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The Metropolitan Museum of Art. 
 
 HAND-BOOK 
 
 OF A COLLECTION OF 
 
 Chinese Porcelains 
 
 LOANED BY 
 
 JAMES A. GARLAND 
 
 // 
 
 > 1 5 "> -> 
 
 Compiled by John Getz. 
 
 PUBLISHED BY 
 
 THE METROPOLITAN MUSEUM OF ART. 
 
 1895. 
 

PREFACE. 
 
 This Hand-book is necessarily limited in scope, and is not 
 intended for the solution of vexed questions, nor in any way 
 to supersede the more elaborate treatises on Chinese 
 ceramics. 
 
 The Garland Collection now on exhibition embraces 
 various types important and noteworthy for their colored 
 decoration and their component paste ; including, naturally, 
 not only the beautiful, but the grotesque and curious as well. 
 Though no attempt has been made to arrange the collection 
 chronologically, the examples fairly cover the history of 
 Chinese ceramic art for the periods which are held in regard 
 to-day. 
 
 The Chinese attained their preeminence in this art cen- 
 turies ago, a preeminence not surpassed by any modern 
 advance. The colors of their ancient pieces possess greater 
 vividness and depth ; their forms, an originality and elegance 
 of their own. 
 
 The following authors, whose perusal will reward the 
 deeper student, have been largely used in compiling these 
 pages : 
 
 Lettres edifiantes et curieuses, ecrites des missions 
 etrangeres, published by L'Abbe de Querbeuf, Paris; last 
 edition, 1 780-1 783. The letters of Pere d'Entrecolles, 
 written in 17 12 and 1722, will be found in Vols. 18 and 19. 
 
 The work which affords native testimony respecting the 
 history of Chinese porcelain, and the places at which it has 
 been manufactured, is the Histoire et fabrication de la 
 porcelaine chinoise, translated from the Chinese by M. 
 
 M94965 
 
4 PREFACE. 
 
 Stanislas Julien, with notes and additions by M. Alphonse 
 Salvetat; Paris, 1856. 
 
 The leading scientific works on the nature of porcelain 
 and its chemistry are the Traite des arts ceramiques, by 
 M. A. Brongniart, Paris, 1844; and La Porcelaine, by M. 
 Georges Vogt, Directeur de Sevres, a thoroughly technical 
 work on both European and Chinese Porcelain. 
 
 Porcelaine de Chine, par M. O. Du Sartel, Paris, 1881, a 
 work of great value, and beautifully illustrated. 
 
 Probably the latest important work is La Ceramique 
 chinoise, by M. Ernest Grandidier, Paris, 1894, whose 
 collection is of world-wide reputation, and was recently 
 given to the Louvre in Paris. 
 
 History of Pottery and Porcelain in the 15th, 16th, 17th 
 and 1 8th centuries, by Joseph Marryat, London, 1868. 
 
 Oriental Porcelain and Pottery of the South Kensington 
 Museum, by Augustus M. Franks, London, 1878. 
 
 Abriss der Geschichte des Porzellans und der Thonge- 
 fasse, by Dr. J. G. Theodor Grasse, Dresden. 
 
 The works of M. A. Jacquemart, Paris, 1862 and 1873. 
 
 Descriptive and historical Catalogue of a Collection of 
 Japanese and Chinese paintings in the British Museum, by 
 Wm. Anderson, F. R. C. S. 
 
 Ancient Vases, by P. P. Thorns, London, 1851. 
 
 The Chinese Readers' Manual, by W. F. Mayers, 
 London. 
 
 The marks on Oriental porcelain are given in the various 
 editions of Chaffers ; they are also to be found in works 
 published by Dr. J. G. Theodor Grasse and others, and in 
 Hopper and Phillips' Manual of Marks. 
 
' '111 
 
 INTRODUCTION AND EARLY HISTORY. 
 
 The Chinese are conceded, by authorities generally, after 
 all possible documentary research, to have been the first to 
 manufacture porcelain. The question, When was this industry 
 born? remains, however, to be finally solved. Some savants 
 are content to assign its date to some time under the dynasty 
 of Thang, a.d. 618-907; others to a much earlier period. 
 
 As we are dealing with porcelain as it appears in this 
 collection, we must forbear to discuss the obscurely known 
 primitive art, and attempt but superficially to penetrate the 
 mystery of the history of ceramic art. " In order to know 
 porcelain well," says a French writer on the subject, ''it is 
 necessary to look thoroughly into ceramic art in general. " 
 But this would include all sorts of objects made from crushed 
 stone, earth or clay, and we must accordingly confine our- 
 selves pretty closely to porcelain. 
 
 We shall attempt merely a brief outline of the history of 
 this art, following its progress from the earliest time of which 
 we have historical testimony. The common statement that 
 vases of burnt clay existed in China as early as 2255 B.C., 
 but that the art was invented under the Emperor Hoang-ti, 
 2698 b.c, may be taken as mythical and doubtful. 
 
 M. Stanislas Julien, in his translations from early Chinese 
 books, concludes that porcelain was invented in the dynasty 
 of Han (185 b.c. to 87 a.d.); appearing first in the land of 
 Sin-P'ing, a district created by the Emperor Kao-tie. For a 
 number of years following this period very little progress 
 was made; however, we find that mention is made of a 
 factory at Si-gan-fu, in the province of Chen -si, under the 
 dynasty of We'i (a.d. 220-264), and also at Lo-yang in the 
 province of Ho-nan, where all the vases made were destined 
 for the Emperor's use. The Chinese authors barely refer 
 to the fabrication of porcelain or pottery, as existing in the 
 
6 METROPOLITAN MUSEUM OF ART. 
 
 epoch- of '^sji? (;2(3 t 5 ; -4i9 a.d.). They do not mention any 
 distinguished ^workman ; but they state that the porcelain 
 fcsUljsd' '2f,geou was. blue,, and known under the name of Tong- 
 Ngeou-thao. In the first years of the period Tchi-te (a.d. 
 583), dynasty of Tchin, however, we learn of a royal decree 
 ordering the inhabitants of Tchang-nan (afterwards called 
 King-te-tchin) to make porcelain as tribute, for the Empe- 
 ror's use. From this time on are mentioned the names 
 of workmen and their productions. Thus Ho-tcheou, under 
 the dynasty of Soui (a.d. 581-618), was celebrated for the 
 manufacture of vases of a beautiful green, called "Lou-tse." 
 The Chinese authors also speak of pieces with crackle 
 surface, resembling the jade in color. The products of 
 Thao-yu, of Tchang-nan (commencement of the dynasty of 
 Thang, a.d. 618) were known as Kia-yu-Khi, i.e., vases of 
 artificial jade; which he brought already finished to the 
 capital, and offered as a tribute to the Emperor. 
 
 Pere d'Entrecolles mentions in his translation that in the 
 period of Wou-te (a.d. 621), Ho-tchong-thsou made porce- 
 lain with a white body called " Ho-yao " (porcelain of Ho), 
 as brilliant as jade ; and the Emperor decreed that 
 Ho-tchong-thsou and other inhabitants of Sin-P'ing should 
 make these vases for the use of the palace. The impression 
 is here conveyed, for the first time, of a certain transparency, 
 due to a kaolinic substance, more or less vitrified by com- 
 plete baking. The white color that properly constitutes the 
 quality of porcelain had not yet been seen; and it is not 
 unlikely that the earlier product, referred to as "Thao," 
 was only a sort of pottery made of earth and stone, enameled, 
 but less thoroughly fired (Grandidier). 
 
 Doubt ceases, however, with the product of the Thang 
 dynasty (a.d. 618-907); when vases are described as of a 
 white color and of graceful form, solid and thin, and of sono- 
 rous sound. We learn that this porcelain was in great vogue, 
 and called " Yao " to distinguish it from the former " Thao " 
 (Du Sartel) ; the name signifying literally an object baked in 
 a kiln, whether of porcelain or pottery. Mention is also 
 
CATALOGUE OF CHINESE PORCELAINS. 7 
 
 made, in an early book on tea, of cups of this period, in 
 blue, which enhanced the color of the infusion by giving- it 
 a greenish tint ; and were considered superior to the earlier 
 ones of dark yellow, which imparted to the tea a brownish 
 tint. Another distinct reference is made to a porcelain 
 made under Prince Tsien-Lieou (a.d. 907), called " Pi-se- 
 yao" (porcelain of the hidden color), made at Youe'i- 
 Tcheou, in the province of Tche-kiang, in which mention is 
 made of an exterior blue enamel for the exclusive use of the 
 palace, and not to be seen by the lower classes, because it 
 was so pure and brilliant. 
 
 In the period of Hien-te (a.d. 954) the Emperor Chi-tsong 
 gave his family name of " Tch'ai " to the hard paste porce- 
 lain, which was also termed "imperial porcelain." This 
 Emperor issued an order that the porcelain for the palace 
 thenceforth should be made of "the color of the sky seen 
 between the clouds after rain." The authors say that this 
 porcelain was "blue as the sky, brilliant as a mirror, and 
 thin as paper, resonant as a Khing (a musical stone of jade), 
 polished and glistening;" and it was also " distinguished for 
 its fineness of texture and crackle." These objects were so 
 much prized in after years that the fragments were set in 
 gold and worn as personal ornaments, and called Tch'ai-yao, 
 or porcelains of Tch'ai. 
 
 During the Sung dynasty (a.d. 960-1260) the manufacture 
 of porcelain received greater development. We learn 
 from the translations of M. Stanislas Julien that at the 
 beginning of this dynasty (a.d. 960) there lived two 
 brothers named Tchang, who came originally from Tch'-ou- 
 tcheou, and were renowned as porcelain makers. The elder, 
 named Sing-i, was considered the more clever ; his porcelain 
 was called Ko-yao (porcelain of the elder brother) to 
 distinguish it from the productions of the younger. He 
 used brown colored clay of fine quality, exceedingly thin, and 
 covered it with a pale or a dark blue color, .The glaze was 
 beautifully crackled, and had the appearance of fish-roe. 
 He also made vases of the color of rice and pale blue. 
 
8 METROPOLITAN MUSEUM OF ART. 
 
 These were preferred because the enamel was of perfect 
 purity, and had the iron color rim at the opening and at the 
 foot. 
 
 History states that during the last years of the Sung 
 dynasty artists tried in vain to imitate his work, but the clay 
 they used was poor, and the color less agreeable. 
 
 The younger brother, Tchang-Sing-eul, made pieces of 
 the same color not crackled; and his enamel had the appear- 
 ance of being sprinkled with dew. Pere d'Entrecolles 
 mentions among them pieces of an olive-green color. Many 
 of his pieces resembled very ancient specimens; and his 
 productions also had a reputation at Tch'ou-tcheou, as porce- 
 lains of Tchang. The moon-light {clair de lune) color may 
 be ascribed to this epoch. 
 
 At about this same period, as it is stated, in the village of 
 Pe-thou, district of Siao-hien, province of Kiang-nan, lived 
 many potters named Tseou, whose vases were thin, brilliant, 
 of surpassing whiteness, and pure and graceful in form. 
 Another porcelain of this period is mentioned as "Kiun- 
 yao," made at Kiun, in the district of Yu-tcheou, province 
 of Ho-nan. Among the different glazes named are Mei- 
 tseu-tsing (the blue color of prune skin) and Kia-pi-pe (the 
 violet of the skin of wild apples). 
 
 In the period of King-te (a.d. 1004-1007), under the 
 Sungs, the Emperor ordered the four words, King-te-nien- 
 tchi (made in the period of King-te), to be inscribed under- 
 neath on the pieces made for the use of the palace. Here 
 appears a date-mark. 
 
 These objects were at once distinguished for the bright- 
 ness of the glaze and for the material, as well as for their 
 beautiful form. These porcelains, with imitations, circu- 
 lated throughout the empire, and were generally called 
 porcelains of King-te-tchin. 
 
 Between a.d. 1107 and 1117a porcelain manufactory was 
 established by the Emperor at Pien-liang, where were made 
 the famous vases for the magistrates, termed Kouan-yao. 
 They were thin, sometimes dark blue, sometimes pale blue, 
 
CATALOGUE OF CHINESE PORCELAINS. 9 
 
 sometimes moon- white, bluish or dark green, or pale green. 
 The upper rim was brown, and the foot the color of iron. 
 The magistrate vases seem to have been imitated in various 
 places, but the imitations are described as inferior to the 
 originals. 
 
 It is also further recorded that the district of Ki-tcheou, 
 later called Lou-ling-hien, had produced two clever artists, 
 father and daughter, by the name of Chou. The elder, 
 Chou-ong (the venerable Chou), produced many curiosities 
 in porcelain, such as birds and animals ; but the daughter, 
 Chou-Kiao (La belle Chou), surpassed the father in work- 
 manship and ornamentation. Their productions, of what- 
 ever color, sold almost as high as the porcelains of Tchang 
 the elder. Five kilns in the district are mentioned 
 Their porcelain came to the market at Yong-ho, and was 
 called Ki-tcheou-yao, but the productions of the family Chou 
 were most highly esteemed. 
 
 When the dynasty of Sung passed to the South of China, 
 (a.d. i i 27), a magistrate or officer named Chao-tch'-ing- 
 tchang established a small factory or kiln in the new capital, 
 and made porcelain of a good quality, called Nei'-yao (porce- 
 lain of the interior, or palace), distinguished for its brilliant 
 color and transparent enamels. It was also called Kouan- 
 yao (porcelain of the magistrates or government), dis- 
 tinguishing it from that made under the Sungs of the 
 North. 
 
 Under the Yuen dynasty (Mongols), a.d. i 260-1 367, we 
 find one porcelain maker whose name has been preserved, 
 P'ong-kiun-pao, who was established at Ho-tcheou, in the 
 province of Kiang-nan. He was at first a gilder, but after- 
 wards made very thin and white vases called Tche-yao, a 
 name indicating a form with compressed centre. He 
 excetled, however, in copying the ancient vases of Ting- 
 tcheou. In the IV. Chinese Vol. of ''Porcelain made at 
 King-te-tchin " (Julien) it is said that his best copies were 
 difficult to be distinguished from the older products. It is 
 further stated that a tax was put upon all porcelains not 
 
10 METROPOLITAN MUSEUM OF ART. 
 
 made for the palace ; whence the industry did not flourish, 
 and so few names have been preserved. 
 
 We find, among the annals, mention of a porcelain called 
 " Tch-on-fou-yao, " made for the Emperor, the material 
 employed for which was white and plastic, and ornamented 
 with flowers, etc., modeled in the clay and enameled. Also 
 that large vases were made in brilliant monochrome, and 
 bowls, raised on feet, and basins, called " Ma-ti-pan. " 
 Special reference is made to the talent for painting and 
 modeling on porcelain, developed during this period. 
 
 A kind of porcelain called " Hou-tien-yao " was made of 
 coarse material, hard and tenacious ; of a pale white color, 
 and covered with a yellowish black glaze. 
 
 Vases also were made in the countries east and west of 
 Tche-kiang. These had grace and elegance, like those of 
 ancient make ; but the kilns fell into disuse, and not a vestige 
 of them remains. 
 
 The dynasty of Mings, which occupied the throne of China 
 a.d, 1 368-1 648 (a period much shorter than the dynasty of 
 Sung), gave to the manufacture of porcelain the greatest 
 development. A number of clever workmen are named for 
 their remarkable productions, and the kilns are noted as 
 increasing, while there was no deterioration in the quality 
 of the products. Antiquarians of the Celestial Empire, 
 accordingly, search continually for specimens of the periods 
 which were most esteemed, viz., Yong-lo, a.d. 1403-1425; 
 Siouen-te, a.d. 1426-1435; Ching-hwa, a.d. 1465-1487 ; Kea- 
 tsing, a.d. 1522-1567; Wan-li, a.d. 1573-1619. 
 
 Of the Hong-wou period (a.d. 1368-1398) little is known 
 - except that in its second year, a.d. 1369, a kiln was estab- 
 lished at the foot of Mount Tchou-chan ( King-te-tchin) 
 whose products were called Kouan-tse, for the use of the 
 palace, to distinguish them from those made for the people. 
 They were made in blue, black and white ; the latter the most 
 esteemed. Here are found for the first time trustworthy 
 details concerning the application of the glaze. It is stated 
 that pieces were exposed to dry in the crude state for one 
 
CATALOGUE OF CHINESE PORCELAINS. 11 
 
 year. Large vases decorated with dragons, and smaller 
 vases, were called Tsing-yao (vases in blue) ; other vases 
 of various colors were called Se-yao. 
 
 The vases of Yong-lo, a.d. 1403-142 5, seem to have been 
 made of varying qualities. Egg-shell porcelains (Tho-tai) 
 are mentioned, in white, with decoration. Some were 
 thick, and engraved or painted in colors. Those most valued 
 were cups on which were painted lions rolling a ball. The 
 second sort had, within, a pair of birds, the symbol of love ; 
 a third, flowers. Cups are also mentioned, having a dark 
 blue exterior decoration of flowers ; also vases of a brilliant 
 red. 
 
 The Siouen-ti period (a.d. 1426-1435) inaugurated an 
 epoch, which the Chinese writers praise most highly. Under 
 this Emperor they first made the beautiful dark blue, and 
 embellished the objects with polychrome decorations. 
 
 The first ceramist mentioned is Lo-he, who excelled in 
 making coupes and vases decorated with crickets. In this 
 period, also, are recorded two sisters by the name of Ta- 
 sieou, who produced the same designs engraved in the paste 
 on delicate cups and other pieces. 
 
 White vases with blue flowers were much esteemed, 
 especially where the blue was pale, on a ground resem- 
 bling orange peel. A brilliant red was also valued, which 
 was obtained by crushing a red-colored precious stone 
 brought from the West. A fish was sometimes moulded on 
 the handles of small red cups, called " Tsi-hong;" tea-cups 
 were much prized which had carefully painted flowers, or a 
 dragon and phcenix, with the mark of the period engraved. 
 
 In the Ching-hwa period (a.d. 1465-1487) the blue color, 
 owing to the failure of the supply, became inferior in quality, 
 but the polychrome painting was brought to a high degree of 
 excellence, and the paste was made firm, solid, and oily in 
 texture. 
 
 In this period lived a distinguished artist named Kao- 
 than-jin, who fabricated jars decorated with peonies and 
 chickens. Another workman, named Ko-tchou, made fine 
 
12 METROPOLITAN MUSEUM OF ART. 
 
 cups for wine. Their numerous products served as models 
 for later periods. 
 
 The period of Tching-te (a.d. 1506-152 i) is notable for 
 the decoration of porcelain. In this epoch the discovery of 
 cobalt blue (Hoe'i-tsing) was made, and by command was 
 used to decorate the Imperial porcelain. Hoe'i-tsing was 
 crushed with hammers. The finest quality showed bright 
 red spots; the second, silvered flakes. It was called " great 
 blue " and ''blue of the head of Buddha." This beautiful 
 blue, of such superior quality, and costing more than its 
 weight in gold, was brought to China from the West, 
 through Arabia. With this material the ceramists were 
 again able to produce a blue like that of the pieces pro- 
 duced under the Emperor Siouen-te, a.d. 1426-1435. 
 
 In the period of Kia-tsing (a.d. 15 22-1567) decorated 
 porcelain was characterized by the fine deep colors employed, 
 notably cobalt blue, brilliant red, yellow, violet, and bluish- 
 green. These were the chief components of the decoration, 
 forming five colors on a white ground. The annals of this 
 period mention porcelain sacrificial cups (Tan-tsien), imitat- 
 ing white jade; also other cups and small rouge boxes; and 
 state that single colored glazes were used to cover porcelain, 
 but one of the supplies failed (the red of copper). From 
 that time on, it is recorded, the Emperor ordered the decora- 
 tion of Imperial porcelain to be blue. 
 
 During this period a manufactory of porcelain was 
 established in the province of Tche-kiang. The vases were 
 called P'ing Kouan (pots), Kang (jars), Yong (amphoras), 
 Pan (basins), Ouan (bowls). These, however, were consid- 
 ered inferior to those made at King-te-tchin. 
 
 During the period of Kea-tsing (a.d. 15 22-1567) and 
 Long-khing (a.d. 15 67-1 5 7 2) there was a clever workman 
 by the name of Tsou'i-Kong (the venerable Tsou'i'), who suc- 
 cessfully imitated the old specimens. His pieces were con- 
 sidered the finest of his time. 
 
 In the period of Long-khing (a.d. 1567-15 72) and Wan-li 
 (a.d. 1573-1619) a potter from Ou-men, named Tcheou-tan- 
 
CATALOGUE OF CHINESE PORCELAINS. 13 
 
 ts'iouen, settled at Tchang-nan (King-te-tchin) and pro- 
 duced a great variety of objects. He was one of the most 
 celebrated of his time, and excelled in the imitation of 
 antiques. As soon as a vase left his hands, all amateurs 
 disputed for its possession. His imitations approached the 
 reality so closely that no one could tell the difference. They 
 did not mind paying enormous prices for a small piece. 
 
 In the period of Wan-li (a.d. 15 73-1 6 19) another dis- 
 tinguished ceramist, Ngeou-Kong, gave his name to the 
 porcelains made by him. He was born in the district of 
 I'hing, province of Kiang-nan. Among his vases were some 
 reproductions of the crackled porcelains of Tchang the elder. 
 Others were called " Kouan-yao," (porcelains of the magis- 
 trates). His copies of Sung specimens, and " Kiun-yao" 
 (porcelains of Kiun), including the clair de lune and violet 
 of the Sungs and others, were decorated in different 
 colors. The most esteemed were veined porcelains, in red 
 and blue enamels. Five other distinguished potters of the 
 period are on record. 
 
 In the period of Wan-li lived also, at Feou-liang, a man 
 named Hao-chi-khiou, who excelled in composing verses, 
 writing and painting. He retired secretly to a porcelain 
 factory, where he made vases of charming elegance. He 
 took the name of Ou-in-tao-jin (the old man who lived in 
 retreat). He was renowned for his bowls, decorated with 
 diapered clouds, and the celebrated egg-shell cups, of 
 delicious whiteness, which weighed only three-quarters of a 
 gramme. His coupes were of a lively red (cinnabar). He 
 also made vases called Ou, from his assumed name. They 
 were plain blue, like the famous " Kouan-yao " (porcelain of 
 the magistrates) and Ko-khi, porcelains of Tchang the elder, 
 but they were without crackle. He also made vases of a 
 purple color, in imitation of the antique porcelain made at 
 I-hing. His pieces bear the mark, at the foot, of Ou-in-tao- 
 jin (the monk Ou, who lived in retreat). During this period 
 the famous " Lang-yao " porcelain (the sang de boeuf of the 
 French) was made by a family of potters named Lang. 
 
14 METROPOLITAN MUSEUM OF ART. 
 
 The trouble of the later Emperors of the Ming dynasty, 
 who succeeded one another rapidly, and were constantly at 
 war with the Tartars, probably caused the kilns to fall into 
 decay and neglect. We hear, at any rate, nothing of their 
 productions ; and no dated pieces have been seen. 
 
 With the accession of the Tai-tshing, or Mantchou Tartars, 
 a new period of activity commenced. Under the second 
 Emperor Khang-he (a.d. i 661-17 22) a great impulse was 
 given to ceramic art; the peaceful reign of this emperor 
 extending over sixty years. His great indulgence, and per- 
 haps the assistance of Jesuit missionaries, led to many 
 improvements in the manufacture of porcelain, and the 
 introduction of several new colors. 
 
 In this period, Thang-in-siouen, director of the Imperial 
 factory, made porcelain vases with oily clay. They were 
 thin, brilliant, and of various colors. The most beautiful 
 are known by the following names: Che-pi-lou (green ser- 
 pent skin), Chen-yu-hoang (yellow of the eel), Ki-tsoui 
 (pale blue or azure), Hoang-tien-pan (spotted yellow) ; and 
 the vases recorded as made at the time have the following 
 enamels: pale yellow, pale violet, pale green, red souffle, 
 and blue souffle (the powdered blue). 
 
 The progress made during the reign of the Emperor 
 Khang-he was most important. It is particularly interest- 
 ing to us, since we are now able to solve certain doubtful 
 points in the Chinese records; for we possess the products 
 themselves, in all their integrity and whiteness of paste, 
 besides their enamels, which are infallible tests. 
 
 Decorated porcelains easily betray their origin to the eye 
 of the connoisseur by their tones of color, and the rendering 
 of the design. Moreover, most of the white paste of the 
 period of Khang-he is purer and clearer than that of other 
 periods. 
 
 This period is especially remarkable for the lustrous green 
 glaze produced by oxide of copper, of which the transpar- 
 ency and brightness are inimitable. Under no other reign 
 have ceramists succeeded in producing this translucent, 
 
CATALOGUE OF CHINESE PORCELAINS. 15 
 
 iridescent green enamel. The greens of other periods are 
 more superficial, and duller, while the color of this epoch 
 exhibits an incomparable vigor in over-glaze painting. 
 
 Among the enamels, the following colors figure with 
 much distinction under this period : the peach-skin, or so- 
 called " peach -blow," "crushed strawberry," "sang de 
 boeuf," " sang de poulet," liver reds (derived from oxide of 
 copper), white, yellow, orange, powder-blue, coral red, 
 salamander red (both the last derived from oxide of iron), 
 celadon, mirror black, apple-green, pea-green, pistache- 
 green, cobalt blue, cafe au lait, lavender, camellia green, 
 olive, violet, gray, and turquoise blue. 
 
 In the period of Yung-tching (a.d. i 723-1 735) the director, 
 Nien-hi-yao, abbreviated " Nien,"had charge of the Imperial 
 factory of King-te-tchin. He personally chose all the 
 material. The painters, attracted by the magnificent tone- 
 effect of the chloride-of-gold carmine, attended to all the 
 rose-colors, not only flowers, but animals, horses, furniture, 
 and the like. This important innovation introduced a new 
 variety, with felicitous effects. This uniform tone easily 
 superseded the greens of the preceding periods. The 
 successive predominance of these two colors induced Jacque- 
 mart to group them severally in two classes, the "famille 
 verte " and the " famille rose." 
 
 The kaolin products of the kilns of this time, especially 
 those of King-te-tchin, are models in respect of purity of 
 material, graceful forms and beautiful decoration. 
 
 The fourth Emperor, Khien-long, or Chien-lung(A.D. 1736- 
 1795), the successor of Yung-tchin, loved porcelain, and 
 protected the ceramic industry with royal munificence dur- 
 ing the sixty years of his reign, when he abdicated. During 
 that period a great quantity of fine porcelain was made, 
 much of which exhibits varied and carefully drawn decora- 
 tion. 
 
 Chinese records state that in this period there flourished a 
 porcelain maker named Thang-ing, who seemed to surpass 
 all others, especially in his imitation of antique vases, and 
 
16 METROPOLITAN MUSEUM OF ART. 
 
 in the ingenious character of his inventions. In the sixth 
 year of the period Yung-tching, a.d. 172 8- 1735, Than-ing 
 established himself at King-te-tchin, as joint decorator with 
 Nien-hi-yao above-mentioned, where he acquired a brilliant 
 reputation. 
 
 These two distinguished men for a long time conducted 
 the imperial works; but Thang had better knowledge of the 
 materials, and greater skill in the firing. Each piece pro- 
 duced was remarkable for manipulation, form and colors. 
 He succeeded wonderfully well in reproducing the most 
 precious enamels, and invented a number of new colors 
 used in the glazing. The Emperor, by special decree, 
 directed him to illustrate the manufacture of porcelain, and 
 his illustrations have been copied in the work of M. Stanislas 
 Julien. 
 
 As there is no object in the Garland collection later than 
 the period of Khien-long, we close our sketch at this point. 
 Later manufacturers appear to have diminished in ex- 
 cellence ; and the destruction caused by the rebellion of 
 the Tai-Pings not only greatly interfered with the produc- 
 tion, but brought about the ruin of the most celebrated of 
 the factories, that of King-te-tchin. As already stated, the 
 native accounts do not furnish much information that can 
 be rendered available ; but they show very clearly that the 
 porcelain -makers have at all times been in the habit of 
 copying the works of their predecessors, in some instances 
 so as to impose upon the best judges of their own country. 
 
 ETYMOLOGY OF THE WORD PORCELAIN. 
 
 It is a singular fact that China, although the creator of so 
 marvelous a product, so pleasant to the eye, so worthy as an 
 adjunct to our most luxurious surroundings, should not like- 
 wise have given it its name. It remained for western coun- 
 tries to call it porcelain. 
 
 The word ' pourcelain " is often found in mediaeval French 
 inventories, applied to many different objects, and evidently 
 
CATALOGUE OF CHINESE PORCELAINS. 17 
 
 was used to specify all kinds of carved vases or utensils made 
 of shells or mother-of-pearl. 
 
 The word has undergone sundry unimportant transforma- 
 tions at the hands of the writers of past ages, who gave the 
 name to Oriental porcelain, probably because it resembled 
 shell. At least, this seems to be the accepted hypothesis. 
 The word porcelain is possibly of Italian origin, and derived 
 from the similarity of the glazed white surface to that of 
 the cowrie shell (porcellana). 
 
 Jacquemart and Fiquier believed the word porcelain to be 
 derived from the Portuguese porcolana, or porcolla, vessel. 
 
 In China porcelain is termed Yao, a word signifying an 
 object baked in a kiln, whether glazed porcelain or glazed 
 pottery. This word came into use from the Thang dynasty 
 (a.d. 6 i 8), when the paste became more translucent and 
 white, through the use of kaolin. The word Thao was used 
 before that epoch, and probably refers to a primitive kind of 
 pottery or stone ware. The Chinese also called a kind of 
 porcelain " Tse," whence some writers erroneously interpret 
 the word Tse-khi as porcelain, ignoring or ignorant of the 
 fact that this word designates a porcelain made from a stone 
 called Tse-chi, found in the district Tse-tcheou. 
 
 In a.d. 1171 we first find a clear mention of porcelain 
 outside of China. In that year Saladin sent to Nureddin a 
 present of forty pieces of Chinese porcelain. The port of 
 Canton was visited by the Arabs about the ninth century; 
 and they possibly were the first to bring porcelains from 
 China. At that epoch porcelain is said to have been more 
 or less gray, that is, not made wholly of kaolin. A century 
 later, we learn of pieces appearing in Europe, that were 
 more nearly white. 
 
 Marco Polo, in 1280, visited one of the sites of porcelain 
 manufacture, and states that it was exported to all parts of 
 the world. It was probably he through whom the attention 
 of his countrymen was called to this product of the far 
 East. Other travelers, of the fourteenth and fifteenth cen- 
 turies, likewise noted it. It probably reached Europe through 
 
18 METROPOLITAN MUSEUM OF ART. 
 
 Egypt ; at any rate, a present of porcelain vases was sent by 
 the Sultan of Egypt, in 1487, to Lorenzo de' Medici. The 
 Portuguese, however, doubtless made the first direct im- 
 portation of Chinese wares into Europe, after which the 
 various India Companies of Holland, England, France and 
 Sweden soon followed. 
 
 COMPOSITION AND MANUFACTURE OF PORCELAIN. 
 
 Porcelain is distinguished from other ceramic products by 
 its whiteness, transparency and vitrification. It is generally 
 divided into two classes : hard and soft paste. 
 
 Porcelain proper has a pure white body, is translucent and 
 sonorous, impermeable to water, and not scratched by steel. 
 It is formed of two materials, writes Pere d'Entrecolles ; 
 one called pe-tun, a fine white fusible substance (a mixture 
 of feldspar and quartz), formerly obtained from the moun- 
 tain Ma-tsang, in Lin-tching, department of Feouliang. 
 That supply was exhausted in the time of Wan-li (a.d. 
 1573-1619), but the material was afterwards found at three 
 other places in the same district. 
 
 " The stone petrosilex (pe-tun) is crushed in large mor- 
 tars and pounded to fine powder, then put into a large jar 
 or vat filled with water, stirred, and allowed to rest for a 
 short time, after which the scum which rises is skimmed off 
 and put into another vessel. The dregs of the first jar 
 are taken out and pounded over again; the process being 
 repeated until all the finer parts are removed. After set- 
 tling, the water in the last jar is carefully drawn off, and the 
 remaining sediment or paste is pressed into large forms and 
 dried. Before it is quite hard it is divided up into small 
 cakes or bricks. These are the pe-tun-tse, or " White Clay 
 Bricks." 
 
 The other material is kaolin, so called from its locality; 
 its name being derived from the mountain Kao-ling, near 
 King-te-tchin. Kaolin is a hydrated silicate of alumina, 
 and, by itself, infusible. It is derived from decomposed 
 
CATALOGUE OF CHINESE PORCELAINS. 19 
 
 feldspar. This material requires less work in its prepara- 
 tion. It is found in mines in the mountains, covered with 
 red earth. It is purified by successive washings ; generally 
 soaked in water and strained, first through a fine sieve, then 
 through a fine silken bag, made double. It is then placed 
 in a case or box formed of newly baked bricks, and covered 
 with cloth. After draining, the paste thus formed is kneaded 
 and worked until the material is thoroughly compact, and 
 then made into small bricks like the pe-tun-tse. These 
 bricks are marked or stamped by the makers, and sold in 
 this shape to the ceramist. Sometimes counterfeit marks 
 are put upon an inferior article. For this reason, writes 
 Pere d'Entrecolles, the stamps of certain families of reputa- 
 tion are especially in request. 
 
 These pe-tun-tse bricks are broken up by the potter, 
 and thrown into a large vessel of water to dissolve. The 
 kao-lin, dry and in bricks, is put without breaking into a 
 wicker basket, within a jar of water, where it easily dis- 
 solves. 
 
 The feldspar gives the transparency, but by itself alone 
 would fall apart in the kiln. The kao-lin is the material 
 that gives plasticity and strength. The mixture of kao-lin 
 and pe-tun-tse in equal portions is used for porcelain of the 
 finest quality; four parts kao-lin to six of pe-tun-tse, for the 
 second quality; one part kao-lin to three of pe-tun-tse, for 
 the third. 
 
 The mixture is made into paste with water, compressed, 
 rolled and kneaded on a table, and beaten to remove air 
 bubbles. It is then ready for the potter's wheel or table, 
 where it receives its principal form, by turning, in its soft 
 state. 
 
 The portions that cannot be turned on a wheel, such as 
 handles, and other attachments, are separately moulded and 
 fastened on with layers of paste and a bit of gum. After 
 the surface is smoothed, relief ornamentation, if any, is 
 added; and the piece is put away to dry. Large objects are 
 generally made in two or three parts, joined together by 
 
20 METROPOLITAN MUSEUM OF ART. 
 
 moistened paste. While the foot is still unwrought, there 
 is added the decoration in blue or other colors which require 
 to be highly fired. The glaze is next applied, either by 
 dipping or blowing with a tube. This strengthens the object 
 sufficiently to permit the workman to fashion the foot on a 
 wheel, and to inscribe a mark. As soon as these last are 
 coated with glaze, the piece is ready for the kiln. 
 
 The pieces, packed in clay seggars to protect them from 
 injury, are placed in the furnace in such a way that each 
 piece may receive its proper degree of heat; the smaller 
 pieces filling all the available spaces. 
 
 The kiln (called Chao-yao) is bricked up; the fires 
 lighted, and carefully continued till the baking, which must 
 be gradual and slow, is completed. The temperature varies 
 according to the fusibility and the glaze ; the time required 
 is from 35 to 36 hours. It is necessary both to reach and to 
 stop at the proper point ; and for testing they draw out some 
 small pieces through small openings. When the necessary 
 point is reached, they close all the little openings, and stop 
 the fire. It requires four to five days for the oven to cool so 
 as to be opened for the removal of the pieces. In this state 
 the porcelain is beautiful, in its transparent white glaze. 
 
 There are two modes of applying colored decoration on 
 porcelain; "over the glaze," and " under the glaze," paint- 
 ing. In each method the " high "or " low " or ." muffled " 
 firing is used, according to the colors employed. The work 
 of painting is divided up among a large number of work- 
 men, each one confined to his special details. One traces 
 the flowers, another paints them, a third paints mountains or 
 animals, a fourth paints figures, and so on. Gilding is done 
 by still another, at the same stage with the painting. The 
 object is then baked again. The glaze is made of pe-tun 
 mixed with fern ashes and lime. Other materials are often 
 used; for instance hoa-chi (steatite), sometimes with the 
 glaze, and sometimes in the paste. Yeou-ko is another 
 substance used in the same way. 
 
CATALOGUE OF CHINESE PORCELAINS. 21 
 
 EXTRACTS FROM PERE D'ENTRECOLLES. 
 
 Pere d'Entrecolles, Missionary of the Society of Jesus, 
 arrived in China in 1700, whence he wrote letters from Jao- 
 tcheou, in the province of Feou-liang, about the town of 
 King-te-tchin, where the imperial factory of porcelain was 
 situated. In a letter dated September 1st, 171 2, he wrote 
 that while his curiosity would not have led him to study the 
 subject of the production of porcelain, he felt that it might 
 be of service to Europe, and therefore availed himself of 
 his opportunities. " The town of King-te-tchin," he writes, 
 "is only three miles distant from, and a dependency of, 
 Feou-liang, which is a dependency of Jao-tcheou, and is 
 situated in a plain, surrounded by high mountains; the one 
 to the east, against which the town is built, is outwardly in 
 form of a semi-circle; and from the two adjacent mount- 
 ains issue two rivers which unite. One is small, the other 
 very large, and their confluence forms a magnificent port 
 over three miles in length ; a vast basin wherein the river 
 loses much of its velocity. Frequently in this large harbor 
 are moored two or three rows of junks. Entering the port, 
 the sight is greeted by immense volumes of smoke and 
 flames, which mark the outlines of the town, against the 
 crescent of mountains in the background, whose relative 
 position may perhaps be the reason that King-te-tchin has 
 surpassed all other localities in the production of porcelain. 
 
 "Junks also arrive at King-te-tchin, laden with a white 
 substance called * yeou-ko' (oil), although i tsV (glaze) would 
 better apply; which is made from a very hard stone. 
 It can be produced from the same stone as the pe-tun, 
 selecting pieces having green spots. The history of Feou- 
 liang says the best stone for the ' oil ' (glaze) has spots of the 
 color of cypress leaves, or is of a brown color, with reddish 
 spots like toad-flax. To this, reduced to powder, is added 
 one per cent of a mineral resembling alum, called chi-kao. 
 Yeou-ko is always mixed with ten per cent of an ' oil ' 
 
22 METROPOLITAN MUSEUM OF ART. 
 
 (glaze) made from the cinders of quicklime and ferns burned 
 together. Formerly persimmon wood was also burned with 
 the lime, but this has become so scarce that it is no longer 
 used; which is, perhaps, one of the causes of the superiority 
 of the ancient porcelain. Merchants who sell the yeou-ko 
 frequently cheat by making it from other substances; and 
 some manufacturers use even thirty per cent of * oil ' made 
 from cinders ; but their products are very inferior. 
 
 " In the matter of colors for porcelain, they have a great 
 number. In Europe we generally see only a bright blue on 
 white ground, whereas the Chinese have a great variety. 
 * * * * They make some of solid red and of different 
 shades and appearances, those of ' oily ' red souffle having 
 the appearance of being stippled. When these pieces are 
 successful, which is very seldom, they are highly prized, 
 and command a large price. There are also objects on 
 which landscapes are painted in many colors and relieved 
 with gilding; these are made very beautiful if you are will- 
 ing to pay a large price, but ordinary pieces of this kind are 
 not to be compared with their blue and white. The annals 
 of King-te-tchin say that in ancient times the people only 
 used white porcelain; this was probably because at that 
 time the stone was not yet found, near Jao-tcheou, from 
 which the blue is made. That now used for fine pieces 
 comes from a great distance and is very costly. It is 
 reported that a Chinese merchant was once wrecked on a 
 desert coast, where he found more riches than he lost, his 
 find being an azure stone; he built a vessel, loaded it 
 with these stones and brought them home ; and never was 
 such a color seen before or since at King-te-tchin. He, 
 however, was never able to find his desert coast again. 
 
 " While the body porcelain is naturally white, and the 
 ' oil ' (glaze) with which they cover it increases this white- 
 ness, still, on certain pieces, they apply a surface-white in 
 combination with other color decorations. This white is 
 made from a transparent stone, by calcination in the fur- 
 nace ; and azure blue is produced by the same process. Red 
 
CATALOGUE OF CHINESE PORCELAINS. 23 
 
 is made from copperas. Green is made by adding to an 
 ounce of white lead and a half ounce of stone powder, three 
 ounces of what I think to be the purest scales from 
 hammered copper. Green thus prepared becomes the 
 matrix of violet, which is produced by adding white. 
 Yellow is made of seven parts of white and three of cop- 
 peras. These colors do not appear upon their application, 
 but only after the second baking. 
 
 11 The red is applied by mixing it with the ordinary glaze 
 and a glaze made of a white stone. Perfect pieces of this 
 color are very highly esteemed; when struck they do not 
 ring. The souffle is made by using a little tube, one end of 
 which is covered with a very fine gauze. This end is 
 gently dipped into the prepared color ; the artist brings it 
 near the object, and blows through the other end; this is 
 repeated until the desired effect is produced. 
 
 " Such objects are very rare and highly esteemed. Black 
 porcelain is also esteemed, and resembles our burning 
 mirrors. Decoration in gold upon the black enriches the 
 color. Objects are also made surrounded by a shell of 
 open-work, forming one solid piece with the inner one. I 
 have also seen porcelain decorated with Chinese and Tartar 
 female figures in the most exquisite manner, resembling 
 enamels. 
 
 "If no other glaze is used than that made from white 
 stones, crackle ware is produced. The glaze gives a grayish 
 white color by itself, but it will produce the same effect on 
 pieces which have been colored. Gold is applied with a brush 
 after mixing it with white lead in gummy water. * * * 
 
 "Objects of porcelain are also made which are very deli- 
 cate and thin, but are nevertheless moulded into most 
 difficult shapes. In order to effect this, the interior is 
 shaped on the wheel, glazed and baked. The object is again 
 placed on the wheel, and the exterior worn away by grind- 
 ing until the desired thinness is obtained, when the exterior 
 is also glazed, and the piece is painted, glazed and baked 
 again, Before applying the glaze, the surface is smoothed 
 
24 METROPOLITAN MUSEUM OF ART. 
 
 to a polish with a very fine brush, which is passed over it 
 again and again. Great skill is required in glazing very- 
 thin porcelain. The interior is first sprinkled with the glaze 
 and allowed to dry, after which the outside is dipped into 
 it. The bottom is left solid during this operation; it is then 
 hollowed out on the wheel. 
 
 " Objects for export to Europe are mostly made upon new 
 models, often whimsical and difficult to execute. * * * * 
 Some of those made for the Chinese are also very remark- 
 able ; the Heir Apparent ordered a large lantern made of 
 one piece of openwork, so that when a lamp was placed 
 inside, it illuminated the whole room. 
 
 ' ' The Chinese are great antiquarians ; indeed in this 
 respect they surpass all other nations. The date-marks upon 
 porcelain can scarcely be relied upon, and much of the finest 
 antique porcelain bears no mark at all. Hence the anti- 
 quarian has to rely upon his taste, to select his gems by 
 form and color. Of course tradition bears its value; thus 
 the smallest object of pottery used by the Emperors Yao or 
 Chun, who reigned several centuries before the Tangs, 
 under whom the first porcelain was made for the Emperors, 
 commands in China an enormous price. 
 
 "The annals of King-te-tchin inform us that in ancient 
 times, as at present, objects of various prices were produced; 
 thus certain urns are mentioned each of which was sold for 59 
 taels, that is 80 ecus. [An ecu, or crown, equals $1.20, and 
 in 17 12 had about five times its money value of to-day. 
 This would make each of these objects cost about $500.] 
 
 " Quite recently a new material has been found which can 
 be substituted for kaolin ; it is called hoa-chi, and is a kind 
 of stone, or rather chalk, of about the consistence of hard 
 soap. Porcelain made of this material is very expensive. 
 [A kind of soft paste is referred to.] It is very brittle, and 
 difficult to bake, but offers the most desirable surface for the 
 artist to paint, and retains the colors perfectly. For this 
 reason the body of the piece is frequently made of common 
 material, and a surface of this hoa-chi is obtained by dipping 
 
CATALOGUE OF CHINESE PORCELAINS. 25 
 
 the piece into a liquid preparation of it. It is also much 
 lighter than the average porcelain. Where the kaolin costs 
 but 20 sous, the hoa-chi costs an ecu. Another use of this 
 hoa-chi is very beautiful in effect ; after it is prepared in 
 little grains it is diluted with water to the consistence of 
 paste, and by means of a brush tracings are made on the 
 surface of objects before they are glazed; after glazing and 
 baking, these tracings appear of a different whiteness from 
 the body of the porcelain. This whiteness of the hoa-chi is 
 called Siang-ya-pe or white of ivory. The chikao (a mineral 
 resembling alum) is used in the same way for white tracings, 
 but it cannot, like the hoa-chi, be substituted for kaolin in 
 the body of the porcelain. 
 
 " Medallions are left to be otherwise decorated by apply- 
 ing pieces of wet paper to the object, dipping the object in 
 the tsi-kin, and when nearly dry, removing the paper; this 
 leaves white medallions, which are decorated to suit the 
 fancy; then the object is glazed and baked. * * * 
 
 1 ' A kind of glaze called tsoui-yeou produces innumerable 
 little cracks over the surface when applied alone. It renders 
 the object very brittle, and destroys its ringing tone when 
 struck, but when mixed with other glazes it does not. * * * 
 The mixture used to produce the peculiar black carries its 
 own glaze and requires the most careful baking ; pieces of 
 this color must be placed in the very centre of the furnace, 
 where the heat is most uniform. 
 
 " In the present year (1722), on account of orders from 
 Europe, vases have been made more than three feet in 
 height. This had been considered impossible ; they were 
 made, however, in three pieces which were so nicely united 
 that you could not discover the joints. Of 80 vases of this 
 description placed in the kiln, only 8 succeeded, the others 
 proving a total loss." 
 
CATALOGUE OF PORCELAINS. 
 
 I. WITH DECORATION OVER THE GLAZE. 
 
 This section includes specimens painted with fusible 
 colors, after the glazing has been applied to the white 
 paste and subjected to the proper firing. 
 
 Under this head are here classed those pieces of which 
 the decoration is made upon a colored foundation of trans- 
 parent glaze over the ''biscuit," or white paste; though 
 such objects properly form a class by themselves, and have 
 been so recognized in China for centuries. The kind here 
 under consideration has always held a high place in private 
 collections and museums, and still ranks among the most 
 highly prized productions of the ceramic art of the Far East. 
 
 The order of description here followed is that of the 
 numbering of the cases. 
 
 CASE 1. 
 
 Examples of the characteristic type produced in China 
 under the Mings ; its painting chiefly in flat and unshaded 
 colors. During the later periods of that dynasty, and 
 especially under the Emperor Khang-he (a.d. 1661-1723), 
 the specimens show more refinement and delicacy in the 
 handling of translucent colors. 
 
 This case contains fifty-eight objects; the predominant 
 decoration in green enamel. Several of the specimens well 
 exemplify the high technical skill attained during the XV., 
 XVI. and XVII. centuries. The following are especially 
 noteworthy : 
 
 Very Tall Vase, directly in the centre of the case; 
 cylindrical ; decoration, a hunting scene outside the walls of 
 
CATALOGUE OF CHINESE PORCELAINS. 27 
 
 an imperial city. Mounted warriors in pursuit of wild 
 animals; with mountainous landscape; in polychrome on 
 white ground. Khang-he period, a.d. 1661-1722. 
 
 Two Large Jars, with covers, on the central shelf. 
 Figure-subjects, vigorously rendered in polychrome, on a 
 white paste of fine texture. Khang-he period. 
 
 Two Tall Vases, of graceful-beaker form, to the right 
 and left, respectively, of the two preceding. The one has 
 white medallions embellished with flowers, fruit, birds and 
 ky-lins; within a ground of stippled green, on which are 
 flowers and butterflies. The other vase has similar decora- 
 tion, with the addition of various animals and symbolic 
 devices. Same period as the last. 
 
 Four Tall Vases, of form similar to the last ; one in each 
 lower corner ; all differently decorated. Two have historical 
 figure-subjects, illustrating court-tribute and presentations; 
 the third, warriors; the fourth, medallions, with branches 
 of trees, flowers and birds, in polychrome on a white ground. 
 Khang-he period, a.d. 1661-1722. 
 
 Two Vases, cylindrical ; on the lower tier at the end. 
 The one has a series of white medallions with landscapes 
 and figures; about which are butterflies and flowers in 
 various colors, on a foundation of lustrous green glaze. The 
 other has diagonal arabesque borders, forming panels that 
 enclose landscapes in polychrome on a white ground. 
 Khang-he period. 
 
 Two Vases, of like cylindrical form, on the lower tier at 
 the end opposite the last, have their entire surfaces covered 
 with landscape and figure-subjects, in polychrome. Khang- 
 he period. (From the Leyland collection, London.) 
 
 Cylindrical Vase, of same type with the last. Medallions, 
 with warriors and horsemen in polychrome, within a red 
 ground of flowers and arabesques. On the same tier, an 
 
 Oviform Vase, decorated with warriors, in polychrome. 
 Khang-he period. 
 
 Gourd-shaped Vase ; superb white paste, covered with 
 thin transparent glaze. Medallions, leaf and fruit-shaped, 
 
28 METROPOLITAN MUSEUM OF ART. 
 
 embellished with various flowers. The tipper portion has 
 white scroll-shaped panels with landscapes, flowers, etc. 
 The paste and decoration exemplify the highest type of this 
 class. Khang-he period, a. d. 1661-1722. 
 
 Two Square Vases, with quadrangular panels; small 
 sprigs with fruit forming the handles; profusely decorated 
 with conventional peonies and leaf-arabesques, in which the 
 red, blue, yellow, purple and green appear in unusual ex- 
 cellence. Stands of teakwood. Khang-he period. 
 
 Among the objects in this case which have a colored-glaze 
 foundation over the " biscuit," or paste, are : 
 
 Two Vases, flat baluster-shape ; with small handles 
 formed of slender dragons. Decoration, a floral subject 
 in polychrome, on a light amber-colored ground. Tching- 
 hwa (Ming) period, a.d. 1465-1488. 
 
 Two Vases, of like flat baluster-form, without handles ; 
 white leaf-shaped medallions decorated with flowers, birds 
 and various objects, within a yellow and green diaper 
 ground. Ming dynasty. 
 
 Two Water Vases, cylindrical, with brass spouts, and 
 affixed masks for handles ; decorated with horses in purple, 
 yellow and green; encircled with yellow bands. Ming 
 dynasty. 
 
 Water Vase, like the last, but without spout; similar 
 decoration with horses ; white bands. Ming dynasty. 
 
 Small Vase ; unique ; baluster-shaped ; water-lily decora- 
 tion in various glazes on a ground of amber yellow. Ming 
 dynasty. 
 
 Pair of Large Figures of the Dog "Fo,"in polychrome 
 glaze, with decoration of striking brilliancy ; raised on high 
 bases ; embellished with butterflies, etc. Ming dynasty. 
 
 Another Pair, smaller; mounted in gilt bronze. 
 
 A Third Pair, with like coloring and decoration. 
 
 Two Parrots, decorated in various colors. Ming dy- 
 nasty. 
 
 Vase; unique; baluster-shape; small dragon handles in 
 
case: i . 
 
CASE 1 . 
 

 
CASE 1 
 

CATALOGUE OF CHINESE PORCELAINS. 29 
 
 free relief; glazed with a lustrous, transparent green en- 
 amel, resembling in color the Fai-tsouf (a precious light 
 green jade). Date-mark, Kea-tsing (a.d. 1522-1567), written 
 in a horizontal line under the upper edge. 
 
 The Large Bowl, on the lower shelf, displays a figure- 
 subject of court ladies engaged in their pastimes, rendered 
 in delicately colored glazes on a white surface of fine tex- 
 ture. Khang-he period. 
 
 Vase, square; medallions in free relief over a decorated 
 arabesque ground ; metal mounting (small rim) at top. 
 Khang-he period, a.d. 1661-1722. 
 
 Pair of Candlesticks, formed of crouching figures holding 
 cups over their heads; decorated in various colors, chiefly 
 red. Made for India, during the Khang-he period. 
 
 Pair of Small Seated Figures ; polychrome decoration. 
 
 Small Tablet, decorated. Teakwood stand. 
 
 The remainder of the contents of this case are small 
 vases and bowls, decorated in polychrome. 
 
 CASE 2. 
 
 Objects enameled on a colored fotmdation. Included are 
 XV. , XVI. and XVII. century porcelains with a black ground, 
 in which the design is always in " reserve," i. e. in portions 
 from which the black ground is excluded ; embellished by 
 designs in transparent enamels, among which the blossom 
 of the Mei-hwa tree (a prunus) often predominates whence 
 they are often (incorrectly) called " black hawthorn." This 
 decoration has for centuries been applied upon both biscuit 
 and pure white kaolin paste. The color of the black enamel 
 is developed and fixed under the action of a high or central 
 fire, of intensity suited to the degrees of fusibility of the 
 metallic oxides used to produce the colors. For the dull 
 colors is employed white lead mixed with oxides of manga- 
 nese, cobalt and copper. The brilliant black is obtained 
 from the oxides of manganese and cobalt, with a mixture of 
 uranite and ochre. The fixing of the black glaze upon the 
 
30 METROPOLITAN MUSEUM OF ART. 
 
 paste taxed the utmost skill of the ancient ceramists ; and 
 their productions remain to-day unrivaled. The number of 
 metallic oxides used for the other colors in varying- mixture 
 is limited ; but the Chinese ceramists knew how to combine 
 them so as to obtain almost the tints of oil painting. 
 
 Case 2 comprises sixty-three examples. Some tall vases, 
 jars and beakers, with certain small objects, bear the 
 Tching-hwa mark (a.d. 1465-1487); others show the 
 characteristic paste of Wan-li (a. d. 1573-1619); others pos- 
 sess all the characteristics of the Khang-he period (a.d. 
 1661-1722). 
 
 Among the larger pieces are to be especially noted: 
 
 Large Jar, with cover, profusely decorated with birds, 
 plants and flowers; the magnolia, hydrangea and peony 
 predominating, in brilliant colors on a ground of lustrous 
 black enamel. (From the Orrock collection, London.) On 
 either side of this jar are : 
 
 Tall Vases, of graceful beaker form ; one with flowers and 
 birds, similar to the last; the other with prunus blossoms in 
 light-colored reserved spaces, their stems and leaves, with 
 birds, in brilliant colors, on a lustrous iridescent black 
 ground. 
 
 Four Vases, similar to the last, of tall beaker form, one 
 in each corner of the middle tier; each with its distinct 
 decoration of flowers and birds ; on a black ground of vary- 
 ing depth. 
 
 Another Vase, of similar form, in the middle tier below 
 the large jar. This has the small blossoms picked out in 
 mazarine blue glaze; the branches and foliage in natural 
 colors, beside green-covered rocks, with birds, on a deep 
 black ground. 
 
 Another Vase, of like form, in a place corresponding to 
 the last, on the front or gallery side. Peach blossoms 
 painted in strong pinkish-red enamel ; on a deep lustrous 
 black ground. This piece is unique, and is known as the 
 
CASE 2 . 
 

 
 > 
 w 
 
 to 
 
I 
 
CATALOGUE OF CHINESE PORCELAINS. 31 
 
 "Red Hawthorn Vase." (Formerly in the South Kensing- 
 ton Museum, London. ) 
 
 Tall Green Vase, beaker form. Branches, buds and 
 blossoms of the prunus; delicately outlined in reserve, in 
 light-colored glaze on a green ground of transparent texture. 
 Unique. Ming dynasty. 
 
 Two Jars, with covers; in the lower corners of the case. 
 White floral medallions, outlined in red, on a black ground. 
 Khang-he period. (From the Leyland collection.) 
 
 Two Vases, square baluster-shape; one with, the other 
 without, handles (with the three tall vases on the middle 
 tier). Floral painting, of pronounced character and dignity, 
 relieved by a black ground of waxy texture. Ming 
 dynasty. 
 
 Two Square Vases, in which each side has an individual 
 treatment. Lotus, magnolia, peony and prunus blossoms 
 predominate; in natural colors on a deep black ground. 
 Ming dynasty. 
 
 Two Vases of quadrangular body, tapering downwards, 
 and cylindrical neck (on the opposite side of same tier). 
 Each panel decorated with a special emblematic flower 
 (chrysanthemum, prunus, lotus and peony, respectively) in 
 natural colors, relieved by a soft black ground. Ming 
 dynasty. 
 
 Three Beakers, corresponding in general character to 
 the two jars in the lower corners of the case; decorated 
 medallions, the prunus blossom predominating, on black 
 ground. Khang-he period. 
 
 Vase, baluster-form (third corner). Two dragons, in 
 various colors, on a deep black ground. 
 
 Teapot, on lower shelf; in the form of the symbolical 
 character ll c/iozu" (longevity). Face in light green, with 
 blossoms: the two sides enameled in black ground, with 
 decoration. Unique. Ming dynasty. 
 
 Square Vase ; two sides decorated with landscapes in poly- 
 chrome ; the alternate ones in green, with inscriptions, framed 
 in black bands. Ming dynasty. (From a Paris collection. ) 
 
32 METROPOLITAN MUSEUM OF ART. 
 
 Bowl ; green glaze with magnolia decoration. Ming 
 dynasty. (From the Orrock collection.) 
 
 Bowl ; olive glaze with blossom decoration. 
 
 Small Bottle ; green arabesque design on a black ground. 
 Khang-he period, a.d. 1661-1722. 
 
 Small Vase ; green arabesque design on black ground. 
 
 Small Vase, baluster-shape ; soft black ground, andprunus 
 decoration in reserve. Khang-he period, a.d. 1661-1722. 
 
 Buddhistic Figure, Si-wang-mou, the queen of the genii 
 of longevity, holding the sacred Lt7tg-tchi in her hand, and 
 seated on the lotus thalamus, with porcelain base. Ming 
 dynasty. 
 
 Porcelain Tablet, in form of a screen, decorated with 
 blossoms on a black ground. Teak wood stand. 
 
 The small vases, cups, and animal figures are of the Ming 
 dynasty. 
 
 CASE 3. 
 
 The specimens in this case exhibit a great variety of color- 
 painting over the glaze ; but chiefly noteworthy are the pieces 
 with rose enamel, which derives its tint from chloride of 
 gold, and was first invented under the Thsing dynasty. 
 (Some writers claim it for the end of the Khang-he period, 
 a.d. 1661-1722; others for the next later period, Yung- 
 tching, a.d. 1 7 23-1 735. We learn from the history of 
 King-te-tchin that many new colors were invented during 
 both reigns, which are often referred to as the time of the 
 renaissance of art in China.) In most of the specimens in 
 this case the rose color is predominant, but some are of the 
 green variety, belonging to the latter part of the Ming 
 dynasty and the Khang-he period. 
 
 Among the sixty-two pieces are to be specially noted: 
 
 Large Jar, with cover, in the centre of the upper tier. 
 
 Decoration, enameled black ground, green arabesque foliage, 
 
 and conventional rose-colored chrysanthemums; leaf-shaped 
 
 medallions in white reserve, embellished with flowers, birds 
 
life it\r JA ;t^:*Mi j^ *^ 1~ 
 
 i C IP Ml f * / * 
 

CASE 3 
 
CATALOGUE OF CHINESE PORCELAINS. 33 
 
 and animals, in delicate natural colors. Neck and base 
 encircled by fretted borders. Yung-tching period. (From 
 the Marlborough collection. A companion piece is shown 
 in Case 22.) 
 
 Four Jars, with covers, in the corners of the upper tier. 
 Brilliant greenish-black ground, with arabesque foliage in 
 transparent green, and conventional chrysanthemums in 
 delicate rose enamels. The larger reserve medallions are 
 of various forms, with landscapes, flowers and birds. 
 Different borders, about the foot and neck of each; and 
 each surmounted by the dog Fo. (Two of these jars are 
 from the Marlborough collection.) 
 
 Three Jars, with covers, on the lower tier; smaller than 
 the last; with similar greenish-black ground and decora- 
 tions; but differing in the borders at neck and base, and in 
 the various polychrome medallions. 
 
 Two Beakers, of the same style of decoration. 
 
 Five small pieces three covered jars and two vases; 
 decorated in light-colored enamels on a rose-colored ground. 
 (From the Marquis collection, Paris.) 
 
 Two Jars, with covers. Delicate rose-tinted enamel 
 ground, with fine white floral medallions. Neck-mounting 
 of gilt bronze. (Marquis collection.) 
 
 Beaker, of like color with the last, with arabesque deco- 
 rations of unusual excellence. 
 
 Two Plates ; similar decorations, with polychrome. 
 
 Two Figurines ; one, the demon Kouei-sing, on the head 
 of a dragon; the other, a young lady in court attire, in 
 polychrome, the rose tint predominant. 
 
 Among the smaller pieces are several egg-shell plates, 
 cups and saucers, all of the Yung-tching period. 
 
 The following are of the Khang-he period : 
 
 Two Spherical Bottles, with long necks, in the two lower 
 corners ; one with figures of divinities, on a fine white ground ; 
 the other, representations of the dog Fo, in various colors on 
 a white ground. (From the Leyland collection, London.) 
 
34 METROPOLITAN MUSEUM OF ART. 
 
 Two Tall Vases, baluster-form, in the corners opposite 
 the last. The Chinese character "show" in tessellated or 
 fret detail on a white ground; the reserve medallions, 
 enclosing Taoist divinities, painted in various transparent 
 colors. 
 
 Cylindrical Vase ; butterflies in various colors, on a 
 white ground. 
 
 Large Plaque ; butterflies in various colors, on a stippled 
 green ground, with similar border. 
 
 Two Bowls, decorated in colors on a cafe au lait (color 
 of coffee with milk) ground. 
 
 Tall Square Vase; black medallions; worn gold deco- 
 ration; landscape in translucent colors. 
 
 Tall Cylindrical Vase, on front centre shelf. Landscape 
 decoration in polychrome, on amber-yellow ground. 
 
 Plaque ; dragons of archaic design, on a tessellated ground ; 
 green color predominant; on biscuit. Ming dynasty. 
 
 CASE 4. 
 
 Specimens with polychrome decoration, in which pre- 
 dominates the rose-colored enamel of the Yung-tching period 
 (a.d. i 723-1 735). A few specimens, with the predominant 
 translucent green, are of the Khang-he period, a.d. 1661- 
 1772. The case contains ninety-three pieces. The largest 
 piece is a 
 
 Great Jar, with cover. Deep-rose-colored scalloped bor- 
 ders at base and neck, over a white body embellished with 
 floral offerings vigorously depicted in green, pink, and other 
 light colors. Yung-tching period, a.d. 1723-1735. (From 
 a Portuguese collection.) 
 
 Other noteworthy pieces are : 
 
 Two Jars, with covers, on either side of the preceding. 
 Deep-rose color, with reserve medallions and scrolls, showing 
 a paste of fine texture. In the circular panel, a Chinese 
 sage, with a boy, and sundry accessories. In the fan-shaped 
 medallions, flowers in bloom, and brilliant-feathered poultry; 
 

CATALOGUE OF CHINESE PORCELAINS. 35 
 
 in the white scrolls, flowers and birds, in delicate colors; 
 over the rose-colored field, conventional chrysanthemums 
 and their sprays, in various hues. Narrow geometrical 
 borders about neck, base and cover. Yung-tching period. 
 (From a Portuguese collection.) 
 
 Two Jars, similar to the last, but smaller, in the corner 
 of the middle tier. 
 
 Two Jars, similar to the last, in the lower corners. 
 (From the Wells collection.) 
 
 Two Vases, ovoid form, in the lower corners. Ground, 
 light pink souffle (i.e. formed by blowing the color through 
 a tube) ; with floral and arabesque decoration in various 
 colors. Yung-tching period. 
 
 Large Bowl, in centre of lower shelf. Deep-rose-colored 
 exterior, with scalloped and fretted band in green. Interior, 
 floral gift-offerings in natural tints on a white ground. Yung- 
 tching period, a.d. 17 23-1 735. (From Lord Revelstoke's 
 collection. ) 
 
 Five Small Pieces, on lower shelf. Floral medallions; 
 rose-color predominant. Yung-tching period. 
 
 Two Figures, each holding a lotus flower. Rose-colored 
 robes, with decoration in polychrome enamels. 
 
 Hawk, and Cock. Rose-colored enamel predominant in 
 the decoration. Yung-tching period, a.d. 1 723-1 735. 
 
 Tall Oviform Vase, at one end of the case. Rose-colored, 
 souffle enamel, of even texture. Yung-tching period. 
 
 Tall Jar, with cover; light green enamel, with white and 
 rose-colored blossoms scattered over the field; leaf-shaped 
 medallions in white reserve, with floral design. Yung-tching 
 period. (From a Holland collection.) 
 
 Two Tall Vases, beaker form, gilt-bronze mounting. 
 Sky-blue enameled ground; leaf shaped white medallions 
 with floral embellishments. Yung-tching period. 
 
 Hexagonal Vase ; open-work medallions and figures in 
 light polychrome. 
 
 Three Small Beakers. Light rose-colored ground ; floral 
 medallions. 
 
36 METROPOLITAN MUSEUM OF ART. 
 
 Two Jars. Floral decoration in polychrome enamels on 
 black ground. 
 
 Egg-Shell Plates; painted in delicate colors; rose-tinted 
 enamel predominant. 
 
 Egg-Shell Cups and Saucers, with decorations like the 
 last. Yung-tching period. 
 
 Vase, trumpet beaker-shaped ; leaf-shaped medallions, on 
 a ground formed by diapered longitudinal polychrome 
 borders. Yung-tching period. 
 
 Vase, trumpet beaker-shaped; polychrome medallions of 
 landscapes and flowers, on rose-colored ground. Yung- 
 tching period. 
 
 Among the Khang-he specimens with predominating green 
 color are to be mentioned : 
 
 Two Tall Bottles; spherical bodies and long necks; 
 painted with ky-lins, on a white body of fine texture. (From 
 the Leyland collection.) 
 
 Two Tall Vases, with small handles, in the lower cor- 
 ners. Decoration, landscapes, court figures, etc. , on a white 
 ground, showing a brilliant cobalt blue. 
 
 On the lower shelf, at the end : 
 
 Five Small Pieces, painted in polychrome, with medal- 
 lions, etc. 
 
 Pilgrim Bottle. Phoenix, red, on white ground. 
 
 Pilgrim Bottle. Polychrome decoration. 
 
 Pair of Bottles. Caft-au-lait glaze; white floral me- 
 dallions. 
 
 Pair of Vases ; medallions, with figures in polychrome, 
 surrounded by a blue ground, with white butterflies in slight 
 relief. Khien-long period, a.d. 1736-1795. 
 
 In the lower portion of this case are shown thirteen plates 
 made in China from foreign designs. In the history of 
 King-te-tchin there are numerous notices of porcelain made 
 for European tastes referred to in the letters of Pere 
 d'Entrecolles (17 12-1722), when large pieces were ordered 
 by Canton merchants doing business with Europeans. Many 
 such pieces have on them armorial bearings* of persons or 
 


 
 
CATALOGUE OF CHINESE PORCELAINS. 37 
 
 cities, and even of royalty. Those here exhibited bear the 
 arms of cities and guilds, whose names are inscribed on the 
 plates. 
 
 CASE 5. 
 
 Chiefly specimens with sky-blue souffle ground, and white 
 reserve medallions decorated in cobalt blue in various 
 shades. The colors are all applied under (i.e. before) the 
 glaze, and heightened by the firing which the oxide of 
 cobalt resists to a very high degree. In productions of this 
 sort the Chinese succeeded in varying the monotone color 
 by various treatment of the surfaces before firing; a clever 
 invention of the time of Khang-he. According to Pere 
 d'Entrecolles, the blue used for the souffle surf aces is very 
 carefully prepared from the time it is mined; and only the 
 smaller particles are selected for the first grade. Pieces 
 steeped in this color were never considered as valuable as 
 those with the color deposited by blowing {souffle) a process 
 requiring the utmost care; and the objects were valued 
 according to the brilliancy of the result. In this process, 
 the color is blown from the extremity of a tube of bamboo, 
 to which is fixed a piece of gauze at one end, on which the 
 prepared color is put by dipping, or with a brush. The 
 tube is then properly directed, and blown from the other 
 end. The fine powdered bits gradually cover the required 
 surface uniformly, or according to the skill of the artist. If 
 reserve spaces are left, these are painted separately. 
 
 This Case (5) contains thirty-nine examples of the "pow- 
 der-blue " variety, with thirty-four pieces painted in blue on 
 white ground ; all painted under the glaze. 
 
 Of the blue souffle' specimens of the Khang-he period (a.d. 
 1661-1672), the following should be noticed: 
 
 Five Pieces, on the upper tier: two jars with covers, and 
 three cylindrical vases. Ground color, lustrous sky-blue 
 souffle' ; reserve panels, or medallions, painted with land- 
 scapes, figures and flowers, in cobalt blue of the purest 
 quality. Khang-he period. 
 
38 METROPOLITAN MUSEUM OF ART. 
 
 Pair of Tall Bottles, with spherical body and long neck ; 
 on lower middle shelf. Ground like the last ; reserve me- 
 dallions with ky-lins. Khang-he period. 
 
 Cylindrical Vase, in centre of middle tier. Ground, fine 
 souffle blue; landscapes and floral medallions, cobalt blue. 
 Khang-he period. 
 
 On the same side, several small vases and bottles with 
 similar decoration. Same period. 
 
 Two Jars, one with cover, in the lower corners. Deep 
 blue ground; reserve medallions, with vases and various 
 objects, in deep cobalt blue. Same period. 
 
 Two Tall Vases, baluster-shaped, in the lower corners. 
 Ground, blue souffle ; medallions painted in cobalt blue. 
 Same period. 
 
 Water-Bottle, Persian shape. Blue and white medallions 
 on a souffle ground. Same period. 
 
 Plate. Blue and white medallions, in a sky-blue ground. 
 Same period. 
 
 Tall Bottle, with spherical body. Solid blue souffle glaze. 
 Same period. 
 
 Several small bottles and vases are distributed among 
 these larger objects; all of like decoration and period. 
 
 Among the blue and white specimens are to be noticed : 
 
 Two " Hawthorn " Blossom Ginger Jars, with chimaera 
 medallions. 
 
 Ginger Jar of like type, with medallions enclosing branches 
 of the prunus in blossom. Khang-he period. 
 
 Several plates, of like type in decoration and quality, are 
 seen in this case, together with smaller jars and vases, painted 
 in blue on a white ground. 
 
 Tall Vase, baluster form, decorated with a conventional 
 flower of the lily kind, blue on a white ground. Khang-he 
 period. 
 
 Two Ovoid Vases, decorated with figures, etc. 
 
 Series of Plates ; figure subjects. 
 
 Bottle ; lace pattern ; tracery in blue. 
 
CATALOGUE OF CHINESE PORCELAINS. 39 
 
 Two Bottles, with handles; painted in blue tinder the 
 glaze. XVIII. century. 
 
 CASE 6. 
 
 Specimens of the blue souffle or " powder-blue " variety, 
 but differing from those in Case 5 by the painting being over 
 the glaze, in polychrome, on the white medallions. This is 
 done after the first firing. The white reserve spaces are of 
 many forms; as the shape of a leaf, flower, or fruit, the 
 silhouette (shadow-form) of an object, or the bizarre form of 
 an animal or person. These forms are made by cutting 
 them out in paper, and fixing them wet on the object, before 
 applying the souffle 1 . The contents of this case are wholly 
 made up of such powder-blue specimens, with over-glaze 
 painting on the panels; the green predominating. There 
 are seventy-six pieces, belonging to the Khang-he period, 
 a.d. 1661-1722. The following are especially noteworthy: 
 
 Five Pieces, on the upper shelf; three jars, with covers, 
 and two vases; medallions with landscapes and figures. 
 (From the Wells collection, London.) 
 
 Pair of Large Jars, with covers, in two corners of the 
 lower tier. Medallions with landscapes and figure subjects, 
 in polychrome enamels. 
 
 Tall Cylindrical Vase, in centre of last-mentioned shelf. 
 Sky-blue ground ; red floral medallions. 
 
 Tall Spherical-bodied Bottle, on shelf above the last. 
 Fine blue ground; medallions with presentation-objects and 
 flowers, in various colors. (From the Orrock collection. ) 
 
 Two Tall Cylindrical Vases, on same side with the last; 
 with fine medallions. Near these are five trumpet-necked 
 bottles, with fine blue souffle bodies, and floral medallions 
 on the necks. 
 
 Two Ovoid Vases, with similar medallions, sundry 
 smaller bottles, and two round boxes with covers, on the 
 same side of the case, are worthy of notice. 
 
 On the opposite side of the case : 
 
 Tall Bottle, with spherical body. Lapis-lazuli blue, with 
 decorated medallions. 
 
40 METROPOLITAN MUSEUM OF ART. 
 
 Group of Tall Cylindrical Vases ; medallions with powder- 
 blue souffle field; decorations in polychrome. Khang-he 
 period, a.d. 1661-1722. (From the Andrews collection, 
 London.) 
 
 Group of small Double-gourd-shaped Bottles. 
 
 Ovoid Vase, and Plaque ; powder-blue souffle ; floral 
 medallions. 
 
 Large Plaque. Sky-blue souffle ground ; medallions with 
 the dog Fo, phoenixes, etc. Khang-he period. 
 
 Pair of Large Bowls, on the lower tier. Interior, white 
 ground, with decoration. Exterior, scallop-shaped panels 
 formed with polychrome, in transparent green glaze, alter- 
 nating with others of brilliant red and floral subjects. 
 Khang-he period, a.d. 1661-1722. 
 
 Two Small Jars, with covers; decorated medallions with 
 white ground. 
 
 Large Beaker ; decoration like the last. 
 
 On the end shelves : 
 
 Two Large Ovoid Jars, with covers; souffle' blue, with 
 floral medallions, birds, etc., of exceptional quality as 
 respects paste and painting. Khang-he period. 
 
 Two Double-Gourd-Shaped Bottles ; blue souffle"-, poly- 
 chrome medallions. 
 
 Two Ovoid Vases; deep souffle ground; medallions. 
 Khang-he period. 
 
 Ewer. Sky-blue, with medallions, and Louis XV. 
 mounting. 
 
 A series of teapots, plates and bottles with medallions 
 on sky-blue ground, is also worthy of note on this side. 
 (Principally from European and Eastern collections. ) 
 
 EGG-SHELL PLATES, CUPS AND SAUCERS. 
 
 This portion of the collection occupies five cases along 
 the gallery side. 
 
 These fragile specimens are made from "hard paste" 
 porcelain with wonderful skill ; of materials the purest, and 
 
CATALOGUE OF CHINESE PORCELAINS. 41 
 
 most carefully prepared and manipulated through every 
 stage, from the wet clay to the baking and the final painting 
 and firing. The subjects selected for the decoration are 
 very numerous, including landscapes, interiors, figures, 
 fruit, flowers, birds, butterflies, animals, etc. ; painted in 
 various colors, often relieved with gilding, over the glaze, 
 on the white ground, showing the texture and quality of 
 the paste. The central subjects are generally inclosed in 
 from one to seven borders, carefully wrought with intricate 
 geometrical tracery or fretted designs, with vignettes or 
 small panels left for separate embellishment. 
 
 The so-called " rose-back" plates properly rank first in 
 this class. They are thus styled from the border on the 
 under side, enameled in rose-color, usually solid souffle; and 
 are valued according to the quality of the tone. 
 
 CASE 7. 
 
 In this case are twenty-one "rose-back" and other plates, 
 with two and three borders, enclosing a central subject; also 
 delicate egg-shell cups and saucers; all decorated with enamel 
 colors and gilding over the glaze in which predominate the 
 half-tones and the carmine or rose derived from chloride of 
 gold. Yung-tching period, a.d. 1723-1735. (Many of the 
 plates are from the Magniac, Wells, and Essex collections.) 
 
 The upper shelf contains one of a pair of hexagonal 
 lanterns, of egg-shell porcelain, with reticulated panels, 
 each with a circular medallion decorated with figures, 
 delicately painted in light colors, and surrounded by 
 borders. Yung-tching period, a.d. 17 23-1 735. (Another 
 is seen in Case 11.) 
 
 CASE 8. 
 
 Twenty-one rose-back and other egg-shell plates, with 
 three and four borders; and eight delicate egg-shell cups 
 and saucers; all decorated in enamel colors and gilding over 
 the glaze; half-tones and rose-tint predominating. Yung- 
 tching period, a.d. 1723-1735. 
 
42 METROPOLITAN MUSEUM OF ART. 
 
 In this case also is one of a pair of hexagonal egg-shell 
 lanterns, with ovoid body and perforated angular neck. 
 The panels are embellished with figures, landscapes and 
 interiors. The decorative subject appears to be a historical 
 event. It is very skillfully rendered, in very clear and 
 lustrous colors. Khang-he period, a.d. i 661-1722. (From 
 the Mary J. Morgan collection. The other one of the pair 
 is in Case 10.) 
 
 CASE 9. 
 
 This case contains nine masterpieces of egg-shell porce- 
 lain, in the shape of 
 
 Nine Seven-bordered Rose-back Plates. The design 
 consists of seven delicately drawn borders, forming a frame 
 to the central panel; the latter with figures generally court 
 ladies and children in rich attire, with various accessories 
 deftly painted on a white ground of fine texture, in from 
 seven to ten colors, with gilding ; and fired with wonderful 
 accuracy. Yung-tching period, a.d. 1723-1735. 
 
 The four blue " hawthorn " jars shown in this case, and 
 which properly belong to the blue and white series, are 
 among the rarest existing; produced in the XVII. century, 
 but unrivaled to-day. The paste is hard and of purest tex- 
 ture, well suited to the unusually deep and vivid cobalt blue. 
 One jar has the original cover. Khang-he period. (Each 
 of these jars has filled its place in former collections. 
 Among them is the celebrated one from the Blenheim col- 
 lection, which is considered the gem, but it has not the 
 original cover. ) 
 
 Four Egg-shell Plates, with two borders; on the lower 
 shelf. 
 
 Large Egg-shell Lantern ; ovoid hexagonal, with circular 
 medallions containing carefully painted figures and land- 
 scapes. Yung-tching period, a.d. 17 23-1 735. (From the 
 Wells collection, London. ) 
 
CASE; 9. 
 
CATALOGUE OF CHINESE PORCELAINS. 43 
 
 In this case are also 
 
 RICE-GRAIN PIECES WITH PIERCED 
 ORNAMENTATION. 
 
 This beautiful decoration is made by piercing or cutting- 
 out the designs in the body of the porcelain, and filling in 
 the apertures with glaze, leaving them semi-transparent. 
 This is a work of considerable skill. The design is some- 
 times a dragon, sometimes leaves or flowers, but often er a 
 fret or star diaper. Noteworthy are : 
 
 Globular Vase, a flawless example of the variety. Pure 
 quality and egg-shell texture. Kien-long (Chien-lung) 
 period, a.d. 1736-1795. 
 
 The other six (small) specimens, pierced and reticulated, 
 are of the Khang-he period. 
 
 CASE 10. 
 
 This case contains twenty-two rose-back souffle and other 
 egg-shell plates, some of which have five borders ; with eight 
 delicate egg-shell cups and saucers ; painted with enamel colors 
 and gilding over the glaze. In the coloring half-tones pre- 
 dominate, together with the carmine or rose of the Yung- 
 tching period, a.d. 1723-1735. Among the rose-back plates 
 on the upper shelf is a unique example with an engraved 
 fret design on the souffle rose back. 
 
 On the upper shelf is one of a pair of egg-shell lanterns, 
 ovoid-hexagonal, and perforated angular neck. The deco- 
 ration is a figure subject with landscapes and interiors, in 
 translucent enamels, illustrating the highest point of this 
 branch of Chinese art. Khang-he period, a.d. 1661-1722. 
 (The companion piece is in Case 8. These pieces have figured 
 in notable collections in China and Europe. They were ob- 
 tained at the sale of the collection of Mrs. Mary J. Morgan 
 in New York. ) 
 
 CASE II. 
 
 In this case are grouped twenty-one rose-back souffle and 
 other egg-shell plates with four, five and six borders ; with 
 eight delicate egg-shell cups and saucers ; decorated in 
 
44 METROPOLITAN MUSEUM OF ART. 
 
 enamel colors over the glaze. The carmine and rose tones 
 are predominant. (A number of these objects are from the 
 Essex, Wells, and other noted collections.) 
 
 On the tipper shelf is one of a pair of hexagonal lanterns, 
 egg-shell; reticulated panels within fret borders, each en- 
 closing a circular medallion with delicately painted figures 
 and other objects. (The companion piece is in Case 7.) 
 Yung-tching period, a.d. 1723-1735. 
 
 The following thirteen cases are along the wall and in the 
 niches of the gallery. 
 
 CASE 12. 
 
 This case contains twenty-two specimens of hard paste, 
 painted over the glaze in polychrome, in which the coral 
 red, from oxide of iron, predominates. This color is bril- 
 liant, but not translucent like the other enamels, and pro- 
 duces a striking contrast. The addition of this color has 
 given to objects of the sort a rank among the most noted 
 productions of the Khang-he period, a.d. 1 661-17 2 2. A few 
 pieces show the green enamel predominant. 
 
 Noteworthy in this case are : 
 
 Three Cylindrical Vases, and two beakers with spread- 
 ing base and top. A red, conventional, floral design over- 
 spreads the body, with medallions and borders, in which 
 the green predominates. (The beakers are from the Ley- 
 land collection.) 
 
 Tall Ovoid Vase, with superbly painted medallions en- 
 closing figures and other objects. Silver top. 
 
 Cylindrical Vase ; polychrome border at base and neck; 
 white ground, with dragons and fish in red, about the body 
 and upper part of the neck. Khang-he period. 
 
 Two Small Cylindrical Vases ; about the body, green 
 and red bands of archaic design. 
 
 Large Spherical Bottle ; decorated in red with the sym- 
 bolic carp ; about the neck a delicate sprig with blossoms. 
 Khang-he period, a.d. 1661-1722. 
 
 Two Water-Jars; hexagonal, with handles; floral design, 
 the red predominant. Khang-he period. 
 

 
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CATALOGUE OF CHINESE PORCELAINS. 45 
 
 Two Small Bottles ; gourd shape ; with polychrome 
 decoration. 
 
 Beaker-Shaped Vase ; decorated in polychrome ; the 
 green predominant. Khang-he period. 
 
 Square Vase; figures of divinities in bold relief, in 
 various colors on a white ground. Khang-he period. 
 
 CASE 13. 
 
 Primitive pieces, ascribed to provinces of China where 
 porcelain manufacture has long been forgotten. The bis- 
 cuit, which shows here and there through the glaze, has less 
 kaolin than the later porcelain, and is of a fine sandy grain, 
 dense and heavy. The decorations are modeled in low 
 relief; the enamel colors are mainly lapis-lazuli blue, shad- 
 ing into purple or violet, often resembling the color of the 
 wild apple or plum skin, amber yellow and turquoise blue ; 
 the interior generally glazed with green. Among the 
 monochrome objects in this case are several of the clair 
 de lime variety. 
 
 The colors and shapes of those early periods are here 
 fairly well represented. Of the fifteen pieces in this case, 
 some are of the Sung dynasty, a.d. 960-1260; some of the 
 Yuan dynasty, a.d. 1 260-1 368; and others probably of the 
 earlier Ming periods. 
 
 In the centre is a large, well-modeled figure of Kwan-yin, 
 a Boddisttva, with a child and a parrot. The figure is seated 
 under a canopy formed of a cave of rocks, with Buddhistic 
 symbols. The folds of the robe are in light turquoise 
 enamel ; the parrot glazed with lustrous, transparent green. 
 
 Of the jars: 
 
 Oviform Jar, with cover; reticulated outer surface, with 
 symbolic designs and figures of legendary beings, modeled 
 in low relief on the clay, and enameled mainly in turquoise. 
 Yuan dynasty. 
 
 Second Jar, with cover; light turquoise glaze, with low 
 relief in other colors, representing the Pa-sien figures and 
 their symbols. Yuan dynasty. 
 
46 METROPOLITAN MUSEUM OF ART. 
 
 Third Jar; glazed in lapis-lazuli blue; with a design of 
 figures similar to the first, representing the criticism of 
 various accomplishments, modeled in low relief. Yuan 
 dynasty. 
 
 Fourth Jar; smaller; floral relief picked out in various 
 glazes on a lapis-lazuli ground. 
 
 Two Smaller Jars; aquatic plants modeled in low relief, 
 glazed in turquoise and green ; purple ground. 
 
 Large Vase, broad feeding-bottle shape; about the body, 
 boldly modeled symbols in relief, arranged in bands and 
 festoons upheld by curious masks. Border of archaic design 
 at base. Yuan dynasty. 
 
 Another Tall Vase, of shape like the last ; aquatic plants 
 in low relief, glazed in colors; lapis-lazuli ground. Yuan 
 dynasty. 
 
 Bowl, clair de lime (moonlight) glaze. Sung dynasty. 
 
 Coupe, clair de liine glaze shading into purplish. Sung 
 dynasty. 
 
 Bottle-shaped Vase; dark purple glazed ground; open- 
 work borders in turquoise blue enamel. Ming period. 
 
 Small Vase, low ; clair de lune glaze. 
 
 Two Garden Seats, glazed in deep lapis-lazuli blue; band 
 of raised buttons about a band of openwork in turquoise 
 glaze, with representations of the dog Fo in purple. 
 
 CASE 14. 
 
 Cabinet specimens of small dimensions ; principally of the 
 Ming dynasty, during the XV. and XVI. centuries. Several 
 of the objects show unglazed portions of the biscuit a paste 
 with less kaolin, and characteristic of the early Mings. For 
 the painting, five colors seem usually to suffice ; applied on 
 the biscuit or white glaze. The case contains eighty-two 
 objects; among them, grotesque figures and animals, vases, 
 sacrificial cups, and small ornaments; all in rich iridescent 
 polychrome, the green predominant. 
 
 Among the more interesting objects are: 
 
 Figure of Pon-tai, a Buddhistic demigod, modeled in 
 
CASK; 13. 
 

CASK 14 
 
 
CATALOGUE OF CHINESE PORCELAINS. 47 
 
 unglazed biscuit, except the harlequin robe, which is glazed 
 in polychrome enamels. 
 
 Figure of Kowan-te, a popular chivalrous character of 
 Chinese mythology ; on a raised seat with back. 
 
 Figure of a Chinese Lady, standing, holding a fan; robes 
 in polychrome. Ming period. 
 
 Pair of Figurines, mounted on the dog Fo; in various 
 glazes. Ming period. 
 
 Open Work Cages, for birds and insects, in biscuit, deco- 
 rated with various glazes. Ming period. 
 
 Five Small Vases, polychrome. Ming dynasty. (From 
 the Blenheim collection.) 
 
 Libation or Sacrificial Cups; various decorations. Ming 
 dynasty. 
 
 Pair of Bowls; reticulated outer surface; polychrome 
 decoration of the Ming type. Date-mark, Khang-he. (a.d. 
 1661-1722.) 
 
 Unique Pipe ; decorated in various glazes. 
 
 Large Libation-Cup ; called also Marriage Cup ; without 
 base ; surrounded by free dragons that form decorated 
 handles, in various glazes. 
 
 Tablet ; biscuit porcelain ; decorated in various colors, 
 carved teak wood stand. Ming dynasty. 
 
 Series of Wine-Cups, in various shapes; some resembling 
 flowers and fruit ; glazed in transparent colors. Ming 
 period. 
 
 Small objects, with landscapes, etc. 
 
 CASE 15. 
 
 Teapots, of various types and periods; with bowls, cups 
 and other cabinet objects of the XVI., XVII. and XVIII. 
 centuries ; with polychrome decorations over the glaze. 
 Sixty pieces; among them, specimens with a transparent 
 lustrous green of the Ming and Khang-he periods; others 
 with the rose-color of the Yung-tching period. 
 
 Teapot ; in form of a vase supported by the dog Fo ; 
 polychrome decoration. 
 
48 METROPOLITAN MUSEUM OF ART. 
 
 Teapot; lotus form; rose petals; green seeds; dragon 
 stem handles. 
 
 Two Teapots ; raised medallions; decoration chiefly rose 
 and green ; spout and handle, the dog Fo. 
 
 Sugar-bowl ; openwork body in polychrome ; handle 
 glazed in yellow with black stripes. 
 
 Teapot; polychrome; rose and black medallions. 
 
 Another ; similar form and decoration. 
 
 Teapot; hexagonal; openwork medallion; rose-color 
 predominant. 
 
 Teapot; ball-shaped; medallions on diapered green ground. 
 
 Teapot; square; medallions with poultry and butterflies. 
 
 Large Flat Teapot ; round; polychrome borders ; circular 
 show mark in red and gold on a white ground. 
 
 Sugar-bowl ; handle; outer surface, openwork decorated 
 in various colors. 
 
 Set: European design; teapot, cream-jug, sugar-bowl, 
 cups and saucers. Figure subject on black ground. 
 
 Tall Ewer, Persian shape; polychrome, with the mark 
 show on the cover in red; surmounted by the dog Fo. 
 
 Teapot ; openwork ; yellow and green ground. 
 
 Teapot ; similar to the last. 
 
 Teapot ; monkey form. 
 
 Teapot ; form of a cock; glazes chiefly green, yellow and 
 purple. 
 
 Teapot ; form of a fish ; white, green and purple. 
 
 Another ; similar in form and decoration. 
 
 Teapot ; raised panels, on black ground. 
 
 Teapot; raised panels; polychrome decoration on black 
 ground. 
 
 Teapot ; form of lotus flower ; natural colors. 
 
 Teapot; turquoise glaze; raised medallions. 
 
 Teapot ; poultry medallions. 
 
 Teapot; form of lotus receptacle, with seed; glazed in 
 yellow and green. 
 
 Teapot ; figure mounted on a dragon ; glazed in various 
 colors. 
 
U U I V 
 
i 1 .' I, V 
 
CATALOGUE OF CHINESE PORCELAINS. 49 
 
 Two Teapots; cylinder formed of bamboo-stems; joined 
 in yellow, green and lilac glaze. 
 
 Teapot; ovoid; bamboo; color like the last. 
 
 Bowl, with handle ; open work ; flower decoration on a 
 stippled ground. 
 
 Two Teapots, peach-shaped; green and yellow. 
 
 In Cases 16, 17, 18, 19, are grouped types of hard and soft 
 paste porcelain painted in blue ; principally cobalt blue of 
 various shades and depths, representing the XV., XVI. and 
 XVII. centuries, beginning with the Seuen-ti period under 
 the Mings (a.d. 1426-1436), and ending with the Khang-he 
 period (a.d. 1661-1722). 
 
 The blue, as already mentioned, is painted on the paste 
 before the glazing is applied; and its brilliant appearance is 
 due to the firing. The paste is very absorbent after the 
 first baking, or before glazing, and it is difficult, accordingly, 
 to make the blue lines clear and sharp. Among the clever 
 expedients used to overcome this difficulty is the application 
 of a gum before painting the design. Blue and white porce- 
 lain has long been esteemed in Europe, where it has 
 furnished many models for the potters, as at Delft, etc. 
 
 CASE 16. 
 
 Seventy Cabinet objects. Among the hard paste and the 
 larger objects, the following should be noted : 
 
 Large Ovoid Jar; butterflies and flowers, in white reserve 
 on a deep blue ground ; medallions, with flowers and other 
 objects. Khang-he period. 
 
 Two Small Trumpet-shaped Vases, with covers ; floral 
 medallions, with figures. Khang-he period. 
 
 Two Tall Vases, cylindrical ; floral design with conven- 
 tional dragons, in white reserve on blue ground. Khang-he 
 period. 
 
 Jar; flower-bouquets; including the lotus and peony in 
 arabesque setting. Khang-he period. 
 
50 METROPOLITAN MUSEUM OF ART. 
 
 Tall Vase ; spherical body and long neck ; conventional 
 tiger lily. Khang-he period. 
 
 Pair of Vases, cylindrical ; decorated with several distinct 
 borders ; a white ground with blue tracery alternating with 
 a band on blue ground ; white dragons in reserve. 
 
 Bottles ; fine hard paste ; lace design in blue. 
 
 Pair of Double Bottles; blue tracery; figures, among 
 other small objects. 
 
 Small Pear-shaped Bottle ; soft paste of creamy white ; 
 decoration, delicate blue, dragons, conventional clouds, and 
 sprays of water. 
 
 Another Bottle, similar in form and decoration. Raised 
 base. 
 
 Pair of Covered Bowls; soft paste; delicate tracery in 
 blue. Seuen-ti period of the Mings. 
 
 Pair of Small Covered Cups ; soft paste; light tracery in 
 blue. Same period. 
 
 Round Coupe; soft paste; butterfly decoration in deep 
 cobalt blue. Ming period. 
 
 Several Small Bottles ; soft paste ; lace-pattern tracery 
 in blue. 
 
 Two Small Teapots ; conventional blue. 
 
 Pear-shaped Bottle; hard paste; deep blue, with medal- 
 lions, etc., on fine white ground. 
 
 Two Teapots, Persian shape; deep blue arabesque and 
 diaper. 
 
 CASE 17. 
 
 Seventy pieces, blue under the glaze. The following 
 specimens may be noticed : 
 
 Tall Vase, beaker form; historical subject; blue on white 
 ground. Khang-he period, a.d. 1661-1722. 
 
 Two Cylindrical Vases ; lustrous blue; peonies and foli- 
 age in reserve; scalloped border about the shoulders and 
 base. Khang-he period, a.d. 1661-1722. (From the Orrock 
 collection. ) 
 
CASE 16 
 
CATALOGUE OF CHINESE PORCELAINS. 51 
 
 Three Vases; globular body, long neck; decorated with 
 deep blue conventional tiger-lily design over the whole sur- 
 face. Khang-he period, a.d. 1661-1722. 
 
 Large Ovoid Jar, with cover; medallion design in cobalt 
 blue, on a white body color. Same period. 
 
 Three Small Vases, cylindrical ; series of borders, vary- 
 ing from a translucent blue ground with dragons in white 
 reserve, to others decorated in blue on the white body color. 
 Khang-he period. 
 
 Small Bottle, pear shaped; deep blue, with medallions 
 on the white body color. 
 
 Vase, baluster-shaped; soft paste; deep blue arabesque 
 designs. 
 
 Pair of Small Bottles ; spherical body, slender neck ; blue 
 arabesques of fruit and flowers. 
 
 Three Small Jars blue, with medallions, etc., on white 
 ground. 
 
 Square Vase; soft paste; delicate blue flower and ara- 
 besque designs, on creamy white ground. 
 
 Groups of Small Bottles and Vases, all in blue tracery. 
 
 CASE 18. 
 
 Sixty-four pieces, blue under the glaze ; including speci- 
 mens of the XVII. and XVIII. centuries. Note especially : 
 
 Five Pieces in the central portion of the upper shelf; 
 viz., two tall vases, two tall jars with covers, and one 
 beaker-shaped vase. The decoration is on slightly raised 
 panels, about the body ; with flowers and figures in blue. 
 
 On the lower shelves are to be observed : 
 
 Two Tall Vases, trumpet shaped, with wide base; elon- 
 gated white panels with landscapes and floral designs, re- 
 served from the beaded cobalt blue, with white raised 
 butterflies and flowers. 
 
 Vase ; ovoid ; similar decoration. 
 
 Small Vase, ovoid ; soft paste ; cream-white medallions 
 with impressed blue floral designs, and butterflies. 
 
52 METROPOLITAN MUSEUM OF ART. 
 
 Pear-shaped Vase; blue; medallions and lace-pattern 
 borders. 
 
 Pair of Jars; handles painted in blue medallion design, 
 with tracery. Khang-he period. 
 
 Pair of Bottles ; dragons in blue. 
 
 Small Bottle, pear-shaped ; blue tracery. 
 
 Small Jar; dragons and blue tracery. Khang-he period. 
 
 Pair of Gourd-shaped Vases; figure subjects. Silver top. 
 
 Pair of Teapots, Persian shape ; blue decoration. 
 
 Pair of Small Bottles; spherical body; blue lace-pattern; 
 borders and floral medallions. 
 
 Small Teapot, globular; blue arabesque, with small figures 
 in white reserve. 
 
 Sundry small bottles and vases. 
 
 CASE 19. 
 
 Fifty-four pieces decorated in blue under the glaze; 
 including specimens of the XVII. and XVIII. centuries, as 
 follows : 
 
 Large Ovoid Jar, with cover; hard paste; court person- 
 ages; deep cobalt blue. Khang-he period, a.d. 1661-1722. 
 (From the Leyland collection.) 
 
 Pair of Tall Vases, trumpet shape, with spreading base. 
 Conventional peonies and lilies, uniformly overspreading a 
 white ground of exceptional quality. Khang-he period. 
 
 Large Bottle; cobalt blue; the pavilion of a divinity sur- 
 rounded by water with dragons, on a fine white paste. 
 Khang-he period. 
 
 Two Tall Vases ; panels enclosing figures and flowers. 
 
 Teapot, Persian shape; openwork outer surface in white; 
 deep blue tracery. 
 
 Ovoid Jar; landscape and floral medallions. 
 
 Large Cups ; flower decoration ; white interior. 
 
 Sundry small Vases and Bottles, blue. 
 
 The four cases following conclude the series with poly- 
 chrome over the glaze, of the XVII. and XVIII. centuries. 
 
CASE 17 (Lower 
 
 CASE 2 O (Upper). 
 
CASE 19 
 
CATALOGUE OF CHINESE PORCELAINS. 53 
 
 CASE 20. 
 
 Thirty-eight pieces; among them egg-shell porcelains 
 with elaborate embellishments; including specimens, of the 
 XVIII. century, styled by Jacquemart " Mandarin Vases." 
 
 Two Tall Vases, egg-shell ; square, with handles, and 
 covers surmounted by the dog Fo. Ground-color, rose with 
 arabesque diaper; the large panels with mandarin figures 
 and various objects, in polychrome. (From the Andrews 
 collection, London.) 
 
 Pair of Vases, ovoid ; white ground with mandarin figures 
 and other objects, in polychrome on a coral and gold fretted 
 ground. 
 
 Pair of Vases, ovoid; white ground; mandarin figures in 
 polychrome enamels. 
 
 Pair of Egg-shell Vases; figure subject in polychrome ; 
 the rose predominating. Yung-tching period, a.d. 1723- 
 
 '735- 
 
 Small Egg-shell Vase ; arabesque design in blue and 
 gold; two white medallions with European figure subject, in 
 polychrome. 
 
 Egg-shell Plate ; Taoist divinity, with a stag, painted on 
 white ground. 
 
 Two Egg-shell Plates ; horses, etc., in polychrome. 
 
 Plate ; openwork border; figure subject m polychrome. 
 
 Plate ; European figure subject, in polychrome. Khien- 
 long period, a.d. i 736-1 795. 
 
 Among the specimens of the Khang-he period are: 
 
 Tall Vase, beaker-shaped; archaic design in polychrome, 
 chiefly green enamel. 
 
 Vase, beaker-shaped ; landscape medallions in polychrome ; 
 white circular reserve, with red fish. 
 
 Large Plate, semi-egg-shell, hung on the wall ; Chinese 
 princess in rich robes, with a child, in polychrome on white 
 ground; about them a fungus-formed border, with butter- 
 flies, etc., on a stippled green ground. The outer border 
 has a conventional design in red. 
 
54 METROPOLITAN MUSEUM OF ART. 
 
 Pitong Vase ; openwork bamboo and modeled foliage, 
 glazed in turquoise. 
 
 Two Reticulated Hanging Vases ; form as if made 
 of twisted and knotted cords, in various colors; held by 
 bands and borders. 
 
 Small Vases, in shape of fruits; celadon glaze, with light 
 green enamel foliage. 
 
 Sacrificial or Marriage Cup ; dragons and arabesques in 
 delicate colors. 
 
 Jar, with cover; floral decoration, in natural colors, over 
 the whole surface. XVIII. century. 
 
 Egg-Shell Cups and Saucers, with delicate decoration. 
 
 CASE 21. 
 
 Twelve specimens, of the XVII. and XVIII. centuries, 
 mostly of large proportions; decorated in polychrome over 
 the glaze. 
 
 Large Jardiniere, nearly globular; boldly drawn design; 
 dragons in various colors, amid conventional waves and 
 spray; w T ith gilding. Khang-he period. (From the Marquis 
 collection, Paris.) 
 
 Pair of Tall Vases, with gilt-bronze mounting ; slender 
 and graceful form ; inverted sections over which are panels 
 of various shapes, with figures, chimaeras, flowers and other 
 objects, about which is an arabesque design chiefly of lus- 
 trous green ; the other colors spreading over the fine white 
 body. Khang-he period, a.d. 1661-1722. 
 
 Large Plaque ; elaborate polychrome decoration a ter- 
 race, horses, and other objects, on a white ground; outer 
 border of floral design, chiefly in red. Khang-he period, 
 
 A.D. l66l 1722. 
 
 Large Plaque, companion to the preceding; flowers and 
 a basket, in delicate natural colors, on a fine white ground ; 
 about them a medallion border with ky-ltns, birds, and other 
 objects, in transparent polychrome enamels. Khang-he 
 period. 
 


CATALOGUE OF CHINESE PORCELAINS. 55 
 
 Pair of Large Plaques; in centre, phoenixes, with flowers, 
 in natural-color enamels. In the outer borders, animals in 
 medallions, with arabesque tracery in red and gold. Yung- 
 tching period, a.d. 1723-1735. 
 
 Large Jar, with cover; floral medallions, etc., in delicately 
 colored enamels, the light rose tint predominant. Yung- 
 tching period, a.d. 1723-1735. 
 
 Egg- Shell Plate ; figure riding on a ky-lin, accompanied 
 by a boy with a sword and a scroll, on a white ground. 
 
 Egg-Shell Plate ; bird perched on a twig with peach 
 blossoms, on a fine white ground. 
 
 Another Plate ; figure subject, on a white ground. 
 
 Unglazed Rouge-Box ; white paste; dragon in free relief. 
 
 CASE 22. 
 
 Eleven great specimens, of types similar to those of Case 
 2 1 ; decorated in polychrome over the glaze. 
 
 Large Jar, with cover ; enameled black ground, with 
 green arabesque foliage and rose-colored chrysanthemums ; 
 leaf-shaped medallions in white reserve, with flowers, birds 
 and animals, in delicate natural colors. Neck and base 
 encircled by fret borders in light tints. Yung-tching period, 
 a.d. 1 7 23-1 735. (Companion in Case 3.) 
 
 Two Large Plaques, on upper shelf. In centre, flowers 
 and birds, on a white ground; about them scallop-formed 
 panels on green ground, with landscapes, flowers and other 
 objects, with arabesques in red; in the smaller outer border, 
 white reserve vignettes, with horses, birds, etc. Khang-he 
 period, a.d. 1661-1722. 
 
 Large Plaque, semi-egg-shell; centre with a dramatic 
 figure subject in brilliant colors. Border of figures and 
 flowers, the delicate rose-tint predominant. Yung-tching 
 period, a.d. 1723-1735. 
 
 Another Plaque, with figures in a garden; in outer 
 border, small figures and horses in various attitudes. This 
 piece shows the transition from the green to the carmine 
 style of decoration. Khang-he period, a.d. 1661-1723. 
 
56 METROPOLITAN MUSEUM OF ART. 
 
 Two Beakers, octagonal; decoration in polychrome. 
 Yung-tching period. (Companions to the jars shown in 
 case 23.) 
 
 Large Jar; with Taoist symbols in green and yellow, on 
 a purple ground of the Khang-he period. 
 
 Two Pear-shaped Bottles ; red decoration, and arabesque 
 design of the Khien-long period, a.d. 1736-1795. 
 
 CASE 23. 
 
 Fourteen pieces of the XVII. and XVIII. centuries; 
 similar in decoration to those of Cases 21 and 22. Among 
 them, the following are to be noticed : 
 
 Large Jar, ovoid, with cover; polychrome floral design, 
 with peonies, birds, etc. ; in seven transparent colors, the 
 green and red of the early Khang-he period predominant. 
 
 Two Beakers; polychrome flowers and birds, similar to 
 the last. Same period. 
 
 Tall Vase, cylindrical; figure subject in translucent cobalt 
 blue on white ground ; with red and green representations 
 of immortals. Border about the neck with the characteristic 
 s/iotv. Khang-he period. (Arkwright collection.) 
 
 Tall Vase, cylindrical; polychrome; white medallions 
 with flowers, within green ground. Khang-he period. 
 
 Two Vases, cylindrical ; bronze mounting ; polychrome ; 
 red (of iron) predominant in conventional floral designs, 
 with scallop-band in other enamels. Khang-he period, a.d. 
 1661-1772. 
 
 Vase, of like form, coloring and decoration, without the 
 mounting. Same period. 
 
 Large Plaque; various figures, and pavilions, in translu- 
 cent enamels. Same period. 
 
 Pair of Reticulated Vases; decorated in various tints. 
 Yung-tching period. (From the Arkwright collection.) 
 
 Vase, ovoid, floral decoration in polychrome on black 
 ground. 
 
case: 23. 
 



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