked and indubitable Wan Li
-specimen is noteworthy. For it has long been an article of faith with
-collectors that this blue enamel does not antedate the Ch’ing dynasty,
-being, in fact, a characteristic feature of the K’ang Hsi <i>famille
-verte</i> porcelain. The rule still remains an excellent one, and this
-solitary exception only serves to emphasise its general truth, showing
-as it does that so far the attempts at a blue enamel were a failure.
-But at the same time the discovery is a warning against a too rigid
-application of those useful rules of thumb, based on the generalisation
-from what must, after all, be a limited number of instances.</p>
-
-<p>Marked examples of Wan Li monochromes are rarely seen, but we may
-assume that the glazes in use in the previous reigns continued to be
-made&mdash;blue, lavender, turquoise, violet and aubergine brown, yellow in
-various shades, leaf green, emerald green, apple green, celadon, coffee
-brown, and golden brown&mdash;besides the more or less accidental effects
-in the mottled and <i>flambé</i> glazes. The plain white bowls of the
-period had a high reputation,<a id="FNanchor_208" href="#Footnote_208" class="fnanchor">[208]</a> and a good specimen in the British
-Museum, though far from equalling the Yung Lo bowl (Plate <a href="#i025">59</a>), is
-nevertheless a thing of beauty. The white<span class="pagenum" id="Page_86">[86]</span> wares of the Ting type made
-at this time have been already discussed.<a id="FNanchor_209" href="#Footnote_209" class="fnanchor">[209]</a> The monochrome surfaces
-were not infrequently relieved by carved or etched designs under the
-glaze, but it must be confessed that monochromes are exceedingly
-difficult to date. Particular colours and particular processes
-continued in use for long periods, and the distinctions between the
-productions of one reign and the next, or even between those of the
-late Ming and the early Ch’ing dynasties, are often almost unseizable.
-At best these differences consist in minute peculiarities of form and
-potting, in the texture of the body and glaze, and the finish of the
-base, which are only learnt by close study of actual specimens and
-by training the eye to the general character of the wares until the
-perception of the Ming style becomes instinctive. But something further
-will be said on this subject in the chapter on Ming technique.</p>
-
-<p><span class="pagenum" id="Page_87">[87]</span></p>
-
-  <div class="figcenter" id="i153" style="width: 413px">
-     <img
-    class="p2"
-    src="images/i153.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 81</p>
-     <p class="p0 p-left">Beaker-shaped Vase of bronze form, with dragon and phœnix designs
-painted in underglaze blue, and red, green and yellow enamels:
-background of fairy flowers (<i>pao hsiang hua</i>) and borders of
-“rock and wave” pattern. Mark of the Wan Li period (1573–1619) in six
-characters on the neck. An Imperial piece. Carved wood stand with cloud
-pattern.</p>
-     <p class="p0 sm" style="float:left">Height 18½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-
-<p class="center p2 sm" style="clear: both">THE LAST OF THE MINGS</p>
-
-<p class="center"><i>T’ai Ch’ang</i> <img src="images/k_086a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1620)</p>
-
-<p class="center"><i>T’ien Ch’i</i> <img src="images/k_086b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1621–1627)</p>
-
-<p class="center"><i>Ch’ung Chêng</i> <img src="images/k_086c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1628–1643)</p>
-
-<p>Chinese ceramic history, based on the official records, is silent
-on the subject of the three last Ming reigns, and we are left to
-infer that during the death struggles of the old dynasty and the
-establishment of the Manchu Tartars on the throne work at the Imperial
-factory was virtually suspended. The few existing specimens which bear
-the marks of T’ien Ch’i and Ch’ung Chêng (the T’ai Ch’ang mark is
-apparently unrepresented) are of little merit. A barrel-shaped incense
-vase with floral scrolls and a large bowl with four-clawed dragons
-of the former date in the British Museum are painted the one in dull
-greyish blue, and the other in a bright but rather garish tint of
-the same colour; both have a coarse body material with blisters and
-pitting in the glaze, and the painting of the designs is devoid of any
-distinction. Similarly, a polychrome saucer dish with the same mark
-and in the same collection, decorated with an engraved dragon design
-filled in with purple glaze in a green ground, carries on the early
-tradition of that type of Ming polychrome, but the ware is coarse,
-the design crudely drawn, and the colours <span class="pagenum" id="Page_89">[89]</span>impure.<a id="FNanchor_210" href="#Footnote_210" class="fnanchor">[210]</a> From the
-same unflattering characteristics another dish in the British Museum,
-with large patches of the three on-biscuit colours&mdash;green, yellow and
-aubergine&mdash;may be recognised as of the T’ien Ch’i make. This is a
-specimen of the so-called tiger skin ware, of which K’ang Hsi and later
-examples are known&mdash;a ware which, even in the best-finished specimens
-with underglaze engraved designs, is more curious than beautiful. On
-the other hand, one of the delicate bowls with biscuit figures in high
-relief, already described (p. <a href="#Page_75">75</a>), proves that the potters of the T’ien
-Ch’i period were still capable of skilful work when occasion demanded.
-A pair of wine cups in the British Museum, with freely drawn designs of
-geese and rice plants in pale greyish blue under a greyish glaze, are
-the solitary representatives of the Ch’ung Chêng mark.</p>
-
-<p>In the absence of Imperial patronage, and with the inevitable trade
-depression which followed in the wake of the fierce dynastic struggle,
-it was fortunate for the Ching-tê Chên potters that a large trade with
-European countries was developing. The Portuguese and Spanish had
-already established trading connections with the Chinese, and the other
-Continental nations&mdash;notably the Dutch&mdash;were now serious competitors.
-The Dutch East India Company was an extensive importer of blue and
-white porcelain, and we have already discussed one type of blue and
-white which figures frequently in the Dutch pictures of the seventeenth
-century.</p>
-
-<p>There is another group of blue and white which can be definitely
-assigned to this period of dynastic transition, between 1620–1662. A
-comparative study of the various blue and white types had already led
-to the placing of this ware in the middle of the seventeenth century,
-and Mr. Perzynski, in those excellent articles<a id="FNanchor_211" href="#Footnote_211" class="fnanchor">[211]</a> to which we have
-already alluded, has set out the characteristics of this ware at some
-length, with a series of illustrations which culminate in a dated
-example. There will be no difficulty in finding a few specimens of
-this type in any large collection of blue and white. It is recognised
-by a bright blue of slightly violet tint under a glaze often hazy with
-minute bubbles, which suggested to Mr. Perzynski the picturesque simile
-of “violets in milk.” Other more tangible<span class="pagenum" id="Page_90">[90]</span> characteristics appear in
-the designs, which commonly consist of a figure subject&mdash;a warrior or
-sage and attendant&mdash;in a mountain scene bordered by a wall of rocks
-with pine trees and swirling mist, drawn in a very mannered style and
-probably from some stock pattern. Other common features are patches of
-herbage rendered by pot-hook-like strokes, formal floral designs of a
-peculiar kind, such as the tulip-like flower on the neck of Fig. 4 of
-Plate <a href="#i157">82</a>; the band of floral scroll work on the shoulder of the same
-piece is also characteristic. In many of the forms, such as cylindrical
-vases and beakers, the base is flat and unglazed, and reveals a good
-white body, and European influence is apparent in some of the shapes,
-such as the jugs and tankards.</p>
-
-<p>As for the dating of this group, an early example of the style of
-painting in the Salting Collection<a id="FNanchor_212" href="#Footnote_212" class="fnanchor">[212]</a> has a silver mount of the
-early seventeenth century, and a tankard of typical German form in the
-Hamburg Museum has a silver cover dated 1642.<a id="FNanchor_213" href="#Footnote_213" class="fnanchor">[213]</a> There is, besides, a
-curious piece in the British Museum, the decoration of which has strong
-affinities to this group. It is a bottle with flattened circular body
-and tall, tapering neck, with landscape and figures on one side and
-on the other a European design copied from the reverse of a Spanish
-dollar, and surrounded by a strap-work border. The dollar, from a
-numismatic point of view, might have been made equally well for Philip
-II. (1556–1598), Philip IV. (1621–1665), or Charles II. (1665–1700),
-but there can be little doubt from the style of the ware that it
-belonged to one of the two earlier reigns.</p>
-
-<p>A comparison of the ware and the blue of this group leads to the
-placing of the fairly familiar type illustrated by Figs. 3 and 5
-of Plate <a href="#i157">82</a> in the same intermediate period, and similarly certain
-specimens of polychrome, with underglaze blue and the usual enamels,
-display the characteristic body and blue painting, and even some of the
-decorative mannerisms. These specimens, particularly when of beaker
-form, are often finished off with a band of ornament engraved under the
-glaze.</p>
-
-  <div class="figcenter" id="i157" style="width: 530px">
-     <img
-    class="p2"
-    src="images/i157.jpg"
-     alt="" />
-     <p class="p0 center">Plate 82.&mdash;Late Ming Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1&mdash;Jar of Wan Li period, enamelled. Mark, a hare. Height 9 inches.
-<i>British Museum.</i> Fig. 2. Bowl with Eight Immortals in relief,
-coloured glazes on the biscuit. Height 3¼ inches. <i>Eumorfopoulos
-Collection.</i></p>
-     <p class="p0 sm p-left">Figs. 3, 4 and 5.&mdash;Blue and white porcelain, early seventeenth century.
-Height of Fig. 5, 17 inches. <i>British Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i159" style="width: 498px">
-     <img
-    class="p2"
-    src="images/i159.jpg"
-     alt="" />
-     <p class="p0 center">Plate 83.&mdash;Vase</p>
-     <p class="p0 sm p-left">With blue and white decoration of rockery, phœnixes, and flowering
-shrubs. Found in India. Late Ming period. Height 22 inches. <i>Halsey
-Collection.</i></p>
-  </div>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_91">[91]</span></p>
-
-<h2 class="smaller">CHAPTER VI<br />
-<span class="subhed">THE TECHNIQUE OF THE MING PORCELAIN</span></h2></div>
-
-<p class="drop-cap p-left">Although the processes involved in the various kinds of decoration and
-in the different wares have been discussed in their several places, a
-short summary of those employed in the manufacture of the Ching-tê Chên
-porcelain during the Ming period will be found convenient. The bulk of
-the materials required were found in the surrounding districts, if not
-actually in the Fou-liang Hsien. The best kaolin (or porcelain earth)
-was mined in the Ma-ts’ang mountains until the end of the sixteenth
-century, when the supply was exhausted and recourse was had to another
-deposit at Wu-mên-t’o. The quality of the Wu-mên-t’o kaolin was
-first-rate, but as the cost of transport was greater and the manager
-of the Imperial factory refused to pay a proportionately higher price,
-very little was obtained. The material for the large dragon bowls, and
-presumably for the other vessels of abnormal size, was obtained from
-Yü-kan and Wu-yüan and mixed with powdered stone (<i>shih mo</i>) from
-the Hu-t’ien district. Other kaolins, brought from Po-yang Hsien and
-the surrounding parts, were used by the private potters, not being
-sufficiently fine for the Imperial wares.</p>
-
-<p>The porcelain stone, which combined with the kaolin to form the two
-principal ingredients of true porcelain, came from the neighbourhoods
-of Yü-kan and Wu-yüan, where it was pounded and purified in mills
-worked by the water power of the mountains, arriving at Ching-tê Chên
-in the form of briquettes. Hence the name <i>petuntse</i>,<a id="FNanchor_214" href="#Footnote_214" class="fnanchor">[214]</a> which,
-like kaolin, has passed into our own language, and the term <i>shih
-mo</i> (powdered stone) used above.</p>
-
-<p>The glaze earth (<i>yu t’u</i>) in various qualities was supplied from
-different places. Thus the Ch’ang-ling material was used for the blue
-or green (<i>ch’ing</i>) and the yellow glazes, the Yi-k’êng for the
-pure white porcelain, and the T’ao-shu-mu for white porcelain and<span class="pagenum" id="Page_92">[92]</span>
-for “blue and white.” This glazing material was softened with varying
-quantities of ashes of lime burnt with ferns or other frondage. Neither
-time nor toil was spared in the preparation of the Imperial porcelains,
-and according to the <i>T’ung-ya</i><a id="FNanchor_215" href="#Footnote_215" class="fnanchor">[215]</a> the vessels were, at one time
-at any rate, dried for a whole year after they had been shaped and
-before finishing them off on the lathe. When finished off on the lathe
-they were glazed and dried, and if there were any inequalities in the
-covering they were glazed again. Furthermore, if any fault appeared
-after firing they were put on the lathe, ground smooth, and reglazed
-and refired.</p>
-
-<p>It was not the usual custom with Chinese potters to harden the ware
-with a slight preliminary firing before proceeding to decorate and
-apply the glaze, and consequently such processes as underglaze painting
-in blue, embossing, etc., were undergone while the body was still
-relatively soft and required exceedingly careful handling. The glaze
-was applied in several ways&mdash;by dipping in a tub of glazing liquid
-(i.e. glaze material finely levigated and mixed with water), by
-painting the glaze on with a brush, or by blowing it on from a bamboo
-tube, the end of which was covered with a piece of tightly stretched
-gauze. One of the last operations was the finishing off of the foot,
-which was hollowed out and trimmed and the mark added (if it was to be
-in blue, as was usually the case) and covered with a spray of glaze.
-To the connoisseur the finish of the foot is full of meaning. It is
-here he gets a glimpse of the body which emerges at the raw edge of
-the rim, and by feeling it he can tell whether the material is finely
-levigated or coarse-grained. The foot rim of the Ming porcelains is
-plainly finished without the beading or grooves of the K’ang Hsi wares,
-which were evidently designed to fit a stand<a id="FNanchor_216" href="#Footnote_216" class="fnanchor">[216]</a>; and the raw edge
-discloses a ware which is almost always of fine white texture and close
-grain (often almost unctuous to the touch), though the actual surface
-generally assumes a brownish tinge in the heat of the kiln. The base
-is often unglazed in the case of large jars and vases, rarely in the
-cups, bowls, dishes, or wine pots, except among the coarser types of
-export porcelain. A little sand or grit adhering to the foot rim and
-radiating lines under the base caused by a jerky movement of the lathe
-are signs<span class="pagenum" id="Page_93">[93]</span> of hasty finish, which occur not infrequently on the export
-wares. The importance of the foot in the eyes of the Chinese collector
-may be judged from the following extract from the <i>Shih ch’ing jih
-cha</i><a id="FNanchor_217" href="#Footnote_217" class="fnanchor">[217]</a>:&mdash;</p>
-
-<div class="blockquot">
-
-<p>“Distinguish porcelain by the vessel’s foot. The Yung Lo
-'press-hand’ bowls have a glazed bottom but a sandy foot;
-Hsüan ware altar cups have 'cauldron’<a id="FNanchor_218" href="#Footnote_218" class="fnanchor">[218]</a> bottom (i.e. convex
-beneath) and wire-like foot; Chia Ching ware flat cups decorated
-with fish have a 'loaf’ centre<a id="FNanchor_219" href="#Footnote_219" class="fnanchor">[219]</a> (i.e. convex inside) and
-rounded foot. All porcelain vessels issue from the kiln with
-bottoms and feet which can testify to the fashion of the firing.”</p>
-</div>
-
-<p>It is not always easy unaided by illustration to interpret the Chinese
-metaphors, but it is a matter of observation that many of the Sung
-bowls, for instance, have a conical finish under the base, and that the
-same pointed finish appears on some of the early Ming types, such as
-the red bowls with Yung Lo mark. The “loaf centre” of the Chia Ching
-bowls seems to refer to the convexity described on p. <a href="#Page_35">35</a>. The blue and
-white conical bowls with Yung Lo mark (see p. <a href="#Page_6">6</a>) have, as a rule, a
-small glazed base and a relatively wide unglazed foot rim.</p>
-
-<p>But this digression on the nether peculiarities of the different wares
-has led us away from the subject of glaze. The proverbial thickness and
-solidity of the early Ming glazes, which are likened to “massed lard,”
-are due to the piling up of successive coatings of glaze to ensure a
-perfect covering for the body, and the same process was responsible
-for the undulating appearance of the surface, which rose up in small
-rounded elevations “like grains of millet” and displayed corresponding
-depressions.<a id="FNanchor_220" href="#Footnote_220" class="fnanchor">[220]</a> This uneven effect, due to an excess of glaze, was
-much prized by the Chinese connoisseurs, who gave it descriptive
-names like “millet markings,” “chicken skin,” or “orange peel,” and
-the potters of later periods imitated it freely and often to excess.
-Porcelain glazes are rarely dead white, and, speaking generally, it
-may be said that the qualifying<span class="pagenum" id="Page_94">[94]</span> tint in the Ming period was greenish.
-Indeed, this is the prevailing tone of Chinese glazes, but it is
-perhaps accentuated by the thickness of the Ming glaze. This greenish
-tinge is most noticeable when the ware is ornamented with delicate
-traceries in pure white clay or slip under the glaze.</p>
-
-<p><span class="pagenum" id="Page_95">[95]</span></p>
-
-  <div class="figcenter" id="i167" style="width: 474px">
-     <img
-    class="p2"
-    src="images/i167.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 84</p>
-     <p class="p0 sm p-left">Vase of baluster form with small mouth (<i>mei p’ing</i>). Porcelain
-with coloured glazes on the biscuit, the designs outlined in slender
-fillets of clay. A meeting of sages in a landscape beneath an ancient
-pine tree, the design above their heads representing the mountain mist.
-On the shoulders are large <i>ju-i</i> shaped lappets enclosing lotus
-sprays, with pendent jewels between: fungus (<i>ling chih</i>) designs
-on the neck. Yellow glaze under the base. A late example of this style
-of ware, probably seventeenth century.</p>
-     <p class="p0 sm" style="float:left">Height 11 inches.</p>
-     <p class="p0 sm" style="float:right"><i>Salting Collection</i> (<i>Victoria and Albert Museum</i>).</p>
-  </div>
-
-<p style="clear: both">As for the shape of the various Ming wares, much has already been
-said in reference to the various lists of Imperial porcelains, more
-particularly with regard to the household wares such as dishes,
-bowls, wine pots, boxes, etc. No precise description, however, is
-given in these lists of the actual forms of the vases, and we have to
-look elsewhere for these. There are, however, extracts from books on
-vases<a id="FNanchor_221" href="#Footnote_221" class="fnanchor">[221]</a> and on the implements of the scholar’s table in the <i>T’ao
-shuo</i> and the <i>T’ao lu</i>, in which a large number of shapes
-are enumerated. Observation of actual specimens shows that bronze and
-metal work supplied the models for the more elaborate forms which
-would be made, partly or wholly, in moulds. These metallic forms,
-so much affected by the Chinese <i>literatus</i>, though displaying
-great cleverness in workmanship and elaboration of detail, are not
-so pleasing to the unprejudiced Western eye as the simple wheel-made
-forms of which the Chinese potter was a perfect master. Of the latter,
-the most common in Ming porcelains are the potiche-shaped covered
-jar (Plate <a href="#i147">80</a>) and the high-shouldered baluster vase with small neck
-and narrow mouth (Plate <a href="#i167">84</a>), which was known as <i>mei p’ing</i> or
-prunus jar from its suitability for holding a flowering branch of that
-decorative flower. Next to these, the most familiar Ming forms are the
-massive and often clumsy vases of double gourd shape, or with a square
-body and gourd-shaped neck, bottles with tapering neck and globular
-body, ovoid jars, melon-shaped pots with lobed sides, jars with rounded
-body and short narrow neck, all of which occur in the export wares.
-These are, as a rule, strongly built and of good white material, and
-if the shoulders are contracted <span class="pagenum" id="Page_97">[97]</span>(as is nearly always the case)
-they are made in two sections, or more in the case of the double forms,
-with no pains taken to conceal the seam. Indeed, elaborate finish had
-no part in the construction of these strong, rugged forms, which are
-matched by the bold design and free drawing of the decoration. I may
-add that sets of vases hardly come within the Ming period. They are
-an un-Chinese idea, and evolved in response to European demands. The
-mantelpiece sets of five (three covered jars and two beakers) are a
-development of the mid-seventeenth century when the Dutch traders
-commanded the market. The Chinese altar-set of five ritual utensils
-is the nearest approach to a uniform set, consisting as it did of an
-incense burner, two flower vases, and two pricket candlesticks, often
-with the same decoration throughout.</p>
-
-<p>The Ming bowls vary considerably in form, from the wide-mouthed,
-small-footed bowl (<i>p’ieh</i>) of the early period to the rounded
-forms, such as Fig. 1 of Plate <a href="#i105">74</a>. In some cases the sides are moulded
-in compartments, and the rims sharply everted. Others again are very
-shallow, with hollow base and no foot rim; others follow the shape of
-the Buddhist alms bowl with rounded sides and contracted mouth; and
-there are large bowls for gold-fish (<i>yü kang</i>), usually with
-straight sides slightly expanding towards the upper part and broad
-flat rims, cisterns, hot-water bowls with double bottom and plug hole
-beneath, square bowls (Plate <a href="#i067">66</a>, Fig. 1) for scraps and slops, and
-large vessels, probably of punch-bowl form, known as “wine seas.” The
-commonest type of Chinese dish is saucer-shaped, but they had also
-flat plates bounded by straight sides and a narrow rim, which has no
-relation to the broad, canted rim of the European plate constructed to
-carry salt and condiments.</p>
-
-<p>The Chinese use porcelain plaques for inlaying in furniture and
-screens, or mounting as pictures, and there are, besides, many objects
-of purely native design, such as barrel-shaped garden seats for summer
-use, cool pillows, and hat stands with spherical top and tall, slender
-stems. But it was only natural that when they began to cater for the
-foreign market many foreign forms should have crept in, such as the
-Persian ewer with pear-shaped body, long elegant handle and spout, the
-latter usually joined to the neck by an ornamental stay: the hookah
-bowl: weights with wide base and ball-shaped tops for keeping down
-Indian mats, etc., when: spread on the ground; and at the end of the
-Ming period a few<span class="pagenum" id="Page_98">[98]</span> European shapes, such as jugs and tankards. In the
-Ch’ing dynasty European forms were made wholesale.</p>
-
-<hr class="tb" />
-
-<p>In considering the colours used in the decoration, we naturally
-take first the limited number which were developed in the full heat
-of the porcelain furnace, the <i>couleurs de grand feu</i> of the
-French classification. These were either incorporated in the glazing
-material or painted on the porcelain body and protected by the glaze.
-Chief among them was blue, which we have already discussed in its
-various qualities. The Mohammedan blue&mdash;the <i>su-ni-p’o</i> of the
-Hsüan Tê period and the <i>hui hui ch’ing</i> of the reigns of Chêng
-Tê and Chia Ching&mdash;was an imported material of pre-eminent quality
-but of uncertain supply. It was supplemented&mdash;and, indeed, usually
-blended&mdash;with the native mineral<a id="FNanchor_222" href="#Footnote_222" class="fnanchor">[222]</a> which was found in several
-places. Thus the <i>po-t’ang</i> blue (so called from a place name)
-was found in the district of Lo-p’ing Hsien in the Jao-chou Fu; but
-the mines were closed after a riot in the Chia Ching period, and its
-place was taken by a blue known as <i>shih-tzŭ ch’ing</i> (stone, or
-mineral, blue) from the prefecture of Jui-chou in Kiangsi. According to
-Bushell<a id="FNanchor_223" href="#Footnote_223" class="fnanchor">[223]</a> the <i>po-t’ang</i> blue was very dark in colour, and it
-was sometimes known as <i>Fo t’ou ch’ing</i> (Buddha’s head blue) from
-the traditional colour of the hair of Buddha. Another material used
-for painting porcelain was the <i>hei chê shih</i> (black red mineral)
-from Hsin-chien in Lu-ling, which was also called <i>wu ming tzŭ</i>.
-It was evidently a cobaltiferous ore of manganese and a blue-producing
-mineral, doubtless the same as the <i>wu ming i</i> (nameless wonder),
-which we have already found in use as a name for cobalt.</p>
-
-<p>Much confusion exists, in Chinese works, on the subject of these
-blues, and it is stated in one place that the “Buddha head blue” was a
-variety of the <i>wu ming i</i>, which would make the <i>po t’ang</i>
-blue and the <i>wu ming i</i> and the <i>wu ming tzŭ</i> one and the
-same thing. In effect they were the same species of mineral, and the
-local distinctions are of no account at the present day except in so
-far as they explain the variety of tints in the Ming blue and white.
-It is, however, interesting to learn from a note on Mohammedan blue<span class="pagenum" id="Page_99">[99]</span>
-in the K’ang Hsi Encyclopædia that the native mineral, when carefully
-prepared, was very like the Mohammedan blue in tint.</p>
-
-<p>All these blues were used either for painting under the glaze or for
-mixing with the glaze to form ground colours or monochromes, which
-varied widely in tint, according to the quantity and quality of the
-cobalt, from dark violet blue (<i>chi ch’ing</i>) through pale and
-dark shades of the ordinary blue colour to slaty blue and lavender.
-Some of them&mdash;notably the lavender and the dark violet blue&mdash;are
-often associated with crackle, being used as an overglaze covering a
-greyish white crackled porcelain. This treatment of the surface is
-well illustrated by a small covered jar in the British Museum with a
-dark violet blue apparently uncrackled but covering a crackled glaze.
-Two lavender blue bowls in the Hippisley Collection with the Chêng Tê
-mark are similarly crackled. Other Ming blue monochromes are a small
-pot found in Borneo and now in the British Museum with a dark blue of
-the ordinary tint used in painted wares, and a wine pot in the same
-collection with dragon spout and handle of a peculiar slaty lavender
-tint strewn with black specks, the colour evidently due to a strain of
-manganese in the cobalt.</p>
-
-<p>Next in importance to the blue is the underglaze red derived from
-copper, which was discussed at length in connection with the Hsüan Tê
-porcelains.<a id="FNanchor_224" href="#Footnote_224" class="fnanchor">[224]</a> Its various tints, described as <i>hsien hung</i>
-(fresh red), <i>pao shih hung</i> (ruby red), and cinnabar bowls “red
-as the sun,” are, we may be sure, more or less accidental varieties of
-the capricious copper red. The same mineral produced the <i>sang de
-bœuf</i>, maroon and liver reds, and probably the peach bloom<a id="FNanchor_225" href="#Footnote_225" class="fnanchor">[225]</a> of
-the K’ang Hsi and later porcelains.</p>
-
-<p>Other colours incorporated in the high-fired glaze in the Ming period
-are the pea green (<i>tou ch’ing</i>) or celadon, and the lustrous
-brown (<i>tzŭ chin</i>) which varied from coffee colour to that of
-old gold. Both of these groups derived their tint from iron oxide,
-carried in the medium of ferruginous earth. The use of two or more of
-these coloured glazes on one piece is a type of polychrome which was
-doubtless used on the Ming as on the later porcelains.</p>
-
-<p>The glazes fired at a lower temperature, in the cooler parts of the
-great kiln, and known for that reason as <i>couleurs de demi-grand
-feu</i>, include turquoise (<i>ts’ui sê</i>), made from a preparation
-of old copper (<i>ku t’ung</i>) and nitre; bright yellow (<i>chin
-huang</i>), composed<span class="pagenum" id="Page_100">[100]</span> of 1⅕ oz. of antimony mixed with 16 oz. of
-pulverised lead; bright green (<i>chin lü</i>), composed of 1⅖ oz. of
-pulverised copper, 6 oz. of powdered quartz and 16 oz. of pulverised
-lead; purple (<i>tzŭ sê</i>), composed of 1 oz. of cobaltiferous ore
-of manganese, 6 oz. of powdered quartz and 16 oz. of pulverised lead.
-These colours, melting as they did at a lower temperature than that
-required to vitrify the porcelain body, had to be applied to an already
-fired porcelain “biscuit.”<a id="FNanchor_226" href="#Footnote_226" class="fnanchor">[226]</a></p>
-
-<p>The irregular construction of the Chinese kilns resulted in a great
-variety of firing conditions, of which the Chinese potter made good
-use; so that, by a judicious arrangement of the wares, glazes which
-required a comparatively low temperature were fired in the same kiln
-as those which needed the same heat as the porcelain body itself. The
-glazes just enumerated are familiar from the large covered jars, vases,
-garden seats, etc., with designs raised, carved, or pierced in outline,
-many of which date from the fifteenth century.<a id="FNanchor_227" href="#Footnote_227" class="fnanchor">[227]</a> Their manufacture
-continued throughout the Ming period, both in porcelain and pottery,
-and in the latter, at any rate, continued into the Ch’ing dynasty.</p>
-
-<p>Another group of glazes applied likewise to the biscuit and fired
-in the temperate parts of the kiln differs from the last mentioned
-in its greater translucency.<a id="FNanchor_228" href="#Footnote_228" class="fnanchor">[228]</a> These are the <i>san ts’ai</i> or
-three colours, viz. green, yellow and aubergine, all of which contain
-a considerable proportion of lead, and differ little in appearance
-from the on-glaze enamels of the muffle kiln. They were used either as
-monochromes, plain or covering incised designs, or in combination to
-wash over the spaces between the outlines of a pattern which had been
-incised or painted on the biscuit.</p>
-
-<p>Finally, the enamels of the <i>Wan li wu ts’ai</i>,<a id="FNanchor_229" href="#Footnote_229" class="fnanchor">[229]</a> overglaze
-colours used in addition to underglaze blue, were composed of a
-vitreous flux coloured with a minute quantity of metallic oxide. The
-flux, being a glass containing a high percentage of lead, was fusible
-at such a low temperature that it was not possible to fire them in the
-large kiln. Consequently these enamels were painted on to the finished
-glaze, a process which greatly increased the freedom of<span class="pagenum" id="Page_101">[101]</span> design, and
-fired in a small “muffle” or enameller’s kiln, where the requisite heat
-to melt the flux and fix the colours could be easily obtained.</p>
-
-<p>Though the <i>T’ao shuo</i>, in the section dealing with Ming
-technique, makes a general allusion to painting in colours on the
-glaze, the only specific reference to any colour of the muffle kiln,
-excepting gold, is to the red obtained from sulphate of iron (<i>fan
-hung sê</i>). This, we are told, was made with 1 oz. of calcined
-sulphate of iron (<i>ch’ing fan</i>) and 5 oz. of carbonate of lead,
-mixed with Canton ox-glue to make it adhere to the porcelain before it
-was fired. This is the iron red, the <i>rouge de fer</i> of the French,
-which varies in tint from orange or coral to deep brick red, and in
-texture from an impalpable film almost to the consistency of a glaze,
-according to the quantity of lead flux used with it. On the older wares
-it is often deeply iridescent and lustrous, owing to the decomposition
-of the lead flux. This <i>fan hung</i> is the colour which the Chia
-Ching potters were fain to substitute for the underglaze copper red
-(<i>chi hung</i>) when the usual material for that highly prized colour
-had come to an end, and difficulty was experienced in finding an
-effective substitute.</p>
-
-<p>The remaining colours of the on-glaze palette are more obviously
-enamels; that is to say, glassy compounds; and as they were, in
-accordance with Chinese custom, very lightly charged with colouring
-matter, it was necessary to pile them on thickly where depth of colour
-was required.</p>
-
-<p>Hence the thickly encrusted appearance of much of the Chinese enamelled
-porcelain. The Wan Li enamels consisted of transparent greens of
-several shades (all derived from copper), including a very blue green
-which seems to have been peculiar to the Ming palette, yellow (from
-antimony) pale and clear or brownish and rather opaque, and transparent
-aubergine, a colour derived from manganese and varying in tint from
-purple to brown. Two thin dry pigments&mdash;one an iron red and the other
-a brown black colour derived from manganese&mdash;were used for drawing
-outlines; and the brown black was also used in masses with a coating of
-transparent green to form a green black colour, the same which is so
-highly prized on the <i>famille noire</i> porcelains of the K’ang Hsi
-period. As for the blue enamel of the K’ang Hsi period, it can hardly
-be said to have existed before the end of the Ming dynasty.<a id="FNanchor_230" href="#Footnote_230" class="fnanchor">[230]</a></p>
-
-<p><span class="pagenum" id="Page_102">[102]</span></p>
-
-<p>Gilding, which was apparently in use throughout<a id="FNanchor_231" href="#Footnote_231" class="fnanchor">[231]</a> the Ming period,
-was applied to the finished porcelain and fired in the muffle kiln. The
-gold leaf, combined with one-tenth by weight of carbonate of lead, was
-mixed with gum and painted on with a brush. The effect, as seen on the
-red and green bowls (Plate <a href="#i105">74</a>), was light and filmy, and though the
-gold often has the unsubstantial appearance of size-gilding, in reality
-it adheres firmly<a id="FNanchor_232" href="#Footnote_232" class="fnanchor">[232]</a> and is not easily scratched.</p>
-
-<p>Of the other processes described in the <i>T’ao shuo</i>,<a id="FNanchor_233" href="#Footnote_233" class="fnanchor">[233]</a> embossed
-(<i>tui</i> <img src="images/k_102a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />) decoration was effected by applying strips or
-shavings of the body material and working them into form with a wet
-brush. Some of the more delicate traceries, in scarcely perceptible
-relief, are painted in white slip. Engraved (<i>chui</i> <img src="images/k_102b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />)
-decoration was effected by carving with an iron graving-tool on the
-body while it was still soft. And so, too, with the openwork (<i>ling
-lung</i>), which has already been described.<a id="FNanchor_234" href="#Footnote_234" class="fnanchor">[234]</a> All these processes
-were in use in one form or another from the earliest reigns of the Ming
-dynasty, and some of them, at any rate, have been encountered on the
-Sung wares. High reliefs, such as the figures on the bowls described
-on p. <a href="#Page_74">74</a>, would be separately modelled and “luted” on by means of
-liquid clay; and, as already noted, these reliefs were often left in
-the biscuit state, though at times we find them covered with coloured
-glazes. It is hardly necessary to add that the same processes were
-applied to pottery, and that the reliefs took many other forms besides
-figures, e.g. dragon designs, foliage, scrollwork, symbols, etc.</p>
-
-<p><span class="pagenum" id="Page_103">[103]</span></p>
-
-  <div class="figcenter" id="i177" style="width: 403px">
-     <img
-    class="p2"
-    src="images/i177.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 85</p>
-     <p class="p0 sm p-left">Vase with crackled greenish grey glaze coated on the exterior with
-transparent apple green enamel: the base unglazed. Probably sixteenth
-century.</p>
-     <p class="p0 sm" style="float:left">Height 14 inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-<p style="clear: both">The crackled glazes of the Sung period were still made, though the Ming
-tendency was to substitute painted decoration for monochrome; and we
-have already noted the crackled blue and lavender in which a second
-glaze is added to a grey white crackle. This process is particularly
-noticeable in the “apple green” monochromes (Plate <a href="#i177">85</a>), both of the
-Ming and Ch’ing dynasties, in which a green overglaze itself uncrackled
-is washed on to a crackled stone grey porcelain. The green is often
-carried down over the slightly browned biscuit of the foot rim, forming
-a band of brown. But <span class="pagenum" id="Page_105">[105]</span>this, so far from being a peculiarity of the
-Ming technique, is much more conspicuous on the porcelains of the early
-eighteenth century, when it was the constant practice to dress the foot
-rim of the crackled wares with a brown ferruginous earth in imitation
-of the “iron foot” of their Sung prototypes.</p>
-
-<p>The work at the Imperial factory<a id="FNanchor_235" href="#Footnote_235" class="fnanchor">[235]</a> was divided between twenty-three
-departments, nine of which were occupied with accessories, such as
-the making of ropes and barrels, general carpentry, and even boat
-building. Five separate departments were employed in making the large
-bowls, the wine cups, the plates, the large round dishes, and the tea
-cups; another in preparing the “paste” or body material, and another in
-making the “seggars” or fireclay cases in which the ware was packed in
-the kiln. Five more were occupied in the details of decoration, viz.
-the mark and seal department, the department for engraving designs, the
-department for sketching designs, the department for writing, and the
-department for colouring.</p>
-
-<p>It does not appear that the work of decoration was so minutely
-subdivided in the Ming period as in later times, when we are told that
-a piece of porcelain might pass through more than seventy hands; but it
-is clear, at least, that the outlining and filling in of the designs
-were conducted in separate sheds. This is, indeed, self-apparent
-from the Ming blue and white porcelains, the designs of which are
-characterised by strong and clear outlines filled in with flat washes
-of colour.</p>
-
-<p>With regard to the actual designs, we are told that in the Ch’êng
-Hua period they were drawn by the best artists at the Court, and
-from another passage<a id="FNanchor_236" href="#Footnote_236" class="fnanchor">[236]</a> it is clear that the practice of sending
-the patterns from the palace continued in later reigns as well.
-Such designs would no doubt accumulate, and probably they were
-collected together from time to time and issued in the form of
-pattern books.<a id="FNanchor_237" href="#Footnote_237" class="fnanchor">[237]</a> Another method in which the painters of Ming
-blue and white were served with patterns is related in the <i>T’ao
-shuo</i><a id="FNanchor_238" href="#Footnote_238" class="fnanchor">[238]</a>:&mdash;“For painting in blue, the artists were collected each
-day at dawn and at noon, and the colour for painting was distributed
-among<span class="pagenum" id="Page_106">[106]</span> them. Two men of good character were first selected, the
-larger pieces of porcelain being given to one, the smaller pieces
-to the other; and when they had finished their painting, the amount
-of the material used was calculated before the things were taken to
-the furnace to be baked. If the results were satisfactory, then the
-pieces were given as models to the other painters, and in the rest of
-the pieces painted, the quantity of the colour used and the depth of
-the tint was required to be in exact accordance with these models.”
-There was little scope for originality or individual effort under
-this system, where everything, even to the amount of material used,
-was strictly prescribed. To translate their model with feeling and
-accuracy was the best that could be expected from the rank and file.
-But with the manual skill and patient industry for which the Chinese
-are proverbial, and the good taste which prevailed in the direction
-of the work, it was a system admirably suited to the task, and it
-unquestionably led to excellent results.</p>
-
-<p>As to the systems in use in the private factories we have no
-information, but we may fairly assume that their processes were much
-the same; and that, not having the benefit of the designs sent from
-Court, they were more dependent upon the pattern books and stock
-designs more or less remotely connected with the work of famous
-painters.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_107">[107]</span></p>
-
-<h2 class="smaller">CHAPTER VII<br />
-<span class="subhed">MISCELLANEOUS PORCELAIN FACTORIES</span></h2></div>
-
-<p class="drop-cap p-left">Although from the Ming period onwards our interest is almost entirely
-centred in Ching-tê Chên, there were other factories which cannot
-be altogether ignored. A certain number have already been mentioned
-at the end of the first volume, our scanty information being drawn
-chiefly from the pottery section of the K’ang Hsi Encyclopædia. The
-same monumental work includes in another part<a id="FNanchor_239" href="#Footnote_239" class="fnanchor">[239]</a> a discourse on
-porcelain (<i>tz’ŭ ch’i</i>), in which several additional factories
-are named. The passage in question is prefaced by a quotation from the
-<i>Tien hung k’ai wu</i>, a late-seventeenth century manual, in which
-we are told that the white earth (<i>o t’u</i><a id="FNanchor_240" href="#Footnote_240" class="fnanchor">[240]</a>) necessary for the
-manufacture of fine and elegant ware was found in China in five or six
-places only<a id="FNanchor_241" href="#Footnote_241" class="fnanchor">[241]</a>: viz. at Ting Chou, in the Chên-ting Fu in Chih-li, at
-Hua-ting Chou in the Ping-liang Fu in Shensi, at P’ing-ting Chou in the
-T’ai-yüan Fu in Shansi, and at Yü Chou in the K’ai-fêng Fu in Honan,
-in the north; and at Tê-hua Hsien in the Ch’üan-chou Fu in Fukien, at
-Wu-yüan Hsien and Ch’i-mên Hsien in the Hui-chou Fu, in Anhui, in the
-south. As to the wares made in these localities, we are told that the
-porcelains of the Chên-ting and K’ai-fêng districts were generally
-yellow and dull and without the jewel-like brilliancy, and that all put
-together were not equal to the Jao Chou ware. It would appear, then,
-that the Ting Chou factories so noted in Sung times were still extant,
-though they had lost their importance. For the rest, the Ch’i-mên
-district supplied Ching-tê Chên with the raw material, the Tê-hua wares
-will be discussed presently, and we have no information about the
-productions (if any) of the other localities.</p>
-
-<p><span class="pagenum" id="Page_108">[108]</span></p>
-
-<p>The province of Fukien apparently contained several factories
-besides the important centre at Tê-hua. The Annals of Ch’üan-chou Fu
-(celebrated as a trading port in the Middle Ages), for instance, are
-quoted with reference to a porcelain (<i>tz’ŭ ch’i</i>) manufacture
-at Tz’ŭ-tsao in the Chin-chiang Hsien, and three other places in the
-district of An-ch’i are named as producers of white porcelain which was
-inferior to that of Jao Chou. Similarly, the Annals of Shao-wu Fu, on
-the north-east border of the province, allude to white porcelain made
-at three places,<a id="FNanchor_242" href="#Footnote_242" class="fnanchor">[242]</a> the factory at T’ai-ming in An-jen being the
-best, but all were far from equalling the Jao Chou ware.</p>
-
-<p>The district of Wên-chou Fu (formerly in the south of Fukien but now
-transferred to northern Chekiang) was noted for pottery in the distant
-days of the Chin dynasty (265–419 <span class="allsmcap">A.D.</span>), and for the “bowls
-of Eastern Ou.”<a id="FNanchor_243" href="#Footnote_243" class="fnanchor">[243]</a> Of its subsequent ceramic history we have no
-information, but there is an interesting specimen in the British Museum
-which seems to bear on the question. It is an incense burner in the
-form of a seated figure of the god of Longevity on a deer, skilfully
-modelled in strong white porcelain and painted in a good blue in the
-Ming style; and on the box in which it came was a note to the effect
-that it is Wên-chou ware. If there is any truth in this legend (and it
-would be quite pointless if untrue), then a blue and white porcelain in
-the style of the better class of Ming export ware was made at Wên-chou.</p>
-
-<p>Another interesting specimen in the same museum, which should also be
-mentioned here, is a bottle with wide straight neck, of fine white ware
-thickly potted, with soft, smooth-worn glaze painted in a greyish blue
-with a medley of flowers, fruit, insects, and symbols, completed by
-borders of <i>ju-i</i> heads and stiff leaves. It is marked under the
-base in a fine violet blue, <i>fu fan chih ts’ao</i>, which, rendered
-“made on the borders of Fukien,” might refer to the factories at
-Shao-wu Fu or even Wên-chou Fu. This is another piece which has many
-affinities with the late Ming export blue and white.</p>
-
-<p>But the Fukien porcelain <i>par excellence</i> is a white ware of
-distinctive character and great beauty which was and still is made<span class="pagenum" id="Page_109">[109]</span> at
-Tê-hua Hsien, in the central part of the province.<a id="FNanchor_244" href="#Footnote_244" class="fnanchor">[244]</a> This is the
-<i>blanc de Chine</i> of the French writers and the modern Chien yao of
-the Chinese, but to be carefully distinguished from the ancient Chien
-yao with mottled black glaze which was made in the Sung dynasty at
-Chien-yang in the north of the province.<a id="FNanchor_245" href="#Footnote_245" class="fnanchor">[245]</a> The <i>T’ao lu</i><a id="FNanchor_246" href="#Footnote_246" class="fnanchor">[246]</a>
-informs us that the porcelain industry at Tê-hua began in the Ming
-dynasty, that the cups and bowls usually had a spreading rim, that
-the ware was known as <i>pai tz’ŭ</i> (white porcelain), that it was
-rich and lustrous but, as a rule, thick, and that the images of Buddha
-were very beautiful. This condensed account is supplemented by a few
-remarks in the K’ang Hsi Encyclopædia,<a id="FNanchor_247" href="#Footnote_247" class="fnanchor">[247]</a> from which we gather that
-the material for the ware was mined in the hills behind the Ch’êng
-monastery and that it was very carefully prepared, but if the porcelain
-was worked thin it was liable to lose shape in the kiln, and if it was
-too thick it was liable to crack. At first it was very expensive, but
-by the time of writing (about 1700) it was widely distributed and no
-longer dear.</p>
-
-<p>Tê-hua porcelain is, in fact, a fine white, highly vitrified material,
-as a rule very translucent and covered with a soft-looking, mellow
-glaze which blends so intimately with the body that they seem to be
-part and parcel of one another. The glaze varies in tone from ivory or
-cream white to the colour of skim milk, and its texture may be aptly
-described by the homely comparison with blancmange. When the ivory
-colour is suffused by a faint rosy tinge, it is specially prized; but
-I can find no reason for supposing that the cream white and milk white
-tints represent different periods of the ware. On the contrary, there
-is good evidence to show that they were made concurrently.</p>
-
-<p>As the ware is with few exceptions plain white or white decorated
-with incised, impressed, moulded, or applied ornaments of a rather
-formal and often archaic character, there will always be a difficulty
-in determining the date of the finer specimens, viz. whether they
-are Ming or early Ch’ing. The nature of the ware itself is a most
-uncertain guide, for one of the most beautiful examples of the material
-which I have seen is a figure of a European soldier which<span class="pagenum" id="Page_110">[110]</span> cannot be
-older than 1650. I need hardly say that owners of Fukien porcelain,
-particularly of the figures, habitually give themselves the benefit of
-this ever present doubt, and that these pieces are usually listed in
-sale catalogues as Ming or early Ming according to taste. This attitude
-is fundamentally illogical, for the ware is still made at the present
-day, and the Ming specimens in modern collections are likely to be the
-exception, and not, as optimistic owners would lead one to suppose, the
-rule. But in any case it will be more convenient to deal with the ware
-as a whole in the present chapter than to attempt the difficult task of
-treating its different periods separately, even though the bulk of our
-examples belong to the Ch’ing dynasty.</p>
-
-<p>Tê-hua porcelain can be conveniently studied in the British Museum,
-where there is a fairly representative collection comprising more
-than a hundred specimens. It includes a number of the figures for
-which the factories were specially noted, of deities and sages such
-as Kuan-yin, goddess of Mercy; Kuan-yü, god of War; Bodhidharma, the
-Buddhist apostle; Manjusri, of the Buddhist Trinity; Hsi-wang-mu, the
-Taoist queen of the west; the Taoist Immortals; besides small groups
-representing romantic or mythological subjects such as Wang Chih
-watching the two spirits of the pole stars playing chess. But the
-favourite subject of the Tê-hua modeller was the beautiful and gracious
-figure of Kuan-yin, represented in various poses as standing on a cloud
-base with flowing robes, seated in contemplation on a rocky pedestal,
-or enthroned between her two attributes, the dove&mdash;which often carries
-a necklace of pearls&mdash;and the vase of nectar, while at her feet on
-either side stand two diminutive figures representing<a id="FNanchor_248" href="#Footnote_248" class="fnanchor">[248]</a> her follower
-Lung Nü (the dragon maid), holding a pearl, and the devoted comrade
-of her earthly adventures Chên Tsai. The Kuan-yin of this group is
-reputed to have been the daughter of a legendary eastern King named
-Miao-chuang, but other accounts make the deity a Chinese version of the
-Buddhist Avalokitesvara, and it is certain that her representations
-as the Kuan-yin with eleven heads and again with a “thousand” hands
-reflect Indian traditions. In the latter manifestations the sex of the
-deity is left in doubt, but there can be no question on that head when
-she is represented with a babe in her arms as “Kuan-yin the Maternal,”
-to whom childless women pray, a figure strangely<span class="pagenum" id="Page_111">[111]</span> resembling our images
-of the Virgin and Child. Indeed, we are told<a id="FNanchor_249" href="#Footnote_249" class="fnanchor">[249]</a> that the Japanese
-converts to Christianity in the sixteenth century adopted the Kuan-yin
-figure as a Madonna, and that there is in the Imperial Museum in the
-Ueno Park, Tokio, a remarkable collection of these images among the
-Christian relics. There is, however, another deity with whom this
-Kuan-yin may easily be confounded, viz. the Japanese Kichimojin, also
-“the Maternal,” the Sanskrit Hâriti, who was once the devourer of
-infants but was converted by Sakyamuni and was afterwards worshipped as
-the protector of children. This deity figures in Japanese pictorial art
-as a “female holding a peach and nursing in her bosom an infant, whose
-hands are folded in prayer. In front stand two nude children, one of
-whom grasps a peach, the other a branch of bamboo.”<a id="FNanchor_250" href="#Footnote_250" class="fnanchor">[250]</a></p>
-
-<p>Among the Tê-hua porcelains in the British Museum are no fewer than
-nine specimens&mdash;groups, figures, or ornamental structures&mdash;with figures
-in European costumes which date from the middle to the end of the
-seventeenth century. One, a soldier apparently Dutch, about 1650,
-is well modelled in deliciously mellow and translucent cream white
-porcelain. Most of the others are more roughly designed, and vary in
-tint from cream to milk white.</p>
-
-<p>It is said that the natives of the Fukien province are among the most
-superstitious of the Chinese, and Bushell<a id="FNanchor_251" href="#Footnote_251" class="fnanchor">[251]</a> sees a reflection of
-this religious temperament in the nature of the Tê-hua wares. If this
-is so, they must have had exalted opinions of their European visitors,
-whom they often furnish with the attributes of Chinese divinities,
-representing them in positions and poses which seem to caricature
-native deities and sages. There is, for instance, an ornament in form
-of a mountain retreat with a shrine in which is seated a figure in a
-three-cornered European hat and a Buddha-like attitude. Another group
-consists of a European mounted on a <i>ch’i-lin</i>, posing as an
-Arhat, and another of a European standing on a dragon’s head which
-would symbolise to the Chinese the attainment of the highest literary
-honours.</p>
-
-<p>There are, besides, in the British Museum collection figures of animals
-and birds, the Buddhist lion, the cock, the hawk, or the<span class="pagenum" id="Page_112">[112]</span> parrot,
-mostly fitted with tubes to hold incense sticks; and there are a pair
-of well modelled figures of Chou dogs.</p>
-
-<p>As for the vessels of Tê-hua porcelain, they consist chiefly of incense
-vases and incense burners, libation cups shaped after bronze or
-rhinoceros horn models, brush pots, wine cups, water vessels for the
-study table and the like (often beautifully modelled in the form of
-lotus leaves or flowers), boxes, tea and wine pots, cups and bowls, and
-more rarely vases.</p>
-
-<p>An extensive trade was done with the European merchants, whose
-influence is apparent in many of the wares, such as coffee cups with
-handles, mugs of cylindrical form or globular with straight ribbed
-necks in German style, and “barber-surgeons’ bowls” with flat pierced
-handles copied from silver models. Indeed, the superficially European
-appearance of some of these pieces has led serious students to mistake
-them for early Meissen porcelain and even for that nebulous porcelain
-supposed to have been made by John Dwight, of Fulham, at the end of the
-seventeenth century. Père d’Entrecolles<a id="FNanchor_252" href="#Footnote_252" class="fnanchor">[252]</a> incidentally mentions the
-fact that some Ching-tê Chên potters had in the past removed to Fukien
-in the hope of making profits out of the European traders at Amoy, and
-that they had taken their plant and even their materials with them, but
-that the enterprise was a failure.</p>
-
-<p>Conversely, the influence of the Tê-hua wares is obvious in many of
-the early European porcelains, such as those made at Meissen, St.
-Cloud, Bow, and Chelsea, which were often closely modelled on the
-Fukien white. There is, indeed, a striking similarity between the
-creamy soft-paste porcelain of St. Cloud and the creamy variety of the
-<i>blanc de chine</i>, both having the same mellow, melting appearance
-in the glaze.</p>
-
-  <div class="figcenter" id="i187" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i187.jpg"
-     alt="" />
-     <p class="p0 center">Plate 86.&mdash;Fukien Porcelain, Ming Dynasty.</p>
-     <p class="p0 sm p-left">Fig 1.&mdash;Figure of Kuan-yin with boy attendant. Ivory white. Height 10¼
-inches. <i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle with prunus sprigs in relief, the glaze crackled all
-over and stained a brownish tint. Height 9⅛ inches. <i>Eumorfopoulos
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Figure of Bodhidharma crossing the Yangtze on a reed. Ivory
-white. Height 7½ inches. <i>Salting Collection</i> (<i>V. &amp; A.
-Museum</i>).</p>
-  </div>
-
-  <div class="figcenter" id="i189" style="width: 434px">
-     <img
-    class="p2"
-    src="images/i189.jpg"
-     alt="" />
-     <p class="p0 center">Plate 87.&mdash;Ivory White Fukien Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Libation Cup. About 1700. Length 3⅞ inches. <i>British
-Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Cup with sixteenth-century mount. Height 2 inches. <i>Dresden
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Incense Vase and Stand. About 1700. Diameter 6¾ inches.
-<i>British Museum.</i></p>
-  </div>
-
-<p>It would be possible to guess from these European copies, if we had no
-other means, the character of the Tê-hua porcelain of the K’ang Hsi
-period with its quaintly moulded forms, its relief decoration of prunus
-sprigs, figures of Immortals, deer, etc., the only conspicuously absent
-type being the incised<a id="FNanchor_253" href="#Footnote_253" class="fnanchor">[253]</a> ornament which was unsuited to the European
-ware. But there is no lack of actual <span class="pagenum" id="Page_113">[113]</span>specimens of the period of
-active export which extended from about 1650–1750. Naturally they vary
-greatly in quality, which depends on the purity and translucence of
-the ware whether it be cream or milk white, and on the soft aspect
-and rich lustre of the glaze. A large series, which may be taken as
-representative of the K’ang Hsi period, was collected by Augustus
-the Strong, and is still to be seen at the Johanneum at Dresden; or,
-rather, part of it is still there, for much of that historic collection
-was given away or pilfered from time to time, and many specimens with
-the Dresden catalogue numbers engraved are now to be found in our own
-museums. Many of the figures at Dresden have evidently been coated
-with a kind of black paint, which probably served as a medium for oil
-gilding, but this unfired colouring has worn away, and only traces now
-remain.</p>
-
-<p>Occasionally one finds among the Tê-hua wares a specimen with dry
-appearance and crazed or discoloured glaze, defects due to faulty
-firing or to burial in damp soil. Such pieces are surprising in a
-ware with such apparent homogeneity of body and glaze, and the crazed
-examples might be easily mistaken for one of the <i>t’u ting</i> (or
-earthy Ting ware) types.</p>
-
-<p>As to the history of the factories, it is expressly stated in the
-<i>T’ao lu</i> that they were started in the Ming dynasty. No account
-need be taken of the few legendary specimens to which tradition assigns
-an earlier origin than this, such as the so-called flute of Yoshitsune,
-a twelfth-century hero of Japan, and the incense burner in St. Mark’s,
-Venice, which is reputed to have been brought from China by Marco Polo.
-The latter is of the same model as Fig. 3 of Plate <a href="#i189">87</a>, perhaps from the
-same mould, and I have seen at least half a dozen others in London. A
-third piece which was long regarded as a document is the jewelled white
-plate in the Dresden collection, supposed to have been brought back
-from Syria by a Crusader in the twelfth century. The story is no doubt
-apocryphal, but in any case it has no real bearing on the question,
-for the plate is not Fukien ware but a specimen of white Ching-tê Chên
-porcelain with a “shop mark” in underglaze blue. It has been set with
-jewels in India or Persia, like a sixteenth-century bowl in the British
-Museum, but the “Crusader plate” is probably a century later.</p>
-
-<p>Brinkley<a id="FNanchor_254" href="#Footnote_254" class="fnanchor">[254]</a> asserts, without giving any authority, that the Tê-hua
-industry was virtually discontinued at the end of the eighteenth<span class="pagenum" id="Page_114">[114]</span>
-century, and revived in recent years. The latter part of the
-statement is unquestionably true, for we have the eye-witness of a
-missionary<a id="FNanchor_255" href="#Footnote_255" class="fnanchor">[255]</a> who visited the place about 1880 and describes the
-manufactory as the most extensive of its kind in Fukien&mdash;“pottery,
-pottery everywhere, in the fields, in the streets, in the shops. In
-the open air children are painting the cups. Each artist paints with
-his own colour and his own few strokes, whether a leaf, a tree, a
-man’s dress or beard, and passes it over to his neighbour, who in
-turn applies his brush to paint what is his share in the decoration.”
-Unfortunately there is no reason to suppose that the writer made his
-observations with an expert eye which would make a distinction between
-pottery and porcelain, but in any case it is certain that he found a
-vast ceramic industry in full blast at Tê-hua.</p>
-
-<p>With reference to the modern ware Brinkley says<a id="FNanchor_256" href="#Footnote_256" class="fnanchor">[256]</a>: “A considerable
-number of specimens are now produced and palmed off upon unwary
-collectors. But the amateur can easily avoid such deceptions if he
-remembers that in genuine pieces of ivory white the ware is always
-translucid when held up to the light, a property which, if not entirely
-absent, is only possessed in a comparatively slight degree by the
-modern product. The general quality of the glaze and the technique
-of a piece should be sufficient guides, but if any doubt remains an
-examination of the base of the specimens will probably dispel it. In
-the old ware the bottom of a vase or bowl, though carefully finished,
-is left uncovered, whereas the modern potter is fond of hiding his
-inferior pâte by roughly overspreading it with a coat of glaze.”</p>
-
-<p>Probably these observations are in the main correct, but experience
-shows that relative opacity and glazed bases are by no means confined
-to modern wares. Still, if the collector aims at acquiring pieces of
-good colour, whether cream or milk white, with translucent body, pure
-glaze and sharp modelling, he is not likely to go far astray.</p>
-
-<p>The description quoted above of the painting of modern Fukien ware
-is interesting in view of the common assertion that the Tê-hua white
-porcelain was never painted. This assertion is probably based on a
-passage in the first letter of Père d’Entrecolles: “Celle (i.e. la
-porcelaine) de Fou-kien est d’un blanc de neige qui n’a nul éclat<span class="pagenum" id="Page_115">[115]</span> et
-qui n’est point mélangé de couleurs.” On the other hand, a distinct
-reference is made to the painting in colours in a modern Chinese
-work.<a id="FNanchor_257" href="#Footnote_257" class="fnanchor">[257]</a> Unfortunately, the question has been complicated by the
-existence of many pieces of Fukien white which have been enamelled
-in Europe. In the first half of the eighteenth century in Holland,
-Germany, and elsewhere, there were decorators busy enamelling white
-porcelain of whatever kind they could get, and the <i>blanc de
-chine</i> offered a ready subject for this treatment. The decoration
-thus added was usually in Oriental taste, and might be confused with
-indifferent Chinese work. Many of these pieces are in the British
-Museum. On the other hand, there are in the same collection two
-cups with roughly painted floral designs in green and red which
-are obviously Chinese, though they might well have been painted in
-the mechanical method described by Mr. Dukes, which was probably
-traditional. Mr. Eumorfopoulos possesses several good examples of this
-painted Fukien ware, one of which may be described to show the style
-of painting affected. It is executed in leaf green, lustrous red, and
-the turquoise green which we associate with the Wan Li period, and
-the form&mdash;a double-bottomed bowl&mdash;is likewise reminiscent of the Ming
-dynasty.</p>
-
-<p>The Japanese, whose traditions have often proved most misleading,
-have frequently classed the Fukien white as Corean porcelain
-(<i>haku-gorai</i> or white Corean), probably because specimens reached
-them from the Corean ports. In the British Museum, for instance, there
-is a beautiful white incense vase, formerly in the collection of Mr.
-Ninagawa of Tokio, and labelled by him as “Corean porcelain, 500 years
-old.” It has all the characteristics of the finest cream white Fukien
-ware of late Ming or K’ang Hsi period, and if this piece is Corean,
-then I do not believe that even the subtle perception of the Japanese
-could find any difference between Corean and Fukien white. It is only
-right to add that other Japanese experts have pronounced it Chinese.
-Incidentally, I may mention that the base of this vase is glazed.</p>
-
-<p>Marks were occasionally used by the Tê-hua potters, either<span class="pagenum" id="Page_116">[116]</span> incised or
-stamped in seal form,<a id="FNanchor_258" href="#Footnote_258" class="fnanchor">[258]</a> on the bottoms of cups and other vessels,
-and on the backs of figures. Reign marks are rare, but apocryphal
-dates of the Hsüan Tê period occasionally occur, as on a figure of Li
-T’ieh-kuaì in the British Museum. Others consist of potters’ marks too
-often illegible because the thick glaze has filled up the hollows of
-the stamps, fanciful seal marks, frets, whorls, and occasionally the
-swastika symbol. A few examples are given in vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_222">222</a>.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_117">[117]</span></p>
-
-<h2 class="smaller">CHAPTER VIII<br />
-<span class="subhed">THE CH’ING <img src="images/k_117a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- DYNASTY, 1644–1910</span></h2></div>
-
-<p class="drop-cap p-left">The reigns of the Manchu chieftains T’ien Ming, T’ien Tsung, and Ts’ung
-Tê (1616–1643) are included in the chronology of the Ch’ing or Pure
-Dynasty, but it is more usual to reckon that period from 1644, when
-the Emperor Shun Chih <img src="images/k_117b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- was firmly established on the throne
-after the suicide of the last of the Mings. Little is known of the
-ceramic history of the seventeen years during which Shun Chih occupied
-the throne. The official records which deal only with the Imperial
-factory are almost silent, and when they do speak it is merely to
-chronicle failures. It is clear, however, that the Imperial factory
-at Ching-tê Chên had again been opened; for orders were sent in 1654
-for a supply of large “dragon bowls” for the palace gardens. They were
-to be 2½ feet high, 3½ feet in diameter, 3 inches thick at the sides,
-and 5 inches at the bottom. For four years the potters wrestled with
-this difficult order without success. This time there was no “divine
-T’ung” to purchase success by a holocaust of himself; and eventually
-the Emperor was persuaded to withdraw the command. No better fortune
-attended an order given in 1659 for oblong plaques (3 feet by 2½ feet,
-and 3 inches thick) which were intended for veranda partitions.</p>
-
-<p>Beyond these two negative items there is no information of the reign of
-Shun Chih in the Chinese books, and the porcelain itself is scarcely
-more illuminating, for authentic marked examples of this period are
-virtually unknown. A figure already mentioned as bearing the date 1650
-belongs rather to the pottery section, but it shows that the traditions
-of the Ming glazes of the <i>demi-grand feu</i> were still kept alive.
-The blue and white and the polychrome made in the private factories at
-this time have been discussed with the transition wares (pp. <a href="#Page_89">89</a> and
-<a href="#Page_90">90</a>), and for the rest we can only assume that the Shun Chih porcelains
-are not to be distinguished from those of the last Ming reigns<span class="pagenum" id="Page_118">[118]</span> on the
-one hand, and those of the early years of K’ang Hsi on the other.</p>
-
-<p>Reflecting on the insignificance of the Shun Chih porcelains, one is
-tempted to ask how it is that the celebrated Lang T’ing-tso, whose
-name is usually associated with the beautiful Lang yao of the K’ang
-Hsi period, did not succeed in raising the wares of this period to a
-more conspicuous level. Lang T’ing-tso was governor of Kiangsi from
-1654 and viceroy of Kiangsi and Kiangnan from 1656–1661 and again from
-1665–1668. His name is mentioned (according to Bushell,<a id="FNanchor_259" href="#Footnote_259" class="fnanchor">[259]</a> at any
-rate, for I have not been able to verify the statement) in connection
-with the efforts to make the dragon bowls for the palace in 1654; but
-we shall return to this point in discussing the Lang yao.</p>
-
-<p>Meanwhile, we pass to the reign of K’ang Hsi <img src="images/k_118.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1662–1722),
-the beginning of what is to most European collectors the greatest
-period of Chinese porcelain, a period which may be roughly dated from
-1662–1800. Chinese literary opinion gives the preference to the Sung
-and Ming dynasties, but if monetary value is any indication the modern
-Chinese collector appreciates the finer Ch’ing porcelains as highly
-as the European connoisseur. These latter wares have, at any rate,
-the advantage of being easily accessible to the Western student, and
-they are not difficult to obtain provided one is ready to pay the high
-price which their excellence commands. It will be no exaggeration to
-say that three quarters of the best specimens of Chinese porcelain in
-our collections belong to this prolific period, and they may be seen
-in endless variety in the museums and private galleries of Europe and
-America, nowhere perhaps better than in London itself.</p>
-
-<p><span class="pagenum" id="Page_119">[119]</span></p>
-
-  <div class="figcenter" id="i199" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i199.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 88</p>
-     <p class="p0 p-left">Two examples of the underglaze red (<i>chi hung</i>) of the K’ang Hsi
-period (1662–1722), sometimes called <i>lang yao</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bottle-shaped Vase of dagoba form with minutely crackled
-<i>sang-de-bœuf</i> glaze with passages of cherry red. The glaze ends
-in an even roll short of the base rim, and that under the base is
-stone-coloured and crackled. Height 8½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-     <p class="p0 sm p-left" style="clear: both">Fig. 2.&mdash;Bottle-shaped Vase with crackled underglaze red of deep
-crushed strawberry tint. The glaze under the base is pale green,
-crackled. Height 10¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>Alexander Collection.</i></p>
-  </div>
-
-<p style="clear: both">With regard to the porcelains made in the early years of K’ang Hsi
-there is very little information, and their special excellence has
-been assumed mainly on the supposition that the Viceroy Lang T’ing-tso
-exercised a beneficent influence on the wares of this period. He is
-reputed to have been sponsor of the Lang yao, which in the ordinary
-acceptation of the term<a id="FNanchor_260" href="#Footnote_260" class="fnanchor">[260]</a> includes the beautiful <span class="pagenum" id="Page_121">[121]</span><i>sang de
-bœuf</i> red, an apple green crackle, and perhaps a cognate crackled
-green glaze on which are painted designs in <i>famille verte</i>
-enamels. The explanation of the term <i>lang yao</i> is far from clear,
-and, as already hinted, the connection of the viceroy Lang T’ing-tso
-with this or any other of the K’ang Hsi porcelains is by no means
-established. Bushell<a id="FNanchor_261" href="#Footnote_261" class="fnanchor">[261]</a> accepted the derivation of Lang yao from the
-first part of the viceroy’s name as representing the best of several
-Chinese theories, and on the supposition that “the ceramic production
-of this time has retained the name of the viceroy, in the same way as
-the names of Ts’ang Ying-hsüan, Nien Hsi-yao, and T’ang Ying, who were
-in turn superintendents of the Imperial potteries, were afterwards
-given to the <i>Ts’ang yao</i>, <i>Nien yao</i>, and <i>T’ang yao</i>.”
-There are many objections to this reasoning. In the first place, Lang
-T’ing-tso was viceroy of the two provinces of Kiangsi and Kiangnan for
-three or four years only (1665–1668) during the reign of K’ang Hsi,
-and it was only in his capacity as viceroy of Kiangsi that he would
-have been concerned with Ching-tê Chên, even supposing that the man who
-had charge of two large provinces could find time to devote himself to
-the details of ceramic manufactures. Secondly, it is nowhere recorded
-that Lang T’ing-tso was concerned in any way with the direction of
-the potteries, so that there is in this respect no parallel between
-him and the directors Ts’ang, Nien, and T’ang. Thirdly, the history
-of Ch’ing-tê Chên as given in the <i>T’ao lu</i>, and the history of
-Chinese porcelain as given in the <i>T’ao shuo</i>, make no mention
-whatever of <i>lang yao</i> or of Lang T’ing-tso, while the former
-takes special notice of the wares of Ts’ang, Nien, and T’ang, and the
-latter discusses T’ang’s work at some length. Had so important a person
-as the viceroy of two provinces been connected with the invention
-or perfection of such celebrated wares as the <i>lang yao</i>, the
-occurrence would hardly have escaped the notice of the Chinese
-chronicler.</p>
-
-<p>There are other attempts to explain the name <i>lang yao</i>. In the
-catalogue of Mr. A. B. Mitford’s collection<a id="FNanchor_262" href="#Footnote_262" class="fnanchor">[262]</a> it is stated that “the
-Lang family were a family of famous potters who possessed the secret
-of this peculiar glaze and paste. They became extinct about the year
-1610.” Bushell<a id="FNanchor_263" href="#Footnote_263" class="fnanchor">[263]</a> dismisses this with the comment that “the family is
-apocryphal and the porcelain antedated,” and in<span class="pagenum" id="Page_122">[122]</span> the same passage gives
-an alternative theory, viz. “this name has been derived by some Chinese
-of less weight from that of Lang Shih-ning, an artist protégé of the
-Jesuits,<a id="FNanchor_264" href="#Footnote_264" class="fnanchor">[264]</a> who also lived in the reign of K’ang Hsi, and whose
-pictures are still appreciated.”</p>
-
-<p>The evidence for all these versions seems to be equally defective.
-They are, in fact, mere assertions, and the reader can take his choice
-of any of them, provided he does not insist on Mr. Mitford’s date
-(anterior to 1610), for all authorities are now agreed that the <i>lang
-yao</i> is a K’ang Hsi production. The fact is that the name has been
-handed down without any explanation, and the current theories are of
-comparatively modern construction. The secret of the <i>lang yao</i>
-consisted in the first instance in the knowledge of means to produce
-a brilliant red glaze from copper oxide. It was not a new discovery,
-but merely a revival of the wonderful “precious stone” red of the
-early Ming period.<a id="FNanchor_265" href="#Footnote_265" class="fnanchor">[265]</a> The supplies of some essential ingredient
-for this colour had failed in the Chia Ching period,<a id="FNanchor_266" href="#Footnote_266" class="fnanchor">[266]</a> and the
-secret of the true colour had been temporarily lost. This secret was
-now recovered probably by a potter of the name of Lang, and that
-name has been associated with it ever since. So far from the <i>lang
-yao</i> being limited to the early part of the reign of K’ang Hsi or
-to the few years when Lang T’ing-tso might have been concerned with
-it, there can be little doubt that the <i>sang de bœuf</i> red or red
-<i>lang yao</i> is the special colour described in detail by Père
-d’Entrecolles in 1712, and again in 1722 under the significant name
-of <i>yu li hung</i>, or “red in the glaze.” The reader can judge for
-himself from the description given in the second letter<a id="FNanchor_267" href="#Footnote_267" class="fnanchor">[267]</a>: “This
-red <i>inside the glaze</i> is made with granulated red copper and the
-powder of a certain stone or pebble of a reddish colour. A Christian
-doctor told me that this stone was a kind of alum, used in medicine.
-The whole is pounded in a mortar and mixed with a boy’s<span class="pagenum" id="Page_123">[123]</span> urine and
-the ordinary porcelain glaze; but I have not been able to ascertain
-the quantities of the ingredients, for those in possession of the
-secret take good care not to divulge it. This mixture is applied to
-the porcelain before it is fired and no other glaze is used; but care
-has to be taken that the red colour does not run to the bottom of the
-vase during the firing. They tell me that when they intend to apply
-this red to porcelain they do not use porcelain stone (<i>petuntse</i>)
-in the body, but they use in its place, mixed with the porcelain
-earth (<i>kaolin</i>), a yellow clay prepared in the same manner as
-the <i>petuntse</i>. Probably it is a kind of clay specially suited
-to receive this colour.” Would that the worthy father had named the
-possessors of the secret! Had it been a Jesuit family, is it likely
-that he would not have said so? But here, at any rate, is not only such
-an accurate description of the manufacture of the <i>sang de bœuf</i>
-red that little need be added to it, but also a valuable commentary on
-the obscure passages in which the allusion is made to the brilliant
-red of the Hsüan Tê and other early Ming periods. For what is the
-reddish stone or pebble but the “red precious stone from the West,”
-which played a mysterious part in the <i>pao shih hung</i> of the Hsüan
-Tê period? Chinese tradition has imagined this stone to have been the
-ruby, on the impossible assumption that the red colour of the glaze
-was derived from the red of the ruby. But it was, in all probability,
-cornaline (the <i>ma nao</i> used in the Sung porcelain of Ju Chou) or
-amethystine quartz, and its only function would have been to increase
-the brilliancy and transparence of the glaze, the red colour being
-entirely due to copper oxide. It is interesting, too, to note that the
-composition of the porcelain body was varied to suit this red colour,
-and that a yellow clay was substituted for the porcelain stone, in view
-of the alleged difficulties in obtaining the proper “earth for the
-fresh red (<i>hsien hung</i>)” in the Chia Ching period. In a similar
-manner a more earthy composition was found to be more sympathetic than
-the pure white porcelain to some of the other monochromes, as may be
-observed in existing specimens of turquoise blue.</p>
-
-<p>The <i>lang yao</i>, then, is the <i>chi hung</i> of the K’ang Hsi
-period, the brilliant blood red commonly known by the French name
-<i>sang de bœuf</i>, and to-day it is one of the most precious
-monochromes. A choice example illustrated on Plate <a href="#i199">88</a> shows the
-changing tints from a brilliant cherry red below the shoulder to the
-massed blood red where the fluescent glaze has formed thickly above
-the base.<span class="pagenum" id="Page_124">[124]</span> The colour flowing down has left an even white band round
-the mouth, and has settled in thick coagulations on the flat parts of
-the shoulders and again above the base; but in spite of its apparent
-fluidity the glaze has stopped in an even line without overrunning the
-base. The glaze under the base is of pale buff tone and crackled, and a
-careful examination of the surface generally shows that a faint crackle
-extends over the whole piece. The glaze, moreover, is full of minute
-bubbles and consequently much pinholed, and the red colour has the
-appearance of lying on the body in a dust of minute particles which the
-glaze has dragged downward in its flow and spread out in a continuous
-mass, but where the colour and the glaze have run thick the particles
-reappear in the form of a distinct mottling or dappling.</p>
-
-<p>To obtain the best colour from the copper oxide in this glaze
-it was necessary to regulate the firing to a nicety, the margin
-between success and failure being exceedingly small. Naturally, too,
-the results varied widely in quality and tone; but the permanent
-characteristics of the K’ang Hsi <i>sang de bœuf</i> are (1) a
-brilliant red varying in depth and sometimes entirely lost in
-places,<a id="FNanchor_268" href="#Footnote_268" class="fnanchor">[268]</a> but always red and without any of the grey or grey blue
-streaks which emerge on the <i>flambé</i> red and the modern imitations
-of the <i>sang de bœuf</i>; (2) the faint crackle of the glaze; (3)
-the stopping of the glaze at the foot rim. The colour of the glaze
-under the base and in the interior of vases varied from green or
-buff crackle to plain white. The secret of this glaze, which Père
-d’Entrecolles tells us was carefully guarded, seems to have been lost
-altogether about the end of the K’ang Hsi period. Later attempts to
-obtain the same effects, though often successful in producing large
-areas of brilliant red, are usually more or less streaked with alien
-tints such as grey or bluish grey, and are almost invariably marred by
-the inability of the later potters to control the flow of the glaze
-which overruns the foot rim and consequently has to be ground off. But
-it is highly probable that the modern potter will yet surmount these
-difficulties, and I have actually seen a large bowl of modern make
-in which the ox-blood red was successfully achieved on the exterior
-(the interior was relatively poor), and the flow of the glaze had been
-stopped along the foot rim except in one or two small places<span class="pagenum" id="Page_125">[125]</span> where the
-grinding was cleverly masked. So that it behoves the collector to be on
-his guard.</p>
-
-<p>Fig. 2 of Plate <a href="#i199">88</a> shows another type of red, also classed as <i>lang
-yao</i>, which has the same peculiarities of texture as the <i>sang de
-bœuf</i>, but the colour is more of a crushed-strawberry tint, and has
-in a more marked degree that thickly stippled appearance which suggests
-that the colour mixture has been blown on to the ware through gauze.
-This is probably the <i>ch’ui hung</i> or <i>soufflé</i> red mentioned
-by Père d’Entrecolles in connection with the <i>yu li hung</i>. The
-same glaze is often found on bowls, the colour varying much in depth
-and the base being usually covered with a crackled green glaze beneath.
-This crackled green is a very distinctive glaze, highly translucent
-and full of bubbles, like the red <i>lang yao</i>, and it is sometimes
-found covering the entire surface of a vase or bowl and serving as a
-background for paintings in <i>famille verte</i> enamels. It seems, in
-fact, to be the true green <i>lang yao</i>, and one is tempted to ask
-if it was not in reality intended to be a <i>sang de bœuf</i> red glaze
-from which a lack of oxygen or some other accident of the kiln has
-dispelled all the red, leaving a green which is one of the many hues
-produced by copper oxide under suitable conditions. These conditions
-might well be present in such an enclosed space as the foot of a bowl;
-and if they happened to affect the whole of the piece, what more
-natural than to trick out the failure with a gay adornment of enamel
-colours?</p>
-
-<p>On the other hand, what is commonly known as green <i>lang yao</i> is
-the brilliant emerald or apple green crackle which has already been
-discussed on p. <a href="#Page_102">102</a>. But why this colour should be connected in any
-way with the Lang or any particular family is a mystery. The method
-of producing it is transparently obvious&mdash;a green enamel laid over a
-stone-coloured crackle; and there are examples of all periods from
-the Ming down to modern times. Indeed, the modern specimens are only
-distinguished with the greatest difficulty from the old.</p>
-
-<hr class="tb" />
-
-<p>To return to the history of the period from which we digressed to
-discuss the <i>lang yao</i>, the progress of the reviving industry
-suffered a rude set-back between 1674–1678 when the Imperial factory
-was destroyed during the rebellion of Wu San-kuei, viceroy of Yunnan.
-It is improbable that up to this time any notable development had
-taken place in the manufacture of porcelain, and those<span class="pagenum" id="Page_126">[126]</span> who think to
-flatter a specimen by suggesting that it is “<i>very</i> early K’ang
-Hsi” are likely to be paying a doubtful compliment. When, however,
-peace was restored and the factory rebuilt, a veritable renaissance of
-the porcelain industry began. In 1680<a id="FNanchor_269" href="#Footnote_269" class="fnanchor">[269]</a> an official of the Imperial
-household was sent to reside at the factory and to superintend the
-work; and we are told in the <i>T’ao shuo</i><a id="FNanchor_270" href="#Footnote_270" class="fnanchor">[270]</a> that “previously
-to this the first-class workmen had been levied from the different
-districts of Jao Chou; but now all this forced labour was stopped,
-and as each manufactory was started the artisans were collected and
-materials provided, the expenses being defrayed from the Imperial
-exchequer and the money paid when due, in accordance with the market
-prices. Even the expenses for carriage were not required from the
-different districts. None of the proper duties of the local officers
-were interfered with; both the officials and the common people enjoyed
-the benefit, and the processes of manufacture were all much improved.”</p>
-
-<p>The success of this new movement was assured by the appointment in
-1682 of Ts’ang Ying-hsüan <img src="images/k_126a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- to the control of the Imperial
-works. We are not told how long this distinguished person retained the
-directorship, but his merits are clearly indicated in the encomiums
-of a subsequent director, the celebrated T’ang Ying. In his “History
-of the God of the Furnace Blast,” the latter states that when Ts’ang
-was in charge of the factory the god laid his finger on the designs
-and protected the porcelain in the kiln, so that it naturally came out
-perfect. Unfortunately, the notice of Ts’ang’s work in the <i>T’ao
-lu</i><a id="FNanchor_271" href="#Footnote_271" class="fnanchor">[271]</a> is in the conventional style, and extremely meagre.
-The earth used, we are told, was unctuous, the material lustrous
-and thin. Every kind of colour was made, but the snake-skin green
-(<i>shê p’i lü</i>), the eel yellow (<i>shan yü huang</i>), the (?)
-turquoise (<img src="images/k_126b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>chi ts’ui</i>), and the “spotted yellow”
-(<img src="images/k_126c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>huang pan tien</i>) were the most beautiful. The
-monochrome (<i>chiao</i>)<a id="FNanchor_272" href="#Footnote_272" class="fnanchor">[272]</a><span class="pagenum" id="Page_127">[127]</span> yellow, the monochrome brown or purple
-(<i>tzŭ</i>), the monochrome green, the <i>soufflé (ch’ui)</i> red
-and the <i>soufflé</i> blue, were also beautiful. The Imperial factory
-under the administration of T’ang-ying imitated these glaze colours.</p>
-
-<p>Most of these colours explain themselves. The <i>soufflé</i> red
-is no doubt the same as the <i>ch’ui hung</i> described by Père
-d’Entrecolles and discussed above with the so-called <i>lang yao</i>.
-The <i>soufflé</i> blue will be no other than the familiar “powder
-blue.” But the “spotted yellow” is an ambiguous term, for the Chinese
-<i>huang pan tien</i><a id="FNanchor_273" href="#Footnote_273" class="fnanchor">[273]</a> might mean a yellow glaze spotted with some
-other colour, a mottled yellow, or even a glaze with yellow spots like
-that of a rare vase in the Eumorfopoulos Collection, which has a brown
-black glaze flecked with greenish yellow spots.</p>
-
-<p>Bushell identified the spotted yellow glaze with the “tiger skin,”
-with its patches of green, yellow and aubergine glazes applied to
-the biscuit, which in the finer specimens is etched with dragon
-designs.<a id="FNanchor_274" href="#Footnote_274" class="fnanchor">[274]</a></p>
-
-<p>This is practically all the direct information which the Chinese annals
-supply on the K’ang Hsi period, but in contrast with this strange
-reticence we have a delightful account of the industry at Ching-tê Chên
-during this important time in the two oft-quoted letters<a id="FNanchor_275" href="#Footnote_275" class="fnanchor">[275]</a> written
-by the Jesuit father, d’Entrecolles, in 1712 and 1722. The worthy
-father’s work lay among the potters themselves, and his information was
-derived from first-hand observation and from the notes supplied by his
-potter converts, with whatever help he was able to extract from the
-Annals of Fou-liang and similar native books. No subsequent writer has
-enjoyed such a favoured position, and as his observations have been
-laid under heavy contribution ever since, no apology is necessary for
-frequent reference to them in these pages.</p>
-
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_128">[128]</span></p>
-
-<h2 class="smaller">CHAPTER IX<br />
-<span class="subhed">K’ANG HSI BLUE AND WHITE</span></h2></div>
-
-<p class="drop-cap p-left">Western collectors have agreed to give the place of honour to the K’ang
-Hsi blue and white. The Ming wares of the same kind, mainly from lack
-of adequate representation, have not yet been fully appreciated; and in
-the post-K’ang Hsi periods the blue and white took an inferior status,
-owing to the growing popularity of enamelled wares. The peculiar
-virtues of the K’ang Hsi blue and white are due to simple causes.
-Blue was still regarded as the best medium for painted designs, and
-the demand for it, both in China and abroad, was enormous. The body
-material was formed of carefully selected clay and stone, thoroughly
-levigated and freed from all impurities. No pains were spared in the
-preparation of the blue, which was refined over and over again until
-the very quintessence had been extracted from the cobaltiferous ore.
-Naturally this process was costly, and the finest cobalt was never used
-quite pure; even on the most expensive wares it was blended with a
-proportion of the lower grades of the mineral, and this proportion was
-increased according to the intended quality of the porcelain. But the
-choicest blue and white of this period was unsurpassed in the purity
-and perfection of the porcelain, in the depth and lustre of the blue,
-and in the subtle harmony between the colour and the white porcelain
-background; and the high standard thus established served to raise the
-quality of the manufacture in general.</p>
-
-<p>Vast quantities of this blue and white were shipped to Europe by the
-Dutch and the other East India companies, who sent extensive orders
-to Ching-tê Chên. It need hardly be said that this export porcelain
-varied widely in quality, but it included at this time wares of the
-highest class. Indeed, in looking through our large collections
-there are surprisingly few examples of the choice K’ang Hsi blue and
-white which cannot be included in the export class, as indicated by
-the half-Europeanised forms of plates, jugs, tankards,<span class="pagenum" id="Page_129">[129]</span> and other
-vessels, and by the fact that the vases are made in sets of five. But
-considering that it was made to suit purchasers of such varied tastes
-and means, it is surprising how little of this K’ang Hsi porcelain is
-bad. Even the roughest specimens have a style and a quality not found
-on later wares, and all have an unquestionable value as decoration.</p>
-
-<p>It would be futile to attempt to describe exhaustively the different
-kinds of K’ang Hsi blue and white and the innumerable patterns with
-which they are decorated. We must confine our descriptions to a few
-type specimens, but first it will be useful to give the points of a
-choice example. Such a vessel, whatever its nature, will be potted with
-perfect skill, its form well proportioned and true. The surface will
-be smooth, because the material is thoroughly refined and the piece
-has been carefully trimmed or finished on the lathe, and finally all
-remaining inequalities have been smoothed away with a moist feather
-brush before the glazing. The ware will be clean and white, and the
-glaze<a id="FNanchor_276" href="#Footnote_276" class="fnanchor">[276]</a> pure, limpid, and lustrous, but with that faint suspicion of
-green which is rarely absent from Chinese porcelain. The general effect
-of the body and glaze combined is a solid white like well set curds.
-The base, to which the connoisseur looks for guidance, is deeply cut
-and washed in the centre with glaze which reaches about half-way down
-the sides of the foot rim. This patch of glaze is usually pinholed,
-as though the nemesis of absolute perfection had to be placated by
-a few flaws in this inconspicuous part. The rim itself is carefully
-trimmed, and in many cases grooved or beaded, as though to fit a wooden
-stand,<a id="FNanchor_277" href="#Footnote_277" class="fnanchor">[277]</a> and the unglazed edge reveals a smooth, close-grained
-biscuit whose fine white material is often superficially tinged with
-brown in the heat of the furnace. The decoration is carefully painted
-in a pure sapphire blue of great depth and fire, and singularly free
-from any strain of red or purple&mdash;a quality of blue only obtained by
-the most elaborate process of refining. The designs, as on the Ming
-porcelains, are first drawn in outline; but, unlike the strong<span class="pagenum" id="Page_130">[130]</span> Ming
-outlines, these are so faint as to be practically unobserved; and the
-colour is filled in, not in flat washes, as on the Ming blue and white,
-but in graded depths of pulsating blue. This procedure is clearly shown
-by two interesting bowls in the British Museum. They are identical
-in form and were intended to match in pattern; but in one the design
-(the Eight Immortals of the Wine Cup) is completed, while on the other
-it remains in outline only, giving us a wonderful illustration of
-the beautiful firm touch with which the artists traced these faint
-outlines. The work of decoration was systematically subdivided in the
-Chinese factory, and Père d’Entrecolles tells us that “one workman is
-solely occupied with the ring which one sees on the border of the ware;
-another outlines the flowers, which a third paints; one does the water
-and the mountains, another the birds and animals.”<a id="FNanchor_278" href="#Footnote_278" class="fnanchor">[278]</a> Whatever the
-advantages and disadvantages of this divided labour, the designs on the
-blue and white were admirably chosen to show off the fine qualities
-of the colour; and it is to the blue that the collector looks first.
-The distinction between the various qualities of blue hardly admit
-of verbal definition. It can only be learnt by comparing the actual
-specimens, and by training the eye to distinguish the best from the
-second best.</p>
-
-<p>The patterns are not always blue on a white ground. Many of the most
-beautiful results were obtained by reserving the design in white in a
-blue ground, and both styles are often combined on the same piece. The
-second is fairly common on the K’ang Hsi porcelains, being specially
-suited to the lambrequins, arabesques, and formal patterns which were a
-favourite decoration at this time. See Plates <a href="#i213">89</a> and <a href="#i227">91</a>.</p>
-
-<p><span class="pagenum" id="Page_131">[131]</span></p>
-
-  <div class="figcenter" id="i213" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i213.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 89</p>
-     <p class="p0 center">Three examples of K’ang Hsi Blue and White Porcelain in the British
-Museum</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Ewer with leaf-shaped panels of floral arabesques, white in
-blue, enclosed by a mosaic pattern in blue and white: stiff plantain
-leaves on the neck and cover. Silver mount with thumb-piece. Height 7⅛
-inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Deep bowl with cover, painted with “tiger-lily” scrolls. Mark,
-a leaf. Height 7½ inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Sprinkler with panels of lotus arabesques, white in blue, and
-<i>ju-i</i> shaped border patterns. A diaper of small blossoms on the
-neck. Mark, a leaf. Height 7⅛ inches.</p>
-  </div>
-
-<p>The choicest materials were lavished on the porcelains with these
-formal designs, which consisted now of bands of <i>ju-i</i> shaped
-lappets<a id="FNanchor_279" href="#Footnote_279" class="fnanchor">[279]</a> filled with arabesque foliage, forming an upper and lower
-border, between which are floral sprays, now of a belt of three or four
-palmette-like designs, similarly ornamented, and linked together round
-the centre of a vase or bottle; of large, stiff, leaf-shaped medallions
-borrowed, like the patterns which fill them, from ancient <span class="pagenum" id="Page_133">[133]</span>bronzes,
-and of ogre-head designs from a similar source; of successive belts of
-arabesque scrolls and dragon designs covering cylindrical jars; of a
-mosaic of small blossoms, or of network diapers recalling the pattern
-of a crackled porcelain. The white on blue process is constant in a
-well known decoration in which archaic dragons, floral arabesques,
-roses or peonies are arranged in “admired disorder” over the whole
-surface of a cylinder vase or a triple gourd, as on Plate <a href="#i227">91</a>. Sometimes
-the roses occupy the greater part of the design, and among them are
-small oval or round blank medallions, which have earned for the pattern
-the name of “rose and ticket.”</p>
-
-<p>This type of ware is represented in almost every variety in the Dresden
-collection, and there are examples of the “rose and ticket” jars in
-the <i>Porzellan-zimmer</i> of the Charlottenburg Palace. Both these
-collections are mainly composed of the export porcelain sent from
-China in the last decades of the seventeenth century, and the latter
-is practically limited to the presents made by the English East India
-Company to Queen Sophia Charlotte of Prussia (1688–1705). The white on
-blue patterns are also freely used in combination with blue and white
-to form borders and to fill in the ground between panels.</p>
-
-<p>As for the blue on white designs, they are legion. There are the old
-Ming favourites such as the Court scenes, historical and mythological
-subjects, pictorial designs, such as ladies looking at the garden
-flowers by candlelight.<a id="FNanchor_280" href="#Footnote_280" class="fnanchor">[280]</a> There are landscapes after Sung and Ming
-paintings, the usual dragon and phœnix patterns, animal, bird, and
-fish designs, lions and mythical creatures, the familiar group of a
-bird (either a phœnix or a golden pheasant) on a rock beside which
-are peony, magnolia, and other flowering plants. Panel decoration,
-too, is frequent, the panels sometimes petal-shaped and emphasised by
-lightly moulded outlines, or again mirror-shaped, circular, fan-shaped,
-leaf-shaped, oval, square, etc., and surrounded by diapers and “white
-in blue” designs. The reserves are suitably filled with figure subjects
-from romance, history, or family life, mythical subjects such as the
-adventures of Taoist sages, the story of Wang Chi watching the game of
-chess, Tung-fang So and his peaches, or, if numerical sequences are
-needed, with the Four Accomplishments (painting, calligraphy, music and
-chess), the<span class="pagenum" id="Page_134">[134]</span> flowers of the Four Seasons, the Eight Taoist Immortals,
-the Eight Immortals of the Wine Cup, etc. Another favourite panel
-design is a group of vases, furniture, and symbolical objects from the
-comprehensive series known as the Hundred Antiques.<a id="FNanchor_281" href="#Footnote_281" class="fnanchor">[281]</a> Sometimes
-the whole surface of a vase is divided into rows of petal-shaped
-compartments filled with floral designs, figure subjects, birds and
-flowers or landscapes. Plate <a href="#i227">91</a>, Fig. 3, from a set of five, is one of
-the large vases in the Dresden collection which, tradition says, were
-obtained by Augustus the Strong from the King of Prussia in exchange
-for a regiment of dragoons. It is decorated with panels illustrating
-the stories of the Twenty-four Paragons of Filial Piety.</p>
-
-<p>Some of the purely floral patterns strike perhaps a more distinctive
-note. The “aster pattern,” for instance, is a design of stiff,
-radiating, aster-like flowers usually in a dark tone of blue and
-displayed on saucer dishes or deep covered bowls. Some of the specimens
-of this class appear to be a little earlier than K’ang Hsi. The
-so-called “tiger-lily” pattern illustrated by Fig. 2 of Plate <a href="#i213">89</a> is
-usually associated with deep cylindrical covered bowls of fine material
-and painted in the choicest blue. A beaker (Plate <a href="#i227">91</a>, Fig. 2) shows a
-characteristic treatment of the magnolia, parts of the blossoms being
-lightly sculptured in relief and the white petals set off by a foil of
-blue clouding. It evidently belongs to a set of five (three covered
-jars and two beakers) made as a <i>garniture de cheminée</i> for the
-European market.</p>
-
-<p>The squat-bodied bottle (Plate <a href="#i229">92</a>, Fig. 1) illustrates a familiar
-treatment of the lotus design, with a large blossom filling the front
-of the body.</p>
-
-<p>But perhaps the noblest of all Chinese blue and white patterns is the
-prunus design (often miscalled hawthorn) illustrated by Plate <a href="#i221">90</a>, a
-covered vase once in the Orrock Collection and now in the Victoria and
-Albert Museum. The form is that of the well-known ginger jar, but these
-lovely specimens were intended for no banal uses. They were filled with
-fragrant tea or some other suitable gift, and sent, like the round cake
-boxes, by the Chinese to their friends at the New Year, but it was not
-intended that the jars or boxes should be kept by the recipients of the
-compliment.</p>
-
-<p>The New Year falls in China from three to seven weeks later than in our
-calendar, and it was seasonable to decorate these jars<span class="pagenum" id="Page_135">[135]</span> with sprays and
-petals of the flowering prunus fallen on the ice, which was already
-cracked and about to dissolve. The design is symbolic of the passing of
-winter and the coming of spring; and the vibrating depths of the pure
-sapphire blue broken by a network of lines simulating ice cracks form
-a lovely setting for the graceful prunus sprays reserved in the pure
-curd-like white of the ware.</p>
-
-<p>The prunus pattern has been applied to every conceivable form, whether
-to cover the whole surface or to serve as secondary ornament in the
-border of a design or on the rim of a plate, and the prunus jar
-appears in all qualities of blue and on porcelain good and bad, old
-and new. The graceful sprays have become stereotyped and the whole
-design vulgarised in many instances; and in some cases the blossoms are
-distributed symmetrically on a marbled blue ground as a mere pattern.
-But nothing can stale the beauty of the choice K’ang Hsi originals, on
-which the finest materials and the purest, deepest blue were lavished.
-The amateur should find no difficulty in distinguishing these from
-their decadent descendants. The freshness of the drawing, the pure
-quality of the blue, and the excellence of body, glaze, and potting
-are unmistakable. The old examples have the low rim round the mouth
-unglazed where the rounded cap-shaped cover fitted, and the design on
-the shoulders is finished off with a narrow border of dentate pattern.
-The original covers are extremely rare, and in most cases have been
-replaced with later substitutes in porcelain or carved wood.</p>
-
-<p>There are, besides, a number of types specially prevalent among the
-export porcelains, some purely Chinese in origin, others showing
-European influence. Take, for example, the well-known saucer dish with
-mounted figures of a man and a woman hunting a hare&mdash;a subject usually
-known as the “love chase”&mdash;a free and spirited design, rather sketchily
-painted in pale silvery blue. The porcelain itself is scarcely less
-characteristic, a thin, crisp ware, often moulded on the sides with
-petal-shaped compartments, and in many ways recalling the earlier type
-described on p. <a href="#Page_70">70</a>. It is, however, distinguished from the latter class
-by slight differences in tone and finish which can only be learnt by
-comparison of actual specimens. It is, moreover, almost always marked
-with a <i>nien hao</i> in six characters, whereas marks on the other
-type are virtually unknown. The <i>nien hao</i> is usually that of
-Ch’êng Hua, but an occasional example with the K’ang Hsi mark gives the
-true date of the ware.</p>
-
-<p><span class="pagenum" id="Page_136">[136]</span></p>
-
-<p>A quantity of this porcelain was brought up by divers from wrecks of
-old East Indiamen in Table Bay, among which was the <i>Haarlem</i>,
-lost in 1648,<a id="FNanchor_282" href="#Footnote_282" class="fnanchor">[282]</a> though most of the ships were wrecked at later
-dates. It is a thin and sharply moulded ware, often pure eggshell,
-and the blue varies from the pale silvery tint to vivid sapphire. The
-usual forms are of a utilitarian kind&mdash;plates, saucer dishes, cups and
-saucers, small vases and bottles, jugs, tankards, and the like&mdash;and the
-designs are not confined to the “love chase,” but include other figure
-subjects (e.g. a warrior on horseback carrying off a lady,<a id="FNanchor_283" href="#Footnote_283" class="fnanchor">[283]</a> and
-various scenes from romance and family life), floral designs, deer,
-phœnixes, fish, birds, etc., and perhaps most often the tall female
-figures, standing beside flowering shrubs or pots of flowers, which are
-vulgarly known as “long Elizas,” after the Dutch <i>lange lijsen</i>
-(see Plate <a href="#i229">92</a>, Fig. 2).</p>
-
-<p>Graceful ladies (<i>mei jên</i>) are familiar motives in Chinese
-decoration, but this particular type, usually consisting of isolated
-figures in small panels or separated from each other by a shrub or
-flowerpot, and standing in a stereotyped pose, are, I think,<a id="FNanchor_284" href="#Footnote_284" class="fnanchor">[284]</a>
-peculiar to the export wares of the last half of the seventeenth
-century.</p>
-
-<p>This same type of thin, crisply moulded porcelain was also painted with
-similar designs in <i>famille verte</i> enamels over the glaze. It has
-a great variety of marks, the commonest being the apocryphal Ch’êng Hua
-date-mark, while others are marks of commendation,<a id="FNanchor_285" href="#Footnote_285" class="fnanchor">[285]</a> such as <i>ch’i
-chên ju yü</i> (a rare gem like jade), <i>yü</i> (jade), <i>ya</i>
-(elegant), and various hall-marks.</p>
-
-<p><span class="pagenum" id="Page_137">[137]</span></p>
-
-  <div class="figcenter" id="i221" style="width: 436px">
-     <img
-    class="p2"
-    src="images/i221.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 90</p>
-     <p class="p0 sm p-left">Covered Jar for New Year gifts, with design of blossoming prunus
-(<i>mei hua</i>) sprays in a ground of deep sapphire blue, which is
-reticulated with lines suggesting ice cracks: dentate border on the
-shoulders</p>
-     <p class="p0 sm" style="float:left">Height 10 inches.</p>
-     <p class="p0 sm" style="float:right"><i>Victoria and Albert Museum.</i></p>
-  </div>
-
-<p style="clear: both">Yet another group of superior quality is obviously connected with the
-European trade by a peculiar mark (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_228">228</a>) resembling the
-letter C or G. It is most commonly represented by pairs of bottles with
-globular body and tall, tapering neck, decorated with flowing scrolls
-of curious rosette-like flowers, a design stated with much probability
-to have been copied from Dutch delft. As the Dutch design in question
-had evidently been based on a Chinese original, the peculiar nature
-of the flowers explains itself. There are other instances of patterns
-bandied in this way between the <span class="pagenum" id="Page_139">[139]</span>Far East and the West. The same
-peculiar floral scroll appears in <i>famille verte</i> associated with
-the same mark; and the same G mark occurs on two rare bottles in the
-collection of Mr. J. C. J. Drucker, which have blue and white painting
-on the neck and <i>famille verte</i> designs in the finest enamels on
-the body. A deep bowl in the Eumorfopoulos collection with <i>famille
-verte</i> panels of symbols from the Hundred Antiques, and a ground
-of green “prunus” pattern, bears the same mark. Neither of these last
-examples can be even remotely connected with Dutch influence, so that
-we may dismiss the suggestion that the letter in the mark is intended
-to be a D, standing for D(elft), for this reason quite apart from the
-fact that such a mark on Delft ware is non-existent. I imagine that the
-true explanation is that this peculiar mark is a merchant’s sign placed
-by order on the goods made for some particular trader.</p>
-
-<p>A close copy of the “wing handles” of Venetian glass on certain blue
-and white bottles (Plate <a href="#i229">92</a>, Fig. 3), the appearance of Prince of
-Wales’s feathers in the border of a plate and of an heraldic eagle in
-the well of a salt cellar, no less than many forms obviously Western
-in origin, further emphasise the close relations between the Ching-tê
-Chên potters and European traders.<a id="FNanchor_286" href="#Footnote_286" class="fnanchor">[286]</a> An immense quantity of<span class="pagenum" id="Page_140">[140]</span>
-indifferent blue and white was made for the European table services,
-and summarily decorated with baskets of flowers, the usual flowering
-plant designs, close patterns of small blossoms, floral scrolls with
-large, meaningless flowers, ivy scrolls, passion flowers, and numerous
-stereotyped designs, such as dragons in sea waves, prunus pattern
-borders, pine tree and stork, a garden fence with rockery and flowering
-shrubs, groups from the Hundred Antiques, a parrot on a tree stump,
-etc. The blue of these pieces is usually rather dull and heavy, but
-the ware has the characteristic appearance of K’ang Hsi porcelain, and
-was evidently made for the most part about the year 1700. If marked
-at all, the marks are usually symbols, such as the double fish, the
-lozenge, the leaf, a tripod vase, and a strange form of the character
-<i>shou</i> known as the “spider mark” (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a>). The
-plates are often edged with lustrous brown glaze to prevent that
-chipping and scaling to which the Chinese glaze was specially liable on
-projecting parts of the ware.<a id="FNanchor_287" href="#Footnote_287" class="fnanchor">[287]</a></p>
-
-<p>Something has already been said<a id="FNanchor_288" href="#Footnote_288" class="fnanchor">[288]</a> of another very distinctive class
-of blue and white for which the misleading name of “soft paste” has
-been widely adopted. The term is of American origin and has been too
-readily accepted, for it is not only inaccurate as a description,
-but is already current in Europe for a totally different ware, which
-it describes with greater exactitude, viz. the artificial, glassy
-porcelains made at Sèvres and Chelsea and other factories, chiefly in
-France and England, in the middle of the eighteenth century. In actual
-fact the Chinese ware to which the term “soft paste” is applied has
-an intensely hard body. The glaze, however, which is softer than that
-of the ordinary porcelain, contains a proportion of lead, and if not
-actually crackled from the first becomes so in use, the crackle lines
-being usually irregular and undecided.</p>
-
-<p>A detailed description of the manufacture of this ware is given by
-Père d’Entrecolles,<a id="FNanchor_289" href="#Footnote_289" class="fnanchor">[289]</a> though he is probably at fault in supposing
-that its chief ingredient was a recent discovery in 1722. It was<span class="pagenum" id="Page_141">[141]</span>
-made, he says, with a mineral called <i>hua shih</i> (in place of
-kaolin), a stone of glutinous and soapy nature, and almost certainly
-corresponding to the steatite or “soapy rock” which was used by the
-old English porcelain makers at Bristol, Worcester and Liverpool. “The
-porcelain made with <i>hua shih</i>,” to quote Père d’Entrecolles,
-“is rare and far more expensive than the other porcelain. It has an
-extremely fine grain; and for purposes of painting, when compared with
-ordinary porcelain, it is almost as vellum to paper. Moreover, this
-ware is surprisingly light to anyone accustomed to handle the other
-kinds; it is also far more fragile than the ordinary, and there is
-difficulty in finding the exact temperature for its firing. Some of
-the potters do not use <i>hua shih</i> for the body of the ware, but
-content themselves with making a diluted slip into which they dip their
-porcelain when dry, so as to give it a coating of soapstone before it
-is painted and glazed. By this means it acquires a certain degree of
-beauty.” The preparation of the <i>hua shih</i> is also described, but
-it is much the same as that of the kaolin, and the composition of the
-steatitic body is given as eight parts of <i>hua shih</i> to two of
-porcelain stone (<i>petuntse</i>).</p>
-
-<p>There are, then, two kinds of steatitic porcelain, one with the body
-actually composed of <i>hua shih</i> and the other with a mere surface
-dressing of this material. The former is light to handle, and opaque;
-and the body has a dry, earthy appearance, though it is of fine grain
-and unctuous to touch. It is variously named by the Chinese<a id="FNanchor_290" href="#Footnote_290" class="fnanchor">[290]</a>
-<i>sha-t’ai</i> (sand bodied) and <i>chiang-t’ai</i> (paste bodied),
-and when the glaze is crackled it is further described as <i>k’ai
-pien</i> (crackled).</p>
-
-<p>The painting on the steatitic porcelain differs in style from that
-of the ordinary blue and white of this period. It is executed with
-delicate touches like miniature painting, and every stroke of the
-brush tells, the effects being produced by fine lines rather than by
-graded washes. The ware, being costly to make, is usually painted by
-skilful artists and in the finest blue. Fig. 3, of Plate <a href="#i231">93</a>, is an
-excellent example of the pure steatitic ware, an incense bowl in the
-Franks collection, of which the base and a large part of the interior
-is unglazed and affords a good opportunity for the study of the body
-material. The glaze is thin and faintly crackled, and the design&mdash;Hsi
-Wang Mu and the Taoist Immortals&mdash;is delicately drawn in light, clear
-blue.</p>
-
-<p><span class="pagenum" id="Page_142">[142]</span></p>
-
-<p>The second type, which has only a dressing of steatite over the
-ordinary body, has neither the same lightness nor the opacity of the
-true steatitic ware, but it has the same soft white surface, and is
-painted in the same style of line drawing.</p>
-
-<p>There are, besides, other opaque and crackled wares painted in
-underglaze blue, which are also described as “soft paste,” and, indeed,
-deserve the name far more than the steatitic porcelain. The creamy,
-crackled copies of old Ting wares, for instance, made with <i>ch’ing
-tien</i> stone,<a id="FNanchor_291" href="#Footnote_291" class="fnanchor">[291]</a> are occasionally enriched with blue designs; and
-the ordinary stone-coloured crackle with buff staining is also painted
-at times with underglaze blue,<a id="FNanchor_292" href="#Footnote_292" class="fnanchor">[292]</a> or with blue designs on pads of
-white clay in a crackled ground.</p>
-
-<p>On the other hand, there are numerous wares of the Yung Chêng and
-Ch’ien Lung periods which are probably composed in part, at least, of
-steatite. They are usually opaque, and the surface is sometimes dead
-white, sometimes creamy and often undulating like orange peel, and in
-addition to blue decoration, enamel painting is not infrequent on these
-later types. The purely steatitic porcelains are generally of small
-size, which was appropriate to the style of painting as well as to the
-expensive nature of the material. The furniture of the scholar’s table,
-with its tiny flower vases for a single blossom, its brush washers and
-water vessels of fanciful forms, its pigment boxes, etc., were suitable
-objects for the material, and many of these little crackled porcelains
-are veritable gems. Snuff bottles are another appropriate article, and
-a representative collection of snuff bottles will show better than
-anything the great variety of these mixed wares and so-called “soft
-pastes.”</p>
-
-<p>It has been already observed that crackled blue and white porcelain
-of the steatitic kind is found with the date marks of Ming Emperors,
-and there can be little doubt that it was made from early Ming times,
-but as the style of painting seems to have known no change it will be
-always difficult to distinguish the early specimens. It is safe to
-assume that almost all the specimens in Western collections belong to
-the Ch’ing dynasty, a few to the K’ang Hsi period, but the bulk of the
-better examples to the reigns of Yung Chêng and Ch’ien Lung. Modern
-copies of the older wares also abound.</p>
-
-  <div class="figcenter" id="i227" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i227.jpg"
-     alt="" />
-     <p class="p0 center">Plate 91.&mdash;Blue and White K’ang Hsi Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Triple Gourd Vase, white in blue designs of archaic dragons
-and scrolls of season flowers. Height 36½ inches. <i>Dresden
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Beaker, white magnolia design slightly raised, with blue
-background. Height 18 inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;“Grenadier Vase,” panels with the Paragons of Filial Piety.
-Height 44 inches. <i>Dresden Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i229" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i229.jpg"
-     alt="" />
-     <p class="p0 center">Plate 92.&mdash;Blue and White K’ang Hsi Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Sprinkler with lotus design. Height 6¼ inches. <i>British
-Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle with biscuit handles, design of graceful ladies (<i>mei
-jen</i>). Height 11 inches. <i>Fitzwilliam Museum (formerly D. G.
-Rosetti Collection)</i>.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bottle with handles copied from Venetian glass. Height 6¼
-inches. <i>British Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i231" style="width: 565px">
-     <img
-    class="p2"
-    src="images/i231.jpg"
-     alt="" />
-     <p class="p0 center">Plate 93.&mdash;Blue and White Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Tazza with Sanskrit characters. Ch’ien Lung mark. Height 4¼
-inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Water Pot, butterfly and flowers, steatitic porcelain. Wan Li
-mark. Height 1⅞ inches. <i>Eumorfopoulos Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Bowl, steatitic porcelain. Immortals on a log raft. K’ang Hsi
-period. Diameter 5¾ inches. <i>British Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i233" style="width: 438px">
-     <img
-    class="p2"
-    src="images/i233.jpg"
-     alt="" />
-     <p class="p0 center">Plate 94.&mdash;Porcelain decorated in enamels on the biscuit.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Ewer in form of the character <i>Shou</i> (Longevity); blue
-and white panel with figure designs. Early K’ang Hsi period. Height 8¾
-inches. <i>Salting Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Ink Palette, dated 31st year of K’ang Hsi (1692
-<span class="allsmcap">A.D.</span>). Length 5¼ inches. <i>British Museum.</i></p>
-  </div>
-
-<p><span class="pagenum" id="Page_143">[143]</span></p>
-
-<p>An interesting passage in the first letter<a id="FNanchor_293" href="#Footnote_293" class="fnanchor">[293]</a> of Père d’Entrecolles
-describes a curious kind of porcelain, of which the secret had already
-been lost. It was known as <i>chia ch’ing</i> or “blue put in press,”
-and it was said that the blue designs on the cups so treated were
-only visible when the vessel was filled with water. The method of
-the manufacture is described as follows: “The porcelain to be so
-decorated had to be very thin; when it was dry, a rather strong blue
-was applied, not to the exterior in the usual manner, but on the
-interior to the sides. The design usually consisted of fish, as being
-specially appropriate to appear when the cup was filled with water.
-When the colour was dry a light coating of slip, made with the body
-material, was applied, and this coating enclosed the blue between
-two layers of clay. When this coating was dry, glaze was sprinkled
-inside the cup, and shortly afterwards the porcelain was placed on the
-wheel. As the body had been strengthened on the interior, the potter
-proceeded to pare it down outside as fine as possible without actually
-penetrating to the colour. The exterior was then glazed by immersion.
-When completely dry it was fired in the ordinary furnace. The work is
-extremely delicate, and requires a dexterity which the Chinese seem no
-longer to possess. Still, they try from time to time to recover the
-secret of this magical painting, but without success. One of them told
-me recently that he had made a fresh attempt, and had almost succeeded.”</p>
-
-<p>No example of this mysterious porcelain is known to exist, and it is
-probable that the whole story is based on some ill-grounded tradition.
-It is true that water will bring out the faded design on certain old
-potteries, but this is due to the action of the water in restoring
-transparency to a soft decayed glaze. But how the water or any other
-liquid could affect the transparency of a hard, impenetrable porcelain
-glaze, still less influence the colour concealed beneath a layer of
-clay and glaze, is far from clear. Indeed, the whole story savours of
-the “tall tales” quoted in chap. x. of vol. i.</p>
-
-<p>But perhaps it will not be inappropriate to mention here another
-peculiar type of blue and white, which, if we may judge by the early
-date mark usually placed upon it, throws back to some older model. The
-design, usually a dragon, is delicately traced with a needle point on
-the body of the ware, and a little cobalt blue is<span class="pagenum" id="Page_144">[144]</span> dusted into the
-incisions.<a id="FNanchor_294" href="#Footnote_294" class="fnanchor">[294]</a> The glaze is then applied, and when the piece is fired
-and finished the dragon design appears faintly “tattooed” in pale blue.
-The effect is light and delicate, but of small decorative value, and
-the few examples which I have seen are redeemed from insignificance
-by a peculiarly beautiful body of pure glassy porcelain. They bear an
-apocryphal Ch’êng Hua mark, but evidently belong to the first half of
-the eighteenth century, to the Yung Chêng, or perhaps the late K’ang
-Hsi period.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_145">[145]</span></p>
-
-<h2 class="smaller">CHAPTER X<br />
-<span class="subhed">K’ANG HSI POLYCHROME PORCELAINS</span></h2></div>
-
-<p class="drop-cap p-left">Broadly speaking, the polychrome porcelains of the Ming and K’ang
-Hsi periods are the same in principle, though they differ widely
-in style and execution. The general types continued, and the first
-to be considered is that in which all the colours are fired in the
-high temperature of the large kiln, comprising underglaze blue and
-underglaze red, and certain slips and coloured glazes. Conspicuous
-among the last is a pale golden brown commonly known as Nanking
-yellow, which is found in narrow bands or in broad washes, dividing
-or surrounding blue designs, and is specially common on the bottles,
-sprinklers, gourd-shaped vases, and small jars exported to Europe in
-the last half of the seventeenth century. The golden brown also darkens
-into coffee brown, and in some cases it alternates in bands with buff
-crackle and pale celadon green.</p>
-
-<p>A deep olive brown glaze is sometimes found as a background for
-ornament in moulded reliefs which are touched with underglaze blue and
-red. A fine vase of this type is in the Salting Collection, and a good
-example was given by Mr. Andrew Burman to the British Museum. Both seem
-to be designed after bronze models.</p>
-
-<p>But the central colour of this group is undoubtedly the underglaze
-red. Derived from copper it is closely akin to the red of the <i>chi
-hung</i> glaze, and both were conspicuous on the Hsüan Tê porcelain,
-both fell into disuse in the later Ming periods, and both were revived
-in the reign of K’ang Hsi.</p>
-
-<p>I have seen two examples of this colour in combination with underglaze
-blue bearing the hall mark <i>chung-ho-t’ang</i>, and cyclical dates
-corresponding to 1671 and 1672 respectively. In neither of these
-pieces, however, was the red very successful, and probably the better
-K’ang Hsi specimens belong to a later period of the reign. It was,
-however, always a difficult colour to fire, and examples<span class="pagenum" id="Page_146">[146]</span> in which the
-red is perfectly developed are rare. As a rule, it tends to assume a
-maroon or dark reddish brown tint.</p>
-
-<p>Nor is the method of its application always the same. Sometimes it is
-painted on in clean, crisp brush strokes; at others it is piled up in
-thick washes which flow in the firing and assume some of the qualities
-and the colour of <i>sang de bœuf</i> red, even displaying occasional
-crackle; on other pieces again a “peach bloom” tint is developed.<a id="FNanchor_295" href="#Footnote_295" class="fnanchor">[295]</a>
-On two of the best examples in the Franks Collection, where a deep
-blood red is combined with a fine quality of blue, it is noteworthy
-that the surface of the white glaze has a peculiar dull lustre. This,
-I understand, is due to “sulphuring” in the kiln, a condition which,
-whether accidental or intentional, is certainly favourable to the red
-colour. It is also noticeable that the red is particularly successful
-under a glaze which is faintly tinged with celadon green such as is
-often used on imitations of Ming porcelains, and it was no doubt this
-consideration which led to the frequent use of celadon green in this
-group. The celadon is used either as a ground colour for the whole
-piece or in parts only of the design, and the addition of white slip
-further strengthened the palette. With these colours some exquisite
-effects have been compassed in such designs as birds on prunus boughs
-and storks among lotus plants, the main design being in blue, the
-blossoms in white slip slightly raised and touched with red, and
-the background plain white, celadon green (Plate <a href="#i339">115</a>), and
-sometimes pale lavender blue. The celadon and pale lavender vases with
-this decoration were favourites with the French in the eighteenth
-century, and many sets of vases and beakers in this style have been
-furnished with sumptuous ormolu mounts by the French goldsmiths.</p>
-
-<p>The painting in underglaze red, which was revived in the K’ang Hsi
-period, continued with success in the succeeding reigns of Yung Chêng
-and Ch’ien Lung (indeed it has not ceased to this day), but the bulk
-of the finer examples in our collections seem to belong to the late
-K’ang Hsi and the Yung Chêng periods. The underglaze red is used alone
-as well as in combination, and some of its most successful effects are
-found on small objects like colour boxes and snuff bottles.</p>
-
-<p>The black or brown pigment used for outlining designs under<span class="pagenum" id="Page_147">[147]</span> the
-softer enamel colours such as green and yellow, though in one sense an
-underglaze colour, does not belong to this group.</p>
-
-<p>From this group of polychrome porcelain we pass to another in which the
-colour is given by washes of various glazes. A few of the high-fired
-glazes are employed for this purpose, especially blue in combination
-with celadon green and white, and a few clay slips, of which the
-commonest is a dressing of brown clay applied without any glaze and
-producing an iron-coloured surface. The most familiar members of this
-group are small Taoist figures of rough but vivacious modelling with
-draperies glazed blue, celadon and white,<a id="FNanchor_296" href="#Footnote_296" class="fnanchor">[296]</a> and the base unglazed
-and slightly browned in the firing. Collectors are tempted to regard
-these figures as late or modern productions, but examples in the
-Dresden collection prove that this technique was employed in the K’ang
-Hsi period. In the same collection there are numbers of small toy
-figures, such as monkeys, oxen, grotesque human forms, etc., sometimes
-serving as whistles or as water-droppers. They are made of coarse
-porcelain or stoneware with a thin dressing of brown ferruginous clay,
-and touches of high-fired glazes. The appearance of these, too, is so
-modern that we realise with feelings of surprise that they formed part
-of the collection of Augustus the Strong.</p>
-
-<p>The polychrome porcelain coloured with glazes of the <i>demi-grand
-feu</i> (i.e. glazes fired in the more temperate parts of the large
-kiln) has been discussed in the chapters on the Ming period.<a id="FNanchor_297" href="#Footnote_297" class="fnanchor">[297]</a>
-The group characterised by green, turquoise and aubergine violet,
-semi-opaque, and minutely crackled is not conspicuous among K’ang
-Hsi porcelains; indeed it seems to have virtually ceased with the
-Ming dynasty. The individual colours, however, were still used as
-monochromes; in combination they are chiefly represented by aubergine
-violet and turquoise in broad washes on such objects as peach-shaped
-wine pots, Buddhist lions with joss-stick holders attached, parrots,
-and similar ornaments.</p>
-
-<p>The other three-colour group, composed of transparent green, yellow
-and aubergine purple glazes, usually associated with designs finely
-etched with a metal point on the body, were freely used in the K’ang
-Hsi and Yung Chêng periods in imitation of Ming prototypes. Such
-specimens are often characterised by extreme neatness<span class="pagenum" id="Page_148">[148]</span> of workmanship
-and technical perfection of the ware. The best-known examples are thin,
-beautifully potted rice bowls, with slightly everted rim, and a design
-of five-clawed Imperial dragons traced with a point and filled in with
-a colour contrasting with that of the ground, e.g. green on yellow, or
-green on aubergine, all the possible changes being rung on the three
-colours. Being Imperial wares these bowls are usually marked with the
-<i>nien hao</i> of their period, but such is the trimness of their make
-that collectors are tempted to regard them as specimens of a later
-reign. But here again the Dresden collection gives important evidence,
-for it contains a bowl of this class with dragons in a remarkable
-purplish black colour (probably an accidental variety of the aubergine)
-in a yellow ground. It bears the mark of the K’ang Hsi period.</p>
-
-<p>The application of similar plumbo-alcaline glazes to a commoner type of
-porcelain is described by Père d’Entrecolles<a id="FNanchor_298" href="#Footnote_298" class="fnanchor">[298]</a>:&mdash;“There is a kind
-of coloured porcelain which is sold at a lower rate than the enamelled
-ware just described.... The material required for this work need not
-be so fine. Vessels which have already been baked in the great furnace
-without glaze, and consequently white and lustreless, are coloured by
-immersion in a bowl filled with the colouring preparation if they are
-intended to be monochrome. But if they are required to be polychrome
-like the objects called <i>hoam lou houan</i>,<a id="FNanchor_299" href="#Footnote_299" class="fnanchor">[299]</a> which are divided
-into kinds of panels, one green, one yellow, etc., the colours are
-laid on with a large brush. This is all that need be done to this
-type of porcelain, except that after the firing a little vermilion
-is applied to certain parts such as the beaks of birds, etc. This
-vermilion, however, is not fired, as it would evaporate in the kiln,
-and consequently it does not last. When the various colours have been
-applied, the porcelain is refired in the great furnace with the other
-wares which have not yet been baked; but care is taken to place it at
-the bottom of the furnace and below the vent-hole where the fire is
-less fierce; otherwise the great heat would destroy the colours.”</p>
-
-<p><span class="pagenum" id="Page_149">[149]</span></p>
-
-  <div class="figcenter" id="i243" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i243.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 95</p>
-     <p class="p0 p-left">Two examples of Porcelain painted with coloured enamels on the biscuit,
-the details of the designs being first traced in brown. K’ang Hsi
-period (1662–1722)</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;One of a pair of Buddhistic Lions, sometimes called Dogs of
-Fo. This is apparently the lioness, with her cub: the lion has a ball
-of brocade under his paw. On the head is the character <i>wang</i>
-(prince) which is more usual on the tiger of Chinese art. Height 18
-inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle-shaped Vase and Stand moulded in bamboo pattern and
-decorated with floral brocade designs and diapers. Height 8¾ inches.
-<i>Cope Bequest</i> (<i>Victoria &amp; Albert Museum</i>).</p>
-  </div>
-
-<p>In this interesting passage, written in 1722, we have a precise
-<span class="pagenum" id="Page_151">[151]</span>account of the manufacture of one of the types of porcelain which
-have been indiscriminately assigned to the Ming period. This on-biscuit
-polychrome was undoubtedly made in the Ming dynasty, but in view of
-d’Entrecolles’ description it will be safe to assume that, unless
-there is some very good evidence to the contrary, the examples in our
-collections are not older than K’ang Hsi. The type is easily identified
-from the above quotation, and there is a little group of the wares in
-the British Museum, mostly small figures and ornaments with washes
-of green, brownish yellow and aubergine purple applied direct to the
-biscuit, and on some of the unglazed details the unfired vermilion
-still adheres. These coloured glazes are compounded with powdered
-flint, lead, saltpetre, and colouring oxides, and the porcelain
-belongs to the comprehensive group of <i>san ts’ai</i> or three-colour
-ware, although the three colours&mdash;green, yellow and aubergine&mdash;are
-supplemented by a black formed of brown black pigment under one of the
-translucent glazes and a white which d’Entrecolles describes<a id="FNanchor_300" href="#Footnote_300" class="fnanchor">[300]</a> as
-composed of ⅖ ounce of powdered flint to every ounce of white lead.
-This last forms the thin, iridescent film often of a faintly greenish
-tinge, which serves as white on these three-colour porcelains. In rare
-cases also a violet blue enamel is added to the colour scheme.</p>
-
-<p>A characteristic of this particular type is the absence of any painted
-outlines. The colours are merely broad washes bounded by the flow of
-the glaze, and this style of polychrome is best suited to figures and
-moulded ornamental pieces, in which the details of the design form
-natural lines of demarcation for the glazes. On a flat surface this
-method of coloration is only suited to such patchy patterns as the
-so-called tiger skin and the tortoiseshell wares.</p>
-
-<p>The Dresden collection is peculiarly rich in this kind of <i>san
-ts’ai</i>, but though two or three of the specimens (Plate <a href="#i085">71</a>, Figs. 1
-and 2) differing considerably from the rest, are clearly of the Ming
-period, the great majority are undoubtedly contemporaneous with the
-forming of the collection, viz. of the K’ang Hsi period. The latter
-include numerous figures, human and animal, and ornaments such as the
-junk on Plate <a href="#i259">98</a>, besides some complicated structures of rocks and
-shrines and grottos, peopled with tiny images and human figures. To
-this group belong such specimens as the “brinjal bowls,” with everted
-rim and slight floral designs engraved in outline<span class="pagenum" id="Page_152">[152]</span> and filled in with
-coloured glaze in a ground of aubergine (brinjal) purple. There are
-similar specimens with green ground, and both types are frequently
-classed with Ming wares. Some of them may indeed belong to the late
-Ming period,<a id="FNanchor_301" href="#Footnote_301" class="fnanchor">[301]</a> but those with finer finish are certainly K’ang Hsi.
-They are usually marked with rough, undecipherable seal marks in blue,
-which are commonly known as shop marks.</p>
-
-<p>Some of the figures of deities, birds and animals, besides the
-small ornamental objects such as brush-washers in the form of lotus
-leaves and little water vessels for the writing table are of very
-high quality, skilfully modelled and of material far finer than that
-described by d’Entrecolles. Fig. 2, Plate <a href="#i261">99</a>, a statuette of Ho
-Hsien-ku, one of the Eight Immortals, is an example. The flesh is in
-white biscuit, showing the fine grain of the porcelain, white to-day,
-though possibly it was originally coloured with unfired pigment and
-gilt as was often the case. The glazes on this finer quality of ware,
-especially the green and the aubergine, are peculiarly smooth and
-sleek, and the yellow is fuller and browner than on the kindred ware,
-enamelled on the biscuit, which we now proceed to investigate.</p>
-
-<p>The French term, <i>émaillé sur biscuit</i>, is used somewhat broadly
-to cover the coloured glazes just described, as well as the enamels
-proper of the muffle kiln. We shall try to confine the expression,
-“on-biscuit enamels,” to the softer, verifiable enamels which are fired
-at a lower temperature and in a smaller kiln or muffle. These are, in
-fact, the same enamels as are used in the ordinary <i>famille verte</i>
-porcelain painted over the finished glaze, but when applied direct
-to the biscuit they have a slightly darker and mellower tone, the
-background of biscuit reflecting less light than the glittering white
-glaze.</p>
-
-<p><span class="pagenum" id="Page_153">[153]</span></p>
-
-  <div class="figcenter" id="i249" style="width: 378px">
-     <img
-    class="p2"
-    src="images/i249.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 96</p>
-     <p class="p0 sm p-left">Vase of baluster form painted in coloured enamels on the biscuit. The
-design, which is outlined in brown, consists of a beautifully drawn
-prunus (<i>mei hua</i>) tree in blossom and hovering birds, beside a
-rockery and smaller plants of bamboo, etc., set in a ground of mottled
-green. Ch’êng Hua mark but K’ang Hsi period (1662–1722)</p>
-     <p class="p0 sm" style="float:left">Height 16¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-<p style="clear: both">Though the colour scheme of this group is substantially the same as
-that of the <i>san ts’ai</i> glazes, and though the enamels when used
-in wide areas are not always easily distinguished from the glazes, the
-former do, in fact, differ in containing more lead, being actually
-softer and more liable to acquire crackle and iridescence, and in some
-cases there are appreciable differences in tint. The yellow enamel,
-for instance, is as a rule paler, and even when of a dark tint it has
-a muddy tone wanting in the fullness and strength of the yellow glaze;
-the green enamel varies widely in tone from the glaze, and includes,
-besides, several fresh shades, among which is a <span class="pagenum" id="Page_155">[155]</span>soft apple green
-of great beauty; and the aubergine is less claret coloured and often of
-a decidedly pinkish tone.</p>
-
-<p>But perhaps the most distinctive feature of this <i>san ts’ai</i> of
-the muffle kiln is the careful tracing of the design in a brown black
-pigment on the biscuit. The transparent enamels are washed on over
-these black outlines, and give appropriate colours without obscuring
-the design which is already complete in itself.<a id="FNanchor_302" href="#Footnote_302" class="fnanchor">[302]</a> The same brown
-black pigment<a id="FNanchor_303" href="#Footnote_303" class="fnanchor">[303]</a> is also used over wide areas, laid on thickly and
-washed with transparent green to form the fine green black which is so
-highly prized. Like so much of the porcelain with coloured ornament
-applied to the biscuit this large group has been indiscriminately
-assigned to the Ming dynasty. The lack of documentary evidence has
-made it difficult to combat this obvious fallacy, obvious because
-the form and style of decoration of the finest specimens are purely
-K’ang Hsi in taste and feeling; but, while fully recognising that the
-scheme of decoration was not a new one, but had been in use in the
-Ming porcelains, I would point a warning finger again<a id="FNanchor_304" href="#Footnote_304" class="fnanchor">[304]</a> to the ink
-slab in the British Museum with its design of aubergine plum blossoms
-on conventional green waves, its borders of lozenge and hexagon
-diaper, all enamelled on the biscuit, and in the characteristic style
-habitually described as Ming in sale catalogues, but actually dated
-1692. Another consideration is the quantity of these pieces in the
-Dresden collection which consists mainly of K’ang Hsi wares, and the
-presence of several examples (e.g. bamboo vases such as Fig. 2 of Plate
-<a href="#i243">95</a>) in the rooms of the Charlottenburg Palace, which were furnished
-mainly with presents made by the British East India Company to Queen
-Sophia Charlotte (1668–1705).</p>
-
-<p>Marks are rare on this group, as a whole, though they occur fairly
-frequently on the large vases, the commonest being the date mark of the
-Ch’êng Hua period. No one would, however, seriously argue a fifteenth
-century date from this mark which is far more common than any other on
-K’ang Hsi porcelain; and I have actually seen the K’ang Hsi mark on
-one or two specimens which appeared to be perfectly genuine. Curiously
-enough the K’ang Hsi mark is more often a sign of a modern imitation,
-but this in view of the perverse methods of marking Chinese porcelain
-is in itself evidence<span class="pagenum" id="Page_156">[156]</span> that the modern copyist regards the reign of
-K’ang Hsi as the best period of manufacture for this style of ware.</p>
-
-<p><span class="pagenum" id="Page_157">[157]</span><br /><span class="pagenum" id="Page_158">[158]</span></p>
-
-  <div class="figcenter" id="i255" style="width: 362px">
-     <img
-    class="p2"
-    src="images/i255.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 97</p>
-     <p class="p0 sm p-left">Square Vase with pendulous body and high neck slightly expanding
-towards the top: two handles in the form of archaic lizard-like dragons
-(<i>chih lung</i>), and a pyramidal base. Porcelain painted with
-coloured enamels on the biscuit, with scenes representing Immortals on
-a log raft approaching Mount P’êng-lai in the Taoist Paradise. K’ang
-Hsi period (1662–1722)</p>
-     <p class="p0 sm" style="float:left">Height 20½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-  </div>
-
-<p style="clear: both">The noblest examples of this group, and perhaps the finest of all
-Chinese polychromes, are the splendid vases with designs reserved
-in grounds of green black, yellow or leaf green. Plates <a href="#i249">96</a>, <a href="#i255">97</a> and
-<a href="#i004">Frontispiece</a> will serve to illustrate the colours and at the same
-time some of the favourite forms<a id="FNanchor_305" href="#Footnote_305" class="fnanchor">[305]</a> of these sumptuous pieces, the
-baluster vase, and the square vase with pendulous body, pyramidal
-base, and two handles usually of archaic dragon form. The favourite
-design for the decoration of these forms is the flowering prunus tree,
-beside a rockery with a few bright plumaged birds in the branches, one
-of the most familiar and at the same time most beautiful of Chinese
-patterns (see Plate <a href="#i249">96</a>). The flowers of the four seasons&mdash;peony, lotus,
-chrysanthemum and prunus&mdash;form a beautiful decoration for the four
-sides of another favourite form, a tall vase of square elevation with
-sides lightly tapering downwards, rounded shoulders, arid circular
-neck, slightly flaring at the mouth. The specimens illustrated are in
-the British Museum, but there is a wonderful series of these lordly
-vases in the Salting Collection, and in the Pierpont Morgan and Altmann
-Collections in New York. To-day they are rare, and change hands at
-enormous prices. Consequently all manner of imitations abound, European
-and Oriental, the modern Chinese work in this style being often highly
-successful. But the most insidious copies are the deliberate frauds
-in which old K’ang Hsi vases are stripped of a relatively cheap
-form of decoration, the glaze and colour being removed by grinding,
-and furnished with a cleverly enamelled design in colours on the
-biscuit. The actual colours are often excellent, and as the ware seen
-at the base is the genuine K’ang Hsi porcelain even the experienced
-connoisseur may be deceived at first, though probably his misgivings
-will be aroused by something in the drawing which betrays the copyist,
-and a searching examination of the surface will reveal some traces of
-the sinister treatment to which it has been subjected or the tell-tale
-marks, such as black specks or burns, left on the foot rim by the
-process of refiring. There is much truth besides in the saying that
-things “look their age,” and artificial signs of wear imparted by
-friction and <span class="pagenum" id="Page_159">[159]</span>rubbing with sand or grit are not difficult for the
-experienced eye to detect.</p>
-
-<p>As already noted, the black of the precious black-ground vases, the
-<i>famille noire</i> as they are sometimes called, is formed by
-overlaying a dull black pigment with washes of transparent green
-enamel. The result is a rich greenish black, the enamel imparting life
-and fire to the dull pigment; and as the green is fluxed with lead it
-tends to become iridescent, giving an additional green <i>reflet</i>
-to the black surface. The modern potters have learnt to impart an
-iridescence to their enamels, and one often sees a strong lustre on
-specimens which are clearly “hot from the kiln”; but these enamels
-have a sticky appearance differing widely from the mellow lustre which
-partial decay has spread over the K’ang Hsi colours. It will be found,
-besides, that the shapes of the modern copies are wanting in the grace
-and feeling of the originals.</p>
-
-<p>This type of porcelain enamelled on the biscuit is particularly well
-suited to statuettes and ornamental objects of complex form. The
-details of the biscuit remain sharp and clear, and there is no thick
-white glaze to soften the projections and fill up the cavities, for the
-washes of transparent enamel are too slight to obscure the modelling.
-Consequently we find in this style of ware all the familiar Chinese
-figures, the Buddhist and Taoist deities, demigods, and sages, which,
-like our own madonnas and saints, mostly conform to well established
-conventions, differing mainly in their size, the quality of their
-finish, the form of their bases or pedestals, and the details of the
-surface colouring. Of these the figures of Kuan-yin<a id="FNanchor_306" href="#Footnote_306" class="fnanchor">[306]</a> are the most
-frequent and the most attractive, the compassionate goddess with
-sweet pensive face, mounted on a lotus pedestal or a rocky throne
-and sometimes canopied with a cloak which serves as a hood and a
-covering for her back and shoulders. She has moreover a long flowing
-robe open at the neck, and displaying a jewelled necklace on her bare
-bosom. There are, besides, the god of Longevity: the Eight Immortals:
-Tung-fang So with his stolen peaches: the star-gods of Longevity, Rank,
-and Happiness: the twin genii of Mirth and Harmony: Kuan-ti, the god
-of War, on a throne or on horseback: Lao-tzŭ on his ox: the demon-like
-Kuei Hsing, and the dignified Wên Ch’ang, gods of Literature; and all
-the throng. There are a few animal forms such as the horse, the ox,
-the elephant, the mythical <i>ch’i-lin</i>, and most common of all the
-Buddhist lions<span class="pagenum" id="Page_160">[160]</span> (sometimes called the dogs of Fo), usually in pairs,
-one with a cub, and the other playing with a ball of brocade, mounted
-on an oblong base, to which is attached, in the smaller sizes at any
-rate, a tube for holding incense sticks. Other familiar objects are
-four-footed or tripod stands for manuscript rolls, boxes for brushes
-colours, etc., ink screens, water pots of fanciful shape for the
-writing table, picture plaques (Plate <a href="#i263">100</a>), supper sets
-made up of a number of small trays which fit together in the form of a
-lotus flower<a id="FNanchor_307" href="#Footnote_307" class="fnanchor">[307]</a> or a rosette, perforated boxes and hanging vases for
-fragrant flowers (Fig. 2 of Plate <a href="#i259">98</a>), “butterfly cages,” and “cricket
-boxes.” Another well-known specimen represents the famous T’ang poet,
-Li T’ai-po, the Horace of China, reclining in drunken stupor against a
-half overturned wine jar, the whole serving as a water vessel for the
-writing table.</p>
-
-<p>Instances of the combination of on-glaze and on-biscuit enamels in the
-same piece also occur. Thus on the splendid black-ground potiche in
-the Franks Collection (Frontispiece) passages of white glaze have been
-inserted to receive the coral red colour which apparently could not
-be applied to the biscuit. And conversely in the ordinary <i>famille
-verte</i> decoration on the glaze there are sometimes inserted small
-areas of on-biscuit enamels on borders, handles, base ornaments,
-etc. Such combinations give an excellent opportunity for observing
-the contrast between the softer, fuller tints on the biscuit and the
-brighter, more jewel-like enamels on the white glaze. In rare instances
-we find passages of blue and white decoration associated with the
-on-biscuit enamels as on the curious ewer illustrated by Fig. 1 of
-Plate <a href="#i233">94</a>. Blue and white is similarly combined with decoration in
-coloured glazes on the biscuit in a late Ming jar in the Victoria and
-Albert Museum (Case 9, No. 4396–57).</p>
-
-  <div class="figcenter" id="i259" style="width: 536px">
-     <img
-    class="p2"
-    src="images/i259.jpg"
-     alt="" />
-     <p class="p0 center">Plate 98.&mdash;K’ang Hsi Porcelain with on-biscuit decoration.</p>
-     <p class="p0 sm center"><i>Dresden Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Teapot in form of a lotus seed-pod, enamels on the biscuit.
-Height 2¾ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Hanging Perfume Vase, reticulated, enamels on the biscuit.
-Height 3½ inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Ornament in form of a junk, transparent <i>san ts’ai</i>
-glazes. Height 11½ inches.</p>
-  </div>
-
-  <div class="figcenter" id="i261" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i261.jpg"
-     alt="" />
-     <p class="p0 center">Plate 99.&mdash;K’ang Hsi Porcelain with on-biscuit decoration.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Ewer with black enamel ground, lion handle. Height 8¾ inches.
-<i>Cope Bequest</i> (<i>V. &amp; A. Museum</i>).</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Figure of the Taoist Immortal, Ho Hsien Ku, transparent <i>san
-ts’ai</i> glazes. Height 10⅛ inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Vase and Stand, enamelled on the biscuit. Height 8¾ inches.
-<i>Cope Bequest.</i></p>
-  </div>
-
-  <div class="figcenter" id="i263" style="width: 383px">
-     <img
-    class="p2"
-    src="images/i263.jpg"
-     alt="" />
-     <p class="p0 center">Plate 100.&mdash;Screen with Porcelain Plaque, painted in
-enamels on the biscuit.</p>
-     <p class="p0 sm p-left">Light green background. K’ang Hsi period (1662–1722). Total height 22½
-inches.</p>
-     <p class="p0 sm p-left"><i>In the Collection of the Hon. E. Evan Charteris.</i></p>
-  </div>
-
-  <div class="figcenter" id="i265" style="width: 370px">
-     <img
-    class="p2"
-    src="images/i265.jpg"
-     alt="" />
-     <p class="p0 center">Plate 101.&mdash;Vase with panels of landscapes and <i>po
-ku</i> symbols in <i>famille verte</i> enamels</p>
-     <p class="p0 sm p-left">In a ground of underglaze blue trellis pattern. K’ang Hsi period
-(1662–1722). Height 32 inches. <i>Dresden Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i267" style="width: 371px">
-     <img
-    class="p2"
-    src="images/i267.jpg"
-     alt="" />
-     <p class="p0 center">Plate 102.&mdash;Two Dishes of <i>famille verte</i> Porcelain
-in the <i>Dresden Collection</i>. K’ang Hsi period (1662–1722).</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;With birds on a flowering branch, brocade borders. Artist’s
-signature in the field. Diameter 16 inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;With ladies on a garden terrace. Diameter 21 inches.</p>
-  </div>
-
-<p>The familiar phrase, <i>famille verte</i>, was first used by Jacquemart
-as a class name for the enamelled porcelains on which green plays
-a leading part. According to this definition it should include the
-<i>Wan li wu ts’ai</i>, the Ming enamelled porcelain, as well as much
-of the on-biscuit enamelled wares, in addition to the typical K’ang
-Hsi enamelled porcelain to which usage has specially consecrated the
-term. A direct descendant of the <i>Wan li wu ts’ai</i>, the <i>famille
-verte</i> includes the combinations of underglaze blue with the
-translucent on-glaze enamels green, yellow, and aubergine, and the
-coral red (derived from iron), the French <i>rouge de fer</i>, which
-is so thin that it <span class="pagenum" id="Page_161">[161]</span>resembles a pigment rather than a vitreous
-enamel. Add to these the brown black pigment, which is used to trace
-the outlines of the design and with a covering of green to form the
-green black, and we have one type of <i>famille verte</i> which differs
-in no essential from the Wan Li prototype. It is, in fact, no easy
-matter to find the line which divides the two groups. The nature of the
-ware and the style of the painting are the best guides; and the study
-of the K’ang Hsi blue and white will be a great help in this delicate
-task.</p>
-
-<p>But the real K’ang Hsi <i>famille verte</i>, which we might call the
-<i>K’ang hsi wu ts’ai</i>, is distinguished by the addition of an
-overglaze blue enamel which enhanced the brilliancy of the colour
-scheme, and at the same time removed the necessity of using underglaze
-and overglaze colours together.<a id="FNanchor_308" href="#Footnote_308" class="fnanchor">[308]</a> It is not to be supposed, however,
-that the underglaze blue disappeared entirely from the group. The old
-types were always dear to the Chinese mind, and there were frequent
-revivals of these in addition to the special wares,<a id="FNanchor_309" href="#Footnote_309" class="fnanchor">[309]</a> such as the
-“Chinese Imari,” in which this kind of blue was essential. There are
-indeed examples of both blues on the same pieces.</p>
-
-<p>The history of this overglaze blue enamel has already<a id="FNanchor_310" href="#Footnote_310" class="fnanchor">[310]</a> been
-partially discussed, and evidence has been given of its tentative
-use in the Wan Li porcelain. A passage in the second letter of Père
-d’Entrecolles<a id="FNanchor_311" href="#Footnote_311" class="fnanchor">[311]</a> actually places its invention about the year 1700,
-but the worthy father’s chronology (based no doubt chiefly on hearsay)
-is often at fault. It is fairly certain, however, that the blue enamel
-was not used to any extent before the Ch’ing dynasty, owing no doubt to
-the fact that it had not been satisfactorily made until that date.</p>
-
-<p>A beautiful enamel of violet blue tone, it is an important factor of
-the <i>famille verte</i> decoration, and the merits of a vase or dish
-are<span class="pagenum" id="Page_162">[162]</span> often decided on the purity and brilliance of this colour alone.
-There is, however, something in the nature of the enamel which seems
-to affect the surrounding glaze; at any rate, it is often ringed about
-by a kind of halo of dull lustre, reflecting faint rainbow tints to a
-distance of perhaps an inch from the edge of the blue. It is as though
-an exhalation from the blue enamel deposited a thin film of lustre on
-the glaze, and it is a very frequent occurrence, though not always in
-the same conspicuous degree. Collectors who are ever looking for a sign
-have been tempted to hail its presence as a sure proof of antiquity.
-But it is by no means constant on the old <i>famille verte</i>, and it
-has yet to be proved that the same enamel will not produce a similar
-effect on the modern glaze.</p>
-
-<p>In view of the appreciation of <i>famille verte</i> porcelain at the
-present day a contemporary criticism will be of interest. D’Entrecolles
-in his first letter,<a id="FNanchor_312" href="#Footnote_312" class="fnanchor">[312]</a> referring to “porcelain painted with
-landscapes in a medley of almost all the colours heightened with
-gilding,” says: “They are very beautiful, if one pays a high price, but
-the ordinary wares of this kind are not to be compared with blue and
-white.” And again,<a id="FNanchor_313" href="#Footnote_313" class="fnanchor">[313]</a> following an exact description of painting with
-enamel colours on the finished glaze and of the subsequent refiring of
-the ware, we read: “Sometimes the painting is intentionally reserved
-for the second firing; at other times they only use the second firing
-to conceal defects in the porcelain, applying the colours to the faulty
-places. This porcelain, which is loaded with colour, is not to the
-taste of a good many people. As a rule one can feel inequalities on the
-surface of this kind of porcelain, whether due to the clumsiness of the
-workmen, to the exigencies of light and shade in the painting, or to
-the desire to conceal defects in the body of the ware.”</p>
-
-<p>The tenor of these criticisms will not be endorsed by the modern
-collector of K’ang Hsi porcelain. <i>Famille verte</i> porcelain is
-enthusiastically sought, and even indifferent specimens command a
-high price, while the really choice examples can only be purchased
-by the wealthy. As to the inequalities on the surface, the second of
-the three reasons hazarded by d’Entrecolles is nearest the truth. The
-enamels used by the Chinese porcelain painter contain a remarkably
-small percentage of colouring oxide, and one of the characteristics
-of <i>famille verte</i> colours is their transparency. To obtain full
-tones and the contrast between light and shade (even to the limited
-extent<span class="pagenum" id="Page_163">[163]</span> to which the Chinese use this convention) it was necessary
-to pile up the layers of colour at the risk of unduly thickening the
-enamel. But the connoisseur of to-day finds nothing amiss in these
-jewel-like incrustations of colour, so long as the enamels are pure and
-bright, and have not scaled off or suffered too severely from the wear
-to which their prominent surface is exposed.</p>
-
-<p>It seems<a id="FNanchor_314" href="#Footnote_314" class="fnanchor">[314]</a> that when the porcelain was destined to receive on-glaze
-enamels (without any underglaze blue) a special glazing mixture was
-used in which only one part of the softening element<a id="FNanchor_315" href="#Footnote_315" class="fnanchor">[315]</a> was combined
-with thirteen of the ordinary glazing fluid. This glaze was very white
-and strong, and too opaque to do justice to an underglaze blue.</p>
-
-<p>There is a reference in the first letter of Père d’Entrecolles to
-a white colour which was used on the “porcelain painted in various
-colours.” It was fluxed with lead like the other enamel colours, and
-it was also used mixed with the latter to modify their tint. In fact
-there can be little doubt that it was arsenical white, an opaque white
-familiar on the Yung Chêng and Ch’ien Lung porcelains, and prominent in
-the <i>famille rose</i> palette, but not usually suspected of such an
-early appearance as 1712, the date of the letter in question.</p>
-
-<p>The designs of the <i>famille verte</i> porcelain, like those on the
-blue and white, are first traced in outline and then filled in with
-washes of colour. The outlines are in a dry dull pigment of red or
-brown black tint, inconspicuous in itself, but acquiring prominence
-when covered with transparent enamel. M. Grandidier tried to formulate
-certain rules for these outlines which, if reliable, would simplify
-greatly the task of dating the porcelains. On Ming ware, he said, the
-outlines were blue; on K’ang Hsi wares the face and body outlines were
-red, those of the vestments and other objects black. Unfortunately
-the first of these generalisations is wholly wrong, and the second
-pointless, because only partly right.</p>
-
-<p>Omitting the underglaze blue as foreign to this particular group of
-<i>famille verte</i> under discussion, the colours consist of dark leaf
-green often of a mottled appearance, a beautiful light apple green,
-which is characteristic of the K’ang Hsi wares just as the blue green
-is of the sixteenth century polychrome, an aubergine colour (derived
-from manganese) which varies from purple brown to rosy purple, a yellow
-of varying purity and usually of brownish tone, a green<span class="pagenum" id="Page_164">[164]</span> black formed
-of the brown black pigment under washes of transparent green, a blue
-enamel of violet tone, and the thin iron red. The blue enamel and the
-red are sometimes omitted, leaving a soft harmony of green, aubergine
-and yellow in which green plays the chief part. A little gilding is
-often used to heighten parts of the design.</p>
-
-<p>As for the shapes of the <i>famille verte</i> porcelain, they are
-substantially the same as those of the blue and white and call for
-no further comment. The designs, too, of the painted decoration are
-clearly derived from the same sources as those in the blue and white,
-viz. books of stock patterns, pictures, illustrations of history
-and romance, and of such other subjects as happened to be specially
-appropriate or of general interest.</p>
-
-<p>To take a single instance of a pictorial design, the familiar rockery
-and flowering plants (peony, magnolia, etc.) and a gay-plumaged
-pheasant lends itself to effective treatment in enamel colours. It
-is taken from a picture, probably Sung in origin, but there are many
-repetitions of it in pictorial art, one of which by the Ming painter
-Wang-yu is in the British Museum collection.<a id="FNanchor_316" href="#Footnote_316" class="fnanchor">[316]</a> The original is said
-to have been painted by the Emperor Hui Tsung in the beginning of the
-twelfth century. Another familiar design&mdash;quails and millet&mdash;is reputed
-to have been painted by the same Imperial artist.</p>
-
-<p>A good instance of the kind of illustrated book which supplied the
-porcelain decorator with designs is the <i>Yü chih kêng chih t’u</i>
-(Album of Ploughing and Weaving, compiled by Imperial order),
-which deals with the cultivation of rice and silk in some forty
-illustrations. It was first issued in the reign of K’ang Hsi, and
-there are copies of the original and of several later editions in the
-British Museum. A specimen of <i>famille rose</i> porcelain in the
-Franks Collection is decorated with a scene from this work, and in the
-Andrew Burman Collection there are two <i>famille verte</i> dishes with
-designs from the same source. In the Burdett Coutts Collection, again,
-there is a polygonal bowl with subjects on each side representing
-the various stages of cotton cultivation, evidently borrowed from an
-analogous work.</p>
-
-<p><span class="pagenum" id="Page_165">[165]</span></p>
-
-  <div class="figcenter" id="i275" style="width: 398px">
-     <img
-    class="p2"
-    src="images/i275.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 103</p>
-     <p class="p0 sm p-left">Club-shaped (<i>rouleau</i>) Vase finely painted in <i>famille
-verte</i> enamels with panel designs in a ground of chrysanthemum
-scrolls in iron red; brocade borders. Last part of the K’ang Hsi period
-(1662–1722)</p>
-     <p class="p0 sm" style="float:left">Height 17 inches.</p>
-     <p class="p0 sm" style="float:right"><i>Salting Collection</i> (<i>Victoria and Albert Museum</i>).</p>
-  </div>
-
-<p style="clear: both">Signatures and seals of the artist usually attached to a stanza
-of verse, or a few phrases which allude to the subject, are often
-found in the field of the pictorial designs. Fig. 1 of Plate <a href="#i267">102</a>,
-for instance, belongs to a series of beautiful dishes in the Dresden
-collection, which <span class="pagenum" id="Page_167">[167]</span>display the same seal&mdash;apparently<a id="FNanchor_317" href="#Footnote_317" class="fnanchor">[317]</a> <i>wan
-shih chü</i> (myriad rocks retreat), the studio name not, I think, of
-the porcelain painter but of the artist whose picture was copied on the
-porcelain. There are numerous examples of similar seals in the field
-of the design, and we shall return to the subject later in a place
-where important issues turn on the solution of the problem which it
-raises.<a id="FNanchor_318" href="#Footnote_318" class="fnanchor">[318]</a></p>
-
-<p>The types of <i>famille verte</i> porcelain are extremely numerous,
-almost as varied as those of the blue and white (p. <a href="#Page_136">136</a>).
-Like the latter they include much that was obviously made for European
-consumption, and most of the groups which were singled out from the
-mass of blue and white for special description can be paralleled in the
-<i>famille verte</i>. The thin, crisp, moulded ware with petal-shaped
-panels and lobed borders, the group with the “G” mark, and many other
-types are found with the same peculiarities of paste and glaze, and
-even the same design painted in on-glaze enamels. As in the case of the
-blue and white, the quality of this export ware varies widely, and the
-individual specimens will be judged by the drawing of the designs and
-the purity and fire of the enamels.</p>
-
-<p>A few of the more striking types are illustrated on Plates <a href="#i275">103</a> and <a href="#i279">104</a>.
-Perhaps the most sumptuous effects of this colour scheme are displayed
-in the vases decorated with panel designs surrounded by rich diapers
-borrowed from silk brocades. A favourite brocade pattern consists of
-single blossoms or floral sprays woven into a ground of transparent
-green covering a powder of small brown dots. This dotted green ground
-is commonly known as “frog’s spawn,” and another diaper of small
-circles under a similar green enamel is easily recognised under the
-name of “fish roe.” But the variety of these ground patterns is great,
-and in spite of their prosaic nomenclature they render in a singularly
-effective manner the soft splendour of the Chinese brocades.</p>
-
-<p>In dating the <i>famille verte</i> porcelains the collector will
-find his study of the blue and white of great assistance. There is,
-for instance, the well-known type of export ware&mdash;sets of vases with
-complex<span class="pagenum" id="Page_168">[168]</span> moulding, and dishes and plates, etc., with petal-shaped
-lobes on the sides or borders. The central design of the decoration
-commonly consists of <i>ch’i lin</i>, and phœnix, sea monsters (<i>hai
-shou</i>), storks or ducks beside a flowering tree or some such
-familiar pattern; and the surrounding petal-shaped panels are filled
-each with a growing flower, or a vignette of bird and plant, plant and
-insect, or even a small landscape. These bright but often perfunctorily
-painted wares are paralleled in the early K’ang Hsi blue and white.
-They are among the first Chinese polychrome porcelains to be copied by
-the European potters. See Plate <a href="#i285">107</a>.</p>
-
-<p>In the purely native wares the early Ch’ing <i>famille verte</i> is
-distinguished by strong and rather emphatic colouring, the energy
-of the drawing and the breadth of design which recall the late Ming
-polychromes. The zenith of this style of decoration was reached about
-1700, say between 1682 and 1710. This is the period of the magnificent
-vases with panel designs in brocaded grounds, or with crowded figure
-subjects, Court scenes, and the like, filling large areas of the
-surface, such vases as may be seen in the splendid series of the
-Salting Collection or in the Grandidier Collection in the Louvre. They
-are probably children of the great renaissance which began under the
-auspices of Ts’ang Ying-hsüan. Dated examples are extremely rare, and
-consequently the square vase on Plate <a href="#i279">104</a> assumes unusual importance
-on account of the cyclical date which occurs in the long inscription,
-“the 29th day of the 9th moon of the <i>kuei mo</i> year,” which we
-can hardly doubt is 1703. Incidentally another side of this vase
-illustrates the celebrated scene of the wine cups started from the
-“orchid arbour to float down the nine-bend river.”<a id="FNanchor_319" href="#Footnote_319" class="fnanchor">[319]</a></p>
-
-<p>Another example with a cyclical date (the year <i>hsin mao</i>, and
-no doubt 1711) is a globular water bottle “of the highest quality and
-technique, decorated with transparent luminous enamels of great beauty
-and delicacy,” in the Pierpont Morgan Collection.<a id="FNanchor_320" href="#Footnote_320" class="fnanchor">[320]</a> But in this case
-the date is attached to a verse in the field of the decoration, and it
-may belong to the design rather than to the porcelain.</p>
-
-  <div class="figcenter" id="i279" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i279.jpg"
-     alt="" />
-     <p class="p0 center">Plate 104.&mdash;Three Examples of K’ang Hsi <i>famille
-verte</i> Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Square Vase with scene of floating cups on the river;
-inscription with cyclical date 1703 A.D.; <i>shou</i> characters on the
-neck. Height 18⅜ inches. <i>Hippisley Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Lantern with river scenes. Height 13¾ inches. <i>Dresden
-Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Covered Jar of <i>rouleau</i> shape, peony scrolls in iron red
-ground, brocade borders. Height 22 inches. <i>Dresden Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i281" style="width: 350px">
-     <img
-    class="p2"
-    src="images/i281.jpg"
-     alt="" />
-     <p class="p0 center">Plate 105.&mdash;Covered Jar painted in <i>famille verte</i>
-enamels</p>
-     <p class="p0 sm p-left">With brocade ground and panel with an elephant (the symbol of Great
-Peace). Lion on cover. K’ang Hsi period (1662–1722). Height 21¼ inches.
-<i>Dresden Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i283" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i283.jpg"
-     alt="" />
-     <p class="p0 center">Plate 106.&mdash;K’ang Hsi <i>famille verte</i> Porcelain.
-<i>Alexander Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Dish with rockery, peonies, etc., birds and insects. Diameter
-16¼ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;“Stem Cup” with vine pattern. Height 5¾ inches.</p>
-  </div>
-
-  <div class="figcenter" id="i285" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i285.jpg"
-     alt="" />
-     <p class="p0 center">Plate 107.&mdash;<i>Famille verte</i> Porcelain made for
-export to Europe. K’ang Hsi period (1662–1722). <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with “sea monster” (<i>hai shou</i>).</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Dish with basket of flowers. Mark, a leaf. Diameter 11 inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Covered Jar with <i>ch’i-lin</i> and <i>fêng-huang</i>
-(phœnix).</p>
-  </div>
-
-<p>The lateness of this latter date and the use of the word “delicacy”
-in the description of the piece lead us naturally to that peculiarly
-refined type of late <i>famille verte</i> in which the ware is of
-eggshell thinness, the painting extremely dainty and delicate, and
-the <span class="pagenum" id="Page_169">[169]</span>colours rather pale but of perfect purity. Such are the
-well-known “birthday plates” with the reign mark of K’ang Hsi on the
-back and the birthday salutation in seal characters on the border:
-<i>wan shou wu chiang</i>&mdash;“a myriad longevities without ending!” They
-are reputed to have been made for the Emperor’s sixtieth birthday which
-fell in the year 1713, but the story is supported by no evidence of any
-kind, and they would have been equally appropriate for any Imperial
-birthday. The character of these wares is more suggestive of the Yung
-Chêng period, and it is probable that they belong to the extreme limit
-of the long reign of K’ang Hsi. To this period then we shall assign
-these and the whole group of kindred porcelains, the plates with
-designs similar to those of the “birthday plates,” but without the
-inscribed border, the small eggshell plates with one or two figures
-painted in the same delicate style, others with a single spray of some
-flowering shrub almost Japanese in its daintiness, and occasional bowls
-and vases with decoration of the same character. See Plate <a href="#i321">113</a>.</p>
-
-<p>For extreme delicacy of treatment is by no means a feature of the K’ang
-Hsi <i>famille verte</i> in general, in which the Ming spirit with its
-boldness and vigour still breathed. It is rather a late development in
-the decadence of the ware, heralding the more effeminate beauty of the
-<i>famille rose</i>, and were it not for the evidence of the birthday
-plates I believe many connoisseurs would be tempted to ascribe these
-delicate porcelains to a much later reign.</p>
-
-<p>Such, however, is the evolution of the <i>famille verte</i> during
-the sixty years of the K’ang Hsi period, from the strong colours and
-forceful Ming-like designs of the earlier specimens to the mature
-perfection of the splendid wares made about 1700, and thence by a
-process of ultra-refinement to the later types in which breadth of
-treatment gives place to prettiness and the strong thick enamels to
-thinner washes of clear, delicate tints. These thin transparent colours
-continued in use; indeed, they are a feature of a special type of
-enamelling which will be discussed with the Yung Chêng wares; but the
-pure <i>famille verte</i> may be said to have come to an end with the
-last years of the reign of K’ang Hsi. Later reproductions of course
-exist, for no style of decoration is ever wholly extinct in Chinese
-art, but they are merely revivals of an old style, which even before
-the end of the K’ang Hsi period had reached the stage of transition to
-another family. The opaque enamels of the <i>famille rose</i> palette
-had already begun to assert themselves. Timid intruders<span class="pagenum" id="Page_170">[170]</span> at first&mdash;a
-touch of opaque pink, a little opaque yellow and arsenical white
-breaking in upon the old harmony of transparent tints&mdash;they gradually
-thrust the <i>famille verte</i> enamels into a subsidiary position, and
-in the succeeding reigns rose pinks entirely dominate the field.</p>
-
-<p>A word must be said of the use of the <i>famille verte</i> painting
-in combination with other types of decoration, in the subordinate
-position of border patterns or more prominently in panel designs.
-Exquisite effects are obtained by the latter in a ground of coral red,
-or where a brilliant powder blue field is broken by shapely panels with
-flowering plants and birds and other familiar vehicles for <i>famille
-verte</i> colouring. Occasionally we find the enamels actually painted
-over a powder blue or an ordinary blue glaze, but the combination
-is more peculiar than attractive; for the underlying colour kills
-the transparent enamels, and the enamels destroy the lustre of the
-blue ground. Indeed, it is probable that in many cases these freak
-decorations were intended to hide a faulty background.</p>
-
-<p>A similar painting over the crackled green <i>lang yao</i> glaze has
-already been described, and it occurs over the grey white crackles,
-and rarely but with much distinction, over a pale celadon glaze. But
-perhaps the most effective combination of this kind is that in which a
-pale lustrous brown or Nanking yellow is the ground colour. The quiet
-and refined effects of this union are well exhibited by a small group
-of vases, bowls, and dishes in the Salting Collection.</p>
-
-<p>Something has already been said of the use of underglaze blue in
-combination with <i>famille verte</i> enamels. The blue is either an
-integral part of the general design as in the Wan Li “five colour”
-scheme, or it forms a distinct decoration by itself, apart from the
-enamels, though sharing the same surface. The latter use is exemplified
-by a pair of bottles in the Salting Collection which have blue patterns
-on the neck and <i>famille verte</i> decoration on the body, consisting
-of landscape panels surrounded by brocade patterns.<a id="FNanchor_321" href="#Footnote_321" class="fnanchor">[321]</a> But the great
-drawback to this union of underglaze and overglaze colours is usually
-apparent. The blue was liable to suffer in the subsequent firings
-necessitated by the enamels, even though those firings took place at
-a relatively low temperature. Probably the potter would not expose
-his finest blue to such risks, but at any rate the blue of this mixed
-decoration is rarely of first-rate quality.</p>
-
-<p><span class="pagenum" id="Page_171">[171]</span></p>
-
-  <div class="figcenter" id="i291" style="width: 503px">
-     <img
-    class="p2"
-    src="images/i291.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 108</p>
-     <p class="p0 sm p-left">Dish painted in underglaze blue and <i>famille verte</i> enamels. In
-the centre, a five-clawed dragon rising from waves in pursuit of a
-pearl. Deep border in “Imari” style with cloud-shaped compartments with
-chrysanthemum and prunus designs in a blue ground, separated by close
-lotus scrolls reserved in an iron red ground in which are three book
-symbols. K’ang Hsi period (1662–1722)</p>
-     <p class="p0 sm" style="float:left">Diameter 19½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>Alexander Collection.</i></p>
-  </div>
-
-<p style="clear: both">There is one group of porcelain which combines the underglaze blue
-with on-glaze enamels, and which deserves special notice if <span class="pagenum" id="Page_173">[173]</span>only
-because it has been recently favoured with particular attention by
-collectors. This is what we are pleased to call “Chinese Imari.”
-Our ceramic nomenclature has never been noted for its accuracy, and
-like good conservatives we hold firmly to the old names which have
-been handed down from days when geography was not studied, and from
-ancestors who were satisfied with old Indian china, or Gombroon ware,
-as names for Chinese porcelain. So Meissen porcelain is still Dresden,
-the blue and white of Ching-tê Chên is Old Nanking, Chinese export
-porcelain painted at Canton with pink roses is Lowestoft, and the ware
-made at Arita, province of Hizen, in Japan, is Imari, because that is
-the name of the seaport from which it was shipped. In fact, there are
-many shops where you cannot make yourself understood in these matters
-unless you call the wares by the wrong name.</p>
-
-<p>The Arita porcelain in question, this so-called Imari, was made from
-the middle of the seventeenth century onwards, and it must have
-competed seriously with the export wares of Ching-tê Chên. At any
-rate, it was brought to Europe in large consignments by the Dutch
-traders, who enjoyed the privilege of a trading station on the island
-of Deshima, after the less politic Portuguese had been driven out of
-Nagasaki in 1632. For the moment we are specially concerned with two
-types of Arita ware. The first is distinguished by slight but artistic
-decoration in vivid enamels of the <i>famille verte</i>, supplemented
-by gilding and occasionally by underglaze blue. Favourite designs are
-a banded hedge, prunus tree, a Chinese boy and a tiger or phœnix; two
-quails in millet beside a flowering prunus; simple flowering sprays
-or branches coiled in circular medallions; or only a few scattered
-blossoms. Whatever the nature of the design, it was artistically
-displayed, and in such a manner as to enhance without concealing
-the fine white porcelain. This is what the old catalogues call the
-<i>première qualité coloriée de Japon</i>, and a very popular ware it
-was in eighteenth century Europe, when it was closely copied on the
-early productions of the St. Cloud, Chantilly, Meissen, Chelsea, and
-other porcelain factories. To-day it is commonly known as Kakiemon
-ware, because its very distinctive style of decoration is traditionally
-supposed to have been started by a potter named Kakiemon, who, with
-another man of Arita, learned the secret of enamelling on porcelain
-from a Chinese merchant about the year 1646.</p>
-
-<p>The second type was made entirely for the European trade,<span class="pagenum" id="Page_174">[174]</span> and it
-is distinguished by large masses of dark, cloudy blue set off by
-a soft Indian red (derived from oxide of iron) and gilding. These
-colours are supplemented by touches of green, yellow, and aubergine
-enamels, and occasionally by a brownish black. The ware itself is
-heavy, coarse and greyish, but its rough aspect is well concealed by
-irregular and confused designs of asymmetrical panels surrounded by
-mixed brocade patterns. The panels often contain Chinese figures,
-phœnixes, lions, floral designs of chrysanthemums, peony and prunus,
-a basket of flowers, rough landscapes or garden views. They are
-medleys of half-Chinese, half-Japanese motives, a riot of incoherent
-patterns, but not without broad decorative effect thanks to the bold
-masses of red, blue and gold. Such is the typical “Old Imari.” There
-is, however, a finer and more Japanese variety of the same group
-which is distinguished by free use of the chrysanthemum rosette, and
-the Imperial kiri (paulonia imperialis), and by panels of diaper
-pattern and floral designs alternating and counter-changed in colour,
-the grounds now red, now blue, and now gold. The same colour scheme
-prevailed in this sub-group, and the dark blue was usually netted over
-with gold designs.</p>
-
-<p>It was no doubt the success which these wares met in European commerce
-that induced the Chinese to take a lesson from their pupils, and to
-adopt the “Imari” style. At any rate, they did copy all these types,
-sometimes very closely, sometimes only in part. Thus in some cases the
-actual Japanese patterns as well as the colour scheme are carefully
-reproduced, in others the Japanese colour scheme is employed on Chinese
-patterns or vice versa, and, again, there are cases in which passages
-of Japanese ornament are inserted in purely Chinese surroundings. But
-whether pure or diluted the Japanese style is unmistakable to those who
-have once learnt to know its peculiarities, of which masses of blue
-covered with gilt patterns and the prominence of red and gold are the
-most conspicuous.</p>
-
-<p>There will, of course, always be a few specimens the nationality of
-which will be difficult to decide, but to anyone familiar with Chinese
-and Japanese porcelain the distinction between the Chinese “Imari”
-and its island prototype is, as a rule, a simple matter. The Chinese
-porcelain is thinner and crisper, its glaze has the smooth oily sheen
-and faintly greenish tint which are peculiar to Chinese wares, and the
-raw edge of the base rim is slightly browned. The Japanese porcelain,
-on the other hand, is whiter in the Kakiemon<span class="pagenum" id="Page_175">[175]</span> ware, greyer and coarser
-in the “Old Imari,” and the glaze in both cases has the peculiar
-bubbled and “muslin-like” texture which is a Japanese characteristic.
-The Japanese underglaze blue is dark and muddy in tone, the Chinese
-bright, and purer, and the other colours differ, though not perhaps so
-emphatically. The iron red of the Chinese, for instance, is thinner and
-usually lighter in tone than the soft Indian red or thick sealing-wax
-colour of the Japanese; and to those who are deeply versed in Oriental
-art there is always the more subtle and less definable distinction, the
-difference between the Chinese and Japanese touch and feeling.</p>
-
-<p>Plate <a href="#i291">108</a> is a fine specimen which shows the blend of Chinese motives
-and the Japanese colouring.</p>
-
-<p>The general character of the Chinese “Imari” is that of the K’ang Hsi
-period, to which most of the existing specimens will be assigned; but
-it is clear that the Chinese continued to use Japanese models in the
-succeeding reign, for the last three items in the Imperial list of
-porcelain made in the Yung Chêng period comprise wares “decorated in
-gold and in silver in the style of the Japanese.”<a id="FNanchor_322" href="#Footnote_322" class="fnanchor">[322]</a></p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_176">[176]</span></p>
-
-<h2 class="smaller">CHAPTER XI<br />
-<span class="subhed">K’ANG HSI MONOCHROMES</span></h2></div>
-
-<p class="drop-cap p-left">In passing to the K’ang Hsi monochromes we enter a large field with
-boundaries ill defined. Many of the colours are legacies from the
-Ming potters, and most of them were handed on to after generations;
-some indeed have enjoyed an unbroken descent to the present day.
-Consequently there are few things more difficult in the study of
-Chinese porcelain than the dating of single-colour wares.</p>
-
-<p>In some cases the origin of a particular glaze has been recorded, and
-within certain limits the style of the piece will guide us in assessing
-its age; but how often must we be content with some such non-committal
-phrase as “early eighteenth century,” which embraces the late K’ang
-Hsi, the Yung Chêng and the early Ch’ien Lung periods? On the other
-hand, the careful student observes certain points of style and finish,
-certain slight peculiarities of form which are distinctive of the
-different periods, and on these indefinite signs he is able to classify
-the doubtful specimens. To the inexpert his methods may seem arbitrary
-and mysterious, but his principles, though not easy to enunciate, are
-sound nevertheless.</p>
-
-  <div class="figcenter" id="i297" style="width: 350px">
-     <img
-    class="p2"
-    src="images/i297.jpg"
-     alt="" />
-     <p class="p0 center">Plate 109.&mdash;Figure of Shou Lao, Taoist God of Longevity.</p>
-     <p class="p0 sm center">Porcelain painted with <i>famille verte</i> enamels. K’ang Hsi period
-(1662–1722). Height 17¼ inches. <i>Salting Collection</i> (<i>V. &amp; A.
-Museum</i>).</p>
-  </div>
-
-<p>We have already had occasion to discuss a few of the K’ang Hsi
-monochromes in dealing with the question of <i>lang yao</i>. But
-besides the <i>sang de bœuf</i> there is another rare and costly
-red to which the Americans have given the expressive name of “peach
-bloom.” Since their first acquaintance with this colour in the last
-half of the nineteenth century,<a id="FNanchor_323" href="#Footnote_323" class="fnanchor">[323]</a> American collectors have been
-enamoured of it, and as they have never hesitated to pay vast sums for
-good specimens, most of the fine “peach blooms” have found their way
-to the United States, and choice examples are rare in England. “The
-prevailing shade,” to quote from Bushell’s description, “is <span class="pagenum" id="Page_177">[177]</span>a pale
-red, becoming pink in some parts, in others mottled with russet spots,
-displayed upon a background of light green celadon tint. The last
-colour occasionally comes out more prominently, and deepens into clouds
-of bright apple green tint.” The Chinese, in comparing the colour, have
-thought of the apple rather than the peach; it is <i>p’in-kuo hung</i>
-(apple red), and the markings on it are <i>p’in-kuo ch’ing</i> (apple
-green), and <i>mei kuei tzŭ</i> (rose crimson). Another Chinese name
-for the colour is <i>chiang-tou hung</i> (bean red), in allusion to the
-small Chinese kidney-bean with its variegated pink colour and brown
-spots.</p>
-
-<p>It is generally supposed that, like the <i>sang de bœuf</i>, the “peach
-bloom” owes its hue to copper oxide, and that all the accessory tints,
-the russet brown and apple green, are due to happy accidents befalling
-the same colouring medium in the changeful atmosphere of the kiln.<a id="FNanchor_324" href="#Footnote_324" class="fnanchor">[324]</a>
-This precious glaze is usually found on small objects such as water
-pots and brush washers for the writing table (see Plate <a href="#i311">111</a><a id="FNanchor_325" href="#Footnote_325" class="fnanchor">[325]</a>), and snuff bottles, and a few small elegantly formed flower
-vases of bottle shape, with high shoulders and slender neck, the body
-sometimes moulded in chrysanthemum petal design, or, again, on vases
-of slender, graceful, ovoid form, with bodies tapering downwards, and
-the mouth rim slightly flaring. In every case the bottom of the vessel
-shows a fine white-glazed porcelain with unctuous paste, and the K’ang
-Hsi mark in six blue characters written in a delicate but very mannered
-calligraphy, which seems to be peculiar to this type of ware, and to a
-few choice <i>clair de lune</i> and celadon vases of similar form and
-make.</p>
-
-<p><span class="pagenum" id="Page_178">[178]</span></p>
-
-<p>The colour in the peach bloom glaze, as in the <i>sang de bœuf</i>, is
-sometimes fired out and fades into white or leaves a pale olive green
-surface with only a few spots of brown or pink to bear witness to the
-original intention of the potter. The glaze is sometimes crackled and
-occasionally it runs down in a thick crystalline mass at the base of
-the vessel.</p>
-
-<p>Needless to say this costly porcelain has claimed the earnest attention
-of the modern imitator. The first real success was achieved by a
-Japanese potter at the end of the last century. He was able to make
-admirable copies of the colour, but failed to reproduce adequately the
-paste and glaze of the originals. I am told that he was persuaded to
-transfer his secret to China, and with the Chinese body his imitations
-were completely successful. The latter part of the story is based
-on hearsay, and is given as such; but it is certain that there are
-exceedingly clever modern copies of the old peach blooms in the market;
-otherwise how could an inexpert collector in China bring home half a
-dozen peach blooms bought at bargain prices?</p>
-
-<p>The copper red used in painting underglaze designs<a id="FNanchor_326" href="#Footnote_326" class="fnanchor">[326]</a> will sometimes
-develop a peach bloom colour, and there is a vase in the British Museum
-with parti-coloured glaze in large patches of blue, celadon, and a
-copper red which has broken into the characteristic tints of the peach
-bloom vases.</p>
-
-<p>Another red of copper origin allied to the <i>sang de bœuf</i> and the
-peach bloom, and at times verging on both, is the maroon red, which
-ranges from crimson to a deep liver colour. There are wine cups of this
-colour whose glaze clouded with deep crimson recalls the “dawn red”
-of the wine cups made by Hao Shih-chiu.<a id="FNanchor_327" href="#Footnote_327" class="fnanchor">[327]</a> Sometimes the red covers
-part only of the surface, shading off into the white glaze. The finer
-specimens have either a crimson or a pinkish tinge, but far more often
-the glaze has issued from the kiln with a dull liver tint.</p>
-
-<p>Naturally the value of the specimens varies widely with the beauty of
-the colour. The pinker shades approach within measurable distance of
-the pink of the peach bloom, and they are often classed with the latter
-by their proud owners; but the colour is usually uniform, and lacks the
-bursts of russet brown and green which variegate the true peach bloom,
-and the basis of the maroon is a pure white glaze without the celadon
-tints which seem to underlie<span class="pagenum" id="Page_179">[179]</span> the peach bloom. It may be added that the
-maroon red glaze is usually uncrackled.</p>
-
-<p>As to the overglaze red, which is known by the names of <i>mo hung</i>
-(painted red) and <i>ts’ai hung</i> (enamel red), it is the colour
-derived from iron, and it was used both as one of the enamels of the
-<i>famille verte</i> palette and as a monochrome. In both capacities it
-figured on Ming porcelain, and was fully discussed in that connection.
-On K’ang Hsi wares it varied in tone from dark brick red to a light
-orange, according to the density of the pigment, and in texture from
-a thin dry film to a lustrous enamel, according to the quantity of
-fluxing material<a id="FNanchor_328" href="#Footnote_328" class="fnanchor">[328]</a> combined with it. Among the richly fluxed
-varieties is a fine tomato colour of light, translucent tone. Sometimes
-the iron red is found as sole medium for painted designs, as on a
-rouleau vase in the Salting collection, but more commonly it serves as
-a ground colour between panels of enamelled ornament (Plate <a href="#i275">103</a>), or in
-border passages. In these last two positions it is usually of a light
-orange shade, and broken by floral scrolls reserved in white. A dark
-shade of the same pigment is also used in diapers of curled scrolls,
-forming a groundwork for enamelled decoration. There are besides
-beautiful examples of a pure red monochrome formed of this colour, but
-I have only met with these among the later wares.</p>
-
-<hr class="tb" />
-
-<p>The blue monochromes include a large number of glazes varying in
-depth and shade with the quality and quantity of the cobalt which is
-mingled with the glazing material. These are <i>chiao ch’ing</i> (blue
-monochrome glazes), and they are all high-fired colours. They include
-the <i>chi ch’ing</i><a id="FNanchor_329" href="#Footnote_329" class="fnanchor">[329]</a> or deep sky blue, whose darker shades are
-also named <i>ta ch’ing</i> (<i>gros bleu</i>), the slaty blue, the
-pale clear blue,<a id="FNanchor_330" href="#Footnote_330" class="fnanchor">[330]</a> the dark and light lavender shades, and the
-faintly tinted <i>clair de lune</i> or “moon white” (<i>yüeh pai</i>),
-in which the amount of cobalt used must have been infinitesimal. But
-it would be useless to attempt to catalogue the innumerable shades of
-blue, which must have varied with every fresh mixture of colour and
-glaze and every fresh firing.</p>
-
-<p>There is, however, another group materially different from the<span class="pagenum" id="Page_180">[180]</span>
-ordinary blue glazes. In this the colour was applied direct to
-the body, as in blue and white painting, and a colourless glaze
-subsequently added, with the natural result that the blue seems to be
-incorporated with the body of the ware rather than with the glaze.
-There were several ways of applying the colour, each producing a
-slightly different effect. The cobalt powder could be mixed with water,
-and washed on smoothly with a brush, or dabbed on with a sponge to give
-a marbled appearance, or it could be projected on to the moistened
-surface in a dry powder, through gauze stretched across the end of a
-bamboo tube.</p>
-
-<p>The result of the last process was an infinity of minute specks of
-blue, a massing of innumerable points of colour. This is the well-known
-“powder blue,” the <i>bleu soufflé</i>, or blown blue described by Père
-d’Entrecolles in his second letter<a id="FNanchor_331" href="#Footnote_331" class="fnanchor">[331]</a>: “As for the <i>soufflé</i>
-blue called <i>tsoui tsim</i> (<i>ch’ui ch’ing</i>), the finest blue,
-prepared in the manner which I have described, is used. This is blown
-on to the vase, and when it is dry the ordinary glaze is applied either
-alone or mixed with <i>tsoui yeou</i> (<i>sui yu</i>), if crackle<a id="FNanchor_332" href="#Footnote_332" class="fnanchor">[332]</a>
-is required.” We are further told that as on the blue and white a glaze
-softened with a considerable proportion of lime was necessary for the
-perfection of the colour.</p>
-
-<p>The “powder blue” seems to have been a new invention in the K’ang Hsi
-period. Under the name of <i>ch’ui ch’ing</i> (blown blue) it figures
-in the <i>T’ao lu</i><a id="FNanchor_333" href="#Footnote_333" class="fnanchor">[333]</a> among the triumphs of Ts’ang Ying-hsüan’s
-directorate. It is certainly a singularly beautiful colour effect,
-and worthy of the homage it has received from collectors and ceramic
-historians. Though the blue used was as a rule of the finest quality,
-it varied much in intensity and tone with the nature of the cobalt and
-amount applied. Probably the majority of collectors would give the palm
-to the darker shades, but tastes differ, and the lighter tones when
-the blue is pure sapphire have found whole-hearted admirers. A notable
-feature of the powder blue is its surprising brilliancy in artificial
-light, when most other porcelain colours suffer eclipse.</p>
-
-<p><span class="pagenum" id="Page_181">[181]</span><br /><span class="pagenum" id="Page_182">[182]</span></p>
-
-  <div class="figcenter" id="i305" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i305.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 110</p>
-     <p class="p0 center">Two examples of “Powder Blue” (<i>ch’ui ch’ing</i>) Porcelain of the
-K’ang Hsi period (1662–1722), in the Victoria and Albert Museum</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bottle of gourd shape with slender neck: powder blue ground
-with gilt designs from the Hundred Antiques (<i>po ku</i>) and borders
-of <i>ju-i</i> pattern, formal flowers and plantain leaves. Height 7½
-inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle-shaped Vase with <i>famille verte</i> panels of
-rockwork and flowers reserved in a powder blue ground. Height 7 inches.
-<i>Salting Collection.</i></p>
-  </div>
-
-<p>It was used indifferently as a simple monochrome or as a ground
-in which panel decoration was reserved, the panels painted in
-<i>famille</i> <span class="pagenum" id="Page_183">[183]</span><i>verte</i> enamels or in blue and white; and
-in both cases the blue surface was usually embellished with light
-traceries in gold. Plate <a href="#i305">110</a> illustrates both types. Both are highly
-prized by collectors, and change hands at high prices when of the good
-quality which is usual on the K’ang Hsi specimens. We have already
-noted<a id="FNanchor_334" href="#Footnote_334" class="fnanchor">[334]</a> the occasional decoration of the powder blue ground with
-designs in <i>famille verte</i> enamels, and Père d’Entrecolles<a id="FNanchor_335" href="#Footnote_335" class="fnanchor">[335]</a>
-records another process of ornamentation which was applied to all the
-blue grounds of this group, viz. the washed, the sponged, and the
-powder blues: “There are workmen who trace designs with the point of
-a long needle on this blue whether <i>soufflé</i> or otherwise; the
-needle removes as many little specks of dry blue as are necessary
-to form the design; then the glaze is put on.” From this precise
-description it is easy to recognise this simple but effective
-decoration. There are two examples in the British Museum with dragon
-designs etched in this fashion, the one in a washed blue, and the other
-in a sponged blue ground. The pattern appears in white outline where
-the blue has been removed by the needle and the porcelain body exposed.</p>
-
-<p>Long usage has given sanction to the term “mazarine blue.” It was
-applied to the dark blue ground colour of eighteenth century English
-porcelain, and in the contemporary catalogues the name “mazareen” was
-given to any kind of deep blue from the mottled violet of Chelsea to
-the powdery <i>gros bleu</i> of Worcester. In reference to Chinese
-porcelain it is used to-day with similar freedom for the <i>ta
-ch’ing</i> or dark sky blue and for the powder blue. Assuming that
-the phrase derives from the famous Cardinal Mazarin, it cannot in its
-original sense have had any reference to powder blue, for the Cardinal
-died in 1661, and, if he had a weakness for blue monochrome, it must
-have been for some variety of the <i>chiao ch’ing</i> or blue glazes
-proper which were current at the end of the Ming and the beginning of
-the Ch’ing dynasties. At the present day it is impossible to guess the
-true shade of mazarine blue, and we must be content to regard it as a
-phrase connoting a deep blue monochrome the exact definition of which
-has gone beyond recall.<a id="FNanchor_336" href="#Footnote_336" class="fnanchor">[336]</a></p>
-
-<p>The K’ang Hsi mark is sometimes found on porcelain coated with a very
-dark purplish blue glaze with soft looking surface and<span class="pagenum" id="Page_184">[184]</span> minute crackle.
-It is apparently one of those glazes which are fired in the temperate
-parts of the kiln, and its use is more frequent on porcelains of a
-slightly later period.</p>
-
-<p>Finally, the turquoise blue, variously named <i>fei ts’ui</i>
-(kingfisher blue) and <i>k’ung ch’iao lü</i> (peacock green), was
-freely used as a monochrome on figures and ornamental wares. It is a
-colour which descends from Ming times, and whose use has continued
-unchecked to the present day, so that it is often extremely difficult
-to give a precise date to any particular specimen, especially if the
-object happens to be of archaic form, a copy of an old bronze or the
-like. Its nature has already been discussed<a id="FNanchor_337" href="#Footnote_337" class="fnanchor">[337]</a> among the Ming glazes,
-and one can only say that the K’ang Hsi pieces have all the virtues
-of the K’ang Hsi manufacture&mdash;fine material, good potting, shapely
-form, and beautiful quality of colour. The tint varies widely from the
-soft turquoise blue of kingfisher feathers to a deep turquoise green,
-and some of the most attractive specimens are mottled or spotted with
-patches of greenish black. The glaze is always minutely crackled, and
-has sufficient transparency to allow engraved or carved designs on the
-body to be visible. It is a colour which develops well on an earthen
-body, and the potters often mixed coarse clay with the ware which was
-intended to receive the turquoise glaze; but this, I think, was mainly
-practised after the K’ang Hsi period, and the K’ang Hsi specimens will,
-as a rule, be found to have a pure white porcelain basis.</p>
-
-<p>As in the Ming wares, the turquoise sometimes shares the field
-with an aubergine purple of violet tone, both colours being of the
-<i>demi-grand feu</i>. The purple is also used as a monochrome. There
-are, in fact, two aubergine purple monochromes, the one a thick and
-relatively opaque colour sometimes full of minute points as though it
-had been blown on like the powder blue, the other a thin transparent
-(and often iridescent) glaze of browner tone. Both are derived from
-cobaltiferous ore of manganese, both have descended from the Ming
-period, and have already been discussed as monochromes and as colours
-applied to the biscuit.</p>
-
-<p><span class="pagenum" id="Page_185">[185]</span></p>
-
-  <div class="figcenter" id="i311" style="width: 414px">
-     <img
-    class="p2"
-    src="images/i311.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 111</p>
-     <p class="p0 center">Two examples of Single-colour Porcelain in the Salting Collection
-(Victoria and Albert Museum)</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bottle-shaped Vase of Porcelain with landscape design lightly
-engraved in relief under a turquoise blue glaze. Early eighteenth
-century. Height 8½ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Water Vessel for the Writing Table of the form known as
-<i>T’ai-po tsun</i> after the poet Li T’ai-po. Porcelain with faintly
-engraved dragon medallions under a peach bloom glaze; the neck cut down
-and fitted with a metal collar. Mark in blue of the K’ang Hsi period
-(1662–1722) in six characters. Height 2¾ inches.</p>
-  </div>
-
-<p>The cobaltiferous ore of manganese is the same material which is used
-to give a blue colour, but in this case the manganese is removed, and
-the cobalt rendered as pure as possible. For the manganese if in excess
-produces a purplish brown, and its presence <span class="pagenum" id="Page_187">[187]</span>in however small a
-quantity gives the blue a purple or violet strain. By the simple method
-of graduating the amount of manganese which was allowed to remain with
-the cobalt the potters were able to obtain many intermediate shades
-between dark blue and purple for their monochrome glazes.</p>
-
-<p>The green monochromes are scarcely less numerous than the blue. There
-are the transparent greens of apple or leaf green shades whether even
-or mottled, which have been described among the glazes applied to the
-biscuit and among the enamels of the <i>famille verte</i>. These were
-used as monochromes and ground colours; and closely akin to them are
-(1) the cucumber green (<i>kua p’i lü</i>), in which a yellowish leaf
-green is heavily mottled with darker tints, and (2) the snake skin
-green (<i>shê p’i lü</i>), a deep transparent green with iridescent
-surface, one of the colours for which the directorate of Ts’ang
-Ying-hsüan was celebrated. There are good examples of both in the
-Salting Collection, but it would be useless to reproduce them except in
-colour.</p>
-
-<p>There are the apple and emerald green crackles (in both cases a
-green glaze overlying a grey or stone-coloured crackle), but these
-have already been discussed.<a id="FNanchor_338" href="#Footnote_338" class="fnanchor">[338]</a> A somewhat similar technique
-characterises the series of semi-opaque and crackled green glazes of
-camelia leaf, myrtle, spinach, light and dark sage, dull emerald and
-several intermediate tints. These are soft-looking glazes with small
-but very regular crackle,<a id="FNanchor_339" href="#Footnote_339" class="fnanchor">[339]</a> and their surface often has a “satiny”
-sheen which recalls the Yi-hsing glazes. They are evidently glazes
-of the <i>demi-grand feu</i>, and the colouring agent is doubtless
-copper, though apparently modified with other ingredients. How far this
-particular group was used in the K’ang Hsi period is hard to say. Most
-of the specimens which I have seen give me the impression of a later
-make, but as there are a few which might come within the K’ang Hsi
-limits I have taken this opportunity to discuss them.</p>
-
-<p>There is one specimen of a rare green in the British Museum to which I
-cannot recall a parallel. It is a bowl with the ordinary white glaze,
-but covered on the exterior with a very bright yellowish green, like
-the young grass with the sun shining on it. It is, perhaps, rather in
-the nature of an enamel than a glaze, but the ware has<span class="pagenum" id="Page_188">[188]</span> the appearance
-of age and should belong to the early part of the K’ang Hsi period.</p>
-
-<p>Most of the green glazes are low fired, melting in the temperature of
-the <i>demi-grand feu</i> and the muffle kiln. The high-fired greens
-are those of celadon class. There is the <i>lang yao</i><a id="FNanchor_340" href="#Footnote_340" class="fnanchor">[340]</a> green,
-which has been discussed under that heading, a crackled glaze, in
-colour intermediate between apple green and the sea green celadon, and
-with a surface texture hazy with bubbles like the <i>sang de bœuf</i>,
-to which it is a near relation. This soft and beautiful colour has been
-described as a “copper celadon,” and though Dr. Bushell refuses his
-blessing on the name it seems to me a particularly happy expression.
-For the colour apparently results from the same copper medium which
-under slightly different firing conditions produces the <i>sang de
-bœuf</i> red and at the same time its tint approaches very nearly to
-the typical celadon green.</p>
-
-<p>The true celadon glaze was freely employed on the early Ch’ing
-porcelains, especially on those of K’ang Hsi and Yung Chêng periods.
-It is a beautiful pale olive or sea green colour, made light by the
-pure white porcelain beneath which its transparent nature permits to
-shine through. Compared with the Sung celadons as we know them,<a id="FNanchor_341" href="#Footnote_341" class="fnanchor">[341]</a>
-the Ch’ing dynasty ware is thinner in material and glaze, wanting in
-the peculiar solidity of appearance of the ancient wares; the body
-is whiter and finer, and the base is usually white with the ordinary
-porcelain glaze. There is, moreover, no “brown mouth and iron foot,”
-unless indeed this feature has been deliberately added by means of a
-dressing of ferruginous clay, a make-up which is too obvious to deceive
-the initiated. There were, however, some careful imitations of the
-ancient celadons made at this time and got up with the appearance of
-antiquity, but these were exceptional productions.<a id="FNanchor_342" href="#Footnote_342" class="fnanchor">[342]</a></p>
-
-<p>Père d’Entrecolles, writing in 1722, alludes to the K’ang Hsi celadon
-in the following terms<a id="FNanchor_343" href="#Footnote_343" class="fnanchor">[343]</a>:&mdash;“I was shown this year for the first
-time a kind of porcelain which is now in fashion; its colour verges
-on olive and they call it <i>long tsiven</i>. I saw some which was
-called <i>tsim ko</i> (<i>ch’ing kuo</i>), the name of a fruit which
-closely resembles<span class="pagenum" id="Page_189">[189]</span> the olive.” The <i>long tsiven</i> is clearly a
-transliteration of the characters which we write <i>Lung-ch’üan</i>,
-the generic name of the old celadons; but it is odd that Père
-d’Entrecolles should not have seen copies of this glaze before 1722,
-for its use must have been continuous at Ching-tê Chên from very
-early times, and we have found reference to it in various periods
-of the Ming dynasty. It is evident, however, that the colour was
-enjoying a fresh burst of popularity just at this time. D’Entrecolles
-gives a few further notes which concern its composition. His recipe
-is substantially the same as that given in Chinese works, viz. a
-mixture of ferruginous earth, which would contribute a percentage of
-iron oxide, with the ordinary glaze.<a id="FNanchor_344" href="#Footnote_344" class="fnanchor">[344]</a> He also states that <i>sui
-yu</i> (crackle glaze) was added if a crackled surface was required,
-and there are numerous examples of this kind of ware to be seen. The
-most familiar are the vases with crackled celadon or grey green glaze
-interrupted by bands of biscuit carved with formal patterns and stained
-to an iron colour with a dressing of ferruginous earth. Monster heads
-with rings (loose or otherwise) serve as twin handles on these vases,
-which are designed after bronze models. These crackled celadons are
-evidently fashioned after an old model, but they have been largely
-imitated in modern times, and almost every pawnbroker’s window displays
-a set of execrable copies (often further decorated in underglaze blue)
-which are invariably furnished with the Ch’êng Hua mark incised on a
-square brown panel under the base.</p>
-
-<p>The yellow monochromes of the K’ang Hsi period are mostly descendants
-of the Ming yellows. There is the pale yellow applied over a white
-glaze reproducing the yellow of “husked chestnuts,” for which the Hung
-Chih (q.v.) porcelains were celebrated; and there is a fuller yellow,
-usually of browner shade, applied direct to the biscuit. Yellow is
-one of the Imperial colours, the usual tint being a full deep colour
-like the yolk of a hen’s egg, and the Imperial wares are commonly
-distinguished by five-clawed dragons engraved under the glaze. Other
-glazes<a id="FNanchor_345" href="#Footnote_345" class="fnanchor">[345]</a> used on the services made for the Emperor are the purplish
-brown (aubergine) and the bright green of camelia leaf tint, which
-with the yellow make up the <i>san ts’ai</i> or three colours. In fact
-the precise shades of these colours<span class="pagenum" id="Page_190">[190]</span> are those used on finer types
-of three-colour porcelain<a id="FNanchor_346" href="#Footnote_346" class="fnanchor">[346]</a> with transparent glazes fired in the
-temperate part of the great kiln. All these glazes tend to become
-iridescent with age.</p>
-
-<p>The colouring medium of the pale yellow is antimony combined with
-a proportion of lead, and iron oxide is added to give the glaze an
-orange or brown tinge.<a id="FNanchor_347" href="#Footnote_347" class="fnanchor">[347]</a> It is noticeable that the yellow applied
-to the biscuit is usually browner in tone. This is the nature, if we
-may judge from the excellent coloured illustrations in the Walters
-catalogue,<a id="FNanchor_348" href="#Footnote_348" class="fnanchor">[348]</a> of the eel yellow (<i>shan yü huang</i>), a brownish
-colour of clouded smoky appearance, and one of the few glazes named
-in the <i>T’ao lu</i> as a speciality of the directorate of Ts’ang
-Ying-hsüan. The other yellow associated with the name of Ts’ang is the
-“spotted yellow” (<i>huang pan t’ien</i>), discussed on p. <a href="#Page_127">127</a>.
-Its identification is uncertain, and Brinkley describes it as
-“stoneware with a dark olive green glaze with yellow speckles,” while
-Bushell (<i>O. C. A.</i>, p. 317) regards it as a “tiger skin” glaze
-with large patches of yellow and green enamel, the same as the <i>huang
-lü tien</i> (yellow and green spotted), which he quotes from another
-context.</p>
-
-<p>All these varieties belong to the <i>couleurs de demi-grand feu</i>;
-but there are besides several varieties of yellow enamels fired in
-the muffle kiln. Of these the transparent yellow was used as a ground
-colour in the K’ang Hsi period, but the opaque varieties, such as the
-lemon yellow, etc., belong rather to a later period. Among the latter I
-should include the crackled mustard yellow, though examples of it have
-often been assigned to the K’ang Hsi and even earlier reigns. There is,
-for instance, a bottle-shaped vase with two elephant handles in the
-Victoria and Albert Museum, which Bushell<a id="FNanchor_349" href="#Footnote_349" class="fnanchor">[349]</a> regarded as a specimen
-of the old <i>mi-sê</i> (“millet colour”) glaze of the Sung dynasty. A
-careful examination shows that this crackled brownish yellow is made in
-much the same fashion as the apple green and the sage green crackles,
-viz. a yellow glaze or enamel overlying a stone-coloured crackle. This
-is not a Sung technique, but rather<span class="pagenum" id="Page_191">[191]</span> an imitative method belonging
-perhaps to the Yung Chêng period, when old glazes and archaic shapes
-were reproduced with wonderful skill and truth.</p>
-
-<p>There is a solitary specimen of a high-fired glaze of pale buff yellow
-colour in the British Museum, which perhaps should be ranked with the
-yellow monochromes, though its appearance suggests an exceptional
-effect of the pale <i>tzŭ chin</i> or “Nanking yellow” glaze. And a
-rare vase in the Peters Collection has a minutely crackled brownish
-yellow glaze clouded with dark olive in bold markings like those of
-tortoiseshell.</p>
-
-<p>Another Ming monochrome freely used in the K’ang Hsi period is the
-lustrous brown (<i>tzŭ chin</i>), formed like the celadon by mixing
-ferruginous earth called <i>tzŭ chin shih</i> with the ordinary glaze.
-Presumably the quantity of this material was greater in the brown glaze
-than in the celadon. Père d’Entrecolles describes this glaze in its
-diverse shades of bronze, coffee and dead-leaf brown, but he makes the
-curious error of proclaiming it a new invention in 1722.<a id="FNanchor_350" href="#Footnote_350" class="fnanchor">[350]</a> He also
-refers to its use on the exterior of white cups and as a ground colour
-in which white panels were reserved. “On a cup or vase,” he tells us,
-“which one wished to glaze with brown, a round or square of damped
-paper was applied in one or two places; after the glaze had been laid
-on, the paper was peeled off, and the unglazed space was painted in
-red or blue. This dry, the usual glaze was applied to the reserve by
-blowing or by some other method. Some of the potters fill the blank
-spaces with a ground of blue or black, with a view to adding gilt
-designs after the first firing.”</p>
-
-<p>There were other methods of decorating these panels, and perhaps
-the most familiar is that in which the early <i>famille rose</i>
-enamels were employed. This combination of brown ground with panels
-of floral designs in thick opaque rose red, yellow, white and green
-was a favourite with the Dutch exporters. In fact this ware is still
-called Batavian, the old catalogue name derived from the Dutch East
-Indian settlement of Batavia, which was an entrepot for far-Eastern
-merchandise. The date of the Batavian porcelain is clearly indicated by
-the transition enamels as late K’ang Hsi.</p>
-
-<p>The <i>tzŭ chin</i> brown was used as a monochrome in all its various
-shades from dark coffee colour to pale golden brown, and the lighter
-and more transparent shades were sometimes laid over engraved
-decoration. In the British Museum there are two candlesticks,<span class="pagenum" id="Page_192">[192]</span> the
-stems of which with dragon designs in full relief are in an intensely
-dark <i>tzŭ chin</i> glaze, so dark, indeed, that the tops have been
-exactly matched in the deep brown ware made by Böttger of Dresden about
-1710, the latter polished on the lathe to simulate the lustrous surface
-of the Chinese glaze. In the same collection are two saucer dishes
-of dark <i>tzŭ chin</i> glaze of fine quality painted with slight
-floral designs in silver.<a id="FNanchor_351" href="#Footnote_351" class="fnanchor">[351]</a> This kind of decoration must have been
-singularly effective in its original state, but the silver does not
-stand the test of time, and though it still firmly adheres its surface
-has turned black. An unusual effect is seen on a vase in the Peters
-collection which has a lustrous coffee brown glaze passing into olive
-and clouded with black; and a very rare specimen in the same collection
-has a “leopard skin” glaze of translucent olive brown with large
-mottling of opaque coffee brown. The latter piece bears the Wan Li mark.</p>
-
-<p>The lightest shade of this colour is what has been described as Nanking
-yellow.<a id="FNanchor_352" href="#Footnote_352" class="fnanchor">[352]</a> It is used as a monochrome or as a ground colour with
-panels usually of <i>famille verte</i> enamels, and sometimes with
-enamelled decoration applied over the brown glaze itself. It is clear
-that the <i>sui yu</i> or crackle glaze was sometimes mixed with the
-<i>tzŭ chin</i>, for we find many examples of beautiful lustrous brown
-crackle. They have, however, in many cases an adventitious tinge of
-grey or green, for which the crackle glaze is perhaps responsible.</p>
-
-<p>A near relation to the <i>tzŭ chin</i> (brown gold) glaze is the
-<i>wu chin</i> (black gold), a lustrous black glaze obtained by
-mixing a little impure cobaltiferous ore of manganese (or coarse blue
-material<a id="FNanchor_353" href="#Footnote_353" class="fnanchor">[353]</a>) with the <i>tzŭ chin</i> glaze. Like the latter the
-black is an intensely hard glaze fired in the full heat of the great
-kiln, and it has a lustrous metallic surface which earned for it the
-name of “mirror black.”<a id="FNanchor_354" href="#Footnote_354" class="fnanchor">[354]</a> This glaze seems to have really been a
-K’ang Hsi innovation,<a id="FNanchor_355" href="#Footnote_355" class="fnanchor">[355]</a> and possibly it was a confusion with this
-fact which led d’Entrecolles into his erroneous statement about the
-date of the lustrous brown.</p>
-
-  <div class="figcenter" id="i319" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i319.jpg"
-     alt="" />
-     <p class="p0 center">Plate 112.&mdash;Three figures of Birds, late K’ang Hsi
-Porcelain, with coloured enamels on the biscuit.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Stork. Height 17¼ inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Hawk. Height 10 inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Cock. Height 13½ inches. <i>British Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i321" style="width: 395px">
-     <img
-    class="p2"
-    src="images/i321.jpg"
-     alt="" />
-     <p class="p0 center">Plate 113.&mdash;Porcelain delicately painted in thin
-<i>famille verte</i> enamels. About 1720.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Dish with figures of Hsi Wang Mu and attendant. Ch’êng Hua
-mark. Diameter 6¾ inches. <i>Hippisley Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bowl with the Eight Immortals. Diameter 8⅞ inches. <i>S. E.
-Kennedy Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i323" style="width: 350px">
-     <img
-    class="p2"
-    src="images/i323.jpg"
-     alt="" />
-     <p class="p0 center">Plate 114.&mdash;Hanging Vase with openwork sides, for
-perfumed flowers. <i>Cumberbatch Collection.</i></p>
-     <p class="p0 sm p-left">Porcelain painted in late <i>famille verte</i> enamels. About 1720.
-Blackwood frame. Total height 17 inches.</p>
-  </div>
-
-<p><span class="pagenum" id="Page_193">[193]</span></p>
-
-<p>The mirror black is usually a monochrome tricked out with gilt
-traceries, but as in the case of the powder blue the light Chinese
-gilding is usually worn away, and often its quondam presence can now
-only be detected by a faint oily film which appears when the porcelain
-is held obliquely to the light. It is a common practice to have this
-lost gilding replaced by modern work.</p>
-
-<p>There are several large vases of triple-gourd form in the
-Charlottenburg Palace with the upper and lower lobes coated with
-gilt mirror black, and the central bulb enamelled with <i>famille
-verte</i> colours; and another use of the glaze as panel decoration in
-a lustrous brown ground has already been noted in an extract from Père
-d’Entrecolles; it is also found on rare specimens as a background for
-panels of <i>famille verte</i> enamelling. But its most effective use
-is as a pure monochrome only relieved by faint gilding, and some of the
-choicest K’ang Hsi specimens have soft brown reflexions in the lustre
-of the surface. Another and probably a later type of mirror black is a
-thick lacquer-like glaze with signs of minute crackle.</p>
-
-<p>There is a type of glaze which, though variegated with many
-tints, still belongs to the category of monochromes. This is the
-<i>flambé</i>, to use the suggestive French term which implies a
-surface shot with flame-like streaks of varying colour. This capricious
-colouring, the result of some chance action of the fire upon copper
-oxide in the glaze, had long been known to the Chinese potters. It
-appeared on the Chün Chou wares of the Sung and Yüan dynasties, and it
-must have occurred many times on the Ming copper monochromes; but up
-to the end of the K’ang Hsi period it seems to have been still more
-or less accidental on the Ching-tê Chên porcelain, if we can believe
-the circumstantial account written by Père d’Entrecolles in the year
-1722<a id="FNanchor_356" href="#Footnote_356" class="fnanchor">[356]</a>:&mdash;“I have been shown one of the porcelains which are called
-<i>yao pien</i>, or transmutation. This transmutation takes place in
-the kiln, and results from defective or excessive firing, or perhaps
-from other circumstances which are not easy to guess. This specimen
-which, according to the workman’s idea, is a failure and the child of
-pure chance, is none the less beautiful, and none the less valued.
-The potter had set out to make vases of <i>soufflé</i> red. A hundred
-pieces were entirely spoilt, and the specimen in question came from the
-kiln with the appearance of a sort of agate. Were they but willing to
-take the risk and the expense of successive experiments, the potters
-would eventually discover the secret of<span class="pagenum" id="Page_194">[194]</span> making with certainty that
-which chance has produced in this solitary case. This is the way they
-learnt to make porcelain with the brilliant black glaze called <i>ou
-kim</i> (<i>wu chin</i>); the caprice of the kiln determined this
-research, and the result was successful.”</p>
-
-<p>It is interesting to read how this specimen of <i>flambé</i> resulted
-from the misfiring of a copper red glaze, no doubt a <i>sang de
-bœuf</i>; for in the most common type of <i>flambé</i> red (see
-Plate <a href="#i385">123</a>, Fig. 1) passages of rich <i>sang de bœuf</i> emerge from
-the welter of mingled grey, blue and purple tints. The last part of
-d’Entrecolles’ note was prophetic, for in the succeeding reigns the
-potters were able to produce the <i>flambé</i> glaze at will.</p>
-
-<p>There are, besides, many other strangely coloured glazes which can only
-be explained as misfired monochromes of the <i>grand feu</i>, those
-of mulberry colour, slaty purple, and the like, most of which were
-probably intended for maroon or liver red, but were altered by some
-caprice of the fire. But it would be useless to enumerate these erratic
-tints, which are easily recognised by their divergence from the normal
-ceramic colours.</p>
-
-<p>The French have always been partial to monochrome porcelains. In the
-eighteenth century they bought them eagerly to decorate their hotels
-and châteaux, and enshrined them in costly metal mounts. But as the
-style of the mounting, rococo in the early part of the century,
-neo-classical in the latter part, was designed to match the furniture
-of the period, the oriental shapes were often sacrificed to the
-European fashion. Dark blue and celadon green were favourite colours,
-if we may judge by surviving examples, and to-day enormous prices are
-paid for Chinese monochromes fitted with French ormolu mounts by the
-Court goldsmiths, such as Gouthière, Caffieri, and the rest.<a id="FNanchor_357" href="#Footnote_357" class="fnanchor">[357]</a>
-But these richly mounted pieces have more interest as furniture and
-metal work, and the ceramophile regards them askance for their foreign
-and incongruous trappings, which disturb the pure enjoyment of the
-porcelain.<a id="FNanchor_358" href="#Footnote_358" class="fnanchor">[358]</a></p>
-
-<p><span class="pagenum" id="Page_195">[195]</span></p>
-
-<p>It remains to consider the white porcelain, that is to say the
-porcelain which was intended to remain white and undecorated with any
-form of colouring. White was the colour used by the Court in times
-of mourning, and large services of white porcelain were made for the
-Emperor on these occasions. But it is not to be supposed that all the
-beautiful white wares were made solely for this purpose.<a id="FNanchor_359" href="#Footnote_359" class="fnanchor">[359]</a> They
-have always been highly esteemed by the Chinese from the early Ming
-times, when the Yung Lo bowls and the white altar cups of Hsüan Tê were
-celebrated among porcelains, down to the present day. Many exquisite
-whites were made in the early reigns of the Ch’ing dynasty, and as with
-so many of the perennial monochromes their exact dating is full of
-difficulty. We are not concerned here with the <i>blanc de chine</i>
-or white porcelain of Tê-hua in Fukien, which has already been
-discussed, but with the white of Ching-tê Chên, the glaze of which is
-distinguished from the former by its harder appearance, and its bluish
-or greenish tinge.</p>
-
-<p>The latter was made to perfection in the K’ang Hsi period. Having no
-colours to distract the eye from surface blemishes, nothing short of
-absolute purity could satisfy the critic. In choice specimens the paste
-was fine, white and unctuous, the glaze clear, flawless, and of oily
-lustre,<a id="FNanchor_360" href="#Footnote_360" class="fnanchor">[360]</a> the form was elegant and the potting true. Such pieces
-without blemish or flaw are the very flower of porcelain, whether they
-be of eggshell thinness (<i>t’o t’ai</i>), half eggshell (<i>pan t’o
-t’ai</i>), or of the substance of ordinary wares.</p>
-
-<p>But though innocent of colour the white porcelain was rarely without
-decoration. The finest Imperial services were usually delicately etched
-under the glaze with scarcely visible dragon designs. Other kinds have
-the ornament strongly cut, such as the eggshell cups and saucers with
-patterns of hibiscus, lotus, or chrysanthemum petals firmly outlined,
-or the vases with full-bodied designs in low relief obtained by carving
-away the ground surrounding the pattern.<a id="FNanchor_361" href="#Footnote_361" class="fnanchor">[361]</a> Others have faint
-traceries or thickly painted patterns in white<span class="pagenum" id="Page_196">[196]</span> slip, in steatite,<a id="FNanchor_362" href="#Footnote_362" class="fnanchor">[362]</a>
-or in fibrous gypsum under the glaze. A fuller relief was obtained by
-pressing in deeply cut moulds or by applying strips and shavings of
-the body clay, and working them into designs with a wet brush after
-the manner of the modern <i>pâte sur pâte</i>. There are still higher
-reliefs in K’ang Hsi porcelain, figures, and symbolical ornaments,
-formed separately in moulds and “luted” on to the ware with liquid
-clay, but these generally appeared on the enamelled wares, and are
-themselves coloured. The applied reliefs on the white wares are usually
-in unglazed biscuit, and there are, besides, pierced and channelled
-patterns, but these processes have been fully described among the late
-Ming wares,<a id="FNanchor_363" href="#Footnote_363" class="fnanchor">[363]</a> and nothing further need be said of them, except that
-they were employed with supreme skill and refinement by the K’ang Hsi
-potters. Père d’Entrecolles<a id="FNanchor_364" href="#Footnote_364" class="fnanchor">[364]</a> alludes to these perforated wares in
-the following passage:&mdash;“They make here (i.e. at Ching-tê Chên) another
-kind of porcelain which I have never yet seen. It is all pierced <i>à
-jour</i> like fretwork, and inside is a cup to hold the liquid. The cup
-and the fretwork are all in one piece.” Wares of various kinds with
-solid inner lining and pierced outer casing are not uncommon in Chinese
-porcelain and pottery. Sometimes, however, the cups are completed
-without the inner shell, like Fig. 2, of Plate <a href="#i133">78</a>, which could be
-fitted with a silver lining if required to hold liquid.</p>
-
-<p>Objects entirely biscuit are exceptional. There are, however, two small
-Buddhistic figures, and two lions of this class in the British Museum,
-and curiously enough both are stamped with potter’s marks, which is
-itself a rare occurrence on porcelain. The former bear the name of
-Chang Ming-kao and the latter of Ch’ên Mu-chih (see vol. i., page 223).
-Bushell<a id="FNanchor_365" href="#Footnote_365" class="fnanchor">[365]</a> tells us that the Chinese call biscuit porcelain <i>fan
-tz’ŭ</i> (turned porcelain), a quaint conception which implies that
-the ware is turned inside out, as though the glaze were inside, and
-the body out; and this illusion is occasionally<span class="pagenum" id="Page_197">[197]</span> kept up by applying a
-touch of glaze inside the mouth of the unglazed vessel.</p>
-
-<p>Biscuit porcelain is specially suitable for figure modelling, because
-the sharpness of the details remains unobscured by glaze. It has been
-largely employed in European porcelain factories for this purpose, but
-the Chinese seem to have been prejudiced against this exclusive use of
-the material. As a rule they reserve it for the fleshy parts of their
-figures, giving the draperies a coating of glaze or of enamel or both.
-A rare example of the use of biscuit is illustrated in the catalogue of
-the Walters Collection (<i>O. C. A.</i>, Plate XXIX.), a white bottle
-with a dragon carved out of the glaze and left in biscuit.</p>
-
-<p>The white wares so far described were made of the ordinary porcelain
-body and glaze, but there is another group of whites which is ranked
-with the so-called “soft pastes.” This is a creamy, opaque and often
-earthy-looking ware, the glaze of which is almost always crackled.
-It is in fact an imitation of the old Ting yao (q.v.), and its
-soft-looking surface and warm creamy tone are seen to perfection in
-small vases, snuff bottles, and ornamental wares. Indeed, the elegantly
-shaped and finely potted vessels of this soft, ivory crackle are among
-the gems of the period.</p>
-
-<p>Crackle is a feature which is common to many of the monochromes, and
-incidental mention has frequently been made of it in the preceding
-pages. It is essentially a Chinese phenomenon, dating back to the Sung
-dynasty, and there are various accounts of the methods employed to
-produce it. We are speaking of the intentional crackle which is clearly
-defined and usually accentuated by some colouring matter rubbed into
-the cracks, as opposed to the accidental crazing which appears sooner
-or later on most of the glazes of the <i>demi grand feu</i>, and on
-many low-fired enamels. One crackling process used by the Sung potters
-has been described on p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>, vol. i. Another method is mentioned in the
-K’ang Hsi Encyclopædia,<a id="FNanchor_366" href="#Footnote_366" class="fnanchor">[366]</a> viz. to heat the unglazed ware as much as
-possible in the sun, then plunge it into pure water. By this means a
-crackle was produced on the ware after the firing.</p>
-
-<p>But the normal process in the Ch’ing dynasty seems to have been<span class="pagenum" id="Page_198">[198]</span> to
-mix a certain ingredient with the glaze which produced a crackle when
-fired. There are constant references to this ingredient under the name
-of <i>sui yu</i> (crackle glaze) in the letters of Père d’Entrecolles
-in connection with various monochromes, and in the first letter,<a id="FNanchor_367" href="#Footnote_367" class="fnanchor">[367]</a>
-the following definite account appears:&mdash;“It is to be observed that
-when no other glaze but that composed of white pebbles<a id="FNanchor_368" href="#Footnote_368" class="fnanchor">[368]</a> is added
-to the porcelain, the ware turns out to be of a special kind known as
-<i>tsoui ki</i> (<i>sui ch’i</i> = crackled ware). It is marbled all
-over and split up in every direction into a infinite number of veins.
-At a distance it might be taken for broken porcelain, all the fragments
-of which have remained in place. It is like mosaic work. The colour
-produced by this glaze is a slightly ashen white.”</p>
-
-<p>The effect of this ingredient of the glaze whatever its composition may
-have been is easily understood. All porcelain and pottery undergoes a
-considerable amount of contraction&mdash;from loss of moisture, etc.&mdash;in
-the kiln, and to obtain a perfectly even glaze it is necessary that
-the contraction of the glaze should be the same as that of the body.
-Clearly this ingredient caused the glaze to contract to a greater
-extent than the body, and so to split up into minute fissures. The
-Chinese were able to control to a great extent the size and nature
-of the crackle, as is shown by the appearance of alternate bands of
-large and small crackle on the same piece. The methods of colouring
-the crackle include rubbing red ochre, ink, and decoction of tea
-leaves into the cracks before the ware was quite cool. Another method
-is described by Bushell (<i>O. C. A.</i>, p. 511) by which a white
-crackled ware was stained pink or crimson. The vessel was held in the
-fire in an iron cage until thoroughly heated, and then water mixed with
-gold-pink colouring matter was blown on to it. This, however, is a
-later process. Most of the monochrome glazes are occasionally crackled,
-but the most characteristic colours of the crackle glazes are the
-greyish white (the <i>blanc un peu cendré</i> of Père d’Entrecolles),
-and light buff, which were probably<span class="pagenum" id="Page_199">[199]</span> intended to recall the ash colour
-(<i>hui sê</i>) and the millet colour (<i>mi sê</i>) of the Sung <i>Ko
-yao</i>. Some of the light buff or “oatmeal” crackles of the early
-Ch’ing period are peculiarly refined and beautiful.</p>
-
-<p>Though this has seemed a favourable opportunity for discussing crackle
-glazes it is not to be supposed that they were a speciality of the
-K’ang Hsi period. They are common to every age since the Sung dynasty,
-and probably they were never made in such abundance and with such care
-as in the Yung Chêng and early Ch’ien Lung periods.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_200">[200]</span></p>
-
-<h2 class="smaller">CHAPTER XII<br />
-<span class="subhed">YUNG CHÊNG <img src="images/k_200a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- PERIOD (1723–1735)</span></h2></div>
-
-<p class="drop-cap p-left">The Emperor, K’ang Hsi, was succeeded by his son, who reigned from
-1723–1735 under the title Yung Chêng. The interest which the new ruler
-had taken as a prince in ceramic manufactures is proved by a passage
-in the first letter (written in 1712) of Père d’Entrecolles in which
-he instances among remarkable examples of the potter’s skill a “great
-porcelain lamp made in one piece, through which a torch gave light to
-a whole room. This work was ordered seven or eight years ago by the
-Crown Prince.” We are further told that the same prince had ordered the
-manufacture of various musical instruments in porcelain. These could
-not all be made, but the most successful were flutes and flageolets,
-and a set of chimes made of nine small, round and slightly concave
-plaques, which hung in a frame, and were played with drum-sticks.
-Apparently the Emperor continued to take an intimate interest in the
-industry after he had ascended the throne, for he commanded his brother
-the prince of Yi to announce personally to T’ang Ying his appointment
-at Ching-tê Chên in 1728.</p>
-
-<p>At the beginning of the reign the direction of the Imperial factory was
-in the hands of Nien Hsi-yao,<a id="FNanchor_369" href="#Footnote_369" class="fnanchor">[369]</a> who, in his capacity of inspector
-of customs at Huai-an Fu,<a id="FNanchor_370" href="#Footnote_370" class="fnanchor">[370]</a> dispensed the funds for the Imperial
-porcelain. A brief note in the <i>T’ao lu</i>,<a id="FNanchor_371" href="#Footnote_371" class="fnanchor">[371]</a> under the heading
-“Nien ware of the Yung Chêng period,” sums up in the usual compressed
-style of Chinese ceramic writers the character of the porcelain made
-at this time. The duty of Nien, inspector of customs at Huai-an Fu,
-we read, was to select the materials, and to see that the porcelain
-was furnished to the Imperial orders. The ware was extremely refined
-and elegant. The coloured porcelains<span class="pagenum" id="Page_201">[201]</span> were sent twice monthly to
-Nien at the Customs, and forwarded by him to the Emperor. Among the
-vases (<i>cho ch’i</i>) many were of egg colour, and of rounded form,
-lustrous and pure white like silver. They combined blue and coloured
-decoration, and some had painted, engraved, etched, or pierced ornament
-all ingeniously fashioned. Imitation of the antique and invention of
-novelties, these were truly the established principles of Nien.</p>
-
-<p>The interesting list of wares made at the Imperial factory which is
-given in detail on pp. <a href="#Page_223">223–226</a> supplies a full commentary on this
-meagre notice, illustrating the types which are merely hinted in
-the <i>T’ao lu</i> and specifying the particular kinds of antiques
-which were reproduced and many of the new processes invented in this
-reign. With regard to the last, however, it appears that the chief
-credit was due to Nien’s gifted assistant, T’ang Ying. Most of the
-actual processes, such as carving, engraving, piercing <i>à jour</i>,
-embossing in high and low relief, blowing on of the glazes, painting
-in enamels, in gold and in silver,<a id="FNanchor_372" href="#Footnote_372" class="fnanchor">[372]</a> have already been described in
-previous chapters. Indeed we may assume that all the science of the
-K’ang Hsi potters was inherited by their successors in the Yung Chêng
-period, and we need only concern ourselves with the novelties and the
-specialities of the period.</p>
-
-<p>A few words should be said first about the ware itself. Necessary
-variations in the appearance of the Ching-tê Chên porcelain, which
-were due to purely natural causes such as the use of clays of varying
-qualities or those from different localities, have been noted from time
-to time. These differences are generally quite obvious and they explain
-themselves. But apart from these there are numerous instances in which
-the potters have deliberately departed from the normal recipes in order
-to obtain some special effect. Thus we saw that the <i>ch’ing-tien</i>
-stone was introduced into the body in imitations of the opaque and
-rather earthy-looking white Ting Chou ware; <i>hua shih</i> (steatite)
-was used for another type of opaque porcelain which offered a
-vellum-like surface to the blue painter; and coarse, impure clays were
-found of great service in the imitation of the dark-coloured body of
-the antique wares.</p>
-
-<p>Many other modifications appear in the porcelain of the first half of
-the eighteenth century. There is, for instance, a very dead white ware,
-soft looking, but translucent, which occurs on some<span class="pagenum" id="Page_202">[202]</span> of the choicer
-examples of armorial porcelain.<a id="FNanchor_373" href="#Footnote_373" class="fnanchor">[373]</a> There are several specimens of
-this in the British Museum, one of which bears the early date, 1702,
-while others belong to the Yung Chêng period. Again there is the highly
-vitreous ware evolved by T’ang Ying to imitate the opaque glass of
-<i>Ku-yüeh-hsüan</i>; but that will be discussed later.<a id="FNanchor_374" href="#Footnote_374" class="fnanchor">[374]</a> These
-special bodies were mainly employed for articles of small size and
-ornamental design, and they can be studied in all their varieties in
-a representative collection of snuff bottles. The Chinese potters
-lavished all their skill on these dainty little objects. Not only
-do they include every kind of ware, crackled or plain, translucent
-or opaque, but they illustrate in miniature every variety of
-decoration&mdash;monochrome, painted, carved, moulded, incised, pierced and
-embossed. Probably the choicest snuff bottles were made in the Yung
-Chêng and Ch’ien Lung periods; but the Chinese have never ceased to
-delight in them, and many beautiful examples were manufactured in the
-nineteenth century, particularly in the Tao Kuang period.</p>
-
-<p>The ordinary Yung Chêng porcelain differs but little from that of the
-previous reign, though it tends to assume a whiter appearance, and
-the green tinge of the glaze is less marked. Moreover, a change is
-noticeable in the finish of the base rim of vases and bowls. Bevelling
-of the edge is less common, and gives place to a rounded or angular
-finish, the foot rim being often almost <img src="images/k_202.jpg" alt=""
-style="height:.85em;  padding:0em 0em ;" />shaped; while the
-slight tinge of brown around the raw edge, which is usual on K’ang Hsi
-wares, is often entirely absent. The actual potting of the porcelain
-displays a wonderful degree of manipulative skill, and the forms,
-though highly finished, are not lacking in vigour. They are, in fact,
-a happy mean between the strong, free lines of the K’ang Hsi and the
-meticulous finish of the later Ch’ien Lung porcelains. The verdict of
-the <i>T’ao lu</i>, “extremely refined and elegant,” is fully justified
-by the porcelain itself no less than by its decoration.</p>
-
-<p>Not the least deserving of this praise, though mainly made for export,
-is the important group discussed on page 209, viz. the saucer dishes,
-plates, tea and coffee wares, etc., of delicate white porcelain,
-painted, apparently at Canton, in the <i>famille rose</i> enamels. It
-is an “eggshell” porcelain, white, thin, and beautifully finished,
-and the dainty little conical or bell-shaped tea cups, though without
-handles, are the perfection of table ware. This kind of “eggshell”<span class="pagenum" id="Page_203">[203]</span> is
-easily distinguished from the Ming type, which is greener in tone and
-has the appearance of melting snow by transmitted light.</p>
-
-<p>The Yung Chêng period is not conspicuous for blue and white porcelain.
-The perfection of the <i>famille rose</i> colours and the growing
-demand for enamelled wares seem to have withdrawn the attention of the
-potters from their old speciality. Marked examples of Yung Chêng blue
-and white are so uncommon that it is difficult to estimate the merits
-of the ware from them. A saucer dish in the British Museum shows the
-familiar pattern of a prunus spray reserved in white in a marbled blue
-ground; but though the ware itself preserves much of the K’ang Hsi
-character, the blue is dull and grey, and wanting in the vivacity and
-depth of the old models. One would say that little care had been spent
-on the refining of the blue, and without the old perfection of material
-the K’ang Hsi style, with its broad washes of colour, was doomed to
-failure. Considerations of this sort may have led the painters to
-abandon the washes in favour of pencilling in fine lines, a method
-apparent on the armorial porcelain which can be dated to this period.
-Such a treatment of the blue was admirably suited to small objects.
-Indeed it was the usual style of decoration on the steatitic porcelain,
-of which many excellent examples belonging to this time are to be found
-among the snuff bottles, vermilion boxes, and the small, artistic
-furniture of the writing table. On large specimens the effect is thin
-and weak.</p>
-
-<p>On the other hand the Yung Chêng potters, who excelled in reproducing
-the antique, were most successful in their imitation of the old
-Ming blue and whites. The Imperial list<a id="FNanchor_375" href="#Footnote_375" class="fnanchor">[375]</a> includes such items as
-“reproductions of the pale blue painted designs of Ch’êng Hua,” and
-of the dark blue of Chia Ching. An interesting example of a Ming
-reproduction is a bowl in the British Museum, which is painted on the
-exterior with the old design of ladies walking in a garden by candle
-light.<a id="FNanchor_376" href="#Footnote_376" class="fnanchor">[376]</a> In spite of its Yung Chêng mark this piece is obviously a
-copy of a Ming model. The porcelain is white and thick, and the glaze,
-which is of greenish tint, has a peculiar soft-looking surface, while
-the blue design inside is of characteristic Ming colour, though that of
-the exterior is scarcely so successful.</p>
-
-<p><span class="pagenum" id="Page_204">[204]</span></p>
-
-<p>Another type much copied at this period as well as in the succeeding
-reign is that in which the blue is mottled and blotched with darker
-spots, a type discussed among the early Ming wares.<a id="FNanchor_377" href="#Footnote_377" class="fnanchor">[377]</a> And similarly
-such specimens as Fig. 2 of Plate <a href="#i343">116</a>, which bears a Hsüan Tê mark,
-doubtless belong to this period of imitative manufacture. It is of
-thick, solid build with smooth, soft-looking glaze, whose bubbled
-texture gives the blue a hazy appearance.</p>
-
-<p>Painting in underglaze red alone, or in combination with underglaze
-blue, was freely practised in the reign of Yung Chêng, and probably
-most of the fine examples of this type in our collections belong to
-this and the succeeding reign (Fig. 1, Plate <a href="#i345">117</a>). There is a good
-example with the Yung Chêng mark in the British Museum, a vase of
-“pilgrim-bottle” form with central design of the three emblematic
-fruits&mdash;peach, pomegranate, and finger citron, symbols of the Three
-Abundances of Years, Sons and Happiness. The fruits are in a soft
-underglaze red, verging on the peach-bloom tint, and the foliage,
-together with the borders and accessory designs, are pencilled in dark
-blue.</p>
-
-<p>The Imperial list alludes to this decoration under the heading of “red
-in the glaze” (<i>yu li hung</i>), including (1) red used alone for
-painted designs, and (2) red foliage combined with blue flowers.<a id="FNanchor_378" href="#Footnote_378" class="fnanchor">[378]</a>
-Examples of both these styles are frequent in large and small objects,
-and especially in the decoration of snuff bottles, which often bear the
-Yung Chêng mark. They are, however, by no means confined to the Yung
-Chêng period, but have continued in uninterrupted use to the present
-day.</p>
-
-<p><span class="pagenum" id="Page_205">[205]</span></p>
-
-  <div class="figcenter" id="i339" style="width: 429px">
-     <img
-    class="p2"
-    src="images/i339.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 115</p>
-     <p class="p0 sm p-left">Vase of baluster form with ornament in white slip and underglaze red
-and blue in a celadon green ground: rockery and birds on a flowering
-prunus tree. Yung Chêng period (1723–1735)</p>
-     <p class="p0 sm" style="float:left">Height 15½ inches.</p>
-     <p class="p0 sm" style="float:right"><i>Alexander Collection.</i></p>
-  </div>
-
-<p style="clear: both">Other references in the list<a id="FNanchor_379" href="#Footnote_379" class="fnanchor">[379]</a> to underglaze red painting include
-designs of three fishes,<a id="FNanchor_380" href="#Footnote_380" class="fnanchor">[380]</a> three fruits, three funguses, and five
-bats (for the five blessings) in the Hsüan Tê style, red in a white
-ground; and the same red designs in a celadon green ground, the
-latter combination being a novelty of the previous reign. Plate <a href="#i339">115</a>
-is a choice example of the underglaze colours in a celadon ground;
-and similar designs in a pale lavender blue ground, besides other
-combinations of the same colours, coloured slips, and high-fired glazes
-which <span class="pagenum" id="Page_207">[207]</span>form the polychrome decoration of the <i>grand feu</i> have
-been already discussed on p. <a href="#Page_146">146</a>. They belong to the Yung
-Chêng and Ch’ien Lung periods no less than to the K’ang Hsi.</p>
-
-<p>Of the other kinds of polychrome, the porcelain with glazes of the
-<i>demi-grand feu</i>, and enamels of the muffle kiln in the three
-colours, green, yellow, and aubergine, was still made. It is hardly
-likely that the manufacture<a id="FNanchor_381" href="#Footnote_381" class="fnanchor">[381]</a> which Père d’Entrecolles describes
-in 1722 ceased immediately, and we know that the finer types with
-engraved designs and transparent glazes in the three colours were made
-to perfection at the Imperial factory. Fig. 1 of Plate <a href="#i343">116</a> illustrates
-a bowl of this kind with the Yung Chêng mark and, to judge from its
-exquisite quality, an Imperial piece. The ornament is in green, in a
-full yellow ground. This type of decoration is a legacy from the Ming
-dynasty, and doubtless many of the saucer dishes, bowls, etc., with
-Chêng Tê marks, but with all the trimness and neatness of the Yung
-Chêng wares, belong to the latter period. One variety is actually
-specified in the Imperial list<a id="FNanchor_382" href="#Footnote_382" class="fnanchor">[382]</a> viz. “reproductions of porcelain
-with incised green decoration in a monochrome yellow ground.”</p>
-
-<p>As for the on-glaze enamels of the muffle kiln the old <i>famille
-verte</i> colour scheme was to a great and increasing extent supplanted
-by the <i>famille rose</i>. It survived, however, in certain modified
-forms&mdash;in the delicately painted wares, for example, usually of
-eggshell thinness and decorated in thin, clear, transparent enamels,
-such as were described in connection with the late K’ang Hsi “birthday
-plates ” (see Plate <a href="#i321">113</a>). And again the same colours were
-employed in a special type of decoration which seems to have originated
-in the Yung Chêng period, though it was freely used in later reigns. In
-this the design was carefully traced in pale blue outlines under the
-glaze, and filled in with light uniform washes of transparent enamels
-on the glaze. The effect is delicate and refined, though somewhat weak
-in comparison with the full, iridescent colours and broad washes of the
-older <i>famille verte</i>.</p>
-
-<p>Possibly this style of decoration was intended to reproduce the
-traditional refinement of the Ch’êng Hua cups. The Imperial list<a id="FNanchor_383" href="#Footnote_383" class="fnanchor">[383]</a>
-includes “reproductions of Ch’êng Hua polychrome (<i>wu ts’ai</i>),”
-and four exquisite eggshell wine cups in the Hippisley Collection<span class="pagenum" id="Page_208">[208]</span>
-which bear the Ch’êng Hua mark, are painted in this fashion.<a id="FNanchor_384" href="#Footnote_384" class="fnanchor">[384]</a>
-Similarly in the Bushell collection there are some beautiful
-reproductions of the Ch’êng Hua “stem-cups,” with grape vine patterns,
-etc., which are no doubt of the same origin. Larger work in the same
-style is illustrated by a fine vase in the Victoria and Albert Museum
-with a phœnix design which suggests an Imperial destination (Plate
-<a href="#i345">117</a>).</p>
-
-  <div class="figcenter" id="i343" style="width: 413px">
-     <img
-    class="p2"
-    src="images/i343.jpg"
-     alt="" />
-     <p class="p0 center">Plate 116.&mdash;Yung Chêng Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Imperial Rice Bowl with design of playing children (<i>wa
-wa</i>), engraved outlines filled in with green in a yellow ground,
-transparent glazes on the biscuit. Yung Chêng mark. Diameter 6 inches.
-<i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Blue and white Vase with fungus (<i>ling chih</i>) designs in
-Hsüan Tê style. Height 7½ inches. <i>Cologne Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i345" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i345.jpg"
-     alt="" />
-     <p class="p0 center">Plate 117.&mdash;Yung Chêng Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with prunus design in underglaze red and blue. Height 15
-inches. <i>C. H. Read Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Imperial Vase with phœnix and peony design in pale <i>famille
-verte</i> enamels over underglaze blue outlines. Height 25⅝ inches.
-<i>V. &amp; A. Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i347" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i347.jpg"
-     alt="" />
-     <p class="p0 center">Plate 118.&mdash;Early Eighteenth Century Enamels.</p>
-     <p class="p0 sm p-left">Fig.1&mdash;Plate painted at Canton in <i>famille rose</i> enamels (<i>yang
-ts’ai</i>, “foreign colouring”). Yung Chêng period. Diameter 21½
-inches. <i>S. E. Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Arrow Stand, painted in late <i>famille verte</i> enamels.
-About 1720. Height 19¼ inches. <i>V. &amp; A. Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i349" style="width: 718px">
-     <img
-    class="p2"
-    src="images/i349.jpg"
-     alt="" />
-     <p class="p0 center">Plate 119.&mdash;Yung Chêng Porcelain, painted at Canton with
-<i>famille rose</i> enamels. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;“Seven border” Plate. Diameter 8¼ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Eggshell Cup and Saucer with painter’s marks (see p. <a href="#Page_212">212</a>).
-Diameter of saucer, 4½ inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Eggshell Plate with vine border. Diameter 8¼ inches.</p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Armorial Plate with arms of Leake Okeover. Transition enamels,
-about 1723. Diameter 8⅞ inches.</p>
-  </div>
-
-<p>Thirdly, there are the reproductions of the enamelled porcelain of the
-Chêng Tê and Wan Li periods<a id="FNanchor_385" href="#Footnote_385" class="fnanchor">[385]</a> (q.v.), characterised, no
-doubt, by the combination of underglaze blue and overglaze enamels.
-We have already seen<a id="FNanchor_386" href="#Footnote_386" class="fnanchor">[386]</a> from the note on Nien yao in the <i>T’ao
-lu</i> that this combination was conspicuous at this period, and it is
-probable that much of the “five colour” porcelain in late Ming style
-should be dated no further back than the Yung Chêng revival. Other
-types of Ming coloured wares reproduced at this time were “porcelain
-with ornament in Hsüan Tê style in a yellow ground,”<a id="FNanchor_387" href="#Footnote_387" class="fnanchor">[387]</a> which seems
-to mean underglaze blue designs with the ground filled in with yellow
-enamel&mdash;a not unfamiliar type&mdash;and porcelain with designs painted in
-iron red (<i>ts’ai hung</i>) “reproduced from old pieces.”<a id="FNanchor_388" href="#Footnote_388" class="fnanchor">[388]</a> But the
-most prominent feature of the enamelled porcelains of this time is the
-rapid development of the <i>famille rose</i> colours. We have already
-noted the first signs of their coming in the thick rose pink and
-opaque white, which made their appearance in the latter years of K’ang
-Hsi. The group derives its name from its most conspicuous members, a
-series of rose pinks graduating from pale rose to deep crimson, all
-derived from gold, the use of which as a colouring agent for vitreous
-enamel was only at this period mastered by the Chinese potters. It
-includes besides a number of other colours distinguished from those
-of the <i>famille verte</i> palette by their relative opacity. They
-display, moreover, a far wider range of tints, owing to scientific
-blending of the various enamels and to the judicious use of the opaque
-white to modify <span class="pagenum" id="Page_209">[209]</span>the positive colours. Most of the opaque
-colours have considerable body, and stand out on the porcelain like a
-rich incrustation, and they are laid on not in broad washes, but with
-careful brush strokes and miniature-like touches.</p>
-
-<p>The <i>famille rose</i> colours are known to the Chinese as <i>juan
-ts’ai</i> (“soft colours,” as opposed to the <i>ying ts’ai</i>, or
-hard colours of the <i>famille verte</i>), <i>fên ts’ai</i> (pale
-colours), or <i>yang ts’ai</i> (foreign colours). Their foreign
-origin is generally admitted, and T’ang Ying in the seventeenth of
-his descriptions of the processes of manufacture alludes to them
-under the heading, “Decorating the round ware and vases with foreign
-colouring.”<a id="FNanchor_389" href="#Footnote_389" class="fnanchor">[389]</a> Painting the white porcelain in polychrome (<i>wu
-ts’ai</i>) after the manner of the Europeans (<i>hsi yang</i>), he
-tells us, is called foreign colouring, and he adds that the colours
-employed are the same as those used for enamels on metal (<i>fo
-lang</i>). Taking this statement with the note on “foreign coloured
-wares” in the Imperial list,<a id="FNanchor_390" href="#Footnote_390" class="fnanchor">[390]</a> where reference is made to painting
-on enamels (<i>fa lang</i>) “landscapes and figure scenes, flowering
-plants and birds,” it is evident that <i>fa lang</i> is used here not
-in the usual sense of cloisonné enamel, but for the painted enamels
-on copper which we distinguish as Canton enamels. These, we are told
-elsewhere,<a id="FNanchor_391" href="#Footnote_391" class="fnanchor">[391]</a> were first made in the kingdom of Ku-li, which is
-washed by the Western sea. Ku-li is identified as Calicut, but it does
-not necessarily follow that the Chinese associated the origin of the
-painted enamels with India. The expression was probably used quite
-vaguely in reference to European goods which came by way of India,
-and does not really conflict with the other phrase, <i>hsi yang</i>
-(Western foreigners), which is always rendered “Europeans.”</p>
-
-<p>There is quite a number of references to the foreign or European
-colours in the Imperial list,<a id="FNanchor_392" href="#Footnote_392" class="fnanchor">[392]</a> e.g. “porcelain in yellow after the
-European style,” which Bushell considers to be the lemon yellow which
-originated in this reign; “porcelain in purple brown (<i>tzŭ</i>)
-after the European style”; “European red-coloured wares,” i.e. rose
-pink; “European green-coloured wares,” which Bushell<span class="pagenum" id="Page_210">[210]</span> explains as pale
-bluish green or <i>eau de nil</i> enamel; and “European black (<i>wu
-chin</i>) wares.” In fact the words, “foreign or European,” seem to be
-practically synonymous with “opaque enamel.”<a id="FNanchor_393" href="#Footnote_393" class="fnanchor">[393]</a></p>
-
-<p>The most complete display of the foreign colouring is given by a
-special group of porcelain which is painted in a characteristic
-and mannered style. It is best known as “eggshell” or “ruby-back”
-porcelain, from the fact that it is usually very thin and translucent
-and beautifully potted, and that the exterior of the dishes and plates
-is often coated with a gold pink enamel varying from pale ruby pink to
-deep crimson. It usually consists of saucer-shaped dishes, plates, and
-tea and coffee wares, obviously intended for European use. Occasionally
-there are vases and lanterns of exquisite lightness and translucency,
-but the vase forms usually<span class="pagenum" id="Page_211">[211]</span> required a more substantial construction,
-and such specimens as Plate <a href="#i365">120</a>, are strongly built, though decorated
-in the same style as the eggshell wares.</p>
-
-<p>The decoration of these porcelains is scarcely less distinctive than
-their colouring. The central design usually consists of one of the
-following: a Chinese interior with figures of ladies and children,
-groups of vases and furniture, baskets of flowers and dishes of
-fruit, a pheasant on a rock, two quails and growing flowers, a cock
-and peonies, etc.; and these designs are enclosed by rich borders,
-sometimes totalling as many as seven in number, composed of hexagon
-and square, lozenge, trellis or matting diapers, in varying colours,
-and broken by small irregular panels of flowers or archaic dragons.
-There are, of course, many other kinds of decoration on these wares.
-Sometimes the whole design is executed in opaque blue enamel, sometimes
-it is black and gold. On some the borders are simpler, merely
-delicately gilt patterns; on others they are ruby pink, plain or
-broken by enamelled sprays. On the vase forms the ruby either covers
-the entire ground or is broken, as in Plate <a href="#i369">121</a>, Fig. 3, by fan-shaped
-or picture-shaped panels with polychrome designs. The painting is, as
-a rule, very finely and carefully executed, but almost always in a
-distinctive style which is closely paralleled by the Canton enamels.</p>
-
-<p>Indeed, it is impossible to resist the conclusion that much of this
-ware was actually decorated in the enamelling establishments at Canton,
-the porcelain itself being sent in the white from Ching-tê Chên. The
-same designs are found on both the porcelain and the enamels, and there
-is one instance at least of an artist whose paintings were used on both
-materials, as is testified by his signature. This is the painter whose
-art-name is <i>Pai shih shan jên</i> (hermit of the white rock), or
-in a shortened form, Pai-shih (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_223">223</a>). He was evidently
-a Cantonese, for one of his designs on a saucer in the British Museum
-is inscribed <i>Ling nan hui chê</i> (a Canton picture), the subject
-being a vase of flowers and a basket of fruit. His signature is also
-attached to a dish with cock and peonies in the Victoria and Albert
-Museum,<a id="FNanchor_394" href="#Footnote_394" class="fnanchor">[394]</a> and to a similar design figured by Jacquemart,<a id="FNanchor_395" href="#Footnote_395" class="fnanchor">[395]</a> which
-also bears the date corresponding to 1724. It occurs, besides, fairly
-frequently on Canton enamels, though in this case usually attached to
-landscape designs. In all these instances, however, it is placed in
-the field of the design appended, as a rule, to a stanza of verse or a<span class="pagenum" id="Page_212">[212]</span>
-descriptive sentence. This is a usual position for the signature of a
-painter on silk or paper, and we can hardly be wrong in inferring that
-Pai-shih was the artist whose designs were copied on the wares, perhaps
-one who was specially employed to design for the enamellers, rather
-than an actual pot-painter or enameller. The proper place for the
-signature of the latter is underneath the ware, on the base; and here
-we find on a cup and saucer in the British Museum the name apparently
-of the real decorator whose painting is not to be distinguished from
-that on the piece with the Pai-shih signature, just mentioned as in
-the same collection. Under the saucer (Plate <a href="#i349">119</a>, Fig. 2) is the seal
-<i>Yü fêng yang lin</i>, i.e. Yang Lin of Yü-fêng, an old name for
-the town of K’un-shan; and under the cup is the seal <i>Yu chai</i>
-(quiet pavilion), which is no doubt the studio name of Yang-lin.<a id="FNanchor_396" href="#Footnote_396" class="fnanchor">[396]</a>
-K’un-shan Hsien is situated between Su-chou and Shanghai, in the
-province of Kiangsu, and we are to understand that Yang-lin was
-either a native of K’un-shan or that he resided there&mdash;more probably
-the former, for his work is typical of the Canton enamellers. It is,
-however, probable enough that there were decorating establishments
-working for the European markets in the neighbourhood of Shanghai as
-well as at Canton, just as there are still decorating kilns not only at
-Ching-tê Chên but “at the other towns on the river.”<a id="FNanchor_397" href="#Footnote_397" class="fnanchor">[397]</a></p>
-
-<p>It is highly probable that the brushwork of the Canton enamellers, like
-the enamels themselves, was copied at Ching-tê Chên, and even that
-some of the enamellers migrated thither. A tankard among the armorial
-porcelain in the British Museum, bearing the arms of Yorke and Cocks,
-combines a few touches of underglaze blue with passages of <i>famille
-rose</i> decoration in the Canton style. The blue can only have been
-applied at the place of manufacture, and as no porcelain of this kind
-was actually made at Canton, it is evident that the piece was made and
-decorated elsewhere (which can only mean at Ching-tê Chên), unless we
-assume the improbable alternative that the tankard travelled from the
-factory, bare save for a faintly outlined shield with a saltire in
-blue, to be finished off at Canton.</p>
-
-<p>Needless to say there is much <i>famille rose</i> porcelain in which<span class="pagenum" id="Page_213">[213]</span>
-the Cantonese style is not apparent, and this we assume without
-hesitation to have been decorated at Ching-tê Chên.</p>
-
-<p>It only remains to say a few words on the dating of the <i>famille
-rose</i> wares and for this we must return to the ruby-back porcelains.
-Dated pieces are rare, but the British Museum is fortunate in
-possessing a few documentary specimens. The most interesting of these
-is a bowl with pale ruby enamel covering the exterior, and a dainty
-spray of flowers in <i>famille rose</i> enamels inside. It is marked
-in blue under the glaze with the cyclical date “made in the <i>hsin
-chou</i> year recurring” (see p. <a href="#Page_213">213</a>). The only year to which this
-can be referred is 1721, when the <i>hsin chou</i> year came round
-for the second time in the long reign of K’ang Hsi.<a id="FNanchor_398" href="#Footnote_398" class="fnanchor">[398]</a> It is of
-course possible that this bowl was not enamelled in the year of its
-manufacture, but there are two other pieces in the same case, an
-octagonal plate with ruby border and a dish, both with the mark of the
-Dresden collection, and therefore not later than the early years of
-Yung Chêng. A fourth document is a ruby-back saucer dish delicately
-painted with a lady and boys, vases and furniture in typical style,
-which has the mark of the Yung Chêng period.</p>
-
-<p>Unfortunately it is no longer possible to regard the year 1724, to
-which the signature Pai-shih is attached on the plate mentioned above,
-as conclusive evidence of the date of decoration.<a id="FNanchor_399" href="#Footnote_399" class="fnanchor">[399]</a> It is certainly
-the date of the design, and it is probable enough that the porcelain
-was painted within a few years of the original picture, but beyond
-that no further inferences can be drawn.<a id="FNanchor_400" href="#Footnote_400" class="fnanchor">[400]</a> The Yorke-Cocks tankard,
-however, to which we have also alluded, must for heraldic reasons have
-been painted between the years 1720 and 1733; and there is an eggshell
-cup and saucer in the British Museum painted in rose pink and other
-enamels of this type, with the arms of the Dutch East India Company and
-the date 1728.</p>
-
-<p>From this cumulative evidence it is clear that the manufacture of
-eggshell dishes and services with <i>famille rose</i> enamels in the
-Canton style and with “ruby backs” was in full swing in the Yung Chêng
-period, and the general tendency to label them all Ch’ien Lung errs on
-the side of excessive caution.</p>
-
-<p><span class="pagenum" id="Page_214">[214]</span></p>
-
-<p>Passing from this particular group, which was affected by special
-influences, the general character of the Yung Chêng enamelled
-decoration is one of great refinement in design and execution. The
-over-elaboration and the overcrowding which are observable on the later
-Ch’ien Lung <i>famille rose</i> are absent at this period. The tendency
-was on the contrary towards elegant and restrained effects, such as a
-flowering spray thrown artistically across the field, birds on a bough
-and other graceful designs which left plenty of scope for the fine
-quality of the white background. It is this nicely balanced decoration
-coupled with the delicacy of the painting and the beautiful finish of
-the porcelain itself, which gives the Yung Chêng enamelled wares their
-singular distinction and charm.</p>
-
-<p>There are still a few special types of painted wares to be noticed
-before passing to the monochromes. One of these is named in the
-Imperial list,<a id="FNanchor_401" href="#Footnote_401" class="fnanchor">[401]</a> under the heading “Porcelain painted in ink
-(<i>ts’ai shui mo</i>),” a figurative expression, for Indian ink could
-not stand the heat even of the enamelling kiln, and could never have
-served as a true ceramic pigment. The material used was a dry black or
-brown black pigment derived from manganese, and closely allied to the
-pigment which had long served in a subordinate position for tracing
-outlines. Evidently this material was now greatly improved, and could
-be used for complete designs which resembled drawings in Indian ink or
-in sepia. It is certain, however, that the Chinese, whose methods were
-necessarily empirical, had first experimented with actual ink, for Père
-d’Entrecolles wrote in 1722<a id="FNanchor_402" href="#Footnote_402" class="fnanchor">[402]</a>&mdash;“an attempt made to paint in black
-some vases with the finest Chinese ink met with no success. When the
-porcelain had been fired, it turned out white. The particles of this
-black had not sufficient body, and were dissipated by the action of the
-fire; or rather they had not the strength to penetrate the layer of
-glaze or to produce a colour differing from the plain glaze.” Between
-that date and about 1730 when the Imperial list was drawn up, the
-secret of the proper pigment seems to have been mastered, and we find
-the black designs effectively used on Yung Chêng eggshell and other
-wares, alone or brightened by a little gilding. Among other uses it was
-found to be admirably suited for copying the effect of European prints
-and line engravings, a <i>tour de force</i> in which the proverbial
-patience and imitative skill of the Chinese are well<span class="pagenum" id="Page_215">[215]</span> exemplified.
-Another effect sometimes mistaken for black painting is produced by
-silvered designs which become rapidly discoloured; but it is generally
-possible to see a slight metallic sheen even on the blackened silver if
-the porcelain is held obliquely to the light.</p>
-
-<p>Another refined and unobtrusive decoration was effected by pencilling
-in pale iron red supplemented with gilding. There is a large series of
-this red and gold porcelain in the Dresden collection, and it seems
-to belong to the late K’ang Hsi or the Yung Chêng period. Another
-telling combination, including black, red and gold, dates from this
-time. The black and gold variety is well illustrated by an interesting
-plate in the British Museum which represents European figures in
-early eighteenth-century costume in a Chinese interior (Plate <a href="#i429">131</a>,
-Fig. 1). The Imperial list<a id="FNanchor_403" href="#Footnote_403" class="fnanchor">[403]</a> alludes to the use of silver and gold
-both to cover the entire surface like a monochrome (<i>mo yin</i>
-and <i>mo chin</i>), and in painted designs (<i>miao yin</i> and
-<i>miao chin</i>).<a id="FNanchor_404" href="#Footnote_404" class="fnanchor">[404]</a> Three of these decorations are said to have
-been in Japanese style, but the precise significance of this is not
-clear. Gilding was freely used in combination with red and blue, and
-especially over the blue, on Arita porcelain, but the application of
-it does not seem to differ from the ordinary Chinese gilding. The one
-feature common to the Chinese and Japanese gilding is its lightness and
-restraint as compared with the heavy gilding of European porcelains.</p>
-
-<p>Plate <a href="#i393">125</a> illustrates a peculiar ware which belongs in part to the
-reign of Yung Chêng and in part to that of Ch’ien Lung. It attempts to
-reproduce the soft colouring on the enamelled glass made by Hu,<a id="FNanchor_405" href="#Footnote_405" class="fnanchor">[405]</a>
-whose studio-name was Ku-yüeh-hsüan (“ancient moon pavilion”). A
-small brush holder<a id="FNanchor_406" href="#Footnote_406" class="fnanchor">[406]</a> of this glass is shown on Fig. 125, an opaque
-white material, not unlike our old Bristol glass, delicately painted
-in <i>famille rose</i> colours with groups of the Seven Worthies
-of the Bamboo Grove. It is said that<a id="FNanchor_407" href="#Footnote_407" class="fnanchor">[407]</a> the Emperor admired the
-soft colouring on this ware, and expressed a wish to see the same
-effect produced in porcelain. T’ang Ying thereupon set out to solve
-the problem by making a highly vitreous body with<span class="pagenum" id="Page_216">[216]</span> glassy glaze on
-which the enamels assumed the soft tints of the original model. This
-type of porcelain, known as <i>fang ku yüeh hsüan</i> (“imitation of
-Ku-yüeh-hsüan”), is greatly prized. Mr. A. E. Hippisley has described
-a small group in the catalogue of his collection from which I have
-been permitted to illustrate an example (Plate <a href="#i393">125</a>). Mr. Hippisley
-states that the earlier specimens of the glass are marked with the
-four characters <i>ta ch’ing nien chih</i> (made in the great Ch’ing
-period), the reign name Yung Chêng being omitted; the later pieces, of
-which the brush pot in our illustration is one, have the Ch’ien Lung
-mark in four characters. Bushell<a id="FNanchor_408" href="#Footnote_408" class="fnanchor">[408]</a> has figured a yellow glazed snuff
-bottle with the actual mark <i>Ku yüeh hsüan chih</i> (see vol. i. p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_219">219</a>).</p>
-
-<p>The reigns of Yung Chêng and Ch’ien Lung were prolific in monochromes.
-Never since the Sung dynasty had these wares been produced in such
-quantity, and the tale of the glazes was swollen to an unprecedented
-extent by the accumulated traditions of the past centuries, and by the
-inventive genius of T’ang Ying. It is scarcely practicable to attempt
-to distinguish very closely between the Yung Chêng monochromes and
-those of the early years of Ch’ien Lung. The activities of T’ang-ying
-extended from 1728–1749, and we are expressly told that many of the
-types enumerated in the Imperial list were his inventions, besides
-which there was nothing made by the potters of the past which he could
-not reproduce. To enumerate all the colours now used would be merely
-to repeat what has been said under the heading of monochrome porcelain
-in the previous chapters. Moreover, the Imperial list given on page
-223 serves to draw attention to the principal types, and it is only
-necessary here to supplement it with a few comments.</p>
-
-<p>A special feature of the time was the reproduction of the glazes made
-in the classical periods of the Sung and Ming dynasties, and in many
-cases these copies were based on originals lent to the factory from the
-Imperial collections. Thus the Ju, Kuan, Ko, Lung-chüan, Tung-ch’ing,
-Chün and Ting wares, all the specialities of the Sung dynasty, are
-included in the list, and though one type of Kuan glaze is specifically
-stated to have been laid on a white porcelain body, many of the others,
-we read, were provided with special bodies imitating the copper-and
-iron-coloured wares of antiquity. But experience shows that in the
-majority of<span class="pagenum" id="Page_217">[217]</span> cases the potters were content to simulate the “brown
-mouth and iron foot” of the dark-bodied Sung wares by dressing the
-mouth and the exposed part of the base with ferruginous clay. This is
-observable on the lavender crackles which imitate the Kuan, and the
-stone grey crackles of the Ko type, by which the Sung originals were
-until recent years represented in most Western collections.</p>
-
-<p>In other cases coarse clays of impure colour, and even earthenware
-bodies were used in the reproductions. The admirable imitations of the
-mottled and <i>flambé</i> Chün glazes which were apparently a special
-triumph of T’ang-ying appear both on a white porcelain which had to be
-carefully concealed by the coloured glazes, and on a soft earthenware
-body. Both these kinds are found with the Yung Chêng mark stamped in
-the paste, and so correct are the glaze effects that even collectors of
-considerable experience have been deceived by specimens from which the
-mark in question has been ground away.</p>
-
-<p>In addition to the copies of the high-fired Chün glazes, there was the
-“Chün glaze of the muffle kiln” (<i>lu chün yu</i>) which is described
-as something between the glaze applied to the Yi-hsing stoneware and
-the Kuangtung glazes. The items immediately following this information
-in the Imperial list<a id="FNanchor_409" href="#Footnote_409" class="fnanchor">[409]</a> make it clear that the writer refers to the
-glazes of Ou on the Yi-hsing pottery, and to the blue mottled glazes
-of the Canton stoneware. The enamel which most closely answers to
-the description of this Chün glaze of the muffle kiln<a id="FNanchor_410" href="#Footnote_410" class="fnanchor">[410]</a> is that
-illustrated in Fig. 4 of Plate <a href="#i407">128</a>, a vase with dark-coloured foot rim,
-and an opaque greenish blue enamel flecked with dark ruby pink. This
-enamel varies considerably in appearance according to the preponderance
-of the red or the blue in the combination; but it is an enamel of the
-muffle kiln and its markings recall the dappled Chün glazes. I have,
-moreover, seen this glaze actually applied to a teapot of Yi-hsing red
-stoneware. This glaze seems to belong to a type, which was largely
-developed in the Ch’ien Lung period, of glazes resembling if not
-actually imitating the mottled surface of certain birds’ eggs, e.g.
-the robin, the lark, the sparrow, etc.<span class="pagenum" id="Page_218">[218]</span> In these instances one colour
-seems to have been powdered or blown on to another, the commonest kind
-having a powdering of ruby pink on pale blue or green. This glaze
-differs from the Chün glaze, described above, only in the size of the
-pink specks. It was probably in experimenting for the effect of the
-<i>flambé</i> Chün glazes that T’ang Ying acquired the mastery of the
-furnace transmutations (<i>yao pien</i>) which made it possible for him
-and his successors to produce at will the variegated glazes. These had
-been described by Père d’Entrecolles a few years earlier as accidental
-effects in his time, but the French father already foresaw the day when
-they would be brought under control.</p>
-
-<p>Of the celebrated Ting Chou wares only the fine ivory white Ting
-(<i>fên ting</i>) was copied at the Imperial factory; but this does
-not preclude the reproduction of the other kind, the creamy crackled
-<i>t’u-ting</i>, in the other potteries. There are, at any rate, many
-lovely porcelains in both styles which appear to belong to the Yung
-Chêng and early Ch’ien Lung periods. Coloured glazes with crackle and
-crackled grey-white of the Ko type were made in great quantity, and
-most of the choicer crackles in our collections, especially those of
-antique appearance but on a white and neatly finished porcelain body,
-date from this time.</p>
-
-<p>The reproductions of Ming monochromes include the underglaze red and
-the purplish blue as in the previous reign, and the eggshell and pure
-white of the Yung Lo and Hsüan Tê periods. The purplish blue or <i>chi
-ch’ing</i> of this time is illustrated by a large dish in the British
-Museum which is further enriched with gilding. It is covered with a
-splendid deep blue of slightly reddish tinge, varying depth and rather
-stippled appearance, and it was found in Turkey, where this colour has
-been much prized. Turquoise green, aubergine purple and yellow of the
-<i>demi-grand feu</i>, and the lustrous brown (<i>tzŭ chin</i>) in two
-shades, brown and yellow, are all mentioned in the Imperial list as
-used with or without engraved and carved designs under the glaze.</p>
-
-<p>As for the K’ang Hsi porcelains it may be assumed that practically all
-their glaze colours were now reproduced. A few only are specified in
-the list, eel yellow, snake-skin green, spotted yellow, <i>soufflé</i>
-red, <i>soufflé</i> blue (powder blue) and mirror black (<i>wu
-chin</i>). The term <i>soufflé</i> red may refer to the underglaze red
-from copper or the overglaze iron red. The latter is further subdivided
-into <i>mo hung</i> or <i>ta hung</i>, the deep red of Ming origin, and
-the <i>tsao’rh hung</i><span class="pagenum" id="Page_219">[219]</span> or jujube red, a softer and more vitreous<a id="FNanchor_411" href="#Footnote_411" class="fnanchor">[411]</a>
-variety of the same colour which Dr. Bushell considered to have
-originated in the Yung Chêng period. On the <i>soufflé</i> red under
-the glaze we may quote Bushell’s remarks<a id="FNanchor_412" href="#Footnote_412" class="fnanchor">[412]</a>: “Two of the colours
-especially characteristic of the Nien yao or 'Nien porcelain’ of this
-epoch are the <i>clair de lune</i> or <i>yüeh pai</i>, and the bright
-<i>soufflé</i> copper red.” The latter is further described on a vase
-in the Walters collection “exhibiting the characteristic monochrome
-glaze of bright ruby red tint, and stippled surface. The <i>soufflé</i>
-glaze is applied over the whole surface with the exception of a panel
-of irregular outline reserved on one side, where it is shaded off so
-that the red fades gradually into a nearly white ground.” This panel
-was afterwards filled in with a design in overglaze enamels. A tazza
-in the British Museum has this same red covering three-quarters of
-the exterior, and fading into the white ground. This red also occurs
-in its beautiful translucent ruby tints on a pair of small wine cups
-in the same collection, and on a set of larger cups belonging to Mr.
-Eumorfopoulos. One would say it was the “liquid dawn” tint of the
-celebrated wine cups of the late Ming potter, Hao Shih-chiu.</p>
-
-<p>The <i>clair de lune</i> or moon white (<i>yüeh pai</i>), an exquisite
-glaze of palest blue, is illustrated on Plate <a href="#i417">130</a>. It is often faintly
-tinged with lavender which bears out its description in the Imperial
-list<a id="FNanchor_413" href="#Footnote_413" class="fnanchor">[413]</a>: “This colour somewhat resembles the Ta Kuan glaze, but the
-body of the ware is white. The glaze is without crackle, and there are
-two shades&mdash;pale and dark.” The Kuan glaze, it should be explained, was
-characterised by a reddish tinge.</p>
-
-<p>In addition to the foreign colours which were capable of being used
-as monochromes as well as in painted designs, there are a few other
-new glazes named in the Imperial list. The <i>fa ch’ing</i> (cloisonné
-blue) which “resulted from recent experiments to match” the deep blue
-of the enamellers on copper, is identified by Bushell with the dark
-sapphire blue known as <i>pao shih lan</i> (precious stone blue). It
-was, we are told, darker and bluer than the purplish <i>chi ch’ing</i>,
-and it had not the orange peel and palm eye markings of the latter.
-It has, however, a faint crackle, and is apparently a glaze of the<span class="pagenum" id="Page_220">[220]</span>
-<i>demi-grand feu</i>. We learn elsewhere that this cloisonné blue was
-one of T’ang-ying’s inventions.</p>
-
-<p>Among the yellows are “porcelain with yellow after the European style”
-which is identified by Bushell with the opaque lemon yellow enamel
-introduced at this time, and there are two kinds of <i>mi sê</i>
-(millet colour) glazes,<a id="FNanchor_414" href="#Footnote_414" class="fnanchor">[414]</a> pale and dark, which we are told “differed
-from the Sung <i>mi sê</i>.” Bushell’s explanation of the term <i>mi
-sê</i> given in Monkhouse’s <i>Chinese Porcelain</i>,<a id="FNanchor_415" href="#Footnote_415" class="fnanchor">[415]</a> traverses
-his rendering of the terms as rice colour in other books: “The
-Chinese term used here is <i>mi sê</i>, which Julien first translated
-<i>couleur du riz</i>, and thereby misled us all. It really refers to
-the colour (<i>sê</i>) of the yellow millet (<i>huang mi</i>), not of
-rice (<i>pai mi</i>). <i>Mi sê</i> in Chinese silks is a full primrose
-yellow; in Chinese ceramic glazes it often deepens from that tint to
-a dull mustard colour when the materials are less pure. It has often
-been wondered why the old “mustard crackle” of collectors is apparently
-never alluded to in “L’Histoire des Porcelaines de King-tê-chin.” It
-is necessary to substitute yellow for “rice coloured” in the text
-generally, remembering always that a paler tone is indicated than that
-of the Imperial yellow, which Mr. Monkhouse justly likens to the yolk
-of an egg.”</p>
-
-<p>In Giles’s Dictionary <i>mi sê</i> is rendered “straw colour, the
-colour of yellow millet,” and all my inquiries among Chinese collectors
-as to the tint of the <i>mi sê</i> glaze have led to the same
-conclusion. One of the Chinese experts indicated a bowl with pale straw
-yellow glaze of the K’ang Hsi period as an example of <i>mi sê</i>,
-and this I take to be the <i>mi sê</i> which “differed from the Sung
-colour,” being, in fact, an ordinary yellow glaze, following the type
-made in the Ming dynasty, and entirely different in technique from the
-Sung glazes.</p>
-
-<p><span class="pagenum" id="Page_221">[221]</span></p>
-
-  <div class="figcenter" id="i365" style="width: 458px">
-     <img
-    class="p2"
-    src="images/i365.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 120</p>
-     <p class="p0 sm p-left">Covered Jar or <i>potiche</i> painted in <i>famille rose</i> or
-“foreign colours” (<i>yang ts’ai</i>) with baskets of flowers: deep
-borders of ruby red enamel broken by small panels and floral designs.
-On the cover is a lion coloured with enamels on the biscuit. From a set
-of five vases and beakers in the collection of Lady Wantage. Late Yung
-Chêng period (1723–1735)</p>
-     <p class="p0 sm p-left">Height 34 inches.</p>
-  </div>
-
-<p>The precise nature of the Sung <i>mi sê</i> which is included among
-the Ko yao, Chün yao and Hsiang-hu wares reproduced by the Yung
-Chêng potters according to the Imperial list is a little doubtful.
-Possibly one type was illustrated by the “shallow bowl with spout:
-grey stoneware with opaque glaze of pale sulphur yellow,” which Mr.
-Alexander exhibited at the Burlington Fine Arts Club in 1910.<a id="FNanchor_416" href="#Footnote_416" class="fnanchor">[416]</a>
-Another is indicated in the Pierpont Morgan collection<a id="FNanchor_417" href="#Footnote_417" class="fnanchor">[417]</a> in a
-“shallow <span class="pagenum" id="Page_223">[223]</span>bowl with greenish yellow crackled glaze,” apparently
-of the type found occasionally in Borneo, where such wares are still
-treasured by the Dyaks. The vase in the Victoria and Albert Museum
-which is figured by Monkhouse (op. cit., Fig. 22) as a specimen of old
-<i>mi sê</i>, appears for reasons already given<a id="FNanchor_418" href="#Footnote_418" class="fnanchor">[418]</a> to be a Yung Chêng
-reproduction of this type. The “mustard yellow” which Bushell included
-under the description <i>mi sê</i> is an opaque crackled enamel which
-can hardly have originated before the Yung Chêng period, and it is
-possible that it resulted from an attempt to reproduce the old Sung
-<i>mi sê</i> crackle.</p>
-
-<p>The following list of the decorations used at the Imperial factory was
-compiled by Hsieh Min, the governor of the province of Kiangsi from
-1729 to 1734.<a id="FNanchor_419" href="#Footnote_419" class="fnanchor">[419]</a> It was translated by Bushell in his <i>Oriental
-Ceramic Art</i>; but reference has been made to it so often in these
-pages, and its importance is so obvious, that no apology is necessary
-for giving it in full. The following version is taken from the
-<i>Chiang hsi t’ung chih</i>, bk. 93, fols. 11 to 13, and in most cases
-Bushell’s rendering has been followed:&mdash;</p>
-
-<div class="blockquot">
-
-<p class="hangingindent">1. Glazes of the Ta Kuan period (i.e. Sung Kuan yao) on an
-“iron” body, including moon white (<i>yüeh pai</i>), pale blue
-or green (<i>fên ch’ing</i>) and deep green (<i>ta lü</i>).**</p>
-
-<p class="hangingindent">2. Ko glaze on an “iron” body, including millet colour (<i>mi
-sê</i>) and <i>fên ch’ing</i>.**</p>
-
-<p class="hangingindent">3. Ju glaze without crackle on a “copper” body: the glaze
-colours copied from a cat’s food basin of the Sung dynasty, and
-a dish for washing brushes moulded with a human face.</p>
-
-<p class="hangingindent">4. Ju glaze with fish-roe crackle on a “copper” body.**</p>
-
-<p class="hangingindent">5. White Ting glaze. Only the <i>fên Ting</i> was copied, and
-not the <i>t’u Ting</i>.</p>
-
-<p class="hangingindent">6. Chün glazes. Nine varieties are given, of which five were
-copied from old palace pieces and four from newly acquired
-specimens; see p. 000.</p>
-
-<p class="hangingindent">7. Reproductions of the <i>chi hung</i> red of the Hsüan Té
-period: including fresh red (<i>hsien hung</i>) and ruby red
-(<i>pao shih hung</i>).</p>
-
-<p class="hangingindent">8. Reproductions of the deep violet blue (<i>chi ch’ing</i>) of
-the Hsüan Tê period. This glaze is deep and reddish (<i>nêng
-hung</i>), and has orange peel markings and palm eyes.</p>
-
-<p class="hangingindent">9. Reproductions of the glazes of the Imperial factory:
-including eel yellow (<i>shan yü huang</i>), snake-skin green
-(<i>shê p’i lü</i>), and spotted yellow (<i>huang pan tien</i>).</p>
-
-<p class="hangingindent">10. Lung-ch’üan glazes: including pale and dark shades.</p>
-
-<p><span class="pagenum" id="Page_224">[224]</span></p>
-
-<p class="hangingindent">11. Tung-ch’ing glazes: including pale and dark, shades.</p>
-
-<p class="hangingindent">12. Reproductions of the Sung millet-coloured (<i>mi sê</i>)
-glaze: copied in form and colour from the fragmentary wares dug
-up at Hsiang Hu (q.v.).</p>
-
-<p class="hangingindent">13. Sung pale green (<i>fên ch’ing</i>) glaze: copied from wares
-found at the same time as the last.</p>
-
-<p class="hangingindent">14. Reproduction of “oil green” (<i>yu lü</i>) glaze: “copied
-from an old transmutation (<i>yao pien</i>) ware like green
-jade (<i>pi yü</i>), with brilliant colour broken by variegated
-passages and of antique elegance.”</p>
-
-<p class="hangingindent">15. The Chün glaze of the muffle stove (<i>lu chün</i>). “The
-colour is between that of the Kuangtung wares and the Yi-hsing
-applied glaze<a id="FNanchor_420" href="#Footnote_420" class="fnanchor">[420]</a>; and in the ornamental markings (<i>hua
-wên</i>) and the transmutation tints of the flowing glaze it
-surpasses them.”</p>
-
-<p class="hangingindent">16. Ou’s glazes, with red and blue markings.</p>
-
-<p class="hangingindent">17. Blue mottled (<i>ch’ing tien</i>) glazes: copied from old
-Kuang yao.</p>
-
-<p class="hangingindent">18. Moon white (<i>yüeh pai</i>) glazes. “The colour somewhat
-resembles the Ta Kuan glaze, but the body of the ware is white.
-The glaze is without crackle, and there are two shades&mdash;pale and
-dark.”</p>
-
-<p class="hangingindent">19. Reproductions of the ruby red (<i>pao shao</i>) of Hsüan Té:
-in decoration consisting of (1) three fishes, (2) three fruits,
-(3) three funguses, or (4) the five Happinesses (symbolised by
-five bats).</p>
-
-<p class="hangingindent">20. Reproductions of the Lung-ch’üan glaze with ruby red
-decoration of the types just enumerated. “This is a new style of
-the reigning dynasty.”</p>
-
-<p class="hangingindent">21. Turquoise (<i>fei ts’ui</i>) glazes. Copying three sorts,
-(1) pure turquoise, (2) blue flecked, and (3) gold flecked
-(<i>chin tien</i>).<a id="FNanchor_421" href="#Footnote_421" class="fnanchor">[421]</a></p>
-
-<p class="hangingindent">22. <i>Soufflé</i> red (<i>ch’ui hung</i>) glaze.</p>
-
-<p class="hangingindent">23. <i>Soufflé</i> blue (<i>ch’ui ch’ing</i>) glaze.</p>
-
-<p class="hangingindent">24. Reproductions of Yung Lo porcelain: eggshell (<i>t’o
-t’ai</i>), pure white with engraved (<i>chui</i>) or embossed
-(<i>kung</i>) designs.</p>
-
-<p class="hangingindent">25. Copies of Wan Li and Chêng Tê enamelled (<i>wu ts’ai</i>)
-porcelain.</p>
-
-<p class="hangingindent">26. Copies of Ch’èng Hua enamelled (<i>wu ts’ai</i>) porcelain.</p>
-
-<p class="hangingindent">27. Porcelain with ornament in Hsüan Tê style in a yellow ground.</p>
-
-<p class="hangingindent">28. Cloisonné blue (<i>fa ch’ing</i>) glaze.<a id="FNanchor_422" href="#Footnote_422" class="fnanchor">[422]</a> “This glaze
-is the result of recent attempts to match this colour (i.e. the
-deep blue of the cloisonné enamels). As compared with the deep
-and reddish <i>chi ch’ing</i>, it is darker and more vividly
-blue (<i>ts’ui</i>), and it has no orange peel or palm eye
-markings.”</p>
-
-<p class="hangingindent">29. Reproductions of European wares with lifelike designs carved
-and engraved. “Sets of the five sacrificial utensils, dishes,
-plates, vases, and boxes and the like are also decorated with
-coloured pictures in European style.”</p>
-</div>
-
-  <div class="figcenter" id="i369" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i369.jpg"
-     alt="" />
-     <p class="p0 center">Plate 121.&mdash;Two Beakers and a Jar from sets of five,
-<i>famille rose</i> enamels. Late Yung Chêng Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Beaker with “harlequin” ground. Height 15¾ inches. <i>S. E.
-Kennedy Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Jar with dark blue glaze gilt and leaf-shaped reserves. Height
-21½ inches. <i>Burdett-Coutts Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Beaker with fan and picture-scroll panels, etc., in a deep
-ruby pink ground. Height 14½ inches. <i>Wantage Collection.</i></p>
-  </div>
-
-<p><span class="pagenum" id="Page_225">[225]</span></p>
-
-<div class="blockquot">
-
-<p class="hangingindent">30. Reproductions of wares with incised green decoration in a
-yellow glaze (<i>chiao huang</i>).</p>
-
-<p class="hangingindent">31. Reproductions of yellow-glazed wares: including plain and
-with incised ornament.</p>
-
-<p class="hangingindent">32. Reproductions of purple brown (<i>tzŭ</i>) glazed wares:
-including plain and with incised ornament.</p>
-
-<p class="hangingindent">33. Porcelain with engraved ornament: including all kinds of
-glazes.</p>
-
-<p class="hangingindent">34. Porcelain with embossed (<i>tui</i>) ornament: including all
-kinds of glazes.</p>
-
-<p class="hangingindent">35. Painted red (<i>mo<a id="FNanchor_423" href="#Footnote_423" class="fnanchor">[423]</a> hung</i>): copying old specimens.</p>
-
-<p class="hangingindent">36. Red decoration (<i>ts’ai hung</i>): copying old specimens.</p>
-
-<p class="hangingindent">37. Porcelain in yellow after the European style.<a id="FNanchor_424" href="#Footnote_424" class="fnanchor">[424]</a></p>
-
-<p class="hangingindent">38. Porcelain in purple brown (<i>tzŭ</i>) after the European
-style.</p>
-
-<p class="hangingindent">39. Silvered (<i>mo yin</i>) porcelain.</p>
-
-<p class="hangingindent">40. Porcelain painted in ink (<i>shui mo</i>): see p. <a href="#Page_214">214</a>.</p>
-
-<p class="hangingindent">41. Reproductions of the pure white (<i>t’ien pai</i>)<a id="FNanchor_425" href="#Footnote_425" class="fnanchor">[425]</a>
-porcelain of the Hsüan Tê period: including a variety of wares
-thick and thin, large and small.</p>
-
-<p class="hangingindent">42. Reproductions of Chia Ching wares with blue designs.</p>
-
-<p class="hangingindent">43. Reproductions of Ch’êng Hua pale painted (<i>tan miao</i>)
-blue designs.</p>
-
-<p class="hangingindent">44. Millet colour (<i>mi sê</i>) glazes. “Differing from the
-Sung millet colour.” In two shades, dark and light.</p>
-
-<p class="hangingindent">45. Porcelain with red in the glaze (<i>yu li hung</i>):
-including (1) painted designs exclusively in red, (2) the
-combination of blue foliage and red flowers.<a id="FNanchor_426" href="#Footnote_426" class="fnanchor">[426]</a></p>
-
-<p class="hangingindent">46. Reproductions of lustrous brown (<i>tzŭ chin</i>) glaze:
-including two varieties, brown and yellow.</p>
-
-<p class="hangingindent">47. Porcelains with yellow glaze (<i>chiao huang</i>) decorated
-in enamels (<i>wu ts’ai</i>). “This is the result of recent
-experiments.”</p>
-
-<p class="hangingindent">48. Reproductions of green-glazed porcelain: including that with
-plain ground and with engraved ornament.</p>
-
-<p class="hangingindent">49. Wares with foreign colours (<i>yang ts’ai</i>). “In
-the new copies of the Western style of painting in enamels
-(<i>fa-lang</i>) the landscapes and figure scenes, the flowering
-plants and birds are without exception of supernatural beauty
-and finish.”<a id="FNanchor_427" href="#Footnote_427" class="fnanchor">[427]</a></p>
-
-<p class="hangingindent">50. Porcelain with embossed ornament (<i>kung hua</i>):
-including all kinds of glazes.</p>
-
-<p class="hangingindent">51. Porcelain with European (<i>hsi yang</i>) red colour.</p>
-
-<p><span class="pagenum" id="Page_226">[226]</span></p>
-
-<p class="hangingindent">52. Reproductions of <i>wu chin</i> (mirror black) glazes:
-including those with black ground and white designs and those
-with black ground and gilding.</p>
-
-<p class="hangingindent">53. Porcelain with European green colour.</p>
-
-<p class="hangingindent">54. European <i>wu chin</i> (mirror black) wares.</p>
-
-<p class="hangingindent">55. Gilt (<i>mo chin</i>) porcelain: copying the Japanese.</p>
-
-<p class="hangingindent">56. Gilt (<i>miao chin</i>)<a id="FNanchor_428" href="#Footnote_428" class="fnanchor">[428]</a> porcelain: copying the Japanese.</p>
-
-<p class="hangingindent">57. Silvered (<i>miao yin</i>) porcelain: copying the Japanese.</p>
-
-<p class="hangingindent">58. Large jars (<i>ta kang</i>) with Imperial factory (<i>ch’ang
-kuan</i>) glazes. “Dimensions: diameter, at the mouth, 3 ft.
-4 or 5 in. to 4 ft.; height, 1 ft. 7 or 8 in. to 2 ft. Glaze
-colours, (1) eel yellow, (2) cucumber (<i>kua p’i</i>) green,
-and (3) yellow and green mottled (<i>huang lü tien</i>).”</p>
-</div>
-
-<p>This last item, which is not included in Bushell’s list, appears to
-be almost a repetition of No. 9, with slightly different phrasing.
-<i>Huang lü tien</i>, which is used instead of the difficult phrase
-<i>huang pan tien</i>, may perhaps be taken as a gloss on the latter,
-indicating that the spots in the mottled yellow were green. In this
-case it would appear that the “spotted yellow” was a sort of tiger skin
-glaze, consisting of dabs of green and yellow (and perhaps aubergine as
-well). Bushell interpreted it in this sense.</p>
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_227">[227]</span></p>
-
-<h2 class="smaller">CHAPTER XIII<br />
-<span class="subhed">CH’IEN LUNG <img src="images/k_227a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1736–1795)</span></h2></div>
-
-<p class="drop-cap p-left">The brief reign of Yung Chêng was followed by that of his son, who
-ruled under the title of Ch’ien Lung for a full cycle of sixty years,
-at the end of which he abdicated in accordance with his vow that he
-would not outreign his grandfather, K’ang Hsi. Ch’ien Lung was a
-devotee of the arts, and they flourished greatly under his long and
-peaceful sway. He was himself a collector, and the catalogue of the
-Imperial bronzes compiled under his orders is a classic work; but more
-than that, he was personally skilful in the art of calligraphy, which
-ranks in China as high as painting; and he was a voluminous poet. It
-is no uncommon thing to find his compositions engraved or painted on
-porcelain and other artistic materials. Bushell<a id="FNanchor_429" href="#Footnote_429" class="fnanchor">[429]</a> quotes an example
-from a snuff bottle in the Walters Collection; there is a bowl for
-washing wine cups in the Eumorfopoulos Collection with a descriptive
-verse engraved underneath, and entitled, “Imperial Poem of Ch’ien
-Lung”; and a beautiful coral red bowl in the British Museum has a
-similar effusion pencilled in gold in the interior.</p>
-
-<p>His interest in the ceramic art is further proved by the command given
-in 1743 to T’ang Ying to compose a description of the various processes
-of manufacture as a commentary on twenty pictures of the industry which
-belonged to the palace collections; and one of the earliest acts of his
-reign was to appoint the same celebrated ceramist in 1736 to succeed
-Nien Hsi-yao in the control of the customs at Huai-an Fu, a post which
-involved the supreme control of the Imperial porcelain manufacture.</p>
-
-<p>There is little doubt that T’ang Ying<a id="FNanchor_430" href="#Footnote_430" class="fnanchor">[430]</a> was the most distinguished
-of all the men who held this post. He is, at any rate, the one whose
-achievements have been most fully recorded. He was himself a prolific
-writer, and a volume of his collected works has been<span class="pagenum" id="Page_228">[228]</span> published with
-a preface by Li Chü-lai. His autobiography is incorporated in the
-<i>Chiang hsi t’ung chih</i>; his twenty descriptions of the processes
-of porcelain manufacture are quoted in the <i>T’ao shuo</i> and the
-<i>T’ao lu</i>, and in themselves form a valuable treatise on Chinese
-porcelain; and before taking up his post at Huai-an Fu in 1736 he
-collected together, for the benefit of his successors at Ching-tê Chên,
-the accumulated notes and memoranda of eight years. This last work is
-known as the <i>T’ao ch’êng shih yu kao</i> (“Draughts of Instructions
-on the Manufacture of Porcelain”), and the preface<a id="FNanchor_431" href="#Footnote_431" class="fnanchor">[431]</a> quoted in the
-Annals of Fou-liang furnishes some interesting details concerning
-Tang’s labours. We learn, for instance, that when he was appointed to
-the factory at Ching-tê Chên in 1728, he was “unacquainted with the
-finer details of the porcelain manufacture in the province of Kiangsi,”
-having never been there before. He worked with heart and strength,
-however, sleeping and eating with the workmen during a voluntary
-apprenticeship of three years, until in 1731 “he had conquered his
-ignorance of the materials and processes of firing, and although he
-could not claim familiarity with all the laws of transformation, his
-knowledge was much increased.”</p>
-
-<p>The commissionership of the customs was transferred in 1739 from
-Huai-an Fu to Kiu-kiang, which is close to the point of junction
-between the Po-yang Lake and the Yangtze, and considerably nearer to
-the Imperial factory at Ching-tê Chên, the control of which remained in
-T’ang’s hands until 1749.</p>
-
-<p>The <i>Ching-tê Chên T’ao lu</i><a id="FNanchor_432" href="#Footnote_432" class="fnanchor">[432]</a> is almost verbose on the subject
-of T’ang’s achievements. He had a profound knowledge, it tells us, of
-the properties of the different kinds of clay and of the action of
-the fire upon them, and he took every care in the selection of proper
-materials, so that his wares were all exquisite, lustrous, and of
-perfect purity. In imitating the celebrated wares of antiquity he never
-failed to make an exact copy, and in the imitation of all sorts of
-famous glazes there were none which he could not cleverly reproduce.
-There was, in fact, nothing that he could not successfully accomplish.
-Furthermore, his novelties<a id="FNanchor_433" href="#Footnote_433" class="fnanchor">[433]</a> included<span class="pagenum" id="Page_229">[229]</span> porcelains with the following
-glazes and colours: foreign purple (<i>yang tzŭ</i>), cloisonné
-blue (<i>fa ch’ing</i>), silvering (<i>mo yin</i>), painting in ink
-black (<i>ts’ai shui mo</i>), foreign black (<i>yang wu chin</i>),
-painting in the style of the enamels on copper (<i>fa lang</i>),
-foreign colouring in a black ground (<i>yang ts’ai wu chin</i>), white
-designs in a black ground (<i>hei ti pai hua</i>), gilding on a black
-ground (<i>hei ti miao chin</i>), sky blue (<i>t’ien lan</i>), and
-transmutation glazes (<i>yao pien</i>). The clay used was white, rich
-(<i>jang</i>) and refined, and the body of the porcelain, whether thick
-or thin, was always unctuous (<i>ni</i>). The Imperial wares attained
-their greatest perfection at this time.</p>
-
-<p>The preface to T’ang’s collected works, which is quoted in the same
-passage, singles out as special triumphs of his genius the revival
-of the manufacture of the old dragon fish bowls (<i>lung kang</i>)
-and of the Chün yao, and the production of the turquoise and rose
-(<i>mei kuei</i>) colours in “new tints and rare beauty.” It is obvious
-from these passages that T’ang was responsible for many of the types
-enumerated in Hsieh Min’s list in the preceding chapter, not only among
-the reproductions of antiques but among the new inventions of the
-period, such as the cloisonné blue, foreign purple, silvering, painting
-in ink black, and foreign black. It follows, then, that these novelties
-could not have been made much before 1730, for T’ang was still at that
-time occupied chiefly with learning the potter’s art. It is equally
-certain that he continued to make a specialty of imitating the older
-wares during the reign of Ch’ien Lung, so that we may regard the best
-period of these reproductions as extending from 1730–1750.</p>
-
-<p>In reading the list of T’ang’s innovations the reader will perhaps be
-puzzled by the varieties of black decoration which are included. Before
-attempting to explain them it will be best to review the different
-kinds of black found on Chinese porcelain of the Ch’ing dynasty. There
-is the high-fired black glaze, with hard shining surface likened to
-that of a mirror and usually enriched with gilt traceries. This is
-the original <i>wu chin</i> described by Père d’Entrecolles.<a id="FNanchor_434" href="#Footnote_434" class="fnanchor">[434]</a> The
-other blacks are all low-fired colours of the muffle kiln applied over
-the glaze and ranking with the enamel colours. They include at least
-five varieties: (1) The dry black pigment,<span class="pagenum" id="Page_230">[230]</span> derived from cobaltiferous
-ore of manganese, applied like the iron red without any glassy flux.
-(2) The same pigment washed over with a transparent green enamel. This
-is the iridescent greenish black of the <i>famille verte</i>, and it
-continued in use along with the <i>famille rose</i> colours in the
-Yung Chêng and Ch’ien Lung periods and onwards to modern times. (3) A
-black enamel in which the same elements&mdash;manganese black and copper
-green&mdash;are compounded together. This is the modern <i>wu chin</i>,
-of which a sample in the Sèvres Museum (from the collection of M.
-Itier) was described by Julien<a id="FNanchor_435" href="#Footnote_435" class="fnanchor">[435]</a> as “noir mat; minerai de manganese
-cobaltifère et oxyde de cuivre avec céruse.” It appears on modern
-Chinese porcelain as a sticky greenish black enamel, inferior in depth
-and softness to the old composite black of the <i>famille verte</i>;
-but for all that, this is the <i>yang wu chin</i> (foreign black) of
-the Yung Chêng and Ch’ien Lung periods. In the days of T’ang Ying it
-was a far superior colour. (4) A mottled greenish black occurs as a
-monochrome and as a ground colour with reserved discs enamelled with
-<i>famille rose</i> colours on the exterior of two bowls in the British
-Museum, both of which have the cyclical date, <i>wu ch’ên</i>, under
-the base, indicating the year 1748 or 1808, probably the latter. (5)
-An enamel of similar texture but of a purplish black colour is used on
-a snuff bottle in the same collection to surround a figure design in
-underglaze blue. This piece has the Yung Chêng mark in red, but from
-its general character appears to be of later date.</p>
-
-<p>In the list of T’ang’s innovations there is <i>yang wu chin</i>
-(foreign black), which is doubtless the same as the <i>hsi yang wu
-chin</i> (European black) of Hsieh Min’s list. It is clear that this
-is something different from the old green black of the <i>famille
-verte</i> porcelain, and we can hardly be wrong in identifying it with
-the <i>wu chin</i> enamel described above in No. 3. Compared with the
-original mirror black <i>wu chin</i> glaze this enamel has a dull
-surface, and we can only infer that the term <i>wu chin</i> had already
-lost its special sense of metallic black, and was now used merely as a
-general term for black.</p>
-
-<p>Assuming this inference to be correct, the term yang <i>ts’ai wu
-chin</i> (foreign painting in a black ground) should mean simply
-<i>famille rose</i> colours surrounded by a black enamel ground of the
-type of either No. 2 or No. 3. It is, of course, possible that the
-<i>wu chin</i> here is the old mirror black glaze on which enamelling
-in <i>famille<span class="pagenum" id="Page_231">[231]</span> rose</i> colours would be perfectly feasible; but I do
-not know of any example, whereas there is no lack of choice porcelains
-answering to the alternative description.</p>
-
-<p>The two remaining types, <i>hei ti pai hua</i> (white decoration in
-a black ground) and <i>hei ti miao chin</i> (black ground gilt),
-apparently leave the nature of the black undefined, but as the
-expressions appear verbatim in the note attached to No. 52 of Hsieh
-Min’s list, which is “reproductions of <i>wu chin</i> glaze,” we must
-regard the black in this case, too, as of the <i>wu chin</i> type.
-The black ground with gilding can hardly refer to anything but the
-well-known mirror black glaze with gilt designs; and the white designs
-in black ground is equally clearly identified with a somewhat rarer
-type of porcelain in which the pattern is reserved in white in a ground
-of black enamel of the type of No. 3. There are two snuff bottles in
-the British Museum respectively decorated with “rat and vine,” and
-figure subjects white with slight black shading and reserved in a
-sticky black enamel ground. Both these are of the Tao Kuang period, but
-there are earlier and larger examples elsewhere with a black ground of
-finer quality. Such a decoration is scarcely possible with anything but
-an enamel black, and though there is some inconsistency in the grouping
-of an enamel and a glaze together in Hsieh Min’s list, they were
-apparently both regarded as “reproductions” of the old mirror black
-<i>wu chin</i>.</p>
-
-<p>Out of the remaining innovations ascribed to T’ang’s directorate,
-the <i>fa ch’ing</i> (cloisonné or enamel blue) and the <i>fa long
-hua fa</i> (painting in the style of the enamels on copper) have
-already been described in connection with Hsieh Min’s list. The latter
-expression occurs verbatim in the note attached in the Annals of
-Fou-liang<a id="FNanchor_436" href="#Footnote_436" class="fnanchor">[436]</a> to No. 49 of the list, which is “porcelain with foreign
-colouring,” and it clearly refers to the free painting on the Canton
-enamels for reasons already given.<a id="FNanchor_437" href="#Footnote_437" class="fnanchor">[437]</a> It is true that <i>fa lang</i>
-(like <i>fo lang</i>, <i>fu lang</i>, and <i>fa lan</i>, all phrases
-suggestive of foreign and Western origin) is commonly used in reference
-to cloisonné enamel, but the idea of copying on porcelain “landscapes,
-figure subjects, flowering plants, and birds” from cloisonné enamels is
-preposterous to anyone who is familiar with the cramped and restricted
-nature of work bounded<span class="pagenum" id="Page_232">[232]</span> by cloisons. It is a pity that Bushell has
-confused the issue by rendering this particular passage “painting in
-the style of cloisonné enamel” in his <i>Oriental Ceramic Art</i>.<a id="FNanchor_438" href="#Footnote_438" class="fnanchor">[438]</a></p>
-
-<p>But, it will be objected, the painting in foreign colours has been
-already shown to have been in full swing some years before T’ang’s
-appointment at Ching-tê Chên. The inconsistency is only apparent,
-however, for it is only claimed that T’ang introduced this style of
-painting on the Imperial porcelain, and it may&mdash;and indeed must&mdash;have
-been practised in the enamelling establishments at Canton and elsewhere
-for some time before. Indeed, when one comes to consider the list of
-T’ang innovations which we have discussed so far, they are mainly
-concerned with the adaptation of various foreign colours and of
-processes already in use in the previous reign.</p>
-
-<p>Of those which remain, the <i>t’ien lan</i> or sky blue may perhaps
-be identified with a light blue verging on the tint of turquoise, a
-high-fired glaze found occasionally in the Ch’ien Lung monochromes.
-But probably the greatest of T’ang’s achievements was the mastery of
-the <i>yao pien</i> or furnace transmutation glazes, which were a
-matter of chance as late as the end of the K’ang Hsi period. These are
-the variegated or <i>flambé</i> glazes in which a deep red of <i>sang
-de bœuf</i> tint is transformed into a mass of streaks and mottlings
-in which blue, grey, crimson, brown and green seem to be struggling
-together for pre-eminence. All these tints spring from one colouring
-agent&mdash;copper oxide&mdash;and they are called into being by a sudden change
-of the atmosphere of the kiln, caused by the admission of wood smoke
-at the critical moment and the consequent consumption of the oxygen.
-Without the transformation the glaze would be a <i>sang de bœuf</i>
-red, and in many cases the change is only partial, and large areas
-of the deep red remain. Fig. 1 of Plate <a href="#i385">123</a> illustrates a small but
-characteristic specimen of the Ch’ien Lung <i>flambé</i>. It will be
-found that in contrast with the K’ang Hsi <i>sang de bœuf</i> these
-later glazes are more fluescent, and the excess of glaze overrunning
-the base has been removed by grinding.</p>
-
-  <div class="figcenter" id="i379" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i379.jpg"
-     alt="" />
-     <p class="p0 center">Plate 122.&mdash;White Porcelain with designs in low relief.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase, peony scroll, <i>ju-i</i> border, etc. Ch’ien Lung
-period. Height 7 inches. <i>O. Raphael Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle with “garlic mouth,” Imperial dragons in clouds. Creamy
-crackled glaze imitating Ting ware. Early eighteenth century. Height 9½
-inches. <i>Salting Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Vase with design of three rams, symbolising Spring. Ch’ien
-Lung period. Height 3½ inches. <i>W. Burton Collection.</i></p>
-  </div>
-
-<p>Another development of the <i>yao pien</i> at this time is the use of a
-separate “transmutation” glaze which could be added in large or small
-patches over another glaze, and which assumed, when fired, the usual
-<i>flambé</i> appearance. When judiciously applied the effect of this
-superadded <i>flambé</i> was very effective, but it is <span class="pagenum" id="Page_233">[233]</span>often used in
-a capricious fashion, with results rather curious than beautiful. There
-are, for instance, examples of blue and white vases being wholly or
-partially coated with <i>flambé</i>, which have little interest except
-as evidence that the potters could now produce the variegated effect at
-will and in more ways than one.</p>
-
-<p>The use of double glazes to produce new and curious effects is
-characteristic of the period. The second glaze was applied in various
-ways by blowing, flecking, or painting it over the first. The Chün
-glaze of the muffle kiln belongs to this type if it has, as I think,
-been correctly identified with the blue green dappled with crimson on
-Fig. 4 of Plate <a href="#i407">128</a>; and the bird’s egg glazes mentioned on p. <a href="#Page_217">217</a>
-belong to the same class.<a id="FNanchor_439" href="#Footnote_439" class="fnanchor">[439]</a> Others of a similar appearance, though
-not necessarily of the same technique, are the tea dust (<i>ch’a yeh
-mo</i>) and iron rust (<i>t’ieh hsiu</i>).</p>
-
-<p>The tea dust glaze has a scum of dull tea green specks over an ochreous
-brown or bronze green glaze, applied either to the biscuit or over an
-ordinary white glazed porcelain; and it seems to have been a speciality
-of the Ch’ien Lung period, though there are known specimens with the
-Yung Chêng mark and many fine examples were made in later reigns. But
-neither this glaze nor double glazes in general are inventions of
-this time. It would be more correct to speak of them as revivals, for
-the early Japanese tea jars, which are based on Chinese originals,
-illustrate the principle of the double glaze, and there are specimens
-of stoneware as old as the Sung if not the T’ang dynasty, with dark
-olive glaze flecked with tea green, and scarcely distinguishable
-from the Ch’ien Lung tea dust. It is stated on the authority of M.
-Billequin (see Bushell, <i>O. C. A.</i>, p. 518) that a “sumptuary law
-was made restricting the use of the tea dust glaze to the Emperor, to
-evade which collectors used to paint their specimens with imaginary
-cracks,<a id="FNanchor_440" href="#Footnote_440" class="fnanchor">[440]</a> and even to put in actual rivets to make them appear
-broken.”</p>
-
-<p>The iron rust is a dark lustrous brown glaze strewn with metallic<span class="pagenum" id="Page_234">[234]</span>
-specks (due to excess of iron), and in the best examples clouded
-with passages of deep red. But these are only two examples of skill
-displayed by the Ch’ien Lung potters in imitating artistic effects in
-other materials. Special success was attained in reproducing the many
-tints of old bronze and its metallic surface. Bright-coloured patina
-was suggested by touches of <i>flambé</i>, and the effects of gilding
-or gold and silver inlay were rendered by the gilder’s brush. The
-appearance of inlaid enamels was skilfully copied. “In fact,” to quote
-from the <i>T’ao shuo</i>,<a id="FNanchor_441" href="#Footnote_441" class="fnanchor">[441]</a> “among all the works of art in carved
-gold, embossed silver, chiselled stone, lacquer, mother-of-pearl,
-bamboo and wood, gourd and shell, there is not one that is not now<a id="FNanchor_442" href="#Footnote_442" class="fnanchor">[442]</a>
-produced in porcelain, a perfect copy of the original piece.” Nor is
-this statement much exaggerated, for I have seen numerous examples in
-which grained wood, red lacquer, green jade, bronze, and even <i>mille
-fiori</i> glass have been so closely copied that their real nature was
-not detected without close inspection.</p>
-
-<p>Reverting to T’ang’s achievements, we find special mention made of
-the reproductions of Chün yao which have been already discussed in
-detail,<a id="FNanchor_443" href="#Footnote_443" class="fnanchor">[443]</a> and of the revived manufacture of the large dragon fish
-bowls. The latter are the great bowls which caused such distress
-among the potters in the Wan Li period. They are described in the
-<i>T’ao lu</i><a id="FNanchor_444" href="#Footnote_444" class="fnanchor">[444]</a> as being fired in specially constructed kilns, and
-requiring no less than nineteen days to complete their baking. The
-largest size is said to have measured 6 ft.<a id="FNanchor_445" href="#Footnote_445" class="fnanchor">[445]</a> in height, with a
-thickness of 5 in. in the wall, one of them occupying an entire kiln.
-The old Ming dragon bowl found by T’ang Ying<a id="FNanchor_446" href="#Footnote_446" class="fnanchor">[446]</a> at the factory was
-one of the smaller sizes, and measured 3 ft. in diameter and 2 ft. in
-height. They were intended for the palace gardens for keeping gold-fish
-or growing water-lilies, and the usual decoration consisted of Imperial
-dragons. They are variously described as <i>lung kang</i> (dragon
-bowls), <i>yü kang</i> (fish bowls), and <i>ta kang</i> (great bowls).</p>
-
-<p><span class="pagenum" id="Page_235">[235]</span><br /><span class="pagenum" id="Page_236">[236]</span></p>
-
-  <div class="figcenter" id="i385" style="width: 750px">
-     <img
-    class="p2"
-    src="images/i385.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 123</p>
-     <p class="p0 center">Eighteenth Century Glazes</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Square Vase with tubular handles, and apricot-shaped
-medallions on front and back. <i>Flambé</i> red glaze. Ch’ien Lung
-period (1736–1795). Height 6¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-     <p class="p0 sm p-left" style="clear: both">Fig. 2.&mdash;Bottle-shaped Vase with deep blue (<i>ta ch’ing</i>) glaze:
-unglazed base. Early eighteenth century. Height 15¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum.</i></p>
-     <p class="p0 sm p-left" style="clear: both">Fig. 3.&mdash;Vase with fine iron red enamel (<i>mo hung</i>) on the
-exterior. Ch’ien Lung period (1736–1795). Height 5 inches.</p>
-     <p class="p0 sm" style="float:right"><i>Salting Collection (V. &amp; A. Museum).</i></p>
-  </div>
-
-<p><span class="pagenum" id="Page_237">[237]</span></p>
-
-<p style="clear: both">Owing to the tremendous difficulty of firing these huge vessels the order
-for their supply in the reign of Shun Chih was eventually cancelled,
-and no attempt was made to resume their manufacture until T’ang’s
-directorate. The usual fish bowl of the K’ang Hsi period is a much
-smaller object, measuring about 20 in. (English) in diameter by 1
-ft. in height; but from the note appended to Hsieh Min’s list in the
-<i>Chiang hsi t’ung chih</i> on the Imperial <i>ta kang</i>, it appears
-that already (about 1730) the manufacture had been resumed on the old
-scale,<a id="FNanchor_447" href="#Footnote_447" class="fnanchor">[447]</a> for the dimensions of those described are given as from 3
-ft. 4 or 5 in. to 4 ft. in diameter at the mouth, and from 1 ft. 7 or
-8 in. to 2 ft. in height. An example of intermediate size is given on
-Plate <a href="#i449">133</a>, one of a pair in the Burdett-Coutts Collection measuring 26½
-in. in diameter by 20 in. in height.</p>
-
-<p>It remains to notice two glaze colours to which T’ang Ying appears to
-have paid special attention: the <i>fei ts’ui</i> (turquoise) and the
-<i>mei kuei</i> (rose colour). The former has already been dealt with
-in connection with Ming, K’ang Hsi, and Yung Chêng porcelain, and it is
-only necessary to add that it occurs in singularly beautiful quality
-on the Ch’ien Lung porcelains, often on vases of antique bronze form,
-but fashioned with the unmistakable “slickness” of the Ch’ien Lung
-imitations. Occasionally this glaze covers a body of reddish colour
-due to admixture of some coarser clay, which seems to have assisted
-the development of the colour, and it is worthy of note that there
-are modern imitations on an earthen body made at the tile works near
-Peking which, thanks to the fine quality of their colour, are liable
-to be passed off as old. I have noticed that Ch’ien Lung monochrome
-vases&mdash;especially those which have colours of the <i>demi-grand feu</i>
-like the turquoise&mdash;are often unglazed under the base. The foot is very
-deeply cut, and the biscuit is bare or skinned over with a mere film of
-vitreous matter, which seems to be an accidental deposit.</p>
-
-<p>The <i>mei kuei</i> is the colour of the red rose (<i>mei kuei
-hua</i>), and it is obviously to be identified with the rose carmines
-derived from gold which were discussed in the last chapter. These tints
-are found in considerable variety in the early Ch’ien Lung porcelains,
-from deep crimson and scarlet or rouge red to pale pink, and they are
-used as monochromes, ground colours, and in painted decoration. A
-superb example of their use as ground colour was<span class="pagenum" id="Page_238">[238]</span> illustrated on the
-border of Plate <a href="#i365">120</a>, which is probably a Yung Chêng piece. Among the
-gold red monochromes of the the Ch’ien Lung period one of the most
-striking is a dark ruby pink with uneven surface of the “orange peel”
-type. Mr. S. E. Kennedy has a remarkable series of these monochromes in
-his collection.</p>
-
-<p>Speaking generally, the Ch’ien Lung monochromes repeat the types in
-vogue in the previous reigns of the dynasty with greater or less
-success. Among the greens, the opaque, crackled glazes of pea, apple,
-sage, emerald, and camellia leaf tints described on p. <a href="#Page_187">187</a> were a
-speciality of the time, and the snake-skin and cucumber tints were also
-made with success. There were, besides, beautiful celadon glazes of
-the <i>grand feu</i>, and an opaque enamel of pale bluish green <i>eau
-de nil</i> tint. Underglaze copper red was used both for monochromes
-and painted wares, but with the exception of the liver or maroon
-colour the former had not the distinction of the K’ang Hsi <i>sang de
-bœuf</i> or the Yung Chêng <i>soufflé</i> red. There is a jug-shaped
-ewer with pointed spout in the British Museum which has a fluescent
-glaze of light liver red deepening into crimson, and known in Japan as
-<i>toko</i>. It has the Hsüan Tê mark, but I have seen exactly similar
-specimens with the mark of Ch’ien Lung, to which period this colour
-evidently belongs. On the other hand, great improvement is observable
-in the overglaze coral red monochrome derived from iron, whether it
-be the thin lustrous film of the <i>mo hung</i> or the richly fluxed
-“jujube” red which attains the depth and fullness of glaze. Fig. 3,
-Plate <a href="#i385">123</a>, is a worthy example of the iron red monochrome of the
-period. As a thick, even and opaque colour this enamel was used in
-small pieces which wonderfully simulate the appearance of red cinnabar
-lacquer.</p>
-
-<p>An endless variety of blue glazes were used, the pure blue in dark and
-light shades, <i>soufflé</i> or plain, the purplish blues and violets,
-the lavenders and <i>clair de lunes</i>. These are mainly high-fired
-glazes, but a favourite blue of this period is a deep purplish blue
-of soft, fluescent appearance and minutely crackled texture which is
-evidently a glaze of the <i>demi-grand feu</i>. The “temple of heaven”
-blue is of this nature, though of a purer and more sapphire tint. It
-is the colour of the ritual vessels used in the worship of heaven and
-of the tiles with which the temple was roofed. Another variety of
-this glaze has the same tint, but is harder and of a bubbly, pinholed
-texture, apparently a high-fired colour. The <i>t’ien ch’ing</i> (sky
-blue) has already been mentioned&mdash;a lighter colour between<span class="pagenum" id="Page_239">[239]</span> lavender
-and turquoise. And among the blue enamels which were sometimes used as
-monochromes at this time is an opaque deep blue of intense lapis lazuli
-tone.</p>
-
-<p>Among the yellows, in addition to the transparent glazes of the older
-type, there are opaque enamels, including the lemon yellow with rough
-granular texture, the waxen<a id="FNanchor_448" href="#Footnote_448" class="fnanchor">[448]</a> sulphur yellow which often displays
-lustrous patches, and the crackled mustard yellow.</p>
-
-<p>Among the purples and browns there are few changes to note, though
-much of the greenish brown crackle probably belongs to this time; and
-there is little to be said about the white wares except that both the
-true porcelain, whether eggshell or otherwise, and the opaque crackled
-wares of the Ting yao type were still made with exquisite refinement
-and finish. The uneven glaze surface, happily compared to “orange
-peel,” was much affected on the Ch’ien Lung whites in common with many
-other wares of the time. But there were many new enamel monochromes
-formed by blending the <i>famille rose</i> colours, shades of opaque
-pink, lavender, French grey, and green, which are sometimes delicately
-engraved with close scroll patterns all over the surface, a type which
-is known by the clumsy name of <i>graviata</i>. These enamel grounds
-are often interrupted by medallions with underglaze blue or enamelled
-designs, as on the vase illustrated in Plate <a href="#i393">125</a>, Fig. 4, and on the
-so-called Peking bowls; or, again, they are broken by reserved floral
-designs which are daintily coloured in <i>famille rose</i> enamels.
-But we are already drifting from the monochromes into the painted
-porcelains of the period, and we shall return to the Peking bowls
-presently.</p>
-
-<p>With regard to the Ch’ien Lung blue and white, little need be added
-to what was said of this kind of ware in the last chapter. It was
-still made in considerable quantity, and T’ang Ying, in his twenty
-descriptions of the manufacture of porcelain, supplies a commentary to
-three pictures<a id="FNanchor_449" href="#Footnote_449" class="fnanchor">[449]</a> dealing with the “collection of the blue material,”
-“the selection of the mineral,” and “the painting of the round ware
-in blue.” From these we learn that large services were made in blue
-and white, and the decoration was still rigidly subdivided, one set
-of painters being reserved for the outlining<span class="pagenum" id="Page_240">[240]</span> of the designs and
-another for filling them in, while the plain blue rings were put on
-by the workman who finished the ware on the polishing wheel, and the
-inscriptions, marks and seals were added by skilful calligraphers. The
-blue material was now obtained in the province of Chêkiang, and close
-attention was paid to the selection of the best mineral. There was one
-kind of blue “called onion sprouts, which makes very clearly defined
-strokes, and does not run in the fire, and this must be used for the
-most delicate pieces.” This latter colour is to be looked for on the
-small steatitic porcelains and the fine eggshell cups.</p>
-
-<p>In common with the other Ch’ien Lung types, the blue and white vases
-are often of archaic bronze form, and decorated with bronze patterns
-such as borders of stiff leaves, dragon feet and ogre heads. Another
-favourite ornament is a close pattern of floral scrolls studded with
-lotus or peony flowers, often finely drawn but inclined to be small
-and fussy. These scrolls are commonly executed in the blotchy blue
-described on p. <a href="#Page_13">13</a>, and the darker shades are often thickly heaped up
-in palpable relief with a marked tendency to run into drops. On the
-other hand, one sometimes finds the individual brush strokes, as it
-were, bitten into the porcelain body, and almost suggesting scratched
-lines. Both peculiarities, the thick fluescent blue and the deep brush
-strokes, are observable on a small vase of unusually glassy porcelain
-in the Franks Collection. Two other pieces in the same collection may
-be quoted. One is a tazza or high-footed bowl with a band of Sanskrit
-characters and deep borders of close lotus scrolls, very delicately
-drawn in a soft pure blue, to which a heavily bubbled glaze has given a
-hazy appearance. This piece (Plate <a href="#i231">93</a>, Fig. 1) has the six characters
-of the Ch’ien Lung seal-mark in a single line inside the foot. The
-other is a jar which bears the cyclical date corresponding to 1784.
-Like the last, it has a decoration of Buddhistic import, viz. the four
-characters <img src="images/k_240.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>t’ien chu ên po</i> (propitious waves from
-India), each enclosed by formal cloud devices. It is painted in a soft
-but rather opaque blue, and the glaze is again of bubbly texture.</p>
-
-  <div class="figcenter" id="i391" style="width: 428px">
-     <img
-    class="p2"
-    src="images/i391.jpg"
-     alt="" />
-     <p class="p0 center">Plate 124.&mdash;Miscellaneous Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Magnolia Vase with <i>flambé</i> glaze of crackled lavender
-with red and blue streaks. Ch’ien Lung period. Height 7 inches.
-<i>Alexander Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle with elephant handles, yellow, purple, green and white
-glazes on the biscuit. Ch’ien Lung period. Height 8¼ inches. <i>British
-Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Dish with fruit design in lustrous transparent glazes on the
-biscuit, covering a faintly etched dragon pattern. K’ang Hsi mark.
-Diameter 9⅞ inches. <i>British Museum.</i></p>
-  </div>
-
-  <div class="figcenter" id="i393" style="width: 469px">
-     <img
-    class="p2"
-    src="images/i393.jpg"
-     alt="" />
-     <p class="p0 center">Plate 125.&mdash;Ch’ien Lung Wares. <i>Hippisley Collection.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Brush Pot of enamelled Ku-yüeh-hsüan glass. Ch’ien Lung mark.
-Height 2⅜ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Bottle, porcelain painted in Ku-yüeh style, after a picture by
-the Ch’ing artist Wang Shih-mei. Height 7 inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Imperial Presentation Cup marked <i>hsü hua t’ang chih
-tsêng</i>. Height 2 inches.</p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Medallion Vase, brocade ground with bats in clouds, etc.
-Ch’ien Lung mark. Height 7¼ inches.</p>
-  </div>
-
-  <div class="figcenter" id="i395" style="width: 451px">
-     <img
-    class="p2"
-    src="images/i395.jpg"
-     alt="" />
-     <p class="p0 center">Plate 126.&mdash;Vase with “Hundred Flower” design in
-<i>famille rose</i> enamels.</p>
-     <p class="p0 sm p-left">Ch’ien Lung period (1736–1795). Height 19¼ inches. <i>Grandidier
-Collection</i> (<i>The Louvre</i>).</p>
-  </div>
-
-  <div class="figcenter" id="i397" style="width: 457px">
-     <img
-    class="p2"
-    src="images/i397.jpg"
-     alt="" />
-     <p class="p0 center">Plate 127.&mdash;Vase painted in mixed enamels. The Hundred
-Deer. <i>Grandidier Collection</i> (<i>Louvre</i>).</p>
-     <p class="p0 sm center">Late Ch’ien Lung period. Height 18 inches.</p>
-  </div>
-
-<p>In the commoner types of Ch’ien Lung blue and white, the blue is
-usually of a dullish indigo tint, wanting in life and fire. There is,
-in fact, none of the character of the K’ang Hsi ware; the broad washes,
-the clear trembling sapphire, and the subtle harmony existing between
-the glaze and blue, are all missing. Moreover, the decoration, with its
-careful brushwork and neat finish, <span class="pagenum" id="Page_241">[241]</span>has none of the freedom and
-breadth of the older types. On the whole, it is small wonder that the
-collector finds little to arouse enthusiasm in the blue and white of
-this period, if we except the steatitic<a id="FNanchor_450" href="#Footnote_450" class="fnanchor">[450]</a> or “soft pastes,” which
-are eagerly acquired.</p>
-
-<p>Underglaze red painting, and the same in combination with blue or with
-high-fired glazes and coloured slips, celadon, white, golden brown,
-olive brown and coffee brown, were perpetuated from the previous
-reigns; and underglaze blue designs are found accompanied by yellow
-or coral red enamel grounds in old Ming style, and even by <i>famille
-rose</i> painting.</p>
-
-<p>Decoration in transparent glazes of three colours&mdash;green, yellow and
-aubergine&mdash;applied direct to the biscuit is not common on Ch’ien Lung
-porcelain, but when used it displays the characteristic neatness and
-finish of the period. I suspect that many of the trim rice bowls with
-neatly everted mouth rim and dragon designs etched in outline and
-filled in with aubergine in a green ground, yellow in an aubergine,
-or the other combinations of the three colours, belong to this reign,
-in spite of the K’ang Hsi mark under the base. At any rate, the body,
-glaze and form can be exactly paralleled in other bowls which have a
-Ch’ien Lung mark.</p>
-
-<p>This criticism applies equally to a striking group of porcelain of
-which Fig. 3 of Plate <a href="#i391">124</a> is an example. It consists of bowls and
-dishes, so much alike in decoration that one might suppose all existing
-examples to be parts of some large service. The body is delicately
-engraved with five-clawed dragons pursuing pearls, and somewhat
-inconsequently over these are painted large and boldly designed
-flowering sprays (rose, peony, etc.) or fruiting pomegranate branches
-with black outlines filled in with fine, transparent aubergine, full
-yellow and green in light and dark shades. The remaining ground space
-is coated with the thin greenish wash which does duty for white in this
-colour scheme, but in these particular pieces it is unusually lustrous
-and iridescent. In fact, on the back of a dish in the British Museum it
-has developed patches of golden lustre of quite a metallic appearance
-and similar to those noted on the sulphur yellow monochrome described
-on p. <a href="#Page_239">239</a>. This lustrous appearance, however, is probably no
-more than an exaggerated iridescence, for there is no reason to suppose
-that the Chinese ever used metallic lustre<span class="pagenum" id="Page_242">[242]</span> of the Persian or European
-kind.<a id="FNanchor_451" href="#Footnote_451" class="fnanchor">[451]</a> This group of porcelain always bears the K’ang Hsi mark, but
-a comparison with the bowls of later date, both in material and in the
-general finish of the ware and the style of the colouring, irresistibly
-argues a later period of manufacture, unless, indeed, we admit that the
-Imperial bowls of the late K’ang Hsi and the Ch’ien Lung periods are
-not to be differentiated. The finish of these wares, in fact, compares
-more closely with that of the finer Tao Kuang bowls than with the
-recognised types of K’ang Hsi porcelain.</p>
-
-<p>Another kind of on-biscuit decoration of the Ch’ien Lung&mdash;and perhaps
-the Yung Chêng&mdash;period is best described from a concrete example, viz.,
-Fig. 2 of Plate <a href="#i391">124</a>, a pear-shaped bottle in the British Museum with
-sides moulded in shallow lobes, an overlapping frill or collar with
-scalloped outline on the neck, and above this two handles in shape of
-elephants’ heads. The ground colour is a deep brownish yellow relieved
-by borders of stiff leaves with incised outline filled in with smooth
-emerald green; and the collar and handles are white with cloud scroll
-borders of pale aubergine edged with blue. The general colouring, as
-well as the form of this vase, is closely paralleled in fine pottery of
-the same period.</p>
-
-<p>It may be added that <i>famille rose</i> enamels are sometimes used
-in on-biscuit polychrome decoration, but the effect is not specially
-pleasing. Some of the opaque colours serving as monochromes are also
-applied in this way, but here the absence of a white glaze beneath is
-scarcely noticeable, owing to the thickness and opacity of the enamels.</p>
-
-<hr class="tb" />
-
-<p>But all the other forms of polychrome decoration at this period must
-yield (numerically, at any rate) to the on-glaze painting in <i>famille
-rose</i> enamels, or, as the Chinese have named them, “foreign
-colours.” The nature of these has been fully discussed, but there is
-no doubt that their application was widely extended in the Ch’ien Lung
-period, and one point of difference, at least, is observable in their
-technique, viz. the mixing of the tints in the actual design so as to
-produce the European effect of shading. By this means the graded tints
-in the petals of a flower, and the stratified surface of rocks and
-mountains, are suggestively rendered.</p>
-
-<p>It would be impossible to enumerate the endless varieties of<span class="pagenum" id="Page_243">[243]</span> design
-employed in this large group. Contrasting the decoration of his own
-time with that of the Ming porcelain, the author of the <i>T’ao
-shuo</i>,<a id="FNanchor_452" href="#Footnote_452" class="fnanchor">[452]</a> which was published in 1774, says: “Porcelain painted
-in colours excelled in the Ming dynasty, the majority of the patterns
-being derived from embroidery and brocaded satins, three or four only
-out of each ten being from nature and copies of antiques. In modern
-porcelain, out of ten designs you will get four of foreign colouring,
-three taken from nature, two copies of antiques, one from embroidery or
-satin brocade.”</p>
-
-<p>In their ordinary acceptation the terms are not mutually exclusive, and
-the last three types might be, and indeed are, all expressed in foreign
-colouring; but presumably the writer refers especially to that kind of
-“foreign colouring” which was directly based on the Canton enamels and
-is illustrated in the ruby-back eggshell dishes.</p>
-
-<p>The designs taken from nature would include figure subjects
-representing personages and interiors, landscapes, growing flowers and
-fruit, and the like, good examples of which are shown on Plates <a href="#i395">126</a> and
-<a href="#i397">127</a>. The one represents the “Hundred Flowers,” the vase being, as it
-were, one great bouquet and the flowers being drawn naturalistically
-enough to be individually recognised. The other recalls the
-celebrated picture of the “Hundred Deer” by the late Ming artist, Wên
-Chêng-ming.<a id="FNanchor_453" href="#Footnote_453" class="fnanchor">[453]</a></p>
-
-<p>The copies of antiques would comprise bronze patterns and designs
-borrowed from old porcelain, examples of which are not uncommon. And
-the brocade patterns, in spite of the low proportion assigned to them
-in the <i>T’ao shuo</i>, occur in relatively large numbers in Western
-collections. They mostly consist of flowers or close floral scrolls
-in colour, and reserved in a monochrome ground of yellow, blue, pink,
-etc. This is the characteristic Ch’ien Lung scroll work which is used
-both in borders and over large areas such as the exterior of a bowl
-or the body of a vase. The reserved pattern, highly coloured and
-winding through a ground of solid opaque enamel, suggests analogy with
-the scroll grounds of the contemporary cloisonné enamel; but this
-incidental likeness has nothing to do with the question of “painting in
-<i>fa lang</i> style,” which was discussed<span class="pagenum" id="Page_244">[244]</span> among T’ang’s innovations.
-The finer Ch’ien Lung porcelains, and especially those enamelled with
-brocade designs, are frequently finished off with a coating of opaque
-bluish green enamel inside the mouth and under the base, a square panel
-being reserved for the mark. Needless to say, with all this weight of
-enamelling little or nothing is seen of the porcelain itself, the fine
-quality of which is only indicated by the neatness of the form and the
-elegance of the finish.</p>
-
-<p>The green black which was discussed earlier in the chapter is used with
-striking effect, both in company with <i>famille rose</i> colours (as
-on Fig. 2 of Plate <a href="#i429">131</a>) and without them. An effective decoration of
-the latter kind is shown on a beautiful bottle-shaped vase with wide,
-spreading mouth in the Salting Collection, which is covered with close
-floral scrolls reserved in a ground of black pigment, the whole surface
-being washed over with transparent green. The result is a peculiarly
-soft and rich decoration of green scrolls in a green black ground.</p>
-
-<p>Nor was the iron red&mdash;a colour much employed in monochromes at this
-time&mdash;neglected in the painted wares. Indeed, it occurs as the sole
-pigment on many pieces, and on others it forms a solid brick red or
-stippled <i>soufflé</i> ground for floral reserves, medallions and
-panels of <i>famille rose</i> enamelling.</p>
-
-<p>Among the opaque enamels a few shades of blue are similarly used, while
-the others, as already mentioned, form plain or engraved backgrounds
-for floral reserves and panel decoration as on Fig. 2 of Plate <a href="#i393">125</a>,
-and on the Peking bowls. The latter are so named not because they
-were made at Peking, but because the specimens acquired by Western
-collectors have been chiefly obtained from that source. Many of them
-have the Ch’ien Lung mark, and their ground colours comprise a variety
-of pinks, yellow, green, French grey, dark blue, slaty blue, amaranth,
-lavender, bluish green,<a id="FNanchor_454" href="#Footnote_454" class="fnanchor">[454]</a> delicate greenish white and coral red.
-The medallions on the bowls&mdash;usually four in number&mdash;are commonly
-decorated with growing flowers, such as the flowers of the four seasons
-in polychrome enamels, while others have figure subjects, frequently
-European figures in landscape setting and with Chinese attributes, such
-as a <i>ju-i</i> or <i>ling-chih</i> fungus. The finish of these bowls
-is extremely<span class="pagenum" id="Page_245">[245]</span> fine, and they are well worthy of the Imperial use to
-which they were mostly destined.</p>
-
-<p>The mention of a delicate greenish white enamel on these medallion
-bowls reminds us that this colour is used with exquisite effect for
-borders of floral design, or even for the main decoration of tea
-and coffee wares; and there is a little plate in the British Museum
-with Ch’ien Lung mark on which it appears with a peculiar chilled or
-shrivelled surface as a background for painted designs in iron red.</p>
-
-<p>There is a large class of enamelled porcelain, doubtless made chiefly
-for export, which found its way into our country houses in the last
-half of the eighteenth century. It is painted with panels of figure
-subjects in which rose pink and iron red are uncompromisingly blended,
-and the space surrounding the panels is filled with composite designs
-of blue and white with passages of pink scale diaper or feathery
-gilt scrolls broken by small vignettes in which a bird on a bough,
-insects, growing plants or fragments of landscape are painted in
-<i>camaieu</i> pink, red or sepia. In some cases the panels are framed
-with low, moulded reliefs, which extend into the border spaces, and the
-groundwork in these parts is powdered with tiny raised dots. The wares
-include large punch bowls, bottle-shaped ewers with their basins, and
-sets of five vases, two of which are beakers and three covered jars
-with lion knobs, ovoid or square, and sometimes of eggshell thinness.
-Others again have their panels enclosed by wreaths of flowers and
-foliage or “rat and vine pattern” in full relief, and many of them
-have a glaze of lumpy, “orange peel” texture. The name “Mandarin” has
-been given to these wares because the central figure subjects usually
-contain personages in official dress; and the large punch bowls
-brought back by the tea-merchants are included in this group, though
-the mandarin figures in the panels are in this case often replaced by
-European subjects.</p>
-
-<p>Elaborately moulded and pierced ornament coloured in <i>famille
-rose</i> enamels often appears on the table ware of this period, a
-familiar example being the lotus services in which the motive of
-the pink lotus flower is expressed partly by moulding and partly by
-painting, the tendrils and buds being utilised for feet and handles;
-and there are elegant <i>famille rose</i> teapots which have outer
-casings with panels of prunus, bamboo and pine carved in openwork in
-the style of the Yi-hsing pottery.</p>
-
-<p><span class="pagenum" id="Page_246">[246]</span></p>
-
-<p>Gilding was, of course, freely employed, and, to a lesser extent,
-silvering. Elaborate gilt patterns are found covering dark blue,
-powder blue, lustrous black, bronze green, pale celadon, and iron red
-monochrome grounds; and the finer enamelled vases and bowls are often
-finished off with gilt edging, which does not seem to have been much
-used before this period, though traces of gilding are sometimes seen on
-the lustrous brown edges of the older plates and bowls.</p>
-
-<p>The manual dexterity of the Ch’ien Lung potters is shown in openwork
-carving and pierced designs on lanterns, perfume boxes, insect cages,
-spill vases, etc., but more especially on the amazing vases with
-free-working belts, revolving necks, or decorated inner linings which
-can be turned round behind a pierced outer casing, chains with movable
-links, and similar <i>tours de force</i>.</p>
-
-<p>There are, beside, two types of ornament dating from this period which
-demand no little manual skill. These are the lacework and rice grain.
-In the former the design is deeply incised in the body and the whole
-covered with a pale celadon green glaze, and it is usually applied to
-small vases and tazza-shaped cups, the pattern consisting of close and
-intricate Ch’ien Lung scrollwork. The resultant effect is of a very
-delicate green lace pattern, which appears as a partial transparency
-when held to the light (Plate <a href="#i407">128</a>, Fig. 2). The rice-grain ornament
-carries the same idea a step farther, for the incised pattern is cut
-right through the body, leaving small perforations to be filled up by
-the transparent glaze. Only small incisions could be made, and these
-generally took the lenticular form which the French have likened to
-grains of rice (Plate <a href="#i407">128</a>, Fig. 1). The patterns made in this fashion
-are naturally limited. Star-shaped designs or flowers with radiating
-petals are the commonest, though occasionally the transparencies are
-made to conform to the lines of painted decoration and even of dragon
-patterns.</p>
-
-<p>Both ordinary and steatitic porcelain are used for this treatment; and
-the ware is either plain white or embellished with underglaze blue
-borders and designs, and occasionally with enamels. The effect is light
-and graceful, especially when transmitted light gives proper play to
-the transparencies.</p>
-
-<p>As to the antiquity of this decoration in China, I can find no evidence
-of its existence before the eighteenth century, and I am inclined to
-think it was even then a late development. There are two cups in the
-Hippisley Collection with apocryphal Hsüan Tê<span class="pagenum" id="Page_247">[247]</span> dates, but the majority
-of marked examples are Ch’ien Lung or later. Out of fourteen pieces in
-the Franks Collection five have the Ch’ien Lung mark, two have palace
-marks of the Tao Kuang period,<a id="FNanchor_455" href="#Footnote_455" class="fnanchor">[455]</a> and one has a long inscription
-stating that it was made by Wang Shêng-Kao in the fourth month of
-1798.<a id="FNanchor_456" href="#Footnote_456" class="fnanchor">[456]</a> The rest are unmarked. The manufacture continues to the
-present day, and the same process has been freely used in Japan, where
-it is called <i>hotaru-de</i>, or firefly decoration. In this type of
-ornament the Chinese were long forestalled by the potters of Western
-Asia, for the rice-grain transparencies were used with exquisite effect
-in Persia and Syria in the twelfth century if not considerably earlier.</p>
-
-<p>It remains to mention a species of decoration which is not strictly
-ceramic. It consists of coating the porcelain biscuit with black
-lacquer in which are inlaid designs in mother-of-pearl, the <i>lac
-burgauté</i> of the French (Plate <a href="#i407">128</a>, Fig. 3). This porcelain is known
-by the French name of <i>porcelaine laquée burgautée</i>, and it seems
-to have been originally a product of the Ch’ien Lung period; at any
-rate, I can find no evidence of its existence before the eighteenth
-century.</p>
-
-<p>In the Ch’ien Lung period Chinese porcelain reaches the high-water
-mark of technical perfection. The mastery of the material is complete.
-But for all that the art is already in its decline. By the middle of
-the reign it is already overripe, and towards the end it shows sure
-signs of decay. At its best the decoration is more ingenious than
-original, and more pretty than artistic. At its worst it is cloying
-and tiresome. The ware itself is perfectly refined and pure, but
-colder than the K’ang Hsi porcelain. The <i>famille rose</i> painting
-is unequalled at its best for daintiness and finish, but the broken
-tints and miniature touches cannot compare in decorative value with the
-stronger and broader effects of the Ming and K’ang Hsi brushwork. The
-potting is almost perfect, but the forms are wanting in spontaneity;
-and the endless imitation of bronze shapes becomes wearisome, partly
-because the intricate forms of cast metal are not naturally suited to
-the ceramic material, and partly because the elaborate finish of the
-Ch’ien Lung wares makes the imitation of the antique unconvincing. In
-detail the wares are marvels of neatness and finish, but the general
-impression is of an artificial elegance from which the eye gladly<span class="pagenum" id="Page_248">[248]</span>
-turns to the vigorous beauty of the earlier and less sophisticated
-types.</p>
-
-  <div class="figcenter" id="i407" style="width: 514px">
-     <img
-    class="p2"
-    src="images/i407.jpg"
-     alt="" />
-     <p class="p0 center">Plate 128.&mdash;Ch’ien Lung Porcelain. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Vase with “rice grain” ground and blue and white design.
-Height 7¾ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Vase with “lacework” designs. Ch’ien Lung mark. Height 7¾
-inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Vase with the Seven Worthies of the Bamboo Grove in <i>lac
-burgauté</i>. Height 14½ inches.</p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Vase with “robin’s egg” glaze. Height 4⅛ inches.</p>
-  </div>
-
-  <div class="figcenter" id="i409" style="width: 300px">
-     <img
-    class="p2"
-    src="images/i409.jpg"
-     alt="" />
-     <p class="p0 center">Plate 129.&mdash;Octagonal Vase and Cover, painted in
-<i>famille rose</i> enamels. Ch’ien Lung period (1736–1795).</p>
-     <p class="p0 sm center">Height 35 inches. <i>One of a pair in the Collection of Dr. A. E.
-Cumberbatch.</i></p>
-  </div>
-
-<p>As already mentioned, T’ang Ying was commanded by the Emperor in 1743
-to arrange and explain twenty pictures of the manufacture of porcelain
-which were sent to him from the palace. In twelve days he completed
-the descriptions which have since been incorporated in various books
-on porcelain, including the <i>T’ao shuo</i> and the <i>T’ao lu</i>.
-They have been translated by Julien<a id="FNanchor_457" href="#Footnote_457" class="fnanchor">[457]</a> and by Bushell,<a id="FNanchor_458" href="#Footnote_458" class="fnanchor">[458]</a> and
-as most of their facts have been embodied in the previous pages, it
-would be superfluous to give a verbatim translation of them. The
-following summary, however, will give the drift of them, and Bushell’s
-translation of the <i>T’ao shuo</i> can be consulted for a full
-rendering.</p>
-
-<p class="p-left p1"><i>Illustration</i></p>
-
-<table summary="summary" class="smaller" style="max-width: 50em">
-  <tr>
-    <td class="chn2">I.&mdash;</td>
-    <td class="cht smcap">Collection of the Stones and Fabrication of the Paste.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">The porcelain stone (<i>petuntse</i>) was obtained at this time
-from <i>Ch’i-mên</i>, in the province of Kiangnan. “That of pure
-colour and fine texture is used in the manufacture of bowls
-and vases of eggshell (<i>t’o-t’ai</i>), pure white (<i>t’ien
-pai</i>), and blue and white porcelain.” Other earths, including
-<i>kaolin</i>, were mined within the limits of Jao-chou Fu.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">II.&mdash;</td>
-    <td class="cht smcap">Washing and Purification of the Paste.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">III.&mdash;</td>
-    <td class="cht smcap">Burning the Ashes and Preparing the Glaze.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">The ashes of burnt lime and ferns were mixed with
-<i>petuntse</i> in varying proportions to form the glazing
-material.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">IV.&mdash;</td>
-    <td class="cht smcap">Manufacture of Seggars.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">The seggars, or fireclay cases, by which the porcelain was
-protected in the kiln were made of a coarse clay from Li-ch’un,
-near Ching-tê Chên, and we are told that the seggar-makers also
-manufactured rough bowls for the use of the workmen from the
-same material.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">V.&mdash;</td>
-    <td class="cht smcap">Preparing the Moulds for the Round Ware.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">VI.&mdash;</td>
-    <td class="cht smcap">Fashioning the Round Ware on the Wheel.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">VII.&mdash;</td>
-    <td class="cht"><span class="smcap">Fabrication of the Vases</span> (<i>cho ch’i</i>).</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">VIII.&mdash;</td>
-    <td class="cht smcap">Collection of the Blue Colour.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">The mineral was obtained at this time from Shao-hsing and
-Chin-hua in Chêkiang.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">IX.&mdash;</td>
-    <td class="cht smcap">Selection of the Blue Material.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">X.&mdash;</td>
-    <td class="cht smcap">Moulding the Paste and Grinding the Colours.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XI.&mdash;</td>
-    <td class="cht smcap">Painting the Round Ware in Blue.<span class="pagenum" id="Page_249">[249]</span></td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XII.&mdash;</td>
-    <td class="cht smcap">Fabrication and Decoration of Vases.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XIII.&mdash;</td>
-    <td class="cht smcap">Dipping the Ware into the Glaze or Blowing the Glaze on to it.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">Three methods of glazing are described: the old method of
-painting the glaze on with goat’s-hair brush; dipping the ware
-into a large jar of glaze; and blowing on the glaze with a
-bamboo tube covered at the end with gauze.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XIV.&mdash;</td>
-    <td class="cht smcap">Turning the Unbaked Ware and Hollowing out the Foot.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">This turning or polishing was done on a wheel. For convenience
-of handling the foot of the vessel was left with a lump of clay
-adhering until all the processes, except firing, were complete;
-the foot was then trimmed and hollowed out, and the mark painted
-underneath.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XV.&mdash;</td>
-    <td class="cht smcap">Putting the Finished Ware into the Kiln.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XVI.&mdash;</td>
-    <td class="cht smcap">Opening the Kiln when the Ware is Baked.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XVII.&mdash;</td>
-    <td class="cht"><span class="smcap">Decorating the Round Ware and Vases in Foreign
-Colouring.</span> See p. <a href="#Page_242">242</a>.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XVIII.&mdash;</td>
-    <td class="cht smcap">The Open Stove and the Closed Stove.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2"></td>
-    <td class="cht3">Two types of small kiln used to fire the on-glaze enamels.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XIX.&mdash;</td>
-    <td class="cht smcap">Wrapping in Straw and Packing in Casks.</td>
-  </tr>
-
-  <tr>
-    <td class="chn2">XX.&mdash;</td>
-    <td class="cht smcap">Worshipping the God and Offering Sacrifice.</td>
-  </tr>
-</table>
-
-<p>There are a few illustrations appended to the <i>T’ao lu</i> which
-cover much the same field, but they are roughly drawn. A much better
-set of coloured pictures is exhibited in frames in the Franks
-Collection in the British Museum, showing most of the processes
-described by T’ang.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_250">[250]</span></p>
-
-<h2 class="smaller">CHAPTER XIV<br />
-<span class="subhed">EUROPEAN INFLUENCES IN THE CH’ING DYNASTY</span></h2></div>
-
-<p class="drop-cap p-left">Hitherto the references to European influence on Chinese porcelain
-have been of an incidental nature. But the use of Western designs on
-the porcelains of the Ch’ing dynasty, and especially in the eighteenth
-century, attained such large proportions that it is necessary to
-treat the wares so decorated as a class apart. A highly instructive
-collection of this type of porcelain is exhibited in the British
-Museum, where it has been subdivided in groups illustrating porcelain
-painted in China with European armorial designs, porcelain painted in
-China after pictures, engravings and other patterns of European origin,
-European forms in Chinese porcelain, and, lastly, Chinese porcelain
-decorated in Europe.</p>
-
-<p>The un-Chinese nature of these decorations, which is apparent at the
-first glance, justifies their segregation. Indeed, the foreign features
-are in many cases so conspicuous that it is small wonder if in days
-when little was known of Chinese ceramic history these wares were
-often attributed to European manufacture. We now know so much of the
-intercourse between China and Europe in the past, and of the enormous
-trade carried on by the various East India companies, that no surprise
-is felt at the idea of orders for table services sent out to China
-with armorial and other designs for their decoration. Not that anyone
-whose eye was really trained to appreciate the peculiarities of Chinese
-porcelain could ever mistake the nature of these wares. The paste and
-glaze are, with few exceptions, uncompromisingly Chinese, no matter
-how closely the decorator with his proverbial genius for imitation may
-have rendered the European design. And even here, if the Oriental touch
-is not betrayed in some detail, the Chinese colours and gilding will
-disclose themselves to the initiate.</p>
-
-<p>It is hardly necessary here to allude to the absurd notion that any
-of this group was made at the little English factory of Lowestoft. If
-an error which has once had currency is ever completely<span class="pagenum" id="Page_251">[251]</span> dissipated,
-Chaffers’s great blunder on the subject of Chinese armorial porcelain
-should be forgotten by now. But it is high time that those who are
-fully aware of the facts of the case should abandon the equally
-stupid and wholly illogical expression, “Oriental Lowestoft,” not
-for Lowestoft porcelain decorated in Chinese style, which would be
-reasonable enough, but (save the mark!) for Chinese porcelain decorated
-with European designs. As if, indeed, an insignificant Suffolk pottery,
-which made no enamelled porcelain<a id="FNanchor_459" href="#Footnote_459" class="fnanchor">[459]</a> until about 1770, had any
-influence on the decoration of a Chinese ware which was distributed all
-over Europe during the whole of the century.</p>
-
-<p>The European style of flower painting and the European border patterns
-were used by the Chinese decorators on this class of ware in the last
-half of the century, but they were the patterns which originated at
-Meissen and Sèvres, and which were adopted and developed at Chelsea,
-Derby and Worcester. Any of these wares might have found their way to
-China and served as models to the Canton decorators, but the likelihood
-of Lowestoft porcelain exerting any appreciable influence in the Far
-East is simply laughable.</p>
-
-<p>But to return to the subject of this chapter, the actual European
-shapes found in Chinese porcelain can be dismissed in a few words.
-There are a few figures, such as the well known pair reputed to
-represent Louis XIV. and his queen. These are of K’ang Hsi type, and
-decorated with enamels on the biscuit. And there are numerous groups
-or single figures of the same period in the white Fukien porcelain,
-discussed on p. <a href="#Page_111">111</a>. A few vase forms, copied apparently from
-Italian wares and belonging to a slightly later date, and a curious
-pedestal in the British Museum, modelled in the form of a tree trunk
-with two Cupids in full relief near the top, are purely Western.<a id="FNanchor_460" href="#Footnote_460" class="fnanchor">[460]</a>
-Needless to say, the bulk of the useful ware, being intended for
-European consumption, was made after European models, which speak for
-themselves.</p>
-
-<p>Much might be written on the painted designs of this class if<span class="pagenum" id="Page_252">[252]</span> space
-permitted, but we must be content with citing a few typical instances,
-most of which may be seen in the Franks Collection. To the K’ang Hsi
-period belong some curious imitations of Dutch Delft, in which even
-the potter’s marks are copied, the designs having been, oddly enough,
-borrowed in the first instance from Oriental wares by the Dutch
-potters. There are the so-called “Keyser cups,” tall, covered cups with
-saucers, painted in blue with kneeling figures surrounding a king and
-queen, who probably represent St. Louis of France and his consort; and
-in the border is the inscription, <span class="allsmcap">L’EMPIRE DE LA VERTU EST ESTABI
-JUSQ’AU BOUT DE L’UNERS</span>. Another cup has a design of a ship and a
-syren, with legend, <span class="allsmcap">GARDES VOUS DE LA SYRENE</span>; and there are
-small plates with the siege of Rotterdam<a id="FNanchor_461" href="#Footnote_461" class="fnanchor">[461]</a> copied in blue from a
-Dutch engraving.</p>
-
-  <div class="figcenter" id="i417" style="width: 493px">
-     <img
-    class="p2"
-    src="images/i417.jpg"
-     alt="" />
-     <p class="p0 center">PLATE 130</p>
-     <p class="p0 sm p-left">Vase with pear-shaped body and wide mouth; tubular handles. Porcelain
-with delicate <i>clair de lune</i> glaze recalling the pale blue tint
-of some of the finer Sung celadons. About 1800</p>
-     <p class="p0 sm" style="float:left">Height 7¾ inches.</p>
-     <p class="p0 sm" style="float:right"><i>British Museum</i>.</p>
-  </div>
-
-<p style="clear: both">But the group which probably commands the greatest interest is that
-known as “Jesuit china,” decorated with subjects bearing on the
-Christian religion. The earliest examples are painted in underglaze
-blue, the Christian designs being accompanied by ordinary Chinese
-ornaments. An early (to judge from the general style of the piece,
-late Ming) example is a pear-shaped ewer, with elongated spout and
-handle, in the Kunstgewerbe Museum, Berlin. On the side is the sacred
-monogram IHS, surrounded by formal ornament, and it has been plausibly
-suggested that the little vessel had been used for Communion purposes.
-A bowl with fungus mark in the Franks Collection has a Crucifixion on
-the exterior, framed in a pattern of cloud-scrolls, and inside with
-truly Chinese tolerance is painted a Buddhist pearl symbol in flames
-and clouds. A cup in the same series with the “jade” mark<a id="FNanchor_462" href="#Footnote_462" class="fnanchor">[462]</a> has a
-Crucifixion half lost among the surrounding arabesque scrolls. These
-two are of the K’ang Hsi period, and were probably made with the pieces
-to which Père d’Entrecolles<a id="FNanchor_463" href="#Footnote_463" class="fnanchor">[463]</a> alludes, in his letter dated 1712, as
-follows: “From the debris at a large emporium they brought me a little
-plate which I treasure more than the finest porcelain made during the
-last thousand years. In the centre of the plate is painted a crucifix
-between the Virgin and St. John, and I am told that <span class="pagenum" id="Page_255">[255]</span>this kind
-of porcelain was shipped sometimes to Japan, but that this commerce
-came to an end sixteen or seventeen years ago. Apparently the Japanese
-Christians took advantage of this manufacture at the time of the
-persecution to obtain pictures of our mysteries, and these wares,
-mingled with others in the crates, eluded the vigilance of the enemies
-of our religion. This pious artifice was no doubt eventually discovered
-and rendered useless by more stringent investigation, and that is why
-the manufacture of this kind of ware has ceased at Ching-tê Chên.”</p>
-
-<p>These early types, which are rare to-day, have a special interest
-because they were decorated at Ching-tê Chên, and their general style
-indicates that they were made for Oriental use.</p>
-
-<p>After an interval of some years the Jesuit china reappeared in a
-more sophisticated form, probably the work of Canton decorators. The
-designs, various Biblical scenes, are copied in black and gold from
-European engravings, and they occur on plates with rims, tea and coffee
-services, and other articles of European use. The earliest may date
-from the Yung Chêng period, but they are mostly Ch’ien Lung, and the
-same designs are occasionally executed in enamel colours. In addition
-to the Christian china there are plates and dishes decorated with rings
-of Koranic inscriptions in Arabic, surrounding magic squares, and
-destined for the Mussulman markets.</p>
-
-<p>The Franks Collection includes, besides, numerous examples of
-profane subjects<a id="FNanchor_464" href="#Footnote_464" class="fnanchor">[464]</a> copied in black or in colours from European
-engravings and designs. A striking instance of the patient skill of
-the Chinese copyist is given by two large plates completely covered
-with the designs&mdash;the Triumph of Mordecai and Achilles dipped in the
-Styx&mdash;copied line for line, apparently, from Le Sueur’s engravings.
-The effect of the fine lines and cross-hatching is perfectly rendered,
-and one would say at first that they had been transfer-printed if
-this process had ever been used by the Chinese. It is amusing, too,
-to find English topical and political subjects rendered on Chinese
-porcelain, mugs and punch bowls, with busts of the Duke of Cumberland,
-Prince Charles Edward, and John Wilkes with appropriate inscriptions.
-There are, too, satirical pictures in the style of Hogarth, and a few
-popular but not overrefined<span class="pagenum" id="Page_256">[256]</span> subjects which gain an additional drollery
-from the obviously Chinese rendering of the figures. Many large punch
-bowls still survive decorated to suit their owner’s tastes, with a
-full-rigged ship for the sea captain, a hunting scene for the master
-of hounds, and agricultural designs for the farmer, often proudly
-inscribed with the name of the destined possessor and the date of the
-order. The Chinese touch is usually betrayed in these inscriptions,
-which are obviously reproduced mechanically, and with no compunction
-felt for a letter here and there inverted or misplaced.</p>
-
-<p>These porcelains with European pictorial designs are, as a rule, more
-curious than beautiful, but it cannot be denied that the next group
-with European coats of arms emblazoned in the centre is often highly
-decorative. This is particularly true of the earlier examples in
-which the shields of arms are not disproportionately large, and are
-surrounded with tasteful Chinese designs. The heraldry is carefully
-copied and, as a rule, the tinctures are correct. In the older
-specimens the blue is usually under the glaze, and from this, and from
-the nature of the surrounding decoration in <i>famille verte</i> or
-transition colours, one may assume that the pieces in question were
-decorated at Ching-tê Chên. From the middle of the Yung Chêng period
-onwards a large and constantly increasing proportion of the ware was
-decorated at Canton, in the enamelling establishments which were in
-close touch with the European merchants, and from this time European
-designs begin to encroach on the field of the decoration. Finally,
-in the last decades of the century the Chinese armorial porcelain is
-decorated in purely European style. An important though belated witness
-to the Canton origin of this decoration is a plate in the Franks
-Collection with the arms of Chadwick in the centre, a band of Derby
-blue, and a trefoil border on the rim, and on the reverse in black the
-legend, <i>Canton in China, 24th Jan<sup>y</sup>, 1791</i>.</p>
-
-<p>Side by side with this armorial porcelain, and apparently also
-decorated at Canton, there was painted a large quantity of table
-ware for Western use with half-European designs in which small pink
-rose-sprays are conspicuous. These are the cheaper kinds of useful ware
-which are found everywhere in Europe, and must have formed a large
-percentage of the export trade in the last half of the eighteenth
-century. The decoration, though usually slight and perfunctory, is
-quite inoffensive and suitable to the purpose of the ware.</p>
-
-<p><span class="pagenum" id="Page_257">[257]</span></p>
-
-<p>But to return to the armorial porcelain: apart from its heraldic and
-decorative value, it is often important to the student of Chinese
-ceramics, because there are specimens which can be dated very
-precisely from the armorial bearings and other internal evidence.
-In the British Museum series there are some twenty pieces belonging
-to the K’ang Hsi period, including an early underglaze blue painted
-dish with arms of Talbot, and one or two specimens of pure <i>famille
-verte</i>, including the plate dated 1702, which has already been
-mentioned as being of a peculiar white and glassy-looking ware. There
-are examples with underglaze blue and enamel decoration in the Chinese
-Imari style, and there is a very distinctive group which can be dated
-armorially<a id="FNanchor_465" href="#Footnote_465" class="fnanchor">[465]</a> to the late K’ang Hsi and early Yung Chêng period.
-These latter pieces are usually decorated with a shield of arms in the
-centre in enamel colours, with or without underglaze blue; the sides
-are filled with a band of close floral scrolls or brocade diaper in red
-and gold, broken by small reserves containing flowers and symbols; on
-the rim are similar groups of flowers and symbols and a narrow border
-of red and gold scrolls; and on the reverse are a few floral sprays in
-red. The enamels are of the transition kind, <i>famille verte</i> with
-occasional touches of rose pink and opaque yellow. The porcelain is
-the crisp, sonorous, well potted ware with shining oily glaze of K’ang
-Hsi type, and the accessory ornament is of purely Chinese character.
-A border of trefoil cusps, not unlike the strawberry leaves of the
-heraldic crown, but traceable to a Chinese origin, makes its first
-appearance on this group. It is a common feature of subsequent armorial
-wares, like the narrow border of chain pattern which seems to have come
-into use about 1730.</p>
-
-<p>Dated specimens of Yung Chêng armorial, with painting in the “foreign
-colours,” have been already described.<a id="FNanchor_466" href="#Footnote_466" class="fnanchor">[466]</a> Other examples of this
-period have the decoration in underglaze blue outlines washed with
-thin transparent colours, in black pencilling and in black and gold.
-The border patterns of lacework, vine scrolls, bamboos wreathed with
-foliage and flowers, and fine floral scrolls, are often beautifully
-executed in delicate gilding or in brown and gold.</p>
-
-<p>In the Ch’ien Lung period there was an ever-increasing tendency to
-displace the Chinese patterns in favour of European ornament.<span class="pagenum" id="Page_258">[258]</span> About
-the middle of the century small bouquets and scattered floral sprays
-in the well-known Meissen style of painting made their appearance, and
-the gradual invasion of the border patterns by European motives is
-apparent. It may be of interest to note a few of the latter as they
-occur on dated specimens:</p>
-
-<p>1. Light feathery scrolls, gilt or in colours: first half of Ch’ien
-Lung period.</p>
-
-<p>2. Rococo ornaments combined with floral patterns: first half of Ch’ien
-Lung period.</p>
-
-<p>3. Large shell-like ornaments and scroll edged frames of lattice work,
-loosely strung together: early Ch’ien Lung period.</p>
-
-<p>4. Similar motives with more elaborate framework, enclosing diapers,
-and interrupted by four peacocks at regular intervals and generally
-black and gold: about 1740 to 1760.</p>
-
-<p>5. Black and brown hexagon diaper, edged with dragon arabesques in
-gold: an early type of border, but lasting as late as 1780.</p>
-
-<p>6. Composite borders with diapers, symbols, flowers, etc., and
-sometimes including butterflies, half Chinese and half European: on
-specimens ranging from 1765 to 1820.</p>
-
-<p>This last border pattern was adopted at Coalport and in other English
-factories to surround the willow pattern.<a id="FNanchor_467" href="#Footnote_467" class="fnanchor">[467]</a></p>
-
-<p>In the last decades of the century, such purely European borders as the
-swags of flowers used at Bow and Bristol, floral and laurel wreaths
-and husk festoons; the pink scale patterns of Meissen; ribbons and
-dotted lines winding through a floral band, feather scrolls, etc., of
-Sèvres origin, and afterwards adopted at Worcester, Bristol, Lowestoft
-and elsewhere in England; blue with gilt edges and gilt stars, as on
-the Derby borders, which also derive from Sèvres; and the corn-flower
-sprigs of the French hard-paste porcelains.</p>
-
-<p>A conspicuous feature of the Ch’ien Lung export porcelain in general
-is the use of a thin, washy pink in place of the thick carmine of
-the early <i>famille rose</i>. This is a colour common to European
-porcelain of the period, and it may have been suggested to the Chinese
-by specimens of Western wares. We may, perhaps, note<span class="pagenum" id="Page_259">[259]</span> here a design
-of Oriental figures (as on the Mandarin porcelain) in pink and red
-surrounded by borders of pink scale diaper, broken by small panels of
-ornament. It has no connection with the armorial group, but it has
-apparently been bandied back and forward from East to West. Based on
-a Chinese original, it was largely copied on English porcelain, such
-as Worcester, Lowestoft, etc., and apparently services of the English
-make found their way east and were copied again at some coast factory,
-or even in Japan, for the export trade. Much of this hybrid ware is
-found in Australia and on the east coast of Africa, and though the
-material and the colours are obviously Oriental, the drawing of the
-faces reflects a European touch. The porcelain is coarse and greyish,
-and the decoration roughly executed, probably in the first decades of
-the nineteenth century.</p>
-
-<p>The trade in Chinese armorial porcelain seems to have gradually died
-out in the nineteenth century, for reasons which are not far to seek.
-As far as England was concerned, the improvements in the manufacture
-both of porcelain and fine earthenware changed her position from that
-of a consumer to that of a producer. In addition to which, a high
-protective duty must have adversely affected the import trade, for we
-read<a id="FNanchor_468" href="#Footnote_468" class="fnanchor">[468]</a> in the notes of Enoch Wood, the Staffordshire potter, that
-alarm was felt in 1803 in the potteries at the “proposed reduction of
-£59 8s. 6d. per cent. from the duty on the importation of Oriental
-porcelain, leaving it at 50 per cent.”</p>
-
-<p>Not the least interesting part of the Franks Collection is the section
-devoted to Chinese porcelain decorated in Europe. In the early years
-of the eighteenth century a number of enamelling establishments
-appeared in Holland and in other countries where glass and pottery were
-decorated in the enamel colours which were then coming into play. As
-the supply of home-made porcelain was as yet practically non-existent,
-the enamellers had to look for this material in the Oriental market.
-Chinese porcelains with slight decoration, plain white wares, or those
-mainly decorated with incised and carved design under the glaze, and
-white Fukien porcelain offered the most suitable surface; and these
-we find treated by Dutch enamellers with the decoration then in vogue
-among the Delft potters. In the British Museum there are plates with
-portraits of Dutch celebrities, with designs satirising John<span class="pagenum" id="Page_260">[260]</span> Law’s
-bubble, and even with Japanese and Chinese patterns, especially those
-which the Delft potters were in the habit of copying from the “old
-Imari.” Thus we find the curious phenomenon of Chinese porcelain
-decorated in Europe with Oriental patterns, and, as may be imagined,
-these pieces have caused much perplexity to collectors. They are,
-however, to be recognised by the inferior quality of the enamels and
-the stiff drawing of the copyists. In the case of the Fukien porcelain
-with relief ornament, the decorators often confined themselves to
-touching the raised pattern with colour.</p>
-
-<p>As a rule, these added decorations are crude and unsightly, but there
-were artists of great skill among the German <i>chambrelans</i>
-(as these unattached enamellers were called), such men as Ignatius
-Bottengruber and Preussler of Breslau,<a id="FNanchor_469" href="#Footnote_469" class="fnanchor">[469]</a> who flourished about 1720
-to 1730. Their designs of figures, mythical subjects, etc., enclosed by
-baroque scrollwork, were skilfully executed in <i>camaieu</i> red or
-black, heightened with gilding, and their work, which is very mannered
-and distinctive, is highly prized at the present day. Occasionally
-we find the handiwork of the Dutch lapidary on Chinese porcelains, a
-design of birds and floral scrolls being cut through a dark blue or
-brown glaze into the white biscuit.</p>
-
-<p>About the middle of the eighteenth century a more legitimate material
-was found for the European decorator in small quantities of Chinese
-porcelain sent over “in the white.” Regular supplies in this state
-must have been forwarded from Ching-tê Chên to Canton for the
-enamellers there, and, no doubt, the European merchants were able to
-secure a small amount of this. Thus it was that Chinese porcelain is
-occasionally found with decoration by artists whose touch is recognised
-on Chelsea and other wares. It is not necessary to assume that such
-pieces were painted in the Chelsea factory. That may have been the
-case, but we know of important enamelling establishments, such as
-Duesbury’s in London, where Chelsea, Bow and Worcester porcelains
-obtained in the white were decorated to order. It is probable that the
-painters trained in this work afterwards passed into the porcelain
-factories. There are rare examples of Chinese porcelain with transfer
-prints executed at Battersea or even at Worcester, and apparently one
-or two pieces have had inscriptions added at Lowestoft; but, after<span class="pagenum" id="Page_261">[261]</span>
-all, this group of decorated Oriental is a very small one, and the
-specimens painted in the style of any particular English factory
-except Chelsea could be counted on one’s fingers. No doubt the same
-proceedings were repeated in various parts of the Continent, and there
-are certainly specimens decorated in the Meissen style, and in one
-piece in the Franks Collection the Meissen mark has been added.</p>
-
-<p>But besides this more or less legitimate treatment of Chinese
-porcelain, there is a large group of hideously disfigured wares known
-by the expressive name of “clobbered china.” On these pieces Chinese
-underglaze decoration has been “improved” by the addition of green,
-yellow, red, and other enamels and gilding, which fill up the white
-spaces between the Chinese painting and even encroach on the blue
-designs themselves. This malpractice dates from the early years of the
-eighteenth century, and we find even choice specimens of K’ang Hsi blue
-and white among the victims. Possibly there was a reaction at this time
-against the Chinese blue and white with which the Dutch traders had
-flooded the country, but it is pitiful to find nowadays a fine vase or
-bottle of this ware plastered with meaningless daubs of inferior colour.</p>
-
-<p>Strange to say, the clobberer became an established institution, and
-he was at work in London in the last century, and maybe he is not yet
-extinct; and, stranger still, his wretched handiwork has been actually
-taken as a model for decoration in English potteries, even to the
-ridiculous travesties of Oriental marks which he often added as the
-last insult to the porcelain he had defaced. As a rule, the clobbered
-decoration occurs on blue and white and follows more or less the lines
-of the original, though it is at once betrayed by its clumsiness and
-the wretched quality of the enamels used. Occasionally the clobberer
-was more ambitious, as on a bottle in the British Museum decorated
-with three spirited monsters in underglaze red. Into this admirably
-spaced design the clobberer has inserted graceless trees and three
-ridiculous figures in classical dress standing in Jack-the-giant-killer
-attitudes with brandished swords over the Chinese creatures. The effect
-is laughable, but it was vandal’s work to deal in this way with choice
-K’ang Hsi porcelain.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_262">[262]</span></p>
-
-<h2 class="smaller">CHAPTER XV<br />
-<span class="subhed">NINETEENTH CENTURY PORCELAINS</span></h2></div>
-
-<h3><i>Chia Ch’ing</i> <img src="images/k_262.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (1796–1820)</h3>
-
-
-<p class="drop-cap p-left">There is little to distinguish the porcelain of this reign from that of
-Ch’ien Lung. The old traditions were followed and the high standard of
-technical skill was maintained to a great extent, though in the absence
-of original ideas the natural tendency was towards a gradual decline.
-The blue and white is a mere echo of the Ch’ien Lung blue and white, as
-is shown by a square jar in the Franks Collection, which bears the date
-corresponding to 1819. Another dated specimen in the same collection
-is a little bowl with design of the “Eight Ambassadors of the Tribes
-of Man” mounted on strange beasts, painted in thin garish blue under a
-bubbly glaze. There are well-finished monochromes of the Ch’ien Lung
-type, conspicuous among which is an intense brick red (derived from
-iron), which has all the depth and solidity of a glaze. The enamelled
-wares are in no way inferior to their late Ch’ien Lung models, and the
-medallion bowls with engraved enamel grounds are particularly choice.
-Plate <a href="#i431">132</a>, a richly decorated vase belonging to the Lady Wantage,
-illustrates a type common to both periods. The design of ladies of the
-harem in an Imperial pleasure ground is carefully painted in mixed
-colours and enclosed by rich borders of dark ruby pink enamel, brocaded
-with polychrome floral scrolls. Another vase in the same collection
-(marked Chia Ch’ing) has a movable inner lining and pierced outer shell
-richly enamelled in the same style. The blue green enamel of the Ch’ien
-Lung porcelain was freely used to finish off the base and mouth of the
-vases of this time.</p>
-
-<p>Bushell<a id="FNanchor_470" href="#Footnote_470" class="fnanchor">[470]</a> describes as a speciality of the Chia Ch’ing period, vases
-with elaborate scrollwork of various kinds in underglaze blue enhanced
-by a richly gilded background; and the mark of this reign will be found
-on many of the choicer snuff bottles, including those sumptuous<span class="pagenum" id="Page_263">[263]</span> little
-vessels with richly carved and pierced outer casing as finely tooled as
-Su Chou or Peking lacquer.</p>
-
-<p>We have already seen that rice-grain decoration was effectively used at
-this time, and no doubt many specimens of the kindred “lacework” were
-also made. In fact in a general classification of Chinese porcelain it
-would be almost superfluous to separate the Chia Ch’ing from the Ch’ien
-Lung groups.</p>
-
-
-<h3><i>Tao Kuang</i> <img src="images/k_263.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1821–1850)</h3>
-
-<p>The reign of Tao Kuang is the last period of which collectors of
-Chinese ceramics take any account. It is true that the general
-deterioration which was already remarked in the previous reign became
-more and more conspicuous towards the middle of the nineteenth century.
-It seemed as though the wells of inspiration in China had dried up and
-the bankrupt arts continued to exist only by virtue of their past.
-Curiously enough the same wave of decadence was felt all the world over
-at this period, and if we compare the porcelain of Tao Kuang with the
-contemporary English and Continental productions we must confess that
-the decadence of China was Augustan beside the early Victorian art.
-The Tao Kuang porcelain in the main is saved from utter banality by
-the high traditions on which it was grounded and by the innate skill
-of the Chinese potters. Indeed there are not a few out of the numerous
-specimens of this period in our collections which have a certain
-individuality and distinction entitling them to a place beside the
-eighteenth-century wares.</p>
-
-<p>But, speaking generally, the porcelain is a weak edition of the Yung
-Chêng types. The forms are correct but mechanical, the monochromes
-are mere understudies of the fine old colours, and the enamels are of
-exaggerated softness and weak in general effect.</p>
-
-<p>There are numerous marked specimens of all varieties in the Franks
-Collection. These include a blue and white vase with bronze designs of
-ogre heads, etc., in the K’ang Hsi style, but painted in pale, lifeless
-grey blue, and a bowl with lotus designs and symbols surrounding four
-medallions with the characters <i>shan kao shui ch’ang</i><a id="FNanchor_471" href="#Footnote_471" class="fnanchor">[471]</a> neatly
-painted in the same weak blue and signed by Wen Lang-shan in the year
-1847. Among the monochromes is a dignified vase of bronze form with
-deep turquoise glaze dated 1844,<span class="pagenum" id="Page_264">[264]</span> besides coffee brown bowls, full
-yellow bowls, vases with curiously bubbled glaze of dark liver red, and
-a coral red jar and cover. There is also a large bowl with “tiger skin”
-glaze patched with yellow, green, aubergine and white. All of these
-pieces are lacking in quality and distinction, though I have seen far
-superior specimens of lemon yellow monochrome and tea dust glaze.</p>
-
-<p>The enamelled wares are much more attractive, and many of the rice
-bowls are prettily decorated in soft colours. The Peking or medallion
-bowls, for instance, are little if anything below the standard of
-previous reigns, and in addition to the medallions in engraved enamel
-grounds of pink, green, grey, etc., outside, the interior is often
-painted in underglaze blue. There are tasteful bowls with white bamboo
-designs reserved in a ground of coral red, and there are dishes with
-blackthorn boughs with pink blossom in a white ground. The Yung Chêng
-style of underglaze blue outlines with washes of thin-transparent
-enamels was also affected, but the most characteristic enamelling
-of the period is executed in a mixture of transparent and opaque
-enamels, a blend of <i>famille verte</i> and <i>famille rose</i>.
-This colouring, soft and subdued, but often rather sickly in tone, is
-frequently seen on bowls and tea wares with Taoist subjects, such as
-the Eight Immortals, the fairy attendants of Hsi Wang Mu in boats, or
-the goddess herself on a phœnix passing over the sea to the <i>t’ien
-t’ang</i> or cloud-wrapt pavilions of Paradise, preceded by a stork
-with a peach of longevity in its beak. The sea is usually rendered by
-a conventional wave pattern delicately engraved in greenish white,
-and sometimes the ground of the design is washed with the same thin,
-lustrous, greenish white, which was remarked on a group of porcelains
-described on page 151. The porcelain of these bowls has a
-white, if rather chalky, body and a greenish white glaze of exaggerated
-oily sheen, and of the minutely bubbled, “muslin-like” texture which
-is common to Japanese porcelains. But the ordinary Tao Kuang wares are
-of poor material, greyish in tone and coarser in grain, with the same
-peculiarities in the texture of the glaze in an exaggerated degree.</p>
-
-  <div class="figcenter" id="i429" style="width: 384px">
-     <img
-    class="p2"
-    src="images/i429.jpg"
-     alt="" />
-     <p class="p0 center">Plate 131.&mdash;Eighteenth Century Painted Porcelain.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Plate painted in black and gold, European figures in a Chinese
-interior. Yung Chêng period. Diameter 9 inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Dish with floral scrolls in <i>famille rose</i> enamels in a
-ground of black enamel diapered with green foliage scrolls. Ch’ien Lung
-period. Diameter 23¼ inches. <i>Wantage Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i431" style="width: 375px">
-     <img
-    class="p2"
-    src="images/i431.jpg"
-     alt="" />
-     <p class="p0 center">Plate 132.&mdash;Vase painted in mixed enamels, an Imperial
-park and a bevy of ladies. <i>Wantage Collection.</i></p>
-     <p class="p0 sm p-left">Deep ruby pink borders with coloured floral scrolls and symbols. Ch’ien
-Lung mark. About 1790. Height 30 inches.</p>
-  </div>
-
-<p>A typical example of the fine Tao Kuang rice bowl with Taoist design
-in the Franks Collection, delicately painted in mixed colours, which
-recall the Ku-yüeh-hsüan ware of the early Ch’ien Lung period, has the
-palace mark, <i>Shên tê t’ang</i>,<a id="FNanchor_472" href="#Footnote_472" class="fnanchor">[472]</a> in red under the base. <span class="pagenum" id="Page_265">[265]</span>A
-specimen with this mark in the Hippisley Collection<a id="FNanchor_473" href="#Footnote_473" class="fnanchor">[473]</a> is inscribed
-with a poem by the Emperor Tao Kuang, definitely fixing the date of
-this hall mark, which is found on choice porcelains made for Imperial
-use. It occurs on a vase of fine workmanship in the British Museum,
-decorated with polychrome five-clawed dragons in a lavender enamel
-ground, of which the base and interior are coated with blue green
-enamel; and we have already<a id="FNanchor_474" href="#Footnote_474" class="fnanchor">[474]</a> commented on an interesting dish with
-archaic designs in Ming red and green, which is explained in the mark
-as an “imitation of the antique made for the <i>Shên-tê</i> Hall.”</p>
-
-<p>It is worthy of note that most of the porcelain with hall and studio
-marks in red belong to the nineteenth century, chiefly to the Tao
-Kuang period. Several of these marks are figured and explained on p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a> (vol. i.), but it may be useful if we describe here a few of the
-specimens on which they occur. The hall mark, <i>Ch’êng tê t’ang</i>,
-appears on a shallow bowl in the Franks Collection painted inside with
-a coiled dragon in green and a border of bats in red, while outside is
-a landscape carefully painted in mixed colours in a style similar to
-Plate <a href="#i393">125</a>, Fig. 3. The latter has the Imperial hall mark, <i>Hsü hua
-t’ang</i>, with addition of the word <i>tsêng</i> (for presentation),
-and it has besides an inscription proclaiming that it is the “cup of
-him who departed as General and returned as Grand Secretary” (<i>ch’u
-chiang ju hsiang chih pei</i>). It is painted with a scene in the
-palace grounds with the Emperor receiving a military officer.<a id="FNanchor_475" href="#Footnote_475" class="fnanchor">[475]</a> A
-pretty bowl in the Franks Collection with rockery, flowering plants,
-fungus, etc., in colours has the palace mark, <i>ssŭ pu t’ang</i>; and
-there are two saucer dishes with Buddhist decoration of palmettes in
-cruciform arrangement, and a border of Sanskrit characters painted in
-underglaze blue with washes of transparent enamels marked respectively
-<i>Ts’ai jun t’ang</i>, and <i>Ts’ai hua t’ang</i> (hall of brilliant
-colours and hall of brilliant decoration), which are probably
-synonymous.</p>
-
-<p>A distinctive group of porcelain, which seems to belong to the Tao
-Kuang period, consists of small boxes and of vases with landscapes
-and similar elaborate ornament deeply carved in the manner of red
-lacquer. The surface is usually covered with an opaque green or yellow
-monochrome enamel, but occasionally it is left in white biscuit. These
-pieces have almost always a maker’s mark, such as Wang Ping-jung, Wang
-Tso-t’ing (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_223">223</a>),<span class="pagenum" id="Page_266">[266]</span> and probably come from one factory.
-Bushell<a id="FNanchor_476" href="#Footnote_476" class="fnanchor">[476]</a> also alludes to white unglazed porcelain made at this
-time, and recalling the English Parian ware. It is chiefly seen on
-small objects for the writing table.</p>
-
-<p>The collector will always be glad to secure specimens of the palace
-porcelains of the Tao Kuang period, and of the smaller objects on
-which the weakness of the colouring is not noticeable. There are, for
-instance, many exquisite snuff bottles with the mark of this reign,
-with carved, monochrome and enamelled ornament. On the other hand
-quantities of these little objects coarsely manufactured and sketchily
-decorated were made at this time, and among them the crude specimens
-with a floral spray on one side, a line of verse in grass characters
-on the other, and a granulated border coated with opaque yellowish or
-bluish green enamel, whose supposed discovery in ancient Egyptian tombs
-made a sensation some sixty years ago. It is not difficult to guess how
-these objects traded among the Arabs found their way into the tombs
-which were in course of excavation, but for a time they were believed
-to prove the existence of Chinese porcelain in the second millennium
-before Christ.<a id="FNanchor_477" href="#Footnote_477" class="fnanchor">[477]</a></p>
-
-<p>Three other types of indifferent ware may be mentioned here in passing.
-They belong to the middle of the nineteenth century, and in part
-at least to the Tao Kuang period. One is painted with a large pink
-peony and foliage in a bright green enamel ground; the second has cut
-flowers, butterflies and insects in strong rose colours on a celadon
-green glaze; and the third has rectangular panels with crowded figure
-subjects in red and pink enclosed by a brocade pattern of flowers,
-fruit and insects as in the second type. This third class is often
-represented by large and rather clumsily shaped vases with two handles
-of conventionalised dragon form, and the border patterns are sometimes
-backed with gilding; but it also occurs in quite recent manufacture in
-tea and toilet services made for the export trade. The porcelain in all
-these cases is of a rough, coarse-grained make, and the reader might
-have been spared a description of them were it not that in spite of
-their inferior quality they are the subject of frequent inquiries.</p>
-
-<p><span class="pagenum" id="Page_267">[267]</span></p>
-
-
-<h3><i>Hsien Fêng</i> <img src="images/k_267a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1851–1861)</h3>
-
-<p>In the third year of Hsien Fêng the T’ai p’ing rebels captured Ching-tê
-Chên and burnt down the Imperial factory, which was not rebuilt till
-1864. The potters themselves were killed or scattered; and, naturally,
-marked examples of this reign are scarce. Such, however, as do exist
-are of little account, and may be regarded as continuations of the Tao
-Kuang manufacture. Bushell<a id="FNanchor_478" href="#Footnote_478" class="fnanchor">[478]</a> mentions vases of good form painted
-in soft colours with nine five-clawed dragons on a white background,
-which is etched in the paste with scrolled waves, and a dinner service
-of bowls, cups and saucer dishes painted in colours with processional
-figures of the eighteen Lohan. And in the British Museum there is a
-large globular bowl on a high foot painted with green dragon designs
-and a bowl with medallions of lanterns and vases separated by lotus
-ornament, neither of which are in any way different from the Tao Kuang
-wares. No doubt a good deal of porcelain was made at the private
-factories even during this troubled period, but the specimens which I
-have seen are not worthy of description.</p>
-
-
-<h3><i>T’ung Chih</i> <img src="images/k_267b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1862–1873)</h3>
-
-<p>When the T’ai p’ing rebels had been expelled from the province of
-Kiangsi by the celebrated viceroy, Li Hung-chang, in 1864, the Imperial
-factory was rebuilt on the old lines by the new director, Ts’ai
-Chin-ch’ing. In the same year a list of the porcelain forwarded to
-the Emperor was drawn up, and it is published in the <i>Chiang hsi
-t’ung chih</i><a id="FNanchor_479" href="#Footnote_479" class="fnanchor">[479]</a> immediately after Hsieh Min’s list. It consists
-mainly of bowls, wine and tea cups, saucer dishes and plates classified
-as <i>yüan ch’i</i> (round ware), and a few vases under the general
-heading, <i>cho ch’i</i>; and though there is little originality in
-the designs, lists of this kind are so rare and so instructive that I
-have no hesitation in giving it in full below, following Bushell’s<a id="FNanchor_480" href="#Footnote_480" class="fnanchor">[480]</a>
-renderings in most cases.</p>
-
-<p>Actual examples of T’ung Chih porcelain are not inspiring. Those in the
-British Museum include a covered bowl with coloured sprays in a ground
-of red diaper; a bowl with enamelled sprays on a pale brown (<i>tzŭ
-chin</i>) glaze; a saucer with dragons etched under a transparent
-green glaze, the exterior in unglazed biscuit painted in black; a
-cup with red dragons in a ground of black enamel and the cyclical<span class="pagenum" id="Page_268">[268]</span>
-date 1868; a low, octagonal bowl with the Eight Trigrams in relief
-outside, the interior of this and of the preceding specimen as well
-being coated with blue green enamel; and a basin enamelled with the
-Eight Ambassadors of the Tribes of Man. The most favourable specimen
-of the ware in the same collection is a carefully painted wedding bowl
-with canary yellow ground and medallions of appropriate symbols, the
-peach-and dragon-headed staff of longevity, the double fish symbol
-of conjugal felicity, and the group of pencil brush, cake of ink and
-<i>ju-i</i> sceptre forming the rebus <i>pi ting ju i</i>, “may things
-be as you wish.”</p>
-
-
-<p class="smcap center p1">List of Imperial Porcelains Supplied in the Third Year of T’ung
-Chih (1864)</p>
-
-<p class="center p1 sm">VASES (<i>cho ch’i</i>)</p>
-
-<ol class="num smaller">
-  <li class="hangingindent">Quadrangular vases with apricot medallions and two tubular
-handles with Chün glaze. [For the shape see Plate <a href="#i385">123</a>, and for
-the glaze see p. <a href="#Page_1">1</a>.]</li>
-  <li class="hangingindent">Vases of the same form with Ko glaze.</li>
-  <li class="hangingindent">Quadrangular vases with the Eight Trigrams (<i>pa kua</i>),
-and Ko glaze. [The form is quadrangular body with round neck and
-foot, moulded in relief with the trigrams; for the Ko glaze see
-vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>.]</li>
-  <li class="hangingindent">Vases in form of jade ewers (<i>yü hu ch’un</i>) with <i>chi
-hung</i> (or copper red) glaze.</li>
-  <li class="hangingindent">Vases of the same form, with blue and white decoration and
-raised threads. [Bushell explains that the surface is divided
-into patterns or sections by raised rings.]</li>
-  <li class="hangingindent">Vases of the same form, with blue and white decoration with
-balcony (<i>lan kan</i>). [Bushell explains, “garden scenes
-enclosed by railings.”]</li>
-  <li class="hangingindent">Paper-beater (<i>chih ch’ui</i>) vases with the <i>t’ai
-chi</i> symbol and the glaze of the Imperial factory decorated
-in colours. [The form is the club-shape or <i>rouleau</i>; and
-the symbol is apparently the <i>yin-yang</i>, the Confucian
-symbol for the Absolute.]</li>
-  <li class="hangingindent">Quadrangular vase with elephant symbol of great peace
-(<i>t’ai ping yu hsiang</i>, a rebus meaning “augury of great
-peace”). [These are apparently square vases with two handles in
-form of elephant (<i>hsiang</i>) heads.]</li>
-</ol>
-
-<p class="center p1 sm">ROUND WARES (<i>yüan ch’i</i>)</p>
-
-<ol class="smaller num reset">
-  <li class="hangingindent">Medium-sized bowls with dragons in purple brown (<i>tzŭ</i>).</li>
-  <li class="hangingindent">Medium-sized bowls with <i>chi hung</i> glaze.</li>
-  <li class="hangingindent">Large bowls (<i>wan</i>) with Indian lotus (<i>hsi lien</i>) in blue.</li>
-  <li class="hangingindent">Five-inch dishes (<i>p’an</i>), similarly decorated.</li>
-  <li class="hangingindent">Medium-sized bowls with storks and Eight Trigrams (<i>pa kua</i>).</li>
-  <li class="hangingindent">Wine cups with narcissus flowers (<i>shui hsien hua</i>) in enamels.</li>
-  <li class="hangingindent">Wine cups with spreading rim painted with dragons in red.<span class="pagenum" id="Page_269">[269]</span></li>
-  <li class="hangingindent">Dishes (<i>p’an</i>) a foot in diameter decorated in blue
-with a pair of dragons filling the surface.</li>
-  <li class="hangingindent">Soup bowls (<i>t’ang wan</i>) with incised dragons under a
-dark yellow monochrome glaze. [These, according to Bushell, are
-smaller and shallower than rice bowls.</li>
-  <li class="hangingindent">Medium-sized bowls, barrel shaped, with dragons engraved
-under a yellow monochrome glaze.</li>
-  <li class="hangingindent">Yellow monochrome tea cups.</li>
-  <li class="hangingindent">Medium-sized bowls with dragons engraved under a yellow
-monochrome glaze.</li>
-  <li class="hangingindent">Medium-sized bowls with the three fruits in groups
-(<i>pan tzŭ</i><a id="FNanchor_481" href="#Footnote_481" class="fnanchor">[481]</a>) painted in blue. [The fruits are peach,
-pomegranate and finger citron.]</li>
-  <li class="hangingindent">Soup bowls with expanding rim and dragons incised under
-yellow monochrome glaze.</li>
-  <li class="hangingindent">Six-inch bowls with a pair of dragons in blue.</li>
-  <li class="hangingindent">One-foot dishes painted in blue with silkworm scrolls
-(<i>ts’an wên</i>) and longevity characters.</li>
-  <li class="hangingindent">Tea cups decorated in blue with <i>mu hsi</i> flowers (a
-small variety of the <i>olea fragrans</i>).</li>
-  <li class="hangingindent">Medium-sized bowls with precious lotus in enamel colours.</li>
-  <li class="hangingindent">Tea cups with white bamboo on a painted red ground.</li>
-  <li class="hangingindent">Six-inch dishes painted in blue with the “three friends”
-(<i>san yu</i>) and figure subjects. [The three friends in
-floral language are the pine, bamboo and prunus. It is also a
-name given to the group of Confucius, Buddha, and Lao-tzŭ, who
-are often represented examining a picture scroll or standing in
-conversation.]</li>
-  <li class="hangingindent">Tea dishes (<i>ch’a p’an</i>) with a pair of dragons in
-blue. [Bushell describes these as “little trays with upright
-borders, of oblong, four-lobed, and fluted outline.” They must
-in fact have closely resembled the old teapot stands of European
-services.]</li>
-  <li class="hangingindent">Six-inch dishes with green dragons on a ground of engraved
-water-pattern painted in colour.</li>
-  <li class="hangingindent">One-foot dishes painted in blue with archaic phœnixes
-(<i>k’uei fêng</i>). [These designs are ornaments of bird form,
-terminating in scrolls such as appear on ancient bronzes.]</li>
-  <li class="hangingindent">Nine-inch dishes with blue ground and dragons in clouds
-painted in yellow.</li>
-  <li class="hangingindent">Medium-sized bowls with pure white glaze and ruby red
-(<i>pao shao</i>) phœnix medallions.</li>
-  <li class="hangingindent">Tea cups with dragons and clouds painted in yellow in a blue ground.</li>
-  <li class="hangingindent">Six-inch dishes with <i>chi hung</i> (copper red) glaze.</li>
-  <li class="hangingindent">Medium-sized bowls with <i>chi ch’ing</i> (deep violet blue) glaze.</li>
-  <li class="hangingindent">Nine-inch dishes with <i>chi hung</i> glaze.</li>
-  <li class="hangingindent">Soup bowls, barrel shaped, with lustrous brown glaze.<span class="pagenum" id="Page_270">[270]</span></li>
-  <li class="hangingindent"> Medium-sized bowls with red phœnix medallions in a celadon
-(<i>tung ch’ing</i>) glaze.</li>
-  <li class="hangingindent">Nine-inch dishes with silkworm scrolls and <i>ju-i</i><a id="FNanchor_482" href="#Footnote_482" class="fnanchor">[482]</a>
-ornament in enamel colours.</li>
-  <li class="hangingindent">Tea cups enamelled in colours with mandarin ducks and lotus flowers.</li>
-  <li class="hangingindent">Tea bowls (<i>ch’a wan</i>) with <i>chi ch’ing</i> glaze.</li>
-  <li class="hangingindent">Tea bowls decorated in colours with the <i>pa pao</i> (eight
-attributes of the Taoist Immortals; see p. <a href="#Page_287">287</a>).</li>
-  <li class="hangingindent">Large bowls with the Eight Immortals in blue on red
-enamelled waves.</li>
-  <li class="hangingindent">Medium-sized bowls, blue and white inside, and with coloured
-lotus flowers outside.</li>
-  <li class="hangingindent">Bowls with the Eight Buddhist symbols of happy augury (<i>pa
-chi hsiang</i>).</li>
-  <li class="hangingindent">Porcelain bowls with green designs and peach yellow ground.</li>
-  <li class="hangingindent">Five-inch dishes with purple and green dragons in a yellow
-monochrome ground.</li>
-  <li class="hangingindent">Three-inch platters with similar ornament.</li>
-  <li class="hangingindent">Soup bowls of the fourth size (<i>ssŭ hao</i>) with green
-monochrome glaze.</li>
-  <li class="hangingindent">Five-inch dishes with phœnixes in clouds.</li>
-  <li class="hangingindent">Medium-sized bowls with dragons and phœnixes among flowers
-in coloured enamels.</li>
-  <li class="hangingindent">Four-inch platters (<i>tieh</i>) with purple and green
-dragons in yellow monochrome ground.</li>
-  <li class="hangingindent">Nine-inch dishes painted in colours with the eight Buddhist
-symbols among flowers.</li>
-  <li class="hangingindent">Large bowls painted in colours with archaic phœnixes
-(<i>k’uei fêng</i>) among flowers.</li>
-</ol>
-
-
-<h3><i>Kuang Hsü</i> <img src="images/k_270.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1875–1909)</h3>
-
-<p>Marked examples of this modern ware in the Franks Collection include a
-saucer with coloured sprays in a cloudy pink enamel ground; a covered
-cup with spout decorated in red with cartouches of seal characters
-accompanied by translations in the ordinary script, and a dish with
-blackthorn bough and pink blossoms in Tao Kuang style. In every case
-the ware is coarse-grained and rough to the touch, while the glaze is
-of the lustrous surface and “musliny” texture, which is characteristic
-of the nineteenth century porcelains; and the painting is mechanical
-and devoid of any distinction. There are two little saucers of better
-quality both in material and painting, with stork and lotus designs in
-mixed enamels and marks<a id="FNanchor_483" href="#Footnote_483" class="fnanchor">[483]</a> which show that they are palace pieces
-made for the Empress Dowager.</p>
-
-<p><span class="pagenum" id="Page_271">[271]</span></p>
-
-<p>But the collector’s interest in Kuang Hsü porcelain is of a negative
-kind. When it is frankly marked he sees and avoids it. But the Chinese
-potters towards the close of the century evidently recovered some part
-of the skill which the ravages of the T’ai p’ing rebels seemed to have
-effectually dissipated; for they succeeded in making many excellent
-<i>sang de bœuf</i> reds and crackled emerald green monochromes which
-have deceived collectors of experience. Even the best, however, of
-these wares should be recognised by inferiority of form and material,
-and in the case of red the fluescent glaze will be found in the modern
-pieces to have overrun the foot rim, necessitating grinding of the base
-rim. There are also fair imitations of the K’ang Hsi blue and white and
-the enamelled vases of <i>famille verte</i> or on-biscuit colours, and
-even of the fine black and green grounds. But here again the inferior
-biscuit, the lack of grace in the form and the stiffness of the designs
-will be at once observed by the trained eye. When marked most of these
-imitations have the <i>nien hao</i> of K’ang Hsi, and this is almost
-invariable on the modern blue and white.</p>
-
-<p>There is, of course, a great quantity of modern porcelain, chiefly
-enamelled and blue and white, made for the export trade and sold at
-prices which compete successfully with those of the European wares.
-It is chiefly in the style of the K’ang Hsi and Ch’ien Lung wares,
-and is marked accordingly; but the ware is coarse-grained, and the
-decorations summary, and there is no excuse for mistaking these obvious
-reproductions for anything but what they are and, in fact, what they
-pretend to be.</p>
-
-<p>The brief reign of Hsüan T’ung <img src="images/k_271.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (1909–1911) is a blank so
-far as ceramic history is concerned; and with the fall of the Ch’ing
-dynasty in 1912 the Imperial works ceased its activity, and it remains
-to be seen whether Ching-tê Chên will again have the advantage of a
-state factory to set a standard for the industry in general.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_272">[272]</span></p>
-
-<h2 class="smaller">CHAPTER XVI<br />
-<span class="subhed">PORCELAIN SHAPES IN THE CH’ING DYNASTY</span></h2></div>
-
-<p class="drop-cap p-left">A considerable number of the forms which Chinese porcelain assumes have
-been described in the chapters dealing with the Ming wares; but these
-may be usefully supplemented by a rapid survey of those employed by
-the potters of the Ch’ing dynasty. The latter will, of course, include
-many of the former because the Chinese delight in reproducing the older
-types.</p>
-
-<p>The brief summary of the eighteenth-century porcelain forms given in
-the opening pages of the <i>T’ao shuo</i><a id="FNanchor_484" href="#Footnote_484" class="fnanchor">[484]</a> begins in the correct
-style with the reproductions of the ancient ritual vessels <i>tsun</i>,
-<i>lei</i>, <i>yi</i>, <i>ting</i>, <i>yu</i> and <i>chüo</i>. These
-are all bronze forms, <i>tsun</i> being applied to wine vessels,
-<i>lei</i> to vases ornamented with the meander pattern known as
-“cloud and thunder” scrolls,<a id="FNanchor_485" href="#Footnote_485" class="fnanchor">[485]</a> <i>yi</i> to bowl-shaped vessels
-without feet, <i>ting</i> to cauldrons with three or four legs and two
-handles, <i>yu</i> to wine jars with covers, and large loop handles
-for suspension, and <i>chüo</i> to libation cups of helmet and other
-shapes. The bronze forms are commonly decorated with bronze patterns
-such as the key-fret, archaic dragon and phœnix scrolls, cicada
-pattern, ogre heads and bands of stiff (banana) leaves, either painted,
-moulded, engraved, or carved in relief; and the complicated bronze
-shapes are usually fashioned in moulds, and in many cases furnished
-with ring handles attached to monster heads. Another ritual type
-manufactured in porcelain as well as bronze is the altar set of five
-pieces (<i>wu kung</i>), which consists of a <i>ting</i> or tripod
-incense vase, two flower vases, and two pricket candlesticks. A humbler
-altar set was composed of a single censer or a tazza-shaped cup (Plate
-<a href="#i231">93</a>, Fig. 1) for flowers, and a pair of lions on stands fitted with
-tubes for holding sticks of incense. The bronze forms have always been
-used by<span class="pagenum" id="Page_273">[273]</span> the Chinese potters, but they were specially affected in the
-archaising period of Ch’ien Lung.</p>
-
-<p>In the Western judgment, however, which is unbiased by the associations
-of these antique forms, the true pottery shapes, made on the wheel,
-will appear far more attractive; for nothing can surpass the simple
-rounded forms which sprang to life beneath the deft fingers of the
-Chinese thrower. Their simplicity, grace, and perfect suitability
-for their intended uses have commended them as models to the Western
-potter far more congenial than the cold perfection of the Greek
-vases. Naturally they vary in quality with the skill and taste of the
-individual, but a high level of manual skill ruled among the Chinese
-potters, and their wheel-work rarely fails to please.</p>
-
-<p>It would be useless to attempt to exhaust all the varieties of
-wheel-made forms. Many of them are due to slight alterations of line
-according to the caprice of the thrower. It will be enough to enumerate
-the principal types and to note a few of the more significant changes
-which came in at ascertained periods. By comparing the illustrations
-in different parts of this book, and better still, by comparing the
-specimens in some well classified collection, the reader will soon
-learn to notice the periodical changes of shape. To take the familiar
-bottle-shaped vases as an instance, there is probably no shape on
-which more numerous changes have been rung, nor one which is more
-susceptible to the individual touch; and yet the trained eye will
-generally distinguish the K’ang Hsi bottle from the later forms, though
-the distinction is often more subtle than that which separates the
-typical K’ang Hsi form (Plate <a href="#i385">123</a>, Fig. 2) from that with
-depressed body and straight wide neck (Plate <a href="#i407">128</a>, Fig. 3), which is
-characteristic of the Ch’ien Lung period.</p>
-
-<p>The K’ang Hsi bottles vary in themselves in length and slenderness
-of neck, and in the form of the body, which may be globular, ovoid,
-barrel shaped or pear shaped. Again they are often of double or even
-triple gourd shape, or plain with a bulbous swelling on the upper part
-of the neck or actually at the mouth. The last variety are called
-“garlic-shaped” bottles by the Chinese. The normal types are used to
-hold a single spray or a flowering branch, but there are others with
-slender necks tapering to a point which are designed for sprinkling
-perfumes and are generally known as sprinklers.</p>
-
-<p>Of flower vases there are numerous varieties: egg-shaped vases;<span class="pagenum" id="Page_274">[274]</span>
-baluster-shaped vases with spreading mouth; high-shouldered vases
-with small mouth, the <i>mei p’ing</i> of the Ming period; beakers
-(<i>ku</i>) with slender body, swelling belt in the middle and flaring
-mouth; the so-called <i>yen yen</i> vase with ovoid body and high neck
-with trumpet mouth,<a id="FNanchor_486" href="#Footnote_486" class="fnanchor">[486]</a> which is used for some of the choicest K’ang
-Hsi decorations (Plate <a href="#i265">101</a>); the <i>Kuan yin</i><a id="FNanchor_487" href="#Footnote_487" class="fnanchor">[487]</a> vase of ovoid
-form with short neck and spreading mouth; the cylindrical vase with
-short straight neck and spreading mouth (Plate <a href="#i275">103</a>), called by the
-French <i>rouleau</i> and by the Chinese “paper-beater” (<i>chih ch’ui
-p’ing</i>), whence our name “club-shaped.” A smaller form of the same
-is known to the Chinese as <i>yu ch’ui p’ing</i> (oil-beater vase). .
-There is besides the wide oval jar or <i>potiche</i> with dome-shaped
-cover (<i>tsun</i>), and the more slender form known as <i>t’an</i>,
-which often has a lion or <i>ch’i-li</i>n on the cover serving as
-a knob; the tall cylinder to hold arrows and the low cylinder for
-brushes, and numerous pots and jars for various uses.</p>
-
-<p>Most of these rounded forms have counterparts among the square and
-polygonal vases which are made in moulds or built up by the difficult
-process of joining together flat bats of clay. The square vases made
-by the latter method were a source of much trouble to the potters
-owing to the danger of imperfect jointing or of warping in the kiln.
-Fig. 1 of Plate <a href="#i279">104</a> illustrates an effective type of the square
-vase with gracefully tapering body, the four sides of which are so
-often appropriately decorated with the flowers of the four seasons.
-Occasionally the angles are flattened, giving an irregular octagonal
-form. Another form selected for sumptuous decoration is the square vase
-with pendulous body and two dragon handles figured on Plate <a href="#i255">97</a>; and
-another is the arrow stand and square tube with deeply socketed stand
-and railed border (Plate <a href="#i347">118</a>).</p>
-
-<p>The pilgrim bottle supplies an effective model with a flattened
-circular body, small neck and foot, and loops on the periphery to carry
-a cord. These loops tended to disappear when the form had lost its
-first significance and was only regarded as a vase.</p>
-
-<p>The list of Imperial wares made in the reign of T’ung Chih includes
-vases for divining rods of square form with low round neck and base,
-ornamented with <i>pa kua</i> designs in relief; vases with apricot
-medallions and tubular handles like Fig. 1 of Plate <a href="#i385">123</a>. Other familiar
-types are the bag-shaped vases with the mouth tied with silk, melon<span class="pagenum" id="Page_275">[275]</span>
-and gourd forms, and the vase shaped like a double fish erect on its
-tail or a single fish rising from waves.</p>
-
-<p>To quote a few of the types named in the <i>T’ao shuo</i><a id="FNanchor_488" href="#Footnote_488" class="fnanchor">[488]</a>:&mdash;“For
-holding flowers there are vases from two or three inches to five or
-six feet high, round like a <i>hu</i>, round and swelling below like a
-gallbladder (<i>tan</i>), round and with spreading mouth and contracted
-below like a <i>tsun</i>, with flat sides and full angles like a ku,
-upright like bamboo joints, square like a corn measure (<i>tou</i>),
-with contracted mouth and flattened sides, with square and round
-flutings, and cut in halves with flat backs for hanging on walls.”</p>
-
-<p>For pot-pourri and for fragrant flowers to perfume the rooms various
-covered jars were provided, hanging vases with reticulated sides
-(Plate <a href="#i323">114</a>), and boxes with perforated covers. For growing plants
-there were deep flower pots and shallow bulb bowls, and the large and
-small fish bowls were used for growing water-lilies as well as for
-keeping gold-fish; and shallow bowls were apparently used as arenas for
-fighting crickets.<a id="FNanchor_489" href="#Footnote_489" class="fnanchor">[489]</a> As for the vessels in which the crickets were
-kept, various suggestions have been made in reference to the “cricket
-pots” mentioned in Chinese books, and the name is sometimes given to
-reticulated vases and boxes; but we are told that the cricket prefers a
-damp dwelling, and that their pots were consequently made as a rule of
-absorbent earthenware. There is a snuff bottle decorated with crickets
-in the British Museum, and one is represented perched on an overturned
-pot from which he has apparently escaped, the lid having fallen off.
-This pot is of ordinary ovoid jar form apparently ornamented with
-incised fret pattern.</p>
-
-<p>The apparatus of the library table is peculiarly Chinese; and
-as calligraphy and painting were regarded as among the highest
-accomplishments, so the potter lavished on the implements of the writer
-his most ingenious fancies and his most beautiful workmanship. There
-were porcelain handles for the pencil brush called <i>pi kuan</i>; a
-brush rest (<i>pi ko</i>) of many fanciful forms (see Fig. 3 of Plate
-<a href="#i031">60</a>) of which a miniature range of hills was the commonest; a bed (<i>pi
-ch’uang</i>) for it to lie down on, and a cylindrical jar (<i>pi
-t’ung</i>) for it to stand up in; vessels called <i>hsi</i> to wash it
-in, usually of shallow bowl form or shaped like crinkled lotus leaves
-or in some such dainty design. There were rests for the writer’s wrist
-and paper weights of fantastic form. For the ink (<i>mo</i>), there
-is the pallet (<i>mo yen</i>) for rubbing (Plate <a href="#i233">94</a>, Fig. 2), and a
-bed<span class="pagenum" id="Page_276">[276]</span> for the ink-cake (<i>mo ch’uang</i>), a screen (<i>yen p’ing</i>)
-behind which it was rubbed, small water pots (<i>shui ch’êng</i>) in
-innumerable shapes and served by a tiny ladle, and water droppers
-(<i>shui ti</i>) of quaint and ingenious designs.<a id="FNanchor_490" href="#Footnote_490" class="fnanchor">[490]</a> There were
-rollers for picture scrolls (<i>hua chou</i>) with porcelain ends, and
-stands for books in the form of small elegantly shaped tables with
-three or four legs often beautifully painted in enamels on the biscuit.</p>
-
-<p>With these is the incense-burning apparatus which consists of incense
-box (<i>hsiang ho</i>), the vase to hold the tiny tongs and shovel used
-for the charcoal and incense, and the urn or burner (<i>shao hsiang
-lu</i>). The last appears in very varied shapes, of which the most
-usual is the tripod cauldron (<i>ting</i>) with upright ear-handles.
-Others take the purely fantastic form of figures of animals, birds and
-even human beings with open mouth or nostrils to emit the smoke. Tiny
-vases for a single flower are usually placed upon the writing table,
-the furniture of which is completed by seals (<i>yin</i>), which are
-commonly modelled after Han dynasty jades with handles in form of
-camels, tortoises, dragons, tigers, etc., and small boxes to contain
-the seal vermilion (<i>yin sê ch’ih</i>).</p>
-
-<p>Other porcelain objects which combined use and ornament were
-plaques (<i>pan</i>) for screens and slabs for inlaying in pillows,
-beds, couches and verandah partitions; actual pillows of oblong or
-semicircular shape with concave surface, the inside hollow and capable
-of being filled with fragrant herbs; bowls, shaped like the Buddhist
-alms bowl, for holding black and white chess pieces, and the other
-requisites for chess (<i>wei-ch’i</i>) or <i>gô</i>.</p>
-
-<p>With regard to the plaques, we learn that the Emperor Shun Chih gave
-an order in 1659 for oblong plaques 3 feet by 2½ feet and 3 inches in
-thickness, but these like the large fish bowls were beyond the powers
-of the potters at that time. Indeed Père d’Entrecolles tells us that
-in 1712, the date of his first letter,<a id="FNanchor_491" href="#Footnote_491" class="fnanchor">[491]</a> the potters had much
-difficulty in executing the orders given by the European merchants for
-plaques for table tops, etc., and that the largest practicable size
-was only about a foot square. No advantage was obtained by giving them
-additional thickness to prevent the fatal warping in the kiln, and
-it was found better to make the two faces<span class="pagenum" id="Page_277">[277]</span> in separate slabs united
-by cross pieces. Bushell points out that these double plaques were
-frequently sawn apart and mounted in screens, etc., as separate panels.
-The complete plaque is usually decorated on one side with a figure
-subject and on the other with flowers.</p>
-
-<p>We should mention also among miscellaneous objects the beautiful
-hanging lanterns of eggshell thinness or perforated in openwork
-patterns; the barrel-shaped garden seats; the curious hat stands,
-a sphere on top of a tall stem or a little box mounted on long
-curved legs, the top in either case being hollow and perforated to
-hold perfumes or ice or charcoal according to the season; boxes of
-all kinds; small personal ornaments such as hair-pins, ear-rings,
-girdle-clasps, rosary beads, thumb rings, fingernail covers, tubes for
-mandarin feathers, buttons and pendants; the little bottles or flasks
-originally intended for drugs but afterwards consecrated to snuff when
-the Spaniards or Portuguese had introduced the tobacco plant into China
-at the end of the sixteenth century; and finally the ornamental heads
-of opium pipes made chiefly in pottery.</p>
-
-<p>For household use the <i>T’ao shuo</i> enumerates rice spoons,
-tea spoons (<i>ch’a shih</i>), sets of chop sticks, vessels for
-holding candle snuffs, wax pots, vinegar droppers, washing basins
-(<i>tsao p’ên</i>), pricket candle sticks (<i>têng ting</i>),
-pillows (<i>chên</i>), square and round, tubs (<i>p’ên ang</i>),
-jars (<i>wêng</i>) with small mouth, alms bowls (<i>po</i>) with
-globular body and contracted mouth, plates (<i>tieh</i>), and bowls
-(<i>wan</i>); and for tea and wine parties and dinner services, tea
-pots, wine vessels, bowls, and dishes of every sort.</p>
-
-<p>Bowls (wan) are found in many sizes and shapes, the commonest being
-the small rice bowl; the shallower type was used for soup (<i>t’ang
-wan</i>). There are deep bowls with covers which might almost be
-described as jars, and there are tea bowls with covers used for
-infusing tea in the absence of a tea pot. In drinking from these it
-was usual to tilt the cover very slightly so as to leave only a narrow
-egress for the tea and to prevent the leaves accompanying it.</p>
-
-<p>When a tea pot was used, the liquid was served in a tea cup (<i>ch’a
-chung</i>) of tall upright form without handle<a id="FNanchor_492" href="#Footnote_492" class="fnanchor">[492]</a> or cover. The
-Chinese<span class="pagenum" id="Page_278">[278]</span> cup is not furnished with a saucer in European style, but
-there are straight-edged trays which serve a similar purpose, holding
-one or more cups, and the old tea bowls and wine cups used to be
-provided with a circular stand with hollow ring in which the base of
-the cup could be inserted. The tea pot itself does not seem to be older
-than the Ming dynasty, and before that time tea bowls only had been
-used, the vessels with spouts and handles being reserved for wine and
-other liquids.</p>
-
-<p>A tiny bowl is the usual form of wine cup, but beside these there are
-goblets with deep bowl, and the shallow-bowled <i>tazze</i> with high
-stems, like the early Ming “stem cups.” For ceremonial purposes, the
-wedding cups and libation cups were shaped after bronze ritual vessels
-or rhinoceros horn cups; and wine cups for ordinary use sometimes
-take the ornamental form of a lotus leaf or a flower. The commonest
-form of wine ewer is the Persian type with pear-shaped body, long
-graceful handle and spout. Others take fanciful forms like that of a
-peach or aubergine fruit, a gourd or melon. The peach-shaped ewer with
-opening under the base is the original of our Cadogan tea pot, and we
-need be surprised at nothing in Chinese art when we find this same
-principle and practically the same form in a ewer of T’ang date in the
-Eumorfopoulos collection. The tall cylindrical ewers with body jointed
-like a bamboo, and the front shaped at the top like a tiara, are used
-for sweet syrups.</p>
-
-<p>The Chinese dish is for the most part saucer-shaped. When over half
-a foot in diameter it is called <i>p’an</i>, the smaller dishes or
-platters being named <i>tieh</i>. There are large dishes for fragrant
-fruits to perfume the room, and lotus-leaf shaped dishes for sweetmeats
-and various small trays of fanciful form for the dinner table;
-and there are the “supper sets” consisting of a varying number of
-ornamental trays which can be used separately, or joined together to
-form a pattern suggesting a lotus or some other many-petalled flower.</p>
-
-<p>In addition to the native Chinese forms there is a host of specialised
-objects made for export and designed in foreign taste; such as the deep
-bowls with pagoda covers for Siam; weights to hold down the corners of
-a mat for India, in form like a door knob mounted on a circular base;
-narghili bowls and ewers for Persia, besides the bottle-shaped pipes
-with mammiform mouthpieces, which sometimes take animal or bird forms
-such as those of the elephant or<span class="pagenum" id="Page_279">[279]</span> phœnix; round covered dishes for
-Turkey; and all the familiar objects to meet European requirements. The
-sets of five vases (three covered jars and two beakers) are a purely
-European garniture intended for the mantelpiece or the sideboard.</p>
-
-<p>There are, besides, all manner of figures&mdash;human, animal, or
-mythical&mdash;but they belong rather to the chapter on ornamental motives.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_280">[280]</span></p>
-
-<h2 class="smaller">CHAPTER XVII<br />
-<span class="subhed">MOTIVES OF THE DECORATION</span></h2></div>
-
-<p class="drop-cap p-left">Chinese decoration, its motives and its meaning, might form the subject
-for a substantial and very interesting volume. But it can only be
-treated here in a summary fashion by enumerating a few of the motives
-which occur most frequently in porcelain. The designs on the earlier
-wares have already been discussed in the chapters dealing with the
-Ming and the preceding periods, but in view of the conservatism of the
-Chinese artists a certain amount of repetition will be inevitable in
-discussing the ornament of the Ch’ing dynasty porcelain.</p>
-
-<p>If we except some of the hybrid designs on the export wares which were
-made for people unfamiliar with Chinese thought, we may assume that
-there is a meaning in all Chinese decoration apart from its ornamental
-intention; and this applies not only to the central motives but also
-as a rule to the subsidiary ornament such as borders and formal
-patterns. Consequently it is clear that a study of this inner meaning
-is a necessary condition for the full appreciation of the decorated
-porcelain.</p>
-
-<p>Figure subjects and symbolical ornaments probably require the most
-explanation for the Western student; but unfortunately the former are
-often so difficult to identify that we have to be content with general
-headings such as court scenes, military scenes, dramatic subjects,
-illustrations of romance, etc. Possibly to the unusually well-read
-native most of these scenes would recall some known story, but the
-European can only hope to identify one here and there by a lucky
-chance. He can, of course, take a book of Chinese legends and by the
-exercise of a little imagination find a story for every scene; but such
-methods are not to be recommended, and it is infinitely preferable to
-give the design no label at all unless the identification is fully
-established. That at least leaves the question open.</p>
-
-  <div class="figcenter" id="i449" style="width: 454px">
-     <img
-    class="p2"
-    src="images/i449.jpg"
-     alt="" />
-     <p class="p0 center">Plate 133.&mdash;Late <i>famille rose</i> Enamels.</p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Bowl painted in soft enamels, attendants of Hsi Wang Mu in
-boats. Mark, <i>Shên tè t’ang chih</i>. Tao Kuang period. Diameter 6⅞
-inches. <i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Imperial Fish Bowl with five dragons ascending and descending,
-borders of wave pattern, <i>ju-i</i> pattern, etc., <i>famille rose</i>
-enamels. Late eighteenth century. Height 20 inches. <i>Burdett-Coutts
-Collection.</i></p>
-  </div>
-
-  <div class="figcenter" id="i451" style="width: 458px">
-     <img
-    class="p2"
-    src="images/i451.jpg"
-     alt="" />
-     <p class="p0 center">Plate 134.&mdash;Porcelain Snuff Bottles. Eighteenth Century.
-<i>British Museum.</i></p>
-     <p class="p0 sm p-left">Fig. 1.&mdash;Subject from the drama, black ground. Yung Chêng mark. Height
-2¾ inches.</p>
-     <p class="p0 sm p-left">Fig. 2.&mdash;Battle of demons, underglaze blue and red. Mark, <i>Yung-lo
-t’ang</i>. Height 3¾ inches.</p>
-     <p class="p0 sm p-left">Fig. 3.&mdash;Blue and white “steatitic” ware. Height 2½ inches.</p>
-     <p class="p0 sm p-left">Fig. 4.&mdash;Crackled cream white <i>ting</i> glaze, pierced casing with
-pine, bamboo and prunus. Height 3¼ inches.</p>
-     <p class="p0 sm p-left">Fig. 5.&mdash;“Steatitic” ware with Hundred Antiques design in coloured
-relief. Chia Ch’ing mark. Height 2½ inches.</p>
-  </div>
-
-<p>These scenes from history and romance were favourite subjects <span class="pagenum" id="Page_281">[281]</span>with
-the K’ang Hsi decorators of blue and white and <i>famille verte</i>
-porcelains. To instance a few types: the scene of the half-legendary
-Yao with his cavalcade coming to greet the Emperor Shun who is engaged,
-like the Roman Cincinnatus, in ploughing; the episodes of the three
-heroes of the Han dynasty, Chang Liang, Ch’ên P’ing and Han Hsin<a id="FNanchor_493" href="#Footnote_493" class="fnanchor">[493]</a>;
-the heroes of the romantic period of the Three Kingdoms (221–265
-<span class="allsmcap">A.D.</span>) whose stories may be compared with those of our knights
-of the Round Table; the stories of brigands in the reign of Hui Tsung
-of the Sung dynasty.<a id="FNanchor_494" href="#Footnote_494" class="fnanchor">[494]</a> The story of Su Wu, the faithful minister of
-Han Wu Ti, tending cattle in captivity among the Hiung-nu, is depicted
-on a bowl in the British Museum, and a dish in the same collection
-shows an emperor (perhaps Kao Tsu, the first of the T’ang dynasty)
-surrounded by his captains.</p>
-
-<p>Processional scenes and subjects illustrating the life and customs of
-the times, peaceful domestic scenes with interiors of house or garden
-peopled by women and children, are more common in the <i>famille
-rose</i> period when the warlike tastes of the Manchus had already been
-softened by a long period of peace. A civil procession and a military
-procession sometimes balance each other on two vases, the one being
-the <i>wên p’ing</i> (civil vase), and the other the <i>wu p’ing</i>
-(military vase). A mock dragon-procession formed by children at play is
-a not uncommon motive. Indeed playing children (<i>wa wa</i>) have been
-from the earliest times a subject frequently and most sympathetically
-depicted on Chinese porcelain. A historical child-scene is that in
-which the boy Ssŭ-ma Kuang broke the huge fish bowl with a stone to let
-out the water and save his drowning companion.</p>
-
-<p>There are many motives intended to appeal to the Chinese literatus,
-and specially suited to ornament the furniture of the writing table.
-Symposia of literary personages, for instance, make an appropriate
-design for a brush pot, or again, the meeting of the celebrated
-coteries, the Seven Worthies of the Bamboo Grove who lived in the
-third century, and the worthies of the Orchid Pavilion, including the
-famous calligrapher, Wang Hsi-chih, who met in the fourth century to
-drink wine, cap verses, and set their cups floating down the “nine-bend
-river” (see Plate <a href="#i279">104</a>, Fig. 1). The Horace<span class="pagenum" id="Page_282">[282]</span> of China, Li T’ai-po, the
-great T’ang poet, is represented in drunken slumber leaning against an
-overturned wine jar or receiving the ministrations of the Emperor and
-his court. He also figures among the Eight Immortals of the Wine Cup, a
-suitable subject for an octagonal bowl. Poets, painters, and sages are
-often seen in mountain landscapes contemplating the beauties of Nature;
-two sages meeting on a mountain side is a frequent subject and is known
-as the “happy meeting,” or again, it is a single sage, with attendant
-carrying a bowl, book, and fan, or sometimes bringing an offering of a
-goose. In rare instances these figures can be identified with Chinese
-worthies such as Chiang Tzŭ-ya, who sits fishing on a river bank, or
-Chu Mai-ch’ên, the wood-cutter, reading as he walks with his faggots on
-his back.</p>
-
-<p>The stories of the <i>Twenty-four Paragons of Filial Piety</i> provide
-a complete series of popular subjects, which may be seen in the panels
-of Plate <a href="#i227">91</a>, Fig. 3. Women are represented by the Virtuous Heroines;
-by celebrated beauties such as Yang Kuei-fei, consort of the T’ang
-ruler Ming Huang,<a id="FNanchor_495" href="#Footnote_495" class="fnanchor">[495]</a> and Hsi Shih, the Chinese Delilah who was the
-undoing of Fu Ch’ai, prince of Wu, in the fifth century <span class="allsmcap">B.C.</span>;
-by the poetess Tan Hui-pan, and by a hundred nameless figures which
-occur in genre designs, and by the idealised beauties, <i>mei jên</i>
-(graceful ladies), which the Dutch ungallantly dubbed with the name of
-<i>lange lijsen</i> or long Elizas. The domestic occupations of a lady
-form another series of subjects for polygonal vessels; and women are
-sometimes seen engaged in the Four Subjects of Study&mdash;Poetry, Rites,
-History, and Music&mdash;or in the Four Liberal Accomplishments&mdash;Writing,
-Painting, Music, and Checkers&mdash;but the groups who make up these scenes
-are more often composed of men. The game of checkers or <i>gô</i>,
-which is so often loosely rendered chess,<a id="FNanchor_496" href="#Footnote_496" class="fnanchor">[496]</a> is <i>wei ch’i</i> the
-“surrounding game,” a favourite Chinese amusement, which figures in two
-well-known subjects of porcelain decoration. One of these is the legend
-of Wang Chih, the Taoist patriarch, watching the game played by two old
-men, the spirits of the Pole Stars, in a mountain retreat; the other is
-the story of the general Hsieh An, who refused to allow the news of an
-important victory to disturb his game.</p>
-
-<p><span class="pagenum" id="Page_283">[283]</span></p>
-
-<p>Ladies of the court picking lotus flowers from boats on an ornamental
-lake in the presence of the Emperor and Empress represent the annual
-Lotus Fête at Peking, and there are numerous scenes in the Imperial
-pleasure grounds in which bevies of ladies from the harem are depicted.</p>
-
-<p>The Eight Ambassadors of the Tribes of Man, the barbarian nations from
-the eight points of the compass, form a processional subject suitable
-for the exterior of bowls and cups. The ambassadors are grotesquely
-drawn figures, sometimes mounted on strange beasts, and carrying gifts
-as tribute to the Emperor. Dreams and visions are depicted in the
-usual Oriental manner by a cloud issuing from the dreamer’s head and
-expanding into a scene which represents the subject of the dream. Thus
-the youthful scholar is seen asleep with a vision of his future dignity
-floating above his head. Divine apparitions are differentiated by the
-presence of clouds around or below the main figures.</p>
-
-<p>Deities and deified mortals are favourite subjects for porcelain
-decoration as well as for figures and groups modelled in the round.
-The three principal Chinese religions&mdash;Confucianism, Buddhism, and
-Taoism&mdash;exist side by side with perfect mutual toleration. Indeed the
-principles of the one are in many cases incorporated in the others.
-Buddhist and Taoist emblems are freely mingled in decorative art,
-and the three founders&mdash;Confucius, Buddha, and Lao-tzŭ&mdash;are grouped
-together in friendly conversation or examining a scroll on which is
-drawn the Yin-yang symbol of the duality of Nature.<a id="FNanchor_497" href="#Footnote_497" class="fnanchor">[497]</a></p>
-
-<p>Confucianism is the religious or rather philosophical system officially
-recognised in China, but its adherents are chiefly among the literati.
-Though it inculcates ancestor-worship, it is not in itself concerned
-with an after life, and it contains few romantic superstitions
-calculated to fire the popular imagination or to suggest motives for
-decorative art. Confucius himself is frequently represented both in
-painting and sculpture, and his meeting with Lao-tzŭ is familiar in
-pictorial art. Confucianism recognises certain canonised mortals, the
-logical outcome of ancestor-worship, and among these the best known
-in art is Kuan Yü, a warrior famous at the end of the Han dynasty,
-who was not, however, canonised until the Sung period, and only in
-1594 raised to the rank of a god (of War) under the title<span class="pagenum" id="Page_284">[284]</span> of Kuan
-Ti. It is reasonable to suppose that most of the numerous statuettes
-of this popular deity were made after the latter date. He is usually
-represented as a dignified personage with flowing beard seated in
-full armour with right hand raised in a speaking attitude; but he
-figures also on horseback or beside his charger, and with his faithful
-squires&mdash;Chou Ts’ang, who carries a halberd, and Kuan P’ing, his own
-son. Occasionally he is seen seated with a book in his hand, in which
-case he is regarded as a literary rather than a military power.</p>
-
-<p>The gods of Literature have a very large following in China, where
-scholarship has been the key to office for upwards of two thousand
-years, the chief deity of the cult being Wên Ch’ang, or in full, Wên
-Ch’ang ti chün. He is the star god who resides in one of the groups of
-the Great Bear, a dignified bearded figure in mandarin dress seated
-with folded hands or mounted on a mule. A lesser but more popular
-divinity is the demon-faced K’uei Hsing, who was canonised in the
-fourteenth century. Originally a scholar, who though successful in the
-examinations was refused office on the ground of his preternatural
-ugliness, he threw himself in despair into the Yangtze and was carried
-up to heaven on a fish-dragon. He is easily recognised as a demon-like
-person, poised with one foot on the head of a fish-dragon (<i>yü
-lung</i>) which is emerging from waves. He brandishes triumphantly in
-his hands a pencil brush and a cake of ink.<a id="FNanchor_498" href="#Footnote_498" class="fnanchor">[498]</a> The fish-dragon is
-itself a symbol of literary aspiration, from the legend that when the
-salmon come every year up the river to the famous falls of Lung-mên
-(the dragon gate), those which succeed in leaping up the falls are
-transformed into fish-dragons. This metamorphosis of the fish as it
-emerges from the water into the dragon is a favourite motive for
-porcelain decoration.</p>
-
-<p>Buddhism, which was officially recognised in China by the Emperor
-Ming Ti in 67 <span class="allsmcap">A.D.</span>, had a far-reaching influence over the
-arts of sculpture and painting, and the revolution which it worked in
-the greater arts was naturally reflected in the lesser handicrafts.
-Buddhistic motives appear early in the Chinese pottery, and in the
-period with which we are at present concerned, the Buddhist religion
-supplied a great number of motives for the porcelain painter and the
-figure modeller. Sakyamuni himself is depicted or sculptured in various
-poses: (1) As an infant standing on the lotus and proclaiming<span class="pagenum" id="Page_285">[285]</span> his
-birth; (2) as an ascetic returning from his fast in the mountains;
-(3) seated cross-legged on a lotus throne with right hand raised in
-teaching attitude, the most frequent representation; (4) recumbent on
-a lotus pillow, in Nirvana; (5) in the Buddhist Trinity holding the
-alms bowl or patra between the Bodhisattvas Manjusri and Samantabhadra.
-These two last when represented singly are usually mounted, Manjusri on
-a lion, and Samantabhadra on an elephant.</p>
-
-<p>But by far the most popular figure of the Buddhist theogony in China
-is Kuan-yin, the Compassionate, and Kuan-yin, the Maternal; in the
-latter capacity she holds a child in her arms and displays a wonderful
-likeness to our images of the Virgin. But a full account of her has
-been given on p. <a href="#Page_110">110</a>, and need not be repeated. Next in popularity
-perhaps is the jolly monk with the hempen bag, Pu-tai Ho-shang, a
-semi-nude, corpulent person, with smiling face, and a large bag full
-of the “precious things.” He is also a great favourite in Japan, where
-he is known as Hotei, and worshipped as the god of Contentment. By the
-Chinese he is also regarded as Mi-lo Fo, the Maitreya or coming Buddha,
-and he has been added by them to the list of Arhats or apostles of
-Buddha. He is often represented surrounded by playful children to whom
-he is devoted.</p>
-
-<p>The Arhats, or Lohan, are all known by their several attributes, but
-in porcelain decoration they usually appear in groups consisting of
-the whole or a large part of their number, which, originally sixteen,
-was increased in China to eighteen by the inclusion of Ho-shang and
-Dharmatrata. The latter is a long-haired individual who carries a vase
-and a fly whisk in his hands and a bundle of books on his back while he
-sits gazing at a small image of Buddha.</p>
-
-<p>He is not to be confused with Tamo, the Indian Bodhidharma, the
-first Chinese patriarch, who came to Lo-yang and remained there in
-contemplation for nine years. The legend is that after his death (about
-530 <span class="allsmcap">A.D.</span>) he was seen returning to India wrapped in his shroud
-and carrying one shoe in his hand, the other having been left behind
-in his tomb. This is the guise in which he frequently appears in art
-(Plate <a href="#i187">86</a>), and he is often depicted crossing the Yangtze on a reed.</p>
-
-<p>Many of the symbolical ornaments on porcelain have a Buddhistic
-significance, such as the eight emblems (see p. <a href="#Page_298">298</a>), the crossed<span class="pagenum" id="Page_286">[286]</span>
-dorjes or thunderbolts of Vajrapani,<a id="FNanchor_499" href="#Footnote_499" class="fnanchor">[499]</a> the Buddhist jewel in a
-leaf-shaped halo of flames; and Sanskrit characters of sacred import
-are used as decoration for bowls and dishes, made no doubt for the use
-of the faithful. The principal animals associated with Buddhist designs
-are the elephant, who carries the jewel vase on his back, the white
-horse (<i>pai ma</i>), who brought the Buddhist scriptures across the
-desert from India, the hare, who offered himself as food to Buddha, and
-the Chinese lion who, under the name of the “dog of Fo” (Buddha), acts
-as guardian of Buddhist temples and images.</p>
-
-<p>But the religion which has taken the greatest hold on Chinese
-imagination and which consequently has supplied the largest number of
-motives for their decorative art is undoubtedly Taoism. As originally
-taught by Lao-tzŭ, a contemporary of Confucius, in the sixth century
-<span class="allsmcap">B.C.</span>, the doctrine of Tao (the Way) pointed to abstraction
-from worldly cares and freedom from mental perturbation as the highest
-good. But just as the later but closely analogous doctrine of Epicurus
-degenerated into the cult of pleasure, so the true teaching of Lao-tzŭ
-was afterwards lost among the adventitious beliefs and superstitions
-which were grafted on to it by his followers. The secret of transmuting
-metals into gold and of compounding the elixir of life became the
-chief preoccupations of the Taoist sages, the latter quest appealing
-particularly to the Chinese with their proverbial worship of longevity;
-and a host of legends grew up concerning mortals who won immortality
-by discovering the elixir, about fairies and the denizens of the Shou
-Shan or Hills of Longevity, about the Isles of the Blessed and the
-palace of Hsi Wang Mu in the K’un-lun mountains. It is this later and
-more popular phase of Taoism which figures so largely in porcelain
-decoration.</p>
-
-<p>Lao-tzŭ is represented as a venerable old man with bald, protuberant
-forehead, who rides upon an ox, the same in features as the god of
-Longevity, Shou Lao, who is in fact regarded as his disembodied spirit.
-Shou Lao, however, is more commonly shown enthroned upon a rocky
-platform in the Hills of Longevity, holding in one hand a curious
-knotted staff, to which are attached rolls of writing, and in the
-other a peach, and surrounded by his special attributes, the spotted
-deer, the stork, and the <i>ling chih</i> fungus.<span class="pagenum" id="Page_287">[287]</span> Thus seated he
-receives homage from the Eight Immortals and the other Taoist genii or
-<i>hsien</i>, who are as numerous as the fairies of our countryside.
-Other designs represent Shou Lao riding on a deer or flying on the
-back of a stork, or simply standing with his staff and peach, his
-robes embroidered with seal forms of the character <i>shou</i>
-(longevity). In this last posture he is often grouped with two other
-popular deities, one in mandarin robes and official hat holding a
-<i>ju-i</i> sceptre, which fulfils every wish, and the other also in
-official robes but holding a babe who reaches out for a peach in his
-other hand. Together they form the Taoist triad, Shou-hsing, Lu-hsing,
-and Fu-hsing, star-gods (<i>hsing</i>) of Longevity, Preferment, and
-Happiness. Fu-hsing in addition has sometimes two boy attendants
-carrying respectively a lotus and a hand-organ.</p>
-
-<p>The Eight Taoist Immortals (<i>pa hsien</i>) are:&mdash;</p>
-
-<p>1. Chung-li Ch’üan, also known as Han Chung-li, represented as a fat
-man, half-draped, who holds a <i>ling chih</i> fungus in one hand and a
-fly-whisk or fan in the other.</p>
-
-<p>2. Lü Tung-pin, a figure of martial aspect armed with a sword to slay
-dragons and evil spirits. He is the patron of barbers.</p>
-
-<p>3. Li T’ieh-kuai, Li with the iron crutch, a lame beggar with a crutch
-and pilgrim’s gourd from which issue clouds and apparitions. He is
-patron of astrologers and magicians.</p>
-
-<p>4. Ts’ao Kuo-ch’iu, in official robes, wearing a winged hat, and
-carrying a pair of castanets. He is patron of mummers and actors.</p>
-
-<p>5. Lan Ts’ai-ho, of uncertain sex, carrying a hoe and a basket of
-flowers. Patron of gardeners and florists.</p>
-
-<p>6. Chang Kuo Lao, the necromancer with the magic mule, of which he kept
-a picture folded up in his wallet. He would make the beast materialise
-from the picture by spurting water on to it; and at other times he
-would conjure it out of a gourd. His attribute is a musical instrument
-consisting of a drum and a pair of rods. He is patron of artists and
-calligraphers, and ranks as one of the gods of Literature.</p>
-
-<p>7. Han Hsiang Tzŭ, who gained admission to the Taoist paradise and
-climbed the peach-tree of Immortality. He is shown as a young man
-playing on a flute, and is specially worshipped by musicians.</p>
-
-<p>8. Ho Hsien Ku, a maiden who wears a cloak of mug-wort leaves and
-carries a lotus. She is patroness of housewives.</p>
-
-<p><span class="pagenum" id="Page_288">[288]</span></p>
-
-<p>The Immortals are commonly represented in a group paying court to Shou
-Lao, or crossing the sea on the backs of various strange creatures or
-other supernatural conveyances on their way to the Islands of Paradise.
-Grouped in pairs they lend themselves to the decoration of quadrangular
-objects.</p>
-
-<p>Other frequenters of the Shou Shan are the twin genii<a id="FNanchor_500" href="#Footnote_500" class="fnanchor">[500]</a> of Union
-and Harmony (<i>ho ho êrh hsien</i>), an inseparable pair, depicted as
-ragged mendicants with staff and broom, or as smiling boyish figures,
-the one with a lotus and the other holding a Pandora box of blessings,
-from which a cloud is seen to rise; Tung-fang So, who stole the peaches
-of Hsi Wang Mu and acquired thereby a longevity of nine thousand
-years, is represented as a smiling bearded old man, not unlike Shou
-Lao himself, carrying an enormous peach, or as a boy with a peach to
-recall his youthful exploit. Liu Han, with his familiar three-legged
-toad, a wild-looking person, who waves a string of cash in the air, and
-very closely resembles the Japanese Gama Sennin (the Hou Hsien Shêng
-of China); Wang Tzŭ-ch’iao, who rides on a crane playing a flute, and
-Huang An, the hermit, whose steed is a tortoise. The god of Alchemy is
-figured, according to the identification of a statuette in the Musée
-Guimet, as a tall, draped person with beard and moustaches flowing down
-in five long wisps, a leaf-shaped fan in his left hand, and beside
-him a small figure of a devotee who holds up a book with questioning
-gesture.</p>
-
-<p>The Queen of the Genii is Hsi Wang Mu (Queen Mother of the West). Her
-home is in the K’un-lun mountains, and the peach tree of Longevity
-grows in her gardens. In the tenth century <span class="allsmcap">B.C.</span>, the Emperor
-Mu Wang is reputed to have visited her palace, and the reception forms
-a pleasing subject for the artist, as does also her return visit paid
-to the Emperor Wu Ti of the Han dynasty. She also figures frequently on
-porcelain with her fair attendants crossing the sea on a raft, flying
-on the back of a phœnix or standing with a female attendant who carries
-a dish of peaches. Her messengers are blue-winged birds like the doves
-of Venus, who carry the fruit of longevity to favoured beings. With
-her attendant phœnix she presents a strong analogy with Juno and her
-peacock; and her Western habitat has favoured the theories which would
-connect her with Græco-Roman mythology, though her consort Hsi Wang
-Fu (King Father of the West and a personage obviously invented<span class="pagenum" id="Page_289">[289]</span> <i>ad
-hoc</i>) is quite insignificant and has nothing in common with the
-cloud-compelling Jove.</p>
-
-<p>There is a female figure which is scarcely distinguishable from one of
-the attendants of Hsi Wang Mu on the one hand and from Lan Ts’ai-ho on
-the other. This is the Flower Fairy (<i>Hua hsien</i>) who carries a
-basket of flowers suspended from a hoe. And there are besides numerous
-magicians of more or less repute, such as Chang Chiu-ko, who is seen
-transforming pieces cut from his scanty garments into butterflies; and
-a host of nameless <i>hsien</i> of local fame who figure in mountain
-retreats, such as the <i>Ssŭ hao</i> or four hoary hermits.<a id="FNanchor_501" href="#Footnote_501" class="fnanchor">[501]</a></p>
-
-<p>The animals connected with Taoist lore include the eight fabulous
-horses of Mu Wang which brought him to the palace of Hsi Wang Mu. They
-are usually seen at pasture frisking about in wild gambols. The deer,
-the familiar of Shou Lao, is depicted usually with a <i>ling chih</i>
-fungus in his mouth; the toad and hare live in the moon where they
-pound the elixir of immortality; and the tortoise develops a long bushy
-tail after a thousand years of existence. All these are suggestive of
-longevity, as is also the crane and a number of flowers, fruits and
-trees such as the pine, bamboo and prunus (the three friends), the
-chrysanthemum, the willow, the peach, the gourd, and more especially
-the <i>ling chih</i> fungus, the <i>polyporus lucidus</i>, which was
-originally an emblem of good luck, but afterwards of longevity.</p>
-
-<p>The head of the <i>ling chih</i> closely resembles<a id="FNanchor_502" href="#Footnote_502" class="fnanchor">[502]</a> that of the
-familiar <i>ju-i</i> sceptre which grants every wish, an auspicious
-object commonly seen in the hands of Taoist genii; and the same form
-occurs in a decorative border (see Plate <a href="#i129">77</a>, Fig. 2) which is variously
-known as the <i>ju-i</i> head border, the <i>ju-i</i> cloud border, or
-the cloud-scroll border, the conventional cloud being commonly rolled
-up in this form. It will also be found that formal ornaments, pendants
-and lambrequins often take the form of the <i>ju-i</i> head in Chinese
-decoration.</p>
-
-<p>The attributes of the Eight Immortals occur among the many<span class="pagenum" id="Page_290">[290]</span> symbols
-used in porcelain ornament; and among the landscapes will be found
-the gardens of Hsi Wang Mu and Mount P’êng-lai,<a id="FNanchor_503" href="#Footnote_503" class="fnanchor">[503]</a> one of the three
-islands of the blessed, situated in the ocean east of China. Here the
-fountain of life flows in a perpetual stream: “the pine, the bamboo,
-the plum, the peach, and the fungus of longevity grow for ever on its
-shores; and the long-haired tortoise disports in its rocky inlets,
-and the white crane builds her nest on the limbs of its everlasting
-pines.”<a id="FNanchor_504" href="#Footnote_504" class="fnanchor">[504]</a> Presumably, too, the Shou Shan is situated on this
-delectable island; and perhaps also the heavenly pavilion (<i>t’ien
-t’ang</i>), which appears among clouds as the goal to which a crane
-is often seen guiding some of the Taoist genii. Possibly, too, the
-conventional border of swirling waves punctuated by conical rocks
-carries a suggestion of the rocky islands of paradise rising from the
-sea.</p>
-
-  <div class="figcenter" id="i462">
-     <img
-    class="p2"
-    src="images/i462.jpg"
-     alt="" />
-     <p class="p0 sm center">Fig. 1.&mdash;The Yin-yang and Pa-kua</p>
-  </div>
-
-<p>There are besides many primitive beliefs traceable for the most part
-to Nature-worship, which prevailed in China long before the days of
-Confucius, Lao-tzŭ or Buddha. Some of these have been incorporated
-in the later religious systems, especially in that of Taoism, which
-was ready to adopt any form of demonology. The oldest system is that
-expounded by the legendary Fu Hsi, in which the phenomena of Nature
-were explained by reference to the mystic diagrams revealed to him on
-the back of a dragon horse (<i>lung ma</i>) which rose from the Yellow
-River. These are the <i>pa-kua</i> or eight trigrams formed by the
-permutations of three lines, broken and unbroken, as in Fig. 1. A more
-common arrangement of them is according to the points of the compass,
-and enclosing another ancient device, the Yin-yang, a circle bisected
-by a wavy line, which symbolises the duality of Nature, <i>yin</i>
-being the female and <i>yang</i> the male element.</p>
-
-<p>Demons abound in Chinese superstitions, and the demon face appears
-early in art on the ancient bronzes, from which it was sometimes
-borrowed by the porcelain decorator. This is the face of the <i>t’ao
-t’ieh</i> (the gluttonous ogre) supposed originally to have represented
-the demon of the storm, and as such appropriately appearing against a
-background of “cloud and thunder” pattern, as the<span class="pagenum" id="Page_291">[291]</span> key-fret is called
-by the Chinese. Afterwards the <i>t’ao t’ieh</i> seems to have been
-regarded, on homœopathic principles, as a warning against greed. Demons
-also appear in complete form in certain battle scenes and conflicts,
-such as the combat of the demons of the water and of air which proceeds
-in front of a group of Chinese dignitaries seated in the Kin-shan
-temple on the Yangtze river (see Plate <a href="#i451">134</a>, Fig. 2).</p>
-
-<p>The sky and the stars of course contribute their quota of divinities.
-Beside the Taoist star-gods of Longevity, Honours and Happiness, there
-is the Jade Emperor or supreme lord of the universe, Yü wang shang ti,
-who is represented in mandarin dress holding a <i>ju-i</i> sceptre and
-closely resembling Lu Hsing, the star-god of Honours. There is, too,
-the goddess of the Moon with a butterfly ornamenting the front of her
-robes, and a mirror in her right hand, besides the other denizens of
-the moon&mdash;Liu Han, the moon-hare and the moon-toad. A cassia tree also
-grows in the moon, and the “cassia of the moon” is a symbol of literary
-success.</p>
-
-<p>The Sun is represented as a disc on which is a three-legged bird; and
-it is probable that the sun-disc is represented also in the so-called
-“pearl”<a id="FNanchor_505" href="#Footnote_505" class="fnanchor">[505]</a> which is pursued or grasped by dragons; but this idea
-of the power of the storm threatening the sun was lost sight of in
-later art, and “a dragon pursuing a pearl” was considered a sufficient
-description of the motive. A curious scene depicting a mandarin
-shooting arrows at a dog in the sky alludes to the dog who devours the
-sun and so causes the eclipse.</p>
-
-<p>The zodiacal animals are named on p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_211">211</a> (vol. i), and the four points
-of the compass are symbolised by the azure dragon for the East, the
-white tiger for the West, the black tortoise for the North, and the red
-bird for the South. The romance of two stars is embodied in the story
-of the Spinning Maiden (<i>Chih Nü</i>) and her lover, the Cowherd
-(<i>Ch’ien Niu</i>), who are separated for all the year save
-on one night when the “magpies fill up the Milky Way and enable the
-Spinning Damsel to cross over.”</p>
-
-<p>Chang Ch’ien, the celebrated minister of Han Wu-ti, was one of the
-first great travellers of China, and among the legends which grew
-around his exploits is one which makes him ascend the Milky Way and
-meet the Spinning Damsel herself. This story arose because he was
-reputed to have discovered the source of the Yellow River, which had
-hitherto been supposed to rise in heaven, being in fact a<span class="pagenum" id="Page_292">[292]</span> continuation
-of the Milky Way. Chang Ch’ien is sometimes represented in Chinese art
-as floating on a log-raft on the Yellow River, and carrying in his hand
-a shuttle given to him by the Spinning Maiden.<a id="FNanchor_506" href="#Footnote_506" class="fnanchor">[506]</a> The poet Li T’ai-po
-is also figured in the same kind of craft, but he is distinguished by a
-book in place of the shuttle.</p>
-
-<p>Motives borrowed from the animal world are frequent on porcelain,
-though they represent to a large extent mythical creatures, first and
-foremost of which is the dragon. We need not enter into the conflicting
-theories as to the origin of the Chinese dragon. Whether he sprang
-from some prehistoric monster whose remains had come to light, or was
-evolved from the crocodile, he appears in any case to have belonged to
-Nature-worship as the power of the storm and the bringer of fertilising
-rain. There, are, however, various kinds of dragons&mdash;those of the air,
-the sea, the earth&mdash;and the monster takes many different forms in
-Chinese art. The archaic types borrowed by the porcelain decorators
-from ancient bronzes and jades are the <i>k’uei lung</i> <img src="images/k_292a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> or
-one-legged dragon, and the <i>ch’ih lung</i> <img src="images/k_292b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, the former
-a tapir-like creature which is said to have been, like the <i>t’ao
-t’ieh</i>, a warning against greed,<a id="FNanchor_507" href="#Footnote_507" class="fnanchor">[507]</a> the latter a smooth, hornless
-reptile of lizard-like form with divided tail, who is also described as
-a <i>mang</i>.</p>
-
-<p>But the dragon (<i>lung</i>) <i>par excellence</i> is a formidable
-monster with “bearded, scowling head, straight horns, a scaly,
-serpentine body, with four feet armed with claws, a line of bristling
-dorsal spines, and flames proceeding from the hips and shoulders.”
-Such is the creature painted by the great master of dragon painting,
-Chang Sêng-yu, of the sixth century, and as such he is the emblem of
-Imperial power and the device of the Emperor. The Imperial dragon in
-the art of the last two dynasties has been distinguished by five claws
-on each of his four feet<a id="FNanchor_508" href="#Footnote_508" class="fnanchor">[508]</a>; the four-clawed dragon was painted on
-wares destined for personages of lesser rank. The dragons are usually
-depicted flying in clouds, and pursuing the disc or pearl, which was
-discussed above, or rising from waves. Nine dragons form a decoration
-specially reserved for the Emperor;<span class="pagenum" id="Page_293">[293]</span> and on the palace porcelain the
-dragon and the phœnix (<i>fêng</i>) frequently appear together as
-emblems of the Emperor and Empress.</p>
-
-<p>The <i>fêng-huang</i>,<a id="FNanchor_509" href="#Footnote_509" class="fnanchor">[509]</a> a phœnix-like bird, is usually shown with
-the “head of a pheasant and the beak of a swallow, a long flexible
-neck, plumage of many gorgeous colours, a flowing tail between that
-of an argus pheasant and a peacock, and long claws pointed backward
-as it flies.” It is the special emblem of the Empress. In archaic
-designs there is a <i>k’uei fêng</i> or one-legged phœnix, a bird-like
-creature terminating in scrolls, which, like the corresponding
-<i>k’uei lung</i>, occasionally appears in porcelain designs. Another
-bird-like creature scarcely distinguishable from the <i>fêng</i> is
-the <i>luan</i>; the former being based, as it is said, on the peacock
-of India, and the latter on the argus pheasant. Another creature of
-dual nature is the <i>ch’i lin</i>, commonly called the kylin, which
-consists of the male (<i>ch’i</i>) and the female (<i>lin</i>). It
-is in itself a composite animal with the “body of a deer, with the
-slender legs and divided hoofs; the head resembles that of a dragon,
-the tail is curled and bushy, like that of the conventional lion, and
-the shoulders are adorned with the flame-like attributes of its divine
-nature. It is said to attain the age of a thousand years, to be the
-noblest form of animal creation, and the emblem of perfect good; and
-to tread so lightly as to leave no footprints, and so carefully as to
-crush no living creature.” Its appearance was the sign of the coming
-of a virtuous ruler. It is important to note that the <i>ch’i lin</i>
-is quite distinct from the Chinese lion, and is also to be carefully
-separated from the other chimera-like creatures known in Chinese art
-under the general title <i>hai shou</i> or sea monsters.</p>
-
-<p>The lion in Chinese art (<i>shih</i> or <i>shih tzŭ</i>, the
-Japanese <i>shishi</i>), though of qualified ferocity in appearance,
-is in reality a peaceful, docile creature who expends his energy on a
-ball of silk brocade, the streamers from which he holds in his massive
-jaws. In general aspect (Plate <a href="#i243">95</a>), in his tufts of hair and his bushy
-tail, he closely resembles the Peking spaniel, who is in fact called
-after him the lion dog (<i>shih tzŭ kou</i>). He is usually represented
-in pairs, the one with one foot on a ball of brocade, and the other,
-presumably the lioness, with a cub. The larger lion figures are placed
-as guardians by the gates of Buddhist temples, from which function the
-lion has earned the name of “dog of Fo” (i.e. Buddha); the smaller
-sizes, usually mounted on an oblong base with a tube attached to hold
-an<span class="pagenum" id="Page_294">[294]</span> incense-stick, have a place on the domestic altar. Another mythical
-creature not unlike the lion is the <i>pi hsieh</i> of archaic art
-which is supposed to ward off evil spirits.<a id="FNanchor_510" href="#Footnote_510" class="fnanchor">[510]</a></p>
-
-<p>The king of beasts in China is the tiger (<i>hu</i>), whose forehead is
-marked by Nature with the character <i>wang</i> <img src="images/k_294.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> (prince). He
-is the solar animal, the lord of the mountains, and the chief of all
-quadrupeds. The white tiger represents the western quadrant and the
-autumn; and images of tigers in ancient times served many purposes,
-such as guarding the graves of the dead and summoning the living to
-battle.</p>
-
-<p>In addition to the sea monsters there are sea horses, who speed at a
-flying gallop over waves; and there are the <i>pai ma</i> and <i>lung
-ma</i> and the eight horses of Mu Wang, already described, to represent
-the horse in art. The deer is a Taoist emblem of longevity, and also in
-its name <i>lu</i> suggests the auspicious word <i>lu</i> (preferment);
-and there is a fabulous one-horned creature distinct from the <i>ch’i
-lin</i>, and known as the <i>t’ien lu</i> or deer of heaven. Rams are
-sometimes represented as personifying the revivifying powers of spring;
-and the monkey occasionally figures in decoration, his name <i>hou</i>
-suggesting another word <i>hou</i>, which means to expect (office), and
-providing an appropriate design for presentation to a candidate in the
-State examinations. Another motive suitable for the same purpose is the
-fish leaping from waves, which has been already explained; and fish
-in general are cleverly depicted by the porcelain decorators swimming
-among water plants. The fish has always been a favourite motive in
-China, and in ancient art it appears to have symbolised power and rank.
-The double fish is one of the Buddhist emblems, and also symbolises
-conjugal felicity. The tortoise has already been mentioned among the
-emblems of longevity.</p>
-
-<p>Birds are drawn with wonderful skill and spirit by Chinese artists,
-and they provide a frequent motive both for the painter and figure
-modeller. The crane is the companion of Shou Lao and a symbol of long
-life; a pair of mandarin ducks suggest conjugal affection; egrets among
-lotus plants, geese, and wild duck in marshy landscapes also pleased
-the Chinese fancy. The magpie is an emblem of happiness, and two
-magpies foretell a happy meeting; the cock is the bird of fame, and he
-is often associated with the peony, which is the <i>fu kuei</i> flower,
-to suggest the phrase <i>kung ming</i> (fame), <i>fu kuei</i> (riches
-and honours!). There are other birds which are associated<span class="pagenum" id="Page_295">[295]</span> with special
-trees and flowers; the pheasant is often seen perched on a rock beside
-the peony and magnolia; partridges and quails go with millet; swallows
-with the willow; sparrows on the prunus, and so on. A comprehensive
-group represents the “hundred birds” paying court to the phœnix.</p>
-
-<p>The bat is a symbol of happiness from its name <i>fu</i> having the
-same sound as <i>fu</i> (happiness). Among insects, the cicada (at
-one time regarded as a symbol of life renewed after death) is a very
-ancient motive; and the praying mantis who catches the cicada is
-an emblem of courage and perseverance.<a id="FNanchor_511" href="#Footnote_511" class="fnanchor">[511]</a> Fighting crickets are
-the fighting cocks of China, and supply a sporting motive for the
-decorator; and butterflies frequently occur with floral designs or
-in the decoration known as the Hundred Butterflies, which covers the
-entire surface of the vessel with butterflies and insects.</p>
-
-<p>Flower painting is another forte of the Chinese decorator, and some of
-the most beautiful porcelain designs are floral. Conventional flowers
-appear in scrolls, and running designs, especially the lotus and peony
-scrolls and the scrolls of “fairy flowers,” the <i>pao hsiang hua</i>
-of the Ming blue and white. But the most attractive designs are the
-more naturalistic pictures of flowering plants and shrubs, or of floral
-bouquets in baskets or vases. The flowers on Chinese porcelain are
-supple, free, and graceful; and, though true enough to nature to be
-easily identified, are never of the stiff copy-book order which the
-European porcelain painter affected at one unhappy period. A long list
-of the Chinese porcelain flowers given by Bushell includes the orchid
-(<i>lan</i>), rose, jasmine, olea fragrans, pyrus japonica, gardenia,
-syringa, several kinds of peony, magnolia (<i>yü lan</i>), iris,
-hydrangea, hibiscus, begonia, pink and water fairy flower (<i>narcissus
-tazetta</i>). Many more no doubt can be identified, for the Chinese
-are great cultivators as they are great lovers of flowers. In fact,
-the word <i>hua</i> <img src="images/k_295a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> flowery is synonymous with Chinese, and
-<i>chung hua</i> <img src="images/k_295b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> is China. Plate <a href="#i395">126</a> is an example of the
-Hundred Flower design, known by the French name <i>mille fleurs</i>, in
-which the ground of the vase is a mass of naturalistic flowers so that
-the porcelain looks like a bouquet.</p>
-
-<p>There are special flowers for the months<a id="FNanchor_512" href="#Footnote_512" class="fnanchor">[512]</a>:&mdash;(1) Peach (<i>t’ao</i>)
-for February, (2) Tree Peony (<i>mu tan</i>) for March, (3) Double
-Cherry (<i>ying t’ao</i>) for April, (4) Magnolia (<i>yü lan</i>)
-for May, (5) Pomegranate<span class="pagenum" id="Page_296">[296]</span> (<i>shih liu</i>) for June, (6) Lotus
-(<i>lien hua</i>) for July, (7) Pear (<i>hai t’ang</i>) for August,
-(8) Mallow (<i>ch’iu k’uei</i>) for September, (9) Chrysanthemum
-(<i>chü</i>) for October, (10) Gardenia (<i>chih hua</i>) for November,
-(11) Poppy (<i>ying su</i>) for December, (12) Prunus (<i>mei
-hua</i>) for January. From these are selected four to represent
-the seasons&mdash;<i>mu-tan</i> peony for spring, lotus for summer,
-chrysanthemum for autumn, and prunus for winter&mdash;which supply charming
-motives for panel decoration or for the sides of quadrangular vases.</p>
-
-<p>The chrysanthemum besides is associated with its admirer T’ao
-Yüan-ming, and the lotus with Chou Mao-shu and the poet Li T’ai-po. But
-as a rule the floral designs carry some hidden meaning, the flowers
-being grouped so as to suggest some felicitous phrase by a play on
-their names.<a id="FNanchor_513" href="#Footnote_513" class="fnanchor">[513]</a> The peony we have seen to be the <i>fu kuei</i>
-(riches and honours) flower; the chrysanthemum, as Dr. Laufer has
-suggested, being the flower of the ninth (<i>chiu</i>) month, may
-connote longevity through the word <i>chiu</i> (long-enduring); the
-prunus (<i>mei hua</i>) carries the obvious suggestion of <i>mei</i>
-(beautiful), and instances might easily be multiplied.</p>
-
-<p>Among the trees, the cassia suggests literary honours, the willow
-longevity, as also the pine, bamboo and plum, who are called the “three
-friends,”<a id="FNanchor_514" href="#Footnote_514" class="fnanchor">[514]</a> faithful even in the “winter of our discontent.” Among
-the fruits the gourd is an emblem both of long life and of fertility,
-and the three fruits (<i>san kuo</i>)&mdash;peach, pomegranate and finger
-citron&mdash;symbolise the Three Abundances of Years, Sons and Happiness.
-The orange is a symbol of good luck, and no doubt the others which
-occur less frequently contain similar suggestions.</p>
-
-<p>Landscape (<i>shan shui</i>) is one of the four main divisions of
-Chinese pictorial art, and it is well represented in porcelain
-decoration. The Sung and Ming masters provided designs which were
-freely copied, and views of the beauty spots of China and of the
-celebrated parks and pleasure grounds were frequently used. It is one
-of these landscapes which the English potters borrowed for the familiar
-“willow pattern” design, and the sentimental tale which some fanciful
-writer has attached to the pattern is a mere afterthought. Figure
-subjects and landscapes are combined in many designs, such as the
-meeting of sages, romantic incidents, besides the more homely motives
-of field work, fishing, rustics returning from the plough mounted on
-their oxen, and the like. The four seasons, too, are represented in<span class="pagenum" id="Page_297">[297]</span>
-landscape with appropriate accessories, such as blossoming peach trees
-in a mountain scene for spring, a lake scene with lotus gatherers for
-summer, a swollen river and autumn tints for autumn, and a snowstorm
-for winter.</p>
-
-<p>A great variety of symbols and emblematical devices appear in the
-porcelain decoration of all periods, whether interwoven with the
-designs, grouped in panels, or placed under the base in lieu of a mark.
-Bushell<a id="FNanchor_515" href="#Footnote_515" class="fnanchor">[515]</a> classifies the most familiar of them under the following
-headings:&mdash;</p>
-
-<p>1. Symbols of Ancient Chinese Lore: <i>Pa-kua</i> and <i>Yin-yang</i>
-(see p. <a href="#Page_290">290</a>); <i>Pa yin</i> (eight musical instruments); <i>Shih êrh
-chang</i> (twelve ornaments embroidered upon sacrificial robes).</p>
-
-<p>2. Buddhist symbols: <i>Pa chi hsiang</i> (eight emblems of
-happy augury). <i>Ch’i pao</i> (seven paraphernalia of the
-<i>chakravartin</i> or universal sovereign).</p>
-
-<p>3. Taoist symbols: <i>Pa an hsien</i> (attributes of the Eight
-Immortals).</p>
-
-<p>4. The Hundred Antiques (<i>Po ku</i>). <i>Pa pao</i> (the Eight
-Precious Objects).</p>
-
-<p>The <i>pa-kua</i> (eight trigrams) and the <i>Yin-yang</i> symbol
-of the duality of Nature have been described. The eight musical
-instruments are: (1) <i>Ch’ing</i>, the sounding stone, a sort of gong
-usually in form of a mason’s square. It forms a rebus for <i>ch’ing</i>
-(good luck). (2) <i>Chung</i>, the bell. (3) <i>Ch’in</i>, the lute.
-(4) <i>Ti</i>, the flute. (5) <i>Chu</i>, the box, with a metal hammer
-inside. (6) <i>Ku</i>, the drum. (7) <i>Shêng</i>, the reed organ. (8)
-<i>Hsüan</i>, the ocarina, a cone with six holes.</p>
-
-<p>The twelve <i>chang</i> or ancient embroidery ornaments are: (1)
-<i>Jih</i>, the Sun, a disc in which is a three-legged bird, and
-sometimes, the character <i>jih</i> <img src="images/k_297a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. (2) <i>Yüeh</i>,
-the moon; a disc with hare, toad and cassia tree, and sometimes
-the character <i>yüeh</i> <img src="images/k_297b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. (3) <i>Hsing ch’ên</i>, the
-stars: represented by three stars connected by straight lines.
-(4) <i>Shan</i>, mountains. (5) <i>Lung</i>, dragons. (6) <i>Hua
-ch’ung</i>, the “flowery creature,” the pheasant. (7) <i>Tsung yi</i>,
-the temple vessels: one with a tiger design and the other with a
-monkey. (8) <i>Tsao</i>, aquatic grass. (9) <i>Huo</i>, fire. (10)
-<i>Fên mi</i>, grains of rice. (11) <i>Fu</i>, an axe. (12) <i>Fu</i>,
-a symbol of distinction<a id="FNanchor_516" href="#Footnote_516" class="fnanchor">[516]</a> (see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>).</p>
-
-<p><span class="pagenum" id="Page_298">[298]</span></p>
-
-<p>The Eight Happy Omens (<i>pa chi hsiang</i>) were among the signs
-on the sole of Buddha’s foot. They are usually drawn with flowing
-fillets attached (Fig. 2), and they are as follows: (1) <i>Lun</i>,
-the wheel or chakra, sometimes replaced by the bell (<i>chung</i>).
-(2) <i>Lo</i>, the shell. (3) <i>San</i>, the State umbrella. (4)
-<i>Kai</i>, the canopy. (5) <i>Hua</i>, the (lotus) flower. (6)
-<i>P’ing</i>, the vase. (7) <i>Yü</i>, the fish; a pair of them.<a id="FNanchor_517" href="#Footnote_517" class="fnanchor">[517]</a>
-(8) <i>Ch’ang</i>, the angular knot representing the entrails; an
-emblem of longevity.<a id="FNanchor_518" href="#Footnote_518" class="fnanchor">[518]</a></p>
-
-  <div class="figcenter" id="i470" style="width: 250px">
-     <img
-    class="p2"
-    src="images/i470.jpg"
-     alt="" />
-     <p class="p0 sm center">Fig. 2.&mdash;The Pa chi hsiang</p>
-  </div>
-
-<p>The Seven Gems (<i>ch’i pao</i>) are: (1) <i>Chin lun</i>, the golden
-wheel. (2) <i>Yü nü</i>, the jade-like girl. (3) <i>Ma</i>, the horse.
-(4) <i>Hsiang</i>, the elephant. (5) <i>Chu ts’ang shên</i>, divine
-guardian of the treasury. (6) <i>Chu ping ch’ên</i>, general in command
-of the army. (7) <i>Ju i chu</i> the jewels which fulfil every wish; a
-bundle of jewelled wands bound round with a cord.</p>
-
-<p>The <i>Pa an hsien</i>, Attributes of the Eight Immortals, as detailed
-above (p. <a href="#Page_287">287</a>), are: (1) <i>Shan</i>, the fan of Chung-li Ch’üan. (2)
-<i>Chien</i>, the sword of Lü Tung-pin. (3) <i>Hu lu</i>, the gourd
-of Li T’ieh-kuai. (4) <i>Pan</i>, the castanets of Ts’ao Kuo-chiu.
-(5) <i>Hua lan</i>, the basket of flowers of Lan Ts’ai-ho. (6) <i>Yu
-ku</i>, the bamboo tube and rods of Chang Kuo Lao. (7) <i>Ti</i>, the
-flute of Han Hsiang Tzŭ. (8) <i>Lien hua</i>, the lotus flower of Ho
-Hsien Ku.</p>
-
-<p>The <i>Po ku</i>, or Hundred Antiques, is, as its name implies, a
-comprehensive group including all manner of symbols and symbolical
-ornaments, which were frequently grouped together in panel decoration.
-Bushell<a id="FNanchor_519" href="#Footnote_519" class="fnanchor">[519]</a> describes two typical panels on specimens in the Walters
-collection. One contained the apparatus of the scholar and painter,
-viz. books on tables, brushes in vases, water pots and scroll
-pictures,<span class="pagenum" id="Page_299">[299]</span> all enveloped with waving fillets mingled with tasselled
-wands and double diamonds, which are symbols of literary success. The
-other contained a tall vase with peonies; a low vase with peacock
-feather, an emblem of high rank; a lion-shaped censer on a four-legged
-stand, the incense smoke from which rises in form of a pair of storks;
-a set of incense-burning implements, a bundle of scroll pictures, a
-<i>ju-i</i> sceptre, a musical stone, a sword, and a paper weight.</p>
-
-<p>A favourite set of <i>Po-ku</i> emblems is the <i>Pa pao</i> (Fig. 3)
-or Eight Precious Objects: (1) <i>Chu</i>, the pearl, which grants
-every wish. (2) <i>Ch’ien</i>, the “cash,” a copper coin used to
-symbolise wealth. (3) Lozenge, or picture (<i>hua</i>). (4) <i>Fang
-shêng</i>, the open lozenge, symbol of victory.<a id="FNanchor_520" href="#Footnote_520" class="fnanchor">[520]</a> (5) <i>Ch’ing</i>,
-the musical stone. (6) <i>Shu</i>, a pair of books. (7) <i>Chüeh</i>,
-a pair of horn-like objects. (8) <i>Ai yeh</i>, the leaf of the
-artemisia, fragrant plant of good omen and a preventative of disease.</p>
-
-<p>A branch of coral, a silver ingot, a pencil brush and cake of ink are
-common emblems; and the swastika occurs both by itself (vol. i., p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>) or interwoven with the character <i>shou</i> (vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>), or
-even as a fret or diaper pattern. The swastika is a world-wide symbol;
-in China it is called <i>wan</i>, and used as a synonym for <i>wan</i>
-(ten thousand), and as such it is regarded as a symbol of <i>wan
-shou</i> (endless longevity). A lyre wrapped in an embroidered case,
-a chess-or <i>gô</i>-board with round boxes for the white and black
-pieces, a pair of books, and a pair of scroll pictures symbolise the
-“four elegant accomplishments,” <i>ch’in</i>, <i>ch’i</i>, <i>shu</i>,
-<i>hua</i> (music, chess, writing and painting).</p>
-
-  <div class="figcenter" id="i471" style="width: 250px">
-     <img
-    class="p2"
-    src="images/i471.jpg"
-     alt="" />
-     <p class="p0 sm center">Fig. 3.&mdash;The Pa pao</p>
-  </div>
-
-<p>The figurative aspect of Chinese decoration has been repeatedly
-noticed, and occasional examples of direct play upon words or rebus
-devices have been given incidentally. The Chinese language is<span class="pagenum" id="Page_300">[300]</span>
-peculiarly suited for punning allusions, one sound having to do duty
-for many characters; but it is obvious that a fair knowledge of the
-characters is required for reading these rebus designs. There is,
-however, a certain number of stock allusions with which the collector
-can easily make himself familiar. The commonest of these is perhaps the
-bat (<i>fu</i>) which symbolises happiness (also pronounced <i>fu</i>
-in Chinese). The Five Blessings (<i>wu fu</i>), which consist of
-longevity, riches, peacefulness and serenity, love of virtue and an
-end crowning the life, are suggested by five bats; and a further rebus
-is formed of red bats among cloud scrolls, reading <i>hung fu ch’i
-t’ien</i>, “great happiness equally heaven” (<i>t’ien</i>); <i>hung</i>
-being the sound of the character for “great, vast,” as well as for red,
-and red being, so to speak, the colour of happiness in Chinese eyes.</p>
-
-<p>Other common rebus designs are suggested by such words as <i>lu</i>
-(deer), <i>lu</i> (preferment); <i>yü</i> (fish), <i>yü</i>
-(abundance); <i>ch’ing</i> (sounding stone), <i>ch’ing</i> (good
-luck); <i>ch’ang</i> (the intestinal knot), <i>ch’ang</i> (long);
-and the composition of the rebus phrase often includes such ideas
-as <i>lien</i> (lotus), <i>lien</i> (connect, combine); <i>tieh</i>
-(butterfly), <i>tieh</i> (to double). But almost every sound in the
-Chinese spoken language represents a considerable number of characters,
-and it would be possible with a little ingenuity to extract several
-rebus sentences out of any complicated decoration. It is well to
-remember, however, that most of the ordinary allusions have reference
-to some good wish or felicitous phrase bearing on the five blessings,
-on the three abundances or on literary success.</p>
-
-<p>To quote a few further instances: the design of nine (<i>chiu</i>)
-lions (<i>shih</i>) sporting with balls (chü) of brocade has been
-read<a id="FNanchor_521" href="#Footnote_521" class="fnanchor">[521]</a> <i>chiu shih t’ung chü</i>, “a family of nine sons living
-together.” An elephant (<i>hsiang</i>) carrying a vase (<i>p’ing</i>)
-on its back (<i>pei</i>) is read<a id="FNanchor_522" href="#Footnote_522" class="fnanchor">[522]</a> <i>hsiang pei tai p’ing,</i>
-“Peace (p’ing) rules in the north (<i>pei</i>).” A tub full of green
-wheat is read<a id="FNanchor_523" href="#Footnote_523" class="fnanchor">[523]</a> <i>i t’ung ta ch’ing</i>, “the whole empire (owns)
-the great Ch’ing dynasty.” Three crabs holding reeds is read<a id="FNanchor_524" href="#Footnote_524" class="fnanchor">[524]</a>
-<i>san p’ang hsieh ch’uan lu</i>, “three generations gaining the first
-class at the metropolitan examinations.” Two pigeons perched on a
-willow tree is read<a id="FNanchor_525" href="#Footnote_525" class="fnanchor">[525]</a> <i>êrh pa</i> (<i>k’o</i>) <i>t’eng t’ê</i>,
-“at eighteen to be successful in examinations.”</p>
-
-<p><span class="pagenum" id="Page_301">[301]</span></p>
-
-<p>A group of three objects consisting of a pencil brush (<i>pi</i>), a
-cake of ink (<i>ting</i>) and a <i>ju-i</i> sceptre crossed one over
-the other (Fig. 4), occurs both in the field of the decoration and
-as a mark under the base. It is a pure rebus, reading <i>pi ting ju
-i</i>, may things be fixed (<i>ting</i>) as you wish (<i>ju i</i>,
-lit. according to your idea). Another obvious rebus which occurs as a
-mark (Fig. 5) consists of two peaches and a bat (double longevity and
-happiness), and floral designs are very commonly arranged so as to
-suggest rebus phrases.</p>
-
-  <div class="figcenter" id="i473a">
-     <img
-    class="p2"
-    src="images/i473a.jpg"
-     alt="" />
-     <p class="p0 sm center">Fig. 4</p>
-  </div>
-
-  <div class="figcenter" id="i473b">
-     <img
-    class="p2"
-    src="images/i473b.jpg"
-     alt="" />
-     <p class="p0 sm center">Fig. 5</p>
-  </div>
-
-<p>But the Chinese decorator did not always express himself in riddles.
-Inscriptions are frequent on all forms of decorative work, as is
-only natural in a country where calligraphy ranks among the highest
-branches of art. To the foreign eye Chinese writing will not perhaps
-appear so ornamental as the beautiful Neshky characters which were
-freely used for decorative purposes on Persian wares; but for all
-that, its decorative qualities are undeniable, and to the Chinese
-who worship the written character it is a most attractive kind of
-ornament. Sometimes the surface of a vessel is almost entirely occupied
-by a long inscription treating of the ware or of the decoration which
-occupies the remaining part; but more often the writing is limited to
-an epigram or a few lines of verse. The characters as a rule are ranged
-in columns and read from top to bottom, the columns being taken from
-left to right; and rhyming verse is written in lines of three, five
-or seven characters each. The inscriptions are often attested by the
-name or the seal of the author. The Emperor Ch’ien Lung, a prolific
-writer of verses, indited many short poems on the motives of porcelain
-decoration, and these have been copied on subsequent pieces.</p>
-
-<p>As for the style of writing, the ordinary script is the <i>k’ai
-shu</i>, which dates from the Chin dynasty (265–419 <span class="allsmcap">A.D.</span>),
-but there are besides many inscriptions in which the archaic seal
-characters <i>chuan tzŭ</i> are employed, or at least hybrid modern
-forms of them; and there is the cursive script, known as <i>ts’ao
-shu</i> or grass characters, which is said to have been invented in the
-first century<span class="allsmcap"> B.C.</span> The seal and the grass characters are often
-extremely difficult to translate, and require a special study, which
-even highly educated Chinese do not profess to have mastered.</p>
-
-<p>Single characters and phrases of auspicious meaning in both seal
-form and in the ordinary script occur in the decoration and also<span class="pagenum" id="Page_302">[302]</span>
-in the place of the mark. Many instances have already been noted in
-the chapters dealing with Ming porcelains, such as <i>fu kuei k’ang
-ning</i> (riches, honours, peace and serenity), <i>ch’ang ming fu
-kuei</i> (long life, riches and honours), etc., see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a>.
-The most frequent of these characters is <i>shou</i> (longevity),
-which is written in a great variety of fanciful forms, mostly of
-the seal type. The “hundred forms of shou” sometimes constitute the
-sole decoration of a vase; and as already observed<a id="FNanchor_526" href="#Footnote_526" class="fnanchor">[526]</a> the swastika
-(<i>wan</i>) is sometimes combined with the circular form of the
-seal character <i>shou</i> to make the <i>wan shou</i> symbol of ten
-thousand longevities. <i>Fu</i> (happiness) and <i>lu</i>
-(preferment) also occur, though less frequently.</p>
-
-<p>Buddhistic inscriptions are usually in Sanskrit characters, but we
-find occasional phrases such as <i>Tien chu en po</i> <img src="images/k_302a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-(propitious waves from India) and <i>Fo ming ch’ang jih</i> <img src="images/k_302b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-(the ever bright Buddha) in ordinary script or seal, one character
-in each of four medallions; and the sacred name of <i>O mi t’o fo</i>
-<img src="images/k_302c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, Amida Buddha, similarly applied, would serve as a charm
-against evil.</p>
-
-<p>In addition to the central designs, there is a number of secondary
-ornaments which round off the decoration of a piece of porcelain.
-Chief of these are the border patterns, of which a few favourites
-may be exemplified. At the head of the list comes the Greek key-fret
-or meander (see Plate 12, Fig. 1), which, like the swastika, is of
-world-wide use. On the ancient bronze this pattern was freely used both
-in borders and as a diaper background, and it is described by Chinese
-archæologists as the “cloud and thunder pattern.” It is sometimes
-varied by the inclusion of the swastika, in which case it is known
-as the swastika fret. Another bronze pattern freely borrowed by the
-porcelain decoration is the border of stiff plantain leaves which
-appears appropriately on the neck or stem of an upright vase (see Plate
-<a href="#i213">89</a>, Fig. 1).</p>
-
-<p>The border of small “S” shaped scrolls is apparently derived from
-silkworm cocoons; but the curled scrolls and another scroll pattern
-with more elaborate curves are intended to suggest clouds. A further
-development of the cloud pattern is scarcely distinguishable from the
-<i>ju-i</i> head border (see Plate <a href="#i129">77</a>, Fig. 2). Indeed the terms,
-“connected cloud” pattern, <i>ju-i</i> cloud pattern, and <i>ju-i</i>
-head pattern, are used almost interchangeably by Chinese archæologists.</p>
-
-<p>Conventional waves are represented by a kind of shaded scale<span class="pagenum" id="Page_303">[303]</span> pattern
-or a diaper of spiral coils, and the more naturalistic “crested wave”
-border, punctuated by conical rocks, has already been mentioned. There
-are besides narrow borders of zig-zag pattern with diagonal hatching,
-and the ordinary diaper designs, in addition to the familiar gadroons
-and arcaded borders.</p>
-
-<p>The wider borders are usually borrowed from brocade patterns with
-geometrical or floral ornament, broken by three or four oblong panels
-containing symbols or sprays of flowers; and when a similar scheme is
-followed in some of the narrow edgings, the flowers are unhesitatingly
-cut in half, as though the pattern were just a thin strip taken from a
-piece of brocade.</p>
-
-<p>A few special borders have been described on the pages dealing with
-armorial porcelain,<a id="FNanchor_527" href="#Footnote_527" class="fnanchor">[527]</a> among which were the well-known “rat and vine”
-or “vine and squirrel” pattern (see Plate <a href="#i349">119</a>, Fig. 3), reputed to have
-first appeared on a picture by the Sung artist, Ming Yüan-chang.<a id="FNanchor_528" href="#Footnote_528" class="fnanchor">[528]</a> A
-rare border formed of red bats side by side occurs on a few plates of
-fine porcelain which are usually assigned to the K’ang Hsi period, but
-are probably much later.</p>
-
-<p>On the whole, the Chinese border patterns are comparatively few in
-number, being in fact a small selection of well-tried designs admirably
-suited to fill the spaces required and to occupy the positions assigned
-to them on the different porcelain forms.</p>
-
-<p>As to the sources from which these and the other designs described in
-this chapter were borrowed by the porcelain decorator, we can only
-speak in general terms. Ancient bronze vessels, metal mirrors, carved
-jades, stamped cakes of ink, embroideries, brocades, handkerchiefs,
-and illustrated books no doubt provided the greater part of them. The
-purely pictorial subjects would be based on the paintings in silk and
-paper which the Chinese arrange in four chief categories: (1) figures
-(<i>jên wu</i>),(2) landscape (<i>shan shui</i>),(3) nature subjects
-(<i>hua niao</i>, lit. flowers and birds), and (4) miscellaneous
-designs (<i>tsa hua</i>). Selections of desirable designs from various
-sources were no doubt arranged in pattern books, and issued to the
-porcelain painters.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_304">[304]</span></p>
-
-<h2 class="smaller">CHAPTER XVIII<br />
-<span class="subhed">FORGERIES AND IMITATIONS</span></h2></div>
-
-<p class="drop-cap p-left">With their intense veneration for the antique, it is only natural
-that the Chinese should excel in imitative work, and a great deal
-of ingenuity has been quite legitimately exercised by them in this
-direction. The amateur will sometimes have difficulty in distinguishing
-the clever copies from the originals, but in most cases the material
-and the finish of the work frankly belong to a later period, and
-sometimes all doubt is removed at once by a mark indicating the true
-period of manufacture. But the collector has to be on his guard against
-a very different kind of article, the spurious antique and the old
-piece which has been “improved” by the addition of more elaborate
-decoration or by an inscription which, if genuine, would give it
-historic importance. The latter kind of embellishment is specially
-common on the early potteries of the Han and T’ang periods. Genuine
-specimens taken from excavated tombs have often been furnished with
-dates and dedicatory legends cut into the body of the ware and then
-doctored, to give the appearance of contemporary incisions. But a
-careful examination of the edges of the channelled lines will show
-that they have been cut subsequently to the firing of the ware, when
-the clay was already hard. Had the inscription been cut when the pot
-was made, it would have been incised in a soft unfired substance,
-like the writing of a stylus in wax, and the edges of the lines would
-be forced up and slightly bulging; and if the ware is glazed, some
-of the glaze will be found in the hollows of the inscription. There
-are, besides, minor frauds in the nature of repairs. Pieces of old
-pottery, for instance, are fitted into a broken Han jar; the lost heads
-and limbs of T’ang figures are replaced from other broken specimens,
-and defective parts are made up in plaster. Such additions are often
-carefully concealed by daubs of clay similar to that with which the
-buried specimen had become encrusted. Further than this, Han and T’ang
-figures have been recently manufactured<span class="pagenum" id="Page_305">[305]</span> in their entirety, and mention
-has already been made (Vol. I., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a>) of a factory at Honan Fu, where
-figures and vases with streaked and mottled glazes, fantastic ewers
-with phœnix-spouts and wing-like excrescences, and the like, are made
-with indifferent skill.</p>
-
-<p>The collector of Sung and Yüan wares, too, has many difficulties to
-surmount. The fine imitations made from the Yung Chêng period onwards,
-both in pottery and porcelain, fortunately are often marked; but
-sometimes the mark has been carefully removed by grinding, and the scar
-made up to look like the natural surface. The imitative wares made in
-Kuangtung, at Yi-hsing, and in various Japanese factories have been
-already discussed in the sections concerned; and there is pottery with
-lavender blue, “old turquoise” and splashed glazes resembling the Chün
-types, but made at the present day in Honan and elsewhere, which is
-likely to deceive the beginner. The commonest kind has a buff earthen
-body which is usually washed with a dull brown clay on the exposed
-parts. But such obstacles as these add zest to the collector’s sport,
-and they are not really hard to surmount if a careful study be made of
-the character of authentic specimens. The eye can be easily trained to
-the peculiarities both of the originals and of the various imitative
-types, and no one who is prepared to take a little trouble need be
-afraid of attacking this fascinating part of Chinese ceramics.</p>
-
-<p>The <i>T’ao lu</i><a id="FNanchor_529" href="#Footnote_529" class="fnanchor">[529]</a> quotes an interesting note on the repairing of
-antique wares: “In the <i>Chu ming yao</i> it is stated with regard
-to old porcelain (<i>tz’ŭ</i>), such as (incense-) vessels which
-are wanting in handles or feet, and vases damaged at the mouth and
-edge, that men take old porcelain to patch the old, adding a glazing
-preparation, and giving the piece one firing. When finished it is like
-an old piece, and all uniform, except that the patched part is dull in
-colour. But still people prefer these specimens to modern wares. If the
-process of blowing the glaze on to (the joint of the repair) is used
-in patching old wares, the patch is still more difficult to trace. As
-for specimens with flaws (<i>mao</i>), I am told that on the Tiger Hill
-in Su-chou there are menders who have earned the name of <i>chin</i>
-(close-fitters).” The collector knows only too well that there are
-“close-fitters” in Europe as well as in China.</p>
-
-<p>Apart from the numerous instances in which early Ming marks<a id="FNanchor_530" href="#Footnote_530" class="fnanchor">[530]</a><span class="pagenum" id="Page_306">[306]</span>
-have been indiscriminately added to later wares, the careful copies
-and imitations of true Ming types are comparatively few. Among the
-imitative triumphs of the Yung Chêng potters a few specialties are
-named, such as blue and white of the Hsüan Tê and the Chia Ching
-periods, and the enamelled decoration of the Ch’êng Hua and Wan Li, but
-reference has already been made to these in their respective chapters.
-The modern Chinese potters make indifferent reproductions of Ming
-types; and the most dangerous are those of the Japanese, who from the
-eighteenth century onward seem to have taken the sixteenth century
-Chinese porcelains as their model. The Chia Ching and Wan Li marks are
-common on these reproductions, which often catch the tone and spirit
-of the Ming ware with disquieting exactitude. A well-trained eye and
-a knowledge of the peculiarities of Japanese workmanship are the only
-protection against this type of imitation.</p>
-
-<p>The high esteem in which the K’ang Hsi porcelains are now held has
-naturally invited imitation and fraud. The ordinary modern specimen
-with a spurious K’ang Hsi mark is, as a rule, feeble and harmless, and
-even the better class of Chinese and Japanese imitations of the blue
-and white and enamelled porcelains of this period are, as a rule, so
-wide of the mark as to deceive only the inexperienced. Many frauds,
-however, have been perpetrated with French copies of <i>famille
-verte</i>, of <i>famille rose</i> “ruby-back” dishes, and of vases
-with armorial decoration. These are cleverly made, but the expert will
-see at once that the colours and the drawing lack the true Oriental
-quality, and that the ware itself is too white and cold. Clever copies
-of Oriental porcelain, especially of the <i>famille rose</i>, have
-also been made at Herend, in Hungary. But perhaps the most dangerous
-Continental copies are some of the French-made monochromes of dark
-blue and lavender colours, with or without crackle, fitted with ormolu
-mounts in eighteenth century style, which conceal the tell-tale base.
-Monochromes are, as a rule, the most difficult porcelains to date, and
-the well-made modern Chinese and Japanese <i>sang de bœuf</i>, apple
-green, and peach bloom are liable to cause trouble, especially when the
-surface has been carefully rubbed and given the appearance of wear and
-usage. The expert looks to the truth of the form, the finish of the
-base, and the character of the clay exposed at the foot rim, and judges
-if in these points the piece comes up to the proper standard.</p>
-
-<p>But without doubt the most insidious of all the fraudulent wares<span class="pagenum" id="Page_307">[307]</span> are
-those which have been redecorated. I do not refer to the clobbered<a id="FNanchor_531" href="#Footnote_531" class="fnanchor">[531]</a>
-and retouched polychromes or to the powder blue and mirror black on
-which the gilding has been renewed, but to the devilish ingenuity
-which takes a piece of lightly decorated K’ang Hsi porcelain, removes
-the enamelling, and even the whole glaze if the original ornament
-has been in underglaze blue, and then proceeds to clothe the denuded
-surface in a new and resplendent garb of rich enamel. Naturally, it
-is the most sumptuous style of decoration which is affected in these
-frauds, such as the prunus tree and birds in a ground of black,
-green, or yellow enamel on the biscuit; and the drawing, execution
-and colours are often surprisingly good. The enormous value of this
-type of vase, if successful, repays the expense and trouble involved
-in the <i>truquage</i>; and the connoisseur who looks at the base for
-guidance is disarmed because that critical part has been undisturbed,
-and has all the points of a thoroughbred K’ang Hsi piece. If, however,
-his suspicion has been aroused by something unconvincing in the design
-or draughtsmanship, he will probably find upon minute examination some
-indication of the fraud, some trace of the grinding off of the glaze
-which the enamels have failed to cover, suspicious passages at the edge
-of the lip where the old and new surfaces join, or traces of blackening
-here and there which are rarely absent from a refired piece. But if the
-work is really successful, and no ingenuity or skill is spared to make
-it so, his suspicions may not be aroused until too late. Frauds of this
-kind belong to the most costly types, and concern the wealthy buyers.
-The poorer collectors have to deal with small deceits, the adding
-of a <i>famille verte</i> border to a bowl or dish, the retouching
-of defective ornament, the rubbing of modern surfaces to give them
-fictitious signs of wear, the staining of new wares with tobacco juice,
-and other devices easily detected by those who are forewarned. Against
-all these dangers, whether they be from wilful frauds or from innocent
-imitations, I can only repeat that the collector’s sole defence is
-experience and a well-trained eye.</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_309">[309]</span></p>
-
-<h2 class="smaller">INDEX</h2>
-</div>
-
-<ul>
-  <li>Accomplishments, Four, ii.
-    <a href="#Page_133">133</a>,
-    <a href="#Page_282">282</a>,
-    <a href="#Page_299">299</a></li>
-
-  <li>Adams, H., ii.
-    <a href="#Page_136">136</a></li>
-
-  <li>Akahada, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a></li>
-
-  <li>Alamgir, ii.
-    <a href="#Page_13">13</a></li>
-
-  <li>Alchemy, god of, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li class="hangingindent">Alexander Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_51">51</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_57">57</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_115">115</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_121">121</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_125">125</a>; ii.
-    <a href="#Page_49">49</a>,
-    <a href="#Page_119">119</a>,
-    <a href="#Page_171">171</a>,
-    <a href="#Page_205">205</a>,
-    <a href="#Page_220">220</a></li>
-
-  <li>Alms bowl, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Altar cups, ii.
-    <a href="#Page_7">7</a>,
-    <a href="#Page_8">8</a>,
-    <a href="#Page_35">35</a>,
-    <a href="#Page_93">93</a></li>
-
-  <li>Altar sets, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a>; ii.
-    <a href="#Page_272">272</a></li>
-
-  <li class="hangingindent">Ambassadors of the Tribes of Man, eight, ii.
-    <a href="#Page_262">262</a>,
-    <a href="#Page_268">268</a>,
-    <a href="#Page_283">283</a></li>
-
-  <li>Amida Buddha, ii.
-    <a href="#Page_302">302</a></li>
-
-  <li>Amoy, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>; ii.
-    <a href="#Page_112">112</a></li>
-
-  <li>Ancestor worship, ii.
-    <a href="#Page_283">283</a></li>
-
-  <li>Anderson, W., ii.
-    <a href="#Page_111">111</a>,
-    <a href="#Page_281">281</a>,
-    <a href="#Page_303">303</a></li>
-
-  <li class="hangingindent"><i>An hua</i> (secret decoration), ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_8">8</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_56">56</a>,
-    <a href="#Page_63">63</a></li>
-
-  <li>Animal forms, ii.
-    <a href="#Page_159">159</a></li>
-
-  <li>Animal motives, ii.
-    <a href="#Page_292">292</a></li>
-
-  <li class="hangingindent">Annals of Fou-liang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>; ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_228">228</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li>Annals of Han Dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>Annals of the Sui Dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a></li>
-
-  <li>Anthropological Museum at Petrograd, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a></li>
-
-  <li>Antiques, the Hundred, ii.
-    <a href="#Page_134">134</a>,
-    <a href="#Page_181">181</a>,
-    <a href="#Page_297">297</a>,
-    <a href="#Page_298">298</a></li>
-
-  <li>“Ant tracks,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a></li>
-
-  <li>Arabesques, ii.
-    <a href="#Page_130">130</a>,
-    <a href="#Page_131">131</a>,
-    <a href="#Page_133">133</a></li>
-
-  <li>Arabic writing, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li>Architectural pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a></li>
-
-  <li>Ardebil, ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Arhats, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a>; ii.
-    <a href="#Page_43">43</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Arita, ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Armorial porcelain, ii.
-    <a href="#Page_202">202</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_256">256</a>,
-    <a href="#Page_257">257</a>,
-    <a href="#Page_258">258</a></li>
-
-  <li>Arrow cylinder, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Ary de Milde, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Ash colour, <i>see</i> <a href="#Hui_se">Hui sê</a>.</li>
-
-  <li>“Ashes of roses,” ii.
-    <a href="#Page_124">124</a></li>
-
-  <li>Ashmolean Museum, Oxford, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_68">68</a></li>
-
-  <li>Astbury ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Aster pattern, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>Attiret, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Augustus the Strong, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_113">113</a>,
-    <a href="#Page_134">134</a></li>
-
-  <li>“Awns,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a></li>
-</ul>
-
-<ul>
-  <li>“Baba ghouri,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Bahr, A. W., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a></li>
-
-  <li>Bamboo grove, ii.
-    <a href="#Page_208">208</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li>Bamboo pattern, ii.
-    <a href="#Page_149">149</a>,
-    <a href="#Page_264">264</a>,
-    <a href="#Page_269">269</a></li>
-
-  <li>Bamboo thread brush marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a></li>
-
-  <li>Barrel-shaped seats, ii.
-    <a href="#Page_8">8</a>,
-    <a href="#Page_15">15</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_97">97</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>Basket of flowers, ii.
-    <a href="#Page_67">67</a></li>
-
-  <li>Batavian porcelain, ii.
-    <a href="#Page_191">191</a></li>
-
-  <li>Bats, five, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_295">295</a>,
-    <a href="#Page_300">300</a>,
-    <a href="#Page_301">301</a></li>
-
-  <li>Battersea, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Bear, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Bell, Hamilton, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a></li>
-
-  <li>Benson Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_169">169</a>; ii.
-    <a href="#Page_27">27</a></li>
-
-  <li>Biddulph, Sir R., ii.
-    <a href="#Page_23">23</a></li>
-
-  <li>Bijapur, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>; ii.
-    <a href="#Page_78">78</a></li>
-
-  <li>Billequin, M., ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>Binyon, L., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a>; ii.
-    <a href="#Page_242">242</a></li>
-
-  <li>Bird, the red, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Birds, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Birds, the Hundred, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>“Birthday plates,” ii.
-    <a href="#Page_169">169</a>,
-    <a href="#Page_207">207</a></li>
-
-  <li>Birthday, the Emperor’s, ii.
-    <a href="#Page_63">63</a></li>
-
-  <li>Biscuit, ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_75">75</a>,
-    <a href="#Page_77">77</a>,
-    <a href="#Page_100">100</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_197">197</a></li>
-
-  <li>Biscuit figures in high relief, ii.
-    <a href="#Page_89">89</a></li>
-
-  <li>Black and gold decoration, ii.
-    <a href="#Page_215">215</a></li>
-
-  <li>Black, brown, ii.
-    <a href="#Page_155">155</a></li>
-
-  <li>Black, <i>famille rose</i>, ii.
-    <a href="#Page_210">210</a></li>
-
-  <li>Black glaze, varieties of, ii.
-    <a href="#Page_156">156</a>,
-    <a href="#Page_159">159</a>,
-    <a href="#Page_192">192</a>,
-    <a href="#Page_229">229</a></li>
-
-  <li>Black ground gilt, ii.
-    <a href="#Page_231">231</a></li>
-
-  <li>Black ground, white decoration in, ii.
-    <a href="#Page_231">231</a></li>
-
-  <li id="Black">Black, mirror, ii.
-    <a href="#Page_192">192</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_226">226</a>,
-    <a href="#Page_230">230</a></li>
-
-  <li>Black Rock Hill, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li>Blackthorn, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li>Black Warrior, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a></li>
-
-  <li><i>Blanc de Chine</i>, ii.
-    <a href="#Page_109">109</a>,
-    <a href="#Page_112">112</a></li>
-
-  <li>Blessings, five, ii.
-    <a href="#Page_300">300</a></li>
-
-  <li class="hangingindent" id="Blue">“Blue and white,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a>; ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_8">8</a>,
-    <a href="#Page_9">9</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_13">13</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_26">26</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_36">36</a>,
-    <a href="#Page_38">38</a>,
-    <a href="#Page_47">47</a>,
-    <a href="#Page_56">56</a>,
-    <a href="#Page_89">89</a>,
-    <a href="#Page_92">92</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_239">239</a>,
-    <a href="#Page_240">240</a>,
-    <a href="#Page_263">263</a>,
-    <a href="#Page_268">268</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li>Blue and white, K’ang Hsi, ii.
-    <a href="#Page_67">67</a>,
-    <a href="#Page_128">128–144</a></li>
-
-  <li>Blue and white porcelain, Ming, ii.
-    <a href="#Page_105">105</a></li>
-
-  <li>Blue, cloisonné, ii.
-    <a href="#Page_219">219</a>,
-    <a href="#Page_220">220</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li>Blue, lapis lazuli, ii.
-    <a href="#Page_239">239</a></li>
-
-  <li>Blue, mazarine, ii.
-    <a href="#Page_183">183</a></li>
-
-  <li>Blue, mottled, ii.
-    <a href="#Page_204">204</a></li>
-
-  <li class="hangingindent">“Blue of the sky after rain,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>; ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_179">179</a></li>
-
-  <li>Blue painting on Sung wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_158">158</a></li>
-
-  <li>Blue, powder, ii.
-    <a href="#Page_127">127</a>,
-    <a href="#Page_170">170</a>,
-    <a href="#Page_180">180</a>,
-    <a href="#Page_181">181</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_218">218</a></li>
-
-  <li>Blue “put in press,” ii.
-    <a href="#Page_143">143</a><span class="pagenum" id="Page_310">[310]</span></li>
-
-  <li>Blue, ritual significance of, ii.
-    <a href="#Page_195">195</a></li>
-
-  <li>Blue, scratched, ii.
-    <a href="#Page_144">144</a></li>
-
-  <li>Blue, sky, ii.
-    <a href="#Page_232">232</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Blue, soufflé, ii.
-    <a href="#Page_127">127</a>,
-    <a href="#Page_180">180</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Blue, sponged, ii.
-    <a href="#Page_180">180</a>,
-    <a href="#Page_183">183</a></li>
-
-  <li>Blue, Temple of Heaven, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Blue, turquoise, ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_184">184</a>,
-    <a href="#Page_185">185</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_237">237</a></li>
-
-  <li>Bock, Carl, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Bodhidharma, ii.
-    <a href="#Page_110">110</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Book stands, ii.
-    <a href="#Page_276">276</a></li>
-
-  <li>Border patterns, ii.
-    <a href="#Page_67">67</a>,
-    <a href="#Page_257">257</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li class="hangingindent">Borneo, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_70">70</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li>Börschmann, Herr Ernst, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_8">8</a></li>
-
-  <li>Bottengruber, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Böttger ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_192">192</a></li>
-
-  <li>Bow, ii.
-    <a href="#Page_112">112</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li>Bowls, ii.
-    <a href="#Page_277">277</a></li>
-
-  <li>Bowls, alms, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Bowls, brinjal, ii.
-    <a href="#Page_151">151</a></li>
-
-  <li>Bowls, bulb, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a></li>
-
-  <li>Bowls, double-bottomed, ii.
-    <a href="#Page_115">115</a></li>
-
-  <li>Bowls, fish, ii.
-    <a href="#Page_36">36</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_117">117</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_234">234</a>,
-    <a href="#Page_275">275</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li>Bowls, hookah, ii.
-    <a href="#Page_97">97</a></li>
-
-  <li>Bowls, medallion, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li>Bowls, Ming, ii.
-    <a href="#Page_97">97</a></li>
-
-  <li>Bowls, narghili, ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Bowls, Peking, ii.
-    <a href="#Page_239">239</a>,
-    <a href="#Page_244">244</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Bowls, Polynesian khava, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_129">129</a></li>
-
-  <li>Bowls, “press-hand,” ii.
-    <a href="#Page_93">93</a></li>
-
-  <li>Bowls, rice, ii.
-    <a href="#Page_148">148</a></li>
-
-  <li>Bowls, soup, ii.
-    <a href="#Page_269">269</a></li>
-
-  <li>Bowls, swordgrass, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a></li>
-
-  <li>Bowls, tea, ii.
-    <a href="#Page_5">5</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Bowls, wedding, ii.
-    <a href="#Page_268">268</a></li>
-
-  <li class="hangingindent">Boxes, ii.
-    <a href="#Page_56">56</a>,
-    <a href="#Page_57">57</a>,
-    <a href="#Page_60">60</a>,
-    <a href="#Page_68">68</a>,
-    <a href="#Page_85">85</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_246">246</a>,
-    <a href="#Page_265">265</a>,
-    <a href="#Page_275">275</a>,
-    <a href="#Page_276">276</a>,
-    <a href="#Page_288">288</a></li>
-
-  <li>Boy holding a branch, ii.
-    <a href="#Page_57">57</a></li>
-
-  <li>Boys, Hundred, ii.
-    <a href="#Page_62">62</a></li>
-
-  <li>Boys in branches, design of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a></li>
-
-  <li>Branches, the Twelve, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a></li>
-
-  <li>Bretschneider, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li>Bricks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Brighton Museum, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Brinjal bowls, ii.
-    <a href="#Page_151">151</a></li>
-
-  <li class="hangingindent">Brinkley, F., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_102">102</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a>; ii.
-    <a href="#Page_111">111</a>,
-    <a href="#Page_113">113</a>,
-    <a href="#Page_114">114</a>,
-    <a href="#Page_190">190</a></li>
-
-  <li>Bristol, ii.
-    <a href="#Page_141">141</a>,
-    <a href="#Page_258">258</a></li>
-
-  <li>British Museum, <i>passim</i></li>
-
-  <li class="hangingindent">Brocade designs, ii.
-    <a href="#Page_38">38</a>,
-    <a href="#Page_165">165</a>,
-    <a href="#Page_167">167</a>,
-    <a href="#Page_170">170</a>,
-    <a href="#Page_243">243</a>,
-    <a href="#Page_244">244</a>,
-    <a href="#Page_303">303</a></li>
-
-  <li>Bronze forms, ii.
-    <a href="#Page_272">272</a></li>
-
-  <li>Bronze patterns, ii.
-    <a href="#Page_240">240</a>,
-    <a href="#Page_243">243</a>,
-    <a href="#Page_247">247</a></li>
-
-  <li>Brooke, Lieutenant, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_10">10</a></li>
-
-  <li>Brown, coffee, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a></li>
-
-  <li class="hangingindent">“Brown mouth and iron foot,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>; ii.
-    <a href="#Page_188">188</a>,
-    <a href="#Page_217">217</a></li>
-
-  <li>Brush pot, ii.
-    <a href="#Page_32">32</a>,
-    <a href="#Page_60">60</a></li>
-
-  <li>Brush rest, ii.
-    <a href="#Page_14">14</a>,
-    <a href="#Page_60">60</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_275">275</a></li>
-
-  <li>Brush washers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a></li>
-
-  <li>“Buccaro,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a></li>
-
-  <li>Buddha, ii.
-    <a href="#Page_40">40</a></li>
-
-  <li>Buddhism, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_6">6</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a>; ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Buddhist emblems, eight, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_38">38</a>,
-    <a href="#Page_42">42</a>,
-    <a href="#Page_298">298</a></li>
-
-  <li>Bulb bowls, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a></li>
-
-  <li>Burdett-Coutts Collection, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li>Burial customs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_14">14</a></li>
-
-  <li class="hangingindent" id="Burlington">Burlington Fine Arts Club Exhibition, catalogue of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_209">209</a>; ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_27">27</a>,
-    <a href="#Page_33">33</a>,
-    <a href="#Page_60">60</a>,
-    <a href="#Page_68">68</a>,
-    <a href="#Page_77">77</a>,
-    <a href="#Page_78">78</a>,
-    <a href="#Page_85">85</a></li>
-
-  <li class="hangingindent"><i>Burlington Magazine</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_102">102</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>; ii.
-    <a href="#Page_14">14</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_23">23</a>,
-    <a href="#Page_70">70</a>,
-    <a href="#Page_73">73</a>,
-    <a href="#Page_75">75</a>,
-    <a href="#Page_89">89</a>,
-    <a href="#Page_90">90</a>,
-    <a href="#Page_105">105</a>,
-    <a href="#Page_209">209</a>,
-    <a href="#Page_212">212</a>,
-    <a href="#Page_213">213</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li>Burman, A., ii.
-    <a href="#Page_43">43</a>,
-    <a href="#Page_145">145</a>,
-    <a href="#Page_164">164</a></li>
-
-  <li>Burton, W., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_47">47</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>; ii.
-    <a href="#Page_127">127</a></li>
-
-  <li>Burton and Hobson, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li class="hangingindent">Bushell, S. W., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xviii"><i>xviii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_102">102</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_140">140</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_160">160</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>; ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_2">2</a>,
-    <a href="#Page_8">8</a>,
-    <a href="#Page_18">18</a>,
-    <a href="#Page_19">19</a>,
-    <a href="#Page_22">22</a>,
-    <a href="#Page_26">26</a>,
-    <a href="#Page_35">35</a>,
-    <a href="#Page_39">39</a>,
-    <a href="#Page_40">40</a>,
-    <a href="#Page_42">42</a>,
-    <a href="#Page_43">43</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_176">176</a>,
-    <a href="#Page_188">188</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_212">212</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_242">242</a>,
-    <a href="#Page_248">248</a>,
-    <a href="#Page_267">267</a></li>
-
-  <li>Butterflies, ii.
-    <a href="#Page_266">266</a>,
-    <a href="#Page_289">289</a>,
-    <a href="#Page_295">295</a></li>
-
-  <li>Butterfly cages, ii.
-    <a href="#Page_160">160</a></li>
-</ul>
-
-<ul>
-  <li>Cadogan Teapot, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Caffieri, ii.
-    <a href="#Page_194">194</a></li>
-
-  <li>Cairo, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Calicut, ii.
-    <a href="#Page_209">209</a></li>
-
-  <li>Candle design, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_133">133</a>,
-    <a href="#Page_203">203</a></li>
-
-  <li>Candlesticks, ii.
-    <a href="#Page_272">272</a></li>
-
-  <li>Canton, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_202">202</a>,
-    <a href="#Page_212">212</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li>Canton Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li>Canton enamels, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>; ii.
-    <a href="#Page_209">209</a>,
-    <a href="#Page_211">211</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Canton merchants, ii.
-    <a href="#Page_140">140</a></li>
-
-  <li>Canton, porcelain decorated at, ii.
-    <a href="#Page_211">211</a>,
-    <a href="#Page_256">256</a></li>
-
-  <li class="hangingindent">Canton ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Cash, ii.
-    <a href="#Page_76">76</a>,
-    <a href="#Page_288">288</a></li>
-
-  <li>Cassia tree, ii.
-    <a href="#Page_291">291</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Castiglione, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Catalogue of Boston Exhibition, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a></li>
-
-  <li class="hangingindent">Catalogue of Burlington Fine Arts Club Exhibition, <i>See</i> <a href="#Burlington">Burlington Fine Arts Club</a>.</li>
-
-  <li>Catalogue of Loan Exhibition, New York, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a></li>
-
-  <li>Catalogue of Morgan Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_140">140</a></li>
-
-  <li class="hangingindent">Celadon, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>; ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_146">146</a>,
-    <a href="#Page_188">188</a>,
-    <a href="#Page_266">266</a>,
-    <a href="#Page_270">270</a></li>
-
-  <li>Celadon, brownish, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a></li>
-
-  <li>Celadon, Corean, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_51">51</a></li>
-
-  <li>Celadon, inlaid, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a></li>
-
-  <li>Celadon, Japanese, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a></li>
-
-  <li>Celadon, Ming, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a></li>
-
-  <li>Celadon, Siamese, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a></li>
-
-  <li>Celadon, spotted, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>Celadon, Sung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a></li>
-
-  <li>Celadon wares, traffic in, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a><span class="pagenum" id="Page_311">[311]</span></li>
-
-  <li><i>Celadonfrage</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li><i>Ch’a Ching</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Cha no yu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a></li>
-
-  <li><i>Ch’a Su</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a></li>
-
-  <li>Ch’a yeh mo, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>Chadwick, arms of, ii.
-    <a href="#Page_256">256</a></li>
-
-  <li>Ch’ai ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a></li>
-
-  <li>Chain pattern border, ii.
-    <a href="#Page_257">257</a></li>
-
-  <li>Chalfant, F. H., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_4">4</a></li>
-
-  <li><i>Chambrelans</i>, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Chang, potter, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a></li>
-
-  <li>Chang brothers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a></li>
-
-  <li>Chang Ch’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_6">6</a>; ii.
-    <a href="#Page_14">14</a>,
-    <a href="#Page_291">291</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li>Chang Chiu-ko, ii.
-    <a href="#Page_289">289</a></li>
-
-  <li><i>Ch’ang ming fu kuei</i>, ii.
-    <a href="#Page_53">53</a></li>
-
-  <li><i>Ch’ang nan chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a></li>
-
-  <li>Chang-kuo Lao, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Chang Sêng-yu, ii.
-    <a href="#Page_292">292</a></li>
-
-  <li><i>Chang wu chih</i>, ii.
-    <a href="#Page_94">94</a></li>
-
-  <li>Chang yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a></li>
-
-  <li>Chang Ying-wên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a></li>
-
-  <li>Ch’ang-chou Chên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Ch’ang-nan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a></li>
-
-  <li>Chang-tê Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a></li>
-
-  <li>Chantilly, ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Chao, ii.
-    <a href="#Page_59">59</a></li>
-
-  <li>Chao family, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li>Chao Ju-kua, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a></li>
-
-  <li>Chao-ch’ing Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li>Ch’ao-chou Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a></li>
-
-  <li>Characters, grass, ii.
-    <a href="#Page_301">301</a></li>
-
-  <li>Characters, Sanskrit, ii.
-    <a href="#Page_66">66</a>,
-    <a href="#Page_240">240</a>,
-    <a href="#Page_286">286</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Characters, seal, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_208">208</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_209">209</a>; ii.
-    <a href="#Page_301">301</a></li>
-
-  <li>Characters, the Hundred Shou, ii.
-    <a href="#Page_61">61</a></li>
-
-  <li>Charles Edward, Prince, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li>Charlotte, Queen of Prussia, ii.
-    <a href="#Page_133">133</a>,
-    <a href="#Page_155">155</a></li>
-
-  <li>Charlottenberg Palace, ii.
-    <a href="#Page_90">90</a>,
-    <a href="#Page_133">133</a>,
-    <a href="#Page_155">155</a>,
-    <a href="#Page_193">193</a></li>
-
-  <li>Charteris, Hon. E., ii.
-    <a href="#Page_33">33</a></li>
-
-  <li>Chavannes, Prof. E., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a></li>
-
-  <li>Chelsea, ii.
-    <a href="#Page_112">112</a>,
-    <a href="#Page_140">140</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li>Ch’ên Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a></li>
-
-  <li>Ch’ên Chung-mei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a></li>
-
-  <li>Ch’ên-lin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a></li>
-
-  <li>Chên Tsai, ii.
-    <a href="#Page_110">110</a></li>
-
-  <li>Ch’ên Wên-ching, ii.
-    <a href="#Page_78">78</a></li>
-
-  <li>Chêng Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Chêng Ho, ii.
-    <a href="#Page_12">12</a></li>
-
-  <li>Ch’êng Hua mark, ii.
-    <a href="#Page_155">155</a>,
-    <a href="#Page_189">189</a>,
-    <a href="#Page_252">252</a></li>
-
-  <li>Ch’êng Hua wares, ii.
-    <a href="#Page_22">22–29</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li>Ch’êng ni, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li><i>Ch’êng tê t’ang</i>, ii.
-    <a href="#Page_265">265</a></li>
-
-  <li>Ch’êng Tê wares, ii.
-    <a href="#Page_29">29–33</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_208">208</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Chêng T’ung, ii.
-    <a href="#Page_27">27</a>,
-    <a href="#Page_28">28</a></li>
-
-  <li><i>Chêng tzŭ t’ung</i>, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a></li>
-
-  <li>Ch’êng-tu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_13">13</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li>Chên-ting Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a>; ii.
-    <a href="#Page_107">107</a></li>
-
-  <li>Chess, ii.
-    <a href="#Page_276">276</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li class="hangingindent"><i>Chi Ch’ing</i> (dark violet blue), ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_219">219</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_270">270</a></li>
-
-  <li>Chi Chou ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a></li>
-
-  <li class="hangingindent"><i>Chi hung</i> (red), ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_10">10</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_101">101</a>,
-    <a href="#Page_118">118</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_145">145</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_268">268</a></li>
-
-  <li><i>Ch’i sung t’ang shih hsiao lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a></li>
-
-  <li>Chia Ching wares, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_34">34–55</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li>Chia Ch’ing wares, ii.
-    <a href="#Page_262">262</a>,
-    <a href="#Page_263">263</a></li>
-
-  <li><i>Chiang hsia pa chün</i>, ii.
-    <a href="#Page_40">40</a></li>
-
-  <li class="hangingindent"><i>Ch’iang hsi t’ung chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_223">223</a>,
-    <a href="#Page_228">228</a>,
-    <a href="#Page_237">237</a>,
-    <a href="#Page_267">267</a></li>
-
-  <li class="hangingindent">Chiang, Memoirs of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_158">158</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_160">160</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a>; ii.
-    <a href="#Page_20">20</a></li>
-
-  <li><i>Chiang-t’ai</i>, ii.
-    <a href="#Page_141">141</a></li>
-
-  <li><i>Chiang t’ang</i>, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li>Chicago, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>Chicken cups, ii.
-    <a href="#Page_xvii"><i>xvii</i></a>,
-    <a href="#Page_23">23</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_26">26</a></li>
-
-  <li>Ch’ien family, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a></li>
-
-  <li><i>Ch’ien k’un ch’ing t’ai</i>, ii.
-    <a href="#Page_56">56</a></li>
-
-  <li>Ch’ien Lung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>; ii.
-    <a href="#Page_33">33</a>,
-    <a href="#Page_227">227–249</a></li>
-
-  <li>Ch’ien Lung, Imperial poems of, ii.
-    <a href="#Page_227">227</a>,
-    <a href="#Page_301">301</a></li>
-
-  <li>Ch’ien Lung monochromes, ii.
-    <a href="#Page_216">216</a></li>
-
-  <li>Ch’ien Niu, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Chien yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_8">8</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130–135</a>; ii.
-    <a href="#Page_109">109</a></li>
-
-  <li>Chien-an, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a></li>
-
-  <li>Chien-ning Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a>; ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Chien-yang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a>; ii.
-    <a href="#Page_109">109</a></li>
-
-  <li><i>Chih lung</i>, ii.
-    <a href="#Page_157">157</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li><i>Ch’i-hsia-lei-k’ao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a></li>
-
-  <li>Chih-t’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li class="hangingindent">Children playing with branches of flowers design, ii.
-    <a href="#Page_56">56</a></li>
-
-  <li>Children (<i>wa wa</i>), ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li id="Chi_lin"><i>Ch’i-lin</i>, ii.
-    <a href="#Page_67">67</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li><i>Ch’i-lin</i> reclining before fountain, ii.
-    <a href="#Page_67">67</a></li>
-
-  <li>Chin dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li><i>Chin huang</i> (golden yellow), ii.
-    <a href="#Page_37">37</a></li>
-
-  <li><i>Chin lü</i>, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li class="hangingindent"><i>Ch’in ting ku chin t’u shu chi ch’êng</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a></li>
-
-  <li><i>Ch’in ying wên</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li class="hangingindent">Chinese and Japanese porcelain, the distinction between, ii.
-    <a href="#Page_174">174</a></li>
-
-  <li><i>Chinese Commercial Guide</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a></li>
-
-  <li>Chinese porcelain decorated in Europe, ii.
-    <a href="#Page_259">259</a></li>
-
-  <li><i>Ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a></li>
-
-  <li><i>Ch’ing pi tsa chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a></li>
-
-  <li class="hangingindent"><i>Ch’ing pi ts’ang</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>; ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_13">13</a></li>
-
-  <li><i>Ch’ing po tsa chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a></li>
-
-  <li>Ching T’ai, ii.
-    <a href="#Page_27">27</a></li>
-
-  <li><i>Ch’ing tien</i>, ii.
-    <a href="#Page_142">142</a>,
-    <a href="#Page_201">201</a></li>
-
-  <li><i>Ch’ing ts’ung</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li><i>Ch’ing tz’ŭ</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a></li>
-
-  <li><i>Ch’ing</i> ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a></li>
-
-  <li><i>Ch’ing wei t’ang</i>, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li><i>Ch’ing yi lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a></li>
-
-  <li class="hangingindent">Ching-tê Chên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xv"><i>xv</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>; ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_12">12</a>,
-    <a href="#Page_212">212</a>,
-    <a href="#Page_228">228</a></li>
-
-  <li><i>Ching-tê Chên t’ao lu, passim</i></li>
-
-  <li>Ch’ing-yün, ii.
-    <a href="#Page_108">108</a><span class="pagenum" id="Page_312">[312]</span></li>
-
-  <li>Chini-hane, ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Chin-shih, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a></li>
-
-  <li>Chin-ts’un, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>Chipped edges of plates, ii.
-    <a href="#Page_140">140</a></li>
-
-  <li><i>Chiu</i>, wine, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li><i>Cho kêng lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li>Chou dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_3">3</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a>; ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Chou, Hui, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a></li>
-
-  <li>Chou kao-ch’i, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174</a></li>
-
-  <li>Chou Mao-shu, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Chou Tan-ch’üan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>; ii.
-    <a href="#Page_65">65</a></li>
-
-  <li>Chou Ts’ang, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Chrome tin, ii.
-    <a href="#Page_177">177</a></li>
-
-  <li>Chrysanthemum plant, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Ch’üan-chou Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_108">108</a></li>
-
-  <li><i>Chü chai tsa chi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a></li>
-
-  <li>Ch’ü Chih-kao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Chu fan chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li>Chu Hsi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a></li>
-
-  <li>Chu Mai-chên, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li><i>Chu ming yao</i>, ii.
-    <a href="#Page_305">305</a></li>
-
-  <li><i>Chü pao shan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li><i>Chu shih chü</i>, ii.
-    <a href="#Page_167">167</a></li>
-
-  <li><i>Ch’ŭ yao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>Ch’ŭ-Chou Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Ch’ui ch’ing</i>, ii.
-    <a href="#Page_180">180</a>,
-    <a href="#Page_181">181</a></li>
-
-  <li><i>Ch’ui hung</i>, ii.
-    <a href="#Page_125">125</a></li>
-
-  <li>Chün chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li><i>Ch’un fêng t’ang sui pi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a></li>
-
-  <li>Chün glaze of the muffle kiln, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_217">217</a></li>
-
-  <li>Chün-t’ai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a></li>
-
-  <li class="hangingindent">Chün wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109–130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_19">19</a>,
-    <a href="#Page_94">94</a>,
-    <a href="#Page_220">220</a>,
-    <a href="#Page_229">229</a></li>
-
-  <li><i>Ch’ung Chên</i>, ii.
-    <a href="#Page_86">86</a></li>
-
-  <li><i>Chung-ho-t’ang</i>, ii.
-    <a href="#Page_145">145</a></li>
-
-  <li>Church, Sir A., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a></li>
-
-  <li>Ch’ü-yang Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li>Cicada, ii.
-    <a href="#Page_73">73</a>,
-    <a href="#Page_295">295</a></li>
-
-  <li><i>Cicerone</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Citron dishes, ii.
-    <a href="#Page_8">8</a></li>
-
-  <li>Civil and military vases, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li id="Clair"><i>Clair de lune</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>; ii.
-    <a href="#Page_179">179</a>,
-    <a href="#Page_219">219</a>,
-    <a href="#Page_252">252</a></li>
-
-  <li>Clays, ferruginous, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>“Clobbered china,” ii.
-    <a href="#Page_261">261</a></li>
-
-  <li>Clennell, W. J., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a></li>
-
-  <li>Cloisonné blue, ii.
-    <a href="#Page_219">219</a>,
-    <a href="#Page_220">220</a></li>
-
-  <li>Cloisonné enamels, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>; ii.
-    <a href="#Page_17">17</a>,
-    <a href="#Page_82">82</a>,
-    <a href="#Page_209">209</a>,
-    <a href="#Page_232">232</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Cloud and thunder pattern, ii.
-    <a href="#Page_272">272</a>,
-    <a href="#Page_290">290</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Cloud pattern, ii.
-    <a href="#Page_302">302</a></li>
-
-  <li>“Cloud scroll,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>; ii.
-    <a href="#Page_42">42</a></li>
-
-  <li>Club shaped, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Cobalt, ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li>Cochin China, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>Cock, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Cole, Fay-Cooper, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a></li>
-
-  <li>Colouring agents, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a></li>
-
-  <li>Colours, <i>famille verte</i>, ii.
-    <a href="#Page_163">163</a></li>
-
-  <li>Colours, foreign, ii.
-    <a href="#Page_221">221</a>,
-    <a href="#Page_225">225</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_232">232</a>,
-    <a href="#Page_242">242</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Colours iridescent, ii.
-    <a href="#Page_241">241</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Colours, mixed, ii.
-    <a href="#Page_264">264</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li>Combed patterns, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a></li>
-
-  <li>Confucius, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_18">18</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a>; ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_43">43</a>,
-    <a href="#Page_283">283</a></li>
-
-  <li>Constantinople, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Convex centre, bowls with, ii.
-    <a href="#Page_51">51</a></li>
-
-  <li>Cope Bequest, ii.
-    <a href="#Page_149">149</a></li>
-
-  <li>Copper oxide, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a>; ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_177">177</a>,
-    <a href="#Page_232">232</a></li>
-
-  <li>Copper red, ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_55">55</a></li>
-
-  <li>Coral red, ii,
-    <a href="#Page_6">6</a>,
-    <a href="#Page_48">48</a>,
-    <a href="#Page_51">51</a></li>
-
-  <li>Corea, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_151">151</a></li>
-
-  <li>Corean design, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>; ii.
-    <a href="#Page_56">56</a></li>
-
-  <li class="hangingindent">Corean wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_102">102</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_151">151</a>; ii.
-    <a href="#Page_115">115</a></li>
-
-  <li>Cornaline, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>; ii.
-    <a href="#Page_123">123</a></li>
-
-  <li>Cornelian, ii.
-    <a href="#Page_10">10</a></li>
-
-  <li>Cornflower sprigs, ii.
-    <a href="#Page_258">258</a></li>
-
-  <li>Corpse pillows, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a></li>
-
-  <li>Cotton cultivation, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li><i>Couleurs de demi grand feu</i>, ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_20">20</a></li>
-
-  <li><i>Couleurs de grand feu</i>, ii.
-    <a href="#Page_98">98</a></li>
-
-  <li><i>Couleurs de petit feu</i>, ii.
-    <a href="#Page_20">20</a></li>
-
-  <li>“Crab’s claw” crackle i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a></li>
-
-  <li>Crab-shell green, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a></li>
-
-  <li>Cracked specimens, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li class="hangingindent" id="Crackle">Crackle, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>; ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_142">142</a>,
-    <a href="#Page_180">180</a>,
-    <a href="#Page_189">189</a>,
-    <a href="#Page_197">197</a>,
-    <a href="#Page_198">198</a>,
-    <a href="#Page_199">199</a>,
-    <a href="#Page_218">218</a></li>
-
-  <li>Crackle, apple green, ii.
-    <a href="#Page_121">121</a>,
-    <a href="#Page_125">125</a>,
-    <a href="#Page_187">187</a></li>
-
-  <li>Crackle, buff, ii.
-    <a href="#Page_145">145</a></li>
-
-  <li>Crackle, fish roe, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a></li>
-
-  <li>Crackle, green, ii.
-    <a href="#Page_170">170</a></li>
-
-  <li>Crackle, millet, ii.
-    <a href="#Page_197">197</a></li>
-
-  <li>Crackle, oatmeal, ii.
-    <a href="#Page_199">199</a></li>
-
-  <li>Crackle, plum blossom, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>; ii.
-    <a href="#Page_244">244</a></li>
-
-  <li>Crane, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>“Crane cups,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a></li>
-
-  <li>Cranes, six, ii.
-    <a href="#Page_61">61</a></li>
-
-  <li>Cricket pots, fighting, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_21">21</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_275">275</a></li>
-
-  <li>Crickets, fighting, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Crucifixion, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>Crusader plate, ii.
-    <a href="#Page_113">113</a></li>
-
-  <li>Crutch, ii.
-    <a href="#Page_287">287</a></li>
-
-  <li>Cumberbatch Collection, ii.
-    <a href="#Page_49">49</a></li>
-
-  <li>Cups floating on river, ii.
-    <a href="#Page_168">168</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li>Cups, Keyser, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>Cups, libation, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Cycles, table of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_211">211</a></li>
-
-  <li>Cyclical dates, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_213">213</a>; ii.
-    <a href="#Page_213">213</a>,
-    <a href="#Page_230">230</a>,
-    <a href="#Page_240">240</a>,
-    <a href="#Page_268">268</a></li>
-
-  <li>Cyclical dates, table of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_212">212</a></li>
-</ul>
-
-<ul>
-  <li>Dana Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a></li>
-
-  <li>Date marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a></li>
-
-  <li>Date marks prohibited, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_208">208</a></li>
-
-  <li>Dated porcelain, ii.
-    <a href="#Page_213">213</a>,
-    <a href="#Page_257">257</a>,
-    <a href="#Page_263">263</a></li>
-
-  <li>Deer, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_294">294</a></li>
-
-  <li>Deer, the Hundred, ii.
-    <a href="#Page_61">61</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li class="hangingindent">de Groot, Dr. J. J. M., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_18">18</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_19">19</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_21">21</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a>; ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_110">110</a></li>
-
-  <li>Delft, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_139">139</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_252">252</a></li>
-
-  <li>Demons, ii.
-    <a href="#Page_290">290</a></li>
-
-  <li><i>Denkmäler Persischer Baukunst</i>, ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Derby, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>; ii.
-    <a href="#Page_251">251</a>,
-    <a href="#Page_258">258</a></li>
-
-  <li>Deshima, ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Dharmatrata, ii.
-    <a href="#Page_285">285</a><span class="pagenum" id="Page_313">[313]</span></li>
-
-  <li>Dillon, E., ii.
-    <a href="#Page_26">26</a>,
-    <a href="#Page_51">51</a></li>
-
-  <li>Dinner table sets, ii.
-    <a href="#Page_36">36</a>,
-    <a href="#Page_267">267</a></li>
-
-  <li>Dishes, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Divining rod vases, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Dodder, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li>Dog, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>“Dog of Fo,” ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_149">149</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li>Double gourd shape, ii.
-    <a href="#Page_94">94</a></li>
-
-  <li>Double ring under base, ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Dour-er-Raçibi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Dragon, ii.
-    <a href="#Page_5">5</a>,
-    <a href="#Page_32">32</a>,
-    <a href="#Page_33">33</a>,
-    <a href="#Page_39">39</a>,
-    <a href="#Page_144">144</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li>Dragon and phœnix design, ii.
-    <a href="#Page_8">8</a>,
-    <a href="#Page_30">30</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_39">39</a>,
-    <a href="#Page_67">67</a>,
-    <a href="#Page_81">81</a></li>
-
-  <li>Dragon and sea waves, ii.
-    <a href="#Page_37">37</a></li>
-
-  <li>Dragon, azure, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a>; ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Dragon boat design, ii.
-    <a href="#Page_25">25</a></li>
-
-  <li>Dragon horse, ii.
-    <a href="#Page_41">41</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Dragon medallions, ii.
-    <a href="#Page_38">38</a>,
-    <a href="#Page_39">39</a></li>
-
-  <li>Dragon of the East, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Dragon procession, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Dragon rising from waves, ii.
-    <a href="#Page_170">170</a></li>
-
-  <li>Dreams, ii.
-    <a href="#Page_283">283</a></li>
-
-  <li class="hangingindent">Dresden collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_48">48</a>,
-    <a href="#Page_51">51</a>,
-    <a href="#Page_80">80</a>,
-    <a href="#Page_112">112</a>,
-    <a href="#Page_133">133</a>,
-    <a href="#Page_134">134</a>,
-    <a href="#Page_147">147</a>,
-    <a href="#Page_148">148</a>,
-    <a href="#Page_151">151</a>,
-    <a href="#Page_155">155</a>,
-    <a href="#Page_164">164</a>,
-    <a href="#Page_167">167</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_243">243</a>;</li>
-  <li class="i1">mark of, ii.
-    <a href="#Page_213">213</a></li>
-
-  <li>Drucker, J. C. J., ii.
-    <a href="#Page_139">139</a>,
-    <a href="#Page_170">170</a></li>
-
-  <li>Drums, pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a></li>
-
-  <li>Ducks on water design, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a></li>
-
-  <li>Duesbury, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Dukes, E. J., ii.
-    <a href="#Page_114">114</a>,
-    <a href="#Page_115">115</a></li>
-
-  <li>Dutch, ii.
-    <a href="#Page_89">89</a>,
-    <a href="#Page_111">111</a>,
-    <a href="#Page_191">191</a></li>
-
-  <li>Dutch East India Company, ii.
-    <a href="#Page_89">89</a>,
-    <a href="#Page_128">128</a>,
-    <a href="#Page_213">213</a></li>
-
-  <li>Dutch enamellers, ii.
-    <a href="#Page_259">259</a></li>
-
-  <li>Dutch pictures, ii.
-    <a href="#Page_73">73</a>,
-    <a href="#Page_89">89</a></li>
-
-  <li>Dwight, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_112">112</a></li>
-
-  <li>Dyaks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_223">223</a></li>
-</ul>
-
-<ul>
-  <li>Eagle, heraldic, ii.
-    <a href="#Page_139">139</a></li>
-
-  <li>Eagle on a rock, ii.
-    <a href="#Page_73">73</a></li>
-
-  <li>Earth, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>“Earthworm marks,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a></li>
-
-  <li>East India Company, British, ii.
-    <a href="#Page_133">133</a>,
-    <a href="#Page_155">155</a></li>
-
-  <li>East Indies, ii.
-    <a href="#Page_70">70</a></li>
-
-  <li>East, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Edwards, Mr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li>“Eel’s blood,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li>“Egg and tongue” pattern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a></li>
-
-  <li>Egg green, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li class="hangingindent">“Egg shell” porcelain, ii.
-    <a href="#Page_4">4</a>,
-    <a href="#Page_20">20</a>,
-    <a href="#Page_64">64</a>,
-    <a href="#Page_168">168</a>,
-    <a href="#Page_169">169</a>,
-    <a href="#Page_195">195</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_210">210</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_243">243</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li>“Egg white,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a></li>
-
-  <li>Egypt, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>; ii.
-    <a href="#Page_30">30</a>,
-    <a href="#Page_44">44</a></li>
-
-  <li>Egyptian tombs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_140">140</a></li>
-
-  <li class="hangingindent">“Eight Ambassadors of the Tribes of Man,” ii.
-    <a href="#Page_262">262</a>,
-    <a href="#Page_283">283</a></li>
-
-  <li>Eight Emblems of Happy Augury, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Eight Immortals, attributes of, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Eight Immortals of the Wine Cup, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Eight Musical Instruments, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Eight Precious Objects, ii.
-    <a href="#Page_297">297</a>,
-    <a href="#Page_298">298</a></li>
-
-  <li><i>Ei raku</i>, ii.
-    <a href="#Page_6">6</a></li>
-
-  <li>Elephants, ii.
-    <a href="#Page_61">61</a>,
-    <a href="#Page_242">242</a>,
-    <a href="#Page_269">269</a>,
-    <a href="#Page_286">286</a></li>
-
-  <li>Elephant checkers, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Elers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Elixir of life, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li><i>Emaillé sur biscuit</i>, ii.
-    <a href="#Page_152">152</a></li>
-
-  <li>Emblematic motives, ii.
-    <a href="#Page_41">41</a>,
-    <a href="#Page_62">62</a></li>
-
-  <li>Embossed ornament, ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_102">102</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Embroidery ornaments, twelve, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Empress Dowager, ii.
-    <a href="#Page_271">271</a></li>
-
-  <li>Enamel, apple green, ii.
-    <a href="#Page_103">103</a></li>
-
-  <li>Enamel, <i>famille rose</i>, ii.
-    <a href="#Page_210">210</a></li>
-
-  <li>Enamel glaze, ii.
-    <a href="#Page_21">21</a></li>
-
-  <li>Enamel on biscuit, ii.
-    <a href="#Page_21">21</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_80">80</a>,
-    <a href="#Page_152">152</a>,
-    <a href="#Page_153">153</a>,
-    <a href="#Page_160">160</a></li>
-
-  <li>Enamel, white, ii.
-    <a href="#Page_163">163</a>,
-    <a href="#Page_245">245</a></li>
-
-  <li>Enamelled ornament, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a></li>
-
-  <li>Enamelling establishments, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Enamels, Canton, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li>Enamels, mixed, ii.
-    <a href="#Page_242">242</a></li>
-
-  <li>Enamels on glaze, ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_48">48</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_161">161</a>,
-    <a href="#Page_170">170</a></li>
-
-  <li>Enamels, transition, ii.
-    <a href="#Page_169">169</a>,
-    <a href="#Page_257">257</a></li>
-
-  <li>Engraved background, ii.
-    <a href="#Page_244">244</a></li>
-
-  <li>Engraved designs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a>; ii.
-    <a href="#Page_102">102</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li class="hangingindent">d’Entrecolles’ letters, Père, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>; ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_112">112</a>,
-    <a href="#Page_114">114</a>,
-    <a href="#Page_122">122</a>,
-    <a href="#Page_124">124</a>,
-    <a href="#Page_126">126</a>,
-    <a href="#Page_127">127</a>,
-    <a href="#Page_129">129</a>,
-    <a href="#Page_130">130</a>,
-    <a href="#Page_140">140</a>,
-    <a href="#Page_141">141</a>,
-    <a href="#Page_143">143</a>,
-    <a href="#Page_148">148</a>,
-    <a href="#Page_151">151</a>,
-    <a href="#Page_161">161</a>,
-    <a href="#Page_162">162</a>,
-    <a href="#Page_163">163</a>,
-    <a href="#Page_182">182</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_188">188</a>,
-    <a href="#Page_189">189</a>,
-    <a href="#Page_192">192</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_195">195</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_198">198</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_252">252</a>,
-    <a href="#Page_276">276</a></li>
-
-  <li>Ephesus, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Epicurus, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li><i>Erh shih lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_138">138</a></li>
-
-  <li>Etched design, ii.
-    <a href="#Page_183">183</a>,
-    <a href="#Page_195">195</a></li>
-
-  <li class="hangingindent">Eumorfopoulos Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_29">29</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_57">57</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_63">63</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_69">69</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_73">73</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_111">111</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_115">115</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_191">191</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_203">203</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>; ii.
-    <a href="#Page_27">27</a>,
-    <a href="#Page_31">31</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_78">78</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_85">85</a>,
-    <a href="#Page_115">115</a>,
-    <a href="#Page_139">139</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_219">219</a>,
-    <a href="#Page_227">227</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li class="hangingindent">European influence, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>; ii.
-    <a href="#Page_90">90</a>,
-    <a href="#Page_135">135</a>,
-    <a href="#Page_209">209</a>,
-    <a href="#Page_250">250–261</a></li>
-
-  <li>European merchants, ii.
-    <a href="#Page_139">139</a></li>
-
-  <li>European shapes, ii.
-    <a href="#Page_98">98</a>,
-    <a href="#Page_128">128</a>,
-    <a href="#Page_251">251</a></li>
-
-  <li>European subjects, ii.
-    <a href="#Page_244">244</a>,
-    <a href="#Page_245">245</a>,
-    <a href="#Page_255">255</a>,
-    <a href="#Page_257">257</a></li>
-
-  <li>Ewers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a></li>
-
-  <li>Excavations in Honan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a></li>
-
-  <li>Exports forbidden, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a></li>
-
-  <li class="hangingindent">Export wares, ii.
-    <a href="#Page_44">44</a>,
-    <a href="#Page_68">68</a>,
-    <a href="#Page_70">70</a>,
-    <a href="#Page_73">73</a>,
-    <a href="#Page_78">78</a>,
-    <a href="#Page_81">81</a>,
-    <a href="#Page_85">85</a>,
-    <a href="#Page_108">108</a>,
-    <a href="#Page_128">128</a>,
-    <a href="#Page_167">167</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_245">245</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_266">266</a>,
-    <a href="#Page_271">271</a>,
-    <a href="#Page_280">280</a></li>
-</ul>
-
-<ul>
-  <li><i>Fa ch’ing</i>, ii.
-    <a href="#Page_219">219</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li><i>Fa lan</i>, ii.
-    <a href="#Page_231">231</a></li>
-
-  <li><i>Fa lang</i>, ii.
-    <a href="#Page_209">209</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li>Factories at Peking, ii.
-    <a href="#Page_126">126</a></li>
-
-  <li>Fairies, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Falkner, Frank, ii.
-    <a href="#Page_259">259</a></li>
-
-  <li><i>Famille noire</i>, ii.
-    <a href="#Page_101">101</a>,
-    <a href="#Page_159">159</a></li>
-
-  <li class="hangingindent"><i>Famille rose</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_163">163</a>,
-    <a href="#Page_169">169</a>,
-    <a href="#Page_191">191</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_208">208</a>,
-    <a href="#Page_209">209</a>,
-    <a href="#Page_210">210</a>,
-    <a href="#Page_213">213</a>,
-    <a href="#Page_214">214</a>,
-    <a href="#Page_221">221</a>,
-    <a href="#Page_242">242</a>,
-    <a href="#Page_247">247</a></li>
-
-  <li class="hangingindent"><i>Famille verte</i>, ii.
-    <a href="#Page_85">85</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_125">125</a>,
-    <a href="#Page_136">136</a>,
-    <a href="#Page_137">137</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_161">161</a>,
-    <a href="#Page_162">162</a>,
-    <a href="#Page_163">163</a>,
-    <a href="#Page_167">167</a>,
-    <a href="#Page_168">168</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_256">256</a></li>
-
-  <li><i>Famille verte</i>, dated examples of, ii.
-    <a href="#Page_168">168</a></li>
-
-  <li><i>Famille verte</i> enamels, over blue outlines, ii.
-    <a href="#Page_207">207</a></li>
-
-  <li><i>Fan</i>, ii.
-    <a href="#Page_288">288</a><span class="pagenum" id="Page_314">[314]</span></li>
-
-  <li>Fan Ching-ta, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li><i>Fan hung</i>, ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_34">34</a>,
-    <a href="#Page_35">35</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_48">48</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_55">55</a>,
-    <a href="#Page_101">101</a></li>
-
-  <li><i>Fan tz’ŭ</i>, ii.
-    <a href="#Page_196">196</a></li>
-
-  <li>Fat-shan Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a></li>
-
-  <li>Feet, cramping of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li><i>Fei ts’ui</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a>; ii.
-    <a href="#Page_237">237</a></li>
-
-  <li>Fei-kuan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li><i>Fên ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li><i>Fên hung</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_65">65</a></li>
-
-  <li><i>Fên ting</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>; ii.
-    <a href="#Page_218">218</a></li>
-
-  <li>Fêng-kan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li><i>Fêng-huang</i>, ii.
-    <a href="#Page_293">293</a></li>
-
-  <li class="hangingindent">Field Museum, Chicago, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li class="hangingindent">Figures, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_108">108</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>; ii.
-    <a href="#Page_110">110</a>,
-    <a href="#Page_151">151</a>,
-    <a href="#Page_152">152</a>,
-    <a href="#Page_197">197</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_279">279</a>,
-    <a href="#Page_283">283</a></li>
-
-  <li>Figures in European costumes, ii.
-    <a href="#Page_111">111</a>,
-    <a href="#Page_251">251</a></li>
-
-  <li>Figures in high relief, ii.
-    <a href="#Page_102">102</a></li>
-
-  <li>Firefly decoration, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li>Fish bowls, ii.
-    <a href="#Page_36">36</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_117">117</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_234">234</a>,
-    <a href="#Page_275">275</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li>Fish, double, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Fish roe crackle, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a></li>
-
-  <li>Fish roe design, ii.
-    <a href="#Page_167">167</a></li>
-
-  <li>Fish-dragon, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Fishes, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a>; ii.
-    <a href="#Page_7">7</a>,
-    <a href="#Page_9">9</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_40">40</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>FitzWilliam Museum, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_125">125</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a></li>
-
-  <li>Five blessings, ii.
-    <a href="#Page_300">300</a></li>
-
-  <li>Five colours, ii.
-    <a href="#Page_19">19</a>,
-    <a href="#Page_20">20</a></li>
-
-  <li>Florentine porcelain, ii.
-    <a href="#Page_44">44</a></li>
-
-  <li>Flower Fairy, ii.
-    <a href="#Page_289">289</a></li>
-
-  <li>Flower pots, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>; ii.
-    <a href="#Page_19">19</a>,
-    <a href="#Page_275">275</a></li>
-
-  <li>Flower vases, ii.
-    <a href="#Page_273">273</a>,
-    <a href="#Page_275">275</a></li>
-
-  <li>Flowers, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Flowers, basket of, ii.
-    <a href="#Page_67">67</a></li>
-
-  <li>Flowers, celestial, ii.
-    <a href="#Page_38">38</a></li>
-
-  <li>Flowers, fairy, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Flowers for the months, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Flowers, the Hundred, ii.
-    <a href="#Page_243">243</a></li>
-
-  <li>Flute, ii.
-    <a href="#Page_287">287</a>,
-    <a href="#Page_288">288</a></li>
-
-  <li>“Flying gallop,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Fly-whisk, ii.
-    <a href="#Page_287">287</a></li>
-
-  <li><i>Fo lang</i>, ii.
-    <a href="#Page_209">209</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li><i>Fo t’ou ch’ing</i>, ii.
-    <a href="#Page_30">30</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li>Foot, finishing off the, ii.
-    <a href="#Page_92">92</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_249">249</a></li>
-
-  <li>Foot rim, grooved, ii.
-    <a href="#Page_26">26</a>,
-    <a href="#Page_92">92</a>,
-    <a href="#Page_129">129</a></li>
-
-  <li>Forgeries, ii.
-    <a href="#Page_304">304–307</a></li>
-
-  <li>Forms, ii.
-    <a href="#Page_60">60</a>,
-    <a href="#Page_272">272–279</a></li>
-
-  <li>Fou-liang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_140">140</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a></li>
-
-  <li class="hangingindent">Fou-liang, Annals of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>; ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_228">228</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li class="hangingindent">Franks Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>; ii.
-    <a href="#Page_4">4</a>,
-    <a href="#Page_5">5</a>,
-    <a href="#Page_14">14</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_21">21</a>,
-    <a href="#Page_26">26</a>,
-    <a href="#Page_27">27</a>,
-    <a href="#Page_121">121</a></li>
-
-  <li>Franks, Sir Wollaston, ii.
-    <a href="#Page_212">212</a></li>
-
-  <li>Freer Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_129">129</a></li>
-
-  <li>French, A. B., ii.
-    <a href="#Page_212">212</a></li>
-
-  <li>“Fresh red,” ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_36">36</a>,
-    <a href="#Page_123">123</a></li>
-
-  <li>Fretwork, incised, ii.
-    <a href="#Page_76">76</a></li>
-
-  <li>Friends, three, ii.
-    <a href="#Page_269">269</a>,
-    <a href="#Page_289">289</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Frog wares, ii.
-    <a href="#Page_66">66</a></li>
-
-  <li>Frog’s spawn, ii.
-    <a href="#Page_167">167</a></li>
-
-  <li>Fruits, three, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li><i>Fu</i> (happiness), ii.
-    <a href="#Page_11">11</a></li>
-
-  <li>Fu Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li><i>Fu fan chih ts’ao</i>, ii.
-    <a href="#Page_108">108</a></li>
-
-  <li>Fu Hsi, ii.
-    <a href="#Page_41">41</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li><i>Fu ju tung hai</i>, ii.
-    <a href="#Page_62">62</a></li>
-
-  <li><i>Fu kuei</i> flower, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li><i>Fu lang</i>, ii.
-    <a href="#Page_231">231</a></li>
-
-  <li>Fu, Lu, Shou, ii.
-    <a href="#Page_62">62</a></li>
-
-  <li><i>Fu sê</i>, ii.
-    <a href="#Page_24">24</a>,
-    <a href="#Page_26">26</a></li>
-
-  <li><i>Fu shou k’ang ning</i>, ii.
-    <a href="#Page_43">43</a>,
-    <a href="#Page_75">75</a></li>
-
-  <li>Fu-hsing, ii.
-    <a href="#Page_287">287</a></li>
-
-  <li>Fukien porcelain, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_8">8</a>; ii.
-    <a href="#Page_78">78</a>,
-    <a href="#Page_108">108</a>,
-    <a href="#Page_110">110</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_259">259</a></li>
-
-  <li>Fulham, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>“Funeral vases,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li>Fungus design, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_95">95</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li class="hangingindent">Furnace transmutations, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_192">192</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_232">232</a></li>
-</ul>
-
-<ul>
-  <li>G (mark), ii.
-    <a href="#Page_136">136</a>,
-    <a href="#Page_137">137</a>,
-    <a href="#Page_167">167</a></li>
-
-  <li>Gama Sennin, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Gandhara, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a></li>
-
-  <li>Garlic-shaped vases, ii.
-    <a href="#Page_273">273</a></li>
-
-  <li>Gems, seven, ii.
-    <a href="#Page_298">298</a></li>
-
-  <li>General, the chess-playing, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a></li>
-
-  <li>Genghis Khan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a></li>
-
-  <li>Genii of Mirth and Harmony, Twin, ii.
-    <a href="#Page_159">159</a>,
-    <a href="#Page_288">288</a></li>
-
-  <li class="hangingindent">Gilding, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_102">102</a>,
-    <a href="#Page_162">162</a>,
-    <a href="#Page_164">164</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_226">226</a>,
-    <a href="#Page_231">231</a>,
-    <a href="#Page_246">246</a></li>
-
-  <li>Giles, H. A., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li>Ginger jar, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a>; ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>Glass, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>; ii.
-    <a href="#Page_215">215</a></li>
-
-  <li>Glass, Bristol, ii.
-    <a href="#Page_215">215</a></li>
-
-  <li>Glass, <i>mille fiori</i>, ii.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_234">234</a></li>
-
-  <li>Glaze, bird’s egg, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_217">217</a>,
-    <a href="#Page_233">233</a></li>
-
-  <li class="hangingindent">Glaze, black, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>; ii.
-    <a href="#Page_192">192</a></li>
-
-  <li>Glaze, chocolate brown, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li>Glaze, crystalline, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Glaze, donkey’s liver and horse’s lung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a></li>
-
-  <li>Glaze, dragon skin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li>Glaze, first use of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_8">8</a></li>
-
-  <li class="hangingindent">Glaze, <i>flambé</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>; ii.
-    <a href="#Page_85">85</a>,
-    <a href="#Page_124">124</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_232">232</a>,
-    <a href="#Page_233">233</a>,
-    <a href="#Page_235">235</a></li>
-
-  <li>Glaze, Han, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_10">10</a></li>
-
-  <li>Glaze, hare’s fur, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a></li>
-
-  <li>Glaze, iron rust, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>Glaze, lavender, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_63">63</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a></li>
-
-  <li>Glaze, lavender grey, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a></li>
-
-  <li>Glaze, lemon yellow, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li>Glaze, leopard skin, ii.
-    <a href="#Page_192">192</a></li>
-
-  <li>Glaze, liver, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Glaze, maroon red, ii.
-    <a href="#Page_178">178</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Glaze, Ming, ii.
-    <a href="#Page_93">93</a></li>
-
-  <li>Glaze, moon white, ii.
-    <a href="#Page_224">224</a></li>
-
-  <li>Glaze, oil green, ii.
-    <a href="#Page_224">224</a></li>
-
-  <li>Glaze, old turquoise, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a></li>
-
-  <li>Glaze, opalescent, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_51">51</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a></li>
-
-  <li>Glaze, peach bloom, ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_146">146</a>,
-    <a href="#Page_176">176</a>,
-    <a href="#Page_177">177</a>,
-    <a href="#Page_178">178</a>,
-    <a href="#Page_179">179</a></li>
-
-  <li>Glaze, pea green, ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_99">99</a><span class="pagenum" id="Page_315">[315]</span></li>
-
-  <li>Glaze, preparing the, ii.
-    <a href="#Page_248">248</a></li>
-
-  <li>Glaze, red, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a>; ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_64">64</a>,
-    <a href="#Page_79">79</a></li>
-
-  <li>Glaze, red Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a></li>
-
-  <li>Glaze, robin’s egg, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>; ii.
-    <a href="#Page_217">217</a></li>
-
-  <li>Glaze, shrivelled, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>; ii.
-    <a href="#Page_31">31</a>,
-    <a href="#Page_245">245</a></li>
-
-  <li>Glaze, sun-stone, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Glaze, T’ang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li class="hangingindent">Glaze, turquoise, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_127">127</a>,
-    <a href="#Page_184">184</a>,
-    <a href="#Page_185">185</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Glaze, varieties of black, ii.
-    <a href="#Page_229">229</a></li>
-
-  <li>Glaze, yellow, ii.
-    <a href="#Page_28">28</a>,
-    <a href="#Page_126">126</a></li>
-
-  <li class="hangingindent">Glaze. <i>See also</i> <a href="#Black">Black</a>, <a href="#Blue">Blue</a>, <a href="#Red">Red</a>, <a href="#Yellow">Yellow</a>, <a href="#Green">Green</a>, etc.
-<i>Also</i> <a href="#Clair"><i>Clair de lune</i></a>, <a href="#Sang"><i>Sang de bœuf</i></a>, <a href="#Crackle">Crackle</a>, <a href="#Hare">Hare’s fur</a>,
-<a href="#Kingfisher">Kingfisher’s feathers</a>, <a href="#Tea">Tea dust</a>, <a href="#Iron">Iron rust</a>.</li>
-
-  <li>Glazes, Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a></li>
-
-  <li>Glazing, methods of, ii.
-    <a href="#Page_92">92</a>,
-    <a href="#Page_249">249</a></li>
-
-  <li>Glazing mixture, ii.
-    <a href="#Page_163">163</a></li>
-
-  <li>Gods of longevity, rank, and happiness, ii.
-    <a href="#Page_159">159</a></li>
-
-  <li>Goff Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Golden brown, ii.
-    <a href="#Page_65">65</a></li>
-
-  <li>Gombroon ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>; ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Gotha Museum, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a></li>
-
-  <li>Gourd shape, ii.
-    <a href="#Page_94">94</a>,
-    <a href="#Page_273">273</a>,
-    <a href="#Page_287">287</a></li>
-
-  <li>Gouthière, ii.
-    <a href="#Page_194">194</a></li>
-
-  <li>Graceful ladies, ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_136">136</a></li>
-
-  <li>Græco-Buddhist influence, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a></li>
-
-  <li>Græco-Roman influence, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a></li>
-
-  <li><i>Graffiato</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a></li>
-
-  <li>“Grains of millet,” ii.
-    <a href="#Page_13">13</a></li>
-
-  <li>Grain pattern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li class="hangingindent">Grandidier Collection, Louvre, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_185">185</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_195">195</a>; ii.
-    <a href="#Page_75">75</a>,
-    <a href="#Page_163">163</a>,
-    <a href="#Page_168">168</a></li>
-
-  <li>Grape vine cup, ii.
-    <a href="#Page_24">24</a></li>
-
-  <li>Grass characters, ii.
-    <a href="#Page_301">301</a></li>
-
-  <li>Grasshoppers, ii.
-    <a href="#Page_24">24</a></li>
-
-  <li><i>Graviata</i>, ii.
-    <a href="#Page_239">239</a></li>
-
-  <li>Great Bear, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Great Wall of China, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li id="Green">Green, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Green, apple, ii.
-    <a href="#Page_177">177</a>,
-    <a href="#Page_188">188</a></li>
-
-  <li>Green, cucumber tint, ii.
-    <a href="#Page_157">157</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Green, <i>eau de nil</i> tint, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Green, emerald, ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_51">51</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li>“Green of a thousand hills,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a></li>
-
-  <li>Green, opaque bluish, ii.
-    <a href="#Page_244">244</a></li>
-
-  <li>Green, snake skin, ii.
-    <a href="#Page_127">127</a>,
-    <a href="#Page_187">187</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Grœneveldt, W. P., ii.
-    <a href="#Page_12">12</a></li>
-
-  <li>Grotto pieces, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>; ii.
-    <a href="#Page_151">151</a></li>
-
-  <li>Grünwedel Expedition, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a></li>
-
-  <li>Gulland, W., ii.
-    <a href="#Page_29">29</a></li>
-
-  <li>Gypsum, ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_196">196</a></li>
-</ul>
-
-<ul>
-  <li><i>Haarlem</i>, ii.
-    <a href="#Page_136">136</a></li>
-
-  <li>Hainhofer, Philipp, ii.
-    <a href="#Page_48">48</a>,
-    <a href="#Page_73">73</a></li>
-
-  <li><i>Hai shou</i>, ii.
-    <a href="#Page_61">61</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li><i>Hakugorai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_151">151</a></li>
-
-  <li>Hall marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_217">217</a>; ii.
-    <a href="#Page_265">265</a></li>
-
-  <li>Halsey, Mrs., ii.
-    <a href="#Page_13">13</a>,
-    <a href="#Page_47">47</a>,
-    <a href="#Page_78">78</a></li>
-
-  <li>Hamburg Museum, ii.
-    <a href="#Page_90">90</a></li>
-
-  <li>Han dynasty, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5–22</a></li>
-
-  <li>Han glaze, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_10">10</a></li>
-
-  <li><i>Han hsing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Handles, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a>; ii.
-    <a href="#Page_277">277</a></li>
-
-  <li>Hang Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_43">43</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a></li>
-
-  <li>Hang Chou Kuan ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li><i>Han Kan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li>Han Lin College, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a></li>
-
-  <li>Han-tan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li>Hao Shih-chiu, ii.
-    <a href="#Page_64">64</a>,
-    <a href="#Page_178">178</a>,
-    <a href="#Page_219">219</a></li>
-
-  <li>“Happy meeting,” ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Hare mark, ii.
-    <a href="#Page_67">67</a>,
-    <a href="#Page_82">82</a></li>
-
-  <li>Hare, the, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_289">289</a>,
-    <a href="#Page_291">291</a></li>
-
-  <li class="hangingindent" id="Hare">“Hare’s fur” glaze, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a>; ii.
-    <a href="#Page_108">108</a></li>
-
-  <li>Hâriti, ii.
-    <a href="#Page_111">111</a></li>
-
-  <li>Hat stand, ii.
-    <a href="#Page_31">31</a>,
-    <a href="#Page_97">97</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>Hawthorn design, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>Heaven, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Heaven, Temple of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>; ii.
-    <a href="#Page_195">195</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li><i>Hei chê shih</i>, ii.
-    <a href="#Page_98">98</a></li>
-
-  <li>Hêng fêng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>Herend, ii.
-    <a href="#Page_306">306</a></li>
-
-  <li>Heroes of Han dynasty, the three, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>“Hill censer,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>“Hill jar,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Hippisley, A. E., ii.
-    <a href="#Page_64">64</a>,
-    <a href="#Page_122">122</a>,
-    <a href="#Page_216">216</a>,
-    <a href="#Page_290">290</a>,
-    <a href="#Page_292">292</a>,
-    <a href="#Page_300">300</a></li>
-
-  <li>Hippisley Collection, ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_246">246</a>,
-    <a href="#Page_265">265</a></li>
-
-  <li>Hirado, ii.
-    <a href="#Page_14">14</a>,
-    <a href="#Page_25">25</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_147">147</a></li>
-
-  <li>Hirth and Rockhill, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a></li>
-
-  <li>Hirth Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a></li>
-
-  <li class="hangingindent">Hirth, Prof., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_30">30</a></li>
-
-  <li><i>Ho</i> (colour), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Ho Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Ho Ch’ou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li>Ho Chung-ch’u, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a></li>
-
-  <li>Ho Hsien-ku, ii.
-    <a href="#Page_152">152</a></li>
-
-  <li>Honan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Honan Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>; ii.
-    <a href="#Page_305">305</a></li>
-
-  <li>“Honeysuckle” pattern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a></li>
-
-  <li>Hookah bowl, ii.
-    <a href="#Page_97">97</a></li>
-
-  <li>Ho-pin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li>Horses of Mu Wang, the eight, ii.
-    <a href="#Page_289">289</a></li>
-
-  <li>Horses, sea, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Horse, the white, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Hose and McDougall, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Ho-shang, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Hotei, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Hou Hsien Shêng, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Hsi Shih, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Hsi Wang Fu, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Hsi Wang Mu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>; ii.
-    <a href="#Page_107">107</a>,
-    <a href="#Page_141">141</a>,
-    <a href="#Page_264">264</a>,
-    <a href="#Page_286">286</a>,
-    <a href="#Page_288">288</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Hsi yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Hsi Yung Chêng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a></li>
-
-  <li>Hsi-an Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a></li>
-
-  <li>Hsiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a></li>
-
-  <li><i>Hsiang Ch’i</i>, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Hsiang family, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li><i>Hsiang ling ming huan chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li>Hsiang yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a><span class="pagenum" id="Page_316">[316]</span></li>
-
-  <li>Hsiang Yüan-p’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>; ii.
-    <a href="#Page_14">14</a></li>
-
-  <li>Hsiang-hu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>; ii.
-    <a href="#Page_220">220</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li class="hangingindent">Hsiang’s Album, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xviii"><i>xviii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>; ii.
-    <a href="#Page_7">7</a>,
-    <a href="#Page_9">9</a>,
-    <a href="#Page_12">12</a>,
-    <a href="#Page_13">13</a>,
-    <a href="#Page_20">20</a>,
-    <a href="#Page_21">21</a>,
-    <a href="#Page_23">23</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_25">25</a>,
-    <a href="#Page_32">32</a>,
-    <a href="#Page_127">127</a></li>
-
-  <li>Hsiao Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li><i>Hsiao nan</i>, ii.
-    <a href="#Page_65">65</a></li>
-
-  <li>Hsieh An, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Hsieh Min, ii.
-    <a href="#Page_223">223</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_230">230</a>,
-    <a href="#Page_231">231</a>,
-    <a href="#Page_237">237</a></li>
-
-  <li><i>Hsien</i>, ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Hsien Fêng, ii.
-    <a href="#Page_267">267</a></li>
-
-  <li class="hangingindent"><i>Hsien hung</i>, ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_6">6</a>,
-    <a href="#Page_10">10</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_34">34</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_55">55</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li><i>Hsin Chou</i> year, ii.
-    <a href="#Page_213">213</a></li>
-
-  <li>Hsin-p’ing, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a></li>
-
-  <li><i>Hsin ting</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a></li>
-
-  <li>Hsing Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li><i>Hsiu hua</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a></li>
-
-  <li><i>Hsiu nei ssŭ</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li>Hsü Ch’ih, ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_55">55</a></li>
-
-  <li>Hsü Ching, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_151">151</a></li>
-
-  <li>Hsü Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_108">108</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li><i>Hsü hua t’ang</i>, ii.
-    <a href="#Page_265">265</a></li>
-
-  <li><i>Hsü Shui Hu</i>, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Hsü Tz’ŭ-shu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a></li>
-
-  <li>Hsü wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a></li>
-
-  <li>Hsü Yu-ch’üan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a></li>
-
-  <li>Hsüan Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Hsüan ho po ku t’u lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li>Hsüan Tê, ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_7">7–21</a>,
-    <a href="#Page_22">22</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_32">32</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_246">246</a></li>
-
-  <li>Hsüan T’ung, ii.
-    <a href="#Page_271">271</a></li>
-
-  <li>Hsü-chên, ii.
-    <a href="#Page_35">35</a></li>
-
-  <li>Hsün-wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li>Hu kung, ii.
-    <a href="#Page_64">64</a></li>
-
-  <li><i>Hu yin tao jên</i>, ii.
-    <a href="#Page_64">64</a>,
-    <a href="#Page_65">65</a></li>
-
-  <li><i>Hua</i> (ornament), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>; ii.
-    <a href="#Page_43">43</a>,
-    <a href="#Page_130">130</a></li>
-
-  <li><i>Hua hua</i> (carved ornament), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a></li>
-
-  <li><i>Hua shih</i> (steatite), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>; ii.
-    <a href="#Page_141">141</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_198">198</a>,
-    <a href="#Page_201">201</a></li>
-
-  <li>Huai-ch’ing Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>Huang An, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Huang Ti, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li>Huang-chih, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a></li>
-
-  <li>Huang-ssŭ, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Hua-ting Chou, ii.
-    <a href="#Page_107">107</a></li>
-
-  <li><i>Hui hui ch’ing</i>, ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li><i>Hui hui hua</i>, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li><i>Hui hui wên</i>, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li><i>Hui hu ta ch’ing</i>, ii.
-    <a href="#Page_13">13</a></li>
-
-  <li id="Hui_se"><i>Hui sê</i> (ash colour), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>; ii.
-    <a href="#Page_199">199</a></li>
-
-  <li>Hui Tsung, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li>Hulagu Khan, ii.
-    <a href="#Page_30">30</a></li>
-
-  <li>Hundred Antiques, the, ii.
-    <a href="#Page_297">297</a>,
-    <a href="#Page_298">298</a></li>
-
-  <li>Hundred Birds, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Hundred Deer, the, ii.
-    <a href="#Page_61">61</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Hung Chih, ii.
-    <a href="#Page_28">28</a>,
-    <a href="#Page_29">29</a></li>
-
-  <li>Hung-chien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_108">108</a></li>
-
-  <li>Hung Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a></li>
-
-  <li><i>Hung fu ch’i t’ien</i>, ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_300">300</a></li>
-
-  <li>Hung Wu, ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_2">2</a></li>
-
-  <li><i>Huo yen ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li>Hu-t’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_160">160</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>; ii.
-    <a href="#Page_28">28</a></li>
-</ul>
-
-<ul>
-  <li><i>I chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_208">208</a>; ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_38">38</a></li>
-
-  <li>IHS, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li><i>I shou</i>, ii.
-    <a href="#Page_61">61</a></li>
-
-  <li>Imari, ii.
-    <a href="#Page_171">171</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_174">174</a></li>
-
-  <li>Imari, Chinese, ii.
-    <a href="#Page_161">161</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_174">174</a></li>
-
-  <li>Imitation of Chia Ching ware, ii.
-    <a href="#Page_225">225</a></li>
-
-  <li>Imitation of Chün glazes, ii.
-    <a href="#Page_217">217</a>,
-    <a href="#Page_268">268</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Imitation of Chün yao, ii.
-    <a href="#Page_234">234</a></li>
-
-  <li>Imitation of five colour porcelain, ii.
-    <a href="#Page_208">208</a></li>
-
-  <li class="hangingindent">Imitation of Hsüan Te and Chêng Hua wares, ii.
-    <a href="#Page_55">55</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li class="hangingindent">Imitation of Ko, Kuan, Ju and Lung-ch’üan glazes, ii.
-    <a href="#Page_223">223</a>,
-    <a href="#Page_268">268</a></li>
-
-  <li>Imitation of mother-of-pearl, ii.
-    <a href="#Page_234">234</a></li>
-
-  <li>Imitation of peach bloom, ii.
-    <a href="#Page_178">178</a></li>
-
-  <li>Imitation of Sung wares, ii.
-    <a href="#Page_216">216</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Imitation of the antique, ii.
-    <a href="#Page_201">201</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Imitation of Ting ware, ii.
-    <a href="#Page_65">65</a>,
-    <a href="#Page_74">74</a>,
-    <a href="#Page_142">142</a>,
-    <a href="#Page_197">197</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li class="hangingindent">Imitation of Tung-ch’ing and Lung-ch’üan glazes, ii.
-    <a href="#Page_224">224</a></li>
-
-  <li class="hangingindent">Imitation of various substances in porcelain, ii.
-    <a href="#Page_234">234</a></li>
-
-  <li class="hangingindent">Imitations, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>; ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_43">43</a>,
-    <a href="#Page_82">82</a>,
-    <a href="#Page_156">156</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_304">304–307</a></li>
-
-  <li class="hangingindent">Immortals, Eight Taoist, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_79">79</a>; ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_110">110</a>,
-    <a href="#Page_134">134</a>,
-    <a href="#Page_141">141</a>,
-    <a href="#Page_159">159</a>,
-    <a href="#Page_287">287</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Immortals of the Wine Cup, Eight, ii.
-    <a href="#Page_130">130</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li>Imperial colours, ii.
-    <a href="#Page_189">189</a></li>
-
-  <li class="hangingindent">Imperial factory, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>; ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_30">30</a>,
-    <a href="#Page_64">64</a>,
-    <a href="#Page_105">105</a></li>
-
-  <li>Imperial porcelains, lists of, ii.
-    <a href="#Page_223">223</a>,
-    <a href="#Page_267">267</a>,
-    <a href="#Page_268">268</a></li>
-
-  <li>Imperial vases, ii.
-    <a href="#Page_81">81</a></li>
-
-  <li>Imperial wares, ii.
-    <a href="#Page_148">148</a>,
-    <a href="#Page_195">195</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_229">229</a></li>
-
-  <li class="hangingindent">Incense burners, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a>; ii.
-    <a href="#Page_108">108</a>,
-    <a href="#Page_112">112</a>,
-    <a href="#Page_113">113</a>,
-    <a href="#Page_276">276</a></li>
-
-  <li>Incised designs, ii.
-    <a href="#Page_112">112</a></li>
-
-  <li>Incised fret pattern, ii.
-    <a href="#Page_275">275</a></li>
-
-  <li>India, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_44">44</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Indian lotus, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_38">38</a></li>
-
-  <li>Indian market, wares for, ii.
-    <a href="#Page_73">73</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_78">78</a>,
-    <a href="#Page_81">81</a></li>
-
-  <li>Ink pallet, ii.
-    <a href="#Page_80">80</a>,
-    <a href="#Page_155">155</a>,
-    <a href="#Page_276">276</a></li>
-
-  <li>Ink, porcelain painted in, ii.
-    <a href="#Page_214">214</a>,
-    <a href="#Page_225">225</a>,
-    <a href="#Page_229">229</a></li>
-
-  <li>Ink screens, ii.
-    <a href="#Page_160">160</a>,
-    <a href="#Page_276">276</a></li>
-
-  <li>Ink slab, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li>Inlaid designs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a></li>
-
-  <li>Inlaid ornament, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li>Insect cages, ii.
-    <a href="#Page_246">246</a></li>
-
-  <li>Inscriptions, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_112">112</a>,
-    <a href="#Page_252">252</a>,
-    <a href="#Page_301">301</a></li>
-
-  <li>Inscriptions, Koranic, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li>Inscriptions, posthumous, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_9">9</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Iridescent colours, ii.
-    <a href="#Page_241">241</a>,
-    <a href="#Page_242">242</a></li>
-
-  <li id="Iron">Iron oxide, ii.
-    <a href="#Page_189">189</a></li>
-
-  <li><i>Islam</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li>Isles of the blessed, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Ispahan, ii.
-    <a href="#Page_30">30</a></li>
-
-  <li>Italian wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a>; ii.
-    <a href="#Page_44">44</a></li>
-
-  <li>Itier, M., ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_230">230</a></li>
-
-  <li>I-yang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>I-yang Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a><span class="pagenum" id="Page_317">[317]</span></li>
-</ul>
-
-<ul>
-  <li>Jacquemart, ii.
-    <a href="#Page_160">160</a>,
-    <a href="#Page_211">211</a></li>
-
-  <li>Jade Emperor, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Jade, green, i.
-    <a href="#Page_82">82</a></li>
-
-  <li>Jade Hall, ii.
-    <a href="#Page_75">75</a></li>
-
-  <li>“Jade” mark, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>Jade, ware turned to, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li>Jao-chou Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a>; ii.
-    <a href="#Page_34">34</a>,
-    <a href="#Page_107">107</a></li>
-
-  <li>“Jao-chou jade,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a></li>
-
-  <li>Jao-chou wares, old, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a></li>
-
-  <li>Japan Society of New York, exhibition of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li>Japanese patterns, ii.
-    <a href="#Page_174">174</a></li>
-
-  <li>Japanese porcelains, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li><i>Japanese Temples and their Treasures</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a></li>
-
-  <li>Jesuit china, ii.
-    <a href="#Page_252">252</a>,
-    <a href="#Page_255">255</a></li>
-
-  <li>Jesuits, ii.
-    <a href="#Page_122">122</a>,
-    <a href="#Page_123">123</a></li>
-
-  <li>Jewel, Buddhist, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Jewel Hill, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>; ii.
-    <a href="#Page_1">1</a></li>
-
-  <li>Jewels, set with, ii.
-    <a href="#Page_51">51</a>,
-    <a href="#Page_113">113</a></li>
-
-  <li>Jih-nan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>“Joyous meeting” design, ii.
-    <a href="#Page_56">56</a></li>
-
-  <li>Ju-chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li class="hangingindent">Ju-chou wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_42">42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_51">51</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52–59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>; ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_10">10</a>,
-    <a href="#Page_123">123</a></li>
-
-  <li><i>Ju shih wo wên</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a></li>
-
-  <li><i>Ju-i</i> head or cloud border, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>; ii.
-    <a href="#Page_289">289</a></li>
-
-  <li><i>Ju-i</i> pattern, ii.
-    <a href="#Page_71">71</a>,
-    <a href="#Page_83">83</a>,
-    <a href="#Page_130">130</a>,
-    <a href="#Page_131">131</a></li>
-
-  <li><i>Ju-i</i> sceptre, ii.
-    <a href="#Page_42">42</a>,
-    <a href="#Page_287">287</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li class="hangingindent">Julien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>; ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_127">127</a>,
-    <a href="#Page_228">228</a>,
-    <a href="#Page_230">230</a>,
-    <a href="#Page_234">234</a>,
-    <a href="#Page_248">248</a>,
-    <a href="#Page_266">266</a></li>
-
-  <li>Ju-ning Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Junk, ii.
-    <a href="#Page_151">151</a></li>
-</ul>
-
-<ul>
-  <li>Kaga ware, ii.
-    <a href="#Page_155">155</a></li>
-
-  <li>K’ai-fêng Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_43">43</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a></li>
-
-  <li>Kaiser Friederik Museum, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li>Kakiemon ware, ii.
-    <a href="#Page_173">173</a>,
-    <a href="#Page_174">174</a></li>
-
-  <li><i>Kaki temmoku</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li>Kan Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a></li>
-
-  <li class="hangingindent">K’ang Hsi, ii.
-    <a href="#Page_14">14</a>,
-    <a href="#Page_27">27</a>,
-    <a href="#Page_47">47</a>,
-    <a href="#Page_77">77</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_80">80</a>,
-    <a href="#Page_118">118</a>,
-    <a href="#Page_122">122</a>,
-    <a href="#Page_126">126</a>,
-    <a href="#Page_128">128–199</a></li>
-
-  <li>K’ang Hsi blue and white, ii.
-    <a href="#Page_67">67</a>,
-    <a href="#Page_128">128–144</a></li>
-
-  <li class="hangingindent"><i>K’ang Hsi Encyclopædia</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>; ii.
-    <a href="#Page_107">107</a>,
-    <a href="#Page_109">109</a>,
-    <a href="#Page_197">197</a></li>
-
-  <li>K’ang Hsi mark, ii.
-    <a href="#Page_155">155</a>,
-    <a href="#Page_177">177</a>,
-    <a href="#Page_242">242</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li>K’ang Hsi monochromes, ii.
-    <a href="#Page_176">176</a></li>
-
-  <li><i>Kao chai man lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a></li>
-
-  <li>Kao Chiang-ts’un, ii.
-    <a href="#Page_23">23</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_25">25</a></li>
-
-  <li><i>K’ao kung chi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li>Kao Tan-jên, ii.
-    <a href="#Page_23">23</a></li>
-
-  <li>Kao Tsung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_19">19</a></li>
-
-  <li>Kaolin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>; ii.
-    <a href="#Page_91">91</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li>Karabacek, Professor, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li>Ka-shan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a></li>
-
-  <li>Kennedy Collection, ii.
-    <a href="#Page_149">149</a>,
-    <a href="#Page_194">194</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Kenzan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a></li>
-
-  <li>Kershaw, F. S., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Key-fret, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>“Keyser cups,” ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>Khotan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a></li>
-
-  <li>Kichimojin, ii.
-    <a href="#Page_111">111</a></li>
-
-  <li>Kiln supports, tubular, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a></li>
-
-  <li>Kilns, Chinese, ii.
-    <a href="#Page_100">100</a></li>
-
-  <li>Kilwa, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li id="Kingfisher">“Kingfisher’s feathers,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a></li>
-
-  <li><i>Kinrande</i>, ii.
-    <a href="#Page_6">6</a></li>
-
-  <li>Kinsai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_22">22</a></li>
-
-  <li>Kin-shan, Temple of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>; ii.
-    <a href="#Page_291">291</a></li>
-
-  <li><i>Kinuta seiji</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_57">57</a></li>
-
-  <li>Kirk, Sir John, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a></li>
-
-  <li>Kishiu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a></li>
-
-  <li>Ko Ming-hsiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a></li>
-
-  <li class="hangingindent">Ko ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_65">65</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67–72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_73">73</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_65">65</a>,
-    <a href="#Page_199">199</a>,
-    <a href="#Page_220">220</a></li>
-
-  <li>Ko Yüan-hsiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a></li>
-
-  <li><i>Kochi yaki</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a></li>
-
-  <li>Koranic inscriptions, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li><i>Ku chin t’u shu chi ch’êng</i>, ii.
-    <a href="#Page_107">107</a></li>
-
-  <li><i>Ku ch’u</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a></li>
-
-  <li>Ku Liu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a></li>
-
-  <li>Ku Ying-t’ai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li><i>Ku yü t’u p’u</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li>Kua Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Kuan Chung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li><i>Kuan ku</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a></li>
-
-  <li>Kuan P’ing, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Kuan Ti, ii.
-    <a href="#Page_159">159</a>,
-    <a href="#Page_284">284</a></li>
-
-  <li class="hangingindent">Kuan wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_51">51</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59–67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_65">65</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li>Kuan Yü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_203">203</a>; ii.
-    <a href="#Page_110">110</a>,
-    <a href="#Page_283">283</a></li>
-
-  <li>Kuang Hsi, ii.
-    <a href="#Page_271">271</a></li>
-
-  <li>Kuang Wu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_18">18</a></li>
-
-  <li>Kuang yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>; ii.
-    <a href="#Page_224">224</a></li>
-
-  <li>Kuangtung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>; ii.
-    <a href="#Page_78">78</a></li>
-
-  <li>Kuangtung wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166–173</a>; ii.
-    <a href="#Page_217">217</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li><i>Kuan-tzŭ</i>, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_3">3</a></li>
-
-  <li>Kuan-yin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_110">110</a>,
-    <a href="#Page_111">111</a>,
-    <a href="#Page_156">156</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Kuan-yin vase, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a></li>
-
-  <li>Kublai Khan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a></li>
-
-  <li><i>K’uei fêng</i>, ii.
-    <a href="#Page_269">269</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li><i>Kuei hai yü hêng chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Kuei Hsing, ii.
-    <a href="#Page_159">159</a>,
-    <a href="#Page_284">284</a></li>
-
-  <li><i>Kuei lung</i>, ii.
-    <a href="#Page_292">292</a></li>
-
-  <li>Ku-li, ii.
-    <a href="#Page_209">209</a></li>
-
-  <li>Kümmel, Dr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a></li>
-
-  <li>Kung-ch’un, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a></li>
-
-  <li>Kung Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li><i>Kung ming fu kuei</i>, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li class="hangingindent">Kunstgewerbe Museum, Berlin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_100">100</a>; ii.
-    <a href="#Page_51">51</a>,
-    <a href="#Page_252">252</a></li>
-
-  <li>K’un-wu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li>Kuo Tao-yüan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li><i>Ku-yuëh-hsüan</i>, ii.
-    <a href="#Page_202">202</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Kylin. See <a href="#Chi_lin"><i>Ch’i-lin</i></a>.</li>
-</ul>
-
-<ul>
-  <li><i>Lac burgauté</i>, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li>Lacework, ii.
-    <a href="#Page_246">246</a>,
-    <a href="#Page_263">263</a></li>
-
-  <li>Lacquer, ii.
-    <a href="#Page_234">234</a>,
-    <a href="#Page_263">263</a>,
-    <a href="#Page_265">265</a></li>
-
-  <li>Laffan, Mr., ii.
-    <a href="#Page_118">118</a></li>
-
-  <li>Lambert, arms of Sir John, ii.
-    <a href="#Page_257">257</a></li>
-
-  <li>Lamp, porcelain, ii.
-    <a href="#Page_200">200</a></li>
-
-  <li>Lancastrian pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Landscape, ii.
-    <a href="#Page_296">296</a><span class="pagenum" id="Page_318">[318]</span></li>
-
-  <li>Lang Shih-ning, ii.
-    <a href="#Page_122">122</a></li>
-
-  <li>Lang T’ing-tso, ii.
-    <a href="#Page_118">118</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_122">122</a></li>
-
-  <li class="hangingindent"><i>Lang yao</i>, ii.
-    <a href="#Page_118">118</a>,
-    <a href="#Page_119">119</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_122">122</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_124">124</a>,
-    <a href="#Page_170">170</a>,
-    <a href="#Page_176">176</a>,
-    <a href="#Page_188">188</a></li>
-
-  <li><i>Lange lijsen</i>, ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_136">136</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li>Lanterns, ii.
-    <a href="#Page_246">246</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>Lan Tsa’i-ho, ii.
-    <a href="#Page_287">287</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Lao Yang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_26">26</a></li>
-
-  <li>Lao-tzŭ, ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_159">159</a>,
-    <a href="#Page_283">283</a>,
-    <a href="#Page_286">286</a></li>
-
-  <li>Lapidary, designs cut by, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li><i>L’Astrée</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a></li>
-
-  <li class="hangingindent">Laufer, Berthold, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_3">3</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_4">4</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_6">6</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_9">9</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_10">10</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_65">65</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>; ii.
-    <a href="#Page_41">41</a>,
-    <a href="#Page_289">289</a>,
-    <a href="#Page_294">294</a>,
-    <a href="#Page_295">295</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Law’s bubble, John, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Le Sueur, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li>Leaf stencilling, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_106">106</a></li>
-
-  <li><i>Lei kung ch’i</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li>Lei-hsiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li><i>Lettres édifiantes et curieuses</i>, ii.
-    <a href="#Page_127">127</a></li>
-
-  <li><i>Li</i>, a, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a></li>
-
-  <li>Li Chü-lai, ii.
-    <a href="#Page_228">228</a></li>
-
-  <li><i>Li Chung-fang</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a></li>
-
-  <li>Li Fêng-ming, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li><i>Li hsi yai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a></li>
-
-  <li>Li Hung-chang, ii.
-    <a href="#Page_267">267</a></li>
-
-  <li>Li Jih-hua, ii.
-    <a href="#Page_65">65</a></li>
-
-  <li><i>Li ki</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li>Li Po, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a></li>
-
-  <li><i>Li t’a k’an k’ao ku ou pien</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>; ii.
-    <a href="#Page_115">115</a></li>
-
-  <li><i>Liang ch’i man chih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li>Libation cups, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Library table apparatus, ii.
-    <a href="#Page_275">275</a></li>
-
-  <li>Life movement, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Lin-ch’ing, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Lin-ch’uan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li><i>Ling chih</i>, ii.
-    <a href="#Page_38">38</a>,
-    <a href="#Page_95">95</a>,
-    <a href="#Page_286">286</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li><i>Ling lung</i> (pierced work), ii.
-    <a href="#Page_59">59</a>,
-    <a href="#Page_63">63</a>,
-    <a href="#Page_74">74</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_102">102</a></li>
-
-  <li><i>Ling nan hui chê</i>, ii.
-    <a href="#Page_211">211</a></li>
-
-  <li><i>Ling piao lu i</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li>Lin-kuei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Lin-tzŭ, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_4">4</a></li>
-
-  <li>Lions, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_68">68</a>,
-    <a href="#Page_272">272</a>,
-    <a href="#Page_286">286</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li>Lions, Buddhist, ii.
-    <a href="#Page_149">149</a>,
-    <a href="#Page_159">159</a></li>
-
-  <li>Lions in peony scrolls, ii.
-    <a href="#Page_81">81</a></li>
-
-  <li>“Liquid dawn cups,” ii.
-    <a href="#Page_64">64</a>,
-    <a href="#Page_219">219</a></li>
-
-  <li>Li-shui Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a></li>
-
-  <li>Li T’ai-po, ii.
-    <a href="#Page_160">160</a>,
-    <a href="#Page_177">177</a>,
-    <a href="#Page_185">185</a>,
-    <a href="#Page_282">282</a>,
-    <a href="#Page_292">292</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Literary success, symbol of, ii.
-    <a href="#Page_291">291</a>,
-    <a href="#Page_299">299</a></li>
-
-  <li>Literature, gods of, ii.
-    <a href="#Page_284">284</a>,
-    <a href="#Page_287">287</a></li>
-
-  <li class="hangingindent"><i>Liu ch’ing jih cha</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>Liu Han, ii.
-    <a href="#Page_288">288</a>,
-    <a href="#Page_291">291</a></li>
-
-  <li>Liu t’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a></li>
-
-  <li>Liu Yen-t’ing, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Liu-hsün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li><i>Liu-li</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a></li>
-
-  <li>Liu-li-chü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Li-shui Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>Liu-t’ien Shih, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li>Liverpool, ii.
-    <a href="#Page_141">141</a></li>
-
-  <li>Lograft, ii.
-    <a href="#Page_292">292</a></li>
-
-  <li>Lohan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a>; ii.
-    <a href="#Page_285">285</a></li>
-
-  <li><i>Lo kan ma fei</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a></li>
-
-  <li>Lokapalas, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li>Long Elizas, ii.
-    <a href="#Page_136">136</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li>Longevity, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Longevity, emblems of, ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Longevity, god of, ii.
-    <a href="#Page_40">40</a>,
-    <a href="#Page_108">108</a>,
-    <a href="#Page_159">159</a></li>
-
-  <li>Longevity, hills of, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Lorenzo de Medici, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Lorenzo, Magalotti, Count, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Lotus, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_287">287</a>,
-    <a href="#Page_288">288</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Lotus, Indian, ii.
-    <a href="#Page_25">25</a></li>
-
-  <li>Lotus service, ii.
-    <a href="#Page_245">245</a></li>
-
-  <li>Louis XIV., ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>Love chase, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>Lowestoft, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>; ii.
-    <a href="#Page_173">173</a>,
-    <a href="#Page_250">250</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_259">259</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li>Lo-yang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>; ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Lu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a></li>
-
-  <li>Lu Hung-chien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a></li>
-
-  <li>Lu Kuei-mêng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a></li>
-
-  <li>Lu Yü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a></li>
-
-  <li><i>Luan</i>, ii.
-    <a href="#Page_293">293</a></li>
-
-  <li><i>Luan ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li><i>Luan pai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a></li>
-
-  <li>Lu-hsing, ii.
-    <a href="#Page_287">287</a></li>
-
-  <li>Lung Ch’ing, ii.
-    <a href="#Page_55">55</a>,
-    <a href="#Page_56">56</a>,
-    <a href="#Page_57">57</a></li>
-
-  <li><i>Lung kang</i>, ii.
-    <a href="#Page_229">229</a></li>
-
-  <li><i>Lung ma</i>, ii.
-    <a href="#Page_41">41</a>,
-    <a href="#Page_294">294</a></li>
-
-  <li>Lung Nü, ii.
-    <a href="#Page_110">110</a></li>
-
-  <li>Lung Shang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li class="hangingindent">Lung-ch’üan wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76–88</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a>; ii.
-    <a href="#Page_94">94</a>,
-    <a href="#Page_189">189</a></li>
-
-  <li>Lung-mên, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Lustre, golden, ii.
-    <a href="#Page_241">241</a></li>
-
-  <li>Lyman’s Collection, ii.
-    <a href="#Page_78">78</a></li>
-</ul>
-
-<ul>
-  <li>Ma-Chuang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a></li>
-
-  <li><i>Ma-chün</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a></li>
-
-  <li>Ma-k’êng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Ma nao</i>, ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_123">123</a></li>
-
-  <li>Ma-ts’ang, ii.
-    <a href="#Page_35">35</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_91">91</a></li>
-
-  <li>Magnolia blossom cups, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a></li>
-
-  <li>Magnolia design, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>Magpies, ii.
-    <a href="#Page_291">291</a>,
-    <a href="#Page_294">294</a></li>
-
-  <li><i>Man</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li>Manchu, ii.
-    <a href="#Page_86">86</a></li>
-
-  <li>Mandarin porcelain, ii.
-    <a href="#Page_245">245</a>,
-    <a href="#Page_259">259</a></li>
-
-  <li>Mandarin ducks, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li><i>Mang</i>, ii.
-    <a href="#Page_292">292</a></li>
-
-  <li>Manganese, ii.
-    <a href="#Page_98">98</a>,
-    <a href="#Page_184">184</a></li>
-
-  <li>Manjusri, ii.
-    <a href="#Page_110">110</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Mantis, praying, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Marbling, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>; ii.
-    <a href="#Page_78">78</a></li>
-
-  <li>Marco Polo, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_22">22</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_43">43</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_113">113</a></li>
-
-  <li>Mark, spider, ii.
-    <a href="#Page_140">140</a></li>
-
-  <li>Marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_207">207–224</a></li>
-
-  <li>Marks and symbols, miscellaneous, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a></li>
-
-  <li>Marks, cyclical, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a></li>
-
-  <li>Marks, date, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a></li>
-
-  <li>Marks, hall, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_217">217–219</a>; ii.
-    <a href="#Page_265">265</a></li>
-
-  <li>Marks, imperial, ii.
-    <a href="#Page_244">244</a></li>
-
-  <li>Marks, numerals as, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a><span class="pagenum" id="Page_319">[319]</span></li>
-
-  <li>Marks of commendation, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_224">224</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_226">226</a>; ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_136">136</a></li>
-
-  <li>Marks of dedication, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_224">224</a></li>
-
-  <li>Marks of felicitation, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_224">224</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a></li>
-
-  <li>Marks of painters, ii.
-    <a href="#Page_212">212</a></li>
-
-  <li>Marks, palace, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li>Marks, palace hall, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a></li>
-
-  <li>Marks, potters’, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_221">221–222</a></li>
-
-  <li>Marks, prohibited date, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_208">208</a></li>
-
-  <li>Marks, shop, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>; ii.
-    <a href="#Page_89">89</a>,
-    <a href="#Page_113">113</a>,
-    <a href="#Page_152">152</a></li>
-
-  <li>Martaban, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a></li>
-
-  <li><i>Martabani</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a></li>
-
-  <li>Martin, Dr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a></li>
-
-  <li>Massagetae, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>“Mat marking,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_3">3</a></li>
-
-  <li>Mazarin, Cardinal, ii.
-    <a href="#Page_183">183</a></li>
-
-  <li>“Mazarine blue,” ii.
-    <a href="#Page_183">183</a></li>
-
-  <li>Measures, Chinese, ii.
-    <a href="#Page_234">234</a></li>
-
-  <li>Medallion bowls, ii.
-    <a href="#Page_264">264</a></li>
-
-  <li>Medici porcelain, ii.
-    <a href="#Page_44">44</a></li>
-
-  <li><i>Mei hua</i> (prunus), ii.
-    <a href="#Page_153">153</a></li>
-
-  <li><i>Mei jên</i>, ii.
-    <a href="#Page_136">136</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li><i>Mei p’ing</i>, ii.
-    <a href="#Page_79">79</a>,
-    <a href="#Page_94">94</a>,
-    <a href="#Page_95">95</a>,
-    <a href="#Page_274">274</a></li>
-
-  <li>Meissen, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a>; ii.
-    <a href="#Page_112">112</a>,
-    <a href="#Page_173">173</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_261">261</a></li>
-
-  <li>Melon-shaped vases, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>; ii.
-    <a href="#Page_47">47</a>,
-    <a href="#Page_94">94</a></li>
-
-  <li>Metal band on mouth, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a></li>
-
-  <li>Metallic specks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Metropolitan Museum, New York, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>; ii.
-    <a href="#Page_251">251</a></li>
-
-  <li>Meyer, A. B., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li class="hangingindent" id="Mi_se"><i>Mi sê</i> (millet colour), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>; ii.
-    <a href="#Page_28">28</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_199">199</a>,
-    <a href="#Page_220">220</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li><i>Miao hao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_213">213</a></li>
-
-  <li>Milky way, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li><i>Mille fiori</i> glass, ii.
-    <a href="#Page_234">234</a></li>
-
-  <li><i>Mille fleurs</i>, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Millet colour. See <a href="#Mi_se"><i>Mi sê</i></a>.</li>
-
-  <li>Millet markings in glaze, ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_13">13</a>,
-    <a href="#Page_93">93</a></li>
-
-  <li><i>Ming ch’ên shih pi chou chai yü t’an</i>, ii.
-    <a href="#Page_52">52</a>,
-    <a href="#Page_57">57</a></li>
-
-  <li>Ming colours, ii.
-    <a href="#Page_98">98</a></li>
-
-  <li>Ming period, porcelain assigned to, ii.
-    <a href="#Page_151">151</a>,
-    <a href="#Page_155">155</a></li>
-
-  <li>Ming pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a></li>
-
-  <li>Ming shapes, ii.
-    <a href="#Page_94">94</a></li>
-
-  <li>Ming Ti, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_6">6</a>; ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Ming Tombs, near Nanking, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Ming Yüan-Chang, ii.
-    <a href="#Page_303">303</a></li>
-
-  <li>Minister, the Chinese, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>Minoan pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a></li>
-
-  <li>Mirror black, ii.
-    <a href="#Page_192">192</a></li>
-
-  <li>Miscellaneous marks and symbols, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a></li>
-
-  <li>Miscellaneous potteries, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184–206</a></li>
-
-  <li>Mitford Collection, ii.
-    <a href="#Page_121">121</a>,
-    <a href="#Page_122">122</a></li>
-
-  <li><i>Mo hung</i>, ii.
-    <a href="#Page_179">179</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li class="hangingindent">Mohammedan blue, ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_12">12</a>,
-    <a href="#Page_21">21</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_32">32</a>,
-    <a href="#Page_33">33</a>,
-    <a href="#Page_34">34</a>,
-    <a href="#Page_35">35</a>,
-    <a href="#Page_37">37</a>,
-    <a href="#Page_43">43</a>,
-    <a href="#Page_44">44</a>,
-    <a href="#Page_45">45</a>,
-    <a href="#Page_52">52</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_66">66</a>,
-    <a href="#Page_70">70</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li>Mohammedan design, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li>Mohammedan flowers, ii.
-    <a href="#Page_31">31</a></li>
-
-  <li>Mombasa, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Mongols, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a>; ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_27">27</a></li>
-
-  <li>Monkey in design, ii.
-    <a href="#Page_82">82</a>,
-    <a href="#Page_294">294</a>,
-    <a href="#Page_297">297</a></li>
-
-  <li class="hangingindent">Monkhouse, Cosmo, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xviii"><i>xviii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>; ii.
-    <a href="#Page_26">26</a>,
-    <a href="#Page_90">90</a>,
-    <a href="#Page_220">220</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li>Months, flowers for, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Monochrome, lustrous brown, ii.
-    <a href="#Page_191">191</a></li>
-
-  <li>Monochromes, blue, ii.
-    <a href="#Page_179">179</a></li>
-
-  <li>Monochromes, dating of, ii.
-    <a href="#Page_176">176</a></li>
-
-  <li>Monochromes, green, ii.
-    <a href="#Page_187">187</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Monochromes, red, ii.
-    <a href="#Page_177">177</a></li>
-
-  <li>Monochromes, yellow, ii.
-    <a href="#Page_189">189</a></li>
-
-  <li>Moon, goddess of, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li class="hangingindent">Morgan Collection, Pierpont, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiv"><i>xxiv</i></a>; ii.
-    <a href="#Page_29">29</a>,
-    <a href="#Page_51">51</a>,
-    <a href="#Page_69">69</a>,
-    <a href="#Page_70">70</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_81">81</a>,
-    <a href="#Page_116">116</a>,
-    <a href="#Page_118">118</a>,
-    <a href="#Page_156">156</a>,
-    <a href="#Page_168">168</a>,
-    <a href="#Page_220">220</a></li>
-
-  <li>Mortuary wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li>Mosaic, ii.
-    <a href="#Page_133">133</a></li>
-
-  <li>Mother-of-pearl, ii.
-    <a href="#Page_234">234</a>,
-    <a href="#Page_247">247</a></li>
-
-  <li>Motives for painted decoration, ii.
-    <a href="#Page_60">60</a>,
-    <a href="#Page_280">280</a></li>
-
-  <li>Mott, Mr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>; ii.
-    <a href="#Page_177">177</a></li>
-
-  <li>Moulds, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li>Mounts, metal, on porcelain, ii.
-    <a href="#Page_68">68</a>,
-    <a href="#Page_69">69</a>,
-    <a href="#Page_77">77</a></li>
-
-  <li>Mu Wang, Emperor, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Mu Wang, the eight horses of, ii.
-    <a href="#Page_289">289</a></li>
-
-  <li>Muffle kiln, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_20">20</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_101">101</a></li>
-
-  <li>Munich, National Museum at, ii.
-    <a href="#Page_73">73</a></li>
-
-  <li>Musée Cernuschi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Musée Guimet, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>; ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Museum für Ostasiatische Kunst, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>“Musical cups,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>Musical instruments, eight, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Musical instruments, porcelain, ii.
-    <a href="#Page_201">201</a></li>
-
-  <li>“Mustard crackle,” ii.
-    <a href="#Page_220">220</a></li>
-</ul>
-
-<ul>
-  <li>Nagasaki, ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Nail heads, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a></li>
-
-  <li><i>Namako</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a></li>
-
-  <li>Names, potters’, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_223">223</a></li>
-
-  <li>Nan (-ning Fu), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a></li>
-
-  <li>Nan-Ch’ang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a></li>
-
-  <li>Nan-fêng Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li><i>Nan ting</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a></li>
-
-  <li>Nanking, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a></li>
-
-  <li>Nanking, Old, ii.
-    <a href="#Page_173">173</a></li>
-
-  <li>Nanking Pagoda, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>; ii.
-    <a href="#Page_4">4</a>,
-    <a href="#Page_20">20</a></li>
-
-  <li>Nan Shan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a></li>
-
-  <li>Nara Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a></li>
-
-  <li>Narghili bowls, ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Natural History Museum, New York, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiv"><i>xxiv</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a></li>
-
-  <li>Nature worship, ii.
-    <a href="#Page_290">290</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li>Nei yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li><i>Neue Rundschau</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a></li>
-
-  <li>Neuwenhais, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>New Year, Chinese, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li>New York Exhibition, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li><i>Ni ku lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a></li>
-
-  <li>Nicholls, Dr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li><i>Nien hao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_213">213</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_214">214</a></li>
-
-  <li>Nien Hsi-yao, ii.
-    <a href="#Page_121">121</a>,
-    <a href="#Page_200">200</a>,
-    <a href="#Page_227">227</a></li>
-
-  <li>Nien yao, ii.
-    <a href="#Page_121">121</a></li>
-
-  <li>Nightingale Collection, ii.
-    <a href="#Page_75">75</a></li>
-
-  <li>Ninagawa, Mr., ii.
-    <a href="#Page_115">115</a></li>
-
-  <li><i>Ning chai ts’ung hua</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Ning-kuo Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a><span class="pagenum" id="Page_320">[320]</span></li>
-
-  <li>Ningyo-de, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li>North, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Northern Sung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a></li>
-
-  <li>Nose drinking, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Numerals as marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a></li>
-
-  <li>Nur-ed-din, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Nyo-fu ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-</ul>
-
-<ul>
-  <li class="hangingindent">O. C. A. (<i>Oriental Ceramic Art</i>, by S. W. Bushell), <i>passim</i>.</li>
-
-  <li><i>Oesterreichische Monatschrift</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li>O-fu. i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a></li>
-
-  <li><i>O-t’u</i> (white earth), ii.
-    <a href="#Page_107">107</a></li>
-
-  <li>Ogre design, ii.
-    <a href="#Page_133">133</a>,
-    <a href="#Page_263">263</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Old Imari, ii.
-    <a href="#Page_174">174</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li>“Old Kochi,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a></li>
-
-  <li><i>O mi t’o fo</i> (Amitabha Buddha), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_100">100</a>; ii.
-    <a href="#Page_302">302</a></li>
-
-  <li>On-biscuit decoration, ii.
-    <a href="#Page_242">242</a></li>
-
-  <li>On-glaze enamels, ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_48">48</a></li>
-
-  <li>“Onion green,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li>Opalescence, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a></li>
-
-  <li>Openwork designs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_102">102</a>,
-    <a href="#Page_245">245</a>,
-    <a href="#Page_246">246</a></li>
-
-  <li>Opium pipes, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a>; ii.
-    <a href="#Page_277">277</a></li>
-
-  <li>Orange, ii.
-    <a href="#Page_296">296</a></li>
-
-  <li>Orange peel markings, ii.
-    <a href="#Page_8">8</a>,
-    <a href="#Page_9">9</a></li>
-
-  <li>Orchid Pavilion, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li><i>Orientalisches Archiv</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a></li>
-
-  <li>“Oriental Lowestoft,” ii.
-    <a href="#Page_251">251</a></li>
-
-  <li>Ormolu mounts, French, ii.
-    <a href="#Page_146">146</a>,
-    <a href="#Page_194">194</a></li>
-
-  <li>Ornament, symbolical, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Orrock Collection, ii.
-    <a href="#Page_134">134</a></li>
-
-  <li><i>Ostasiatischer Zeitschrift</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li>Ou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_65">65</a>,
-    <a href="#Page_217">217</a></li>
-
-  <li>Ou, Eastern, ii.
-    <a href="#Page_108">108</a></li>
-
-  <li>Owen, ii.
-    <a href="#Page_76">76</a></li>
-
-  <li>Ox, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Oxide of copper, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a></li>
-
-  <li>Oxides, metallic, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_49">49</a></li>
-</ul>
-
-<ul>
-  <li><i>Pa chi hsiang</i>, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_42">42</a></li>
-
-  <li><i>Pa kua</i> (Eight Trigrams), ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_41">41</a>,
-    <a href="#Page_67">67</a>,
-    <a href="#Page_274">274</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Pa-kwoh, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a></li>
-
-  <li><i>Pa pao</i> (Eight Precious Symbols), ii.
-    <a href="#Page_42">42</a></li>
-
-  <li><i>Pa pei</i> (handle cups), ii.
-    <a href="#Page_7">7</a>,
-    <a href="#Page_23">23</a></li>
-
-  <li>Pa Shan, waterfalls of, ii.
-    <a href="#Page_43">43</a></li>
-
-  <li>Pagoda, porcelain, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>; ii.
-    <a href="#Page_4">4</a>,
-    <a href="#Page_20">20</a></li>
-
-  <li><i>Pai ma</i>, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_294">294</a></li>
-
-  <li><i>Pai-o</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>Pai-shih, ii.
-    <a href="#Page_211">211</a>,
-    <a href="#Page_212">212</a>,
-    <a href="#Page_213">213</a></li>
-
-  <li><i>P’ai-shih-lei-p’ien</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a></li>
-
-  <li>Pai-shui, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li><i>Pai-ting</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a></li>
-
-  <li>Pai-t’u Chên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li><i>Pai-tz’ü</i>, ii.
-    <a href="#Page_109">109</a></li>
-
-  <li>Painted decoration, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a></li>
-
-  <li>Painted T’ang wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a></li>
-
-  <li>Painted ornament, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a></li>
-
-  <li>Painted red flowers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Painted Tz’ŭ ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a></li>
-
-  <li>Painters’ signatures and seals, ii.
-    <a href="#Page_164">164</a>,
-    <a href="#Page_212">212</a></li>
-
-  <li>Painting, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a></li>
-
-  <li>Painting in enamels, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a></li>
-
-  <li>Painting in gold, ii.
-    <a href="#Page_21">21</a></li>
-
-  <li class="hangingindent">Painting porcelain, system of, ii.
-    <a href="#Page_63">63</a>,
-    <a href="#Page_105">105</a>,
-    <a href="#Page_106">106</a>,
-    <a href="#Page_163">163</a>,
-    <a href="#Page_239">239</a></li>
-
-  <li>Painting, red and green, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a></li>
-
-  <li>Pak-hoi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_173">173</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a></li>
-
-  <li>Palace hall marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a></li>
-
-  <li>Palace porcelain, ii.
-    <a href="#Page_1">1</a>,
-    <a href="#Page_271">271</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li>“Palm eye” markings, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>; ii.
-    <a href="#Page_9">9</a>,
-    <a href="#Page_93">93</a>,
-    <a href="#Page_219">219</a></li>
-
-  <li>Palmette-like ornaments, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_28">28</a></li>
-
-  <li>Panel decoration, ii.
-    <a href="#Page_133">133</a></li>
-
-  <li>Pan Fei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li><i>Pan t’o tai</i> (“half bodiless”), ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_195">195</a></li>
-
-  <li>P’an Yo, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li><i>Pao hsiang hua</i>, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_87">87</a>,
-    <a href="#Page_295">295</a></li>
-
-  <li>Pao kuo ssŭ temple, ii.
-    <a href="#Page_18">18</a></li>
-
-  <li><i>Pao shao</i>, ii.
-    <a href="#Page_24">24</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li><i>Pao shih hung</i>, ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_24">24</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li><i>Pao shih lan</i>, ii.
-    <a href="#Page_219">219</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Paper-beater, shape, ii.
-    <a href="#Page_268">268</a>,
-    <a href="#Page_274">274</a></li>
-
-  <li class="hangingindent"><i>Paragons of Filial Piety, the Twenty-Four</i>, ii.
-    <a href="#Page_134">134</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li>Paraphernalia, seven, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Parian ware, ii.
-    <a href="#Page_266">266</a></li>
-
-  <li>Paris Exhibition, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_173">173</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Parthian coffins, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_9">9</a></li>
-
-  <li>Parthians, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5</a></li>
-
-  <li>“Partridge cups,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li>Partridges, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li><i>Pâte sur pâte</i>, ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_196">196</a></li>
-
-  <li>Pattern books, ii.
-    <a href="#Page_105">105</a>,
-    <a href="#Page_303">303</a></li>
-
-  <li>Peach, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_288">288</a>,
-    <a href="#Page_301">301</a></li>
-
-  <li>“Peach bloom,” ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_146">146</a>,
-    <a href="#Page_176">176</a>,
-    <a href="#Page_177">177</a>,
-    <a href="#Page_178">178</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_185">185</a></li>
-
-  <li>Peacocks, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_258">258</a></li>
-
-  <li>“Pear skin” clay, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174</a></li>
-
-  <li>Pearl or jewel, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Peking, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a>; ii.
-    <a href="#Page_126">126</a></li>
-
-  <li>Peking bowls, ii.
-    <a href="#Page_239">239</a>,
-    <a href="#Page_244">244</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Peking lacquer, ii.
-    <a href="#Page_263">263</a></li>
-
-  <li>Pekingese spaniel, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li>Peking, tile works near, ii.
-    <a href="#Page_237">237</a></li>
-
-  <li>Pen rest, ii.
-    <a href="#Page_32">32</a></li>
-
-  <li>P’êng Chün-pao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>P’êng ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li>Pêng-lai mount, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>; ii.
-    <a href="#Page_156">156</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Peony, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Perfume vase, ii.
-    <a href="#Page_68">68</a></li>
-
-  <li class="hangingindent">Persia, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_29">29</a>,
-    <a href="#Page_30">30</a>,
-    <a href="#Page_31">31</a>,
-    <a href="#Page_44">44</a>,
-    <a href="#Page_69">69</a>,
-    <a href="#Page_247">247</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Persian forms, ii.
-    <a href="#Page_67">67</a></li>
-
-  <li>Persian glazed bricks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_9">9</a></li>
-
-  <li>Persian Gulf, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a></li>
-
-  <li>Persian market, wares for, ii.
-    <a href="#Page_73">73</a>,
-    <a href="#Page_77">77</a>,
-    <a href="#Page_81">81</a></li>
-
-  <li>Persian monsters, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li>Persian ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>; ii.
-    <a href="#Page_30">30</a>,
-    <a href="#Page_48">48</a></li>
-
-  <li class="hangingindent">Perzynski, F., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a>; ii.
-    <a href="#Page_43">43</a>,
-    <a href="#Page_70">70</a>,
-    <a href="#Page_73">73</a>,
-    <a href="#Page_74">74</a>,
-    <a href="#Page_75">75</a>,
-    <a href="#Page_89">89</a>,
-    <a href="#Page_90">90</a>,
-    <a href="#Page_105">105</a></li>
-
-  <li class="hangingindent">Peters Collection, S. T., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_191">191</a>,
-    <a href="#Page_192">192</a></li>
-
-  <li>Peters, S. T., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_114">114</a><span class="pagenum" id="Page_321">[321]</span></li>
-
-  <li><i>Petuntse</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>; ii.
-    <a href="#Page_91">91</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li>Pheasant, ii.
-    <a href="#Page_295">295</a>,
-    <a href="#Page_297">297</a></li>
-
-  <li>Philippines, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_189">189</a></li>
-
-  <li>Phillips, Rev. H. S., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a></li>
-
-  <li>Phœnix, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>; ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_269">269</a>,
-    <a href="#Page_288">288</a>,
-    <a href="#Page_293">293</a></li>
-
-  <li>Phœnix ewer, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a></li>
-
-  <li>Phœnix Hill, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li><i>Pi chuang so yü</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_72">72</a></li>
-
-  <li><i>P’i hsieh</i>, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>P’i-ling, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a></li>
-
-  <li><i>Pi liu li</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li><i>Pi sê</i> (secret colour), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a></li>
-
-  <li><i>Pi ting ju i</i>, ii.
-    <a href="#Page_301">301</a></li>
-
-  <li><i>Pi t’ung</i>, ii,
-    <a href="#Page_275">275</a></li>
-
-  <li><i>P’iao tz’ŭ</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a></li>
-
-  <li>Pictures of manufacture of porcelain, ii.
-    <a href="#Page_248">248</a></li>
-
-  <li><i>P’ieh</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_165">165</a>; ii.
-    <a href="#Page_5">5</a></li>
-
-  <li>Pierced design, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a>; ii.
-    <a href="#Page_59">59</a>,
-    <a href="#Page_75">75</a>,
-    <a href="#Page_76">76</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_246">246</a></li>
-
-  <li>Pigments, unfired, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_3">3</a></li>
-
-  <li>Pilgrim bottles, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Pilkington Tile Works, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Pillows, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>; ii.
-    <a href="#Page_97">97</a>,
-    <a href="#Page_276">276</a></li>
-
-  <li>Pine, bamboo and plum design, ii.
-    <a href="#Page_47">47</a></li>
-
-  <li><i>P’ing hua p’u</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a>; ii.
-    <a href="#Page_94">94</a></li>
-
-  <li><i>P’ing shih</i>, ii.
-    <a href="#Page_94">94</a></li>
-
-  <li>P’ing-ting Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>; ii.
-    <a href="#Page_107">107</a></li>
-
-  <li>P’ing-yang Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Pink, ruby, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Pipes, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Plaques, ii.
-    <a href="#Page_97">97</a>,
-    <a href="#Page_117">117</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>Plates, ii.
-    <a href="#Page_97">97</a></li>
-
-  <li>Plates, seven border, ii.
-    <a href="#Page_211">211</a></li>
-
-  <li>Plum blossom crackle, ii.
-    <a href="#Page_244">244</a></li>
-
-  <li>Plum blossom design, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>P’o-hai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li><i>Po shan lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li><i>Po t’ang</i> blue, ii.
-    <a href="#Page_98">98</a></li>
-
-  <li>Points of compass, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Polynesian khava bowls, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_129">129</a></li>
-
-  <li>Pomegranate-shaped pots, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Pools of glass, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a></li>
-
-  <li>Porcelain, archaic specimens of translucent, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a></li>
-
-  <li>Porcelain, beginnings of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141–151</a></li>
-
-  <li>Porcelain, decorated, at Canton, ii.
-    <a href="#Page_211">211</a></li>
-
-  <li>Porcelain, special kinds of, ii.
-    <a href="#Page_201">201</a></li>
-
-  <li>Porcelain, white, ii.
-    <a href="#Page_195">195</a></li>
-
-  <li>Portuguese, ii.
-    <a href="#Page_68">68</a>,
-    <a href="#Page_89">89</a></li>
-
-  <li>Po-Shan Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li><i>Po wu yao lan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_224">224</a></li>
-
-  <li>Po-yang Lake, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_152">152</a></li>
-
-  <li>Pot-hook-like herbage, ii.
-    <a href="#Page_90">90</a></li>
-
-  <li>Potter Palmer Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_35">35</a></li>
-
-  <li>Potters’ marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_221">221</a></li>
-
-  <li>Potters’ names, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_223">223</a>; ii.
-    <a href="#Page_64">64</a></li>
-
-  <li>Pottery, origin of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a></li>
-
-  <li>Precious Objects, Eight, ii.
-    <a href="#Page_297">297</a>,
-    <a href="#Page_298">298</a></li>
-
-  <li>Precious stone red, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_122">122</a></li>
-
-  <li>Precious Symbols, Eight, ii.
-    <a href="#Page_42">42</a></li>
-
-  <li>“Press-hand” bowls, ii.
-    <a href="#Page_93">93</a></li>
-
-  <li>Preussler, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Pricket candlesticks, ii.
-    <a href="#Page_60">60</a></li>
-
-  <li>Prints, copying effect of European, ii.
-    <a href="#Page_214">214</a></li>
-
-  <li>Prunus design, ii.
-    <a href="#Page_134">134</a>,
-    <a href="#Page_135">135</a>,
-    <a href="#Page_152">152</a></li>
-
-  <li><i>P’u shu t’ing chi</i>, ii.
-    <a href="#Page_23">23</a></li>
-
-  <li>Puzzle jug, ii.
-    <a href="#Page_251">251</a></li>
-</ul>
-
-<ul>
-  <li>Quails, ii.
-    <a href="#Page_295">295</a></li>
-</ul>
-
-<ul>
-  <li>Radiating lines under base, ii.
-    <a href="#Page_92">92</a></li>
-
-  <li>Ram, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Rams design, three, ii.
-    <a href="#Page_43">43</a></li>
-
-  <li>Raphael Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_63">63</a></li>
-
-  <li>“Rat and vine” pattern, ii.
-    <a href="#Page_231">231</a>,
-    <a href="#Page_245">245</a>,
-    <a href="#Page_303">303</a></li>
-
-  <li>Read, Sir C. Hercules, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxv"><i>xxv</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li>Rebus designs, ii.
-    <a href="#Page_299">299</a>,
-    <a href="#Page_300">300</a></li>
-
-  <li id="Red">Red and gold decoration, ii.
-    <a href="#Page_6">6</a></li>
-
-  <li>Red and green family, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a></li>
-
-  <li>Red biscuit, ii.
-    <a href="#Page_9">9</a></li>
-
-  <li>Red, copper, ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_11">11</a>,
-    <a href="#Page_55">55</a></li>
-
-  <li>Red, coral, ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_48">48</a>,
-    <a href="#Page_51">51</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Red family of Wan Li porcelain, ii.
-    <a href="#Page_81">81</a></li>
-
-  <li>Red, <i>flambé</i>, ii.
-    <a href="#Page_124">124</a></li>
-
-  <li>Red in the glaze, ii.
-    <a href="#Page_204">204</a></li>
-
-  <li>Red, iron, ii.
-    <a href="#Page_51">51</a>,
-    <a href="#Page_55">55</a>,
-    <a href="#Page_165">165</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_235">235</a>,
-    <a href="#Page_244">244</a></li>
-
-  <li>Red, jujube, ii.
-    <a href="#Page_210">210</a>,
-    <a href="#Page_219">219</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Red, liver, ii.
-    <a href="#Page_99">99</a>,
-    <a href="#Page_178">178</a>,
-    <a href="#Page_194">194</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li>Red, maroon, ii.
-    <a href="#Page_178">178</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_194">194</a></li>
-
-  <li>Red, crushed strawberry, ii.
-    <a href="#Page_119">119</a>,
-    <a href="#Page_125">125</a></li>
-
-  <li>Red, ox-blood, ii.
-    <a href="#Page_124">124</a></li>
-
-  <li>Red, ritual significance of, ii.
-    <a href="#Page_195">195</a></li>
-
-  <li>Red, ruby, ii.
-    <a href="#Page_221">221</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Red, soufflé, ii.
-    <a href="#Page_127">127</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_194">194</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_219">219</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_238">238</a></li>
-
-  <li class="hangingindent">Red, underglaze, ii.
-    <a href="#Page_10">10</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_119">119</a>,
-    <a href="#Page_145">145</a>,
-    <a href="#Page_146">146</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_205">205</a>,
-    <a href="#Page_241">241</a></li>
-
-  <li>Relief work, ii.
-    <a href="#Page_74">74</a>,
-    <a href="#Page_196">196</a></li>
-
-  <li>Revolving necks, ii.
-    <a href="#Page_246">246</a>,
-    <a href="#Page_262">262</a></li>
-
-  <li>Rhages, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Rhinoceros jars, ii.
-    <a href="#Page_36">36</a></li>
-
-  <li>de Ricci, M. Seymour, ii.
-    <a href="#Page_194">194</a></li>
-
-  <li>Rice grain pattern, ii.
-    <a href="#Page_246">246</a>,
-    <a href="#Page_247">247</a>,
-    <a href="#Page_263">263</a></li>
-
-  <li>Richard’s Geography, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li>Rijks Museum, Amsterdam, ii.
-    <a href="#Page_75">75</a></li>
-
-  <li>Ring under base, double, ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Ritual vessels, ii.
-    <a href="#Page_272">272</a></li>
-
-  <li>Rock and wave design, ii.
-    <a href="#Page_81">81</a>,
-    <a href="#Page_87">87</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Rockery and flowering plants, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li>Rococo ornaments, ii.
-    <a href="#Page_258">258</a></li>
-
-  <li>Rome, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5</a></li>
-
-  <li>Roof tiles, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>Rookwood Potteries, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Rose and ticket pattern, ii.
-    <a href="#Page_133">133</a></li>
-
-  <li>Rose pinks, ii.
-    <a href="#Page_210">210</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_237">237</a></li>
-
-  <li>Roth, Ling, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Rotterdam, siege of, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li><i>Rouge de fer</i>, ii.
-    <a href="#Page_101">101</a>,
-    <a href="#Page_160">160</a></li>
-
-  <li><i>Rouleau</i> shape, ii.
-    <a href="#Page_165">165</a>,
-    <a href="#Page_269">269</a>,
-    <a href="#Page_274">274</a></li>
-
-  <li>Rubbing with sand, ii.
-    <a href="#Page_159">159</a></li>
-
-  <li>“Ruby-back” porcelain, ii.
-    <a href="#Page_210">210</a>,
-    <a href="#Page_213">213</a>,
-    <a href="#Page_243">243</a></li>
-
-  <li>Rush pattern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li>Ryoben, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a><span class="pagenum" id="Page_322">[322]</span></li>
-</ul>
-
-<ul>
-  <li>Sages meeting in landscape, ii.
-    <a href="#Page_95">95</a></li>
-
-  <li>St. Cloud, ii.
-    <a href="#Page_112">112</a>,
-    <a href="#Page_173">173</a></li>
-
-  <li>St. Louis of France, ii.
-    <a href="#Page_252">252</a></li>
-
-  <li>St. Mark’s, Venice, ii.
-    <a href="#Page_113">113</a></li>
-
-  <li>Sakyamuni, ii.
-    <a href="#Page_284">284</a></li>
-
-  <li>Saladin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li class="hangingindent">Salting Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>; ii.
-    <a href="#Page_81">81</a>,
-    <a href="#Page_83">83</a>,
-    <a href="#Page_90">90</a>,
-    <a href="#Page_95">95</a>,
-    <a href="#Page_145">145</a>,
-    <a href="#Page_156">156</a>,
-    <a href="#Page_160">160</a>,
-    <a href="#Page_165">165</a>,
-    <a href="#Page_168">168</a>,
-    <a href="#Page_170">170</a>,
-    <a href="#Page_179">179</a>,
-    <a href="#Page_181">181</a>,
-    <a href="#Page_185">185</a>,
-    <a href="#Page_187">187</a>,
-    <a href="#Page_235">235</a>,
-    <a href="#Page_244">244</a></li>
-
-  <li>Salt glaze, ii.
-    <a href="#Page_144">144</a></li>
-
-  <li>Salvétat, M., ii.
-    <a href="#Page_10">10</a></li>
-
-  <li>Samantabhadra, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Samarra, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a></li>
-
-  <li>Samian ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li><i>San kuo</i>, ii.
-    <a href="#Page_11">11</a></li>
-
-  <li class="hangingindent"><i>San ts’ai</i> (three colours), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>; ii.
-    <a href="#Page_26">26</a>,
-    <a href="#Page_33">33</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_100">100</a>,
-    <a href="#Page_151">151</a>,
-    <a href="#Page_152">152</a>,
-    <a href="#Page_153">153</a></li>
-
-  <li><i>San yang k’ai t’ai</i>, ii.
-    <a href="#Page_43">43</a></li>
-
-  <li class="hangingindent" id="Sang"><i>Sang de bœuf</i> red, ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_123">123</a>,
-    <a href="#Page_124">124</a>,
-    <a href="#Page_125">125</a>,
-    <a href="#Page_146">146</a>,
-    <a href="#Page_176">176</a>,
-    <a href="#Page_194">194</a>,
-    <a href="#Page_232">232</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li>Sanscrit characters, ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_66">66</a>,
-    <a href="#Page_240">240</a>,
-    <a href="#Page_286">286</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Sanuki, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Sarre, Professor, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a>; ii.
-    <a href="#Page_69">69</a></li>
-
-  <li>Sassanian, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a></li>
-
-  <li>Sassanian monsters, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li>Satsuma faience, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a></li>
-
-  <li>Saucers, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Sawankalok, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a></li>
-
-  <li>Scale pattern, ii.
-    <a href="#Page_158">158</a>,
-    <a href="#Page_259">259</a></li>
-
-  <li>Scholar design, famous, ii.
-    <a href="#Page_25">25</a></li>
-
-  <li>“Scratched blue,” ii.
-    <a href="#Page_144">144</a></li>
-
-  <li>Screens, ii.
-    <a href="#Page_277">277</a></li>
-
-  <li>Seagulls, little, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Sea-horses design, ii.
-    <a href="#Page_80">80</a></li>
-
-  <li>Sea waves, ii.
-    <a href="#Page_42">42</a></li>
-
-  <li>Seal characters, ii.
-    <a href="#Page_301">301</a></li>
-
-  <li>Seals, ii.
-    <a href="#Page_276">276</a></li>
-
-  <li>Seasons, flowers of four, ii.
-    <a href="#Page_38">38</a>,
-    <a href="#Page_56">56</a>,
-    <a href="#Page_134">134</a>,
-    <a href="#Page_156">156</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Seasons, landscape, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Seats, barrel-shaped, ii.
-    <a href="#Page_8">8</a>,
-    <a href="#Page_15">15</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_60">60</a>,
-    <a href="#Page_97">97</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>“Secret colour” ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a></li>
-
-  <li>Seggars, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>; ii.
-    <a href="#Page_248">248</a></li>
-
-  <li>Self-warming cups, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_138">138</a></li>
-
-  <li>Seligmann, Dr. C., ii.
-    <a href="#Page_51">51</a>,
-    <a href="#Page_67">67</a></li>
-
-  <li>Sepulchral furniture, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_19">19</a></li>
-
-  <li>Sepulchral pottery, Han, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_14">14</a></li>
-
-  <li>Sesamum design, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a></li>
-
-  <li>Seto, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a></li>
-
-  <li>Sets, dinner-table, ii.
-    <a href="#Page_36">36</a>,
-    <a href="#Page_267">267</a></li>
-
-  <li>Sets of five vases, ii.
-    <a href="#Page_97">97</a>,
-    <a href="#Page_134">134</a>,
-    <a href="#Page_279">279</a></li>
-
-  <li>Seven border plates, ii.
-    <a href="#Page_211">211</a></li>
-
-  <li>Sèvres, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a>; ii.
-    <a href="#Page_140">140</a>,
-    <a href="#Page_251">251</a></li>
-
-  <li>Sèvres Museum, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>; ii.
-    <a href="#Page_230">230</a></li>
-
-  <li><i>Sha t’ai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>; ii.
-    <a href="#Page_141">141</a></li>
-
-  <li>Shah Abbas, ii.
-    <a href="#Page_30">30</a>,
-    <a href="#Page_69">69</a></li>
-
-  <li>Shakuan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li>Shan Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Shan kao shui ch’ang</i>, ii.
-    <a href="#Page_263">263</a></li>
-
-  <li><i>Shan yü huang</i>, ii.
-    <a href="#Page_126">126</a></li>
-
-  <li>Shang dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_44">44</a></li>
-
-  <li>Shanghai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>; ii.
-    <a href="#Page_212">212</a></li>
-
-  <li>Shansi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a></li>
-
-  <li>Shantung glass works, ii.
-    <a href="#Page_210">210</a></li>
-
-  <li>Shao Ch’êng-shang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a></li>
-
-  <li><i>Shao yao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a></li>
-
-  <li>Shao-wu Fu, ii.
-    <a href="#Page_108">108</a></li>
-
-  <li><i>Shê p’i lü</i>, ii.
-    <a href="#Page_126">126</a></li>
-
-  <li><i>Shên tê t’ang</i>, ii.
-    <a href="#Page_247">247</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li><i>Shên tê t’ang po ku chih</i>, ii.
-    <a href="#Page_81">81</a></li>
-
-  <li>Shêng Tsung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_22">22</a></li>
-
-  <li>Shên-nung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li><i>Shih ch’ing</i> (stone blue), ii.
-    <a href="#Page_9">9</a></li>
-
-  <li><i>Shih ch’ing jih cha</i>, ii.
-    <a href="#Page_93">93</a>,
-    <a href="#Page_305">305</a></li>
-
-  <li>Shin Huang Ti, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5</a></li>
-
-  <li>Shih Ta-pin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a></li>
-
-  <li>Shih Tsung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a></li>
-
-  <li>Shih-kao, ii.
-    <a href="#Page_196">196</a></li>
-
-  <li>Shih-ma, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a></li>
-
-  <li><i>Shih-mo</i> (powdered stone), ii.
-    <a href="#Page_91">91</a></li>
-
-  <li><i>Shih-tzŭ ch’ing</i>, ii.
-    <a href="#Page_98">98</a></li>
-
-  <li>Shih-wan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li><i>Shih wu kan chu</i>, ii.
-    <a href="#Page_30">30</a>,
-    <a href="#Page_34">34</a></li>
-
-  <li><i>Shin sho sei</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a></li>
-
-  <li>Shop marks, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>; ii.
-    <a href="#Page_89">89</a>,
-    <a href="#Page_113">113</a>,
-    <a href="#Page_152">152</a></li>
-
-  <li>Shoso-in, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li><i>Shou</i>, ii.
-    <a href="#Page_33">33</a>,
-    <a href="#Page_42">42</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Shou Characters, the Hundred, ii.
-    <a href="#Page_61">61</a></li>
-
-  <li>Shou Ch’êng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li>Shou Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Shou-hsing, ii.
-    <a href="#Page_287">287</a></li>
-
-  <li>Shou Lao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_185">185</a>; ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_287">287</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Shou Shan, ii.
-    <a href="#Page_286">286</a>,
-    <a href="#Page_288">288</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li><i>Shou shan fu hai</i>, ii.
-    <a href="#Page_38">38</a></li>
-
-  <li>Shu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Shu chiao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a></li>
-
-  <li><i>Shu fu</i> (mark), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a></li>
-
-  <li><i>Shu wêng</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a></li>
-
-  <li><i>Shuko-yaki</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a></li>
-
-  <li>Shun, the Emperor, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a>; ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Shun Chih, ii.
-    <a href="#Page_117">117</a>,
-    <a href="#Page_237">237</a></li>
-
-  <li>Shun-tê Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a></li>
-
-  <li><i>Shuo Wên</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a></li>
-
-  <li>Siam, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_81">81</a>; ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Silkworm scrolls, ii.
-    <a href="#Page_270">270</a></li>
-
-  <li class="hangingindent">Silvering, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>; ii.
-    <a href="#Page_20">20</a>,
-    <a href="#Page_175">175</a>,
-    <a href="#Page_192">192</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_225">225</a>,
-    <a href="#Page_226">226</a>,
-    <a href="#Page_229">229</a></li>
-
-  <li>Slip decoration, ii.
-    <a href="#Page_77">77</a></li>
-
-  <li>Smith, Lieut. C., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Snuff bottles, ii.
-    <a href="#Page_202">202</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_216">216</a>,
-    <a href="#Page_227">227</a>,
-    <a href="#Page_262">262</a>,
-    <a href="#Page_266">266</a>,
-    <a href="#Page_277">277</a></li>
-
-  <li>“Soft Chün,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_121">121</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a></li>
-
-  <li class="hangingindent">“Soft-paste” porcelain, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_150">150</a>; ii.
-    <a href="#Page_65">65</a>,
-    <a href="#Page_75">75</a>,
-    <a href="#Page_140">140</a>,
-    <a href="#Page_142">142</a>,
-    <a href="#Page_197">197</a>,
-    <a href="#Page_241">241</a></li>
-
-  <li>Soleyman, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li>“Solid agate,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a></li>
-
-  <li>Solon, M. L., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a></li>
-
-  <li>Southern Sung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_43">43</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li>South, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Spanish, ii.
-    <a href="#Page_89">89</a>,
-    <a href="#Page_252">252</a></li>
-
-  <li>Spanish dollar, ii.
-    <a href="#Page_90">90</a></li>
-
-  <li>Spider mark, ii.
-    <a href="#Page_140">140</a></li>
-
-  <li>Spinning Maiden, ii.
-    <a href="#Page_291">291</a>,
-    <a href="#Page_292">292</a></li>
-
-  <li>Spirits of the Doorway, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a><span class="pagenum" id="Page_323">[323]</span></li>
-
-  <li>“Spotted blue,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li>“Spring painting,” ii.
-    <a href="#Page_57">57</a></li>
-
-  <li>Sprinklers, ii.
-    <a href="#Page_273">273</a></li>
-
-  <li>“Spur-marks,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_118">118</a></li>
-
-  <li>Square vases, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Ssŭ Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a></li>
-
-  <li>Ssŭ-hao, ii.
-    <a href="#Page_289">289</a></li>
-
-  <li>Ssŭ-ma Ch’ien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_1">1</a></li>
-
-  <li>Ssŭ-ma-kuang, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li><i>Ssŭ pu t’ang</i>, ii.
-    <a href="#Page_265">265</a></li>
-
-  <li>Ssŭ-t’iao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>Ssŭ-tu, ii.
-    <a href="#Page_108">108</a></li>
-
-  <li>Staff, knotted, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Staffordshire, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Stars, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li>Statuettes, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a>; ii.
-    <a href="#Page_159">159</a></li>
-
-  <li>Steatite, ii.
-    <a href="#Page_77">77</a>,
-    <a href="#Page_141">141</a>,
-    <a href="#Page_196">196</a>,
-    <a href="#Page_198">198</a>,
-    <a href="#Page_201">201</a></li>
-
-  <li>Steatitic porcelain, ii.
-    <a href="#Page_141">141</a>,
-    <a href="#Page_142">142</a>,
-    <a href="#Page_203">203</a>,
-    <a href="#Page_240">240</a>,
-    <a href="#Page_246">246</a></li>
-
-  <li class="hangingindent">Stein, Sir Aurel, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_28">28</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Stem-cups, ii.
-    <a href="#Page_7">7</a>,
-    <a href="#Page_8">8</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_208">208</a></li>
-
-  <li>Stems, the Ten, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_210">210</a></li>
-
-  <li>Storks, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_286">286</a></li>
-
-  <li>Storks, the Hundred, ii.
-    <a href="#Page_61">61</a></li>
-
-  <li>Strawberry leaves border, ii.
-    <a href="#Page_257">257</a></li>
-
-  <li>Stübel Collection, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xxiii"><i>xxiii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a></li>
-
-  <li>Studio names, ii.
-    <a href="#Page_167">167</a>,
-    <a href="#Page_215">215</a></li>
-
-  <li>Study, Four Subjects of, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Su Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_96">96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Su Chou lacquer, ii.
-    <a href="#Page_263">263</a></li>
-
-  <li>Su Shih, ii.
-    <a href="#Page_5">5</a></li>
-
-  <li>Su Wu, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li><i>Sui ch’i yao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li>Sui dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a></li>
-
-  <li>Sulphate of iron, ii.
-    <a href="#Page_101">101</a></li>
-
-  <li>“Sulphuring,” ii.
-    <a href="#Page_146">146</a></li>
-
-  <li>Sultan of Egypt, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li>Sultan’s treasure, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li><i>Su-ma-ni</i>, ii.
-    <a href="#Page_12">12</a></li>
-
-  <li>Sumatra, ii.
-    <a href="#Page_12">12</a></li>
-
-  <li>Summer Palace, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Sumptuary law, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>Sun, Mr., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a></li>
-
-  <li>Sun, the, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li><i>Su-p’o-ni</i>, ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_13">13</a></li>
-
-  <li><i>Sung hsiang</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a></li>
-
-  <li>Sung Pharmacopœia, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li><i>Sung shih</i>, ii.
-    <a href="#Page_12">12</a></li>
-
-  <li>Sung wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_43">43–51</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a></li>
-
-  <li><i>Su-ni-p’o</i>, ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_22">22</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li>Supper sets, ii.
-    <a href="#Page_160">160</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Swallows, ii.
-    <a href="#Page_295">295</a></li>
-
-  <li>Swastika, ii.
-    <a href="#Page_76">76</a>,
-    <a href="#Page_299">299</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Swatow, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a></li>
-
-  <li>Sword-grass bowls, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a></li>
-
-  <li>Symbol of literary success, ii.
-    <a href="#Page_6">6</a></li>
-
-  <li>Symbols, ii.
-    <a href="#Page_268">268</a>,
-    <a href="#Page_297">297</a></li>
-
-  <li>Syria, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li>Syrian pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>; ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_30">30</a>,
-    <a href="#Page_44">44</a></li>
-
-  <li>Syrup pots, ii.
-    <a href="#Page_278">278</a></li>
-</ul>
-
-<ul>
-  <li>Table Bay, ii.
-    <a href="#Page_136">136</a></li>
-
-  <li><i>Ta chiao</i>, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li>Ta-ch’in, i.
-    <a href="#Page_144">144</a></li>
-
-  <li><i>Ta ch’ing</i>, ii.
-    <a href="#Page_179">179</a></li>
-
-  <li>Ta-yi bowls, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a></li>
-
-  <li>Ta Yüeh-chih, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>Tael, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a></li>
-
-  <li>Ta-hsin, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_177">177</a></li>
-
-  <li><i>T’ai ch’ang</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>; ii.
-    <a href="#Page_86">86</a></li>
-
-  <li><i>T’ai chi</i>, ii.
-    <a href="#Page_268">268</a></li>
-
-  <li>T’ai-ming, ii.
-    <a href="#Page_108">108</a></li>
-
-  <li>T’ai p’ing rebellion, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>; ii.
-    <a href="#Page_267">267</a>,
-    <a href="#Page_271">271</a></li>
-
-  <li><i>T’ai p’ing yu hsiang</i>, ii.
-    <a href="#Page_268">268</a></li>
-
-  <li>T’ai-po tsun, ii.
-    <a href="#Page_177">177</a>,
-    <a href="#Page_185">185</a></li>
-
-  <li>T’ai-yüan Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a></li>
-
-  <li>Takatori, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a></li>
-
-  <li>Taklamakan Desert, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li><i>Ta kuan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a></li>
-
-  <li>Talbot, arms of, ii.
-    <a href="#Page_257">257</a></li>
-
-  <li><i>Ta lü</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_65">65</a></li>
-
-  <li>Tamo, ii.
-    <a href="#Page_285">285</a></li>
-
-  <li>Tan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Tan Hui-pan, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li><i>Tan kuei</i> (red cassia), ii.
-    <a href="#Page_6">6</a>,
-    <a href="#Page_51">51</a>,
-    <a href="#Page_53">53</a></li>
-
-  <li><i>Tan pai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a></li>
-
-  <li><i>T’an yung</i>, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li>Tanagra, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li><i>Tan ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a></li>
-
-  <li><i>T’ang chien kung t’ao yeh t’u shuo</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li>T’ang, district, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a></li>
-
-  <li>T’ang dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>; ii.
-    <a href="#Page_233">233</a></li>
-
-  <li><i>T’ang kuo shih pu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a></li>
-
-  <li><i>T’ang ming</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_217">217</a></li>
-
-  <li><i>T’ang pên ts’ao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a></li>
-
-  <li>T’ang Pharmacopœia, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>T’ang polychrome pottery, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a></li>
-
-  <li><i>T’ang shih ssŭ k’ao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_142">142</a>; ii.
-    <a href="#Page_59">59</a></li>
-
-  <li><i>T’ang Shu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li class="hangingindent">T’ang, the President of the Sacrifices, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvii"><i>xvii</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a></li>
-
-  <li>T’ang tomb, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a></li>
-
-  <li class="hangingindent">T’ang wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xx"><i>xx</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23–42</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a>; ii.
-    <a href="#Page_28">28</a>,
-    <a href="#Page_78">78</a></li>
-
-  <li>T’ang wares, base of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_26">26</a></li>
-
-  <li><i>T’ang yao</i>, ii.
-    <a href="#Page_121">121</a></li>
-
-  <li class="hangingindent">T’ang Ying, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_181">181</a>; ii.
-    <a href="#Page_59">59</a>,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_126">126</a>,
-    <a href="#Page_200">200</a>,
-    <a href="#Page_201">201</a>,
-    <a href="#Page_202">202</a>,
-    <a href="#Page_209">209</a>,
-    <a href="#Page_215">215</a>,
-    <a href="#Page_216">216</a>,
-    <a href="#Page_217">217</a>,
-    <a href="#Page_220">220</a>,
-    <a href="#Page_227">227</a>,
-    <a href="#Page_228">228</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_230">230</a>,
-    <a href="#Page_234">234</a>,
-    <a href="#Page_237">237</a>,
-    <a href="#Page_239">239</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li><i>T’ang ying lung kang chi</i>, ii.
-    <a href="#Page_58">58</a></li>
-
-  <li>T’ang’s manufactory, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li>T’ang’s white incense vase, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a></li>
-
-  <li>Tantalus cup, ii.
-    <a href="#Page_276">276</a></li>
-
-  <li><i>T’ao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_142">142</a></li>
-
-  <li><i>T’ao chêng chi shih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a></li>
-
-  <li><i>T’ao Ch’êng shih yü kao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_71">71</a>; ii.
-    <a href="#Page_228">228</a></li>
-
-  <li><i>T’ao chi lüo</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159</a></li>
-
-  <li>Tao kuang, ii.
-    <a href="#Page_263">263</a></li>
-
-  <li><i>T’ao lu</i>, the, <i>passim</i></li>
-
-  <li><i>T’ao shuo</i>, the, <i>passim</i></li>
-
-  <li><i>T’ao t’ieh</i>, ii.
-    <a href="#Page_290">290</a></li>
-
-  <li>T’ao yin-chü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>T’ao yü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a></li>
-
-  <li>T’ao Yüan-ming, ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_296">296</a><span class="pagenum" id="Page_324">[324]</span></li>
-
-  <li>Taoism, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>; ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Taoist Immortals, Eight, ii.
-    <a href="#Page_38">38</a></li>
-
-  <li>Tassie, ii.
-    <a href="#Page_251">251</a></li>
-
-  <li>Tattooed design, ii.
-    <a href="#Page_144">144</a></li>
-
-  <li>Ta-yi, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_32">32</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li>Tazza-shaped cup, ii.
-    <a href="#Page_272">272</a></li>
-
-  <li>Tea bowls, ii.
-    <a href="#Page_5">5</a>,
-    <a href="#Page_278">278</a></li>
-
-  <li>Tea competitions, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a></li>
-
-  <li>Tea cup handles, ii.
-    <a href="#Page_277">277</a></li>
-
-  <li>Tea drinking, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li id="Tea">“Tea dust,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a>; ii.
-    <a href="#Page_233">233</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Tea green, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>Tea leaves, staining with, ii.
-    <a href="#Page_197">197</a>,
-    <a href="#Page_198">198</a></li>
-
-  <li>Tea pot, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a>; ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Tear stains, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li class="hangingindent">Tê-hua porcelain, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xv"><i>xv</i></a>; ii.
-    <a href="#Page_107">107</a>,
-    <a href="#Page_108">108</a>,
-    <a href="#Page_109">109</a>,
-    <a href="#Page_111">111</a>,
-    <a href="#Page_112">112</a>,
-    <a href="#Page_113">113</a>,
-    <a href="#Page_114">114</a>,
-    <a href="#Page_115">115</a></li>
-
-  <li><i>Temmoku</i> ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_132">132</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>Têng, district of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Têng-fêng Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li class="hangingindent">“Three colours,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_197">197</a>; ii.
-    <a href="#Page_26">26</a>,
-    <a href="#Page_100">100</a>,
-    <a href="#Page_147">147</a>,
-    <a href="#Page_151">151</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_207">207</a>,
-    <a href="#Page_241">241</a></li>
-
-  <li>Three heroes of Han dynasty, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Three kingdoms, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Three-legged bird, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li><i>Ti</i> (saucers), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a></li>
-
-  <li><i>T’ieh hsin</i>, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li><i>T’ien Ch’i</i> ii.
-    <a href="#Page_86">86</a></li>
-
-  <li><i>T’ien ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_65">65</a>; ii.
-    <a href="#Page_238">238</a></li>
-
-  <li><i>T’ien chu ên po</i>, ii.
-    <a href="#Page_240">240</a></li>
-
-  <li><i>T’ien kung k’ai wu</i>, ii.
-    <a href="#Page_107">107</a></li>
-
-  <li><i>T’ien lan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a>; ii.
-    <a href="#Page_232">232</a></li>
-
-  <li><i>T’ien lu</i>, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>T’ien Ming, ii.
-    <a href="#Page_117">117</a></li>
-
-  <li><i>T’ien pai</i>, ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li>T’ien Shun, ii.
-    <a href="#Page_28">28</a></li>
-
-  <li><i>T’ien t’ang</i>, ii.
-    <a href="#Page_264">264</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>T’ien Tsung, ii.
-    <a href="#Page_117">117</a></li>
-
-  <li>Tiger, ii.
-    <a href="#Page_294">294</a></li>
-
-  <li>Tiger lily design, ii.
-    <a href="#Page_131">131</a>,
-    <a href="#Page_134">134</a></li>
-
-  <li>Tiger of the West, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li class="hangingindent">“Tiger skin,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>; ii.
-    <a href="#Page_80">80</a>,
-    <a href="#Page_89">89</a>,
-    <a href="#Page_127">127</a>,
-    <a href="#Page_148">148</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_226">226</a>,
-    <a href="#Page_264">264</a></li>
-
-  <li>Tiger, the white, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_20">20</a>; ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Tiles, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_194">194</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Tiles, lustred, ii.
-    <a href="#Page_30">30</a></li>
-
-  <li>Tin, in the glaze, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a></li>
-
-  <li>Ting Chou, ii.
-    <a href="#Page_107">107</a></li>
-
-  <li>Ting Chou ware, red, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_158">158</a></li>
-
-  <li class="hangingindent">Ting Chou wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_52">52</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_85">85</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89–96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_105">105</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li><i>Ting chuang</i>, ii.
-    <a href="#Page_63">63</a>,
-    <a href="#Page_74">74</a></li>
-
-  <li>Ting type of ware, ii.
-    <a href="#Page_86">86</a></li>
-
-  <li>Ting ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89–96</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_102">102</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a></li>
-
-  <li>Ting ware, black, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a></li>
-
-  <li>Ting ware, new, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a></li>
-
-  <li>Ting ware, Northern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a></li>
-
-  <li>Ting ware, purple, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a></li>
-
-  <li>Ting ware, red, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a></li>
-
-  <li>Ting ware, Southern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a></li>
-
-  <li>Ting ware, white, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_146">146</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>; ii.
-    <a href="#Page_201">201</a>,
-    <a href="#Page_218">218</a></li>
-
-  <li>Ting yao, imitation of old, ii.
-    <a href="#Page_142">142</a>,
-    <a href="#Page_197">197</a>,
-    <a href="#Page_201">201</a></li>
-
-  <li>Toad, ii.
-    <a href="#Page_289">289</a>,
-    <a href="#Page_291">291</a></li>
-
-  <li><i>Tobi seiji</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_80">80</a></li>
-
-  <li><i>Toko</i>, ii.
-    <a href="#Page_238">238</a></li>
-
-  <li>Tomb wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li>Tombs, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_9">9</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_13">13</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a></li>
-
-  <li>Tombs, Egyptian, ii.
-    <a href="#Page_266">266</a></li>
-
-  <li>Torrance, Rev. Thomas, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_10">10</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_13">13</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_14">14</a></li>
-
-  <li>Tortoise, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a>; ii.
-    <a href="#Page_288">288</a>,
-    <a href="#Page_289">289</a></li>
-
-  <li>Tortoise of the North, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a>; ii.
-    <a href="#Page_291">291</a></li>
-
-  <li><i>T’o t’ai</i> (“bodiless”), ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_5">5</a>,
-    <a href="#Page_195">195</a>,
-    <a href="#Page_248">248</a></li>
-
-  <li><i>Tou ch’ing</i>, ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_99">99</a></li>
-
-  <li><i>Toyei Shuko</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li>Trade between China and West, mediæval, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li>Tradescant Collection, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>; ii.
-    <a href="#Page_68">68</a></li>
-
-  <li>Trading station, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a></li>
-
-  <li>Transfer prints, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Transition enamels, ii.
-    <a href="#Page_257">257</a></li>
-
-  <li>Translucent porcelain, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_148">148</a></li>
-
-  <li class="hangingindent">Transmutation ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_192">192</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_232">232</a></li>
-
-  <li>Trenchard bowls, ii.
-    <a href="#Page_29">29</a></li>
-
-  <li>Trigrams, Eight, ii.
-    <a href="#Page_39">39</a>,
-    <a href="#Page_41">41</a>,
-    <a href="#Page_62">62</a>,
-    <a href="#Page_268">268</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li>Trumpeter service, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li>Ts’ai, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Ts’ai Chin-ch’ing, ii.
-    <a href="#Page_267">267</a></li>
-
-  <li>T’sai-hsiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a></li>
-
-  <li><i>Ts’ai hua t’ang</i>, ii.
-    <a href="#Page_265">265</a></li>
-
-  <li><i>Ts’ai hung</i>, ii.
-    <a href="#Page_179">179</a></li>
-
-  <li><i>Ts’ai jun t’ang</i>, ii.
-    <a href="#Page_265">265</a></li>
-
-  <li><i>Ts’ang yao</i>, ii.
-    <a href="#Page_121">121</a></li>
-
-  <li>Ts’ang Ying-hsüan, ii,
-    <a href="#Page_121">121</a>,
-    <a href="#Page_126">126</a>,
-    <a href="#Page_168">168</a>,
-    <a href="#Page_180">180</a>,
-    <a href="#Page_187">187</a>,
-    <a href="#Page_190">190</a></li>
-
-  <li>Ts’ao-chao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Ts’ao Chiung, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_75">75</a></li>
-
-  <li><i>Tsao’rh hung</i>, ii.
-    <a href="#Page_218">218</a></li>
-
-  <li><i>Tsao t’ang</i>, ii.
-    <a href="#Page_34">34</a></li>
-
-  <li><i>Ts’ao tien yu chi</i>, ii.
-    <a href="#Page_58">58</a></li>
-
-  <li><i>Tso Ch’uan</i>, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a></li>
-
-  <li><i>Tsou</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a></li>
-
-  <li>Tsou Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li><i>Ts’ui</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_77">77</a>; ii.
-    <a href="#Page_161">161</a></li>
-
-  <li><i>Ts’ui kung yao</i>, ii.
-    <a href="#Page_52">52</a></li>
-
-  <li>Ts’ui, Mr., ii.
-    <a href="#Page_52">52</a>,
-    <a href="#Page_64">64</a></li>
-
-  <li><i>Ts’ui sê</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a></li>
-
-  <li>Ts’ung Tê, ii.
-    <a href="#Page_116">116</a></li>
-
-  <li><i>Ts’ung ts’ui</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a></li>
-
-  <li>Tu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li><i>Tu shu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_76">76</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a>; ii.
-    <a href="#Page_197">197</a></li>
-
-  <li><i>T’u ssŭ wên</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a></li>
-
-  <li class="hangingindent"><i>T’u ting</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_90">90</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_92">92</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a>; ii.
-    <a href="#Page_113">113</a>,
-    <a href="#Page_218">218</a></li>
-
-  <li>Tu Yü, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li>Tu-chiu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a></li>
-
-  <li><i>T’u k’uai</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li><i>Tu kung t’an tsüan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li>Tulip-like flower pattern, ii.
-    <a href="#Page_90">90</a></li>
-
-  <li>Tun-huang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_28">28</a></li>
-
-  <li>T’ung, ii.
-    <a href="#Page_58">58</a>,
-    <a href="#Page_59">59</a>,
-    <a href="#Page_117">117</a></li>
-
-  <li>T’ung Chih, ii.
-    <a href="#Page_267">267</a></li>
-
-  <li><i>Tung ch’ing</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_48">48</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_75">75</a>; ii.
-    <a href="#Page_189">189</a></li>
-
-  <li>T’ung-chou Fu, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li>Tung-fang So, ii.
-    <a href="#Page_133">133</a>,
-    <a href="#Page_159">159</a>,
-    <a href="#Page_288">288</a></li>
-
-  <li>Tung-han, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a><span class="pagenum" id="Page_325">[325]</span></li>
-
-  <li><i>Tung hsiang t’ang</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a></li>
-
-  <li>Tung-p’o, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a></li>
-
-  <li><i>Tung ya</i>, ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_19">19</a>,
-    <a href="#Page_92">92</a></li>
-
-  <li>Tung ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_82">82</a></li>
-
-  <li>Turfan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_31">31</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a></li>
-
-  <li>Turkestan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a></li>
-
-  <li>Turkey, ii.
-    <a href="#Page_218">218</a>,
-    <a href="#Page_279">279</a></li>
-
-  <li>Twelve embroidery ornaments, ii.
-    <a href="#Page_297">297</a></li>
-
-  <li><i>Tz’ŭ</i> (porcelain), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_140">140</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_141">141</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_142">142</a></li>
-
-  <li><i>Tzŭ</i> (purple), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_93">93</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a></li>
-
-  <li class="hangingindent"><i>Tzŭ chin</i> (golden brown), ii.
-    <a href="#Page_37">37</a>,
-    <a href="#Page_38">38</a>,
-    <a href="#Page_65">65</a>,
-    <a href="#Page_99">99</a>,
-    <a href="#Page_191">191</a>,
-    <a href="#Page_192">192</a></li>
-
-  <li>Tzŭ-ching, ii.
-    <a href="#Page_14">14</a></li>
-
-  <li class="hangingindent">Tz’ŭ Chou ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_46">46</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101–108</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_135">135</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_149">149</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_193">193</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>; ii.
-    <a href="#Page_30">30</a></li>
-
-  <li>Tz’ŭ-jén Temple, ii.
-    <a href="#Page_23">23</a></li>
-
-  <li><i>Tz’ŭ</i> stone, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_101">101</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_107">107</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a></li>
-
-  <li><i>Tz’ŭ t’ai</i> (Chün ware), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_113">113</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a></li>
-
-  <li><i>Tz’ŭ-tsao</i>, ii.
-    <a href="#Page_108">108</a></li>
-</ul>
-
-<ul>
-  <li>Urfe, d’, Honoré, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a></li>
-
-  <li>Ushaktal, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-</ul>
-
-<ul>
-  <li>Vaidurya, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li>Vajrapani, ii.
-    <a href="#Page_286">286</a></li>
-
-  <li>Van Eenhorn, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_178">178</a></li>
-
-  <li>Vase organ, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_138">138</a></li>
-
-  <li>Vases, bottle shaped, ii.
-    <a href="#Page_273">273</a></li>
-
-  <li>Vases, civil and military, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Vases, divining rod, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Vases, flower, ii.
-    <a href="#Page_273">273</a>,
-    <a href="#Page_275">275</a></li>
-
-  <li>Vases, perfume, ii.
-    <a href="#Page_68">68</a></li>
-
-  <li>Vases, square, ii.
-    <a href="#Page_274">274</a></li>
-
-  <li>Vash-shahri, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li>Venetian glass, ii.
-    <a href="#Page_139">139</a></li>
-
-  <li>Vermilion boxes, ii.
-    <a href="#Page_35">35</a></li>
-
-  <li>Vermilion pigment, ii.
-    <a href="#Page_148">148</a></li>
-
-  <li>Victoria and Albert Museum, <i>passim</i></li>
-
-  <li>Violet blue, dark, ii.
-    <a href="#Page_99">99</a></li>
-
-  <li>Virgin and Child, images of, ii.
-    <a href="#Page_111">111</a>,
-    <a href="#Page_285">285</a></li>
-
-  <li>Virtuous Heroines, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Voretzsch, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_206">206</a></li>
-</ul>
-
-<ul>
-  <li><i>Wa wa</i>(children), ii.
-    <a href="#Page_25">25</a>,
-    <a href="#Page_281">281</a></li>
-
-  <li>Wall of China, great, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_5">5</a></li>
-
-  <li>Wall vases, ii.
-    <a href="#Page_275">275</a></li>
-
-  <li>Walters Collection, ii.
-    <a href="#Page_227">227</a></li>
-
-  <li><i>Wan</i>, ii.
-    <a href="#Page_76">76</a></li>
-
-  <li><i>Wan fu yu t’ung</i>, ii.
-    <a href="#Page_51">51</a></li>
-
-  <li><i>Wan ku ch’ang ch’un ssŭ hai lai chao</i>, ii.
-    <a href="#Page_62">62</a></li>
-
-  <li>Wan Li wares, ii.
-    <a href="#Page_24">24</a>,
-    <a href="#Page_57">57</a>,
-    <a href="#Page_58">58–81</a>,
-    <a href="#Page_161">161</a>,
-    <a href="#Page_208">208</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li><i>Wan Li wu ts’ai</i>, ii.
-    <a href="#Page_48">48</a>,
-    <a href="#Page_81">81</a>,
-    <a href="#Page_82">82</a>,
-    <a href="#Page_100">100</a>,
-    <a href="#Page_160">160</a></li>
-
-  <li><i>Wan shih chü</i>, ii.
-    <a href="#Page_167">167</a></li>
-
-  <li><i>Wan shou</i>, ii.
-    <a href="#Page_82">82</a></li>
-
-  <li><i>Wan shou am chiang</i>, ii.
-    <a href="#Page_169">169</a></li>
-
-  <li>Wang Ch’iao, ii.
-    <a href="#Page_288">288</a></li>
-
-  <li>Wang Chih, ii.
-    <a href="#Page_110">110</a>,
-    <a href="#Page_133">133</a>,
-    <a href="#Page_282">282</a></li>
-
-  <li>Wang Ching-min, ii.
-    <a href="#Page_59">59</a></li>
-
-  <li>Wang Hsi Chih, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Wang Ping-jung, ii.
-    <a href="#Page_266">266</a></li>
-
-  <li>Wang Shêng-kao, ii.
-    <a href="#Page_247">247</a></li>
-
-  <li>Wang Shih-chêng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>Wang-tso, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li>Wang Tso-t’ing, ii.
-    <a href="#Page_266">266</a></li>
-
-  <li>Wang Wei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a></li>
-
-  <li>Wang-yu, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li>Wantage Collection, Lady, ii.
-    <a href="#Page_221">221</a>,
-    <a href="#Page_262">262</a></li>
-
-  <li>Warham bowl, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_88">88</a></li>
-
-  <li>Warner, Langdon, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a></li>
-
-  <li>Water droppers, ii.
-    <a href="#Page_276">276</a></li>
-
-  <li>Waterfall, ii.
-    <a href="#Page_68">68</a></li>
-
-  <li>Water pots, ii.
-    <a href="#Page_276">276</a></li>
-
-  <li>Wave and rock pattern, ii.
-    <a href="#Page_63">63</a></li>
-
-  <li>Wave pattern, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a>; ii.
-    <a href="#Page_56">56</a>,
-    <a href="#Page_302">302</a></li>
-
-  <li>Waves and plum blossoms design, ii.
-    <a href="#Page_56">56</a>,
-    <a href="#Page_63">63</a>,
-    <a href="#Page_80">80</a>,
-    <a href="#Page_155">155</a></li>
-
-  <li>Wedding bowl, ii.
-    <a href="#Page_268">268</a></li>
-
-  <li>Wei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_27">27</a></li>
-
-  <li><i>Wei ch’i</i>, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Wei dynasty, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_16">16</a></li>
-
-  <li>Wei Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_103">103</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_104">104</a></li>
-
-  <li>Weights, ii.
-    <a href="#Page_97">97</a></li>
-
-  <li>Well-head, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_12">12</a></li>
-
-  <li>Wells Williams, S., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_184">184</a></li>
-
-  <li>Wên, Prince, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a></li>
-
-  <li>Wên (Sung minister), i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li>Wên Ch’ang, ii.
-    <a href="#Page_159">159</a>,
-    <a href="#Page_284">284</a></li>
-
-  <li>Wên Chêng-ming, ii.
-    <a href="#Page_243">243</a></li>
-
-  <li>Wên-chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_143">143</a>; ii.
-    <a href="#Page_108">108</a></li>
-
-  <li><i>Wên fang ssŭ k’ao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_60">60</a></li>
-
-  <li>Wên Lang-shan, ii.
-    <a href="#Page_263">263</a></li>
-
-  <li class="hangingindent"><i>Wên p’ing</i>(civil vase) and <i>wu p’ing</i> (military vase), ii.
-    <a href="#Page_281">281</a></li>
-
-  <li><i>Wên-wang</i> censers, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_94">94</a></li>
-
-  <li>West, symbol of, ii.
-    <a href="#Page_41">41</a></li>
-
-  <li>Wheel, potter’s, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_2">2</a></li>
-
-  <li>Whieldon wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_25">25</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_33">33</a></li>
-
-  <li>Whitechapel Art Gallery, ii.
-    <a href="#Page_233">233</a></li>
-
-  <li>“White earth village,” i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>White earth, where found, ii.
-    <a href="#Page_107">107</a></li>
-
-  <li>White in blue ground design, ii.
-    <a href="#Page_130">130</a></li>
-
-  <li>White porcelain, ii.
-    <a href="#Page_195">195</a></li>
-
-  <li>White slip, ii.
-    <a href="#Page_5">5</a></li>
-
-  <li>White ware, dead, ii.
-    <a href="#Page_201">201</a></li>
-
-  <li>Wilkes, John, ii.
-    <a href="#Page_255">255</a></li>
-
-  <li>Williams, Mrs., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a></li>
-
-  <li>Willow, ii.
-    <a href="#Page_296">296</a></li>
-
-  <li>Willow pattern, ii.
-    <a href="#Page_258">258</a>,
-    <a href="#Page_296">296</a></li>
-
-  <li>Wine cup, ii.
-    <a href="#Page_278">278</a></li>
-
-  <li>Wine Cup, Eight Immortals of the, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li>Wine pot, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a></li>
-
-  <li>Winter Palace, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Winthrop, Mr., ii.
-    <a href="#Page_29">29</a></li>
-
-  <li>Wolfsbourg, de, ii.
-    <a href="#Page_260">260</a></li>
-
-  <li>Wood, Enoch, ii.
-    <a href="#Page_259">259</a></li>
-
-  <li class="hangingindent">Worcester, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>; ii.
-    <a href="#Page_76">76</a>,
-    <a href="#Page_136">136</a>,
-    <a href="#Page_141">141</a>,
-    <a href="#Page_183">183</a>,
-    <a href="#Page_251">251</a>,
-    <a href="#Page_258">258</a>,
-    <a href="#Page_259">259</a>,
-    <a href="#Page_260">260</a></li>
-
-  <li><i>Wu chên</i>, ii.
-    <a href="#Page_230">230</a></li>
-
-  <li class="hangingindent"><i>Wu chin</i>, ii.
-    <a href="#Page_192">192</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_210">210</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_226">226</a>,
-    <a href="#Page_229">229</a>,
-    <a href="#Page_230">230</a>,
-    <a href="#Page_231">231</a></li>
-
-  <li>Wu-ch’ing Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Wu chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a></li>
-
-  <li><i>Wu fu</i>, ii.
-    <a href="#Page_11">11</a></li>
-
-  <li>Wu I-shan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a><span class="pagenum" id="Page_326">[326]</span></li>
-
-  <li><i>Wu kung yang</i>, ii.
-    <a href="#Page_24">24</a></li>
-
-  <li><i>Wu lao</i>, ii.
-    <a href="#Page_283">283</a></li>
-
-  <li>Wu-mên-t’o, ii.
-    <a href="#Page_59">59</a>,
-    <a href="#Page_91">91</a></li>
-
-  <li><i>Wu ming</i> tzŭ, ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li><i>Wu ming yi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>; ii.
-    <a href="#Page_12">12</a>,
-    <a href="#Page_98">98</a></li>
-
-  <li><i>Wu-ni</i> wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_67">67</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_133">133</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li>Wu San-kuei, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>; ii.
-    <a href="#Page_125">125</a></li>
-
-  <li>Wu <i>sê</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_162">162</a>; ii.
-    <a href="#Page_20">20</a></li>
-
-  <li>Wu Tao-tzŭ, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_23">23</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a></li>
-
-  <li>Wu Ti, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_7">7</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_11">11</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_15">15</a>; ii.
-    <a href="#Page_288">288</a></li>
-
-  <li class="hangingindent"><i>Wu ts’ai</i> (“decorated in five colours”), ii.
-    <a href="#Page_8">8</a>,
-    <a href="#Page_9">9</a>,
-    <a href="#Page_17">17</a>,
-    <a href="#Page_20">20</a>,
-    <a href="#Page_22">22</a>,
-    <a href="#Page_23">23</a>,
-    <a href="#Page_26">26</a>,
-    <a href="#Page_55">55</a>,
-    <a href="#Page_63">63</a></li>
-</ul>
-
-<ul>
-  <li>Yacut, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li><i>Ya ku ch’ing pao shih</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_62">62</a></li>
-
-  <li><i>Ya shou</i> pei, ii.
-    <a href="#Page_3">3</a>,
-    <a href="#Page_4">4</a>,
-    <a href="#Page_5">5</a></li>
-
-  <li>Yang-Chiang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_84">84</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a></li>
-
-  <li><i>Yang-hsien ming hu hsi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_139">139</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_176">176</a></li>
-
-  <li>Yang Kuei-fei, ii.
-    <a href="#Page_282">282</a></li>
-
-  <li><i>Yang ts’ai</i> (foreign colours), ii.
-    <a href="#Page_209">209</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li>Yangtze, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_89">89</a></li>
-
-  <li><i>Yang tz’ŭ</i> ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_166">166</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_167">167</a></li>
-
-  <li><i>Yao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_142">142</a></li>
-
-  <li>Yao, ii.
-    <a href="#Page_281">281</a></li>
-
-  <li>Yao, district of, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_56">56</a></li>
-
-  <li>Yao Niang, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_24">24</a></li>
-
-  <li class="hangingindent"><i>Yao pien</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_137">137</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_139">139</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_157">157</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>; ii.
-    <a href="#Page_18">18</a>,
-    <a href="#Page_193">193</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_232">232</a></li>
-
-  <li>Yeh-chih, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a></li>
-
-  <li id="Yellow">Yellow, eel, ii.
-    <a href="#Page_127">127</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li>Yellow, European style, ii.
-    <a href="#Page_220">220</a></li>
-
-  <li>Yellow, mustard, ii.
-    <a href="#Page_190">190</a>,
-    <a href="#Page_223">223</a></li>
-
-  <li>Yellow, Nanking, ii.
-    <a href="#Page_145">145</a>,
-    <a href="#Page_170">170</a>,
-    <a href="#Page_191">191</a>,
-    <a href="#Page_192">192</a></li>
-
-  <li>Yellow, ritual significance of, ii.
-    <a href="#Page_195">195</a></li>
-
-  <li>Yellow, spotted, ii.
-    <a href="#Page_126">126</a>,
-    <a href="#Page_127">127</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_218">218</a>,
-    <a href="#Page_223">223</a>,
-    <a href="#Page_226">226</a></li>
-
-  <li>Yellow, sulphur, ii.
-    <a href="#Page_220">220</a>,
-    <a href="#Page_239">239</a></li>
-
-  <li>Yellow ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_160">160</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_163">163</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_187">187</a>; ii.
-    <a href="#Page_28">28</a>,
-    <a href="#Page_190">190</a>,
-    <a href="#Page_239">239</a></li>
-
-  <li>Yen-shên Chên, i,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a></li>
-
-  <li>Yen Shih-ku, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_144">144</a></li>
-
-  <li><i>Yen yen</i> vase, ii.
-    <a href="#Page_156">156</a></li>
-
-  <li>Yesdijird, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_34">34</a></li>
-
-  <li>Yetts, Dr., ii.
-    <a href="#Page_292">292</a></li>
-
-  <li>Yi, Prince of, ii.
-    <a href="#Page_200">200</a></li>
-
-  <li>Yi-chên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_200">200</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_202">202</a></li>
-
-  <li>Yi Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_201">201</a></li>
-
-  <li>Yi-hsing, ii.
-    <a href="#Page_65">65</a>,
-    <a href="#Page_187">187</a></li>
-
-  <li>Yi-hsing Chün, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_179">179</a></li>
-
-  <li class="hangingindent">Yi-hsing wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xv"><i>xv</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_123">123</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_127">127</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_171">171</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_172">172</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_174">174–183</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_188">188</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_190">190</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_198">198</a>; ii.
-    <a href="#Page_217">217</a>,
-    <a href="#Page_224">224</a>,
-    <a href="#Page_245">245</a></li>
-
-  <li><i>Yin hua</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a></li>
-
-  <li><i>Yin Yang</i>, ii.
-    <a href="#Page_62">62</a>,
-    <a href="#Page_268">268</a>,
-    <a href="#Page_283">283</a>,
-    <a href="#Page_290">290</a></li>
-
-  <li><i>Yin yang tsa tsu</i>, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_19">19</a></li>
-
-  <li>Yo Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_199">199</a></li>
-
-  <li><i>Yo fu tsa lu</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a></li>
-
-  <li>Yorke and Cocks, arms of, ii.
-    <a href="#Page_212">212</a>,
-    <a href="#Page_213">213</a></li>
-
-  <li>Yoshitsune, flute of, ii.
-    <a href="#Page_113">113</a></li>
-
-  <li><i>Yu chai</i>, ii.
-    <a href="#Page_212">212</a></li>
-
-  <li><i>Yü chih kêng chih t’u</i>, ii.
-    <a href="#Page_164">164</a></li>
-
-  <li>Yü Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_109">109</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_147">147</a>; ii.
-    <a href="#Page_107">107</a></li>
-
-  <li><i>Yü fêng yang lin</i>, ii.
-    <a href="#Page_212">212</a></li>
-
-  <li>Yü-hang Hsien, i.
-    <a href="#Page_67">67</a></li>
-
-  <li>Yü-hang wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_66">66</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_134">134</a></li>
-
-  <li><i>Yü lan</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_53">53</a></li>
-
-  <li><i>Yu li hung</i>, ii.
-    <a href="#Page_122">122</a>,
-    <a href="#Page_125">125</a>,
-    <a href="#Page_204">204</a>,
-    <a href="#Page_225">225</a></li>
-
-  <li><i>Yu lü</i>, ii.
-    <a href="#Page_224">224</a></li>
-
-  <li><i>Yu po lo</i>, ii.
-    <a href="#Page_25">25</a></li>
-
-  <li class="hangingindent"><i>Yü t’ang chia ch’i</i> mark, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>; ii.
-    <a href="#Page_75">75</a>,
-    <a href="#Page_77">77</a>,
-    <a href="#Page_79">79</a>,
-    <a href="#Page_82">82</a></li>
-
-  <li><i>Yu t’u</i> (glaze earth), ii.
-    <a href="#Page_91">91</a></li>
-
-  <li>Yu-tzŭ Hsien, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_97">97</a></li>
-
-  <li>Yü wang shang ti, ii.
-    <a href="#Page_291">291</a></li>
-
-  <li>Yü-yao, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a></li>
-
-  <li><i>Yüan chai pi hêng</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_55">55</a></li>
-
-  <li>Yüan Ming Yüan, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_205">205</a></li>
-
-  <li>Yüan tz’ŭ, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_110">110</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_124">124</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_128">128</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_129">129</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_164">164</a></li>
-
-  <li>Yüan wares, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_41">41</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_50">50</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_155">155</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_159">159–165</a></li>
-
-  <li>Yüeh Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_37">37</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_38">38</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_39">39</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_40">40</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_54">54</a></li>
-
-  <li><i>Yüeh pai</i>, ii.
-    <a href="#Page_224">224</a></li>
-
-  <li>Yüeh ware, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_59">59</a></li>
-
-  <li>Yuima, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_36">36</a></li>
-
-  <li><i>Yün hsien tsa chi</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_138">138</a></li>
-
-  <li>Yün-mên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_xvi"><i>xvi</i></a></li>
-
-  <li><i>Yün shih chai pi t’an</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_91">91</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_95">95</a></li>
-
-  <li><i>Yün tsao</i>, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a></li>
-
-  <li>Yung-ch’ang, ii.
-    <a href="#Page_30">30</a></li>
-
-  <li>Yung Chêng, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_45">45</a></li>
-
-  <li class="hangingindent">Yung Chêng imitations, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_117">117</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a>; ii.
-    <a href="#Page_11">11</a>,
-    <a href="#Page_43">43</a>,
-    <a href="#Page_82">82</a></li>
-
-  <li>Yung Chêng list, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_120">120</a></li>
-
-  <li>Yung Chêng mark, ii.
-    <a href="#Page_217">217</a></li>
-
-  <li>Yung Chêng monochromes, ii.
-    <a href="#Page_216">216</a></li>
-
-  <li>Yung Chêng wares, ii.
-    <a href="#Page_169">169</a>,
-    <a href="#Page_200">200–226</a></li>
-
-  <li>Yung-Chou, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_136">136</a></li>
-
-  <li>Yung-ho Chên, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_98">98</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a></li>
-
-  <li>Yung Lo bowl, ii.
-    <a href="#Page_86">86</a></li>
-
-  <li>Yung Lo wares, ii.
-    <a href="#Page_3">3–6</a>,
-    <a href="#Page_9">9</a>,
-    <a href="#Page_12">12</a>,
-    <a href="#Page_224">224</a></li>
-
-  <li>Yunnan, ii.
-    <a href="#Page_29">29</a></li>
-</ul>
-
-<ul>
-  <li>Zanzibar, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_86">86</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a></li>
-
-  <li><i>Zeitschrift für Ethnologie</i>, the, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_8">8</a></li>
-
-  <li>Zengoro Hozen, ii.
-    <a href="#Page_6">6</a></li>
-
-  <li>Zimmermann, E., i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_87">87</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_145">145</a>; ii.
-    <a href="#Page_5">5</a></li>
-
-  <li>Zinc, i.
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_168">168</a>,
-    <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_182">182</a></li>
-</ul>
-
-<p class="smcap center xs">Printed by Cassell &amp; Company, Limited, La Belle Sauvage, London, E.C.<br />
-F 15.115</p>
-
-
-
-<div class="footnotes"><h2>FOOTNOTES:</h2>
-
-<div class="footnote">
-
-<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> See vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_153">153</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> <i>fêng huo</i>. Bushell renders “blast furnaces.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> <img src="images/k_002b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>lan kuang</i>, lit. “burn tube.” Omitting
-the radical <img src="images/k_002c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- (<i>huo</i>, fire) in both cases, Bushell takes
-the characters as <i>lan</i> (blue) and <i>huang</i> (yellow). Possibly
-Bushell’s edition had variant readings.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Bk. vii., fol. 25 recto.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Or, perhaps, “greenish black,” taking the two words
-together.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> <img src="images/k_003b.jpg" alt="omit body"
-style="height:1.5em;  padding:0em 0em ;" />
- lit. “omit body.” A slightly thicker porcelain
-is known as <i>pan t’o t’ai</i>, or “half bodiless.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> <img src="images/k_003c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>ts’ai chui</i>. These words seem to have
-been taken to mean “decorated with an awl”; but they are better
-translated separately to mean “bright coloured” and “(engraved with)
-an awl,” the suggestion being that <i>ts’ai</i> refers to enamelled
-porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> Bk. ii., fol. 8 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> <img src="images/k_003d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>Ya shou pei</i>, lit. “press hand cups.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> “Made in the Yung Lo period of the great Ming dynasty.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> The reading in the British Museum copy is <img src="images/k_003f.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-
-<i>pai</i> (white), which seems to be an error for <img src="images/k_003e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>ssŭ</i>
-(four): taken as it stands, it would mean written in white slip.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> <img src="images/k_004.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>hua</i>, lit. “slippery.” The meanings
-include “polished, smooth, ground,” etc., from which it will be seen
-that the word could equally refer to a glazed surface or an unglazed
-surface which had been polished on the wheel.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> This conical form of bowl was by no means new in the Ming
-period. In fact, we are told in the <i>T’ao shuo</i> that it is the
-<i>p’ieh</i> of the Sung dynasty, the old form of tea bowl. See vol. i,
-p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_175">175</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> There are several others of this type in Continental
-museums; cf. Zimmermann, op. cit. Plate 23.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> <i>Cat.</i>, F 6.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> Bk. v., fol. 5.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> Bk. ii., fol. 8.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> <i>pa pei</i>, lit. handle cups. This type, as
-illustrated in Hsiang’s Album (op. cit., No. 54) is a shallow cup or
-tazza on a tall stem which was grasped by the hand.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> An example of the figure subjects on Hsüan Tê blue
-and white is given in the <i>T’ao shuo</i>, “teacups decorated with
-figures armed with light silk fans striking at flying fire-flies”; see
-Bushell’s translation, op. cit., p. 136.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> “Citron dishes” are specially mentioned in the <i>Wên
-chên hêng ch’ang wu chi</i> (<i>T’ao lu</i>, bk. viii., fol. 4).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> <i>Ch’ang k’ou</i>, lit. “shed mouth.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> Lit. “pot-bellied.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> Lit. “cauldron (<i>fu</i>) base.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> <i>an hua</i>, secret decoration (see p. <a href="#Page_6">6</a>).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> “Made in the Hsüan Tê period of the great Ming dynasty.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> Lit. “orange-peel markings (<i>chü p’i wên</i>) rise in
-the glaze.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_27" href="#FNanchor_27" class="label">[27]</a> i.e. red lines coloured by rubbing ochre into the cracks.
-See vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_99">99</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_28" href="#FNanchor_28" class="label">[28]</a> <i>O. C. A.</i>, p. 371.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_29" href="#FNanchor_29" class="label">[29]</a> Unfortunately the term <i>pao shih hung</i> has been
-loosely applied in modern times to the iron red. See Julien, op. cit.,
-p. 91 note: “Among the colours for porcelain painting which M. Itier
-brought from China and offered to the Sèvres factory, there is one
-called <i>pao shih hung</i>, which, from M. Salvétat’s analysis, is
-nothing else but oxide of iron with a flux.” In other words, it is a
-material which should have been labelled <i>fan hung</i>. This careless
-terminology has led to much confusion.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_30" href="#FNanchor_30" class="label">[30]</a> <i>T’ao lu</i>, bk. v., fol. 7 recto.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_31" href="#FNanchor_31" class="label">[31]</a> The <i>Ch’ing pi tsang</i> mentions “designs of flowers,
-birds, fish and insects, and such like forms” as typical ornaments on
-the red painted Hsüan porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_32" href="#FNanchor_32" class="label">[32]</a> The three fruits (<i>san kuo</i>) are the peach,
-pomegranate, and finger citron, which typify the Three Abundances of
-years, sons and happiness.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_33" href="#FNanchor_33" class="label">[33]</a> <i>Wu fu.</i> This may, however, be emblematically
-rendered by five bats, the bat (<i>fu</i>) being a common rebus for
-<i>fu</i> (happiness).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_34" href="#FNanchor_34" class="label">[34]</a> See p. <a href="#Page_122">122</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_35" href="#FNanchor_35" class="label">[35]</a> According to Bushell, <i>O. C. A.</i>, p. 130, “cobalt
-blue, as we learn from the official annals of the Sung dynasty
-(<i>Sung shih</i>, bk. 490, fol. 12), was brought to China by the
-Arabs under the name of <i>wu ming yi</i>.” This takes it back to the
-tenth century. <i>Wu ming yi</i> (nameless rarity) was afterwards
-used as a general name for cobalt blue, and was applied to the native
-mineral. The name was sometimes varied to <i>wu ming tzŭ</i>. Though
-we are not expressly told the source of the <i>su-ni-p’o</i> blue,
-it is easily guessed. For the Ming Annals (bk. 325) state that among
-the objects brought as tribute by envoys from Sumatra were “precious
-stones, agate, crystal, carbonate of copper, rhinoceros horn, and
-<img src="images/k_012.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
- <i>hui hui ch’ing</i> (Mohammedan blue).” See W. P.
-Groeneveldt, <i>Verhandelingen van het Bataviaasch Genootschap van
-Kunsten en Wetenschappen</i>, vol. xxxix., p. 92. These envoys arrived
-in 1426, 1430, 1433, 1434, and for the last time in 1486. Sumatra was
-a meeting-place of the traders from East and West, and no doubt the
-Mohammedan blue was brought thither by Arab merchants. Possibly some
-of the mineral was brought back by the celebrated eunuch Chêng Ho, who
-led an expedition to Sumatra in the Yung Lo period. See also p. <a href="#Page_30">30</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_36" href="#FNanchor_36" class="label">[36]</a> See <i>Cat. B. F. A.</i>, 1910, L 23; a pilgrim bottle
-belonging to Mrs. Halsey, inscribed after export to India with the word
-Alamgir, a name of the famous Aurungzib. Cf. also the fine cylindrical
-vase in the Victoria and Albert Museum (Case 2), with floral scrolls in
-this type of blue combined with underglaze red, and the Hsüan Tê mark.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_37" href="#FNanchor_37" class="label">[37]</a> Op. cit., Nos. 9, 31, 37, 39, 48, 69 and 83.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_38" href="#FNanchor_38" class="label">[38]</a> <i>Hui hu</i> is a variant for <i>hui hui</i>
-(Mohammedan).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_39" href="#FNanchor_39" class="label">[39]</a> Probably due to over-firing.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_40" href="#FNanchor_40" class="label">[40]</a> On the parallelism between this type of porcelain
-decoration and cloisonné enamel, see <i>Burlington Magazine</i>,
-September, 1912, p. 320. It is worthy of note that missing parts
-of these vases, such as neck rim or handles, are often replaced by
-cloisonné enamel on metal, which is so like the surrounding porcelain
-that the repairs are often overlooked.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_41" href="#FNanchor_41" class="label">[41]</a> The yellow of this group is usually of a dull, impure
-tint, but there is a small jar in the Peters Collection in New York on
-which the yellow is exceptionally pure and brilliant, and almost of
-lemon colour.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_42" href="#FNanchor_42" class="label">[42]</a> In these cases the porcelain would be first fired without
-glaze and the colours added when it was in what is called the “biscuit”
-state. In the blue and white ware, on the other hand, and the bulk of
-Chinese glazed porcelain, body and glaze were baked together in one
-firing.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_43" href="#FNanchor_43" class="label">[43]</a> Bushell, <i>O. C. A.</i>, p. 152.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_44" href="#FNanchor_44" class="label">[44]</a> Translation of the <i>T’ao shuo</i>, op. cit., p. 51.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_45" href="#FNanchor_45" class="label">[45]</a> This is the verdict of the <i>Po wu yao lan</i>, and it
-is repeated in the <i>T’ao lu</i>, see Bushell, op. cit., p. 60.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_46" href="#FNanchor_46" class="label">[46]</a> Painted decoration is mentioned in Chiang’s Memoir of the
-Yüan dynasty (see vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_160">160</a>), but without any particulars; and the
-<i>Ko ku yao lun</i> speaks of <i>wu sê</i> decoration of a coarse kind
-at the end of the Yüan period (see vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_161">161</a>). The latter may, of
-course, refer to the use of coloured glazes.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_47" href="#FNanchor_47" class="label">[47]</a> Op. cit., fig. 77.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_48" href="#FNanchor_48" class="label">[48]</a> The application of these enamels in large washes puts
-them practically in the category of glazes, but for the sake of
-clearness it is best to keep the terminology distinct. After all, the
-difference between a high-fired glaze which is applied to the biscuit
-and a low-fired enamel applied in the same way is only one of degree,
-but if we use the term enamel or enamel-glaze for the colours fired in
-the muffle kiln as distinct from those fired in the porcelain kiln, it
-will save further explanations.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_49" href="#FNanchor_49" class="label">[49]</a> A late Ming writer quoted in the <i>T’ao lu</i> (bk.
-viii., fol. 18) says, “At the present day Hsüan ware cricket pots are
-still very greatly treasured. Their price is not less than that of
-Hsüan Ho pots of the Sung dynasty.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_50" href="#FNanchor_50" class="label">[50]</a> Bushell, op. cit., p. 140.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_51" href="#FNanchor_51" class="label">[51]</a> <i>Po wu yao lan</i>, bk. ii., fol. 9 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_52" href="#FNanchor_52" class="label">[52]</a> <img src="images/k_022b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>hsien</i>. The emperor Ch’êng Hua was
-canonised as Hsien Tsung.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_53" href="#FNanchor_53" class="label">[53]</a> See p. <a href="#Page_12">12</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_54" href="#FNanchor_54" class="label">[54]</a> <img src="images/k_022c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ch’ien tan</i>. The <i>T’ao shuo</i>,
-quoting this passage, uses a variant reading, <i>ch’ien shên</i> <img src="images/k_022d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, which Bushell renders “whether light or dark.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_55" href="#FNanchor_55" class="label">[55]</a> <i>yu hua i</i>, lit. “have the picture idea.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_56" href="#FNanchor_56" class="label">[56]</a> See Bushell, <i>O. C. A.</i>, p. 385.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_57" href="#FNanchor_57" class="label">[57]</a> See Hsiang’s Album, op. cit., fig. 38.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_58" href="#FNanchor_58" class="label">[58]</a> Bk. vi., fols. 7–9, and Bushell’s translation, op. cit.,
-pp. 141–3.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_59" href="#FNanchor_59" class="label">[59]</a> Op. cit., fig. 55.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_60" href="#FNanchor_60" class="label">[60]</a> <i>Burlington Magazine</i>, December, 1912, pp. 153–8.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_61" href="#FNanchor_61" class="label">[61]</a> The author of the <i>P’u shu t’ing chi</i> (<i>Memoirs of
-the Pavilion for Sunning Books</i>), quoted in the <i>T’ao shuo</i>,
-loc. cit.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_62" href="#FNanchor_62" class="label">[62]</a> Op. cit., fig. 64.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_63" href="#FNanchor_63" class="label">[63]</a> Bushell (<i>T’ao shuo</i>, p. 142) gives the misleading
-version, “bowls enamelled with jewels” and “jewel-enamelled bowls,”
-omitting in his translation the note in the text which explains their
-true meaning as <i>pao shih hung</i> or ruby red.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_64" href="#FNanchor_64" class="label">[64]</a> <img src="images/k_024.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ts’ao ch’ung</i> can equally well mean
-“plants and insects” or “grass insects,” i.e. grasshoppers. In fact,
-Julien translated the phrase in the latter sense.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_65" href="#FNanchor_65" class="label">[65]</a> <i>Chin hui tui</i>, lit. brocade ash-heaps.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_66" href="#FNanchor_66" class="label">[66]</a> Not as Bushell (<i>T’ao shuo</i>, op. cit., p. 143),
-“medallions of flower sprays and fruits painted on the four sides”;
-<i>ssŭ mien</i> (lit. four sides) being a common phrase for “on all
-sides” does not necessarily imply a quadrangular object.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_67" href="#FNanchor_67" class="label">[67]</a> <i>Shih nü</i>, strangely rendered by Bushell “a party of
-young girls.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_68" href="#FNanchor_68" class="label">[68]</a> The dragon boats raced on the rivers and were carried in
-procession through the streets on the festival of the fifth day of the
-fifth month. See J. J. M. de Groot, <i>Annales du Musée Guimet</i>,
-vol. xi., p. 346. A design of children playing at dragon boat
-processions is occasionally seen in later porcelain decoration.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_69" href="#FNanchor_69" class="label">[69]</a> Cf. the favourite design of children under a pine-tree on
-Japanese Hirado porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_70" href="#FNanchor_70" class="label">[70]</a> Op. cit., figs. 38, 49, 55, 56, 63, 64, 65, 66 and 76.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_71" href="#FNanchor_71" class="label">[71]</a> <img src="images/k_026a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> Bushell has translated it “diffused colours,”
-but <i>fu</i> is also used for “applying externally” in the medicinal
-sense, which seems specially appropriate here.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_72" href="#FNanchor_72" class="label">[72]</a> <img src="images/k_026b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, lit. “fill up (with) glaze,” the colour of
-the glaze being specified in each case. Cf. <i>lan ti t’ien hua wu
-ts’ai</i> (blue ground filled up with polychrome painting), a phrase
-used to describe the decoration of the barrel-shaped garden seats of
-the Hsüan Tê period. See p. <a href="#Page_17">17</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_73" href="#FNanchor_73" class="label">[73]</a> Fig. 63, a cup in form like the chicken cups (<i>chi
-kang</i>).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_74" href="#FNanchor_74" class="label">[74]</a> <img src="images/k_026c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ch’i shang.</i></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_75" href="#FNanchor_75" class="label">[75]</a> Op. cit., Plate ii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_76" href="#FNanchor_76" class="label">[76]</a> See E. Dillon, <i>Porcelain</i>, Plate xviii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_77" href="#FNanchor_77" class="label">[77]</a> See E. Dillon, <i>Porcelain</i>, Plate vii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_78" href="#FNanchor_78" class="label">[78]</a> See <i>Cat, B. F. A.</i>, 1910, H 21, I 7.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_79" href="#FNanchor_79" class="label">[79]</a> <img src="images/k_027a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_80" href="#FNanchor_80" class="label">[80]</a> <img src="images/k_027b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_81" href="#FNanchor_81" class="label">[81]</a> <img src="images/k_028a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_82" href="#FNanchor_82" class="label">[82]</a> <img src="images/k_028b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_83" href="#FNanchor_83" class="label">[83]</a> Op. cit., No. 42.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_84" href="#FNanchor_84" class="label">[84]</a> <img src="images/k_028c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, delicate, beautiful.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_85" href="#FNanchor_85" class="label">[85]</a> <img src="images/k_028d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_86" href="#FNanchor_86" class="label">[86]</a> <img src="images/k_028e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_87" href="#FNanchor_87" class="label">[87]</a> Vol. ii., p. <a href="#Page_277">277</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_88" href="#FNanchor_88" class="label">[88]</a> See vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_154">154</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_89" href="#FNanchor_89" class="label">[89]</a> See p. <a href="#Page_12">12</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_90" href="#FNanchor_90" class="label">[90]</a> This account is quoted from the <i>Shih wu kan chu</i>,
-published in 1591.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_91" href="#FNanchor_91" class="label">[91]</a> See p. <a href="#Page_12">12</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_92" href="#FNanchor_92" class="label">[92]</a> See Hirth, <i>China and the Roman Orient</i>, p. 179.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_93" href="#FNanchor_93" class="label">[93]</a> The converse is equally true, and Chinese porcelain of
-this kind is frequently classed among Persian wares. Indeed, there are
-not a few who would argue that these true porcelains of the hard-paste
-type were actually made in Persia. No evidence has been produced to
-support this wholly unnecessary theory beyond the facts which I have
-mentioned in this passage, and the debated specimens which I have had
-the opportunity to examine were all of a kind which no one trained
-in Chinese ceramics could possibly mistake for anything but Chinese
-porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_94" href="#FNanchor_94" class="label">[94]</a> This peculiarity occurs on a tripod incense vase in the
-Eumorfopoulos Collection, which in other respects resembles this little
-group, but it is a peculiarity not confined to the Chêng Tê porcelain,
-for I have occasionally found it on much later wares.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_95" href="#FNanchor_95" class="label">[95]</a> A somewhat similar effect is seen on the little flask
-ascribed to the Hsüan Tê period. See p. <a href="#Page_14">14</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_96" href="#FNanchor_96" class="label">[96]</a> Op. cit., Nos. 52 and 80. These are the latest specimens
-which are given by Hsiang Yüan-p‘ien.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_97" href="#FNanchor_97" class="label">[97]</a> <i>Cat.</i>, H 8.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_98" href="#FNanchor_98" class="label">[98]</a> A similar vase is in the Victoria and Albert Museum.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_99" href="#FNanchor_99" class="label">[99]</a> <img src="images/k_034g.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>hsien hung t’u</i>, lit. “the earth for
-the fresh red,” an expression which would naturally refer to the
-<i>clay</i> used in making ware of this particular colour, though
-Bushell has preferred to take it in reference to the <i>mineral</i>
-used to produce the colour itself. See p. <a href="#Page_123">123</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_100" href="#FNanchor_100" class="label">[100]</a> Bk. ii., fol. 10.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_101" href="#FNanchor_101" class="label">[101]</a> A Ming writer quoted in the <i>T’ao lu</i>, bk. viii.,
-fol. 4, adds that these cups were marked under the base <img src="images/k_034h.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-<i>chin lu</i> (golden seal), <img src="images/k_034i.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ta chiao</i> (great
-sacrifice), <img src="images/k_034j.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>t’an yung</i> (altar use).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_102" href="#FNanchor_102" class="label">[102]</a> <i>Ch’ing k’ou</i>, lit. mouth like a gong or sounding
-stone.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_103" href="#FNanchor_103" class="label">[103]</a> <i>Man hsin</i>, lit. loaf-shaped centre.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_104" href="#FNanchor_104" class="label">[104]</a> <i>Yüan tsu</i>, lit. foot with outer border.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_105" href="#FNanchor_105" class="label">[105]</a> An extract from the <i>I Chih</i> (quoted in the <i>T’ao
-lu</i>, bk. viii., fol. 14) states that “in the 26th year of Chia
-Ching, the emperor demanded that vessels should be made with 'fresh
-red’ (<i>hsien hung</i>) decoration; they were difficult to make
-successfully, and Hsü Chên of the Imperial Censorate, memorialised the
-throne, requesting that red from sulphate of iron (<i>fan hung</i>) be
-used instead.” A memorial of similar tenor was sent to the emperor by
-Hsü Ch’ih in the succeeding reign.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_106" href="#FNanchor_106" class="label">[106]</a> <i>O. C. A.</i>, pp. 223–6.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_107" href="#FNanchor_107" class="label">[107]</a> Bk. vi., fols. 9–15. See also Bushell’s translation op.
-cit., pp. 145–51, and <i>O. C. A.</i>, loc. cit.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_108" href="#FNanchor_108" class="label">[108]</a> Some idea of the quantity supplied may be gathered from
-the following items in the list for the year 1546: 300 fish bowls,
-1,000 covered jars, 22,000 bowls, 31,000 round dishes (<i>p’an</i>),
-18,400 wine cups.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_109" href="#FNanchor_109" class="label">[109]</a> See Bushell, <i>O. C. A.</i>, p. 226.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_110" href="#FNanchor_110" class="label">[110]</a> There are examples of this work in the British Museum,
-in which the blue seems to have been sponged on or washed on, and the
-decoration picked out with a needlepoint, and then the whole covered
-with a colourless glaze.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_111" href="#FNanchor_111" class="label">[111]</a> <i>hsiang yün</i>, lit. felicitous clouds.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_112" href="#FNanchor_112" class="label">[112]</a> <img src="images/k_037a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>t’ieh chin</i>, lit. stuck-on gold.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_113" href="#FNanchor_113" class="label">[113]</a> <i>O. C. A.</i>, p. 221.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_114" href="#FNanchor_114" class="label">[114]</a> <img src="images/k_037b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>t’ien pai</i>, a phrase frequently used
-in this sense, though it is not quite obvious how it derives this
-meaning from its literal sense of “sweet white.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_115" href="#FNanchor_115" class="label">[115]</a> See p. <a href="#Page_34">34</a>. The <i>fan hung</i> is an overglaze colour
-of coral tint, derived from oxide of iron; the <i>hsien hung</i> is an
-underglaze red derived from oxide of copper.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_116" href="#FNanchor_116" class="label">[116]</a> <i>jang hua</i>, lit. “abundant or luxuriant ornament.”
-<i>Embossed</i> is Bushell’s rendering.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_117" href="#FNanchor_117" class="label">[117]</a> See Bushell’s translation, op. cit., p. 151.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_118" href="#FNanchor_118" class="label">[118]</a> <img src="images/k_038b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_119" href="#FNanchor_119" class="label">[119]</a> See p. <a href="#Page_298">298</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_120" href="#FNanchor_120" class="label">[120]</a> <img src="images/k_038c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ling chih</i>, a species of agaric, at
-first regarded as an emblem of good luck, and afterwards as a Taoist
-emblem of immortality.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_121" href="#FNanchor_121" class="label">[121]</a> See Bushell, <i>O. C. A.</i>, p. 563.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_122" href="#FNanchor_122" class="label">[122]</a> <img src="images/k_039d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>shih tzŭ</i>. The mythical lion is a
-fantastic animal with the playful qualities of the Pekingese spaniel,
-which it resembles in features. In fact the latter is called the lion
-dog (<i>shih tzŭ k’ou</i>), and the former is often loosely named the
-“dog of Fo (Buddha),” because he is the usual guardian of Buddhist
-temples and images.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_123" href="#FNanchor_123" class="label">[123]</a> <img src="images/k_039e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ts’ang</i>, azure or hoary.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_124" href="#FNanchor_124" class="label">[124]</a> Named by Bushell mackerel, carp., marbled perch, and
-another.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_125" href="#FNanchor_125" class="label">[125]</a> <img src="images/k_040a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_126" href="#FNanchor_126" class="label">[126]</a> <img src="images/k_040b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>chün</i>, a fleet horse.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_127" href="#FNanchor_127" class="label">[127]</a> Translation of the <i>T’ao shuo</i> (p. <a href="#Page_145">145</a>).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_128" href="#FNanchor_128" class="label">[128]</a> <i>O. C. A.</i>, p. 227.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_129" href="#FNanchor_129" class="label">[129]</a> <img src="images/k_041d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_130" href="#FNanchor_130" class="label">[130]</a> See Laufer, <i>Jade</i>, p. 120.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_131" href="#FNanchor_131" class="label">[131]</a> See Mayers, part ii., p. 335.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_132" href="#FNanchor_132" class="label">[132]</a> <i>hua</i> <img src="images/k_043e.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. Bushell (<i>T’ao shuo</i>, p.
-146) has rendered this with “flowers and inscriptions, etc.” In many
-cases in these lists it is almost impossible to say whether the word
-<i>hua</i> has the sense of <i>flowers</i> or merely <i>decoration</i>.
-The present passage <i>fu shou k’ang ning hua chung</i> seems to demand
-the second interpretation.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_133" href="#FNanchor_133" class="label">[133]</a> This dark blue Chia Ching ware was carefully copied at
-the Imperial factory in the Yung Chêng period. See p. <a href="#Page_203">203</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_134" href="#FNanchor_134" class="label">[134]</a> See <i>J. Böttger, Philipp Hainhofer und der
-Kunstschrank Gustav Adolfs in Upsala</i>, Stockholm, 1909, Plate 71.
-The same interesting collection includes a marked Wan Li dish with
-cloud and stork pattern in underglaze blue, two cups, and a set of
-Indian lacquer dishes with centres made of the characteristic Chinese
-export porcelain described on p. <a href="#Page_70">70</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_135" href="#FNanchor_135" class="label">[135]</a> <i>Cat B. F. A.</i>, D 17.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_136" href="#FNanchor_136" class="label">[136]</a> A good example of this colouring is a large bowl with
-Chia Ching mark in the Kunstgewerbe Museum, Berlin.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_137" href="#FNanchor_137" class="label">[137]</a> See vol. i, p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_138" href="#FNanchor_138" class="label">[138]</a> Figured in F. Dillon, <i>Porcelain</i>, Plate v.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_139" href="#FNanchor_139" class="label">[139]</a> Bk. v., fol. 9 recto.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_140" href="#FNanchor_140" class="label">[140]</a> <img src="images/k_052.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. <i>Ts’ui</i> is a fairly common name. It
-occurs as a mark on a small figure of an infant in creamy white ware of
-Ting type in the Eumorfopoulos Collection; but it is highly improbable
-that this piece has anything to do with the Mr. Ts’ui here in question.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_141" href="#FNanchor_141" class="label">[141]</a> The <i>Ming ch’ên shih pi chou chai yü t’an</i>, quoted
-in the <i>T’ao lu</i>, bk. viii., fol. 4, says, “When we come to Chia
-Ching ware then there are also imitations of both Hsüan Tê and Ch’êng
-Hua types (they even are said to excel them). But Mr. Ts’ui’s ware
-is honoured in addition, though its price is negligible, being only
-one-tenth of that of Hsüan and Ch’êng wares.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_142" href="#FNanchor_142" class="label">[142]</a> Bk. iii., fol. 7.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_143" href="#FNanchor_143" class="label">[143]</a> See Bushell, <i>O. C. A.</i>, p. 235.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_144" href="#FNanchor_144" class="label">[144]</a> Bk. vi., fol. 16, and Bushell’s translation, p. 152.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_145" href="#FNanchor_145" class="label">[145]</a> See <i>Ming ch’ên shih pi chou chai yü t’an</i> (quoted
-in <i>T’ao lu</i>, bk. viii., cf. 4 verso): “For Mu Tsung (i.e. Lung
-Ch’ing) loved sensuality, and therefore orders were given to make this
-kind of thing; but as a matter of fact 'Spring painting’ began in the
-picture house of Prince Kuang Chüan of the Han dynasty....”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_146" href="#FNanchor_146" class="label">[146]</a> See <i>T’ao lu</i>, bk. viii., fols. 10 and 11, quoting
-from the <i>Ts’ao t’ien yu chi</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_147" href="#FNanchor_147" class="label">[147]</a> <i>T’ang ying lung kang chi</i>, quoted in the <i>T’ao
-lu</i>, bk. viii., fols. 11 and 12.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_148" href="#FNanchor_148" class="label">[148]</a> Chao was supposed to have displayed superhuman skill in
-the manufacture of pottery in the Chin dynasty (265–419 <span class="allsmcap">A.D.</span>).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_149" href="#FNanchor_149" class="label">[149]</a> Bk. v., fol. 8.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_150" href="#FNanchor_150" class="label">[150]</a> For explanation of these terms, see p. <a href="#Page_10">10</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_151" href="#FNanchor_151" class="label">[151]</a> Bushell’s rendering, “cups and saucers,” is misleading
-if not verbally incorrect.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_152" href="#FNanchor_152" class="label">[152]</a> These are Bushell’s renderings.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_153" href="#FNanchor_153" class="label">[153]</a> <img src="images/k_062h.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>ssŭ hsŭ t’ou</i>, a phrase which would
-more usually refer to the beard than the hair of the head. The above
-rendering is Bushell’s.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_154" href="#FNanchor_154" class="label">[154]</a> <img src="images/k_063c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_155" href="#FNanchor_155" class="label">[155]</a> <img src="images/k_063d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_156" href="#FNanchor_156" class="label">[156]</a> <img src="images/k_064a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_157" href="#FNanchor_157" class="label">[157]</a> <img src="images/k_064b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. There is an allusion in this name to the
-story of Hu Kung, a magician of the third and fourth centuries, who was
-credited with marvellous healing powers. Every night he disappeared,
-and it was found at length that he was in the habit of retiring into
-a hollow gourd which hung from the door post. See A. E. Hippisley,
-<i>Catalogue of a Collection of Chinese Porcelains</i>, Smithsonian
-Institute, Washington, 1900. Hao’s porcelain is also known as <i>Hu
-kung yao</i> (the ware of Mr. Pots).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_158" href="#FNanchor_158" class="label">[158]</a> See <i>T’ao lu</i>, bk. v., fol. 10, and bk. viii., fol.
-7, and <i>T’ao shuo</i>, bk. vi., fol. 26.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_159" href="#FNanchor_159" class="label">[159]</a> <img src="images/k_064c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>luan mu</i>, “the curtain inside the
-egg,” which conveys the idea of extreme tenuity better than the most
-usual expression, “egg shell” porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_160" href="#FNanchor_160" class="label">[160]</a> Half a <i>chu</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_161" href="#FNanchor_161" class="label">[161]</a> <img src="images/k_064d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_162" href="#FNanchor_162" class="label">[162]</a> <i>Tzŭ chin.</i> Golden brown with reddish tinge (<i>tzŭ
-chin tai chu</i>), accurately describes one kind of stoneware tea
-pots made at Yi-hsing (p. <a href="#Page_177">177</a>); but it is not stated whether Hao’s
-imitations were in stoneware or porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_163" href="#FNanchor_163" class="label">[163]</a> An allusion to the celebrated orchid pavilion at
-Kuei-chi, in Chêkiang, the meeting place of a coterie of scholars in
-the fourth century. The scene in which they floated their wine cups on
-the river has been popularised in pictorial art. See Plate <a href="#i279">104</a> Fig. 1.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_164" href="#FNanchor_164" class="label">[164]</a> <img src="images/k_065b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_165" href="#FNanchor_165" class="label">[165]</a> The <i>K’ao p’an yü shih</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_166" href="#FNanchor_166" class="label">[166]</a> Bk. vi., fol. 16 recto.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_167" href="#FNanchor_167" class="label">[167]</a> See p. <a href="#Page_140">140</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_168" href="#FNanchor_168" class="label">[168]</a> Bk. v., fol. 10 verso, under the heading, <i>Hsiao nan
-yao</i> (Little South Street wares).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_169" href="#FNanchor_169" class="label">[169]</a> <img src="images/k_066a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, apparently referring to the size of the
-vessels and not necessarily implying that they were shaped like a frog.
-On the other hand, small water vessels in the form of a frog have been
-made in China from the Sung period onwards.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_170" href="#FNanchor_170" class="label">[170]</a> <img src="images/k_066b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />
-.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_171" href="#FNanchor_171" class="label">[171]</a> A similar ewer in Dr. Seligmann’s collection is marked
-with one of the trigrams of the <i>pa kua</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_172" href="#FNanchor_172" class="label">[172]</a> <i>Cat.</i>, L 24.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_173" href="#FNanchor_173" class="label">[173]</a> <i>Cat.</i>, E 19–25.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_174" href="#FNanchor_174" class="label">[174]</a> <i>Denkmäler Persischer Baukunst</i>, Plate lii., Text
-p. 41 and Fig. 44.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_175" href="#FNanchor_175" class="label">[175]</a> The same emperor showed his appreciation for Chinese
-ceramics by importing a number of Chinese potters into Persia. See p.
-<a href="#Page_30">30</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_176" href="#FNanchor_176" class="label">[176]</a> It is recorded that the Emperor Wan Li sent presents
-of large porcelain jars to the Mogul Emperor, and it is likely that
-similar presents had arrived at the Persian Court.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_177" href="#FNanchor_177" class="label">[177]</a> <i>Cat.</i>, Case X, No. 245, and Plate xv.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_178" href="#FNanchor_178" class="label">[178]</a> <i>Burlington Magazine</i>, October, 1910, p. 40.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_179" href="#FNanchor_179" class="label">[179]</a> See <i>Franks Catalogue</i>, No. 763.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_180" href="#FNanchor_180" class="label">[180]</a> <i>Burlington Magazine</i>, March, 1913, p. 310. See
-also <i>Hainhofer und der Kunstschrank Gustav Adolfs</i>, op. cit.,
-Plate <a href="#i081">69</a>, where a set of dishes of India lacquer is illustrated, each
-mounted in the centre with a roundel of this type of porcelain. These
-dishes are mentioned in a letter dated 1628.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_181" href="#FNanchor_181" class="label">[181]</a> Numbered 1191 and 1192. A number of other painters who
-have introduced these Chinese porcelains into their work are named by
-Mr. Perzynski (<i>Burlington Magazine</i>, December, 1910, p. 169).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_182" href="#FNanchor_182" class="label">[182]</a> See p. <a href="#Page_63">63</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_183" href="#FNanchor_183" class="label">[183]</a> C 5–7.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_184" href="#FNanchor_184" class="label">[184]</a> <i>Cat.</i>, No. 112<span class="allsmcap">D</span>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_185" href="#FNanchor_185" class="label">[185]</a> <i>Burlington Magazine</i>, December, 1910, p. 169.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_186" href="#FNanchor_186" class="label">[186]</a> The figures sometimes stand out against a background
-coloured with washes of green, yellow and aubergine glaze. See Plate
-82, Fig. 2.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_187" href="#FNanchor_187" class="label">[187]</a> See p. <a href="#Page_43">43</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_188" href="#FNanchor_188" class="label">[188]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_189" href="#FNanchor_189" class="label">[189]</a> See p. <a href="#Page_196">196</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_190" href="#FNanchor_190" class="label">[190]</a> I have seen occasional specimens with the Wan Li mark.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_191" href="#FNanchor_191" class="label">[191]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_192" href="#FNanchor_192" class="label">[192]</a> <i>Cat.</i>, J 21.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_193" href="#FNanchor_193" class="label">[193]</a> <i>Cat.</i>, A 33. In the Lymans Collection in Boston
-there are several examples of this ware, including specimens with dark
-and light coffee brown grounds and a jar in blue and white.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_194" href="#FNanchor_194" class="label">[194]</a> A collection of these is in the British Museum, and they
-include many types of late Ming export porcelains.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_195" href="#FNanchor_195" class="label">[195]</a> <i>Cat. B. F. A.</i>, K 37.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_196" href="#FNanchor_196" class="label">[196]</a> A jar with vertical bands of ornament in a misty
-underglaze red of pale tint in the Eumorfopoulos collection probably
-belongs to this period. Though technically unsuccessful, the general
-effect of the bold red-painted design is most attractive.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_197" href="#FNanchor_197" class="label">[197]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_198" href="#FNanchor_198" class="label">[198]</a> <i>Cat.</i>, J 16.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_199" href="#FNanchor_199" class="label">[199]</a> There is a whole case full of them in the celebrated
-Dresden collection, a fact which is strongly in favour of a K’ang Hsi
-origin for the group.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_200" href="#FNanchor_200" class="label">[200]</a> Eight Precious Things. See p. <a href="#Page_299">299</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_201" href="#FNanchor_201" class="label">[201]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_219">219</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_202" href="#FNanchor_202" class="label">[202]</a> The fact that the enamellers’ shops at Ching-tê Chên
-to this day are known as <i>hung tien</i> (red shops) points to the
-predominance of this red family in the early history of enamelled
-decorations.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_203" href="#FNanchor_203" class="label">[203]</a> See p. <a href="#Page_67">67</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_204" href="#FNanchor_204" class="label">[204]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_218">218</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_205" href="#FNanchor_205" class="label">[205]</a> See p. <a href="#Page_224">224</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_206" href="#FNanchor_206" class="label">[206]</a> See p. <a href="#Page_90">90</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_207" href="#FNanchor_207" class="label">[207]</a> H 17, exhibited by Mr. G. Eumorfopoulos.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_208" href="#FNanchor_208" class="label">[208]</a> See p. <a href="#Page_4">4</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_209" href="#FNanchor_209" class="label">[209]</a> See p. <a href="#Page_94">94</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_210" href="#FNanchor_210" class="label">[210]</a> Other saucers of this kind have a decoration of
-radiating floral sprays, and there are bowls of a familiar type with
-small sprays engraved and filled in with coloured glazes in a ground
-of green or aubergine purple. Some of these have a rough biscuit
-suggesting the late Ming period; others of finer finish apparently
-belong to the K’ang Hsi period. They often have indistinct seal marks,
-known as “shop marks,” in blue.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_211" href="#FNanchor_211" class="label">[211]</a> <i>Burlington Magazine</i>, December, 1910, p. 169, and
-March, 1913, p. 311.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_212" href="#FNanchor_212" class="label">[212]</a> Figured in Monkhouse, op. cit., Fig. 2. The date of
-the mount is disputed, some authorities placing it at the end of the
-sixteenth century.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_213" href="#FNanchor_213" class="label">[213]</a> Figured by Perzynski, <i>Burlington Magazine</i>,
-March, 1913. A vase of this style with tulip design in the palace at
-Charlottenburg has a cyclical date in the decoration, which represents
-1639 or 1699 (probably the former) in our chronology.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_214" href="#FNanchor_214" class="label">[214]</a> <img src="images/k_091.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>pai tun tzŭ</i> white blocks.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_215" href="#FNanchor_215" class="label">[215]</a> A sixteenth-century work. See p. <a href="#Page_2">2</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_216" href="#FNanchor_216" class="label">[216]</a> Many observers positively assert that the grooved foot
-rim does not occur on pre-K’ang Hsi porcelain. If this is true, it
-provides a very useful rule for dating; but the rigid application of
-these rules of thumb is rarely possible, and we can only regard them as
-useful but not infallible guides.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_217" href="#FNanchor_217" class="label">[217]</a> Quoted in <i>T’ao lu</i>, bk. viii., fol. 6.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_218" href="#FNanchor_218" class="label">[218]</a> <i>fu ti.</i></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_219" href="#FNanchor_219" class="label">[219]</a> <i>Man hsin.</i></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_220" href="#FNanchor_220" class="label">[220]</a> See <i>T’ao shuo</i>, bk. iii., fol. 7 verso. “Among
-other things the porcelain with glaze lustrous and thick like massed
-lard, and which has millet grains rising like chicken skin and
-displays palm eyes (<i>tsung yen</i>) like orange skin, is prized.”
-The expression “palm eyes” occurring by itself in other contexts has
-given rise to conflicting opinions, but its use here, qualified by
-the comparison with orange peel and in contrast with the granular
-elevations, points clearly to some sort of depressions or pittings
-which, being characteristic of the classical porcelain, came to be
-regarded as beauty spots.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_221" href="#FNanchor_221" class="label">[221]</a> e.g. The <i>P’ing shih</i>, the <i>P’ing hua p’u</i>,
-and the <i>Chang wu chih</i>, all late Ming works. An extract from the
-second (quoted in the <i>T’ao lu</i>, bk. ix., p. 4 verso) tells us
-that “Chang Tê-ch’ien says all who arrange flowers first must choose
-vases. For summer and autumn you should use porcelain vases. For the
-hall and large rooms large vases are fitting; for the study, small
-ones. Avoid circular arrangement and avoid pairs. Prize the porcelain
-and disdain gold and silver. Esteem pure elegance. The mouth of the
-vase should be small and the foot thick. Choose these. They stand firm,
-and do not emit vapours.” Tin linings, we are also told, should be used
-in winter to prevent the frost cracking the porcelain; and <i>Chang
-wu chih</i> (quoted <i>ibidem</i>, fol. 6 verso) speaks of very large
-Lung-ch’üan and Chün ware vases, two or three feet high, as very
-suitable for putting old prunus boughs in.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_222" href="#FNanchor_222" class="label">[222]</a> Cobalt, the source of the ceramic blues, is obtained
-from cobaltiferous ore of manganese, and its quality varies according
-to the purity of the ore and the care with which it is refined.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_223" href="#FNanchor_223" class="label">[223]</a> <i>0. C. A.</i>, p. 263. This very dark blue recalls one
-of the Chia Ching types noted on page 36.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_224" href="#FNanchor_224" class="label">[224]</a> See p. <a href="#Page_10">10</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_225" href="#FNanchor_225" class="label">[225]</a> But see p. <a href="#Page_177">177</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_226" href="#FNanchor_226" class="label">[226]</a> <i>Biscuit</i> is the usual term for a fired porcelain
-which has not been glazed.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_227" href="#FNanchor_227" class="label">[227]</a> See p. <a href="#Page_17">17</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_228" href="#FNanchor_228" class="label">[228]</a> It has been suggested by Mr. Joseph Burton that the
-opacity of the colours described in the preceding paragraphs may have
-been due to the addition of porcelain earth to the glazing material.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_229" href="#FNanchor_229" class="label">[229]</a> See p. <a href="#Page_82">82</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_230" href="#FNanchor_230" class="label">[230]</a> See, however, p. <a href="#Page_85">85</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_231" href="#FNanchor_231" class="label">[231]</a> See p. <a href="#Page_2">2</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_232" href="#FNanchor_232" class="label">[232]</a> The <i>T’ao lu</i> (bk. ix., fol. 17 verso) quotes an
-infallible method for fixing the gold on bowls so that it would never
-come off; it seems to have consisted of mixing garlic juice with the
-gold before painting and firing it in the ordinary way.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_233" href="#FNanchor_233" class="label">[233]</a> Loc. cit., and Bushell, <i>O. C. A.</i>, p. 268.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_234" href="#FNanchor_234" class="label">[234]</a> See p. <a href="#Page_75">75</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_235" href="#FNanchor_235" class="label">[235]</a> See <i>T’ao shuo</i>, bk. iii., fol. 10 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_236" href="#FNanchor_236" class="label">[236]</a> See p. <a href="#Page_55">55</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_237" href="#FNanchor_237" class="label">[237]</a> e.g. The <i>Chieh tzŭ yüan ma chuan</i> of the K’ang
-Hsi period, mentioned by Perzynski, <i>Burlington Magazine</i>, March,
-1913, p. 310.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_238" href="#FNanchor_238" class="label">[238]</a> Bushell’s translation, op. cit., p. 71.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_239" href="#FNanchor_239" class="label">[239]</a> <i>Ku chin t’u shu chi ch’êng</i>, section xxxii., bk.
-248, section entitled <i>tz’ŭ ch’i pu hui k’ao</i>, fol. 13 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_240" href="#FNanchor_240" class="label">[240]</a> <img src="images/k_107.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_241" href="#FNanchor_241" class="label">[241]</a> The supplies of porcelain earth in the immediate
-district of Jao Chou Fu were exhausted by this time.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_242" href="#FNanchor_242" class="label">[242]</a> The others were the Ch’ing-yün factory at Ssŭ-tu, and
-the Lan-ch’i factory in the Chien-ning district. The latter district
-was mentioned in vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_130">130</a>, in connection with the hare’s fur
-bowls of the Sung period.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_243" href="#FNanchor_243" class="label">[243]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_17">17</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_244" href="#FNanchor_244" class="label">[244]</a> Tê-hua was formerly included in the Ch’üan-chou Fu, but
-is now in the Yung-ch’un Chou.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_245" href="#FNanchor_245" class="label">[245]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_131">131</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_246" href="#FNanchor_246" class="label">[246]</a> Bk. vii., fol. 13 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_247" href="#FNanchor_247" class="label">[247]</a> Loc. cit.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_248" href="#FNanchor_248" class="label">[248]</a> According to de Groot, <i>Annales du Musée Guinet</i>,
-vol. xi., p. 195.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_249" href="#FNanchor_249" class="label">[249]</a> Brinkley, <i>China and Japan</i>, vol. ix., p. 274.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_250" href="#FNanchor_250" class="label">[250]</a> See W. Anderson, <i>Catalogue of the Japanese and
-Chinese Paintings in the British Museum</i>, p. 75.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_251" href="#FNanchor_251" class="label">[251]</a> <i>O. C. A.</i>, p. 628.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_252" href="#FNanchor_252" class="label">[252]</a> In the letter dated from Jao Chou, September, 1712, loc.
-cit.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_253" href="#FNanchor_253" class="label">[253]</a> Incised designs on Fukien wares consist of the ordinary
-decoration etched in the body of the ware and of inscriptions which
-have evidently been cut through the glaze before it was fired. The
-latter often occur on wine cups, and are usually poetical sentiments or
-aphorisms, e.g. “In business be pure as the wind”; “Amidst the green
-wine cups we rejoice.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_254" href="#FNanchor_254" class="label">[254]</a> <i>Japan and China</i>, vol. ix., p. 273.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_255" href="#FNanchor_255" class="label">[255]</a> <i>Everyday Life in China, or Scenes in Fukien</i>, by
-E. J. Dukes, London, 1885, p. 140. The reference is given by Bushell in
-his <i>Oriental Ceramic Art</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_256" href="#FNanchor_256" class="label">[256]</a> Loc. cit., p. 273.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_257" href="#FNanchor_257" class="label">[257]</a> The <i>Li t’a k’an k’ao ku ou pien</i>, a copy of
-which, published in 1877, is in the British Museum. This book does not
-inspire confidence, but I give the passage for what it is worth: “When
-the glaze (of the Chien yao) is white like jade, glossy and lustrous,
-rich and thick, with a reddish tinge, and the biscuit heavy, the ware
-is first quality ... Enamelled specimens (<i>wu ts’ai</i>) are second
-rate.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_258" href="#FNanchor_258" class="label">[258]</a> In the Pierpont Morgan collection (vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_78">78</a>),
-a specimen with a blue mark is described as Fukien porcelain; but I
-should accept the description with the greatest reserve, white Ching-tê
-Chên ware being very often wrongly described in this way.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_259" href="#FNanchor_259" class="label">[259]</a> <i>O. C. A.</i>, p. 294.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_260" href="#FNanchor_260" class="label">[260]</a> In the second volume of the Pierpont Morgan
-catalogue&mdash;which, unfortunately, had not the benefit of Dr. Bushell’s
-erudition&mdash;the late Mr. Laffan extended the term <i>lang yao</i> so
-as to embrace the magnificent three-colour vases with black ground
-and their kindred masterpieces with green and yellow grounds. It is
-impossible to justify this extension of the term unless we assume that
-the pieces in question were all made between the years 1654–1661 and
-1665–1668, while Lang T’ing-tso was viceroy of Kiangsi.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_261" href="#FNanchor_261" class="label">[261]</a> <i>O. C. A.</i>, p. 302.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_262" href="#FNanchor_262" class="label">[262]</a> Quoted in the Franks <i>Catalogue</i>, p. 8.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_263" href="#FNanchor_263" class="label">[263]</a> <i>O. C. A.</i>, p. 302 footnote.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_264" href="#FNanchor_264" class="label">[264]</a> See also Hippisley, <i>Catalogue</i>, p. 346, where
-another version is given which makes this Lang actually a Jesuit
-missionary, a version which Mr. Hippisley afterwards abandoned when
-research in the Jesuit records failed to discover any evidence for the
-statement.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_265" href="#FNanchor_265" class="label">[265]</a> See p. <a href="#Page_11">11</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_266" href="#FNanchor_266" class="label">[266]</a> See p. <a href="#Page_34">34</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_267" href="#FNanchor_267" class="label">[267]</a> Op. cit., Section ix. The paragraph in the first letter
-runs: “Il y en a d’entièrement rouges, et parmi celles-là, les unes
-sont d’un rouge à l’huile, <i>yeou li hum</i>; les autres sont d’un
-rouge soufflé, <i>tschoui hum</i> (<i>ch’ui hung</i>), et sont semées
-de petits points à peu près comme nos mignatures. Quand ces deux
-sortes d’ouvrages réüssissent dans leur perfection, ce qui est assez
-difficile, ils sont infiniment estimez et extrêmement chers.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_268" href="#FNanchor_268" class="label">[268]</a> There is a very beautiful glaze effect known as “ashes
-of roses,” which seems to be a partially fired-out <i>sang de bœuf</i>.
-It is a crackled glaze, translucent, and lightly tinged with a copper
-red which verges on maroon.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_269" href="#FNanchor_269" class="label">[269]</a> The Emperor K’ang Hsi was specially concerned to
-encourage industry and art, and in 1680 he established a number of
-factories at Peking for the manufacture of enamels, glass, lacquer,
-etc. Père d’Entrecolles mentions that he also attempted to set up the
-manufacture of porcelain in the capital, but though he ordered workmen
-and materials to be brought from Ching-tê Chên for the purpose, the
-enterprise failed, possibly, as d’Entrecolles hints, owing to intrigues
-of the vested interests elsewhere.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_270" href="#FNanchor_270" class="label">[270]</a> Bushell, op. cit., p. 3.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_271" href="#FNanchor_271" class="label">[271]</a> Bk. v., fol. 11.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_272" href="#FNanchor_272" class="label">[272]</a> <img src="images/k_126d.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> lit. watered. This word has been rendered
-by some translators as “pale”; but probably it has merely the sense of
-“mixed with the (glaze) water,” i.e. a monochrome glaze. The recipe
-given in the <i>T’ao lu</i> (see Julien) is incomplete, only mentioning
-“crystals of saltpetre and ferruginous earth (<i>fer ologiste
-terreux</i>).” Another <i>chiao</i> which signifies “beautiful,
-delicate,” is applied to the Hung Chih yellow in Hsiang’s Album. See
-vol. ii., p. <a href="#Page_28">28</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_273" href="#FNanchor_273" class="label">[273]</a> Lit. “yellow distribute spots.” See, however, p. <a href="#Page_190">190</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_274" href="#FNanchor_274" class="label">[274]</a> See O. C. A., p. 317.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_275" href="#FNanchor_275" class="label">[275]</a> The two letters were published in <i>Lettres édifiantes
-et curieuses</i>. They are reprinted as an appendix to Dr. Bushell’s
-translation of the <i>T’ao shuo</i>. They have been well translated
-by William Burton, in his <i>Porcelain</i>, Chap. ix.; Bushell gave a
-<i>précis</i> of them in his O. C. A., Chap, xi., and Stanislas Julien
-quoted them extensively in his <i>Porcelaine Chinoise</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_276" href="#FNanchor_276" class="label">[276]</a> Père d’Entrecolles (second letter, section xii.) points
-out that the glaze used for the blue and white was considerably softer
-than that of the ordinary ware, and was fired in the more temperate
-parts of the kiln. The softening ingredient (which consisted chiefly of
-the ashes of a certain wood and lime burnt together) was added to the
-glaze material (<i>pai yu</i>) in a proportion of 1 to 7 for the blue
-and white as against 1 to 13 for the ordinary ware.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_277" href="#FNanchor_277" class="label">[277]</a> On some of the large saucer-shaped dishes of this period
-the foot rim is unusually broad and channelled with a deep groove.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_278" href="#FNanchor_278" class="label">[278]</a> See Bushell, <i>T’ao shuo</i>, op. cit., p. 192. It is
-tolerably clear that d’Entrecolles in this passage is giving a verbatim
-rendering of a Chinese description. The “flowers” is, no doubt,
-<i>hua</i>, and might be rendered “decoration” in the general sense,
-and the “water and the mountains” is, no doubt, <i>shan shui</i>, the
-current phrase for “landscape.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_279" href="#FNanchor_279" class="label">[279]</a> For the shape of the <i>ju-i</i> head, see vol. i., p.
-<a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_227">227</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_280" href="#FNanchor_280" class="label">[280]</a> “Flaming silver candle lighting up rosy beauty,” a
-Ch’êng Hua design (see p. <a href="#Page_25">25</a>) but often found in K’ang Hsi porcelain,
-which usually has, by the way, the Ch’êng Hua mark to keep up the
-associations.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_281" href="#FNanchor_281" class="label">[281]</a> For further notes on design, see chap. xvii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_282" href="#FNanchor_282" class="label">[282]</a> There is a small collection of these porcelains salved
-from the sea and presented to the British Museum by H. Adams in 1853;
-but there is no evidence to show which, if any, were on board the
-<i>Haarlem</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_283" href="#FNanchor_283" class="label">[283]</a> This design was copied on early Worcester blue and white
-porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_284" href="#FNanchor_284" class="label">[284]</a> In spite of Bushell’s translation of a Ming passage
-which would lead one to think otherwise; see p. <a href="#Page_40">40</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_285" href="#FNanchor_285" class="label">[285]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_226">226</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_286" href="#FNanchor_286" class="label">[286]</a> There are frequent allusions to the European trade
-in the letters of Père d’Entrecolles. In the first letter (Bushell,
-<i>T’ao shuo</i>, p. 191) a reference is made among moulded porcelains
-to “celles qui sont d’une figure bisarre, comme les animaux, les
-grotesques, les Idoles, les bustes que les Europeans ordonnent.” On
-p. 193: “Pour ce qui est des couleurs de la porcelaine, il y en a de
-toutes les sortes. On n’en voit gueres en Europe que de celle qui est
-d’un bleu vif sur un fond blanc. Je crois pourtant que nos Marchands y
-en ont apporté d’autres.” On p. 202, to explain the high price of the
-Chinese porcelain in Europe, we are told that for the porcelain for
-Europe new models, often very strange and difficult to manufacture,
-are constantly demanded, and as the porcelain was rejected for the
-smallest defect, these pieces were left on the potter’s hands, and,
-being un-Chinese in taste, were quite unsaleable. Naturally the potter
-demanded a high price for the successful pieces to cover his loss on
-the rejected.</p>
-
-<p>On the other hand, we are told (p. <a href="#Page_204">204</a>) that the mandarins,
-recognising the inventive genius of the Europeans, sometimes asked
-him (d’Entrecolles) to procure new and curious designs, in order that
-they might have novelties to offer to the Emperor. But his converts
-entreated him not to get these designs, which were often very difficult
-to execute and led to all manner of ill-treatment of the unfortunate
-workmen.</p>
-
-<p>On the same page we are told that the European merchants ordered large
-plaques for inlaying in furniture, but that the potters found it
-impossible to make any plaque larger than about a foot square. In the
-second letter (section x.), however, we learn that “this year (1722)
-they had accepted orders for designs which had hitherto been considered
-impossible, viz. for urns (<i>urnes</i>) 3 feet and more high, with a
-cover which rose in pyramidal form to an additional foot. They were
-made in three pieces, so skilfully joined that the seams were not
-visible, and out of twenty-five made only eight had been successful.
-These objects were ordered by the Canton merchants, who deal with the
-Europeans; for in China people are not interested in porcelain which
-entails such great cost.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_287" href="#FNanchor_287" class="label">[287]</a> This defect is noticed by Père d’Entrecolles, who
-mentions another remedy used by the Chinese potters. They applied, he
-tells us in section ii. of the second letter, a preparation of bamboo
-ashes mixed with glazing material to the edges of the plate before the
-glazing proper. This was supposed to have the desired effect without
-impairing the whiteness of the porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_288" href="#FNanchor_288" class="label">[288]</a> See p. <a href="#Page_74">74</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_289" href="#FNanchor_289" class="label">[289]</a> Second letter, section iv.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_290" href="#FNanchor_290" class="label">[290]</a> See Bushell, O. C. A., p. 320.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_291" href="#FNanchor_291" class="label">[291]</a> See p. <a href="#Page_201">201</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_292" href="#FNanchor_292" class="label">[292]</a> The use of crackle glaze over blue (<i>porcelaine toute
-azurée</i>) is noted by Père d’Entrecolles in his first letter. See
-Bushell, op. cit., p. 195.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_293" href="#FNanchor_293" class="label">[293]</a> See Bushell, <i>T’ao shuo</i>, p. 197.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_294" href="#FNanchor_294" class="label">[294]</a> A somewhat similar but clumsier decoration was the
-“scratched blue” of the Staffordshire salt glaze made about 1750.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_295" href="#FNanchor_295" class="label">[295]</a> On exceptional examples the red seems to have turned
-almost black, and in some cases it seems to have penetrated the glaze
-and turned brown.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_296" href="#FNanchor_296" class="label">[296]</a> A similar combination of coloured glazes was effectively
-used on the moulded porcelains of the Japanese Hirado factory.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_297" href="#FNanchor_297" class="label">[297]</a> See pp. <a href="#Page_48">48</a> and <a href="#Page_100">100</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_298" href="#FNanchor_298" class="label">[298]</a> Loc. cit., second letter, section xiv.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_299" href="#FNanchor_299" class="label">[299]</a> Apparently <i>huang lü huan</i>, yellow and green (?)
-circles. But without the Chinese characters it is impossible to say
-which <i>huan</i> is intended. The description seems to apply to the
-“tiger skin” ware, where yellow, green and aubergine glazes have been
-applied in large patches. Bushell (<i>O. C. A.</i>, p. 331) makes this
-expression refer to the specimens with engraved designs in colour
-contrasting with the surrounding ground, such as Fig. 1 of Plate 79;
-but this does not seem to suit the word <i>huan</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_300" href="#FNanchor_300" class="label">[300]</a> Loc. cit., section xiv.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_301" href="#FNanchor_301" class="label">[301]</a> See footnote on p. <a href="#Page_89">89</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_302" href="#FNanchor_302" class="label">[302]</a> The same technique is employed on some of the Japanese
-Kaga wares.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_303" href="#FNanchor_303" class="label">[303]</a> Apparently derived from manganese.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_304" href="#FNanchor_304" class="label">[304]</a> See p. <a href="#Page_80">80</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_305" href="#FNanchor_305" class="label">[305]</a> Another favourite form is the ovoid beaker (see Plate
-101), which is sometimes called the <i>yen yen</i> vase, apparently
-from <i>yen</i>, beautiful. But I only have this name on hearsay, and
-it is perhaps merely a trader’s term.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_306" href="#FNanchor_306" class="label">[306]</a> See p. <a href="#Page_110">110</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_307" href="#FNanchor_307" class="label">[307]</a> A lotus-shaped set in the Salting collection numbers
-thirteen sections.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_308" href="#FNanchor_308" class="label">[308]</a> The underglaze blue almost invariably suffered in the
-subsequent firings which were necessary for the enamels, and, as we
-shall see, a different kind of glaze was used on the pure enamelled
-ware and on the blue and white.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_309" href="#FNanchor_309" class="label">[309]</a> Apart from the cases in which the enamel colours were
-added to faulty specimens of blue and white to conceal defects.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_310" href="#FNanchor_310" class="label">[310]</a> See p. <a href="#Page_85">85</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_311" href="#FNanchor_311" class="label">[311]</a> Op. cit., section vi. “Il n’y a, dit on, que vingt ans
-ou environ qu’on a trouvé le secret de peindre avec le <i>tsoui</i>
-ou en violet et de dorer la porcelaine.” As far as the gilding is
-concerned, this statement is many centuries wrong. The <i>tsoui</i> is
-no doubt the <i>ts’ui</i>, which is very vaguely described in section
-xii. (under the name <i>tsiu</i>) of the same letter. Here it is stated
-to have been compounded of a kind of stone, but the description of its
-treatment clearly shows that the material was really a coloured glass,
-which is, in fact, the basis of the violet blue enamel.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_312" href="#FNanchor_312" class="label">[312]</a> Bushell, op. cit., p. 193.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_313" href="#FNanchor_313" class="label">[313]</a> Loc. cit., p. 195.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_314" href="#FNanchor_314" class="label">[314]</a> See d’Entrecolles, second letter, section xii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_315" href="#FNanchor_315" class="label">[315]</a> Burnt lime and wood ashes. See p. <a href="#Page_92">92</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_316" href="#FNanchor_316" class="label">[316]</a> Catalogue of the 1910 exhibition, No. 84.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_317" href="#FNanchor_317" class="label">[317]</a> These seals are usually difficult to decipher, and the
-one in question might be read <i>shui shih chü</i> (water and rock
-dwelling). This would be a matter of small importance did not the
-signature read by Bushell as <i>wan shih chü</i> occur in the Pierpont
-Morgan Collection. Other instances in the same collection are <i>chu
-chü</i> (bamboo retreat), <i>shih chü</i> (rock retreat), and <i>chu
-shih chü</i> (red rock retreat). The signature <i>chu chü</i> also
-occurs on a dish in the Dresden collection.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_318" href="#FNanchor_318" class="label">[318]</a> See p. <a href="#Page_212">212</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_319" href="#FNanchor_319" class="label">[319]</a> See p. <a href="#Page_64">64</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_320" href="#FNanchor_320" class="label">[320]</a> Cat., vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_321" href="#FNanchor_321" class="label">[321]</a> Similar bottles in the Drucker Collection have the “G”
-mark.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_322" href="#FNanchor_322" class="label">[322]</a> <i>Fang tung yang</i>, “imitating the Eastern Sea” (i.e.
-Japan).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_323" href="#FNanchor_323" class="label">[323]</a> The first specimens (according to Bushell, <i>O. C.
-A.</i>, p. 309) to reach America came from the collection of the Prince
-of Yi, whose line was founded by the thirteenth son of the Emperor
-K’ang Hsi.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_324" href="#FNanchor_324" class="label">[324]</a> The general reader will probably not be much concerned
-as to whether the peach bloom was produced by oxide of copper or by
-some other process. Having learnt the outward signs of the glaze, he
-will take the inner meaning of it for granted. Others, however, will be
-interested to know that practically all the features of the peach bloom
-glaze, the pink colour, the green ground and the russet brown spots
-can be produced by chrome tin fired at a high temperature. I have seen
-examples of these chrome tin pinks made by Mr. Mott at Doulton’s, which
-exhibit practically all the peculiarities of the Chinese peach bloom.
-It does not, of course, follow that the Chinese used the same methods
-or even had any knowledge of chrome tin. They may have arrived at the
-same results by entirely different methods, and the peach bloom tints
-developed on some of the painted underglaze copper reds point to the
-one which is generally believed to have been used; but the difference
-between these and the fully developed peach bloom is considerable,
-and though we have no definite evidence one way or the other, the
-possibilities of chrome tin cannot be overlooked.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_325" href="#FNanchor_325" class="label">[325]</a> The form of this water pot is known (according to
-Bushell, <i>O. C. A.</i>, p. 318) as the <i>T’ai-po tsun</i>, because
-it was designed after the traditional shape of the wine jar of Li
-T’ai-po, the celebrated T’ang poet. In its complete state it has a
-short neck with slightly spreading mouth.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_326" href="#FNanchor_326" class="label">[326]</a> See p. <a href="#Page_146">146</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_327" href="#FNanchor_327" class="label">[327]</a> See p. <a href="#Page_64">64</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_328" href="#FNanchor_328" class="label">[328]</a> i.e. lead glass.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_329" href="#FNanchor_329" class="label">[329]</a> <i>Chi</i>, lit. sky-clearing, and <i>chi ch’ing</i>
-might be rendered “blue of the sky after rain.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_330" href="#FNanchor_330" class="label">[330]</a> There are some bowls and bottles in the Dresden
-collection with glazes of a pale luminous blue which are hard to
-parallel elsewhere.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_331" href="#FNanchor_331" class="label">[331]</a> Loc. cit., section xvii. In another place (section iii.)
-we are told how the Chinese surrounded the ware with paper during the
-blowing operation, so as to catch and save all the precious material
-which fell wide of the porcelain.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_332" href="#FNanchor_332" class="label">[332]</a> I cannot recall any example of the powder blue crackle
-which is here described.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_333" href="#FNanchor_333" class="label">[333]</a> See Julien, p. 107.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_334" href="#FNanchor_334" class="label">[334]</a> P. 170.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_335" href="#FNanchor_335" class="label">[335]</a> Second letter, section xvii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_336" href="#FNanchor_336" class="label">[336]</a> The word “mazarine” has become naturalised in the
-English language. Goldsmith spoke of “gowns of mazarine blue edged with
-fur”; and “Ingoldsby” says the sky was “bright mazarine.” See R. L.
-Hobson, <i>Worcester Porcelain</i>, p. 101.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_337" href="#FNanchor_337" class="label">[337]</a> See p. <a href="#Page_99">99</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_338" href="#FNanchor_338" class="label">[338]</a> See p. <a href="#Page_102">102</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_339" href="#FNanchor_339" class="label">[339]</a> These glazes generally have the appearance of being in
-two coats, and in some cases there actually seem to be two layers of
-crackle.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_340" href="#FNanchor_340" class="label">[340]</a> See p. <a href="#Page_125">125</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_341" href="#FNanchor_341" class="label">[341]</a> i.e. the strong heavy types. Chinese literature speaks
-of thinner and more refined celadons of the Sung period, but few of
-these have come down to our day.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_342" href="#FNanchor_342" class="label">[342]</a> Père d’Entrecolles fully describes these spurious
-celadons. See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_83">83</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_343" href="#FNanchor_343" class="label">[343]</a> Second letter, section vii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_344" href="#FNanchor_344" class="label">[344]</a> The <i>T’ao lu</i> (see Julien, p. 213) gives this
-recipe for the kind of celadon known as <i>Tung ch’ing</i>, and a
-similar prescription with a small percentage of blue added for the
-variety known as <i>Lung-ch’üan</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_345" href="#FNanchor_345" class="label">[345]</a> See Bushell, O. C. A., p. 316.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_346" href="#FNanchor_346" class="label">[346]</a> See p. <a href="#Page_147">147</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_347" href="#FNanchor_347" class="label">[347]</a> There are some fine examples of orange yellow monochrome
-in the Peters Collection in New York. The colour was also used with
-success in the Ch’ien Lung period, the mark of which reign occurs on a
-good example in the Peters Collection.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_348" href="#FNanchor_348" class="label">[348]</a> Bushell, <i>O. C. A.</i>, Plates xxv. and lxxxiii.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_349" href="#FNanchor_349" class="label">[349]</a> See Monkhouse, op. cit., fig. 22. The crackle on the
-mustard yellow glaze is usually small, but there is a fine specimen in
-the Peters Collection with large even crackle. Sometimes this yellow
-has a greenish tinge, and in a few instances it is combined with
-crackled green glaze.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_350" href="#FNanchor_350" class="label">[350]</a> Second letter, section vi.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_351" href="#FNanchor_351" class="label">[351]</a> See Père d’Entrecolles, second letter, section xiii.:
-“L’argent sur le vernis <i>tse kin (tzŭ chin</i>) a beaucoup d’éclat.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_352" href="#FNanchor_352" class="label">[352]</a> See p. <a href="#Page_145">145</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_353" href="#FNanchor_353" class="label">[353]</a> The blue of the cobalt is sometimes clearly visible in
-the fracture of the glaze; and in other cases the black has a decided
-tinge of brown.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_354" href="#FNanchor_354" class="label">[354]</a> d’Entrecolles, loc. cit., section viii.: “Le noir
-éclatant ou le noir de miroir appellé <i>ou kim</i>” (<i>wu chin</i>).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_355" href="#FNanchor_355" class="label">[355]</a> d’Entrecolles declares that it was the result of many
-experiments, apparently in his own time. See p. <a href="#Page_194">194</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_356" href="#FNanchor_356" class="label">[356]</a> Second letter, section xi.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_357" href="#FNanchor_357" class="label">[357]</a> See M. Seymour de Ricci in the introduction to the
-<i>Catalogue of a Collection of Mounted Porcelain belonging to E.
-M. Hodgkins, Paris</i>, 1911, where much interesting information
-has been collected on the subject of French mounts and their
-designers. He quotes also from the <i>Livre-journal de Lazare Duvaux
-marchand-bijoutier ordinaire du Roy</i> (1748–1758), which includes a
-list of objects mounted for Madame de Pompadour and others, giving the
-nature of the wares and the cost of the work.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_358" href="#FNanchor_358" class="label">[358]</a> Persian, Indian, and occasionally even Chinese metal
-mounts are found on porcelain; and Mr. S. E. Kennedy has a fine
-enamelled vase of the K’ang Hsi period with spirited dragon handles of
-old Chinese bronze.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_359" href="#FNanchor_359" class="label">[359]</a> White was also used in the worship of the Year Star
-(Jupiter). Other colours which have a ritual significance are
-<i>yellow</i>, used in the Ancestral Temple by the Emperor, and on
-the altars of the god of Agriculture and of the goddess of Silk;
-<i>blue</i>, in the Temple of Heaven and in the Temple of Land and
-Grain; and <i>red</i>, in the worship of the Sun.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_360" href="#FNanchor_360" class="label">[360]</a> Brinkley has aptly described it as “snow-white oil.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_361" href="#FNanchor_361" class="label">[361]</a> Cf. Père d’Entrecolles, second letter, section xviii.:
-“(The designs) are first outlined with a graving-tool on the body of
-the vase, and afterwards lightly channelled around to give them relief.
-After this they are glazed.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_362" href="#FNanchor_362" class="label">[362]</a> See d’Entrecolles, loc. cit., sections iv. and v. After
-describing the preparation of the steatite (<i>hua shih</i>) by mixing
-it with water, he continues: “Then they dip a brush in the mixture and
-trace various designs on the porcelain, and when they are dry the glaze
-is applied. When the ware is fired, these designs emerge in a white
-which differs from that of the body. It is as though a faint mist had
-spread over the surface. The white from <i>hoa che</i> (<i>hua shih</i>
-or <i>steatite</i>) is called ivory white, <i>siam ya pe</i> (<i>hsiang
-ya pai</i>).” In the next section he describes another material used
-for white painting under the glaze. This is <i>shih kao</i>, which has
-been identified with fibrous gypsum.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_363" href="#FNanchor_363" class="label">[363]</a> See p. <a href="#Page_74">74</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_364" href="#FNanchor_364" class="label">[364]</a> First letter, Bushell, op. cit., p. 195.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_365" href="#FNanchor_365" class="label">[365]</a> <i>O. C. A.</i>, p. 533.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_366" href="#FNanchor_366" class="label">[366]</a> <i>Ku chin t’u shu</i>, section xxxii., vol. 248, fol.
-15. In this way, we are told, were produced (1) the thousandfold millet
-crackle and (2) the drab-brown (<i>ho</i>) cups. The colour of the
-latter was obtained by rubbing on a decoction of old tea leaves. The
-former is a name given to a glaze broken into “numerous small points.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_367" href="#FNanchor_367" class="label">[367]</a> See Bushell, <i>T’ao shuo</i>, loc. cit., p. 195.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_368" href="#FNanchor_368" class="label">[368]</a> The <i>Tao lu</i> (see Julien, p. 214) informs us that
-the <i>sui ch’i yu</i> (crackle ware glaze) was made from briquettes
-formed of the natural rock of San-pao-p’êng. If highly refined this
-material produced small crackle; if less carefully refined, coarse
-crackle. In reference to <i>sui ch’i</i> in an earlier part of the same
-work, we are told that the Sung potters mixed <i>hua shih</i> with
-the glaze to produce crackle. <i>Hua shih</i> is a material of the
-nature of steatite, and Bushell (<i>O. C. A.</i>, p. 447) states that
-the Chinese potters mix powdered steatite with the glaze to make it
-crackle. It is, then, highly probable that the “white pebbles” of Père
-d’Entrecolles and the rock of San-pao-p’êng are the same material and
-of a steatitic nature.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_369" href="#FNanchor_369" class="label">[369]</a> <img src="images/k_200b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />. Another name of this official, <i>Yen
-kung</i>, is mentioned in the <i>T’ao lu</i>, bk. v., fol. 11 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_370" href="#FNanchor_370" class="label">[370]</a> Situated at the junction of the Grand Canal and the
-Yangtze.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_371" href="#FNanchor_371" class="label">[371]</a> Loc. cit.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_372" href="#FNanchor_372" class="label">[372]</a> Silvering the entire surface (<i>mo yin</i>), as opposed
-to merely decorating with painted designs in silver (<i>miao yin</i>),
-appears to have been a novelty introduced by T’ang Ying.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_373" href="#FNanchor_373" class="label">[373]</a> i.e. porcelain services painted with European coats of
-arms.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_374" href="#FNanchor_374" class="label">[374]</a> See p. <a href="#Page_215">215</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_375" href="#FNanchor_375" class="label">[375]</a> See p. 225, Nos. 41 and 42.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_376" href="#FNanchor_376" class="label">[376]</a> Cf. p. 25, where “high-flaming silver candle lighting up
-rosy beauty” is explained in this sense among the Ch’êng Hua designs.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_377" href="#FNanchor_377" class="label">[377]</a> See p. <a href="#Page_13">13</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_378" href="#FNanchor_378" class="label">[378]</a> See p. 225, No. 45.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_379" href="#FNanchor_379" class="label">[379]</a> See p. 224, Nos. 19 and 20.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_380" href="#FNanchor_380" class="label">[380]</a> A beautiful example of a “stem-cup” in the Eumorfopoulos
-Collection, with three fishes on the exterior in underglaze red of
-brilliant quality and the Hsüan Tê mark inside the bowl, probably
-belongs to this class.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_381" href="#FNanchor_381" class="label">[381]</a> See p. <a href="#Page_148">148</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_382" href="#FNanchor_382" class="label">[382]</a> See p. 225, No. 30.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_383" href="#FNanchor_383" class="label">[383]</a> See p. 224, No. 26.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_384" href="#FNanchor_384" class="label">[384]</a> See <i>Catalogue</i> 300–303. “On each is a miniature
-group of the Seven Worthies of the Bamboo Grove with an attendant
-bringing a jar of wine and flowers. The porcelain is so thin that the
-design, with all the details of colour, can be distinctly perceived
-from the inside.” It is only right to say that their learned possessor
-has catalogued them as genuine examples of the Ch’êng Hua period.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_385" href="#FNanchor_385" class="label">[385]</a> See p. 224, No. 25.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_386" href="#FNanchor_386" class="label">[386]</a> See p. <a href="#Page_201">201</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_387" href="#FNanchor_387" class="label">[387]</a> See p. 224, No. 27.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_388" href="#FNanchor_388" class="label">[388]</a> See p. 225, No. 36.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_389" href="#FNanchor_389" class="label">[389]</a> <i>T’ao shuo</i>, bk. i., fol. 15 verso.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_390" href="#FNanchor_390" class="label">[390]</a> See p. 225, No. 49. <i>Fo-lang</i>, <i>fa-lang</i>,
-<i>fu-lang</i>, and <i>fa-lan</i> are used indiscriminately by the
-Chinese in the sense of enamels on metal.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_391" href="#FNanchor_391" class="label">[391]</a> In the <i>T’ao lu</i>, under the heading <i>Yang
-tz’ŭ</i>. It is a curious paradox that the Chinese called <i>famille
-rose</i> porcelain <i>yang ts’ai</i> (foreign colours) and the Canton
-enamels <i>yang tz’ŭ</i> (foreign porcelain). See <i>Burlington
-Magazine</i>, December, 1912, “Note on Canton Enamels.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_392" href="#FNanchor_392" class="label">[392]</a> See pp. 224–226, Nos. 29, 37, 38, 49, 51, 53, and 54.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_393" href="#FNanchor_393" class="label">[393]</a> Apart from the rose pinks which are derived from purple
-of cassius, i.e. precipitate of gold, and the opaque white derived
-from arsenic, the colouring agents of the <i>famille rose</i> enamels
-are essentially the same as those of the <i>famille verte</i>. The
-colours themselves were brought to Ching-tê Chên in the form of lumps
-of coloured glass prepared at the Shantung glass works. These lumps
-were ground to a fine powder and mixed with a little white lead, and in
-some cases with sand (apparently potash was also used in some cases to
-modify the tones), and the powder was worked up for the painter’s use
-with turpentine, weak glue, or even with water. Cobaltiferous ore of
-manganese, oxide of copper, iron peroxide, and antimony were still the
-main colouring agents. The first produced the various shades of blue,
-violet, purple, and black; the second, the various greens; the third,
-coral or brick red; and the fourth, yellow of various shades. A little
-iron in the yellow gave the colour an orange tone.</p>
-
-<p>The modifications of the green are more numerous. The pure binoxide of
-copper produced the shade used for distant mountains (<i>shan lü</i>),
-which could be converted into turquoise by the admixture of white. The
-ordinary leaf green was darkened by strengthening the lead element in
-the flux and made bluer by the introduction of potash in the mixture.
-Combined with yellow it gave an opaque yellowish green colour known as
-<i>ku lü</i> (ancient green); and a very pale greenish white, the “moon
-white” of the enameller, was made by a tinge of green added to the
-arsenious white.</p>
-
-<p>The carmine and crimson rose tints derived from the glass tinted with
-precipitate of gold, which was known as <i>yen chih hung</i> (rouge
-red), were modified with white to produce the <i>fên hung</i> or pale
-pink; and the same carmine was combined with white and deep blue to
-make the amaranth or blue lotus (<i>ch’ing lien</i>) colour.</p>
-
-<p>The ordinary brick red (the <i>ta hung</i> or <i>mo hung</i>) was
-derived from peroxide of iron mixed with a little glue to make it
-adhere, but depending on the glaze for any vitrification it could
-obtain. The addition of a plumbo-alcaline flux produced the more
-brilliant and glossy red of coral tint known as <i>tsao’rh hung</i>
-(jujube red).</p>
-
-<p>The dry, dull black derived from cobaltiferous manganese was converted
-into a glossy enamel by mixing with green. This is the <i>famille
-rose</i> black as distinct from the black of the <i>famille verte</i>,
-which was formed by a layer of green washed over a layer of dull black
-on the porcelain itself.</p>
-
-<p>There are, besides, numerous other shades, such as lavender, French
-grey, etc., obtained by cunning mixtures, and all these enamels were
-capable of use as monochromes in place of coloured glazes as well as
-for brushwork.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_394" href="#FNanchor_394" class="label">[394]</a> Bushell, <i>Chinese Art</i>, vol. ii., fig. 61.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_395" href="#FNanchor_395" class="label">[395]</a> <i>Histoire de la porcelaine</i>, pt. viii., fig. 3.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_396" href="#FNanchor_396" class="label">[396]</a> These marks were discussed by Bushell in the
-<i>Burlington Magazine</i>, August and September, 1906. They are
-figured on vol. i., pp. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_219">219</a> and <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_223">223</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_397" href="#FNanchor_397" class="label">[397]</a> Quoted from a letter written to Sir Wollaston Franks by
-Mr. Arthur B. French, who visited Ching-tê Chên in 1882.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_398" href="#FNanchor_398" class="label">[398]</a> Officially the reign of K’ang Hsi dates from 1662–1722,
-but he actually succeeded to the throne on the death of Shun Chih in
-1661, so that his reign completed the cycle of sixty years in 1721.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_399" href="#FNanchor_399" class="label">[399]</a> As Bushell has done in <i>Chinese Art</i>, vol. ii., p.
-42.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_400" href="#FNanchor_400" class="label">[400]</a> See “Note on Canton Enamels,” <i>Burlington
-Magazine</i>, December, 1912.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_401" href="#FNanchor_401" class="label">[401]</a> See p. 225, No. 40.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_402" href="#FNanchor_402" class="label">[402]</a> Op. cit., second letter, section xx.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_403" href="#FNanchor_403" class="label">[403]</a> Nos. 39 and 55–57.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_404" href="#FNanchor_404" class="label">[404]</a> <i>Miao</i> is used in the sense of to “draw” a picture
-or design.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_405" href="#FNanchor_405" class="label">[405]</a> Bushell, <i>O. C. A.</i>, p. 400, explains how the
-studio name was formed by the common device of splitting up Hu <img src="images/k_215a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> into its component parts <i>ku</i> <img src="images/k_215b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> and <i>yüeh</i> <img src="images/k_215c.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_406" href="#FNanchor_406" class="label">[406]</a> From the Hippisley collection, <i>Catalogue</i>, p. 408.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_407" href="#FNanchor_407" class="label">[407]</a> <i>Catalogue of Hippisley Collection</i>, p. 347.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_408" href="#FNanchor_408" class="label">[408]</a> <i>Chinese Art</i>, vol. ii., fig. 74.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_409" href="#FNanchor_409" class="label">[409]</a> See p. 224, Nos. 15–17.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_410" href="#FNanchor_410" class="label">[410]</a> A recipe given in the <i>T’ao lu</i> (bk. iii., fol.
-12 verso) for the <i>lu chün</i> glaze speaks of “crystals of nitre,
-rock crystal, and (?) cobaltiferous manganese (<i>liao</i>) mixed with
-ordinary glaze.” But apart from the uncertain rendering of <i>liao</i>
-(which Bushell takes as <i>ch’ing liao</i>, i.e. the material used for
-blue painting), it is difficult to see how this composition, including
-the ordinary porcelain glaze, can have been fired in the muffle kiln.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_411" href="#FNanchor_411" class="label">[411]</a> In the jujube red the iron oxide is mixed with the
-plumbo-alcaline flux of the enameller, whereas in the <i>mo hung</i> it
-is simply made to adhere to the porcelain by means of glue, and depends
-for the silicates, which give it a vitreous appearance, on the glaze
-beneath it.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_412" href="#FNanchor_412" class="label">[412]</a> <i>O. C. A.</i>, p. 360.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_413" href="#FNanchor_413" class="label">[413]</a> See p. 224, No. 18.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_414" href="#FNanchor_414" class="label">[414]</a> See p. 225, No. 44.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_415" href="#FNanchor_415" class="label">[415]</a> Op. cit., p. 67.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_416" href="#FNanchor_416" class="label">[416]</a> <i>Catalogue</i>, K. 18.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_417" href="#FNanchor_417" class="label">[417]</a> <i>Catalogue</i>, vol. i., p. 38. The colour has already
-been discussed in a note on p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a> of vol. i. of this book.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_418" href="#FNanchor_418" class="label">[418]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_68">68</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_419" href="#FNanchor_419" class="label">[419]</a> See Bushell, <i>O. C. A.</i>, p. 368</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_420" href="#FNanchor_420" class="label">[420]</a> The Chinese is <i>kua yu</i> <img src="images/k_224.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, lit. hanging,
-suspended or applied glaze. The Yi-hsing stoneware was not usually
-glazed; hence the force of the epithet <i>kua</i> applied.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_421" href="#FNanchor_421" class="label">[421]</a> The gold-flecked turquoise has yet to be identified.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_422" href="#FNanchor_422" class="label">[422]</a> Bushell says this is the sapphire blue (<i>pao shih
-lan</i>) of the period.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_423" href="#FNanchor_423" class="label">[423]</a> <img src="images/k_225a.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> mo, lit. “rubbed.” Bushell (<i>O. C. A.</i>,
-p. 383) explains the term <i>mo hung</i> as “applied to the process of
-painting the coral red monochrome derived from iron over the glaze with
-an ordinary brush.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_424" href="#FNanchor_424" class="label">[424]</a> Bushell takes this to be the lemon yellow enamel which
-was first used at this time.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_425" href="#FNanchor_425" class="label">[425]</a> See p. <a href="#Page_37">37</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_426" href="#FNanchor_426" class="label">[426]</a> <img src="images/k_225b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> <i>yu t’ung yung hung yu hui hua chê, yu
-ch’ing yeh hung hua chê.</i> Bushell (<i>O. C. A.</i>, p. 386) gives a
-slightly different application of this passage, but the meaning seems
-to be obviously that given above.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_427" href="#FNanchor_427" class="label">[427]</a> This note is given by Bushell, apparently from the
-Chinese edition which he used; but it does not appear in the British
-Museum copy. It is, however, attached to the list as quoted in the
-<i>T’ao lu</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_428" href="#FNanchor_428" class="label">[428]</a> As already explained, <i>miao chin</i> refers to gilt
-designs painted with a brush, and <i>mo chin</i> to gilding covering
-the entire surface.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_429" href="#FNanchor_429" class="label">[429]</a> <i>O. C. A.</i>, p. 50.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_430" href="#FNanchor_430" class="label">[430]</a> <img src="images/k_227b.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_431" href="#FNanchor_431" class="label">[431]</a> Translated by Bushell, <i>O. C. A.</i>, p. 398.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_432" href="#FNanchor_432" class="label">[432]</a> Bk. v., fol. 12.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_433" href="#FNanchor_433" class="label">[433]</a> <img src="images/k_228.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" />, <i>yu hsin shih</i>, lit. “also he newly
-made.” This is undoubtedly the sense given by the Chinese original,
-and Julien renders it “il avait nouvellement mis en œuvre.” Bushell,
-on the other hand, translates: “He also made porcelain decorated with
-the various coloured glazes <i>newly invented</i>,” a reading which
-makes the word <i>chih</i> do duty twice over, and leaves it doubtful
-whether T’ang was the inventor of these types of decoration or merely
-the user of them. Both the grammar and the balance of the sentences in
-the original are against this colourless rendering.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_434" href="#FNanchor_434" class="label">[434]</a> See p. <a href="#Page_192">192</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_435" href="#FNanchor_435" class="label">[435]</a> <i>La Porcelaine Chinoise</i>, p. 216.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_436" href="#FNanchor_436" class="label">[436]</a> See p. <a href="#Page_225">225</a>. “In the new copies of the Western style of
-painting in enamels (<i>hsi yang fa lang hua fa</i>), the landscapes
-and figure scenes, the flowering plants and birds are without exception
-of supernatural beauty.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_437" href="#FNanchor_437" class="label">[437]</a> See p. <a href="#Page_209">209</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_438" href="#FNanchor_438" class="label">[438]</a> P. 397.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_439" href="#FNanchor_439" class="label">[439]</a> An interesting series of these bird’s egg glazes
-appearing, as they often do, on tiny vases was exhibited by his
-Excellency the Chinese Minister at the Whitechapel Art Gallery in
-November, 1913.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_440" href="#FNanchor_440" class="label">[440]</a> There is a very old superstition in China that cracked
-or broken pottery is the abode of evil spirits. The modern collector
-abhors the cracked or damaged specimen for other reasons, and it
-is certain that such things would not be admitted to the Imperial
-collections. Many rare and interesting pieces which have come to
-Europe in the past will be found on examination to be more or less
-defective, and it is probable that we owe their presence chiefly to
-this circumstance.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_441" href="#FNanchor_441" class="label">[441]</a> See Bushell’s translation, op. cit., p. 6.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_442" href="#FNanchor_442" class="label">[442]</a> The <i>T’ao shuo</i> was published in 1774.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_443" href="#FNanchor_443" class="label">[443]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_119">119</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_444" href="#FNanchor_444" class="label">[444]</a> See Julien, op. cit., p. 101, under the heading <i>lung
-kang yao</i> (kilns for the dragon jars).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_445" href="#FNanchor_445" class="label">[445]</a> The Chinese foot as at present standardised is about two
-inches longer than the English foot, and the Chinese inch is one-tenth
-of it.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_446" href="#FNanchor_446" class="label">[446]</a> See p. <a href="#Page_58">58</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_447" href="#FNanchor_447" class="label">[447]</a> There are four examples of the large size of fish bowl
-in the Pierpont Morgan Collection, but they are of late Ming date.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_448" href="#FNanchor_448" class="label">[448]</a> Possibly the tint named in the <i>T’ao shuo</i>
-(Bushell, op. cit., p. 5). “They are coloured wax yellow, tea green,
-gold brown, or the tint of old Lama books,” in reference to incense
-burners of this period.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_449" href="#FNanchor_449" class="label">[449]</a> Nos. 8, 9 and 11. See Bushell, <i>T’ao shuo</i>, op.
-cit., pp. 16–19.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_450" href="#FNanchor_450" class="label">[450]</a> See p. <a href="#Page_140">140</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_451" href="#FNanchor_451" class="label">[451]</a> A plaque in the Bushell Collection with <i>famille
-verte</i> painting has also a remarkably lustrous appearance, which I
-can only ascribe to excessive iridescence.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_452" href="#FNanchor_452" class="label">[452]</a> See Bushell’s translation, op. cit. p. 20.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_453" href="#FNanchor_453" class="label">[453]</a> Figured by L. Binyon, <i>Painting in the Far East</i>,
-first edition, Plate XIX. There is a fine vase of late Ming blue and
-white porcelain with this design in the Dresden collection.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_454" href="#FNanchor_454" class="label">[454]</a> This green enamel is sometimes netted over with lines
-suggesting crackle studded with prunus blossoms. Possibly this is
-intended to recall both in colour and pattern the “plum blossom”
-crackle of the Sung Kuan yao; see vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_61">61</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_455" href="#FNanchor_455" class="label">[455]</a> <i>Shên tê t’ang</i> and <i>ch’ing wei t’ang</i>. See
-vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_456" href="#FNanchor_456" class="label">[456]</a> See Burton and Hobson, Marks on <i>Pottery</i> and
-<i>Porcelain</i>, p. 151.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_457" href="#FNanchor_457" class="label">[457]</a> Op. cit., pp. 116–175.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_458" href="#FNanchor_458" class="label">[458]</a> <i>T’ao shuo</i>, op. cit., pp. 7–30 and <i>O. C.
-A.</i>, ch. xv.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_459" href="#FNanchor_459" class="label">[459]</a> The Lowestoft factory started about 1752, but its
-earlier productions were almost entirely blue and white, often copied,
-like most of the contemporary blue and white from Chinese export wares.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_460" href="#FNanchor_460" class="label">[460]</a> A curious instance of imitation of European ornament is
-a small bowl which I recently saw with openwork sides and medallions,
-apparently moulded from a glass cameo made by Tassie at the end of
-the eighteenth century; and there is a puzzle jug with openwork neck,
-copied from the well known Delft-ware model, in the Metropolitan
-Museum, New York.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_461" href="#FNanchor_461" class="label">[461]</a> Rotterdam was captured by the Spaniards in 1572; but
-those who are interested in the anachronism of Chinese marks will
-observe that these plates have the date mark of the Ch’êng Hua period
-(1465–1487).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_462" href="#FNanchor_462" class="label">[462]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_226">226</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_463" href="#FNanchor_463" class="label">[463]</a> Op. cit., p. 207.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_464" href="#FNanchor_464" class="label">[464]</a> An interesting example of an early eighteenth century
-service with European designs is the “trumpeter service,” of which
-several specimens may be seen in the Salting Collection. It has a
-design of trumpeters, or perhaps heralds, reserved in a black enamelled
-ground.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_465" href="#FNanchor_465" class="label">[465]</a> One of these pieces, for instance, is a plate with arms
-of Sir John Lambert, who was created a baronet in 1711 and died in
-1722. It has enamels of the transition kind.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_466" href="#FNanchor_466" class="label">[466]</a> P. 209.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_467" href="#FNanchor_467" class="label">[467]</a> The willow pattern is merely an English adaptation
-of the conventional Chinese landscape and river scene which occurs
-frequently on the export blue and white porcelain of the eighteenth
-century. That it represents any particular story is extremely
-improbable.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_468" href="#FNanchor_468" class="label">[468]</a> Frank Falkner, <i>The Wood Family of Burslem</i>, p. 67.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_469" href="#FNanchor_469" class="label">[469]</a> Another <i>chambrelan</i> who flourished about the same
-time and who worked in the same style was C. F. de Wolfsbourg.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_470" href="#FNanchor_470" class="label">[470]</a> <i>O. C. A.,</i> p. 464.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_471" href="#FNanchor_471" class="label">[471]</a> “The mountains are high, the rivers long.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_472" href="#FNanchor_472" class="label">[472]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_473" href="#FNanchor_473" class="label">[473]</a> <i>Catalogue</i>, No. 367.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_474" href="#FNanchor_474" class="label">[474]</a> Vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_220">220</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_475" href="#FNanchor_475" class="label">[475]</a> Hippisley Collection, <i>Catalogue</i>, No. 169.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_476" href="#FNanchor_476" class="label">[476]</a> <i>O. C. A.</i>, p. 469.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_477" href="#FNanchor_477" class="label">[477]</a> This extravagant idea has been long ago exploded,
-and need not be rediscussed. See, however, Julien <i>Porcelaine
-Chinoise</i>, p. xix., and Medhurst, <i>Transactions of the China
-Branch of the Royal Asiatic Society</i>, Hong Kong, 1853.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_478" href="#FNanchor_478" class="label">[478]</a> <i>O. C. A.</i>, p. 470.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_479" href="#FNanchor_479" class="label">[479]</a> Bk. 93, fols. 13–15.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_480" href="#FNanchor_480" class="label">[480]</a> <i>O. C. A.</i>, pp. 474–83.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_481" href="#FNanchor_481" class="label">[481]</a> Bushell applies the phrase <i>pan tzŭ</i> to the bowls
-and renders it “of ring-like outline.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_482" href="#FNanchor_482" class="label">[482]</a> Bushell renders <i>ju-i</i> in the general sense,
-“with words of happy augury”; it is, however, applied to ornaments of
-<i>ju-i</i> staffs and to borders of <i>ju-i</i> heads.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_483" href="#FNanchor_483" class="label">[483]</a> See vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_225">225</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_484" href="#FNanchor_484" class="label">[484]</a> Bk. i., fols. 1 and 2; see Bushell, op. cit., pp. 3–6.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_485" href="#FNanchor_485" class="label">[485]</a> This is a variety of the key pattern or Greek fret,
-which is of world-wide distribution.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_486" href="#FNanchor_486" class="label">[486]</a> A less usual variety has the ovoid body actually
-surmounted by a beaker</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_487" href="#FNanchor_487" class="label">[487]</a> See Bushell, <i>O. C. A.</i>, p. 797.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_488" href="#FNanchor_488" class="label">[488]</a> See Bushell’s translation, op. cit., p. 4.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_489" href="#FNanchor_489" class="label">[489]</a> See Bushell, <i>O. C. A.,</i> p. 489.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_490" href="#FNanchor_490" class="label">[490]</a> Among others is the “tantalus cup,” with a small tube
-in the bottom concealed by a figure of a man or smiling boy. When the
-water in the cup reaches the top of the tube it runs away from the
-base.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_491" href="#FNanchor_491" class="label">[491]</a> Loc. cit., p. 204.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_492" href="#FNanchor_492" class="label">[492]</a> The cup with handle was made in the tea services for the
-European market, but the handle is not, as has been sometimes asserted,
-a European addition to the cup. Cups with handles were made in China as
-early as the T’ang dynasty (see Plate 11, Fig. 2); but for both wine
-and tea drinking the Chinese seem to have preferred the handleless
-variety.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_493" href="#FNanchor_493" class="label">[493]</a> When the names are known the incidents can usually
-be found in such works of reference as Mayers’ <i>Chinese Reader’s
-Manual</i>, Giles’s <i>Chinese Biographical Dictionary</i>, and
-Anderson’s Catalogue of Chinese and Japanese Pictures.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_494" href="#FNanchor_494" class="label">[494]</a> Told in the <i>Shui Hu Chuan</i>; see <i>O. C. A.</i>,
-p. 570, a note in Bushell’s excellent chapter on Chinese decorative
-motives, of which free use has been made here.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_495" href="#FNanchor_495" class="label">[495]</a> A not uncommon subject is the meeting of a young
-horseman with a beautiful lady in a chariot, and it has been suggested
-that this may be the meeting of Ming Huang and Yang Kuei-fei; but the
-identification is quite conjectural.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_496" href="#FNanchor_496" class="label">[496]</a> Another game, <i>hsiang ch’i</i> (elephant checkers), is
-far nearer to our chess.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_497" href="#FNanchor_497" class="label">[497]</a> A group of five old men similarly employed represents
-the <i>wu lao</i> (the five old ones), the spirits of the five planets.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_498" href="#FNanchor_498" class="label">[498]</a> Chang Kuo Lao, the Taoist Immortal, is also regarded as
-one of the gods of Literature; see p. <a href="#Page_287">287</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_499" href="#FNanchor_499" class="label">[499]</a> Vajrapani is one of the gods of the Four Quarters of the
-Heaven, who are guardians of Buddha. They are represented as ferocious
-looking warriors, sometimes stamping on prostrate demon-figures. As
-such they occur among the T’ang tomb statuettes, but they are not often
-represented on the later porcelains.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_500" href="#FNanchor_500" class="label">[500]</a> The Kanzan and Jitoku of Japanese lore.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_501" href="#FNanchor_501" class="label">[501]</a> See <i>Catalogue of the Pierpont Morgan Collection</i>,
-vol. i., p. <a href="http://www.gutenberg.org/files/67970/67970-h/67970-h.htm#Page_156">156</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_502" href="#FNanchor_502" class="label">[502]</a> Indeed it is likely that the modern <i>ju-i</i> head
-derives from the fungus. The <i>ju-i</i> <img src="images/k_289.jpg" alt=""
-style="height:1.5em;  padding:0em 0em ;" /> means “as you
-wish” or “according (<i>ju</i>) to your idea (<i>i</i>),” and the
-sceptre, which is made in all manner of materials such as wood,
-porcelain, lacquer, cloisonné enamel, etc., is a suitable gift for
-wedding or birthday. Its form is a slightly curved staff about 12 to 15
-inches long, with a fungus-shaped head bent over like a hook. On the
-origin of the <i>ju-i</i>, see Laufer, <i>Jade</i>, p. 335.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_503" href="#FNanchor_503" class="label">[503]</a> The Japanese Mt. Horai.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_504" href="#FNanchor_504" class="label">[504]</a> See Hippisley, <i>Catalogue</i>, op. cit., p. 392.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_505" href="#FNanchor_505" class="label">[505]</a> The Buddhist pearl or jewel, which grants every wish.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_506" href="#FNanchor_506" class="label">[506]</a> See a rare silver cup depicting this legend, figured in
-the <i>Burlington Magazine</i>, December, 1912.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_507" href="#FNanchor_507" class="label">[507]</a> See W. Perceval Yetts, <i>Symbolism in Chinese Art</i>,
-read before the China Society, January 8th, 1912, p. 3.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_508" href="#FNanchor_508" class="label">[508]</a> Hippisley (op. cit., p. 368), speaking of the various
-dragons, says that “the distinction is not at present rigidly
-maintained, and the five-clawed dragon is met with embroidered on
-officers’ uniforms.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_509" href="#FNanchor_509" class="label">[509]</a> A dual creature, the <i>fêng</i> being the male and the
-huang the female.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_510" href="#FNanchor_510" class="label">[510]</a> See Laufer, <i>Jade</i>, pl. 43.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_511" href="#FNanchor_511" class="label">[511]</a> See Laufer, <i>Jade</i>, p. 266.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_512" href="#FNanchor_512" class="label">[512]</a> See Bushell, <i>Chinese Art</i>, vol. i., p. 111.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_513" href="#FNanchor_513" class="label">[513]</a> See p. <a href="#Page_300">300</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_514" href="#FNanchor_514" class="label">[514]</a> They also symbolise the three friends, Confucius,
-Buddha, and Lao-tzŭ.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_515" href="#FNanchor_515" class="label">[515]</a> <i>O. C. A.</i>, p. 106.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_516" href="#FNanchor_516" class="label">[516]</a> It is also used as a synonym for “embroidered,” and
-when it occurs as a mark on porcelain, it suggests the idea “richly
-decorated.”</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_517" href="#FNanchor_517" class="label">[517]</a> Also a symbol of conjugal felicity; and a rebus for
-<i>yü</i>, fertility or abundance.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_518" href="#FNanchor_518" class="label">[518]</a> Having the same sound as <i>ch’ang</i> (long).</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_519" href="#FNanchor_519" class="label">[519]</a> <i>O. C. A.</i>, p. 119.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_520" href="#FNanchor_520" class="label">[520]</a> A pair of open lozenges interlaced are read as a rebus
-<i>t’ung hsin fang shêng</i> (union gives success); see Bushell, <i>O.
-C. A.</i>, p. 120.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_521" href="#FNanchor_521" class="label">[521]</a> Bushell, <i>O. C. A.</i>, p. 521.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_522" href="#FNanchor_522" class="label">[522]</a> See Hippisley, <i>Catalogue</i> No. 381.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_523" href="#FNanchor_523" class="label">[523]</a> <i>Ibid.</i></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_524" href="#FNanchor_524" class="label">[524]</a> <i>Ibid.</i>, No. 388.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_525" href="#FNanchor_525" class="label">[525]</a> <i>Ibid.</i></p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_526" href="#FNanchor_526" class="label">[526]</a> See p. <a href="#Page_299">299</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_527" href="#FNanchor_527" class="label">[527]</a> See p. <a href="#Page_258">258</a>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_528" href="#FNanchor_528" class="label">[528]</a> See Anderson, op. cit., No. 747.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_529" href="#FNanchor_529" class="label">[529]</a> Bk. viii., fol. 4, quoting the <i>Shih ch’ing
-jihcha</i>.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_530" href="#FNanchor_530" class="label">[530]</a> See chap. xvii. of vol. i., which deals with marks.</p>
-
-</div>
-
-<div class="footnote">
-
-<p><a id="Footnote_531" href="#FNanchor_531" class="label">[531]</a> See p. <a href="#Page_261">261</a>.</p>
-
-</div>
-</div>
-
-
-<p class="transnote">Transcriber's Notes:<br />
-
-1. Obvious printers’, punctuation and spelling errors have been
-corrected silently.<br />
-
-2. Some hyphenated and non-hyphenated versions of the same words have been
-retained as in the original.</p>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CHINESE POTTERY AND PORCELAIN; VOL. II. ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;the old editions will
-be renamed.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away&#8212;you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-</div>
-
-<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; License available with this file or online at
-www.gutenberg.org/license.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the person
-or entity to whom you paid the fee as set forth in paragraph 1.E.8.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.B. &#8220;Project Gutenberg&#8221; is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg&#8482; electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg&#8482; License when
-you share it without charge with others.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg&#8482; work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E. Unless you have removed all references to Project Gutenberg:
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-</div>
-
-<blockquote>
-  <div style='display:block; margin:1em 0'>
-    This eBook is for the use of anyone anywhere in the United States and most
-    other parts of the world at no cost and with almost no restrictions
-    whatsoever. You may copy it, give it away or re-use it under the terms
-    of the Project Gutenberg License included with this eBook or online
-    at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-    are not located in the United States, you will have to check the laws
-    of the country where you are located before using this eBook.
-  </div>
-</blockquote>
-
-<div style='display:block; margin:1em 0'>
-1.E.2. If an individual Project Gutenberg&#8482; electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase &#8220;Project
-Gutenberg&#8221; associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg&#8482;
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.3. If an individual Project Gutenberg&#8482; electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg&#8482; License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg&#8482; License.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg&#8482; works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
-    <div style='text-indent:-0.7em'>
-        &#8226; You pay a royalty fee of 20% of the gross profits you derive from
-        the use of Project Gutenberg&#8482; works calculated using the method
-        you already use to calculate your applicable taxes. The fee is owed
-        to the owner of the Project Gutenberg&#8482; trademark, but he has
-        agreed to donate royalties under this paragraph to the Project
-        Gutenberg Literary Archive Foundation. Royalty payments must be paid
-        within 60 days following each date on which you prepare (or are
-        legally required to prepare) your periodic tax returns. Royalty
-        payments should be clearly marked as such and sent to the Project
-        Gutenberg Literary Archive Foundation at the address specified in
-        Section 4, &#8220;Information about donations to the Project Gutenberg
-        Literary Archive Foundation.&#8221;
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You provide a full refund of any money paid by a user who notifies
-        you in writing (or by e-mail) within 30 days of receipt that s/he
-        does not agree to the terms of the full Project Gutenberg&#8482;
-        License. You must require such a user to return or destroy all
-        copies of the works possessed in a physical medium and discontinue
-        all use of and all access to other copies of Project Gutenberg&#8482;
-        works.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You provide, in accordance with paragraph 1.F.3, a full refund of
-        any money paid for a work or a replacement copy, if a defect in the
-        electronic work is discovered and reported to you within 90 days of
-        receipt of the work.
-    </div>
-
-    <div style='text-indent:-0.7em'>
-        &#8226; You comply with all other terms of this agreement for free
-        distribution of Project Gutenberg&#8482; works.
-    </div>
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg&#8482; electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg&#8482; trademark. Contact the Foundation as set
-forth in Section 3 below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you &#8216;AS-IS&#8217;, WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; work, and (c) any
-Defect you cause.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 2. Information about the Mission of Project Gutenberg&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg&#8482; and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation&#8217;s EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;s business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation&#8217;s website
-and official page at www.gutenberg.org/contact
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; depends upon and cannot survive without widespread
-public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular state
-visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-</div>
-
-<div style='display:block; margin:1em 0'>
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 5. General Information About Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Most people start at our website which has the main PG search
-facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-This website includes information about Project Gutenberg&#8482;,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-</div>
-
-</div>
-</body>
-</html>
diff --git a/old/68762-h/images/cover.jpg b/old/68762-h/images/cover.jpg
deleted file mode 100644
index b1fa870..0000000
--- a/old/68762-h/images/cover.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i004.jpg b/old/68762-h/images/i004.jpg
deleted file mode 100644
index 91dbe81..0000000
--- a/old/68762-h/images/i004.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i025.jpg b/old/68762-h/images/i025.jpg
deleted file mode 100644
index 17bb639..0000000
--- a/old/68762-h/images/i025.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i031.jpg b/old/68762-h/images/i031.jpg
deleted file mode 100644
index d1188ab..0000000
--- a/old/68762-h/images/i031.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i033a.jpg b/old/68762-h/images/i033a.jpg
deleted file mode 100644
index 207d4af..0000000
--- a/old/68762-h/images/i033a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i033b.jpg b/old/68762-h/images/i033b.jpg
deleted file mode 100644
index a4603cc..0000000
--- a/old/68762-h/images/i033b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i043.jpg b/old/68762-h/images/i043.jpg
deleted file mode 100644
index ba63a84..0000000
--- a/old/68762-h/images/i043.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i053.jpg b/old/68762-h/images/i053.jpg
deleted file mode 100644
index 5b0ea91..0000000
--- a/old/68762-h/images/i053.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i055.jpg b/old/68762-h/images/i055.jpg
deleted file mode 100644
index 92f4467..0000000
--- a/old/68762-h/images/i055.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i057a.jpg b/old/68762-h/images/i057a.jpg
deleted file mode 100644
index 4e8dcac..0000000
--- a/old/68762-h/images/i057a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i057b.jpg b/old/68762-h/images/i057b.jpg
deleted file mode 100644
index 618d643..0000000
--- a/old/68762-h/images/i057b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i057c.jpg b/old/68762-h/images/i057c.jpg
deleted file mode 100644
index c966d5f..0000000
--- a/old/68762-h/images/i057c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i067.jpg b/old/68762-h/images/i067.jpg
deleted file mode 100644
index bba3c49..0000000
--- a/old/68762-h/images/i067.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i069.jpg b/old/68762-h/images/i069.jpg
deleted file mode 100644
index c4283ad..0000000
--- a/old/68762-h/images/i069.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i079a.jpg b/old/68762-h/images/i079a.jpg
deleted file mode 100644
index ea3e720..0000000
--- a/old/68762-h/images/i079a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i079b.jpg b/old/68762-h/images/i079b.jpg
deleted file mode 100644
index a4c307b..0000000
--- a/old/68762-h/images/i079b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i079c.jpg b/old/68762-h/images/i079c.jpg
deleted file mode 100644
index 0a15ad6..0000000
--- a/old/68762-h/images/i079c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i081.jpg b/old/68762-h/images/i081.jpg
deleted file mode 100644
index c51e4d7..0000000
--- a/old/68762-h/images/i081.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i083.jpg b/old/68762-h/images/i083.jpg
deleted file mode 100644
index f039be6..0000000
--- a/old/68762-h/images/i083.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i085.jpg b/old/68762-h/images/i085.jpg
deleted file mode 100644
index b0b95e6..0000000
--- a/old/68762-h/images/i085.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i093.jpg b/old/68762-h/images/i093.jpg
deleted file mode 100644
index 8e1523a..0000000
--- a/old/68762-h/images/i093.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i099.jpg b/old/68762-h/images/i099.jpg
deleted file mode 100644
index 9881166..0000000
--- a/old/68762-h/images/i099.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i105.jpg b/old/68762-h/images/i105.jpg
deleted file mode 100644
index 2b2eab0..0000000
--- a/old/68762-h/images/i105.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i117.jpg b/old/68762-h/images/i117.jpg
deleted file mode 100644
index d935e25..0000000
--- a/old/68762-h/images/i117.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i119.jpg b/old/68762-h/images/i119.jpg
deleted file mode 100644
index 2e77b41..0000000
--- a/old/68762-h/images/i119.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i129.jpg b/old/68762-h/images/i129.jpg
deleted file mode 100644
index b6e98e5..0000000
--- a/old/68762-h/images/i129.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i133.jpg b/old/68762-h/images/i133.jpg
deleted file mode 100644
index b2b2dad..0000000
--- a/old/68762-h/images/i133.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i141.jpg b/old/68762-h/images/i141.jpg
deleted file mode 100644
index 04b348e..0000000
--- a/old/68762-h/images/i141.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i147.jpg b/old/68762-h/images/i147.jpg
deleted file mode 100644
index 65ef30e..0000000
--- a/old/68762-h/images/i147.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i153.jpg b/old/68762-h/images/i153.jpg
deleted file mode 100644
index 983ea7d..0000000
--- a/old/68762-h/images/i153.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i157.jpg b/old/68762-h/images/i157.jpg
deleted file mode 100644
index 1955e8a..0000000
--- a/old/68762-h/images/i157.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i159.jpg b/old/68762-h/images/i159.jpg
deleted file mode 100644
index 2d6fc0a..0000000
--- a/old/68762-h/images/i159.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i167.jpg b/old/68762-h/images/i167.jpg
deleted file mode 100644
index e3aa086..0000000
--- a/old/68762-h/images/i167.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i177.jpg b/old/68762-h/images/i177.jpg
deleted file mode 100644
index c1a749a..0000000
--- a/old/68762-h/images/i177.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i187.jpg b/old/68762-h/images/i187.jpg
deleted file mode 100644
index b636e4a..0000000
--- a/old/68762-h/images/i187.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i189.jpg b/old/68762-h/images/i189.jpg
deleted file mode 100644
index e7e9c57..0000000
--- a/old/68762-h/images/i189.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i199.jpg b/old/68762-h/images/i199.jpg
deleted file mode 100644
index 2969003..0000000
--- a/old/68762-h/images/i199.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i213.jpg b/old/68762-h/images/i213.jpg
deleted file mode 100644
index b23af49..0000000
--- a/old/68762-h/images/i213.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i221.jpg b/old/68762-h/images/i221.jpg
deleted file mode 100644
index d5b4fce..0000000
--- a/old/68762-h/images/i221.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i227.jpg b/old/68762-h/images/i227.jpg
deleted file mode 100644
index af3f0bc..0000000
--- a/old/68762-h/images/i227.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i229.jpg b/old/68762-h/images/i229.jpg
deleted file mode 100644
index 27d12e6..0000000
--- a/old/68762-h/images/i229.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i231.jpg b/old/68762-h/images/i231.jpg
deleted file mode 100644
index 53fdb25..0000000
--- a/old/68762-h/images/i231.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i233.jpg b/old/68762-h/images/i233.jpg
deleted file mode 100644
index 602a91a..0000000
--- a/old/68762-h/images/i233.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i243.jpg b/old/68762-h/images/i243.jpg
deleted file mode 100644
index b1e9649..0000000
--- a/old/68762-h/images/i243.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i249.jpg b/old/68762-h/images/i249.jpg
deleted file mode 100644
index c42fcc5..0000000
--- a/old/68762-h/images/i249.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i255.jpg b/old/68762-h/images/i255.jpg
deleted file mode 100644
index f8c6600..0000000
--- a/old/68762-h/images/i255.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i259.jpg b/old/68762-h/images/i259.jpg
deleted file mode 100644
index efeea38..0000000
--- a/old/68762-h/images/i259.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i261.jpg b/old/68762-h/images/i261.jpg
deleted file mode 100644
index 41fa456..0000000
--- a/old/68762-h/images/i261.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i263.jpg b/old/68762-h/images/i263.jpg
deleted file mode 100644
index bda8251..0000000
--- a/old/68762-h/images/i263.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i265.jpg b/old/68762-h/images/i265.jpg
deleted file mode 100644
index 4c8ab19..0000000
--- a/old/68762-h/images/i265.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i267.jpg b/old/68762-h/images/i267.jpg
deleted file mode 100644
index a5a0750..0000000
--- a/old/68762-h/images/i267.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i275.jpg b/old/68762-h/images/i275.jpg
deleted file mode 100644
index 48747c9..0000000
--- a/old/68762-h/images/i275.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i279.jpg b/old/68762-h/images/i279.jpg
deleted file mode 100644
index 537d7e0..0000000
--- a/old/68762-h/images/i279.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i281.jpg b/old/68762-h/images/i281.jpg
deleted file mode 100644
index 9cc2042..0000000
--- a/old/68762-h/images/i281.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i283.jpg b/old/68762-h/images/i283.jpg
deleted file mode 100644
index 46e4e3c..0000000
--- a/old/68762-h/images/i283.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i285.jpg b/old/68762-h/images/i285.jpg
deleted file mode 100644
index d88495f..0000000
--- a/old/68762-h/images/i285.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i291.jpg b/old/68762-h/images/i291.jpg
deleted file mode 100644
index 1f24745..0000000
--- a/old/68762-h/images/i291.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i297.jpg b/old/68762-h/images/i297.jpg
deleted file mode 100644
index 78eedcd..0000000
--- a/old/68762-h/images/i297.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i305.jpg b/old/68762-h/images/i305.jpg
deleted file mode 100644
index cd9dac3..0000000
--- a/old/68762-h/images/i305.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i311.jpg b/old/68762-h/images/i311.jpg
deleted file mode 100644
index 3f4dff7..0000000
--- a/old/68762-h/images/i311.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i319.jpg b/old/68762-h/images/i319.jpg
deleted file mode 100644
index c4466ce..0000000
--- a/old/68762-h/images/i319.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i321.jpg b/old/68762-h/images/i321.jpg
deleted file mode 100644
index 3e1db51..0000000
--- a/old/68762-h/images/i321.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i323.jpg b/old/68762-h/images/i323.jpg
deleted file mode 100644
index 127dc14..0000000
--- a/old/68762-h/images/i323.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i339.jpg b/old/68762-h/images/i339.jpg
deleted file mode 100644
index 889b063..0000000
--- a/old/68762-h/images/i339.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i343.jpg b/old/68762-h/images/i343.jpg
deleted file mode 100644
index 1b37ce3..0000000
--- a/old/68762-h/images/i343.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i345.jpg b/old/68762-h/images/i345.jpg
deleted file mode 100644
index 62e09a3..0000000
--- a/old/68762-h/images/i345.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i347.jpg b/old/68762-h/images/i347.jpg
deleted file mode 100644
index 776fb22..0000000
--- a/old/68762-h/images/i347.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i349.jpg b/old/68762-h/images/i349.jpg
deleted file mode 100644
index 44c0b94..0000000
--- a/old/68762-h/images/i349.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i365.jpg b/old/68762-h/images/i365.jpg
deleted file mode 100644
index c4ff5a9..0000000
--- a/old/68762-h/images/i365.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i369.jpg b/old/68762-h/images/i369.jpg
deleted file mode 100644
index 55ae542..0000000
--- a/old/68762-h/images/i369.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i379.jpg b/old/68762-h/images/i379.jpg
deleted file mode 100644
index 69bdb9c..0000000
--- a/old/68762-h/images/i379.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i385.jpg b/old/68762-h/images/i385.jpg
deleted file mode 100644
index 383a1d2..0000000
--- a/old/68762-h/images/i385.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i391.jpg b/old/68762-h/images/i391.jpg
deleted file mode 100644
index 87c341f..0000000
--- a/old/68762-h/images/i391.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i393.jpg b/old/68762-h/images/i393.jpg
deleted file mode 100644
index e0a60de..0000000
--- a/old/68762-h/images/i393.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i395.jpg b/old/68762-h/images/i395.jpg
deleted file mode 100644
index a222300..0000000
--- a/old/68762-h/images/i395.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i397.jpg b/old/68762-h/images/i397.jpg
deleted file mode 100644
index dd5e57e..0000000
--- a/old/68762-h/images/i397.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i407.jpg b/old/68762-h/images/i407.jpg
deleted file mode 100644
index 0ae2bda..0000000
--- a/old/68762-h/images/i407.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i409.jpg b/old/68762-h/images/i409.jpg
deleted file mode 100644
index b8c6d90..0000000
--- a/old/68762-h/images/i409.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i417.jpg b/old/68762-h/images/i417.jpg
deleted file mode 100644
index 5c53f80..0000000
--- a/old/68762-h/images/i417.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i429.jpg b/old/68762-h/images/i429.jpg
deleted file mode 100644
index 04d559b..0000000
--- a/old/68762-h/images/i429.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i431.jpg b/old/68762-h/images/i431.jpg
deleted file mode 100644
index 192f432..0000000
--- a/old/68762-h/images/i431.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i449.jpg b/old/68762-h/images/i449.jpg
deleted file mode 100644
index ae69aa3..0000000
--- a/old/68762-h/images/i449.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i451.jpg b/old/68762-h/images/i451.jpg
deleted file mode 100644
index 745abd0..0000000
--- a/old/68762-h/images/i451.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i462.jpg b/old/68762-h/images/i462.jpg
deleted file mode 100644
index b42c09f..0000000
--- a/old/68762-h/images/i462.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i470.jpg b/old/68762-h/images/i470.jpg
deleted file mode 100644
index bf55570..0000000
--- a/old/68762-h/images/i470.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i471.jpg b/old/68762-h/images/i471.jpg
deleted file mode 100644
index 181a9f4..0000000
--- a/old/68762-h/images/i471.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i473a.jpg b/old/68762-h/images/i473a.jpg
deleted file mode 100644
index 9554832..0000000
--- a/old/68762-h/images/i473a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/i473b.jpg b/old/68762-h/images/i473b.jpg
deleted file mode 100644
index 83543d6..0000000
--- a/old/68762-h/images/i473b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_001.jpg b/old/68762-h/images/k_001.jpg
deleted file mode 100644
index c42e42c..0000000
--- a/old/68762-h/images/k_001.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_002a.jpg b/old/68762-h/images/k_002a.jpg
deleted file mode 100644
index f9cd5a0..0000000
--- a/old/68762-h/images/k_002a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_002b.jpg b/old/68762-h/images/k_002b.jpg
deleted file mode 100644
index 5caee5e..0000000
--- a/old/68762-h/images/k_002b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_002c.jpg b/old/68762-h/images/k_002c.jpg
deleted file mode 100644
index 35c7e8a..0000000
--- a/old/68762-h/images/k_002c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003a.jpg b/old/68762-h/images/k_003a.jpg
deleted file mode 100644
index 9e90307..0000000
--- a/old/68762-h/images/k_003a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003b.jpg b/old/68762-h/images/k_003b.jpg
deleted file mode 100644
index d1d2c40..0000000
--- a/old/68762-h/images/k_003b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003c.jpg b/old/68762-h/images/k_003c.jpg
deleted file mode 100644
index 7703cef..0000000
--- a/old/68762-h/images/k_003c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003d.jpg b/old/68762-h/images/k_003d.jpg
deleted file mode 100644
index fc67f9f..0000000
--- a/old/68762-h/images/k_003d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003e.jpg b/old/68762-h/images/k_003e.jpg
deleted file mode 100644
index b92f7e3..0000000
--- a/old/68762-h/images/k_003e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_003f.jpg b/old/68762-h/images/k_003f.jpg
deleted file mode 100644
index c4a3235..0000000
--- a/old/68762-h/images/k_003f.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_004.jpg b/old/68762-h/images/k_004.jpg
deleted file mode 100644
index 975284d..0000000
--- a/old/68762-h/images/k_004.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_007.jpg b/old/68762-h/images/k_007.jpg
deleted file mode 100644
index 44bb078..0000000
--- a/old/68762-h/images/k_007.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_010a.jpg b/old/68762-h/images/k_010a.jpg
deleted file mode 100644
index 60acb40..0000000
--- a/old/68762-h/images/k_010a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_010b.jpg b/old/68762-h/images/k_010b.jpg
deleted file mode 100644
index 3ed965d..0000000
--- a/old/68762-h/images/k_010b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_010c.jpg b/old/68762-h/images/k_010c.jpg
deleted file mode 100644
index b076754..0000000
--- a/old/68762-h/images/k_010c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_012.jpg b/old/68762-h/images/k_012.jpg
deleted file mode 100644
index ec5ab49..0000000
--- a/old/68762-h/images/k_012.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_022a.jpg b/old/68762-h/images/k_022a.jpg
deleted file mode 100644
index f29087e..0000000
--- a/old/68762-h/images/k_022a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_022b.jpg b/old/68762-h/images/k_022b.jpg
deleted file mode 100644
index 696e3e4..0000000
--- a/old/68762-h/images/k_022b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_022c.jpg b/old/68762-h/images/k_022c.jpg
deleted file mode 100644
index dcdca25..0000000
--- a/old/68762-h/images/k_022c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_022d.jpg b/old/68762-h/images/k_022d.jpg
deleted file mode 100644
index d370857..0000000
--- a/old/68762-h/images/k_022d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_024.jpg b/old/68762-h/images/k_024.jpg
deleted file mode 100644
index 53b9a44..0000000
--- a/old/68762-h/images/k_024.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_026a.jpg b/old/68762-h/images/k_026a.jpg
deleted file mode 100644
index 3666a73..0000000
--- a/old/68762-h/images/k_026a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_026b.jpg b/old/68762-h/images/k_026b.jpg
deleted file mode 100644
index 37978c1..0000000
--- a/old/68762-h/images/k_026b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_026c.jpg b/old/68762-h/images/k_026c.jpg
deleted file mode 100644
index 012acb3..0000000
--- a/old/68762-h/images/k_026c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_027a.jpg b/old/68762-h/images/k_027a.jpg
deleted file mode 100644
index 533ca7a..0000000
--- a/old/68762-h/images/k_027a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_027b.jpg b/old/68762-h/images/k_027b.jpg
deleted file mode 100644
index d88aff9..0000000
--- a/old/68762-h/images/k_027b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_028a.jpg b/old/68762-h/images/k_028a.jpg
deleted file mode 100644
index 4e4d5c5..0000000
--- a/old/68762-h/images/k_028a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_028b.jpg b/old/68762-h/images/k_028b.jpg
deleted file mode 100644
index 99be6e7..0000000
--- a/old/68762-h/images/k_028b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_028c.jpg b/old/68762-h/images/k_028c.jpg
deleted file mode 100644
index e10feb5..0000000
--- a/old/68762-h/images/k_028c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_028d.jpg b/old/68762-h/images/k_028d.jpg
deleted file mode 100644
index 4d1cf8b..0000000
--- a/old/68762-h/images/k_028d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_028e.jpg b/old/68762-h/images/k_028e.jpg
deleted file mode 100644
index 6fdcaa0..0000000
--- a/old/68762-h/images/k_028e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_029.jpg b/old/68762-h/images/k_029.jpg
deleted file mode 100644
index 0651b3d..0000000
--- a/old/68762-h/images/k_029.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034a.jpg b/old/68762-h/images/k_034a.jpg
deleted file mode 100644
index 642cd01..0000000
--- a/old/68762-h/images/k_034a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034b.jpg b/old/68762-h/images/k_034b.jpg
deleted file mode 100644
index 607e660..0000000
--- a/old/68762-h/images/k_034b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034c.jpg b/old/68762-h/images/k_034c.jpg
deleted file mode 100644
index 0421514..0000000
--- a/old/68762-h/images/k_034c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034d.jpg b/old/68762-h/images/k_034d.jpg
deleted file mode 100644
index b2affaf..0000000
--- a/old/68762-h/images/k_034d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034e.jpg b/old/68762-h/images/k_034e.jpg
deleted file mode 100644
index c7b3ebd..0000000
--- a/old/68762-h/images/k_034e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034f.jpg b/old/68762-h/images/k_034f.jpg
deleted file mode 100644
index e57f736..0000000
--- a/old/68762-h/images/k_034f.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034g.jpg b/old/68762-h/images/k_034g.jpg
deleted file mode 100644
index bdd1c0a..0000000
--- a/old/68762-h/images/k_034g.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034h.jpg b/old/68762-h/images/k_034h.jpg
deleted file mode 100644
index 742ea5c..0000000
--- a/old/68762-h/images/k_034h.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034i.jpg b/old/68762-h/images/k_034i.jpg
deleted file mode 100644
index c447be3..0000000
--- a/old/68762-h/images/k_034i.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_034j.jpg b/old/68762-h/images/k_034j.jpg
deleted file mode 100644
index 00f0c3c..0000000
--- a/old/68762-h/images/k_034j.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_037a.jpg b/old/68762-h/images/k_037a.jpg
deleted file mode 100644
index 627d860..0000000
--- a/old/68762-h/images/k_037a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_037b.jpg b/old/68762-h/images/k_037b.jpg
deleted file mode 100644
index 3c94378..0000000
--- a/old/68762-h/images/k_037b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_038a.jpg b/old/68762-h/images/k_038a.jpg
deleted file mode 100644
index 7aa5107..0000000
--- a/old/68762-h/images/k_038a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_038b.jpg b/old/68762-h/images/k_038b.jpg
deleted file mode 100644
index 5d2df8f..0000000
--- a/old/68762-h/images/k_038b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_038c.jpg b/old/68762-h/images/k_038c.jpg
deleted file mode 100644
index 7760483..0000000
--- a/old/68762-h/images/k_038c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_039a.jpg b/old/68762-h/images/k_039a.jpg
deleted file mode 100644
index 4efe8aa..0000000
--- a/old/68762-h/images/k_039a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_039b.jpg b/old/68762-h/images/k_039b.jpg
deleted file mode 100644
index 17328c9..0000000
--- a/old/68762-h/images/k_039b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_039c.jpg b/old/68762-h/images/k_039c.jpg
deleted file mode 100644
index e21bc7b..0000000
--- a/old/68762-h/images/k_039c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_039d.jpg b/old/68762-h/images/k_039d.jpg
deleted file mode 100644
index 0c0bba2..0000000
--- a/old/68762-h/images/k_039d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_039e.jpg b/old/68762-h/images/k_039e.jpg
deleted file mode 100644
index a509963..0000000
--- a/old/68762-h/images/k_039e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_040a.jpg b/old/68762-h/images/k_040a.jpg
deleted file mode 100644
index 4c56d5f..0000000
--- a/old/68762-h/images/k_040a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_040b.jpg b/old/68762-h/images/k_040b.jpg
deleted file mode 100644
index 0ac15bc..0000000
--- a/old/68762-h/images/k_040b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_041a.jpg b/old/68762-h/images/k_041a.jpg
deleted file mode 100644
index 9a60ee6..0000000
--- a/old/68762-h/images/k_041a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_041b.jpg b/old/68762-h/images/k_041b.jpg
deleted file mode 100644
index b32dd43..0000000
--- a/old/68762-h/images/k_041b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_041c.jpg b/old/68762-h/images/k_041c.jpg
deleted file mode 100644
index 207154b..0000000
--- a/old/68762-h/images/k_041c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_041d.jpg b/old/68762-h/images/k_041d.jpg
deleted file mode 100644
index 90c4a28..0000000
--- a/old/68762-h/images/k_041d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_042a.jpg b/old/68762-h/images/k_042a.jpg
deleted file mode 100644
index a539dbf..0000000
--- a/old/68762-h/images/k_042a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_042b.jpg b/old/68762-h/images/k_042b.jpg
deleted file mode 100644
index 9c85157..0000000
--- a/old/68762-h/images/k_042b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_042c.jpg b/old/68762-h/images/k_042c.jpg
deleted file mode 100644
index a173e83..0000000
--- a/old/68762-h/images/k_042c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_042d.jpg b/old/68762-h/images/k_042d.jpg
deleted file mode 100644
index d2e8bc2..0000000
--- a/old/68762-h/images/k_042d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_043a.jpg b/old/68762-h/images/k_043a.jpg
deleted file mode 100644
index 9de3ff8..0000000
--- a/old/68762-h/images/k_043a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_043b.jpg b/old/68762-h/images/k_043b.jpg
deleted file mode 100644
index 566e566..0000000
--- a/old/68762-h/images/k_043b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_043c.jpg b/old/68762-h/images/k_043c.jpg
deleted file mode 100644
index e949e75..0000000
--- a/old/68762-h/images/k_043c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_043d.jpg b/old/68762-h/images/k_043d.jpg
deleted file mode 100644
index 38fb581..0000000
--- a/old/68762-h/images/k_043d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_043e.jpg b/old/68762-h/images/k_043e.jpg
deleted file mode 100644
index 0a27757..0000000
--- a/old/68762-h/images/k_043e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_052.jpg b/old/68762-h/images/k_052.jpg
deleted file mode 100644
index 63192a3..0000000
--- a/old/68762-h/images/k_052.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_055.jpg b/old/68762-h/images/k_055.jpg
deleted file mode 100644
index 3354924..0000000
--- a/old/68762-h/images/k_055.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_056.jpg b/old/68762-h/images/k_056.jpg
deleted file mode 100644
index 0ea048c..0000000
--- a/old/68762-h/images/k_056.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_058.jpg b/old/68762-h/images/k_058.jpg
deleted file mode 100644
index 86814cd..0000000
--- a/old/68762-h/images/k_058.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_060a.jpg b/old/68762-h/images/k_060a.jpg
deleted file mode 100644
index 2807e50..0000000
--- a/old/68762-h/images/k_060a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_060b.jpg b/old/68762-h/images/k_060b.jpg
deleted file mode 100644
index b94645c..0000000
--- a/old/68762-h/images/k_060b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062a.jpg b/old/68762-h/images/k_062a.jpg
deleted file mode 100644
index 200b645..0000000
--- a/old/68762-h/images/k_062a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062b.jpg b/old/68762-h/images/k_062b.jpg
deleted file mode 100644
index 79b9384..0000000
--- a/old/68762-h/images/k_062b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062c.jpg b/old/68762-h/images/k_062c.jpg
deleted file mode 100644
index ce2398b..0000000
--- a/old/68762-h/images/k_062c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062d.jpg b/old/68762-h/images/k_062d.jpg
deleted file mode 100644
index c4d06c2..0000000
--- a/old/68762-h/images/k_062d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062e.jpg b/old/68762-h/images/k_062e.jpg
deleted file mode 100644
index 32a14c1..0000000
--- a/old/68762-h/images/k_062e.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062f.jpg b/old/68762-h/images/k_062f.jpg
deleted file mode 100644
index a409d9a..0000000
--- a/old/68762-h/images/k_062f.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062g.jpg b/old/68762-h/images/k_062g.jpg
deleted file mode 100644
index 1dd33f0..0000000
--- a/old/68762-h/images/k_062g.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_062h.jpg b/old/68762-h/images/k_062h.jpg
deleted file mode 100644
index d632aea..0000000
--- a/old/68762-h/images/k_062h.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_063a.jpg b/old/68762-h/images/k_063a.jpg
deleted file mode 100644
index bc3296a..0000000
--- a/old/68762-h/images/k_063a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_063b.jpg b/old/68762-h/images/k_063b.jpg
deleted file mode 100644
index 3285ea2..0000000
--- a/old/68762-h/images/k_063b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_063c.jpg b/old/68762-h/images/k_063c.jpg
deleted file mode 100644
index d6aab9f..0000000
--- a/old/68762-h/images/k_063c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_063d.jpg b/old/68762-h/images/k_063d.jpg
deleted file mode 100644
index 47d1a93..0000000
--- a/old/68762-h/images/k_063d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_064a.jpg b/old/68762-h/images/k_064a.jpg
deleted file mode 100644
index 9a403b0..0000000
--- a/old/68762-h/images/k_064a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_064b.jpg b/old/68762-h/images/k_064b.jpg
deleted file mode 100644
index 3a77c08..0000000
--- a/old/68762-h/images/k_064b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_064c.jpg b/old/68762-h/images/k_064c.jpg
deleted file mode 100644
index e290fa4..0000000
--- a/old/68762-h/images/k_064c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_064d.jpg b/old/68762-h/images/k_064d.jpg
deleted file mode 100644
index 6144cb0..0000000
--- a/old/68762-h/images/k_064d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_065a.jpg b/old/68762-h/images/k_065a.jpg
deleted file mode 100644
index 7ecfaf4..0000000
--- a/old/68762-h/images/k_065a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_065b.jpg b/old/68762-h/images/k_065b.jpg
deleted file mode 100644
index e8080d9..0000000
--- a/old/68762-h/images/k_065b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_066a.jpg b/old/68762-h/images/k_066a.jpg
deleted file mode 100644
index f6b1bc4..0000000
--- a/old/68762-h/images/k_066a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_066b.jpg b/old/68762-h/images/k_066b.jpg
deleted file mode 100644
index 9f95534..0000000
--- a/old/68762-h/images/k_066b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_086a.jpg b/old/68762-h/images/k_086a.jpg
deleted file mode 100644
index e9bb706..0000000
--- a/old/68762-h/images/k_086a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_086b.jpg b/old/68762-h/images/k_086b.jpg
deleted file mode 100644
index 4cb3496..0000000
--- a/old/68762-h/images/k_086b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_086c.jpg b/old/68762-h/images/k_086c.jpg
deleted file mode 100644
index 75634cf..0000000
--- a/old/68762-h/images/k_086c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_091.jpg b/old/68762-h/images/k_091.jpg
deleted file mode 100644
index 293383d..0000000
--- a/old/68762-h/images/k_091.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_102a.jpg b/old/68762-h/images/k_102a.jpg
deleted file mode 100644
index 7b71473..0000000
--- a/old/68762-h/images/k_102a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_102b.jpg b/old/68762-h/images/k_102b.jpg
deleted file mode 100644
index bc368d5..0000000
--- a/old/68762-h/images/k_102b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_107.jpg b/old/68762-h/images/k_107.jpg
deleted file mode 100644
index 7f3235b..0000000
--- a/old/68762-h/images/k_107.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_117a.jpg b/old/68762-h/images/k_117a.jpg
deleted file mode 100644
index 20c548d..0000000
--- a/old/68762-h/images/k_117a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_117b.jpg b/old/68762-h/images/k_117b.jpg
deleted file mode 100644
index dbe8cd0..0000000
--- a/old/68762-h/images/k_117b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_118.jpg b/old/68762-h/images/k_118.jpg
deleted file mode 100644
index d432247..0000000
--- a/old/68762-h/images/k_118.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_126a.jpg b/old/68762-h/images/k_126a.jpg
deleted file mode 100644
index d7b7316..0000000
--- a/old/68762-h/images/k_126a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_126b.jpg b/old/68762-h/images/k_126b.jpg
deleted file mode 100644
index e994d0f..0000000
--- a/old/68762-h/images/k_126b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_126c.jpg b/old/68762-h/images/k_126c.jpg
deleted file mode 100644
index d3f2ca8..0000000
--- a/old/68762-h/images/k_126c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_126d.jpg b/old/68762-h/images/k_126d.jpg
deleted file mode 100644
index c43005b..0000000
--- a/old/68762-h/images/k_126d.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_200a.jpg b/old/68762-h/images/k_200a.jpg
deleted file mode 100644
index e7511bc..0000000
--- a/old/68762-h/images/k_200a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_200b.jpg b/old/68762-h/images/k_200b.jpg
deleted file mode 100644
index 53457eb..0000000
--- a/old/68762-h/images/k_200b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_202.jpg b/old/68762-h/images/k_202.jpg
deleted file mode 100644
index 7395519..0000000
--- a/old/68762-h/images/k_202.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_215a.jpg b/old/68762-h/images/k_215a.jpg
deleted file mode 100644
index 18ac356..0000000
--- a/old/68762-h/images/k_215a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_215b.jpg b/old/68762-h/images/k_215b.jpg
deleted file mode 100644
index 9387785..0000000
--- a/old/68762-h/images/k_215b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_215c.jpg b/old/68762-h/images/k_215c.jpg
deleted file mode 100644
index e291579..0000000
--- a/old/68762-h/images/k_215c.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_224.jpg b/old/68762-h/images/k_224.jpg
deleted file mode 100644
index b5e376b..0000000
--- a/old/68762-h/images/k_224.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_225a.jpg b/old/68762-h/images/k_225a.jpg
deleted file mode 100644
index 091dc69..0000000
--- a/old/68762-h/images/k_225a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_225b.jpg b/old/68762-h/images/k_225b.jpg
deleted file mode 100644
index 7df7c1b..0000000
--- a/old/68762-h/images/k_225b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_227a.jpg b/old/68762-h/images/k_227a.jpg
deleted file mode 100644
index 838cfd1..0000000
--- a/old/68762-h/images/k_227a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_227b.jpg b/old/68762-h/images/k_227b.jpg
deleted file mode 100644
index c291379..0000000
--- a/old/68762-h/images/k_227b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_228.jpg b/old/68762-h/images/k_228.jpg
deleted file mode 100644
index fc12ed9..0000000
--- a/old/68762-h/images/k_228.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_240.jpg b/old/68762-h/images/k_240.jpg
deleted file mode 100644
index b09aee5..0000000
--- a/old/68762-h/images/k_240.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_262.jpg b/old/68762-h/images/k_262.jpg
deleted file mode 100644
index 94dae24..0000000
--- a/old/68762-h/images/k_262.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_263.jpg b/old/68762-h/images/k_263.jpg
deleted file mode 100644
index 8972035..0000000
--- a/old/68762-h/images/k_263.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_267a.jpg b/old/68762-h/images/k_267a.jpg
deleted file mode 100644
index 3f894c3..0000000
--- a/old/68762-h/images/k_267a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_267b.jpg b/old/68762-h/images/k_267b.jpg
deleted file mode 100644
index b589933..0000000
--- a/old/68762-h/images/k_267b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_270.jpg b/old/68762-h/images/k_270.jpg
deleted file mode 100644
index 710b361..0000000
--- a/old/68762-h/images/k_270.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_271.jpg b/old/68762-h/images/k_271.jpg
deleted file mode 100644
index b1e6636..0000000
--- a/old/68762-h/images/k_271.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_289.jpg b/old/68762-h/images/k_289.jpg
deleted file mode 100644
index bbff333..0000000
--- a/old/68762-h/images/k_289.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_292a.jpg b/old/68762-h/images/k_292a.jpg
deleted file mode 100644
index b1692a6..0000000
--- a/old/68762-h/images/k_292a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_292b.jpg b/old/68762-h/images/k_292b.jpg
deleted file mode 100644
index 7f4c53f..0000000
--- a/old/68762-h/images/k_292b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_294.jpg b/old/68762-h/images/k_294.jpg
deleted file mode 100644
index f276b05..0000000
--- a/old/68762-h/images/k_294.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_295a.jpg b/old/68762-h/images/k_295a.jpg
deleted file mode 100644
index b87dd45..0000000
--- a/old/68762-h/images/k_295a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_295b.jpg b/old/68762-h/images/k_295b.jpg
deleted file mode 100644
index 1899493..0000000
--- a/old/68762-h/images/k_295b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_297a.jpg b/old/68762-h/images/k_297a.jpg
deleted file mode 100644
index aaa391a..0000000
--- a/old/68762-h/images/k_297a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_297b.jpg b/old/68762-h/images/k_297b.jpg
deleted file mode 100644
index d7e380d..0000000
--- a/old/68762-h/images/k_297b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_302a.jpg b/old/68762-h/images/k_302a.jpg
deleted file mode 100644
index 487e558..0000000
--- a/old/68762-h/images/k_302a.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_302b.jpg b/old/68762-h/images/k_302b.jpg
deleted file mode 100644
index 9b76659..0000000
--- a/old/68762-h/images/k_302b.jpg
+++ /dev/null
diff --git a/old/68762-h/images/k_302c.jpg b/old/68762-h/images/k_302c.jpg
deleted file mode 100644
index 39ed462..0000000
--- a/old/68762-h/images/k_302c.jpg
+++ /dev/null