THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 ORIENTAL CERAMIC ART 
 
 COLLECTION OF 
 
 W. T. WALTEES 
 
 TEXT EDITION TO ACCOMPANY THE COMPLETE WORK 
 LIMITED TO FIVE HUNDRED COPIES 
 
 NUMBER
 
 OMENTAL CERAMIC ART 
 
 COLLECTION OF 
 
 W. T. WALTERS 
 
 TEXT EDITION 
 TO ACCOMPANY THE C0MPLE2E WORK 
 
 TEXT AND NOTES BY 
 
 S. AV. BUSHELL, M. D. 
 
 Physician to H. B. M. Legation, Peking 
 
 NEW YORK 
 D. APPLETON AND COMPANY 
 
 1899
 
 Copyright, 1896, 
 By D. APPLETON AND COMPANY.
 
 /VK 
 
 PREFACE. 
 
 THE late William Thompson Walters, of Baltimore, 
 (lied on November 20, 1894. The work ^vhich is 
 here briefly introduced was begun by him nearly fifteen 
 years before. At his death he left it practically com- 
 pleted. It only remained, therefore, for those intrusted 
 with its details to assemble the several parts and dis- 
 charge the mechanical duties necessary to its publication. 
 That publication is now entered upon in conformity 
 V! with his expressed wishes and instructions, and as, had 
 ^ he lived, he would himself have had it. Furthermore, 
 it is done in the belief that it will add one more to 
 the many useful things that were the outcome of his 
 purposeful and well-filled life. Mr. Walters was the 
 first American to create a collection of Oriental ceramics, 
 and in the many years that he devoted to the subject he 
 became more and more impressed with the need there 
 was of some authoritative work respecting it — a work 
 which should treat, with such precision as was possible, 
 of its origin, its history, and its qualities, and take it in 
 at least some slio-ht deo;ree from that vasiue and indeter- 
 minate condition in which all contemporary or recent 
 European writers have left it. Not that the literature of 
 Oriental porcelain is copious in any modern tongue, but 
 that those who have written best about it have had 
 hardly anything to say, while those who have written 
 at any length have been capricious, empirical, and only 
 too misleading. The only way in which this purpose 
 could be effected, if at all, was to seek in China itself 
 
 705S00
 
 VI PREFACE. 
 
 whatever historical matter might exist in relation to the 
 one distinguishing art of that country, the art of the 
 potter. 
 
 In the inti'oduction, written in 1883, to a very useful 
 and instructive little volume on Oriental art, privately 
 published by Mr. AValters in the ensuing year, he set 
 forth his opinion on this point with a clearness which it 
 is interesting at the present time to recall. "Notwith- 
 standing," wrote Mr. Walters, "the numerous works that 
 have been published on this subject, we hav^e as yet but 
 an imperfect knowledge of the age, history, and meaning 
 of much that appears in collections of Oriental porcelain ; 
 and until some European residing in China, well versed 
 in the subject and ^vell acquainted with the Chinese 
 language, has obtained access to the stores of native col- 
 lectors, we shall l)e to a certain extent ^vorking in the 
 dark." 
 
 The more deeply the subject was looked into the 
 less prospect there seemed to be of a successful issue. 
 The only translation that existed of the writings of a 
 Chinese authority was that made in 1856 by M. Stanislas 
 Julien, of the Citing -te-clien T''ao Lu. This was for years 
 the ultimate reference of students of Chinese ceramics, 
 but, although M. Julien was a great scholar and eminent 
 sinologue, it was of little value and in some essential 
 matters misleading. The difficulty was with the Chinese 
 text. Given a sentence or tw^o in Chinese descriptive of 
 a piece of porcelain, its shape, the quality of its paste, its 
 color, or other of its attributes, and the sinologue who is 
 learned only in the language 7?^?' se may translate it with 
 the profoundest erudition and yet not convey its real 
 meaning; but if he have before him the actual piece 
 which the Chinese author has been describing, and if he 
 have also a well-founded knowledge of Chinese por- 
 celain, then his translation Avill be of a very different
 
 PREFACE. Vll 
 
 <;haracter and much more instructive. In such matters 
 the Chinese author is perfectly intelligible onl}'- when 
 the reader adequately understands the subject. If, for 
 instance, the reader knew that the Chinese writer was 
 discussing celadon, he would not, in translating, read 
 blue for green, although the Chinese word used meant 
 equally blue or green, according to the application made 
 of it. The illustration is a radical one, but it indicates 
 accurately a case in which a very learned sinologue 
 befogged many patient students. 
 
 It was while pursuing the matter with the best 
 authorities abroad that Mr. Walters heard indirectly 
 from Prof. A. W. Franks (now Sir Wollastou Franks), 
 of the British Museum, of a translation of a Chinese 
 work called the T^ao Shuo, which had been made by 
 Dr. Stephen W. Bushell, of Peking. Dr. Bushell had 
 already become well known as a sinologue, and especially 
 for his unremitting industry in the direction of the 
 ancient literature of porcelain. He had been for many 
 years the medical officer of the British legation at Peking, 
 and had devoted himself to the study of Chinese until he 
 had attained among European scholars the reputation of 
 an authority of the first rank. Prof. Franks w^as greatly 
 interested in the T''ao Shuo, pointed out the importance 
 that it possessed for students of Oriental ceramics, and 
 expressed the hope that it would secure publication. Dr. 
 Bushell's translation of it was accordingly secured for 
 that purpose, and was found to be most instructive and 
 interesting. It was proposed then to publish the trans- 
 lation together wdth other papers on the subject, includ- 
 ing a new version from the Chinese text of the Cldiuj-te- 
 ohm T''ao Lu, already done into French by Julien. The 
 whole would have made a considerable and a not unim- 
 portant addition to the stock of information relating to 
 Chinese porcelain in the English language. When, how-
 
 Vlll PREFACE. 
 
 ever, a year or two later, Dr. Biishell visited the United 
 States and entered upon a discussion of the question 
 with Mr. Walters, it was decided to revise the project 
 and bring out the present work, which contains, so far a& 
 all niodei'n knowledge of the subject goes, the best infor- 
 mation that Chinese letters convey respecting the origin 
 of porcelain and its history through successive ages.* 
 
 Mr. AValters laid the foundation of the present collec- 
 tion nearly forty years ago. As has been said, he was 
 the first in this country to create a collection of Oriental 
 ceramics. The ceramic store of the United States was 
 never great. We have had a modest share of English 
 pottery since our earlier days, but no accumulation of it. 
 Of Oriental porcelain a very little found its way to Colo- 
 nial families, and only a few traces of it remain. Our 
 first President had a domestic service of Chinese manu- 
 facture, and it was very fine in its way ; but it belonged 
 strictly to the category of commercial porcelain familiar 
 to the last century as East India china — that is, porcelain 
 made for export from Chinese ports and fashioned for 
 household use or conventional household decoration, and 
 having no relation to the artistic product of the China- 
 man's kilns. The remains of this set of china are pre- 
 served in the National Museum at Washington. Prob- 
 ably the most artistic of our early acquisitions of Chinese 
 porcelain were the pieces of blue and white that New 
 England ship captains brought back from their voyages 
 to the North Pacific, and of Avhich many interesting 
 examples are still to be found in old New England 
 
 * So far as the Chinese texts relating to processes of manufacture are con- 
 cerned they are of slight and only incidental interest. They tell about the 
 petuntse and the kaolin, about the composition of glazes and the management 
 of kilns, but no European potter has ever added from them a scintilla to his 
 knowledge. The Chinese potter's formula is not unlike the chemist's analysis 
 of one of Nature's healing waters— it is complete ; but in the one case it is in- 
 dispensable that the application be made by a Chinaman, and in the other that 
 the compounding be done by Nature herself.
 
 PREFACE. IX 
 
 homes. As far as any broader awakening of taste in the 
 matter of Oriental porcelain is concerned it must be 
 referred to the occasion of the Centennial Exhibition of 
 1876. Many people had long before acquired an ac- 
 quaintance with the subject at the great European exhi- 
 bitions and through the op^^ortunities of foreign travel, 
 but our first popular knowledge of it most undoubtedly 
 dates from our exhibition at Philadelphia. Now there 
 are numbers of collections in the United States, some of 
 them of great extent and value. It can also be confi- 
 dently said that nowhere else do collectors betray any 
 keener intelligence, or, perhaps, an equal knowledge of 
 the general subject; whereby it has been rightly ob- 
 served by Chinese and Japanese connoisseurs that if one 
 wants to study fine Oriental porcelain he must come to 
 America. 
 
 The plates in color with which this work is illustrated 
 were made by Louis Prang, of Boston. Several experi- 
 mental plates were made abroad, and the work of every 
 European house of importance was examined, before Mr. 
 Prang was asked to make lithographs of three pieces of 
 porcelain of different colors. His immediate success 
 determined the question ; and when, two years later, 
 some twenty of the plates were shoAvn to French 
 lithographers in Paris, their criticism was that the im- 
 pressions from the stone had been foi'tified by color 
 applied with the brush. They could not believe that 
 work of such excellence could be produced by simple 
 lithography. This very satisfactory opinion has been 
 since confirmed by many lithographers, and it is conceded 
 that these plates represent the highest type of work that 
 has been produced in that branch of art. Tlie color 
 of Oriental porcelain is more akin to the color of . some 
 brilliant mineral than to the familiar pigments of an 
 artist's palette ; and as truth of color was the first
 
 X PREFACE. 
 
 requiremeut, many and serious difficulties had to be over- 
 come. Mr. Prang, however, was equal to the task, and 
 during the years that it was in progress at his house 
 in Roxbury he devoted to it a degree of watchful care 
 and untiring energy that were far from commercial in 
 their inspiration. 
 
 William M. Laffan. 
 
 May, 1896.
 
 CONTENTS. 
 
 PAGE 
 
 Preface v 
 
 Introduction 1 
 
 CHAPTER I. 
 Origin of Porcelain 12 
 
 CHAPTER II. 
 Relations of Chinese, Korean, and Japanese Ceramics . . 25 
 
 CHAPTER III. 
 
 Introduction to the Classification of Chinese Porcelain. In- 
 scriptions. Chronology .39 
 
 CHAPTER IV. 
 
 Marks on Chinese Porcelain. Marks of Date. Hall Marks. "^ 
 Marks op Dedication and Felicitation. Marks op Co>imen- 
 dation. Marks in the Form of Devices 59 
 
 CHAPTER V. ! 
 
 Classification of Chinese Porcelain. Primitive Period. Sung , 
 Dynasty. Ju Yao. Kuan Yao. Ting Yao. Lung-ch'uan 
 Yao. Ko Yao. Tung-ch'ing Yao. Chun Yao. Three Fac- ! 
 
 TORIES AT ChI-CHOU, ChIEN-CHOU, AND Tz'tj-CHOU. UtENSILS 
 
 of Sung Porcelain 127 
 
 CHAPTER VI. 
 Yuan Dynasty 177 
 
 CHAPTER VII. 
 
 Ming Dynasty. Reigns of Hung-wu, Yung-lo, HsOan-te, Cii'eng- 
 hua, Hung-chih, Che;ng-te, Chia-ching, Lung-cii'ing, Wan-li, 
 
 T'ien-ch'i, Ch'ung-chen 189 
 
 xi
 
 Xll CONTENTS. 
 
 CHAPTER VIII. 
 
 PAOH 
 TECHNiqUE DUIUNG THE MlNG PeUIOD. CoLOKS. EMBOSSING. 
 
 Chiseling. Openwork Carving. Gilded Decoration. Deco- 
 rations IN Enamels. Firing 260 
 
 CHAPTER IX. 
 Ching-te-ciien. Thk Imperial Porcelain MANirFACToiiY . 276 
 
 CHAPTER X. 
 The K'ang-hsi Period 293 
 
 CHAPTER XI. 
 Letters of Pere d'Enthecolles 332 
 
 CHAPTER XII. 
 The Yung-cheng Period 359 
 
 CHAPTER XIII. 
 
 Official List of the Designs and Colors produced at the 
 
 Imperial Manufactory in the Reign of Yung-cheIng . . 367 
 
 CHAPTER XIV. 
 The Ch'ien-lung Period 391 
 
 CHAPTER XV. 
 
 The Twenty Illustrations of the Manufacture ok Porcelain 
 
 described by T'ang Ying 420 
 
 CHAPTER XVI. 
 Modern Period (1796-1895). Imperiai> List of the Year 1864 . 463 
 
 CHAPTER XVII. 
 
 The Forms of Porcelain Objects and their Uses in China . 488 
 
 CHAPTER XVIII. 
 
 Peculiar Technical Processes. Cracki,e Porcelain. Furnace 
 
 Transmutations. Souffles. Laque Burgautee. Pierced ^-^ 
 
 and "Rice-grain" Designs. White Sup, etc. . . . 508 )
 
 CONTENTS. XI 11 
 
 CHAPTER XIX. 
 
 PAGE 
 
 Chinese Cekamic Colors 525 
 
 CHAPTER XX. 
 Motives op Decoration of Chinese Porcelain .... 557 
 
 CHAPTER XXI. 
 
 Porcelain made for Exportation. Special Forms and Designs. 
 Indian China. Armorial China. Jesuit China. Hindu 
 Style. Oriental Porcelain decorated in Europe. Imita- 
 tions 604 
 
 CHAPTER XXII. 
 
 Porcelain Production in the Other Provinces of China. The 
 White Porcelain of the Province of Fuchien. The Yi- 
 
 HBING BoCCARO WaRE OF THE PROVINCE OF KlANGSU. ThE 
 
 Potteries of the Province of Kuangtung .... 622 
 
 CHAPTER XXIII. 
 Chinese Bibliography in Relation to the Ceramic Art . . 639 
 
 CHAPTER XXIV. 
 Korea 670 
 
 CHAPTER XXV. 
 Ceramic Art of Japan 685 
 
 CHAPTER XXVI. 
 A General Sketch of the Ceramic Art of Japan . 708 
 
 CHAPTER XXVII. 
 
 The Principal Ceramic Wares of Japan. Owari Pottery and 
 Porcelain. Kyoto Wares. Hizen Productions: Old Imari 
 Porcelains, Hirado Blue and White, etc. Satsuma F.aIences, 
 KuTANi OR Kaga Wares 723 
 
 Appendix. — Descriptive List of the Illustrations . . 767 
 
 Index 90S
 
 ORIENTAL CERAMIC ART. 
 
 INTRODUCTION. 
 
 DURING a residence of twenty-five years at Peking, 
 as physician to her Britannic Majesty's legation, 
 the study of Chinese ceramics has been my chief distrac- 
 tion. I have obtained access, in the exercise of the duties 
 of my profession, to several palaces and private houses, 
 and have in this way had many opportunities of seeing 
 the treasures of native collectors, which usually are so 
 rigidly closed to foreigners. The Chinese themselves 
 maintain a profound interest in the subject, especially 
 from an antiquarian point of view, and the literature 
 which relates to it is very extensive, ranging as it does 
 ' over many centuries. The best special work is the 
 T''ao Sliuo, "A Description of Chinese Pottery," in six 
 books, published in the year 1774, by Chu Yen. The 
 learned author quotes many of the older wi'iters, and 
 describes all the varieties of the potter's skill that became 
 celebrated before the close of the Ming dynasty in 1643. 
 I translated this work into English, at the request of the 
 late Mr. AV. T. Walters, some years ago, so that I now 
 have it before me for reference. For the older wares 
 there is also the manuscript catalogue, illustrated by 
 eighty-two water-color drawings, of Hsiang Yuau-p'ien, a 
 celebrated collector of the latter half of the sixteenth 
 century, which I brought before the notice of the Peking 
 Oriental Society in 1886,* and which I hope some day to 
 
 '* Chinese Porcelain before the Present Dynasty, by S. W. Bushell, M. D. ; 
 extract from the Journal of the Peking Oriental Society, 1886.
 
 2 ORIENTAL CERAMIC ART. 
 
 publisli ill full. The colored illustrations are fairly 
 exact, and are indispensable for the proper comprehension 
 of the text of Chinese writers on this subject, in the 
 absence of actual specimens of the different kinds of 
 porcelain described. The author of the T''ao Shuo is 
 not so satisfactory as a guide to the porcelain of the reign- 
 ing dynasty, of which he gives only a short resume in his 
 first book. For this we must turn to the Ching-te-chen 
 T'^ao Lu, the well-known memoirs on the productions of 
 Ching-te-chen, published in 1815, which were partially 
 translated into French by Stanislas Julien in 1856,* and 
 which have been the main source of information for all 
 European wi'iters. The ti'anslator seems, however, to 
 have had little if any practical acquaintance with Chinese 
 porcelain, and he had, moreover, no native expert at hand 
 to refer to in case of difficulty, so that his rendering of 
 technical points is often erroneous. It is always safer to 
 turn to the original, which is happily no longer rare, as the 
 book has been lately republished in China. Ching-te-chen, 
 which has been for centuries the seat of the imperial 
 manufactory of porcelain, occupies a place in China like 
 to that which Sevres does in France or Meissen in 
 Germany, It is, indeed, in the present day the sole 
 source of artistic porcelain in the Chinese Empire. The 
 regulations and detailed accounts of the imperial works 
 are to be found in the different official statistical de- 
 scriptions of the province of Kiangsi, of the prefecture of 
 Jao-chou-fu, and of the district of Fou-liang, in which the 
 manufactory is situated. But, unfortunately, these books, 
 which at irregular intervals are issued and republished 
 in a revised form by the authorities, are very difficult to 
 procure, even in China. The most complete account is 
 contained in the Fou-liang Hsien Ohih, the " History of 
 
 * Uistoire et Fabrication de la Porcelaine ehinoise, par M. Stanislas Julien, 
 Paris, 1856.
 
 INTRODUCTION. 
 
 the Walled City of Fou-liang, " and I am most grateful 
 to the director of the Bibliotheque Nationale in Paris for 
 his generous loan of this rare work, the eighth book of 
 which includes a long memoir entitled T''ao Cheng, or 
 " Porcelain Administration." This edition was published 
 by a commission presided over by Ho Hsi-ling, a member 
 of the Hanlin College and of the National Historiog- 
 raphers' Office, whose preface is dated the third year of 
 Tao-huang (1823), although the list of officials in the 
 book is continued up to the twelfth year of the emperor 
 (1832). The first edition, which was published in the 
 period Hsien-shun during the /S'^/i^ dynasty, in the year 
 1270, was burned. The present edition gives twenty-one 
 old prefaces, which are all printed in full, and the first of 
 these is dated 1325. The fifteenth, by - ang Ying, the 
 most celebrated of the superintendents of the imperial 
 manufactory at Ching-te-chen, is dated the fifth year of 
 CJi'ien-lung (1740). The entire series of these official 
 statistical works, ^vere it possible to obtain it complete, 
 would furnish the most authentic of accounts, in chrono- 
 logical sequence, of the imperial manufacture of porcelain. 
 
 Since my return to Peking last year I have succeeded 
 in acquiring a recent edition of the Chiang-lisi T''ung 
 Chill, the " Genei'al History of the Province of Ki- 
 angsi," published in the seventh year of the reigning 
 Emperor J-^uang-hsu, by an imperial commission presided 
 over by the famous Tseng-Kuo-fan. It is bound in 
 native fashion in one hundred and twenty volumes, 
 and contains one hundred and eighty books, of whicli 
 the ninety-third gives the T\io-Chmg, or "Porcelain 
 Administration," of Ching-te-chen, brought up to date. 
 
 I am indebted to M. Garnier, the talented director 
 of the museum at Sevres, for the opportunity to consult a 
 report written by my lamented friend, M. Scherzer, who 
 visited Ching-te-chen in 1883, at which time he was
 
 4 ORIENTAL CERAMIC ART. 
 
 Freach consul at the river port of Hankow. It is 
 curious to compare tliis recent report witli the two 
 valuable letters of the old Jesuit missionary Pere 
 d'Entrecolles, written from the same place in 1712 and 
 1722, toward the close of the long reign of the Emperor 
 K''ang-hsi, the culminating period of ceramic art in 
 China.* The worthy Father collected his information 
 from his converts among the artists and workmen, and 
 his letters are all the more valuable in that we have so 
 little from native writers during this reign. 
 
 From the foregoing some idea may be gained of the 
 material which is available to the student who under- 
 takes to present a general account of Oriental ceramic 
 art. To illustrate such a work there could be no better 
 opportunity than that which is afforded by the W. T. 
 Walters collection. Such is the object which it has 
 been sought here to attain. The illustrations and text 
 have had to be arranged independently, most of the 
 colored plates having been completed beforehand. The 
 text-cuts will be inseited, as far as possible, in appro- 
 priate places, and there will be a descriptive list of the 
 figures included later on, which it is hoped will remedy 
 the disjunction which the issue of the book in j^arts has 
 rendered unavoidable. For text-cuts of the first section 
 a selection has been made from the series of objects of 
 Chinese porcelain mounted in metal, in which the collec- 
 tion is so very rich. The mountings are generally in 
 gilded bronze of French workmanship, dating for the 
 most part from the 18th century. Some of them by the 
 famous Gouthiere are of the highest artistic mei'it, and 
 indicate the vivid appreciation of Chinese colors for the 
 decoration of the luxurious interiors of the time of 
 Louis XV and Louis XVL It is difiicult, indeed, to 
 
 * Lettres edifiantes et cuneuses, xviii, pp. 234-296 ; xix, pp. 173-203, Paris, 
 1781.
 
 INTRODUCTION. 
 
 imagine anything more effective than the soft changing 
 tints of the turquoise glaze of the vases in Figs. 1 and 
 20, and of the bowl (Fig. 40), when exhibited in sucli 
 perfect contrast with the gilded material of their grace- 
 ful framework. The same may be said of the lovely 
 openwork mounting in gold, fashioned to strengthen the 
 etched turquoise vase of Fig. 8, and of the filigree mounts 
 of the beautifully decorated K\mg-lisi vases exhibited in 
 Figs. 11 and 30, lovingly executed and signed by the 
 modern jeweler, Boucheron of Paris. Mountings of 
 Persian and Japanese workmanship will follo^v in other 
 sections. Some of these mounts are interesting as aids 
 in determining the age of the piece, like the Elizabethan 
 silver-gilt mounting with the hall mark of 1585 of the 
 blue and white Chinese Jug, No. 7,915, in the South 
 Kensington Museum, and the blue and white pieces 
 which are said to have been at Burghley House in the 
 possession of the Cecil family since the days of Queen 
 Elizabeth. 
 
 The Walters collection is remarkable for its single 
 color or monochrome examples, and comprises many 
 choice specimens of brilliant beauty in this attractive 
 branch of art, in which the Oriental potter stands 
 unrivaled. There is room for much difference of opinion 
 on the question of the comparative merits of mono- 
 chrome glazes and of painted decoration in enamel colors 
 upon porcelain. With the Chinese collector, as with the 
 European or American amateur, it is a matter of taste, 
 and the preference appears to be equally divided. Tlie 
 earliest acquaintance of European collectors with 
 the porcelain of China was confined to monochrome 
 examples, including, of course, blue and Avhite. Of the 
 five-color pieces of the Ming period it is difficult to find 
 any trace in the early European collections ; and, indeed, 
 it appears that it is only within recent years that such
 
 ORIENTAL CERAMIC ART. 
 
 pieces have left China. M. Vogt, the director of the 
 porcelain manufactory at Sevres, the most recent writer 
 on the subject and a thoroughly competent judge, writes 
 (pages 22, 23) : " The form commands the decoration ; 
 the Chinese have wisely preferred simple, absolutely 
 ceramic forms, of which their vase {poticlie) is the 
 essential type. In this shape, fashioned in one opera- 
 tion, the surface is unbroken from the base to the mouth ; 
 it is in reality a cylinder witli flowing depressions. For 
 the decoration of Chinese vases, whatever may be the 
 merit resulting from the fantastic art of the composition 
 or from the harmony of the colors, we pi'efer, for our 
 part, not the decorated vases, but the pieces which have 
 the ground left as they come from the kiln, the beauty 
 of the enamel being the dominant quality (la qualite 
 maitresse) in ceramics. The more beautiful the enamel, 
 the more opposed it is to decoration ; no color, no gild- 
 ing, could resist the vibrating force of absorption of the 
 -jlambes called lo-kan^ mule's liver; ma-fei, horse's lung — 
 mixtures of red, blue, violet, and yellowish-green run- 
 ning over the porcelain like a stream of lava, so much 
 chopped-up blood, lungs, and liver, as it were, melted 
 into enamels ; any addition would spoil the softer colors, 
 such as the tea-dust glaze, or the iron-rust of the 
 Chinese." * 
 
 Mr. Walters wrote, in the introduction to his early 
 catalogue,f " Our interest and effort have been more in 
 the direction of securing characteristic examples of the 
 beautiful, either in form, color, or material, than of the 
 merely curious." This aim has, in truth, been fully 
 realized ; for what can be imagined more beautiful, in 
 all these three respects, than the famous peach-bloom 
 
 * La Porcelaine, par Georges Vogt, Directeur des Travaux Techniques de la 
 Manufacture Nationale de Sevres, Paris, 1894. 
 
 f Oriental Collection of W. T. Walters, Baltimore, 1884.
 
 INTKODUCTION. 
 
 vases, which he was one of the lirst to appreciate, out- 
 side China, excelling as they do in purity of form, in 
 perfect finish of material, and in a diversified play of 
 color, whereby they have been so aptly likened to the 
 warm and varied hues of the skin of a j)each "^'^ ripening 
 in the sun ? They mark the culminating point of 
 Chinese cei'amic art. The contemporary vases of similar 
 form of pure white, of the sea-green tint called celadon, 
 or of the pale gray-blue known by the Fi'ench as clair de 
 lune^ after its Chinese name of yueh pai^ are almost as 
 attractive. The ci'imson and pink monochrome glazes of 
 the succeeding period, derived fi-om gold, ai'e less pure, 
 but have the softness of the muffle stove in wliicli they 
 are developed — a quality which the}' share with another 
 famous color, the coral red, which is derived from 
 peroxide of iron. The older colors, which attest the pre- 
 eminence of the Chinese potter, include a camellia-leaf 
 green of deepest iridescent sheen, sapphii-e blue, and 
 powder-blue, ap])le-green and citron-yellow, a finely 
 crackled turquoise glaze of purest tint, and, last but not 
 least, the celebrated Xrtv/f/ //<7o, or sang de h(eut\'A broadly 
 crackled glaze imbued ^\ itli i-ed of marvelous depth, the 
 despair of modern imitatoi's. This is a short list of some 
 of the successes of the Oriental decorator in the line 
 of single colors. Working as he does with impure 
 materials, with the chemical composition of which he is 
 totally unfamiliar, his chief successes are often due to 
 pure hazard. jNIany (»ther colors will be described later. 
 
 * " Peach-bloom " is a better name in English for this charming glaze than 
 " peacli-blow," because the latter is only applicable to the flower, while the 
 former corresponds to the peau de peche^iheianw adopted by French ceramists. 
 Neither of the two is Chinese ; they generally call it CMang-toti Hung, from its 
 resemblance to the variegated beans of the Dolichus sinensis {Chiang-tou), 
 which are pink spotted with brown ; some call it P'ing-kuo Hung, "apple- 
 red." The green mottling which so often accompanies it is termed P'ing-kuo 
 Gh'ing, or "apple-green."
 
 8 ORIENTAL CERAMIC ART. 
 
 as well us the decoration of the paiuted pieces, on which 
 the artist works with the same palette. 
 
 According to a Chinese adage, " Knowledge comes 
 from seeing much," and 1 would like to refer the student 
 to some of the collections available for the study of the 
 subject of Oriental ceramics, and at the same time seize 
 the opportunity of tendering my grateful tlianks to the 
 owners of the private collections in the United States 
 which I have had tlie opportunity of seeing, and from 
 which I have learned not a little. There seems to be a 
 widespread enthusiasm in America for the beauties of 
 Oriental art, and the beautiful objects illustrated in this 
 book kave doubtless, by tlieir exhibition in the galleries 
 at Baltimore, helped in no small measure to form a gi'ow- 
 ing taste for the rare and beautiful. There are, so far, 
 no national collections in Amei'ica, but thei*e are objects 
 of interest in the private collections of Mr. Charles A. 
 Dana, Mr. James A. Garland, and Mr. W. M. Laifan, and 
 in the Avery collection in the Metropolitan Museum at 
 New York, and in the Hippisley collection on loan at the 
 Smithsonian Institution at Washington, of which a cata- 
 logue,"^ rich in Chinese lore, has been published by my 
 friend Mr. Hippisley, who is a sinologue of foi'emost 
 rank. Among the European collections of most easy 
 access are the Franks collection in the British Museum ; 
 the Salting collection, Avhich includes so many magnifi- 
 cent pieces, in the loan exhibition at the South Kensing- 
 ton Museum ; and the Grandidier collection at Paris. 
 Sir Wollastou Franks, who has presented his treasures to 
 the British Museum, \% facile princeps among European 
 authorities, and the author of a well-known handbook. f 
 
 * Catalogue of the Hippisley Collection of Chinese Porcelains, by A. E. Hip- 
 pisley. Report of National Museum, 1888, Washington, D. C. 
 
 f Catalogue of a Collection of Oriental Porcelain and Pottery, by A. W. 
 Franks, F. H, S., F. S. A., second edition, London, 1878.
 
 INTRODUCTION. 9 
 
 M. Grandidier, ti critical as well as an enthusiastic 
 admirer of Chinese porcelain, and the compiler of a fine 
 book * illustrated by forty-two heliogravures, has recently 
 presented his collection to the republic, and it is ali'eady 
 worthily installed in one of the galleries of the Louvi'e. 
 
 The Sevres Museum contains an Oiiental department 
 of considerable value. The museums of Amstei'dam and 
 The Hague display a selection of the porcelain l)rought 
 over in such quantities by the Dutch East India Com- 
 pany in the sixteenth and seventeenth centuries. The 
 Dresden Oriental collection is })robably the most ancient 
 in Europe, having been chiefly brought together, accord- 
 insc to its former director, Dr. Grraesse,f bv Auo;ustus tlie 
 Strong, King of Poland and Elector of Saxony, betAveen 
 the years 1694-1705. This is the palmy period of the 
 reign of the Chinese Emperor I^Cauij-liHi (1662-1722), to 
 which time most if not all of the more important Chinese 
 pieces in this large collection must be referred. This 
 collection is also remarkable for its series of old Japan 
 Jars and beakers decorated with polychrome enamels. It 
 was stored awa}^ for many years in the vaults of the 
 Japanese palace, but is now full}^ exhibited in the 
 Johauneum on the opposite side of the rivei". 
 
 The question of celadon is one of the most interesting 
 of ceramic problems, and its solution has thrown a flood 
 of light on the intercourse bet\veen distant nations in 
 early media3val times. ;^ Celadon, as is well known, is 
 the name applied to a peculiar kind of porcelain of sea- 
 sreen tint, which is found distributed throuo-hout 
 southern and western Asia, along the eastern and 
 northern coasts of Africa, and in the adjoining islands, 
 
 * Let, Ceramique chiiioise, par E. Grandidier, Paris, 1894. 
 
 ]; Die K. Porzellan uiid Gefuss-Sammlung zu Dresden, von Hofrath Dr. J. G. 
 Th. Graesse, Dresden, 1873. 
 
 X Ancient Porcelain: A Study in Chinese Mediivval Industry imd 'I'rade, by 
 F. Hirlh, Pli. D., 1880.
 
 10 ORIENTAL CERAMK' AKT. 
 
 from Cera 111 aud the Key Island on the east to Mada- 
 gascar and Zanzibar on the west, as well as in Japan and 
 China. A quantity has been dug up in recent times in 
 Cairo, and Persia is a never-failing source of the thick,, 
 round dishes with fluted borders, foliated rims, and 
 tooled decoration under the glaze, which Mohammedans 
 value so liighly because they are supposed to change 
 color at the contact of poisoned food. The Arabs called 
 them iiKiiiaham, a name derived from Mai'taban, one of 
 the states of ancient Siam, the modern Maulmain ; and 
 one of their eucyclopyedists, wi-iting early in the seven- 
 teenth century, declared that *' the precious magnificent 
 celadon dishes and other vessels seen in his time Avei'e 
 manufactured at Martaban." Starting fi'om this. Prof. 
 Karabacek, of Vienna, has lately ti'ied to prove that this 
 old celadon was not Chinese. Others, like Jacquemart, 
 had previously ascribed it to Persia or to Egypt, arguing 
 princij)ally fi-om the difficulty of transporting such large 
 quantities by caravan traffic across Asia. But this diffi- 
 culty vanishes now that we know from Mohammedan as 
 well as Chinese sources of the long sea voyages under- 
 taken by the Chinese in early times. 
 
 Arabian Avriters speak of fleets of large Chinese junks 
 in the Persian Gulf as early as the ninth century, and 
 theii' I'oute may be followed in the official annals of the 
 T\ing dynasty. Chinese authors of the Sung dynasty 
 describe how their ships travelled along the coast of 
 Africa as far south as Zanzibar, "which they call Tsang- 
 pa, and copper " cash " of the 2)eriod have lately been 
 dug up there mixed with fragments of celadon vessels. 
 They carried eliding fzii^ "green, or celadon, porcelain," 
 and brought back ivu ming y% " cobalt mineral." In the 
 next dynasty, when the Mongols ruled Bagdad as well as 
 Peking, the traffic by sea was still more constant. Marco 
 Polo ti'a veiled homeward in the suite of a Mongolian
 
 INTRODUCTION. 1 1 
 
 princess, and described the route from Zayton to Hor- 
 muz ; and Ibn Batista, who came to China soon after- 
 ward, also alludes to the trade in Chinese porcelain. In 
 the Ming dynasty, which succeeded, the andjitious Em- 
 peror Yjuig-lo dispatched the figliting eunuch, Admiral 
 Cheng Ho, who carried Chinese arms into Ceylon, and 
 who was again sent on a more peaceful mission by the 
 next emperor, Hman-te^ in the year 1430, to the south 
 coast of Arabia, to the port of Magadoxo in Africa, and 
 to Jiddah, the seaport of Mecca in the Red Sea, to which 
 he carried celadon porcelain, as well as nuisk, silk, cam- 
 phor, and copper " cash." This was the time that >SV- 
 tTia-ll blue was brouo-ht to China. Cobalt liad lono; 
 previously been employed in Persia in the decoration of 
 tiles and other objects of faience. After the appearance 
 of the Portuguese ships in their seas Chinese junks were 
 no more seen, but celadon porcelain was left behind in 
 all the coasts they visited, and there seems little reason to 
 doubt its exclusively Chinese origin.
 
 CHAPTKR I. 
 
 OHKilX OF PORCELAIN. 
 
 PORCELAIN was invented in China. The exact 
 date of the invention, however, is wrapped in mys- 
 tery; it is, in fact, liardly likely that it will ever be 
 definitely settled, as it must have been by a gradual 
 progress in the selection of materials, and in the perfec- 
 tion of processes of manufacture, that porcelain was 
 at last evolved from oi'dinary potteiy. For the creation 
 of a scientific classiiication of ceramic products we are 
 indebted to M. Brongniart,* and it will be well first to 
 define the distinctive characteristics of porcelain. Por- 
 celain ought to have a white, translucent, hard paste, not 
 to be scratched by steel, homogeneous, resonant, com- 
 ])letely vitrified, and exhibiting, when broken, a con- 
 choidal fracture of line grain and brilliant aspect. These 
 qualities, inherent in porcelain, make it impermeable 
 to watei', and enable it to resist the action of frost even 
 when uncoated with glaze. These characteristics of the 
 paste, es[)ecially the translucence and vitrification, define 
 porcelain very well. If either of these two qualities be 
 wanting, we have before us another kind of pottery ; if 
 the paste possess all tlie othei' properties, with the excep- 
 tion of translucence, it is a stoneware; if the paste be 
 not vitrified, it beloui^s to the cate2:orv of terra cottas 
 or of faience. 
 
 The Chinese define ])oj-celain, \\hich they call ^ 
 (/.c'l')), as a har<l, com[)a('t, fine-grained ])otteiy ^^ {^'(fo), 
 
 * Traite des Arts Venouiquftt. par Alexandre Broiigiiiart, two volumes, 8vo, 
 with Atlas, Paris, 1844. 
 
 12
 
 ORIGIN OF PORCELAIN. 13 
 
 and distinguish it by the cleur, resonant note \\ hich it 
 gives out on percussion, and by the fact that it can not be 
 scratched by a knife. They do not lay so mucli stress 
 on the whiteness of the paste, nor on its translucency, so 
 that some of the pieces may fail in these t^vo points, 
 when the faV^ric is coarse; and yet it would be difficult 
 to separate them from the poi'celain class. The j^aste of 
 the ordinary ware, even at Ching-te-chen, is com[)osed 
 of more heterosfeneous materials than that fabricated 
 in European factories, and may even be reduced in some 
 cases to a mere layer of true ])orcelain earths plastered 
 ovei- a substratum of yellowish gray clay. The Chinese 
 sepai'ate, on the other hand, dark-colored stonewares, like 
 the reddish-yellow ware made at Yi-hsing, in the prov- 
 ince of Kiangnan, known to us by the Portuguese name 
 of hoccaro, or the brown stoneware produced at Yang- 
 chiang, in the southern -part of the province of Kwang- 
 tung, which is coated with colored enamels, and is often 
 put in European collections among the monochrome por- 
 celains. 
 
 The Chinese Avoi'd for pottery in its widest sense is 
 fao, wdiich includes all ceramic products, from con^mon 
 earthenware to porcelain. Like many of the great 
 nations of antiquity, they claim for themselves the inven- 
 tion of the potter's wheel. M. Bronguiart is inclined to 
 admit their claim, and even attempts to trace the route 
 by which it mav have reached E2:y|)t, throusfh 8cvt1iia 
 and Bacti'ia ; but such speculations seem too hazardous. 
 It was certainly known to the Egyptians at a very early 
 period, probably not later than twenty-five hundred years 
 befoi-e our era. Scenes depicted at Beni Hassan and at 
 Thebes show us the Egyptian potters at w ork, and figure 
 the simple wheel, consisting of a flat disk or hexagonal 
 table, placed on a stand, Avhich appears to have been 
 turned with the left hand while the vase A\ns shaped
 
 14 ORIENTAL CERAMIC ART. 
 
 with tlie riglit.* Tlie Chinese claims go back to about 
 the same period, as tliey attribute the iuveutiou of the 
 potter's wheel to the director of [)ottery attached to the 
 court of the fabulous Emperor Huang 1\ to whose 
 reign they carry back their cyclical system of chronology, 
 starting from a date coiTesponding to w. v. 2637. The 
 Emperor Shun, whose reign is ])laced in h. c. 2255-2206, 
 is generally credited with the first improvements in the 
 art of welding clay. Ssii-ma Oh'ien, the Herodotus of 
 China, the compiler of the SJnJi ('Jti, the first of the 
 dynastic histories, says in his biography of SJiuu, that 
 before he came to the throne he made [Jottery at Plo-pin. 
 This name, by the way, furnishes an explanation for a 
 Japanese seal, figured in the J^^ranks Catalogue (Plate 
 XV, Fig. 191), which reads in Chinese Ho-jmi chiJi li/u., 
 or Offshoot of Ho-piu, a title taken from old Chinese 
 lore to be bestowed on a favorite potter })y one of the 
 Japanese feudal princes. Pere d'Entrecolles describes 
 the inunense value a Chinaman attaches to any pieces of 
 pottery he can attribute to the reigns of Yiia and Shun. 
 Tradition says that Yao adored simplicity, and had his 
 sacrificial vessels fashioned of plain yellow earthenware, 
 and that Shun was the first to have them glazed, and 
 the credulous collector classifies his prehistoric pieces 
 accordingly. 
 
 Coming to more historical times, the period of the Choii, 
 dynasty (b. c. 1122-249), the third of the Three Ancient 
 Dynasties, its founder, Wu Wajig, is recorded to have 
 sought out a lineal descendant of the Emperor Shun, on 
 account es])ecially of his hereditaiy skill in the manu- 
 facture of pottery, to have given him his eldest daughter 
 in marriage, and to have appointed him feudal ruler of 
 the state of Ch'en (no\v Ch'en-chou Fu, in the })rovince 
 of Honan), to keep up there the ancestral worship of his 
 
 * History of Anrie7)t Pottery, by S. Birch, London, 1858.
 
 ORIGIX OK POIKEI.AIN. If) 
 
 accoinplislied ancestor. This iiohle is sup[)ose<l to have 
 been the first director of ]X)tterv uiuler tlie new dynasty, 
 an official often alluded to in the Cerfiiioniiil Cla-sslc and 
 in other ancient records of the pei'iod. 
 
 The Choit Ritual lias been presei'ved among tlie 
 classical books, and consists of an elal>orate detail of the 
 various officers, with their respective duties. It has been 
 translated into French. ■^'' The officers were classed then, 
 as now, undej" six boards. But when the Ijook was 
 edited in the first century n. c. b}- Liu Hin, the sixth 
 section, which \vas that of the Board of AVorks, ^^as 
 found to be wanting. To sup[)ly the deficiency he incor- 
 porated the K^io hmtg chi^ an artificer's manual of the 
 same period. This includes a shoi't section on pottery, 
 which gives the names and measurements of several kinds 
 of cooking vessels, sacrificial vases, and dishes, in the 
 fabrication of which the different processes of fashioning 
 upon the wheel and of molding are clearly distinguished. 
 The vessels are described as having been made by two 
 classes of workmen, called respectively fao-jen, "pottei's,'' 
 and fang-jen, " niolders." 
 
 But few specimens of ])ottery that can l)e cei'tainly 
 referred to the Three Ancient Dynasties have survived 
 to the present day, although ritual vessels and other 
 antiques of bronze are to be seen in native collections by 
 thousands. These last often have inscriptions upon 
 them, beginning perhaps with the number of the month, 
 the \vaxing or waning period of the moon, the day of the 
 month and its cyclical number; rarely is the year of the 
 reigning sovereign or feudal suzerain prefixed ; never his 
 name, as far as I knoAv. It was during the JIan dynasty, 
 which i-eioned from b. c, 202 to a. d 220, that the system 
 of dividing the I'eigns into periods of years with honorific 
 
 * Le T'-heou, U, oh liifex iki Tcheou . traduit du Cliiiiois par E. Biot, Paris, 
 1851.
 
 16 OKIKNTAL CEHAMIC ART. 
 
 titles {^nien. Juio) was inaugunited in \^. v. 163. This pro- 
 vided for the first time a convenient means of dating 
 vases and otlier objects. 
 
 Bricks and tiles are among the most useful of ceramic 
 products. They may even rank as historical monuments 
 when inscribed. The Chinese antiquary collects them in 
 chi-onological series to show the changes in the style of 
 the written charactei', or ])uts one upon his writing-table 
 for daily use, excavated into the shape of an ink pallet. 
 They were first molded, with the date inscribed on one 
 side, during the Hau dynasty. Some of the pottery of 
 the period is also inscribed. There is, for instance, a 
 bottle-shaped vase of dark reddish stoneware in the Dana 
 Collection, in New York, molded in the shape of a l)roiize 
 ritual vessel of the time, enameled with a deep-green iri- 
 descent glaze, much exfoliated, which is engraved on the 
 surface with a date corresponding to b. c. 133, the second 
 year of the period Yuaii-l-Kang. A similar vase in the 
 British Museum, although it has no insci'i})tion upon it, 
 evidently dates from about the same time, and specimens 
 of this kind are not unconnnon in Chinese collections. 
 The vase illustrated in Fig. 49 is a good example of this 
 class, an ancient stoneware of ljro\vnisli-red paste, invested 
 Avith a thin but lustrous glaze of camellia-leaf green, 
 which came from the collection of Chang Yin-huan, 
 formerly Chinese ministei- at AVasliiiigton, as a relic of the 
 Ha7i dynasty. 
 
 There is no word, liowever, of porcelain so far in 
 Chinese books, and we have to do only with an o[)aque 
 stonew'are, invested w ith colored glazes. It remained for 
 European wi-iters to asci-ibe the existence of porcelain to 
 so remote a period, as in the case of the little medicine 
 bottles dug u]> out of Egy[>tian tombs that had not, it was 
 supposed, been disturbed before, and which were conse- 
 quently attriliuted to the eighteenth century b. c. Their
 
 ORIGIN OF PORCELAIN. 17 
 
 pretensions to sucL an antiquity have been so abundantly 
 disproved that it is hardly necessary to refer to them 
 here. They must have been fraudulently provided and 
 surreptitiously placed in these tombs by the Arab \vork- 
 men, Avho were rewarded wdienever any antique was 
 discovered. 
 
 Other authorities consider the muri'liiiie vases of the 
 ancients, which were described as " cooked in Parthian 
 fires," and wliich were so hii^hly valued that the Emperor 
 Nero gave the equivalent of a quarter of a million dollars 
 for one, to have been made of Chinese porcelain. It is 
 far more probable, as has been suggested by Mr. Nesbitt 
 in his notes on the histoiy of glass-making, that these 
 murrhine vases were made of agates and other hard 
 stones, the colors of which had V)een modified in the East 
 by heating and staining; and that the false murrhines 
 wei'e glass bowls imitating hard stones, but with various 
 strange tints not to be found in natural stones. 
 
 With regard to the origin of porcelain in (yhiua, the 
 Chinese themselves confess that previous to the com- 
 mencement of the T\(N</ dynasty, in a. d. 018, there are 
 no criteria for forming an opinion. The names of some 
 score of different sacrificial vases, drinking vessels, and 
 other objects may be collected from books, but nothing 
 is said about their structure or place of production. It 
 was reserved for a Western scholar to carry back the 
 invention to tlie IIa)i dynasty, and to date it precisely 
 as between b. c. 185 and a. d. 87. These dates, adopted 
 by M. Julien in his preface (Joe. ('it, p. xx), have been 
 generally followed by writers on tiie subject, as derived 
 from Chinese records, although based, as we shall show, 
 on fallacious grounds. They are deduced from a short 
 note in the a[)pen(lix to the memoir on the administra- 
 tion of porcelain in the annals of Eou-liang (^Fou-liang 
 Hsien Chili, l)ook viii, folio 44), which reads, "The
 
 18 OUIENTAL CERAMIC ART. 
 
 ceramic manufacture of Hsin-p'ing, according to local 
 tradition, was founded in the time of the Han dynasty, 
 and was probably of strong, heavy, and roughly finished 
 material, moulded and fashioned after methods handed 
 down from ancient times." 
 
 Commenting on this passage M. Julien writes : " Sous 
 la premiere dynastie des Him^ ^^in-p'mg etait uu Iden 
 [district] qui faisait partie du royaume de Hoai-yang, 
 fonde en Tan 1 85 avant J. C, par I'empereiir Kdo-ti des 
 Han occideutaux. Ce royaume fut appele Ihli'in houe, 
 dans la deuxieme aimee de la periode Teliavg-ho (I'au 88 
 apres J. C.) du regne des Haii orientaux. Or, comme la 
 porcelaiue parut pour la premiere fois sous les Han^ dans 
 le pays de Sin-i^ing (aujourd'hui Hoai-ning-hien, de- 
 partement de TcJi'in-tcheoii-foK., dans le Honan), qui a 
 pu appartenir aussi bien au royaume de Hoai-yang (ju'a 
 celui de Tcliiii^ il s'ensuit qu'on pent en placei* I'inven- 
 tion entre les annees 185 avant et 87 apres, J. C." 
 
 The Chinese names of the geographical dictionaries 
 from which these facts are taken are o-iven in footnotes, 
 but all the trouble of reference would have been saved 
 had M. Julien known that Hsin-p'ing was the original 
 name of Fou-liang Hsien. It is recorded in the geo- 
 graphical section of the official annals of the T\mg 
 dynasty {Thing Shv^ book Ix, folio 25) that this walled 
 city was founded under the name of Hsin-p'ing, in the 
 fourth year of the period Wu-te (a. d. 621), with juris- 
 diction over a tract which formed part of the old district 
 of Po-yang ; that it was i-e-established in the fourth year 
 of K\ii-yuan (716), under the new name of Hsin- 
 ch'ang; and that its name was finally changed to Fou- 
 liang (which it has kept to the present day) in the first 
 year of the period T''ien-2)ao (742). 
 
 In another part of his book (p. 88), in reference to 
 porcelain made at Hsin-p'ing by Ho Chuug-ch'u, in the
 
 ORIGIN OF PORCELAIN. 19 
 
 year 621, for the use of tlie emperor, Julien strangely 
 identifies this Avith another IIsin-[)'inir, con-espoii(liiig to 
 the modern Pin-chon, a department in the prefecture of 
 Si-ngan, the capital of the province of Shensi, a city 
 which certainly had this name during the Eastern Ilan 
 dynasty (25-220), but never since, so that this identifica- 
 tion involves another anachronism of several centuries. 
 The name signifies '' Newly Pacified," and a number of 
 cities seem to liave V)orne it in tuin for a brief pei'iod. 
 
 Hsin-p'ing occurs constantly in different })ages of the 
 annals quoted a])ove as the old name of Fou-liang, and 
 it is, besides, referred to more than once in the last thi'ee 
 books of the Ching-te-chm T\io Lxi, which are omitted in 
 Julien's translation. An exti'act, for example, is (pioted 
 in book viii, folio 2, fi-om the biography of Chu Siii, 
 styled Yu-heng, an official under the T\in<i dynasty, 
 who was superintendent at Hsin-p'ing, when, in the first 
 year of the period Chi)if/-Jiin(/ (a. d. 707), an imperial 
 decree was received by the Governor of Hung-chou, 
 ordering him to supply with all s[)eed a inunl)er of 
 sacrificial utensils for the imperial tombs. Chu Sui is 
 desci'ibed as having pushed on the work so energetically 
 that they were all sent befoi-e the end of the year. 
 Hung-chou is the old name of the modem Nan-ch'ang 
 Fu, the chief city of the province of Kiangsi, and Jao- 
 chou, within the bounds of which lies Fou-liang Ilsien, 
 is stated in the Annals of the T'aiuj dynasty to have 
 been actually at that time under the jurisdiction of the 
 Governor of Hung-chou. 
 
 It seems to me certain that llsin-p'ing in all these 
 quotations must i-efer to the same place, which is 
 recorded to have furnished a supply for the inq^erial 
 court, as early as the seventh century, to be sent to the 
 capital in the northern province of Shensi, and which has 
 been the seat of the imperial potteries since the year
 
 20 ORIENTAL CERAMIC ART. 
 
 1004, in which CHiiug-te-cheii was founded, down to the 
 present day. It follows, necessarily, that we must give 
 up the Han dynasty as furnishing a certain date for the 
 invention of porcelain. This clears the ground for 
 further research, AVe know that the word fzu^ which 
 noeans porcelain in the present day, first came into use 
 during the Han dynasty, and Mr. Hippisley {loc. cit., 
 p. 393) takes this coining of a new word to designate 
 the productions of that age to be a strong argument in 
 favor of the early date. Others, more skeptical, before 
 reaching any decision, ask to be shown actual specimens 
 of translucent body that can be certainly referred to the 
 period. 
 
 In default of such material we will pass on to the T\mg 
 dynasty, which ruled over the Avhole of China for nearly 
 three centui'ies, during what has been described as a 
 protracted Augustan age, when arts and letters flourished 
 abundantly. During the short-lived ISui dynasty (581- 
 617) which immediately preceded the T\tng we hear of 
 a kind of green porcelain {lil tz'it) invented by a 
 President of the Board of Works named Ho Chou to 
 replace green glass (liu-li), the composition of which had 
 been lost. The contemporary annals of the Sni dynasty 
 {Sui S7iit, book Ixxxviii, folio 7), which give his 
 biography, say : " Ho Chou liad an extensive knowledge 
 of old pictures and a wide acquaintance with oV)jects of 
 antiquity. China had long lost the art of glass-making, 
 and the workmen did not dare to make fresh trials, but 
 he succeeded in making vessels of green porcelain which 
 could not be distino-uished from true o-lass." Consider- 
 able progress must have been made about this time in 
 the ceramic manufacture at Fou-liang Hsien, as it is 
 recorded in the geographical account of the district that, 
 in the early years of the reign of the founder of the 
 T^ang dynasty, T'ao Yii, a native of the place, conveyed
 
 ORIGIN OF PORCELAIN. 21 
 
 his porcelain to the c«ipital of the empire in the province 
 of Kuan-chung (now Sliensi), where his ware, known by 
 the name of "false jade vessels," was all jiresented to the 
 emperor. The same book records that in the fourth year 
 (a. d. 621) of the same reign an inipei-ial decree was 
 issued ordering the potter Ho CUiung-cli'u, referred to 
 above, and otlier natives of Hsin-p'ing (now Fou-liang), 
 to make a supply of i)orcelain utensils for the use of the 
 imperial court. 
 
 The ceramic ware produced at this time is desci-ibed 
 to have been of finely levigated paste, thin in ])ody, 
 translucent, and brilliant as white jade. This description 
 seems exaggerated, yet the contemporary name of 
 "imitation jade" is enough, almost, to prove tliat it 
 must have been really porcelain, taken into consideration 
 with the fact that it was the production of the same 
 district that j^i'oduces the finest porcelain of the present 
 day. No simile would be more appropi-iate ; for a highly 
 polished bowl of white jade is quite as translucent as tlie 
 most delicate piece of egg-shell porcelain. 
 
 AVe know that the ceramic art was highly appreciated 
 during the T''ang dynasty from the frequent reference to 
 it made in the books of the period. The Buddhist 
 monks had their alms-bowls (^><>, Sanskrit jx/tnf) and 
 their ablution vases (Jcun-cliHh-ka, Sanskrit hiiydiht) 
 made both of porcelain (fz'ii) and of common earthen- 
 ware (?/;«), preferring the new material on account of its 
 simplicity to 1>he gold, silver, bronze, and precious stones 
 which had been employed previously. 
 
 Tea first came into ireneral use as a ])everaue al)out this 
 time, and there is a classical treatise on tea, called Ch'a 
 Ching^ written by Lu Yii in the middle of the eiglith 
 century, which is still extant. It contains ten sections, 
 entitled (1) Origin of the Plant; (2) Implements foi- 
 Gathering; (3) Manufacture of the Leaf; (4) Utensils
 
 22 ORIENTAL CERAMIC ART. 
 
 used in preparing the Infusion; (5) Methods of Boiling; 
 (6) Drinking ; (7) Historical Summary ; (8) Districts 
 of Production; (9) Ilesume : and (10) notes on 
 illustrations. 
 
 Among the utensils, the bowls {(va/i) used for drinking 
 tea are briefly described, and classified according to the 
 effect of the color of their glaze in enhancing the tint of 
 the infusion, which was made by pouring boiling water 
 upon the powdered tea, the leaves having been previously 
 ground in a mortal'. The bowls prefen-ed by the author 
 were those of Yueh-chou, tlie modern Shao-hsing Fu, in 
 the province of Chehkiang ; those of Hsing chou, now 
 Shun-te Fu in the ])rovince of Chihli, where \vhite 
 j)orcelaiii is still produced in the present clay, being 
 ranked next. He writes (folio 5) : " Yueh-chou bowds 
 are the best. Some persons place Hsing-chou bo\vls 
 above those of Yueh-chou, but they are, in my opinion, 
 mistaken. Hsing-chou poi'celain resembles silver, while 
 Yueh-chou porcelain is like jade — the first point in which 
 Hsing is inferior to Yueh ; Hsing-chou porcelain resem- 
 bles snow, Yueh-chou porcelain is like ice — the second 
 point of inferiority; Hsing-chou porcelain being ^'S'hite 
 makes the tea look re<l, while the Yueh-chou porcelain 
 being green gives a greenish tint to the tea — the third 
 point in which Hsing is inferior to Yueh." 
 
 This porcelain, however, Avas more highly appreciated 
 by others, as one writer of the time observes that " the 
 white teacups of Hsing-chou porcelain, like the bi'owu 
 ink-slabs of Tuan-hsi stone, are prized throughout the 
 empire by high and low alike." Both kinds of porcelain 
 are described as o-ivino- out a clear, resonant ring; when 
 struck ; and a celebrated musician is said, in his 
 biography, to have been in the habit of using ten cups 
 of Yueh-chou or Hsing-chou porcelain to make a musical 
 chime, playing upon them with ebony rods.
 
 (HlKilN OF I'OKCELAIX. 23 
 
 The poets of this, the classical age of poetry, make 
 constant reference to porcelain cups in their verses in 
 praise of tea and wine, both favorite subjects for odes. 
 They liken the bowls to curled "disks of thinnest ice," 
 to " tilted lotus leaves floating upon a stream," to '' white 
 or green jade." Such similes are applical)le only to 
 poi'celain. One of the most i-enowned of these poets, the 
 younger Tu, who lived 803-852, Avrote a letter in verse 
 begging for the loan from Wei Ch'u of some white 
 porcelain bowls from the Ta-yi potteries in the province 
 of Sse-chuan, which is often quoted: "The porcelain of 
 the Ta-yi kilns is light and yet strong. It rings with 
 a low jade note, and is famed throughout the city. Your 
 Excellency's white bowls surpass hoarfrost and snow. 
 Be gracious to me and send some to my poor mat-shed." 
 The first line praises the quality of the fabric, the second 
 the resonance of the material, the third the color of the 
 glaze. 
 
 Arab trade with China was vei'v extensive in the 
 eighth and ninth centuries, when Mohammedan colonies 
 were formed in Canton and other seaport towns. One 
 of the travelers, Soleyman by name, wi'ote an account of 
 his journey in the middle of the ninth century, which 
 has been translated into French, and lie furnishes the 
 first mention of porcelain outside China which may be 
 quoted in confirmation of the Chinese descriptions of the 
 time. He says: "They have in China a very fine clay 
 with which they make vases which are as transparent as 
 glass ; water is seen through them. These vases are 
 made of clay."^ The Arabs at this time were thor- 
 oughly well acquainted with glass, so that this evidence 
 is almost conclusive. 
 
 * Relation des Voyages fails par lea Arahes et les Persans dans I'liide et a la 
 CJiine dans le IXe s-ihle de I'tre chretienne, par M. Reinaiid, menibre I'liistitut, 
 Paris, 1845.
 
 24 OlilKNTAL (EKAMK^, ART. 
 
 AVe pass next to the Eiupei'or SJuli Ti^ung (954-959) 
 of the Posterior Chou, a brief dyiuisty whicli reigned 
 just before the Sinn/, wlio encouraged tlie manufacture 
 of porcelain at his capital in Honan, now K'ai-feng Fu. 
 The pieces which were known afterward as CKai porce- 
 lain, that being the name of tlie imperial house, were 
 described as being " as blue as the sky, as clear as a 
 mirror, as thin as paper, and as resonant as jade." 
 This eclipsed in its delicacy everything that [)re- 
 ceded it. The description refers clearly to an azure- 
 tinted monochrome glaze produced by the use of the 
 native cobaltiferous mineral. 
 
 It is probable that no perfect specimens of these 
 delicate wares are still extant, so that we have to be 
 content with only a literary proof of their existence. 
 The Chinese are satisfied with this; they delight in 
 literary research, as much as they dislike digging in the 
 o;round, fearino; to disturb the rest of the dead. We 
 must be content to wait for future discoveries to satisfy 
 those sceptics who demand tangible evidence of tlie 
 existence of true })orcelain before the ^nng dynasty. 
 No one, as far as I know, disputes that it existed. But 
 further discussion of this interesting subject must l)e 
 deferred, meanwhile, to a future chapter.
 
 CHAPTER II. 
 
 DELATIONS OF CHINESE, KOREAN, AND JAPANESE CERAMICS. 
 
 rr^HE civilization of China, whether it be indigenous, 
 -L or derived, as some learned men think, from an 
 Accadian source in westei'n Asia, is certainly much more 
 nucient than that of either Korea or Japan. Those who, 
 like M. Terrien de Lacoupei-ie, would bring it from the 
 Mesopotamian regions, or from the southern shores of 
 the Caspian Sea, place the date of its introduction into 
 China within tlie third millennium before Christ. The 
 Chinese, who consider, on the other hand, that their 
 culture is entirely of native growth, date it from about 
 the same time, during which the legendary — as distinct 
 from the purely mythical — period of their histoiy begins 
 with Fu-hsi, the reputed founder of the Chinese polity, 
 whose ]'eign is placed by them in b. c. 2852. Their 
 €yclical system of chronology is dated from the reign of 
 Huang T% the "Yellow Emperoi'," the first of the 
 periods of sixty years commencing with the year b. c. 
 2637. He is credited ^vith a full court of officials, who 
 are described as having introduced many of the useful 
 arts, the ceramic art among the rest. , Tlie invention of 
 the potter's wheel is generally atti'ibuted to his director 
 of pottery. The Shu King, oi- Booh of History, which 
 has been translated into Euglish by Dr. Legge, and 
 which is one of the most authentic of the ancient 
 classics, begins with the reigns of Yao and Shun, wiiich 
 immediately precede the "Tlii'ee Ancient Dynasties "of 
 Hsla, Sluing, and Choii, the first that were coni[)Osed of 
 hereditary lines of sovereigns, 
 
 25
 
 26 ORIENTAL CKKAMIC ART. 
 
 Citou Jl.siii, the last sovereign of the second ancient 
 dynasty, ^vas an abandoned tyrant, who perished in the 
 flames of the Lu T'ai, or Deer Tower, liis hixiirious 
 j)alace of [)leasure, in m. c. 1123, the year that he was 
 defeated ))y Wu Wang, the founder of the Chou 
 d} nasty. One of the chief feudal nobles of the empire 
 during the i-eign of the tyrant Chou Hsin was Ki Tzii, 
 the Viscount or Chief of Ki. This noble vainly sought 
 to turn the licentious monarch from his evil Avays, but 
 was cast into prison, whence he was I'eleased by the 
 victorious WuWaiuj in i?. c. 1122. He was offered a 
 high post under the neAV rule, but declared that he could 
 not I'ecognize the sovereignty of a usurper, and he 
 retired to the country now forming the kingdom of 
 Korea. The peninsula Avas then inhabited b}' barbarous 
 tribes, among whom he introduced the first elements of 
 culture, and he was accepted by them as their first ruler^ 
 and was so I'ecognized by the new sovereign of China. 
 
 Korea is indebted to China for the knowledge of writ- 
 ing, as ^v^ell as for most of the sciences and useful arts. 
 They use the written characters of China to this day, 
 although they have also an alphal)et, derived proV)ably 
 from the Sanskrit, adapted by Buddhist pilgi'ims fi-om 
 India, who doubtless reached Korea by way of China. 
 There has been frerpient intercourse with China through- 
 out historic times. The Chinese invaded the country in 
 force during the Ilaii and T\ni(j dynasties, and claim to 
 have reduced it to the condition of a province during 
 the latter re(jirne. Most of the Tartar dynasties that 
 have ruled over China, when they emei'ged from their 
 native wilds on the noi-th of Korea, have first invaded 
 Korea and conipelled its submission before overrunning 
 China. The present Manchu dynasty is no exception to 
 this genei-al lule. The Koreans, however, were not 
 without some knowledge of pottery in the earliest
 
 CHINESE, KOREAN, AND JAPANESE CERAMICS. 2( 
 
 periods of wliicli we have an account of them from 
 Chinese sources. The Chinese liistoi'iographers in tlie 
 Hail times mention them as makino; vessels of unirlazed 
 earthenware in archaic forms and designs, similar to 
 those alluded to in the ancient classics of China, and 
 attributed to the ancient emperors Yao and Shun. 
 Sucli prehistoric vessels are found everywhere through- 
 out eastern Asia, as well as in North and South America, 
 and are remarkable for the general similarity of theii- 
 shape and rude ornamentation. This prehistoric potters- 
 has l)een more thoroughly investigated in Japan, where 
 immense deposits have been discovered in ancient shell 
 mounds at Omori, in the vicinity of Tokio, and else- 
 where throughout the country. Several specimens have 
 been figured in special works in Japanese ceramics.* 
 The subject is treated at length by Prof. Morse and Mr. 
 Satow in their papers upon the Shell Mounds of Omorif 
 and Sepulchral Mounds at Kaudzuke.J 
 
 Prof. Morse describes the pottery which he discovered 
 at Omori and other places in Japan as being black, or 
 black with a reddish tinge, or red of various shades, and 
 made of coarse clay. The vessels are in many cases 
 unevenly baked, and \\\i\\ few exceptions they are quite 
 thin ; the surfaces ai'e generally smooth ; the rims of the 
 vessels, either straight, undulating, or notched, |)roject at 
 intervals into points, or have variously formed knobs. 
 The borders are frequently ribbed Avithin, or marked 
 with one or more parallel lines outside, the lines often 
 inclosing a row of rude dots. The surfaces of the 
 vessels are oi-namented with curved lines, i:)ands of 
 
 *See Japanese Pottery, by James L. Bowes, Liverpool, 1890. 
 
 f Shell Mounds of Omori, by Edward S. Morse, Professor of ZoOlogy, 
 University of Tokio, Memoirs of the Science Department, University of Tokio, 
 Japan, 1879. 
 
 J Ancient Sepulchral Mounds in Kaudzuke, by Ernest Satow, Transactions 
 of the Asiatic Society of Japan, vol. viii, Tokohama, 1880.
 
 28 ORIENTAL CERAMIC ART. 
 
 oblique lines running in one direction round tbe vessels^ 
 followed by a band of similar lines running in an 
 opposite direction, and sometimes these lines cross each 
 other. The bottoms of some of the pots have matting 
 impi'essions. These designs have either been roughly- 
 incised or, as in the case of the mat marks, impressed, or 
 they are smoothed out of wet clay, or carved in dry clay 
 before baking ; and, like all the pottery found in shell 
 mounds throughout the world, these works bear the 
 impression of the cord mark. 
 
 In some instances he found that the vessels had been 
 painted with mercury sulphide, but in no example 
 had any attempt been made to paint designs or patterns,, 
 except that in some cases the color was applied to 
 interspaces between lines or curves already marked. The 
 objects, discovered mostly in fragments, are grouped as 
 follows : Cooking vessels answering to pots, stewpans,. 
 etc.; hand vessels, such as bowls and cups ; vessels with 
 constricted necks, possibly used as water bottles ; and a 
 few vessels of various forms w^hich may be designated as- 
 ornamental jars and bowls. Much difference of opinion 
 exists as to the age of these deposits. None of the 
 frasfnients shows the least sio-n of havino; been thrown or 
 turned ; and the supposition therefore is that they were 
 made at a period at least anterior to the use of the 
 potter's wheel in Japan, the invention or introduction of 
 which is refeiTed by the Japanese to the eighth century 
 of our era. Prof. Moi'se considers them much more 
 ancient, on account of differences in the species of the 
 accompanying fauna as compared with those of the 
 present day ; he even thinks that the pottery may have 
 been made by a pre-Aino race. 
 
 The most interesting portion of Mr. Satow's report 
 upon the discoveries at Ohoya and Ohomuro is that 
 which refers to the fragments of human figures and of
 
 CHINESE, KOREAN, AND JAPANESE CERAMICS. 29 
 
 Lorses, roughly and inartisticjilly molded in soft clay and 
 imperfectly baked, probably by exposure to the sun. 
 Among the traditions of the ceramic industry recorded in 
 old Japanese books is a story relating the making of 
 pottery figures in the third year of the Cliristian era, to 
 take the place of the persons and animals previously 
 buried around the graves of people of rank, which is 
 probably based upon fact, although it may be untrust- 
 worthy as to period. The common version runs as 
 follows: "The Emperor Saiuin {\\\\o is said to have 
 reigned from b. c. 26 to a. d. 70, and to have died at the 
 age of one hundred and forty-one years) signalized his 
 reign by the repeal of a barbarous custom which doomed 
 the imperial retainers, as well as horses and perhaps 
 other animals, on the decease of the sovereign, to be 
 buried alive in holes in the ground around tlie tomb. In 
 the year 3 a. d. the empress died, and Suiimi, at the 
 suggestion of his retainer Nomi no Sukune, called together 
 one hundred of the hajihe or potters of Idzumi province 
 that they might make clay figures of men and horses, to 
 bury in the place of living victims, as an example foi- 
 future ages. The workmen molded the figures under the 
 direction of Nomi no Sukune and interred them in a 
 circle around the tomb. The emperor rewarded his 
 adviser by conferring upon him and his descendants the 
 office of chief of the potters, with the title of Hajihe no 
 Tsukasa.'''' Mr. Satow, without supporting the correctness 
 of the Japanese dates, adopts the native view that the 
 tumuli explored were really ancient Inirial places of the 
 imperial family. 
 
 The ancient Japanese annals called Kojikl state that in 
 the early part of the same reign a Korean })rince became 
 naturalized in Japan, and brought with him a noted 
 potter of Shiraki, a principality of Korea, from whom 
 descended the workmen of Kaciami no Hazama, in the
 
 30 ORIENTAL (EUAMIC AUT. 
 
 province <>f Oiui, who for iiiany centuries were reputed 
 t'oi' the fahrication of 81iii'aki ware. This is generally 
 quoted as the first iuti'oduction of a foreign element 
 into Japanese ceramic art, although the relics identified 
 with this production are of very ^^I'iniitive construction, 
 scarcely equal to that of the shell heaps, being also 
 handmade, roughly molded, nnglazed, and presenting 
 nothing worthy of the name of decoration. The baking 
 was effected in holes dug in tlie ground. Mr. Ninagawa^ 
 says that in the present day the manufacture of hand- 
 made pottery in the Shiraki style is carried on at the 
 village of Kimura, in Yamato province, but tlie workmen 
 now make use of a raised earthen stove. 
 
 But the native chronology of these times is very uncer- 
 tain, and it is not till the fifth century, when it becomes 
 more accurate, that we can accept Japanese ac(M)imts of 
 intercourse with the outside woi'ld with any confidence. 
 In the year a, u. 463 the Emperor Yuriahu is said to 
 have dispatched an envoy to Korea to engage the services 
 of a skilled potter, which resulted in the advent of a 
 man named Koki, w^ho settled in the province of Kawachi, 
 and there taught the ceramic methods of his people, 
 which gradually spread to other parts of Japan. 
 
 The vases fio-ured in Ninas-awa's work Kvmn-ko dzu- 
 setait as prehistoric are probably more recent than, is 
 usually supposed. Many of them contained, ^vhen dis- 
 covered, the curious carved and polished jade ornaments 
 called, from their shape, magatama^ Tciidatama, etc. ; and 
 jade, according to Prof. J. Milne, is a stone foi'eign to 
 Japan, and must have been imported from abroad. 
 
 The progress of the art in Japan was confessedly very 
 slow, and aided at eveiy step by Korea or China, although 
 
 * lu his work on Japanese pottery entitled Kwan ko dzu setsii, published at 
 Tokio, in five parts, with colored illustrations, and a partial translation of the 
 text in French.
 
 CHINESE, KOIIEAN, AND JAPAXESK ( EliA.MK S. .'U 
 
 the invention of tlie potter's wlieel is claimed by tlie Jap- 
 anese, as well as in quite recent times that of clay sec-- 
 gars. The invention of the wheel is atti'ihiited to tlie 
 Korean Buddhist monk Giogi, who lived from 670 to 
 749 A. D. The process of enameling \vas not adopted till 
 the ninth century, according to Mr. Ninagawa, who states 
 that although glazed ware was known in Ja])an in the 
 eighth century, the specimens were prohabh- im])()ited, 
 and that glaze was not applied by Japanese pottei's till 
 the next century. The green glazed tiles used in build- 
 ing the roof of the imj>eriai palace at Uda in 794 are 
 supposed to have been of Chinese manufacture. 
 
 Mr. Chamberlain's researches into the ancient writings * 
 have demonstrated that the chronology of the Japanese 
 anterior to the opening of the fifth century c)f oui- era is 
 fabricated, and that even the myths and legends, as 
 related in the earliest written documents extant, are so 
 intermingled with imported Chinese elements that mucli 
 of their suggestiveness is destroyed. He shows the nar- 
 row limit of the stock of knowledge possessed by the 
 early Japanese before the commencement of Chinese and 
 Korean intercourse, and that they ^vere certainly not 
 acquainted with a number of the arts and products which 
 figure in true historical periods. " They had no tea, no 
 fans, no porcelain, no lacquer, none of the things, in fact, 
 by which in later times they have been chiefiy known. 
 They did not yet use vehicles of any kind. They had 
 no accurate method of computing time : no money ; 
 scarcely any knowledge of medicine ; neither do we heai" 
 anything of the art of drawing, though they j^ossessed 
 some sort of nuisic and poems, a few of Avhich are not 
 without merit. But the most impoitant art of Avhicli 
 they were ignorant was that of writing." 
 
 * See the introduction to his transhition of tiie Kojiki in the Tr<in.<>ii<'(ions of 
 the Asiatic Society of Japan, 1883.
 
 32 ORIENTAL CERAMIC AR'J'. 
 
 The peninsula of Korea, projecting as it does from the 
 northeast of China toward the Japanese islands, has been 
 the route by which the knowledge of many of the arts 
 has traveled to the latter country. Korea, which was 
 anciently divided into three principalities — Kaoli, Petsi, 
 and Sinra — was not united into one kingdom until about 
 the middle of the tenth century, after it had recovered, 
 its independence, toward the close of the Tktng dynasty 
 in China. In a. d. 463, accoixling to the Japanese report 
 translated by Mr. (now Sir Wollaston) Franks,* some 
 Japanese princes introduced from Petsi a number of col- 
 onists, among whom were some potters; but these were 
 stated to have belonged to a Chinese corporation estab- 
 lished in Korea. Koreans were also concerned in found- 
 ing the factory at Karatsu (Hizen) at the end of the 
 seventh century, as well as some other industries, the 
 principal of which was the well-known ware of Satsuma, 
 whei-e the kilns were built on Korean models, and the pot- 
 ters formed a class apart, not being allowed to marry out 
 of their own community. Excepting, however, the Sat- 
 suma ware, the Koreans do not appear to have intro- 
 duced any pottery of remarkable excellence, and we hear 
 nothing of their making- porcelain. The real reason why 
 the Japanese attached such a fanciful value to Korean 
 vessels, and why they continued to import Korean pot- 
 ters long after they themselves had made so much prog- 
 ress in the art, was connected with the Tea Ceremonies, a 
 peculiar institution which they adopted from the Chinese,, 
 and which has been often described. It is to the Chinese 
 that they are really indebted for their greatest advances ; 
 the fii'st good Japanese glazed pottery having been made 
 at Seto, about 1230, by Toshiro, who had learned the art 
 in China; while the first porcelain made in Japan is 
 attributed to Gorodayu Shonsui, who went to study the 
 
 * Japanese Pottery, by A. W. Franks, London, 1880.
 
 chinksp:, kokp:an, and .Japanese ceuamics. .S3 
 
 manufacture in China, and returned, to settle at Hizen, 
 in the year 1513. 
 
 The " Father of Pottery," Kato Shirozayemon, nioie 
 familiarly known as Toshiro, crossed the sea at the age 
 of twenty, in company with the Buddhist abbot Dogen, 
 with a view to studying the nioi-e advanced processes of 
 the art in China, and returned six years latei', in 1229, to 
 carry his exjierience into practice at the village of Seto, 
 inOw^ari. He brought back materials with him and made 
 utensils of China clay which are called by tea-drinkers 
 Kara-mono^ " Chinese w'are.'' The tea jars and tea bowls 
 made from Seto clay by him and his descendants for four 
 generations are known as Ko Seto, " Old Seto." They 
 are fashioned of stoneware, invested with a black, brown, 
 or yellow glaze, and are good in form and color, as well 
 as perfect in technique. Not only have they served as 
 models for Japanese potters down to the present day, but 
 the celebrity of the ware has given the generic name of 
 Seto-mmio, or " Seto ^vare," to all subsequent ju-oducts of 
 the ceramic art. 
 
 Gorodayu Shonsui, who brought to Japan the art of 
 porcelain-making, was a native of Ise, and imitated the 
 example set by Toshiro nearly three hundred years 
 before, by traveling to China to study the technical 
 methods of an art new to his countrymen. He si)eut 
 several years in Foo-chow, during which time he is sup- 
 posed to have visited Ching-te-chen, and returned in the 
 eighth year of the Chinese Emperor Chtng-te (a. d. 
 1513). This reion is cele})rated for its l)lue and white 
 porcelain, decollated in cobalt blue undei- a white glaze, 
 and we iind that this is the kind of decoration that was 
 tii'st produced in Japan. Shonsui took the precaution to 
 import a considerable quantity of the petuntse, I'aoJin, 
 and cobaltiferous manganese used by Chinese potters, 
 and employed them in the making of various small
 
 34 ORIENTAL CERAMIC ART. 
 
 objects, such as ])0\vl8, sake bottles, and tea jars, painted 
 in })lue under an uncrackled glaze. A specimen marked 
 with his name, made by him in China, is preserved at 
 Nara. He settled finally in the pi-ovince of Hizen, wheie 
 he built several kilns, and he is regarded not only as the 
 founder of Japanese porcelain, but as the first Jap- 
 anese ceramist to apply the princii)les of drawing to the 
 ornamentation of pottery, as the few rude outlines occa- 
 sionally found upon the older ware scared}^ merit the 
 name of painted decoration. 
 
 But the materials brought over by Shonsui were soon 
 exhausted, and, in default of native material, he was 
 unable to create a genuine native industry, and his suc- 
 cessors could achieve nothing but faience, although that 
 faience was no longer plain, but relieved by faii'ly 
 executed designs under the glaze, copied in part from 
 Chinese models. It was not till the close of the six- 
 teenth century (1599) that a Korean named Risampei, 
 who had l)een brought over to Hizen after the Korean 
 war by a general of the army under the command of 
 Prince Nabeshima, found the lacking ingredients at 
 Mount Idzumi. He established a new industry in Arita 
 for the production of blue and white ware QSo?netsuke), 
 and, as the materials were now abundant and cheap, a 
 large quantity of porcelain was turned out. The novelty 
 of the manufacture, as Captain Brinkley observes in his 
 Historij of Japanese Keramics, combined with the pop- 
 ular taste for jiorcelain already develo[)ed by familiar- 
 ity ^vitll the tine specimens China furnished under 
 the MiiKj dynasty, soon made it exti'emely })opular, 
 though he declares that for us it does not possess so 
 much interest, being copied directly from the Chinese 
 blue and white, to which it is considerably inferior in 
 purity and finish. 
 
 It is worthy of remark that neither Risampei nor any
 
 CHINESE, KOREAN, AND JAPANESE CERAMICS. 35 
 
 other among the large number of Korean potters brought 
 over by Taiko's generals could ini[)art to their con- 
 querors a knowledge of decoration in enamels over the 
 glaze. This honor was reserved for Higashima Tokuzaye- 
 mon, a potter of Imari, in the same })rovince of Hizen. 
 He is said to have learned from a Chinese visitor to 
 Nagasaki the method of painting with vitrifial:)le colors 
 upon the glaze, and succeeded, with the assistance of 
 other potters, and after experiments spread over several 
 years, in this new class of decoration. This was al)()tit 
 the middle of the seventeenth century. The official 
 Japanese report * says that it was in the second year of 
 Sho-ho (a. d. 1645) that the export of pieces ornamented 
 with colored, enamels, in gold and silvei', etc., was begun, 
 in the first place to a Chinaman named Ilachikan, after- 
 ward to the Dutch traders. It was made especially for 
 the foreign market, and was distributed b}' the Dutch, 
 who had a settlement upon the island of Desiraa, near to 
 Nagasaki, and were allowed exclusive trading privileges, 
 to all parts of Europe, where it afterwards became 
 known as "old Japan." M. Jacquemartf quotes from 
 the Reports of the Dutch East India Company the 
 record that in 1664 eleven ships arrived in Holland Avith 
 forty-four thousand nine hundred and forty-three pieces 
 of Japanese porcelain. The museum at Dresden is 
 remarkable for a large series of noble jars and vases of 
 the most elaborate form and decoration, which was 
 mainly brought together by Augustus the Strong, King 
 of Poland and Elector of Saxony, between the years 
 1694-1705. 
 
 The Chinese apply the name of icn fsai, or " five 
 colors," to this kind of decoration, the Ja[)anese foi'm of 
 
 * IjC Japon dV Exposition, Unimrselle d«1878, pviblie a Paris sdus la direction 
 de la Commission Imperiale Japonaise. 
 
 f Histoire dela Porcelaine, par A. Jacqueniart ct E. Le Blant, Paris, 1862.
 
 36 ORIENTAL CERAMIC ART. 
 
 which, go-sai, is also used iu that country, although the 
 name of nishihi, or " silken brocade," is much more 
 commonly employed in eJapan. The reign of Wan-li in 
 China was especially celebrated for its porcelain, dec- 
 orated in colored enamels, which supplied the first 
 models for the Japanese, even the " mark " being often 
 copied. Ching-te-chen suffered very much in the wars 
 at the close of the Ming dynasty, which was finally 
 overthrown in 1643, and the porcelain industry became 
 s^imost extinct. Some of the potters perhaps found their 
 way to Nagasaki, conveyed there by the Dutch, who 
 seem to have done much to develop the manufacture in 
 Japan, if indeed they were not the means of introducing 
 it. The old crackled ware of China that has always been 
 so highly appreciated in Japan is imitated there in 
 recent times under the name of hihi-yahi ; and the sea- 
 green, or celadon, under the name of seiji-yahi,se{ji l)eing 
 the Japanese form of dCing-tx' n^ or " green porcelain," 
 the ordinary Chinese name of this class. 
 
 A recent report * upon Japanese porcelain exhibited 
 at Chicago in 1893, shows how they are still working in 
 the old lines and succeeding iu producing marvels of 
 imitative art. The author says that, speaking broadly, 
 there are at [)resent two schools of ceramists in Japan, 
 one of which he calls the Yokohama school, the other 
 the Sinico-Japanese school. The former owes its exist- 
 ence primarily to the demand of foreign exporters and 
 tourist amateurs for brightly ornate and decorative speci- 
 mens, and produces a mass of objects in the ornamenta- 
 tion of which pi'ofusion of color and lavishness of labor 
 are set conspicuously above excellences of technique and 
 chastity of taste. They figure by hundreds on the 
 shelves of bric-a-biac <lealei's, decorated with mol)s of 
 
 * Artistic Japan at Chicago : A Description of Japanese Works of Art sent 
 to the World's Fair, by F. Brinkley, Yokohama.
 
 CHIIS^ESE, KOREAN, AND JAPANESE CERAMICS. 87 
 
 saints, crowds of warriors, or gardens of flowers painted 
 witli microscopic accuracy ; but all sucli were ostracized ' 
 by the Japanese art critics and ruthlessly excluded from 
 the P^ine Arts Section of the Exposition. The latter, 
 the Sinico-eTapanese school, has its center at Kioto, and 
 Seifu Yohei figures as its most prominent representative. 
 This potter is placed in the foremost rank for his suc- 
 cesses in the celadon, ivory-white, and coral-red glazes. 
 The reproduction of the old Chinese celadon has always 
 been the chief ambition of the Japanese, but no one has 
 ever approached Seifu in this line. Occasional pieces of 
 canary-yellow, turquoise-l)lue, or aul)ergine-purple faience 
 from his kiln are said to have shown the hand of a 
 master of monochromatic glazes, and his canaiy-yellow 
 oflazes with reserved desio^ns in rich blue to have i)een 
 of K^ang-hsi type. Next to him among the masters of 
 the Sinico-Ja])anese school is ranked Miyagawa Kozan, 
 of Yokohama, whose essays of the (Chinese yao-inen or 
 "transmutation" glaze astounded the public, some of 
 his polychrome glazes exhibiting tints of rare beauty, 
 although they never convey the impression of depth and 
 soliditv that belong^s to the Cliinese ^^"are alone. Wlu-n 
 his first copies of the celel)rated Cliiaiig-fsu-JniiKj or 
 "peach-bloom" appeared in the market, the astute 
 Chinaman, detecting a golden opportunity, hastened to 
 acquire as many as possible, inclosed tlieni in the 
 traditional silk-lined boxes of his country's collector, and 
 sold them to trustful Occidentals at figures commen- 
 surate with the magnitude of the deception. The 
 periodical openings of the kilns at Ota are eagerly 
 watched, and the successful pieces incontinently carried 
 off to New York or Paris by such adroit middlemen. 
 The third potter of this school is Takemoto Ilayata, of 
 Tokio, who excels in the glossy black glaze, sometimes 
 showing tints of raven's-wing green, and hairlike lines of
 
 8(S OKIKN'I'AI. CERAMIC AKT. 
 
 silver or duppliiig of gokleii ))i'0\vii, in his reprodiictious 
 of the ohi Chien Yao of the Sum/ dynasty, which used 
 to turn out the choice cu[)s so higiily pi-ized hy the 
 dilettanti of the Japanese tea clubs. 
 
 But these things are not made for the purpose of 
 deception. Like Yeiraku of old,- the modern Japanese 
 believes that until a potter cau reach the standard of the 
 old masters, he can liave no business in attempting to 
 strike out new lines. Who, as Captain Brinkley says, 
 that is familiar with what China achieved prior to the 
 close of the eighteenth century, will deny that the field of 
 reproduction offers ample scope foi' the genius of any 
 modern e.\])ert ?
 
 CHAPTER III. 
 
 INTRODUCTION TO THE CLASSIFICATIOiSr OF CHINESE PORCE- 
 LAIN. INSCRIPTIONS. CHRONOLOGY. 
 
 THE most satisfactory classiticatiou of porcelain would 
 be a chronological one, whicli should be based upon 
 the actual characteristics of the objects to be classified, 
 with reference to the history of the subject. The classifica- 
 tion of Oriental porcelain in European collections has been 
 hitherto mainly empirical. A glance at one of the many 
 works of Albert Jacquemart, so beautifully illustrated 
 by the artistic etchings of Jules Jacquemart, will show 
 how the author confounds Japanese and Chinese speci- 
 mens, and endows Korea with an elaborately decorated 
 archaic ware of perfect finish \vhich was certainly never 
 produced in that country. In his History of the Ceramic 
 Art, for instance. Chapter III,* on Korea, is illustrated 
 by two figures only, and the first of these is a jar 
 (^potiche) of Chinese blue and white decorated with fioral 
 arabesque designs ; the second, a Japanese red and gold 
 wine-pot painted with the imperial Kiri-mon, four times 
 repeated ; while among the four specimens selected to 
 illusti-ate Chapter II, on Japan, the second is a Chinese 
 eggshell plate, although only " the vulgar," accoi'ding to 
 the author, confound such artistically enameled pieces 
 with those of his own Chinese Rose family ; the third, a 
 "mandarin jar" with gold filigree ground, is as certaiidy 
 Chinese ; and the fourth, a hexagonal vase " with reticu- 
 
 * Iliatoire de la Cemmique, par A. Jacquemart, Paris, 1873. Translated 
 into English by Mrs. Bury Palliser, History of the Ceramic Art, second edition, 
 London, 1877. 
 
 39
 
 40 OKIENTAL CERAMIC ART. 
 
 lated open-work [taiiels of vigorous iron-red, framing 
 softly painted medallions," lias every appearance of be- 
 lono-ins: to the same school of ai't. The Chinese class of 
 laqne hurgautee porcelain again is referred by M. Jacqiie- 
 mart to Japan ; and " old Japan " pieces of Imari origin,^ 
 decorated in colors, are placed by him, on the other hand, 
 among the Chinese ware, because they are often marked 
 underneath with a Chinese nien hao, or reign. 
 
 It is always unsafe to rely implicitly upon the marks 
 attached to Oriental porcelain. The Japanese constantly 
 employ Chinese marks, penciled, however, generally in a 
 peculiar style, so as to betray a foreign hand to any one 
 familiar with the native style of writing. The Chinese 
 themselves seldom attach a true mark of date, excepting 
 upon pieces produced at the imperial manufactory. 
 There special writers are retained to pencil the 
 seal, which is outlined in the most approved antique 
 style. 
 
 The classification of the modern private fabrics pro- 
 duced at Ching-te-chen described in the books includes : 
 (1) Kuan hu cli'i (*^ ~^ ^), ''Imperial ancient 
 ware"; (2) Sltang hu chH (_h "^ H-), "Ware of the 
 highest antiquity"; (3) Chung hu clti (fp lb ^h 
 Ware of middle antiquity"; (4) Yuhu cli'i {^fy ~^ ^), 
 "Glazed ancient ware"; (5) Hsiao hu clCi (/J^ ~^ ^), 
 "Small ancient pieces"; and (6) CJCcmg hu cli'i, 
 (^ "^ oi^)? "Ordinary ancient ware." It is not pre- 
 tended that any of these things are really ancient, but 
 the Chinese consumer adores antiquity, and wnll have 
 nothing called modern ; so that we find the commonest 
 of crockery shops or street stalls full of articles of blue 
 and white marked Hsiian-te, and of colored pieces 
 marked Cli eng-liua, that have not the slightest pretension 
 to date from the Ming dynasty. The former reign was 
 celebrated for its blue, the latter for its colors, and the
 
 CLASSIFICATION OF CJIINKSE PORCELAIN. 41 
 
 ware of to-day must be marked accordingly. It is a 
 mere matter of fashion or custom. 
 
 The reign of K'ang-hd (1662-1722) is famous both 
 for its dazzling monochrome glazes and for the brilliant 
 enamel colors of its decorated porcelain. The long reign 
 of this emperor forms the culminating period of ceramic 
 art in China ; the imperial factor}^ tui'ned out pieces of 
 the finest quality, and the private potteries produced a 
 profusion of ware of every grade, that was circulated 
 throughout the Chinese Empire, and distri])uted besides 
 to all parts of the world by the ships of the East India 
 Companies ; yet genuine marks of this reign are rare. It 
 is recorded in the annals of Fou-liang that in the six- 
 teenth year of the reign of K\i)ig-hsi (1677), when the 
 imperial factory was rebuilt after the civil wars excited 
 by the rebellion of Wu kSan-kuei, the governor of the 
 city, Chang Ch'i-chung, issued a proclamation forbiikling 
 the potters of Ching-te-chen writing either the name of 
 the reign, or texts from any of the sacred or classical 
 works, lest the porcelain should be broken and the sacred 
 characters trampled in the dust and profaned. The im- 
 perial pieces of the time when he was the official in 
 charge are consequently found with only a double ring, a 
 survival of the old mark of wdiicli it formed the border, 
 underneath ; the unofficial ware marked with a fanciful 
 artist's signature, a spray of flowers, a leaf, a vase, etc., or 
 with some propitious symbol, if not with a flctitious date 
 of the preceding dynasty. I refer especially to the tall 
 vases, jars, and beakers, and the large round dishes, 
 which occupy a prominent place in most Oriental collec- 
 tions, boldly decorated in enamel colors, relieved per- 
 haps by a ground enameled black, gi'een, buff, or yellow, 
 painted either over the white glaze or on " biscuit." 
 In spite of the marks, there is slender ground for the 
 common practice of classifying any of these large pieces
 
 42 ORIENTAL CERAMIC ART. 
 
 as Ming, eveu if they be of coarse fabric, rough execu- 
 tion, and so-called archaic aspect. 
 
 A few words on the writing and history of China may 
 not be out of place here before proceeding to the classi- 
 fication and description of marks on porcelain. The 
 Chinese language, I need hardly say, is monosyllabic, and 
 each word is represented by a separate " character " in 
 tlie written script. These characters seem to have been 
 originally pictures of natural objects which have been 
 subsequently combined in various ways, as phonetics, 
 and as determinatives or radicals. The radicals in 
 modern use are 214, a number arbitrarily fixed for dic- 
 tionary purposes, as a means of classifying the 20,000 or 
 more written characters of the language, and of provid- 
 ing a convenient method of coining new combinations. 
 The large majority of the characters in actual use consists 
 of the two parts referred to above — viz., a radical, which 
 gives a clew to the meaning by indicating the particular 
 class of things or ideas to which the combination of 
 which it forms a part belongs, and a phonetic, which 
 conveys some idea of the sound. 
 
 A few words of frequent occurrence in works on 
 ceramics may serve as an illustration, and at the same 
 time afford an opportunity of defining the meanings of 
 the characters. Among the radicals, those referring 
 directly to the subject are the 98th, ^, wa, a general 
 name for earthenware, while was originally a picture of 
 a round tile ; the 108th, HU, miny the ancient form of 
 which resembled a circular dish ; while the 121st, ^, 
 fou, applied to ceramic vessels generally, delineated a 
 wine-jar or vase; and the 193d, |^, li, in its original 
 form showed the mouth, belly, and crooked legs of a 
 three-footed caldron, the upper horizontal line being the 
 cover. In older books these different radicals are often 
 interchanged so that the characters p'ing, " vase," and
 
 CLASSIFICATION OF CHINESE PORCELAIN. 43 
 
 ying, " cruse," may be written either with iva, " earthen- 
 ware," or fou, "■ vessel," prefixed to tlie two phonetics. 
 Some of the characters had originally other radicals, 
 such as mu, " wood," yi'i, " jade," <^hm, " metal," or shih, 
 " stone," attached to the phonetics, and a study of the 
 ancient forms employed in writing \vill show the ma- 
 terials of which these utensils were made. 
 
 Wa, ^, with the addition of different phonetics, 
 forms ^, cJtumi, a brick, ^, p'i., applied to fine terra- 
 cotta ware of the period anterior to the Christian era, ^, 
 fza, porcelain, and the names of many utensils, such as 
 ^, ying, a cruse, with perforated '' ears " for stringing a 
 cord, ^, weng, a large earthenware jar, etc. 
 
 Mill, JH, is the radical of many kinds of vessels of 
 domestic and sacrificial use, such as ^, cIkih, winecups, 
 ^,pen, basins, ^, pei, winecups, ^, /ran, bowls, ^, i/il, 
 basins, j^, Jio, boxes, ^, p^an, dishes, etc. 
 
 M)u, f^, is the radical of a natural group of characters 
 relating to vases, and the like, such as ^, hutg, fish- 
 bowl, ^, yao, jar, '^, p'lng^ bottle, ^, tsun., sacrificial 
 vase, ^, huan, covered pot, fan, wine-jar, etc. It forms 
 an integral part of p^, fao, a very ancient character, 
 applied to pottery in its widest sense, so as to include all 
 kinds of ware fired in kilns, and of ^, yao, a character 
 of more recent construction, signifying both kiln and, as 
 a secondary meaning, the product of the kiln. Both of 
 these words are used in modern books as synonyms of 
 ^, fzu, porcelain. The original forjn of p|f|, fao, was 
 "lU, without the radical '^,foi(, place, which was added 
 subsequently, and it is written thus in the ancient diction- 
 ary Shuo Wen, which defines it as meaning " earthen- 
 ware," "composed of ^,f<)ii, and ^, pao, the phonetic 
 being omitted." It had two different sounds, fao and 
 yao, both of which are preserved in old names ; j5|^, T'ao 
 (the modern P'ing-yang-fu in Shansi) being the name of
 
 44 ORIENTAL CERAMKl ART. 
 
 one of the principalities of the ancient Emperor Yao; 
 Kao Yao (.^ fl^) that of the upright judge of the time 
 of the Emperor Shun, tlie successor of Yao. Originally 
 meaning " kiln," fao is now used to signify " pottery," in 
 its widest sense, including porcelain among the other 
 products of the potter's skill. Unfortunately, the word 
 pottery is often used by us in ordinary parlance to mean 
 faience and conunon earthenware, in contradistinction to 
 porcelain, so that the rendering of fao as " pottery," con- 
 venient as it is, may be liable to some misconception. 
 The rendering of tz'u as " porcelain " would also be some- 
 times inappropriate, as the Chinese include in the term 
 any [)ale stoneware in which the paste has been suffi- 
 ciently vitrified to produce a cleai" ring on percussion, 
 although it may be too thick and opaque to transmit 
 light, one of the characteristics on which we rely in our 
 definition of porcelain. 
 
 With regard to the transliteration of the Chinese 
 characters into English, the system adoi)ted here is that 
 of Sir Thomas Wade, whose syllabary of the mandarin 
 dialect, exjdaiued in his Chinese Course, the Tzu Erl> Chi., 
 is almost universally followed in China, and foi-ms the 
 basis of tlie two most recent dictionaries of the Chinese 
 language, the large work of Mr. Herbei't Giles, and the 
 small, inexpensive Pocket Dictionarif of the Rev. 
 Cliauncey (xoodrich, Peking, 1891, which every one who 
 is interested in the subject ought to possess. The 
 20,000 characters of the written script are comprised 
 in a syllabary of some 500 sounds. Tn speaking? 
 these ai-e diffei-entiated into four " tones," which, 
 however, may l)e disregarded in writing. The vowels 
 and di])hthongs must be generally pronounced as in 
 Italian, the consonants as in English. Some consonants 
 at the beginning of words may be .'ispirated ; such as ch, 
 k, i>, and /, when they have an apostrophe affixed, are
 
 CLASSIFICATION OF CHINESE PORCELAIN. 45 
 
 written Gh\ h\ p\ t\ and pronounced accordingly, fa, for 
 example, being read like " hit hard" witli the first two 
 and last two letters omitted. The initial A-S' is one of the 
 peculiarities of the Peking mandarin dialect ; liaimj is 
 pronounced somewhat like " hissing " without the first i : 
 another peculiarity is the softening of the initials h and 
 ts before certain vowels, by which the name of the 
 famous emperor of the last century has become Chrien- 
 lung, instead of KHen-lung, that of the Ming emperor 
 who reigned 1522-1566, Chia-ching, in j)lace of Kia- 
 tsiiig. This results from the same philological law 
 which causes similar changes of Latin vvorils in the 
 Italian and French of modern days. 
 
 The written script of the Chinese has also become 
 gradually changed in course of time. Its most 
 archaic form is seen in the inscriptions upon ancient 
 bronze v'essels dating from the three earliest dynasties, 
 which have been discovered at various times buried in 
 the ground, and illustrated in voluminous works by 
 native antiquarians, such as the Po hv fan, which was 
 published in thirty books in the reign of Hsikni-ho 
 (11 19-1125), and the Hsi-Cli'ing hu chien, the well-known 
 large folio catalogue of the extensive collection of the 
 Emperor Cliien-luiig (1736-1795). Among the most 
 a,ncient inscribed monuments are the ten stone drums of 
 the eighth century before Christ, preserved in the gate- 
 way of the Confucian Temple at Peking, which are 
 engraved with odes in praise of hunting and fishing, 
 written in the antique script which was invented by 
 Chou, the grand historiographer of Ih'nini Wang (b. c. 
 827-780), to replace the archaic ideographic characters.* 
 These are the ^ ^, Clitian tz'u, the cliaracters in ^vhich 
 the ancient aiuials were wi'itten upon tablets of bamboo 
 
 * The Stone Drums of the Chou Dynasty, by S. W. Bushell, M. D. Transac- 
 tious of the North China Branch of the Royal Asiatic Society, vol. viii. 1873.
 
 46 ORIENTAL CERAMIC ART. 
 
 before the iuveritioii of paper. In foreign books they are 
 commonly known as '' seal characters," because modern 
 seals are usually engraved in this style. The seals and 
 other marks on porcelain are often penciled in this 
 antique script, so as to require tlie use of the Shuo Wen, 
 an ancient dictionary of a. u. 121, for their decipherment. 
 These chai-acters, called ^ ^, fa cluani, or "greater 
 chuan,'' \vere succeeded by the " lesser chuan," lisiao 
 cliuaii^ /J^ ^, which wei'e invented by Li Ssii, the 
 notorious minister of ChHn Shih Huang, the enq3eror of 
 the third century b. c, who burned the old books and 
 built the Great AVall of China. 
 
 A pair of porcelain seals in the collection, with lion 
 handles I'ichly decorated in colors, of which one is shown 
 in Fig. 58, are inscribed with cJuian fzu. The inscrip- 
 tions are seen in Fig. 59. The first, on tlie left, has three 
 characters in tlie most archaic script, HsiaiKj Sltan SJiih — 
 i. e., " native of Hsiang Shan "; the second is inscribed 
 with four characters, P^ei SJniai-tu Yin, "■ seal of P'ei 
 Shuai-tu,'' the personal name of the individual for whom 
 the seal was made. These w^ere followed almost immedi- 
 ately by the square characters called ^, //, " official," 
 that were first used in writing documents in the official 
 Boards, and were afterward gradually transformed into 
 the regular characters called i^ ^, Ic'iai sJiu, which, first 
 fashioned under the Chin dynasty (265-419), have sur- 
 vived wdtli little modification to the present day, and are 
 employed in printed books as w^ell as in formal written 
 manuscripts. Two different cursive sci'ipts have sur- 
 vived at the same time: the !^ ^, ts'ao shn, or "grass 
 hand," in w^hich the characters are contracted and abbre- 
 viated for the quick write]-, which w^as invented ])y a 
 eunuch of the palace in the first century b. c; and the 
 ^"X ^, lining sh% or " running hand," in which the char- 
 acters are rapidly written without raising the pencil, but
 
 CLASSIFICATION^ OF CHINESE PORCELAIN, 47 
 
 unabbreviated, wbich was started by Liu Te-sheng in the 
 reign of the Emperor Iluan Ti (147-167). 
 
 Any of tliese styles of writing may be found upon 
 porcelain. The " grass hand " is the most difficult for 
 the uninitiated, because the characters are contracted 
 according to the fancy of each individual scribe. The 
 stanzas of poetry which are quoted as labels for pictures 
 are often written in this style ; it is found also on the 
 little porcelain bottles which have drifted in such num- 
 bers from Egypt into our museums, and ^vhicli Avere 
 supposed once to be of fabulous antiquity, until the 
 lines scribbled upon them — ^' The flowers open, and lo ! 
 another year," " Only upon this solitary hill " — opposite 
 rudely outlined flowers, had been traced to poets of the 
 T'ang dynasty. 
 
 Such scraps of verses are often written on small pieces, 
 and form, perhaps, the sole decoration, as in the case of 
 a little pair of hlanc-de-chine winecups from the [)rovince 
 of Fuchien, of which Fig. 60 is one. The stanza carved 
 in the paste under the velvety glaze of creamy tone 
 reads : 
 
 " Drunken with wine, I leave in you, sir, 
 A libation for the bright moon." 
 
 There is always presumed to be in China an intimate 
 connection between the art of poesy and Bacchus, and 
 Luna. 
 
 The verses inscribed on vases are usually connected 
 with the subject of the decoration, which is perhaps 
 chosen to illustrate the verse. The vase, for example, in 
 Fig. 61 is decorated in the lower panel with a picture of 
 a hunting scene, to illustrate an ode of the Emperor 
 Ch'ien-lung's composition, which is written in the upper 
 panel and signed with the imperial autograph:* 
 
 * The name of the emperor is framed in coral-red, the special color of the 
 imperial " vermilion pencil." The character Ch'ien is here written in antique
 
 48 ORIENTAL CERA3IIC ART. 
 
 ^' Clouds overspread the vaulted sky, the air at dawn is chill; 
 The ring is spread for the hunt, when the sun is but three poles 
 
 high. 
 Clad in warm cloak of sable fur, it seems to me like spring: 
 How different for you all round, in your single, unlined coats! " 
 
 Another beautiful vase of tlie same p^eriod (Fig. 62), 
 decorated on one side with a view of a picturesque laud- 
 scape with temples on a wooded hill, representing the 
 island of Yen Yii Shan, '' The Hill of Mist and Rain," in 
 the lake at the city of Hangchou, has four stanzas of 
 rhyming verse penciled in black on the reverse side (b), 
 perfectly written, and signed in antique style with the 
 seal Yun Ku^ " Valley of the Clouds." They may be 
 rendered : 
 
 ^' For miles round, orioles warble at dawn in the rose-tinted 
 
 trees; 
 Botli sliore hamlets and hill forts show the wine-ttags waving in 
 
 the breeze. 
 Here in the Southern Dynasties stood four hundred and eighty 
 
 fanes, 
 And as many wood-circled spires, all half hidden by mists and 
 
 rains." 
 
 The coral-red bowl of the Tao-Kuang Period (Fig. 63), 
 has an inscription reserved in white on the bright-red 
 ground, which also refers to tlie subject of the decora- 
 tion, reserved on the other side of the bowl, consisting 
 of sprays of \vliite plum blossoms delicately tinted with 
 soft green and i-ed. The verse, >vith a fanciful heading 
 inscribed in a leaf-])anel " Moon Cut," is signed Ya Wa?i, 
 
 script ; in other siniilur iuscriptions, as in Fig. 65, below, it is replaced in the 
 first small circular panel by three parallel unbroken horizontal strokes, the first 
 of the eight " trigrarns " of divination, which, like Ch'ien, conveys tlie mean- 
 ing of " heaven."
 
 CLASsiFicATioisr op^ OHiNEsp: poii(;p:rvAiN. 49 
 
 ^' Literary Toy," which occurs also as a " mark," as we 
 shall see later. It may be translated : 
 
 ■" The trees, enveloped in clouds of melting, d:i\vn-red tint, 
 Show leaves of deepest green and flowers of jadelike white; 
 The buds, like ])recious pearls, spread out earl}' in the spring- 
 time; 
 The powder-pot of [)alace beaut}' sprinkled into snowy 
 flowers." 
 
 We will give oue more inscription, in verse, from the 
 pen of the Emperor Ch'ien-limg, in Fig. 65, which is 
 a slightly magnified representation of the beautiful little 
 snuft'-bottle shown in Fig. 64. It is interesting as 
 devoted especially to the ceramic question, and as giving 
 the views of an illustrious connoisseur, whose poetic 
 effusions, I may mention, are printed and fill some tens 
 of volumes.* The other side of the snuff-bottle (Fig. 
 64) is decorated in enamel colors with a miniatui-e 
 garden scene containing a rockery and moinitain peonies, 
 and a boy carrying a basket from which he is feeding 
 a hen and chickens. The inscription is penciled in 
 black and authenticated by the imperial seal in red 
 affixed below in two small labels. There is also a mark 
 underneath, written in one line of seal characters, ClCien- 
 lung nien cltili, "Made in the reign of C hHen-lung '''' 
 (1736-1795). The ode runs: 
 
 * Wylie, in his Notes on CMnene Litemture (London and Shanghai, 1867), 
 says that, besides several extensive collections of essays and discourses, this 
 monarch left to posterity a quadruple collection of poems. The first, in forty- 
 eight books, contains 4,150 pieces, composed during the first twelve years of 
 his reign ; the second, in one hundred books, contains upward of 8.470 pieces, 
 composed between 1748 and 1759 ; the third, in one hundred and twelve books, 
 contains 11,620 pieces, written during the next twelve years ; and the fourth, 
 also in one hundred and twelve books, includes 9,700 pieces, written between 
 the years 1772 and 1789, the whole work comprising about 33,950 poetical com- 
 positions. — Editor's Note.
 
 50 ORIENTAL CERAMIC ART. 
 
 " Yueli-chou porcelain of the Li dynasty of T'ang is no longer 
 
 extajit: * 
 The imperial ware of the Chao house of Sung is rare as stars at 
 
 (lawn. 
 Yet the ancient ritual vessels of Yin and Chou abound in the 
 
 present da}': 
 Their material, bronze, is stronger; vessels of clay are more 
 
 fragile. 
 But though strong and rude tliey l:ist, the weak and polished 
 
 perish : 
 So honest worth wears well in daily life, and should be ever 
 
 })rized. 
 The Chu dynasty of Ming, going back from to-da^', is not so far 
 
 remote: 
 And the artistic gems of Hsuaii and Ch'eJig may be seen occa- 
 sional I3', 
 Their brilliant polish and their perfect coloring are universally 
 
 lauded; 
 And among them the 'Chicken Winecups ' are the ver}^ crown 
 
 of all. 
 The Mutan peonies under a bright sun opening in the balmy 
 
 spring; 
 The hen and chicken close together, and the cock in all his glor}''. 
 With golden tail and iron spurs, his head held straight erect, 
 In angry poise ready for combat, as if he lieard the call of Cbia 
 
 Ch'ang. 
 The clever artist has rendered all the naturalistic details 
 In a style handed down from old time, vaiying in each period: 
 But I will think only in iny own tniinl of the ancient Odes of 
 
 Ch'i, 
 And not dare to cheiish my own ease when it is time to rise early. 
 
 " Composed by tlie Emperor Ch'ieii-hmg in the cyclical year 
 ping-shen, and sealed by him." 
 
 *The Yueli porcelain of the T'mty ((518-906) and the "Imperial Ware" 
 (Kuan Yao) of the Sung dynasty (960-1279) will be described presently. The 
 Tin and Chou were the last two of the three ancient dynasties b. c. The 
 reigns of the Ming dynasty alluded to are those of Usiian-te (1426-1435) and 
 CA'e/(5^-7t«rt (1465-1487), both famous for their porcelain. Chia-Ch'aug lived 
 in the reign of Ming Tsung (926-933), of the After T'ang, and was employed 
 by the emperor on account of his skill with lighting-cocks. The Ode of Ch'i, 
 referred to in the last stanza, enjoins the sovereign not to lie in bed after cock- 
 crow. The year ping-sJien of the cycle corresponds to a. d. 1776.
 
 CLASSIFICATION OF CHINESE PORCELAIN. 51 
 
 A pamphlet was ])ul)lished early in the nineteenth 
 century with a transhition of this inscription and an 
 illustration of the winecup from which it was taken, 
 which is decorated with a picture similar to that 
 described above. It is entitled Ly-Thtnr/^ An Imperial 
 Poem in Chinese, by Kien-Lung, with a Ti-anslation and 
 Notes by Stephen Weston, F. li. S., F. S. A., London, 
 1809. Dedicated to Sir Geoi'ge Staunton, Bart. It is 
 quoted in Marks and Monograms on Pottery and Porce- 
 lain^ by W. Chaffers, 1891, seventh edition, pp. 310, 
 312, " to show the difficulty of translating Chinese." 
 The translation certainly differs fi'om mine. It begins : 
 
 '' Ly-T'ang, idle and unemployed, in a vacant and 
 joyless hour spake thus : ' Behold the sun, star of the 
 morning, rise on my furnace and illumine my hall undei- 
 an imperial dynasty.' Great is the beauty and high the 
 antiquity of sacred vases," etc.; but I will refer the 
 curious to the Catalogue of the British Museum, a whole 
 page of which is filled with the titles of the Avorks of 
 Mr. Weston, who seems to have been a leadins; lioht of 
 the Society of Antiquaries of the time. 
 
 The marks on Chinese porcelain are ^vritten on dif- 
 ferent parts of the piece. In the more ancient speci- 
 mens they occur generally on some part of the surface, 
 written in a vertical or horizontal panel which forms 
 part of the decoration, because the base is so often 
 left unglazed. Under the reigning dynasty, on the con- 
 trary, the mark is usually either penciled or inq>ressed 
 underneath the vase or bowl. The inscription generally 
 marks the date according to the native systems of 
 chronology, of which there are two : first, the cycle 
 of sixty years ; second, the nien-hao, or title of the reign 
 of the emperor. 
 
 The cycle of sixty is indicated by a combination of 
 the " Ten Stems " with the " Twelve Branches."
 
 52 ORIENTAL CERAMIC AllT. 
 
 The "Ten Stems" which compose the Denary Cycle 
 
 are: 
 
 1. ^, Chia Corresponding tu the element yfC 
 
 2. 2i. Yi j -^^'^^ Wood. 
 
 •^- PS? i^iiig j Cori-esponding to the element ^ 
 
 4. T, Ting ] Huo, Fire. 
 
 5. yXi, Wn I Corresponding to the element i. 
 
 6. a, Chi j rV, Earth. 
 
 7. ;^, Keng j Corresponding to the element ;^ 
 
 8. ^, Hsin j <^%^>^, Metal. 
 
 9. i, Jen j Corresponding to the element 7jC 
 10. ^, Knei j ^^'^^'^^', Water. 
 
 The " Twelve Branches " which compose the Duo- 
 denary Cycle mark the divisions of the Chinese zodiac, 
 the horary periods of the day, and are equivalent to the 
 animal cycle adopted from the Tartars. They are : 
 
 1. ^, Tzii ^, >S7/^/, theKat. 
 
 2. 5, Ch'ou 4^, iV"/?/, the Ox. 
 
 3. g, Yin ^, Bu, the Tiger. 
 
 4. ^P, Mao %, Tu, the Hare. 
 
 5. J^, Ch'eu f I, Lung, the Dragon, 
 
 6. Ei, Ssii i'S, She, the Serpent. 
 
 7. ^, Wu i^, Ma, the Horse. 
 
 8. ^, Wei ^, Yamj, the Goat.
 
 CLASSIFICATION OF CHINESE PORCELAIN. 53 
 
 9. f^, Shell |g, Ilou^ tlie Monkey. 
 
 K). S, Yii H, 67^/, the Cock. 
 
 11. ^, Hsii ;^, 67/'//^///, the Dog. 
 
 12. ^, Hai 3^, 67//, tlie Pig. 
 
 By joiniug the first of the twelve to the first of the 
 ten signs the combination ^ -J*, chl(i-tzn,\^ formed, and 
 so on in succession until the tenth sign is reached, when 
 a fresh commencement is made, the eleventli of the 
 series of twelve " branches " being next appended to the 
 sign ^, chia. The sixty combinations thus formed are 
 called the Cldatzu series, commonly known as the cycle of 
 sixty. This has been employed from a period of remote 
 antiquity for the puipose of designating successive days. 
 It was not till the Han dynasty, in the century preced- 
 ing the Christian era, that it was a})plied to the number- 
 ing of years. The official chronology starts with the 
 year b. c. 2637, so that the beginning of our era cori'e- 
 sponds with the fifty-eighth year of the forty-fourth 
 cycle. The following table shows the cycles posterior 
 to the Christian era, and will be found useful for the 
 calculation of any given cyclical date :
 
 54 
 
 OKIKNTAL CERAMIC ART. 
 
 TABLE I. 
 
 CHINESE CYCLES 45 TO 76, OR A. D. 4 TO 1923. 
 
 
 CYCI.E 
 
 COMMENCING 
 
 
 CYCLE 
 
 COMMENCING 
 
 CO 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A. D. 
 
 A.D. 
 
 A. D. 
 
 2 
 
 4 
 
 64 
 
 
 
 
 02 
 
 4 
 
 64 
 
 
 
 
 !/5 
 
 304 
 
 364 
 
 124 
 
 184 
 
 244 
 
 y^ 
 
 304 
 
 364 
 
 124 
 
 184 
 
 244 
 
 <1 
 
 604 
 
 664 
 
 424 
 
 484 
 
 544 
 
 < 
 
 604 
 
 664 
 
 424 
 
 484 
 
 544 
 
 
 904 
 
 964 
 
 724 
 
 784 
 
 844 
 
 
 904 
 
 964 
 
 724 
 
 784 
 
 844 
 
 
 1204 
 
 1264 
 
 1024 
 
 1084 
 
 1144 
 
 O 
 
 1204 
 
 1264 
 
 1024 
 
 1084 
 
 1144 
 
 o 
 
 1504 
 
 1564 
 
 1324 
 
 1384 
 
 1444 
 
 o 
 
 1504 
 
 15641324 
 
 1384 
 
 1444 
 
 
 1804 
 
 1864 
 
 1624 
 
 1684 
 
 1744 
 
 
 1804 
 
 18641624 
 
 1684 
 
 1744 
 
 ^^ 
 
 04 
 
 64 
 
 24 
 
 84 
 
 44 
 
 ¥^ 
 
 34 
 
 94 
 
 54 
 
 14 
 
 74 
 
 r, fl: 
 
 05 
 
 65 
 
 25 
 
 85 
 
 45 
 
 r.* 
 
 35 
 
 95 
 
 55 
 
 15 
 
 75 
 
 rt ^ 
 
 06 
 
 66 
 
 26 
 
 86 
 
 46 
 
 1^ * 
 
 36 
 
 96 
 
 56 
 
 16 
 
 76 
 
 T^|] 
 
 07 
 
 67 
 
 27 
 
 87 
 
 47 
 
 J m 
 
 37 
 
 97 
 
 57 
 
 17 
 
 77 
 
 jsm 
 
 08 
 
 68 
 
 28 
 
 88 
 
 48 
 
 )X J^ 
 
 38 
 
 98 
 
 58 
 
 18 
 
 78 
 
 SE 
 
 09 
 
 69 
 
 29 
 
 89 
 
 49 
 
 B^ 
 
 39 
 
 99 
 
 59 
 
 19 
 
 79 
 
 ^4^ 
 
 10 
 
 70 
 
 30 
 
 90 
 
 50 
 
 m^ 
 
 40 
 
 00 
 
 60 
 
 20 
 
 80 
 
 ^* 
 
 11 
 
 71 
 
 31 
 
 91 
 
 51 
 
 ^a 
 
 41 
 
 01 
 
 61 
 
 21 
 
 81 
 
 i* 
 
 12 
 
 72 
 
 32 
 
 92 
 
 52 
 
 i *S 
 
 42 
 
 02 
 
 62 
 
 22 
 
 82 
 
 ^a 
 
 13 
 
 73 
 
 33 
 
 93 
 
 53 
 
 ^M 
 
 43 
 
 03 
 
 63 
 
 23 
 
 83 
 
 ^)^ 
 
 14 
 
 74 
 
 34 
 
 94 
 
 54 
 
 ¥ M 
 
 44 
 
 04 
 
 64 
 
 24 
 
 84 
 
 r,^: 
 
 15 
 
 75 
 
 35 
 
 95 
 
 55 
 
 ^E 
 
 45 
 
 05 
 
 65 
 
 25 
 
 85 
 
 rti^ 
 
 16 
 
 76 
 
 36 
 
 96 
 
 56 
 
 rt^ 
 
 46 
 
 06 
 
 66 
 
 26 
 
 86 
 
 Tfl- 
 
 17 
 
 77 
 
 37 
 
 97 
 
 57 
 
 J * 
 
 47 
 
 07 
 
 67 
 
 27 
 
 87 
 
 ;x^ 
 
 18 
 
 78 
 
 38 
 
 98 
 
 58 
 
 jX * 
 
 48 
 
 08 
 
 68 
 
 28 
 
 88 
 
 ^m 
 
 19 
 
 79 
 
 39 
 
 99 
 
 59 
 
 S S 
 
 49 
 
 09 
 
 69 
 
 29 
 
 89 
 
 jtM 
 
 20 
 
 80 
 
 40 
 
 00 
 
 60 
 
 ^JX 
 
 50 
 
 10 
 
 70 
 
 30 
 
 90 
 
 4-E 
 
 21 
 
 81 
 
 41 
 
 01 
 
 61 
 
 ^x 
 
 51 
 
 11 
 
 71 
 
 31 
 
 91 
 
 s^ 
 
 22 
 
 82 
 
 42 
 
 02 
 
 62 
 
 ii^ 
 
 52 
 
 12 
 
 72 
 
 32 
 
 92 
 
 ^* 
 
 23 
 
 83 
 
 43 
 
 03 
 
 63 
 
 ^S: 
 
 53 
 
 13 
 
 73 
 
 33 
 
 93 
 
 ¥ #> 
 
 24 
 
 84 
 
 44 
 
 04 
 
 64 
 
 ^ SJ 
 
 54 
 
 14 
 
 74 
 
 34 
 
 94 
 
 r, ffl 
 
 25 
 
 85 
 
 45 
 
 05 
 
 65 
 
 2.^] 
 
 55 
 
 15 
 
 75 
 
 35 
 
 95 
 
 rt !^ 
 
 26 
 
 86 
 
 46 
 
 06 
 
 m 
 
 rt M 
 
 56 
 
 16 
 
 76 
 
 36 
 
 96 
 
 T-M 
 
 27 
 
 87 
 
 47 
 
 07 
 
 67 
 
 T E 
 
 57 
 
 17 
 
 77 
 
 37 
 
 97 
 
 )X=f 
 
 28 
 
 88 
 
 48 
 
 08 
 
 68 
 
 ;X^ 
 
 58 
 
 18 
 
 78 
 
 38 
 
 98 
 
 efl: 
 
 29 
 
 89 
 
 49 
 
 09 
 
 69 
 
 e* 
 
 59 
 
 19 
 
 79 
 
 39 
 
 99 
 
 ^s 
 
 30 
 
 90 
 
 50 
 
 10 
 
 70 
 
 m ffi 
 
 60 
 
 20 
 
 80 
 
 40 
 
 00 
 
 ^# 
 
 31 
 
 91- 
 
 51 
 
 11 
 
 71 
 
 ^m 
 
 61 
 
 21 
 
 81 
 
 41 
 
 01 
 
 SM 
 
 32 
 
 92 
 
 52 
 
 12 
 
 72 
 
 ii* 
 
 62 
 
 22 
 
 82 
 
 42 
 
 02 
 
 5^E 
 
 33 
 
 93 
 
 53 
 
 13 
 
 73 
 
 
 63 
 
 23 
 
 83 
 
 43 
 
 03
 
 CLASSIFICATION OF CHINESE POKCELAIX. 55 
 
 It will be observed that this table has been cut in two, 
 and the parts placed side by side in order to bring it 
 within the limits of the page. The second column of 
 Chinese cliaracters is l)ut a continuation of the Urst col- 
 umn of Chinese characters, and each column of figures in 
 the second part of the table is but a continuation of the 
 corresponding column in the first part. The short col- 
 umns at the top show the date of the beginning of each 
 cycle in regular order, a. d. 4, 64, 124, 184, 244, ;i04, 
 etc., followed by the years corresponding to the sucr 
 cessiv^e years of the cycle. For example, ^ -f-, Cliia 
 Tzu, is the cyclical sign of each of the years mentioned 
 above, ^vhile ^ 3r» Yl Cli^ou^ the second cyclical sign, 
 corresponds to the years 5, 65, 125, 185, 245, 305, 365, 
 etc. ^ ^, Cilia Wu, the thirty-first sign, corresponds 
 to the years 34, 94, 154, 214, etc. Now, if it be wished 
 to ascertain the cyclical year ^ )%, Keng Hsii, of the 
 period Tao-hua)ig of the ChUmj dynasty, an inspection of 
 Table III shows that the first yeai" of Tao-lfiang Avas 
 1821, and that the period closed with 1850. Turning to 
 Table I, it \vill be found that a cyclical period began 
 with 1804, and as it would end 'with 1868, the period 
 Tao-kiiang naturally falls within that cycle. Fixing ^ 
 £, H><iii Ssn, as the first year of Tao-kuang\s reign, and 
 going down the column, we reach the sign ]^ ^ ^ve are 
 in search of, and identify it as tlie year 1850, the last of 
 the reign. 
 
 The legen(hiry period of Chinese history (as distinct 
 from tlie purely mythical ages which preceded, and 
 which, accordino- to the more exti'avaoant chronolo2:ers 
 of the country, reach back some two t)r three millions of 
 years to the creation of the world) begins with Fn-lii, the 
 reputed founder of the monarchy, the first year of whose 
 reign is placed in e. c. 2852. He is the first of the Wu 
 Ti., or Five Rulers, \\'\\o are succeeded by the Emperors
 
 56 
 
 ORIENTAL CERAMIC ART. 
 
 Y(K) (h. c. 2356) and Shun (b. c. 2255), with whose 
 reigns the /Shu Cldng^ or " Historical Classic," opens. 
 JH^aJi-hPs immediate successors were Shen-nung, the 
 Divine Husbandman (b. c. 2737) ; Ilaang-ti, the Yellow 
 Emperor (b. c. 2697) ; SluioJuio (b. c. 2597) ; and Chucm 
 Hsil (b. c. 2513). The Emperor Shun was succeeded by 
 the Great Yii (b. c. 2205), the founder of the first of the 
 twenty-four dynasties which have I'uJed the empire in 
 succession down to the advent of the leigning Manchu 
 dynasty in a. d. 1644. 
 
 TABLE II. 
 
 SUCCESSION OF THE CHINESE DYNASTIES. 
 
 1. Hsia J 
 
 2. Shang* j^ 
 
 3. Chou ^ 
 
 4. Ch'in ^ 
 
 The Three Ancient 
 Dynasties. 
 
 5. Han ^ 
 
 6. Eastern Han 
 
 206 
 
 A. D. 25 
 
 The usurper Wang 
 Mang occupied 
 the throne a. d, 
 9-23. 
 
 4<i^ 
 
 7. After Han ^ % 
 
 8. Chin -g 
 
 9. Eastern Chin 
 
 
 221 
 
 265 
 317 
 
 Three Kingdoms, 
 —. p{ , divided 
 China, the ^ 
 Han, Jj| Wei^ 
 and ^ Wu. 
 
 * In B. ('. 1401 the title of this dynasty was changed from Shunn to Yin.
 
 CLASSTFK ATION OF CHINESE PORCELAIN. 
 
 57 
 
 10. 
 
 Siiug 
 
 * 
 
 11. 
 
 Ch'i 
 
 ^ 
 
 12. 
 
 Liaiij^ 
 
 m 
 
 13. 
 
 Ch'eii 
 
 m 
 
 14. Sui p§ . . 
 
 15. T'aiig jf . . 
 
 16. After Liang ^ ^ 
 
 17. After T'ang ^^ jg 
 
 18. After Chin ^ § 
 
 19. After Han ^ )^ 
 
 20. After Clioii :^ ^ 
 
 21. Sung 5J5 . . 
 
 23. Yuan JC . . 
 
 24. Ming 0^ . . 
 
 25. Ch'ing ^^ . . 
 
 420 
 479 
 502 
 557 
 
 589 
 
 618 
 
 907 
 
 928 
 
 936 -i 
 
 947 
 
 951 
 
 960 
 
 This period is 
 known by the 
 collective name 
 of y^cin Pel 
 ClPno, Northern 
 and Southern 
 Dynasties, as tlie 
 Jl Wei ruled 
 the north from 
 420 to 550. 
 
 These short-lived 
 dynasties are 
 known collec- 
 tively as the 5!. 
 ft Wii Tai, Five 
 Dynasties. 
 
 22. Southern Sung "S tI? • 1127 -{ 
 
 The Niu-chih Tar- 
 tars occupied 
 Nortli China 
 (1115-1234) as 
 the CJuii dyuas- 
 
 [ Mongolian dynasty 
 1280 -! founded by Kn- 
 
 1368 
 
 ( The reigning 2fa)i-
 
 58 
 
 ORIENTAL CERAMIC ART. 
 
 TABLE III. 
 
 REIGNS OK THE LAST TWO DYNASTIES. 
 
 
 EMPERORS OF THE 
 
 Dynastic Title, 
 OH ^[lAO HAO. 
 
 T'ai Tsii . . 
 HuiTi . . . 
 
 Ch'eng Tsu 
 Jen Tsiing . 
 Hsiiau Tsung . 
 Ying Tsuug 
 CLing Ti . . 
 Yiug Tsung 
 
 (resumed govei'iimcnt) 
 
 Ilsien Tsuns: . 
 Hsiao Tsung . 
 AVu Tsu no- 
 Sbib Tsung 
 Mu Tsu no; . 
 8hen Tsung 
 Kuang Tsung 
 Hsi Tsuug . . 
 ffi fll # Cliuang Lieh Ti 
 
 EMPERORS OF THE ^ ^^ , 
 
 ifrjil ShihTsu . 
 Sheng Tsu . 
 Skill Tsung 
 Kao Tsunof 
 Jen Tsung . 
 Hsiian Tsu no; 
 AVen Tsung 
 Mu Tsuns: . 
 
 m 
 
 MING DYNASTY. 
 
 TiTi-E OF Reign, 
 OR NIEN HAO. 
 
 f^ ^ Hung-wu . 
 ^ ^ Cliien-vven 
 ^ ^ Yung-lo . 
 m m Hung-hsi . 
 M. Wi Ilsiian-te . 
 jE j^ Cheng-t'uug 
 5: # Ching-t'ai . 
 ^ )lg T'ien-sliun 
 
 Date of 
 Accession. 
 
 . 1308 
 
 . 1399 
 
 . 1403 
 
 . 1425 
 
 . 1426 
 
 1436 
 
 1450 
 
 1457 
 
 111, *^^ 
 
 IS ap: 
 m at: 
 
 
 ?0 
 
 The leigning sovereign 
 
 
 Ok 
 
 3^^^ 
 
 ^ 
 
 M 
 
 Ch'eng-liua 
 Hung-chih 
 Clieng-te . 
 Chia-ching 
 Luug-ch'ing 
 Wan-li . . 
 T'ai-cli'ang 
 T'ien-cli'i . 
 Cli'img-cLen 
 
 1465 
 1488 
 1506 
 1522 
 1567 
 1573 
 1620 
 1621 
 1628 
 
 niE GREAT CH'ING DYNASTY. 
 
 )I[| t§ Shun-cliih 
 
 it* 
 
 K'anof-lisi . 
 
 Yung-clieug 
 
 Cli'ien-lung 
 
 Chia-cli'ing 
 
 Tao-kuang 
 
 Ilsien-feng 
 
 T'uno'-cbih 
 
 Kuang-hsii 
 
 1644 
 
 1662 
 1723 
 1736 
 1796 
 
 1821 
 1851 
 
 1862 
 
 1875
 
 CHAPTER IV. 
 
 MARKS ON CHINESE PORCELAIN. MARKS OF DATE. HALL 
 
 MARKS. MARKS OF DEDICATION AND FELICITATION. 
 
 MARKS OF COMMENDATION. MARKS IN THE FORM OF 
 
 DEVICES. 
 
 THE " mark " on porcelain is generally understood to 
 be any inscription or device indicating the time at 
 which the specimen was made, or the make, or the work- 
 man, and which forms no part of the decoration. The 
 Chinese word for '' mark " is ^)^, A^uan, which is usually 
 translated " seal," although the term includes written 
 inscriptions of the kind indicated above as well as 
 impressed marks. The mark is generally penciled by 
 a special writer employed for the purpose on the bottom 
 of the piece before it is fired. The foot, which has been 
 left a solid mass for convenience of handling during the 
 different operations of the potter, is at last shaved ott* 
 and polished, and the writer attaches the seal upon the 
 surface of the unbaked white clay. The glaze is after- 
 ward applied, either by immersion, or by sprinkling, and 
 the piece is ready for the furnace. The mark is usually 
 written in cobalt blue imder the glaze. This is the case 
 not only in pieces painted in blue, and in those in which 
 underglaze blue forms part of the decoration in colors, 
 but also, often, in those enameled with single colors, and, 
 occasional!}^, in decorated ware ^vllich has no blue in its 
 painted designs. In other pieces, decorated in enamel 
 colors, the mark is outlined in one of the colors of tlie 
 muffle-stove from the palette of the decorator, such as 
 black or overglaze blue; while those painted simj^ly in 
 
 59
 
 60 ORIENTAL CERAMIC ART. 
 
 coral red or oold have seals written underneatli over the 
 glaze in the same color as that emj^loyed in the decora- 
 tion. 
 
 This description applies especially to the porcelain 
 produced at the imperial manufactory at Ching-te-chen. 
 In tlie private manufactories a special writer is not em- 
 ployed, the mark being attached by the artist who paints 
 the decoration. He pencils his signature, a motto, or 
 some painted device, or perhaps a label descriptive of the 
 picture he has painted, on some part of the piece. Tliis 
 is not always inscribed underneatli the foot, so that we 
 may iind the artist's monogram in some cases underneath 
 the piece, in others attached as a signature to the picture, 
 or following the verses which accompany it. In this 
 same way a descriptive label like "The mountains are 
 high, the rivers long" (^Slian hao shui chhiinj) may be 
 written either at the head of the landscape or under the 
 foot of the vase. In the latter case it often occurs, writ- 
 ten in the seal character, as an ordinary mark of pieces 
 decorated with landscape paintings. The former case is 
 exemplified by the beautiful little teapot illustrated 
 in Fig. 68, one of the most perfect specimens of the Ku 
 Yueh Hsiian style in the collection, which is marked in 
 bright blue enamel underneath Twig climg nien eldh 
 "Made in the reign of Yung-clteng'' (1723-35). It is 
 decorated in two broad panels, framed in delicately tinted 
 floral scrolls, filled with landscapes, penciled in overglaze 
 blue, which are headed hy half stanzas of verse, written 
 in black, with two carmine seals attached. On tlie 
 reverse side is a mountain view with the superscription 
 " The echo-resounding Southern Mountains," sealed Shan 
 hao, "The hills are high." In front there is a river scene 
 labeled " A cottage smoking far oif on the Northei-n 
 Islet," and sealed Slivi clihtng, " The rivers are long." 
 The definition of a "mark," quot.ed above from the
 
 MARKS ON OIIINESK P0K(1E!.AIN. 61 
 
 Franks Catalogue of Oriental Porcelain., seems therefore 
 to require some qualification for China, where the mark 
 certainly sometimes forms part of the decoration, 
 
 Chinese marks are written either in the antique script 
 known as chuaiij or seal character, of which there ai-e' 
 several varieties, which is so called because it is now 
 principally employed on seals; or in the ordinary modern 
 script, called Ic'ai-sh'u., used in printed books and formal 
 manuscripts. The running-hand script called lising-sMi 
 is rarely employed for marks, although it is often seen in 
 the verses written to accompany the decoration of vases. 
 Chinese writing, it is hardly necessary to say, is read 
 from above downward and from right to left ; each 
 character represents a word to a Chinaman, a Korean, or 
 a Japanese, although pronounced differently according to 
 the locality. Just as Arabic numerals are pronounced 
 differently in European countries. 
 
 These marks may be classified as : 
 
 1. Mai'ks of Date. 
 
 2. Hall Marks. 
 
 3. Marks of Dedication and Felicitation. 
 
 4. Marks of Commendation. 
 
 5. Marks in the Form of Devices. 
 
 I. Marks of Date. 
 
 These are of two kinds, the first indicating the number 
 of the year in the cycle of sixty, the second the year 
 of the reigning emperor. The two methods of dating 
 may be combined in the same mark, as in that given in 
 Hooper and Phillips's Manual of Maries (p. 190), which 
 reads, T^'uiig-cliih shih erli nien huei yu, or "The twelftli 
 year (Jcuei yu^ of T\mg cliihr The eighth emperor of 
 the present ClPing dynasty, who was canonized as Mn 
 Tsung., reigned during the period 1802-74 under the
 
 62 ORIENTAL CERAIVIIC ART. 
 
 title {iiieit hao) of T''iuig chih, uiul tlie twelfth year of 
 his reign, a. d. 1873, will Vje found on the Cyclical 
 Table given above (Table I) to correspond to huei yu, 
 the tenth year of the seventy-tifth cycle. In the Manual 
 it is erroneously given as 187-4. There is one small point 
 to be noted in Chinese chronology, an ignorance of which 
 has constantly led to miscalculation of dates in foreign 
 books : the whole of the year in which an emperor dies 
 is always reckoned as belonging to his reign, and the 
 reign of his successor does not begin officially until the 
 first day of the first month of the next year, when a new 
 nien hao is inaugui'ated. 
 
 Another compound "mark" of this kind is seen in 
 Fig. 38, at the bottom of the little l)owl-sliaped winecups 
 decorated with the eight Buddhist emblems, displayed 
 in pairs bound with waving fillets, of which the wheel 
 of the hiAV and the conch-shell of victory are in the fore- 
 ground. The mark, penciled underneath in red, is Tao 
 hauruj htng hsil 7iieii clUh, "Made in the (c3"clical) year 
 Icmg-hm of the reign of Tao-hiang,^'' indicating, as may 
 be seen by reference to the Tables, the date of a. d, 1850. 
 
 Most of the cyclical dates, however, ai*e given without 
 the reign, which involves an nncertainty as to which 
 of the cycles is intended. Many of these ^vould belong to 
 the reign of K'^ang hsi, in the sixteenth year of which 
 (1677) the official in charge of the potteries issued a 
 proclamation forbidding the inscription upon pottery of 
 the sovei'eign's name, oi- of any sacred text. " To this 
 period is certainly to be referred the cyclical mark, Yii 
 hsin ell" (HI nien chili, which has excited an interesting 
 discussion. It was first published byJacquemart and Le 
 Blant (Joe. cif., p. 161), taken from a bowl in the Musee 
 Cerami(|ue at Sevres, made of wdiite Chinese porcelain, 
 subsequently decorated with flowers and European 
 iigures in Germany during the first half of the eighteenth
 
 MARKS ON CHINESE PORCELAIN. 6S 
 
 century, and it was attributed to tlie right year (1721) 
 from the style of decoration, although the mark was not 
 corj-ectly understood. It was first explained ))y Sir 
 A. W. Franks (Joe. cit., page 208) as meaning '*]Made in 
 the hsin-chbou year again | recurring]." Tlie Emperor 
 K^ing-lisi came to the throne in the thirty-eighth year 
 of the seventy-second cycle, a. d. 1661, and died Decem- 
 ber 20, 1722, so that he had reigned for a whole cycle 
 on the recurrence in 1721 of the thirty-eighth year of 
 the cycle, an event unexampled in Chinese history, which 
 has thus happened to be recorded upon porcelain. The 
 bowl in the Franks Collection on which it occurs is 
 described as being of " Chinese egg-shell porcelain 
 painted inside with a group of flowers and fruit in 
 enamel colors, the outside coated with a delicate rose 
 color." I have seen in a Chinese collection at Peking 
 a " rose-backed " saucer dish with an exactly similar 
 decoration, inscribed underneath with tlie same mark. 
 These specimens are of intei-est to us from another point 
 of view, as a proof of the employment of the delicate 
 enamels of the famille rose class at this early date. 
 
 Another cyclical date, which reads, Pincj-lml^iien chilly 
 "made in the year^^m^-Asw," is given by Du Sartel* (p. 
 95), taken from an octagonal brushpot, painted in blue 
 and white with landscapes and verses. He attributes it 
 to the same reign of K\nig-JiHl, so that it would. indicate 
 the twenty-third year of the seventy- third cycle, which 
 corresponds to a. d. 1706. 
 
 Marks of date of the second kind, referring to the 
 reign, give only the itieu hao, or title of the emperor, 
 A Chinese emperor on his accession loses his personal 
 name, and selects an honorific title instead, by wliidi 
 he continues to be known during his reign, unless he 
 chooses to change it. The new title is not adopted,. 
 
 *La Porcelaine ile Chine. Par O. du Sartel, Paris, 1881.
 
 64 ORIENTAL CERAMIC ART. 
 
 however, as explained already, till the new year succeed- 
 ing the death of his })redecessor. After his death 
 he is canonized under another new title, the temple 
 name, or miao hao, under which he is worshiped in the 
 ancestral temple and referred to in all formal documents 
 of subsequent dates. In former times the nien liao Avas 
 frequently changed during the reign to mark the occur- 
 rence of any important event, or for some superstitious 
 reason ; but since the accession of the Ming dynasty 
 in 1368, the only instance of such a change is that of 
 the emperor canonized as Ying Tsung, who adopted on 
 his accession in 1436 the title of Clieng-Vmuj. He was 
 taken prisoner by the Mongols and dethroned in 1449, 
 and adopted the new title of T''ien-i<lnni in 1457, when 
 he recovered the throne on his return to his own country, 
 after a captivity of eight years in Tartary. During the 
 interregnum his brothei' carried on the government under 
 the title of Ching-fai, a nien hao signalized by the 
 introduction into the palace workshops of the Byzantine 
 pi'ocess of cloisonne enameling upon metal, which, con- 
 sequently, is known to this day as " Chingthti Lany 
 
 The reign mark consists usually of six characters, 
 written in two columns of three words, oi- in tliree 
 columns of two words, occasionally in one line, either 
 vertically or horizontally. The first character is Ta, 
 " great," .followed by the name of the dynasty ; the next 
 two charactei's give the nien hao ; the last two are nien, 
 "year" or "period," and chili, "made." The first two 
 characters, indicating the dynasty, are often omitted and 
 then the mark consists of only four characters. The 
 dates on the older specimens are generally written in the 
 plain charactei' ; those of the present dynasty are often 
 in antique scri])t, inclosed within a square border in the 
 form of a seal, which may be either penciled with a 
 brush or impressed in tlie paste with a stamp.
 
 MARKS ON CHINESE PORCELAIN. 65 
 
 Sung and Yuan Dynasties. — It is recorded in the 
 annals of Fou-liaug-lisien tliat during tlie Snng dynasty 
 the Emperor Chen Tsiing^ who founded the imperial 
 manufactory of Ching-te-chen in the period Chiiig-te 
 (1004-1007), from wliich it derived its name, ordered 
 that the four characters Ching-te nien cJdh,, "Made in 
 tiie period Ching-te,^'' should be inscribed on the ware 
 made for the palace. The Fi-anks Collection contains 
 a vase enameled olive-2:reen and touched with jxokl to 
 imitate patinated bronze, in the ornate style of the reign 
 of CKien-hing witli a seal of tliis pei'iod penciled in 
 gold ; and also a bowl painted in blue, w ith a nien hao 
 of a later reign underneath, l)eing marked (see No. 1) 2a 
 Sung Yuan feng nien cliih — i. e., "Made in the period 
 Yitan-feng (1078-1085) of the great Sung'''' ; but doubts 
 are suggested as to tlie authenticity of either of these 
 two pieces, which doubts I would venture to emphasize. 
 
 The period of Hsuan-lio (1119-1125) of the reign of 
 Hui Tsung, the eighth emperor of the Sung dynast}^, is 
 represented, so far as its nien hao is concerned, by two 
 pieces in the Waltei's Collection. The first, a pure white 
 vase of fine shape and perfect technique, illustrated in 
 Plate XC, with the decoration worked in relief and 
 etched, consisting of a broad band of fungus scrolls, 
 traversed by a pair of horned lizardlike dragons, extend- 
 ing round the middle, and of symbols encircled by fillets 
 above and below, is marked in underglaze blue (see No. 
 2), Hsi'ian ho nien chih, " Made in the period Hsi'ian-hoy 
 The second (Fig. 69) is a small quadrangular vase with 
 swelling body and I'eceding neck, composed of a very 
 fine, dark-brown paste, invested with a pur})lish mottled 
 gray glaze, overlaid with a whitish gray overglaze, \\ Inch 
 runs down in a rich unctuous mass not reaching to the 
 base of the vase. It has the mark, in two characters 
 only, of Hsi'ian-ho, the same nien hao, which is carved in
 
 6^ ORIENTAL CERAMIC ART. 
 
 the center underneath, and filled in ^vith gi-ayish-white 
 enamel. This comes from the Brinkley Collection. It 
 is of perfect technique and finish — too much so, indeed, 
 to belong really to such an early date — and it seems to 
 be a reproduction of the Kuan Yao, the " imperial ware " 
 of the SiUKj dynasty which was made at the capital 
 K'ai-feng-fu ; and the first piece appears to me to be 
 a clever reproduction of the porcelain made at Ching-te- 
 chen at the same time, which ^vas described to resemble 
 the purest white jade. I would refer both pieces to the 
 reign of ICcmg-hsi (1662-1722), with all deference to 
 my learned friend Captain Brinkley, in whose catalogue* 
 his piece is attributed to the reign of Ckia-cJdng of the 
 Ming dynasty. I may just mention here that the Jap- 
 anese have recently gained no small reputation in Peking 
 for their expert reproductions of ancient Sung porcelain. 
 Their marvelous skill in olden days in the decoration of 
 pottery with mingled glazes of brilliant tints was no 
 doubt likew^ise of Chinese origin and inspiration. 
 , The^emperors of the Yimn, dynasty (1280-1367) gave 
 no special patronage to the porcelain manufacture, and 
 no nien hao of this period is found among marks on por- 
 celain, although the mark of CliiJt-cIieng, the last reign 
 of this dynasty, is occasionally found on the foot of 
 cloisonne enamels on coj)per, and the titles of some 
 of the other reigns on ritual utensils of bronzed 
 
 Ming Dynasty. — In the Ming dynasty, ^vhich suc- 
 ceeded the Yuan, the imperial factory was rebuilt at 
 Ching-te-chen by Hung-wu, the founder of the new line, 
 whose reign is represented in collections by a few pieces, 
 of somewhat doubtful authenticity, inscribed (see No. 3) 
 Ta Ming Hung wu nien chih, or simply Himg wu nien 
 cliih, with the name of the dynasty omitted. 
 
 Those marked with the nien luio of his son, Yting-la 
 
 * Rare Chinese Porcelaiits, New York, 1893, \\. 13.
 
 MARKS ON CHINESE PORCELAIN. 67 
 
 (1403-1424), the third of the line, iiichide more veri- 
 table specimens, with marks both in the plain character 
 (see No. 4) and in an antique seal script (see No. 5). 
 The latter is found especially on the white eggshell bowls 
 characteristic of this period, Avith decoration worked in 
 relief or etched in the paste, of which Fig. 70 is an illus- 
 tration of a remarkable example, which has the mark 
 Yung Jo nien cliili faintly engraved at the bottom undei-- 
 neath the glaze. Some other bowls of this date are 
 described in Chinese books as molded in the same form as 
 the one just mentioned, with the figures of two lions, 
 lightly impressed under the white glaze in the interior, 
 playing with a brocaded l)all, and having inside the ball 
 the same seal faintly etclied in the paste in four tiny 
 characters, not nearly so large as grains of rice, the exte- 
 rior of these boAvls beino" decorated in blue and white. 
 
 The reign of Hman-te (1426-35) is celebrated for the 
 excellence of its blue and white as well ms for its blue and 
 red monochromes, and it shares with that of Clieng-liua 
 (1465-87), which is famed especially for its colored dec- 
 oration, the distinction of being the Ming mark most 
 frequently found on porcelain. The two intervening 
 reigns were occupied by battles with the Mongols, and 
 their titles are not recorded among marks. The two 
 nien liao of Ilung-lisi (1425) and T-ai-di'ang (1620) are 
 also conspicuous for their absence, due [U'obably to the 
 fact that each lasted less than a year. All the other nit )i 
 liao of the Ming dynasty are represented. 
 
 The usual form of the mark of IIsi'u(n-t(^ (1426-35) is 
 (No. 1) Ta Ming Hman te nien eltiJi, "Made in the 
 period Hsiian-te of the great Mivg [dynasty ].*' This is 
 sometimes etched in the paste ; occasionally the last four 
 characters are impressed with a square seal so as to 
 appear in relief. The seal form (No. 2), which has been 
 copied from the Franks Catdlogve^ Plate III, Fig. 24, is
 
 QS ORIENTAL CERAMIC ART. 
 
 described there by tlie author as taken from a specimen 
 which is " probably modern." It is the form so fre- 
 quently found on the incense pots of bronze, for the 
 manufacture of which this reign was specially celebrated. 
 
 The mark of ClCeng-liua (1465-87) is very common. 
 It has been more frequently forged than any other, and 
 oidy a very small pi'oportion of the pieces so marked can 
 be genuine. The usual form is (No. 3) Ta Ming Cli'eng 
 hua nien eliiJi, " Made in the period (Jh^eng-hua of the 
 great Ming [dynasty]." The inscription of (No. 4) Ta 
 Ming Gh^eng-Jina yuan nien yi yu, " The iirst year of 
 CK'eng-hua of the great Ming [d3masty] yi yn (of the 
 cycle) " occurs on a square vase decorated in enamel 
 colors in the Salting Collection, which iixes the date 
 most precisely, in twofold fashion, as a. d. 1465; the 
 style and coloring of the decoration, however, belong to 
 the reign of K'afig-hsi (1662-1722) of the Manchu 
 dynasty. The four-character mark (No. 5) ClCeug liua 
 nien cliih also occurs, either penciled or impressed, in 
 the plain character as well as in the antique scrij)t shown 
 in No. 6. Most of the so-called old crackle of ai'chaic 
 type, with mask handles and encircling bands of iron- 
 gray paste in the midst of the stone-colored ground of 
 the clumsy vase, is stamped underneath with this last 
 form of the mark, Avhich, in these cases, is evidently 
 fictitious. 
 
 The mark (see No. 7) Ta Ming Hung cliili nien chili, 
 " Made in the period llimg-chih (1488-1505) of the great 
 Ming [dynasty]," is found on bowl^ and dishes enameled 
 yellow, and on a few rare pieces of porcelain of pecu- 
 liarly heavy solid material decoi-ated in colors of a very 
 archaic type. 
 
 The mark (see No. 8) Ta Ming Cheng te nit)i cJtih, 
 " Made in the period Cheng-U (1 506 -1521,) of the great 
 Ming [dynasty]," is comparatively rai-e. Tt occurs, how-
 
 MARKS ON CHINESE PORCELAIN. 6ti 
 
 ever, on bowls decorated with green dragons as well 
 as on pieces of blue and white porcelain. It was in this 
 reign, we are told, that a new supply of Mohammedan 
 blue {Hui chJincj) was obtained from t he west, and there 
 is anlnteresting collection of porcelain of the period witli 
 Arabic inscriptions in the British Museum, It is exhib- 
 ited in a glass case together with several sacriiicial vessels 
 of bronze, which are marked with the same nien hao, and 
 decorated with medallions of Arabic scrolls — another 
 proof of the prevalence of the Mohammedan religion in 
 China at this time. 
 
 The mark (see No. 1) 2h Ming Chia ching nien chili, 
 " Made in the period Cliia-chmg of the great Ming 
 [dynasty]," represents the next reign (1522-1566), which 
 is characterized by the deep blue of its ])ainted decora- 
 tion on porcelain. The mark often occurs in a vertical 
 or horizontal line written in a panel in the midst of the 
 decoration. In the large round dish, three feet across, 
 which will be described presently, there is a horizontal 
 panel outside, near the rim, with the exceptional inscrip- 
 tion, Ta Ming Cliia citing liu nien cliih, "Made in the 
 sixth year of Chia-ching'''' (1527). The big globular 
 vase illustrated in Plate XLIX has the ordinary form of 
 the mark boldly written underneath in the same dee]\ 
 strong blue with which the jar is decorated. 
 
 The two marks (see No. 2) Ta Ming Lung citing nien 
 chill, "Made in the period Lung-cli'ing (1567-1572) of 
 the great Ming [dynasty] " and (No. '^) Ta Ming Wan 
 li nien cliilt, "Made in the period Wan-Ii (1573-1619) 
 of the great Ming [dynasty |," are always coupled 
 together by the Chinese with regard to their porcelain, 
 which is very similar in type. The reign of Wan-Ii, 
 being nuich longer than that of his predecessoi", is more 
 frequently found. The Japanese are fond of counter- 
 feiting Chinese marks, especially those of Wan-li and
 
 *I0 ORIENTAL CERAMIC ART. 
 
 Vhia-cJu'nf/, and these very often occnr on Imari pieces 
 wliicli Lave no pretensions to be contemporary, and 
 which at once betray tlieir alien origin l)y the peculiar 
 style in which the mark is written. 
 
 The marks (see No. 4) Ta Ming T''ieii (•Ji^i nien, cJiih, 
 ''Made in the period Tien-c]}Ji (1621-1627), of the great 
 Ming [dynasty] " and (No. 5) Ta Ming ClCung dim 
 nien c-'Az"/*, "Made in the period GlCung dim'''' (1628- 
 1643) of the great Ming dynasty, are very rare, and 
 occur generally on inferior pieces. The only exception 
 tLat I am aware of is in the case of a series of little glob- 
 ular vases marked underneatli with the single character 
 T''i€n, " Heaven," said to be a contraction of the 7iien 
 Jiao T'ien cli'i. I have seen them decorated in color, as 
 well as painted in l)]ue, and in both cases resembling 
 good specimens of the preceding reign of Wan-li. There 
 is one described in the Catalogue of Blue and White 
 Oriental Porcelain exhihited hij the Burlington Fine 
 A.rts Cl'uh in London in 1895, although the mark which 
 is figured in Plate III; Fig. 22, of the Catalogve, is 
 erroneously deciphered there as Ihi, " Great." A mark 
 of dedication on a temple sacrificial vase, dated the ninth 
 year of Ch'''ung diSii (1636), will be noticed latei'. The 
 Chinese were too busily occupied during the last two 
 reigns of the Ming dynasty in disputing the advance of 
 the rising Manchu power to pay much attention to the 
 porcelain manufacture, and the records are absolutely 
 silent on the subject. 
 
 CKing Dj/nasty. — Date marks of the reigning dynasty 
 are found, like those of the Ming^ consisting either of six 
 characters, or of four ouly, with the first two, the name 
 of the dynasty, omitted. A new fashion of writing the 
 characters in antique script, in the form of an oblong or 
 square seal, came into vogue in the reign of K''ang-hsi, 
 and in tlie nineteenth century the majority of the ])ieces
 
 MAliKS ON CHINESE PORCELAIN. 7l 
 
 made in the imperial factories at Cbing-te-cbcu are dated 
 in that way. The mark of the first reign, Sliun-cliAli 
 (1644-1661), is very I'are, and it is doubtful whether there 
 is a genuine instance of a seal mark, although one is fig- 
 ured here for the sake of completeness. Tlie seal mark of 
 K''mig-lisl^ even, is not common, although I have seen it 
 on authentic pieces. It was not till the reign of GlCien- 
 lung that the date came to be more often inscribed in the 
 seal character than in the ordinary plain script. 
 
 The first emperor of the new Manchu dynasty reigned 
 eighteen years under the title of Shun-cliih (1644-1661). 
 There is a record of large fish-bowls and veranda plaques 
 having been ordered by him from Ching-te-chen for the 
 decoration of the palace at Peking, such as had been sup- 
 plied in the reign of Wan-li of the Mmg dynasty, but 
 the mandarins in charge were obliged to reply that it was 
 impossible to produce them. The mark occurs in the 
 plain character (see No. 1), Ta Cli'ing Shnii chili nien 
 cliih, " Made in the reign oi Shun-chfh of the great Cli'ing 
 [dynasty]," on small pieces both of enameled and of blue 
 and white porcelain, decorated in the style of the later 
 emperors of the Ming. It is almost as rare, howevei', as 
 the marks of the last two reigns of the former dynasty, 
 and without the mark the few specimens that I have seen 
 could hardly have been distinguished from Wan-li pro- 
 ductions. With regard to the seal mark (see No. 2), it 
 is probably always fictitious. 
 
 The next reign, that of K''ajng-]iu (see No. 8), lasted 
 for the long period of sixty-one years (1662-1722). The 
 early part of his reign was occupied in consolidating 
 the Manchu rule in the south of China, and in fighting 
 with the viceroy Wu San-knei, who had declared himself 
 independent. The potteries suffered much in this rebel- 
 lion, and the imperial factories were burned to the 
 ground during the troubles which lasted from the twelfth
 
 72 ORIENTAL CERAMIC ART. 
 
 to the sixteenth yeur. Tliey were rebuilt in this last 
 year (1677), and a new era in the history of the ceramic 
 art was inaugurated. Earlier in the reign the manufae- 
 torv had been under the direction of the governors of the 
 province, among whom Lang T'ing-tso was the most 
 celebrated, as the inventor of the brilliant sang-de-boevf 
 glaze, which is called after him, Lantj Yao. In the year 
 1677 the official in charge issued a proclamation forbid- 
 ding the inscription of the imperial luen liao, or of any 
 sacred text, upon porcelain, which, in consequence, had 
 to be marked with the hall-mark of the manufacturer, 
 with the signature' [of the artist decorator, or with some 
 pictorial or fanciful device. Many of the finest })ieces of 
 this time were not marked at all, although a double ring 
 in blue is often found underneath, surviving as an empty 
 relic of the old mark. We are not told when the decree 
 was rescinded. The first imperial commission for the 
 porcelain works was appointed at Peking in 1680, and 
 arrived in Ching-te-chen in the following year. One of 
 its most important members was Ts'ang Ying-hsiian, who 
 became subsequently famous for his monochrome glazes, 
 shades of "eel-skin yellow," varying from brownish old- 
 gold tints to olive, and " snake-skin green," with its 
 brilliant iridescent sheen, and who is generally credited 
 with the invention of the mottled "peach-bloom," and 
 the pure pale-blue clai}' de lime, the finest pieces of which 
 have underneath, the six-character mark of the K\(ng-hsi 
 (see No. 3) period, delicately penciled in underglaze 
 cobalt blue. The little eggshell winecup (Fig. 18) shows 
 the ordinary method of inscription of the mark at this 
 time, encircled with a doubled ring. The characters are 
 so minute as almost to require a lens for their decipher- 
 ment. The seal mark also read (see No. 4), Ta OhHng 
 K''ang-lisi nien chih, " Made in the reign of K\mg-li^i of 
 the great CKing [dynasty]," has been often counterfeited,
 
 MARK8 OiS^ CHINESE PORCELAIN. 73 
 
 but, as 1 have already observed, 1 have seen it on uii- 
 •doubtedly genuine pieces. 
 
 The title of this reign means "Peace and Joy," and a 
 quaint mark penciled in blue under another eggshell 
 winecup, Fig. 71, which is decorated with a picture of 
 lotus plants and water-birds, painted in blue and filled in 
 with the pure red and the deep brilliant greens of the 
 ■early K''ang-hsi period, must be referred to it. The 
 mark reads, Hsi cKao chi wan chih chen, " A gem among 
 rare trinkets of the reign of joy," and was no doubt writ- 
 ten in this peculiar w^ay to avoid the inscription of the 
 full nien luio, forbidden by statute at the time, lest it 
 should be profaned on the dust heap. The pair of man- 
 darin ducks swimmino; iu the water and the kinocfislier 
 :flying above are perfect in their miniature painting. The 
 verse, penciled in blue — 
 
 " The root is jade buried in tlie mud: 
 
 In tlie bosom lurk pearls of liquid dew " — 
 
 is sealed with the character Shang, " A Gift," inclosed 
 in a small panel. The verse refers to the Jadelike white- 
 ness of tlie lotus root, which makes a favorite sw^eetmeat, 
 and to the pearly drops of water ^vhicll collect upon the 
 leaves, and are taken by the Buddhists as types of the 
 sacred " jewel of the law." 
 
 The succeeding emperor, Yang-cheng, reigned fioni 
 1723-1735. The porcelain of the time is charactei-ized 
 by its finished technique as well as l)y its crisp decora- 
 tion and delicate coloring. The superintendents of the 
 imperial factory were Nien Hsi-yao, distinguished for 
 the purity of his monochrome glazes, and T'ang Ying, 
 the most famous of all, a fertile inventor and wonderful 
 reproducer of ancient colors, whose name Ave shall meet 
 very often in subsequent pages. The private kilns of 
 the time also turned out a (piantity of tine work, in
 
 74 ORIENTAL CERAMIC ART. 
 
 emulation of the imperial manufactory, as shown by the 
 eggshell tea services and the beautiful ruby-backed 
 plates, vv^hich were made principally for export to 
 Europe. The Walters Collection is rich in these, and it 
 contains some of the largest imperial pieces as well, like 
 the magnificent round dishes, one of which is illustrated 
 in Plate XLVIII, and the pilgrim bottle shown in Plate 
 XL VII. Both of these are marked in the ' ordinary 
 script (see No. 1^, Ta CKvng Yung-cheng nieii cliih^ 
 " Made in the reign of Yung-chetig of the great Cli'ing 
 [dynasty]." A rare eggshell bowl from one of the 
 private kilns, very richly decorated, in enamel colors of 
 the famille rose and gilding, with a scene of family life, 
 surrounded by diapei-ed grounds and floral brocades, is 
 seen in Fig. 72. It is marked in underglaze cobalt blue 
 with the six-character inscription written in stiff archaic 
 style inside a double ring. The seal form of the same 
 mark (shown in No. 2), occurs more rarely. 
 
 The reign of the next emperor, OhHen-hmg, was 
 nearly as long as that of his grandfather JT^ang-hsi, and 
 he terminated it by abdicating after the completion of a 
 full cycle of sixty years (1736-1795). The porcelain is 
 generally good and veiy })lentiful, and is so similar to 
 the productions of Ynng-clieng that the two reigns are 
 often classed together under the same heading. The 
 mark of Ta ClCing ClCien-lung nien chih, " Made in the 
 reign of Cli'ien-lung of the great ChHng [dynasty]," 
 occurs in both the common (see No. 3) and seal char- 
 acters, though moi'e generally in the latter (see No. 4), 
 one of the forms of which in four characters, with the 
 name of the dynasty omitted, is seen in No. 5. 
 
 Tlie Emperor Chia-cli^ing, the son of Yung-cheng^ 
 reigned 1796-1820. The best porcelain of the earlier 
 period is equal to that of the preceding reign, but 
 toward the end it indicates a gradual process of degener-
 
 MARKS ON CHINESE PORCELAIN. 75 
 
 atioii. The mark, which occurs less frequently iu the 
 ordinary script (see No. 6), is Ta GKing Cliia-cKiiuj 
 nien cJiih, "Made in the reign of Chia-ch''ing\)i tlie gi-eat 
 Cli'ing [dynasty]," which is shown in No. 7. 
 
 Tao-humig succeeded his father in 1821, and reigned 
 till 1850. Some of the finest work of this time was 
 lavished upon ordinary table services, and I'ice bowls 
 with this mark are eagerly sought by collectors, like the 
 medallion bowl with an etched spiral ground of crimson 
 rouge cVor^ brocaded with flowers of Fig. 73, which has 
 underneath it a square seal penciled in blue (see No. 9), 
 Ta Citing Tao-kuang nien cJiili, " Made in tlie reign of 
 Tao-hnang of the great CliHng [dynasty]." Specimens 
 of the mai'k in the oi'dinary script (see No. 8) are less 
 commonly met with. The son of Tao-liiang, who suc- 
 ceeded his father, i-eigned under the title of llsien-feng^ 
 A, D. 1851-1861. During the early part of his reign 
 some fine work ^vas produced at the imperial factory, 
 which is usually found marked in iull (see No. 10), 2a 
 Cliing Hsien-feng nien ehih, " Made in the reign of 
 Hnien-feng of the great Ch''ing [dynasty]," penciled in 
 red in the common script. The mark from this time 
 onward seems, for the most part, to have been relegated 
 to the private potters, and is usually indifferently pen- 
 ciled (see No. 1). In the sixth year of this reign the 
 province of Kiangsi was devastated by the TaijMug 
 rebels, and Ching-te-chen especially was almost de- 
 populated, and the porcelain indiLstry has never since 
 recovered. 
 
 The next emperor who ascended the throne adopted 
 the title of Timg-cUli, and reigned 1862-1874. The 
 porcelain is marked (see Nos. 2 and 3) Ta CFing 
 Tung chill nien chili, "Made iu the reign of 2^'ung-chili 
 of the great Cli'ing [dynasty]." A good idea of the 
 productions of the imperial factory is gained from an
 
 76 ORIENTAL CERAMIC ART. 
 
 official list of the palace indents of the year 1864, which 
 we will extract pi'esently from the provincial statistics of 
 the time. 
 
 This last emperor was succeeded by his cousin, who- 
 was enthroned under the title of Kuang-hsil in 1875, and 
 is still reigning. The imperial ware (kvan ycio) of the 
 present day is usually marked in ordinary characters 
 (see No. 4) Ta Cli'ing Kuang Jisil nlen chih, " Made in 
 the reign of Kuang hsil of the great Cli^'mg [dynasty]." 
 But the ceramic art is in these days at its lowest ebb in 
 China, and its productions may be dismissed in the 
 native phrase as " not ^vorth collecting." Still less 
 worthy of consideration is the porcelain of the private 
 kilns (.S'.sv) //<^^o), which is sometimes marked with a 
 rudely outlined seal (see No. 5), usually, however, 
 inscribed with a mark of one of the older reigns of the 
 most transparently fictitious character. 
 
 There is another form of this date mark to be noticed, 
 in which the character ////, " imperial," is substituted for 
 nien^ "year." This form, which means that the piece 
 bearing it \vas made by special order of the emperoi", 
 occurs also on specimens of carved jade and of clohonne 
 enamels on copper produced in the imperial works of 
 the period indicated. I have seen the folloAving four 
 instances on porcelain, of which the second, figured in 
 Hooper's Manual Qo<\ cit.), is given hei-e as an example 
 of the sei'ies. These are : 
 
 1. ICang-lisi ij'n rlul (1662-1722). 
 
 2. Yung-cheng iji) clih (1723-1735). 
 
 3. ClCien-limg iji'i cliili (1736-1795). 
 
 4. Clda-cliHng yil chih (1796-1820). 
 
 The accompanying mark, penciled in red, is found 
 underneath the "chicken-cups" (clu htng) made by 
 order of the Emperor ClPien-hmg^ and inscribed with 
 the poem of ]jis oAvn composition, which I translated in
 
 MARKS ON CHINESE PORCELAIN. 77 
 
 the last cliaf>tei-. One of them is illustrated in the 
 pamphlet which is quoted there, and the illustration is 
 bettei- than Mr. Weston's grotesque translation of the 
 inscription. These are the most prized of teacups 
 among Chinese virtuosos of the present day, and the 
 curio dealers of Peking ask a hundred taels for a perfect 
 pair — the same price that used to be asked by the 
 dealers of the last dynasty for their prototypes, the tiny 
 eggshell chl hang winecups of the famous reign of 
 ClCmg-liua. The seal (see No. 7), is to be read Ta 
 ClCiiig Cli^ien-lung fang hu — i. e., " Copy of antique of 
 Chien-lung (1736-1795) of the great ChHng [dynasty]." 
 The cups are decorated in colors, like the little snuft"- 
 bottle with the same inscription in the AValters Collec- 
 tion, with a picture of a rockery with peonies growing 
 upon it, and a boy feeding a hen and chickens from a 
 basket. See Fig. 64. 
 
 This seems to be the place for a seal mark of one 
 character of not infrequent occurrence in collections, 
 which has not been hitherto deciphered (see No. 8). It 
 is said to signify Cliih, "By Imperial Order," and is 
 found on K^ang-lisi porcelain of the most artistic deco- 
 ration, the mark varying considerably, ho^vever, in the 
 shape and arrangement of the strokes in dilferent cases. 
 The first form is taken from a magnificent round dish, 
 twenty-eight inches in diameter, decorated in l)rilliant 
 enamel colors of the K\(ng-lisi period, with a party of 
 ladies in boats, gathering lotus flowers in a lake, while 
 other gayly\lressed damsels are looking on from a pavilion, 
 the borders of the dish being filled with richly brocaded 
 diapers interrupted by medallions of flowers. The sec- 
 ond form (see No. 1 ), which is apparently a variation of 
 the same mark, is taken from a square beaker of the 
 same period, decorated on the four sides with flowers 
 relieved by a black ground in the style of Plate IX, and
 
 78 ORIENTAL (^ERAMIO ART. 
 
 is u rare instance of an inscription in tliis peculiar class 
 of decoration, \\ liicli is almost always unmarked,* The 
 third form (see No. 2) is taken from a large blue and 
 white dish belonging also to the ICmuf-ltsi period. This 
 ap[)ears to me to be intended for anotlier character called 
 chill, in^ynonym of cJriJi, " to make," which, however, also 
 means " by order." They are examples of a large and 
 vai'ied category of marks introduced at a time when the 
 use of the ]>r<)])er ///\'ii liao was forbidden by the 
 authorities. 
 
 2. Hall-Marks. 
 
 The term " hall " is used here in its most comprehensive 
 sense, reaching from the palace or pavilion of the emperor 
 down to the shed of the potter, so as to include the recep- 
 tion hall of a noble, the library of a scholar, the studio 
 of an artist, and the shop of a dealer. The Em[)eror of 
 China stamps his ode with the seal of the pavilion in 
 which he has just composed it, the official in charge 
 of the imperial manufactory attaches his hall mark to the 
 porcelain produced there, the artist or writer uses the 
 name of his studio as anomde phime,i\\e dealer has his 
 trading hall-mark inscribed on the porcelain made for 
 sale at his shop, and the potter occasionally authenticates 
 his productions with his o^^ n mark. The hall-mark on 
 porcelain may belong to any one of these different classes, 
 and it may mean made for the particular hall, as well as 
 at the hall, the name of which is insci-ibed on the piece, 
 the clew being sometimes suggested by the meaning of the 
 name. For example, of two new hall-marks supplied by 
 this collection, the one Yi yil faiu/ chili must be " Made 
 at the Ductile Jade Hall," while the other, in wliich the 
 
 * Another form of this mark, in which the first part of the character is more 
 correctly penciled, is given in tlie Franks Catalogue, Plate XIII, Fig. 130. It 
 is deciphered there as " Fan, the maker's name," but the Chinese experts that 
 I have consulted refuse to pass this reading.
 
 MARKS ON CHINESE PORCELAIN. 79 
 
 name Ssii hui tshto fangim taken from a ]ine in one of the 
 Ancient Odes of Cliinese classical times, would in all 
 probability be " [Made/'orJ tlie Straw [i. e., thatched] 
 Pavilion on the Kiver Bank." 
 
 The usual w^ord employed for " hall " is ^, t^ang, but 
 we find also other terms of similar meaning nsed occa- 
 sionally" in its stead in inscriptions on porcelain, such as 
 ^, Iv, a " palace pavilion," ^, fing, a " summer-house," 
 ^, cJiai, a " studio," p, Ihsiian, a " balcony or railed 
 terrace," or a porch projecting beyond the eaves, |1| ^, 
 shan-fang,a " mountain retreat, " and other synonyms. 
 
 The mark (see No. 8) Jen ho huan, " Hotel of Benev- 
 olence and Harmony," is often cited as the earliest 
 instance on record of a hall-mark, and it would appear to 
 denote the establishment for which the vase was made. 
 It is quoted from the Ni lea In, a little book on anti- 
 quarian subjects, published early in the sixteenth century, 
 in which the author describes a bottle-shaped vase of white 
 Tingchou porcelain of the Sung dynasty in his own 
 collection, as "having upon it this inscription, fired in the 
 glaze, in the handwriting apparently of one of the Ni 
 family, father or son," referring io two famous calligra- 
 phists of the eleventh century. 
 
 The fashion of inscribing upon j)orcelain made foi- the 
 imperial palace the name of the pai'ticular j)avilion for 
 A\diicli it was intended seems to have begun in the reign 
 of Yung-clieng. Of the two examples which I give, the 
 first (see No. X), Lang yi/n ho, " Pavilion for Moonlight 
 Recitation," occurs on a flower-})ot decorated in colors of 
 the reign of Yung-clieng (1723-1 735), the second (see 
 No. 2), Tzu 8lm ho, " Pavilion for Presentation of Books," 
 is inscribed upon the covers of a pair of circular boxes of 
 the kind used for holding incense or chi})s of fragi-ant 
 wood. They are eight inches in diameter, and are painted 
 in red and blue with bats flying among clouds, and
 
 80 ORIENTAL CERAMIC ART. 
 
 inurked on tlie foot with the oi'diiiary seal of the Chia- 
 ch'lng period (1796-1820). 
 
 There are two other hall-marks \vhicli are generally 
 referred by Chinese authorities to the palace, viz. (see 
 No. 3), Ching wet fang cJiiJi, " Made at the Hall of 
 Reverent Awe," which is attributed to the ChMen-lmig 
 period (1736-1795), and (see No. 4) Slien te fang cliih 
 " Made at the Hall for the Cultivation of Virtue," which 
 is said to have been the name of a paviliou founded by 
 the Eaiperor Tao-knang (1821-1850), and by him given 
 a name chosen from the classics (^Tlie Great Learning^ 
 chap. X. p. 6). " Hence the sovereign will first take 
 pains about his own virtue." This mark is much sought 
 after by Chinese collectors. There is an example of it 
 here in the bowl (Fig. 74), which is decorated in delicate 
 enamel colors with butteriiies relieved l^y a monochrome 
 ground of soft coral-red tint. It has been conjectured 
 that it might be the hall name of the official in charge of 
 the imperial factory, but this could liardly be, as in China 
 it would be contrary to etiquette for a subject to select 
 one from such a text. There is a saucei' dish in the 
 Franks Collection (No. 387 in the catalogue) marked 
 (see No. 5) Slien te fangjxj hu cliiJi, " Antique {po hf) 
 made for the Sheu te Pavilion," and the learned author 
 tliinks that " from peculiarities of make it is probable 
 that this dish is of the early part of the reign of Jiang- 
 7(^6"," so that the " antique " nuist be well executed if our 
 account of the origin of this mark be correct. The form 
 of tlie ordinary seal of the reign Avith^^o ku is common 
 enough on Jade carvings from the inq^erial workshops, 
 which are usually fashioned after ancient models, and are 
 marked in this way to indicate the fact. 
 
 A hall-mark quoted in Hooper's M((niial (Joe cit., p. 
 205) as taken from a bowl, one of a [)air, the other being 
 marked as above, is (see No. 6) (li((ii diing cliai ('lu]i,
 
 MAKKS ON CHINESE J'OKCELAIN. 81 
 
 "Made for the Reti-eat of Quiet Stillness," so that this 
 mark would pi'obaljly belong to the same period as that 
 of Shell te t'ang. 
 
 The last palace marks which \\e will give here are 
 taken from a pair of beautiful bowls, examples of the 
 finest work of the pi'esent day : inferior, however, it 
 must be confessed, both in technical details and in tone 
 of coloring, to the poi'celain of the reign of CliJien-limgj 
 which is said to have furnished the models. These 
 bowls are in the possession of Sir Nicholas O'Conor, 
 K. C. B., her Britannic Majesty's late envoy plenipotenti- 
 ary at Peking, who has kindly permitted me to copy the 
 marks. They are decorated in enamel colors inside and 
 out, with floral sprays of roses and wistaria, the stems of 
 the latter winding over the rim, so as to cover the 
 interior of the boNvl with gracefully trailing blossoms ; a 
 single magpie is perched on one of the bi'anches ; and the 
 whole is I'elieved by a monochi'ome ground of soft gray- 
 green tint. On the outer surface near the rim is the 
 hall-mark (see No. 7) Ta Ya Chai, "Abode of Grand 
 Culture," and near it, in a small oval panel framed by 
 dragons, the motto (see No. 8) T'ieit ti yi cliia cli'iin^ 
 " Spring throughout heaven and earth as one family ! " 
 Underneath there is another mark penciled in red (see 
 No. 9), YiiiKj clCing ch'ang r/t'u//, '' Eternal Prosperity 
 and Enduring Spring ! " These bowls are interesting 
 from the fact that they are part of a dinner service made 
 specially at the imperial factory at Ching-te-chen for 
 the empress dowager, who has ruled China for so many 
 years, and who is noted as being herself a clever artist 
 and calligraphist. She is said to have sent down some 
 bowls and saucer dishes of the Cli'kii-hi mj period from 
 the palace at Peking as patterns to be copied at Ching-te- 
 chen. Ta ya Clial is the name of one of the new pavil- 
 ions in Civ mm CKun Kuiuf, "The Palace of Enduring
 
 82 ORIENTAL CERAMIC ART. 
 
 Spring," on the westeru side of the "Prohibited City/' 
 at Peking, where this empress, the " AYestern Buddha," 
 as she is colloquially called by tlie Pekingese, resided 
 until she reniov^ed to the new palace which was prepared 
 for her at the termination of the emperor's long minority. 
 The propitious mark underneath the world-embracing 
 motto in the dragon label, and the decoration, all point 
 to spring, of which season the Wistaria Sinensis is one 
 of the floral emblems. 
 
 The ordinary liall-marks are so numerous that it would 
 be quite useless to attempt to give a complete list. They 
 are found on porcehiin of the })resent dynasty from the 
 reign of K\ing-hsi downward. It \Aould be useful to 
 arrange them in chronological se(|uence liad we sufficient 
 material at our conunand. At present it is only possible 
 to make a short selection for illusti-ation hei'e, beginning 
 with the two unedited marks in the Walters Collection, 
 that have been already quoted. 
 
 The first, one of the earliest of the class that we have 
 met with, is inscribed on the bottom of the square teapot 
 (Fig. 75), which is decorated with dramatic and domestic 
 scenes in blue and white of the K\t))g-lisi])^Yio([, and has 
 rims and borders of canary or '' Nankin yellow." The 
 upright rim is surrounded by small panels of floral sprays 
 of the four seasons ; the knob of the cover is carved in 
 open work, with the character la ("rank") encircled by 
 a four-clawed dragon penciled in blue ; and the handle is 
 tinted black on a pale-yellow ground to imitate basket 
 work. The mark is (see No. 1) Yi yii fang cliih^ " Made 
 at the Ductile Jade Hall," and is such as would be likely 
 to be chosen by a potter, using white jade as a well-worn 
 simile for fine porcelain. 
 
 The other is a Cli'ien-limg vase ^vitll the rim and foot 
 incased in metal mounts (Fig. 76), which is enameled 
 with a minutely crackled turquoise glaze of soft, charm-
 
 MARKS ON CHINESE PORCELAIN. SH 
 
 iiig tone. The decoi'ation, delicately etched in the paste 
 under the glaze, consists of a pair of five-clawed dragons 
 pursuing the effulgent disk of omnipotence in the midst 
 of cloud scrolls and lightning flames. The foot, colored 
 brown underneath, has the mark engraved in the paste 
 (see No. 2), 6hl hut ts\io fang, " The Stra^v (i. e., 
 thatched) Pavilion on the River Bank." The name is 
 taken from a text in the ancient Minor Odes of the King- 
 dom., Book xiv, Ode 5, the first line of which is, " By 
 these banks (^Ssd han^ has the palace risen." 
 
 The above mark is curious for the omission of the ^\ ord 
 chih, "made," in which it agrees with the tMo hall-mai'ks^ 
 that follow (see No. 3) : Lu yi fang, " The Pavilion with 
 the Waving Bamboos," and (see No. 4) Feng Itsien fang, 
 " The Hall for the Worship of Ancestors." The former 
 occurs on K\(ng-]isl pieces decorated in colors, with 
 either a white or a mazarine blue ground ; the latter on 
 more modern porcelain, is that which is usually inscribed 
 on ritual vessels, perhaps as an indication of their being 
 intended for use in the ancestral temple. 
 
 Another unpublished mark occurs more than once in 
 the Walters Collection, which must be included in this 
 class, although the \vord " hall " happens to be omitted in 
 its composition. The first piece (Fig. 67) is a rice-bowl 
 of lotus-flower design, \vith an eightfold foliated wavy 
 rim, and eight petals molded in relief round the foot, dec- 
 orated with dragons and tiny sprays of flowers relieved 
 by a coral-red ground. The second, ilhistrated in Fig. 
 77, is one of a pair of four-lobed winecups, with indented 
 rims, painted in delicate enamel colors, with the eight 
 Taoist genii crossing the sea. Chung-li Ch'iian and Lii 
 Tung-pin are seen on the left of the picture mounted 
 upon a dragon, which is guided by a damsel swimming 
 in front, holding up a flaming jewel. Lan Ts'ai-ho and 
 Ho Hsien-ku are still upon the shore ; the former is scat-
 
 84 ORIENTAL CERAMIC ART. 
 
 tering flowers from his basket, as if to propitiate the 
 waves ; the latter, the virgin member of the sacred group, 
 carries a lotus cup upon a stick and a small branch of 
 twin peaches upon her shoulder, A few white jasmine 
 flowers and buds, painted in soft tints, are sprinkled over 
 the interior of the cup, as if to imbue its contents with 
 their fragrance. The mark in all three cases is in the 
 seal character, penciled in red (see No. 1), Hsieli chii 
 tmo, "Made for [or at] the Hsieh Bamboo | Hall ]." 
 Compare the mark figured in the Franks Ckitalogue 
 (Plate VI, Fig. 72), which is read (see No. 2), Hsieh dm 
 elm jen tsao^ "Made for [or by] the lord [Chu jen | of the 
 Hsieh Bamboos." Hsieh is the name of the valley in 
 the Kun-lun Mountains where Ling Lun, minister of the 
 fabulous Emperor Huang Ti, is said to have cut bamboo 
 tubes of different lengths when he is supposed to have 
 invented the musical scale and fashioned the first musi- 
 cal instruments. The style and coloring of these bowls 
 indicate the reign oi Tao-huang (1821-50), or perhaps 
 Chia-cJi'ing (1796-1820). 
 
 The next mark, which is taken from a brush cylinder 
 (pi t'ung), carved in open work to simulate a clump of 
 baml^oos ofrowino" from rocks, and tinted in delicate 
 enamel colors of the CKien-l/img })eriod, is to be read 
 (see No. 3) Lit chu slum fang dim ts'ang, "Precious 
 Treasure of the Green Baml)oo Mountain Lodge." 
 
 Another six-character hall-mark of the same time is 
 (see No. 4) Chi tig lien t\ing fang hu diih, "Made as a 
 copy of an antique at the Ching-lien Hall." This woidd 
 be tlie mark of an official or scholar posing as an admirer 
 of Sung Ching-lien, a supporter of the founder of the 
 Ming dynasty in the fourteenth century, and a distin- 
 guished commentator on the classics. 
 
 A hall-mark indicative of a lover of flowers, which wa8 
 first publislied by Jacquemart and Le Blant Qoc. eit., p.
 
 MARKS ON CHINESE PORCELAIN. 85 
 
 188), is Tza t£a faiuj chili, " .Mude at the Hall of 
 Purple Thorn " (see No. 5), taken by them from a cliarm- 
 ing vase, decorated witli figure subjects, in the possession 
 of M. Holtrop, librai-ian to tJie King of Holland. There 
 is another hall-mark (see No. 6) published on the follow- 
 ing page of the same book, taken from a bowl enameled 
 green outside, yellow inside, ^vith iish and water plants, 
 with the reading, T'ieu mao famj cliih, ^'- Fahi'ique dans 
 la salle dii ciel voiUr The second charactei-, howevei', is 
 ch\in(/ ("prosperity"), not mao, which has an extra 
 horizontal stroke at the bottom, so that we must read 
 instead, "Hall of Heaven-sent Prosperity," which is a 
 common trading-hall name in China. 
 
 I have been permitted to select four ^^■inecups from my 
 own collection to illustrate the subject of hall-marks. 
 Fig. 78 is a cu[) of the thinnest eggshell textuiv and 
 most translucent glaze, decorated in colors, with }>ale- 
 green bamboo and red dianthus ilo^vers ; a ])at, emblem 
 of happiness, is flying across with rlii cli''iiu/, the jade 
 symbol of good fortune, in his mouth ; there is a short 
 inscription penciled in black behind, "A })ropitious 
 prayer for a thousandfold harvest" ; and a couple of fra- 
 grant jasmine blossoms are painted inside. The mark 
 penciled in red on the bottom of the cup is Chili hsiu 
 ts'ao fauf/, "The Straw (i. e., thatched) Pavilion adorned 
 with Variegated Fungus." It is a specimen of the reign 
 of ICamj-hsi (1662-1722). The next. Fig. 38 (a), del- 
 icately painted in gold with sprays of chrysanthemum 
 flowers, is attributed to the reign of Yhikj-cIu'ikj (1723- 
 35) ; it is marked nnderneath in red, Ching ssu fang chih, 
 ''Made for the Pavilion of Classical Bookcases."* The 
 third is a tiny cup. Fig. 79, of the reign of Ch'ien-Iung 
 
 * There is a pair of teacups with this mark iu the Ilippisley Collection (0/^/- 
 logtie, Nos. 120 and 121), " Teacups (a pair) with covers, of thin white Yung 
 Ch§ng porcelain, decorated with two imperial tive-clawed dragons pursuing
 
 86 ORIENTAL CERAMIC ART. 
 
 (1736-95), decorated in delicate enamel colors with a 
 combination of the three propitious plants, symbols of 
 longevity — the fir, bamboo, and blossoming pruniis 
 (^Sun(/, c7tu, mei). The mark penciled underneath in red 
 is Pao shen cliai chih, ''Made for the Retreat where 
 Virtue is Precious." The fourth. Fig. 80, one of a pair 
 of winecu})s referred to the reign of Chia-e]i'ing {17^^- 
 1820), which are covered inside and out with flying bats 
 painted in red, fifty on each cup, and have the circular 
 foi'm of the character slioa ("longevity") emblazoned on 
 the bottom of each in red and gold. The decoration 
 conveys the felicitous phrase, SJtua/it/ sJiou pofu, " Two- 
 fold longevity and the hundred happinesses." The mark 
 penciled underneath in red is Fu cliing fang chi\ 
 " Made at the Hall of Happiness and Good Fortune." 
 
 The Chinese potter lavishes some of his choicest work 
 on the decoration of these little winecups, and many more 
 might be selected with other marks, but space is limited, 
 and these few must suflice for the present. 
 
 Toward the end of the i-eign of K''ang-lisi, glass works 
 were founded at Peking under the direct patronage of 
 the emperor, with the assistance of the Roman Catholic 
 missionaries. The production was known as Kuan liao^ 
 or " imperial glass " ; it included pieces colored in mass, 
 pieces made of layers of different color su^^erimposed 
 and subsequently carved, and pieces either of clear or of 
 opaque \vhite material, painted with translucent enamels 
 of different colors. These last are commonly known in 
 the present day as Kti Ytieh Hallan^ because the hall- 
 mark, Kii Y'lieli Hsilaii cMh, "Made at the Ancient 
 Moon Terrace," is often inscribed underneath. Tradition 
 says that one of the directors of the factory named Ku, 
 
 sun amid clouds, all iu deep red, the clouds, the dragons, and the scales of 
 the latter being outlined in bright gold ; covers bear similar decoration. 
 Mark, Chiiuj sail fang, an imperial or princely hall-mark as yet unidentified."
 
 MARKS UN CHINESE PORCELAIN. 87 
 
 whose patronymic was a character composed of Ku, 
 " ancient," and yuth., " moon," broke it up into two com- 
 ponent parts to form his studio name. The accomj^any- 
 ing mark is engraved underneath a bowl of this kind, 
 which is fabricated of white glass and is colored brown, 
 the outside of the bowl being etched with a landscape of 
 hill scenery touched with the same brown enamel. The 
 Emperor Yimg-cheng is said to have been enamored of 
 the new art and to have sent down to Ching-te-chen some 
 of the finest specimens, to be reproduced in porcelain 
 under the auspices of the celebrated T'ang Ying. The 
 objects >vhich Avere produced in this and the succeeding 
 I'eign of Oh^ieii-lung are among the most precious of 
 treasures ; they have a paste of peculiarly vitreous aspect, 
 white, and fine-grained, and are decorated in translucent 
 enamels, often with European subjects. The variety 
 is known as Fang JCu Yueli Hsikm, " Imitations of the 
 Ancient JNIoon Terrace | Work]." The teapot figured in 
 the last chapter is a notable example of this beautiful 
 style of decoration. The Chinese exquisite will pay in 
 the present day over a hundred taels for a little ClPien 
 lung snuff-bottle of clear glass, lightly touched \vith 
 a design in colors, authenticated by this mark ; and much 
 more for a small porcelain vase of the variety, decorated 
 with a pastoral scene of European style in enamels of the 
 famille 7'ose. 
 
 Another unedited liall-mark with the anoihI hsi'mn, 
 found on decorated porcelain of the Cliiea-hing period, 
 is (see No. 1) Clien ting h.silati cliih^ literally, " Made in 
 [or for] the Dust-tixed Terrace." " Dust " {cli'en') is the 
 " world " in Buddhist metaphor, and ting (" inunovable") 
 is the word used by Buddhists to convey the idea of 
 mental abstraction, so that we should render this hall- 
 name, " Terrace of abstraction from Mundane Affairs.'' 
 
 Some of the earliest hall-marks have names referring
 
 88 
 
 ORIENTAL CERAMIC ART. 
 
 to the quality of the porcelain, distinguishiug either the 
 fineuess of the paste or the brilliancy of the coloring. 
 One of those already given, " Hall of Ductile Jade," 
 refers to the fine fabric, while the accompanying mark 
 (see No. 2) of the same early ]_)eriod, which is penciled 
 in blue under a small vase with celadon-glazed body, 
 with a ring of chocolate-brown tint round the shoulder, 
 and having the neck decorated with peaches in under- 
 glaze blue touched with peach-color, refers to the color- 
 ing, being Pi yiln fatuj cJiili^ " Made at the Hall of Moss- 
 Green-Jade Clouds." 
 
 To the former class, also, belong the following marks: 
 (see No. 3) Chi yil fang cltUi, " Made at the Hall of 
 Rare Jade"; (No. 4) Lin yil fang rhih, "Made at the 
 Hall of Forest Jade " ; and (No. 5) Yil fang rhia r-AV, 
 " Beautiful Vessel of the Hall of Jade," Avhich occurs 
 both in the ordinary script and in "seals" of varied style, 
 of which one with the third character imperfect is given 
 here in No. <>. 
 
 Of the latter class. No. 7, which reads, Tsai gun fang 
 ell ill ^ "Made at the Hall of Brilliant Colors," a frequent 
 mai'k on porcehiin decorated in enamel colors, is another 
 example. 
 
 Among other marks of commei'cial character, which 
 may be either those of potters or of dealers in the ware, 
 are: (No. 8) Yi yii fang chili, "Made at the Hall of 
 Profit and Advance"; (No. 9) Yang lio fang cliih, 
 "Made at the Hall for the Cultivation of Harmon} "; 
 (No. 10) Ta shn fang rhih, "Made at the Great Tree 
 Hall"; and (No. 11) C/fif shun Mei yil fang chih, 
 "Made at the Beautiful Jade Hall of Riches and Suc- 
 cess." The last of these is a conq^ound name, of which 
 the first part, 67/'/7 shun, must be that of the shop or 
 trading fii-m, who eulogize their ware under the title 
 of beautiful jade, a conq>arison often met with.
 
 MARKS ON CHINESE PORCELAIN. 89 
 
 The above hall-names represent generally the marks of 
 the factory. The indi vicinal name of the potter is rarely 
 found attached to his work in China, whicli dift'ers in 
 this respect from Japan. In the ivorv-white porcelain 
 of the province of Fuchien it is sometimes found, etched 
 in the paste under the glaze. In the colored stoneware 
 of the province of Kuang-tung the name of the potter 
 occurs more frequently, being stamped in the paste 
 under the foot of the i)iece, so that the insci-iption 
 appears either in intaglio or in relief. The mark (No. 
 12) Ko Ming hsUuig cltih, "Made by Ko Ming-hsiang," 
 for instance, is not unconnnou on vases of reddish paste 
 from these potteries, of such archaic aspect that they 
 have been mistaken for ancient specimens of the Sung 
 dynasty. 
 
 One curious seal, shown in No. 13, taken from an 
 antique crackle vase of porcelain of gray tone, decorated 
 with propitious inscriptions worked in reserve and filled 
 in with colored glazes of the Ming period, gives the name 
 of an individual potter. Read in inverse fashion, from 
 left to right, it is Wv Chen hsien yao — i. e., "Pottery 
 [from the Kiln] of Wii Chen-hsieu." 
 
 Another mark which must not be omitted from the 
 list is that of Hao Shih-chiu, the celebrated and scholarly 
 potter who flourished at Ching-te-chen in the reign of 
 Wcni-U (1573-1619) — a poet, too, whose merits were 
 often sung in contemporary verse. He chose as his 
 sobriquet Hu gin Taojen, "The Taoist hidden in a pot" 
 (No. 1), a sympathetic device for a ceramic artist, which 
 was adopted from an old legend of a Taoist recluse who, 
 according to an ancient book on the Taoist Immortals, 
 possessed the magic faculty of concealing himself within 
 the pilgrim's gourd which he carried on his girdle. This 
 mark was inscribed by him underneath his delicate egg- 
 shell winecups of pure white and dawn-red tints, eacli of
 
 90 ORIENTAL CERAMIC ART. 
 
 wliicli was said to Lave weighed less than the forty- 
 eighth part of a Chinese ounce. A verse may be quoted 
 here wliich a fellow-poet wrote to him : 
 
 " In your searcli after the ])liilosoplier's stone, you strive in tJie 
 market place. 
 Far from tlie rustling furs and changing clouds, 3^our heaven is a 
 
 teapot. 
 I know you, sir, only as the maker of those dawn-red winecups, 
 Fit to be launched from the orchid arbor to float down the nine- 
 bend river." 
 
 The last stanza refers to the Lan T''iiu/ or " Orchid 
 Pavilion," where, in the fourth century of our ei'a, a party 
 of celebrated, scholars used to meet to drink wine and 
 compose verses. The scene with the cups floating doAvn 
 the river has been a favorite subject foi' Chinese pictoi'ial 
 art ever since. 
 
 This section may be closed by two unusually elaborate 
 hall-marks, both of which hap])en to be written in cii'cu- 
 lar form. The tirst (see No. 2) comes from the foot of a 
 large rice-bowl, decorated with flowers, fruit, and ])irds, 
 in enamel colors of the Ch''ien-luii(j pei-iod. Our Chinese 
 wood engraver, who was instructed to mark the top of 
 each block for the benefit of the printei', was nonplussed 
 by this one, and Avhen asked why he had omitted the 
 usual mark, he exclaimed, " How could I tell Avhere to 
 begin to read ? " To obviate this difficulty, we have put 
 it with the first character at the top, and, [)i'oceeding in 
 the ordinary way to the left, we find the cjuaiut inscrip- 
 tion, Yuan iven wti kuo chili rhai^ '^ The Reti'eat \cliai\ 
 where I wish to hear of my transgj-essions." 
 
 The second (see No. 3), which is penciled in red 
 round the circumference of the hollow foot of a tazza- 
 shaped bowl, exhil)its, in combination, the nien hao, the 
 cyclical date, and the hall-mark of the maker. It is read, 
 Ta/) humig yi sm nien Kuamj yn t\(tig cliili — i. e.,
 
 MARKS ON CHINESE PORCELAIN. 91 
 
 " Made at the Hall of Brilliance and Kiclies, in the 
 cyclical year yi-ssn of the reign of Tao-huaiigy This 
 year will be found, on referring to the Tables in the last 
 chapter, to cori'espond to a. d. 1845. The bowl, which 
 is mounted upon a tall, holloAv stem, spreading at the 
 foot, is decorated in blue, with the eight Taoist i^enii 
 crossing the sea, the intervals being occupied by Ava\ iiig 
 fillets, and the stem covered with sea-waves ; the interior 
 of the bowl is painted with a large circular shau (" lon- 
 gevity ") symbol, encircled by a ring of five bats, em- 
 blems of the wu fy, or five happinesses or blessings, 
 namel}", longevity, riches, peacefulness and serenity, the 
 love of virtue, and an end crowning the life.* 
 
 3. Marks of Dedication and Felicitation. 
 
 This heading is selected to comprise all the marks, not 
 included in the last class of " Hall-Marks," that imply 
 dedication to some particular institution, individual, or 
 purpose, as well as those expressive of wishes of happy 
 augury for the future possessor of the piece. The next 
 heading, " Marks of Commendation," will take the re- 
 mainder of the written marks — viz., those eulogizing the 
 material or referring to the decoration of the porcelain. 
 Some of the hall-marks might have come under these 
 headings, as the official in charge of the imperial manu- 
 factory will sometimes have a set of sacrificial vases, or a 
 dinner service, inscribed with the hall-mark of the friend 
 or patron for presentation to whom it was specially 
 made; or the potter, as we have seen, will choose a hall 
 name descriptive of the jadelike texture of his })oi-celain 
 or the brilliancy of its color. It was more convenient, 
 how^ever, to treat the hall-marks separately. 
 
 One of the earliest marks of dedication is that of (No. 
 
 * See Mayer's Chinese Reader's Manual, p. 312.
 
 92 ORIENTAL CERAMIC AliT. 
 
 1) /Shufu, " Iiii})eri{il palace," wliicL was inscribed on 
 some of the porcelain made for the use of the emperor 
 during the Yuan or Mongol dynasty (1280-1367). We 
 shall find a specimen described in our maiuiscript album 
 of tlie sixteenth century, in Avhich this mark is incised 
 on the foot of a little vase underneath the ivory-white 
 glaze. The decoration of this vase consists of dragons 
 and cloud-scrolls lightly etched in the paste ; and the 
 author, in his description of the piece, gives us the inter- 
 esting information that the porcelain of this period waa 
 fashioned on the lines of that of the Ting-chou manufac- 
 ture of the early Sinn/ dynasty, and that it in turn sup- 
 plied models for the pure white porcelain which distin- 
 guished the reigns of Yung-lo and Hsuaii-te of his own 
 {Ming) dynasty, which was also ornamented with designs^ 
 incised at the point underneath the glaze. 
 
 The sacrificial vessels intended for use in religious 
 worship often used to have the object for which they 
 were designed marked upon them, like the white altar 
 cups of the reign of Hsikm-te (1426-35), which wei'e 
 inscribed J^, Van, " altar," according to the author of the 
 Po wn yao Ian. The same book describes sets of white 
 altar cups made at the imperial factor}^ in the reign of 
 Ohiorchhu/ (1522-66), which were marked inside -with 
 the characters ^, r// V^, " tea " ; }g, cliin, ''wine"; ^ 
 ^, tsao t'^ang, "decoction of jujubes"; and ^ f^, 
 cJnang t\()ig, '■'■ (XecoQiiow of ginger"; indicating the dif- 
 ferent offerings presented in the cups when the emperor 
 officiated at the Taoist altar. 
 
 Inscriptions of dedication to particular temples are not 
 uncommon, and are often lengthy. Jacquemart quotes 
 one (Joe. cit., page 166) inscribed on a trumpet-shaped 
 vase, which is composed of twelve characters, indicating 
 that it was a ritual vase " made for the temple of Fou lou 
 tsiang in [1636] the ninth year of T'<''ung-cheng, in sum-
 
 MARK8 ON (CHINESE l^ORCELAIN. 93 
 
 mer, on a propitious day." Marks of tLis reign, tlie last 
 of the MiiKj dynasty, are very rai-e, and tliere is no little 
 reason for regarding them as, foi- the most part, apoc- 
 ryphal. 
 
 The longest I have met with is that re[)r()duced above 
 in No. 2. It is inscribed on the base of a pricket candle- 
 stick of elaborate design, painted in blue with conven- 
 tional scrolls and formal foliations, one of a pair twenty- 
 eight inches high, now in my own possession. They 
 were made in the year 1741 (the sixth of (Jh''ieii-lung)^ 
 by T'ang Ying, the famous directoi' of the imperial j)or- 
 celain manufactory, the successor of the still more illus- 
 trious scholars and artists Lang and Nien, and dedicated 
 by him to a Taoist temple at Tungpa, a town situated on 
 the northern bank of the canal which connects T'ungchou 
 with Peking.'^ 
 
 "■ Reverently made by T'ang Ying of Slieu-yang, a 
 Junior Secretary of the Imperial Household, an<l Captain 
 of the Banner, promoted five honorary grades. Chief 
 Superintendent of Works in the palace Yang-hsin Tien, 
 Imperial Commissioner in Charge of the thi'ee Customs 
 Stations of Huai, Su, and Ilai, in the province of 
 Kiangnan, also Director of the l^>rc'elain Manufactory, and 
 Commissioner of Customs at Kiukiang, in the province 
 of Kiangsi ; and presented by him to the Temple of the 
 Holy Mother of the God of Heaven at Tungpa, to remain 
 there throu2:h time everlastintj; for offerino- sacrifices before 
 the altar ; on a fortunate day in the spring of the sixth 
 year of the Empei'or Cli'leii-hnu/.'" 
 
 Among marks of dedication to institutions I \\\\\ 
 
 * This temple, like so many of those in the vicinity of Peking, is now in 
 ruins. The candlesticks formed part of the sacrilicial set of five vessels ( Wii 
 kung)ma.de for the principal altar of the temple. I saw the two flower vases 
 with tnimpet-shaped mouths belonging to the set, but their inscriptions had 
 been purposely erased. The tripod incense burner which once figured as the 
 center-piece of the altar set had long before been broken and lost.
 
 94 ORIENTAL CERAMIC ART, 
 
 ([uotetwo. One is a seal mark sliowii in No. 1 {^Burling- 
 ton Fine Arts Club Catalogue of Blue and White, loc. Ht., 
 Plate II, Fig. 17), from a j)late with flanged brim 
 decorated with eight horses i-eserved in white on a 
 <lelicate blue ground, which is to be read t^h/ii^cli'ang, 
 indicating that it was made for the Shu-ch'ang Kuan, 
 a college of the Hanlin Yuan, the national university at 
 Peking.* The other (see No. 2) is a maik in the })lain 
 character (Franks' Catalogue, loc. cit., Plate XII, Fig. 
 150), Shuai fu hung yung, " For the public use of the 
 general's hall," from an old bowl painted in blue, with 
 four-clawed dragons emerging from the sea and pursuing 
 jewels in the clouds. 
 
 Two marks of more priv^ate chai'acter are (No. 3) 
 Sheng yii i/a chi, " For the Elegant Circle of Revered 
 Friends," and (No. 4) Yu lal, " For Coming Friends " ; 
 both of which occur on porcelain painted in blue, of 
 no great artistic value. 
 
 Porcelain utensils are sometimes ordered from Chiug- 
 te-chen by shops in different parts of China to be 
 inscribed with the hall-name of their firm and an 
 advertisement of the wares sold there, and we will give 
 one specimen here as an example. It is a little circular 
 gallipot of fine porcelain, decorated in blue on the cover, 
 with a son offering a present to his aged parents, and on 
 the sides with a landscape, which has underneath an 
 inscription written in underglaze blue in five columns, to 
 indicate the particular shop for which it Avas made. 
 This reads, Cliing tu Cheng yang men wai Ta shan Iwn 
 hsi foit lu pel Yun hsiang ho Jmang huo shou yax) j^'u 
 (see No. 1); which may be translated, " Yun Hsiang Ko, 
 or ' Cloudy Fragi'ance Hall,' a shop for scented wares 
 and prepared drugs, at the west end of the Ta-shan-lan, 
 on the north side of the street, outside the Creat South 
 Gate of the Capital [Peking]." 
 
 * See Mayer's Chinese Oovernment, y>- 25.
 
 MARKS ON CHINESE PORCELAIN. 95 
 
 The only Mongol mark that I liave ever seen inscril^ed 
 on porcelain may be classed as a mark of dedication. It 
 occurs penciled in surface red on the bottom of bowls 
 and saucer-shaped dishes of three different sizes, forming 
 a dinner service, decorated with bright enamel colors and 
 gold in the style of the impei'ial ware of the Tao-hnang 
 period. The interior contains Buddhist symbols of happy 
 augury alternating with longevity characters ; the exterior 
 is occupied by the seven precious emblems of a chaJcror 
 vartin, or universal sovei'eign, posed upon lotus thalami 
 on a floor of sea waves, and delineated in the traditional 
 manner of the Lama sect. The inscription written 
 within a panel (see No. 2) is Baragon Tamed, in Mon- 
 golian script. This is the name of the Right or A¥estern 
 Wing of the Tumed Banners, a principality of southern 
 Mongolia. A daughter of the Emperor Tdo-huang was 
 given in marriage to the hereditary j)rince of these 
 Mongols, who was granted a palace in Peking, and the 
 service with this mark was no doubt made at the 
 imperial manufactory at the time as part of the wedding 
 outfit. 
 
 Marks of felicitation are very common, and occur on 
 porcelain of all periods, more especially on articles 
 intended for presents. One of the most common is the 
 Shitang Jisi, or "twofold joy" symbol (No. 8), the 
 special emblem of wedded bliss, a combination of two 
 hsi (" joy") characters placed side by side. This symbol 
 is j)asted on the lintels of the door on the happy occa- 
 sion, and is also inscribed on porcelain articles intended 
 for wedding presents either as a niai'k or as part of 
 the decoration. Two forms of it are published in 
 Hooper's Mani(((l Qoc. cif., page 198), but wrongly 
 deciphered, " (?) I{^e, a vessel, vase, ability, capacity." 
 
 A curious combination of a date-mark with a felicitous 
 formula (see No. 4) has been taken from the bottom of a
 
 96 OKIENTAL CERAMIC ART. 
 
 set of saucer-sbaped dishes, decorated in blue and white 
 of the MiiKj period, where it ^vas found penciled in l)lue 
 in anti(|ue scri}>t. The s(|uai'e panel in the middle 
 inclosini^ the motto Teli na cliang clijoi, " Virtue, Culture, 
 and Enduring Spring," is surrounded by a circle inclos- 
 ing the inscription Wan li iiien ts(to, " Made in the reign 
 of Wan-ir' (1573-1619). 
 
 A mark of the same period occurs in the Franks 
 Collection {Catah(jue, he. c/'L, Plate VI, Fig. 74) with 
 the inscrii)tion, written as a legend of a medal pierced 
 with a square hole, in the form of an ordinary Chinese 
 "cash " (see No. 5), which reads, (Jlihing ming fu hueiy 
 " Long Life, Riches, and Honor." It is taken fi'om a 
 shallow l)owl, five and a quarter inches in diameter, 
 which is desci'ibed in the following w^ords : "In the 
 inside is a circular medallion with a stork amid clouds, 
 painted in a dark blue ; round this a broad band of pale 
 green, over which is a running pattern in gold consisting 
 of flowers and scrolls ; outside, two branches of flowers 
 with a bird on each, ^^ainted in dark blue. The same 
 mai'k occurs on a bowl of similar decoration in a Gei'man 
 mounting of silver gilt of the sixteenth century." AVe 
 find the mark in the Walters Collection upon the tall 
 ewer of graceful form (Fig. 81) decorated in the style 
 and coloring of the W((n-h period, with blue phcenixes 
 and storks flying among clouds. It is studded all over 
 with uncut turquoises and garnets arranged alternately, 
 mounted in crilded settin2:s of Persian or Indian work- 
 manship, shows traces of gilded rings, and is fitted at the 
 upper and lower rims and at the end of the spout with 
 engraved metal mounts. The mark is ^vritten under- 
 neatli in imderglaze blue encircled by a double ring. 
 Among other marks of similar meaning are (No. 1), Fit 
 hitei cKang clihin, " Riches, Honor, and Enduring 
 Spring " ; and (No. 2) Fu luel cliia cIl'!, " A Perfect Ves-
 
 MAIJKS ON ( IIIXKSE I'OltCKLAI \. '.> < 
 
 sel of Wealtli mikI Honor/' which is found on old speci- 
 mens of blue and white, inscribed both in the ordinary 
 character and in the seal script. 
 
 The most fre([uent vows of the Chinese are oifei-ed for 
 the threefold blessings of hap[)iness, rank, and longevity, 
 and the deities who confer these gifts are tlie most 
 ardently worshi[)ed of an}^ We shall find the three 
 gods constantly I'epreseuted upon porcelain, with their 
 respective characters, perhaps, in the background. See^ 
 for example, the vase illustrated in Plate XVllI, which 
 is blazoned with the two large characters, Fu^ "Ilajtpi- 
 ness," and Slioii, '' Longevit}^" interrupted by round 
 medallions containing pictures of the corresponding 
 divinities. Sometimes a piece of porcelain is actually 
 molded in the foi'm of the last two characters, like the 
 \vine-pots of the i-eign of K\ing-hsi decorated xur hiscuit, 
 of which Fig. 82 offers a conspicuous example. It is 
 fashioned in the shape of the character Fii, " Happiness," 
 has a cover formed of the first "dot '' of the hieroglyph, 
 and is inscribed on the handle and spout with archaic 
 forms of the sJiok ( '* longevity ") charactei*. These forms 
 are almost infinite, and a not uncommon decoi'ation of a 
 pair of vases or bowls consists of a hundi-ed different 
 forms of the character /V. balanced by a hundred of the 
 sJtou hieroglyphs. A favorite decoration of blue and 
 Avhite in the Ming dynasty consisted of a pair of dragons 
 holding u}) in their claws sjioii charactei's instead of the 
 traditional jewels. 
 
 The three characters, /"'//, hi, slioii, occui' constantly also 
 as marks, either conjointly or singly. The compound 
 marks in one of the seal foims (see No. 8), and in the 
 ordinary script (see No. 4), are appended. The single- 
 character marks are found on porcelain of all ages. The 
 little ivory-"\vhite plate of ancient hlauc de Cliine, which 
 is inlaid with Oriental irold work set with uiu-ut rubies
 
 98 ORIENTAL CERAMIC ART. 
 
 and emeralds, and which figures as the oldest piece in 
 the Dresden Museum, having been originally brought to 
 Europe by a crusader from Palestine, we are told by the 
 late curator. Dr. Graesse, is inscribed underneath with 
 the character fu. One of the forms of the mark lu^ 
 " rank," is shown here (see No. 5), taken from a saucer- 
 dish of brilliant blue and white attributed to the K^ang- 
 hsi epoch. But of them all, the character s/fof/ ("longev- 
 ity ") is the most frequent and variable, and it is found 
 in an endless variety of shapes, in circular, oval, and 
 diamond-shaped medallions, in addition to the ordinary 
 oblona: forms. One of the oblono; forms is inscribed on 
 the snuff -bottle shown in Fig. 102. An oval form is 
 seen in the right-hand panel upon the blue and white 
 vase (Fig. 83), the other panel in front displaying the 
 seal character cNie?i, " heaven." Thi'ee of the circular 
 medallions are displayed upon each of the two basket- 
 work bands encircling the crackled vase (Fig. 84). One 
 of the oblong forms of the character shou, often found on 
 good blue and white porcelain of the kind that used to 
 be highly appreciated in Holland, is commonly known 
 there as the "spider mark" (see No. 1). 
 
 The ff/Ifot or svaMika symbol, the peculiar variety of 
 the cross with the four arms bent at rio-ht ano;les in the 
 same direction, which dates from prehistoric times and is 
 found in all parts of the world,* occui's in China as a 
 mark on porcelain, either plain or inclosed in a lozenge 
 with looped angles, or enveloped in a waving fillet. This 
 symbol is clearly shown in Plate LXII, in a small panel 
 u[)on the swelling neck of the vase, where it alternates 
 with the "jevvel" symbols. It is a synonym of Wmi^ 
 " 10,000," in Chinese, and two or four of these symbols 
 are often intervowen symmetrically with the circular 
 
 * La Migration des Symbolen, pur le Comle Goblet d'Alviella, Paris, 1891, v, 
 chap ii, De la (^roix Gaminee.
 
 MAEKS ON CHINESE PORCELAIN. 99 
 
 form of the Hhou character so as to form an ornamental 
 monogram, to be read Wan sliou, " For myriads of ages." 
 This is the special birthday vow of his subjects for the 
 Emperor of China, and it corresponds to the Persian 
 " O King, live forever ! " The monogram with two svas- 
 tika symbols, one on either side, is displayed prominently 
 in the center of the pilgrim bottle illustrated in Fig. 50, 
 developed, as it were, in the bosom of a sacred lotus 
 blossom. Fig. 85, the gourd-shaped vase enameled in 
 K\ing-ksl colors with rich designs of floral })rocade 
 pattern, also exhibits on the neck a combination of red 
 svastiln and yellow shou symbols. 
 
 Many of the marks ^vhich are passed by as undecipher- 
 able are curious forms of these " happiness " and " lon- 
 gevity " symbols. The mark (No. 2) which is found in 
 the Burlington Fine Arts Ckiialo(j\ie {loc. cit.^ Plate II, 
 Fig. 15), taken from a Chinese basin decorated in blue 
 witli alternate asters and lotuses, is strangely deciphered 
 there as " To-da-kichi-hei, probably name of maker." It 
 is highly improbable that any one with this cuiious 
 name, which is Japanese, if anything, had to do with the 
 making of it. I should venture to read the scrawl as 
 simply a variation of Fu shou, " Happiness and 
 Longevity." 
 
 Another vow of similar meaning is often found in- 
 scribed in large antique characters upon bowls as part of 
 their external decoration, or put underneath as a mark, 
 written either in the seal character or in conunon script. 
 It is read (see No. 3), Wan shou lvu chkiiuj, | " May you 
 live for] myriads of ages, never ending!" A second 
 mark of this kind is Fu shou shnamj ch'ikin, " Happiness 
 and long life both complete.'^ A longer Tiiaik (No. 4) is 
 the oft-repeated formula, SJiou pi iiait shan, Fu Ju tung 
 A«/, "The longevity of the southern hills, the happiness 
 of the eastern seas." We shall find a still moi'e extended
 
 100 ORIENTAL CERAMIC ART. 
 
 version of this propitious formula directed to be penciled 
 upou blue and white bowls in the imperial factory during 
 the Ming dynasty in the reign of Clila-clmiij (1522-66), 
 viz., Sliov pi no)) slum, cliiv, Fu ju lung Tun shen — i. e., 
 ^' May your life be longer than that of the southern hills, 
 your happiness as deep as the eastern seas ! " The " isles 
 of the blessed " are placed by the Taoist legend-mongers 
 somewhere in the Eastern seas, and theii* " star of lon- 
 gevity shines down from the southern heavens upon 
 immemorial hills," The last felicitous mark of this 
 kind that we will give is (No. 5), T'''ien h}ian tz'n fa., 
 ^' May the rulers of heaven confer hap]iiness!" 
 
 The single propitious characters, ^, r/*/, "good for- 
 tune," ■^,/i/, " pros[)erity," and ^, ch^ing, "congratula- 
 tions," occur as mai'ks ; also the propitious combinations 
 (No. 6), Ta (Id, "Great good fortune," and (No. 7) Chi 
 hsimig jv /, " Good fortunes and wishes fulfilled," the last 
 mark })eing written usually in the seal character, as in 
 that given here. 
 
 A mark often found on the cylindrical vessels, which 
 are used by the Chinese Avriter or artist as brushpots 
 {^lyi-f img)^ is M^en ('IxiDg slum ton, " Scholarshij) eipial to 
 the Hills and the Great Bear" (see No. 1), implying the 
 wish that the happy possessor, when he wields his brush- 
 pencil, may attain the exalted heights of the Tai Shan, 
 the ancestral mount of China, and of the pei ton, the 
 polar consteUation, the celestial abode of his s})ecial deity, 
 the god of literature, whose image ap[)ears in Fig, 86. 
 The mark of (No. 2) CJinang i/naii dii //, " May you 
 obtain the degree of chuang-yuan ! " occurs also on cylin- 
 ■der vases of this kind. Tiiis descree is the hisfhest 
 attainable in the state examinations, and the chief object 
 of ambition for every candidate as a first step upon tho 
 ladder leadinof to hio-li ofKcial rank.
 
 MAltKS ON CHINKSK POKCELAIN. 101 
 
 4. Mauks of Commendation. 
 
 This lieMdiiig is intended to comprise the rest of the 
 written marks on porcelain, those that refer to the quality 
 of the material, comparing it to fine jade and other rare 
 stones and jewels, or to the charactei* of the decoration 
 with which the piece is painted. They go back as far as 
 the Ming dynasty, and are frequently found jienciled in 
 seal characters, as well as in common script, on specimens 
 dating from the Wan-li period (1573-1619). 
 
 A few of these eulogistic marks selected from the 
 many are : (No. 3) Ohi shili j)ao tincj cliili dien, " A gem 
 among precious vessels of rare stone " ; (No. 4) Chi yil 
 IKio ting cliili clien, " A gem among precious vessels of 
 rare jade,'' in which the character ^^^'W, "precious," is 
 written in a contracted form; (No. 5) Chi eh en ju yi'i., 
 "A gem rare as jade"; (No. 6) Chi wan jit ///^, " A 
 trinket rare as jade"; (No. 7) Po l-u chen tvan, ^'- A 
 jeweled trinket of antique art " ; (No. 8) Wen yil pao 
 ting, " A precious vessel of worked jade " ; (No. 9) Nan 
 cli^Kan cli^in i/ii, "Brocaded jade of Nan-ciruan," an 
 ancient name of Ching-te-chen, which it derived from its 
 situation on the "southern" bank of the Chang " i-iver." 
 A mark of conuuendation in the seal script, which is 
 found upon blue and white pieces, is (No. 10) rJo xheu 
 chen fs\ing, " To be treasured like a gem from the deep " ; 
 it occurs also in the conunon charactei". 
 
 Among two-character marks of similar signification 
 are: (No. 11) Hsi i/ii, "Western jade"; (No. 12) Chen 
 yil, "Precious jade"; (No. 13) Wan yi'i, "Trinket 
 jade"; (No. 14) Chen yi), "Genuine jade"; (No. 15) 
 Yil chen, "Jade jewel"; (No. IG) Chen ivan, "Precious 
 trinket"; (No. 17) 17mw;/, '' Artistic trinket" ; (No. 18) 
 Fao sheng, " Of unique value " ; and (No. 19) Kii chen, 
 "Antique gem." A quaint mark, found underneath a
 
 102 ORIENTAL CERAMIC ART. 
 
 blue and white cii)), is (No. 20) Yuiuj .sJieng, which 
 means " Ever full," if it refer to the cup, " Ever prosper- 
 ous," if it be the hall-name of the potter. 
 
 Any of the above characters may occur singly as marks, 
 and we very ofteu find Yii., " Jade," Clien, " gem," Pao^ 
 "precious," etc. The mark Cli''imn^ shown in No. 21, 
 signifies "perfect," and is one of the most frequent. 
 Some services of porcelain are inscribed underneath with 
 different single characters, which are intended to be read 
 consecutively to form sentences Avhen the plates or dishes 
 are arranged in proper oi'der. The copper " cash" of the 
 first half of the seventeenth century were also cast with 
 single characters on the reverse, which could be read, con- 
 secutively when a series of the coins happened to be 
 available, so that this curious practice is not peculiar to 
 porcelain. 
 
 Marks referring to the decoration are not so common 
 as those praising the make. Two have already been 
 given, Shan hao shui ('li\inij^ "The hills are lofty, the 
 rivers long," found on pieces painted wdth landscapes, and 
 the mark Ymig ch''ing clVang chhin, "Ever-flourishing, 
 enduring spring," which applies to the floral decoration 
 of the bowl as Avell as to the name of the palace of the 
 empress dowagei- for which the dinner service on which 
 it occurs was made. 
 
 A mark (see No. 1), Tsai cJi'uan cliili lo, " [-'-l know 
 that they rejoice in the water," found upon porcelain dec- 
 orated with fishes and water-plants, and evidently refer- 
 ring to the subject, requires a word of explanation. It 
 is taken from the works of Chuang Tzti, the celebrated 
 philosopher of the fourth century b. c, who is related to 
 have had the following discussion with Hui Tzti, a rival 
 philosopher : 
 
 OJimmig Tzii. — How the fish are enjoying themselves 
 in the water!
 
 MARKS ON CHINESE PORCELAIN. 103 
 
 Hui Tzu. — You are not a fisli. How can you know ? 
 
 Cliuang Tzu. — You are not 1. How can you know 
 that I do not know that the fish are rejoicing ? 
 
 Another mark referring to the subject of decoration 
 occurs upon saucer-slmped dislies painted in colors with 
 lotus flowers and reeds (see No. 2), Ai lien clieii shang, 
 " Precious gift for the lover of the lotus." The mark 
 (No. 3) Tan kuei, " Red olea fragrans," a floral metaphor 
 for literary honors in China, is found inscribed underneath 
 bowls decorated inside with a scholar holding a branch 
 of this symbolical flower. 
 
 The private seal of the artist-decorator, which is usually 
 attached to the painting or appended to the scraps of 
 verse which accompany the picture, like the seal on the 
 beautiful ICang-hsl vase illustrated in Plate VI, ^\•hich 
 is the studio name or 7i<mi deplume of the artist, (see No. 
 4) Wan sJiih chii., " The Myriad Rock's Retreat," or the 
 seal on the little winecup in Fig. 71, which is simply 
 Shang, " A gift," is not infrequently found underneath 
 the foot of the piece as a mark. Such marks are found 
 on porcelain of all qualities, and some of the finest pieces 
 of the K''ang-lisi period are inscribed with them, espe- 
 cially in the class decorated in enamel colors. The 
 next mark of the same kind (No. 5), inscribed Cliu sliih 
 ehil, " The Red Rock Retreat," is taken from a set of 
 IPang-hsi bowls decorated with agricultural scenes, with 
 poems attached, celebrating the successive steps in the 
 cultivation of rice. 
 
 Such marks are called by Chinese connoisseurs cliia 
 hhian, or " private marks," and are even by them passed 
 by generally as illegible, and as hardly worth the trouble 
 of deciphering. They form the majoi-ity of those marks 
 found in every collection of Chinese porcelain which have 
 to be labeled "uudeciphered," although a collection of 
 such artists' monograms would not be without interest if
 
 104 ORIENTAL CERAMIC ART. 
 
 arranged in proper chronological order. They are rarely 
 found before the present dynasty, })iit M. du Sartel Qoa- 
 cit.^ page 105) figures a typical example, " Taken from a 
 vase similar to others marked witli the period I/img- 
 ck'ing'' (1567-1572). 
 
 The mark numbered 6 is attached to a stanza of verse 
 written on the back of the charming eggshell vase with 
 undulatory glaze decorated in sepia with a spray of 
 chrysanthemum and a single head of spiked millet, as 
 shown in Fig. 87. The seal, outlined in vermilion, the 
 only touch of bright color, is " Ta," the artist's name, the 
 two characters above it beino- Chi7i hu, " The Golden 
 Valley," his place of abode. The verse — 
 
 A spray plucked from the garden of Tung-li: 
 
 A precious flower rescued from tlie frosty blast of winter — 
 
 is a quotation from the Buddhist monk Wu-k'o, who 
 refers in it to the Tuno:-li o-arden of T'ao Yuan-minsc, the 
 "lover of the chrysanthemum." A pair of vases of the 
 K''ang-h8i period, formerly in the Marquis Collection 
 at Paris, like the one in European mounting illustrated 
 in Fig. 88, which have a pale cobalt-blue monochrome 
 body, a ring of dark brown round the shoulder, and a 
 dragon encircling the neck painted in blue and dark 
 brown or maroon, are marked underneath with a typical 
 private mark, a seal (see No. 1) containing two charac- 
 ters, which look like a corruption oifv shou, " Happiness 
 and longevity." 
 
 It may be useful to give here a table of tlie Chinese 
 numerals, in their ordinaiy and more complex forms, as 
 an assistance in deciphering dates. They occui* alone, 
 among the earliest marks, engraved underneath flower- 
 pots, saucers, and other specimens of the Chtin-chou por- 
 celain of the Sling dynasty, which is distinguished for 
 the brilliant colors of \t^ jlamhe glazes.
 
 MAKKS ON CIIINESJi: POliOELAlN. 
 
 105 
 
 Yi - - 
 
 — 
 
 ^ 
 
 1 
 
 Erh - - - 
 
 — * 
 
 ^ 
 
 2 
 
 San - - - 
 
 — 
 
 * 
 
 3 
 
 Ssii - - - 
 
 m 
 
 m 
 
 4 
 
 Wii - 
 
 w. 
 
 ffi 
 
 5 
 
 Liu - - 
 
 I. 
 
 m 
 
 6 
 
 €h'i - - - 
 
 -t 
 
 m 
 
 7 
 
 Pa - - 
 
 A 
 
 m 
 
 8 
 
 Ohiu - - - 
 
 A 
 
 JA 
 
 9 
 
 Shih - - - 
 
 + 
 
 t& 
 
 10 
 
 Pai - - - 
 
 fl 
 
 
 100 
 
 Ch'ien - - 
 
 =P 
 
 
 1,000 
 
 Wau - - 
 
 
 M 
 
 10,000 
 
 5. Maeks in the Form of Devices. 
 
 This heading is intended to comprise all marks of 
 pictorial character, whether merely ornamental, or sym- 
 bolical in their signification. As examples of pui-ely 
 ornamental marks, two may be selected for illustration. 
 The first (see No. 2) is taken from a small IPang-hsi 
 plate of the finest quality, painted in blue ^vith four- 
 clawed dragons. The second (see No. 3) occurs on blue 
 and white, painted for the European market, decorated 
 with foreign designs, and accompanied by inscriptions in 
 foreign letters, often incorrectly written. A tall covered 
 cup and saucer with this mark is illustrated by Jacque- 
 mart and Le Blant (Plate XVI, Fig. 1), painted with 
 a medallion containing a European king and queen 
 seated, and with kneeling figures in panels, which has
 
 106 ORIENTAL CEKAMK Airr, 
 
 inscribed round the edge, " L'Empike de la vektu est 
 ETABLi JUS q'au BOUT DE l'uneks [Univers]." Another 
 cup of Oriental porcelain painted in hlue, with the same 
 mark, is described in tlie Franks Catalogue (No. 583) as 
 having a copy of a Eui'opean picture of the sea, Avith 
 a siren rising from the waves, and a lal)el inscribed 
 " Gardes-vous de la syrene ! " 
 
 The symbolical devices are very numerous, and of such 
 varied origin that it will be necessary to consider them 
 in some detail. The Chinese are very fond of the phi- 
 losophy of numbers, and of arranging all kinds of objects 
 in sets or '^ numerical categories," and the symbols of 
 divination and of Confucianism, Taoism, and Buddhism 
 are all grouped in this way, usually in sets of eight, the 
 number of the pa htm, the eight ancient trigrams. The 
 individual members of the different sets may not all 
 occur as marks, but the groups are so constantly used in 
 the decoration of porcelain, either alone or in combina- 
 tion with other designs, that it will save repetition to dis- 
 pose of them here once for all. It Avill be convenient to 
 arrange the devices under the following five subdivisions :. 
 
 1. Symhols of Ancient Chinese Lore. — Pa hua and 
 Yin yarig. Pa Yin, " Eight Musical Instruments." 
 8hih-erh Chang, " Twelve Ornaments embroidered 
 upon ancient sacrificial robes." 
 
 2. Bnddldst Symhols. — Pa Chi-hsiang, "Eight Em- 
 blems of Happy Augury." 67*!.'/ Pao, " Seven Pai'aj^her- 
 nalia of a c]i((hravartin, or universal sovereign." 
 
 3. Taoist Symhols. — Pa An Hsieny " Attributes of the 
 Eight Immortals, Emblems of Longevity." 
 
 4. llie Hundred Antiques {Po Ju/). — Chin, Chiy 
 Shu, Hua, "The Four Elegant Accomplishments." Pa 
 Pao, " The Eight Precious Objects," etc, 
 
 5. Devices intended to be read in " Rehiis ''"'fashion^
 
 MARKS ON CHINESE PORCELAIN. 107 
 
 1. Symbols of Ancient Ohiiiese Lore. 
 
 The most aiicieut of these are tlie Yin-yang symbol of 
 •dualism, which represents the ci'eative monad or ultimate 
 principle, divided into its two elements of darkness {yin) 
 and light (jjang), and the Pa l-ua, the eight trigrams 
 formed by different combinations of broken and unbroken 
 lines, also representing respectively the same two dualis- 
 tic elements. They are seen modeled upon the four sides 
 of the fatnbe vase illustrated in Plate XXIIl, each of the 
 sides of whicli displays two of the trigrams. separated by 
 the yin-yang symbol. This last is represented by the 
 circle in the middle, which is divided by a spiral line 
 into its two essential elements, the negative yin and the 
 positive yrt/i'^ ; the former, the darker half, eori'esponding 
 to darkness, earth, femininity, etc., the other half corre- 
 sponding to light, heaven, masculinity, and the like. The 
 trigrams begin with three unbroken lines representing 
 " heaven," and end ^vith three l)roken lines representing 
 " earth," the intermediate diag-rams beino- different com- 
 binations of these two lines, representing vapor, fire, 
 thunder, wind, water, and mountains. A ceaseless proc- 
 ess of revolution is held to be at Avork in Natuiv, during 
 which the various elements of properties indicated by the 
 diaajrams mutually extino-uish and o-ive birth to one 
 another, and thus produce the phenomena of existence. 
 The development of the Pa hua is attributed to Fti-hi^ 
 the legendary founder of the Chinese polity, wlio is 
 believed to have lived early in the third millennium b. o. ; 
 a. dragon-horse appeared out of the water of the Yellow 
 River and revealed the first plan to him. Wen Wang, 
 the virtual founder of the Chon, the third of the Three 
 Ancient Dynasties, during his imprisonment at the hands 
 of the tyrant Slioii, in the twelfth century b. c, devoted 
 himself to tlie study of the diagrams, and appended to
 
 108 ORIENTAL CERAMIC ART. 
 
 eacli a short explanatory text. These explanations, with 
 certain amplifications by his son, the famous Cliou Kiing, 
 " Ducal Prince of Chou," constitute the ancient work 
 known as the Book of Changes of the Cliou dynasty^ 
 which, with the commentary added by Confucius, forms 
 the Yi Ching, or Canon of Changes, the most venerated 
 of the Chinese classics. The entire system of this work, 
 wliich serves as a basis for the philosophy of divination 
 and geomancy, and is lai-gely appealed to as containing 
 not only the elements of all metaphysical knowledge, but 
 also a clew to the secrets of Nature and of being, reposes 
 upon the eight trigrams.* 
 
 The Eight Musical Instruments, Pa Yin, of ancient 
 times, which wei'e made of as many different materials,, 
 are found in the decoration of porcelain as a complete 
 set, as well as sometimes, though rarely, separately, as 
 marks. They are : 
 
 1. eliding, " Sounding Stone," which is suspended upon 
 a frame and struck with a wooden hammer. It is usu- 
 ally made of jade carved in the form of a mason's square^ 
 with a hole pierced near the angle for suspension. Being^ 
 a homonym of CJt'ing, " Good Fortune," it often figures 
 witli that meaning on the rafters of houses, etc. 
 
 2. Chung, " Bell," made of metal, clapperless, and 
 suspended, to be struck by a mallet. Bells as well as 
 sounding stones are hung in sets upon frames to p]-oduce 
 musical chimes. 
 
 3. CJCin, '' Lute," with strings of silk. This often 
 occurs as a mark, usually wrapped in its brocaded case. 
 
 4. Ti, " Flute," made of band;)oo. 
 
 5. Chit, "Box," made of oi'dinary wood, with a metal 
 hammer inside. 
 
 6. Kn, " Di'um," covered with skin. 
 
 * See Mayer's Vhineae Header's Munual, p. 33B; and Legge's Yi King, \n 
 Sacred Books of the East, vol. xvi (Oxford, 1882).
 
 MARKS ON CHINESE PORCELAIN. 109 
 
 7. Shemj, " Reed Oi-gan," a moutb instrument dating 
 from very early times, in which the body or wind-chest 
 is made of gourd, witli seventeen i-eed pipes of different 
 lengtlis inserted at the top. 
 
 8. H.silan, " Icarina," made of baked chiy, in the shape 
 of a cone pierced with six holes. 
 
 Several of these musical instruments are seen inclosed 
 in small medallions in the decoration of the vase shown in 
 Fig. 89. They may all be found figured in a learned 
 paper on Chhiese Music, by Mr. J. A. Van Aalst,'^ \\\\o 
 is himself a cultivated musician. 
 
 The next series of symbols derived from ancient Chinese 
 lore ai'e the Twelve Chang, or '' Ornaments," with ^vhich 
 the sacrificial robes used to be embroidered. They are 
 referred to in the earliest of the Chinese classics, where 
 the Emperor Sliiiii desires at this remote period " to see 
 these emblematic figures of the ancients.""f The robes 
 of the emperor had all the twelve figui'es painted or 
 embroidered upon them ; the hereditary nobles of the 
 first rank are said to have been restricted from the 
 use of the sun, moon, and stars ; those of the next 
 two degrees were further restricted from mountains and 
 dragons; and by a continually decreasing restriction five 
 sets of official robes were made indicating the rank 
 of the wearers. The figures are taken from au official 
 edition of the SJiu Clilmj, or Historical Classic, referred 
 to below% the illustrations of which date from the ^StuKj 
 dynasty. The series comprises : 
 
 1. Jih, the "Sun" (No. 1), a disk supported upon 
 a bank of clouds, with the three-legged solar bird inside. 
 In the works of Hwai Nan Tzii, who lived in the second 
 century b. c, tliis fabulous bird is alluded to as inhabiting 
 
 * China. Imperial Maritime Customs. Chinese Music. By J. A. Van 
 Aalst. Published by order of tlie Inspector General of Customs, Shanghai, 1884. 
 
 f The Chinese Classics. Translated bv Dr. Lega;e, v. iii. The Shoo King, 
 p. 80.
 
 110 ORIENTAL CERAMIC ART. 
 
 the Sim, The sun in Chinese dualism is the concrete 
 essence of the masculine principle in Nature, the source 
 of brightness and energy. 
 
 2. Ytieli, the " Moon " (No. 2), a disk supported upon 
 the clouds, containing a hare, under the shade of a cassia 
 tree, occupied with pestle and mortar, pounding the drugs 
 of immortality. The moon is the concrete essence of the 
 feminine principle in Nature ; it is inhabited by the hare 
 and the three-lesfsfed toad, and thei'e o'rows the tree 
 (the cassia) which confers immortality on those who eat 
 its leaves. The Chinese " old man of the moon " (Yueh 
 Lao) is popularly said to tie together with an invisible 
 cord the feet of those who are [)redestined to a l)etrothal. 
 
 3. Using Chen, the " Stars,'' represented by a stellar 
 constellation of three stars connected in Chinese fashion 
 by straight lines (No. 1). 
 
 4. SJuiii, " Mountains," wliicli have been worshiped 
 in eastern Asia from prehistoric times (No. 2). 
 
 5. LniKj, " Dragons,'' a pair of the fabulous five- 
 clawed scaly monsters (No. 3), resembling somewhat 
 in shape the huge saurians which paleontologists have 
 brought to light in recent years. 
 
 6. HiKi Chung, the "Variegated Animal'' (No. 4) — 
 i. e., the })heasant, or "flowery fowl " of the Chinese. 
 
 7. TsuitgYi, the "Temple Vessels " (No. 5), used in 
 the services of the ancestral temple, of which one was 
 said to have had the figure of a tiger upon it, another 
 that of a kind of monkey — animals distinguished for 
 their filial piety, according to tlie connnentators on the 
 classics. 
 
 8. Ta'ao, " Aquatic Grass " (No. (i). 
 
 9. Hvo, " Fire " (No. 7 ). 
 
 10. Fen Mi, "Grains of Rice" (No. 8). These are 
 also often repi-eseuted on the [)ierced medallions of 
 ancient jade, the earliest tokens of value in China.
 
 MARKS ON CHINESE PORCELAIN. 1 1 1 
 
 11. Fu.an "Axe" (No. 9). 
 
 12. Fu (No. 10), a "Symbol'' of distinction, to wliicli 
 no special signification is attached, and which seems to 
 have been of purely ornamental origin. It is used in the 
 sense of "embroidered," in modern phraseology, and often 
 occurs as a mark on poi-celain of decorative character. 
 
 2. Buddhid Symbols. 
 
 Buddhism was first heai-d of in China some two cen- 
 turies before Christ, and Buddhist priests came from 
 India as early as the first century of tlie Christian 
 era, bringing with them images, pictures, and books, and 
 a knowledge of the elaborate symbolism of the new 
 religion, much of which had been borrowed from pre- 
 existing Indian sources. Lamaism, the Tibetan form of 
 Buddhism, was inti'oduced much later, under the infiu- 
 euce of the Mono-ol dynastv which ruled China in the 
 thirteenth century, and tliis is the cult which is chiefiy 
 affected bv the Manchu Tartars who now occupy the 
 throne at Peking. 
 
 Of the Buddhist synd>ols found upon poivelain the 
 most frequent are the eight symbols of good fortime, 
 kuoAvn by the name of Fa CJii-hsiang, pa meaning 
 " eight," cJu'-Jisia/fg, " hai)[)y omens." They were among 
 the auspicious .signs figured on tlie sole of the foot of 
 Buddha; they are constantly used in the aichitectural 
 decoration of temples, and are displayed in ])orcelain, 
 stone, or gilded wood upon the altar of every Buddhist 
 shrine. They are usually drawn round with fillets, and 
 are: 
 
 1. The " Wheel " (Chinese Ltnt, Sanskrit Chahv), the 
 sacred wheel of the hi-w, whicli appears whirling in the 
 air enveloped in fiames, as the sign of the advent of a 
 Chakravarff} Baja, a "Wheel King," or universal mon-
 
 112 ORIENTAL CERAMICS ART. 
 
 arch (No. 1). This is sometimes replaced by the large 
 hanging Bell (Cliinese Chung^ Sanskrit Ghantci), which 
 is struck with a mallet on its outer rim dui-ing Bud- 
 dhist worship. 
 
 2. The " Sliell " (( Jhinese Zo, Sanskrit SahMa), the 
 conch-shell trumpet of victory, which is also blown dur- 
 ing certain religious ceremonies (No. 2). 
 
 3. The '' Uml)rella " (Chinese San, Sanskrit CJtaftra), 
 the state umbrella (No. 3) held over the head of person- 
 ages of rank throughout the East, a Avell-known symbol 
 of sovereignty (" Lord of the White Umbrella "). 
 
 4. The " Canop}^ " (Chinese ICai, Sanskrit T)hvaja)y 
 hung with streamers and jeweled tassels (No. 4). 
 
 5. The "Flower'' (Chinese Ilaa, Sanskrit Pcuhnci), 
 properly the sacred lotus, a rose-colored variety of the 
 Nehmihium speciosum, but often represented in China by 
 a peony or some other flower (No. 5). 
 
 6. The "Vase" (Chinese P '///(/, Sanskrit Kalasci), 
 which may have a flower and miniature ju-i scepter 
 placed inside, or perhaps a ti'io of peacock's feathers 
 (No. 6). 
 
 1. The "Fish" (Chinese Yil, Sanskrit M<(ts>ja), the 
 golden fish, represented in paii's (No. 7), an emblem of 
 fertility. 
 
 8. The" Entrails" (Chinese Chang, Sanskrit /9rk'«^.s«). 
 The "lucky diagi'am," an angular knot (No. 8) formed of 
 a line without beginning or end, an emblem of longevity. 
 It was customary in ancient times to cut open the abdo- 
 men of the sacrificial victim and to augur fi'om the posi- 
 tion of its entrails. 
 
 These Pa Ohi-hsiang form the principal motive of dec- 
 oration of the blue and white ritual wine-pot in Fig. 90, 
 the swelling body of which is decorated with the set of 
 eight, encircled by waving fillets, and supported by con- 
 ventional flowers of Indian lotus. The conch-shell, um-
 
 MARKS ON CHINESE PORCELAIN. 113 
 
 brella, and canopy are seen in tlie pir-ture. The same 
 symbols are molded in relief so as to project upon the 
 scrolled background of tlie accompanying snuft'-bottle 
 (Fig. 91), and one can distinguish on the side illustrated 
 the umbrella and the Hame-eiicircled wheel, flanked by 
 the flower upon the right and the vase on the left. The 
 large pilgrim bottle shown in Fig. 50 has its circumfer- 
 ence filled with the same Buddhist emblems of good 
 fortune, while the large round medallions display at the 
 front and back of the vase the eight attributes of the 
 Taoist genii, with other symbols of longevity and happi- 
 ness. This vase forms altogether a perfect mine of reli- 
 gious symbolism, with the emblems of diiferent religicms 
 reposing upon it side by side, in a w^ay that does not 
 strike a Chinese mind as unnatural or inconsistent. 
 
 The " Seven Gems " (in Chinese 67/'/ Pao, in Sanskrit 
 Sapta Hatiui) are taken fi'om the porcelain service which 
 was made foi- the daughter of the Emperor Tao-laiKDig^ 
 who was ffiven in marriaixe to the Tumed Pi'ince, and 
 which has been already described in the illustration of 
 its Mongol mark of Baragon Turned. They are the 
 attributes of the universal monarch, such as Pi'ince Sid- 
 dharta would have been had he not become a Buddha, 
 and they are often figured in Buddhist temples upon the 
 base of his throne. They comprise : 
 
 1. The "Golden Wheel" (No. 1), Chin Luh, the 
 victorious jeweled wheel of a thousand spokes which 
 heralds the advent of a ClidhraiHirtfi Raja^ or " Wheel 
 King." 
 
 2. The " Jadelike Girl " (No. 2), Yii Sil the beau- 
 teous consort, who fans her lord to sleep, and attends 
 liim with the constancy of a slave. 
 
 3. The " Horse " (No. 3), Ma, which appears to sym- 
 bolize the horse-chariot of the sun, implying a realm 
 where the sun never sets, as well as the celestial steed
 
 114 ORIENTAL CERAMIC ART. 
 
 which spriugs Pegasus-like from the clouds to deliver 
 the sovereign from any (hmgei-. It carries on its back 
 the saci'ed ahns-bow 1. 
 
 4. The " Elephant " (No. 4), Hsiang, the white ele- 
 phant which was borrowed from Indian Buddhism by 
 the Buddhist kings of Burmah and Siam, and which 
 seems to ])e Indra's elephant Airavata. He carries the 
 sacred jewel of the law. 
 
 5. "Divine Guardian of the Treasury" (No. 5), CJiu 
 Ts'ang Shen, the minister who regulates the affairs of the 
 empire. 
 
 6. "General in Command of the Army" (No. <j), Cliu 
 Ping GlPeii^ with drawn sword and tiger shield, ^vho 
 conquei's all enemies. 
 
 7. " \Vondei'-w(M'king Jewels" (No. 7),-/" / (Im, in 
 Sanskj'it Chiiifa-inani, fulfilling every wish. They are 
 figured here as a bundle of leweled wands Ixtuiid round 
 with a cord. 
 
 Tiie Buddhist symbols which occur most frecjueutly as 
 " marks," either in simple outline or bound with fillets, 
 oi- inclosed in panels of different form, are the lotus 
 flower (No. 8), which is usually accompanied by a few 
 ^vaving reeds, the palm leaf (No. 9), on which the scrip- 
 tures were Avritten in ancient times, the pair of fish, the 
 srivatsa^ or endless knot, and the svastiha symbol. This 
 last, which has been already referred to, is a mystic dia- 
 gram of great antiquity and wide distribution, mentioned 
 in the Ramayana and found in the rock temples of India, 
 among all the Buddhistic people of Asia, and even as the 
 end^lem of Thor amono; Teutonic nations. It is one of 
 the sixty-five figures visible on every footj)rint (Sripada) 
 of Buddha. In China it is the symbol of Buddha's heart 
 — i. e., of the esoteric doctrines of Buddhism — and is the 
 special mark of all deities worshiped by the Lotus 
 School. The images of Kuan Yin, the god (or goddess)
 
 MARKS ON OIIINESTi; PORCELAIN. 1 1 5 
 
 of mercy, have sometiiiieis a lotus H<n\ei-, sometimes a 
 svd'Stika, figured on the breast. 
 
 3. Tamst Symhoh. 
 
 The Taoist set of eight symbols are comprised iu the 
 Pa An Ifsmt, the attributes of the eight Taoist genii or 
 immortals. They are : 
 
 1. The " Fan " {Shan) carried by Chung-li Ch'iian, 
 with which he is said to revive the souls of the dead. 
 
 2. The '^ Sword " (Cliien) of supernatural power, 
 wiehled by Lii Tung- pin. 
 
 3. The ''^Pilgrim's (^onv^V {Hu-lu) of Li Tieh-kuai, 
 the source of so many magical appearances. 
 
 4. The "Castanets" {Pan) of Ts'ao Kuo-ch^iu, who 
 always has a pair in his hand. 
 
 5. The " Basket of Flowers " (Hua Laii)^ borne l)y 
 Lan Ts'ai-ho. 
 
 6. The "Bamboo Tube and Kods" ( Ya /t^/O, a kind 
 of miniatui'e drum cari'ied b}^ C^hang Kno. 
 
 7. The "Flute" (1):), upon which Han Hsiang Tzti 
 plays. 
 
 8. The "Lotus Flower" {Lien Hiui) of the virgin 
 damsel Ho Hsien Ku. 
 
 The fan is sometimes replaced l)y the fiy-Avhisk {'jing 
 shua), the pilgrim's gourd is nearly always accompanied 
 by the crooked iron staff {hun) of the lame beggar, and 
 the flower basket by the spade {cluni) of the florist. 
 These Taoist symbols are coiT^tantly met Avith in Chinese 
 ai't as architectural designs, pattei-ns of Avail paper and 
 domestic furniture, etc., as well as in the decoration of 
 jade, Ijronze, and porcelain. They occupy the large 
 central medallion on the two sides of the ClPkn-Jung 
 pilgrim bottle decorated in colors, shown in Fig. 50, 
 being represented there as bound together in |)airs with
 
 116 ORIENTAL CERAMIC ART. 
 
 waving fillets, displayed iipou a ground filled with cloud 
 scrolls and sprays of conventional flowers. The palm- 
 leaf fan and the sword are seen tied together, the casta- 
 nets and the drum with its two rods inside, the gourd, 
 crooked staff, and flute, the basket of flowers and the 
 lotus. 
 
 The emblems of longevity which so frequently occur 
 as marks are mostly of Taoist origin, or connected with 
 Taoist mythological legends, and they may consequently 
 be referred to here. The greatest desire of a Chinaman is 
 for long life, which is reckoned as the first and chief of the 
 five happinesses, and the Taoist hermits, like the medise- 
 val alcliemists, spend their time in the search after the 
 elixir of immortality. 
 
 The most prominent position in the mystical fancies of 
 the Taoists is given to the peach. The most ancient 
 superstitions of the Chinese attributed magic virtues 
 to the twigs of the peach, and the fabulists of the 
 Han dynasty added many extravagant details to the 
 legends already existing. The divine peach-tree which 
 grew near the palace of the goddess Ihl Wang Mu, 
 whose fruit ripened but once in three thousand years, 
 was celebrated by them as conferring the gift of immor- 
 tality. The peach as an emblem of longevity is found 
 as a mark (No. 1) in combination with a bat, the homo- 
 nym of/?/, "happiness." 
 
 A still more common emblem of longevity is the 
 sacred fungus (Jlng-chiK), the Polyimrus lucidus of bot- 
 anists, distinguished by the brightly variegated colors 
 which it develops in the ordinary course of its growth. 
 When dried it is very durable, and it is placed upon the 
 altar of Taoist temples and often represented in the hands 
 of their deities. It is occasionally seen held in the 
 mouth of a deer, and one of these animals always accom- 
 panies Sliou Lao, the longevity god. The fungus is
 
 MARKS ON CHINESE PORCELAIN. 117 
 
 specially valued when a tuft of grass has grown through 
 its substance, and this is carefully preserved with the 
 dried specimen. The tuft of grass is generally found, 
 too, in the mark, and has been a puzzle to collectors, who 
 have often described the peculiar combination as a cocks- 
 comb or some other flower, under the idea that a fungus 
 could not have leaves. In the mark photographed in 
 Fig. 92, from the foot of one of a pair of blue and white 
 gourd-shaped vases of the JCanf/-]isi period, Fig. 98, the 
 fungus is represented in the middle of five such tufts of 
 grass. In the other mark (No. 1), a more frequent form, 
 it is accompanied by a few blades only. 
 
 Three other plants which figure as emblems of longevity 
 are the Sung, Cliu, Mei, the Pine, Bamboo, and the 
 Prunus, the first two because they are evergreen and 
 flourish throughout the winter, the prunus because it 
 throws out flowering twigs from its leafless stalks up 
 to an extreme old age. The accompanying mark (No, 2), 
 reproduced in facsimile from a large bowl with flaring 
 mouth, decorated inside and out with dramatic scenes in 
 the most brilliant blue, of the ICang-lisi period, is 
 composed of two tiny twigs of prunus blossom encircled 
 by the usual double ring. 
 
 Amouir the animal emblems of lono;evitv are the deer, 
 the tortoise, and the stork, all of which occur occasionally 
 as marks. The hare (No. 3) is found more frequently 
 than any as a mark. It is the animal sacred to the moon, 
 where the Taoists believe it to live, pounding with pestle 
 and mortar the drugs that form ihid elixir vitic. It is said 
 to live a thousand years, and to become white when it 
 has- reached half its long span of life. The stork, in the 
 form that is usually figured as a mark, is seen inclosed in a 
 small circular medallion in the decoration of the gourd- 
 shaped vase in Fig. 85 ; it is the patriarch of the feathered 
 tribe, attaining a fabulous age, and is the aerial courser of
 
 118 ORIENTAL CERAMIC ART. 
 
 the Taoist divinities, often represented bringing from 
 a paradise in the clouds the tablets of human fate which 
 it carries in its beak. The tortoise is also sometimes seen 
 accompanying the longevity god, and the common felici- 
 tous phrase Kuei ho ch>i shoU' means, " May your 
 longevity equal that of the tortoise [^'?/6/] and stork 
 \]io I ! " As a mark, however, it is rare in China, although 
 more commonly used in Japan in the form of a tortoise 
 with a hairy tail composed of strings of confervoid 
 growth. 
 
 4. The Hundred Antiques {Po Kii). 
 
 The expression Po Ku, which is constantly used in 
 the description of Chinese art, refers to the almost 
 infinite variety of ancient symbols and emblems, derived 
 from all kinds of sources, sacred and profane, which form 
 a common motive in the decoration of porcelain and other 
 art objects. Although the word "hundred" is used 
 vaguely as a noun of multitude, it is not a mere figure of 
 speech, as it would not be a difficult matter to enumerate 
 more than that number of antique symbols appertaining 
 to this category. These antiques sometimes form the 
 sole decoration of vases ; sometimes they are grouped in 
 panels of diverse form, as in the blue and white "haw- 
 thorn " jars in which the floral groiuid is interrupted by 
 medallions ; in other cases they are ari'anged singly 
 within the l)ands of floral brocade or diaper which en- 
 circle the borders of a round dish or other piece. 
 
 The tall two-handled blue and white cup illustrated in 
 Plate XIV is decorated, for instance, with groups of 
 these symbols, the intervals of the conventional borders 
 of foliated design being filled with paraphernalia of the 
 scholar and artist — books on tables, brushes in vases, 
 water receptacles, and scroll pictures, enveloped with
 
 MARKS ON CHINESE POKOP:LAIN. 119 
 
 waving fillets aud mixed with tasseled wands and double 
 diamonds, symbols of literary success. 
 
 The large and beautiful plate (Fig. 94) painted in 
 brilliant enamel coloi's of the K^imj-hxl period, with a 
 broad band of peony sci-olls peneti-ated by archaic 
 dragons around the I'im, succeeded by narrower rings of 
 fret, displays in the intei'ioi" a typical example of the Po 
 Ku style of decoration, artistically carried out. The 
 centei' })iece is a tall, graceful vase with rings hanging 
 upon o[)en scrolled handles, decorated with sprays of 
 lotus, standing upon a tripod pedestal, filled with a 
 bouquet of peonies, floral emblems of literary success 
 leading to wealtli and honor. A low vase "vvitli wide, 
 bulging body, decorated with dragons at the side, holds 
 peacocks' feathers, emblems of high rank. On the other 
 side, a lion-shaped censer upon a four-legged stand is v 
 emitting a cloud of incense shaping above into the foi-ms 
 of a pair of storks, symbols of long life and of conjugal 
 felicity. A second set of incense-burning apparatus, a 
 bundle of scroll pictures tied up in a brocaded wrapper, 
 'AJii-i ("wish-fulfilling") scepter or wand, a musical 
 stone, and other felicitous symbols, and a sword witli a 
 paper-weight in the foreground, fill in the picture. The 
 background is a scroll picture partially unrolled to show a 
 pine-clad mountain with pavilions and temples, a represen- 
 tation of theTaoist paradise, the immemorial hills {Slioii 
 SJia/i) where their immortal hermits are wont to wander. 
 
 The Po Ku symbols, like those of the Buddhist and 
 Taoist cults, are also often arranged in numerical cate- 
 gories. The sets most frequently met ^vith ai-e the Pa 
 Pao or "Eight Precious Things," and the "Four Accom- 
 plishments of the Scholar." These occasionally occur in 
 the ornamental borders of plates and vases, generally 
 bound with fillets, and they are also found singly as 
 marks. The usual set of the Pa Pao comprises :
 
 120 ORIENTAL OEHAMIC ART. 
 
 1. A sphere (No. 1), representing a jewel or pearl 
 (^chif), often draw n with effulgent rays issuing from its 
 surface. The dragon is generally depicted in pursuit of 
 such a jewel. It answei's to the Buddhist jewel of the 
 law, the special symbol, also, of a universal monarch. 
 
 2. A circle inclosing a square (No. 2). This repre- 
 sents a "cash" (cA'/V/^), the ordinary money of the 
 Chinese, wliich is a round copper coin pierced with a 
 square hole in the center for convenience of stringing. 
 A couple of them may be united by a fillet, or a long 
 line form an ornamental border to a plate. Sometimes 
 the god of riches will be seen emerging from the clouds 
 at night, with a string of such " cash " whirling round his 
 shoulders, in the act of tilling a treasure chest, while the 
 guards are sleeping beside it. 
 
 3. An open lozenge (faitf/shenr/) with ribbons en- 
 twined round it (No. 1). This is a symbol of victory or 
 success. A pair of such objects interlaced make a 
 common symbol, a pattern for jewelry, or worn in the 
 front of the caps of boys, conveying the idea T\mg hshi 
 fang sheng, or " Union gives success." 
 
 4. A solid lozenge (No. 2), another form of the same 
 symbol (fcmg sheruf). A musical stone of jade or a 
 plaque of bronze may be fashioned in this shape. 
 
 5. A cJCiiig^ or musical stone of jade (No. 3). Also 
 cast in sonorous metal. Struck with a hammer, it is a 
 very ancient musical instrument, and minute directions 
 for its manufacture are found in old books. A set of 
 sixteen, of different size and thickness, form the pien 
 ch^iiig^ or " stone chime." It is also a Buddhist musical 
 instrument. On account of the similarity of the sound 
 of its name ^vith that of the word cJiHng, which means 
 "happiness" and "good luck," it is often seen in sym- 
 bolical decorations on the rafters of a house, the side of 
 a winecup, etc. 
 
 I 
 
 i
 
 MARKS ON C1IINP:SE PORCELAIN. 121 
 
 6. A pair of l)ooks (j<hu) strung together l)y a ribVjon 
 (No. 4). This symbol is generally found as one of the 
 four which represent the elegant accomplishments of the 
 Chinese scholar, the t)ther three being r/ii/i,, rltM^ and //w,a, 
 the lyre, the chess-boaixl, and scroll paintings. 
 
 7. C/ineJi, a pair of horns (No. 5). The rhinoceros 
 horn used to be considered an object of great value in 
 China, and Avas elaborately carved into winecups, girdle 
 clasps, and many other things. A horn brimming with 
 good things is emblematic of plent}', like the cornucopia 
 of our own classical times. 
 
 8. An artemisia leaf (the al yeJt, shown in No. 6). A 
 fragrant plant of good omen, used from ancient times for 
 the " moxa." The Buddhist pi-iest at his ordination 
 places small balls of the dried leaves upon his head and 
 ignites them to burn a number of spots into the skin. 
 At the festival of new moon in the fifth month every 
 householder nails to the posts and windows of his house 
 some leaves of the artemisia and sweet flag, tied together 
 in bundles, to dispel noxious influences. 
 
 These objects are sometimes seen borne by a proces- 
 sion of fantastic figures representing tribute bearers from 
 abroad. The set is variable, and any one of the members 
 may be replaced by a branch of coral, a silver ingot, a 
 brush and cake of ink, etc., ov by a svastiha symbol, or 
 by one of the Buddhist emblems of good fortune, such as 
 a lotus flower, conch shell, or pair of fishes. These sym- 
 bols, as the eight aquatic jewels {Sliui pa jx^o), represent 
 the treasures of the sea, and are pictured in combination 
 with winged sea-horses and other monsters floating upon 
 the Avaves of the sea — a common decoration of the in- 
 terior of bowls and dishes. 
 
 The " Four Accomplishments " of the Chinese scholar 
 — music, chess, calligraphy, and painting — are known by, 
 tlie collective title of Cliin Ch^l Sliu Hua, and are
 
 122 ORIENTAL CERAMIC ART. 
 
 represented by the articles named in the title, viz. : (1) a 
 lyre wrapped in its embroidered case; (2) a chess- or 
 rather f/o-board, with round boxes for the white and 
 black " men *" ; (3) a pair of books placed side by side or 
 tied together' with a fillet ; and (4) a couple of scroll 
 pictures. They are inclosed in panels within a diapered 
 band encircling: the shoulder of the vase illustrated in 
 Fig. 95, and each one of the four occupies a prominent 
 position in the successive panels of the vase shown in 
 Fig. 96, so that it is unnecessary to illustrate them 
 separately. They all occur, besides, as marks. The 
 exercise of the four accomplishments is a common motive 
 of decoration for figure subjects, and some of the finest 
 vases of the K\vng-lm period, both blue and white and 
 brilliantly enameled in colors, exhibit bevies of Ijusy 
 damsels or parties of literati gathered in four grou2:)s^ 
 which are depicted either on the same vase, or on a pair 
 of bowls of the same set, two of the groups being 
 displa3^ed in the latter case on the sides of each of 
 the bowls. 
 
 The vase just alluded to (Fig. 96), which is referred 
 to the K^mg-lisi period, is decorated in coral i-ed and 
 pale green with touches of gold, Avith floral brocades 
 and diapered bands of varied pattern, surrounding four 
 large panels with indented corners which are filled with 
 selections of these Po Kn designs. The four sides have 
 been separately photographed, to give an idea of the 
 variety of the devices. 
 
 The first picture (Fig. 96) shows the outline and 
 decoration of the vase ; the othei' three give the suc- 
 cessive panels, starting from the first and proceeding 
 round the vase from left to right. The first panel has in 
 the center a three-legged censer of complex form Avith 
 dentated libs, and a cover surmounted by a one-horned 
 grotesque lion ; the corners are occupied by a folding
 
 MARKS OX CHINESE porci:lain. 123 
 
 chess-board, with two boxes for the "men," a pair of 
 horn cups bound witli fillets, an open book, and a magic 
 wand (jii-f) ^^ith its fungus-shaped Jeweled head, a 
 cylindrical pot {j^f-t^KHiJ) with a picture scroll, a feather 
 whisk, and two brushes inside, and a water receptacle 
 with tiny ladle near at hand ; two cups and a fluted 
 incense l)OX with ])alm-leaf cover fill in the intervals. 
 
 The second ])anel (Fig. 97) contains a vase of "haw- 
 thorn " pattern interrupted by l)ands of ti'iangular fret, 
 mounted upon a stand, with an emblematic spray of 
 blossoming prunus inside ; in the corners a lyre in its 
 brocaded case tied with ribbons, the staff and fan of the 
 mendicant friar, a jar of wine {(•liiu tmoi) ^vith a ladle 
 inside and a \vinecup near at hand, a censer decorated 
 with trigrams, and a covered incense box beside it: in 
 the intervals are a ^vate]■pot {shui cli'eng), a libation cu[), 
 the round " cash " symbol, a lozenge displaying a svastiha 
 symbol, and two interlacing rings, an archaic form of 
 money and of the earliest hieroglyph I'epresenting it. 
 
 The third panel (Fig. 98) has as its center-piece a tripod, 
 censer with dentated ribs and upright loop handles; 
 two books, having their volumes inclosed in the usual 
 cloth cases, and a Ju-i wand tied with a fillet, beloiv, 
 a sacred alms-bowl, the holy grail of Buddhism, reposing 
 on a bed of Ficus religiosa leaves, and a pair of casta- 
 nets, ahove; a palette and pair of brushes, the "cash" 
 symbol, a palm leaf, and the interlacing lozenge-symbol 
 (^fang-slieng) filling in the intervals. 
 
 The fourth panel (Fig. 99) exhibits a tall vase of 
 graceful form, decorated with an archaic dragon, c<ui- 
 taining a branch of coral and two peacock's feathers, 
 emblems of high rank, with a couple of scroll pictures 
 tied together with a cord half hidden by the vase, a 
 bundle of rolls of silk and a flute, a palm-leaf fan and 
 Buddhist rosary on either side of its neck ; a low table
 
 124 ORIENTAL CERAMIC ART. 
 
 with four divisions filled apparently with nuts, having 
 two teacups in their saucers beside it, a waterpot and 
 a foot rule, a third small cup, and the interlacing ring- 
 symbol, complete the emblematic decoration. 
 
 This is enough to show the great variety of the PoKn 
 symbols. Two of them, which often occur sej)arately as 
 marks, are the ]p(W ting (No. 1), or precious censer, a 
 bronze antique with either three or four legs, which is 
 often roughly shaped, so that it was mistaken by Jacque- 
 mart for a modeling table ; and fu^ the ornamental 
 symbol (No. 2) which formed one of the designs embroid- 
 ered in olden times upon sacrificial robes. 
 
 5. Devwes intended to he read in '^ Rehus'''' fasliion. 
 
 The Chinese language being monosyllabic, and having 
 comparatively few vocables to express the myriads of 
 written characters, lends itself readily to puns, and a 
 subclass is necessary for devices of this kind. The idea 
 of Ling Hsien Clmi Slioii — i. e., " The Sacred Genii 
 worshiping the Longevity God " — is involved, for in- 
 stance, in a floral device consisting of interlacing sprays 
 of polyporus fungus, narcissus flowers, bamboo tAvigs, and 
 peach fruit ; * the fungus is called ling cltili, the narcissus, 
 shwi hsien, hua, oi- '' the water fairy," chu, " bamboo," is 
 used as a " I'ebus " for " worship," which has the same 
 sound, and the peach suggests the deity of longevity,, 
 whose special attribute it is. Again, a device which 
 often occurs as a mark on porcelain is composed of a bat, 
 a peach, and a couple of " cash " united by a fillet, and is 
 read Pii Slioii Sliumig CKiian — i. e., '' Happiness and 
 Longevity both complete " ; the bat (/'«) is a homonym ' 
 of (/''/) "happiness"; the peach is the sacred fruit of 
 
 * This floral device is carved in the bottom of a magnilicent dish of white 
 jade, the " brusli- washer " (jo<- 7m) of a Chinese writer or artist, now in. 
 the Walters Collection.
 
 MARKS ON CHINESE PORCELAIN. 125 
 
 longevity (shou), and c/i'uwi, the ancient term for " cash," 
 means also " perfect." We have had this last character 
 already as a single mark. Dozens of such curious con- 
 ceits might be cited. 
 
 Tlie richly decorated vase of the Ch^ien-lung period 
 enameled in colors with gilding, illustrated in Fig. 100, 
 which has flowers of the four seasons in its four lar^ce 
 panels — the magnolia yulan and peonia of sjJrhg, the 
 hydrangea, pinks (dianthus) and flags (iris) of sum7ner, 
 the oak with acorns and russet leaves and the chrysan- 
 themums of autumn, the blossoming plum and early roses 
 of winter — has the two oblong panels on the neck 
 occupied by an emblematical device of this kind, which 
 is composed of a chain of symbols hung M'ith knotted 
 ribbons and jeweled beads. It suggests the felicitous 
 motto, Chi elibing ya yil — i. e., " Good Fortune and 
 Abundance of Riches"; the hanging musical plaque of 
 jade of triangular form {cJu^cli'ing) suggests the homo- 
 phone "good fortune"; and the pair of fishes (////) 
 involves the idea of prosperity and abundance {yi'()j 
 which is read with the same vocable, although ^vritten 
 with a different charactei'. 
 
 The accompanying mark (No. 1 ) has already been 
 published in the Franks Oatalogue, so often referred to 
 (Plate VII, 88), taken from a pair of circular trays, 
 which are decorated, in colors with gilding, with ladies 
 engaged in two out of the "four accomplishments," viz., 
 painting and chess. The first exhibits "two ladies, one 
 seated at a table with a brush in her hand, the other 
 (her attendant) standing with a hand-screen behind the 
 former, a stand with vases, etc." ; the second has " three 
 ladies seated on a carpet and playing at a game some- 
 what like chess, in the background a stand with vases, 
 stool with tea things, etc." The mark, which is com- 
 posed of a pencil-brush {pi), a cake of ink (ting), and a
 
 1 26 ORIENTAL CEKAJMIO ART. 
 
 magic wand (ju-i) symbolizes the phrase I^i ting jvA — 
 i. e., " May [things] be fixed as you wish ! " The same 
 mark occurs also on blue and white porcelain of good 
 style. 
 
 The decoration of the pair of eggshell winecups, of 
 which one is shown in Fig. 78, includes another " rebus " 
 in the shape of two flying bats (/'*?), with triangular 
 plaques of jade {cln-cli'iiir/^ in their mouths, suggesting 
 the felicitous phrase Shuang fa <-lil dt'^ing — i. e,, "Two- 
 fold Happiness and Good Fortune." 
 
 The magnificent Yung-Cheng dish, ilhistrated in Fig. 
 101, would also l)e suggestive to a Chinese mind, and it 
 would imply, from its floral decoration, the felicitous 
 sentence, Yil fang fa huei, or " Jade Halls for the Rich 
 and Noble," the three flowers displayed in the interior of 
 the dish being the magnolia (j/fl-Ian), the double pyrus 
 (Jiai-fang^, and the tree-peony, which is often called the 
 fu-lcuei flo^ver, as the special floi'al emblem of riches and 
 high rank. Many of the titles of Chinese art designs are 
 of this alliterative character, and suggest at once the 
 conventional details which make up the composition.
 
 CHAPTER V. 
 
 CLASSIFICATION OF CHINESE PORCELAIN. PRIMITIVE PERIOD. 
 
 SUJSra DYNASTY.— JU YAO. KUAN YAO. TING YAO. 
 
 LUNG-Ch'VAN YAO. KO YAO. TUNO-Ch'iNG YAO. CUtTN 
 
 YAO. THREE FACTORIES AT CHI-CHOU, CHIEN-CHOU, AND 
 
 TZ'U-CHOU. UTENSILS OF SUNG PORCELAIN. 
 
 IT has already been sbowu in Cliapter I, fi'om tlie evi- 
 dence of contemporary writers, that porcelain must 
 have been known in China at least as early as the T'ong 
 dynasty. But the jadelike resonant wliite ^vare of Hsin- 
 p'ing, the modern Ching-te-cheu, in the province of 
 Kiangsi, and the cups of Ta-yi, in the Ssuclnian province, 
 so often celebrated by the poets of tlie period, together 
 witli the enameled bowls of Yueh-choii and the other 
 colored fabrics described in the early books on tea, have 
 long since disappeared. Even the famous porcelain of 
 the After Chov dynasty, which reigned a. d. 951-960, 
 known at the time as imperial ware, subsequently as 
 Ch'ai Yao, after the name of the reigning emperor, who 
 decreed that it should ])e produced "blue as the sky, 
 clear as a mirror, thin as paper, resonant as jade," is 
 described by modern collectors as almost a phantom, and 
 as being so rare that in the present day fragments are 
 set in gold like je^vels, to be woi'n in the front of the 
 cap.* The author of the ClChig pi tsang, a little book 
 
 *Tliis practice of cutting fragments of broken porcelain into oval plaques 
 for mounting into buckles for girdles, or buttons for the tol)acco pouch, is 
 useful for the study of the rarer glazes, and for comparison with any unbroken 
 specimens which we have before us for classification. They show the tiiick- 
 ness of the glaze as well as the texture of the paste, both of which are impor- 
 tant criteria for determining the age of a piece. 
 
 127
 
 128 ORIENTAL CERAMIC ART. 
 
 Oil art piiblislied in 1595, writes: "I have seen a broken 
 piece of Cli'ai Yao made into a ring and worn on the 
 girdle, the sky-blue color and brilliant polish of which 
 corresponded to the description as given above, but it 
 differed in ])eing thick." It seems hardly necessary, 
 therefore, to include these diiferent wares in our classifi- 
 cation, or to occupy our space witli any of tlie other less 
 important productions which are described in the older 
 books, but are not seen in collections of the present day. 
 It is different when we come to the Sung dynasty, 
 which began in 960 and lasted till 1280, when it was 
 overthrown by Kublai Khan, the grandson of the famous 
 Genghis Khan and the founder of the Yuan dynasty, 
 which ruled China till it was in its turn succeeded by 
 the native Mimj dynasty in the year 1368. We have 
 actual specimens of the porcelain of these times in our 
 possession and can compare them with the descriptions of 
 the writers on ceramic subjects. They agree in having a 
 certain primitive aspect, being invested generally with 
 glazes of single colors of uniform or mottled tint, with 
 plain or crackled surface, so that the two dynasties are 
 justly classed together l)y M. Grand id ier,''^ whose classifi- 
 cation of Chinese porcelain I propose to follow here, 
 arranged as it is in chi'onological order after a Chinese 
 model : 
 
 1. Primitive period, including the Sunfj dynasty (960- 
 1279) and the Yuan dynasty (1280-1367). 
 
 2. Ming period, comprising the wliole of the Ming 
 dynasty (1368-1643). 
 
 3. K\ing-lm period, extending from the fall of the 
 Ming dynast}^ to the close of the reign of K\(ng-liHl 
 (1662-1722). 
 
 4. Y'wng-cheng and ChJien-lung period (1723-1795). 
 
 * La Cenimique chinoise, avec 42 heliogravures par Dnjardin, par Ernest 
 Grandidier, Paris, 1894.
 
 CLASSIFICATION OF CHINP:kK PORCELAIN. 129 
 
 5. Modern period, from the begiiiuing of tlie reign of 
 Chm-ch''mg in 1796 to the present day. 
 
 This classification gives five faii-ly well marked ceramic 
 classes, and as a rule it will not be found difficult to 
 decide from the style, from the method of decoration, or 
 from the colors employed, to which of these classes a 
 particular piece should belong. 
 
 The first, or Primitive period, is named from the com- 
 paratively simple character of its ceramic pr<^ductions. 
 This must be stated with some qualification, howevei*, as 
 many of the different processes of decoration were intro 
 duced, and it will be seen that there were considerable 
 advances in the ceramic productions, before the end of 
 the period, when they are compared with the really 
 primitive porcelain of the T\in<j dynasty. At first the 
 pieces were eithei' plainly fashioned on the wheel, or 
 molded, and invested with glazes of different color, the 
 brilliance of which constituted the chief charm. After- 
 ward more work was lavished on the paste, which was 
 worked in relief, engraved, or carved in open-work 
 designs. The delicacy of some of the molded decora- 
 tion of this period in the interior of the white bowls and 
 platters of the Ting-chou kilns, with phcenixes flying 
 through floral scrolls, and other elaborate designs, has^ 
 indeed, hardly been surpassed since. 
 
 Among the monochrome glazes are found whites of 
 various tones, grays of bluish and purplish tints, greens 
 from pale sea-green celadon to deep olive, browns from 
 light chamois to dark tints approaching black, bright 
 rt'7, and dark purple. Especially notable are the pale 
 purple, often speckled with red spots ; the brilliant grass- 
 greens of the Lung-ch'uan porcelain, called t.suug-lu, or 
 " onion-gi'een," by the Chinese ; the yueh-pai, or dair de 
 tuns, a pale gray blue, and the auhergine, or deep purple 
 {(jK'ieh tzu), of the Chiin-chou ware ; these last kilns were
 
 130 ORIENTAL CERAMIC ART. 
 
 also remarkable for the brilliance of their yao-pien, or 
 " trausinutatiou " mottled tints, due to the varied degrees 
 of oxidation of copper silicates. 
 
 Painted decoration was more sparingly employed, al- 
 though in the province of Chihli both the Ting-chou and 
 Tz'ti-chou porcelains were painted with brown flowers, as 
 we learn from the Ko hi yao hm, a work published in i\\e 
 fourteenth century. The same book describes the vases 
 produced at Yung-ho-chen, in the department of Lu-ling- 
 hsien, in the province of Kiangsi, as ornamented with 
 painted designs. The potteries here were closed during 
 the wars at the end of the Sung dynasty, and the major- 
 ity of the potters fled to Ching-te-chen, and seem to have 
 initiated the potters there in new methods of decoration. 
 ^ As early as the tenth century cobalt blue, as w^e learn 
 from the official annals of the Sung dynasty (Sung Skill, 
 book 490, f. 12), was brought to China by the Arabs, 
 under the name of wu^ming j^iii It had long been used 
 in western Asia in the decoration of tiles and other arti- 
 cles of faience. It was first employed in China, probably, 
 in the preparation of colored glazes, as we know nothing 
 pf painting in blue before the Yuan dynast}'. 
 
 The decoration of porcelain sur hiscuit Avith glazes of 
 different colors, Avliich prevailed in the early part of the 
 Ming dynasty, must also have begun in the Sung, if we 
 are to accept the statement quoted in the T''ao Skuo, 
 that the celebrated image of Kuan-yin* enshrined in the 
 Buddhist temple Pao-kuo-ssti at Peking dates from that 
 dynasty. The bonzes of the temple confidently asse;'t it, 
 claiming also that it is a miraculous likeness, in th'^^ tie 
 goddess herself descended into the furnace while it was 
 being fired and fashioned the ductile clay in her own 
 image ; and they point triumphantly to the laudatory 
 verses composed by the Emperor CJi^ ien-lung, which are 
 
 * The Goddess of Mercy. 
 
 I
 
 CLASSIFICATION OF CHINESE PORCELAIN. 131 
 
 engraved upon the carved blackwood jjedestal of the 
 shrine, which supports and screens the sacred image, 
 made by impei'ial order in the palace Avorkshop of the 
 jVel-iv(f-fu, as sufficient evidence. It is a finely molded 
 figui'e about a foot high, seated upon a lotus pedestal of 
 the same material, colored crimson, with the chin sup- 
 ported by the right hand, the long taper fingers drooping 
 gracefully, and the elbow resting upon the knee, 'i'he 
 face, the right arm, the breast, and the left foot, which is 
 extended in an a\vk\var(l pose to exhibit the sole, are 
 bare, covered with an opacpie white enamel. From the 
 necklet, which is yellow, hangs a square network of 
 yellow beads attached to the inuei' garment gii'dliug the 
 waist, which is colored red-brown of charming mottled 
 hue. The figure is loosely wrapped in flowing drapery 
 of purest and bluest turquoise tint, Avith the wide sleeves 
 of tlie robe bordered with l)lack and turned back in front 
 to show the yellow lining ; the upper part of the cloak is 
 extended up behind over the head in the form of a 
 plaited hood, which is also lined with canary yellow. 
 The brow is encircled by a tiara of gold and crimson, 
 with a tiny image inlaid in the front, and flower designs 
 in relief on either side. The right hand holds a circular 
 min-oi', \vith Sanskrit characters carved in open work, 
 enameled, of dark-brown color, suiTOunded by a halo of 
 golden flames."^* 
 
 * I have liad the privilege of paying several visits to the shrine of this god- 
 dess, wlio lias, somehow, an irresistible fascination. The prior of the mon- 
 asterj' assures me that his records show that the imaire has been tliere since 
 the foundation of the temple in the thirteenth century, and I see no reason to 
 doubt his assertion. The colors are of the same type as those of the finest 
 flower-pots and saucers of the Chlin-chou porcelain of the Siiitg dynasty. A 
 Chinese author of the Minr/ period writes that there must have been porcelain 
 decorated in colors during the Sung dynasty, basing his statement on this very 
 image of Kuan-yin. Most people have been led astray by its traditional name 
 of Yao-p'ien— i. e., " Furnace Transmutation " — and imagined, like Dr. Ilirth 
 that it was invested with an ordinary ff a mbe glaze. The colors, the turquoise 
 blue, canary-yellow, brown of "old gold" and "dead leaf '' tones, crimson
 
 132 ORIENTAL CERAMIC ART. 
 
 The ordinary decoration of painting in enamel colors 
 upon poicelain pi'eviously lired, and subsequently fired 
 again in the muffle stove to fix the colors, was certainly 
 unknown at this period. We read occasionally, it is 
 true, of butterflies, birds, fish, or fabulous beasts, outlined 
 by some magic transformation on the surface of celadon 
 vases, but these appear to be merely accidental resem- 
 blances of the colored patches so often produced during 
 the firing of these glazes. Such reddish or purple stains 
 occuri'ing on ancient pieces, from partial oxidation of 
 the coloring material, are specially prized by collectors 
 as marks of authenticity, and an artificial patch is 
 usually daubed on in modern imitations to deceive the 
 unwary. 
 
 A general idea of the form and coloring of the por- 
 celain may be gathered from the water-color illustrations 
 of the album of the sixteenth century to which I have 
 already briefly referred. It was described in a paper read 
 by me before the Peking Oriental Society in 1886, aud 
 published there in the Journal of the Society, whicli is, 
 however, difficult to procure, so that I may perhaps be 
 forgiven for repeating part of the description. The 
 album, bound in four volumes, between boards of sandal- 
 wood, came from the library of the palace of the hered- 
 itary princes of Yi. It is entitled Li tal uiing fe'y> tou 
 i>''^^ S fti ^ fi BI |§7 Illustrated Description of the 
 Celebrated Porcelain of Different Dynasties. The writer, 
 -S jti V^^ Hsiang Yuan-p'ien, who himself dv^w and 
 colored by hand the eighty-two illusti'ations copied from 
 pieces in his own collection and in the collections of his 
 friends, was a native of Chia-hsing-fu, in the province of 
 
 and red-striped purple, are laid on in perfect contrast, and make one almost 
 understand the rhapsodies of some of the older ceramic writers about the bril- 
 liancy of the colors produced at the Chun-chou kilns. The image is con- 
 sidered too sacred to be photographed or even portrayed in colors by a profane 
 artist.
 
 CLASSIFICATION OF CHINESE PORCELAIN. 133 
 
 ChekijiDg, a celebrated connoisseur wlio lived in the six- 
 teenth century. The author of the CliHng pi ts^ang, 
 ab"eady referred to, includes his name in the list of col- 
 lectors given by him in book ii, f. 3, and the seal of 
 Hsiang Yuan-p'ien is relied upon by connoisseurs to this 
 day as a guarantee of the authenticity of a picture to 
 which it is attached. 
 
 The first leaf contains an introduction by way of pref- 
 ace, which runs : " In ancient times, while Slmn was still 
 living in the midst of the fields, he tilled the ground and 
 made pottery as a means of livelihood ; so that even before 
 the Three Ancient Dynasties the art of molding clay was 
 already in existence. But very many years have elapsed, 
 and his generation is so remote that no examples of his 
 work can have survived. Passing on to the 67/'///, Harij 
 Wei, and Chin dynasties, we come to the earliest men- 
 tion of potters, in the case of the ^vinecups of Chi Shu- 
 yeh and the wine-vessels of Hsii Ching-shan. Successors 
 of these two men in their daily work })roduced an abun- 
 dant quantity, do^vn to the reign of the house of Ch'ai, 
 which was the first to become celebrated for its ceramic 
 ware, so that in the present day men search for mere 
 fragments of this porcelain without being al>le to find 
 any, and declare it to be but a phantom. 
 
 " Next to the Ch'ai pottery, we have the porcelains of 
 Ju, Kuan, Ko, and Ting following for inspection, till 
 finally w^e come to oui' own dynasty, and have before us 
 porcelain of the reigns of Yuikj-Io, Hman-te, ClCeng-Jma, 
 and Hiing-cJdli, to compare ^vith the specimens of the 
 Sung, which it even surpasses, excelling both in texture 
 and form as well as in brilliancy of coloring. 
 
 " I have acquired a morbid taste for refuse (literally 
 * scabs'), and delight in buying choice specimens of the 
 Sung, Yvan, and Ming, and in exhibiting them in equal 
 rank with the bells, urns, and sacrificial wine-vessels of
 
 134 ORIENTAL CERAMIC ART. 
 
 bronze, of the Three Ancient Dynasties, the (Jli'iii^ and 
 the Han. 
 
 '^ AVitli tlie aid of two or three intimate friends, who 
 meet constantly both day and night for discussion and 
 research, I have selected a series of pieces out of those 
 that I have seen and that I possess myself and compiled 
 this book. I have painted the specimens in colors and 
 given the source of each one, so that I may preserve them 
 from being lost and forgotten, and be able to show 
 them to my friends. Say not that my hair is scant and 
 sparse and yet I make what is onlv fit for a child's 
 toy!" 
 
 " Written by Hsiang Yuan-p'ien, styled Tzu-ching, 
 native of Chiadio." 
 
 The signature is accompanied by two seals in antique 
 script, impressed in vermilion, "The Seal of Hsiang 
 Yuan-p'ien," and J/ry //;/ tSJian jett, " A dweller in the 
 hills at Mo-lin." The author is described, in the volu- 
 minous Imperial Cijclopmlia of Celehrated Wi-ifern and 
 A/'f/.sfs, "as a clever calligraphist as well as a skillful 
 painter and collectoi- of objects of art " ; and it also alludes 
 to him as signing his writings with the literary title of 
 Mo-Uu cln'r sJiih^ "Reti]-ed scholar of Mo-lin.'' 
 
 There are eighty-three illustrations in the album, 
 arranged in oi'der according to the purpose for ^\ hich the 
 objects tigui'ed are intended to be used. They comprise : 
 
 Censers for burning incense. 
 
 Ink Pallets, Pen Rests, and Water Pots for the library 
 table. 
 
 Vases of varied forms for holding flowers. 
 
 Jars and Libation Cups for sacrificial wine. 
 
 Wine Ewers and little Cups, Teapots and Teacu[)s, 
 Kice Bowls and Dishes for ordinary use. 
 
 Rou2;e Pots and Perfume Boxes for the toilet. 
 
 Pagoda enshrining a jade image of Buddha, and a jade
 
 CLASSIFICATIOIsr OF CHINESE PORCELAIN. 135 
 
 jar containing sacred relics from India, presented by the 
 empress to the Porcelain Tower Temple at Nanking. 
 
 Oil Lamps and Pricket Candlesticks of elaborate design. 
 
 The pieces figured appear to be choice examples of the 
 different kinds of porcelain appreciated by collectors at 
 the time and to have been selected from the best avail- 
 able sources. The forms and ornamental decoration of 
 most of the objects have been modeled after the ancient 
 bronze vessels, which are dug up in such abundance in 
 China and have been figured in illustrated catalogues by 
 many collectors. A detailed description of each piece is 
 written on the opposite page, giving the size and color, 
 the source of the design, the name of the owner, and often 
 the price he had paid. The pictures are usually of the 
 natural size, one on each leaf ; sometimes, when small, two 
 on the page. The rarity of the specimens is indicated 
 by the high prices recorded to have been paid — a hun- 
 dred ounces of silver, for instance, for a pair of tiny egg- 
 shell winecups, a price confirmed, as we shall see, by 
 printed books of the time. 
 
 Of the 83 objects figured, -1:2 areattiibuted to the Svng 
 dynasty, a. d. 960-1279, only 1 to the Yuan (1280- 
 1367), the remaining 40 to the Ming dynasty, of which five 
 reigns are represented : Yimg-h (1403-1424) by 1 piece; 
 ^§«^^/^^^^ (1426-1435) by 20 pieces; Cli'tng-lma (1465- 
 1487) by 11 pieces; Hurig-cluh (1488-1505) by 4 pieces; 
 and Cheng-te (1506-1521) by 4 pieces. Two of the 
 pieces of the last reign are teapots of red '' boccaro " 
 stoneware from the i)otteries which were founded then 
 by Kung Ch'un at Yi-hsing, in the province of Kiang-nau ; 
 all the rest of the Ming pieces come from the imperial 
 manufactory at Ching-te-chen, in Kiangsi province. The 
 Yuan dynasty piece marked Shu fu, " imperial palace," 
 comes from the same place. The 42 Sung specimens 
 are selected from several fabrics famous at the time, and
 
 136 ORIENTAL CERAMIC ART. 
 
 comprise : 3 pieces of Ju Yao, " Ju-cbou porcelain " ; 10 
 pieces of Kuan Yao, "Imperial porcelain"; 12 pieces of 
 Ting Yao, "Ting-cliou porcelain," tlie white, purple- 
 brown, and black glazes being all represented ; 1 of Ko 
 Yao, and 1 1 of lAing-c'huan Yao from Lung-ch'lian-hsien ; 
 1 of Tung-clCing Yao, and 4 of Chun Yao, " Cblin-clioii 
 porcelain." 
 
 I liave arranged the objects described according to 
 their source, and have added a brief description of each 
 of the different kinds of porcelain. The description 
 of each specimen is a literal translation of the author's 
 words. 
 
 'A % Ju Yao. 
 
 The Ju Yao was the porcelain made during the Sung 
 dynasty at Ju-chou, in the province of Honau, the modern 
 Ju-chou-fu. We are told that the porcelain hitherto 
 sent to the capital from Tung-chou was found to be too 
 fragile, and that a supply was therefore oi'dei'ed for the 
 use of the court from Ju-chou. The new porcelain 
 resembled the celebrated Clikii ware of the preceding 
 dynasty, which was made in the same province, and 
 which the emperor ordered should be of the color of the 
 clear sky in the intervals between the clouds after rain. 
 The glaze is described as being so thick as to run down 
 like melted lard, and as often ending in an irregularly 
 curved line before reaching the bottom of the piece. 
 
 The surface was either crackled or plain, and the latter 
 was preferred if the color was perfectly pure and uni- 
 form. The color is described by the artist as that of the 
 pale azure-tinted blossoms of the Vitex incisa, the " sky- 
 blue flower " of the Chinese, a flowering shrub which is 
 common upon the hillsides in summer thi-oughout cen- 
 tral and northern China ; it is the yiieli ixii, literally 
 " moon white," of the modern Chinese silk dyer, which
 
 CLASSIFICATION OF CHINESE PORCELAIN. 137 
 
 we kno^v iu ceramic parlance as clair de lime, and this is 
 the name o-iven also to the tint of the 'Tv Yu, or " Ju 
 Glaze," of the modern rej^roductions of the ancient color. 
 This is well shown in Plate LI, 2, an illustration of 
 a clair de hine vase of the K\nig-lm period. The tint of 
 the ancient Ju Yao nearly approached that of the Sung 
 cup illustrated in Plate XII, 1, only it was of bi-ighter hue 
 and of purer blue. 
 
 Three pieces of Ju Yao of the Sung dynasty are illus- 
 trated in our ancient album, and described by the artist : 
 
 " Vase (^w), of slender, upright, hoi-nlike form, with 
 wide, trumpet-shaped mouth, modeled after an ancient 
 bronze design, with four prominent vertical dentated 
 ridges. It is ornamented with grotesque dragons' heads 
 on a rectangular scroll ground upon the body, and with 
 conventional palm leaves filled in with scrolls round the 
 neck. Specimens of Ju-chou porcelain are extremely rare, 
 and when found are usually plates and bowls, so that 
 a perfect unbroken vase like this is almost unique, and it 
 makes, like other sacrificial wine-vessels of the time, a 
 charming receptacle for flowers. Moreover, it excels in 
 material, form, and color both Kuan and Ko porcelain, 
 and is far more valuable than either. I saw it at the 
 capital, in the possession of Huang, General of the 
 Guards, who told me that he had given 150,000 ' cash ' 
 for it." * H. 6i in. 
 
 " Vam {Ku), of solid, rounded, beaker-shaped outline, 
 copied from an ancient sacrificial vessel of bronze, with a 
 band of ogre (fao-fieli) faces on the body, invested, like 
 the last, with a plain uncrackled glaze of pure " vitex- 
 blue " color. A choice specimen of this rare fabric, it 
 makes also a perfect receptacle for flowers." H. 4i in. 
 
 *The copper " cash " of China has varied in value at different times, but the 
 normal rate of exchange is 1,000 for a tael, or Chinese ounce of silver, which 
 is worth intrinsically about one Mexican dollar and one third.
 
 138 OEIENTAL CERAMIC AET. 
 
 " Wine Jar {F'u Tsu/i), fasliioned in the shape of 
 a duck, after an ancient bronze design, the body being 
 hollow to contain the wine, and the beak forming the 
 spout. From the back springs a vaselike neck, with 
 a movable cover, and a loop handle supported upon gro- 
 tesque figures. Ornamented with encircling bands of 
 spiral pattern worked in the paste under the ' starch- 
 blue' {fen eliding) glaze, which is coarsely crackled. The 
 perfect finish of the fabric and the antique character of 
 the coloring and crackled pattern make this a rare 
 S2)ecimen of ancient wine-vessels. The duck floats grace- 
 fully upon the waves, and men of old made wine-jars in 
 its form, as a symbol that one ought to swim lightly on 
 the surface, and not be di'owned in the Avine like the 
 drunkard." H. 5i in., L. 5 in. 
 
 g ^, KuAisr lAo. 
 
 The Kuan Yao is the " imperial porcelain " of the 
 Sung dynasty, huaii meaning "government" or "im- 
 perial." The manufactory was founded in the capital 
 Pien-chou, the modern K'ai-feng-fu, in the beginning of 
 the twelfth century. A few years later the dynasty was 
 driven southward by the advancing Tartars, and a manu- 
 factory was founded in the new capital, the modern 
 Hang-chou-fu, to supply the palace with porcelain of the 
 same kind, and the productions of the new kilns founded 
 in the city near the Temple of Heaven was also called 
 Kuan Yao. The same name is used, in fact, for por- 
 celain made in the imperial manufactory at Ching-te-chen 
 to-day. 
 
 The porcelain produced at the old capital seems to 
 have resembled the celebi'ated Ch'ai ware, which was 
 fabi'icated probably at the same place, as it was the capi- 
 tal of the After Chou dynasty at that time. The glaze
 
 CLASSIFICATION OF CHINESE PORCELAIN. 139 
 
 of the Kuan Yao was generally crackled, of various tints, 
 of which yiieh pai (claii' de June) was the most highly 
 esteemed of all, followed hy fen cWing, " pale blue," ta lu, 
 ^' emernld-greeu " (literally tjros vert), and lastly Jiiii se, 
 "gray/' The Hang-chou ware was made of a reddish 
 paste covered with the same glazes, and we read of iron- 
 colored feet and brown mouths, the upper rim being 
 more lightly covered with glaze and showing the color of 
 the paste underneath. 
 
 There is a t3q3ical example of this class in the little 
 crackled teacup in this collection figured in Plate XII, 1, 
 and the illustration exhibits very well the tone of color 
 of the crackled o-laze and the characteristic brown rim 
 round the edsie. 
 
 The album contains ten illustrations of the imperial 
 porcelain of the Sn/h/ dynasty, of which the pallet figured 
 as No. 8 indicates clearly the red color of the fabric, 
 exposed in the parts which are left unglazed. 
 
 " Tn'j^od Cenmr {Ting), fashioned after an old bronze 
 design, with a rounded, three-lobed body composed of 
 three monstrous oo;re-like faces with frio;htful features 
 and protruding eyes projecting from a finely etched scroll 
 ground, three cylindrical feet, and two upright looped 
 ears. The s-laze of lio-ht bluish tint, as clear and lustrous 
 as a precious emerald, is covered throughout with a net- 
 work of icelike crackle, so that it is a most choice ex- 
 ample of the grand imperial porcelain of the time. This 
 piece likewise came from the palace at Peking. I saw it 
 at Nanking, at the palace of the Governor Chu Hung, 
 Grand Tutor of the Emperor." H. 4 in., D. 4 in. 
 
 " Censer (Ln), of depressed globular form, with two 
 curved loop handles and three mammillated feet, a shape 
 adapted from the bronze work of the T''/e?i-pao period of 
 the T^ang dynasty, and often reproduced in the celebrated 
 bronze urns of the reign of Hman-te of our own dynasty.
 
 140 ORIENTAL CERAMIC ART. 
 
 It is covered Avitli fiu antique glaze of brilliant depth, 
 pale blue in color, fissured with a reticulation of icelike 
 cracks throuc-hout. From the collection of Chance Chui- 
 chang of Su-chou." H. li in,, D. 5 in. 
 
 ^'■Inh Pallet ( Yem^^ copied from a pallet used by the 
 emperor in the Hsuan-ho Palace. The outline is like 
 that of a vase, with loop handles at the sides for passing 
 a string through for hanghig the pallet upon the wall. A 
 lai'ge oval patch is left unglazed in the middle for rub- 
 bing the cake of ink upon, leaving the red paste exposed. 
 The under surface (which is also illustrated) has the 
 figure of an elephant etched upon it, surmounted by a 
 hexagram, which, taken with the vase shape, make the 
 ' rebus ^ T\ii ■p'i)i<j yu. lisiang, ' An augury of great peace.' 
 Like the upper surface, it is invested with a pale bluish 
 glaze crackled throughout, encircled by a red-brown ring 
 left unglazed." L. 5i in., Br. 4 in. 
 
 " Water Pot (Shui Cl^eiig) of ovoid form, with a 
 slightly flaring mouth, and two small loop handles from 
 which movable rings hang suspended. A band of cicada 
 j)attern is engraved round the body, a ring of palmations 
 encircles the foot, and a chain of rectangular scroll, 
 between two lines of dots, surrounds the neck. The 
 glaze of pale bluish tint is uniformly crackled." H. 
 3 in. 
 
 " Pencil Rest ( Yen Slian^, modeled in the form of a 
 miniature range of hills with a high peak in the middle, 
 covered with a glaze of bluish tint as bright as the vitex- 
 tinted azure sky, crackled throughout with icelike lines. 
 The antique color and the luster of the glaze far excel 
 those of the ICo Yao pencil rest figured beside it. It 
 cost me twenty taels of silver at Peking." H. 3 in., L. 
 4i in. 
 
 " Vase {Fang Hii)^ of flattened quadrangular section, 
 with a bulging body and a cover surmounted by four
 
 CLASSIFICATION OF CHINESE POKCELAIN. 141 
 
 spiral projections. Two handles of grotesque heads sup- 
 porting rings are worked in relief on the front and back 
 of the vase. The o-laze of briofht o-reenish-blue is covered 
 with icelike crackle. This vase was in the collection of 
 K\io Ch'ing-lo, who bought it for fifty taels without the 
 cover. The owner, happening to be fishing one day, 
 found in the boat a cover which had been drawn up in 
 the net, and purchased it for ten strings of cash. It 
 proved to be the original cover, and he wrote some verses 
 in commemoration. Since Ch'ing-lo's death I know not 
 what has become of the vase." H. 8 in., D. 4i in. 
 
 " Teaeiip {Glib a Pei), of upright form, with wavy out- 
 line and vertically ribbed sides, molded in the sliape of 
 a Buddha's-hand citron. Invested outside with a pale 
 blue glaze, white inside, both surfaces traversed with a 
 coarse network of lines like crackled ice." H. 3 in. 
 
 ^'' Lihation Cup {Cliueli), of ancient bronze design, with 
 three feet and a wide channeled lip. A double band of 
 rectangular scroll ornament encircles the body, which has 
 a loop handle on one side springing from a dragon's head. 
 The glaze is pale blue with icelike crackle throughout." 
 H. 6 in. 
 
 '■'■Libation Cup (^CluieJi), of design somewhat similar to 
 the last, but more elaborately ornamented with projecting 
 dentated ridges and geometrical scroll patterns. The 
 glaze of sky-blue color without a single line of crackle, 
 and the delicate and complicated ornamentation, executed 
 without a blur, make it a remarkable specimen of this 
 imperial fabric." H. 4J in. 
 
 ^^ Saucer {Tieh T''o), of complex form, modeled after a 
 red lacquer carved saucer of the period, Avith an engraved 
 decoration executed in the formal scroll pattei'us charac- 
 teristic of lacquer work. The glaze is of the light bluish 
 tint of an Qgg, and is marked with no crackled lines." 
 D. 4i in.
 
 142 ORIENTAL CERAMIC ART. 
 
 % g, Ting Yao. 
 
 Ting Yao is the name applied to the porcelain fabri- 
 cated in the Sung d^^nasty at Ting-cliou, in the province 
 of Chihli. This is well described in the Ko hti yao km, 
 published in 1387, one of the princij^al works on anti- 
 quarian subjects of the Ming dynasty : 
 
 " Specimens of ancient Ting-chou porcelain in which 
 the paste is finely levigated and the color white and of 
 rich luster are valuable ; those of coarser fabric and yel- 
 lowish color are inferior. Those with tear-drops outside 
 are genuine. Some of the engraved designs are very 
 beautiful. The plain pieces are also good, but those 
 ornamented with painted decoration are less highly 
 esteemed. The best belong to the periods Hsi'ian-lio 
 (1119-25) and Cheng-lio (1111-17), but it is difficult to 
 find perfect specimens of these reigns. There is a purple 
 Ting-chou porcelain, the color of Avhich is purple, and a 
 black Ching-chou porcelain colored black like lacquer." 
 
 The white variety is known as Pai Ting or Fen Ting, 
 fai being " white," and fen, " flour," to distinguish it 
 from the coarser yellow ^vare alluded to above, Avhich is 
 called T'' u Ting, from tu, " earth." The red variety is 
 often referred to by the older poets, and is compared to 
 carved red jade or carnelian. The black kind is exti'emely 
 rare. Our artist observes : " I have seen over a hundred 
 specimens of the white, and some tens of the purple- 
 brown ; but the black is so rare that in my whole life I 
 have met ^vith only one piece, which I figure here." 
 
 Pieces of Ting-chou porcelain are probably more com- 
 mon in modern collections than those of any of the other 
 8ung dynasty factories. The bowls and dishes are often 
 impressed inside with intricate and elaborate designs, 
 composed principally of the modern peony, lily floAvers, 
 and flying phcenixes. The material was very fragile, on
 
 CLASSIFICATION OF CHINESE POKCELAIN. 143 
 
 wliicli accouut it used to be the fasliiou to bind tlie rims 
 of the pieces made for the use of the palace with copper 
 collars to preserve them from iujury. Tlie Ijowls and 
 dishes seem to have l)eeu often placed in the kiln bottom 
 upward, so as to rest upon the rims, which were in such 
 cases left unglazed. The glaze of the best pieces of this 
 Avare is of a dull white, when compared with the soft, 
 velvety gloss of the white porcelain of the province of 
 Fuchien. It is less translucent, and of soft " ivory-white " 
 tone. 
 
 Northern Ting-chou porcelain has been more imitated, 
 perhaps, than any other. First comes the Nan Tinr/^ or 
 " Southern Ting," fabricated after the Sung emperors had 
 been driven south by the Mongols in 1127; then the 
 Hsiii Ting, or " New Ting," a name given to the vases of 
 elegant shape with contracted waist made in the Yuan 
 dynast}^ (1280-1367) by P'eng Chiin-pao, a worker in 
 gold. Next, the false Wen Wang censei's of Chou Tan- 
 ch'uan, the clever potter of the reign of Wan-li (1573- 
 1619), who imposed upon the connoisseurs of his time by 
 his reproductions of the incense burner which forms the 
 first illustration in our album, and of others of the 
 same kind.* He worked at Ching-te-chen, and repro- 
 ductions of the old Ting Yao are still made there. 
 
 Twelve examples of the Sung dynasty have been 
 selected for illustration, including six of the ^vhite vari- 
 ety, five of the purple, and one black. 
 
 " Censer (^Ting), of quadangular form and oblong sec- 
 tion, with two upright looj) handles, resting on four legs 
 curving upward below. The body, witli eight verti- 
 cal dentated ridges, is covered witli antique designs carved 
 in relief. Copied from a sacrificial vessel dedicated to 
 the ancient sovereio-n Wen Wane/ fio-ured in the J^o hi 
 
 *His story is well told by Julien {loc.cit.) iu pp. xxxiii and xxxiv of his 
 Pi-eface du Traducteur.
 
 144 ORIENTAL CERAMIC ART. 
 
 foUj an illustrated collection of old bronzes, this censer 
 was made at the imperial factory, and it is perfectly fin- 
 ished with delicate carving fine as bullock's hair or floss 
 silk. It stands square and upright, without leaning a 
 hair's breadth, and is exactly proportioned in every part. 
 The glaze, uniformly lustrous and translucent, is like 
 mutton fat or fine white jade. It is a choice specimen of 
 the fabric of Ting-chou in Chen-ting-fu, worthy to be 
 placed at the head of the incense burners of different 
 factories, and its equal is rarely, alas ! to be seen in the 
 present day. It was shown to me in the palace of the 
 Prince of Chin, standing upon a stand of fragrant lign- 
 aloes, with a cover carved out of the same wood crowned 
 by a lizard dragon of moss-green jade." H. 4i in., Br. 
 3i in. 
 
 " Censer' ( Yi), in the form of a sha^Ded bowl of depressed 
 globular form, rounding in at the neck and slightly exj^and- 
 ing at the mouth, resting upon a low circular foot. The 
 neck is encircled by a band of rectangular scroll pattern, 
 interrupted by two handles fashioned as lions' heads in 
 slight relief. The glaze of pure white without stain 
 resembles mutton fat or fine jade, and it forms a beauti- 
 ful ornament for a scholar's library. It is an old piece 
 which has been j^reserved for generations in our family 
 cabinet, and I now draw it for my friends." H. 2 in., D. 
 4iin. 
 
 '^Miniature Vase (Hsiao P''in(j), of nearly cylindrical 
 form, slightly bulging in the middle, with two pointed 
 open handles projecting upward from the shoulder. Dec- 
 orated with two scroll bands, above and below, engraved 
 under a pure white glaze resembling congealed fat." H. 
 3 in. 
 
 " Saxirificial Jar {Hsiang Tsun), modeled in the form 
 of an elephant, after an ancient bronze vessel made for 
 the ancestral temple. The body is hollowed into a jar
 
 CLASSIFICATION OF CHINESE PORCELAIN. 145 
 
 for wine, of wliich the uplifted trunk of the elephant 
 forms the spout, and a narrow canopy arching over the 
 saddle makes the handle, which has attached to it a round 
 cover ornamented with geometrical and spiral scroll 
 borders and surmounted by a knob. The rope girths 
 and ornamental details are engraved under the white 
 glaze. It holds about a pint of wine." H. 4i in., 
 L. 5 in. 
 
 " WiUow-hasket Cup {Liu-tou Pei)^ molded in the form 
 of a basket of rounded shape bulging beloAV, with the 
 osier twigs bound with ropes all worked in the paste 
 under the white glaze. This is a novel and cui'ious 
 design for a wine-cup." H. 2i in. 
 
 " Plicenix Candlestick {Feiui Tencj)^ of elegant form and 
 design, a branched j)ricket candlestick for three candles. 
 A slender pillar, springing from a square, solid, polished 
 stand, curves at the top to end in a crested phcenix head, 
 from the beak of which hangs a ring chain with a lotus 
 suspended upon it. The stem of the lotus branches 
 below into three flowers to hold the candles, which are 
 shaded by a large overhanging leaf. The natural details 
 are etched in the paste under the white glaze. It is a 
 rare specimen of Ting-chou porcelain, which I use to 
 light my o\vn library." H. 21 in. 
 
 " Tripod Censer {Ting), with plain loop handles and 
 feet springing from grotesque heads. Modeled after an 
 ancient bronze with ogre (fao fieli) faces carved upon 
 the body on the upper part, a band of foliated outline 
 below. The artistic chai'acter of the design is executed 
 in the spirit of the Three Ancient Dynasties ; the color of 
 the glaze is a warm purple of translucid depth, of the same 
 tint as that of ripe grapes. Ting-chou porcelain is usually 
 white, the purple {tzii) and black (ono) glazes being much 
 more rare, and such a choice example as this of the pur- 
 ple variety is rare indeed. I bought it for ten taels of
 
 146 ORIENTAL CERAMIC ART. 
 
 silver at Peking from the stall of a curio dealer at the 
 Buddhist temple Pao-kuo-ssu." H. 31 in., D. 4 in. 
 
 " Water Pot {Shui OKeng), modeled after a tazza- 
 shaped bronze cup of the Han dynasty, of oval form, 
 with foliated rim ; it has a fluted body, with a scroll-like 
 border composed of coiled silkworms, and a ringed hol- 
 low foot. The glaze is pur]:>le, of the color of the fruit 
 of the aubergine plant. It is mounted on a carved rose- 
 wood stand, with a coral spoon inside, for use on the 
 writing table." H. 2 in. 
 
 ''^ Jar (Hfi), modeled after an ancient sacrificial wine- 
 vessel of bronze, of ovoid form and quadrangular section, 
 with a lobed body decorated with a band of scrolled 
 dragons round the shoulder, a chain of interrupted fret 
 encircling the foot. Two loop handles terminating in 
 horned heads project from the neck with rings suspended 
 upon them. The glaze is deepest amethyst, of the color 
 of very ripe grapes, and beautifully lustrous. I saw it 
 in the palace of the Prince of Chiang-yu, where I painted 
 the picture for my friends." H. 6 in. 
 
 " /Small Vase (llsiao P''i)uj), of the kind once used 
 for divining stalks, adapted for flowers upon the writing 
 table. The body, of square section slightly expanding 
 upward, is carved in a formal, zigzag pattern ; it has 
 a round mouth and a lo\v, circular foot. The glaze is 
 purple, of deepest tone and beautiful color." H. 4 in. 
 
 " Wine Vessel (CJiia), of a characteristic bronze form, 
 with three pointed feet, a plain loop handle and two studs 
 on the upper rim. It is decorated with bands of gro- 
 tesque dragons' heads carved in relief. The color of the 
 glaze is pur[)le, like the aubergine fruit, and the decora- 
 tion is very finely carved. I got it from a fellow-citizen 
 in exchange for a winecup of jade." 11. 4 in. 
 
 " Duck-lieaded Vase {Fu Tmii)^ of black Ting-chou 
 porcelain. A bottle-shaped vase ^vith swelling body and
 
 CLASSIFICATION OF CHINESE PORCELAIN. 147 
 
 ringed neck, which curves over to end in a duck's head, 
 the orifice of the vase, defined by a lip, being in the con- 
 vexity of the curved neck.* The black color painted 
 upon the head and neck gradually fades away below into 
 the body of the vase, which is enameled white. The 
 black glaze is of the greatest rarity in Tiug-chou poi'ce- 
 lain. In my whole life I have seen over a hundred 
 specimens of the ^vhite, some tens of purple, but only 
 this one of black." H. 6 in. 
 
 hB ^ ^1 LuNG-cn'tTAN Yao. 
 
 The Lung-chbiiaii Yao is the porcelain that used to be 
 made atLung-ch'iian-hsien, in the prefecture Ch'u-chou-fu, 
 in the southern part of the province of Chekiang. Dur- 
 ing the early part of the Sting dynasty the factory was 
 at Liu-t'ien, some twenty miles distant from the walled 
 city of Lung-ch'iian, and under its jurisdiction. Two 
 brothers named Chang, who are said to have lived here 
 in the t^velfth century of our era, are celebrated for their 
 productions. The elder, called for that reason Chang 
 Sheng yi, introduced a new glaze, distinguished by its 
 crackled texture, which became known as Ivo Yao^ or the 
 '" Elder Brother's Porcelain." " Chang Secundus," Chang 
 Sheng erh, fabricated his ware on the old lines, only 
 improving the luster and color of the green glaze, so that 
 his productions continued to be called by the old name 
 of Lung-ch'iian Yao. 
 
 These potteries furnished the main source of the famous 
 old celadon and crackled poi'celains, Avhich were exported 
 at this time from China to all parts of Asia, as well as 
 to the eastern and northern coasts of Africa. They 
 constitute WieCli'ing Tzn, ^ ^, the "green porcelain/^ 
 
 * This curious form is still in use in China, as shown in Fig. 117, ■which is a 
 cehidon piece in the collection referred to the A"rt«5'-As2 period.
 
 148 ORIENTAL CERAMIC ART. 
 
 IKti' excellence of the Chinese, and are well known to the 
 Japanese, who esteem them very highly by the same 
 name, which they pronounce Sei-ji. During the Sung 
 dynasty there was considerable commercial intercourse 
 by sea between China and the Mohammedan countries, 
 and we read in both Arabian and Chinese books of the 
 time of " green porcelain " as one of the articles of trade. 
 The Chinese describe it as carried as far as Zanzibar, which 
 they call Tsangpa, and are curiously confirmed by the 
 discovery there in some old ruins, during Sir John Kirk's 
 residence as H, B. M, consul-general, of a quantity of 
 celadon vessels, principally in fragments, mixed with 
 Chinese coins of the Sung dynasty. 
 
 The Arabs and Pei'sians call this peculiar porcelain 
 "tnartahdni, and value it very highly from its fancied 
 property of detecting poisoned food by changing color. 
 The name comes from Martaban, one of the states of 
 ancient Siam ; and Prof. Karabacek, of Vienna, has lately 
 tried to prove that it is not Chinese, basing his theory 
 mainly upon a passage quoted from the encyclopedist 
 Hadji Khalifa, who died in 1658, that "the precious 
 magnificent celadon dishes and other vessels seen in his 
 time were manufactured and exported at Martaban, in 
 Pegu." But there is no evidence that porcelain was ever 
 made at Maulmain (Martaban), Rangoon, or elsewhere in 
 Burma. Others have attributed it, with as little success, 
 either to Persia or to Egypt, because so much has been 
 discovered there, but neither of these countries produced 
 true porcelain, although they excelled in the decoration 
 of faience. An Arab manuscript in the Bihliotheque 
 Nationale at Paris, treating of the life and exploits of 
 Saladin, mentions that this emir presented in the year 
 1171 forty pieces of this kind of Chinese porcelain to 
 Nur-ed-din. 
 
 Marco Polo, after his travels in China in the thirteenth
 
 CLASSIFICATION OF CHINESE POKCELALN. 149 
 
 century, seems to have ])een tlie first iu Europe to use the 
 name of " porcelaine " to describe this product of the far 
 East. It had probably been applied previously only to 
 shells, and Marco Polo applied the same term to the 
 cowries which he found used as money in Eastern coun- 
 tries. The crusades w^ere apparently the earliest means 
 of introduction of specimens of this w^are to the AVest. 
 Dr. Graesse relates that the most ancient piece in the 
 Dresden Museum was brought by a crusader from Pales- 
 tine. Perhaps it came through Egypt. A present of 
 porcelain vases was sent in 1487 by the Sultan of Egypt 
 to Lorenzo de' Medici, and it is mentioned about the same 
 time in the maritime laws of Barcelona as one of the 
 articles imported into Spain from Egypt. 
 
 It is curious that the earliest specimen of porcelain that 
 can be now referred to as brouglit to England before the 
 Reformation, viz., the cup of Archbishop Warham, at 
 New College, Oxford, is of the sea-green or celadon 
 kind. 
 
 The glaze of the Lung-ch'iiau porcelain is of a mono- 
 chrome green color, varying from bright grass-gi'een, the 
 tint of the Chinese olive, a species of canarium, through 
 lighter intermediate shades to palest sea-green. The 
 term celadon is well known to collectors as applied to 
 these different shades of color. Celadon was the name 
 of the hero of the popular novel L'Astree, written by 
 Honore d'Urfe in the seventeenth century, \\\\o used to 
 appear on the stage dressed in clothes of a kind of sea- 
 green hue of a gray or bluish tint. This shade became 
 fashionable, and the name was borro^ved to describe a 
 similar shade in the color of Chinese porcelain. This 
 peculiar shade, however, is specially characteristic of the 
 Lung-ch'iian porcelain of the 3Iing period, made in the 
 city of Ch'u-chou-fu, to which place the manufactory was 
 removed early iu the Ming dynasty. It was here that
 
 150 ORIENTAL CERAMIC ART. 
 
 the characteristic large dishes >vere made marked under- 
 neath with a ferruginous ring, showing the portion of the 
 paste left unglazed, so as not to adhere to the support 
 in the kihi. The okler pieces attributed to the Sung 
 dynasty are completely covei'ed with glaze under the 
 foot, and are generally of a more decided grass-green 
 color, approaching the emerald-green tint of jadeite, ^vhich 
 seems to have been the effect especially aimed at. The 
 decoration was either worked in relief or engraved in the 
 paste, and its eifect was enhanced by the different shades 
 of color produced by the varying depth of the glaze. 
 The vessels are often fluted or I'ibbed, and with wavy or 
 foliated rims ; some have a peony or a lotus blossom, 
 fish or di'agons, sprays of flowers or geometrical patterns 
 etched in the paste. Others have a pair of fishes worked 
 in relief in the bottom, or a pair of rings attached outside 
 to handles. 
 
 The accompanying illustration (Fig. 119) is taken from 
 a little dish of typical Sung celadon in the Walters Col- 
 lection. The glaze is crackled, of a greenish-brown tone 
 approaching that of the olive, shot and flecked with 
 bright grass-green, the tint of onion sprouts. A pair of 
 fish are worked in bold relief in the paste underneath the 
 glaze as if swimming round inside the dish. The rim of 
 the foot, unglazed, shows a reddish buff paste. There is 
 no " ring " underneath. 
 
 The other cut (Fig. 120) represents a celadon dish 
 etched inside with a spray of peony, which is attributed 
 to the Ming dynasty. The sides are fluted in the interior 
 and correspondingly ribbed underneath. The glaze is of 
 sea-green shade, varying in tone according to its depth. 
 The under surface of the dish, which is about a foot in 
 diameter, has been photographed, to show the peculiar 
 ferruginous ring with its ragged edges, where the paste, 
 left bare, is flred of a reddish buff color.
 
 CLASSIFICATION OF CHINESE PORCELAIN. 151 
 
 Our album contains eleven specimens of Lung-cli'uan 
 porcelain attributed to the Sung dynasty. 
 
 " Water Pot {^Shid ChJeng) for the writing table, in 
 the shape of a globular tazza-like bowl, Avith a cylindrical 
 foot slightly spreading at the base, and a round cover 
 with a knob on the top. The cover is etched with a 
 radiating geometrical pattern, the bo^vl decorated with 
 sprays of chrysanthemum flowers alternating with Polyp- 
 oruk fun2:us heads mins:led with o-rass. The flowers 
 stand out in strong relief as if painted in a picture. The 
 glaze is bright green, of the color of fresh moss or of wil- 
 low twigs as they hang down in early springtime." H. 
 4 in. 
 
 '■'■Water Pot {Sliul 67iV;?^^), modeled after a bronze 
 casting of the T\ui(j dynasty, of globular form, with a 
 slightly flaring mouth and three small mammillated feet. 
 The shoulder has two handles worked in relief as lions^ 
 heads with curlino; mane holdinjx rino-s ; above and 
 below them the body is circled ^vitll interrupted chains 
 of rectangular and spiral fret, etched under the glaze, 
 which is translucent and lustrous, of the color of moss- 
 green jade or nephrite." H. 2i in. 
 
 '■'■ Vase {Hit), bottle-shaped, with a bulging body, con- 
 tractinoj to a slender neck, \vhich swells ao-ain to a 
 bulbous enlargement to end in a small orifice defined b}" 
 a light lip. The nai'rowest part of the neck is marked 
 by a prominent ring. Vases of this form, copied from 
 an old bronze figured in the Po hu Vou^ are esteemed for 
 holding peonies and orchids of different kinds, because 
 the small mouth prevents the water o-ivinc; out a bad 
 odor. The glaze is bright green, of the color of young 
 onion sprouts, so that the color is as beautiful as the 
 form is distinguished. It always stands on the dining- 
 table in my own house." H. 6 in. 
 
 " Floioer Vase {Hua Nang)^ with several mouths, of
 
 152 ORIENTAL CERAMIC ART. 
 
 crackled Limg-cb'lian porcelain, of a depressed ovoid 
 form bulging below, it contracts above to an oval mouth 
 wliicli is surrounded by four other smaller tubular 
 mouths springing fi-om the shoulder of the vase. The 
 color of the glaze is as green as parrots' feathers and 
 crackled like broken ice, a rare variety of this ware, 
 adapted for displa3'ing the colors and mingling the fra- 
 grance of different kinds of roses on a small table. It is 
 enshrined in the Clii-hsiang-an Temple of my native 
 city." H. 3 in., Br. -41 in. 
 
 '■^ Small Vase {Hsiao P''hig), of hexagonal form, with 
 a low circular foot, and a lip shai'ply drawn into a round 
 mouth, covered with a brilliant glaze of the color of a 
 fresh green cucumber." H. ^\ in. 
 
 ^^ Miniature Vase {Hsiao P''ing), for a single flo\ver, 
 of semiglobular form, flattened below, with a tubular 
 neck, having two loop handles at the sides strung with 
 slender movable rino-s. Invested with a brio;ht mono- 
 chrome coat of green, it makes a charming receptacle for 
 a small flower like a dwarf orchid, a balsam, or a sprig 
 of jasmine." H. 2 in. 
 
 ^'' Palm- Leaf Vase {Cliiao Yeli P''t/ig), fashioned in 
 tlie form of a whorl of palm leaves surrounding a hollow 
 stem adapted to hold Avater for flowers. The veining of 
 the leaves is engraved in the paste, and the surfaces are 
 colored s-reen, lisrht or dark, accordino; to their natural 
 shades, sliowing that the ancient workmen spared no 
 pains in the fabrication even of a little work of art like 
 this." H. 6 in. 
 
 " Pliinoceros Jar {So Tsuii)^ a sacrificial wine-jar for 
 the ancestral temple, modeled after an ancient bronze 
 vessel figured in the Po hu ton. It is molded in the 
 form of a hornless rhinoceros, with the body hollowed 
 out to hold wine, the j^e^^ked saddle on its back being 
 hinged in front to make the cover of the jar. The con-
 
 CLASSIFICATION OF CHINESE PORCELAIN. 153 
 
 voluted folds of the skin and the other natural details are 
 worked in the paste so as to be picked out in darker 
 shades in the bright green glaze of the color of young 
 onion sprouts. In the present day porcelain is much 
 used for sacrificial vessels in place of gold and copper. 
 The altars are not so luxuriously furnished, but the 
 resources of the people are not infringed upon, so that it 
 should not be lightly esteemed. I saw this jar at Nan- 
 king, in the hall of a Taoist temple for the worship of 
 Heaven." H. 4i in., L. -Ai in. 
 
 " Gourd-sJiaped Jar {P\io Tsiui), molded as a wine- 
 vessel, in the form of a recumbent gourd of elongated 
 oval shape, curving up at the neck to a round orifice, 
 which is fitted ^vith a ringed cover. A long, curved 
 handle, with a dragon's head at each end, is attached to 
 the gourd by ring chains. The cover and shoulder of 
 the jar are decorated with plain and foliated bands 
 picked out under the glaze, which is of the usual green 
 color." L. 6 in. 
 
 " Wine- Vessel ( YiS) of the form of an ancient bronze 
 sacrificial vessel of that name, ^vith the finest details of 
 the metal work carefully finished to a hair's breadth. 
 The body, of fiat quadrangular section, is contracted 
 above to an oval orifice which is fitted Avith a rounded 
 cover. To the two loop handles on the shoulder of the 
 vase are attached rino; chains hangins; down from the 
 ends of a curved rod by Avhich the jar can be suspended. 
 The sides are decorated with foliated panels, the rims 
 with brocaded bands and formal borders, and the out- 
 lines of deer and dragons of antique design fill in the 
 intervals. The glaze is a bright grass-green." H. -4 in. 
 
 " Oil Lamp ( Yu Teiuj), copied from a bronze design. 
 The lipped saucerlike receptacle is poised on the tip of a 
 leafy branch which springs from a foliated pedestal, Avhile 
 fiom underneath tlie branch a second support curves
 
 154 OEIENTAL CERAMIC ART. 
 
 down, to end below in cliicken's claws. The glaze is of 
 the color of green onion sprouts, the form of antique 
 elegance." H. 4 in. 
 
 ^ ^, Ko Yao. 
 
 Ko Yao, which means " Elder Brother's Ware," was 
 the name referred to already as having been given to the 
 ceramic production of Chang the elder, who was a potter 
 of Liu-t'ien, in Lung-ch'lian-hsien, in the twelfth century of 
 our era. The porcelain which he made was distinguished 
 especially for its crackled glaze, which was described as 
 having the appearance of being " broken into a hundred 
 pieces," or as looking "like the roe of a fish." It had 
 also the iron-gray foot and the red mouth Avhich charac- 
 ized some of the older fabrics of the Hung dynasty, and 
 is said to have almost rivaled the Kuan Yao, " the impe- 
 rial porcelain of the period." The color of the glaze 
 varied from bluish gray or celadon to rice color or stone 
 
 This was the original Ko Yao ; the name has since 
 been extended to include almost all kinds of porcelain 
 covered with crackled monochrome glazes, of the differ- 
 ent shades of celadon, gray, and white. So we have Ko 
 Yao of the Yuan dynasty, which was fabricated in large 
 quantities at the same pottery, but ^vas far inferior to the 
 old porcelain l^oth in grain and in color. Specimens of this 
 are brought to our museums in modern times from Bor- 
 neo and other islands of the Eastern Archipelago as far 
 east as Ceram, among other old relics of Chinese porce- 
 lain which the natives prize so highly. Mr. Carl Bock, 
 in his Head- Hunter 8 of Borneo, alludes to these : " Among 
 his [the Dyak's] greatest treasures are a series of gudgi 
 hlanga, a sort of glazed jar imported from China, in green, 
 blue, or brown, ornamented Avith figures of lizards and 
 
 I
 
 CLASSIFICATION OF CHINESE PORCELAIN. 155 
 
 serpents in relief. These pots are valued at from one 
 liundred to as mucli as tliree thousand florins (£8 to 
 J6240) each, according to size, pattern, and, above all, old 
 aaje, combined, with s^ood condition. Accordins: to the 
 native legend, these j^trecious vases are made of the rem- 
 nants of the same clay from which Mahatara (the 
 Almighty) made first the sun and then the moon. Medici- 
 nal virtues are attributed to these wares, and they are 
 regarded as affording complete protection from evil spirits 
 to the house in which they are stored." 
 
 There is also a modern Ko Yao made at Ching-te-chen 
 up to the present day in the pattern of the old ware. 
 
 There is only one piece of Ko Yao of the Sung dynasty 
 illustrated in the album, a small pencil-rest covered with 
 a crackled glaze of j^urplish celadon which can hardly be 
 distinguished from that of the Kuan Yao, viz. : 
 
 " Brush Rest ( Yen Slimi), made after a bronze model 
 of the Han, dynasty, as a miniature range of hills with 
 four peaks of irregular height, and covered ^vith a glaze 
 of pale bluish celadon crackled like broken ice. Of 
 antique form and lustrous color, it forms an artistic rest 
 for the skilled pen of the writer." H. 1 in., L. 4 in. 
 
 We can add three pieces from the AValters Collection 
 which are referred to the Sung dynasty : (1) A minia- 
 ture censer {Hsiang Ln), shown in Fig. 122, covered 
 Avith a thick grayish speckled glaze, traversed by a 
 crackled network of brown lines, with thi-ee feet of dark 
 iron-gray color surrounded at their base with brown lines 
 of stain. (2) A small water pot (Shui Ch'eng), shown 
 in Fig. 123, invested inside and out, as well as under the 
 foot, with a thick, unctuous translucent glaze of dark 
 brownish-gray tone crackled throughout; the mouth 
 tinged copper-red, the foot-rim dark iron-gray. (3) A 
 little vase, wdth mask-handles in relief (Fig. 124) of light 
 gray crackle, covered with a deep I'ich glaze fissured with
 
 156 OEIEISTTAL CERAMIC ART. 
 
 a network of dark lines connected hy a iew more super- 
 ficial lines, and with the same glaze under the foot ; the 
 foot-rim shows a pale iron-gray paste. 
 
 :^ ^ g, Tung-Ch'ing Yao. 
 
 Tfnt(j-('Jt\')i(/ Y((o, which means " Eastei'ii celadon porce- 
 lain," is the name of the porcelain which was fabricated 
 at private factories in the vicinity of K'ai-feng-fu, the 
 Eastern capital, during the Northern Siuig dynasty (a. d. 
 960-1126). It resembled the imperial porcelain of the 
 time, but was of coarser make and paler color, and it was. 
 never crackled. 
 
 The name of Tniuj-cli ukj has sui'vived to the present 
 day as that of the typical celadon glaze, so well illustrated 
 in Plates VII and XXXVIII. The first syllable of the 
 name is, however, generally written with another charac- 
 ter of the same sound meaning " winter," changing the 
 expression to " winter-green " or " ever-green," and this i& 
 the form used in the imperial lists of to-day. 
 
 The one piece of the Sung dynasty figui'ed here is. 
 described as follo^vs : 
 
 " Water Bowl {II></'), resembling in shape an octagonal 
 iiower-pot, with an eight-lobed body resting on a circular 
 foot, and a foliated rim round the top. It is decorated 
 outside in panels with formal sprays of flowers, including 
 the plum blossom, polyporus fungus and grass, peony and 
 bamboo, etched in the paste under the glaze, which is of 
 the color of plumes of kingfisher feathers 2:)ainted on in 
 several layers, with its surface raised in faint millet-like 
 tubercles. Made for washing the brushes of an artist, it 
 is well adapted for the decoration of a dinner table with 
 an open-work rockery, or for growing flowering bulbs of 
 narcissus." H. 5 in.
 
 CLASSIFICATIOlSr OF CHINESE PORCELAIN. 157 
 
 ^ g:, Clitm YaO. 
 
 Chilli Yao is the name given to the porcelain fabricated 
 at Chiin-choii from the early part of the Sung dynasty, 
 which began in the year a. d. 960. This corresponds to 
 the modern district of Yii-clioii, in the province of Honan. 
 It was not ranked high among the [)otteries of the period, 
 because the material Avas not so finely levigated, and be- 
 cause the forms were generally original, instead of being 
 copied from classical designs. The glazes were, however, 
 remarkable for their l)rilliancy and for their varieties of 
 color, including as they did the Jf a jnhe or transmutation 
 glazes, composed of flashing reds, passing through every 
 intermediate shade of purple to pale blue. This was not 
 much appreciated at the time, being described as a fail- 
 ure in the firing of one of the pure monochi'omes, but its 
 reproduction in the hands of more I'ecent potters is uni- 
 versally regarded as one of the chief triumphs of Chinese 
 ceramic art. 
 
 The author of the J^o wu yao Ian, one of the best of 
 the antiquarian works published near the end of the 
 Ming d3aiasty, written by Ku T'ai, in sixteen books, and 
 printed in the reign of T'ien-rh^i (1621-27), says in the 
 fifth book, which is the one devoted to ceramics : " Chiin- 
 chou porcelain includes pieces of vermilion red, of bright 
 onion-green, vulgarly called parrot-green, and of aubergine 
 purple. AVhen these three colors, the first red as mineral 
 rouge, the second green as onion sprouts or kingfisher 
 feathers, and the third purple dark as ink-black, are pure 
 and witliout the least change of color, they comprise the 
 highest class. Underneath the piece one or two numerals 
 are often inscril^ed as marks. The colors of pig's liver, 
 of flaming red, and of blues and greens mingled in 
 blotches like a child's tear-stained face, ai'e due only to
 
 158 
 
 OEIENTAL CERAMIC AET. 
 
 insufficient firing of the above tliree colors ; tliey are not 
 distinct varieties of glaze. Such vulgar names as ^ nasal 
 mucus ' and ' pig's liver ' only provoke ridicule. The 
 flowerpots and saucers of this porcelain are of great 
 beauty, but the other things, like the barrel-shaped seats, 
 the censers and round pots for incense, the square vases 
 and jars \vith covers, all these have the paste composed 
 of yellow sand, so that they are of coarser fabric. The 
 new pieces made in the present day are all fabricated 
 out of Yi-hsing clay, so that, although the glaze is some- 
 what similar to the old, and the work as well finished, 
 they will not resist wear and tear." 
 
 The image of the Buddhist divinity Kuan Yin in the 
 Pao Kuo Ssii at Peking, described already, exhibits a 
 rare and brilliant combination of these different colors in 
 the glazes with which it is invested. The flowerpots and 
 saucers referred to by the author quoted above are the 
 specimens seen in modern Chinese collections that are 
 valued at such very high prices in their ow^n country that 
 few genuine examples are exported. There are two re- 
 m.arkable examples, however, in the Walters Collection 
 •whicli seem from their mountings to have come out of 
 one of the imperial collections at Peking — a pair of 
 bowl-shaped flowerpots. One of them is illustrated in 
 Plate XCIV, showing the stip})led gray-blue glaze spotted 
 with darker tints. The companion flowerpot is enameled 
 with a ground color of darker tone and more thickly 
 flecked with crimson passing into purple. Their pres- 
 ervation is due to the thickness and solidity of the 
 material, and they figure in the cultured interior of a 
 Chinese house to display the flowering bulbs of the narcis- 
 sus or the dwarf shrubs of the blossoming plum, which 
 flower at the new year, the one great national holiday. 
 The marks are the numerals 1 to 9 deeply engraved under- 
 neath in the paste, either singly or repeated ; in the last
 
 CLASSIFICATION OF CHINESE POKCELAIN. 159 
 
 case, for example, the number is carved inside one of 
 the feet, as well as on the base of tlie flowerpot or 
 saucer. 
 
 Fig. 125 is a pictui-e of a little water-[)ot, xhui-cU'eng, 
 of the ancient Chiin Yao of tlie Sung dynasty, such as a 
 Chinese writer loves to put on his table, and it is marked 
 underneath, with the character sav, " 3," carved in the 
 paste. An archaic dragon is modeled on one side in bold 
 relief so as to lift up its head above the rim. It is cov- 
 ered with a rich, deep, finely crackled glaze, of yueh-pai 
 or clair-de-lune color, with a patch of deep aubergine tint 
 shaded with lighter purple round the edge. It shows in 
 miniature two of the characteristic colors of the time. It 
 had been shattered into fi'agments, and when first seen 
 was coated with lac dating from the Ming dynasty, 
 which has since been scraped off. 
 
 These things were reproduced with some success by 
 T'ang Ying in the reign of Yung-clieng, 1723-35. His 
 pi'oductions may be distinguished b}^ their perfect execu- 
 tion and finish, the texture being finer and the paste 
 whiter than in the originals. A beautiful example of his 
 work is seen in Fig. 126, showing a sLallow bowl mounted 
 upon three foliated feet, modeled in the shape of one of 
 the bowls of Chun Yao made in the Sung dynasty for 
 the cultivation of narcissus bulbs, and enameled ^vith a 
 copper-red glaze of mottled tint exhibiting a pink ground 
 flecked with darker red spots. The bottom, coated with 
 a grayish glaze, is engraved with the character san, "3." 
 The seal of the period Yung-cheng is impressed in the 
 paste in the middle underneath. This seal had been 
 filled in with cement, plastered over and artificially 
 tinted, showing that the bowl had been intended to 
 figure as a relic of the Sung ; and it is really such a 
 perfect reproduction as to be liable to deceive the very 
 elect, had it not been marked with the reign in which
 
 160 ORIENTAL CERAMIC ART. 
 
 T'ang YIng flourished, as well as with the numerical 
 mark of the older regime. 
 
 Our artist figures four specimens of Chiiii-chou por- 
 celain of tlie Sting dynasty in the manuscript album, all 
 of darkest purple-brown, or mihergiae color. 
 
 '■'■Jar (Tsnti), of ovoid form, slightly expanding above 
 the short neck to a circularly rimmed mouth. The two 
 handles whicli })r(>ject from the neck are fashioned in 
 open-work relief as phoenixes, with crested heads and 
 bodies tei'uiinating })elow in spiral curves. The numeral 
 wu, ' 5,' is inscribed under the base as a mark. The 
 glaze is dark purjole-brown. The source of the design 
 can not be traced, although the elegance of the form and 
 the artistic fluish of the work are such as no common 
 potter could have executed. Chiiu-chou used at the time 
 to be ranked at the bottom of the potteries of the Sung 
 dynasty, yet this jar in its perfect form and beautiful 
 color makes a I'eceptacle for flowers equal to any one 
 either of Ju, Kuan., Ko, or Ting porcelain. Its ' mark 
 is an additional proof that it is really a Chiin piece. 
 I am now the fortunate possessor." H. 3i in. 
 
 " Miniature Vase {Hsiao P ''ing)^ of oval form, ^vith a 
 bulbous neck sha})ed like a ' head ' of garlic. It is 
 enameled with a glaze of mottled blue and purple 
 {eliding tzii), and is of the colors vulgarly known as 
 ' ass's liver and horse's lung.' It is in my own collection^ 
 and is one of the tiniest of vases, little more than an inch 
 high,flt to hold a single pearl orchid or a jasmine flower." 
 
 " Wine-Pot {IIu), of depressed oval form, with a short 
 neck ending above in a circular mouth, a tiny spout at one 
 end, and a minute solid triangular handle at the other. 
 It must originally have had a small round cover, which 
 is now lost. The surface is covered with formal floi'al 
 sprays and spiral scrolls worked in relief under the glaze, 
 which is of aubergine purple color. Specimens of Chiin-
 
 CLASSIFICATION OF CHINESE PORCELAIN. 161 
 
 choii porcelain are often, like this piece, of novel original 
 desio-n, as the potters did not usually copy tlie antifpie. 
 Of the colors used in its decoration none excelled the 
 vermilion red {('liu hv)i(/) and the cmhergine purple 
 {chbieli tzii)^ of the latter of which this is a fine example ; 
 the moonlight white (^yueli hsia pai^, or clair <Je /w/6, and 
 the pale green Qfii clPhig) being both inferior glazes, 
 when compared with the others. It holds about a pint 
 of wine." H. 3 in., D. 5 in. 
 
 ^^ Dragon Lamp (Ohlao Teng), molded in the form of 
 a grotesque hornless dragon, with its coiled scaly body 
 hollowed into a receptacle for the oil, its serpentlike 
 head elevated with protruding tongue and open mouth to 
 receive the wick. The glaze is bluish purple of the color 
 of ripe grapes. It is a lamp of rare design, lifelike and 
 awe-inspiring, and illuminates the whole I'oom when 
 lighted." H. 16 in. 
 
 Magnificent pieces of this Chliu-chou fabric are to be 
 seen in Chinese collections, remarkable for the brilliant 
 and variegated coloring of the rich, unctuous, li(piescent 
 glaze, which exhibits all the transmutation tints of 
 the copper silicates in their pi'istine perfection. The ma- 
 terial is generally, however, a reddish stoneware rather 
 than porcelain. I have just seen a large tripod censer 
 with rounded bowl and receding neck thickly imbued 
 with a mottled opalescent glaze of clair-de-lune type, con- 
 trasting with the red color of a pair of archaic dragons 
 worked in bold relief round the hollow of the neck, and 
 partially reserved betw^een two irregularly undulating 
 lines of glaze. The dragons form a frieze, half hidden, 
 as it were, in azure-tinted clouds.
 
 162 OEIENTAL CERAIMIC ART. 
 
 Three Other Manufactories. 
 
 There were several other iiiaDufactories in different 
 parts of China dui'iug the Sung dynasty, of which three 
 must not be omitted, although their productions are not 
 illustrated in our album. These are (1) Chi-chou, in 
 the province of Kiangsi, celebrated for its crackled por- 
 celain ; (2) Chien-chou, in the province of Fuchien, 
 famous for its black teacups, of ]3riceless value for the 
 tea ceremonial of the time ; and (3) Tz'u-chou, in the 
 province of Chihli, where a peculiar kiud of stoneware, 
 enameled white and painted in brown, is fabricated down 
 to the present day. 
 
 (1) The CJd-chou Yao, "§ j'W ^, was made at Yung- 
 ho-chen, in Chi-chou, which corresponds to the modern 
 Lu-liug-hsieu in the prefecture Chi-an-fu, in the province 
 of Kiangsi.* The Ko hu yao lun says that the colors of 
 the porcelain were white and purple-brown, like that of 
 Ting-chou, but that it was thick and comparatively 
 coarse in fabric, and not ^vorth so much money ; and that 
 in the Sung dynasty there "were five manufactories, of 
 which that of the Shu family was the most celebrated. 
 Some of the smaller pieces were decorated with painting, 
 and one of the daughters of the family, called Shu Chiao, 
 or " The Fair Shu," was a skillful artist. The Sui CK'i, 
 ^ ^, or crackled vases, ^vere, however, the most 
 famous productions of this factory, and rivaled the 
 similar vases of Ko Yao, which they resembled in color 
 and in being reticulated with lines like fissured ice. 
 Tradition says that during the troubles at the close of 
 the Sung dynasty, when the famous minister AVen T'ien- 
 hsiang (1236-82) came to this place, the porcelain Avas 
 
 * Julien, in the preface of his work {J,oc. cit.), places this factory correctly in 
 Kiangsi province, but refers it on page 16 of the text to Kuangsi, in the south- 
 east of Cliina, and on page 76 to Shensi, in the far northwest.
 
 CLASSIFICATION OF (iniNESE PORCELAIN. 163 
 
 transformed in the kilns to jade, and that the potters iied 
 in boats down the river to Ching-te-chen, where they 
 settled, and continued for generations to make this 
 crackled ware. 
 
 (2) The Cliien Yao, ^ ^, was the original porcelain 
 produced at the ancient Chien-chou, in the province of 
 Fuchien. This corresponds to the modern prefecture 
 Chien-ning-fu. The manufactory, ^vhich was established 
 at Chien-an at the beginning of the Siing dynasty, was 
 moved afterward to Chien-yang. In the Yua/t dynasty, 
 which succeeded the Sung, this last place became still 
 more famous for its ceramic production. During the 
 Sung the shallow bowls and cups with everted rims, 
 enameled with a black glaze speckled with white, which 
 sometimes ran down in brown drops, were appreciated 
 above all others at the tea ceremonies. They were 
 called " hare's fur cups " or " partridge cups," from their 
 resemblance in color to the skin of the common hare and 
 to the plumage of the Perdrix cinerea. They were thick 
 and heavy and kept hot a long time — another cpiality for 
 which they were highly prized by the old " tea-tasters." 
 
 The practice of the competitors at these tea parties \vas 
 to grind the tea leaves to fine dust and put a little of the 
 powder into each of the cups, to fill the cup Avith boiling 
 ^vater, and stir up the mixture with a bamboo whisk. 
 After the powder had subsided the tea was drunk, and 
 the cup was again filled with water, the process being 
 ]'epeated as long as any trace of tea-dust remained visible 
 at the bottom of the cup. The more " waters " the tea 
 would bear the better it Avas considered ; and the dark- 
 colored cups of Chien-an were valued, for one reason, 
 because they showed the slightest trace of pale yellow 
 dust as long as any of the tea lasted. 
 
 The Chinese ceremonial was afterward adopted in Japan 
 at their tea clubs, which have been so often described.
 
 164 OKIENTAL CERAMIC ART. 
 
 The Japanese also showed an imiiieDse appreciation for 
 the " hare-skin " glaze of the teacups of Chien-an, which 
 they imported for their own use and valued at such fab- 
 ulous prices. Three cups with silver rims, attributed to 
 the twelfth century a. d., from the collection of the 
 Japanese archaeologist, Ninagawa Noritane, are described 
 in one of Captain F. Brinkley's catalogues * as being 
 about five inches in diameter and two and a half inches 
 deep, and as having a lustrous black glaze covered with 
 yellowish metallic-looking lines. 
 
 These potteries have long been extinct. The porcelain 
 fabricated in the province of Fuchien in the present day, 
 and still known as Olden Yao, or Chien Tz'it, is the well- 
 known blanc-de- Chine variety, with a soft-looking, velvety 
 glaze, which comes from Te-hua, of which the libation- 
 cup shown in Fig. 57 is a typical specimen. 
 
 (3) The Tz^u Yao, ^ ^, was the ware produced at 
 Tz'u-chou, which was formerl}^ under the Jurisdiction of 
 the prefecture Chang-te-fu, of Honan province, but is 
 now under Kuang-p'ing-fu, in the province of Chihli. 
 The ceramic ware is made out of a peculiar kind of white 
 clay found here, and is really an opaque white stoneware 
 rather than porcelain, covered with a dull, white glaze, 
 and decollated with floral and other designs painted in 
 dark l)rown or dull blue. The forms of the pieces and 
 the style of decoration in the present day are of archaic 
 character, and are often wrongly classed as Korean. They 
 include figures of deities, of Taoist and Buddhist saints, 
 as well as vases and jars, and all kinds of common uten- 
 sils. At the present day these potteries supply the 
 coarser articles used by the common people' of Peking 
 and throughout northern China. There is a general 
 reseml)lance in the ware to the old Ting Yao, which was 
 
 * Collection of Japanese, Chinese, and Korean Porcelain, Pottery, and . 
 Faience, p. 96.
 
 CLASSIFICATION OF CHINESE PORCELAIN. 165 
 
 made in the vicinity, Ting-clioii being witliin the bounds 
 of the same prefecture of Kuang-p'ing-fu. 
 
 The Ko hu yao Ivn^ referring to the production of the 
 Sung dynasty, says that good specimens of Tz'u-chou 
 ware resembled the products of Ting-chou, onl}- tlieir 
 glazes exhibited no traces of tears. They comprised Ijoth 
 engraved and painted decorations, and the plain pieces 
 fetched as high prices as those of Ting-chou. He adds, 
 however, that the production of his own times (fourteenth 
 century) was not worthy of description. 
 
 Three modern pieces of this ware are reproduced in 
 Fig. 104 to show its archaic character and peculiar style 
 of decoration: (^a) A Wine Flask, Chiu P'^ing^ painted 
 in two shades of brown, with a floral spray. (V) A 
 gourd-shaped vase, Hu-lii P'ing, painted in dark brown, 
 with the character AiT ("happiness") above and a spray 
 of flowers belo^v. (r) Twin Figures of Two Merry 
 Genii, Ho Ho Hrli Hiking, with a tube, intended to 
 hold a stick of incense when placed upon a Taoist altar, 
 projecting from the shoulder of one of the figures ; the 
 details of the costume being picked out in lighter and 
 darker brown. 
 
 Some Utensils of Sung Porcelain. 
 
 The short account of 2:>orcelaiu of the Sung dynasty 
 given above may be supplemented by a list, condensed 
 from the fifth book of the Too Shuo, of some of the 
 other articles fabricated at the time that have not been 
 already alluded to. The books from which the author 
 usually quotes are those describing the artistic furniture 
 and paraphernalia of the scholar's library, so that uten- 
 sils for the use and ornament of the writino-.table occur 
 on every page of his book, in the same way as such things 
 fill the greater pai-t of our manuscript album.
 
 166 ORIENTAL CERAMIC ART. 
 
 " A Vase (/*'/y///), of white Ting-cliou porcelain, which 
 the author of the JVi hu In bought at Hsiu-chou, with 
 four liaiidles, fired with the inscription Jen ho huaiiy 
 ' Hotel of Benevolence and Harmony,' written obliquely 
 across, in the handwriting apparently of one of the Mi 
 family, father or son." The author refers here, no doubt, 
 to Mi Fei, a famous calligraphist of the eleventh cen- 
 tury A. D. 
 
 " Vases {P''itig), of Kuan, Ko, and Ting porcelain, the 
 finest of which are the slender beakers with trumpet- 
 shaped mouths, with a brilliant blue glaze sinking into 
 the ' bone,' speckled with vermilion spots rising in relief ; 
 the others, to be chosen for the scholar's library, should 
 be the h^w and graceful vases shaped like paper beaters, 
 those with goose necks, like aubergine fruit, like flower 
 jars or flower bags, the receptacles for divining stalks, or 
 the bulrush-shaped vases. Vases qs^Wq^ p' ing were used 
 in ancient times both for drawing water and for holding 
 wine ; the Buddhist used them for ceremonial cleansing ; 
 it was not till the Sung djaiasty that they were used for 
 flowers. Flower vases of bronze, which are not liable to 
 breakage by frost, should l)e used in the winter and 
 spring, of porcelain in the summer and autumn. Large 
 vases are preferred for the hall and reception room, small 
 ones for the library. Copper and porcelain are esteemed 
 above gold and silver, to cultivate simplicity ; rings and 
 pairs should be avoided, and rarity be the quality sj)e- 
 cially aimed at. The mouth should be small, the foot 
 thick, so that the vase may stand firmly and not emit 
 vapor. If the mouth be large, a tube of tin should be 
 fitted inside, to hold the flowers upright." 
 
 '^ Inh Pallet {Yeii)^ of Ko Yao, belonging to Ku Lin, 
 engraved with a rhyming verse of four lines : ' Neither 
 the fine clay pallets of the Ts'ung Tower nor the ancient 
 tiles of the Palace of Yeh, Are equal to those of Ko por-
 
 CLASSIFICATION OF CHINESE PORCELAIN. 167 
 
 celain iu its antique elegance. These are green as the 
 waves of spring, and liold water most perfectly : So that 
 even pallets of the Unest stone must be ranked below 
 them.' " 
 
 " A Pencil Rest (PI Ko), of white Ting-chou porcelain^ 
 molded iu the form of a boy lying upon a flower." 
 
 " Waterpots {Sliiii OKeng) for the writing-table from 
 any of the different potteries, shaped like a fish-bowl, 
 like a Buddhist patra or alms-bowl, with ribbed sides, 
 in the form of a chrysanthemum flower with hollow 
 center," etc. 
 
 " Water Pourers (Slnd Ohii), little vessels with spouts, 
 in the form of an upright or recumbent gourd, of a pair 
 of peaches, of two lotus capsules, a herd-boy lying upon 
 a cow, or a toad." 
 
 ''^Larger Waterpots {Hii)^ with handle and spout, 
 fashioned like a gourd with the leafy stem trailing round, 
 like an aubergine plant with the stem and leaves attached 
 to the fruit, like a camel, this last adapted to serve also 
 as a pencil rest," etc. 
 
 ^^Dlshes for wasliing Brushes (Pi Hsi^^ of imperial 
 (Kuaii) and Ko porcelain, are of many kinds, being 
 round and saucer-shaped, of the form of an althaea flower, 
 with a rim of the foliated outline of a Buddhist stone 
 gong, a lotus leaf with tilted margin, a joint of sugar- 
 cane with everted mouth," etc. 
 
 "Those of Lung-ch'iian celadon porcelain comprise 
 round dishes with a pair of fishes inside molded in relief 
 under the glaze, chrysanthemum flowers, Buddhist alms- 
 bowls, plaited and fluted platters." 
 
 "Among Ting-chou white pieces are barrels bound 
 round with three hoops, vessels molded in the shape of a 
 plum-blossom, a girdle ring, or a woven basket of osier; 
 others have a cup in the middle to dip the brush in, en- 
 circled by a saucerlike rim to rub it on ; and any one of
 
 168 ORIENTAL CERA3nC ART. ^ 
 
 the numerous small round dishes of this ware may be 
 selected for use as a pencil washer." 
 
 ^'- Paper Weights {Chen ChiJi), molded in the form of 
 coiled dragons, of lions and drums, of playing boys and 
 grotesque monsters." 
 
 " Seals ( Yin), with handles of varied design, copied 
 from ancient seals of jade, gold, and copj)er." 
 
 ^^ Seal- Color Boxes {Yin-Se CWili), for holding ver- 
 milion, include square, octagonal, and plaited boxes of 
 Kuan and Ko porcelain, and the beautiful square caskets 
 of Ting-chou fabrication with floral designs molded over 
 the exterior." 
 
 " Censers (^Lii), of varied form and design, are generally 
 modeled after ancient sacrificial vessels of bronze. In- 
 cense was introduced into China by the Buddhists, who 
 used the censers of elaborate design called Po-shan Iai. 
 The Chinese, however, used these outside the temple, but 
 made their censers for private use after indigenous de- 
 signs of bronze. The porcelain censers of the Sung 
 dynasty in turn furnished models for the bronze censers 
 of the reign of Hsuan-te (\4:2Q-2>^), which are well known 
 in collections. The incense-burning apparatus in ordinary 
 use consists of three pieces, comprising a box with cover 
 to hold the incense, and a vase to hold the miniature 
 poker, tongs, and shovel, which are made of metal, in 
 addition to the censer. The Vases (Chu P''huj) selected 
 for this purpose must be low and solid, so as to stand 
 firmly without being overbalanced. The Incense Boxes 
 {Hsiang Ho) of white Ting-chou porcelain and the pro- 
 ductions of Ching-te-chen are preferred, those from Chiin- 
 chou being usually of comparatively coarser fabric. 
 Sometimes they are nested, the outer box inclosing one 
 or more smaller ones." 
 
 " Paste Pots (Hu Tou) include tall jars of Chien-chou 
 porcelain, black outside, white within ; jars of Ting-
 
 CLASSIFICATION OF CHINESE PORCELAIN. 169 
 
 chou porcelain of oval form, fashioned in the shape of a 
 bulb of garlic or of a bulrush head ; and square vessels 
 of Ko Yao, like a corn measure, with a horizontal bar 
 stretched across the top as a handle." 
 
 ^' Of Reading Laitips (Shu Teruj) the best are the oil 
 lamps with three nozzles of white Ting-chou porcelain." 
 
 Porcelain Pillows (Tz'u Chen?) were much used in 
 summer during the Sung dynasty, being supposed to be 
 good for preserving the eyesight. The palace of the 
 Emperor Ning Tsung (1195-1224) is described as having 
 been full of them. Pillows of smaller size were made 
 for supporting the head of the dead body in the coffin, 
 and these are often discovered in old tombs. For this 
 reason the author of the K''ao p'an yil shih prescribes 
 that only those pillows of ancient porcelain that are two 
 and a half feet Ions; and over six inches broad should be 
 used, and he insists firmly on the injunction that the 
 ^' corpse pillows," which were generally only one foot in 
 length, even if made of the finest Ting-chou ware, and 
 most elaborately decorated with molded designs, must be 
 ruthlessly discarded. One of these pillows, dug up from 
 an ancient tomb, is described as having had the well- 
 known verse of the poet Tu inscribed upon it in four 
 stanzas, beginning " Wearing a girdle studded with a 
 hundred jewels." 
 
 ^^ Watering Pot (Hua Chiao), of imperial porcelain 
 {Kuan Yao), with the inscription upon it : ' Ked oh ! as 
 dawn-hued drops scattered by fishes' tails : Rich oh ! as 
 early rain sprinkling the pear blossoms.' These similes 
 might refer either to the fabric, of rich red paste, or to 
 the glaze, the most highly appreciated tone of which was 
 a pale purple flecked with red spots." 
 
 Mottled Hare-Fur Teacups (T n-mao-hiia CKa-ou'), of 
 Ting-chou porcelain, are often referred to in books on tea 
 of the Sung dynasty as specially suitable for use at the
 
 170 ORIENTAL CERAMIC ART. 
 
 competitive tea-tasting parties ; they were covered with 
 an iron-gray glaze. In an_oft-quoted line in his ode on 
 boiling tea in the examination-hall, the poet Su Timg-p'o^ 
 who wrote in the eleventh century, alludes to teacups 
 from the same factory enameled red : " In flowered por- 
 celain of Ting-chou, like carved red jade." 
 
 The Hare-Fhir Cups {T"' u-mao (Jlicui)^ of Chien-an, in 
 Fuchien province, were first described by Ts'ai Hsiang, 
 a native of that province, in his account of the tea-plant, 
 entitled CKa Lv, which was written in the elev^enth cen- 
 tury. He says : " Tea being of a pale whitish tint, black 
 is the most suitable color for cups. Those made at 
 Chien-an are of a soft black color, spotted like the fur of 
 a hare. These cups are rather thick and retain the heat, 
 so that they cool very slowly when once warmed. For 
 these reasons they are highly prized, and there is nothing 
 produced at any of the other potteries to rival them." 
 
 "A F'ace Chip^ {Jm-tnien Pei)^ a wine-cup molded in 
 the form of a man's face, of imj)erial porcelain of the 
 Sung dynasty, is alluded to by the author of the Ni leu 
 lu as being in the collection of Hsiang Yuan-tu." This 
 collector seems to have been the brother of Hsiang Yuan- 
 p'ien, the author of our manuscript Album. The JVi hit 
 hi, a book on objects of art, was written by Ch'en Chi-ju 
 in the sixteenth centur}^, so that the author and our artist 
 must have been contemporaries, 
 
 " A Doxhle Wedding Cup {Ho-CVeng Pel) of Ko Yao " 
 is also described in the work just quoted, as molded in 
 the form of twin peaches, standing in a saucer of the 
 same material hollowed out in the center for their recep- 
 tion. The peaches were detached for use as winecups. 
 At the marriage ceremony in China the bride and bride- 
 
 * A cup of this peculiar form, of pale blue, uncrackled Ju-cliou porcelain of 
 the Sung dynasty, is mentioned among the things sent from the palace at 
 Peking by the Emperor Tung-cheng as a model for T'ang Ying to reproduce 
 at Ching-t6-chgn.
 
 CLASSIFICATION OF CHINESE PORCELAIN, 171 
 
 groom must eacli drink in succession three cups of wine. 
 The vessels are mentioned in the ancient ritual books, 
 which prescribe that a wine-jar (tsmt) filled with wane 
 should be placed upon the altar on the east side of the 
 door, with a basket tray upon its south holding four 
 siuo-le cups (chilo) of the shape of the old libation cups, 
 and one double cup (]w-ch'e)i<f) which was a split gourd. 
 In ancient times these cups were carved out of shell, as 
 well as split from gourds ; in modern times they are made 
 of porcelain, gold, silver, and copper, or of hard stone. 
 Some of the jade cups are beautifully carved and orna- 
 mented outside with appropriate symbols in open-w^ork 
 relief ; a composite cup, for example, fashioned in the 
 form of two interlacing lozenges, or a pair of linked hol- 
 low rings, emblems of union and success, overlaid with 
 peaches and bats, symbols of longevity and happiness, 
 and with the shuang hs% or " double joy " hieroglyphs, 
 special attributes of wedded bliss, displayed upon their ^^ 
 surface. j-p 
 
 " A Stem Cup {PaPei)^ of octagonal shape, of Ko Yao, 
 in the collection of Hsiang Yuan-tu." The name of im 
 pei (literally " handled cup ") is applied in China to the 
 tazza-shaped cups used for tea or wine, just as the pa tvan j 
 are the tazza-shaped rice-bowls, with high cylindrical / 
 stems. Cups w^ith handles at the sides like our teacups 
 are rarely seen in China even now ; they were quite 
 unknown in earl}^ times. 
 
 ^^ BovjJs decorated in Blue {Hua CKing Waii), of Jao- 
 chou porcelain." The Ko hu yao Inn describes these 
 bowls produced in the imperial potteries of Jao-chou in 
 the Sung dynasty as being of thin texture and translucent 
 material, painted in blue on a white ground, and as but 
 slightly inferior to the Ting-chou porcelain of the period. 
 This refers to the earliest porcelain of Jao-chou, which 
 became so famous in after times.
 
 172 ORIENTAL CERAMIC ART. 
 
 Wen Chen-lieng, the author of the CJiuang wu cJiik 
 quoted in the Ching-te-chm Tkio-hi, book ix, gives the 
 following short account of Sung porcelain : " The Ch'ai 
 porcelain (of the preceding dynasty) is the most valuable 
 of all, but not a single piece remains ; it is said to have 
 been blue as the sky, clear as a mirror, thin as paper, 
 ringing like a musical stone. Of the porcelains called 
 Kuan, Ko, and Ju, the best is of pale blue (or green) 
 color, the whitish glaze comes next, the ash-gray last ; 
 that crackled with lines like fissured ice of the color of 
 eel's blood is ranked highest, a black reticulation in the 
 pattern of the petals of plum-blossom next, minute 
 broken lines lowest. In Chiin-chou porcelain rouge-red 
 color is the best ; the green, like fresh onion sj)routs or 
 emerald jade, and the inky purple, come next ; the 
 mixed coloi's are not so much appreciated." Again, the 
 " Kuan Yao has the glaze crackled like claws of crabs, 
 the Ko Yao like roe of fish. The Lung-ch'iian porcelain 
 is very thick and of comparatively coarse workmanship." 
 
 " For Flower Vases good specimens of Kuan, Ko, and 
 Ting porcelain should be selected ; an ancient vase of 
 gall-bladder shape, or one molded like a branch of a tree, 
 a small divining-rod receptacle, or a paper-beater vase ; as 
 to the others, like those with decoration engi'aved under 
 the glaze, the painted blue and white, the aubergine and 
 gourd-shaped vases, the medicine jars with small mouths, 
 flattened bodies, and contracted feet, and the new Chien- 
 chou vases, none of these are so suitable for the study of 
 a simple scholar ; the goose-neck bottles and the hanging 
 wall-vases also are not all of good style." 
 
 " Among flower-vases of Lung-ch'iian and Chlin-chou 
 porcelain there are some very large ones, measuring two 
 or three feet in height, which are well adapted to display 
 old branches of the blossoming plum at New-Year's 
 time."
 
 CLASSIFICATIOlSr OF CHINESE POKCELAIN. 173 
 
 " In wliite Ting-cliou ware we have Pencil Rests {Pi 
 K6) of three hills, of five hills, and of children reclining 
 on flowers ; among the Brush Pots {Pi Tung) of ancient 
 manufacture, a joint of bamboo is the most valued form, 
 but it is difficult to find one large enough. Those of old 
 celadon, with fine decoration worked under the glaze, may 
 also be chosen. More elaborate forms, like that of a 
 drum pierced at the top with holes for the brushes and 
 the cake of ink, although ancient, are in bad style. 
 Brush Washers {Pi Hsf) of Kuan and Ko porcelain 
 include althaea-blossom dishes, dishes with rims foliated 
 like the outline of a hanging gong, lotus-leaves with the 
 margin tilted up all round, and sugar-canes with expanded 
 mouth ; those of Ting-chou comprise three-hooped tubs, 
 plum-blossoms, and sr[uare saucer-shaped receptacles. 
 Brush Washers of Lung-ch'uan porcelain include round 
 dishes with a pair of fish, chrysanthemum flowers, and 
 vessels with hundred-fluted sides. Among Water Drop- 
 pers {Shiii Clm), for the pallet, of the Kuan, Ko, and 
 Ting-chou wares, there are square and round upright 
 gourds, recumbent gourds, twin peaches, lotus capsules, 
 and aubergine pots with leaves trailing round. For 
 Seal-color Boxes ( Yin Cli'iJt), the square-shaped, of 
 Kuan and Ko fabrication, are the best ; those of Ting- 
 chou, the octagonal and many-lobed shapes, come next ; 
 those painted in blue on a ^vhite ground, and the oval 
 boxes with covers, are not so much valued." 
 
 ^^Waterpots {Sliui Cliung-CKemf), for the writing- 
 table, are often made of copper, but copper becomes cor- 
 roded and infects the water, so that it injures the brush, 
 for which reason porcelain is considered to be a preferable 
 material. Among such receptacles of Kuan and Ko 
 fabrics there are miniature fish-bowls, Buddhist alms- 
 bowls, and round cups drawn in at the mouth. For Ink 
 Pallets {Pi Yeti), the small, round, shallow dishes, either
 
 174 ORIENTAL CERAMIC ART. 
 
 of Ting-chou or of Lung-ch'lian ware, serve excellently. 
 There are Paste-Pots (Hu-Toit), of TiDg-chou fabrication, 
 of the shape of garlic bulbs, and oral jars with covers ; 
 and of Ko ware in the form of a square corn-measure 
 with a rodlike handle across the mouth." 
 
 This account shows how much porcelain was coming 
 into general use before the close of the Sung dynasty. 
 One of the principal causes was the growing scarcity of 
 copper and consequent monetary difficulties, which pro- 
 voked the passage of sumptuary laws, making the posses- 
 sion of bronze articles a penal offense, after every avail- 
 able object had been collected for the mint and melted 
 down into " cash." Most of the objects of art had pre- 
 viously been modeled in copper or other metals, and the 
 corresponding things when first made of porcelain were 
 generally fashioned, as we have seen, after the older 
 bronze designs. An early vase of Ting-chou porcelain, 
 for example, will be found to be molded in the same 
 shape, with grotesque mask-handles in relief, and chiseled 
 with rings and borders of similar ornamental frets as 
 were employed previously in the decoration of bronze 
 woi'k. 
 
 Some of the larger pieces produced at these last kilns 
 are remarkably fine examples of the potter's art, excelling 
 in the graceful curves of their classical outline and in the 
 perfect finish of the ornamental details, which are worked 
 in flowing relief or graved with the point under the soft- 
 looking glaze of ivory-white tint. This glaze has usually 
 a finely crackled surface, and being of a soft, absorbent 
 nature it is often mottled and stained with age. The 
 reproduction of these Fen -Ting vases at Ching-te-chen 
 taxed all the energies of the celebrated T'ang Ying in 
 the first half of the eighteenth century, and his handi- 
 work is valued at its weight in gold by collectors of the 
 present day, more highly even than the original models,
 
 CLASSIFICATION OF CHINESE POKCELAIN. 175 
 
 which are not so often seen out of China. The Koreans 
 worked in the same lines, and the earliest Satsuma ware 
 produced under their influence in Japan, with its finely 
 crackled ivory-white texture, offers a surprising resem- 
 blance to the old Chinese Fen-Ting porcelain. 
 
 The specimens of Sung porcelain were generally sent 
 down from the collections in the palace at Peking as 
 models of monochrome coloring, and it would be very 
 interesting to have a complete catalogue of the ancient 
 relics preserved there. There are manuscript lists in 
 existence comj)iled by the Chamberlain's department, of 
 which I have seen two or three, detailing the articles of 
 furniture and art objects contained in the halls of the 
 sev^eral palaces. I have had the opportunity of consult- 
 ing one of these in the library of Mr. H. R. Bishop, of 
 New York. It is the official list of the contents of the 
 Shu Ch'ing Yuan, one of the palaces in the Western Park 
 at Peking, dated the thirteenth year of Clda-chJing (1808). 
 The objects of art catalogued are of bronze, cloisonne 
 enamel, carved red lac, jade, and porcelain, and offer, no 
 doubt, a fair representation of the collections in the other 
 parts of the palace. 
 
 There are eighty-four pieces of porcelain on exhibition, 
 of which seventeen are attril)uted to the Svng dynasty, 
 being referred to six of the different potteries referred to 
 above, and confirming in their character the accounts 
 quoted from the books. 
 
 1. (Tu Yao. 
 
 Pencil Mest {Pi SJian), in the form of a miniature 
 range of hills. 
 
 Brush Washer (Pi Hsi), a fluted dish modeled in the 
 shape of a rose-mallow flower.
 
 176 ORIENTAL CERAMIC ART. 
 
 2. Kuan Yao. 
 
 Fluted Dish (^P^an), of rose-mallow design. 
 Vase (jP''lng^, witli a girdle in open-work carving. 
 
 3. Ting Yao. 
 
 Dish for holding quinces {Mu-hiia P''an), mounted with 
 a copper rim. 
 
 Beaker-shaped Vase {Hua Ku), of Fen-Ting, with a 
 piece broken out, and cracked. 
 
 Shallow Bowl (Iisi\ of Fen- Ting, with copper- 
 mounted rim, upon two rosewood stands. 
 
 Olive-shaped Vase (So-laii P^iiuf), with a copper band 
 round tlie rim. 
 
 Jar, tvith Cover {Kai Wan). 
 
 Round Dish (P''a)i), with a copper rim. 
 
 4. Dung- YcKilan Yao. 
 Jar, with Cover {Kai Kuaii). 
 
 5. 1^0 Yao. 
 
 Two round, fluted Dishes {P\iii), of rose-mallow 
 design. 
 
 Shallow Boivl {Hsi^ for washing brushes. 
 Round, fluted Dish (Fkui^, of chrysanthemum design. 
 Waterpot {Shui CKeng), with a coral spoon inside. 
 
 6. Chiln Yao. 
 Douhle Gourd Vase {Hu-lu P''ing).
 
 CHAPTER Vl. 
 
 YUAN DYNASTY. 
 
 IN the thirteenth century a. d. China was overrun by 
 the Mongols and was gradually conquered by them, 
 the Sung dynasty being driven into the sea. A new 
 dynasty with the title of Yuan was founded in 1280 by 
 Kublai Khan, the grandson of the famous Mongol 
 Genghis. In 1368 the Yuan dynasty was overthrown, 
 the Mongols expelled to the north of the Great Wall, 
 and a native dynasty once more ruled, under the title of 
 Ming. The Mongols consequently reigned with their 
 capital at Khanbalik, or Cambalu, " City of the Khan," 
 the modern Peking, for less than a century altogether. 
 
 After the Mongol conquest the principal provincial 
 posts were given to Tartars, who seem to have cared 
 only for the money they could Avring out of such native 
 industries as remained after the war, without caring to 
 support them in any way. Many of the old potteries 
 disappeared about this time, and Ching-te-chen began to 
 occupy the prominent position in the ceramic field which 
 it has held ever since. In 1296, the second year of the 
 reign of the second emperor, ping shen of the sexagenary 
 cycle, Fou-liang-hsien was promoted to the rank of a 
 chou city, a Mongol being appointed governoi- (darvgha) 
 of Fou-liang-chou, as it was now called. Ching-te-chen 
 was made a customs station, and the superintendent of 
 potteries was appointed commissioner, with the title 
 of fi-ling. In the period Tai-ting (1324-27) the gov- 
 ernor of the province of Kiang-si was appointed supei'in- 
 tendent of the potteries (Chien t'ao), and ordered to go 
 
 177
 
 178 ORIENTAL CERAMIC ART. 
 
 there whenever an imperial requisition was issued, and to 
 close the imperial manufactory after the work was fin- 
 ished, pending the issue of a new decree. 
 
 The first edition of tlie Annals of Fou-llang-hsien had 
 been issued during the Sung dynasty in the cyclical year 
 Tceng lou (1270), of the Hsien-shwi period. Before this 
 its events had been recorded in the An7ials of Po-yang, 
 which were published in the year 1215. In the Yuan 
 dynasty a new edition of tlie Annals of Fou-liang was 
 compiled by the native scholar Ts'ang T'ing-feng and 
 published officially in the period Chih-cliih, the cyclical 
 year jen-lisit (1322). This edition included a special 
 memoir on the porcelain manufacture, Fao old li'io, by 
 CJhiang Cli'i, which is found reprinted in every subse- 
 quent edition of the Annals, as well as in the Statistical 
 Descriptions of the prefectui-e of Jao-chou-ju, and of the 
 province of Kiang-si. This is the earliest account in any 
 detail of the ceramic industry which we have, and I will 
 translate it here, omitting only some of the less interest- 
 ing passages, such as the author's diatribes upon the 
 excessive taxation levied upon the industry in his time : 
 
 "The potteries at Ching-te-chen contained formerly 
 more than three hundred manufactories. The porcelain 
 produced in its workshops was of pure white color and 
 without stain, so that the merchants who carried it for 
 sale to all parts used to call their ware ' Jao-chou Jade.' 
 It was compared with the j'ed porcelain of Chen-ting-fu, 
 and with the emerald-green ware of Lung-ch'iian-hsien, 
 and found to surpass them both in beauty.* """^ ' 
 
 " The furnaces are carefully measured by the officials, 
 and their length in feet and the number of workmen em- 
 ployed in each one are recorded upon the registers, to fix 
 
 * The red porcelain of Ting-chou, iu the prefecture of ChSn-ting-fu, used to 
 be compared to carved carnelian by the poets of the T\wg dynasty. The 
 other ware alluded to is the old celadon porcelain of Lung-ch'iian, which was 
 often of bright grass-green tint during the Sung dynasty.
 
 YUAN DYNASTY. 179 
 
 the proportion of the tax to be levied ; neither the size of 
 the fire, nor the number of channels, chimneys, and vent- 
 holes being reckoned or put on the register. 
 
 " The potters are given land to cultivate for their livings 
 and not paid regular wages ; they are settled round the 
 masters of the factories, and called together by their 
 orders when necessary, which is called ' opening the 
 works.' When they have cased the ware in the seggars 
 (Jisia), these are placed carefully in different parts of the 
 furnace so that the contents may be properly fired, which 
 is called 'firing the kilns.' At the time of lighting the 
 fire the amount of silver fixed on the register, including 
 the tax for the workmen passing in and out, according ta 
 the kiln table, must be paid ; this is called ' reporting the 
 fire.' After the fire has been kept up one day and two 
 nights it is stopped, and when the furnace is opened the 
 merchants throng to buy and select the best pieces ; this 
 is called ' choosing the porcelain.' For settling the 
 accounts of the sale an accountant is employed in each 
 factory, and dealers are licensed by the ofiicials, who 
 examine the accounts; this is. called the ' shop license. '^ 
 For carrying the porcelain to the river licensed porters 
 are employed, who are provided with papers to enter the 
 quantity carried and the number of Journeys for Avhich 
 the merchants have to pay ; these are called ' porter- 
 age tickets.' Such are the general regulations of the 
 manufactories. 
 
 "Throughout the province of Che (Chekiang), both 
 east and west, they prefer the yellowish-black or brown 
 ware, which is produced in the potteries of Hu-t'ien ; in 
 the provinces of Chiang (Kianguan), Hu (Hukuang)^ 
 Ch'uan (Ssuch'uan), and Kuang (Kuangtung), the_green- 
 Jsh-white or celadon ware which comes from the kilns of 
 Ching-te-Chen proper. 
 
 " The bowls (wan) engraved with fish and waves and
 
 y 
 
 180 ORIENTAL CERAMIC ART. 
 
 those of tazza shape with high feet, aud the dishes (tieh) 
 with the glaze shaded in different tones and those orna- 
 mented with ' sea eyes ' and ' snow-white flowers,' are the 
 kinds which sell profitably in Ch'uan (Ssu-ch'uan), Kuang 
 (Kuangtung), Ching and Hsiang (Hunan and Hupei). 
 The large dishes (p^an) of horseshoe shape and of 'betel- 
 nut ' glaze, the lai'ge bowls^ (j/^f) of lotus-blossom design, 
 and the square forms with indented corners, the rice- 
 bowls (wmi) and the platters (tieJi), ^vith painted decora- 
 tion, with silvery designs, with fluted sides, and with 
 encircling strings, these are sold readily in Kiangnan, 
 Chekiang, and Fuchien provinces. The different kinds 
 have all to be selected to please the fancy of the con- 
 sumer of each district. 
 
 " There are many different forms of censers (lu) made 
 for burning incense, in the form of fabulous lions (w/), 
 of the ancient bronze sacrificial vessels tln^/ (three-footed 
 and four-footed) and yi (bowl-shaped), -pf the ancient 
 caldrons with three hollow legs calletW/^of the ritual 
 form used for the worship of heaven (chao-tHen), with 
 elephants as feet (Jisiang fui), like square scent-caskets 
 (lisicmg lieii), or round tubs (fung-tzi'i). The various 
 kinds of vases {j^^ing), for flowers and ornament, include 
 trumpet-mouthed beakers (hti)^ bladder-shaped vases 
 (tan), bottle-shaped vases with handles and spouts (Jiii), 
 vessels of Buddhistic form for ceremonial ablution 
 (ching), vases shaped like gardenia flowers (chih tzii) 
 or like lotus leaves (lio yeli), double gourds (hu lu), 
 musical pipes (lu Tcuan), vases with animal mask-handles 
 (shou huan) and glass forms (liu-li) ; and there are many 
 other empty names and fine distinctions difficult to define, 
 which are really of value to nobody but the dealer. 
 
 " Speaking generally, the porcelain consumed in the 
 two Huai provinces (Kiangsu and Anhui) consists of the 
 inferior pieces rejected by the provinces of Kiang
 
 YUAlSr DYNASTY. 181 
 
 (Kiangsi aud Kiangnau), Kiiaog (Kiiangtung), Min 
 (Fiichien), and Che (Cbekiaiig) ; the native dealers sell 
 such to them under the name of Iniang tiao, or ' yellow 
 stuff,' because the color of the glaze is inferior, and the 
 ware is only fit to be thrown away. The above is a 
 short resume of the kinds of porcelain articles made. 
 
 " In winter the paste freezes, and porcelain can not be 
 fired. When the pieces are newly shaped they are very 
 soft, and must be carried ^vith care into the fire-chamber. 
 As to the firing the pro23er time can not be exactly fixed, 
 so that it is necessary to look through the aperture of the 
 kiln to see whether the porcelain is properly baked, judg- 
 ing by the white heat of the fire. s^ '^ f) 
 
 '^ The porcelain earth prepared from Chin-k'eng stone 
 is used in the fabrication of the finest porcelain, the I'ocks i 
 produced at Hu-k'eng, Ling-pei, and Chieh-t'ien being of 
 the second class. The different earths brouo-ht from 
 
 o 
 
 Jen-k'eng, Kao-shan, Ma-an-shau, and Tzu-shih-t'ang are 
 red in color and are used only in the fabrication of the 
 seggars and molds. If these be mixed with the other 
 kinds in the preparation of the paste, it is of inferior 
 quality, aud the porcelain is not worth buying. It is in 
 the hills of Yu-shan that the mountain brushwood is col- 
 lected to make the ashes used in the preparation of the 
 glaze. The method folloAved is to pile the lime burned 
 from the stone in alternate layers with this brushwood 
 mixed with persimmon (Dwspy?'os) wood, and to burn 
 the two together to ashes. These ashes must be com- 
 bined with the ' glaze earth ' brought from Ling-pei 
 before they can be used. The pieces after they have 
 been glazed are fired either upright or bottom upward. 
 There are several distinct branches of work divided 
 between the potters, the seggar-makers, and the preparers 
 of the earth ; the pieces before they are fired are 
 fashioned by the different processes of throwing the
 
 182 OEIENTAL CERAMIC ART. 
 
 paste ou the wheel, finishing it with the knife on the 
 polishing wheel, and finally by glazing it ; the decoration 
 is executed by molding, by painting, or by carving the 
 ornamental designs. The different steps in the ceramic 
 manufacture are kept distinct, and all provided with 
 technical names. 
 
 " The kilns are inscribed on the I'egister according to 
 their measurement, and heavy fines are inflicted if they 
 are lighted without authority. The glaze must be 
 stamped in three gj'ades of color according to its quality, 
 and severe punishment follows the use of the wrong 
 gi-ade. The official inspectors must be bribed at every 
 step, and if the slightest rule be infringed even the shop- 
 dealers and the pointers are made jointly responsible and 
 punished. The penal regulations are both numei'ous and 
 minute ; yet, where formerly the revenue was most rich 
 and abundant, there is now nothing but complaint of its 
 insufficiency. Still the total amount of taxes has been 
 increased by a large percentage. There are contributions 
 levied for the governor of the province, who is superine 
 tendent, and for his deputies, for the monthly expenses 
 of the officials of Jao-chou, and for the police of Ching-te- 
 chen, besides an allowance for the widows and orphans 
 of the potters, the total mounting up to a monthly sum 
 of over 3,000 strings of ' cash.' Then there are levies in 
 spring and autumn for the soldiers, taxes for sacred holi- 
 days and the worship of heaven and earth, presents and 
 money for the periodical repair of the examination halls, 
 making one hundred and fifty strings more, all exacted 
 by the officials on pain of instant punishment. I can 
 give j)ersonal testimony, as I have seen for several tens 
 of years past how the successive superintendents of this 
 place have constantly, when transferred to other posts, 
 left in debt to citizens of the chou. 
 
 " Inquiring for the cause of this failure of revenue^
 
 YUAN DYNASTY. 183 
 
 there are five reasons : 1. The opening of the factories 
 for work depends u^^ou the abundance or scantiness of 
 the harvest. 2. The porcelain manufactures in Lin- 
 ch'uan, Chien-yang, and Nau-feng have diverted much of 
 the profit. 3. If the payment of the taxes be delayed a 
 day, the police runners come knocking at the gate and 
 devour everything like caterpillars. 4. The prisons are 
 without jailers, and the pi'oper officials have deserted 
 their posts, so that dishonest men have nothing to fear. 
 5. The permanent local officials are banded together, and 
 if an honest official should by chance be sent, he is 
 immediately accused by them and the place made too hot 
 for him. The times are bad, and it is useless to look for 
 the honest officers of olden days," etc. 
 
 The potteries of Hu-t'ien referred to in this memoir 
 were at Fou-liang-hsien, in the vicinity of Ching-te-chen, 
 from which they were separated by a small liver. They 
 were closed during the Ming dynasty, and are now rep- 
 resented only by ruins in a small hamlet w^ith a pagoda 
 on the southern bank of the river. 
 
 The other three potteries alluded to in tlie last para- 
 graph of the memoir were situated at dift'erent stages on 
 the overland route from Ching-te-chen to Ch'iian-chou, 
 the chief city of the province of Fuchien at that time, 
 and the principal port for foreign trade, as we are told 
 by Marco Polo and by Arab writers of the time. 
 
 Lin-ch'lian-hsien was in the prefecture of Fu-chou-fu, 
 Nau-feng-hsien in the prefecture of Chien-chang-fu, both 
 in the province of Kiangsi. The porcelain of tlie former 
 place is described as having been of finely levigated clay, 
 thin, and generally of white color with a tinge of yellow, 
 and to have been sometimes decorated with rough paint- 
 ing. That of Nan-feng, made of similar material, was 
 slightly thicker ; the pieces were often decorated with 
 painting in blue, while others are said to have resembled
 
 184 ORIENTAL CERAMIC ART. 
 
 the coarser yellowish variety of Ting-choii ware. Chien- 
 yang-lisien was in the province of Fuchien, nearer to 
 Ch'iian-choii ; it was already in existence in the Sung 
 dynasty, and we have seen above that it was celebrated 
 then for the production of the black tea-bowls which 
 were so highly appreciated at the competitive tea clubs 
 of the time under the name of " hare-fur cups." 
 
 Chien-yang must surely have been the factory referred 
 to by Marco Polo as situated in the province of Fuchien, 
 and as being the seat of the production of the porcelain 
 exported to all parts of the world from Ch'iian-chou, 
 which was known to him by its Persian name of Zayton. 
 The name of the factory given by him may be a local 
 rendering of Chien-chou, the old name of the department. 
 The only other factory that Ave know of in the province 
 was that of Te-hua, ^vhich was not founded till later, in 
 the Ming dynasty. 
 
 He says (Yule's Marco Polo, Book II, chap. Ixxxii) : 
 " Let me tell you also that in this province there is a 
 town called Tyunju, where they make vessels of porcelain 
 of all sizes, the finest that can be imagined. . . . Here 
 it is abundant and very cheap, insomuch that for a 
 Venice groat 3^ou can buy three dishes so fine that you 
 could not imagine better." 
 
 Soon after Marco Polo, Ibn Batuta, an Arab, came to 
 this port, of which he Avrites ( Voyages cflbn JBatmitali, 
 traduits par Defremery et Sanguinetti, t. iv, p. 256) : 
 " On ne fabrique pas en Chine la porcelaine, si ce n'est 
 dans les villes de Zeitoun (Ch'liau-chou) et Sincalan 
 (Canton). Elle est faite au moyen d'une terre tiree des 
 montagues qui se trouvent dans ces districts; laquelle 
 terre prend feu comme du charbon. . . . Les potiers y 
 ajoutent une certaine pierre qui se trouve dans le pays ; 
 ils la font briiler pendant trois jours, puis vei'sent I'eau 
 par-dessus, et le tout devient une poussiere, ou une terre
 
 YUAN DYISTASTY. 18^ 
 
 qu'ils font fermenter. Celle doiit la fermentation a dure 
 un mois entier, mais non plus, donne la meilleure porce- 
 laine ; celle qui n'a fermente que pendant dix jours, en 
 donne une de qualite inferieure k la precedente. La 
 porcelaine en Chine vaut le meme prix que la poteiie 
 cbez nous, ou encore moins. On I'exporte dans I'lnde et 
 dans les autres contrees, jusqu'^ ce qu'elle arrive dans la 
 notre, le Maghreb (Morocco). C'est I'espece la plus belle 
 de toutes les poteries." 
 
 Another manufactory which acquired some renown 
 under the Yuan dynasty was that of Ho-chou, in the 
 province of Kiangnan, where a goldsmith named P'eng 
 Chiin-pao produced imitations of the white porcelain of 
 Ting-chou, of good color but very fragile, which were 
 called at the time "New Ting-chou Porcelain," and the 
 best of which, it was said, could hardly be distinguished 
 from the genuine old ware. 
 
 The porcelain produced at the imperial manufactory 
 at Ching-te-chen is briefly described in the Ko hu yao 
 hin, which says, under the heading of " Ancient Jao-chou 
 Porcelain ": " The porcelain made at the imperial factory 
 was thin, translucent in texture, and very flne. It 
 included plain bowls drawn in at the waist, and bowls 
 with unglazed rims, which, although thick, were of pure 
 white color and |:)erfectly translucent. These were as 
 good as the Ting-chou bowls, although not so high in 
 price. ' The white bowls made in the Yiian dynasty, 
 with small feet and molded decoration, which have 
 inscribed inside the mouth, /SMiJ'u, or ' imperial palace,' 
 are also very flne^lj There was, besides, green porcelain 
 ^d~decoration in manj colors, but these are considered 
 to be more common. Another variety of porcelain was \ 
 of greenish-black color, penciled with designs in gold ; 
 this consisted chiefly of wine-pots, (chiu hii) and ^vine- 
 cups (^chiu chaii), which are extremely beautiful." The 
 
 -7
 
 186 ORIENTAL CERAMIC ART. 
 
 author, speaking of these wiiie-pots, adds : " Such things 
 were unknown in China before the Yuan dynasty, when 
 so many novel forms were introduced. In former times 
 the wide shallow bowls called p'ieli were preferred for 
 drinking tea because they were so easily dried and did 
 not retain the dregs. Vases were used for the hot water; 
 ewers and pots with spouts were new things for tea and 
 wine ; so ^vere the tall upright teacups {cli^a clivng) with 
 saucers, and the stem Aviue-cups (^j'rt pei) with tray. 
 Neither these nor the bowls (yu) with lips were known 
 in tlie wares of the Sung dynasty, either in imperial or in 
 Ting-chou porcelain." 
 
 There is one specimen of this dynasty in our illustrated 
 album which is described as follows : 
 
 " Small Vase (^Hskio P''ing) of imperial porcelain 
 {Shufu Yao) of the Ytian dynasty, bottle-shaped, with a 
 globular body receding to a slender neck, which ends in 
 a bulging garlic-shaped enlargement surrounding the cir- 
 cularly rimmed mouth. It is decorated with dragons 
 with two-horned bearded heads and serpentine bodies 
 with three-clawed legs, coiling through spiral scrolls of 
 clouds, all etched in the paste under the white glaze. The 
 pure white porcelain of our own dynasty of the reigns 
 of Yung-Jo and Hsilan-te, with the decoration faintly 
 engraved under the glaze, was all made after the style 
 of this imperial porcelain. The Shufti porcelain itself 
 was modeled after the fabrication of Ting-chou under the 
 northern Sung dynasty, and this vase has its form and 
 glaze, as well as its style of decoration, all designed like 
 a Ting-chou piece. The vase has underneath the mark 
 Shu fu, ' imperial palace,' engraved in the paste under 
 the glaze. Its form and size adapt it for ornamenting 
 the middle of a small dinner-table, with a spray of nar- 
 cissus, begonia, golden lily, or dwarf chrysanthemum put 
 inside. It is now in my own library." H. 4 in.
 
 YUAN DYNASTY. 187 
 
 We have but few authenticated pieces of the Yuan 
 dynasty in modern collections, so that this specimen is of 
 special interest, as belonging to a transition period, and 
 connecting the molded and etched dishes of the Swng 
 dynasty, which are often seen with rims bound round 
 ^vith copper collars, with the eggshell cups and bowls of 
 the reign of Yung-lo at the beginning of the fifteenth 
 century. The other kinds of porcelain, such as the cela- 
 dons and the crackled wares, show similar transition 
 characters ; and the massive stoneware cups and bowls, 
 known commonly as Yuan porcelain ( Yuan Tz'u), 
 found throughout northern China, can hardly be distin- 
 guished from ceramic productions of the Sung. They 
 are characterized by a thick glaze of unctuous aspect, 
 finely crackled throughout, usually of pale lavender tint 
 speckled with red, which often onl}^ partially covers the 
 surface, so as to leave the lower part of the bowl bare. 
 Another glaze is of a light sky-blue color, sparsely 
 crackled or uncrackled, which often exhibits a ferrugi- 
 nous crimson stain at some point, of accidental origin, but 
 much appreciated by Chinese collectors of the present 
 day. The vase illustrated in Plate XII, 2, is a typical 
 example of the period, with its finely crackled dalr-de- 
 lune glaze stained with a red ferruginous blotch. 
 
 One of the massive bowls (H. 3 in., D. 6i in.) of the 
 Yuan dynasty is shown in Fig. 141. It is composed of 
 a reddish-gray ware of intense hardness, invested with a 
 crackled glaze of pale purple tint, mottled with darker 
 spots, and becoming brown at the edges, which runs 
 down in a thick mass underneath, covering only two 
 thirds of the surface, and ending in an irregularly 
 undulating line. The smaller bowl (H. H in., D. 4i in.), 
 exhibited in Fig. 3 («), is an example of the crackled 
 ware of the period of hard, gray, dense texture, covered 
 with a thick, lustrous glaze of ivory-white tone, minutely
 
 188 ORIENTAL CERAMIC ART. 
 
 crackled with a reticulation of dark lines ; the lower third 
 and the foot underneath are left unglazed. 
 
 The Mongols conquered nearly the whole of Asia and 
 a large part of eastern Europe ; they sent fleets for the 
 conquest of Japan as well as to Java ; and Chinese junks 
 sailed every year from the port of Ch'iian-chou to the 
 Persian Gulf, carrying among other cargo, we are told, 
 greenish-white or celadon porcelain. Many of the 
 crackled vessels treasured by the natives of Borneo and 
 other islands of the Pacific are to be referred, doubtless, 
 to this time. 
 
 Some of these last-mentioned relics seem, however, to 
 have come from the potteries of the province of Kuang- 
 tung, being made of a dark-brown stoneware covered 
 with mottled glazes, often brilliantly colored. This is 
 the Kuang Yao, which is still made and exported from 
 Canton at the present day. Some of this ware was 
 crackled, like the vase shown in Fig. 142, which is a 
 specimen of Kuang Yao attributed to the Yuan dynasty.
 
 CHAPTER VII. 
 
 MING DYNASTY. REIGNS OF HUNG-WU, YUNG-LO, HStTAN-T:fc, 
 
 CH':fcNG-HUA, HUNG-CHIH, CH^JNG-Tife, CHIA-CHING, LUNG- 
 Ch'iNG, WAN-LI, t'iEN-CH'i, CH'UNG-CHifcN. 
 
 THE Ming dynasty reigned in Cliina from 1368 to 
 1643, when it was overthrown by the Manchus, 
 who still occupy the throne at Peking. The emperors of 
 tlie Ming dynasty patronized the ceramic art, and the 
 manufacture of porcelain made considerable advances 
 down to the reign of Wan-li, during which such large 
 sums were lavished that the censors vigorously protested 
 against the expenditure of so much money on mere 
 articles of luxury. The manufactui-e became gradually 
 concentrated at Ching-te-chen, where the potters collected 
 from all parts and established themselves round the 
 imperial manufactory. From this time forward artistic 
 work in porcelain became a monopoly of this place, 
 and the productions of other potteries are noticed only 
 by way of parenthesis, as they generally confined them- 
 selves to the fabrication of coarser ware for everyday 
 consumption, while Ching-te-chen produced the more 
 decorative kinds, which were distributed from its kilns 
 throughout China and sent from the most accessible 
 seaports to all parts of the world. 
 
 The mass of native ceramic literature is now so Qvent 
 as to be rather embarrassing, and we will depend chiefly 
 on the ofiicial annals of Fou-liang-hsien and on the 
 T'cM /Shuo, the author of which devotes his third book to 
 a general account of the porcelain of the Ming dynasty, 
 and his sixth book to a description of particular speci- 
 
 189
 
 190 ORIENTAL CERAMIC ART. 
 
 mens of the ceramic art, arranged clironologically under 
 the reigns to whicli they l)eh)ng. 
 
 ?^ &, HuN(4-AVij (1368-98). 
 
 The founder of tlie dynasty established his capital at 
 Nanking, and, according to the official records, in the 
 second year of his reign (1369) the imperial manufactory 
 was built at Ching-te-chen, on the south side of the 
 Jewel Hill, which was inclosed within the wall sur- 
 rounding the manufactory, and formed its " protecting 
 hill," according to Chinese geomantic science. Offices 
 were also built on the eastern side for the Tao-t'ai of Chiu- 
 cliiang (Kiukiang), who was stationed here to superin- 
 tend the fabrication of porcelain for the use of the 
 palace, and to forward it annually to the capital. 
 
 ^ ^, YuNG-Lo (1403-24). 
 
 Hung-iou was succeeded by his grandson, who was soon, 
 however, deposed by his uncle, the powerful viceroy of 
 the northern provinces, who declared himself emperor in 
 1403, under the title of Yung-lo, and made Peking, the 
 famous Cambalu, or city of the Mongol khans, once moi-e 
 the capital of the Chinese Empire, as it remains to the 
 present day. The Yii ClCi dicing, or " Imperial Por- 
 celain Manufactory," at Ching-te-chen, continued, as 
 before, to furnish imperial ware for the use of the court, 
 which was sent all the way to Peking by water, the boats 
 traveling from the potteries down the Chang River to 
 Jao-chou-fu, across the Poyang Lake, down the great 
 river Yangtsu to Chinkiang, and thence by the Grand 
 Canal to Tientsin, and by the river Paiho to their final 
 destination. 
 
 The imperial porcelain of this reign was distinguished
 
 MESTG DYNASTY. 191 
 
 for its white enamel, which is described as having been 
 often pitted on the surface, or perforated by " palm-eye " 
 spots. It was engraved with ornamental designs etched 
 in the j^aste underneath, or decorated both in cobalt 
 blue and in colors. It is generally ranked by native 
 connoisseurs below that of the reigns of Hsuari'te and 
 Ch^eng-hua, but above that of Chia-ching and later i-eigns. 
 
 The blue and white variety is described in the Po wu 
 yao Ian, which says: "The cups (^'pei) of form adapted 
 to be grasped by the hand, with an upright rim, a waist 
 drawn in, and a glazed foot encircled by an unglazed ring, 
 which were ornamented in the interior with a pair of 
 lions playing with brocaded balls, and had inscribed 
 inside, at the bottom, the seal mark, either in six char- 
 acters, Ta Ming Yimg lo nien cJiiJi, ' Made in the 
 reign of Yung-lo of the great Ming dynasty,' or in four 
 characters (the name of the dynasty being omitted) no 
 larger than so many grains of rice. These were of the 
 iirst class. The cups decorated with mandarin ducks in 
 the interior were ranked next. Those with flowers in the 
 interior came after the last. The cups were painted out- 
 side in blue of a deep brilliant color, in designs of 
 artistic beauty. They have been handed down from dis- 
 tant times and their value is correspondingl}^ high. The 
 imitations of modern times are not worth looking at." 
 
 The Avhite porcelain of this period, alluded to above, 
 is still better known. It is often of eggshell thinness, 
 and has supplied models for some of the most perfect 
 productions of T'ang Ying in the eighteenth century. 
 There is a fine large bowl in the AValters Collection 
 (Fig. 70), the fellow of one thus described in the Franks 
 Catalogue (Joe. cit, page 2) : " Bo^^'l. One of a pair. 
 Thin ivory-white Chinese porcelain. Very small base and 
 wide rim, in which are six indentations. Inside are two 
 five-clawed dragons, very faintly engraved in the paste
 
 192 ORIENTAL CERAMIC ART. 
 
 and glazed over. In the center an inscription, also 
 engraved under the glaze, in an ancient seal character, 
 being the mark of the i^eriod Yung-lo, 1404-1424. H. 
 21 in., D. 8i in." 
 
 A small white cup of different form, with low upright 
 sides springing from a circular rimmed foot, is illustrated 
 in our album, and described as follows : 
 
 " Cup i^Pei) of Yung-lo eggshell porcelain (to-fai tz'u\ 
 with dragons and phoenixes engraved under the glaze. 
 The foi'm and design of these cups are very beautiful, and 
 they can be used either for tea or for wine ; they are very 
 thin, not thicker than paper, and are for this reason called 
 t() fai, or ' bodiless.' This is a most delicate specimen 
 of the kind, and it has dragons and phoenixes upon a 
 scrolled ground very finely etched upon its surface. It is 
 marked underneath with the six characters Ta Ming Yung 
 lo nien chih, ' Made in the reign of Yung-lo of the great 
 Ming dynasty,' cleverly engraved under the glaze. 
 There are several of these cups preserved, although they 
 are rare even in choice collections. I have figured this 
 one in order to give a general idea of their character, so 
 that collectors of taste may be able to recognize a genu- 
 ine specimen and not grudge a liberal sum to acquire it. 
 For my successors who may not be so fortunate as to 
 find one even, the picture may be of some value. I 
 copied it in Peking from a cup in the possession of a 
 prince of the imperial blood." H. li in., D. 3 in. 
 
 t±> 
 
 m, §, HstJAN-T^ (1426-35). 
 
 The reign of Hsuan-te is celebrated for its ceramic pro- 
 ductions as well as for its artistic work in bronze, and it 
 is generally considered by Chinese authorities as sharing 
 with that of Cli'eng-hua a pre-eminent position among the 
 reigns of the Ming dynasty ; Hsuan-te being unrivaled
 
 MING DYNASTY. 193 
 
 in the brilliance of its painting in blue and in the purity 
 of its red decoration ; CWeng-hua in the artistic treatment 
 of its combinations of different colors. The " five colors '^ 
 in the decorated pieces of the Hsikin-te period were laid 
 on too thickly, so as to stand out in prominent relief 
 when the piece had been fired, while those of Ch^eng-hua 
 were applied with less lavish profusion, so that the result 
 resembled a good painting in water-colors. The colored 
 decoration in both reigns seems to have been effected by 
 the use of glazes of different colors, laid upon a white 
 unglazed or " biscuit " ground. The process of decora- 
 tion of porcelain previously glazed and fired with enamel 
 colors, which were afterward fixed in the muffle stove^ 
 was not discovered or introduced till much later in 
 the Ming dynasty. This is specially known by the 
 distinctive name of Wan-U Wtc ts'ai, literally " five- 
 colored [porcelain] of the Wan-ll period." 
 
 The brilliancy of the blue which distinguished this 
 reign is said to have been due to the importation from 
 the West of a foreign product known as blue of 
 Su-ni-p'o. In other books of the period it is called 
 Su-mcirli or Su-ma-ni blue, which are evidently varia- 
 tions of the same name, but whether this be the name of 
 the color, or of the country from which it came, still 
 remains to be proved. The supply is reported to have 
 failed before the reign of CKeng-lma, \vhich depended 
 solely on native cobaltiferous ores. Hsiang Yuan-p'ien^ 
 in his descriptions, generally uses the term of Hui-liui 
 ChHng, " Mohammedan blue," which is applied by other 
 ceramic authors of the time more especially to the cobalt 
 blue imported in the later reign of Chki-ching by the 
 eunuch viceroy of the province of Yunnan. 
 
 The yet more famous red glaze of the period was 
 derived from copper. It was applied in several wa3^s — 
 either as a monochrome glaze upon " biscuit " porcelain^
 
 194 ORIENTAL CERAMIC ART. 
 
 sometimes left plain, sometimes cliiseled with ornamental 
 designs ; or in combination with the white glaze ; or 
 painted on in decorative designs, in a similar way to the 
 cobalt blue, and subsequently covered Avitli tlie wliite 
 glaze. Tlie red designs are described as shining through 
 the glaze so as to dazzle the eyes. Some Chinese writers 
 assert that it was prepared by powdering rubies 
 obtained from the West, and amethystine quartz seems 
 really to have been introduced into the glaze to give it 
 greater transparency ; the color could not, however, have 
 been due to this, because rubies and amethysts would 
 become colorless in the intense heat of the furnace ; its 
 application under the glaze shows that it must have 
 been a copper silicate. 
 
 The white porcelain resembled that of the reign of 
 Yimg-Io, which it even excelled in texture and finish. 
 The white "altar cups" of this reign are described in the 
 Po wib yao Ian as finely made, richly glazed, and of per- 
 fect form, with the character fan, " altar," inscribed in 
 the bottom inside ; and the white " tea-cups," eJfa clian, 
 as hardly inferior to the " altar cups," being of rounded 
 form with a convexity in the middle underneath encircled 
 by a thread-like rim, brilliant and translucent as fine 
 jade, decorated inside with dragons and phoenixes deli- 
 cately chiseled, and with the mark Ta Ming Hsilan te 
 nien cliili, " Made in the reign of Hsuan-te of the Great 
 Ming^'' also etched under the white glaze, which 
 exhibited a faintly tuberculated surface like the peel of 
 an orange. 
 
 The same book describes stem cups decorated with 
 red fish, and others painted in blue with dragonlike 
 pines and flowering plum-trees, stemmed wine-cups 
 painted in blue with historical scenes and sea monsters, 
 bowls on high bamboo jointed feet, and teacups painted 
 with illustrations of classical poetry. The large rice-
 
 MING DYNASTY. 195 
 
 bowls of moDoclirome vermilion are characterized as 
 being red as the sun, with rims of white color — like 
 the sang-de-hceuf bowls of more recent times. Flower 
 vases (Jiua tsmi) of low, beaker-shaped form with 
 trumpet mouths ; barrel-shaped garden seats (tso tuii) of 
 deep green ground, some with brocaded designs carved 
 in openwork filled in with colors, others of solid form, 
 overlaid with many-colored designs; barrel seats of dark 
 blue overlaid with colored decoration like carved lapis 
 Inzuli, as it were, inlaid with ilo^vers, others painted 
 with blue flowers in a white ground, and othei's crackled 
 like fissured ice — all those are comprised in this book 
 and described as novelties unknown in former times. 
 Flat jars (^pien htiari) and cylindrical jars (thing hiian) 
 for honey preserves, oil-lamps of varied forms, receptacles 
 for birds' food (cliiao sliih pHng) to hold seed and water, 
 and bowls for fighting crickets (Jisi lisiiai p'^eii) occur in 
 the same list. The bowls of pure white " biscuit " orna- 
 mented with desisfns in Avorked o-old are alluded to in 
 the poetry of the time as of exceeding beauty. There 
 were two families named Lu and Tsou, at Su-chou-fu, 
 famed for their cricket bowls, which were elaborately 
 finished with delicately chiseled and embossed work, and 
 the names of Ta PIsiu and Hsiao Hsiu, elder and 
 youngej" daughters of the craftsman Tsou, have been 
 handed down as having executed the finest work of all. 
 The game of fighting crickets was then a favorite pas- 
 time; thousands were staked on the event, and no 
 expense was spared on the decoration of the materials. 
 
 These barrel-shaped seats are still to be seen occasion- 
 ally in Chinese gardens side by side with seats of similar 
 form from the earlier Chlin-chou potteries of the Sung 
 dynasty. Such large pieces are usually of stoneware 
 rather than j)orcelain, the technique resembling that of 
 the image of Kuan-yin, enshrined in the Buddhist
 
 196 ORIENTAL CERAMIC ART. 
 
 Temple Pao-kuo-ssu at Peking, wliich has already been 
 described. I Lave seen other Buddhist figures of antique 
 design with the details filled in with colored glaze of the 
 early Ming period, notably in the Dana collection at 
 New York, together with some of the large, wide, solid 
 jars of the time, with Taoist figui-es inclosed in the 
 carved openwork casing, picked out in turquoise, purj^le, 
 green, and yellow. The colors differ from the ordinary 
 colored enamels of later times in being composed of a 
 lead flux. 
 
 To M. du Sartel is due the credit of first calling atten- 
 tion to these jars and of referring them correctly to early 
 Ml}ig times. He figures three in Plate II of his work 
 La Povcelaine de Chine, already cited, with the follow- 
 ing description (page 155) : 
 
 "No. 2. Jarre a mettre le vin, en porcelaine grise et 
 epaisse. Le decor, de st}'le archaique, colore en emaux 
 de demi-grand feu sur biscuit, se compose de bordures k 
 faux godrons, celle du haut souteuant des lambrequins 
 ornes de fleurs et relies entre eux par des cordons de 
 perles avec pendeloques. Le corps du vase est occupe 
 par un paysage courant, presentant sur deux faces 
 opposees un personnage symbolique. Ce decor, dessine 
 par des filets en relief, est en partie reste en biscuit avec 
 quelques teintes jaunatres et en partie bleu turquoise, 
 sur fond bleu fonce. Hauteur 0"" 42. Coll. O. du 
 Sartel. 
 
 " No. 3. Potiche analogue au vase precedent, decoree 
 de nelumbos en fleur. Hauteur 0°^ 35, Coll. Leon 
 Fould, k Paris. 
 
 " No. 4. Autre potiche de meme espece, mais dont le 
 decor, sur fond bleu turquoise, presente quelques parties 
 emaillees violet clair. La pause est occupee par un pay- 
 sage courant, avec sujet hieratique montrant Cheou Lao 
 entoure des emblemes de la longevite, et recevant la
 
 MING DYNASTY. 197 
 
 visite mysterieuse des saiuts personnages, ses disciples, 
 les Pa-Chen. Hauteur O'" 35. Coll. O. du S." 
 
 Our album is rich in specimens of this reign, and a 
 description of these will give a better idea of the ceramic 
 art of the time than any number of quotations from 
 Chinese books which might be extended indefinitely. 
 There are no less than twenty illustrations giv^en, includ- 
 ing seven of blue and white pieces, and thirteen 
 decorated in colored glazes, among which the red pre- 
 dominates, two of these being wholly invested with red 
 as a monochrome glaze. 
 
 " Antique Censer ( Yi Lu), with fish handles, decorated 
 with deep red, in the guise of ruddy dawn clouds dis- 
 appearing in bright sunshine. The form of this censer is 
 modeled after an ancient bronze sacrificial vessel figured 
 in a collection published in the period SJiao-lising, 1131- 
 62. The upper two-thirds of the surface is enameled 
 with a deep red glaze of the ^varmest tint of ruddy 
 dawn clouds ; the lower part is white, pure as driven 
 snow", and the red and white melt into each other in wavy 
 lines, dazzling the eyes. It stands pre-eminent among 
 the celebrated porcelains of diiferent dynasties ; the 
 whole surface is strewn with faint, milletlike tubercles, 
 and it is truly a precious Jewel of rare value. I saw it 
 at Nanking, in the collection of Chu Hsi-hsiao, the 
 governor of the city, who told me that it originally came 
 from the imperial palace, given to one of the princes as 
 part of his monthly allowance, and that he purchased it 
 afterward from the prince for three hundred taels of silver. 
 Even for a thousand taels it could not be l)ought now." 
 H. 3 in., D. 3i in. 
 
 " Water- Dropper (Shid Chu), for the ink pallet, 
 decorated with colored glazes. Taken from an old 
 bronze design, the vessel is molded in the form of twin 
 persimmons (^Diqspyros shitze fruit) hanging upon a
 
 198 OEIENTAL CERA.AIIC ART. 
 
 leafy branch, the stem of whicli is hollowed to make 
 the spout. The color of the fruit is as red as fresh blood, 
 with slightly raised millet marks ; the leaves are greeu ; 
 the sepals and stalk are brown ; exactly like a picture 
 from Nature, by the artist Hsli. Tsung-ssu. It is a rare 
 jewel for the ornament of a scholar's library, whicli I 
 bought, with two ink pallets of porcelain, also figured, 
 from Hsii, a high official of Wu-men." H. 2i in., D. 
 3iin. 
 
 ^^ Wine-Pot (^Chiu Hit), with an open scrolled handle 
 and a spout molded in the shape of a phwnix head, 
 covered with a monochrome glaze of deep red color. It 
 was copied from a carved jade wine-pot used by the 
 emperor. The body, of slender, vaselike foi-m, swelling 
 above and curving gracefully inward toward the foot, is 
 chiseled with cloud scrolls and ornamental bands of 
 geometrical and spiral pattern ; it is surmounted by a 
 conical cover encircled by rings of foliated design. The 
 spout is the feathered neck of a phoenix, projecting as it 
 were fi-om the cloudy background, and terminating in a 
 crested head with open beak. Among the different kinds 
 of porcelain of the reign of Hsilan-te the deep red was 
 the most highly valued of all. In the preparation of the 
 glaze, red precious stones from the West were pulverized, 
 and after it had been fired, flashes of ruby-red color shone 
 out from the depths of the rich glaze so as to dazzle 
 the eyes. There is no other porcelain to rival this. The 
 piece figured is in the collection of Huang, General of the 
 Guards at Peking, who told me that he bought it for two 
 hundred ingots of silver in paper notes [nominally about 
 six hundred pounds sterling, although the Government 
 paper currency was then at a considerable discount], from 
 one of the chief eunuchs of the palace." H. 62 in. 
 
 " Ronge-Pot {Lu Hit) molded in the shape and size of 
 a persimmon fruit (^Diospyros sldtze) and decorated with
 
 MING DYNASTY. 199 
 
 colored glazes. The lobed fruit, of deep red color, has a 
 short, wide spout of the same tint projecting at one end, 
 a branch joining the handle at the other, colored brown, 
 with a green t^vig winding round in openwork relief so as 
 to display the green leaves Avorked upon the red skin of 
 the fruit. The cover is the calyx of four segments, A\'ith 
 the stalk curving upward to form its handle. The red 
 is of rich color, like fresh blood ; the brown and green 
 are true to life. It came out of the palace, where it had 
 been used by one of the imperial princesses to hold ver- 
 milion for painting her lips and face. It was priced very 
 high, over one hundred taels, by a curio seller at the 
 temple Pao-kuo-ssu,* at whose stall I saw it when at the 
 capital." H. 2i in., D. 3i in. 
 
 " Tazza-shaped Oup {^Pa Pei), decorated with three red 
 fishes on a white o-round. The foi'ni is taken from wine- 
 jcups of jade of the Han dynast}-. The glaze, of the 
 aspect of congealed fat, is ^vhite as driven snow, and the 
 three fishes of deep red color, vigorously outlined, are 
 crimson as fresh blood with flashes of ruby tint of daz- 
 zling brilliance. It is truly a rare gem of this highly 
 prized class. At the foot of the cylindrical stem, which 
 expands toward the base, there is faintly engraved under 
 the paste the six-character mark Ta Ming Hsikm te nieit 
 chill, ' Made in the reign of Hsuan-te of the Great Ming.'' 
 I bought this cup for twenty-four taels from a collector 
 at Shao-hsiug-fu." H. 3 in., D. 3 in. 
 
 " Tazza-shaped Cup {Pa Pei), of the same shape and size 
 as the above, decorated with three pairs of red peaches 
 on a white ground. The shaded red, of the tint of red 
 cherries or of precious garnets, flames out from the depth 
 
 * This is the Buddhist temple already alluded to as containing the ancient 
 porcelain image of Kwan Yin. It is situated in the southern or Chinese city 
 of Peking, and is one of those thrown open at stated days every month for a 
 kind of fair, when its courts are thronged with peddlers and curio dealers, who 
 spread their stalls on both sides of the way to attract visitors.
 
 200 ORIENTAL CERAMIC ART. 
 
 of the glaze, very different from the modern imitations of 
 these wine-cups, Avhich are made by painting the red 
 color over the glaze, and which remind one only of dull, 
 ferruginous clay.* These cups are very rare, only three 
 or four beino: known to exist within the four seas." 
 
 " Conical Wme-Oup {Ton lAPei), with a handle boldly 
 fashioned in openwork relief in the form of an archaic 
 dragon {ch''ih-l'ung), decorated in colors. The ground 
 inside and out is engraved with cloud scrolls under the 
 white glaze ; the band of scrolled ornament which encircles 
 the rim is picked out in blue, while the dragon, which is 
 coiled half round the cup, with its teeth and fore-claws 
 fixed in the rim and its bifid tail opposite, is glazed deep 
 red. The dragon stands out conspicuously in blood-red 
 relief from the mutton-fat tinted ground ; only one or 
 two of these beautiful little cups are known, and a 
 hundred taels is not considered too much to pay for a 
 specimen. I figure this one from the collection of the 
 Lieutenant-Governor of Nanking." H. 2 in., D. 3 in. 
 
 ^^ Small Wine-Oiq) (^Hsiao Chaii), oi rounded shallow 
 form with circularly rimmed foot, decorated outside with 
 three fishes of deep red color on a snow-white ground. 
 The fish are no bigger than flies, yet the several scales 
 and spines are chiseled under the sang-de-hoei(f glaze. It 
 holds one hu — i. e., less than t^vo ounces." H. | in., D. 
 3 in. 
 
 ^^ Palace Rice-Bowl {Kung Wan), of gracefully mod- 
 elled shape, springing from a small circularly rimmed 
 foot, decorated outside with three fishes of sang-de-hosuf 
 color upon a snow-white ground, rising in milletlike 
 granules. It is figured from the collection of Liang, one 
 
 * We know from other sources that the art of painting porcelain in the red 
 prepared from copper silicate failed toward the end of the 3ring dynasty, so 
 that in the reign of Chia-ching (1522-66) even the imperial potters petitioned to 
 be allowed to decorate it instead with the iron-red produced by the incinera- 
 tion of iron- sulphate.
 
 MING DYNASTY. 201 
 
 of the cliief eunuchs at Peking, who obtained it himself 
 from the palace of the emperor." H. 2^ in., D. 7 in. 
 
 " Dish (Hsi), for washing brushes in, of circular form 
 with a flat bottom and upright sides, decorated with red 
 fishes swimming in undulating waves, penciled in deep 
 red on a snow-white ground. One pair of fishes, instinct 
 with life and movement, is painted on the bottom of the 
 dish inside, and three smaller fishes are swimming round 
 outside." H. 1 in., D. 5 in. 
 
 " Palace Dish {Kuiig Tieh), saucer-shaped, springing 
 from a circular foot, covered outside with a monochrome 
 glaze of deep red color, over five-clawed dragons, and 
 clouds delicately chiseled in the paste. Marked under- 
 neath with the six-character seal Ta Ming Hsilan te nien 
 chih, ' Made in the reign of Hsuan-te of the Great MingJ 
 engraved under the glaze." D. 7 in. 
 
 " Perforated Box {Clruan Hsin Ho), painted in deep 
 red on a white ground. A small round box, with a lid 
 of the same shape, fashioned in the likeness of a ' cash ' 
 of the period, having a square hole passing through the 
 middle for tying it on the corner of a handkerchief, 
 when used as a casket for scent. It is decorated- outside 
 with encircling bands of spiral fret, and has the inscrip- 
 tion on the cover, written also in red, Hsilan te fungpao, 
 ■'Current money of Hsilan te,'' a reproduction of the 
 ordinary legend of the coins of this reign." H. I in., 
 D. 1 in. 
 
 ^'- Relic Pagoda {She-li T^i), of white 'biscuit' porce- 
 lain decorated in colors (wuts^ai). This is a relic shrine 
 in the form of a pagoda, one foot and a half high, of 
 seven stories. Each story is six-sided, surrounded by 
 a carved open-work railing, and hollow inside. In the 
 first story there is an altar with a little vase of white 
 jade standing upon it containing three grains of sacred 
 relics (she-li = Sanskrit ^arlra) of Buddha. The seven
 
 202 ORIENTAL CERAMIC ART. 
 
 stories are mU Lung around the eaves with tiny gold 
 bells only half an inch long. Within the chamber of 
 the fifth story there is a little sacred image of Buddha, 
 of jade, about eight-tenths of an inch higli, with fine 
 features and venerable figure, seated upon a lotus throne, 
 exactly like the large Buddha enthroned for worship in 
 ordinary religious temples. This image of Buddha, tlie 
 temple bonze assures me, was brought as tribute to 
 China from a foreign country. The body of the pagoda 
 shows the intrinsic color of the porcelain, and the dif- 
 ferent colors are cleverly painted on in turns, the tiles 
 emerald-green, the railings red, the walls white, and the 
 windows yellow. The I'elics emit every day at noon 
 and midnight a radiance of coloi'ed light. I myself saw 
 the rays emitted on both occasions, and was convinced 
 thereby of the deep mysteries of the doctrine of Buddha. 
 The stand is inscribed Avith the mark wiitteu in blue 
 in a horizontal line, Ta Ming Hman te nien chili, ' Made 
 in the reign of Hman-te of the Great Ming.'' I saw this 
 shrine at Nanking at Pao-en-ssii (the famous Porcelain 
 Pagoda Temple destroyed by the Taiping rebels) in the 
 house of the prior of the monastery, who told me that 
 it had been sent from the palace at Peking in the reign 
 of the Emperor Jjiing-cJi'ing, by special order of the 
 empress-dowager, who bestowed it upon the temple, to 
 be preserved and reverently worshiped there." 
 
 The remaining seven pieces of this reign illustrated in 
 the album are painted in blue on a white ground. The 
 decoration is minutely finished, with borders of fret and 
 encircling bands of rectangular and spiral chains, exe- 
 cuted with fine strokes of the brush, so as to remind one 
 of the delicate finish of the chiseled bronze and carved 
 cinnabar-lac work of the period. 
 
 '^Irik Pallet ( Yen), of oval form, with dragons and 
 clouds etched round the sides, painted in blue, with a
 
 MFNG DYTSTASTY. 203 
 
 band of triangular fret round the upper bordei', and a 
 double oval ring underneath. The form, an oval slab, 
 with a crescentic depression at one end, is copied from 
 a jade pallet used by one of the emperors of the Sung 
 dynasty. The color of the glaze is white as driven snow, 
 rising into faint milletlike elevations ; the blue, penciled 
 in finest strokes, is brilliant and deep as congealed ink, 
 so that it is really a beautiful specimen. There are two 
 five-clawed imperial dragons delicately chiseled in the 
 paste under the glaze, surrounded by cloud scrolls 
 into which they are plunging their heads. The mark 
 written underneath in blue, in a vertical line, in the 
 middle of the oval ring, is Ta Ming Hsilan te nleri 
 ehih, 'Made in the reign of Hman-te of the Great 
 Ming: " L. 3i in. 
 
 " Small Vase (^Hsiao P''iiig^)^ in the shape of a three- 
 jointed cylinder of bamboo, with the joints and margins 
 picked out in blue, and the extremities ornamented with 
 lines of little rings painted in blue. The blue is the 
 ^ Moham medan_gTgg_j^gj^/ the Hui-liui tn, r)^tn^^^^jyf~tYnr 
 period, brilliant and dazzling to the eyes. The upper 
 ring of circles is interrupted by a line of six characters 
 not much larger than mosquito claws, but perfectly clear, 
 written in l^lue, Ta Ming Hsilan te nien cliili, the mark 
 of the reign. I have had this piece in my possession 
 since I was a boy ; it has been in my cabinet over fifty 
 years, and is growing old with me." H. 2* in. 
 
 " Jar {Hu), modeled in the form of a goose, and 
 painted in blue. The goose is always refei'red to in the 
 classics as a domestic l)ird of watchful nature, a terror 
 to robbers, and the form was originally chosen for a 
 wine-vessel as a warning against nightly intoxication. 
 The feathers and other natural details are outlined in 
 blue of brilliant color ; the glaze is sprinkled with millet- 
 like elevations, and it is altogether a fine specimen of
 
 204 ORIENTAL CERAMIC ART. 
 
 the reign of Hsuan-te. It liolds about one pint of wine." 
 L. G in. 
 
 " Elephant Jar {ffsianr/ Isirn), painted in blue, of 
 rounded ovoid form with bulging body, springing from 
 a low foot, with a receding shoulder and a slightly 
 flaring mouth, surmounted by a round cover. The cover 
 has standing upon it the figure of an elephant, molded 
 in full open-work relief, of plain white. The two ring 
 handles upon the shoulder of the jar hanging from 
 grotesque heads are outlined in blue, and the jar, as 
 well as the cover, is surrounded by several plain bands 
 of blue. It is of ancient bronze design, and holds nearly 
 two pints." H. 6i in. 
 
 " Teacup {Clthi Pel), decorated in blue with a dragon 
 pine. Of upright form, rounded below, and slightly 
 hollowed at the sides, it is modeled, probably, in the 
 form of a jade wine-cup of the Han dynasty. The glaze 
 is as translucently white as mutton fat or fine jade, 
 rising in millet tubercles, and the blue is deep and clear, 
 painted in the Mohammedan gros hleu of the time. The 
 fir-tree is designed with a gnarled trunk like a huge 
 coiled dragon, and lifelike orchids and fungus spring 
 naturally from the ground beneath, evidently drawn by 
 the pencil of a celebrated landscape-painter. I bought 
 a set of four of these tea-cups from a high official at Wu- 
 hsing." Diani. 2i in. 
 
 '•^Sacrificial Vessel (^Yi)^ painted in blue on a white 
 ground, of ancient bronze design, with an oval body, 
 having a broad lip at one end, supported upon four 
 straight cylindrical feet, and a prominent cover with a 
 horned dragon's head molded in relief projecting over 
 the lip. The ground is whiter than snow, the blue of 
 deep tint is painted in the first-class Mohammedan color, 
 and both blue and white are marked alike with millet- 
 like elevations. Decorated with blue bands of rectan-
 
 MING DYNASTY. 205 
 
 gular and spiral fret round the neck of the vessel, and 
 with blue lines outlining the rim and relief details 
 of the cover. An important specimen of the reign 
 of Hsitan-te, which I got from a collector of AV^u-men, 
 in exchange for two manuscript volumes of verse 
 written by a calligraphist of the Yuan dynasty." 
 H. 5 in. 
 
 " Four-humev Lamp (^Ssa T'al Teng), with blue dec- 
 oration on a white ground. A lamp of complex form, 
 with an oval receptacle, which has four curved spouts 
 projecting from it, one on each side, to hold the wicks, 
 springing from a rimmed foot, and surmounted by a 
 conical cover of four-lobed outline. A flat dish with an 
 upright rim stands underneath. The shoulder is looped 
 for chains to suspend the lamp to a horizontal bar, which 
 is also looped in the middle to support the cover, and 
 perforated for a cord to hang the whole apparatus from 
 the ceiling. It is painted in brilliant blue with encir- 
 cling bands and chains of spiral fret, and wdth medallions 
 and foliations of formal pattei'n. On the foot is inscribed 
 in blue, in a horizontal line, the mark Ta Ming Hs'uan te 
 nien cliili, ' Made in the reign of Hman-te of the Great 
 Ming' " H. 5 in., D. 4i in. 
 
 There are thirteen specimens of this reign in the Sliu 
 Ch'iug Yuan palace at Peking, according to the official 
 list quoted above, of which seven are painted in blue on 
 a white ground, viz.: 
 
 1. Receptacle for Flowers, Hua Nang, in the form of 
 a square corn-measure with a bar-handle stretching 
 across the top. 
 
 2. Ink-Jar, Mo Kuan. 
 
 3. Double Cylinder Vase, Shuang Kuan PHng. 
 
 4. Vase with swelling shoulder and small neck, used 
 for a spray of plum-blossom, and hence caW^di Mei P'ing. 
 
 5. Pair of upright Teacups, Cli'a Chung.
 
 206 ORIENTAL CERAMIC ART. 
 
 6. Water-Pot, Shni Ch^eng, for the writing-table. 
 
 7. E,ice-Bo^v'l, Wan. The next is a large round Dish, 
 P^an, of monochrome, copper-red, Chi hung, followed by 
 a Plum-blossom Vase, Mei P^ing, with painted decora- 
 tion in red on a white ground, the remaining four being 
 round fluted Dishes, P'^aji, of rose-mallow design, enam- 
 eled celadon {tung-eh^ing^. 
 
 ^ ^^^, CH':feNG-HUA (1465-87). 
 
 There is an interval of thirty years bet^veen the close 
 of the last reign and the beginning of that styled Ch^eng- 
 hua. The emperor who reigned under the title of 
 Hsuan-te was succeeded by his son, who reigned under 
 the title of Cheng-fung from 1436 to 1449, when he was 
 captured by the Mongols and kept prisoner in Mongolia 
 for seven years, during which his brother ruled with the 
 title of Olilng-fai from 1450 to 1456. The emperor 
 returned then to the throne and reigned till his death, 
 under the new title of T'^ien-shuti, the only instance of a 
 change of nien-hao during the Ming dynasty ; his reign 
 lasted till 1464, when he died, and was succeeded by his 
 son, who reigned as Ch''eng-hua, from 1465 to 1487. In 
 the reign of Hsilan-te the imperial porcelain manufactory 
 at Ching-te-chen had been placed under the charge of a 
 director specially appointed by the emperor to super- 
 intend the \vork. In the first year of Cheng-Dung this 
 a[)pointmeut ^vas abolished, as we learn from the official 
 annals, which state that so many of the people were 
 enlisted for military service that the imperial works had 
 to be closed. In the fifth year of ChiJig-fai (1454) it is 
 recorded in the Yii-cliang Ta shih chi, another descrip- 
 tive work on the province of Kiangsi, of which Yli-chang 
 is an ancient name, that the annual amount of porcelain
 
 MING DYNASTY. 207 
 
 requisitioned from Jao-clioii-fu was reduced to oue third, 
 so that, in addition to the abolition of the office of 
 director, the supply since drawn from private sources 
 was also diminished. In the following twenty years 
 there is no official mention of porcelain, excepting the 
 fact that in the year ting-ch^ou of the cycle (1457) when 
 the emperor recovered the throne, a eunuch w^is again 
 sent from the palace to Ching-te-chen as director, and the 
 imperial manufactory was re-established as before, al- 
 though we know nothing whatever of the ceramic pro- 
 duction of this reign. 
 
 The porcelain of CKeng-liua, on the contrary, is con- 
 stantly referred to, and it disputes ^vith that of Hsilan-te 
 the supremacy of the Ming period, according to the 
 opinion of different connoisseurs. The general verdict 
 upon their relative merit is that Hsuan-te stands first in 
 the brilliancy of its red derived from copper, and in the 
 purity and depth of its blue imported from abroad, 
 while it is excelled by CJCeng-hua in artistic decora- 
 tion in colors. The exotic supply of blue had failed 
 before this reign, and only native ores of cobalt were 
 available. 
 
 The author of the Po lou yao Ian sa3^s : "In the 
 highest class porcelain of the reign of Cli'eng-Titia tliere is 
 nothing to excel the stemmed wine-cups with shallow 
 bowls and swellins^ rims decorated in live colors with 
 grapes ; these are more beautiful even than any of the 
 cups of Hsilan-te. Next to these come the wedding-cups 
 decorated in colors with flowers and insects, or with a 
 hen and chicken, the wine-cups of the shape of a lotus- 
 nut painted with figure scenes, the shallow cups dec- 
 orated \vitli the five sacrificial utensils, the tiny cups 
 with flowering plants and butterflies, and the blue and 
 white wine-cups that are as thin as paper. There are 
 also small saucer-shaped plates for chopsticks painted in
 
 208 ORIENTAL CERAMIC ART. 
 
 colors, rouud boxes for incense, and little jars of varied 
 shapes fitted with covers, all of artistic beauty and 
 worthy of admiration."* 
 
 With reference to the celebrated " Chicken Cups '^ 
 Chi Kang, there is an ode composed upon them in the 
 works of Kao T'an-jen, a writer of the seventeenth 
 century, also known as Kao of Chiang-ts'un, with the fol- 
 lowing note attached f : " The wine-cups of Cli eng-lvmi 
 porcelain are of many different kinds, all artistically 
 designed and perfectly finished, with the colors laid on 
 in dark and light shades, the fabric strong and of trans- 
 lucent texture. The ' chicken cups ' are decorated Avith 
 Moutan peonies and with a hen and chicken under the 
 flowers, instinct with life and movement." ;|; Among 
 other decorative subjects painted upon these wine-cups 
 given by the same writer is a beautiful damsel holding up 
 a candle to look at luii-fa/ng (cydonia) flowers, called 
 "Kosy beauty lit up by a flaring silver flame." Then 
 there are " Brocaded Cups," with medallions of flower 
 sprays and fruit painted on the four sides ; " Swing 
 Cups," with a party of young girls swinging ; the 
 
 * The official list of the art objects in the Shu Ch'ing Yuan palace at Peking, 
 referred to above, includes four little saucer-shaped plates, lisiao tieh, of this 
 reign, decorated in colors, inclosed in a rosewood box, and a perfume sprin- 
 kler, chiiio, also painted in " five colors." 
 
 f M. Julien, in his preface {loc. cit., p. xxx), translates this note from the 
 Too Shuo, but strangely misconceives the heading, as he translates Ch'6ng, the 
 contracted form of Cli'eng-h'iut, into " fabriquait," and transforms ko-chu, 
 " ode-note," into a proper name. Thus he provides two names for this reign in 
 his list of celebrated potters. Here is what he says : " Dans la periode Tch'ing- 
 7iOff, figure avec honneur, un artiste que le Traite sur la porcelaine \^T' ao-c?ioue\ 
 appele Kao-than-jin. II fabriquait des jarres ornees de poules. Un autre 
 ouvrier, nomme Ko-tchou, faisait de jolies tasses pour le vin." Many of the 
 " marks " in Julien's work are of a like fictitious origin, so that the book, 
 useful as it is, must be used with caution. 
 
 :]: We have seen in the chapter on Marks how these "chicken cups" were 
 copied in the reign of Ch'ien-lung, who sent one of the originals from the 
 palace as a model, together with a poem of his own composition, to be 
 inscribed on the reverse side of the cup. These copies are now valued by 
 the Ciiinese connoisseurs at many times their weight in gold.
 
 MING DYNASTY. 209 
 
 " Dragon-Boat Cups," with boats raciug in the great 
 dragon festival ; " Famous-Scholar Cups," which have 
 Chou Mao-shou on one side admiring his beloved lotus, 
 and T'ao Yuan-ming on the other with his favorite chrys- 
 anthemum flowers beside him; "Wa-wa Cups," with five 
 little boys playing together ; and " Grape-Trellis Cups," 
 with a grapevine growing upon a frame. Others are 
 decorated with fragrant flowers, with flsh and water- 
 weeds, ^vith o;ourds and aubero:ine fruit, with the eio-ht 
 Buddhist emblems of good fortune, with the flowers of 
 the utpala, a dark variety of lotus, and w^ith conventional 
 sprays of the sacred lotus of India, etc. All of these 
 cups are described as artistically painted, translucent in 
 color, and of strong texture. 
 
 The price of these little cups was already very high 
 even before the end of the Ming dynasty. The Emperor 
 Wan-li is said to have always had a pair of them placed 
 on his dinner-table which were valued at 100,000 cash, 
 equivalent to 100 taels of silver. The JP'^ii sliu fing chi, 
 "Memoirs of the Book-Sunning Pavilion," written by 
 Chu Yi-tsun in the beginning of the present dynasty, 
 relates how the author " on the days of new moon and 
 full moon often went, while staying at Peking, to the 
 fair at the Buddhist tem})le Tz'ii-en-ssu, where rich men 
 thronged to look at the old porcelain bowls exhibited on 
 the stalls there. Plain ^^hite cups of Wan-Ji porcelain 
 were several taels of silver each, those with the mark of 
 Hsila/n-te or of Cli'eng-liua ranged from twice as nuich 
 and more, up to the chicken cups, which could not be 
 bought for less than five twenty-tael ingots of pure 
 silver, yet those who had the money did not grudge it, 
 estimating the pottery of this period as more valuable 
 than the finest Jade." 
 
 The eleven specimens figured in our album to illustrate 
 the porcelain of this reign are all decorated in colors,
 
 210 ORIENTAL CERAMIC ART. 
 
 neither the blue and white nor the monochrome "copper 
 red " of the period being rej^resented. 
 
 ^^Melon-shaped Wine-Pot {T''ien-K'ua Hu), decorated 
 in colors. The body, of oval form and indented outline, 
 molded in the natural form of the lobed fruit, is colored 
 yellow, and passes above into a rounded cover, the handle 
 of which, colored brown and green, is designed as the 
 stalk of the fruit. The spout and handle of the wine-pot 
 are formed of convoluted branches, with the chiseled 
 details colored brown, round which tendrils wind in 
 open-work relief, and from which spread leafy twigs, to 
 decorate the surface of the wine-pot with leaves, tendrils, 
 and miniature fjourds, contrastinof in their tones of shaded 
 green ^vith the surrounding bright yellow ground. In 
 the porcelain of the reign of CK eng-hua^ that painted in 
 different colors is the most highly valued, because at this 
 time the designs were executed in the palace by the most 
 celebrated artists, and the colors were laid on in their 
 different shades with finished skill. This wine-pot, of 
 the natural size of a melon, with the skin and branchlets 
 of tlie color of the original, and the two surfaces of the 
 leaves appropriately shaded, is a conspicuous example. 
 It holds nearly H pints of wine." H, 5 in., D. 3 in, 
 
 " Wine-Cup (^Chiu Pei), fashioned in the form of a 
 purple 1/1(1 an flower (^Magnolia consjyiciui). The bowl, 
 with indented rim, is formed of the petals of a bursting 
 blossom, enameled in bright colors, white inside, purple 
 outside, springing from the green calyx ; the foot, carved 
 in open-work relief, is a branching twig, enameled brown, 
 ending in small leaves of shaded green." H. 2 in., D. 
 2i- in. 
 
 " Tazza-shaped Wine- Cup {Pa Pei), decorated in colors 
 with grapes. Of delicate form and fabric, with a round 
 shallow bowl slightly everted at the lip, mounted uj)on a 
 high cylindrical stem spreading at the base. The bowl
 
 MING DYNASTY. 211 
 
 is encircled outside with a festoon of grapes with trail- 
 ing tendrils, 23ainted in colors upon a white ground of 
 slightly grayish tone. The leaves are bright emerald- 
 green; the grapes hang down like bunches of purple 
 amethysts, drawn with the utmost delicacy. The glaze 
 rises into faint milletlike elevations, and the decoration 
 is in perfect taste and antique coloring, making this 
 a choice S23ecimen of the rare productions of a famous 
 reign, and it is of correspondingly high value. It is 
 figured from the collection of Wang Sun-chi of Chin-sha, 
 who says that he pui'chased it for sixty taels from the 
 sub-prefect of Hslian-ch'eng. It is marked underneath 
 in blue with the inscription, written in a horizontal line,. 
 Ta Ming OK'eng liua nien chili, ^ Made in the reign of 
 CKmg-hua of the great Mingy H. 2i in., D. 2i in. 
 
 ^^ Two Small Wiyie-Ciips (Hsiao J^ei), decorated in 
 colors with flowers and insects. Of rounded form, with 
 slightly swelling lips, and low, circular feet, they are so 
 thin and delicate that each cup weighs less than one- 
 third of an ounce. They ai-e decorated outside ^vith 
 miniature garden scenes, with the cockscomb, narcissus, 
 aster, and grass sprouting from the green, dotted ground, 
 the flowers, minute as flies' heads or mosquitoes' claws^ 
 filled in with crimson, green, and yellow, and with flying 
 dragon-flies and crawling mantis insects as minutely 
 finished after life. The amount of work lavished upon 
 each little cup is surprising, and they are choice speci- 
 mens of the art work of this celebrated reign, which are 
 well worth one hundred taels a pair. Now, indeed, it 
 is far easier to get the money than to find such cups. I 
 saw them at Peking at the house of Huang, General of 
 the Imperial Guards." H. li in., D. 2 in. 
 
 " Ttvo Wine- Cups {Kang Pei), decorated in colors, one 
 with a pair of geese swimming, the other with fighting- 
 cocks in a garden. The cups, which are extremely thin
 
 212 ORIENTAL CERAMIC ART. 
 
 and delicate, with flat bottoms and slightly swelling 
 sides, are modeled in the shape of the large porcelain 
 bowls used for goldfisli, from wliich they take their 
 name of lumg. The ground is a pure white, on a 
 material as translucent as the diaphanous wing of a 
 cicada, and they ai'e most minutely painted in colors 
 after Nature. The geese are playing in the waves with 
 wings erect, and water-plants occupy the intervals. The 
 cocks are standing on each side of a tall crimson cocks- 
 comb sprouting from a brown, grassy rockery, and small, 
 yellow butterflies are flying in the air above. These two 
 little cups, which are very rare and precious, have been 
 in our family for many years." H. li in., D. 2 in. 
 
 " Miniature Oup {Hsiao Pei), molded in the form of 
 a chrysanthemum-flower, painted in colors. The bowl, 
 ^vhite inside, has two concentric rings of petals outside, 
 colored yellow, which make the rim dentated; the handle 
 is the projecting bi'own stalk of the flower, carved in 
 open-work with a green leaf attaclied, and another shaded 
 green leaf in the opposite side of the cup makes its lip." 
 D. II in. 
 
 " Miniattire Cup {Hsiao Pei\ fashioned in the shape 
 of a knotted tree-stump, painted in colors. The surface 
 of irregularly knotted outline, terminating above in a 
 convoluted rim, is colored brown, the interior being 
 white ; a loo^^ projects at one end, strung with a ring, 
 which forms the handle of the cup. This cup, like the 
 chrysanthemum cup described above, holds only a single 
 sif) of wine ; both are in the possession of my respected 
 friend, Chang Yuan-lung." H. 1 in., D. 2 in. 
 
 '"'' Hong e- Box {Pen-chiJi Ho), painted in colors. A 
 small circular box, with a cover of the same form, 
 decorated with spiral scrolls in green, contrasting charm- 
 ingly with the bright yellow ground. It came out of 
 the imperial palace, where it had been used by one of
 
 MING DYNASTY. 213 
 
 the ladies of the court to hold cosmetics for the lips and 
 cheeks. The decoration is artistic and clearly defined, 
 and it might be used as a casket for incense, for ground 
 tea, for betel-nuts, or for prepared perfumes. It has 
 been for a long time past in my own cabinet." H. | in., 
 D. 1 in. 
 
 ^'' Lotiis-Floioer Lamp (^Lien-Hua Teng)^ of elaborate 
 form, decorated in colors. The design is that of a lotus 
 plant, the green, cup-shaped center of the flower forming 
 the recej)tacle for the oil, being mounted upon its stalk 
 in the midst of the peltate leaves. Another broad folded 
 leaf with a convoluted margin is spread out as a support 
 at the base, and from the top of this spring two other 
 leaves, the larger one, elevated upon a long curved stem 
 to overhang the lamp, being balanced by a small leaf on 
 the other side of the floral receptacle. The leaves are 
 shaded in green tints with the veining indicated on the 
 two surfaces ; the petals of the lotus are painted pale 
 pink, darkening at the tips. This lamp, of an antique 
 style far excelling the rough work of the present day, is 
 in the possession of Chu Tz'u-pu, a physician living at 
 Wu-sung." H. 7 in. 
 
 S tp, HuNCx-CHiH (1488-1505). 
 
 The emperor Cli^eng-hua was succeeded by his son, 
 who reigned for eighteen years under the title of Hung- 
 chih. 
 
 This reign is distinguished especially for its mono- 
 chrome glaze of yellow color, which is of two shades, the 
 one compared by the Chinese with the tint of a boiled 
 chestnut, the other with the soft yellow of a freshly 
 opened hibiscus-flower. Bowls and saucer-shaped dishes 
 of this pale yellow color, w4th the mark of Hnng-ehih 
 underneath, are not uncommon. There is a bowl of thin
 
 214 ORIENTAL CERAMIC ART. 
 
 fabric, 7i inches in diameter, covered inside and out with 
 a pale yellow glaze, with a mark of this period, No. 39 
 of the Franks Collection, and the only specimen of this 
 nien-lmo in Jacquemart's List is a " soucoupe emaillee 
 jaiine jonquille " {loc. cit., p. 174). 
 
 Three pieces of monochrome yellow are figured in our 
 album, together with one other specimen of the reign, a 
 wine-pot decorated in green and l)i'own on a similar 
 yellow ground, a rare example, which, as the artist sug- 
 gests, could hardly be distinguished from a production 
 of the preceding reign of the CTCmg-liua period. 
 
 " Small Incense- Burner (^Hsiao Ting)^ modeled in the 
 shape of one of the sacrificial vessels used in ancient 
 times for offering corn on the altar, made of ancient 
 bronze. The body of oblong form, with rounded corners, 
 is horizontally ribbed, and decorated with a band of 
 interrupted fret engraved round the rim ; it is molded on 
 four legs swelling at the top, and has two upright loop 
 handles. The cover, of vaulted form, with triangular 
 projections upon the four corners, is chiseled with a bor- 
 der of similar fret. It is enameled with a yellow glaze 
 of the color of a boiled chestnut. The form, known by 
 the name of ' oak basket,' is of antique artistic beauty^ 
 and specially suitable for burning incense upon the altar. 
 I obtained it at Wu-men from the cell of the bonze 
 Hu-ch'iu." H. 2 in., D. 3 in. 
 
 " Gourd-shaped Wine-Pot {Hu-lu Hu), of pale yellow 
 ground, decorated in colors. The porcelain of the reign 
 of Hung-cMli is celebrated for its pale yellow, but it also 
 included some pieces decorated in colors, fit to be com- 
 pared w^ith those of the CKeng-lma period, like this 
 beautiful wine-pot. It is modeled in the shape of a 
 slender gourd with a contracted waist, the brown stalk of 
 the gourd curving upward as the handle of the small ' 
 round cover ; a branch winds downward to form an open
 
 MING DYNASTY. 215 
 
 convoluted handle for the wine-pot, round which ^vind 
 tendrils in open-work relief, and from which spring 
 branchlets and tendrils to ornament the surface with 
 smaller gourds, green leaves, and tendrils, all worked in 
 relief and shaded in green to contrast with the yellow 
 ground ; a small hollow gourd of the same form and 
 yellow tint projects upward as the spout of the ewer. 
 It holds over a pint of wine. I acquired it from my 
 fellow-citizen, Chu, a doctor of literature." H. 5 in. 
 
 " Teacup {CKa Pel), one of a pair, molded in the 
 shape of a hibiscus-blossom. The l)owl of graceful floral 
 form, \vith flaring indented rim and vertically ribbed 
 sides, springing from a circular foot ; it is white inside, 
 and enameled outside with a glaze of a delicate yellow 
 tint resembling that of the petals of the bursting hibiscus 
 flower. I have seen many specimens of Hung-cliili por- 
 celain, but nothing to surpass these two little cups in 
 beaut}^ of form and color. I got them from a friend in 
 exchange for a copy of the Thousand Character Classic, 
 written in running hand by Wen Wei-chung," H. 2| in. 
 
 " Dragon Wine- Vessel (^Fan ChHu Yu), modeled in the 
 form of an ancient sacrificial vessel of bronze. The body 
 of rounded form is enveloped, as it were, in the wings of 
 two dragons, worked upon it in relief ; the two heads of 
 the monsters are worked in salient i-elief upon the cover, 
 and four dragons' legs form the feet of the vessel. The 
 whole is covered with a bright monochrome glaze of a 
 pale yellow tint, like that of the petals of the hibiscus 
 flower, without spot or flaw, making it a choice example 
 of the period. I saw it in the collection of the histori- 
 ographer Chou, of the province of Shansi." II. 4 in.
 
 216 ORIENTAL CERAMIC ART. 
 
 iE @, ClltNG-T^ (1506-21). 
 
 The mark of this emperoi", son of the preceding, who 
 reigned under the title of Chmg-te, is not so very rare in 
 collections, although the porcelain of the period is hardly 
 distinguished for any special excellence in either material 
 or decoration. In the beo-innino; of the reign one of the 
 eunuchs of the palace was dispatched to Ching-te-chen to 
 superintend the fabrication of porcelain for the court, and 
 he is recorded to have rebuilt the imperial manufactory 
 called Yii-ch'i-ch'ang, which has continued to furnish the 
 annual supplies, with occasional brief intermissions, ever 
 since. The work remained in the hands of the eunuchs 
 during the whole of this reign, in spite of constant com- 
 plaints of their cupidity and oppression both from the 
 officials and from the potters, and it was not till the first 
 year of the next reign that this regime was abolished. 
 
 The supply of cobalt-blue from Avestern Asia had 
 failed since the reign of Hsuan-te^ when it had been 
 brought by Chinese ships which went as far west as the 
 coast of Africa; in the reign of Clieng-te, as Ave learn 
 from the Sliili tvu ha7i cTiii, it came again by a new 
 route, under the name of Hui cli'in a. or " Mohammedan 
 blue," which " a high eunuch, while acting as governor 
 of the province of Yunnan, obtained from foreign coun- 
 tries; it was melted with stone to make imitation sap- 
 phires, which were valued at twice their weight in gold ; 
 and when it was found that it could be fired, it was used 
 in the decoration of poi'celain, the color of which sur- 
 passed the old." Such intei'course is confirmed by an 
 interesting case in the Oriental department of the British 
 Museum, filled with Chinese bronzes with Arabic scrolls 
 collected by the learned curator, most of them inscribed 
 with marks of this reign, mixed with several specimens
 
 MrNG DYNASTY. 21 7 
 
 of blue and white porcelain with similar Arabic inscrip- 
 tions, which must have been painted in China at the 
 same time. I will quote the description of one of these 
 pieces, which is numbered No. 147a in the Franks 
 Catalogue : 
 
 "■Ink Apparatus. Chinese porcelain, painted in blue. 
 It consists of an oblong slab for rubbing Indian ink, 
 with a hole at one end for water ; over this fits a loose 
 cover, the top of which is decorated with one square and 
 two circular compartments, containing Arabic inscrip- 
 tions to the following purport: ^Strive for excellence in 
 penmanship, for it is one of the keys of livelihood,' and 
 the Persian word ' Writing-case.' The spaces are filled 
 with foiTnal scrolls. Mark of the period, Ching-tih, 
 1506-1522. L. 91 in., AV. 5^ in. It was recently 
 obtained in Peking, and was therefoi'e probably originally 
 made for a Chinese Mohammedan, not for exportation." 
 
 In addition to blue and white, we have monochrome 
 pieces of this reign enameled yellow, and others 
 decorated in colors, applied sometimes over the white 
 glaze, but usually sur biscuit. When over the glaze, 
 they may be used in combination with cobalt-blue and 
 €opper-red applied previously under the glaze. A 
 favorite decoration of the time is that of the five-clawed 
 imperial dragon, with the details engraved in the paste 
 and filled in with green, in the midst of scrolled clouds 
 or imbricated waves. The green dragons are sometimes 
 relieved by a yellow ground, as in the vase marked 
 Cheng te nien chih^ " Made in the reign of Clieng-te^'' 
 described by Jacquemart {loc. cit, p. 175) in these 
 words : 
 
 "Vase de forme basse k fond jaune sur biscuit, avec le 
 dragon imperial grave et rechampi en vert. Coll. de 
 Mrae. Malinet." 
 
 The Vase shown in Fig. 162 is decorated in this style.
 
 218 OKLENTAL CEKAMIC AKT. 
 
 and marked also with the seal-mark Cheng te nien chihy 
 incised underneath in archaic characters under the glaze, 
 but it appears to be a production of the beginning of the 
 eighteenth century. It is decorated on the front and 
 back with flowers and butterflies engraved in the paste, 
 and inlaid with green and white enamels, relieved by a 
 purplish-brown ground with brilliant iridescent tints. 
 
 This is the most recent reign represented in our 
 Chinese manuscript album, and it is illustrated by two 
 pieces, both of them invested with a monochrome yellow 
 glaze of orange tint. 
 
 ^^ Lihation Cup {Glimli)^ modeled in the form of an 
 ancient sacrificial wine-cup of bronze, with a plain 
 rounded bowl, encircled by a band of three rings in 
 slight relief passing round within the loop of the strap 
 handle, mounted upon three pointed feet, and with two 
 knobs projecting upward at the base of the wide lip. It 
 is enameled \vith a rich yellow glaze of the tint of a 
 boiled chestnut, rising in faint elevations like the skin of 
 a plucked fowl. It is a choice example of the porcelain 
 of Cheng-te on account of the antique beauty of its form 
 and the artistic simplicity of its coloi'ing." H, 5i in. 
 
 "■ Pltmiiix and Tortoise-supj^orted Lamp (^Feng Kuei 
 Teng), modeled after an ancient bronze design. The 
 receptacle for the oil, a round pan witji fluted sides and 
 a projecting handle, is poised upon a ball supported on 
 the crested head of a phceuix, which stands upright, 
 with ^vings outspread, on the back of a tortoise. The 
 ornamental details are engraved in the paste, and cov- 
 ered with a monochrome glaze of the rich yellow tint of 
 a boiled chestnut." 
 
 The other pieces attributed to this reign are two 
 teapots of colored stoneware, or teiTa cotta, from the 
 potteries of Yi-hsing-hsien, in the prefecture of Chang- 
 chou, in the province of Kiangsu. These are situated
 
 MING DYNASTY. 219 
 
 not far from Shanghai, a few miles up the river, near the 
 western shores of the T'ai-wu Lake, and are well known 
 in the present day for their production of the red 
 "boccaro" ware, which is preferred to porcelain by the 
 Chinese for the infusion of tea. The teapots figured in 
 the album are both unglazed, of the natural color of the 
 fired paste, one being fawn-colored, the other brick-red, 
 and both of them are endowed with the curious property 
 of changing to green when they have tea inside. 
 
 They are included here as instances of yao-pien^ or 
 ^' furnace transmutation." The Chinese have a taste for 
 the marvelous, and describe several kinds of yao-pien^ 
 produced by the creative power of the fire. One of the 
 old poets relates how music once 23i"oceeded spontane- 
 ously from a pair of vases during a banquet ; a modern 
 collector boasts that a bowl of Sung ]3orcelain of his 
 would keep meat or water fresh for an indefinite time. 
 An ofiH.cial, again, gravely reports to the emperor how a 
 whole firing of porcelain slabs for which he was respon- 
 sible had been transformed in the kiln into beds and 
 boats with all the furniture complete, and how the 
 potters in their fright had destroyed them. Sometimes 
 a vase would appear with a stain on its surface of differ- 
 ent color from that of the ground, and this Avould take 
 the outline of a dragon, a bird, or a butterfly. The 
 above transmutations are all ascribed to miraculous 
 ao"encv. The last kind of '' furnace transmutation" 
 ascribed, on the other hand, to human ingenuity, is 
 where the materials of the glaze have been purposely 
 combined to produce the wonderful play of brilliant 
 colors peculiar to the well-known flamhe glaze, with its 
 flashing streaks of crimson and blue, mingling into every 
 intermediate shade of purple. Here is the description 
 of the artist : 
 
 ^''Teapot {CKa Hii), of Ming dynasty, Yi-hsing yao-
 
 220 ORIENTAL CERAMIC ART. 
 
 pien or ' furnace-transmutation ' ware, made by Kung 
 Ch'un. The potteries of Yi-hsing date from our own 
 sacred dynasty in the reign of Clieng-te, when a cele- 
 brated potter lived there named Kung Ch'un, a native of 
 Yi-hsino", who made utensils of earthen^val•e for drinkinp- 
 tea, which were often fortuitously transmuted in the 
 kiln like this teapot. Its original color, a grayish brown 
 like that of felt, changes to a bright green when tea is 
 put in, and graduall}^ returns to its proper color, line by 
 line, as the tea is poured out. This is only a curious 
 accidental peculiarity, and yet modern virtuosos prize it 
 most highly. Both this and the following brick-red 
 teapot were made l>y Kung. I saw them both in the 
 capital, in the palace of one of the princes, who had 
 bought them from Chang, a high official of Nanking, for 
 500 taels. This one is a plain teapot of hexagonal 
 section, with an angular spout and a broad, overarching 
 handle, about 4i inches high." 
 
 " Teapot (^Clihi Hii), of Ming dynasty, Yi-hsing yax)- 
 pien ware, made by Kung Ch'un. Of slender oval form, 
 with a foliated handle and a curved spout. The color of 
 the paste, a vermilion red, changes to bright green like 
 the preceding, so as to show the height of the tea inside. 
 This is a wonderful example of the miraculous power of 
 heaven and earth, a lusus naturce that I could not have 
 credited had I not seen it with my own eyes." H. 5 in. 
 
 ^ ]8^, Chia-ching (1522-66). 
 
 The last emperor was succeeded by his cousin, another 
 grandson of the Emperor ClCeng-liua, and his reign is 
 almost as celebrated for its porcelain as that of his 
 grandfather. He reigned for forty -five years under the 
 title of Chia-cliing. In the beginning of his reign the
 
 MING DYNASTY. 221 
 
 appointment of eunuchs as superintendents was abol- 
 ished, and the assistant prefects of the circuit were 
 ordered to officiate in annual rotation as directors of the 
 imperial manufactory, and to provide the funds for the 
 work. This last was no mean task, as it is recorded that 
 in the twenty-fifth year (1546) 120,000 taels of silver 
 were levied from the province as a yearly subsidy, in 
 addition to the provisions for the workmen ; and that in 
 1554 this sum was increased by 20,000 taels, in addition 
 to which the -private potters were required to undertake 
 the supply of the largest fish-bowls, and were heavily 
 taxed besides. In 1565 one of the subprefects of Jao- 
 chou-fu was ordered to reside permanently at Ching-te- 
 chen as director; but this change did not succeed, and 
 early in the next reign the old plan of annual rotation 
 was reverted to. 
 
 The supply of Mohammedan blue ^vhich was imported 
 by the Yunnan route in the preceding reign continued 
 to arrive, and this I'eign is especially celebrated for the 
 brilliance of its blue decoration ; ij: was preferredtobe 
 very d ark in color, in which it differs from the porcelain 
 of Jdsiian-te, the other reign famous for its blue and 
 white, the blue of which is usually pale in tone. The 
 best blue of the period was prepared by mixing one pai't 
 of calcined sliih-tzii ch^ing, or " stone blue," the native 
 cobaltiferous ore of manganese, with ten parts of 
 imported blue, as the latter had a tendency to " run " if 
 used alone. A mixture in the same proportions was also 
 employed, suspended in water, to produce the beautiful 
 mottled blue gi'ound for which this reign is also remark- 
 able; the thin puree of blue, Inui-slnii cJi'lng, as it was 
 called, being spread with a brush on the paste, so as to 
 fill in the interstices of the penciled decoration, which 
 was either reserved in white, or subsequently filled in 
 with canary yellow or coral red. Sometimes the decora-
 
 222 ORIENTAL CERAMIC ART. 
 
 tioii was penciled over tlie mottled blue ground with 
 strokes of stronger blue. 
 
 Decoration in otber colors also occurs, but not to the 
 same extent as in tlie subsequent i-eign of Wan-li. The 
 colored glazes in the reign of Chia-cliing were used 
 either as monochromes, including a turquoise-blue 
 derived from copper, in addition to the dark and sky- 
 blue grounds derived from cobalt, the yellow, the brown, 
 and the red ; or to form colored grounds to relieve the 
 blue decoration. The monochromes are either plain, or 
 sj^read over designs previously incised in the paste. 
 The blue paintings are relieved either by red, brown, or 
 yellow ; occasionally ornamental designs reserved in the 
 blue mottled ground were colored red or yellow, form- 
 ing an attractive variety. The ai't of decoration in 
 copper-red seems to have altogether declined, owing to 
 the substitution of a coral-red glaze derived from iron, 
 prepared by tlie roasting of ciystals of iron sulphate, 
 which was much less expensive and more easily fired. 
 The officials memorialized the emperor to be allowed to 
 use this even for the sacrificial vessels required for the 
 altar of tte Temple of Heaven. 
 
 The white " altar cups " made for the emperor to use 
 on Taoist altars, and inscribed Avith the name of the 
 offerings they were filled ^vith, were called by the same 
 name, fan clian, as the exquisite " altar cups " of the 
 older reign of Hsuan-te, but they were slightly yellowish 
 in tinge and less delicate in finish, because the suj)ply of 
 the best porcelain earth from the Ma-ts'ang Hills was 
 already beginning to fail. These white cups are described 
 in the Po wu yao Ian as resembling jade in appearance, 
 and as having the characters clfa, " tea," chhi, " wine," 
 ts^ao fang, "jujube decoction," and cJiiang fang, "ginger 
 decoction," etched inside under the glaze. The same 
 book refers to the decoration of all kinds of porcelain
 
 MING DYNASTY. 223 
 
 objects ill blue and in colors of this reign, and selects as 
 gems tlie shallow wiue-ciips ^vith foliated rims, loaf -shaped 
 bottoms, and circularly rimmed feet decorated outside in 
 colors with three fishes, and the tiny round rouge-boxes 
 DO larger than " cash " delicately painted in blue. 
 
 Some of the pieces of porcelain produced in this reign 
 are remarkable for their large size. A vender of sweet- 
 meats has for years plied his trade in the eastern gate- 
 way of the imperial palace at Peking with his honey 
 preserves piled up iu t\vo immense round dishes over 
 three feet in diameter. They are decorated with five- 
 clawed imperial dragons disporting in clouds, boldly 
 painted in dark underglaze blue, displayed upon an 
 enameled ground of mottled canary yellow, and are 
 " marked " near the upper I'im, Ta Ming Chia ching liu 
 nien cliih, "Made in the sixth year (1527) of the reign 
 of Chia-ching of the great Mingy He regards them as 
 an heirloom on ^vhicli his luck depends, and has refused 
 the most tempting offers, declaring that nothing shall 
 induce him to part with them. 
 
 The designs used in the decoration of the imperial 
 porcelain are found in a long list in the Fou-liang-lmen 
 Cliili, which gives all the annual indents from the eighth 
 year, the previous records having, according to these 
 official annals, been burned. The list is interesting, but 
 too long for insertion here, and we will only extract the 
 indents of the two years referred to above, which cor- 
 respond to 1546 and 1554 a. d. 
 
 1. Foe the Twenty-fifth Year of Chia-ching 
 (a. d. 1546). 
 
 Large Fish-JBowls {Kang^^ 300, decorated with a pair 
 of dragons enveloped in clouds, painted in blue on a white 
 ground, or reserved in white upon blue.
 
 224 OEIENTAL CERAMIC ART. 
 
 Jars fitted with Covers {Kuan yu Kai), 1,000, of blue 
 ground with sprays of couveritioual paradise flowers 
 {^pa^o hsiang hua^ and arabesque designs (Jiui-hui liud). 
 
 Bowls ( Wan), 22,000, blue inside and out, decorated 
 witli dragons coiling through flowers. 
 
 Banquet Boiols {Sliaii Wan), 11,500, of larger size, of 
 blue ground, decorated inside \vith scepter-framed medal- 
 lions inclosing phoenixes in pairs ; outside, with phoenixes 
 flying through flowers. 
 
 Hound Dishes (B^an), 31,000, painted inside in blue 
 on a white ground, with sea-waves and dragons in the 
 midst of clouds, and outside with nine dragons. 
 
 Saucer Blates (Tleh), 16,000, painted inside and outside 
 in blue on a white ground, with a pair of di'agons in the 
 midst of clouds. 
 
 Teacups {CliJa Chung), 3,000, painted in blue and 
 white, decorated outside with dragon medallions and 
 water caltrops {Tntpa hicornis) ; inside with dragons 
 and clouds reserved on a blue ground. 
 
 Wme-Cups (Chill Chart), 18,400, painted in blue and 
 white, decorated outside with a pair of di'agons in clouds ; 
 inside, with dragons and clouds reserved on a blue 
 ground. 
 
 2. For the Thirty-third Year of Chia-ching 
 (a. d. 1554). 
 
 Bowls ( Wan^, 26,350, with a blue ground, decorated 
 with a pair of dragons in clouds. 
 
 Blates {Tielb), 30,500, of the same design. 
 
 Wine-Cups {Chan), 6,900, white inside, blue outside, 
 with the typical flowers of the four seasons. 
 
 Large Fish Bowls ( Yii Kang), 680, decorated with 
 blue flowers on a white ground.
 
 MING DYNASTY. 225 
 
 Teacups {Oti)^ 9,000, with foliated rims, of greenish 
 white (cTi'mg pai) or celadon porcelain. 
 
 Bowls ( lVa?i), 10,200, decoi-ated outside with lotus 
 flowers, fish, and water plants, painted in blue on a white 
 ground ; inside, upon a blue ground, with dragons and 
 phoenixes passing through flowers, and with a band of 
 drao-ons and flowers round the rim. 
 
 Teaciqjs {Oti), 19,800, of the same pattern. 
 
 Libation Gups (^Clmeli), 600, with hill-shaped saucers 
 {shan-p'ari) to support the three feet, of blue color, 
 decorated with sea-^vaves and a pair of dragons in clouds. 
 Wine Pots or Ewers (Hii), 6,000, of white porcelain. 
 
 The list of Chi Cli'i or " sacrificial vessels " enumerated 
 in the same book on one of the other occasions compi'ises 
 ten Mao Hsileh P''an^ " Dishes for the hair and blood " of 
 sacrificial victims ; forty Tieh, " Platters " ; four Tai 
 Keng Wan, " Bowds for plain broth " ; ten Ho Kerig 
 Wan, " Bowls for savory broth " ; one hundred Chiu 
 Chung, "Wine-Cups"; twenty-three Chileh, "Libation 
 cups of tripod form " ; eighty Pien Tou P''an, " Tazza- 
 shaped Bowls and Dishes " for offerings of bread, fruit,, 
 etc. ; six T''ai Tsiin, " Large Wine-Jars " with swelling 
 body and two mask handles of monsters' heads; six Hsi 
 Tsun, " Rhinoceros Jars," modeled in the form of a 
 rhinoceros carrying on its back a vase w ith cover ; two 
 Ohu Tsun, like tall cylindrical cups; and ionv Shan Leiy 
 " Hill and Thunder " cups, so called from the scrolled 
 designs engraved upon them. These ritual forms, which 
 are still in use at the present day, are all figured in book 
 XXV of the Plustrations of the Institutes of the Peign- 
 ing Dynasty (^Ta dicing Ilui Tien T^ou). They are 
 enameled of different colors, according to the temple for 
 which they are made : Blue for the Altar of Heaven and 
 for the Temple of the Land and Gi-ain ; yellow for the 
 Altar of Earth, for the worship of the god of agriculture
 
 226 ORIENTAL CERAMIC ART. 
 
 and of tlie goddess of silk ; red for the Altar of the Sun ; 
 aud ivJiite for the Altar of Jupiter, the '^ year star " of the 
 Chinese. 
 
 In the year 1544 we find the enormous order of 1,340 
 sets of table services, cho cWi^ each consisting of twenty- 
 seven pieces, comprising five huo tieh, " fruit dishes," five 
 ts'ai tieh, "food dishes," five wan, " bowls," five yuii tieh, 
 " vegetable dishes," three ch^a chung, " tea-cups," one 
 chiu ohan, " wine-cup," one chiu tieh, " wine-saucer," one 
 cha ton, " sloj) receptacle," and one ts\i chui, " vinegar 
 cruse or ewer." Of these services, 380 sets were painted 
 in blue, with a pair of dragons surrounded by clouds; 
 160 were enameled white, with dragons engraved in the 
 paste underneath ; 160 were of monochrome brown of 
 thu fonct-laque or "dead-leaf" tint (tzii chin)', 160 of 
 monochrome turquoise-blue {t^m cliUng se) ; 160 of coral 
 or iron-red (fan hung), " instead of bright copper-red 
 (hsien hung) ''"' ; and 160 were enameled brilliant green 
 (ts'ui la). 
 
 The designs of the decorated porcelain of this time 
 are said to have been principally derived from ancient 
 embroidery and brocaded silks. They are conveniently 
 described in the Ta'o Shuo, in a list which we extract, 
 under the following six headings : 
 
 1. Painted in Blue on a White Ground. 
 
 2. Blue Porcelain. 
 
 3. White Inside, Blue Outside. 
 
 4. White Porcelain. 
 
 5. Brown Porcelain. 
 
 6. Mixed Colors.
 
 MING DYNASTY. 227 
 
 1. Painted in Blue on a White Ground. 
 
 Bowls ( Wan), decorated with dragons pursuing 
 jewels, and outside with weighing-scales and playing 
 children. 
 
 Bowls with the ground, inside and out, filled with 
 graceful beauties.* 
 
 Boids with medallions framed by bamboo leaves and 
 the sacred funociis, containing drao;ons in clouds and 
 dragons and phcenixes passing through flowers. 
 
 Bowls decorated outside with dragons emerging from 
 sea- waves, holding up the eight mystical trigrams; 
 inside, with the three alchemists (i. e., Confucius, Lao- 
 Tzii, and Buddha) compounding the elixir vitm. 
 
 Bowls decorated outside ^vith dragons and with 
 phcenixes and other birds ; inside with dragons in the 
 midst of clouds. 
 
 Bowls decorated outside with four fish — the mackerel, 
 carp, marbled perch, and another; inside, with birds fly- 
 ing in the midst of clouds. 
 
 Wine-Cups {Clian), decorated outside with celestial 
 flowers supporting the characters Shou shan fu lial, 
 " Old as the hills, rich as the sea ! " inside, with two 
 Taoist genii. 
 
 Wine-Cups {Cliiu Cliari), \s\\X\ a pair of dragons 
 among clouds outside, and dragons and clouds upon a 
 blue ground inside. 
 
 Wine-Cups with dragons among clouds outside, and 
 soaring dragons inside. 
 
 Wine-Cups with dragons of archaic design outside, 
 and storks flying through clouds inside. 
 
 * Referring, perhaps, to the slender, graceful flgures of Chinese damsels 
 called Lange Lysen by the old Dutch collectors, corrupted to "Long Elizas" 
 in the auction catalogues of to-day.
 
 228 ORIENTAL CERAMIC ART. 
 
 Wine-Gups with a pair of dragous painted outside, 
 a pair of pluenixes inside. 
 
 Teacups (Ou), decorated outside with playing boys 
 and the typical flowers of the four seasons ; * inside, 
 with dragons emerging from water into the clouds, and 
 with flowering plants. 
 
 leaeups (^Ou)^ decorated outside with dragons emerg- 
 ing from water ; inside, with lions. 
 
 Teacups {()n)^ with emblems of tbe six cardinal 
 points of the universe outside ; soaring dragons 
 inside. 
 
 Gups (^Gliung)^ decorated with flowers and with the 
 inscription Fn sliou Fang ning, " Happiness, long life, 
 health, and peace ! " 
 
 Teacups {^GJCa Ghung), decorated inside and out with 
 the myriad-flowering wistaria ; and outside also with 
 dragons gras^^ing jewels in their claws. 
 
 Gup)s {Ghung), with playing boys outside ; dragons 
 among clouds inside. 
 
 Teamips {GKa Ghung), decoi-ated outside with 
 dragon medallions and water caltrops ; inside, with 
 dragons and clouds reserved on a blue ground. 
 
 Gups (^Gliung), with clouds and dragons outside, 
 floi-al medallions inside. 
 
 Wine Vases (Ghiu T^un), beaker-shaped, decorated 
 with the flr, bamboo, and plum. 
 
 Saiicei'-sliaped Dishes {TieJi), filled inside and out with 
 bevies of graceful beauties. 
 
 Dislies (^Tieli), with cranes, inside and out, flying 
 through clouds. 
 
 Dishes {Tieli)^ decorated outside with dragons envel- 
 oped in Indian lotus flowers ; inside, with phoenixes 
 flying through floAvers. 
 
 * The tree peony of spring, the lotus of summer, the chrysanthemum of 
 autumn, and the plum of winter.
 
 MING DYNASTY. 229 
 
 Dishes {Tieli)^ decorated outside with fruit-bearing 
 lotus j)lants ; inside, witli medallions of flowers. 
 
 Dishes {TieJi)^ with the same decoration outside; 
 dragons and phoenixes inside. 
 
 Dishes {Tieli), with phoenixes flying through flowers 
 outside; sporting dragons, both ascending and descend- 
 ing, inside. 
 
 Jars {Kuaii)^ with covers, decorated with a set of 
 eight precious symbols supported upon branching 
 scrolls of the sacred funo-us. 
 
 Jars {KiLWii)^ ^\dth the eight Taoist immortals cross- 
 ing the sea. 
 
 Jars (Kuaii), decorated with Pao-lao Revels — Pro- 
 cessions of children in masquerade costume at the new 
 year. 
 
 Jars (^Ki(aii)^ decorated with peacocks and moutan 
 peonies. 
 
 Jars (Ktiaii), decorated Avith lions sporting with 
 embroidered balls. 
 
 Jars (Kuari), ^vith a set of eight precious symbols 
 supported upon interlacing sprays of conventional 
 flowers of paradise. 
 
 Jars (ICuan), decorated with graceful beauties, and 
 with difll:'erent kinds of fish feeding upon water-weeds. 
 
 Jars (^Kuaii), decorated with the eight famous hoi'ses 
 — the chai'iot team of the ancient sovereign Mil- Wang 
 of the Chou dynasty. 
 
 Jars (Kuan), decorated with mountain landscapes of 
 the province of Ssti-ch'uan, "with waterfalls and flying lions. 
 
 Jars (Kuari), with the eight mystic trigrams sup- 
 ported by waves and flames of fire. 
 
 Octagonal Jars (^Pa-pien Kuaii), with a picture of the 
 sea and flying dragons on each of the eight sides. 
 
 Yases {P'^incj), bottle-shaped, decorated with hoary 
 lions and dra2:ons.
 
 230 ORIENTAL CERAMIC ART. 
 
 Vases (PHng), decorated with scrolls of the sacred 
 fungus and the floral emblems of the four seasons. 
 
 Large Round Dishes {P''an), decorated outside with 
 floral emblems of the four seasons ; inside, with a land- 
 scape containing three rams {San ya/ng Vai tai), types 
 of the revivifying power of spring. 
 
 Dishes {P''aTi), decorated outside with nine dragons 
 and flowers; inside, with dragons mounting from the 
 sea into the clouds. 
 
 Dishes {P''a7i), decorated Avith ocean views containing 
 flying lions and with dragons upholding the two char- 
 acters fu shou, " hap})iness and long life." 
 
 Dishes (P\m\ decorated outside with four Taoist 
 divinities ; inside, with cranes flying through clouds. 
 
 Dishes {P''a')i), painted outside with clouds and 
 dragons; inside, with the band of eight Taoist im- 
 mortals worshiping Shoti Lao, the god of longevity. 
 
 JPrwit Boxes {Kuo Ho), of circular form ^vith rounded 
 covers, decorated with dragons and cranes in the midst 
 of clouds. 
 
 Boxes decorated with hoary lions and dragons on a 
 blue ground. 
 
 Boxes (LIo), painted with dragons and phoenixes and a 
 group of Taoist immortals displaying longevity characters. 
 
 Large Bowls {Kang), for keeping goldfish, decorated 
 with a pair of dragons enveloped in clouds. 
 
 Fish-Bowls {Kang), painted inside with di'agons and 
 clouds. 
 
 Tall Jars {TUiii), for wine, of ovoid form, with a 
 slender base swelling upward to a rounded shoulder, 
 and a rim cover fitting over the small mouth, decorated 
 with the eight precious symbols (^'pa pao) and the eight 
 Buddhist emblems of good augury (^pa chi-hsiang), sup- 
 ported by interlacing sjDrays of lotus, with a pair of 
 scales and playing children.
 
 MING DYNASTY. 231 
 
 Tall Whu-Jcvrs {T\iii), decorated with the hundred 
 different forms of the character sliou^ "■ longevity," sup- 
 ported by interlacing sprays of lotus. 
 
 Double Gourds (JIu lu), painted with different designs. 
 Ten thousands vases of this characteristic shape, with 
 contracted waist, are recorded to have been decorated in 
 the year 1547. 
 
 Bitual Bricks {Pa Cliuan). These were inlaid in 
 the floor of the audience hall or of a temple, to mark the 
 proper place for the worshiper to prostrate himself. 
 
 Wine Seas (OJiiu Hai),^ decorated with different 
 designs. 
 
 2. Blue Porcelain. 
 
 Boiols ( Wart), enameled dark blue. Bowls of sky- 
 blue color and Bowls of turquoise blue. 
 
 Dinner Boicls (^Shan Wan^, decorated outside with a 
 pair of phoenixes flying through flowers ; inside, upon 
 a blue ground, with scepter-framed medallions inclosing 
 phcenixes in pairs. 
 
 Wine-Cups (^Ohiu Chan), enameled dark blue. 
 
 Tazza Cups {Pa Chung), enameled dark blue. 
 
 Teacitps {On), decorated outside Avith lotus flowers, 
 fishes, and water-weeds ; inside, upon a blue ground, with 
 dragons aud phcenixes enveloped in flowers, and with 
 a floral band interrupted by dragons round the rim. 
 
 Teacups {CKa Chimg), enameled dark blue. 
 
 Saucer Plates {Tieli), enameled dark blue. Plates of 
 sky-blue and Plates of turquoise blue. 
 
 Plates {Tieh), with phcenixes aud cranes engraved in 
 the paste under the blue glaze. 
 
 (Tars {Kuaii), decorated with interlacing sprays of 
 flowers of paradise {pao-lisiang hua) aud with arabesques 
 {Hui-hd hua). 
 
 * The form of these is uuknown ; perhaps they were like our punch-bowls.
 
 232 ORIENTAL CEKAMIC ART. 
 
 Jars (JKiMii)^ with clragous engraved in the paste 
 under the blue glaze. 
 
 Large Dishes (P'a/i), blue inside and out, with the 
 interior decorated with sea-waves and dragons, the ex- 
 terior with a ground of cloud scrolls, displaying either 
 three gilded lions or three gilded dragons. One hundred 
 of these were painted in the year 1552, together \vith 
 one hundred and eighty .of the tripod libation-cups 
 (chueJi), with saucers, all decorated in the, same ornate 
 style. 
 
 Fish-JBowIs {Kang), with a blue ground decoi'ated 
 with a pair of dragons, and clouds. 
 
 Fish Bowls decorated outside with a pair of dragons 
 in clouds and scrolls of fairy flowers upon a blue ground. 
 
 Fish Bowls of plain dark-blue monochrome glaze pre- 
 pared from first-class cobalt. 
 
 Tall Jars {Fan), of ovoid form, for wine, decorated 
 with a pair of dragons in the midst of clouds, enveloped 
 in flowers. 
 
 Bricks (Cliuaii), of dark-blue porcelain. 
 
 3. White Inside, Blue Outside. 
 
 Bowls ( Wan), decorated outside with a pair of dragons 
 in the midst of clouds. 
 
 Wine-Giq)s (^Chari), with a pair of dragons in clouds 
 and with birds flying. 
 
 Wine-Oups {Cha/ri), decorated with the floral emblems 
 of the four seasons. 
 
 4. White Porcelain. 
 
 Boivls ( Wan), with crested sea- waves engraved under 
 the white glaze. 
 
 Wine- Cups {Chiu Chart) and Libation- Cups {ChiXeh
 
 MING DYNASTY. 233 
 
 Ohaii), witli phoenixes and cranes engraved under the 
 
 the glaze. 
 
 . Teacups {ClCa Ou), with oval foliated rims. 
 
 Teacups {Cli\i CJnmg^, with dragons engraved under 
 the white glaze. 
 
 Wme-Cu])s {Chin Chvng), enhnieled pure white (fmi 
 pal). 
 
 Wine- Elvers (Ch/'u Hu), Vases (P^ing), Jars (J^uan), 
 and Dishes {Pkin) of pure white. 
 
 Tall Ovoid Jars (T''a7i) Avith crested sea- waves in- 
 •cised under the ^vhite glaze. 
 
 5. Browx Porcelain. 
 
 Bowls ( Waii)^ enameled of " brown gold " (tzu chin) 
 color, with dragons engraved in the paste. 
 
 Bowls ( Wan)^ enameled of golden 3^ellow (chin huang) 
 color, with dragons engraved in the paste. 
 
 Saucer-shaped Plates {Tieh), of "Ijrown gold" color, 
 with incised dragons under the glaze. 
 
 Plates {Tieli)^ of golden yellow color, with dragons 
 incised under the glaze. 
 
 6. Mixed Colors. 
 
 Boivls ( Wan) and Plates (^Tieh), enameled coral red 
 with iron oxide (fan hung) ; substituted for the bright 
 red (hsien hung) derived from copper. 
 
 Bowls ( Wan) and Plates {Tieli)^ enameled of emerald- 
 green color its' ui III se). 
 
 Bowls ( Wan), decorated in yellow with phoenixes fly- 
 ing through fairy flowers displayed upon a blue ground. 
 
 Teacups (Ou), painted in blue with dragons and clouds, 
 inclosed in a yellow ground. 
 
 Wine-Cups (Chan) and Bibation-Ciq^s (Chiieh), dec-
 
 234 ORIENTAL CERAMIC ART. 
 
 orated in yellow \\ith phoenixes flying through fairy 
 flowers, displayed upon a blue ground. 
 
 Boxes (^Hd), enameled yellow with dragons and phoe- 
 nixes engraved under the glaze. 
 
 Large Dishes {P\m) and Saucer-shaped Plates {Tieli)^ 
 painted in yellow with a pair of dragons and clouds 
 reserved in a ground enameled of " brown gold " color 
 {tzH-eldii). 
 
 Jars {Kiiaii) of crackled ware {s\d di'i), of which 
 there is only one entry, in 1542, when three hundred 
 were made. - -^ 
 
 Teacups (Ou), with foliated-oiims of greenish-white or 
 celadon porcelain (ch''ing pai tz^u), of which nine thou- 
 sand were provided in the year 1554. 
 
 Large Fish-Boivls ( Yil Juing), enameled pea-green 
 (tou cli'ing^. 
 
 Glohnlar Bowls {Bo) of the shape of the Buddhist 
 patra, or alms-bowl, with embossed designs under the 
 plain glaze. 
 
 PS iR> LujsrG-cii'iisrG, 1567-72. 
 
 The son of the last emperor, who succeeded him, 
 reigned under the title of Lung-ch''ing, and died after a 
 short reign of six years. The porcelain made at Ching- 
 te-chen during this period is usually described, together 
 with that of the next reign of Wan-li, under the com- 
 bined heading of " Porcelain of Limg and Wan^ It 
 resembled, on the other hand, the ceramic productions 
 of Chia-ching, especially in the dark color of its cobalt- 
 blue decoration. The emperor was devoted to the pleas- 
 ures of the seraglio, and his libertine temperament 
 is reflected in the decoration of the porcelain, which is 
 notorious for its erotic character, while the government of
 
 MIXG DYNASTY. 235 
 
 the country gradually fell into the hands of the eunuchs 
 of the palace. 
 
 In the fifth year of this reign (1571) Hsii Shih, the 
 President of the Censorate, presented a memorial to the 
 emperor, remonstrating with him upon the enormous 
 amount required by the eunuch in charge of the imperial 
 household, who had stated that the supply of the dift'er- 
 ent kinds of porcelain had run short, and required no 
 less than 105,770 table serv^ices, pairs, and single pieces, to 
 be furnished within eight months, including bowls, wine- 
 cups, and teacups enameled inside and out of brilliant 
 <3opper-red, as well as a quantity of the largest fish-bowls 
 and square boxes. The memorialist stated that the art 
 of firing the expensive copper-red had been lost ; that 
 large fish-bowls, with such broad bottoms and bulging 
 sides as were drawn in the patterns, could hardly be fired 
 unbroken ; that the designs of those to be decorated in 
 the " five colors " were too elaborate to be successfully 
 produced ; and that the square boxes in three tiers were 
 a novelty of most difficult fabrication. He prayed, there- 
 fore, that fail hung or "iron red " might be used instead 
 of the liskn hung or " copper red," and that the rest of 
 the things referred to might be reduced to one or two 
 tenths of the amount required by the eunuchs. More- 
 over, that because of the devastation of the potteries by 
 fiood and fire, and the flight of hundreds of the workmen, 
 he recommended that instead of such a large total install- 
 ment of fifteen thousand pieces being required at monthly 
 intervals, the word " monthly " should be altered to 
 ^' yearly," or even that the quantity should be required 
 at intervals of two years. 
 
 The lists of the things supplied in this reign, accord- 
 insj to the official statistics in the annals of the citv of 
 Fou-liang-hsien (Fou-Iiang-hsien CJu'h), include: 
 
 Table Services {Clio Clii), decorated in blue on a
 
 236 ORIENTAL CERAMIC ART. 
 
 white gi'onnd ^vitll a pair of dragous among clouds, \\ith 
 phoenixes flying through vermilion flowers, with a Joy- 
 ous meeting (symbolized by magpies), with pheasants of 
 different kinds, with sprays of chrysanthemum blossoms, 
 with interlacing scrolls of [)aradise flowers, with the 
 sacred fungus, and with grapes. 
 
 Boioh ( IVan), painted outside in blue, with dragons 
 and phcenixes upon a floral ground ; in the " Ave colors,'^ 
 with a bevy of beauties and with sprays of cut flowers ; 
 inside in blue, with medallions of dragons and phoenixes, 
 with the pine, bamboo, and [)ium, with iris flo^vers or 
 flags. 
 
 Hound Dishes (P''an), decorated in blue and white 
 outside, with pairs of dragons and phoenixes surrounded 
 by clouds, with nine dragons and sea-waves, with inter- 
 lacing scrolls of paradise flowers; inside with dramatic 
 scenes, with groups of the sacred fungus, with the 
 emblematic flowers of the four seasons. 
 
 Saucer-sliafped Plates {Tieli)^ decorated in blue and 
 Avhite outside, with pairs of dragons and phoenixes in 
 clouds, with bamboo shrubs and the sacred fungus, with 
 dragons and clouds amid sprays of flowers, with the pine,, 
 bamboo, and plum ; inside with medallions inclosing 
 dragons, and with the emblematic flowers of the four 
 seasons. 
 
 Wine-Cups (^Ohung), decorated in blue and white out- 
 side, with a pair of dragons in clouds, with fu-jung 
 (^Hibiscus mutahilis) flowers, with magpies typical of a 
 joyous meeting, with interlacing bands of exotic pome- 
 granates and arabesques ; inside with pheasants flying 
 through flowers, with blue pied ducks and lotus flowers^ 
 with dramatic scenes, with lions, with historical subjects, 
 with a pair of weighing scales ; and others enameled 
 monochrome yellow, with dragons etched in the paste 
 under the glaze.
 
 MINa DYNASTY. 237 
 
 Teacups iOii)^ decorated in blue and white ; outside, 
 with dragons and phoenixes surrounded by flowers, with 
 the eight Buddhist emblems of happy augury, M'ith 
 five dragons and lightly penciled sea-waves, with the 
 typical flowers of the four seasons emblazoned with the 
 four characters ClCien Vuii cIlUiuj fal — i. e. " May 
 heaven and earth be fair and fruitful ! " — ^vith the eight 
 Taoist immortals worshiping the god of longevity, with 
 the sacred lotus of India ; inside, with flying fishes, with 
 nine dragons, painted red, in the midst of blue sea-waves 
 and fishes, with the pine, bamboo, and plum, with di-ag- 
 ons and phrenixes in the midst of a floral ground. 
 
 'Tars with Covers {Knan)^ decorated in blue and white, 
 with a pair of dragons coiling through clouds, with 
 phoenixes flying through flowers, with lions sporting 
 with embroidered balls, with interlacing scrolls of 
 raoutan peonies ; decorated, on a blue ground, with 
 flowers and fruit and with birds of various kinds reserved 
 in white ; painted in " five colors " with dragons in the 
 midst of clouds, with fairy flowers of paradise, with 
 flowering plants and butterflies or other insects. 
 
 Vases {P'iiKj), decorated in blue and white, with 
 dragons and phoenixes enveloped in flowers, with playing 
 boys carrying branches of flowers in their hands,"*" with 
 jasmine flowers, with ai'abesques and fairy flowers of 
 paradise. 
 
 Wine-Cups {Chan), decorated outside in blue and 
 white, with soaring dragons and with the sacred fungus, 
 in "five colors," with curved waves and plum flowers; 
 
 * This is the decoration penciled in blue upon the melon-shaped body of the 
 wine-pot with the Elizabethan silver mounting bearing the hall-mark of 1585, 
 which was referred to in my introductory chapter as being in the South Ken- 
 sington Museum. Four pieces of Chinese blue and white porcelain in silver- 
 gilt mounts are described in the Catalogue of the Burlington Fine Arts Club, 
 referred to above, from the Burghley House Collection, said to have been in 
 the possession of the Cecil family since the days of Queen Elizabeth.
 
 238 ORIENTAL CERAMIC ART. 
 
 inside, with dragons in tlie midst of clouds, with althaea 
 flowers, with the pine, bamboo, and plum; and others 
 enameled white, with dragons and clouds etched in the 
 paste under the glaze. 
 
 £asins (i^'e/z), decorated outside in blue and white, 
 with dragons and clouds, in " five colors," with bevies of 
 beauties, with familiar or with dramatic scenes, with his- 
 torical subjects, with lotus flowers and dragons ; inside 
 with dragons and clouds, with scrolled waves and plum 
 blossoms. 
 
 Censers {Hsiang Lu), for burning incense, decorated, 
 in blue and white, with a pair of dragons in clouds, with 
 arabesques of flowers and fruit, with birds of various 
 kinds, with nine dragons and lightly penciled sea-waves, 
 with lotus flowers ; decorated in red and white, with a 
 pair of dragons and clouds, with interlacing sprays of 
 fairy flowers of paradise. 
 
 Incense Boxes {Hsiang Ho), decorated, in blue and 
 white, Avith a pair of dragons soaring into the clouds, 
 with the pine, bamboo, and plum, \\\\\\ separate sprays of 
 chrysanthemum flowers. 
 
 Slop Receptacles {Cha Tou),oi square form, decorated, 
 in blue and white, with a pair of dragons in clouds, with 
 phoenixes and flowers, wdth sea-Avaves and sea-monsters, 
 with lions sporting with embroidered ])alls, with joyous 
 magpies on a floral ground, with pheasants. 
 
 Vinegar Eivers (Ts^u T^i), decorated, in blue and 
 Avhite, with pairs of dragons and phwuixes in the midst 
 of clouds, with flowering plants and quadrupeds, with 
 pheasants flying thi'ough flowers, with lions playing with 
 embroidered balls, with single sprays of the typical 
 flowers of the four seasons. 
 
 Tall Wine-Jars {T''an), of ovoid form, decorated, in 
 blue and white, with pairs of dragons and phoenixes in 
 the midst of clouds, with outdoor scenes containing wild
 
 MING DYNASTY. 239 
 
 animals, witli flying fishes, with the typical flowers of the 
 four seasons, with the eight Buddhist emblems of happy 
 augury ; Jars with gilded decorations of peacocks and 
 tree-peonies. All these have covers with the figure of a 
 lion molded upon them. 
 
 H S Wan-li (1573-1619). 
 
 The emperor who reigned for forty-seven years under 
 the title of Wan-li was the sou of the last. The manu- 
 facture of porcelain increased to a remarkable extent dur- 
 ing his long reign, and the Chinese declare that thei'e was 
 nothiuo; that could not be made of it. It was stimulated 
 by the large orders for export to foreign countries, which 
 came from Eui"ope as well as fi'om western Asia. The 
 Emperor Wan-li is said to have sent a present of large 
 blue and white vases to Jeliangir^ the Mogul Emperor of 
 India, which were kept in the palace at Agra until it was 
 sacked by the Mahrattas in 1771. Blue and white 
 porcelain of this reign has been discovered recently in 
 large quantities in Ceylon, as well as in Persia, and a col- 
 lection of the famous "dragon vases," which Augustus 
 the Strong, King of Poland and Elector of Saxony, 
 obtained, it is said, from Frederick the Great of Prussia, 
 in exchange for a regiment of tall grenadiers, may be 
 seen in the Johanneum at Dresden. 
 
 In the preceding reigns the decoration \^'as mainly in 
 blue and white, with the addition occasionally of colored 
 glazes to relieve the blue designs, or to make, on the 
 other hand, a decoration penciled in a single color dis- 
 played ujDon a surrounding ground of mottled blue. 
 The rare pieces decorated in colors were inlaid, as it 
 were, with the same colored o-lazes. It is in the rei2;n of 
 Wan-li that we find a new process of decoration in 
 enamel colors introduced, the colors being composed of
 
 240 ORIENTAL CERAMIC ART. 
 
 a vitreous blue combined witli a small proportion of dif- 
 ferent metallic oxides, of the same composition as those 
 emplo3^ed in enameling upon copper. These enamel 
 colors were painted upon porcelain which had been pre- 
 viously glazed and fired, and fixed by a second firing in 
 the mufile stove. Tliis foi-nis tlie typical Wan-li wu tiai 
 or " Wan-li decoration in colors." The enamel colors 
 were often used in combination with underglaze cobalt- 
 blue in which the outlines and part of the decoration 'had 
 been penciled before the first firing. The application of 
 cobalt as an overglaze color was not employed appar- 
 ently till the reign of K\ing-lisi, as described by Pere 
 d'Entrecolles in his valuable lettei's, and this point sup- 
 plies a means of distinguishing the productions of the 
 two reigns. It may be inferred confidently that any 
 piece in \vhicli the blue has been fired as a silicate like 
 the other enamel colors, so that it stands out in relief 
 above the surface of the white glaze, is subsequent to the 
 
 Wan-li period. The principal objection to this mode of 
 applying the cobalt-blue is that the color has a tendency 
 to scale off, and this is the reason that the old method of 
 painting it on under the glaze, even when combined with 
 enamel colors, remains in vogue to the present day. 
 
 . The wholesale production of the reign of Wan-li is 
 shown l:)y the abundance of porcelain of this time in the 
 present day at Peking, where a garden of any pretension 
 must have a large bowl or cistern for goldfish, and street 
 hawkers may be seen with sweetmeats piled up on dishes 
 a yard in diameter, or ladling sirup out of large bowls ; 
 and there is hardly a butcher's shop Avithout a cracked 
 
 Wan-li jar standing on the counter to hold scraps of 
 meat. This is the Ming T£u^ the porcelain of the Ming 
 dynasty, par excellence^ of the Chinese, with its perfectly 
 vitrified glaze and brilliant style of coloring, charac- 
 teristic of the period, but of coarse paste and often
 
 MING DYKASTY. 241 
 
 clumsy ill form, the bottom of tlie vase generally im- 
 glazed, and the mark inscribed outside near the rim. It 
 is very different from the porcelain which so frequently 
 figures as Ming in European collections, and which is 
 usually to be referred to the reign of K^ing-hsi, although 
 often bearing a fictitious mark of the Ming dynasty. 
 
 AVe find Wang Chingmin, one of the Supervising 
 Censors, remonstrating, in the year 1583, ^vith the em- 
 peror upon the extravagance of the orders for the palace. 
 He protests against the expense of the pricket candle- 
 sticks {cku fed), the large slabs for screens {p'ing feng), 
 and the brush-handles (^pi huan). There must of course, 
 he says, be a suflicient provision of bowls, plates, and 
 cups of different form for the table service of the sover- 
 eign, and no deficiency should be permitted in the vases 
 and dishes required for sacrificial worship ; but with 
 regard to the other things, the apparatus for chess, with 
 boards and jars for holding the black and white pieces, 
 this is a mere pastime ; and even the screens and brush- 
 handles, the ornamental vases and jars, the boxes for 
 incense and the censers, are not of such urgent necessity. 
 The numbers are, he declares, much too large — 20,000 
 boxes Qio) of different pattei'u, 4,000 vases (p^ing), and 
 5,000 jars (Jcvcui) with covers, of diverse shape and dec- 
 oration, mounting up with the bowls and other things 
 to a total of over 96,000. He, moreover, prays that the 
 dragons, phoenixes, and other decorative designs should 
 be all painted in plain blue, without the addition of 
 other colors, because enameling in colors (^wu tscfi^ 
 and openwork carving (ling-lung) were both of difficult 
 execution and too meretricious in style. He quotes in 
 his memorial the ancient Emperor SJiun, whose vessels 
 are said to have been unvarnished, and the great Yic, 
 who refused to have his sacrificial bowls of wood chis- 
 eled, as models to be imitated. The result of this appeal
 
 242 OKIENTAL CEEAJIIC ART. 
 
 was the lessening by one half of the number of pricket 
 candlesticks, go-hoards, screens, and brush-handles. 
 
 The following list, taken from the same official source 
 as that of the last reign, will give some idea of the dec- 
 orative designs used in the imperial potteries. 
 
 1. Painted in Blue on a White Ground. 
 
 Bowls ( Wail), decorated outside witli pairs of dragons 
 and phoenixes in the midst of clouds and lotus flowers, 
 with interlacing sprays of Indian lotus, with fairy flowers 
 of paradise ; inside, with a medallion of dragons in clouds 
 and a border of dragons interrupted by the eight Bud- 
 dhist emblems of happy augury, with crested sea-waves, 
 and a border of propitious clouds, with fragrant plants, 
 and with scrolled waves and plum-blossoms. 
 
 Boivls ( Wan), decorated outside with dragons in the 
 midst of clouds, with flshes and lotus flowers, with play- 
 ing boys, with the seal characters Fu shou Fang ning — 
 i. e., " Happiness, longevity, wealth, and peace ! " — with 
 ara))esques of flowers, with sea monsters, with lions sport- 
 ing with embroidered balls ; inside, with storks flying in 
 the clouds, with a bunch of lotus fruit, with lilies, 
 with propitious scrolls of clouds ; and with the inscribed 
 mark Ta Ming Wan U nien chili, " Made in the reign of 
 Wan-li of the great Ming [dynasty]." 
 
 Bowls ( Wa)i), decorated outside with medallions of 
 dragons in clouds, with a pair of phoenixes, with bro- 
 caded designs and sea- waves, with Fu, Lu, and Shou, the 
 gods of happiness, rank, and longevity, with branches of 
 sacred fungus ; inside, with a pair of dragons holding 
 longevity characters in their claws, with Jasmine flowers, 
 and painted in enamel coloi's inside, ^vith phoenixes flying 
 through the typical flowers of the four seasons. 
 
 Bowls ( Wan), decorated outside with longevity
 
 MING DYNASTY. 243 
 
 subjects, with harvest fruits, with emblems of the mid- 
 summer holiday — sprigs of acorns and artemisia, hung up 
 in China on the fifth day of the fifth moon — with lotus 
 flowers, and fishes feeding upon water-weeds ; inside, 
 with a full-faced dragon coiled in clouds upon a blue 
 ground at the bottom, and the pine, bamboo, and plum 
 round the rim. 
 
 Bowls (^Wan\ decorated outside with a pair of drag- 
 ons in the midst of clouds, with the eight Taoist im- 
 mortals crossing the ocean, with boxes of the typical 
 flowers of the four seasons ; inside, with a full-faced 
 dragon with archaic longevity characters, with ju-i 
 scepters, with hibiscus flowers, and with bamboo sprays 
 and branches of fungus round the rim. 
 
 Dishes (P^m), decorated outside with dragons in 
 clouds and phcenixes, in pairs, enveloped in flowers, with 
 interlacing sprays of fairy flowers, with the pine, bam- 
 boo, and iA\xm ; inside, with branches of the typical 
 flowers of the four seasons, with arabesque scrolls of 
 fruit, with ju-i scepters, with the pine, bamboo, and 
 plum, and with bamboo sprays and branching fungus 
 round the rim. 
 
 Dishes (D^m), decorated outside with dragons and 
 lotus flowers, ^vith dragons and phcenixes enveloped in 
 flowers, with the pine, bamboo, and plum, with illustra- 
 tions of poetry, with familiar scenes, with historical sub- 
 jects, with j)laying boys ; inside, with sci'olls of clouds, 
 with sprays of fragrant bamboo and sacred fungus round 
 the rim, and with dragons, clouds, and conventional 
 flowers incised under the o-laze. 
 
 Dishes (Dkm), decorated outside Avitli medallions of 
 archaic lizardlike dragons, with branches of sacred fun- 
 gus, with ji(-l scepters and fairy flowers, with exotic 
 pomegranates and fragrant flowers ; inside, with a dragon 
 in the center holding the four chanictevs Yk ng jx(0 iv mi
 
 244 ORIENTAL CERAMIC ART. 
 
 shou — i. e., " Ever protecting for myriads of ages ! " ; 
 round the border, with phoenixes and fairy flowers, the 
 inscription Yung ])ao Itung fu clCi fien — i. e., " Ever 
 insuring abundant happiness reaching to the heavens ! " 
 — and with playing boys. 
 
 DisJies (P''a)i), decorated outside with interlacing sprays 
 of lotus, with dragons and phoenixes supporting a set of 
 <d\ght precious symbols, with flowers and fruit, with the 
 pine, bamboo, and plum, with Sanskrit dharani or invoca- 
 tions, with branches of the typical flowers of the four 
 seasons ; inside, with a dragon surrounded by flowers, in 
 the middle, and round the borders with scattered branches 
 of the flowers of the four seasons, with familiar scenes, 
 with historical subjects, with bamboo sprays and the 
 sacred fungus, with longevity pictures, and with moutan 
 peonies. 
 
 Plates {Tielh)^ decorated outside with phoenixes flying 
 through flowers, with flowers, fruit, and birds, with floral 
 emblems of long life, with a bevy of beauties, with wild 
 animals among trees, with dragons and lotus leaves ; 
 inside, with a set of eight precious symbols and antique 
 dragons, with Sanskrit invocations supported upon fairy- 
 flower scrolls, with dragons and phoenixes, with familiar 
 scenes, and with historical subjects. 
 
 Plates (Tielh)^ decorated outside with interlacing 
 branches of the tree-peony supporting eight precious 
 symbols, with crested sea-waves, with the Indian lotus 
 in enameled colors, with fabulous monsters, and with a 
 group of beauties ; inside, with a pair of dragons among 
 clouds, with dragons and j^jhoenixes worked in the 
 paste under the glaze, with flowers of paradise, with lions 
 sporting with embroidered balls, with the eight Buddhist 
 emblems of happy augury, with propitiously scrolled 
 clouds and branches of sacred fungus, with flowers and 
 fruit.
 
 MING DYNASTY. 245 
 
 Plates (Tieh), decorated outside witli the jasmine and 
 interlacing s^^rays of fairy flo^\'ers, with archaic lizardlike 
 draojons brino-ino; branches of sacred funofus ; inside, with 
 dragons and phoenixes painted in enamel colors, encircled 
 round the rim with the inscription JFhiju tung hai — i. e., 
 "Rich as the eastern ocean !" — with the eight Buddhist 
 emblems upon a brocaded ground, encircled round the 
 border with a set of eight precious symbols borne upon 
 scrolls of fairy flowers. 
 
 Plates (^Tieli), decorated outside with chains of bamboo 
 s^^rays and sacred fungus, with flowers and fruit, with a 
 set of eiglit precious symbols, with pairs of di-agons in 
 clouds and phoenixes ; inside, with dragons in the midst 
 of the typical flowers of the four seasons, with longevity 
 scenes enameled in colors, with pictures of family life, 
 with sacred peach trees ; round the rim, with grapes. 
 
 Wine-Ckips (^Chtmg), decorated outside with a pair of 
 dragons among clouds, ^vith interlacing bands of exotic 
 pomegranates, ^vitli lions sporting with embroidered balls ; 
 inside, ^vith dragons among clonds sui'rounded by flowers, 
 with propitious scrolls of clouds and a border of fragrant 
 plants, with nine dragons painted in red in the midst of 
 blue sea-waves, with water birds and lotus flowers enam- 
 eled in colors, and with Buddhist invocations in Sanski-it 
 round the sides. 
 
 Wi7ie-0ups (Chung), decorated outside with wreaths 
 of peaches having archaic longevity characters inscribed 
 upon the fruit, with interlacing sprays of the flowers of 
 the four seasons, with Sanskrit Buddhist invocations ; 
 inside, wdth storks flying in clouds, M'ith jewels emitting 
 effulgent rays, pursued by a pair of dragons among 
 clouds worked in the paste under the glaze, with lotus 
 flowers and fishes, with sea- waves penciled upon a blue 
 ground. 
 
 Teacups {Ou), decorated outside with dragons and
 
 246 ORIENTAL CERAMIC ART. 
 
 phoenixes in the midst of flowers, with the eight Taoist 
 immortals worshiping the god of longevity, with ara- 
 besque scrolls of conventional fairy flowers ; inside, with 
 dragons and clouds in a medallion, with fishes and lotus 
 flowers, with a river scene and reeds, with Sanskrit invo- 
 cations supported by flowers. 
 
 Teacups (Ou), decorated outside with medallions of 
 dragons and scrolled clouds, with bamboo sprays and 
 sacred fungus, with fishes and water- weeds painted in 
 enamel colors; inside, with longevity characters in seal 
 script, with ju-i scepters, with moutan peony flowers, and 
 wit\\Ju-i wands enameled in colors. 
 
 Wine-Ciips (Chan), decorated outside with dragons 
 among clouds, with jasmine flowers, with birds, with 
 graceful ladies, with playing boys, with the eight Bud- 
 dhist emblems of happy augury supported upon scrolls 
 of sacred fungus ; inside, with grapes, with sprays of the 
 flowers of the four seasons, with Buddhist dha7'ani in 
 Sanskrit script, with garlands of the floral emblems of 
 longevity. 
 
 Wine- Cups iChan)^ decorated outside with a pair of 
 dragons among clouds in the midst of flowers, with famil- 
 iar scenes, with historical subjects, with nine monsters in 
 blue surrounded by red sea- waves; inside, with ^V^Avands 
 and fragrant flowers, with plum flowers upon scrolled 
 waves, with pheasants flying through flowers, with red 
 sea- waves rising into white crests. 
 
 Wine-Cups (^Chmi), decorated outside Avith pairs of 
 dragons and phoenixes surrounded by clouds ; inside, with 
 yellow hibiscus flowers, with twining scrolls of sacred 
 fungus, with chrysanthemum flowers enameled in colors. 
 
 Boxes {Jio), decorated with dragons in propitious 
 scrolls of clouds, with dragons and phoenixes in the 
 midst of flowers, with the inscription T'eng fiao yit sliiin, 
 T''ien lisia tai pHng — i. e., " AVith favorable winds and
 
 MING DYjS^ASTY. 247 
 
 seasonable mius, may peace prevail tlironghout the 
 world ! " with a symbolical head having the hair dressed 
 in four puffs bearing the characters Yung pao cWang 
 chJuii — i. e., " Evei' preserving lasting spring ! " — with 
 the eight mystic trigrams and the monad yin-yang sym- 
 bol, with Taoist divinities holding the characters ClCien 
 ISun clCing tai — i. e., " May heaven and earth be fair and 
 fruitful ! " 
 
 Boxes {Ho), decorated with fabulous monsters paying 
 court to the celestial dragon, with brocades of scroll pat- 
 tern, with a group of beautiful forms, with diapered 
 grounds, -with hibiscus flow^ers, with interlacing lozenges 
 {fang-sheng), with flowers, fruit, and birds, with flower- 
 ing plants and insects. 
 
 Boxes {Ho), inscribed Wan hu eliding eWiui, Ssu liai 
 lai cKao — i. e., "Through myriads of ages everlasting 
 spring, and tribute coming from the four seas " — dec- 
 orated on the covers with dragons, with the typical 
 flowers of the four seasons, with familiar scenes, and 
 Avith historical subjects. 
 
 Boxes {Ho), inscribed TUeii hsia fai p'tng, Ssu fang 
 hsiarig tiao — i. e., " Peace prevailing throughout the 
 world, and aromatic plants from, the four quarters " — 
 decorated with Jw-/ scepters, and on the covers with ara- 
 besques, with figure scenes, and with lozenge symbols 
 enameled in colors. 
 
 Boxes {Ho), decorated with familiar scenes and with 
 historical subjects ; and on the covers with dragons and 
 clouds, with playing boys, with the typical flowers of the 
 four seasons ; and enameled in colors with dragons and 
 clouds, with flowers, fruit, and birds, with longevity seal 
 characters supported upon scrolls of sacred fungus. 
 
 Cups {Pel), decorated outside Avith winged lions flying 
 over sea-waves, with interlacing sprays of the typical 
 flowers of the four seasons, with antique dragons carry-
 
 248 ORIENTAL CERAMIC ART. 
 
 ing jasmine flowers, witli branches of sacred fungus, with 
 pomegranates ; inside, with hibiscus flowers, with tree 
 peonies, with scrolled sea-waves, with fairy flowers. 
 
 Cups {Pei) and Saucers {J^^ari), decorated outside with 
 moutan peonies ; in gold, with chrysanthemums, with 
 hibiscus flowers, with the typical flowers of the four 
 seasons; in enamel colors, with a set of eight precious 
 symbols, with grapes, with bees hovering round a 
 blossoming plum ; inside, with hibiscus flowers, with 
 moutan peonies, with seal longevity characters ; in enamel 
 colors, with lotus flowers, wdth figures of ancient coins. 
 
 Cliopstick Saucers (Chti I^\in), decorated outside 
 Avith dragons in the clouds and sea-waves ; inside, with 
 the center worked in relief, encircled by clouds and 
 dragons. 
 
 Wine Seas {Cliiu Hai), decorated with scrolls of 
 gilded lotus flowers supporting longevity characters in 
 antique seal script. 
 
 Censers {Hsiang Lu), decorated with the eight m3^sti- 
 cal trigrams and the monad yin-yang symbol, with 
 branches of sacred fungus, with landscapes, with dragons 
 and clouds. 
 
 Censers {Hsiang Lit), decorated outside with lotus 
 flowers, with fragrant plants and ju-i wands, with 
 dragons and clouds worked in relief, with arabesques 
 and fragrant floAvers, with dragons surrounded by clouds, 
 with branches of sacred fungus, with conventional fairy 
 flowers, with branches of sacred fungus carved in open- 
 work, with figures of ancient " cash." 
 
 Yases {P''ing), decorated wdth dragons and phoenixes 
 envelo^^ed in flowers, with pictures of animal life, with 
 the ginseng plant and sacred fungus, with argus pheas- 
 ants and tree-peonies, with storks flying through clouds, 
 Avith the eight trigram symbols, with the hemp-leaved 
 lotus of India.
 
 MING DYNASTY. 249 
 
 Bealcer-sliaped Vases (Ha FHng), decorated with 
 medallions of dragons surrounded by the typical flowers 
 of the four seasons, with religious inscriptions in Sanskrit 
 script supported upon scrolls of Indian lotus, with phce- 
 nixes flying through flowers of the four seasons, with 
 grapes and slices of watermelon, with dragons holding 
 up the characters slieng shou — i. e., " Wisdom and long 
 life" — with leafy sprays of apricot, with gilded fishes 
 swimming among water-weeds enameled in colors. 
 
 Floiver Vases {Hna PUng), modeled in the shape of 
 one of the halves of a double gourd (Jm-Iff), split longi- 
 tudinally, so as to hang against the ^vall, decorated with 
 dragons among clouds, with wild geese in reeds, with the 
 pine, bamboo, and plum. 
 
 Flower Vases (Hua F''ing), decorated ^vith flowers 
 and fruit, with pictures of birds, ^vith flowering plants 
 and butterflies, with familiar scenes, with historical 
 subjects. 
 
 Flxytjoer Vases {Una P ''ing'), decorated with ph(ieuixes 
 flying through the typical flowers of the four seasons, 
 with groups of beautiful figures ; and, in enamel colors, 
 with dragons enveloped by the flowers of the four 
 seasons, with a set of eight precious symbols supported 
 upon scrolls of sacred fungus, with strings of jewels and 
 fragrant plants. 
 
 'Jars (Kuan), decorated with landscapes, with fl}iug 
 lions, with dragons and clouds, with peacocks and 
 moutan peonies, with the eight Taoist immortals crossing 
 the ocean, with the four " lights " worshiping the star of 
 longevity, and six cranes symbolizing the cardinal points 
 of the universe ; and Fars enameled in colors with 
 familiar scenes and historical subjects. 
 
 Slop Feceptacles (QKa Toil), decorated with a pair of 
 dragons in the midst of clouds, and with a string of mag- 
 pies flying through flowers.
 
 250 ORIENTAL CERAMIC ART. 
 
 8lo2J Receptacles {GKa Tmi^^ decorated with dragons 
 and clouds, with arabesqii;^- of fragrant plants, with 
 familiar scenes, with historical subjects, with flowers 
 and fruit, ^vith branches of sacred fungus. 
 
 Vinegar Ewers {Ts^u Ti), decorated ^vith a pair of 
 dragons among clouds, witli interlacing scrolls of fairy 
 flowers. 
 
 Chess-Board (^CNi F\(n), decorated with dragons 
 surrounded by clouds. 
 
 Hanging Oil-Lamps {Citing T\ii^, decorated with 
 drao;ons niountiuo- from sea- waves into clouds, with the 
 typical flowers of the four seasons, with gilded chrysan- 
 themums and hibiscus flowers. 
 
 PricTcet Candlesticks {Cliu T\ii), decorated with six 
 stoi'ks flying to the six cardinal points of the universe, 
 with the sacred fungus supporting a set of eight precious 
 symbols and fairy flowers, with jn-i scepters and dragons 
 in clouds. 
 
 PricTcet Candlesticlcs {Chu T\(i), decorated with jewel 
 mountains in the midst of the sea and with dragons in 
 clouds, with medallions containing boys seated, with 
 twigs of Oleafragrans in their hands, with water-plants, 
 lotus-leaf borders, and flowers. 
 
 Jars for Candle- Snuff {Cliien Chu ^^/<:m), decorated 
 with dragons and phoenixes among clouds enveloped in 
 typical flowers of the four seasons. 
 
 Screens {P^ing), decorated round the border ^vith 
 brocaded bands inclosing flowers, fruit, and birds, in the 
 center with a pair of dragons grasping jewels in their 
 claws. 
 
 Pencil-Brush Handles {Pi Ktiati), decorated with 
 brocaded designs, with conventional fairy flowers and 
 sacred fungus surrounded by clouds, with the river 
 pictures and writings discovered in ancient times. 
 
 Brush-Pots {Pi Ch'ung), of cylindrical form, deco-
 
 MING DYISTASTY. 251 
 
 rated with dragon medallions and a set of eight precious 
 symbols. 
 
 Perfume- Boxes {Hsiang Lieii), decorated with kilin 
 {cKi-lin) and ornamental medallions, with winding scrolls 
 of conventional fairy flowers, with spiral bands inclosing 
 fl.owers and fruit, \vith the eight Buddhist emblems of 
 happy augury, with branches of the sacred fungus, with 
 plum blossoms and sea-waves. 
 
 Fan Cases (^Shan Hsia), decorated with dragons in 
 clouds and borders of spiral fret. 
 
 Pencil Pests {Pi Chia), decorated with borders of sea- 
 waves surrounding three dragons in the midst worked in 
 high relief with openwork carving, and with landscape 
 pictures. 
 
 Pallet Water-Pots ( Yen Shui Ti), decorated with 
 couchant dragons, with elephants carrying vases of 
 jewels, Avith familiar scenes. 
 
 Betel-nut Boxes {Pin-lang Lit), decorated with familiar 
 scenes, with historical subjects, with fragrant plants and 
 lotus petals. 
 
 Hat Boxes {Kuan Lii)^ decorated with brocaded 
 grounds interrupted by round medallions, and with 
 dragons coiling through branches of the typical flowers 
 of the four seasons. 
 
 Handkerchief Boxes {Chin Bu), decorated outside with 
 round medallions upon a brocaded ground, with a pair 
 of dragons grasping the eight characters, Yung pao 
 cWang shou, ssil hai lai cJi^ao, meaning " EAer preserving 
 long life, Homage coming from the four seas ! " \\\i\\ 
 familiar scenes, with historical subjects, with the typical 
 flowers of the four seasons; inside, with branches of the 
 sacred fungus, with the pine, bamboo, and plum, with 
 blossoming orchids. 
 
 Garden Seats {Liang Tun), barrel-shaped, carved in 
 pierced openwork with designs of a pair of dragons
 
 252 ORIENTAL CERAMIC ART. 
 
 grasping jewels in their claws, with flying dragons, with 
 lions, with sea-horses. 
 
 Wi7ie-Jars {T''a)i), of tall ovoid form, decorated with 
 propitious scrolls of clouds, with a hundred dragons^ 
 w^ith a hundred storks ; otliers enameled in colors with 
 a hundred deer and inscribed Yung jpcio chHen h^un — i. e.^ 
 " Ever protecting Leaven and earth ! " 
 
 Garden Boioh {Kang), for fish or flowers, decorated 
 with fishes and water-weeds, with a set of eight precious 
 symbols and fragrant plants, with lotus flowers, with 
 groups of graceful forms, with sea-waves and plum- 
 blossoms. 
 
 There are two typical examples in the collection of the 
 blue and white porcelain of this period which have been 
 illustrated to show the general style of decoration. The 
 first, Fig. 153, is a jar with a procession of the eight 
 Taoist genii crossing the sea holding up their several 
 emblems, Pa Hsien huo hai, which is inscribed under- 
 neath with the '^ six-character mark " of the reign inclosed 
 within a double ring. The second, Fig. 81, is a tall ewer 
 with long spout and flowing handle, decorated with 
 phcenixes and storks flying among scrolled clouds, subse- 
 ,quently mounted with metal of Oriental workmanship 
 and studded all over with precious stones. 
 
 2. Painted in Enamel Colors. 
 
 Chess Boards (^ChH P\iri), decorated with dragons 
 among clouds. 
 
 Brush Handles {Pi Kuan), decorated with sea-waves 
 and clouds and ascending and descending dragons. 
 
 Brush Cylinders (PI Ch'^ung), decorated with dragons 
 and sea-waves, and with the typical flowers of the four 
 seasons in circular medallions. 
 
 Floioer Vases {Hua Tswi), with trumpet-shaped
 
 MING DYNASTY. 253 
 
 mouths, decorated with waving fillets and ju-i wands, 
 with landscape pictures, with groups of sacred fungus. 
 
 Pricket Candlesticks {Chu T\U), decorated with jewel 
 mountains in the midst of the sea, with dragons and 
 clouds, with familiar scenes, with historical subjects, 
 with sprays of fragrant plants and rings of lotus petals. 
 
 Candle- Snuff Jars (^Chien Chu Kuan), decorated with 
 dragons envelo^^ed in clouds, and with jihcenixes flying 
 through the typical flowers of the four seasons. 
 
 Pish- Bowls {Kang)^ decorated with flowers interrupted 
 by medallions containing landscapes, with dragons 
 ascending and descending through blue clouds, Avith 
 phoenixes in couples. 
 
 Perfume- Boxes (Hsiang Lien), decorated with fragrant 
 plants, with fir-leaf pattern brocades pierced in open- 
 work, with the typical flowers of the four seasons. 
 
 Jars {Kuan), decorated with circular medallions on a 
 brocaded ground, with the typical flowers of the four sea- 
 sons, with fruit and birds, with the eight precious 
 symbols. 
 
 Pan Cases (Shan Hsia^, decorated with dragons and 
 clouds and borders of spiral fret. 
 
 Pencil Pests (Pi Chia), decorated with mountain land- 
 scapes and carved in pierced open-work. 
 
 Handkerchief Boxes (Chin Lit), decorated with the 
 typical flowers of the four seasons. 
 
 Sloj) Receptacles (Chhi Toil), decorated with dragons 
 in clouds and arabesque scrolls, with the typical flowers 
 of the four seasons. 
 
 Fisli-Boiols (Kang), decorated with dragons ascending 
 and descending through clouds, with arabesques and 
 sprays of fragrant flowers.
 
 254 ORIENTAL CERAMIC ART. 
 
 3. Painted in Mixed Colors. 
 
 Teacu])B (^Oii), plain white inside, decorated outside 
 with waving fillets and exotic pomegranates, penciled in 
 reserve upon a blue ground, 
 
 Fisli-Bowh {Kang)^ white inside, and with a blue 
 ground outside, decorated ^vith pairs of dragons in the 
 midst of clouds, with lions playing with endjroidered 
 balls, with interlacing scrolls of gilded lotus flowers, with 
 conventional fairy fl.owers. 
 
 Brush Cylinders (jPi CKung)^ decollated with white 
 flowers reserved upon a blue ground, and with white 
 dragons enveloped in the typical flowers of the four sea- 
 sons in the same style of decoration. 
 
 Wine-Jars {T''aii)^ of tall ovoid form, with a blue 
 ground, decorated with a pair of dragons in clouds grasp- 
 ing antique shoii (" longevity ") characters, with winged 
 threadlike dragons flying through a field of sacred fun- 
 gus, with woods and wild animals, with familiar scenes, 
 with historical subjects, and with the picture of the hun- 
 dred boys. 
 
 Barrel-Seats {Liang Tuii)^ decorated in enamel colors 
 with lotus flowers and dragons encircled by clouds ; and 
 others enameled with a monochrome yellow ground, in- 
 closing lotus flowers penciled in brown. 
 
 Teacups {Cli^a Chung), enameled yellow inside and 
 out, with dragons in the midst of clouds and conventional 
 flowers engraved in the paste under the glaze. 
 
 Censers {Hsiang Lu), enameled white inside, and deco- 
 rated outside with designs painted in enamel colors sur- 
 rounded by a yellow ground, with archaic lizardlike 
 dragons carrying branches of sacred fungus, with the 
 typical flowers of the four seasons, with fragrant plants 
 and arabesque scrolls.
 
 MING DYNASTY. 255 
 
 Vases (PHng), of plain white porcelain, with phoenixes 
 in couples and conventional fairy flowers engraved in the 
 paste under the glaze. 
 
 Banquet Dishes (Shan P\ui), enameled white inside, 
 decorated outside with dragons in the midst of clouds, 
 penciled in red, green, yellow, or brown. 
 
 It is a long list, but useful in supplying authentic 
 materials as an aid to the proper classification of porcelain. 
 It has been compiled from the series of lists of porcelain 
 sent to Ching-te-chen from the palace, so that each head- 
 ing of bowls, for example, may comprise 10,000 or more, 
 of different size and style of decoration. It is useful, 
 too, in a negative way, as \ve may infer that any impor- 
 tant decoration or peculiar color not included in the list 
 was of subsequent invention. 
 
 The decorative designs wei'e for the most part taken 
 from the patterns of ancient brocades and embroidered 
 .silks in which China is so rich. The author of the T''ao 
 Shuo traces back to the third century a. d. official notices 
 of presents from the emperor of robes of brocaded silks, 
 woven Avith designs of intertwining dragons on a crimson 
 ground ; and he quotes a decree of the Emperor Jen 
 Tsung of the Sung dynasty, issued in the period Ching- 
 yu (1034-37), ordering that his " ceremonial hat should 
 be made of dark blue gauze worked with medallions of 
 dragons and kilins, having the interspaces filled in with 
 dragons and scrolled clouds in gold," and he compares 
 these designs with those used subsequently in the decora- 
 tion of porcelains. He cites as well-known names of 
 ancient brocade patterns : " Coiling Dragons," " Phoenixes 
 in Clouds," " Kilin," " Lions," " Mandarin Ducks," " The 
 Myriad Gems," " Dragon Medallions," '' Ph^^^enixes in 
 Couples," "Peacocks," "Sacred Storks," "The Fungus 
 Plant," " Large Lions in their Lair," " Wild Geese nesting 
 in the Clouds," " Phoenixes enveloped in Cloud Scrolls,"
 
 256 OEIEISTTAL CEEAMIC ART. 
 
 " The Lily as an Emblem of Fertility," " The Hundred 
 Flowers," '^ Phcenixes hidden in Flowers," " Group of 
 Eight Taoist Immortals," " Dragons pursuing Jewels," 
 " Lions sporting with Embroidered Balls," " Fish swim- 
 ming among Water- Weeds "; and all of these were repro- 
 duced by the artists on imperial porcelain. The addition 
 of colored monochrome grounds was also suggested, he 
 thinks, by brocades, accounting thus for the mottled 
 blue, the plain yellow, and the brown or "burnished 
 gold " grounds given in the list. He estimates that 
 about two-thirds of the designs in the Ming dynasty 
 were imitated from brocades, the remaining third being 
 either taken from Nature or copied from antiques ; while 
 of modern Chinese porcelain forty per cent are enameled 
 in foreign style, in thirty per cent the designs are taken 
 from Nature, twenty per cent have antique designs, and 
 only ten j)er cent brocade patterns. 
 
 The decoration of Chinese porcelain during the Ming 
 dynasty was, however, certainly not free from foreign 
 influence. The brilliance of the blue which dis- 
 tinguishes the reign of Chia-ching was confessedly due 
 to the cobalt ore called Hui-lmi cWing, or " Moham- 
 r medan blue," which was imported from abroad, to be 
 used in the imperial manufactory, and we occasionally 
 meet in the descriptions of the designs with the ex|)res- 
 sion Hui-hui Wen, or "Mohammedan scrolls," which I 
 have translated " arabesques." There was frequent 
 intercourse with Persia after the conquest of that 
 country by the Mongols, at which time Hulugu (1253— 
 64), the grandson of Genghis Khan, brought over a 
 thousand Chinese artificers to his new country; and, 
 later. Shah Abbas (1585-1627) is said to have settled 
 a colony of Chinese potters at Ispahan. Previously to 
 this, as we have seen before, in the account of the pro- 
 duction of the reign of Cherig-te, porcelain had been
 
 MING DYNASTY. 257 
 
 painted in blue, with Arabic inscriptions, at Ching-te- 
 chen, after designs probably sent for the purpose from 
 Persia. 
 
 Among the vases in the collection attributed to the 
 reign of Wan-li is Fig. 167, decorated with floral ara- 
 besques in underglaze blue, and in emerald-green and 
 vermilion-red enamels, with metal mounts of Persian 
 work; and Fig. 164, a vase of the same cylindi'ical form^ 
 with birds, fruit, and flowers on a diapered ground, 
 penciled in black filled in with brilliant enamels. 
 
 Fig. 173 shows a unicorn monster in blue and dark 
 green over a crackled ground; Fig. 174 a vase of tur- 
 quoise crackle in bold open-work relief ; and Fig. 38 {}>) 
 a little wine-pot enameled in turquoise blue and auber- 
 gine purple. 
 
 The three pieces of Lung-ch'iian celadon now to be 
 mentioned date from an earlier time in the Ming: Fig. 
 159 shows a large solid vase, decorated in relief with 
 bands of peony and chrysanthemum scrolls ; Fig. 44 
 a large fluted dish, with foliated rim nearly two feet 
 across, engraved under the glaze with fruit and flowers ; 
 and Fig. 175 a beaker-shaped vase of crackled celadon, 
 with foliated rim and ribbed body, and an etched 
 decoration under the green lustrous glaze. 
 
 The last specimen of the dynasty illustrated here is 
 a T\t Ting vase of the yellowish-gray ware peculiar to 
 the Ting-chou potteries in the province of Chihli, Fig. 
 177, with a molded and carved decoration under the 
 soft-looking glaze of ivory-white tone. It is of archaic 
 aspect and design, with a dragon coiled around the neck 
 pursuing the Jewel of omnipotence among the clouds, 
 and swells at the rim in the form of a bulb of gai-lic.
 
 258 ORIENTAL CEEAJVIIC ART. 
 
 ^ f^, T'ien-ch'i (1621-27) and ^ f|, ChVng-Ch^n 
 
 (1628-43). 
 
 The last two emperors of the Ming dynasty reigned 
 under the titles of THen-cKi and Cli'ung-chen, but they 
 Avere too busily engaged in repelling the invasion of the 
 Manchii Tartars in the north to pay much attention to 
 the patronage of the ceramic art. It is consequently 
 remarkable only for its gradual decline, which is shown 
 by the few dated pieces of these two periods that exist 
 in collections, and which differ from other porcelain of 
 the dynasty only in their imperfect finish and -compara- 
 tively coarse decoration. 
 
 The only exception that I know of is in the case of 
 certain small water-Jars of globular shape marked under- 
 neath with a single character T^ien^ " heaven," which the 
 Chinese call T'ien Tzii Kuan., or " Heaven-Character 
 Jars." They say that the inscription is only a con- 
 traction of the Qiien-hao, T 'ien-ch'i ; and the style of 
 coloring, resembling that of the j^i'^ceding reign of 
 Wan-li, confirms this supposition. I have seen speci- 
 mens painted in blue and white as well as brilliantly 
 decorated in vivid enamel colors. 
 
 To sum up in a few words the decorated porcelain in 
 the Ming dynasty : 
 
 1. The favorite color was blue, which was painted on 
 the piece before it was glazed or fired. Usually this 
 formed the sole " blue and white " decoration ; occasion- 
 ally it was relieved by a monochrome ground, or, on the 
 other hand, it formed a mottled cobalt ground surround- 
 ing designs penciled in some other single color. 
 
 2. The earliest decoration in different colors was in 
 •colored glazes, combined with either a feldspathic or a
 
 JIESTG DYNASTY. 
 
 259 
 
 lead flux, which were applied sur biscuit and fired in the 
 ordinary furnace. 
 
 3. The art of decorating porcelain in vitreous colors, 
 such as had been used previously in painted and 
 cloisonne enameling upon metal, and which were painted 
 on over the ordinary white glaze and subsequently fired 
 a second time in the muffle stove, was of later intro- 
 duction, and flourished especially in the Wan-Ii period. 
 
 4. The Ijlue that was generally used in combination 
 with the enamel colors was always laid on under the 
 glaze. It was not till the seventeenth century, in the 
 reign of K^ang-hsi, that a cobalt blue of vitreous char- 
 acter was invented, to be applied over the glaze like the 
 other colors, and fired like them in the muffle stove.
 
 CHAPTER YIIL 
 
 TECHIS^IQUE DURING THE MING PERIOD. — COLORS. EMBOSS- 
 ING. CHISELING. OPENWORK CARVING. GILDED DEC- 
 ORATION. — DECORATIONS IN ENAMELS. FIRING. 
 
 THERE is au abundance of material iu the official 
 records of the Ming period for au account of the 
 technique of the manufacture of porcelain, but here we 
 hav^e space for only a short abstract. 
 
 The best porcelain-eai-th {t^ao fit), also called huan 
 fu, or " government earth," was obtained from the 
 Ma-ts'ang Mountains, near Hsin-cheng-tu, within the 
 limits of the district of Fou-liang-hsien, where it was 
 mined in four different places, the names of Avhich are 
 given. This earth is described as of rich plastic 
 structure, with sparkling silv^ery spots of crystalline 
 mica disseminated throughout, which indicates its 
 kaolinic character dei'ived from the decomposition of 
 granite. It was brought down the river, the Chang Ho, 
 to Ching-te-chen in boats, four days being spent on the 
 journey in winter and autumn, when the river was low ; 
 less tlian two days in the time of spring floods. The 
 price paid for this eai'th at the imperial manufactory 
 was seven taehcents of silver for each picul of one hun- 
 dred catties.'^ In the eleventh year of the i-eign of 
 Wan-li (1583) Chang Hua-mei, director of the manu- 
 factory, reported in a memorial to the emperor that the 
 hillsides had been mined and countermined iu every 
 direction, and that so much extra labor was required to 
 
 * The tael. or Chinese ounce of silver, is equivalent to about $1.40 (Mexican); 
 the catty to 1^ pounds, so that a picul would weigh 133J^ pounds. 
 
 260
 
 TECHNIQUE DURING THE MING PERIOD. 261 
 
 extract the earth that it was necessary to increase the 
 price to ten tael-cents a picul. In spite of tliis, the 
 supply of kaolin from these hills soon became exhausted, 
 and it had to be brought from Wu-meu-t'o, where a new 
 source of a similar earth had been discovered ; this place 
 was twice as far away, although wdthin the bounds of 
 the district of Fou-liang-hsien, and as no more money 
 was paid, it was difhcult to get it in sufficient quantity. 
 Several other kinds of porcelain-earth were brought to 
 Ching-te-chen from Po-yang-hsien and other neighboring 
 districts, but these were not considered good enough for 
 the imperial manufactory. 
 
 The supply of petuntse, the felds^^athic mineral 
 employed in combination w^ith the above " porcelain- 
 earth " in the preparation of the paste, was obtained 
 from Yii-kan-hsien, in the south, and from Wu-yuan- 
 hsieu, in the east. The petuntse obtained from Yii-kan 
 was valued at twenty tael-cents for eighty catties, that 
 from Wu-yuan at eighty tael-cents for ninety catties, 
 which were reduced to seventy-two catties after a second 
 washing and levigation. The feldspathic rock was 
 pounded on the hillside where it was found, in mills 
 worked by the mountain torrents, and after it had been 
 washed and purified by levigation it was cut into 
 briquettes or little cubes, hence the name of pai-fim-tzu, 
 or " white briquettes." 
 
 The several kinds of rocks which were o-round to form 
 the material for the different glazes are also described in 
 order, and the places of production given. The best 
 were covered w^ith " arbor-vita^-leaf " marks, the Chinese 
 term for the dendrites which were due to manganese 
 oxide. This w^as combined with the hen hui, |^ J/^^ C)r 
 " purified ashes " made by burning alternate layers of 
 lime and ferns on the mountains called Chang-shan, and 
 washing the residue.
 
 262 ORIENTAL CERAMIC ART. 
 
 All these different materials were worked and brought 
 to the potteries by private enterprise, tunnels being 
 excavated for miles at vast expense and with a loss of 
 many lives, although each man's load produced only a 
 few cents. Yet, in the thirty-second year of Wan-li, the 
 governor of the city, Cliou Ch'i-yuan, attempted to make 
 the working of kaolin a government monopoly, till the 
 people rebelled and forced him to withdraw his procla- 
 mations. It appears that the potters were always ready 
 to resist oppression, as in the twent3"-fifth year of the 
 same reign they had burned the gate-house of the 
 imperial manufactory during a riot, in consequence of 
 which the officials responsible for the affair were recalled 
 to Peking and thrown into prison, where they died. 
 
 Colors. 
 
 Blue occupies a paramount position among the colors 
 of the 3fi/i(/ dynasty. We have referred to the blue 
 material brought from abroad by sea during the reign of 
 Hsilan-te and to the " Mohammedan blue," to which the 
 blue and white of Clila-clung owes its brilliant tint. 
 There is a long account of this last Imd cKing in the 
 records of Fou-lianQ;-hsien. The best was described as 
 exhibiting vermilion spots when crushed with a hammer, 
 while the ordinary kind was sprinkled with silvery 
 stars. Sixteen ounces of the imported material yielded 
 three ounces of "true blue," otherwise called "crushed 
 blue." The residue was pounded in a mortar with 
 water, filtered through a stratum of broken porcelain, 
 and by this means an additional quantity of about half 
 an ounce was obtained after decantation. This was 
 mixed with native blue in different proportions to be 
 employed for the undei'glaze decoration of porcelain, a 
 combination of ten parts to one forming the " first-class
 
 TECHNIQUE DURHSTG THE MING PERIOD. 268 
 
 coloiy' while tlie "ordinary blue" was composed of six 
 parts of the Mussulman Ijlue mixed with four parts of 
 indigenous ore. 
 
 The native material, called "^ 4^ ^, ClCing Inia 
 liao, or '' blue decoration color," is the ^vell-know"n 
 cobaltiferous ore of manganese, found in many different 
 parts of China, which has been analyzed by M. Ebel- 
 men,* from a specimen obtained from the province of 
 Yunnan. During the Ming dynasty the supply for the 
 imperial works was first obtained from Po-t'ang, in the 
 district of Lo-p'ing-hsien, near Jao-chou-fu, in the province 
 of Kiaugsi, where it occurred in irregular concretionary 
 masses of peculiar shape. This produced a very dark 
 color, and it is sometimes called by the name of 
 " Buddha's-head Blue," or Fo-fou cKing^ the traditional 
 tint of the hair of Sakyamuni being that of la^isjazulh 
 This source was exhausted in the reign of Chia-ching, 
 w^hen the mines were closed in consequence of disturb- 
 ances, and a new supply was afterward brought fi'ora 
 several places in tlie prefecture of Jui-choii-fu, in the 
 same province, under the name of Sliih tzit cltHng — i. e., 
 " stone or mineral blue." 
 
 After desci'ibing the different kinds of blue, the 
 official records give a list of the materials used in the 
 composition of the colored glazes used in the Ming 
 dynasty from the reign of Chia-cliing onward. This is 
 
 * The Scientific Works of J. J. Ebelmen, who was Superintendent of the 
 Imperial Porcelain Manufactory at Sevres for many years, and wlio died in 
 1852, have been published in three volumes under the title Recuiil des travaux 
 scientijiqtie de M. Ebelmen, revu et corrige par M. S<dvetat, Paris, 1861. They 
 include three memoirs of original research on the composition of the materials 
 employed in China in the fabrication and for tlie decoration of porcelain, pre- 
 pared in association with M. Salvetat (tome i, pp. 347-455). The materials 
 were sent from Ching-tS-cliSn by P^re J. Ly, " pretre Chiuois de la congrega- 
 tion de Saint-Lazare," and by M. Itier from Canton, who obtained the colors 
 himself from the palette of a Chinese artist actually engaged in the decoration 
 of porcelain. These memoirs, read before the Academy, are indispensable for 
 the student of modern Chinese ceramic art. 
 
 1
 
 264 ORIENTAL CERA>[IC ART. 
 
 most iiiiportaut and iuteresting, and the miueral compo- 
 nents can be generally identified, as most of them are 
 ^till in use under the same names. 
 
 They include ^ j^, cKien fen, ''lead carbonate," 
 priced at foui- tael-cents the catty ; X§ z^"^, yen-lisiao, 
 " niter crystals," priced at two tael-cents the catty ; 
 ^ ^, clCing fan, " iron sulphate," priced at three 
 "cash" the catty; J^ 1^<^ ^, tai die shili, "antimony 
 ore," the price of which is not recorded ; -^ ^, liei dt^ien, 
 " lead," priced at two tael-cents and eight " cash " the 
 catty ; /^ ^, sung I/siang, " turpentine," priced at five 
 " cash " the catty ; Q ^, jxu' fan, " white charcoal," 
 priced at five tael-cents the catty ; ;^ :^§, chin 2^0, " gold 
 leaf," ])riced at twenty-five tael-cents the hundred sheets ; 
 and "^ ^^, hu fimg, " old coppei'," priced at six tael- 
 cents the catty. 
 
 The list of materials is followed by a series of prescrip- 
 tions for the preparation of the colored glazes, ten in 
 number altogether. 
 
 1. Celadon Glaze, S W ift» Tou-diing Yu, composed 
 of 'J^ 7K5 V'^^ shui, 1^1 J/>c» ^^<?^^ ^^'^^h ^^^ HC i.j Imang 
 fu, mixed together. The first two materials are feld- 
 spathic mineral, or petrosilex ground with water, and 
 ashes prepared by burning lime with ferns, the ingredi- 
 ents of the ordinary white glaze, and huang fu, literally 
 " yellow earth," is a ferruginous clay. The peculiar 
 grayish-green tint known to us as " celadon," passing into 
 shades of brown if the iron be in excess, was called ])y 
 the Chinese at this time tou-cliHng, or " pea-green " ; we 
 have seen in the official indents that large fish-bowls were 
 ordered to be furnished of this color in the reign of 
 Cliia-cliing. The peculiar tint is supposed to be due to 
 the silicates of lime and ii'on developing a greenish shade 
 under the influence of a reducing atmosphere in the fur- 
 nace, maintaining the iron at a minimum of oxidation.
 
 TECHNIQUE DURING THE MING PERIOD. 265 
 
 2. Brown Glaze, ^ ;^ ^, Tziv-cliin Yii, composed 
 of prepared lime ground with water, mixed witli fzii-chin 
 and pul\^erized quartz suspended in water. Tliis is the 
 
 fond laque of French ceramists, passing from the darkest 
 bronze or coffee-color to " dead leaf " and " old gold " 
 according to the proportion of the tzu-chin mineral, which 
 is rich in iron. The Chinese name means " Ijui'nislied 
 gold," which is an appropriate rendering of some of the 
 clearer shades. The composition of this glaze is given 
 in full detail by Pere d'Entrecolles in his second letter, 
 although he gives it wrongly as a new invention of his 
 time. It is mixed with the ordinary white glaze and 
 applied upon the unbui'ued Avai'e. 
 
 3. lurquoise Glaze, ^ '^ J^, Ts^ui se Yu, composed 
 of a mixture of lien clCeng hu fung shtii, a pulverized 
 preparation of copper suspended in water, niter (Jtsiao), 
 and quartz {sJiih). It is uncertain whether laminge of 
 metallic copper, or an oxide like verdigi'is, was employed 
 in this mixture. Whichever it was, .the result would be 
 a silicate of copper, producing the beautiful finely crackled, 
 glaze of turquoise tint known to the Chinese as ts^ui, from 
 its resemblance to the color of the plumes of the king- 
 fisher, which they use in jewelry. Bowls and saucer- 
 shaped plates enameled with this monochrome glaze, 
 with the mark of the reign of Cliia-cliing underneath, are 
 not rare. 
 
 4. B rigid Yellow Glaze, ;^ ^ y^, Cliin luiang Yv, 
 composed by mixing sixteen ounces of pulverized lead 
 (Jiei chHen mo) with one and one-fifth ounces of antimony 
 ore {che shili), and grinding them together in a mortar. 
 Hei che slu'h, also called Tal che sJiih, liei and tal both 
 meaning " black," is a mineral containing iron and anti- 
 mony. It was analyzed by Brongniart under the name 
 oifer oligistique terreux. The antimony is the source of 
 the yellow, which becomes more or less orange on account
 
 266 ORIENTAL CERAMIC ART. 
 
 of the presence of iron in the ore. It is the " imperial 
 yellow " of collectors, and often occurs as a monochrome 
 glaze, with the marks of all the reigns of this dynasty 
 from Himg-chik downward, either plain or enameled 
 over iive-clawed dragons and other designs incised in the 
 paste. 
 
 5. B rigid Green Glaze, ^ |^ vfi, Cltin lii Yu, com- 
 posed by mixing together sixteen ounces of pulverized 
 lead, one and two-fifths ounces of pulverized copper 
 (hu fung 7no), and six ounces of pounded quartz (sJtih 
 mo). The copper is the source of the green, forming a 
 silicate, which is dissolved in the vitrified glaze charged 
 with oxide of lead. The last three glazes in this list — 
 viz., the turquoise, yellow, and green — are often classed,, 
 by French writers, with the purple glaze which follows 
 afterward under No. 8, as couleurs de demi-graud feu. 
 They differ from the rest in having either a lead or an 
 alkaline flux. 
 
 6. Bright Blue Glaze, ^ W Jfi' Chin diUng !J^;/, com- 
 posed by mixing sixteen ounces of ^, fe'wi, finely pow- 
 dered, with one ounce of !^ -^ ^, sliili tzu eliding. The 
 dark blue glaze used by enamelers on metal, colored with 
 silicate of cobalt, is called tshd, and the shih tzu cJiHng i& 
 the native cobaltiferous ore of manganese found, as we 
 saw above, at Ju-chou-fu, in Kiang-si province. The 
 combination would produce the bi'illiant sapphire-blue of 
 pui'jjlish tint, like the hleu df( roi of Sevres, which is 
 occasionally seen in a collection of CMa-cliing cups. It 
 is distinguished from the ordinary purple glaze of the 
 period by being a cotdetir du grand feti. 
 
 7. Coral-Med, or Iron-Red, ^ ^X» Fan Hung, com- 
 posed of one ounce of calcined sulphate of iron {cJiHng 
 faii^ and five ounces of carbonate of lead {chbien feri) 
 
 mixed together with Canton ox-glue {Kuang cliiao). 
 This is the well-known " coral red " of the mufile stove,
 
 TECHNIQUE DURING THE MING PERIOD. 267 
 
 which came into vogue in the reign of Chia-ching, aud 
 seems, from its cheapness and facility of firing, to have 
 completely supplanted the more brilliant co[)per-red 
 du grand feu, which made the reign of Hman-tt so 
 illustrious, and which reappears in the reign of K'^ang-lisi 
 in the sang-de-hcBuf glaze of the Lang Yao. AVith the 
 -exception of gold it is the only muffle color in the list, 
 and it is a curious fact that even in the present day the 
 workshops of the decorators in enamel colors at Chiug- 
 te-chen are called hung tien, or "red shops," another 
 independent evidence of the early appearance of this 
 glaze. 
 
 8. Furjde Glaze, ^ '^ 'J^, Tzu se Yu, composed of 
 sixteen ounces of pulverized lead (Jiei cJi'ien mo), one 
 ounce of cobaltiferous ore of manganese (shili tzu cWing), 
 and six ounces of pounded quartz (sJiih mo). This is 
 the manganese purple formed by the solution of a slightly 
 cobaltiferous oxide of manganese in a lead flux, Avhich is 
 so often found in association with the turquoise glaze, 
 and, like this last, it is generally minutely crackled 
 throuo-hout. 
 
 9. Pale Blue Glaze, '^ ^ 'J^, Chiao citing Yu, com- 
 posed of yu shui and lien Itui, the ingredients of the 
 ordinary white glaze, combined with sliili tzu dicing, the 
 indigenous ore of cobalt. Chiao cWing means literally 
 *' watered blue." This is the ordinary blue of the grand 
 feu, as M. Salvetat remai'ks, proved by the presence of 
 lime and petrosilex. The intensity of the blue would 
 depend on the amount of cobalt in the crude material, 
 but it would always have a grayish hue when compai'ed 
 with the bright blue glaze of No. 6. 
 
 10. PureWhite Glaze, ^ Q \^,Ch'un 2X(iYu, com- 
 posed of pounded feldspathic mineral or petrosilex 
 ground with water (gu sJiui) and incinerated lime (lien 
 hul). This is the ordinary white glaze of Chinese por-
 
 268 OEIENTAL CERAMIC ART. 
 
 celaiii, which was often called at the time THen pa% fieiv 
 lueaniDg also " piii-e/' 
 
 Among the other decorative processes described in the 
 records of the imperial manufactory during the reign of 
 Wan-lj are : 
 
 1. Embossing. 
 
 2. Chiseling. 
 
 8. Openwork Carving. 
 
 4. (xilded Decoration. 
 
 5. Decoration in Enamel Colors. 
 
 1. Embossed F ieces, ^ ^, Tul Cli'i, were made by 
 applying to the surface, before firing, cuttings of the 
 same paste of which they were formed, and working 
 these with a moist brush into the shape of dragons, phce- 
 nixes, flowers, or other ornamental designs. The por- 
 celain thus decorated in relief was afterward invested 
 with' glaze and finally fired in the kiln. 
 
 2. Engraved Pieces^'^ ^, Clivi ChH, were incised in 
 the paste, as soon as it had been sufficiently dried, with 
 dragons and other designs, chiseled with an iron style,. 
 and were subsequently glazed and fired. The work was 
 sometimes so delicately executed tliat the pattern could 
 be seen only by holding the porcelain up to the light,, 
 like the water-mark in paper, and the mai'k was penciled 
 under the glaze in a similar fashion, which had the spe- 
 cial name of Hg ^, an hna — i. e., " hidden or veiled deco- 
 ration." These processes were not invented at this time,, 
 however, as we often find specimens of Ting-chou por- 
 celain of the Sung dynasty with embossed and chiseled 
 ornament. 
 
 3. Openivorh Carving, ^ 3^1, Ling-lung, of porcelains 
 with ornaniental designs in pierced work, is described 
 as having been executed by the potters at this period^ 
 although protested against by the censors as too elab- 
 orate and costly even for the emperor's palace.
 
 TECHNIQUE DURING THE MING PERIOD. 269 
 
 I will pause here a \vliile to describe an openwork 
 vase of the time decoi'ated in colors which is in my col- 
 lection at Peking. It is bottle-sha})ed, eighteen inches 
 high, with an ovoid body, gradually tapering into a 
 broad, cvlindrical neck, ^vliich swells af^ain toward the 
 mouth. The mouth is surrounded by a broad upright 
 lip, which is carved with an open band of ornamental 
 scrolls, and the body is perforated thi'oughout in the 
 interstices of the design, so as to allow an inner solid 
 casing to be visible through an irregular open network, 
 which is carved to represent two pairs of phoenixes dis- 
 played flying through clouds. The entii'e surface of the 
 vase is richly brocaded in coloi's. The broad outlines of 
 the decoration having been first limned in cobalt-blue of 
 pale shade and penciled ^vith lines of darker blue, the 
 remaining parts are painted in enamel colors, including a 
 rich vermilion red, a green of camellia-leaf tint, and 
 a yellow of palish tone. The yellow parts are outlined 
 in red, the other colors penciled with darker lines of red 
 and green respectively, the last becoming almost black. 
 The two rings of palmations which spread upward and 
 downward to decorate the upjier part of the neck exhibit 
 all the four colors, the leaves being painted in regular 
 series — blue, red, green, and yellow. The lower half of 
 the neck is covei'ed with a broad band of peony scrolls, 
 interrupted by two projecting mask-handles, carved in 
 openwork relief, perforated for rings, and enameled to 
 represent lions' heads. The shoulder of the vase is encir- 
 cled by a floral diaper of lozenge pattern, penciled in 
 red, displaying a ring of the eight Buddhist emblems 
 • with Avaving flllets painted in underglaze cobalt-blue, 
 and a lightly sketched border of conventional foliations 
 surrounds the base, which is perforated at regular inter- 
 vals with four large holes, through which sti'aps could 
 be passed.
 
 270 ORIENTAL CERAMIC ART. 
 
 The vase is a specimen of the cLass which fiirnished 
 models for the " old Japau " Imari pieces, which Jacque- 
 mart comprised in his famille clirysanthemo-'peonie'nne^ 
 although the Japanese copies are of rough crude work. 
 It is interesting, on the other hand, to compare the per- 
 fectly finished technique of the CKien-lung period, of 
 which Fig. 185 exhibits a most excellent example. The 
 waist of the gourd is fitted with a revolving belt, and 
 the inner vase is painted witli bats flying among clouds, 
 seen through the rifts of the ornamental trellis bands of 
 the outer casing. The delicate profusion of ornamental 
 design is well indicated in the picture ; it is executed 
 in fine enamel colors, with touches of gilding. It offers a 
 complete contrast to the bold execution and strong color- 
 ing of the old Ming vase, which is still not without its 
 charm. 
 
 4. Decoration in GolJ, ^ ;^, Miao Cliin^ was applied 
 to porcelain that had been [)reviously fired. The gold 
 leaf, combined with a tenth part l)y weight of cai'bonate 
 of lead, was mixed with gum and spread on with the 
 brush, and the porcelain was fired again in the stove that 
 was employed to fire the coral-red. A second coat was 
 sometimes applied afterward, and the piece was again 
 fired in the mufHe stove. It was used solelv as a o-ilded 
 monochrome, as well as in combination with other colors. 
 The lists already mentioned give instances of the use of 
 gilding in combination with blue and white, directing 
 chrysanthemum flowers and yellow hibiscus blossoms to 
 be penciled in gold. 
 
 5. Decoration in Enamel Colors, 51 ^> ^^u ts'ai, lit- 
 erally " in five colors," was only occasionally employed 
 in the inq^erial manufactor}^ although it was much used 
 in the private potteries at Cliing-te-chen in the reign of 
 
 Wan-li, when the art of painting in blue declined, from 
 the want of proper materials. The colors employed were
 
 TECHNIQUE DURING THE MING PERIOD. 271 
 
 vitreous fluxes, containing only a small percentage of 
 metallic oxides, the same that liad previously been em- 
 ployed in enameling upon metal. They were painted 
 upon white porcelain that had been fired in the furnace, 
 and then baked a second time in a muflle stove to fix the 
 colors. Some j)arts of the decoration had often been 
 previously penciled in underglaze cobalt-blue, and the 
 outlines of the designs were usually sketched in the same 
 color. 
 
 Firing. 
 
 Several kinds of furnaces are mentioned in the recoi'ds. 
 The imperial manufactory in the l^eginning of the reign 
 of Chia-ching contained fifty-two furnaces, of which thir- 
 ty-t\vo were hang yao^ in which the large fish-bowls were 
 fired, the remainder being either cli'ing yao^ for baking 
 the ordinary blue and white, or se yao, for firing the col- 
 ored ware. Later in the reign, when more blue and 
 white was required, it is related that sixteen of the I'ang 
 yao wei'e converted into cli'ing yao. Besides these there 
 were the lisia yao kilns for baking the clay cases or seg- 
 gars, in which the porcelain was placed inside the fur- 
 nace to shield it from the blast of the fire. 
 
 The hang yao are described as measuring six feet 
 broad in front, six and a half feet broad at the back, and 
 six feet in depth, with rounded top. Only one fish-bowl 
 of the largest size or of the second size could be fired at a 
 time, or two of the third size, placed one above the 
 other. A gentle fire was kept up for seven days and 
 nights, so as gradually to dry the materials, then a fierce 
 fire was raised and maintained for two days, till the seg- 
 gars were seen to be red all over and emitting rays of 
 white heat. The fire was then stopped, all the orifices 
 sealed up, and the contents were left undisturbed for ten
 
 272 ORIENTAL cera:mic art. 
 
 days more before tlie kiln was opened. The fuel was 
 pine billets, of which one hundred and twenty loads, of 
 one hundi'ed catties, each valued at four tael-cents of 
 silver, were consumed for each firing, ten more being 
 allowed in rainy weather. The largest bowls were 
 valued at fifty-eight taels each, those of the second size at 
 fifty taels, although only twenty and eighteen, afterward 
 raised to twenty-three and twenty taels, used to be paid 
 by the ofiicials for those fabricated at private kihis. 
 The ofiicial " squeeze " was tight in China, even four 
 centuries a^-o. 
 
 The cKiiig yao, or ''blue kilns," were of similar shape 
 to the above, but of smaller size, the corresponding 
 dimensions in Chinese feet being five, five and a half, and 
 four and a half. The charge consisted of about two hun- 
 dred of the ordinary round dishes and saucer plates ; or 
 of one hundred and fifty to one hundred and sixty of 
 those of larger diameter. It would hold twenty-four of 
 the largest bowls, or thirty bowls one foot in diameter, 
 only sixteen or seventeen of the ovoid jars with bulging 
 shoulder called thi))^ but five hundred to six hundred 
 little wine-cups. The gentle fire lasted two days, the 
 fierce fire twenty-four hours, the period being Judged by 
 the state of the seggars as before, after which the furnace 
 was sealed np. From first to last the firing of the blue 
 kilns took five days, and about sixty loads of fuel were 
 consumed, ten raoi-e if the charge consisted of large 
 bowls, tall jars, or temple bricks, or if the weather were 
 wet. 
 
 The private kilns for firing blue and white were of 
 larger size and held several times the quantity, the 
 charge consisting of over one thousand of the smaller 
 pieces, yet they are said to have used only about the 
 same amount of fuel. The seggars were piled in tiers 
 and ranged in seven rows ; the first two rows next the 
 
 I
 
 TECHNIQUE DURING THE 3IING PERIOD. 273 
 
 entrance were filled with coarse pieces, the third row 
 contained a few good pieces, the middle three I'ows all 
 the best porcelain, and the last three rows next the 
 chimney coarser ware again. In the imperial furnace, 
 where all the porcelain was of the highest class, empty 
 cases stood at the front and back, to screen those in the 
 middle from the blast. 
 
 There is no particular account in the official recoi'ds of 
 the se yao^ or furnaces for the colored ware, but in the 
 THen Icung THai ton, a small manual of the industrial arts 
 published toward the end of the Ming dynasty, there is 
 an illustration showing the form of the open and closed 
 stoves used at the time to fire the poi'celain decorated 
 wnth enamel colors. This picture is i-eproduced among the 
 woodcuts illustrating the article " Porcelain " in the large 
 Chinese encyclopaedia, T''ou sliu clii clCeng^ in 10,000 
 books, a copy of which is in the British Museum. 
 
 Some of the private potters acquired renown for their 
 ceramic pi'oductions in the reign of Wan-li, and at this 
 time we begin to hear of copies of antiques, a branch of 
 art so much developed afterward. In the province of 
 Kiang-nan at the " boccaro " potteries of Yi-hsing-hsien, to 
 which reference has already been made, a man named Ou 
 became celebrated for his productions, which ^\ere called 
 after him Ou Yao. He succeeded in reproducing the 
 crackled glaze of the ancient Ko Yao, and the different 
 colors of the imperial ware and Chun-chou porcelain of 
 the Sur^g dynasty, upon the characteristic brown stone- 
 ware of the place. T^vo of his glazes were afterward 
 copied in turn by T'ang Ying, as we shall see j)resently. 
 
 The imitations of Ting-chou white porcelain made at 
 Ching-te-chen were still more successful. The I^o wn yao 
 Ian says of these : " The new censers modeled in the 
 form of the four-legged sacrificial ting of the ancient 
 sovereign Wen Wang, and of the bronzed bowl-shaped
 
 274 ORIENTAL CERAMIC ART. 
 
 yi with luask-bandles of mousters' heads aud halberd- 
 shaped '■ ears,' are in no way inferior to the original pro- 
 ductions of the Ting-chou [)otters, and they may even be 
 mistaken for genuine old specimens, if the gloss of the 
 furnace has been removed by friction. The best are 
 those made by Chou Tan-ch'uan." Many stories are told 
 of the marvelous ingenuity of this artist, who seems to 
 have been on friendly terms with some of the foremost 
 scholars of the time, of Avhich I may quote one : " One 
 day, as Chou Tan-ch'uan \vas traveling along the river in 
 a merchant boat to the province of Kiang-uan, he landed 
 at Pi-ling to visit his friend T'aug, President of the 
 Imperial Sacrificial Court, and asked to be allowed to 
 look at an ancient Ting-chou censer, the dimensions of 
 which he measured with his fingers, while he took impres- 
 sions of the chiseled decoration upon paper, which he put 
 in his sleeve and carried with him Ijack to Ching-te-chen. 
 Six months later he returned, and when he saw T'ang 
 again he drew from his sleeve a censer, exclaiming : 
 'Your Excellency has a white Ting-chou censer; I have 
 got its fellow ! ' T'aug Avas greatly surprised. He com- 
 pared it with the ancient censer in his own collection, and 
 there was not a hair's-breadth difference. He tried the 
 cover and the stand of his own, and they fitted exactly. 
 He asked him where he had got it. Chou replied: 'I 
 made it as a copy. I ^vill not deceive you.' The presi- 
 dent, delighted, purchased it for forty taels of silver, and 
 put it in his cabinet, beside the original censer, as if they 
 were a pair. Some years later, at the end of the reign of 
 Wan-Ji, Tu Chiu-ju, of Huai-an, after he had seen in a 
 dream a vision of T 'ang's ancient censer, succeeded in 
 obtaining from Chun-yii, a grandson of the president, the 
 imitation made by Chou for one thousand taels." 
 
 A still more famous potter was the famous Hao Shih- 
 chiu, who adopted the sobriquet of " Hermit hidden in
 
 TECHNIQUE DURING THE MING PERIOD. 275 
 
 the teapot," and lived in a but with a broken potsherd 
 for a window, where he capped the verses of his literary 
 friends, and fabricated the delicate wine-cups which 
 people thronged from all parts of the empire to buy. 
 The most beautiful of these tiny cups were the ^ |^ 
 ^, Uu hsia clian^ or " cups of liquid dawn," invested ^\ ith 
 undulations of brightest vermilion tint, and the ^ ^ 
 ^, luan mu pel, or " eggshell cups," of pure translucent 
 white, so thin that they were said to float upon water, 
 and so light that they weighed only half a cliu — that is, 
 less than a gramme each. He also excelled in the manu- 
 facture of teapots, some of which were of pale celadon 
 color, like the old "ware of the Sung dynasty, but 
 uncrackled ; others enameled in reddish shades of brown 
 {tzii chin) or "dead leaf," made after the " boccaro" tea- 
 pots of that color fabricated at Yi-hsing-hsien by the 
 Ch'en family of potters, all of which he inscribed under- 
 neath with his own " hermit mark." 
 
 An eggshell wine-cup of this reign is shown in Fig. 18, 
 one of a pair fit to be compared with the translucent 
 cups of the hermit Hao Shih-chiu, Avhich have the mark 
 of the reififn of Wan-U inscribed underneath. Pressed 
 upon a mold before glazing, the decoration appears 
 inside in o-entle relief, becomius; more visible when the 
 delicate cup is held up to the light filled with yellow 
 Shao-hsing wine. The lineaments of one of the dragons 
 are but dimly visible in the picture.
 
 CHAPTER IX. 
 
 CHING-T]&-CHtN. THE IMPERIAL PORCELAIN" MANUFACTORY. 
 
 BEFORE proceeding to tlie consideration of the 
 ceramic productions of the present dynasty it is 
 necessary to give a short description of Ching-te-chen, 
 which, as we have already shown, has long been the 
 chief seat of the porcelain industry in China, where it 
 occupies a more prominent position than does Sevres, in 
 France, or Meissen, in Germany. It has, indeed, become 
 the exclusive source of artistic porcelain, and supplies 
 the demands of the whole empire, not oul}^ for ohjeU de 
 luxe, but also for the better class of household porcelain 
 ware, such as dinner services, teapots, and the like. The 
 factories in the other provinces, established where there 
 happened to be available deposits of white plastic clay, 
 furnish only coarse ware for local consumption. The 
 exce[)tion is that of Te-hua, in the province of Fuchien 
 (Fukien), where a kind of white porcelain is produced 
 covered with a soft, velvety glaze of creamy tint, com- 
 prising ornamental vases, wine-ewers and wine-cups, tea- 
 pots, horn-shaped cups of archaic design, etc., and which 
 is especially celebrated for its statuettes of divinities and 
 fantastic figures. This will be referred to more fully in 
 Chapter XXII. 
 
 The manufacture of porcelain at Ching-te-chen, accord- 
 ing to local tradition, as it is stated in the official de- 
 scription of the province, dates from the Han dynasty 
 (b. c. 206 — A. D. 220), but the annalist adds that nothing 
 is known with certainty about the productions of these 
 remote times. 
 
 276
 
 CHnfG-T:fc-CH:feN. 277 
 
 The earliest record of the place iu tLe general annals 
 of the empire is iu a. d. 583, the first year of the reign of 
 the last sovereign of the short-lived Cli'en dynasty, who 
 ordered a supply of porcelain plinths {fao cJihi) to be 
 made there, to serve as pedestals for the support of the 
 Avooden pillars of the large palaces which he was build- 
 ing at his capital, Chien-k'ang (the modern Nanking). 
 They w^re sent, elaborately molded in ornamental designs, 
 in the style of the ordinary plinths carved out of solid 
 stone, but were rejected as not sufficiently solid. A 
 second supply was furnished in due course, but still they 
 were not strong enough for the purpose required, and 
 the imperial decree had to be withdi-awu. The plinths 
 of the inunense columns which support the roofs of such 
 large buildings are usually made of carved marble or of 
 some other hard stone, and molded white porcelain seems 
 to be the most unsuitable of materials. It is, however, 
 employed with success in Chinese architecture where 
 less strain is required, as in the famous porcelain tower 
 of Nanking, which was rebuilt in the reign of the 
 Emperor Yung-lo (1404-24), and formed one of the chief 
 ornaments of the ancient capital till the pagoda was 
 destro3'ed by the Taiping rebels during their occu})ancy 
 of the city (March 19, 1853, to July 19, 1864). Most 
 museums possess a specimen of the Avhite L-shaped bricks 
 of Avhicli it was built, coated with a lustrous white glaze, 
 which were made at Ching-te-chen. The porcelain of the 
 sixth and seventh centuries must have been of much the 
 same character as these bricks, being always compared by 
 'writers of the time to pure white jade. 
 
 It was under the name of imitation jade (chia i/fl) 
 that the potters of Hsin-p'ing (the modern Fou-liang) 
 presented their ceramic ware to the founder of the 
 celebrated T^ang dynasty iu the year 621, when they 
 carried it to the distant capital of Ch\ang-au, iu the
 
 278 ORIENTAL CERAMIC ART. 
 
 j)roviiice of Shensi, and it is said to have rivaled this 
 stone, so precious to the Chinese, in its whiteness, trans- 
 lucency, and musical ring. The new porcelain soon 
 became more widely known, and ^ve find in the official 
 biography of Chu Sui a notice of an imperial decree 
 received by him, when he was Governor of Hsin-p'ing, 
 in the year 707, ordering the production of a set of 
 sacrificial vases for the funeral temple of the Emperor 
 Chung-Tsung, the fourth of the T\ing dynasty, who had 
 just died. The manufacture seems to have degenerated 
 afterward, and the pale blue ware of other potteries came 
 into wider vogue, the new color being preferred from its 
 enhancing the tints of wine and tea, so that the com- 
 paratively coarse fabric of the cups made at these places 
 was overlooked. 
 
 It was not until the aS'i^?^^ dynasty that regular officials 
 were appointed to superintend the manufacture of 
 porcelain and to send supplies to the capital for the use 
 of the imperial court. The name of Ching-te-chen dates 
 from this time, and it is derived from that of the period 
 Cliing-te (1004-1007), in the first year of which a decree 
 was issued ordering the official in charge of the manu- 
 factory to inscribe underneath the pieces the mark Ching 
 te nien chili, " Made in the pei'iod Ching-Ur The place 
 had been previously known as Ch'ang-nan-chen, from its 
 position on the southern bank of the Ch'ang River, the 
 term cheii, which may be translated " mart," being applied 
 in China to a few populous centers of trade which are 
 not fortified with regular walls. 
 
 Ching-te-chen is in the province of Kiangsi, on the 
 south of the great Yangtze River, in latitude 29^ 16' 
 north, and longitude 0° 48' west of the meridian of 
 Peking-, accordino; to the observations of the French 
 missionaries of the eighteenth century. The river 
 Ch'ang, which rises in the mountains which separate
 
 CHmG-T:&-CH]fcN. 279 
 
 the proviuces of Kiangsi and Anbui, after a course of 
 about one hundred miles in a soutliwest direction runs 
 into the Poyang Lake. On its nortliei'u bank, about the 
 middle of its course, is the small district town of Fou- 
 liang-hsien, and near its mouth the prefectural city of 
 Jao-chou-fu, which has jurisdiction over this and six other 
 walled towns. Ching-te-chen is situated about four miles 
 below Fou-liang, on the opposite side of the river, and is 
 under its jurisdiction, although the mandarin in immediate 
 charge is appointed from Jao-chou, with the rank of 
 T'ung-chih, or sub-prefect. There is another official in 
 charge of the imperial manufactory, who is usually 
 deputed from the imperial household (Nei Wu Fu) at 
 Pekins;, and who is at the same time commissioner of the 
 important customs station at Kiukiang, established near 
 the point where the Poyang Lake communicates with the 
 Yangtze. The funds for the porcelain works are directed 
 to be taken from the customs-chest. The commissioner 
 forwards the porcelain by boats to Peking, which go 
 down the Yangtze River to Chinkiang, and thence up 
 the Grand Canal to Tien-tsiu. At the junction of the 
 Grand Canal with the Yellow River there is another 
 large customs barriei', with an imperial commissioner, 
 stationed at Huai-an-fu, who used formerly to be ex-officio 
 superintendent of the porcelain works and privileged to 
 find the funds, T'ang Ying succeeded Nien-si-yao as 
 commissioner of customs at Huai-an-fu in 1736, with the 
 control of the customs of the three provinces of Kiangsi, 
 Kiangsu, and Anhui, and he held the post till he was 
 transferred to Kiukiang, where he remained till 1749, 
 when his successor, Ch'in Yung-chiin, was appointed. 
 The annual sum allowed from the Huai-an transit dues 
 had been eight thousand taels. Tang Ying says in his 
 preface to the Fou-liang-Jisiencliih, dated 17-40: " Li the 
 sixth year of the reign of Yung-clieng (1728) I was
 
 280 ORIENTAL CERAMIC ART. 
 
 appointed to take charge of the imperial potteries. In 
 the first year of GhHen-lung (1736) I was appointed 
 commissioner of customs at Huai-an, remaining also in 
 superintendence of the potteries, but during my time 
 there, on account of the great distance, I was only once 
 able to visit Ching-te-cheu, when I found everything 
 going on satisfactorily. Last year (1739)* I was trans- 
 ferred to Kiukiang. During my regime over ten thousand 
 taels have been devoted yearly to the Avork, and several 
 hundreds of thousands of articles of porcelain have been 
 provided for the use of the emperor." 
 
 To the south of the Poyang Lake, twenty miles distant 
 by river, is the large city of Nan-ch'ang-fu, the capital of 
 the province of Kiaugsi, which is full of porcelain shops, 
 its principal staple being the porcelain of Ching-te-chen, 
 wdiich it distributes to all parts of the south of China. 
 The trade route to Canton passes this city, and large 
 quantities are conveyed thither, consisting partly of 
 finished pieces, partly of plain white porcelain, which has 
 to be decorated in enamel colors by the Cantonese artist 
 before it is finally exported. The journey is made by 
 water with the exception of a day's portage across the 
 Mei-ling pass. This is shown in a series of water-color 
 pictures from Canton, intended to illustrate the porce- 
 lain manufacture of China, which hang framed in the 
 British Museum, and which conclude with pictures of 
 the land journey to Canton and of the final packing of 
 the things in boxes for shipment to Western countries. 
 
 * It was in this year, accordiug to the history of the province of Kiangsi, 
 that the chief commissionership of customs was transferred to Kiukiang, T'ang 
 Ying remaining in charge and retaining also the directorship of the potteries. 
 Tliis city is much nearer to Cliing-te-chen, and the director resided there part 
 of every year to superintend the work in person. Directors were appointed 
 from the imperial household in rotation up to the forty-third year of Ch'ien- 
 lung (1778), after which the control was left to the provincial authorities. In 
 the present day the Tao-t'ai of Kiukiang, who is the native commissioner of cus- 
 toms, is also ex-officio superintendent of the imperial potteries at Ching-te-chen.
 
 CHING-T:fc-CH:fcN. 281 
 
 Fou-liaug is situated in a liilly country surrounded by 
 mountains of graphitic granite, from the gradual decom- 
 position of which the kaolinic deposits have been formed. 
 The natives, as the annalist quaintly I'emarks, partake of 
 the rude and ruo:«:ed nature of their surrounding's. The 
 river runs down a rocky gorge till it reaches Ching-te- 
 <jhen, where there is a tract of open country about two 
 miles in length and breadth, bounded on the north and 
 west by the river, which makes a wide curve, on the 
 south by a smaller stream flowing from the west to Join 
 tlie river, and on the east by the Ma-an Shan or '^ Saddle- 
 back Mountains." These hills supply the red clay for 
 the seggars and for the reproduction of antiques with 
 •colored bodies. Across the south river is the hamlet of 
 Hu-t'ien-shih, with a pagoda and the ruins of ancient 
 potteries of the S^ing dynasty. A quantity of potsherds 
 of ancient porcelain wei'e collected from these ruins in 
 the eio-hteenth century and used as models for mono- 
 chrome glazes, as will presently be seen. The river 
 strand at Ching-te-chen is thirteen // long, reckoning 
 from the temple of the goddess of Mercy, where it 
 emerges from the hills, to the southwest, where it enters 
 the hills again, re-enforced by the southern stream, and it 
 derives from this its common name of " The Thirteen Li 
 Mart." Within the angle of junction of the two rivers 
 there is an open space of waste ground known as Hsi- 
 kua Chou, or " Watermelon Island," which forms a mar- 
 ket-place where the porcelain peddlers display their 
 stalls. The rest of the space is densely packed \\\i\\ 
 streets of shops, temples, and guild-houses, the intervals 
 being filled with the kilns and workshops. 
 
 There is a good general map of the place given in the 
 Ching-te-chen T'^ao lu, as well as a bird's-eye view of the 
 Yli ch'i ch'ang, the imperial manufactory. I have seen it 
 also penciled in blue upon one of the porcelain slabs of a 
 
 I
 
 282 ORIENTAL CERAMIC ART. 
 
 large screen, with the impeiial porcelain manufactory in 
 the middle, encircled by a number of scattered kilns 
 vomiting flames and smoke from their wide chimneys. 
 
 Pere d'Entrecolles writes in his first letter,* dated 
 Jao-chou, September 1, 1712 : " The sojourn that I make 
 from time to time at King-te-tching, for the spiritual 
 needs of my converts, has afforded me an opportunity of 
 learning the way they make there that beautiful porce- 
 lain which is so highly esteemed, and which is exported 
 to all parts of the world. Besides what I have myself 
 seen, I have gathered many particidars from the Chris- 
 tians, among whom there are several who work in porce- 
 lain, and from others engaged in its commerce on a large 
 scale. I have assured myself of the truth of their replies- 
 by a constant reference to Chinese books treating upon 
 the subject, more especially the annals of Feou-leam^ the 
 fourth volume of which contains an article on porcelain, 
 
 " King-te-tching, which is a dependency of Feou-leam^ 
 is hardly more than a good league distant from it, and 
 this last city is under the jurisdiction of Jao-tcheou. 
 The annals do not tell us who was the inventor of porce- 
 lain, nor refer to ^vhat experiments or to what happy 
 chance the invention is due. They only say that in 
 ancient times the porcelain was exquisitely white and 
 free from any fault, and that the articles that were made 
 of it and transported to other kingdoms were called 
 'precious jewels of Jao-tcheou.' Lower down they add r 
 ' The beautiful porcelain of a vivid brilliant white and of a 
 fine sky-blue is all produced at King-te-tching ; that made 
 in other places differs widely both in color and quality.^ 
 
 " In fact, without speaking of the works of pottery 
 which are made everywhere throughout China, and 
 which ai'e never called porcelain, there are some prov- 
 inces like Fou-kien and Canton where they work in 
 
 * Lettres edifiuntes ct curieuses, xviii, p. 224.
 
 CHING-T:fc-CH]fcN. 283 
 
 poi'celain, but straugers can not be deceived with tliese 
 products ; that of Fou-kien is of a snow white ^vllicb has 
 no brilliancy, and which is not decorated with other 
 colors. Workmen from King-te-tching carried there for- 
 mei'ly all their materials, in the hope that they would 
 reap a rich harvest from the Europeans who drive a large 
 trade with Emouy (Amoy), but it Avas all in vain ; they 
 never succeeded there. The reigning emperor (K^iug- 
 hsi), who will io-nore nothino- also brouo-ht workmen in 
 porcelain to Peking, with everything employed by them 
 in the work ; they neglected nothing, in order to succeed 
 under his supervision, yet all their labor was wasted. It 
 is possible that interested motives may have contributed 
 to their want of success ; however that may be, it is 
 Kino;-te-tchino; alone which has the honor of furnishino; 
 porcelain for all parts of the Avorld. Even Japan comes 
 to buy it in China. 
 
 " King-te-tching only needs to be suiTounded by walls 
 to be called a city, and even to be compared with the 
 largest and most populous cities of China. The places 
 called telling {clieii), which are few in number, but dis- 
 tinguished by a large traffic and trade, are not usually 
 walled — perhaps in order that they may grow without 
 hindrance, perhaps to facilitate embarking and disem- 
 barkinoj merchandise. Kinof-te-tchins; is estimated to 
 contain eighteen thousand households, but some of the 
 large merchants have premises of vast extent, lodging a 
 prodigious multitude of workmen, so that the population 
 is said to number over a million souls, who consume 
 daily over ten thousand loads of rice and more than a 
 thousand hosrs. It extends for more than a leao'ue alons: 
 the bank of a fine river. It is not, as you might imagine, 
 an indiscriminate mass of houses ; the streets are straight 
 as a line and cross at reoular intervals ; everv inch of 
 ground is occupied, so that the houses are too crowded 

 
 284 ORIENTAL CERAjVIIC AET. 
 
 and the streets far too narrow ; when passing along you 
 seem to be in the midst of a fair, and hear nothing but 
 the cries of the street porters trying to force their way 
 through. 
 
 " Living is much more expensive at King-te-tching 
 than at Jao-tcheou, because everything consumed there 
 has to be brought from elsewhere, even the wood burned 
 in the furnaces. Nevertheless, it is an asylum for num- 
 berless poor families, who can not subsist in the neigh- 
 boring towns, and employment is found tliere for the 
 vouns: as well as for the less robust ; even the blind and 
 maimed can make a living by grinding colors. In 
 ancient times, according to the history of Feou-leam^ 
 there were only three hundred porcelain furnaces at 
 Kinof-te-tchino: — now there are at least three thousand. 
 Fires are of frequent occurrence, and the god of fire has 
 many temples, one of which has been recently dedicated 
 by the present mandarin. Not long ago eight hundred 
 houses were burned, but the large profits their owners 
 drew from their rental caused their speedy reconstruction. 
 
 " The town is situated in a plain surrounded by high 
 mountains. The hill to the 6ast forms a kind of semi- 
 circle in the background, while from the mountains 
 at the sides issue two rivers, which unite afterward r 
 one is but small; the other is very large, and forms 
 a splendid strand more than a league long, spreading 
 into a wide basin and losing much of its velocity. This 
 wide space may be seen sometimes filled with two or 
 three long lines of boats, moored close together. The 
 sight with which one is greeted on entering through one 
 of the 2;oro;es consists of volumes of smoke and flame ris- 
 ing in different places, so as to define all the outlines of 
 the town ; approaching at nightfall, the scene reminds 
 one of a burning city in flames, or of a huge furnace 
 with many vent-holes.
 
 CHING-T:6-CIl]fcN. 285 
 
 " It is surprising tliat such a populous place, full 
 of such riches, and Avith an infinite number of boats 
 coming and going every day, and which has no walls 
 that can be closed at night, should, nevertheless, be 
 governed by a single mandarin, without the least dis- 
 order. It must be allowed that the j^olicing is ad- 
 mirable ; each street has one or more chiefs, according to 
 its length, and each chief has ten subordinates, every one 
 of whom is responsible for ten houses. They must keep 
 order, under pain of the bastinado, which is here admin- 
 istered liberally. The streets have barricades, which 
 are closed at night, and opened by the watchman only 
 to those who have the password. The mandarin of the 
 place makes frequent rounds, and he is accompanied 
 occasionally by mandarins from Feou-leam. Sti-angers 
 ai-e hardly permitted to sleep there ; they must either 
 spend the night in their boats or lodge Avith acquaint- 
 ances, who become responsible for their conduct. 
 
 " They tell me that a piece of porcelain, when it 
 comes out from the kiln, has passed through the hands 
 of seventy workmen, and I can Avell believe it, from 
 what I myself have seen; as their huge workshops have 
 often been for me a kind of Areopagus, when I have pro- 
 claimed Him who created the first man out of clay, and 
 from whose hands we proceed to become vessels, either of 
 glory or of shame. 
 
 " The boats come constantly down the river, laden with 
 petuntse and haollii which have to be purified by decan- 
 tation, leaving an abundant residuum, which gradually 
 accumulates into large heaps. The clay seggars in the 
 three thousand furnaces last only twice or thi-ee times, 
 and very often the whole baking is lost. Some of this 
 debris is utilized to fill in the walls which surround all 
 the houses, or is carried to the swampy ground adjoin- 
 ing the river, to make it fit for a market-place, and
 
 286 ORIENTAL CERAMIC ART. 
 
 ultimately for building, for wliicli new ground is always 
 wanted. Besides, in the flood time, the river carries 
 down mucli broken porcelain, so that its bed is, so to 
 speak, entirely packed with it, making a refreshing sight 
 for the eyes. 
 
 "The mountains all around are covered with tombs; 
 at the foot of one of these is a very large pit encircled 
 by high walls, in which they throw the bodies of the 
 poor who have no money to buy coffins, which is con- 
 sidered the greatest of misfortunes ; this place is called 
 oiian min hem — that is, ' Pit for the Myriad People '; in 
 the times of plague, which i-avages almost every year, 
 the huge pit ingulfs heaps of corpses, which are covered 
 with quicklime to consume the flesh. The bonzes, 
 at the end of the year, come to carry away the bones 
 to make room for juore, and burn them with a kind 
 of funeral service which they celebrate for the unhappy 
 dead." 
 
 The worthy father mentions the Roman Catholic 
 Church, established by the liberality of the Marquis de 
 Broissia, but he does not allude to the imperial porcelain 
 manufactory, which occupies such a prominent place in 
 all the native descriptions and maps. Perhaps it was 
 not in active operation at the time; it was not till four 
 years after the date of his second letter (January 25, 
 1722) that a new imperial commissioner, Nien Hsi-yao, 
 was appointed superintendent, after a long interval, 
 during which the work was intrusted to the local 
 officials. 
 
 The level of the little plain is broken at one point 
 toward the south by a small hill, where, as tradition 
 relates, a general of Ch'iu Shih-huang, the builder of 
 the Great Wall of China, once tethered his horses, and 
 it derived its original name from this ; it was afterward 
 called Tu Shan, ''The Solitary Hill," and Chu Shan,
 
 CHING-T]fc-CH:fcN. 287 
 
 ^' Jewel Hill," the jewel being guarded, according to 
 geomantic notions, by the dragons of the encircling 
 mountain belt. The Yii Yao Ch'ang, " Imperial Por- 
 celain Manufactory," also called Yii Ch'i Ch'ang, was 
 founded on the south side of this hillock in the reign 
 of Hmig-wii (1368-98), the celebrated founder of the 
 Ming dynasty. The annals say : " Tuan T'ing-kuei, 
 style Pao-ch'i, a native of Ch'ing-ch'iian, who Avas sent 
 by the Empei'or Hvng-iov^ with the rank of Secretary of 
 the Board of AVorks, to superintend the porcelain manu- 
 facture, built the yamen on the south of Jewel Hill, in 
 spite of the vigorous protests of the natives of Ching-te- 
 chen, who objected to being called upon to do any work 
 outside of their own industry." It was afterward 
 burned down, and it was i-ebuilt in the reign of 
 Cheng-te (1506-21) on its present lines. In the be- 
 ginning of the reign of Wan-Ii (1573-1619) it was 
 purposely fired by the potters as a protest against the 
 exactions of the palace eunuchs, who, however, were 
 afterward recalled, and eunuchs have never since been 
 put in charge. During the reigning dynasty it has 
 been twice completely razed to the ground : in the 
 fourteenth year of K^ing-lisi (1675), in connection with 
 the revolt of Wu San-kuei ; and in the year 1855, when 
 Ching-te-chen was taken by the Taiping rebels and 
 almost depopulated. Their disastrous rule lasted till 
 the third year of Tung-cluli (1864), and in 1866 the 
 imperial manufactory was rebuilt by the new superin- 
 tendent, Ts'ai Chin-ch'ing, with its seventy-two build- 
 ings, all raised upon the old foundations. 
 
 The outer wall, three li (about an English mile) 
 in circuit, incloses the imperial manufactory as well 
 as the Jewel Hill, which forms the '' Guardian Hill " 
 of the place on the north. The hill is planted with 
 trees and covered with pavilions, of which tlie Yii Shih
 
 288 ORIENTAL CERA3IIC ART. 
 
 T'ing, '' Imperial Verse Pavilion," and the Huan Ts'ui 
 T'ing, " Green Encircled Arbor," stand conspicuously on 
 the crest of the hill. Volumes of odes have been 
 indited in these summer-houses, inspired by the ring 
 of furnace fires outside, the dark background of hill and 
 water, and the calm sky overhead, as the vei'sifiers have 
 sat there sipping their wine or tea. There are three 
 temples inside the inclosure : the Yu T'ao Ling Ssu, 
 " Sacred Temple of the Protector of the Potteries," con- 
 taining the shrine of the Feng Huo Hsien, the " Genius of 
 the Fire-Blast," a deified potter, the story of whose vicarious 
 sacrifice will be related presently ; the Kuan-Ti Miao, 
 '' Temple of the (National) God of War " ; and the T'u Ti 
 Ssti, " Temple of the Gods of the Land." The residence 
 of the superintendent and his clianceTlerie are also inside ; 
 that of the sub-prefect of Jao-chou, who is the governor 
 of the place, is built just outside on the right of the 
 main entrance ; and the Kung Kuan, the " Public 
 Offices," are also outside on the opposite side of 
 the gate. Inside this great southern gateway stand the 
 drum-tower and gong-tower, one on either side of the 
 avenue leading to the Ta T'ang, the " Principal Hall," 
 which has wings at the sides. Beyond the great hall 
 one comes to a square courtyard Avith rows of buildings 
 on the right and left for the secretaries, accountants, and 
 attendants, and there is another large hall at the back, 
 behind which are the pleasure-grounds and the Jewel 
 Hill already referred to. 
 
 The workshops and stores are on the east and west, out- 
 side the courtyard ; and the modern arrangement, since 
 the place was rebuilt in 1866, is the following: On the 
 eastei'n side are two large buildings, each containing six 
 workshops for the making of the yuan clti, the ordinary 
 "round ware" thrown upon the wheel, including dishes, 
 plates, bowls, cups, and such things ; and beyond these,
 
 CHiNG-T:fe-cn]fc]sr. 289 
 
 farther east, seven workshops for decorating the pieces 
 in blue and white (chHng hud). On the western side of 
 the courtyard are three workshops for the artists Avho 
 decorate in colors (ts'ai huct), and another one attached 
 for the carvers of jade and bamboo ; the imperial por- 
 celain store (tz'it Icii), with two separate rooms for the 
 selection of the pieces (Jisiian tz^u) when they are brought 
 from the kilns ; three workshops for the making of vases 
 (cho chJi) fashioned on the wheel, including sacrificial 
 vessels, jars, and ornamental pieces of all kinds ; and five 
 workshoj^s for the various operations of molding, carving, 
 and polishing required in the preparation of the square 
 and pol^^gonal vases, and all the complex forms that can 
 not be worked upon the ordinary wheel. Beyond these, 
 farther west, are six workshops for the decoration of the 
 vases and molded pieces in blue and wdiite — three for the 
 application of the glaze, one for grinding the colors used 
 for the CTiun yu^ the reproduction of the old Chiin-chou 
 porcelain ^vith a soiiffie glaze, which is commonly known 
 outside China as " i-obin's egg." Next come three labora- 
 tories with muffle-kilns (lit) for the second firing of the 
 pieces decorated in enamel colors, which have two 
 kitchens attached for the prepai'ation of the workmen's 
 food ; and, finally, seven workshops for the porcelain 
 decorated over the white glaze in foreign style with 
 enamel colors {yang ts\ii), for the sou-ffie red {cKui 
 hung), the monochrome glaze of the grand feu derived 
 from coj^per, and for the monochrome }^ellow (Chiao 
 huatig) glaze usually known as "imperial yellow." A 
 list of the objects made in these workshops for the 
 imperial palace in the reign of Thing-cliih will be given 
 in a later chapter, and will give a better idea of the Avork 
 than any mere description. 
 
 There is no mention of furnaces in the official account, 
 with the exception of muffle stoves for the second firing
 
 290 ORIENTAL CERAJVIIC ART. 
 
 of the enameled pieces. In tlie Ming dynasty, as we 
 have seen, the imperial factory contained furnaces for the 
 clay seggars, and sejjarate furnaces for blue and white 
 porcelain, for colored porcelain, and for tlie large fish- 
 bowls. The last of the fish-bowl kilns (hang yao\ \ve 
 are told by T'ang Ying, fell down in the reign of 
 ChHen-lung and was not rebuilt. In the present day 
 everything is carried outside to be baked in private 
 furnaces, and all the imperial ware is taken to the 
 establishments called j96fO cliuing^ because they guarantee 
 the color of each firing, and are mulcted accordingly for 
 any loss or imperfection. 
 
 The furnaces employed for firing porcelain vary widely 
 both in size and shape. They maj^ be grouped generally, 
 according to M. Vogt {La Porcelaine, page 178), under 
 the three following types : 
 
 1. The cylindrical furnace, with direct flame and verti- 
 cal axis. 
 
 2. The cylindrical furnace, with reversed flame and 
 vertical axis. 
 
 3. The semi-cylindrical furnace, with direct flame and 
 horizontal axis. 
 
 The first type is that of the furnaces of the Ming 
 dynasty in China. They were sometimes built upon 
 a rising slope in a row of five or six communicating 
 cylinders, and this is still the ordinary form in Japan. 
 The second type is a recent European invention for the 
 purpose of economizing fuel and producing a greater 
 regularity in its combustion. The third type is that of 
 the Chinese furnace of the present day ; it was formerly 
 also employed in Europe for porcelain, but is now 
 scarcely used there, except for stoneware. Its irregular- 
 ity fits it all the more for the purpose required. Perfect 
 regularity is essential, according to M. Vogt, for the 
 manufacture of ordinary white porcelain, but not suit-
 
 cHiNG-T:fc-CH]&]sr. 291 
 
 able for the production of colors Avbicli require different 
 kinds of flame to bring out the different degrees of 
 oxidation or deoxidation required. The colors that 
 resist the heat of the blast-furnace are divided scientif- 
 ically by French ceramic ^vriters into coideurs du grand 
 feu and eouleurs du demi-grand feu ; but in China both 
 of these two classes are fired together in the same charge, 
 the latter being placed neai* the back of the furnace 
 under the large vent-hole that communicates Avith the 
 chimney, where the heat is less intense than it is in the 
 middle of the furnace. " So the Chinese " (Joe. cit., 
 page 188), "whose porcelain is so diversified, employ a 
 methodically irregular furnace which alloAvs them to 
 execute, in the same firing, all the fantasies inspii'ed by 
 their special genius as accomplished porcelainiers. They 
 are able, in fact, in one operation, thanks to the irregu- 
 larity of their furnace, to fire successfully the crackles, 
 which are of difficult fusibility, the fambe reds and the 
 celadons, which I'equire reducing flames, the blue under 
 the o'laze, the blacks which fuse so readily, as well as the 
 series of turquoise, green, yellow, and violet enamels ; 
 while in Europe, with our furnaces of i-egular type, three 
 or four different firings would be required to obtain the 
 same results." 
 
 AVe are indebted for a sketch of one of the large modern 
 fui'naces to M. F. Scherzer, who, when he was French 
 consul at Hankow, spent three weeks at Ching-te-chen 
 in 1883 studying the porcelain manufacture. It must 
 have been no easy task, as he wrote to me at the time 
 that he could hardly venture to look out of his close 
 sedan-chair without being pelted with potsherds by the 
 unruly potters. His plans, with vertical and horizontal 
 sections, are copied in the book just quoted (page 189), 
 and accompanied by a full description. The Chinese 
 furnace contains the three essential parts of such struc-
 
 292 ORIENTAL CERAMIC ART. 
 
 tures — viz., the fire, the laboratory, and the cLimney. 
 The fire, however, is not outside the furnace, as is usually 
 the case ; it is actually inside the laboratory, in such a 
 way that combustion is effected in the midst of the 
 objects that are being fired, without any loss of heat. 
 The laboratory, which is rectangular in shape, passes 
 above into a vaulted roof of cylindrical outline. The 
 rectangular portion below is incased in a massive tliick- 
 ness of earth ; the vaulted cylindrical roof is free. Out- 
 side the furnace there are staircases on both sides, by 
 which the firemen go up to the top of the massive earth 
 casing to watch the effect of the fire, looking through 
 apertures in the roof intended for the pui'pose which 
 are covered at other times with movable tiles. The 
 dimensions, according to M. Scherzer, are larger now 
 than they were in the time of Pere d'Entrecolles, the 
 height being as much as five metres, the length twice as 
 much, or ten metres, and the breadth three and a half 
 metres. In 1722 the height was three and a half metres, 
 the length double the lieight, and the breadth equal to 
 the height. Pine-wood in billets is the ordinary fuel 
 used in China. The lai-g^e trunks of the trees are floated 
 down the I'iver as rafts, tlie smaller branches beins; 
 brought down in Ijoats. The bundles, or " loads," so 
 often referred to in Chinese descriptions, are made to 
 weigh one hundred catties, or one hundred and thirty- 
 three pounds, and about two hundred of these "loads" 
 are stated to be required for each firing.
 
 CHAPTER X. 
 
 ANEW dynasty of Tartar origiu began to rule China 
 under the title of Ch'ing, or " Pure," in the year 
 1644, after the last emperor of the Ming or " Illustrious " 
 dynasty had hanged himself upon a tree on Prospect 
 Hill, in the grounds of the palace at Peking. The 
 young emperor, still a minor, was enthroned with the 
 title of Shun-cMlij and his rule was gradually extended 
 over the south of China ; the Chinese general, Wu San- 
 kuei, who had first invited the Manchus into the country 
 to assist in putting down a native rebellion, being made 
 viceroy of the provinces of Yunnan and Kueichou in the 
 far southwest. 
 
 The new officials of the province of Kiangsi were all 
 at their posts in the second year, and, according to the 
 annals of the province, the director of the imperial por- 
 celain factory at Ching-te-chen and the other officers 
 there were appointed with the same duties and titles 
 as in the Ming dynasty, and continued to carry on the 
 work in similar lines. The mark of the first reign of 
 the new dynasty is veiy i-are, and the poi'celain that 
 bears it is hardly to be distinguished from that of the 
 later reigns of the Ming d3aiasty. Doubtless, supplies 
 were forwarded to Peking for the use of the palace, but 
 the only notices of the appointment of commissioners 
 are in connection with requisitions which they fail to 
 execute. 
 
 The first record is that of an imperial decree in the 
 eleventh year of the reign of Shun-cliih (1654), order- 
 
 293
 
 294 ORIENTAL CERAMIC ART. 
 
 ing the fabrication of a uiiinber of " dragon bowls " 
 (Jung hang) for the palace gardens, which were to be 
 two and a half feet high, three and a half feet in diame- 
 ter at the mouth, with sides of the thickness of three 
 inches, and bottoms of the thickness of five inches. For 
 four years they worked diligently under the orders of 
 four tao-fai, who were specially appointed in yearly suc- 
 cession from Jao-chou, and under the personal super- 
 vision of the governors of the province Lang T'ing-tso 
 and Chang Chao-lin, 1jut their efforts were in vain, and 
 the last named, who was governor from 1656 to 1664^ 
 had finally to present a memorial begging for the with- 
 drawal of the decree. 
 
 Tlie dragon bowls required were the large fish-bowls 
 wliich are usually placed upon stands in the courtyards 
 of Chinese houses, and which are used for the cultiva- 
 tion of the lotus and other water-plants, as well as for 
 goldfish. They were called lung hang, or " dragon 
 bowls," because they were usually decorated with 
 dragons, although other decorations also occur. The 
 author of the Climg-te-clien T\io lu gives among the 
 designs the following : 
 
 " Bo\vls painted in blue with a pair of dragons in 
 clouds, surrounded by conventional paradise flowers ; 
 bowls painted in blue with a pair of dragons enveloped 
 in clouds ; some painted in blue with dragons in clouds 
 and with bands of lotus petals ; others painted in blue 
 with four dragons in a ring sporting above a floor of sea- 
 waves ; also bowls of pea-green celadon color." The 
 two which stand in ni}^ own garden, in the British lega» 
 tion at Peking, and which are both marked Ta Ming 
 Wan U nien cliili in underglaze blue, are decorated 
 in bright enamel colors ; one, which is twenty-seven 
 inches high and twenty-five inches in diameter at the 
 rim, has four five-clawed dragons, enveloped in clouds,
 
 295 
 
 paiuted ' round the sides, a baud of wav^es beating upon 
 rocks at the base, and scroll borders aljove and below ; 
 the other, of the same diameter, but only one foot high 
 is decorated with mandarin ducks swimming in a lake, 
 with lotus flowers o:ro^viuo• in the water. The larwst 
 dragon bowls were fired in special furnaces, as described 
 in Chapter VIII, one at a time, with an expenditure of 
 over seven tons' weight of fuel, and cost at the time 
 forty-eight taels of silver each. 
 
 It was not, by the way, till the early part of the reign 
 of CliHen-lung, under the direction of T'ang Ying, that 
 such large porcelain fish-bowls were successfully fired 
 once more. They were produced by him, according to 
 the provincial statistics, with mouths ranging in diameter 
 from three and a half to four feet, and sides from one 
 and three-fourths to two feet in height, and invested 
 with colored glazes of three kinds : (1) Eel's-skin yellow 
 (shaii-yii liuang), (2) cucumber-green {hua-pH lii), (3) 
 spotted yellow and green {liuang lu tieii). The fish- 
 bowls {ijil Icang) of the K\ing-hsi period, though 
 smaller, are occasionally very richly decorated in colors; 
 they are generally catalogued in Europe as "cisterns." 
 
 In the sixteenth year of Sliiui-cluh (1659) another 
 imperial decree was issued, ordering from Ching-te-chen 
 the supply of a quantity of oblong plaques of porcelain 
 for inlaying on the partition walls of o2:)en verandas, 
 which were to be three feet high, two and a half feet 
 broad, and three inches thick. A commission was sent 
 down f]-om the Boai'd of Works, with a high Manchu 
 official named Ka-pa as president, and Wang Jih-tsao as 
 secretarv, who were associated with the provincial 
 tao-fai Chang Ssti-ming, and proceeded to Ching-te-chen 
 to superintend the Avork, but they also failed, and in the 
 following year the Governor of Kiangsi, Chang Chaolin, 
 memorialized the emperor to stop the work.
 
 296 ORIENTAL CERAMIC ART. 
 
 The task must really have been more difficult than 
 that of the large fish-bowls, of which Pere d'Entrecolles 
 asserts that over two hundred ^vere fired without a 
 single success, for lie says later in the same letter (loc. 
 cit., \)o.ge 282) : " European merchants demand some- 
 times from the Chinese workmen plaques of porcelain, 
 of which one piece shall make the top of a table or of a 
 stove, as well as frames for pictures : these things are 
 impossible ; the largest and longest plaques made meas- 
 ure only about a foot, and if an attempt is made to 
 pass that, whatever thickness may be given, they become 
 warped. Thickness, in fact, does not facilitate the exe- 
 cution of these works, and this is why, instead of 
 making the plaques thick, they are made with two faces 
 united inside by cross-pieces so as to leave the inter- 
 spaces hollow. Two openings are left in the sides so 
 that they may be mounted in woodwork or inlaid in the 
 backs of chairs, where they show very prettily." The 
 plaques referred to here are, indeed, sometimes very 
 effective, being decorated in the brilliant enamels of the 
 period and enhanced by gilding. They are either rec- 
 tagonal or circular in outline, and are usually decorated 
 with figure-scenes of dramatic or historic interest on one 
 side, and with birds and flowers on the other. Perfect 
 examples, however, are rare, because the Chinese so 
 often saw them in two with the jade-cutter's wheel, and 
 frame the two sides as companion pictures, adapted 
 either for hanging on the wall or for standing on the 
 table, mounted upon coral pedestals in the usual fashion. 
 
 The reign of Shun-cJiih may, in fact, be entirely 
 neglected from a ceramic point of view, and we may 
 pass on at once to that of his successor, K''ang-lisi 
 (1662-1722), which is unquestionably the most brilliant 
 epoch in the ceramic art of China, and is distinguished 
 by the purity and brilliancy of its single colors, as well
 
 THE k'ang-hsi period. 297 
 
 as for tlie splendid coloriug and perfect technical tinisli 
 of its painted decoration. The special trinni[)hs of the 
 ceramic art which have excited the enthusiastic admira- 
 tion of ardent collectors in the West, as well as in China, 
 are nearly all the productions of this one period. It is 
 sufficient to mention the magnificent sang-de-hoeuf red of 
 the Lang Yao vases, the charming play of colors and 
 perfect technique of the "peach-bloom class," and the 
 soft purity of the claii'-de-lune and celadon glazes — all 
 of which are well represented in the colored illustrations. 
 The decorative effect of co])alt-blue is brou2:ht out of 
 the dejoths of the translucent white glaze of the time in 
 a way that has not been rivaled before or since. The 
 coloring material was blown upon the raw body of the 
 vase, and either left as its sole ornament, as in Plate 
 XCIII, or penciled over the surface with designs of gold, 
 or combined Avith enamel colors, as in Plate XXVI, 
 or it Avas mixed with the glaze, as in the sky-blue 
 bottle illustrated in Plate LXXIV; it was painted 
 on with a brush in the large class of " blue and white," 
 which also has its enthusiastic admirers, appearing as 
 blue upon a white ground, as in the graceful vase shown 
 in Plate LXXIII, or as a blue ground with the decora- 
 tion in white reserve, as in the fascinating " hawthorne " 
 ginger-jars, of which a choice example is reproduced in 
 Plate II. The wonderful variety of the decoration in 
 colors is just as remarkable ; the five colors of the 
 Chinese — blue, green, yellow, red, and black — appearing 
 on the same piece in bi'illiant contrast, sometimes 
 relieved by black, yellow, purple, or green grounds, 
 sometimes enhanced by touches of gold. Green in 
 shaded tones occupies a conspicuous j^lace among the 
 characteristic colors of this period, and the term of 
 famille verte, introduced by Jacquemart, had its origin 
 therein.
 
 298 ORIENTAL CERAMIC ART. 
 
 It was in the reign of K\iiig-lisi that Chinese porcelain 
 was first imported on a large scale into Europe. Previ- 
 ous importations had been confined mainly to celadon 
 and blue and white. The Dutch were the chief 
 importers through their East India Company, and we 
 read of cargoes containing many thousands of pieces. 
 These must have been mainly, if not entirely, composed 
 of porcelain made at the time ; the merchants of Canton^ 
 Amoy, and Foochow being in constant communication 
 with Ching-te-chen, as we know from Chinese accounts. 
 So ^ve find most of the early European collections, like 
 that of the museum at Dresden, consisting almost exclu- 
 sively of productions of this time. The great majority 
 of the objects in more recent collections also date from 
 the reign of K\ing-lisi^ partly because they were 
 recruited from Holland and Germany, but principally 
 because of the pre-eminent artistic value of the ceramic 
 ^vork of the time, which causes it still to be sought out 
 from all parts of China. 
 
 The " marks " of this period, as was explained in Chap- 
 ter IV, are rarely genuine. It may be held genei'ally, a& 
 Sir Wollaston Franks observes, that little reliance can 
 be placed upon Chinese marks ; the specimens, as he 
 remarks, are at any rate not older than the dates on 
 them, but may be much more modern. A visit to the 
 commonest crockery shop in China will confirm this ; the 
 blue and white pieces will generally be found marked 
 Hsuan-te, and those enameled in colors CKeng-hua, 
 because these two i-eigus of the Ming dynasty had a 
 great reputation for these two branches of decorations; 
 the larger vases and Jars provided for wedding-presents 
 ^vill probably have seals of the reigns of K'^ang-lisi or 
 CWien-lung inscribed underneath ; as the shops are not 
 kept by curio dealers, nobody is taken in ; it is simply a 
 custom of the trade. So it was with the K''ang-lisi
 
 THE k'ang-hsi period. 299 
 
 potters, who were woDt to inscribe a Ming mark like 
 that of ChictrcMng on the blue and white vase shown in 
 Plate LXXIII, or of Cli'eng-hua, as on the white vase, 
 with etched dragon of Plate XXXIX ; or to fly at higher 
 game still and suggest the reign of Hsilan-lio of the Sung 
 •dynasty, although the charming effect of their chiseled 
 work under a translucent glaze, as indicated in Plate 
 XC, approached probably that of carved ^vhite jade more 
 nearly than any production of the more remote period 
 tliey inscribed underneath. 
 
 Early writers on ceramic subjects in Europe were 
 inclined to accept such marks of date as genuine ; later 
 authorities, with greater plausibility, regard them as 
 indicating copies or reproductions of porcelain actually 
 made at the particular period inscribed. I am not pre- 
 pared to go even so far as that. M. Grandidier, for 
 example, writes (Joe. cit., page 154) : "The epoch Tching- 
 hoa has bequeathed to us a series of grand vases which 
 will always find fi'antic admirers, and Avhich are worthy 
 of their great reputation on account of the boldness of 
 the decoration and the intensity of the colors. Those of 
 the shape called 'lancella' are composed of' a jar sur- 
 mounted by a trumpet-mouthed beaker ; others are 
 quadrangular or ovoid; some have the form of a straight 
 beaker, of a square baluster or of a rounded baluster; 
 the group includes besides some statuettes of divinities. 
 The grounds display three principal shades — yellow, dark 
 green approaching black, and clear, limpid green. The 
 ■decorations comprise rocks in different tones of green, 
 trunks of trees and branches in manganese-violet, plants, 
 flowers, or animals in white, blue, yellow, green, or violet. 
 Figures are more I'are at this epoch, and occupy a sub- 
 ordinate place in the composition. This fabrication did 
 not cease with the fall of the Ming, and many of 
 the pieces attributed to the Ming period came out of the
 
 300 
 
 ORIENTAL CERAMIC ART. 
 
 Chinese workshops of the fiist years of Khang-hi. The 
 Salting collection in London contains such vases, seventy 
 centimetres high, with a ground of blackish green^ 
 yellow, or green, which are ornamented with green rocks, 
 Avith branches of peach-tree laden with white flowers, 
 Avith flowering sprays of peonies, magnolias, water-lilies, 
 sno^vy hydrangeas, etc., which are marked Tching-hoa. 
 Of the similar pieces in my own collection, . . , 
 althoiiiz;!! some were fabricated under Tchinfj-hoa, the 
 majority are only superb re])roductions executed during 
 the flrst years of Khang-hi. Their marks, apocryphal as 
 they are, are yet a precious means of instruction, in that 
 they giv6 us the date of the primitive type." Again 
 (page 166): "The early Khang-hi period is a transition 
 epoch ; the traditions of the old Chinese dynasty are still 
 honored. The ancient principles and the old methods,, 
 preserved with great pains during forty years of civil 
 war, are perpetuated in the ceramic field, and flower for 
 the last time during the first ten or fifteen years of 
 Khang-hi. So the specimens have not yet quitted the 
 livery of the Ming, the brilliant livery of that brilliant 
 dynasty, an'd proclaim proudly, by their beauty, the prog- 
 ress achieved under the earlier reign ; they bear the 
 Ming decorations, whether they be simple copies, or 
 whether they be vei'itable originals, inspired by more 
 ancient works." 
 
 For examples of the type referi-ed to in the above quo- 
 tations turn to Plate LV for an illusti'ation of a wine-pot 
 decorated in colors on a white ground, and to Plate IX 
 for that of a quadrangular vase painted in enamel colors 
 relieved by an enameled black ground. There are few 
 collectors, I believe, outside of China, who do not cherish 
 these things as relics of the Ming d^masty ; there is no 
 Chinese connoisseur, on the other hand, who would not 
 attribute them all to the reign of IPang-ltsi. The end
 
 THE k'aNG-IISI PERIOD. 301 
 
 of the Mi n^ dyu'dsty was au age of criticism, and we have 
 a host of writers on ceramic subjects, but not one of them 
 refers to such large vases as existing in the reign of 
 Clteng-litia; had they existed at such an early date they 
 could hardly have been overlooked. Kor are there any 
 figured in the illustrated album of the sixteenth century 
 which has been described in Chapter Y, although it gives 
 a wine-pot and several wine-cups of the period decorated 
 in colors. The expert confesses the difficulty of distin- 
 guishing between an original Oli'eng-ltua piece and a 
 K\mg-]isi copy, and I ^vould, with all deference, propose 
 that they shall all he classed as K^ang-Jisi productions 
 until proofs of antiquity any better than those of archaic 
 style and ancient mark be brought forward. 
 
 In the beginning of the reign of K^mg-hsi, Lang 
 T'ing-tso w^as still viceroy. In the preceding reign w^e 
 found him mentioned as personall}^ supervising the w^ork 
 of the imperial potters at Ching-te-chen. He was 
 appointed governor (Jisiln-fu) of the province of Kiangsi 
 in 1654, and was promoted to be viceroy (tsung-tii) of 
 Kiangsi and Kiangnan in 1656. In the last year of 
 the reign of Shun-cJiili the viceroyalty was divided : 
 Lang T'ing-tso remained the tsiing-tu of Kiangnan, and 
 Chang Chao-lin was promoted to be tsung-tti of Kiangsi. 
 The provinces were reunited in the fourth year of 
 K\ing-lisi (1665), with Lang T'ing-tso as viceroy, and he 
 retained the post till 1668, when he was succeeded by 
 j\Ia-lo-chi, a Mauchu of the Yellow Banner. I have 
 given these particulars of the career of the celebrated 
 viceroy, w^ho was a Chinese native of the northern boi-der 
 and an early adherent of the invading Manchus, because 
 the name Lang Yao,* applied to the remarkable ceramic 
 
 *This name has been derived by some Chinese of less weight from that of 
 Lang Shih-ning, an artist protege of the Jesuits, who also lived in the reign of 
 K'(ing-hsi, and whose pictures are still highly appreciated. A note following
 
 302 ORIENTAL CERAMIC ART, 
 
 productions of this time, is generally supposed by the 
 most competent Chinese authorities to have been derived 
 from him. Yao in its widest sense means "pottery," as 
 well as " potteries," " porcelain " as well as " kiln," and 
 the ceramic production of this time has retained the name 
 of the viceroy, in the same way as the names of Ts'ang 
 Yiug-hsiian, Nien Hsi-yao, and T'ang Ying, who were in 
 turn superintendents of the imperial potteries, were after- 
 ward given to the Ts^ang Yao, Nien Yao, and Thing 
 Yao, names which the respective productions of their 
 times retain to this day. 
 
 The Lang Yao 'par excellence is characterized by a rich, 
 deep glaze of crackled texture imbued with the crimson 
 mottled clouds of blood-red tone, which have earned for 
 it the name of sang-de-hmif, by which it is generally 
 known. The color is not uniform, but flashes in streaks 
 of varied shade produced by the action of the furnace 
 flames on the copper silicate to which the color is due. 
 It is more homogeneous, however, than i\\e famhe reds of 
 later times which, in common parlance, share with it the 
 name of sang-de-hoenf. Sometimes a quite modern piece 
 of cJd hung, or "saci'ificial i-ed," so-called because, like 
 the Lang Yao itself, it was made after the color of the 
 ancient sacriflcial cups of the reign of Hsi'ian-te, will 
 appear accidentally, as it were, clothed in a rich garb 
 rivaling iu intensity that of the finest Lang Yao vase. 
 An intentional imitation, although it may approach 
 
 the description of a bottle in the Franks Collection (loc. cit., page 8), " covered 
 with a deep but brilliant red glaze," says: " This specimen is from Mr. A. B. 
 Mitford's collection, and is thus described in the catalogue : ' A bottle : Lang 
 yno-lze, porcelain from the Lang furnace. The Lang family were a family of 
 famous potters who possessed the secret of this peculiar glaze and paste. They 
 became extinct about tlie year 1610; and their pottery is highly esteemed and 
 fetches great prices at Peking.' " The family is apocryphal and the porcelain 
 antedated, but the story is generally accepted by later writers, like M. Grandi- 
 dier, who gives it (page 160) under the reign of Wan-li, without, however, 
 acknowledging the source of his information.
 
 THE k'ang-hsi period. 303 
 
 in brilliancy of tone the rich coloring of the original, 
 always fails in some point of technical detail. The color 
 requires perfect fluidity of the enamel to bring it out in 
 perfection — a condition which the modern potter can not 
 attain without the glaze " running," so that it becomes 
 very thin on the upper rim, which often appears nearly 
 w^hite, and runs down to collect in thick drops round the 
 foot, which has to be subsequently gi'ound down on the 
 w^heel. All attempts to reproduce this beautiful color in 
 the AVest have also failed, principally, it is said, because 
 it is so difficult to seize the exact moment, a few seconds 
 more or less in the duration of the firing being sufficient 
 to ruin the beauty of the fugitive tint. 
 
 The principal means of distinguishing the veritable 
 Lang Yao consists in the perfect potting of the piece, 
 evidenced by the mathematical regularity of the white 
 line of enamel which often defines the rim and the condi- 
 tion of the foot, as ^vell as in the tone of coloring in the 
 crackled glaze. The condition of the foot is always 
 a special criterion to tlie Chinese connoisseur, who looks 
 especially at the paste when it is left unglazed round the 
 circular rim, to distinguish the pi'oductions of different 
 periods. The bottoms of these vases are described as 
 exhibiting glazes of three kinds, having ping-huo ti, 
 " bases of apple-green (crackle)," 'ini-se ti, " bases of rice- 
 colored (crackle)," or ixn-tz^u ti, " bases of plain \vhite 
 porcelain." 
 
 If the piece be entirely green, it is a specimen of Lil 
 Lang Yao, or "Green Lang Yao." This is always 
 crackled ; it is of a unifoi-m apple-green {2^''ing-Jciio cJi^mg) 
 shade, paler than that of the brilliant green monochromes 
 which distinguish the later part of the reign ; the rims 
 are defined by a line of translucent white enamel, and the 
 technique is that of the ordinary Lang Yao ; the rare 
 pieces that I have seen are small in size. The color has
 
 304 ORIENTAL CERAMIC ART. 
 
 been called a co})per celadon, but it is better, I think, to 
 restrict the term celadon to the sea-green tint produced 
 by a protoxide of iron. 
 
 In addition to the magnificent vases and censers of 
 sang-de-hcei(f, we have a variety of miscellaneous articles^ 
 intended for domestic use, such as saucer-shaped dishes^ 
 basins, bo\vls, tazza-shaped cups, and the like, and 
 occasionally we even find a round box of the type 
 adapted to hold seal-vermilion, or a small snuff-bottle, 
 representing the class. The glaze, always crackled, varies 
 from an intense blood-red, through intermediate shades of 
 paler hue, till it becomes sometimes almost pink ; in other 
 cases it darkens into a dull maroon, or a liver-colored tint. 
 The bowls are of solid make, heavy-footed, expanding at 
 the mouth to a thin, spreading rim, which is defined by 
 a white line. There is a series of bowds of the same 
 shape as the red bowls, which are decorated generally 
 with birds and flowers, painted in the brilliant enamel 
 colors of the early K\mg-hsi period, Avliich are considei'ed 
 by the Chinese to be productions of the same kilns, and 
 which are also classified by them under the heading of 
 Lang Yao. These bowls are characterized by a deeply 
 crackled glaze of pale greenish tone which is traversed 
 by red lines, and on the surface of this crackle the enamel 
 decoration, boldly designed, is laid on with a free brushy 
 so that the colors, especially the cobalt-blue, stand out in 
 prominent relief. These bowls wo\dd be classed under 
 the heading of *' Green Lang Yao," decorated with enamels. 
 
 To return to the annals of the province. In the tenth 
 year of ICang-lisi (1671) the governor was ordered to 
 supply the ritual sets of sacrificial vessels required l^y 
 the emperor in the worship of the different temples at 
 Peking. He dispatched officials from Jao-chou and Fou- 
 liang to Ching-te-chen to superintend the work and see 
 that it was executed in accordance ^\ith the imperial
 
 THE r'ang-hsi period. 305 
 
 decree. Tlie sacrificial vessels required were all fabri- 
 cated and successfully fired, the uecessary funds beiug 
 provided on a liberal scale, so that neither money nor 
 materials were levied from the people, and the things 
 were sent on in successive batches to the capital, as soon 
 as they were finished, as required by the decree. 
 
 But troubles supervened in connection with the 
 rebellion of Wu San-kuei, the viceroy of Yunnan, who 
 threw off his allegiance to the Manchu empei-or in 1674, 
 and headed the last expiring eiforts of the native Chinese 
 against the rule of the Tartars. The imperial factoiy at 
 Ching-te-chen was burned to the ground in the following 
 year. The death of AVu San-kuei, which occurred in 
 1678, was followed in a few months by a final triumph 
 of the imperial forces, and the [)rovince of Kiangsi was 
 soon afterward pacified. In the ninth month of the 
 nineteenth year (1680) an imperial decree was issued 
 ordering the production of a quantity of imperial por- 
 celain for the use of the palace, and at the same time 
 a board of commissioners w^as selected from the officials 
 of the Nei Wu Fu, or "Imperial Household," and 
 directed to proceed to Ching-te-chen to superintend the 
 work. The first commission was composed of Hsu 
 T'ing-pi, secretary {Lang-cliiUKj) of the Treasury of the 
 Pi'ivy Purse, and Li Yen-li, an assistant secretary. The 
 second commission, appointed two years later, was headed 
 by Ts'ang Ying-hsuan, secretary of the Imperial Parks 
 Department of the Board of Works, who is stated to 
 have arrived at Ching-te-chen in the second month of the 
 twenty-second year (1683), and who at once took over 
 the superintendence of the imperial manufactory. AVe 
 are not told how long he remained in charge. After 
 his time the work was carried on by the provincial 
 officials, as there seems to have been no appointment of 
 another imperial commission till the next reiun.
 
 306 ORIENTAL CERA3IIC ART. 
 
 To Ts'ano; Yiiify-lisuan is due the brilliaut renaissance 
 of the ceramic art in China which distinguishes the reign 
 of K^ang-lm. T'ang Ying, who ultimately succeeded to 
 the office, in his Life of the God of tlte Furnace Blast, 
 bears testimony to his genius when he writes : " When 
 Ts'ang was director of the porcelain works the finger of 
 the god was often seen in the midst of the furnace fire, 
 either painting the designs or shielding them from harm, 
 so that the porcelain came out perfect and beautiful." 
 The writer of the Ohing-te-clien T^ao-lu says, in his 
 description of the Ts'ang Yao, that the porcelain made 
 by him was of fine rich material and thin translucent 
 texture, that all the different colors were produced, and 
 that among them the four most beautiful colors were the 
 snake-skin gi'een with iridescent hues, the eel-skin yellow 
 of brownish shade, the turquoise-blue, and the varie- 
 gated yelloAV, although the monochrome yellow, the 
 monochrome purple, and the monochrome green glazes, 
 as well as the sovfjfe I'ed and the sovffie blue, were all 
 remarkably fine. He adds that all these different glazes 
 were copied afterward by T'ang Ying. AVe may add 
 that the peculiar brilliancy of these well-known K\tng- 
 Jisi colors is inimitable. 
 
 The porcelain was still called by the old name of 
 Kuan Yao, or " imperial ware," to distinguish it from 
 the productions of the private potters. Among the 
 things sent to the palace, according to the official list, 
 were fish-ljowls (Jcaiuf), flower-pots (^jien^ basins (//^V), 
 round dishes (^2^\t)i), beaker-shaped vases (^fstin), censers 
 (Ju), vases (p^wf), jars with covers (kiian), saucer-plates 
 (tieli), bowls (loari), teacups and wine-cups (chung, clian). 
 The decorative designs used included fabulous dragons 
 enveloped in clouds, birds, and four-footed beasts, fishes 
 swimming in watei' green with moss, and flowering plants 
 of all kinds. The porcelain was either painted in colors,
 
 THE k'aNG-IISI PERIOD. 307 
 
 or chiseled in relief, or faintly engraved under the glaze, 
 or carved in open-work : all these different processes are 
 declared to have been cleverly executed in the imperial 
 workshops at this period. 
 
 Another famous glaze appeared in this reign which 
 challenges the supreme position genei'ally accorded by 
 lovers of the ceramic art to the Lang Yao sang-de-hoeuf. 
 I refer, of course, to the " peach-bloom " {pemi-de-pecJie) 
 also called sometimes '' crushed strawberry " (^f raise 
 ecrasee), which is another example of the decorative 
 power of the same protean color, being due to a for- 
 tuitous mingling of the silicates of copper. Although 
 not so intense and brilliant as the sang-de-lceuf, it has 
 a special charm of its own in its soft, velvety tones, 
 Avhich remind one of the coloring of the rind of a peach 
 ripening in the sun. The prevailing shade is a pale red, 
 becoming pink in some parts, in others mottled with 
 russet spots, displayed upon a background of light- 
 green celadon tint. The last color occasionally comes 
 out more prominently and deej)ens into clouds of bright 
 apple-green tint. The varied shades of color are well 
 represented in the illustrations, as will be appreciated 
 by reference to Plates III, LI (a), LII, and L. The 
 vases illustrated here are all marked in full, under- 
 neath, with the " six-character mark '' of the reign, 
 beautifully written in a minute script, ^vhich is penciled 
 under the glaze in cobalt-blue. 
 
 The Chinese prize the subdued beauty of this glaze 
 above all others for the decoration of their writing-tables, 
 and most of the objects originally adapted for this pur- 
 pose are of comparatively small size. They call it 
 by the special name oi jjing-h^io hung^ or '^ apple-red," 
 and they distinguish also the accessory ping-kuo cliing, 
 or "apple-green" clouds, and the inei l^uei tzu, or "rose- 
 crimson " mottled spots. This comparison with the
 
 308 ORIENTAL CEEAMIC ART. 
 
 mingled red and green shades of a rosy-cheeked apple is 
 apt enough, especially as the same idea is often brought 
 out in the form of the object; two favorite designs, 
 for example, of the little water-bottles intended to be 
 used with the writer's pallet are \\\^ iHng-huo tsun, or 
 " apple- jar," which is molded as an exact facsimile in 
 size and shape of the fruit, and its fellow, the sliih-Uu 
 tsun, or " pomegranate-jar " ; I have seen these two 
 shapes only in China. Another native name for this 
 ^' peach -Ijlooni " glaze, which is the one that is commonly 
 used by the Chinese dealer, is cliiang-tou htmg. This 
 might be rendered " haricot-red," the cliiang-tou being 
 a small kidney-shaped bean of variegated pink color 
 with brown spots, largely cultivated at Peking and 
 other parts of China, the DoUchos sinensis of botanists. 
 
 Among the other specimens of the peach-bloom class 
 in the collection are (Fig. 188) a small water receptacle 
 for the writing-table modeled in the traditional form 
 of the wine-jar of Li T'ai-po, the famous poet of the 
 eighth century, from which it derives its name of T^ai-'po 
 tsun; and Fig. 198, a circular box for the vermilion 
 used for impressing seals, another indispensable adjunct 
 of the \vriting-table of the Chinese scholar. Fig. 202 
 shows a vase similar in form to the one illustrated in 
 Plate LII, which has been mounted in Japan. Fig. 201 is 
 a pilgrim bottle \vith a copper- red glaze of " peach-bloom " 
 type, which differs from the rest in being unmarked. 
 
 There is one class of these vases in which the base 
 of the neck is encircled by the form of an archaic 
 dragon, modeled in full under-cut relief, which is 
 enameled with a bright apple-green glaze of uniform 
 tint, contrasting vividly, as a complementary color, with 
 the red shades of the vase. Fig. 209 exhibits one of 
 these dragon-encircled bottles which has the usual mark 
 inscribed on the foot underneath.
 
 309 
 
 The last piece to be noticed here is a little bowl- 
 shaped wine-cup of egg-shell texture invested, inside 
 and out, with a " peach-bloom " glaze displaying all the 
 typical tints (Fig. 210). The mark underneath is that 
 of the reign of Hman-tt of the Ming dynasty, but tlie 
 perfection of the technique and the character of the 
 glaze indicate the ICang-hsi period, and the mark 
 would perhaps be intended to show that the aim of 
 the potter was the reproduction of one of the celebrated 
 ^'sacrificial red wine-cups" of the older reign, which, we 
 know^ were tinted ^vitli the same coloring material. 
 
 The first "peach-bloom" vases that reached the 
 United States seem to have come from Peking, out of 
 the famous collection of the hereditary Princes of Yi,* 
 the source also, by the way, of the sixteenth century 
 album that has been so often referred to. The founder 
 of this line of princes was the thirteenth son of the 
 Emperor JCang-lisi T'ang Ying refers to him {Chiang 
 Jisi thing cliili, book xciii, folio 10) as having, in the 
 eighth month of the year 1723, personally announced 
 to him by command of his brother, the Emperoi- Yung- 
 climg, his own (T'ang Ying's) appointment to be 
 director of the imperial potteries, and we may gather 
 from this that the prince was interested in the develop- 
 ment of the ceramic art. After his death the hereditary 
 rank of imperial prince (Ch'in AVang) was conferred 
 upon his descendants, a unique honor, as it is the rule in 
 China for each generation to descend one step in the 
 scale of nobility till they become commoners. His 
 descendant in the fifth generation was the notorious Yi 
 Ch'in Wang, to w^hom the empress-regent sent a silken 
 
 *In the Catalogue of the Art Collection formed by the late Mrs. Mary J. 
 Morgan, New York, 1886. it is noted that several of the "peach-blow or 
 crushed-strawberry vases" came " from the private collection of I Wang-ye, 
 a Mandarin prince," which must be the one I refer to. Wang Teh is " Prince " 
 in colloquial Pekingese, and Yi is sometimes written /.
 
 310 OEIENTAL CERAMIC ART. 
 
 cord in 1861, so tliat lie might expiate by his suicide his 
 misiuanageraeiit of the Anglo-French war. A young 
 scion of his house was chosen at the same time to suc- 
 ceed him, instead of one of his own sous, as an additional 
 punishment, and it is he who is currently reported since 
 he grew up to have taken to dissipated ways, and to have 
 W' asted the valuable collections of his ancestral palace. It 
 may be of some interest to see traced back, in this way, 
 to a son of the Emperor IC'ang-hsi, a collection that was 
 no doubt formed in his reign, the gems of which excited 
 such interest in ceramic circles on their first appearance, 
 and which will always rank as trjiimphs of decorative 
 art. 
 
 The vases, though small in size, are generally of fine 
 technique and graceful form. They share these char- 
 acteristics with some others of similar make and shape 
 enameled with diit'erent glazes, which are often marked 
 in the same style, and evidently belong to the same 
 period. Perhaps the most beautiful of the monochrome 
 glazes of this class is the yueli jxci, or clair-de-lune, of 
 uniformly pale sky-blue tint, wdiicli is illustrated in 
 Plate LI (b), but the soft, celadon shades displayed 
 in the illustration (Plate VII), which is modeled in 
 the graceful lines of one of the finest of the " peach- 
 bloom " vases, are almost as charming. Two other 
 vases are given in Plate L, under the heading of Peach- 
 Bloom Transmutations, one of w^hich is a pearl gray 
 of pinkish hue, with traces of mottled red lurking inside 
 the neck, while the other is marbled with variegated 
 splashes of green, passing from emerald to intense olive 
 tones, a striking instance of the kiln transmuted green 
 (yu lie), w^hich we shall meet with presently in Chapter 
 XVIII. 
 
 These t\vo glazes, the sang-de-hceuf and the peau-de- 
 peche^ were not employed exclusively as single colors ;
 
 THE k'aNG-IISI PEKIOD. 311 
 
 tliey were used also in cuinbiiiutiou with other forms of 
 decoration, and some of the most brilliant blue pieces of 
 the period are occasionally seen with the painted designs 
 relieved by one of these colors in place of the ordinary 
 -white ground. A remarkable example is seen in the vase 
 illustrated in Fig. 207, the ground of which is a typical 
 "Lang Yao " crackled glaze, exhibiting all the different 
 sang-de-bceiif tones, j)assing from paler shades into deep- 
 est crimson. The neck and shoulder of the vase are 
 ribbed, and the decoration is modeled in relief in the 
 paste, and filled in with underglaze cobalt-blue, with 
 touches of copper-red. It consists of a flowering lotus 
 springing from a groundwork of crested waves, and a 
 pair of swalloAVS, one of them perched on a lotus stalk, 
 the other flying. The large, naturally folded lotus leaves, 
 lifted upon rough tuberculated stems, and the birds, are 
 painted in blue ; the flowers and buds are shaded in 
 addition, in wavy lines of maroon tint within the blue 
 outlines. The foot, which is enameled white with a 
 tinge of green, has no mark inscribed. 
 
 The rare baluster-shaped vase in Fig. 211, which is 
 engraved in the paste with a lightly etched design of a 
 pair of dragons mounting into the clouds from a line of 
 scrolled sea-waves, and is enameled with a brilliant 
 crackled glaze of bright green passing into olive at the 
 edges, is invested with a thick over-glaze of " peach- 
 bloom " type, collecting in mottled clouds of " crushed- 
 strawberry " tint, laid on so thickly that the forms of the 
 dragons are scarcely visible in the ' interstices of the 
 clouds. The foot, encircled by a broad, uuglazed rim, 
 has concentric lines of grayish-white crackle in the mid- 
 dle, with no mark attached. 
 
 The " iron-red,'' prepared l)y the incineration of greeu 
 vitriol (iron sulphate), called also "coral-red" from the 
 tone of color, which is quite distinct from that of the
 
 312 ORIENTAL CERAMIC ART. 
 
 " copper-reds " which we have beeu considering, is found 
 among the single colors of this time, although much less 
 frequently than in succeeding reigns. In the reign of 
 J^''ang-hsi this color Avas employed more largely in 
 painted decoration : either alone, as in the egg-shell bowl 
 in Plate LXVII ; or in combination with gold, as in "the 
 club-shaped vase in Plate XXVIII ; or as one of the 
 different colors comprised in the ordinaiy polychrome 
 decoration of the muille oven. 
 
 The brilliant blues derived from cobalt were brought out 
 with vivid intensity in this reign, which is unrivaled for 
 its monochrome blues, as well as for the beauty of its blue 
 and white decorated porcelain. The calcined cobaltifer- 
 ous ore of manganese was either mixed with the white 
 glaze to produce the gray-blue illustrated in Plate 
 LXXIV, or it was blown through gauze upon the raw 
 white body of the piece and subsequently glazed over to 
 produce the magnificent effect of po^vder blue, so well 
 represented Vjy the artist in Plate XCIII. This " powder- 
 blue," also called " Mazarin-blue," or sometimes hleu 
 f octette, from its whipped aspect, may be either left as the 
 sole decoration of the vase, or it may be painted over 
 Avith ornamental designs in gold, fixed by a second firing 
 in the muffle stove. The vase in Fig. 206, which is deco- 
 rated in gold with sprays of chiysanthemum and bamboo, 
 is an example of the last style of decoration. In other 
 cases, again, the powder-blue ground is interrupted by 
 medallions of varied form, which are filled with designs, 
 either executed at the same time in blue, or painted after 
 the first firing in enamel colors ; an example of a deco- 
 rated powder-blue vase is illustrated in Plate XVIII. A 
 decorated vase, on the other hand, may have powder- 
 blue panels interrupting the main decoration, as in the 
 interesting vase in Fig. 208, which deserves a word of 
 description. It is painted in brilliant enamel colors with
 
 THE k'ang-hsi period. 313 
 
 gilding, the body witli cliiysantlieinuin scrolls traversed 
 by lizard-like dragons, the neck with butterflies and 
 flowers on a pale-green background dotted with black, 
 with flying storks, and phoenix medallions ; the shoulder 
 lias a band of floral brocade with pictures in foliated 
 2:)anels, and the upright rim of the mouth is encircled by 
 n green border with a black fret ; the twelve panels, fan- 
 shajDed, quatrefoil, oblong, or in the form of a leaf or 
 pomegranate, which interrupt the painted decoration, are 
 tilled in with a powder-blue sonfie gi-ound, outlined in 
 gold, and painted over in gold with landscapes, Taoist 
 temples, flying geese, fighting cocks, sprays of flowers, etc. 
 
 Another monochrome glaze invented at this period was 
 the brilliant black called wu eJdn, or " metallic black," 
 by the Chinese, which is sometimes called " mirror black," 
 after Pere d'Entrecolles, who compared it to the color of 
 our burning mirrors. It diffei's from the black of the 
 painted vases, which is of duller aspect, and often of 
 greenish tone, and gives more the impression of being a 
 lacquered surface. It is prepared by mixing some of the 
 calcined cobaltiferous manganese ore Avith the ordinary 
 white glaze and adding a cei'tain proportion of the fer- 
 ruginous clay, which produces the tzu-chin, the fond 
 laque^ or coflt'ee-colored glaze, which will be referred to 
 presently. The mirror-black glaze is usually overlaid 
 with a gilded decoration, although this often becomes 
 almost obliterated in course of time, as in the tall vase 
 shown in Plate LXXX, and in the pair of large, triple, 
 gourd-shaped vases illustrated in Plate LXI and Fig. 212. 
 The charming little vase illustrated in Plate LXII exhib- 
 its the brilliant intense black with iridescent surface, 
 which distinguishes some of the finest decorated pieces 
 of the time. 
 
 The brown glaze just referred to,' which is known 
 technically in the French potteries ix^fond laque, may be
 
 314 ORIENTAL CERAMIC ART. 
 
 noticed next. It ranges fi-oiii a dark bronze line to tlie 
 color of old gold, and is known to ceramic authors by 
 man}' names, such as '^ chocolate," *•' dead leaf," " cafe mo 
 lait,'''' etc.; the Chinese name of izu-cliin^ which means 
 "burnished gold," is as characteristic as an}', and they 
 distinguish the shade by prefixing /ww^^, "red," OYhuangj 
 " yellow," according to the p'.edominance of either of these 
 two colors in the bro\vn. This glaze Avas rarely used 
 alone ; it was usually interrupted by medallions or other 
 ornamental designs, which were decorated in surface 
 enamel colors, as in the garni tui'e of three Jars and two 
 beaker-shaped vases illustrated in Fig. 213. The last 
 combination is the most common of all ; it w^as imported 
 in huge quantities in Dutch ships of the time, according 
 to old inventories which have been recently published by 
 Jacquemart and others, and the decoration still retains its 
 old trade name of " Batavian." Fio". 214 shows a vase 
 of this class, with the bulging body enameled yellowish 
 brow^i, and the neck decorated in blue, with formal 
 sprays of pinks, bands of fret, and floral diaper, which is 
 marked underneath with a double ring, a favorite mark 
 of the K\mg-li8i period. Fig. 215 presents a vase of 
 similar style, in which the " brown-gold " ground that 
 invests the lower half of the body is succeeded by an 
 encircling band of crackle, and the shoulder, as well as 
 the beaker-shaped neck, is painted in blue with flowers 
 and butterflies ; it has no mark underneath, but evidently 
 belongs to the same period as the last. Another mode 
 of decoration was effected by overlaying the browm glaze 
 wdth designs in white slip ; a bottle-shaped vase of this 
 kind is seen in Fig. 216, displaying in its somewhat crude 
 decoration two vases of flowers and a conventional beaded 
 border executed in slip ; it is an example of a class of 
 vases decorated by the Chinese in Persian style for ex- 
 port to that country ; a similar one, indeed, is erroneously
 
 THE k'ang-iisi period. 315 
 
 iigured by Jacqnemart under tlie lieadiug of Persian por- 
 celain. Pere d'Entrecolles tells us that designs were also 
 painted at this time in metallic silver on the surface of 
 this brown glaze, and that tlie combination was pretty 
 and effective. I have never seen a specimen, perhaps on 
 account of the fuo;itive nature of the silver decoration, 
 which is easily tarnished and rubbed off l)y wear. 
 
 The " turquoise-blue " and " aubergine-purple " ai-e two 
 colors, dating from previous times, which may be 
 bracketed together, as they offer several analogies, and 
 are, moreover, often used in combination in the decora- 
 tion of the same piece. The glazes are applied 8ur his- 
 <mit, and have a finely crackled or tniite texture. The 
 turquoise glaze called Kiing-cJiuo lu, or ''peacock-green," 
 by the modern Chinese, although it is also known in 
 books as fei-ts\ii, from its resemblance to the blue plumes 
 of the kingfisher, which are used in jewelry, is prepared by 
 combining copper with a nitre flux. The cJiieh p'i tzii, 
 or " aid3ergine-])urple," is derived from the common ore of 
 manganese and cobalt, calcined and mixed like the last 
 with nitre and pulverized quartz. The Walters Collec- 
 tion is very rich in turquoise ci'ackle of different periods, 
 including, as it does, considerably over a hundred pieces, 
 some magnificent specimens of which, with bronze 
 mounts by Gouthiere, and which are attributed to the 
 reign of K''ang-hsi, have already been figured. It is fre- 
 quently seen on Buddhist images, lions, and other mon- 
 stei's, magotSj and grotesques of all kinds, such as those 
 which were so eagerly sought after by collectors of the 
 eighteenth century. Aubergine-purple, as a single color, 
 occurs principally on small vases. The two glazes used 
 together make a very effective combination, as in the 
 large lions mounted upon square pedestals, which rank 
 among the chief ornaments of the Dresden Museum. 
 The colors in these pieces ai'e boldly laid on with a free
 
 316 ORIENTAL CERAMIC ART. 
 
 briisli and with no attempt at symmetry ; in. some cases 
 the purple is flecked with a brush in a rain of drops upon 
 the turquoise ground ; in others the paste is worked in 
 relief for. the I'eception of the colors which enhance the 
 outlines previously tooled in the paste. The wine-pot 
 shown in Fig. 217 is an illustration of this last method ^ 
 which dates from very ancient times ; it is composed of 
 grayish paste molded in the shape of a peach, with a hole 
 in the bottom for the introduction of a liquid, and has the 
 spout and handle fashioned in the form of twigs from 
 which leaves proceed to decorate the surface of the pot^ 
 u})on which they are worked in relief and filled in with tur- 
 quoise, contrasting brightly with the surrounding purple 
 enamel. These colors are said to develop better when 
 there is a mixture of common clay with the ordinary hard 
 kaolinic ingredients of the plate, which is seen to be the 
 case in this small wine-pot. 
 
 The same manganese mineral was used in the prepara- 
 tion of the purplish brown, which was one of the three 
 single colors used for enameling the bowls, cups, and 
 saucer-dishes of the imperial dinner services, on which it 
 takes a brownish claret tint, due to an excess of lead in 
 the flux and a minimum of alkali. The other two colors 
 w^ere a bright green of camellia-leaf tint, and deep yellow,, 
 the special imperial color, and the services w^ere either 
 plain or etched with dragons under the glaze. The 
 services of similar style, enameled in pure white (fien 
 pai) ovei' five-clawed dragons engraved in the paste, were 
 used only Avhen the coui't was in mourning. 
 
 The imperial yellow coloi' is exhibited in Plate V upon 
 a jar wath a " six-character mark " of this reign. The 
 '' eel-skin yellow," or shmi yu liuang^ which is of brownish 
 tint, is seen in Plate LXXXIII upon a vase etched under- 
 neath the glaze w^ith dragons ; and again in Plate XXV 
 upon a tripod censer, a still more typical example, .where
 
 THE k'aNG-IISI PERIOD, 317 
 
 it is of less trauslucent aspect, and mottled in character. 
 The variegated yellow glaze {huang tien pmi), which has 
 been alluded to as another of the inventions of Ts'ang 
 Ying-hsiian, seems to refer to the peculiar spotted glaze 
 of piebald aspect dabbed all over with spots of yellow, 
 green, purple, and white, which is anything but attractive 
 to an ordinary eye ; the Chinese call it by the appropriate 
 name of " tiger-skin " (Jiu-pH). 
 
 The green glazes, which are specially characteristic of 
 the reign, are displayed in all their variety in the colored 
 illustrations, ranging from the ta lii or gros vert of Plate 
 IV to the pale gray-green celadon tint of Plate XV. Green 
 is almost as prominent among the single colors as it is 
 in the painted decorations in enamel. The same enamels 
 were, of course, used in both the monochrome and the 
 polychrome styles, and comparison often affords a most 
 useful aid to the determination of the age of a doubtful 
 piece. The crackled green glaze called X7/c^^>'/ lit, or 
 "cucumber-green,'' is more characteristic of the ChUen- 
 lung epoch, although the striking vase shown in Plate 
 LXXXI, with its " cucumber-green " glaze streaked with 
 mottled tints of deepest olive, may well be a K\ing-lisi 
 piece. Judging from its exceptional brilliancy. The 
 remarkable vase which is so carefully reproduced in 
 Plate LXXIX, with the iridescent bar reflected in a play 
 of rainbow colors from its ci'ackled emerald-o-reen surface, 
 is also generally attributed to this period. One of the 
 green glazes was known in the imperial factory by the 
 name of sTie-pH lu, because it resembled in its deep luster 
 the beautiful iridescent hue of the skin of a serpent, like 
 the monochrome glaze in Plate LXXXII, ^vhich is spread 
 over the surface of a decorated vase, so as nearly to con- 
 ceal the original decoration in its intense metallic luster. 
 The same green was occasionally used to enhance the 
 eifect of a blue and white piece, touches of green or
 
 ^b 
 
 318 ORIENTAL CERAMIC ART. 
 
 encircling bands being added to the original design, in 
 the same way that bauds of " dead leaf " or " old gold " 
 were sometimes attached at this period ; an example of 
 which may be seen by referring to the chapter on Marks. 
 
 The white glaze of the Ching-te-chen porcelain of this 
 period is very pure in tint and perfectly translucent in 
 texture, as is well exhibited in the imperial dinner ser- 
 vices, etched with dragons, that have just been alluded 
 to, and is fairly represented in the beautiful white vase 
 illusti-ated in Plate XC, "which is attributed to the IVang- 
 hsi reign, in spite of its Stoig dynasty mark. It is even 
 surpassed in purity and lustrous depth of glaze by the 
 charmino; little vase shown in Fis^. 218, which is molded 
 in the form of a magnolia blossom, with the details etched 
 under the glaze, the graceful flower being mounted upon 
 a twig worked in open-work relief at the foot, and which 
 bears also a couple of buds, that serve as additional sup- 
 port to the delicate vase. This white is distinct from 
 that of the porcelain of the province of Fuchien, which is 
 either of ivory-white or of creamy tint ; the objects, 
 moreover, of the Fuchien ware are composed of a paste 
 of characteristic quality, and should have a separate 
 corner reserved for them in every collection. 
 
 There is another class of plain white porcelain, 
 modeled on the lines of the ancient Ting-chou ware, 
 which is remai"kable for its soft-looking, fragile aspect, 
 in which it reproduces the quality of its prototype, a 
 white faience of fine texture, that can be scratched by a 
 point of sharp steel. The reproductions have only the 
 aspect of soft porcelain, however, although it is the 
 fashion to describe them as such in catalogues ; there is 
 nothing produced at Ching-te-chen that is not composed 
 of hard kaolinic paste. The class I am alluding to is 
 called by the name of Fen-Ting, after that of the finest 
 ware of the Sung dynasty ; the glaze is generally
 
 THE k'ang-iisi peeiod. 319 
 
 crackled, although 2)laiD pieces occur, like the delicate 
 little water receptacle in Fig. 219, which is fashioned 
 after an old Tiug-chou design with two looped handles, 
 in the shape of a pair of archaic dragons, mounted upon 
 the rim. Of the reproductions of the crackled Tino- 
 chou porcelain, there are two varieties generally attrib- 
 uted to the reign of Khing-hsi. The first is represented 
 by a series of small, solid, compact vases of graceful 
 outline, of which two specimens are illustrated in Figs. 
 220 and 221 ; the soft-looking glaze, with which these 
 are invested, is traversed 'by a very close reticulation of 
 fine, brown lines, and mottled with clouds of light buff 
 tint ; the rims of both vases are defined by lines of plain 
 white, and the technique generally is that of the early 
 Khing-hsi period. The second variety, of later develop- 
 ment, is characterized by a more delicate fabric, often 
 becoming of egg-shell thinness, and by a whiter glaze, 
 approaching an ivory-white tone. Two notable exam- 
 ples are shown in the colored illustrations : the first, in 
 the sparsely crackled vase of Plate XCI ; the second, in 
 the typical Fen-Ting gourd, of perfect beauty and finish, 
 which is so well reproduced in Plate LXXXIX. This 
 last, ornamented \\\i\\ floral sprays and bands of fret and 
 conventional scroll, Avorked in slight relief in the paste, 
 underneath the minutely crackled glaze, which is of 
 characteristic ivory-white tint. Fig. 222 displays another 
 graceful egg-shell vase, Avith a molded decoration of a 
 four-clawed dragon pursuing an effulgent jewel, executed 
 under a Avidely crackled ivory-white glaze, with uudula- 
 tory surface. Fig. 223 is that of a small, minutely 
 crackled square vase, with ribbed corners and four 
 central bosses, carved in open-woi-k, with branches of 
 peach fruit, which is modeled in the ritual form of one 
 of the receptacles for " divining straws," used in Taoist 
 temples.
 
 320 ORIENTAL CERAMIC ART. 
 
 The fabrication of this peculiar Fen-Ting porcelain 
 was continued at Chiug-te-chen in tlie succeeding reigns 
 of Yung-cheng and OliHen-lung, and it is not always 
 easy to refer a particular piece positively to one of the 
 three reigns. The same paste and glaze were used con- 
 temporaneously in the preparation of the class of blue 
 and ^vhite crackled porcelain, which is called by the same 
 name of Fen-Ting by the Chinese, and which forms the so- 
 called '^ soft paste " blue and white of American collectors. 
 
 Tlie "soft paste" blue and white porcelain is called 
 by the Chinese by the names 'of sha-fai, "sand-bodied," 
 or chkmg-fai, " paste-bodied," and when the glaze is 
 crackled it is distinguished by the addition of the term 
 Ic'ai p'ie^i, or "crackled." Its composition will be given 
 from Pere d'Entrecolles' Letters in the next chapter. 
 The paste has a soft, poi'oiis aspect, but it is really of 
 intense hardness, so that it can not be scratched by steel. 
 The glaze is generally crackled ; even when it is not so 
 as it comes from the kiln, it becomes crackled in course 
 of time. The surface of the glaze is undulatory and 
 often pitted, the characteristics of the chii-pH, or " orange- 
 peel " glaze of Chinese ceramic authors. It is conse- 
 quently more porous and absorbent than the ordinary 
 glaze, and often becomes discolored by age. It has been 
 su2:o;ested that " soft o-laze " would be a better name 
 than " soft paste " for this class, but the latter term is 
 sanctioned l^y usage and may be employed with the 
 proviso that it has nothing in common with the "soft 
 porcelain " of Clielsea, or the porcelaine tenclre of early 
 Sevres. One of the chief characteristics of these pieces 
 is their lightness when handled, which is really surpris- 
 ing, as the fabric is not specially thin. The blue is 
 usually of a grayish tone, and the strokes of the brush 
 are very neatly and clearly defined, so that the picture 
 looks, as Pere d'Entrecolles remarks, as if it were
 
 321 
 
 painted upon vellum instead of on ordinary papei'. The 
 pieces are rarely marked ; if there be a date inscribed, it 
 will be found to be probably that of the reign of 
 Hsilan-te (1 426-1 -ISS) of the Ming dynasty ; the blue of 
 this latter period is described to have been pale, of much 
 the same tint, in fact, as that of the blue in modern 
 Japanese Hirado porcelain. 
 
 There is a small specimen of this crackled blue and 
 white illustrated in Plate LXVIII, a miniature teapot^ 
 which displays very well the peculiar ivory-white color 
 of the glaze ; it is marked yil, ^' jade " — not an infre- 
 quent mark during the I^Cang-hsi period. A typical 
 example of the uncrackled "soft paste" blue and white 
 is exhibited in Fig. 221, which presents a baluster vase 
 (inei 2^''ing), thirteen inches higli, of very light material, 
 which is decorated m soft-toned blue, under the pitted 
 uudulatory " orange-peel " glaze, with three formal 
 upright sprays of lotus, each com^^osed of a folded 
 peltate leaf, a blossom, and a bud, rising on sepai-ate 
 stems. Chains of rectangular fret encircling the base 
 and shoulder complete the simple decoration, which is 
 neatly etched in a soft-toned blue of pure tint. There is 
 no mark underneath. 
 
 Fig. 172 shows a choice specimen of the crackled Fen- 
 Ting glaze, with a minutely reticulated undulating- 
 surface of ivory-^vhite tint, over emblematic designs 
 delicately sketched in soft blue. The decoration consists 
 of nine lions, live on the body, four on the neck, disport- 
 ing with brocaded balls tied with waving fillets, sup- 
 ported on banks of scrolled clouds and enveloped in 
 flames. This conveys the felicitous wish, " Cliiu sliih 
 fling cliiV — i. e., "A family of nine (sons) living 
 together," a pun on the word sltilt, which means 
 "family" as well as "lion." In the same way the Ave 
 bats in the cloud scroll encirclino' the recedino- shoulder
 
 322 ORIENTAL CERAMIC ART. 
 
 of the vase suggest tlie " five happinesses " {urn fti), aud 
 the band of prunus blossom round the foot a flourishing 
 longevity. The foot has the same crackled glaze spread 
 underneath, with no mark attached. 
 
 The beautiful little cup in Fig. 37 is a K^ing-lm pro- 
 duction of the same class. It is modeled in the form and 
 style of the i^swrt/i-fe" period, and is decorated in a similar 
 underglaze blue with a pair of five-clawed dragons pur- 
 suing jewels among clouds and ■ flames, on the sides, and 
 with a second pair of dragons upon the rounded cover, 
 which is surmounted by a mythological animal ; there is 
 no mark underneath. 
 
 Passing on to the ordinary blue and white (chHng hvu 
 jpai ti — i. e., "painted in blue on a white ground"), the 
 reign of K''ang-hsi is unquestionably the finest period, 
 when the cobalt comes out in its full inimitable brilliancy 
 from the depths of a rich translucent glaze. The white 
 ground has often a slight bluish tint, but it is not so blue 
 as it was in the Ming dynasty ; in the succeeding reigns 
 it becomes creamy, or is even almost opaque, so as to be 
 chalky in aspect. The blue is not generally so full and 
 strong as in the reign of Cliia-ching of the Ming dynasty, 
 but it is graded, so as to produce a charming modulation, 
 and a palpitating quality of color, which we rarely find 
 in earlier work, hardly ever in more recent times ; it is 
 never flat or dead. As Mr. Cosmo Monkhouse says in 
 his recent introduction to the Burlington Fins Arts Cluh 
 Catalogue^ which has been already cited : " It would take 
 a long time to exhaust the number of changes which the 
 Chinese ring upon the many tints of blue and white — 
 white sometimes white as curds, sometimes grayish, some- 
 times tinged with the faintest blue, like the film inside a 
 bird's Q^^^. But if the white is varied, what of the 
 blue ? Sometimes brilliant and opaque as lapis lazuli, 
 sometimes pure and trembling as a sajDphire, now almost
 
 THE k'an(t-hsi period. 323 
 
 black, now wholly gray, sometimes warm as purple, 
 sometimes cold as a ^viiitry sky. Whatever quality is 
 taken is of course used throughout, but even this allows 
 for oreat variation in shade : a dark and lisjht blue are 
 nearly always employed, and three, if not more, distinct 
 tones are often seen on the same j)iece." 
 
 Blue and white has always seemed to fascinate the artist, 
 and Mr. Whistler has cleverly illustrated the style of the 
 poi'celain of this period,* and not without catching some 
 of the spirit of the Chinese decorator. It is interesting 
 to compare his work with that of our artist ; the slender- 
 necked, globular bottle illustrated in Plate XLII happens 
 to have been drawn by him in Plate XXIV, No. 255, in 
 the \vork just quoted. 
 
 Blue and white may be divided into two classes : blue 
 upon white, and white upon blue, the latter comprising 
 those examples in which the blue predominates to tlie 
 extent of furnishing the ground upon which the un- 
 touched portions of the white porcelain beneath form the 
 design of the decorations. This is seen in the vase Just 
 referred to. Of the sixteen pieces of blue and white 
 selected here for illustration, no less than thirteen are 
 attributed to the reign of K'ang-lisi., although the marks 
 of Hsilan-te, Cli' eng-hua, and Chici'-chmg are inscribed on 
 three of the objects. The reign always occupies this 
 preponderating position in good collections. Plate II dis- 
 plays a magnificent example of the white upon blue class, 
 the sprays of pruuus sliining in white reserve on the Jar, 
 which is covered all over, in the intervals of the floral 
 decoration, with a reticulated ground of pulsating blue. 
 
 Before proceeding further with the description of the 
 decorated porcelain, it seems advisable to submit a scheme 
 
 * A Catalogue of Blue and WJtite Xaukin Porcelain, forming the collection 
 of Sir Henry Thompson. Illustrated by the autotype process from drawings 
 by James McN. Whistler, Esq., and Sir Henry Thompson : London, 1878.
 
 324 ORIENTAL CERAMIC ART. 
 
 of classificatiou under wliicb its many varieties may be 
 conveniently arranged. In its main lines I propose to 
 follow Brongniart, who was the first, in Lis Traite des 
 Arts Ceiximiques, wliich is still the classic of the art, to 
 divide the colors used in tlie decoration of porcelain into 
 three classes : 
 
 A. Couleurs de grand feu. 
 
 B. Couleurs de demi-grand feu. 
 
 C. Couleurs de petit feu ou de moufle. 
 
 The colors employed in China which resist the most 
 intense heat of the furnace are the cobalt-blue, the cojd- 
 per-red, and the sea-green celadon and deep-brown glazes, 
 which are both derived from iron. The first two are 
 painted with a brush on the raw white body of the piece 
 (^siir Je cru), and subsequently covered with glaze, so that 
 they ai-e both underglaze colors, and the porcelain re- 
 quires but one firing. The other two are applied as 
 glazes previously pi'epared, in which the coloring material 
 is mixed with a feldspathic flux combined with lime. 
 
 The second class of colors (de demi-grand feii) are fired 
 in tlie same furnace as those of the first class {de grand 
 fen^^ but the pieces are placed in the more temperate 
 j^arts of the furnace, near the chimney at the back, and 
 below tlie level of its lower orifice, where they escape the 
 direct blast of the fire. The colors are three in number — 
 turquoise-blue derived from coppei', manganese-purple, 
 and yellow prepared fi'om an ii-on ore containing anti- 
 mony. The glazes, together with the white glaze which 
 accompanies them, are condjined with a nitre or lead flux, 
 and applied sur bis(Mit, the piece having been previously 
 fired, unglazed, in the large furnace. This class com- 
 prises the typical San ts'ai, or " Three-color " decoration 
 of the period. 
 
 The third class includes the enamel colors of the mufifle 
 stove, which are the same as those used in painted and
 
 THE k'aNG-IISI PERIOD. 325 
 
 cloisonne enameling upon copper. They are previously 
 combined ^vitli a llnx composed of powdered quartz, 
 oxide of lead, and alkalies, into a kind of glass, which 
 retains in solution a small percentage of the metallic 
 oxide dissolved in the vitreous mass in the form of sili- 
 cate. The coloring matters used in China are compara- 
 tively few, being oxide of copper for the greens, gold for 
 crimson and pink, oxide of cobalt for the blues, oxide of 
 antimony for the yellows, arsenious acid for the white 
 and for moderatino; the tint of the other colors. Oxide 
 of iron gives coral-red, and impure oxide of manganese 
 black ; these two colors are generally applied directly, 
 mixed with white-lead and glue, as they will not combine 
 wdth silica. The enamel colors are painted upon white 
 porcelain that has been already glazed and fired, and 
 wdiich has to be baked a second time in the gentle heat 
 of the muffle stove to fix the colors. This is the typical 
 Wit ts'ai, the " Five-colored " or Polychrome Decoration 
 of the Chinese. The enamel painting may be executed, 
 also sur hiscuit or upon a crackled ground, or upon one 
 partially or wholly invested with one of the highly fired, 
 single colors, such as celadon, for example, or in combi- 
 nation with portions of decoration previously painted in 
 one or more of the underHaze colors. The chano-es that 
 may be rung by the different combinations are almost 
 infinite ; some have been already described, others will 
 follow later. Mean^vhile the decorated porcelain of this 
 reign will be grouped according to the scheme : 
 
 Table of Decorated Poecelain. 
 
 A. Colors of the grand feu. 
 
 1. Decorated in underglaze cobalt-blue. 
 
 2. Decorated in underglaze copper-red. 
 
 3. Decorated in mixed colors.
 
 326 ORIENTAL CEUA.AIIO AllT. 
 
 B. Colors of the demi-g rand feu. 
 
 4. Decorated in glazes of several colors. 
 
 C. Colors of the Mtifie Stove. 
 
 5. Decorated in overglaze iron-red. 
 
 6. Decorated iu sepia. 
 
 7. Decorated in o-olJ and silver. 
 
 8. Decorated in mixed enamel colors. 
 
 1. Decorated in Underglaze Cohalt-Blue. — This class 
 lias been briefly noticed already. The blue and white, 
 wliich is its normal decoration, is sometimes relieved by 
 one of the monochrome grounds, such as "Nankin" yel- 
 low or coral-red, as it used to be in the preceding dynasty, 
 or it may still continue to be combined with touches of 
 enamel colors, as it was in the Wan-li Wu-ts\ii, the typ- 
 ical polychrome decoration of the reign of Wandi. In 
 the beautiful little vase illustrated in Plate LXII, which 
 is decorated in brilliant mottled blue of this period, the 
 intervals between the panels are filled in with sprays of 
 pruuus, painted in delicate enamels, relieved by an iri- 
 descent black enameled ground. 
 
 2. Decorated in Underglaze Copper-Red. — The color- 
 ing material is painted with a brush in the same way as 
 the blue upon the raw^, white body of the porcelain ; the 
 glaze is blown on as soon as the piece is sufficiently dry, 
 and it is afterward fired in the large furnace. The color 
 comes out generally of a dull maroon tint, occasionally it 
 is a l)right ruby-red, or it may develop "peach-bloom" 
 tints. The snuff-bottle illusti'ated in Plate XXXVII (2), 
 which is painted with landscapes in maroon-red, is an 
 example of this decoration. A fine specimen of the 
 K\mg-lisi period is presented in Fig. 225. Another fol- 
 lows in Fi<?. 229. 
 
 3. Decorated in Mixed Colors of the grand feu. — This 
 class is illustrated in Fig. 226 by a vase which may be 
 thus described : A tall, ovoid vase, seventeen and a quar-
 
 THE k'ang-hsi period. 327 
 
 ter inches bigb, with the decoration of a four-clawed, 
 two-horned dragon rising from the waves of the sea on 
 either side, executed in relief, and painted in three 
 colors — underglaze blue, maroon, and celadon. The 
 bodies of the dragons are brown, the manes are penciled 
 in blue, the effulgent jewels which they are pursuing are 
 of shaded brown. The crested waves at the base, wdiich 
 are painted in blue, have rocks rising out of them, on 
 both sides, of sea-green celadon tint. The mark, written 
 underneath in blue within a double ring, is Ta ClCing 
 K''ang Jisi nien cliih — i. e., "Made in the reign oiK\ing- 
 hsi of the great ClCing [dynasty]." A vase of the same 
 type is shown in Fig. 227, with raised outlines decorated 
 in the same three colors — blue, maroon and celadon — 
 displaying the combat between the tiger, king of land 
 animals, and the dragon, prince of the j)owers of the air. 
 
 4. Decorated in Glazes of the demi^g rand fen. — This 
 may be characterized as the typical decoration in three 
 coloi's {San ts\ii). It must be distinguished from the 
 San ts'ai decoration of the muffle stove, Avhere the tur- 
 quoise-blue is replaced by a green of camellia-leaf tint, 
 Avhicli is sometimes penciled with black, while the other 
 two colors remain the same. The latter has a plain sur- 
 face, the former is truitee — i. e,, crackled all over witli a 
 minute reticulation of fine superficial lines. A combi- 
 nation of two of the colors — turcpioise and pur[)le — is 
 found in the little peach-shaped wine-pot shown in 
 Fig. 217. 
 
 5. Decorated in Iron-Red. — This color, which is pre- 
 pared from peroxide of iron, produced by the incinera- 
 tion of iron sulphate, being the same as that used for the 
 coral-red monochromes, is penciled upon the surface of 
 the white glaze, and fixed by being fired in the muffle 
 stove. This decoration is the Tsal Hung., or " Painting 
 in Red," of the Chinese. No more beautiful illustration
 
 328 ORIENTAL CERAMIC ART. 
 
 of it could be imagined than that of the egg-shell bowl 
 of this period, decorated with dragons, which is presented 
 in Plate LXVII. This decoration in coral-red is often 
 combined with gold, as in the club-shaped vase of the 
 reign of IC\mg-hsi, displayed in Plate XXVIII, in which 
 the effect of the soft red, penciled in two shades, is 
 enhanced by touches of gilding, with the addition of a 
 spot or two of black to define the eyes of the dragons. 
 
 6. Decorated in Seiyia. — This decoration, although 
 described as making its appearance late in the reign of 
 K\m,g-lm^ is more charactei'istic of the succeeding reigns, 
 especially of that of CKieTi-lung. It is the Ts'ai Shui 
 Mo, or " Painting in Ink," of the Chinese, and, like the 
 last, it is often thrown out effectively by touches of gold. 
 A striking example of painting in sepia is illustrated in 
 Fig. 230, a ruby-backed plate with a picture of a " dragon 
 barge" towed in procession, which is probably the work 
 of a ChHen-lung artist. 
 
 7. Decorated in Oold and Silver. — The metals, finely 
 pulverized, were combined with oxide of lead by means 
 of a little gum penciled upon the glaze and fixed in the 
 muffle stove. Painting in gold (Ts'ai Chin) on a white 
 ground was not so common in this reign, so we must refer 
 to a wine-cup of the next reign, illustrated in Fig. 38 («). 
 In the reign of Khnig-hsi gold was lavished in the rich- 
 est decoration of large vases enameled with the mazarin- 
 blue and mirror-black gi-ounds. Silver ^vas chiefly 
 employed in the ornamentation of the coft'ee-brown or 
 dead-leaf ground. Both colors, especially the silver, resist 
 wear and tear l^adly, so that only indistinct traces of the 
 original designs may perhaps be detected in pieces that 
 have survived to the present day. 
 
 8. Decorated in Mixed Enamel Colors. — This class 
 includes the great majority of the decorated pieces of the 
 time. Some of the varieties have been referi'ed to
 
 329 
 
 already, and it has been explained bow a brilliant green 
 of shaded tones, usually laid on in thick patches, pre- 
 dominates among the colors, so that pieces of the old 
 famille verte, even if they bear earlier marks of date, are 
 generally to be attributed to this reign. Tlie co]>alt- 
 blue, which during the Ming dynasty had been applied 
 under the glaze, is now generally overlaid in the same 
 way as the other enamel colors and fixed at the same 
 firing. The other colors are red, yellow, and black, 
 completing the " five colors " of the enameler. When 
 blue and red are absent, we have the three-colored (san 
 ts'ai) decoration of the muffte stove. The coloring of 
 this inimitable period has an unmistakable cachet to an 
 accustomed eye, which enables it to be distinguished at 
 a glance from any reproduction, whether native or Euro- 
 pean. The two club-shaped vases illustrated in Plates 
 VI and XVII are picked speciniens of the richest orna- 
 mentation in enamel colors ; the egg-shell lantern in Plate 
 XI and the statuette of the goddess Avalokita in Plate 
 LX are both fine examples of the famille verte. It will 
 be sufficient to add a cursory description of two more 
 pieces as typical examples of the Wu ts'ai and Saii ts\ii 
 enamel decollation. 
 
 The first. Fig. 228, is a richly and artistically decorated 
 vase of the Wu ts'ai class, painted in the most brilliant 
 enamel colors of the K''ang-hsi period, ^vith a few touches 
 of gold. It is covered with panel pictures of varied 
 form, displayed upon floral and diapered grounds, and 
 separated by a band of floral diaper encircling the 
 shoulder, interrupted by medallions containing butter- 
 flies. There are eight panels on the body ari-anged in 
 two rows, of which the lower panels, representing lotus- 
 leaves and other foliated designs, contain a grotesque 
 lionlike monster standing upon a rocky shore; a pair of 
 peacocks on a rockery with peonies ; a pair of phcenixes
 
 380 ORIENTAL CEKAMIC AET. 
 
 by a spreading dryandra-tree ; a warbler perched upon a 
 prunus-tree with roses underneath. Of the panels in the 
 upper row, two are filled with vases containing symbols 
 of rank and honor, the incense-bnrning apparatus, and 
 books, scroll pictures, lyres, and chess, the emblems of 
 the " four liberal arts." The other two contain a pair of 
 storks on a pine, with a peach floating in the waves 
 below, and a grotesque monster on a rock, with an eagle 
 flying overhead. The interspaces are filled with butter- 
 flies and sprays of peony, chiysanthemum, lotus, begonia^ 
 aster, pink, and other flowers. The two quatrefoil panels 
 on the neck contain rockeries with flowers and butter- 
 flies ; the ground between is a spiral diaper traversed by 
 a pair of lizardlike dragons. 
 
 The second (Fig. 82) is a choice example of the San 
 ts'ai, the " Three-colored " decoration of the muflSe stove^ 
 the surface being painted in green, purple, and yellow 
 enamels. It is a wine-pot molded in the shape of the 
 character y?/, "happiness," with a movable lid formed by 
 the first " dot " of the written hieroglyph. The handle 
 and the tip of the spout have been rej^laced in metal. 
 The base, unglazed, is marked with the impression of the 
 stuflp in which the paste was pressed. The rims and bor- 
 ders are enameled pale green. The spout has shou 
 (" longevity ") characters of different style, alternately 
 purple and green, upon a pale yellow ground. The 
 decoration, which is precisely similar on front and back, 
 is composed of scrolled bands of lotus design with green 
 foliations and white and purple blossoms, inclosed in 
 a pale yellow gjrjund outlined with purple. In the mid- 
 dle are two foliated panels framed in green relief, con- 
 taining pictures of various emblems of longevity : on the 
 front a pine overspreading a rock with the saci'ed fungus 
 growing upon it, an axis deer, and a sacred stork ; on the 
 back, a peach-tree with a clump of bamboos, a tiger^
 
 331 
 
 and a pair of birds flying, all paiuted in the same soft 
 colors. 
 
 There is a class of j)orcelain decorated sur biscuit, with 
 •colored glazes, comprising two or three of the above tints, 
 which is not, properly speaking, painted. The designs, 
 generally of floral character, having been previously 
 worked in the paste and engraved with the point, the 
 piece is fired ; the details are afterward filled in with 
 glazes of different colors, and the piece is fired again 
 in the mufile stove. There are bowls, for example, with 
 the ICang-hsi mark underneath, engraved outside with 
 branches of flowers growing from rocks — colored maroon, 
 green, and white — relieved by a ground of imperial yel- 
 low, enameled plain yellow inside. The saucer-dishes 
 etched in the paste inside with a pair of dragons sur- 
 rounded by scrolled waves, with one of the dragons 
 colored green, the other purple, and the surrounding 
 ground yellow, come under the same class. The Chinese 
 distinguish them by the appropriate name of Huang Lil 
 Hiian — i. e., "Yellow and Green in Panels."
 
 CHAITER XL 
 
 LETTERS OF PEKK d'eNTRECOLLES. 
 
 THESE letters, wliicli liave been already referred to 
 more than once, were originally published in tlie 
 Lettres edifiantes et curiens ■^, and they brought the first 
 detailed account of the manufacture of Chinese porcelain 
 to Europe. The two lette.s embody the results of the 
 personal observations and researches of the Jesuit mis- 
 sionary, and of the information gathered from such of 
 his Chinese converts as v\e]'e engaged in the industry. 
 They are dated Jao-chou, September 1, 1712, and King- 
 te-chen, January 25, 1722. When the second letter was 
 written the long and brilliant reign of the Emperor 
 Khing-lisi was fast drawing to its close. Two years 
 later — that is to say, in the second year of his successor^ 
 Yung-clieng — the Roman Catholic religion was rigorously 
 proscribed, the foreign missionaries were exiled to Macao,, 
 and their churches throughout the different provinces 
 were either converted into secular schools or destroyed,, 
 so that we get no more letters on the subject. These 
 two Avere written at a most interesting time — at a time 
 too in respect to which there is a complete dearth of Chi- 
 nese information, so that no apology is needed for giving 
 here a precis^ in the form of an abridged translation^ 
 as literal as possible, of the writer's own woi'ds. The 
 second letter, which is mainly supplementary and ex- 
 planatory, has been interwoven with the first to save 
 space, and at the same time to maintain the continuity of 
 the subject. I have slightly modified the orthography of 
 the Chinese words for the sake of uniformity, with the 
 
 332
 
 LETTERS OF PERE d'eNTRECOLLES. 333 
 
 exception of tliat of the first two words that occur. 
 These have since become classical in Europe, and are to 
 be found in the dictionary of the Academie Frangaise : 
 
 " The material of porcelain is composed of two kinds 
 of earth, one called pe-tun-Ue^ the other named hao-lin. 
 Tlie latter is disseminated with corpuscles which are 
 somewhat glittering,* the former is simply white and 
 very fine to the touch. At the same time that a great 
 number of large boats come- up the river from Jao-chou 
 to King-te-chen to be loaded with porcelain, almost as 
 many small ones descend from Ki-men, laden with j^e- 
 tun-tse and hao-lin made into the form of bricks, for King- 
 te-chen itself produces none of the materials. Pe-tun-tse, 
 of which the grain is so fine, is nothing but pulverized 
 pieces of rock extracted from quai'ries, to which this form 
 is given. It is not every stone that is suitable; if so, it 
 would be useless to go for it into the next province.f 
 The good stone, the Chinese say, ought to have a slight 
 tinge of green. The rocks are first broken into pieces 
 with iron hammers, and the fragments are finely pulver- 
 ized in mortars by means of levers which have stone 
 heads mounted with iron. These levers are w^orked 
 incessantly, either by men or by water-power, in the 
 same way as the tilt-hammers in paper-mills. The pow- 
 der is thrown into a large jar full of watei', and stirred 
 strongly with an iron shovel. When it has been left for 
 a few moments to settle, a kind of cream forms at the top 
 four or five fingers thick ; this is taken oft' and poured 
 into another vessel full of watei*. The operation is 
 repeated sevei'al times until only the coarse residuum 
 which sinks to the bottom is left ; this is taken back to 
 be crushed again in the mortar. 
 
 * Crystals of mica. (The notes are added bj' the translator.) 
 f Ki-meu-hsien is in the prefecture of Hui-chou-fu, in the province of An-hui, 
 near the source of the Chang River, Avhich flows by Ching-tO-chen.
 
 334 ORIENTAL CERAMIC ART. 
 
 " AVitli regard to the second jar, into which has been 
 thrown all that was collected from the first, after waiting 
 until a kind of paste has formed at the bottom, and the 
 supernatant water is perfectly clear, the ^\•ater is decanted 
 without disturbing the sediment. The paste is emptied 
 into a large kind of wooden case, the bottom of which is 
 filled with a bed of bricks, over Avhich is stretched a 
 cloth of the size of the interior of the case ; this cloth is 
 filled with the paste, it is covei-ed with another cloth, and 
 then with a flat layer of bricks, which press out the 
 water. Before it has become quite dry and hard, the 
 paste is divided into little squares, which are sold by 
 the hundred. The name oi lye-tmi-tse \^ derived from the 
 white color and the shape of these hriquettes. There 
 would be nothiuo^ to add to this work if the Chinese 
 were not in the habit of adulterating their merchandise ; 
 but people who roll little grains of paste in pepper-dust 
 to mix with genuine pepper-corns would hardly care to 
 sell pe-tun-tse without mixing it with coarser matters, so 
 that it has to be again purified at King-te-cheu before it 
 is fit for use. 
 
 " Kao-lin requires a little less labor than pe-tun-tse ; 
 Nature has done the greater part. It is found in mines 
 in the bosom of certain mountains, Avhich are covered 
 outside w4th a reddish earth. These mines are fairly 
 deep ; it is found there in masses, and is also made into 
 squai-e hriquettes by the same method that I have described 
 above. It is to Icao-Un that fine porcelain owes its 
 strength, and it is only a combination with the soft 
 earth that fortifies the pe-tun-tse^ which is derived from 
 the hardest of rocks. A rich merchant told me that some 
 years ago the English or Dutch had had purchased for 
 them some pe-tun-tse^ that they took to their country to 
 make porcelain with, but that, having taken no liao-lin, 
 their enterprise failed, as they confessed afterward. The
 
 LETTERS OF PEKE d'eNTRECOLLES, ' 335 
 
 Chinese merchant said to me, laughing, ' They wanted to 
 have a body with no bones to sustain the flesh.' 
 
 " Besides the boats laden with pe-tun-tse and Jcao-liiij 
 w^ith which the river bank at King-te-chen is lined, 
 others are found filled with a whitish and liquid sub- 
 stance. I have long known that this substance was the 
 oil (or glaze) that gives porcelain its whiteness and its 
 luster, but I did not know its composition, ^vhich I have 
 at last learned. This oil is derived from the hardest 
 stone. The same kind of rock which is used in the 
 preparation of the 2)6-tun-fse can also be employed for the 
 extraction of the glaze, but the whitest pieces are picked 
 out from the heap, and those ^vhich have the greenest 
 spots. The history of Fou-liang says that the best stone 
 is that which has spots upon it like the leaves of the 
 arbor vitse,* or reddish marks like sesamum seeds. The 
 rock must first be well ^vashed, and then prepared in 
 the same way as the iK-tun-tse. When there has been col- 
 lected in the second jar the purest part of the matter that 
 has been levigated in the first Jar with all the usual pre- 
 cautions, to every hundred pounds or so of the cream one 
 pound is added of a stone or mineral like alum, named sliih- 
 hcio',^ it must have been first roasted in the fire, and then 
 pounded ; it acts like rennet in giving a certain consist- 
 ence, although the matter is always carefully kept in a 
 liquid state. 
 
 " This stone glaze is never used alone ; it is mixed with 
 another material which forms its essence. This is its 
 composition : Large pieces of quicklime are reduced to 
 powder by sprinkling w^ater upon them, and covered 
 with a bed of dried ferns, upon which is spread another 
 layer of quenched lime, and so on in succession, one layer 
 
 * Dendrites of manganese oxide. 
 
 f Gypsum, or sulphate of lime. The action of this is supposed to be purely 
 mechanical, quickening precipitation.
 
 336 okip:ntal ceramic art. 
 
 upon the other; then the ferns are set on fire. After 
 everything is burned, tlie ashes are spread upon new beds 
 of dried ferns ; this is repeated six or seven times in suc- 
 cession, or even oftener for the best glaze. When a suf- 
 ficient quantity of lime and fern ashes has been burned, 
 the ashes are thrown into a Jar full of water. With each 
 hundred pounds it is necessary to dissolve one pound of 
 shih-lcao, to stir the mixture thoroughly, and then to 
 leave it in repose till there appears on the surface a cloud 
 or a crust, which is collected and thrown into a second 
 jar. This operation is repeated several times. When a 
 species of paste has formed at the bottom of the second 
 jar, the water is decanted, and the liquid at the bottom 
 is preserved as the second oil, to be mixed with the 
 preceding. 
 
 •' For a proper mixture, the two purees must be of the 
 same thickness, which is tested by dipping in squares of 
 pe-tiui-tse. With regard to the quantit}^ of the ingredi- 
 ents, the best glaze that can be made is a combination of 
 ten measures of the ?iY^t puree of stone with one measure 
 of that made of the lime and fei'n ashes ; the most sparing 
 never put less than three measures to one. The mer- 
 chants that sell the liquid sometimes dilute it with water, 
 and conceal the fraud by adding a proportionate quan- 
 tity of shih'kdo to thicken it. 
 
 " Before explaining the method of apj^lying the glaze 
 it is necessary to describe the fabrication of the porcelain. 
 In the less frequented parts of King-te-chen are vast 
 sheds, surrounded by walls, in w^hich one sees ranged, 
 story above story, a great quantity of jars of earth. Inside 
 these walls live and work an infinite number of work- 
 men, each of whom has his allotted task. A piece of 
 porcelain, before it leaves them to be carried to the fur- 
 nace, passes through the hands of more than twenty 
 persons.
 
 LETTERS OF PERE d'eNTRECOLLES. 337 
 
 "The first work consists in purifying anew, by the 
 same process of levigation and decantation, both the 
 pe-tim-tse and tlie hcto-lin. After having been purified, 
 the two materials are combined in certain proportions : 
 the finest porcelain is made of equal parts ; for an 
 inferior kind they use four parts of Icao-lin to six paits of 
 pe4un-tse ; the least that can be put is one part of hdo-lin 
 to three of pe-tun-tse. 
 
 "When mixed, the material is thrown into a large 
 hollow oi- pit, well paved and cemented throughout, 
 where it is trodden and kneaded to w eld it to a proper 
 consistence ; this is very hard work, and it goes on inces- 
 santly, so that the Christians employed can not even 
 come to church without providing substitutes. 
 
 " From the mass thus prepared, lumps are taken and 
 put upon large slates, where they are kneaded, beaten, 
 and rolled in every sense, taking the greatest care that 
 there shall be no hollows left, and no admixture of foreign 
 bodies. A hair, a grain of sand, would ruin all the work. 
 From such elements are produced so many beautiful 
 works of porcelain, some fashioned upon the Mheel, 
 others made simply by molds, and finished afterward 
 with the polishing-knife. 
 
 " The plain, round pieces are all made in the first 
 fashion. A cup, when it comes off the wheel, is very 
 impei-fectly shaped, like the top of a hat l)efore it has 
 been put on the shaping mold. The foot is only a piece 
 of clay of the diameter that it is intended to have ulti- 
 mately, and it is not excavated with the knife until all 
 the other operations are finished. The cup, as it comes 
 from the wheel, is first handed to a second workman, 
 who is seated beneath. It is passed by him to a third, 
 who 2^1'^sses it on a mold, and gives it its shape ; this 
 mold is fixed upon a kind of Avheel. A fourth workman 
 polishes the cup with a knife, especially round the rims,
 
 338 ORIENTAL CERAMIC ART. 
 
 and makes it thin enough to be transparent ; each time 
 he scrapes it, it must be moistened carefully, or it will 
 break. It is surprising to see the rapidity with which 
 the vases pass through so many different hands, and I 
 am told that a vase that has been fired has gone through 
 the hands of seventy workmen. 
 
 " Large objects of poi'celain are made in two pieces : 
 one half is lifted upon the wheel by three or four men, 
 who support it on each side while it is being shaped ; 
 the other half is fitted upon the first when it is suffi- 
 ciently dried, and is cemented to it with porcelain earth, 
 mixed ^vith water (i. e., slip), Avhich serves as mortar or 
 glue. When quite dry, the place of junction is pared 
 with a knife, inside and outside, so that, after glazing, 
 there remains no inequality of surface. Handles, ears, 
 and similar adjuncts are attached by means of slip in the 
 same way. This refers j^rincipally to the porcelain 
 which is made in molds, or by hand^vork, such as fluted 
 pieces, or those of bizarre shape, such as animals, gro- 
 tesques, idols, the busts ordered by Europeans, and such 
 like. These objects, when molded, are made in three or 
 four pieces, \vhich are fitted together, and finished after- 
 ward with instruments adapted for excavating, polishing, 
 and working the various details that have escaped the 
 mold. As for flowers and other ornaments, which are 
 not in I'elief, but, as it were, in intaglio, these are 
 impressed on the porcelain with seals and molds ; reliefs, 
 ready prepared, are also put on, in the same way almost 
 as gold lace is attached to a coat. 
 
 "I have lately investigated the subject of these molds. 
 When tlie model of the piece of porcelain to be made is 
 in hand, and it is such as can not be shaped upon the 
 wheel by the potter, they press upon the model some 
 yellow clay, specially prepared for molding ; the clay is 
 impressed in this way, the mold being composed of sev-
 
 LE^rTEKS OF PERE d'eNTRECOLLES. 339 
 
 eral pieces of pretty large size, which are left to harden 
 when they have been properly impressed. When they 
 are used, the}^ are put near the fire for some time, and 
 then filled witli porcelain earth to the thickness the piece 
 is to have, and this is pressed into every part with the 
 hands. The mold is held to the fire for a moment, to 
 detach the " squeeze " from the mold. The different 
 pieces which have been separately molded in this way 
 are joined together afterward with a slip (Fig. 231). I 
 have seen animals of massive proportions fabricated by 
 these means ; after the mass has been left to harden, it 
 is worked into the desired form, and finished with the 
 chisel ; and, finally, each of the parts worked separately 
 is adjusted. When the object has been finished oft' with 
 great care, the glaze is put on, and it is then fired ; it is 
 painted afterward, if desired, in dift'erent colors, and the 
 gold is applied, and then it is fired a second time. 
 
 " When the time has come to ennoble the porcelain by 
 painting, it is intrusted to the hands of the Ilua-p''i,^ or 
 porcelain painters, who are almost as poor as the other 
 workmen ; not so astonishing a fact, however, as with 
 a few exceptions they would pass in Europe only as 
 apprentices of some months' standing. All the science 
 of these painters, and indeed of Chinese painters gener- 
 ally, is not based on any principles ; it consists only in a 
 certain I'outine, helped by a vein of imagination limited 
 enough. They are ignorant of every beautiful rule of 
 the art. Still, it must be confessed that they paint fiow- 
 ers, animals, and landscapes, which are much admired 
 upon porcelain as well as on fans and on lanterns of the 
 finest gauze. The work of painting is distributed in the 
 same workshop among a great number of workmen. 
 
 * Hua-p'i means literally " painter on the raw body " (sur k cm), and, like 
 so many terms of the Chinese atelier, indicates the greater antiquity of deco- 
 rating in cobalt-blue than that of painting in enamel colors.
 
 340 ORIENTAL CERAMIC ART. 
 
 One has the sole task of outlininsi: the colored riuo-s 
 that are seen on porcelain near the rims of the pieces, 
 another sketches the ilowers, which a third paints ; 
 this one is for landscapes, that one for birds and for 
 other animals. 
 
 " With regard to the coloi's of porcelain they are of all 
 sorts. In Europe hardly anything is seen excepting a 
 bright blue upon a white ground, but I believe that our 
 merchants hav^e also imported other kinds.* There are 
 some pieces with a gi'ound resembling that of our burn- 
 ing-glasses ; others are wholly red, and among these some 
 have the red in the glaze {yu-li-liung)\ others have a 
 sowffie red (cli'ui-hung), and are strewn with little points 
 somewhat like our miniatures. When these last two 
 kinds come out in perfect success — a work of some diffi- 
 culty — they are infinitely esteemed and extremely dear. 
 
 " Lastly, there are porcelain vases with pictures of 
 landscape scenes painted in nearly all the different colors, 
 enhanced by the luster of gilding. These are very beau- 
 tiful if no expense is spared ; otherwise the ordinaiy 
 porcelain of this kind is not to be compared with that 
 painted in azure blue alone. The annals say that in 
 ancient times the people used only white porcelain, 
 probably because the ordinary blue had not yet been 
 discovered. 
 
 " The azui-e blue is prepared in this way : It is buried 
 in the gravel, which is half a foot thick in the floor of 
 the furnace, and roasted there for twenty-four hours; 
 then it is ground to an impalpable powder, in the same 
 way as the other colors — not on marble, but in a great 
 porcelain mortar, the bottom of which is unglazed, as is 
 
 * The two illustrations (Figs. 232 and 234) are specimens of blue and white 
 ■designs painted for Europe about this time. The cylindrical vase is decorated 
 in alternate bands of blue upon white, and blue with white reserves ; and 
 similar vases are often found painted in enamel colors of the period. The 
 ■other is painted in blue with rich panels of floral brocade.
 
 LETTERS OF PERE d'eNTRECOLLES. 341 
 
 also tlie head of tlie pestle with which the colors are 
 pounded. 
 
 " The red that is made from the green vitriol (tsao-fan) 
 is prepared b}' placing about a [)ound of the iron crystals 
 in a crucible, which is well luted to a second crucible, 
 having in the top a small aperture, covered, however, in 
 such a way that it can be easily uncovered if needful. 
 The whole is surrounded l)y a large charcoal fire in a 
 reverberating brick furnace. As long as the smoke 
 which rises is all black, the material is not yet fit ; but it 
 is as soon as a kind of thin, fine cloud appears. Then 
 they take a little of the material, mix it with water, and 
 try the effect on a piece of pine wood. If it comes out a 
 good red, they take out the brazier in which it is inclosed 
 and partially cover the crucible. When quite cold, a lit- 
 tle cake of this red is found at the bottom of the lower 
 crucible, while the finest red lines the upper crucible. 
 One pound of iron sulphate furnishes four ounces of the 
 red used in painting porcelain. This red is combined 
 with five times its weight of white lead, the two powders 
 are passed through a sieve, and mixed together dry. 
 The mixture is incorporated with water thickened with a 
 little ox-glue when it is painted on, so that it may not 
 run down the side of the vase. 
 
 " Although porcelain is naturally white, and the glaze 
 serves, moreover, to augment its whiteness, yet there are 
 certain figures in the production of which a ]ieculiar white 
 is painted upon porcelain decorated in different colors. 
 This is prepared by pulverizing a transparent rock,* 
 wdiich is calcined by inclosing it in a porcelain crucible, 
 and by burying the crucible in the gravel floor of the 
 furnace, in the same way as the azure-blue. It is mixed 
 
 * The caillou transparent here spoken of is no doubt arsenions acid, the 
 native arsenical ore, which occurs in large translucid masses. The effect of 
 the decoration in white upon a pale-green celadon ground is seen in Fig. 235.
 
 342 ORIENTAL CERAMIC ART. 
 
 with water, without ghie, with twice its weight of white 
 lead, and painted on with a brush. The same white 
 is used for combining with other colors to modify their 
 tints. Added to the ordinary green, for example, in the 
 pi'oportion of two parts of white to one part of green, it 
 makes the pale, clear green, which is often associated 
 with the darker shade. 
 
 " With regard to the other colors which are painted on 
 the porcelain for the second firing, the dark green is pre- 
 pared by combining an ounce of ^vhite lead, with a third 
 of an ounce of powdered quartz, and a tenth to a twelfth 
 of an ounce of fung Ituap'ien^ which is nothing else than 
 the scum of copper which rises to the surface wdien the 
 metal is melted. It is necessary to separate carefully the 
 granules of metallic copper which are found mixed with 
 it, as these are bad for the green. 
 
 '' The yellow color is prepared by combining an ounce 
 of white lead, with a third of an ounce of puh^erized 
 (piartz, and one fifty-iifth of an ounce of primitive red.* 
 A second workman tells me one fortieth of an ounce of 
 the last ingredient. 
 
 "The deep blue with a shade of violet is prepared 
 by mixing one ounce of white lead, with one third of 
 an ounce of pulverized quartz, and one live-hundredth of 
 an ounce of azure-blue. Another workman says four 
 five-hundredths of the ])lue. 
 
 " The black is prepared by mixing the azure-blue min- 
 eral with water thickened with ox-glue and a little lime. 
 When this is painted on over the glaze, the black parts- 
 of the design are covered with white glaze, which incor- 
 porates with the black during the second firing, in the 
 same way as the blue is incoi-porated in the ordinary 
 
 * The mineral referred to here has been analyzed by Brongniart, and 
 found to be a magnetic iron ore {fer oUgistiqxie terreux) containing 
 antimony.
 
 LETTERS OF PERE d'eNTRECOLLES. 343 
 
 glaze, when blue and white porcelain is baked in the 
 furnace. 
 
 " There is another color called tslii,^ from Avhich the 
 deep violet is made. It is found in Canton, and it conies 
 also from Peking, the last being much the Ijest. It sells 
 for about two dollars the pound. This material melts, 
 and when it is melted, or softened, jewelers apply it 
 in the form of enamel to silver objects, such as rings 
 or hairpins. Like the other colors just described, this is 
 used only on the porcelain which is re-fired. It is not 
 roasted like the ordinary azure-blue, but pounded and 
 reduced to the finest powder, which is thrown into a ves- 
 sel full of water and shaken a little ; the water removes 
 some impurities, and the ciystal powder, which remains 
 at the bottom, is kept for use. It loses its line color and 
 appears grayish, but recovers its violet tint as soon as it 
 is fired. It can be painted on, mixed with pure water or 
 with a little glue added. 
 
 " To gild or to silver porcelain, a tenth part by weight 
 of white lead is mixed with the gold or silver leaf, which 
 has been previously dissolved by the use of gum. The 
 gold after it has been ground is usually spread with 
 water over the bottom of a porcelain saucer till it forms 
 a little ' gold sky ' under the water. This is dried, and, 
 when used, a sufficient quantity is dissolved off by weak 
 glue, mixed with the white lead, and applied in the same 
 way as the enamel colors. Silver comes out with great 
 luster upon the coffee-bi-own or 'dead-leaf (tzu-clihi) 
 glaze. If some pieces are painted in gold and others in 
 silver, the silvered porcelain must not be left so long in 
 the little furnace as the s^ilded ; otherAvise the silver will 
 
 * This must be a misprint for ts'ui, which is the name of the cobalt-blue 
 glaze used in China by enamelers on copper and silver. It is of somewhat 
 similar composition to the " deep blue with a shade of violet " described just 
 before, and is a characteristic color of the period.
 
 344 ORIENTAL CERAMIC ART. 
 
 disappear before the gold has attained the degree of heat 
 required to give it its proper hister. 
 
 " Sometimes porcehain is fired a second time only to 
 conceal some defect, which is painted over with colors. 
 The enameled porcelain, which is very richly colored, 
 is not without attraction for many. When dry it is put 
 into the stove and arranged in tiers and piles, the small 
 pieces within the large, only taking care that the painted 
 parts do not touch. The furnaces may be of iron,"^' if 
 only small ones are required, but ordinai'ily they are 
 made of clay. One which I saw ^vas of the height of 
 a man, and almost as broad as one of our largest wine- 
 casks ; it was made of several pieces of the same material 
 as the clay seggars in which the porcelain is fired, being 
 built of large, rounded pieces, a finger's breadth thick, a 
 foot high, and a foot and a half broad, well cemented 
 together. The bottom of the furnace was elevated about 
 half a foot from the ground, and supported by two or 
 three rows of bricks ; the furnace was encircled by a 
 well-built Avail of bricks, with three or four air-holes 
 at the bottom. There is a space about half a foot broad 
 between this \vall and the furnace, which is left empty 
 for the charcoal fire, except where it is traversed by sup- 
 porting spurs of masonry. When the charge has been 
 introduced, the top of the furnace is closed \vith pieces 
 of pottery, similar to those of the sides of the furnace, 
 which fit inside each other, and are cemented together by 
 mortar or moistened clay. An aperture is left in the 
 middle, to observe when the porcelain is properly baked, 
 A quantity of charcoal is burned at the bottom of the 
 furnace, and also at the same time upon the covei', from 
 
 * The furnace used by the cloisonne enamelers at Peking is a small iron cyl- 
 inder with a movable cover. This is imbedded in charcoal, held by a larger 
 outside cylindrical case of iron netting. It is fired in the open courtyard, and 
 the fire is kept up by men standing round wielding large fans.
 
 LETTERS OF PERE d'eNTRECOLLES. 345 
 
 which pieces of lighted charcoal are thrown into the 
 space between the brick wall and the furnace. The pot- 
 sherd which has been put u})on the hole in the cover is 
 removed for inspection from time to time, until it appears 
 that all the enamels are thoi-oughly fired. 
 
 "There is a kind of colored porcelain here which is 
 sold at a cheaper rate than that ^vhich is painted with 
 the colors of which I have Just spoken. To make ^vork 
 of this kind it is not necessary that the materials used 
 should be so fine ; cups are taken which have already 
 been baked in the large furnace, without having been 
 glazed, and which are consequently quite white and 
 without luster ; they are colored by immersing them in a 
 jar filled with the prepared color, when they are i-equired 
 to be of single color ; if they are wished to be of different 
 €olors, such as the pieces called huanglu livan^ which aie 
 div^ided into a variety of panels, one green, anothei" yel- 
 low, etc., then the colors are applied with a large brush. 
 Tliis is all the decoration given to this porcelain, except- 
 ing that, after it has been fired, a little vermilion is some- 
 times put upon certain parts, as, for example, upon 
 the beaks of birds ; but this last color is not baked, 
 because it would disappear in the furnace, so it lasts Init 
 a very short time. After the colors have been applied, 
 the porcelain is re-fired in the large furnace at the same 
 time as other pieces that have not been baked before; 
 <3are must be taken to place it at the back of the furnace 
 and below the vent, where the fire is not so active, be- 
 cause an intense heat would destroy the colors. The 
 colors adapted for this kind of porcelain are prepared in 
 this way: The green'* is made of f ^ukj Jn/t( piei) (oxide 
 
 *The copper oxide combined in this way with a tiux of nitre and silica pro- 
 duces the color we call " turquoise-blue," but which the Chinese call " peacock- 
 green" (kiing-chtio lit). The decoration sur biscuit, described abo%'e, fired la 
 the large furnace, is known technically as that of the colors of the demi-grand 
 fell.
 
 840 ORIENTAL ( ERAMIC ART. 
 
 of copper), saltpeter, and jiowdered quartz I'educed sep- 
 arately to an impalpable powder, and mixed together 
 with water. The commonest azure-blue material mixed 
 with saltpeter and pulverized quartz forms the violet. 
 The yellow is made by combining three-tenths of an 
 ounce of iron-red with thive ounces of powdered quartz^ 
 and three ounces of white lead. The white is made by 
 the addition of four-tenths of an ounce of pulveiized 
 quartz to an ounce of ^vhite lead. All these ingredients, 
 are mixed together with wnter. This is all that I have 
 been able to gather about the colors of this sort of porce- 
 lain, not having any of the workmen among my converts. 
 " To return to the single colors. The glaze red called 
 yii-li'hung is made from gianulated red copper, and the 
 powder of a certain stone which has a shade of red,* 
 ground together in a mortar with a boy's urine, and 
 mixed afterward wnth some of the white glaze material, 
 I have not been able to discover the quantities of these 
 ingredients; those who have the secret are very careful 
 not to divulge it. The mixture is applied to porcelain 
 that has not been baked before, and it is not given any 
 other glaze ; only special care must be taken that during^ 
 the firing the red color does not run down to the bottom 
 of the vase. If the red comes out pure and brilliant and 
 without any stain, it is one of the most perfect achieve- 
 ments of the ceramic art. The porcelain does not ring 
 when struck. I have been assured that when this red is 
 about to be applied, the porcelain is not made of pe-tun-tsey 
 but that yellow clay is used in its place to mix Avith the 
 Jcao-lm, pre23ared before it and in the same way with the 
 pe-tiin-tse. The granules of copper which give the red 
 are obtained during the purification of silver ingots, of 
 which there are so many of base alloy in circulation. 
 The refiners, while the melted copper is hardening and 
 
 * Probably amethystine quartz.
 
 LETTERS OF PERE d'eNTRECOLLES. 347 
 
 couo-eaYiug, dip a small broom iuto water, aud sprinkle 
 some of it over the liquid copper ; the film which then 
 forms on the surface is lifted off with little iron tongs 
 and thrown into cold water, where it forms into 
 granules. 
 
 " The souffle red (Gh''ui-hung) is made in this way : 
 Having prepared the red, a bamboo tube is used which 
 has one of its ends covered \\\i\\ a very close gauze ; this 
 is dipped gently into the color so as to cover the ganze, 
 and then, by blowing through the tube, the color is pro- 
 jected upon the porcelain, which will be found strewn all 
 over with little red points. This kind of porcelain is 
 «ven rarer and dearer than the preceding, because the 
 execution is still more difficult. 
 
 "There is also a sovjjie blue (cJi'ui-cJi'ing) ^vhich is 
 much easier to apply successfully. The finest azure-blue, 
 prepared by roasting the cobaltiferoiis mineral, is mixed 
 with water to a proper consistence, and blown in the 
 same way upon the surface of the unbaked vase ; it is 
 allowed to dry, and is then covered with the ordinary 
 white glaze, either alone or mixed with the ' crackle 
 glaze ' {sui yit), if the porcelain is to be veined. It is 
 finall}^ fired in the large furnace. The cobalt-bhie mono- 
 chrome glaze, whether it be souffle or aj^plied by immer- 
 sion, may have a decoration traced upon it by artist 
 workmen with the point of a long needle ; the needle 
 removes as many little points of the dry azure color as 
 may be necessary to represent the outline of the design, 
 after which the piece is glazed. After the porcelain has 
 been fired, the figures appear as if painted in miniature. 
 
 " The black porcelain called wu chin has also its price 
 and its beauty ; it is a brilliant black, somewhat like that 
 of our burning-glasses, which is very effective in com- 
 bination with the gold decoration with which it is usually 
 associated. The unbaked porcelain is immersed in a fluid
 
 848 ORIENTAL cera:^iic art. 
 
 mixture composed of prepared azure-blue ; * it is not nec- 
 essary to use the finest azure, but it must -be rather 
 thick, and mixed with some of the brown mineral (tzi'i- 
 chln^ and the materials of the ordinary white glaze. For 
 example, to ten ounces of azure pounded in the mortar are 
 added one cup of tzu-chin, seven (iu\)^ oi pal yu (prepared 
 from feldspar), and two cujis of the lime and fern-ash 
 mixture. No other glaze is necessary ; when the porce- 
 lain is fired, it must be placed in the middle of the 
 furnace, and not near the roof, where the heat would be 
 too intense. The gold designs are penciled on afterwai'd^ 
 and the piece is fired anew in a particular furnace. 
 
 " The glaze referred to just now, called tzu-chin — 
 i. e., 'burnished gold' (or Iru/i/) — I should name rather 
 ' bronze-colored,' ' coffee- colored,' or ' dead-leaf ' (couleur 
 de feuille worte). It is a recent invention ; f for its com- 
 position, common yellow clay is taken, levigated in the 
 same way as the pe-tun-tse, and mixed with water to the 
 same consistence as the ordinary white feldspathic glaze. 
 The tzu-chin puree is first mixed w^ith the feldspathic 
 puree,, and some of the lime and fern-ash puree of the 
 same consistence is afterward added to the mixture. 
 Tlie [)]'oportions of the three ingredients depend upon 
 the tint i-equired ; it may range from that of ' old gold ^ 
 to the darkest chocolate color. 
 
 " 1 have been shown this year (1722 ), for the first time, 
 a species of porcelain which is now in fashion (a lamode)'. 
 Its color approaches that of the olive and is given the name 
 of lu7uj<']i''u(in. I have heard it called rli'in/j hiio — the 
 name of a fruit which nearly resembles the olive. |; This 
 
 *It should be rather " a puree made of calcined cobaltiferous oxide of man- 
 ganese," the ore which the Chinese used to produce blue, and which, if not 
 covered with glaze, comes out black. 
 
 \ The worthy father must be mistaken here, as we extracted a detailed pre- 
 scription in Chapter VIII from the records of the Ming dynasty. The color 
 referred to is the well-known fund laque of French ceramic writers. 
 
 :j; The Chinese olive, so called, is the fruit of a species of canarium.
 
 LETTERS OF PEKE D ENTRECOLLES. 849 
 
 color is given to porcelain by mixing together seven cups of 
 the tzii-cliin paree^ four cups of fel(]spathicy^?<7*^6^, two cups 
 of lime and fern-ash puree, and one cup of crackle puree. 
 The last, named iiui yu, which is prepai-ed from a kind of 
 rock, causes a quantity of veins to appear on the porce- 
 lain ; when it is applied alone, the porcelain is fragile, 
 and does not I'ing when struck, but, when mixed with 
 other glazes, the porcelain, although reticulated witli 
 veins and rings, is not more fragile than usual. The 
 ordinary variety is marbled all ovei', and cut in every 
 direction ^vith an infinity of veins ; from a distance it 
 might be taken for a broken piece \\itli the fi'agments 
 remaining in place ; it is like a Avork in mosaic. The 
 color is usually grayish. 
 
 '' They tried lately to mix gold leaf and powdered 
 quartz with the ordinary glaze, and applied it like the 
 red glaze, but the attempt failed, as it was proved that 
 the tzit-chin o;laze excelled in srrace and luster. At one 
 time bowls were made with the ' golden glaze ' outside 
 and pure white within ; another variation followed, when 
 upon a bowl to which they were going to apply the tzu- 
 cliin glaze, they stuck on, in one or two places, a round 
 or square of moistened paper. The paper was taken away 
 wlien the glaze liad been applied, and the space filled in 
 with a painting in red or in azure blue. Sometimes such 
 medallion spaces were colored ^vith a Idue or a Ijlack 
 ground, and, after having been fired, wei'e penciled in 
 gold and fired anew ; a number of such different com- 
 binations might be imagined. 
 
 "Not long ago a new material was discovered that 
 could enter into the composition of porcelain. This is 
 a stone, or species of chalk, called Jiua-slili,^ the same 
 
 * Ilun-shih is steatite, -which is widely used in China as a febrifuge. But 
 many other substances have been sent to Europe under tlie same name, so that 
 Salvetat writes that it is sometimes a mixture of steatite and amphibole, at
 
 350 ORIENTAL CERAMIC ART. 
 
 wliicli Chinese doctors use to make a draught which they 
 say is detergent, aperient, and refreshing. The potters 
 use it to replace tlie hao-lin. Porcelain fabricated with 
 hua-shih is rare, and much dearer than the other ; it has 
 an extremely fine grain, and with regard to the work 
 of the brush, if it be compared \vith ordinary porcelain, 
 it is like vellum compared with paper. Moi'eover, this 
 porcelain is so light as to surprise one accustomed to 
 handle other kinds of porcelain ; it is also much more 
 frasrile than the common sort, and it is difficult to seize 
 the proper moment of its firing. Some, who do not use 
 the hua-shih to make the body, content themselves with 
 making a kind of glue of it, in which they inmierse the 
 porcelain when it is dry, so that it takes up a layer, 
 on which to receive the colors and the glaze, by whicli 
 means it acquires a certain degree of beauty. The Jnia- 
 shih is washed ^vhen it is taken from the mine and pre- 
 pared like the hao-lin. I am assured that porcelain can 
 be made of it alone without anything else mixed, but one 
 of my converts, who works with it, tells me that he 
 combines eight parts of hua-shih with two parts of pe- 
 tun-tse. It is five times the price of hao-lin. It is also 
 used for painting designs over the glaze in sli[). 
 
 " There is one secret that the Chinese lament having 
 lost : they once had the art of painting upon a porcelain 
 bowl fish or other animals, which became visible only 
 when the porcelain was filled with some liquid. This 
 kind of porcelain was called chia-clHing — that is to say, 
 ^ azure put in press,' indicating the position of the color. 
 The porcelain to be painted thus must be very thin ; 
 
 others ferruginous clay, or impure hao-lin. Vogt says (Za Porcelaine, page 
 225), " It is a natural mixture of two thirds of kao-lin and one third of white 
 mica." The peculiar porcelain made of it, as described above, is the sha t'ai 
 of the Chinese, the "soft paste" of collectors, described in the last chapter, 
 distinguished by its light weight, its tendency to crackle, and the fine, neat 
 lines of its decoration when painted in cobalt-blue.
 
 LETTERS OF PERE d'eNTRECOLLES. 351 
 
 when it has beeu dried, the color is applied with a strong 
 touch, not outside, as usually, but inside, on the sides 
 of the cup ; the ordinary decoration is fish, the most nat- 
 ural thing, as it were, to appear when the cup is filled 
 with water. As soon as the painting is dry a light layer 
 of slip is spread over it, which confines the color between 
 two coats of earth. When the slip has dried, the glaze 
 is put on inside the cup, which is afterward put u})on tlie 
 polishing wheel and cut away outside as thin as possible 
 without penetrating to the coloi', and lastly the outside is 
 glazed by immersion. When everything is dry it is fired 
 in the ordinary furnace. The work is extremely deli- 
 cate, and demands a skill that the Chinese seem no 
 longer to possess. 
 
 " There is another kind of porcelain made here with an 
 outer pierced casing, carved in openwoi'k (ajour^, so as 
 to inclose the cup which holds the liquid. The cup and 
 the pierced casing form one piece. I have seen other 
 charming pieces in which Chinese and Tartar ladies are 
 painted after life, with the costume, the coloring, and the 
 features, all finished in the most recherche style, so that 
 at a distance the work might be taken for an enamel. 
 
 " To-day, it may be said, there is a renaissance, and 
 the beautiful azure reappears upon porcelain once more. 
 When it is applied it is of a grayish-black color; when 
 it is dry and it has been coated with glaze it is eclipsed 
 altogether, and the poi'celain appears perfectly white ; 
 the colors are then buried under the glaze, but the 
 fire brings them out in all their beauty, almost like 
 the heat of the sun as it brino-s out from a chrvsalid 
 a gorgeous butterfly in all its brilliant hues. 
 
 " The place where the furnaces are presents another 
 scene. In a kind of vestibule which leads to the furnace 
 are seen piles of cases made of clay, the seggars in which 
 the porcelain is incased. The small pieces, like the cups
 
 852 ORIENTAL CERAMIC ART. 
 
 intended for tea or chocolate, are put sevei'al in one case ; 
 tlie large pieces have a separate case for each one. The 
 workman copies Nature, which protects fruits within an 
 envelope, so that they may be gradually ripened by the 
 heat of the sun. The cases are placed in columns inside 
 the furnace, the two lowest in each column, imbedded in 
 the gravel floor, l)eing left empty, because the fire has no 
 power so low down. In the middle piles, Avhich are 
 seven feet high, are placed tlie finest porcelains, at the 
 back of the furnace tlie coarser kinds, near the entrance 
 the pieces of strong color which are made of materials 
 containing as much pe-tiui-tse as hao-lin., and the glaze of 
 which is prepared from the rocks with blackish or red 
 spots, because this glaze has more body than the other. 
 The cases are made of different colored clays produced in 
 the neighborhood, kneaded together, and are fashioned 
 upon the wheel. 
 
 " Some one hundred and eighty loads of pine fuel (of 
 a hundred and thirty-three pounds weight each) are con- 
 sumed at every firing, and it is surprising that no ashes 
 even are left. It is not surprising that porcelain is so 
 dear in Europe, for, apart from the large gains of the 
 European merchants, and of their Chinese agents, it is 
 rare for a furnace to succeed completely ; often every- 
 thing is lost, and on opening it tlie porcelain and the 
 cases will be found converted into a solid mass as hard as 
 rock. Moi'eover, the ])oi'celain that is exported to Europe 
 is fashioned almost always after new models, often of 
 bizarre character, and difficult to reproduce; for the least 
 fault they are refused, and remain in the hands of the 
 potters, because they are not in the taste of the Chinese 
 and can not be sold to them. Some of the elaborate 
 designs sent are quite impracticable, although they pro- 
 duce for themselves some tilings Avhich astonish strangers, 
 who will not believe in their possibility.
 
 LEITERS OF PERE d'eNTRECOLLES. 358 
 
 " I will give some examjiles of these. I have seen hei-e 
 a large porcelain lantern made in one piece, through the 
 sides of which shone a candle, placed inside, so as to light 
 a whole room ; this work was ordered seven or eight years 
 ago by the heir-a[)parent.* The same prince ordered, at 
 the same time, various musical instruments, and among 
 others a kind of little mouth-organ called tseng, which is 
 about a foot high, composed of fourteen pipes, and the 
 melody of which is pleasing enough ; but eveiy attempt 
 at making this failed. They succeeded better with flutes 
 and flageolets, and with another instrument called yun-lo 
 which is composed of a set of little round and slightly 
 concave plaques, each of which has its different note; 
 nine of these are hung in three tiers in a square frame, 
 and played upon with rods, like the tympanum ; a little 
 chime is produced to accompany the sound of other instru- 
 ments, or the voice of singers. It required, they tell me, 
 many trials before they succeeded in finding the proper 
 thickness and density to produce coi-rectly all the notes 
 of the scale, I imagined myself that they had the secret 
 of inserting a little metal in the body of the porcelain, to 
 vary the notes ; but have been undeceived, for metal is so 
 ill adapted to combine with porcelain that if a cop})er 
 ' cash ' happened to be put upon the top of a pile of por- 
 celain in the kiln, the coin as it melted would pierce all 
 the cases and porcelain in the column, so that a hole 
 would be found in the middle of every one. To return 
 to the rarer works, the Chinese succeed best in gro- 
 tesques, and in the representation of animals. The 
 workmen make ducks and tortoises which will swim in 
 water. I have seen a cat painted after life, in the head 
 of which a little lamp had been put to illuminate the 
 
 * One of Uiese beautiful eggshell lanterns is illustrated in Plate XI. The 
 heir-apparent was the fourth son of the emperor, the prince who reigned after- 
 ward as Titiig-Cheng. It is interesting to find him mentioned as patronizing 
 the art so early as 1704 or 1705.
 
 354 ORIENTAL CERAMIC ART. 
 
 eyes, and was assured tliat in the night the rats were ter- 
 rified by it. They make here too very many statuettes 
 of Kuan-yin,* a goddess celebrated throughout all China, 
 represented holding an infant in her arms, and worshiped 
 by sterile women who wish to have children. 
 
 " There is another kind of porcelain, the execution of 
 which is very difficult, and which has consequently 
 become exceeding rare. The body of this porcelain is 
 extremely thin, and its surface very smooth inside and 
 out ; notwithstanding which there can be detected in it, 
 on close inspection, molded designs, such as a ring of 
 flowers, or other like ornaments.f They are executed in 
 this way : When it has been shaped upon the wheel it is 
 pressed upon a mold carved with the designs which are 
 impressed inside, and then it is pared down outside, as 
 finely and thinly as possible, with the knife on the polish- 
 ing wheel, to be ultimately glazed and baked in the ordi- 
 nary furnace. 
 
 " European merchants demand sometimes from the Chi- 
 nese woi'kmen porcelain slabs, to form in one piece the 
 top of a table or bench, or frames for pictures. These 
 works are impossible ; the broadest and longest slabs 
 made are only a foot across or thereabouts, and if one 
 goes beyond, whatever may be the thickness, it will be 
 warped in baking. The extra thickness does not facili- 
 tate the work, rather the contrary ; and this is why the 
 native slabs, instead of being made thick, are formed of 
 two faces, with a hollow interior, traversed by a solid 
 cross-piece ; these slabs, used for inlaying carpentry, have 
 two holes pierced at either end, so that they may be 
 inserted in a bed, or in the back of a chair, when they 
 look very effective. 
 
 * Refer to Plate LX for a finely decorated figure of the period. Kuan-yin is 
 the Buddhist divinity Avalokita. 
 
 f For a striking example of this work, refer to Plate LXVII.
 
 LETTERS OF PERE d'eNTRECOLLES. 355 
 
 "The mandarins, who know the genius of Europeans 
 for inventions, often ask me to have brought from Europe 
 novel and curious designs, in order that they may present 
 to the emperor something unique. On the other hand, 
 the Christians press me strongly not to get any such 
 models, for the mandarins are not so easy to be con- 
 vinced as our merchants, when the workmen tell them 
 that a task is impracticable ; and the bastinado is liber- 
 ally administered before the mandarin will abandon a 
 design which may bring him, he hopes, great profit. 
 
 " As each profession has its particular idol, and divinity 
 is conferred here as easily as the rank of count or marquis 
 is given in some European countries, it is not surprising 
 that there should be a god of porcelain. The Pou-sa * 
 (the name of this idol) owes its origin to these kinds of 
 designs which it is impossible for the workmen to exe- 
 cute. They say that formerly an emperor decreed posi- 
 tively that some poi'celain should be made after a model 
 which he gave ; it was represented to him several times 
 that the thing was impossible, but all tjjese remonstrances 
 served only to excite more and moi'e his desire. His 
 officers persecuted the Avorkmen incessantly. The poor 
 wretches spent all their money and gave themselves infi- 
 nite pains, but they got nothing but blows in return. At 
 last one of them in a moment of despair threw himself 
 into the burning furnace and was consumed in an instant. 
 The porcelain which was being baked came out, they say, 
 perfectly beautiful, and pleased the emperor, who de- 
 manded nothing more. After his death the unfortunate 
 man Avas regarded as a hero, and he became in coui'se of 
 
 * Pou-sa is the Chinese contraction of the Sanskrit Bvdhisatfra, a personage 
 "who lias only one more stage of human existence to pass through before he 
 becomes a Buddha. It is applied secondarily to any idol. The Pou-sa. who 
 has become proverbial in Europe as the god of luxurious indolence, often 
 molded in porcelain, is the representation of Maitr^ya, the coming Buddha or 
 Messiah of the present Kalpa.
 
 356 ORIENTAL CERAMIC ART. 
 
 time tlie idol who is now the protector of the workers in 
 porcelain. 
 
 " Porcelain having been so highly esteemed through so 
 many centuries, one would wish to know in what respects 
 that of the earlier times differs from that of our own 
 days, and what the Chinese think of it themselves. It 
 must not be doubted that China has its antiquaries, whose 
 predilections are all for ancient "works. The Chinaman, 
 indeed, has an innate respect for antiquity, although one 
 finds defenders of modern art ; but porcelain is not like 
 ancient medals, which reveal the science of distant ages. 
 Ancient porcelain may be ornamented witli Chinese 
 characters, but they mark no point in history, so that the 
 curious could only find something in the style and in 
 the colors ^vhich could lead them to pi'efer it to that of the 
 present day. I believe that I heard it said, ^\hen I was 
 in Europe, that porcelain, to have its full perfection, must 
 have been buried for a long time in the ground ; this is 
 an absurdity which the Chinese ridicule. The history of 
 King-te-chen, speaking of the most beautiful porcelain of 
 earlier times, says that it was so recherche that the furnace 
 was hardly opened before the merchants were disputing 
 for the first choice. There is no question here of having 
 it buried. 
 
 "It is true that in dio-o-ino- uii the ruins of old build- 
 ings, and especially in cleaning out old abandoned wells, 
 fine pieces of })orcelain are sometimes discovered, which 
 have been hidden there in times of revolution ; the porce- 
 lain is beautiful, because at such times they would only 
 think of hiding what was pi'ecious, in order to recover it 
 when the troubles were over. It is esteemed not because 
 it has gained from the moist earth some new beauty, but 
 because its ancient beauty has been ])reserved, and that 
 alone has its price in China, where they give large sums 
 for the smallest utensils of the ordinary potteiy that was
 
 LpypTKUs OF PEiiE d'entrecolles. 357 
 
 used by the Emperors Yao and Shun, Avho reigned many 
 centuries before the T''ang dynasty, during wliich poi'ce- 
 lain began to be used by the emperors. 
 
 " The mandarin of King-te-chen, who honors me \\ ith 
 his friendship, makes to his patrons at the imperial court 
 presents of old porcelain, which he has the talent of mak- 
 ing himself. I mean that he has discovered the art of 
 imitating ancient porcelain, or at least that of a medium 
 antiquity ; he employs at this work a number of artisans. 
 The material of which these false hu-fung — that is, 
 ancient counterfeits — are made is a yellowish clay, which 
 is brought from a place not far from King-te-chen, called 
 Ma-an-shan (Saddle-back Hill). They are very thick ; 
 a plate of tliis kind which the mandarin gave me weighs 
 as much as ten ordinary plates. There is nothing- 
 peculiar in the workmanship of this kind of porcelain, 
 except that it is given a glaze prepared from a yello\v 
 rock, which is mixed with the ordinary glaze, the latter 
 predominating ; this mixture gives to the porcelain a sea- 
 green color. After it has l)een baked it is innnersed in a 
 very strong bouillon made of fowls and other meat ; it is 
 stewed in this a while, and is afterward put into the most 
 filthy sewer that can l)e found, ^vhere it is left a month or 
 more. When it comes out of this sewer it passes for 
 being three or four centuries old, or at least for a speci- 
 men of the preceding dynasty of the Ming, when porce- 
 lain of this color and thickness Avas highly esteemed at 
 court. These false antiques are also similar to the 
 genuine things, in that they do not ring when stiuek, and 
 emit no humming vibrations when held close to the ear. 
 
 " They have brought to me from the debris of a large 
 shop a little plate wliich I value much moi-e than tlie 
 finest porcelain of a thousand years ago. There is 
 painted on the bottom of this plate a crucitix between the 
 Holy Virgin and St. John ; thev told me that thev used
 
 358 ORIENTAL CERAMIC ART. 
 
 formerly to export such porcelain to Japan, but that they 
 had made none of it since sixteen or seventeen years ago. 
 Apparently the Christians of Japan availed themselves of 
 this industry during the persecutions, to have images of 
 our sacred mysteries ; the porcelain, mixed in the cases 
 w^ith the rest, might escape the search of the enemies of 
 religion ; the pious artifice would have been discovered 
 later and rendered of no avail by a stricter search, and 
 this is why, no doubt, they have left off making things of 
 tbe kind at King-te-chen."
 
 CHAPTER XII. 
 
 THE YU]SrG-CH:^NG PERIOD. 
 
 riiHE Emperor Yung-cheng, who succeeded his father 
 JL K\mg-lm^ reigned for only thirteen years (1723- 
 35), a comparatively short interval between the long 
 reign of sixty-one years of his predecessor and the reign 
 of sixty years of his son and successor, the celebrated 
 CfCien-lung^ who resigned the throne after he had 
 reigned a complete cycle, in accordance with a vow 
 that he had made not to outreign his grandfather, if 
 the celestial powers would allow him to reign as long. 
 The ceramic productions of this reign are sometimes 
 grouped Avith those of the reign of CKien-hmg^ and 
 described under the same heading, but, in my opinion, 
 they are of sufficient interest and importance to deserve a 
 chapter to themselves. It is a ti-ansition period in which 
 the strong colors and bold, vigorous decoration of the 
 preceding reign are gradually toned down, until they 
 merge into the half tints and broken colors which mark 
 the more regular and carefully finished designs on the 
 porcelain of the reign of CJiHen-lung. The deep irides- 
 cent greens boldly laid on in thick patches, which 
 characterize the last reign, are only by gradual degrees 
 replaced by a green of less brilliant tone and more even 
 shade, so that an early Yu7ig-cheng piece often retains a 
 touch of the old vig-or. If it want somethiusf of the 
 pristine brilliancy, the new reign is distinguished for the 
 neat precision of its penciling, the soft purity of its color- 
 ing, and the finished technique of its ceramic productions. 
 They are well illustrated in this collection, especially in 
 
 359
 
 360 ORIENTAL CERAMIC ART. 
 
 the decorated class, as in the magnificent round dishes in 
 Plate XLVIII and Fig. 101, the pilgrim bottle in Plate 
 XLVII, and the Buddhist ecclesiastical vase in Plate XX, 
 all of which are marked in full with the " six-character" 
 mark of the reign. The decorated citron-yellow vase in 
 Plate LXV, the Taoist-Triad vase in Plate XXI, and 
 some of the eggshell plates, although they do not happen 
 to be marked, are, from their style and coloring, attribu- 
 table to the same period. Among the single colors, the 
 gray vase illustrated in Plate LXXXV has the mark of 
 the reign inscribed underneath, and the pea-green celadon 
 (tou-cJi ing) vase in Plate XL, the crackled gray vase in 
 Plate LXXXVI, the etched sea-green celadon (tung- 
 chHng) vase in Plate XXXVIII, and the pink mono- 
 chrome vase of "rose Dubarry " in Plate LIII are to be 
 referred, in all probability, to the same period. 
 
 Two of the colors especially characteristic of the JS itn 
 Yao, or " Nien Porcelain," of this epoch ai'e the dair-de- 
 lune, or yueh-2)ai, and the bright souffle copper-red. A 
 specimen of the former is given in Plate LI (b) ; and the 
 coloi' of the new reio-n is the same, althouoh the fabric of 
 the porcelain is generally more delicate and the foi'm 
 more studied. The latter occurs in a rare combination 
 with painted decoration in the charming little vase of 
 baluster shape seen in Fig. 250, which deserves a word of 
 description : 
 
 Nien Yao Vase, exhibiting the characteristic mono- 
 chrome glaze of bright ruby-red tint and sti]:>pled surface. 
 The souffle glaze is applied over the whole surface, with 
 the exception of a panel of iri-egular outline reserved on 
 one side of the vase, where it is shaded off so that the 
 red fades gradually into a nearly white ground. Within 
 the panel there is painted, over the glaze, the pictui-e of 
 Tung Fang So, a Taoist divinity, in flowing robes, speed- 
 ing across the clouds with a branch of peaches, the sacred
 
 THE YUNG-CH:feNG PERIOD. 361 
 
 fruit of longevity, on his shoulder. This is lightly etched 
 ill sepia and touched with gold, with the addition of a 
 few strokes of pale overglaze cobalt-blue and rouge d^or 
 of the Yung-clieng period. The foot of the vase is 
 encircled by an ornamental scroll, nearly obliterated, 
 painted over the ruby ground in black and gold. There 
 is no mark imderneath. 
 
 The Nien just referred to is, as the reader ^vill recall, 
 Nien Hsi-yao, an official of the Nei Wu Fu, or Imperial 
 Household, who was appointed in the beginning of the 
 reign of Yung -die )ig, commissioner of customs at Huai- 
 an-fu, with control over the river dues of the three 
 provinces of Kiangsu, Kiangsi, and Anhui, and the super- 
 intendency of the imperial porcelain manufactory at 
 Ching-te-chen, for which he was also required to provide 
 the necessary funds out of the customs dues. He held 
 the post till the fii'st year of the reign of Cli!ien-lung, 
 when he was promoted, and replaced in the commis- 
 sionership by T'ang Ying. He was consequently 
 director of the porcelain works during the whole of the 
 reign of Yung-cheng, and some of the peculiar produc- 
 tions of the period are still commonly known as Nien 
 Yao, after him. He seems to have made periodical tours 
 of inspection to Chiug-te-chen, during one of which he 
 repaired the temple of the patron god, and erected a 
 stone tablet in the courtyard to commemorate the fact. 
 The inscription on this monument, which still stands 
 there, records his official visit to the place in the fifth 
 year of the reign of Yung-cheng (1727), and his orders 
 that the porcelain made for the use of the emperor ' 
 should })e sent by boat twice every month to be inspected 
 by him at Huai-an-fu, and that he ^vould forward it on to 
 the palace at Peking. We have a long list of the deco- 
 rative designs and colors of the imperial porcelain made 
 under his inspection, which is derived from official
 
 362 ORIENTAL CERAMIC ART. 
 
 sources, and \\ Inch is given in full detail in tlie next 
 chapter. It supplies a fund of exact information, and is, 
 on that account, of the greatest interest. 
 
 According to the Cliing-te-clien T\io h(, "the vases 
 made at this time included very many of soft eggshell 
 color and well-rounded form, the glaze of which shone 
 with the luster of pure silver. Some were decorated in 
 blue and white, others in colors, and the various j)rocesses- 
 of painting, engraving, modeling under the glaze, and 
 carving in pierced work, were all practiced in turn. 
 The rejiroduction of ancient wares and the invention of 
 novelties were undertaken in the imperial factory under 
 his (Nien's) direction." 
 
 The rounded form referred to in this extract is- 
 exhibited in the oval, melon-shaped vase of six-lobed 
 outline in Fig. 251, which is coated with a silvery 
 white glaze, very finely crackled (truiie), with a close 
 reticulation of dark lines, so as to give a general gray 
 effect ; and in the white vase of the period in Fig. 252^ 
 the neck of which is encircled with the form of a coiling 
 dragon modeled in openwork relief and enameled in 
 rouge <Vor of crimson tint, the rest of the surface being 
 pure white, except for an occasional single peach-blossom 
 touched in delicate colors near the foot and on the 
 shoulder of the rippled surface of the vase, which was- 
 once marked underneath, but has had the inscription 
 purposely ground away."^ 
 
 The good form and perfect technique of the period are 
 well shown in two other illustrations. The first is a 
 large baluster vase {mei-p'ing\ Fig. 253, with gracefully 
 rounded outlines, which is artistically decorated in 
 
 *The mark is not infrequently obliterated in China on the lapidary's polish- 
 itig wheel, and some of the finest pieces of Chinese porcelain are found to have 
 been thus defaced. Such pieces have usually been stolen from the imperial 
 palace by some of the eunuchs, or from some Important collection by the 
 servants in charge and treated in this way to avoid detection.
 
 THE YUNG-CHifcNG PERIOD. 863 
 
 brilliant enamel colors with fruits and flowers, tlie 
 branches springing from below on one side and spread- 
 ing upward in all directions upon the vase, so as to cover 
 it with large pomegranates and peaches and bunches of 
 yellow dragon's eye (^Neplieliwn longanuiii) fruit, mingled 
 with sprays of scarlet pomegranate-flowers and pink 
 peach-blossom. The mark underneath, penciled in under- 
 glaze blue within a double ring, is Ta CKing Yung 
 <:lieng nien cJiih^ "Made in the reign of Yung-cJieng, of 
 the great OKing [dynasty]." The other vase (Fig. 257), 
 though unmarked, is a typical piece of the period, in 
 form, style of decoration, and coloring. The peculiarly 
 tall, slender form sjjringing from a spreading foot seems 
 to have been introduced at this time. The scene depicted 
 on the vase is the appearance of the Taoist goddess Hsi 
 Wang Mu coming across the sea, borne upon a floating 
 lotus-petal. The base of the vase is surrounded by 
 scrolled and crested green waves, from which green and 
 blue rocks rise in the background, and a temple with 
 veranda and curling eaves — the abode of the divinity — 
 is seen in the midst of the sea, Avith a oicrantic stork 
 perched on the roof. From a rock behind the temjjle 
 springs a sacred peach-tree laden with scarlet and pink 
 fruit, the branches mingled with rosy clouds floating 
 across the shoulder of the vase, illuminated by the ver- 
 milion disk of the sun. A second stork is flying back 
 to the temple, as the aerial messenger of the goddess, 
 carrying in its beak two scrolls tied by a red band. The 
 frail craft, a scai-let lotus-petal, floating on the sea in the 
 foreground, contains two female figures. The goddess is 
 sitting upon a rustic seat in the stern, dressed in con- 
 ventional style in long robes and floating, scarf with a 
 short cloak of lotus-leaves thrown across her shoulders, 
 and holds a branch of sacred fungus Qing-ehih). The 
 standing figure in front is her attendant, clad in a similar
 
 364 ORIENTAL CERAMIC ART. 
 
 costume with a deep collai- of fig-leaves, liolding a rosy 
 peach fringed with green leaves, and having a basket by 
 her side full of flowers and Buddha's-hand citrons. 
 
 Fig, 56 shows an example of "slip" decoration in 
 partial relief, painted in underglaze cobalt-blue, as well as 
 in the enamel colors, coral-red, yellow, greens of different 
 shade, and black. It has inscribed underneath the usual 
 seal-mark penciled in underglaze blue of the reign of 
 Yung-cheng. It is a brush cylinder (27i-fung), of wide 
 low form with swelling mouth, decorated with an 
 a})propriate motive, Meng P'l Sheng Hiia — i. e., "The 
 Pencil Blossoming in Dreams." On the right a young 
 man in scholarly dress is reclining asleep upon a couch ; 
 his figure, and the I'ocks mid palms which rise in the 
 background, are modeled in salient I'elief. From the top 
 of his head proceeds a scroll which unrolls to show 
 another scene, in which the same figure is seated at a 
 table, with ink upon the pallet and a brush in his hand^ 
 about to dash down upon paper the poem evolved in 
 dreamland, which he had vainly tried to compose during 
 waking hours. The title of the picture, which is given 
 above, is a half stanza from a classical poet. The Chinese 
 artist always presents a dream as an unrolled scroll pro- 
 ceeding from the head of the dreamer in this quaint 
 fashion. 
 
 Two little tea-jars are examples of modeling in relief 
 and openwoi'k carving, t\vo distinct processes of Avork 
 which distinguish some of the largest and most im- 
 portant vases of the time. That shown in Fig. 254 
 has a ring of lotus plants projecting in salient relief 
 round the base, and another lotus encircling the top 
 of the cover. It is painted in enamel colors with 
 gilding, with a temple hung with gold bells rising in 
 the midst of the sea ; with swallows flying in the air,, 
 and with a bordei* of gilded diapers encircling the
 
 THE YUNG-CH:feNG PERIOD. 365 
 
 shoulder alternating with wav^y scrolls jiainted in black. 
 The other little jar of similar form (Fig. 255), which has 
 the foot surrounded by a pierced openwork scroll, is 
 decorated with lotus-leaf-shaped panels containing sprays 
 of peonies, displayed upon a spiral black ground, sprin- 
 kled with blue bamboo-leaves and white plum-blossoms. 
 
 The saucer-shaped dish in Fig. 249 («) is included 
 here, because it hapjiens to have the mark of the reign 
 penciled underneath in blue, encircled by a double ring, 
 the eggshell plates of the period being usually not 
 marked. It is decorated inside in enamel colors, with 
 a flowering bulb of narcissus, a spray of roses, and two 
 branching stems of Polypoinis lucidus — the variegated 
 fungus of Taoist sacred lore. A favorite symbolical 
 design upon imperial porcelain, which was first intro- 
 duced in this reign, is that shown upon the OhHen-hing 
 saucer-dish in Fig. 249 (h), which is painted with 
 branches of sacred peaches bearing both flowei's and 
 fruit, that wind over the rim of the dish to decorate the 
 interior, and with five flying bats, symbols of the five 
 happinesses. It is a common notion of the Chinese that 
 every decoration for imperial use must have some recon- 
 dite meaning of this kind and not be introduced simjily 
 for ornament, like a landscape or a few sprays of simple 
 flowers that are thought suflicient for the ordinary cups 
 and bowls that are intended for more vulsrar use. 
 
 The Emperor Yuiig-climg is considered by the Chi- 
 nese to have been a special patron of the ceramic 
 art, and some of the more elaborate work that distin- 
 guished the latter part of the preceding reign was due 
 directly to the interest he took in it when heir-apparent, 
 as described by Pere d'Entrecolles in his letters. Dur- 
 ing his reign he continued to send down to Ching-te- 
 chen from the imperial collections at Peking a number 
 of antique objects and specimens of ancient glazes to
 
 366 ORIENTAL CERAMIC ART. 
 
 be reproduced in the imperial mauiifactory. The repro- 
 ductions are described to have been often more finished 
 and perfect than the originals, and they figure as such in 
 many a private collection, both in China and abroad. 
 Their variety and character will be enumerated in the 
 next chapter, which is taken directly from the oflicial 
 records of the time.
 
 CHAPTER XIII. 
 
 official list of the desions and colors produced at 
 the imperial manufactory in the reign of yung- 
 ch:6ng. 
 
 THIS list was first j^ublislied in the Cldang-hsi-fung- 
 cMh, the General Description of the Province of 
 Kiangsi, in which Ching-te-chen, with its Imperial Porce- 
 lain Maunfactory, is situated. I am translating it from 
 the latest edition of this voluminous compilation (book 
 xciii, folio 11-13). It is given there under the heading, 
 " An Old List of the Different Colors of the Round and 
 Square Porcelain, and of the Vases ordered to be made 
 for the Emperoi'," The following explanatory note is 
 added by the editors below the title : " AVith resj^ectful 
 reference to the productions of the imperial porcelain 
 manufactory, among the ornamental vases and Jars, the 
 vessels for sacrificial wine and for meat offerings, the 
 dishes, bowls, cups, and platters for ordinary use, ordered 
 to be sent in annual rotation to the palace, there are so 
 many different kind of things, that it would be impos- 
 sible to attempt to enumerate them all. AVe will ex- 
 tract fi-om Hsieh's Description (of the province) a list of 
 fifty-seven kinds given there, in order to give a general 
 idea of the porcelain made at the time." 
 
 The first edition of the Chiang -lisi-tung-cliili^ ^nc are 
 told in the introduction, was published in the Mi-ng 
 dynasty, in the reign of Clda-eliing (1522-66). Two 
 revised editions were issued durino- the \<i\sn\ of K\inq- 
 hsi (1662-1722), and another in the reign of Yung- 
 cheng, which was published in the cyclical year jen-tzu 
 
 367
 
 368 ORIENTAL cera:mic art. 
 
 (1732). This last edition is the one referred to above. 
 It was coni]nled by Hsieh Min, who was governor of the 
 province of Kiangsi from 1729 to 1732. The list, there- 
 fore, can not be later than 1732. It was prepared 
 specially for the official work, and affords an invaluable 
 description of the porcelain made in the reign of Yung- 
 chmg, under the superintendence of the director, Nien 
 Hsi-yao, referred to in the last chapter. This is alto- 
 gether confirmed by the internal evidence of the list 
 itself, as many of the things described are characteristic 
 productions of his time, and are still known to Chinese 
 collectors as yien Yao. 
 
 This list, with some minor variations, is given by 
 Julien (JjOr. cit, livre vi, page 192), who quotes it from 
 the annals of the city of Fou-liang, under the some- 
 what misleading title Catalogue des emaux et des vases 
 anciens qWon imite a King-te-tcliin. His translation 
 of the Chinese, too, is very inaccurate, probably because 
 he was not familiar with the objects described. I 
 venture to allude to this because his book is so uni- 
 versally accepted as the text-book on the subject; 
 there is no space to notice all the discrepancies, and 
 I will therefore pass on at once to the list : 
 
 *' 1. Glazes of the Ta-hiian period, with iron (-colored) 
 paste.* (ife # :;^ 11 ffB). These are of three diifer- 
 ent colors : (1 ) pale blue, or clair-de-lune {yueli pai) ; (2) 
 pale blue or green {fen clCing^ ; (3) dark green or gros 
 vert (ta li't) — all of which are copied from the colors of 
 the glazes of specimens of the Sung dynasty sent from 
 the imperial palace." 
 
 * Julien's rendering the first four examples is Excipient enfer, Excipient en 
 cuivre, and recent writers have twitted the Chinese, on his authority, for not 
 being able to distinguish enameled iron and copper from porcelain. The last 
 paragraph, again, he translates: " Ces trois sortes d'emaux avaient la couleur 
 et le lustre des vases des Song appeles Nei-fa-song-khi, c'est-a-dire vases fournis 
 pour I'usage du palais (dans la periode A7«^-<e, 1004-1007)." There is no allu- 
 sion to this period in the original text.
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CIi:fcNG. 369 
 
 The specimens wbich were sent out to be copied must 
 have been examples of the Kuan Yao, the " imperial 
 ware " of the Si(7ig dynasty, which was described in 
 Chapter V as having been made at the capital of the 
 time, the modern K'ai-feng-fu. It was not till long after- 
 ward that it came to be called Ta-hian Yao, after the 
 name of the period Ta-huan (1107-1110), in which it 
 was invented, to distinguish it from the " imperial 
 ware " of more recent times. 
 
 " 2. Ko Yao glazes, with iron (-colored) paste. (^ 
 
 " These are of two kinds — (1) rice-colored, (2) pale 
 blue, or green (celadon), both copied from the colors of 
 the glazes of ancient pieces sent from the imperial 
 palace." 
 
 Reproductions of the ancient crackled ware of the 
 Sung dynasty made at Liu-t'ien in Lung-ch'iian-hsien, 
 the invention of Avhich was attributed to the elder 
 Chang, from which it derived its name of Ko Yao — i. e., 
 " Elder Brother's Ware." 
 
 " 3. Uncrackled Ju (-chou) glaze, \s'\\\\ cop23er (-col- 
 ored) paste. [U ^ %W< & ffl). 
 
 " Copied from the color of the glaze of t^vo pieces of 
 the Sung dynasty — a cat's food-basin {inao shih p'eii), 
 and a mask-shaped dish (^jen mienhsi^y 
 
 The traditional tint of the Ju-chou porcelain is sky- 
 blue, and the reproduction of the old glaze forms the yu 
 huo t'ien dicing, "the blue of the sky after rain," of 
 modern times. The peculiar shape of the second piece 
 reminds one of the wine-cup (yjen mien pei)i molded in 
 the form of a man's face, of Sung imperial ware, which 
 was described in Chapter V. Such a cup would make 
 a convenient dish for washing (Jisi) pencil-brushes, for 
 which purpose, from its uneven surface, it would l^e well 
 adapted.
 
 370 ORIENTAL CERAMIC ART. 
 
 " 4. Jii (-clioii) glaze with fisli-i-oe crackle of copper 
 (-colored) paste. (M # ^ ^ WC HC «)• 
 
 " Copied from the colors of the glaze of a piece of the 
 Sung dynasty sent from the imperial palace." 
 
 " 5. White Ting (-chou) glaze. (Q ^ ffl). 
 
 " Only one kind is copied, the J^en Ting ; the other 
 variety, the T^i Ting, is not imitated," 
 
 These two varieties of ancient porcelain have been 
 already described and illustrated. The Fen Ting, 
 which is composed of fine white material, is enameled 
 with a soft-looking, ivoiy-white glaze, with a surface 
 either j)lain or crackled, generally the latter, as in the 
 gourd-shaped vase illustrated in Plate LXXXIX. The 
 little vase in Fig. 256, with foliations molded in slight 
 relief covered by a s^iarsely crackled glaze, is a piece 
 attributed to this period, fashioned after an ancient 
 model. 
 
 " 6. Chlin (-chou) glazes, (i^ ffB). 
 
 " Five different colors have been copied from ancient 
 specimens sent from the imperial palace, viz.: 
 
 " (1) Rose crimson {Mei-huei Tzii). 
 
 " (2) Pyrus japonica pink {Hai-fang Hung). 
 
 " (3) Aubergine pur^^le {Chieli-i9 i Tzii). 
 
 " (4) Plum-colored blue {Mei-tzu CKing). 
 
 " (5) Mule's liver mingled with horse's limg {Lo han 
 onafei). 
 
 " And besides, in addition to these, the four following 
 varieties have been taken from new acquisitions : 
 
 " (6) Dark purple {Shen Tzu). 
 
 "(7) Rice-colored (J/^'-s^'). 
 
 "(8) Sky-blue {Tun Lan). 
 
 " (9) Furnace-transmutations, or jiamhes ( Yao Pieii)^ 
 
 This is the most complete list we possess of the colors 
 that were produced at the Chlin-chou potteries during 
 the Sling dynasty, and the whole empire must have
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CHifeNG. 371 
 
 been ransacked in order to get together so many 
 treasures to be copied. The colors, it should be noticed, 
 are all those of the grand feu, produced by dift'ei-ent 
 combinations of oxide of copper and cobaltiferous oxide 
 of manganese, transmuted b}^ the flames, oxidizing or 
 reducing according to circumstances, of the large furnace. 
 The skill of the potters in this line at this particular 
 period has never been rivaled, and their work often 
 figures in collections among the genuine antiques, for the 
 form as well as the color of the original seems generally 
 to have been carefully reproduced. A striking example 
 of a shaped bowl of antique form, exhibiting the " Pyrus 
 japonica glaze " — a pink ground flecked with darker red 
 — was illustrated in Fig. 126. This is marked Yiing- 
 cheng underneath, indicating that it was an avowed 
 reproduction of this time. An original j^iece of the 
 Sung dynasty is illustrated in colors in Plate XCIV. 
 The names of the colors are genei'ally sufficiently 
 descriptive of the varied shades, but no two pieces of the 
 time are exactly alike, and some of the most brilliant 
 successes in the originals, as w'ell as in the attempts at 
 reproduction, must have often been due to mere hazard. 
 
 " 7. Reproductions of the copper-red of Hsilan-te por- 
 celain. {^ M. ^ 9- ID- Two varieties are in- 
 cluded : 
 
 "(1) the clear red (Hsien IRmg). 
 
 " (2) The ruby red (Pao-shih Hungy 
 
 The bright red of ruby tint derived from copper was 
 used in the reign of Hsikni-te as the color of the sacri- 
 ficial cups which were employed by the emperor in the 
 worship of the sun. Hence the name of chi hung^ 
 which means "sacrificial red,'' when it is properly 
 written. The character used above is a borrowed one of 
 the same sound, which means •" clear sky," and is prop- 
 erly used only for the next glaze. Other unauthor-
 
 372 ORIENTAL CERAMIC ART. 
 
 ized characters are sometimes substituted by writers 
 who are ignorant of the derivation of the term, the 
 strangest of which is cJii hung, " chicken-red," on which 
 M. Grandidier seems to base his term sang du poulet. 
 "8. Reproduction of tlie deep blue of Hsiian-te porce- 
 
 " The color of this glaze is deep and somewhat 
 reddish; it has an orange-peel texture and palm eyes." 
 
 The orange-peel texture refers to its undulatory sur- 
 face; the "palm eyes" are due to the production of tiny 
 bubbles iu the glaze. The color is of purplish tint ; it is 
 generally crackled, and the saucer-dishes on which it 
 often occurs are usually found marked underneath ^vith 
 the seal of Hsilan-te, lightly impressed under the glaze. 
 
 " 9. Reproductions of colored glazes of the Imperial 
 Manufactory, (ft M 'g^ ffW- 
 
 "These are of three kinds: (1) Eel-yellow {Slian-yil 
 Huang). (2) Snake-skin green (she-pi Lii). (3) Varie- 
 gated yellow {Huang pan tieii)^ 
 
 These three glazes, which were invented in the pre- 
 ceding reign of K\ing-lisi by Ts'ang Ying-hsiian during 
 his directorship, have been described in Chapter X. 
 
 " 10. Lung-chbuan glazes. (g| ^ f[B). 
 
 "These are of two shades, pale {cli^ien) and deep 
 {sheifi)^ 
 
 The Lmig-cKiXan glaze of this time, which derives its 
 name from the place where the old celadons of the Sung 
 dynasty were made, is of a pronounced greenish tone, 
 and it is often called tou-eli'ing, or " pea-green," for that 
 reason. The color was produced by the addition of a 
 little cobalt to the next glaze, which is the celadon proper. 
 The Lung-cliilan glaze is well represented in Plate LXXI, 
 and in the ground color of the fish-bowl illustrated in 
 Plate XXXVI. 
 
 "11. Tung OJi'ing glazes. (^ ^ ffl).
 
 DESIGNS AND COLORS OF KEIGN OF YUNG-CHifcNG. 373 
 
 " These are of two shades, pale (cli'ieii) and dark 
 {shen)y 
 
 This color, the sea-green celadon, takes its name, which 
 means " eastern green," from the fact that its celebrated 
 prototype was made at K'ai-feng-fu, the eastern capital of 
 China in the eai-ly part of the Sung dynasty. Whatever 
 may have been the materials of the old color, the recent 
 reproductions owe their tint to the addition to the 
 ordinary white glaze of a very small pi-oportion of the 
 ferrugijious cla}' (Jiuang-fii), which protluced the "dead- 
 leaf " brown (tz'u-cliin). The typical celadon color is 
 too well kno'svn to need description ; it is, according to 
 Salvetat, " iiu ton pale clair legerement bleiiatre, analogue 
 au ton de certains verres de gobeletterie." The peculiar 
 clear translucency is difficult to i-eproduce on paper, l)ut 
 the shade of color is perfectly represented in Plates VII 
 and XXXVIII ; the last vase is one attributed to the 
 Yinig-cliSng period. 
 
 "12. Keproduction of rice-colored glaze of the Sung 
 dynasty. (^ ^ ^ 9k «)• 
 
 "This has been taken from fi-agments of broken 
 pottery discovered in the I'uins of an ancient manufactory 
 of the Sung dynasty at a place called Hsiang-hu, situated 
 twenty li to the eastward of Ching-te-chen, both the 
 colored glaze and the foi-m of which have been repro- 
 duced." 
 
 " 13. Reproduction of ])ale-blue (or oTeen) o-laze of the 
 Sung dynasty. (^ W fe tI? ?*)• 
 
 "The specimens copied here in form and color were 
 obtained at the same time as the rice-colored pieces of the 
 Sung dynasty just referred to." 
 
 " 14. Reproduction of the oil-o-reen glaze. (fj^ :J^ 
 
 H Wi). 
 
 " This was copied from an ancient piece of the furnace- 
 transmutation (^yao ])ieii) class sent from the imperial
 
 374 ORIENTAL CERAMIC ART. 
 
 palace, the color of which resembled moss-green jade 
 (^2?i i/i't), having a brilliant ground variegated with 
 mottled tints of antique rare beauty." 
 
 There is a small vase of the "peach-bloom " type illus- 
 trated in Plate L, which answei'S remarkably well to this 
 description, being invested with a green glaze variegated 
 with streaks and mottled clouds of deepest emeiald^ 
 passing into olive as they run do^vn across the field. 
 
 " 15. The Chlin (-chou) glaze of the muffle stove. (|§ 
 
 infill)- 
 
 " The color of this is between that of the Canton 
 pottery ware and that of the enamel of the Yi-hsing 
 ' boccaro ' stoneware,* and it excels these in its markings 
 and in the changing tints of its flowing drops." 
 
 This glaze is the " robin's egg " of the American 
 collector, and no better name could be imagined for it. 
 It has greenish-blue dappling and flecking on a reddish 
 ground, the green being subordinate to the blue. The 
 term " muffle " is added to distinguish it from the high- 
 flred Chiin-chou glazes which are described above and 
 under No. 6, but in modern usage this is generally omitted^ 
 now that the other glazes are no longer prepared, so that 
 the " robin's egg " is the " Chim yu " of the present day. 
 The glaze is prepared, according to the CWing-te-chen 
 T\io lu (book iii, folio 12), by combining nitre, rock- 
 crystal, and cobaltiferous manganese with the materials- 
 of the ordinary white glaze. 
 
 "16. Ou's glazes, (g^ fftl). 
 
 " These have been copied from productions of the 
 ancient potter named Ou. There are two varieties made, 
 one with red markings (Jiung toe/i), the other with blue 
 markings (Ian wen).'''' 
 
 This potter flourished in the J///^^ dynasty at Yi-hsing- 
 
 *Tiie references here are, doubtless, to the glazes of these two potteries 
 described in the next two sections.
 
 DESIGNS AND COLOKS OF REIGN OF YUNG-CHifcNG. 375 
 
 hsien, near Shanghai, in the province of Kianguan, where 
 he made a red stoneware, the kind known to us from a 
 Portuguese word as boccaro ware, which is still made 
 there. 
 
 " 17. Glaze flecked with blue. (^ |i f[tl). 
 
 " Tliis has been copied from the colored glaze of an 
 ancient piece of Kuang Yao sent from the imperial 
 palace." 
 
 The " Kuang- Yao " is the brown stoneware made in 
 the province of Kuangtung, at Kiang-yang-hsien, in the 
 prefecture of Chao-ch'ing-fu. An example is illustrated 
 in the statuette of Bodhi-dharma in Plate XLI. 
 
 "18. Clalr-de-hme ^Aaze. (^ Q f|B). 
 
 " The color resembles very closely that of the Ta-kuan 
 glaze (No. 1), but the paste of the jDorcelain is white. 
 The glaze is not crackled. There are two shades — pale 
 {cJi'ieii) and deep {shen)^ 
 
 This is the pale sky-blue glaze derived from cobalt 
 which is one of the choicest and most characteristic single 
 colors of the period. It is of the monochrome tint of 
 the vase of the preceding reign, which is illustrated in 
 Plate LI. 
 
 " 19. Copies of Hsuan (-te) porcelain decorated in 
 ruby-red. (W ^ U ^/M)- 
 
 "There are four varieties: (1) With three fishes, (2) 
 with three fruits, (3) with three ling-chih, (4) with five 
 bats, symbols of the five happinesses." 
 
 The designs were painted siw biscuit in copper-red, as 
 described in Chapter VII. The name oi pao-sJiao — i. e., 
 " ruby-fired " — comes from an old tradition that powdered 
 rubies were mixed Avith the glaze ; amethystine quartz is 
 really used in the present day, but this has nothing to do 
 with the red color, which is a copper silicate. 
 
 " 20. Copies of the Lung-ch'iian glaze decorated in 
 ruby-red. (^ t| ^ f Hi ^ ^).
 
 376 ORIENTAL CEKAMIC ART. 
 
 " This is a new process, introduced during the reigning 
 dynasty. There are also the following four kinds of 
 decoration : (1) With three fishes, (2) with three fruits, 
 (3) with three ling-chili^ (4) with five bats." 
 
 The color of the o-round and the effect of the red 
 decoration may be seen from a glance at the fish-bowl 
 illustrated in Plate XXXYI, which is fashioned in the 
 similitude of a lotus-leaf with the details of the plant 
 picked out in copper-red on the ground of greenish celadon. 
 Of the different decorations given above, the three fruits 
 are most frequently seen on the outside of globular jars, 
 for instance, which are ornamented with peaches, pome- 
 granates, and Buddha's-haud citrons in the shape of three 
 medallions. The outlines and leaves are occasionally 
 touched in cobalt-blue, penciled under the glaze at the 
 same time as the copper-red. 
 
 The small ovoid vase in Fio'. 258 offers a charmino; 
 example of the decorative effect of these two colors in 
 combination. Tlie irregular splash that covers one-third 
 of its surface is of the deepest and most bi-illiantly scin- 
 tillating ruby color in the middle, and shades off to 
 crimson and pinkish mottled tints, as it gradually fades 
 away into the celadon ground which invests the I'est of 
 the vase. 
 
 "21. Turquoise glazes. (|| ^ fjl). 
 
 " These are copied from three varieties sent from the 
 imperial palace : (1) Plain turquoise {8U ts'ui), (2) flecked 
 with blue {clCing tieii)^ (3) flecked with gold {eliin tieri)^ 
 
 The turquoise glaze, pi-oduced by a combination of 
 oxide of copper with a flux containing nitre, and applied 
 sur biscuit, is finely crackled. It is called by the Chinese 
 fei-tshd, from the similai'ity of its tint to that of the azure 
 plumes of the kingfisher which are extensively used by 
 them in je^velry. It is represented in nearly a hundred 
 shapes in the collection, and some of its different shades
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CHlfeNG. 377 
 
 may be seen reproduced in Plates XLIV, LXXXIV, 
 XLV, and LXXV. The second variety referred to 
 above, where it is flecked with purple, is not rare, but 
 the third variety, the gold-spotted turquoise glaze, is 
 quite unfamiliar to me. 
 
 " 22. The souffle red glaze. (B^ H ffi)." 
 The method of application of this glaze has been 
 described by Pere d'Entrecolles in the last chapter, and 
 a specimen was exhibited there in Fig. 242, of the kind 
 Avith a ruby-red ground derived from copper silicate. 
 There is also a soujjle iron-red of coral tint, produced by 
 sprinkling the prepared oxide upon the ^vhite glaze of 
 porcelain that has been previously fired in the large fur- 
 nace, and fixed by baking the piece a second time in the 
 muffle stove. There is a charming example of this before 
 us in Fig. 259 ; a vase with a four-clawed dragon in pur- 
 suit of the jewel worked in relief in the paste, finished 
 with the graving tool, and I'eserved under the translucent 
 white glaze, while the rest of the surface is covered with 
 Si coral-red of soft tone, shading oif into paler tints as it 
 merges into the irregular edge of the dragon medallion. 
 The stippled texture, displaying an infinity of minute 
 mottled points, indicates its soiiffle application. 
 " 23. The souffle blue glaze. ' (BJC W ffO)-" 
 This was also described in the last chapter. The cli'iii- 
 eliding glaze, often called '^ powder-blue," is one of the 
 chief triumphs of the Chinese potter, and shows at its 
 best, perhaps, when left as a single color, neither penciled 
 over with gold nor contrasted with bright enamel colors, 
 as is often the case. Nothing could be more magnificent 
 than the vase, eighteen inches high, illustrated in Fig. 
 260, in its brilliant blue coat of intense mazarin tint, the 
 ground flecked witli darker spots, displaying, as it does, 
 every shade of pure color flasliing out from the depths of 
 a translucent medium. The prepared cobalt material is
 
 378 ORIENTAL CERAMIC ART. 
 
 blown upon tlie raw body of the piece, wliicli is subse- 
 quently glazed and fired in the large fui'nace, so that it 
 gradually penetrates the glaze, liquefied by the heat of 
 the grand feu. The glaze must not be of a hard nature^ 
 we are told, like that of tlie white porcelain ; it must be 
 liquefied by having a lai-iivr proportion of chalk in its 
 composition, otherwise the color will not penetrate. 
 
 " 24. Copies of Yung-lo porcelain, including pieces of 
 eggshell (fo-fai), of plain white (su-pai), and with en- 
 o^raved (cliui) and embossed (hung) designs. {'\)j ^ ^ 
 
 g: IS te * e il S^ ^ ^ M)." 
 
 These varieties are all well known to collectors, but 
 very many of the pieces that figure in collections as genu- 
 ine relics of early Ming date are copies, with the original 
 designs and marks carefully reproduced, that came fi'om 
 the workshops of the period we are discussing. They 
 are too perfect in technical finish, and never show the 
 irregularity of shape and pitting of glaze that so fi-e- 
 quently mark tlie ancient porcelain. The quality, in 
 short, is exactly that of the decorated eggshell plates of 
 the same date, and I have heard it argued from this fact 
 that the latter must really date from the reign of Yung-lOy 
 even if they were painted in subsequent times ; they are 
 really contemporary ; it is only that the white eggshell is 
 ante-dated. For a genuine early specimen of this class^ 
 refer to Fig. 70. 
 
 " 25. Copies of porcelain of the reigns of Wan-li, and 
 of CTienq-te, decorated in the five colors. [^ ^ JK IE 
 
 The five-colored decoi-ation of the Wan-li period was 
 executed in ovei'glaze enamel colors, with the exception 
 of the cobalt-blue, Avhich was previously painted on the 
 raw body before glazing. It is illustrated in Figs. 167 
 and 106. That of the reign of Chmg-te, of more archaic 
 style, Avas in colored glazes, which were laid upon the
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CHifcNG. 379 
 
 uubaked paste, worked in outline and chiseled, and which 
 were fired in the grand feu. A reproduction of this class 
 with the Cheng-te mark impressed underneath the vase, 
 which may date from the time we are considering, has 
 been given in Fig. 162. 
 
 " 26. Copies of porcelain of the reign of CJi'eng-hua, 
 decorated in the five colors. (^ J^ VCk ^ ^ ^ 
 ^ JH)." This has been discussed at suflncient length in 
 Chapter VII. 
 
 " 27. Copies of porcelain of the reign of Hsilan-te, with 
 painted designs on a yellow ground, (fj^ ^ ^ ^ tt 
 
 This refers probably to pieces painted in colored glazes, 
 with the designs relieved by an enameled yellow ground. 
 I have seen bowls and saucer-dishes of the kind, dec- 
 orated with peonies — the flowers violet and the leaves 
 green — surrounded by a yellow ground, which had the 
 mark of Hsuan-te underneath. The finely modeled vase 
 illustrated in Fig. 261, although it has no mark, is an 
 example of a similar technique, which is to be attributed 
 probably to this reign of Yung-cheng. It is decorated 
 with peonies, chrysanthemums, and daisies, growing from 
 rocks, Avith a butterfly or two flying in the intervals. 
 The details of the decoration are all lightly engraved in 
 the paste. The colors are green and purple, ^vith a few 
 touches of white, displayed upon a background of pure 
 bright yellow, which is minutely crackled throughout. 
 The foot is coated with the same tnnte vellow s'laze 
 underneath, and has no mark attached. 
 
 " 28. The cloisonne blue glaze. ('^ ^ f{|). 
 
 "The combination of this glaze is founded upon recent 
 experiments. Compared with the pui-plish-blue glaze 
 (described under No. 8), it is deeper and more brilliant, 
 and it has no orange-peel markings or minute bubbles' 
 (palm-spots)."
 
 380 ORIENTAL CERAMIC ART, 
 
 The character /y/, (the first of the three) is used here 
 as a contraction for fa-lang, " cloisonne enamel." The 
 color referred to is that generally known by the name of 
 pao-sliih lan^ or " sapphire-blue," which was introduced 
 about this time, and which is illustrated in Plate 
 XXIX. 
 
 '' 29. Copies of European figures and models after life 
 executed with carving and embossed work, [yj ^ ^ 
 
 " Sets of the live sacrificial utensils (tvu hung), dishes 
 (pki/i), plates (tieh), vases (p''ing), and boxes {lio), and 
 the like, are also decorated with coloi-ed pictures painted 
 in the European style." 
 
 We saw, in the last chapter, in Pere d'Entrecolles's- 
 letters, that porcelain was made at Ching-te-chen for 
 export to Europe, and painted with foreign designs 
 brought there by Cantonese traders ; and he also tells us 
 that the mandarin in charge asked him to procure new 
 designs from Europe, so that he might make more novel- 
 ties for presentation at court. Here we learn that such 
 things were made at the imperial manufactory and sent 
 direct to the emperor at Peking. 
 
 On the other hand, many of the sovereigns of Europe 
 sent to China about this time for sei'vices of porcelain, to 
 be decorated for them and painted with their coats of 
 arms. Most collections of Oriental porcelain contain 
 specimens of " armorial china," the majority of it dating 
 from this reign and the succeeding one ; some from the 
 earlier reign of K\mg-}isi. A selection has been pub- 
 lished with the pieces illustrated in colors by W. Griggs, 
 London,* and the date is often fixed by tracing back the 
 piece to its original owner. The mug, for example, in 
 Part IV of his work, decorated in coral-red, gold, and 
 
 * IlluMrations of Armorial China. Privately printed. One hundred copies 
 only. 1887.
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CIIifcNG. 381 
 
 black, which has the arms, crest, and supporters of 
 Thomas Trevor, created Baron Trevor of Bromham, 
 December 31, 1711, emblazoned upon it, must have 
 been made in this reign, because Lord Trevor died June 
 19, 1730, the impaled arms being those of his second 
 wife, Anne, daughter of Robert Weldon, Esq. 
 
 A teapot of " armorial china," with a ducal coronet 
 upon it, is illustrated in Fig. 262, and a vase painted with 
 cojties of European pictures by a Chinese artist in Fig.^ 
 263. The vase shown in Fig. 264 is one of the class 
 fashioned in European style, with branches of fruit 
 molded round the pedestal, and a delicate interlacement 
 of wild roses and other flowers filling the hollows of the 
 flowing bandlike handles ; it is decorated in gold with 
 phoenixes and dragons, the latter painted on the outside 
 of the handles, witli their centipede bodies and winged 
 insect heads, and of very un-Chinese aspect. 
 
 " 30. Copies of porcelain, painted in monochrome 
 yellow, with chiseled green designs. (^ ^ ^ ^H ^ 
 
 The porcelain copied here must have belonged to the 
 class decorated in mixed enamel coloi's, wdiich I have 
 described under the reign of I^\uig-]isi, at the end of 
 Chapter X. The designs of flowers, dragons, phoenixes, 
 etc., were chiseled in the paste, and filled in with green 
 enamel, while the I'est of the surface was enameled yellow, 
 the two colors being laid on with a bi'ush snr hiscuit. 
 
 "31. Copies of monochrome-yellow porcelain. [^ 
 
 " Two kinds ai'e made : (1) With plain ground (su ti), 
 (2) with engraved designs {chui hua).'"' ' 
 
 The word chiao, used here, means literally " watered," 
 but it does not imply the idea of " pale," as it is some- 
 times rendered ; this is proved by the fact that in the 
 modern lists it is replaced by anothei" character of the
 
 382 ORIENTAL CERAMIC ART. 
 
 same sound, meaning " bright " or " pretty "; it is used 
 only of single colors. Tbe tint of the " imperial yellow " 
 of the time was orange, due to the presence of iron with 
 the antimony. It is the " prohibited color " of the present 
 day, sacred to the emperor, and is often enameled over 
 imperial five-clawed dragons, disporting in clouds chiseled 
 in the paste under the glaze. 
 
 " 32. Copies of monochrome purple-brown porcelain. 
 
 " There are two varieties made : (1) With plain ground 
 (su ti), (2) with etched designs (chtd Imci)^ 
 
 The Chiao Tzu is the purplish-brown single color, pro- 
 duced by the cobaltiferous ore of manganese (cli'ing Had), 
 which shares with the " imperial yellow," and the trans- 
 parent green of camellia-leaf tint, the distinction of being 
 used for the emperor's services of porcelain. 
 
 "33. Porcelain with eno;raved designs. (^^ ^ ^ 
 
 m). 
 
 " All the different kinds of glazes may have this 
 decoration." 
 
 The engraved designs (chm Jiua) are etched at the 
 point with a graving tool in the paste of the piece before 
 it is quite dry, and it is subsequently glazed by immer- 
 sion, or by sprinkling. 
 
 The white vase (Fig. 265) of the "Fen-Ting" class 
 is an example of this work, having on the front and 
 back of its swelling body the figure of a five-clawed 
 dragon, enveloped in clouds, delicately etched in the 
 paste under the ivory-white glaze. 
 
 " 34. Porcelain with embossed designs. (^ ^ § 
 
 " These may be associated with all the different kinds 
 of glazes." 
 
 The embossed designs (ttii hud) are worked in relief 
 upon the paste, the outlines having been previously traced
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CH:feNG. 383 
 
 with a graver, and any additional paste required is applied 
 by a brush. Pdte-siir-pdte reliefs are wow executed on 
 porcelain in this way all over the world. The reign of 
 Yuiig-cheng is especially distinguished for this kind of 
 work. 
 
 " 35. Coral-red porcelain. (^ H :S M). 
 
 " Repi'oduced from old pieces." 
 
 The term Mo Hung is applied to the process of paint- 
 ins: the coral-red monochrome derived from iron over the 
 glaze with an ordinary brush. The characteristic tones 
 of color are perfectly exhibited in Plates XXXII and 
 XCII. 
 
 " 36. Porcelain decorated in coral-red. (^ ^X S 
 
 M)- 
 
 " Reproduced from old specimens." 
 
 The term Ts'ai Hung means " Painting in red," just as 
 Ts'ai Shui-mo (No. 40) means " Painting in black." It is 
 applied to the art of penciling the decoration in coral-red 
 over the glaze, the piece being fii-ed afterward in the 
 muffle stove. Plate LXVII displays a peerless model. 
 
 " 37. Porcelain enameled yellow after the European 
 style. (B^KfeSH)." 
 
 The heading leaves it an open question whether it was 
 the form of the pieces, or the enamel color, that was 
 modeled after the European style. In all probability it 
 was the color, and the beautiful lemon-yellow, which 
 makes its appearance now for the first time on Chinese 
 porcelain, would be the new shade indicated. The tint is 
 perfectl}' shown in the ground of the vase which is illus- 
 trated in Plate LXV. 
 
 " 38. Porcelain enameled purple after the European 
 
 style, mw^^^m-' 
 
 "39. Silvered porcelain. (^ |^ ^ M).'' 
 The term 3Io Yin, " Painting with silver," refers to 
 the application of the metal in the form of an enamel as a
 
 884 ORIENTAL CERAMIC ART. 
 
 single color. It was not spread upon white porcelain, but 
 ov^er a coat of pale golden tint, liglitly colored with the 
 "dead-leaf" or tzh-chin glaze. The enamel had to be 
 gently fired in the mnffle stove on account of the fugitive 
 nature of tlie silver. 
 
 " 40. Porcelain decorated in ink black.* (^ 7]C S 
 
 The decoration of porcelain by pictures penciled in 
 black or sepia was a novelty introduced at this time. 
 Pei'e d'Entrecolles describes in the last paragi'aph of his 
 second letter how attempts have been made to paint 
 vases with the finest Chinese ink, but all in vain, as the 
 porcelain always came out white — a result not very sur- 
 prising — as the carbon to which the color of Chinese 
 ink is due would be immediately dissipated in the fur- 
 nace. The ruby-backed eggshell plate shown in Fig, 230 
 is a fine example of painting in sepia, having the encir- 
 cling bauds of basket-work, diaper, and brocaded patterns,, 
 as well as the picture which forms its main decoration, 
 all penciled in that tint. The picture represents the 
 dragon procession of the great midsummer festival, which 
 is celebrated throughout China on the fifth day of the 
 fiftli moon. The large barge made in the form of a 
 dragon, attended by a smaller boat with a band of music, 
 is being towed along a river, accompanied by two lines of 
 horsemen. The banks ai-e fi'inged with willows, and the 
 crenelated wall of a city is seen in the background, 
 which is filled in with the usual details of a Chinese 
 landscape. 
 
 " 41, Reproductions of pieces of pure white porcelain of 
 the reign of Hsilan-te. (t^ ^ g i| Q ^ M). 
 
 * In Julien's list, which is extracted from the Fou-liang-hsien Chili, there is 
 an interesting note attached here, wliicli is made, however, into a separate 
 heading. It says that " by the new process the details of landscapes and figure 
 scenes, flowering plants and birds, are all executed with shading, so as to repro- 
 duce the light and dark strokes in the original pen-and-ink drawing."
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CHlfcNG. 385 
 
 "These include many different objects, thick and thin^ 
 large and small." 
 
 Tiie first word in the compound term fien-pai used 
 here (tire fourth and fifth characters) means " filled in," 
 or " fully," but another word having the signification of 
 " pure " is often substituted for it. Few ceramic terms 
 have, however, given rise to so much misunderstanding, 
 o^ving to a gratuitous assumption that it Avas glazed white 
 in order to be afterwards " filled in " with enamel colors. 
 So Du Sartel creates a class with the heading of "T'ien 
 Pai," to include a variety of objects painted in colors sur 
 biscuit — a class which, as Grandidier justly observes, 
 threatens to remain without a member to represent it. 
 The " [)iire white " porcelain of the time, which was said 
 to rival the finest and most translucent white jade, has. 
 been already sufficiently described in Chapter YII, under 
 the reign of Hsilan-te (1426-35). 
 
 "42. Copies of Chia {-citing) Porcelain painted in 
 
 blue, mmmm^)" 
 
 The blue and white decoration of the Cliia-ching 
 period (1522-66) was distinguished for its deep, strong 
 coloring. It has been fully described already, and is Avell 
 illustrated in Plate XLIX. 
 
 " 43. Copies of CJi'mg-huci Blue and White Porcelain 
 with the decorations penciled in pale blue, {^j J§^ \^ 
 
 Peproductions of this period are much more common 
 in collections than the originals, although genuine pieces 
 occasionally occur. They are small in size, boxes for 
 seal vermilion, miniature vases, wine-cups, or tiny saucei's, 
 and usually have the mark of CVeng-lma (1465-87) 
 delicately penciled underneath in the same gray-toned 
 blue with Avhich the decoration is painted. The tech- 
 nique of the drawing in these pieces is remarkable for 
 its clear penciling and miniature-like finish, and a small
 
 386 ORIENTAL CERAMIC ART. 
 
 round box, as well as its cover, \vill often be found aiost 
 elaborately painted both inside and outside. 
 
 " 44. Rice-colored glazes (^It '^^ f[ll). 
 
 " These differ from the reproduction of the rice-colored 
 glaze of the Sung dynasty (No. 12). They are of two 
 kinds: (1) pale {cKieii)\ (2) deep (shen^. 
 
 "45. Porcelain decorated with underglaze red. (fj 
 
 "In one class of pieces (1) the decoration is entirely 
 painted in the underglaze red ; another class (2) has 
 green leaves in combination with red flowers." 
 
 The term yu-li-hung (the first three of the group of 
 five Chinese characters immediately above this) means 
 literally " red inside the glaze " ; the color, due to coj^per 
 silicate, ranges from a bright " peach-bloom " tint to a 
 dull maroon. It is a color of the grand feu of very 
 ancient orio-in in China. 
 
 The two classes given above may be illustrated by two 
 beautiful vases, both dating from the preceding reign of 
 JPang-lm : 
 
 1. Heavy solid vase (Fig. 229), of finished form and 
 technique, decorated in maroon copper-red, under a white 
 glaze of harmonious translucent tone, with five horizontal 
 bands of dragons and other grotesque monsters in scrolled 
 sea-waves, separated by narrower bands of diaper and 
 lozenge fret, and with two rings of formal foliations 
 encircling the lip. The " six-character mark " of the 
 reign of K\mg-hsi (1662-1722) is penciled underneath 
 in cobalt-blue in the style of the " peach-bloom " vases. 
 
 2. A small vase (Fig. 266), of globular, bowl-like 
 form, a writer's water-pot {shui cli'mg^, with the rim of 
 its mouth strengthened by a silver collar. It is decorated 
 soberly and chastely with two little sprigs of peony, 
 which have the blossoms tinted a warm maroon, and the 
 tiny leaves, outlined and veined with the same under-
 
 DESIGNS AND COLORS OF REIGN OF YUNG-CHifcNG. 387 
 
 glaze red, filled in with a bright green overglaze enamel. 
 The mark is precisely similar to that of fig. 229. 
 
 " 46. Copies of coffee-brown glazes, ('fj ^ ^ f[tl)- 
 
 "Two different shades are produced: (Ij reddish 
 {hung)', (2) yellowish (huang).'' 
 
 The Tzu-chm, or " burnished gold," glaze is derived 
 from yellow ferruginous clay (liuang-t\i) and varies in 
 shade, in proportion to the concenti'ation of the glaze, 
 fi'om the darkest chocolate-brown to the tint of " old 
 gold." It is of ancient origin, and has been referred to 
 many times already under its various names of " fond- 
 laque," " dead-leaf," " coft'ee-colored," " cafe-au-lait," " or 
 bruni," etc. 
 
 " 47. Monochrome yellow poi-celain decorated in the 
 five enamel colors. (^ ^ £ ^ S M). 
 
 " This is a novel decoration founded upon recent 
 experiments." 
 
 The enameled yellow ground was either plain or etched 
 in the glaze with a close pattern of spiral scrolls. A 
 description of a piece will give an idea of the class. 
 Large bottle-shaped vase with swelling body, twenty-one 
 inches high, richly decorated in enamel colors with gild- 
 ing, with the ground of yellow enamel engraved in scrolls, 
 interspersed with colored flowers, among which stand 
 out, in high embossed relief, vases of flowers, bowls of 
 fruit, incense urns, guitars, chessboard, fans, books, and 
 scroll paintings, the varied apparatus of a Chinese library, 
 mingled with emblems and symbols, all painted in the 
 bi'illiant enamels of the Yung-clieng period. 
 
 A charming little vase, decoi-ated in colors upon a yel- 
 low background, which may also be referred to this 
 period, is shown in Fig. 261. It is painted in green and 
 purple, with a few touches of white with peonies, chrys- 
 anthemums, and daisies growing from rocks, and with 
 buttei-flies flying above. The details of the decoration
 
 388 ORIENTAL CERAMIC ART. 
 
 are all delicately etched in tlie paste. The yellow 
 ground, of pure tone, is minutely crackled, and the foot 
 is coated underneath with the same trtiite yellow glaze, 
 and has no mark attached. 
 
 " 48. Copies of monochrome-green porcelain. \\)j ^ 
 
 "Two kinds are made: (1) with plain ground (sw ti^ ; 
 (2) with engraved designs (chid Imia)^ 
 
 The green monochrome (chiao lu) of this period is a 
 bright, attractive color composed of copper silicate in 
 combination witli a lead flux. Bowls and dishes of 
 imperial ware, often etched with dragons under the 
 glaze, are not rare, but vases are less common, and prized 
 accordingly ; they are usually pieces that once belonged 
 to temple altar sets. 
 
 " 49. Porcelain painted in colors in European style. 
 
 " In the new copies of the Western style of painting on 
 enamels {fa-lang) the landscapes and figure scenes, the 
 flowering plants and birds, are, without exception, of 
 supernatural beauty and finish." 
 
 The class of Yang Ts'ai, or "Foreign Coloring," is 
 very extensive and vai-ied, as it includes not only the 
 vases, eggshell plates, and other things painted with 
 foreign designs, but also objects decorated with Chinese 
 scenes in the same class of colors. It represents, more or 
 less, the class that has been called the famille rose, on 
 account of the prevalence of a pink among the enamel 
 colors. In addition to the pink and crimson derived 
 from gold we notice a bright lemon-yellow, a pale green, 
 and a general preponderance of soft tints in mai'ked con- 
 trast to the bold, vigorous coloring of the K''ang-lm 
 epoch. The colors were those previously in use among 
 enamelers in copper, and were first introduced into China 
 from abroad, probably from India. The art of painting
 
 DESIGNS AND COLORS OF KEIGN OF YUNG-CHIING. 389 
 
 in enamels ii[)on copper flourished in China at the same 
 time, and it would be easy to collect a series of rose- 
 backed and crimson-backed copper dishes decorated in 
 the same characteristic style, and painted in the same 
 colors, as the eggshell porcelain dishes of the period. 
 
 '^50. Porcelain with embossed designs executed in 
 undercut relief, (ft ^ ^ M). 
 
 " Tliese are applied in combination with all the differ- 
 ent colored glazes." 
 
 The term hung-lma, which means literally " arched 
 designs," is used to convey the idea of more salient relief 
 than that of tui-hua, or " embossed designs," of No. 34, 
 altliough the two terms are occasionally interchanged. 
 The dragon curled round the neck of the celadon vase 
 illustrated in Plate XL is an example of this kind of work 
 ■Avhich may be referred to the reign of Yung-cheng. 
 
 " 51. Porcelain enameled Red after the European 
 style. (B -^ ir fe S M)." 
 
 The sincrle colors included in this class would be 
 the crimson (yen-chih hung) derived from gold, and the 
 pink (^fen liwuj) obtained l)y an addition of a propor- 
 tion of the white enamel, obtained fi-om arsenic, to the 
 crimson. A beautiful example of the latter monochrome, 
 a rose cVor of the " rose Dubarry " tint, which dates 
 probably from this period, is shown in Plate LIIL 
 
 " 52. Copies of the Black Glaze, (ijj ^ ^ f[tl). 
 
 "There are two varieties of this made: (1) with the 
 decoration reserved in white upon the black ground ; 
 (2) with the black ground penciled over in gold." 
 
 These w ould be reproductions of the so-called " mirror- 
 black " monochrome glaze, which was one of the special 
 triumphs of the potters of the preceding reign of ICavg- 
 hsi, and which is Avell illustrated in Plates IX, LXI, and 
 LXII. The copies have an intense lustrous depth, but 
 without the greenish, iridescent tones of the originals.
 
 390 ORIENTAL CERAMIC ART. 
 
 "53, Porcelain enameled Green after the European 
 style. (?S # H fe ^ H)." 
 
 This would be the pale-green monochrome, which 
 is occasionally found replacing the pink on the back of 
 eggshell dishes of the time, or applied as a single color 
 on pieces interrupted by painted medallions. 
 
 Sometimes it is of palest ecm-de-Nil tint. It is made 
 by tingeing the white enamel of the muffle stov^e with 
 a little of the green enamel derived from copper. 
 
 " 54. Porcelain enameled Black after the European 
 
 style. mn^±^m.). 
 
 " 55. Porcelain enameled in Gold — i. e.. Gilded. 
 (tt ^ S mi)- After the Japanese {Tung Yang). 
 
 " 56. Porcelain painted in Gold. (^ ;^ ^ M)* 
 After the Japanese. 
 
 "57. Porcelain painted in Silver. (^ ^ ^ M)* 
 After the Japanese." 
 
 The Japanese are commonly called Tung Yang Jen, 
 or " Eastern Sea Men," by the Chinese, and Julien is 
 incorrect in translating the term as " I'lndo-Chine," the 
 natives of which would be " southerners," and who, 
 moreover, never had any porcelain to copy. The " old 
 Imari " porcelain of Japan, which was decorated after 
 the pattern of later Ming times, and marked with the 
 same Chinese marks, now comes across to be recopied 
 at Ching-te-chen, Just as old Delft plates, copied from 
 older Chinese blue and white, were reproduced later 
 in the same Chinese factory, as is proved by some 
 curious specimens on the shelves of the British Museum. 
 It is not so easy to distinguish the copies of the old 
 Japanese pieces, Avith a simple decoration of a pair of 
 quails, a straw hedge, and such-like, painted in soft 
 colors, from the originals; they form a subdivision of 
 the class of Yang Ts'ai (No. 49). The Chinese are 
 inveterate copyists, and it is fortunate that they usually 
 register the fact, as in the above three cases.
 
 CHAPTER XIV. 
 
 THE Ch'tEN-LUNG PERIOD. 
 
 AFTER the deatli of the Emperor Yung-cheng^ in 
 XJl. 1735, he was succeeded by his son, who began his 
 reign with the title of CWlen-lung on the first day of the 
 following year, and reigned till the end of the year 1795, 
 when he resigned the throne after a long reign of sixty 
 years, in accordance with a vow that his reign should 
 not exceed that of his celebrated grandfather K\iiig-lisi. 
 
 The reign of this last emperor, as we have seen, ranks 
 as by far the most brilliant period in the history of the 
 ceramic art. The reign of Yiuig-clieng was distinguished, 
 as the official annalist has Just told us, by many new 
 inventions and by a remarkable success in the repro- 
 duction of the colored glazes of olden times, and in 
 the long reign of Ch''ien4ung the new inventions intro- 
 duced in the previous reign were gradually developed, 
 till the porcelain attained a finished technique and 
 a decoration of perfect symmetry, which are among its 
 chief characteristics — so much so, in fact, that one is apt 
 to get tired at last of its conventionality and almost 
 mechanical perfection, and long for the artistic irregu- 
 larity and the bold, vigorous coloring of the older style, 
 which is so varied as never to be monotonous. 
 
 The successes of the early years of Cli'ien-lung are 
 due to T'ang Ying, the famous director of the imperial 
 manufactory, who occupies the same position now that 
 Nien Hsi-yao did in the previous reign of Yung-cheng. 
 T'ang Ying received his first appointment in the ceramic 
 field of work from the emperor in 1728, and was ordered 
 
 391
 
 392 ORIENTAL CERAMIC ART. 
 
 to proceed at once to Chiug-te-chen, to take charge of 
 the imperial works under Nien Hsi-yao, who was ap- 
 pointed in the following year commissioner of customs at 
 Huai-an-fu, still retaining, however, his post of chief 
 director of the imperial ^jorcelain manufactory. In the 
 first year of the new reign (1736) T'ang Ying succeeded 
 him in these two posts, and he remained at Huai-an-fu 
 till 1739, ^vdieu he was transferred to Kiukiang-fu, whei'e 
 he lived for tlie next ten years as Chief Commissioner of 
 Customs of the Provinces of Kiangsi, Kiaug-su, and 
 Anhui, and Director of the Imperial Manufactory. He 
 was a voluminous writer, and his writings have been 
 published in a collected form, including disquisitions 
 on his work, as well as the poems composed by him, 
 as he surveyed the surrounding scene from the top of 
 the Jewel Hill, at Ching-te-chen and on many other 
 occasions. He relates how, for the first three yeai's, 
 he always had his meals with the workmen and slept in 
 the same room with them, so as to gain a fajiiiliar knowl- 
 edge of all the smaller details of their handicraft. A 
 chapter of his autobiography ma}^ be quoted here fi-om 
 the Cliiang hsi thing chih, whicli says that the intimate 
 knowledge that T'ang Ying finally succeeded in acquir- 
 ing of the creative power of the fire in the development 
 of colors had certainly never been equaled : 
 
 ^' Among the least of crafts, which can yet, however, 
 supply the needs of an emperor as well as afford a means 
 of livelihood for the common people, is the art of the 
 potter in the manufacture of vessels, which, in their 
 hi2:hest uses, fio-ure as sacrificial bowls and dishes, in 
 their lowest as articles of daily service for eating and 
 drinking. Porcelain does not date from to-day, Ke- 
 searches show that it was first made during the Han 
 dynasty, that the industry has been constantly practiced 
 down through succeeding generations, and that among 
 
 ji
 
 THE CH'iEN-LUNG PERIOD. 393 
 
 all the different localities that of Ch'ang-nan (Ching-te- 
 <jhen) has prevailed and flourished beyond any other. 
 The preceding Ming dynasty built the imperial manufac- 
 tory at the foot of the Jewel Hill, and apj^ointed officials 
 to superintend the work, but their regulations were bad, 
 the public funds and materials were wasted, and the 
 people were oppressed, so that they were imable to gain 
 3, living by their work. AVho will dare to say that 
 pottery is a mean thing, and that therefore the super- 
 intendents need not be so very careful ? 
 
 " I (Ying), a native of Sheng-yang, in the province 
 of Kuantung (Chinese Manchuria), whose family has 
 for generations shared in the imperial favor, since they 
 followed the dragon standard to Peking,* had my name 
 enrolled at my birth in the Nei-wu-fu, the 'Imperial 
 Household.' In my youth I was employed in the 
 palace in the Yang-hsin-tien, and worked there for more 
 than twenty years. In the year that the emperor now 
 reigning came to the throne (1723) I prostrated myself 
 to heaven and earth in acknowledgment of the imperial 
 grace in promoting me to be secretary Qang), and only 
 fear my inability to deserve such honors. Later, in the 
 autumn of the sixth year (1728) of the reign of Yung- 
 cheng, in the eighth month, the late Prince of Yi con- 
 veyed to me, by word of mouth, the celestial (imperial) 
 orders, appointing me (Ying) to superintend the porce- 
 lain manufacture in the province of Kiangsi, and in- 
 structing me to relieve the workmen in cases of disease 
 and trouble, and to encourage the trade among the 
 the merchants. The imperial words were truly grand ; 
 the emperor's grace is all-pervading, and his thoughts 
 
 * Many of the Chinese on the northern frontier joined the Mauchus when 
 they marched on Peking in 1643. They were enrolled afterward, on the 
 Manchu plan, under banners, to form the Han Chiin, or " Chinese army," and 
 their descendants are retained to the present day. T'ang Ying was a captain 
 of his banner.
 
 394 ORIENTAL CERAMIC ART. 
 
 are imfatbomable. In rev^erent obedience to the order, I 
 (Ying) started at once from the capital, and, in tLe tenth 
 month of the same year, arrived at the manufactory 
 at Chiug-te-chen, and hastened to regulate the work 
 of the potters and the trade of the merchants, in obedi- 
 ence to the decree. With care and trembling, without 
 wasting a 'cash' of the funds intrusted to me, I had the 
 porcelain made according to the indents. A list of the 
 things sent, and a statement of accounts, have been 
 forwarded by me each month to the superintendency 
 of the imperial household (Nei-wu-fu). Up to now, the 
 cyclical year, yi-mao (1735), I have been seven years 
 engaged in the work. Although but 'a broken-down 
 horse,' I put forth all my strength. My ability is poor, 
 •and my faults many, and it is only by the emperor's 
 grace that I have escaped punishment. An annual 
 allowance (in addition to salary) of five hundred taels 
 has been granted me for fuel and water, so my family 
 subsists on the imperial bounty, which a life's poor work 
 could ill requite. The potter's work is a humble one, yet 
 my own life, as well as that of the craftsmen, depend on 
 the favor of the emperor, and I can not but proclaim the 
 imperial grace. The ritual wine-vessels {tsun^ and the 
 sacrificial bowls (huai) are now all made of clay, so as 
 not to waste the national resources, and the daily want& 
 of the people are also supplied by the potter's craft, so 
 that the work must continue to be carried on by our 
 successors. If the rules of the art be preserved, the 
 labor will be halved, and the gain two-fold ; if the rules 
 be forgotten, money will be wasted, and the artisans^ 
 labor lost, so, for the use of after times, I have compiled 
 the present epitome. Although I (Ying) dare not 
 profess a complete knowledge of all the minute details 
 of the ceramic art, yet I have practiced it diligently for 
 a long time, and am familiar with the official lists of the
 
 THE CH'iEN-LUNG PERIOD. 395 
 
 articles produced, with the composition of the glazes 
 used in their decoration, with the designs and dimen- 
 sions of the pieces, as well as with the wages and food 
 of the workmen, their rewards for diligence, and their 
 lines for negligence. Although naturally stupid, I have 
 learned one or two of these things, which I have col- 
 lected and written down, and had them cut upon stone 
 tablets, erected on the south side of the Jewel Hill, so 
 that my successors in the directorship may have some 
 materials for further researches, and be encouraged in 
 their careful zeal ; to put on record also the emperor's 
 compassion for the people, and his instructions that the 
 funds should not be wasted nor the workman's labor 
 unrecompensed. What I have carefully written, 1 know 
 personally, and I submit it with deference to the officials 
 that shall succeed me. 'The farmer may learn some- 
 thing from his bondman, and the weaver from the hand- 
 maid who holds the thread for her mistress.' " 
 
 This scrap of autobiography, ^vritten in the high- 
 flown language, bristling with classical quotations, 
 affected by the Chinese literati, howevei' feebly rendered 
 in the translation, is sufficient to show the zeal of the 
 worthy T'ang Ying in his work. Although nominally 
 subordinate to Nien Hsi-yao, who was promoted to be 
 commissioner of customs the year after the arrival of 
 T'ang Ying at Ching-te-chen, and ti-ansferred to his dis- 
 tant post at Huai-an-fu, the ^\•ork must have owed much 
 to his personal superintendence. In the ili-st year of the 
 reign of Cli'ien-lung (1736), T'ang Ying became in his 
 turn commissioner of customs for the viceroyalty, and 
 was himself ti-ansferred to Huai-an-fu, where he re- 
 mained three years, retaining, like his predecessor, the 
 post of director of the porcelain manufactory, but only 
 making, he tells us, one official visit of inspection to 
 Ching-te-chen during the period.
 
 396 ORIENTAL ( ERAMIC ART. 
 
 In 1739 tlie conimissioiicrship ^vas finally transferred 
 to Kiukiang-fu, and the director was, at his new post^ 
 within easy reach of the scene of his former labors. His 
 family, who were, as we ha\e seen, originally natives of 
 Manchuria, were enrolled l>y the new dynasty under the 
 Han Chiin, or Chinese BaniK^rmen, and T'ang Ying was 
 captain of his banner. A full list of his titles, in the 
 year 1741, is inscribed upon the long mark of dedication 
 which has been taken from an altar candlestick, made 
 by him in that year, and leproduced in facsimile in 
 Chapter IV. In addition to his appointments in con- 
 nection Avith the Imperial Household at Peking, he was 
 then the imperial commissioner in charge of the customs 
 stations of Huai-an-fu, Hai-cliou, and Su-ch'ien*disien, in 
 the dual province of Kiangnnn, and of Kiukiang-fu, in the 
 province of Kiangsi, with the control of all the customs 
 dues of the viceroyalty, made up of these provinces, and 
 was at the same time director of the im[)erial porcelain 
 manufactory. In the year 1743 he visited Peking, and 
 he brought up with him on that occasion, no doubt, the 
 sacrificial set of utensils, which he had made for the 
 Taoist temple near that city. As soon as he arrived 
 at the palace he was handed an imperial decree, dated 
 the eighth day of the fourth month of that year, directing 
 him to write a detailed description of twenty illustrations 
 of the manufacture of porcelain, which had been found in 
 the imperial library, and to send back the album as soon 
 as he had finished. The pictures were returned in the 
 following month to their former seclusion, and have never 
 been, I believe, published. AVith regard to the descrip- 
 tion w^ritten by the accomplished director, and submitted 
 at the same time to the imperial glance, no Chinese book on 
 ceramic art is considered to be complete without it, and I 
 w^ill translate it in the next chapter from the pages of the 
 annals of the province of Kiangsi, so often quoted.
 
 THE CH'iEN-LUNG PERIOD. 397 
 
 T'ang Yiug returned to his post at Kiukiang the same 
 year and remained there as director of the porcelain 
 manufactory till 1749. 
 
 The writers of the Chlng-te-chen Tcvo lu say, under the 
 heading of "The Porcelain of T'ang of the i-eign of 
 ClCien-lung'^\ "This heading refers to the porcelain 
 made at the imperial manufactory (at Ching-te-chen) 
 under the direction of T'ang Ying, Secretary of the 
 ImiDerial Household. The Honorable T'ang, in the 
 cyclical year lisu-slien (1728) of the reign of Yung-dteng, 
 first came to reside at the imperial manufactory as assist- 
 ant to the director Nien, and he acquired a great reputa- 
 tion for his work. In the first year (1736) of the reign 
 of Ch^ieii-lung he was placed in charge of the customs at 
 Huai-an-fu. In the eighth year* (1743) he was trans- 
 feri'ed to be commissioner of customs at Kiukiang-fu. 
 In both these posts he retained the directorship of the 
 porcelain manufacture. He had a profound knowledge 
 of the properties of the different kinds of earth and of 
 the action of fire upon them, and took every care in the 
 proper selection of the materials, so that his productions 
 were all highly finished and perfectly translucent. In 
 the reproductions which he made of the celebrated 
 porcelains of ancient times every piece was perfectly 
 successful; in his copies of famous glazes there was not 
 one that he could not cleverly imitate. His genius and 
 ability were so great that he succeeded in everything he 
 attempted. He also made porcelain decorated with the 
 various colored glazes newly invented — viz., foreign 
 purple {yang tzu), cloisonne blue (^fa cJCing^ enameled 
 silver (nio yi)i), painted in sepia (ts'ai sliui-md), foreign 
 black (y«??^ w^^-eAi??.), painted in the style of cloisonne 
 
 * This must be an error. The official annals of the province of Kiangsi 
 make his appointment date from 1749, and this is conlirmed by the inscription 
 in Chapter IV, which proves that he was commissioner at Kiukiang in 1741.
 
 398 ORIENTAL CERAIVriC ART. 
 
 enamels (^fa-lang liua fa), painted witli foreign enamel 
 colors on a black ground {jjang ts'ai ivii-clmi), with white 
 designs reserved on the black ground (hel ti pal Jiud), 
 with the black ground penciled over in gold (^/lei ti niiao 
 chin), the new sky-blue monochrome (fien-lan), and the 
 transmutation glazes {^ao-pieri). The paste of the pieces 
 Avas white, rich, and compact ; the fabric, whether thick 
 or thin, was brilliant and lustrous ; and the imperial 
 porcelain attained at this period its greatest perfection." 
 
 " He also, in obedience to an imperial decree, respect- 
 fully described the ' Twenty Illustrations of the Manu- 
 facture of Porcelain,' arranged them in order, and wrote 
 detailed descriptions of the illustrations, which were 
 presented by him to the emperor." 
 
 " The learned Li chii-lai of Lin-ch'iian in his preface to 
 the Collected Works of the Honorable T'ang, says : ' As 
 results of his genius alone, flowering and producing fruit 
 in his mind, the ancient manufacture of the large dragon 
 fish-bowls and of the Chlin-chou porcelain, which had 
 long been lost, was re-established ; and turquoise {^fei- 
 tiui) and rose-red (inei-huei) glazes were produced by 
 him of new tints and rare beauty. T'ang was thoroughly 
 devoted to his work, and the brilliancy of his genius is 
 reflected in the beautiful porcelain made by him.' " 
 
 When T'ang Ying was appointed to his new post at 
 Huai-an-fu in 1736, he left behind, for the instruction of 
 his successors, a collection of memoranda entitled T''ao 
 chJeng skill yu Ic'ao, "Draughts of Instruction on the 
 Manufacture of Porcelain," which ai'e often quoted in 
 oflicial books. The author writes in his preface to these 
 drafts, which is quoted in the Fou-liang-hsien Annals : 
 "AVhen I was sent by imperial decree in the sixth year 
 of the reign of Yung-climg (1728) to undertake the 
 superintendence of the porcelain manufactory, I was 
 unacquainted with the finer details of the porcelain 
 
 I
 
 THE Ch'iEN-LUNG PERIOD, 399 
 
 works of tlie province of Cliiaug-yii (Kiangsi), wliere 
 I had never been before. But the materials are the same 
 as those employed in other art-work and are changed in 
 the fire in accordance with the chemical laws of the five 
 elements, and they are combined after old prescriptions, 
 as Avell as by ne\^' experiments. I worked hard with 
 heart and strength, and for three years shared with the 
 workmen their meals and hours of rest, until in the ninth 
 year, Jimi-hai, of the cycle (1731) I had conquered my 
 ignorance of the materials and processes of firing, and, 
 although I dared not claim familiarity with all the laws 
 of transformation, my knowledge was much increased. 
 After five more hot and cold seasons had passed by, 
 during which ' his pottery vessels were not imperfect 
 and the potter had not asked for sick-leave,' the accounts 
 were made uj) to the thirteenth year of Yung-clieng 
 (1735), and it was found that, for an expenditure of 
 several tens of thousands of taels of treasury silver, no 
 less than between 300,000 and 400,000 pieces of porce- 
 lain, comprising all kinds of vases and round ware, had 
 been sent up to the palace at Peking for the use of the 
 emperor. After the sovereign had flown up to heaven 
 on a dragon, in the first year of his successor Cli'ien-hmg 
 (1736), I received the appointment of Commissioner of 
 Customs at Huai-an and had to leave the immediate 
 superintendence of the porcelain works. For this reason 
 I have collected the drafts of the instructions of these 
 years, and as many of the scattered leaflets as have been 
 preserved, and arranged them in order, adding some 
 notes of the progress of the work during the nine years 
 in which I have been director," 
 
 T'ang Ying is the last of the directors of whom we 
 hear anything outside of the pages of the annals, on 
 which the names of a long line of his successors are 
 registered. One other artist is often talked of as having
 
 400 ORIENTAL CERAMIC ART. 
 
 flourished iu the early years of the reign of CKien-lung, 
 so that he must have been a eonterapoi'ary. This is the 
 worker in glass named Hu, who adopted the studio name 
 of Ku Yueli Hsilan, " Chamber of the Ancient Moon," 
 by splitting the Chinese character Hu, his surname, into 
 its two component parts, Ki( Yueh, as explained in 
 Chapter IV. He Avas, I am tokl, a worker in glass in 
 tlie palace at Peking, where a manufactory was founded 
 under the superintendence of the Jesuit missionaries, 
 and he is mentioned hei'e only because his productions 
 are said to have been sent down to Chin2:-te-chen 
 to be reproduced in porcelain, which was considered 
 b}^ the emperor to be a more noble material than 
 glass. The glass made by him was of two kinds: a 
 clear glass of greenish tint with an embossed decoration 
 executed in colored glasses, and an opaque white glass, 
 which was either engraved with etched designs or deco- 
 rated in colors. It is the former kind that is most highly 
 valued iu the present day, a tiny snuff -bottle being sold 
 for as much as several hundred taels, or even for a 
 thousand dollai's ; the latter kind was the type that was 
 copied in porcelain. The result was the ware of peculiar 
 vitreous aspect which is technically known as Fang Ku 
 Yueh Hsilan, or " copies of Ku Yueh Hsiian." Mr. 
 Hippisley was one of the first to introduce these wares 
 to the outside world, and he has exhibited sevei'al choice 
 specimens in his collection at the Smithsonian Institution 
 at Washington. He says (^Catalogue, loc. cit., page 423): 
 " Ku Yueh hslian* introduced about the year 1735 the 
 use of an opaque white vitreous ware for the manu- 
 facture of articles of small dimensions, such as snuff- 
 bottles, wine-cups, vessels for washing pencils in, etc. 
 
 * Mr. Hippisley seems to take Ku Yueh Hsiian to be the actual name of the 
 man, whom he refers to as being " a subordinate officer, I believe in the 
 directorate of the Ching-tg-chgn factories." 
 
 ■
 
 PERIOD. 401 
 
 Tlie vitreous nature of the body imparts a tone and 
 brilliancy to the colors used in the decoration which is 
 greatly admired, and the best specimens of this ware will 
 well repay minute study. The choice of groundwork is 
 effective, the grouping of the colors soft and harmonious, 
 the introduction of European figures is interesting, and 
 the arrangement of flowers evidence of the highest artistic 
 skill. The earliest pieces were marked, usually in red, 
 Ta ChHng iiien chili, '■ Made during the great Pure (the 
 owing or present) dynasty,' the later pieces had the 
 mark, within a square seal-like border, Cltien lung nien 
 chill, ' Made during the reign of ClCien-lung^ engraved 
 in the foot, and filled with a thick, bright blue enamel 
 glaze. T'ang Ying (in his imitations of this vitreous 
 ware in porcelain) appeared to have employed for his 
 purpose a very pure glaze of a highly vitrifiable nature, 
 and to have thereby effected an enamel brilliancy that 
 no other porcelain shows, and to have also secured to 
 a considerable extent the same soft transparency in the 
 decoi'ative colors Avhich was so much appreciated on the 
 Ku Yueh Hsiian vitreous ware. Specimens of this poi-ce- 
 lain, which is quite rare, are held in very high esteem by 
 the Chinese, alike for the purity of the paste, the 
 brilliance of the glaze, and the beauty of the decoration, 
 and are considered among the finest productions of the 
 period during w^hich the manufacture attained its highest 
 excellence." 
 
 The glass ware referred to here is outside our prov- 
 ince. Of the porcelain modeled in the Ku Yueh Hsiian 
 type a beautiful specimen was illustrated in Fig. 68 
 — a teapot wath the mark of the Yung-cheng period 
 penciled underneath in overglaze blue enamel. Another 
 example is presented here in Fig. 273, which I will 
 briefly describe : 
 
 Small bottle-shaped vase, with a globular body and
 
 402 ORIENTAL CERAMIC ART. 
 
 gently tapering neck expanding above into a prominent 
 lip, coated witli a lustrous white glaze of vitreous aspect 
 decorated Avitli delicate enamel colors of the Ku Yueh 
 Hsiian type. On the body is a picture suggestive of an 
 autumnal scene, with roses growing by a rockery, trees 
 with autumn-tinted leaves and maro-uerite daisies, in the 
 foreground of which a pair of quails, beautifully painted 
 with a miniature-like finish, stand out prominently. 
 The neck of the vase is decorated with a ring of formal 
 palmate design, the shoulder is encircled by two bands, 
 a pink scroll worked in relief succeeded by a blue fret, 
 and the lip is defined by a line of gilding. 
 
 There is a couplet of verse written at the back : 
 
 "Years roll by as we sit at the table, painting pictures in colors; 
 Charmed by all the happy notes of Nature, listening to the call- 
 ing quails." 
 
 The headpiece is a small oval panel with the seal 
 characters Jen Ho, " Benevolence and Harmony," inside ; 
 at the foot of the stanza are two small oblong panels 
 with the inscription Ssu Fang CKing Yen, " Serenity 
 and calm throughout the empire." The motto is 
 declared to be appropriate to the emperor alone, and it 
 is outlined in red, the color of the sacred '^ vermilion 
 pencil." 
 
 The next vase of Ku Yueh Hsiian style, exhibited in 
 Fig. 263, is an example of the class decorated with 
 European pictures. It is a small ovoid vase of broad 
 shape, formed, as it were, of twin coalescing vases, with 
 the line of junction indicated by a vertical groove. The 
 shape is like that of the pair of vases of which one is 
 illustrated in Plate LXXVI, and, like them, it once had 
 a cover, now lost ; the bottom has had a piece chipped 
 out so as to remove the date of the four-character seal, 
 penciled underneath in black, leaving only the tail-end 
 
 1
 
 •403 
 
 nien chih, but we can not be far wrong in supplying 
 CKien-lung as the missing half. The vase is painted in 
 delicate enamel colors, rouge cf^or predominating. It is 
 decorated with two large oval medallions and two small 
 round panels with scrolled borders, displayed upon a 
 floial ground, and with bands of ornamental design 
 around the neck and foot, all in the ordinary Chinese 
 style of the period. The small round medallions contain 
 landscape sketches with European houses. The large 
 oval panels are filled with copies of Euroj)ean pictures^ 
 cleverly executed, but betraying in the details the touch 
 of the Chinese artist. In one there is a female figure in 
 pink dress and purple robe with two children, copied, 
 apparently, from a sacred picture representing the Virgin 
 Mother with the Infant Jesus and St. James. The other, 
 similarly shaped, and upon the opposite side, contains a 
 picture of a garden scene Avith two girls in European 
 costume, one of whom is carrying a basket of flow^ers. 
 
 The enamel colors used in painting these vases are 
 precisely those that had been previously used in the 
 West in enameling upon metal. The working palette of 
 the enamel painter was rich in variety of colors, as 
 metallic oxides readily lend themselves to an infinite 
 number of combinations with glass. The green, blue, 
 red, turquoise, gray, orange, and yellow may be obtained 
 either pure or compound, so as to form shades as gradual 
 as a chromatic scale. The light-red color is called in old 
 English books upon the subject ** the chief and paragon 
 of all." It is said to have been discovered by a gold- 
 smith who studied alchemy, and found it one day at the 
 bottom of his crucible in trying to make gold. 
 
 This last is the color wdiich suddenly makes its 
 appearance upon Chinese porcelain in the beginning of 
 the eighteenth century, in common with the other new 
 enamel colors which ai'e known collectively to the
 
 404 ORIENTAL CERAMIC ART. 
 
 Chinese potter as Yang Ts'ai, or " Foreign Colors." 
 The earliest date-mark found upon the " rose-backed " 
 plates, which are decorated in these colors of the famille 
 rose, is that of the cyclical year hsin-ch^oii (1721), the 
 last year but one of the reign of K\ing-hsL It was this 
 emperor who was probably the means of introducing 
 these colors into China, through the medium of the 
 Koman Catholic missionaries, of whom he was a great 
 patron. He founded a manufactory of colored glass 
 near the palace at Peking, under their superintendence, 
 where, no doubt, many of the materials were manu- 
 factured for the use of the school of enamelers upon 
 copper that was also established at Peking about the 
 same time under their tuition, and produced painted 
 work executed in the style of Battersea enamels. He 
 even tried to introduce the manufacture of porcelain, 
 and had all the materials brought up to Peking for the 
 purpose, as described by Pere d'Entrecolles in his letters, 
 but this project failed, partly on account, it is suggested, 
 of the opposition of the porcelain guild. The enamelers 
 in metal were more successful, and their work was sent 
 to Ching-te-chen to be reproduced in porcelain. The 
 same designs occur on both, and are associated with the 
 same rose-colored grounds and pink diapers. I have a 
 small mirror, for example, mounted in a copper frame, 
 which is enameled at the back with the same sacred 
 picture that is painted upon the vase that has Just been 
 described, and a long series of such identical designs 
 might be collected. European pictures are not an inap- 
 propriate decoration for the enameled work, recalling its 
 original source, but there is no excuse for the unseemly 
 scenes which are occasionally associated with them, and 
 which prove that the missionaries of those days were 
 assailed with the same scandalous stories that are put 
 forth about them in the present day.
 
 THE Ch'iEN-LUNG PERIOD. 405 
 
 Actual specimens of old European enamels were also 
 sent at this period to Cliing-te-cLen and copied in porce- 
 lain. This is proved b_y an interesting cup of Chinese 
 porcehiin from the Marquis collection at Paris,* wliich is 
 thus described : " A wide shallow cup with two open 
 flowing handles, of tine and light porcelain, an exact 
 imitation, both in form and decoration, of the piece of 
 Limoges enamel which has served as its model in China, 
 so that it might even be mistaken for the original. It 
 has, outside, ornamental designs reserved in ^vhite upon 
 a black ground, enhanced by gilding ; inside, it is deco- 
 rated in different colors with flowers and fruit, executed 
 with the enamels of i\\Q famille verte. Close to the basket 
 of fruit painted in the bottom of the bowl there is found, 
 faithfully reproduced, the monogram I. L. of the Limoges 
 enameler, Jean Laudin." 
 
 One of the most remarkable features indeed of the 
 practice of the ceramic art in China at this period was 
 the way the world ^vas ransacked for new objects to 
 copy. Pere d'Entrecolles describes how his mandarin 
 friends pressed him to get for them new models from 
 Europe for this purpose. In the last chapter we saw 
 how specimens of ancient ware of all kinds were sent 
 down to Ching-te-chen to be copied. Pieces of " old 
 Imari " porcelain came from Japan at the same time to 
 be imitated. The author of the T''ao 81mo declares 
 that the older desio-ns in chiseled frold, in embossed 
 silver, in carved jade and other hard stones, in lacquer 
 ware, in mother-of-pearl inlaid work, in carvings of 
 rhinocei-os hoi-n, band^oo, wood, gourd, and shell, were 
 all, without exception, executed in porcelain, as exact 
 copies of the originals, and that the potters were sup- 
 planting the skilled artificers in all these different 
 
 * This cup is now, I liave reason to believe, in the Graudidier collection in 
 the Louvre.
 
 406 ORIENTAL CERAMIC ART. 
 
 braucbes of work. The texture of the ivory, shell, or 
 bamboo is carefully indicated in the porcelain, and the 
 surface colors are rej^roduced so as to bring out the tints 
 of the variegated marble and pudding-stone, the mottled 
 jade, the striped carnelian and agate, the veined walnut- 
 Avood, and the carved cinnabar lac, with such exactitude 
 that it is necessary to handle the piece to convince one's 
 self that it is really made of porcelain. The aspect of 
 gold and silver was given by enamels pi-epared from the 
 metals themselves ; the surface tints of copper and 
 bronze, the rust of iron, and the play of colors upon 
 ancient patinated bronze in which the Chinese anti- 
 quarian takes so much delight, were produced by combi- 
 nations of different glazes, applied either with the brush 
 or by sprinkling over the first ground color. 
 
 A characteristic example of the iridescent " iron-rust " 
 (f ieh-7isiic) glaze is illustrated in Plate XIX, showing a 
 deep bronze-colored ground, speckled with lustrous 
 metallic spots, and flecked with red clouds. In Fig. 274 
 is exhibited a specimen of the class of ancient bronze 
 design which is known as kti thmg ts'ai. It is a libation 
 cup (chlleli) of anticpie style, molded in relief and 
 enameled with color to imitate patinated bronze. The 
 handle is fashioned in the form of a dragon, and the bowl 
 of the cup is encircled by a broad sunken band containing 
 archaic designs in relief, with an ogre's face {f ao-f ieli) 
 under the lip, and conventional scrolls starting from 
 dragons' heads round the sides. The surface, enameled 
 olive-brown flecked with " tea-dust," is penciled in gold 
 with scrolls and borders of rectangular fret ; the ground 
 of the sunken band, w^hicli is pitted, is partially filled in 
 with a grayish-blue overglaze of mottled tints passing 
 into green. There is a seal underneath, outlined in gold, 
 CJiHen lung nien cliih : '' Made in the reign of CJiHen- 
 liviigy Some of the larger objects of this class exhibit a 
 
 II
 
 PERIOD. 407 
 
 remarkable combination of brilliant colors, such as copper 
 alone is capable of producing, and it is wonderful how the 
 same tints are almost instantaneously brought out arti- 
 ficially by the oxidizing power of the furnace flames, that 
 usually require centuries to develop by gi'adual oxidation 
 of the metal buried in moist ground. 
 
 The technique of the class just described is similar to 
 that of the transmutation, jlamhe, or [lao-pieii glazes, 
 which derive their most brilliant colors from the same 
 protean metal. These flourished abundantly during the 
 Ch^ien-hing period, to which three of the vases shown 
 in the colored illustrations may be referred. The egg- 
 shaped vase in Plate XVI is a brilliant example of the 
 kind, with its lightly crackled glaze vertically splashed 
 with all the different tints imprinted by the flames as the 
 liquescent glaze was running down in the furnace, passing 
 from tui-quoise through purple and other intermediate 
 shades of red to the richest crimson. The vase in Plate 
 LXXXVIII has the same brilliant jiambe glaze running 
 down over its surface so as to form large tears, only par- 
 tially covering the crackled surface of mottled olive-brown 
 tint due to iron, Avhich is often used on such pieces in 
 combination with the copper that produces the typical 
 colors. The quadrangular vase in Plate XL VI, with open 
 scroll handles at the sides and relief panels in front and 
 at the back, differs from the other two in having a very 
 line, compact, and white paste ; the shape is one often 
 reproduced in copper-red (clu-liung) vases oi jlamhe type 
 in the present day, some of which are of very brilliant 
 color, albeit wanting in depth and too glossy. 
 
 With regard to the monochrome porcelain of this reign, 
 the colors which distinguished the Yiing-cheng period con- 
 tinued to be produced under the dii'ectorship of T'ang 
 Ying, who had learned his art in the ateliers of the latter 
 period. The soft red derived from gold, passing from the
 
 408 
 
 ORIENTAI CERAMIC ART. 
 
 deepest crimson of the rose petals, tliroiigli " rouge red," 
 or yen-chill luing, down to the palest of the pinks called 
 by them fen-hung ; the lemon-yellow, camellia-leaf, and 
 paler tone of green, the bright blue, the brilliant glossy 
 black, and the other colors of the foreign enameler's 
 palette, were still prepared, although in process of time 
 they gi'adually lost something of their pristine purity. 
 The same may be said of the souffle cop})er-red of i-uby 
 tone, and the sky-blue or clctir-de-lune, the two finest 
 shades of the Nien Yao. The coral-red, on the conti-ary, 
 comes into greater prominence, and is gradually improved 
 in tone till it excels that of any of older times,* as in the 
 beautiful monochrome vase selected for illustration in 
 Plate XCII, and in the vase shown in Plate XXVI, where 
 it forms a pure vermilion ground round a dragon pursu- 
 ing the magic jewel, enameled green with touches of 
 other colors. The ordinary green, yellow, and manganese 
 brown or purple are common single colors, either plain or 
 investing an etched decoration engraved with a style in 
 the part underneath the glaze. The fine white porcelain, 
 like that of the preceding reign, is of special pellucid 
 purity and soft, pearly tone ; the egg-shell vase in Fig. 
 275, Avhich is modeled on the lines of the pink vase illus- 
 trated in Plate LIII, and which is perfectly plain with 
 the exception of faintest rings in the paste defining the 
 rims of the neck and of the foot, is a white vase of this 
 kind, which ma}- be attributed to either of these two 
 reigns. A we\x shade which now appears among the 
 single colors is the intense deep blue known to the 
 Chinese as pao-shih Ian, or " sapphire-blue," which is often 
 seen in combination with imperial dragons faintly 
 engraved in the paste, and usually with a square seal of 
 
 * Tlie calcined peroxide of iron was formerly painted on, mixed with a 
 simple flux of white lead ; now it is combined with the ordinary vitreous flux 
 of the enameler, and acquires the brilliant tint known to the Chinese as tsao-'rh 
 Jiung, the " red of the jujube," the fruit of the Zizyi^hus comnnmis.
 
 THE CH'iEN-LUNG PERIOD. 409 
 
 the CK'ien-lung period impressed uDderueatli tbe piece, 
 the foot being coated with the same glaze. 
 
 This last glaze, however, is usually finely crackled, as 
 is shown in the vase of rich sapphire-blue color illustrated 
 in Plate XXIX. Many of the single colors of the time 
 are, in fact, distinguished by having this finely crackled 
 reticulation in the glaze, the trulte of the French, the 
 yu-tzu wen or "fish-roe" crackle of the Chinese. The 
 colored glazes in these cases were applied, siw hiscuit, on 
 porcelain that had been previously fired in an unglazed 
 state. The manganese-purple and the turquoise-blue of 
 the time are among the finest of these, especially the 
 latter, which excels that of any previous period in its 
 mottled shades of purest cerulean hue, exactly resembling 
 those of the plumes of the kingfishei', from -N^hich it 
 derives its Chinese name of fei-ts\ti, which is contracted 
 sometimes to ts'ui se, se meaning color. The tones of 
 color are perfectly displayed in the t^vo graceful beakers 
 of ancient bronze design in Plates XLIV and XLV, the 
 first of which is modeled Avith archaic details under the 
 glaze, while the second, left plain, has nothing to detract 
 from the symmetry of its outlines or the beauty of its 
 colorius:. 
 
 The finely crackled green and yellow monochromes of 
 the same class, which are usually bracketed together, are 
 cliaracteristic colors of the period, the production of which 
 is continued down to the present day. Of the "fish-roe 
 green," or yu4zu lu, a typical specimen is seen illustrated 
 in Plate XXYII ; this is also called by the Chinese huf- 
 2^1 lu, or " cucumber-green," a name more appropriate to 
 the color of the vase illustrated in Plate LXXYIII ; it 
 is sometimes called "• apple-green " by Western collectors, 
 but this term (p^hig-hfo lu) is always applied by the 
 Chinese to the green which accompanies their ji'ing-liuo 
 hung, or " apple-red," on the " peach-bloom " vases of the
 
 410 ORIENTAL ( ERAMIC ART. 
 
 JPang-hsi period. The yellow crackle of the same type^ 
 called yi'i-icu liuang, or "iisli-roe yellow," is illustrated in 
 Plate LXXXVII ; under the name of " mustard-yellowy" 
 which indicates its usual shade, it acquired at one time a 
 celebrity which it hardly desc^'ved. 
 
 The ordinary crackle of tlie time, marked by the wider 
 reticulation of lines, which is likened to fissured ice, and 
 hence known by the name of ping lieli teen, is sufficiently 
 illustrated by the vase of arcliaic design shown in Plate 
 LXXVII, which is coated with the grayish-blue glaze 
 called Ju gu, from its resembhmce in color to that of the 
 ancient Ju-chou porcelain, after which it was modeled ; it is 
 marked underneath in blue ^\ ith the date-mark of ChHen- 
 lung. Crackled glazes w^ere among the specialties of the 
 period, and were produced at Avill in any color or com- 
 bination of colors. The variety of soujfie glazes was also 
 very great, and many novel combinations were introduced 
 by the application of a different shade of the same color, 
 or of a ne\v color altogether. The second enamel was 
 sprinkled on in the form of a fine rain by blowing 
 through a bamboo tube with gauze tied over the end, 
 which was lightly dipped in the color, or it was flecked, 
 on in lai'ger or smaller tears with a brush dipped in the 
 moist color ; or, again, it was painted on in larger patches 
 of overglaze enamel ; the effect of each process can be 
 readily distinguished, so that a fuller description is 
 unnecessary. 
 
 The decorated porcelain produced during this long 
 reign of sixty years is also of almost infinite variety. If 
 it wants something of the artistic freedom of design and 
 brilliancy of coloring which distinguish the K''ang-hsi 
 period, it evinces a grace and technical finish of its own. 
 Brilliant greens of different shades predominate in the 
 painted porcelain of the latter reign, which is indicated 
 by the selection for it of the name oi famille verte. In
 
 THE Ch'iEN-LUNG PERIOD. 411 
 
 the new reign the green is paler in tone and occupies a 
 subordinate position among the colors ; it is supplanted 
 bv reds of crimson and pink shades derived from gold, 
 hence the name oifamille rose which is often applied to 
 the decoration. 
 
 The decorated porcelains may be conveniently classi- 
 fied under the headings of the table in Chapter X : 
 
 A. Colors of the grand feu. 
 
 B. Colors of the demi-grand fev . 
 
 C. Colors of the muffle stove. 
 
 We shall find that the eight classes which were com- 
 prised in the table under the above three headings are all 
 abundantly represented in the ^productions of the reign of 
 ChHen-lung. 
 
 There is nothing special to be noticed in the fii'st two 
 classes which include the pieces painted in cobalt-blue 
 and in copper-red respectively. The blue and white is 
 generally carefully penciled with graceful floral sprays 
 and conventional scrolls, but the blue has lost its pulsat- 
 ing vigor, and the glaze its pellucid depth. The white 
 ground is purer in tint, but it is apt to become almost 
 chalky, and one misses the tinge of blue which seemed to 
 give a note of harmony to the older pictures. Mr. Monk- 
 house in his appreciative introduction to the catalogue of 
 blue and white, already referred to, asks: "Does this 
 tinge come from the pigment with which the vase is 
 painted ? If so, it is, perhaps, one advantage of the Chi- 
 nese practice of baking the paste, the blue and the glaze, 
 at the same firing. The tinge, whether gray or blue, is 
 always in accord with the quality of the blue." 
 
 A typical example of blue and white, with the seal of 
 CKien-lung inscribed undei'neath, may be seen in the 
 ritual wine-pot with Buddhist symbols and floral scrolls 
 in Fig. 90. The two pieces now to be mentioned are dec- 
 orated in mixed underglaze colors, and belong, therefore,
 
 412 ORIENTAL CERAMIC ART, 
 
 to the third class on the table. The pilgrim-bottle (^pax> 
 yueh p'ing) in Fig. 176, outlined in the shape of the full 
 moon, is decorated on each side with a five-clawed impe- 
 I'ial dragon coiling round the magic jewel. The dragons,, 
 the flames proceeding from their bodies, and the effulgent 
 jewels in the middle, are painted in copper-red of maroon 
 tint ; the scrolled clouds which fill in the intervals and the 
 crested sea-waves at the base of the vase are painted in 
 cobalt-blue. The outside of each loop-handle is decorated 
 in blue with a spiral scroll, and the seal of the Cli'ien-liing 
 period underneath is penciled in the same underglaze color. 
 The smaller bottle-shaped vase in Fig. 276 is an example 
 of the so-called " soft-paste " class, decorated in the same 
 two colors as the last piece. The crackled (1^ ai-pieri) 
 glaze, which has a slightly undulatory surface, is traversed 
 throughout with a I'eticulatiou of fine lines. The mon- 
 strous lionlike quadruped, drawn after the unusually 
 grotesque fashion of this time, is standing at the foot of 
 a spreading pine-tree, with a bat flying overhead, all 
 painted in blues of subdued tones : the flames which pro- 
 ceed from the shoulders and hips of the monster are 
 tinged copper-red, and its ej^es are lightly touched with 
 rings of the same underglaze color. There is no mark 
 attached. 
 
 A representative piece of the fourth class, " decorated 
 in glazes of several colors," is illustrated in Plate XXXI 
 in the magnificent vase, two feet high, decorated with 
 imperial dragons in the midst of clouds, with the details 
 engraved in the paste and enameled green, displayed upon 
 a monochrome yellow ground. 
 
 The remaining four classes, including all the different 
 kinds of decoration in enamel colors fired in the muflle 
 stove, are particularly well filled. In the reign of ChHen- 
 lung, according to Chinese authorities, the highest art was 
 lavished on porcelain-painting in colors, and the dealers- 
 
 Ji
 
 THE CH'iEN-LUNG PERIOD. 413 
 
 througed round the mouth of the kilu to have the first 
 pick of the things as they were taken out. The " red 
 shops," as the manufactories of colored ware had been 
 commonly called since the introduction of the coral-red 
 derived from iron, one of the earliest of the enamel colors, 
 were now widely patronized, instead of those of the pro- 
 ducers of single colors and the decorators in plain blue 
 and white, who had hitherto monopolized attention. 
 The three beautiful specimens selected for illustration in 
 colors are unrivaled examples of the style and coloring of 
 the time. Tlie first, Plate LXIV, is one of a pair of 
 quadrangular vases, with openwork railings projecting 
 from the corners, which are richly decorated in coloi's 
 with gilding. The large panels are painted with land- 
 scape pictures of the four seasons, bordered by scrolls, 
 penciled in gold on a soft coral-red, by bands of gokVbro- 
 caded blue or embroidered yellow. The study of the 
 colors on a vase of this kind, of which the date is cei*- 
 tainly known, is an invaluable aid to the correct classifi- 
 cation of the enameled single colors which are so often 
 unmarked. The second vase, Plate LXXVI, is a typi- 
 cal member of \X\%famille rose, exhibiting broad bands of 
 crimson rouge cVor etched with scrolls. Like the forego- 
 ing vase the base is enameled pale green undei-neath, a 
 characteristic of the finest decorated porcelain of this 
 reign which is worthy of notice. The mark is written 
 here in bright overglaze blue, in one horizontal line ; iu 
 the former case it is in the form of a seal, penciled in red 
 on a white panel reserved in the middle of the pale- 
 green ground. The third of the CliHen-lung pieces, the 
 hexagonal lantern with pierced openwork sides iu Plate 
 XXII, is another striking evidence in its soft, harmoui- 
 ous tone of coloring, in its graceful decorative designs, 
 and in its finished technique, of the artistic skill of the 
 potters of this period.
 
 414 ORIENTAL CERAMIC ART. 
 
 It is possible to admire the fine productions of this 
 time, and yet to prefer the bolder style and stronger 
 coloring of the decorated porcelain, as well as the 
 brilliancy of the monochromes of the older reign of 
 ICang-hsi. M. Grandidier, a practiced connoisseur of 
 Chinese ceramic art, observes : " Some collectors prefer 
 the delicate porcelains of the GVien-lung epoch to any 
 other ; I can find no fault with them ; others remain cold, 
 dull, and indifferent in the presence of the most perfect 
 of these marvels, and are only enthusiastically attracted 
 by the porcelain of the Ming dynasty, so majestic in its 
 barbaric effect ; these last are not wrong, and I oft'er 
 them my approval. Some, again, put in the first rank the 
 productions of the time of K\mg-lisi, and they are right. 
 I exclude none of these three periods ; each has its special 
 qualities of a different order, and I admire them all 
 sincerely without admitting the superiority of any one 
 over the others. Beauty has always the gift of captivat- 
 ing me, and under all its forms ; queen of the world, it 
 reifrns an absolute sovereisfu in the realm of art." 
 
 There is no fixed line of demarcation between the 
 decorated porcelain of the Yung-eheng and ChHen-lung 
 periods. T\vo pieces, in form and design as well as in 
 smaller technical details, might pass for productions of 
 the former reign had they not the mark of CWien-Iung 
 inscribed underneath, etched under the glaze in the first 
 case, penciled in cobalt-l^lue in the second. The oval 
 bowl-shaped vase in Fig. 277 in white with scrolls of 
 lotus and peony flowers etclied under the clear glaze; the 
 dragon of archaic design, coiled in openwork relief round 
 the rim, is enameled reddish brown and touched with 
 gold. The saucer-shaped dish in Fig. 249 is painted in 
 the same brilliant enamels as the large dish illustrated in 
 Plate XLVIII, with branches of peaches springing from 
 the circular rim of the foot and passing over the boi-der
 
 THE CH'iEN-LUNG PERIOD. 415 
 
 of the dish to decorate its interior, as well as its outer 
 surface. The branches bear pink flowers and buds, as 
 well as large peaches, the fruit of long life, and they aie 
 accompanied by five flying bats, painted in shaded red, 
 emblems of the five happinesses, three being displayed in 
 the field, two on the outer edge of the saucer. In Fig. 
 278 is exhibited a charming little vase, modeled as a four- 
 sided beaker (tsun), of ancient bronze design, with an 
 archaic scrolled band round the waist, and vertical 
 dentated ridges projecting from the sides and corners ; 
 upon it are seen the lizardlike forms of nine dragons, in 
 undercut relief, painted in delicate CKien-lung colors, of 
 which a large CKih-limg, with four small ones cra'wling 
 over its body, composes the handle, while four others 
 coil round the neck of the vase. 
 
 Two other pieces will serve to give an idea of the 
 great variety of flowers depicted in the naturalistic floral 
 decoration of porcelain at this time. The flower-pot of 
 eight-lobed form in Fig. 280 has eight panels of flowers 
 and fruit, with butterflies and dragonflies, all painted in 
 delicate enamel colors. The front panel displays the fir, 
 bamboo, and pranus, so often associated as emblems of 
 longevity ; the next, proceeding from right to left, contains 
 flowering bulbs of narcissus and sprays of roses, follo^ved 
 in order by pomegranates and chrysanthemums ; a group 
 of begonias; of hibiscus (i?6>s« sw^6/^5^s) branches ; sprays 
 of Dielytra sj)ectahilis and azure-tipped marguerite dai- 
 sies; of yellow jasmine and scarlet ling-cliih {PoJi/porns 
 lucidus)', of red-leaved amaranthus and orchids (Q/mhi- 
 dium ensifoliiivi). The large double gourd-shaped vase 
 (Jiit-lu p'ing)^ nearly two feet high, in Fig. 279, displays 
 in its rich floral ground the " hundred flowers " of the 
 Chinese, painted in natural coloi's, so that each species 
 may be recognized at a glance by one familiar with the 
 garden flora of China. Among them may be distinguished
 
 •116 ORIENTAL CERAMIC ART. 
 
 peonies of several kinds, lotus, cbiysauthemum, magnolia, 
 roses, hibiscus (both pink and yellow), orchids, iris, lilies 
 (scarlet and white), asters, hydrangea, wistaria, dielytra, 
 pomegranate, begonia, nai'cissus, convolvulus, syringa 
 (white and lilac), Pyrus japonica (hcd-fang) and double 
 peach, Olea fragraiis, cockscomb, etc. The foot is 
 encircled by a band of formal foliations in shaded blue 
 and green upon a pink monochrome ground, between 
 heavily gilded rims. The base enameled, like the inside 
 of the mouth, pale green, has a reserved panel in the 
 middle in which is penciled in red the seal Ta cliHng 
 ClCien lung nien cliili — i. e., " Made in the reign of 
 ChHeii-htng, of the great ChHng [dynasty]." * 
 
 The varied processes of decoration in white slip over 
 colored glazes ; of embossing in plain, and in undercut 
 relief ; of pierced designs, intended either to be left in 
 openwork or to be subsequently filled in with glaze ; and 
 of making composite vases, composed either of articulated 
 pieces or furnished with movable appendages — all these 
 branches of the ceramic art were executed Avith success 
 at this time, and some examples have been already illus- 
 trated in these pages. The vase in Fig. 282 displays the 
 iioi-al embossed work which was so exactly copied at 
 Meissen in eai'ly Dresden porcelain that it is, at first 
 sight, diflicult to distinguish the copies from the originals, 
 as they are now placed side by side for comparison within 
 the glass cases of the museum at Dresden. It is an 
 
 o 
 
 * A magnificent jar (kuan) forty-five centimetres high, of broad, massive 
 form, illustrated by M. Grandidier {loc. cit., Plate XXXVI, 109), is covered 
 -with the same floral decoration. The author describes it as " composed of an 
 interlacement, of floral sprays in juxtaposition presenting an infinite variety of 
 types and of colors ; the Cliinese flora is represented upon it with an incredible 
 luxury. It produces the effect of an immense sheaf of flowers — of a colossal 
 bouquet. (From tlie Summer Palace)." The cover is apparenUy wanting. 
 Its fellow, which is in the Dana Collection in New York, is, if I remember 
 rightly, complete with the original cover decorated with the same floral ground 
 crowned witli a gilded knob.
 
 THE CH'iEN-LUNG PERIOD. 417 
 
 ovoid vase of fine eggshell texture, overlaid with a close- 
 set floral decoration composed of chrysanthemums, hai- 
 t'ang {P yrvs japonica), and daisies, painted in red, green, 
 and gold. AVithin this floral ground are reserved two 
 oval panels, painted in delicate enamels with familiar 
 scenes of domestic life, an interior with ladies drinking 
 wine out of tiny gilded cups, and a garden with another 
 group of ladies looking at fighting cocks; scrolled bands 
 penciled in gold round the rims of the vase complete the 
 decoration. The vase in Fig. 283 exhibits a floral decora- 
 tion in full undercut relief projecting from a background 
 of '' tea-dust," or clCa-yeh mo. The " tea-dust " is one of 
 the characteristic sourffle glazes of the time, an olive-gi'een 
 monochrome ground thickly flecked with tiny spots of 
 lighter green. The vase, grooved with three vertical 
 lines, has an indented foot and a three-lobed lip. The 
 branches of fruit in white relief are pomegranates, wind- 
 ing round the vase and leaving a small interval on the 
 shoulder, which is filled by a branded stem of sacred 
 fungus {Polyporii8 lucidus) which is also enameled white. 
 The foot, coated underneath with the same " tea-dust '^ 
 glaze, has the seal, stamped in the paste, Ta CliHng 
 Oli'ien lung nien cliili — i. e., "Made in the reign of 
 ChHen-lung^ of the great ClCing [dynasty]." 
 
 No better examples of pierced work could be found 
 than the lantern wdth openwork panels, which is 
 illusti'ated in Plate XXII, and the magnificent vase with 
 pierced trellis-work in the outer casing that is shoAvn iu 
 Fig. 185. This last is also provided with a movable 
 appendage in the form of a revolving belt attached to 
 the waist of the double gourd ; it is marked underneath 
 with a gold " seal " of the Cliieii-lung period. An 
 articulated specimen is presented in Fig. 284, which 
 represents a celadon vase of bronze form and design, cut 
 across into two parts by a wavy, dovetailed line of four-
 
 418 ORIENTAL CERAMIC ART. 
 
 lobed foliated outline. The designs, worked in relief in 
 the paste, in a broad band encircling the body of the 
 vase, consist of four monstrous ogre (fao-fieJi) faces, 
 conventionalized into ornamental scrolls. The varying 
 depth of the investing glaze produces corresponding 
 shades in soft tones of pea-green. The seal of Ta dicing 
 Clbien lung nien chilly " Made in the reign of Cli'ien-luiig, 
 of the great CliHug [dynasty]," is penciled on the foot in 
 cobalt-blue underneath a coat of the same celadon glaze. 
 The last technical process of decoration to be noticed 
 here is that in which the pierced designs cut in the por- 
 celain are filled in with glaze, producing a charming 
 effect when the piece is looked at as a transparency. 
 This is sometimes known as " rice-grain " decoration. It 
 may either form the sole ornamentation of a piece or be 
 employed in combination either with blue and white or 
 with colored enamels, a few leaves or petals in the latter 
 case, for example, being treated in this way so as to 
 appear transparent when held up to the light. The 
 most usual form is that of bands of diaper or star pattern. 
 The delicate bowls of this reign which display an intri- 
 cate conventional pattern, like that of lacework, contrast- 
 ing in its greenish transparency with the pure white 
 ground, are amono; the most o^raceful and charminsi; of 
 ceramic triumphs ; they are called " lace-bowls " by col- 
 lectors, and have a tiny seal mark of the reign penciled 
 underneath in blue. Still rarer are vases of which we 
 have one for illustration in Fig. 285, the sides of which 
 are pierced throughout with a lacework pattern of con- 
 ventional peouy-fiowers in the midst of leafy scrolls, and 
 which has the pierced floral pattern filled in with glaze. 
 The structure of the vase is of eggshell thinness and 
 undulatory surface, and the decoration imparts a marvel- 
 ous lio-htness of effect. The borders of the vase are 
 encircled by rings of conventional ornament molded in
 
 THE Ch'iEN-LUNG PERIOD. 419 
 
 slight relief, so as to be picked out in white on a ground 
 of palest celadon tint. There is no mark inscribed, but 
 it could hardly belong to any other epoch, and its peculiar 
 delicacy and beauty make it a fitting type to close this 
 brief sketch of the ceramic art of the reign of CKien- 
 lung, the chief charm of which lies in these two 
 qualities.
 
 CHAPTER XV. 
 
 THE TWENTY ILLUSTRATIONS OF THE MANUFACTURE OF 
 PORCELAIN DESCRIBED BY t'aNG YING. 
 
 T'ANG YING, the celebrated director of the imperial 
 porcelain manufactory at Ching-te-cheu, to whom we 
 have already so often referred, came up to Peking in the 
 eighth year of the reign of the Emperor CWen-lung 
 (1743). He had been absent for fifteen yeai's, engaged 
 in superintending the ceramic works, and was sent for 
 now by the emperor, who was anxious for personal infor- 
 mation about the details of the industry from a professor 
 of the art. On the twenty-second day of the fourth inter- 
 calary month he w^as summoned to the Office of the 
 Board of Works in the Yano;-hsin-tien, one of the laro;e 
 halls of the imperial palace, to take part as a member of 
 a commission which had been especially appointed for 
 the purpose of revising some of the classical works on 
 technical subjects. When he arrived there a sei'ies of 
 twenty illustrations of the manufacture of porcelain, 
 which had been found in the imperial library, were 
 handed to him, together with an imperial rescri})t, dated 
 the eighth day of the preceding month, ordering him 
 (T'ang Ying) " to arrange the illustrations in their proper 
 order, and to describe carefully the different processes 
 illustrated in the water-color pictures, specifying the 
 hills from which the porcelain earth was obtained, as well 
 as the sources of the other materials ; and finally to 
 return the pictures, with the descriptions which he had 
 written attached, to the imperial library." 
 
 The task was completed in twelve days, and the result 
 
 420
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 421 
 
 was " reverentially submitted to the imperial glance for 
 correction " in a memorial by T'ang Ying, who subscribes 
 himself as " Junior Secretary of the Impei'ial Household 
 (Nei Wu Fu), Tao-t'ai in charge of the Customs at 
 Kiukiang, and ex-ojjicio Director of the Imperial Porcelain 
 Manufactory." The pictures have remained in seclusion 
 ever since, and have never, so far as I know, been pub- 
 lished. Their description by T'ang Ying, on the contrary, 
 is to be found either in its complete form or in abstract 
 in every Chinese book of any pretensions on ceramics. 
 The most complete form, including copies of the original 
 imperial decree and of T'ang Ying's memorial announcing 
 the completion of his task, is contained in the chapter on 
 porcelain in the Wen fang ssu ^'V^6>, " Kesearches on the 
 apparatus of the library," by T'ang Ping-chiin, a book 
 published in the reign of ChHen-lung. The most authen- 
 tic version is to be found in the official annals of the 
 province of Kiangsi {Chiang lisi Thing cJiiJi, book xciii, 
 folio 19-23), wheie it is published as an appendix to the 
 article on porcelain. 
 
 There is, unfortunately, no word of the date of the 
 pictures themselves; it is only stated that they were 
 painted by order of the emperor, but of which jjarticular 
 emperoi- we are not informed. We know that the 
 Emperor IVang-lm had two series of pictui-es painted to 
 illustrate the different processes of rice-cultivation and 
 silk-weaving, which were published, with imperial odes 
 attached, in the thirty-fifth year of his reign (1696), 
 under the title of Yu cldh Keng cliih Ton. Each 
 series consists of twenty-three pictures, ending with the 
 worship of the patron deities, and the form resembles 
 that of the Tao Yeh Tou, the 'illustrations of the 
 Manufacture of Porcelain," which would seem to have 
 been designed after their model. Ordinary albums of 
 pictures of the different processes in the preparation of
 
 422 ORIENTAL CERAMIC ART. 
 
 tea, silk, and porcelain are common enough, but tLese^ 
 which have generally l^een painted at Canton for foreign- 
 ers, come under a different category. 
 
 There is a beautiful eggshell vase in the collection^ 
 shown in Fig. 287, decorated in the delicate enamel 
 colors with gilding of the C li' ien-lung j)eriod, which dis- 
 plays in detail the various processes of the cultivation of 
 silk in China. The different steps are exhibited in a suc- 
 cession of scenes with groups of busy women and children 
 represented as gathered either in the interior of houses of 
 elaborate design or in courtyards filled with flowering 
 trees and palms ; from the hatching of the tiny eggs, the 
 feeding of the worms in every stage of their growth, in 
 the open baskets ranged on curtained bamboo shelves^ 
 with mulberry-leaves, to the winding of the silk from the 
 chrysalides, and the weaving of the spun material in 
 looms of complicated structure. In the first scene a boy 
 is bringing baskets of mulberry-leaves slung from a pole 
 on his shoulder ; in the last scene a second is seated at 
 the large hand-loom. A wreath of red and pink roses 
 underneath the ujDper rim, which is gilded, completes the 
 decorations of the vase. 
 
 AVith regard to the series of twenty illustrations of the 
 manufacture of porcelain, T'ang Ying in his memorial 
 observes that they are not enough to give a complete 
 picture of all the different technical processes, and that 
 still less must an exhaustive account of the ceramic indus- 
 try be expected in his notes, which are intended only to 
 be descriptive of the illustrations. As far as they go, 
 however, they form a sketch of the art from the hand of 
 a master, which is translated in this chapter as literally as 
 possible, with the addition of a few explanatory notes at 
 the end of each section.
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 423 
 
 Ilhistratlou No. 1 : " Mining for the Stone and 
 Preparation of the Paste." 
 
 " III tlio jnaimfacture of porcelain the body is formed of molded 
 earth. This earth is prepared from stone which must be mined and 
 purified for the purpose. The stone is found in the province of 
 Kiangnan, within the prefecture Hui-chou Fu, at Cii'i-men-hsien, 
 which is two hundred li distant from the porcelain manufactory. 
 Tlie two mountains called P'ing-li and K'u-k'ou, in this district, 
 both produce tlie white stone. It is obtained by mining, and when 
 broken exhibits black veins branching like the deer's-horu seaweed. 
 The natives take advantage of the mountain torrents to erect wheels 
 provided with crusliers. Having been finely pulverized, it is then 
 purified by washing and levigation, and made up in the form of 
 bricks, which are called 2:)ai-tuii or ' white bricks ' (petuntse). When 
 the color is uniform, and the texture perfectl}^ fine, it is used for the 
 making of the round pieces and vases of eggshell and of pure white 
 porcelain, and of similar objects decorated in blue. 
 
 " Besides this there are several other kinds of earth called Kao- 
 ling, Yii-hung, and Cli'ien-t'an, after their different places of pro- 
 duction, which are all situated in the province of Kiangsi, within 
 the bounds of the prefecture Jao-chou Fu. They are dug out and 
 prepared in the same way as the petujifse, and can onl}' be used for 
 mixing with this last, or in the making of coarser and thicker 
 ware. 
 
 " The picture shows the different processes of mining, of pound- 
 ing, and of washing, which are comprised in the heading, ' Mining 
 for the stone and preparation of the paste,' and it is not necessary 
 to describe them more fully." 
 
 Porcelain consists essentially of two elements — viz., tlie 
 white clay, or kccoUn, the unctuous and infusible element, 
 which gives plasticity to the paste, and the feldspathic 
 stone, or jjtetuntse, which is fusible at a high temperature, 
 and gives transparency to the porcelain. The feldspathic 
 stone from Ch'i-men-hsien, alluded to above, has been 
 chemically analyzed by Ebelmen, who describes it as a 
 white rock of slightl}^ grayish tinge, occurring in large
 
 424 ORIENTAL CERAMIC ART. 
 
 fragments, covered with oxide of manganese in dendrites, 
 and having some crystals of quartz imbedded in the mass. 
 It fused completely into a white enamel under the blow- 
 pipe. Applied by immersion upon a piece of Sevres 
 porcelain, and fired in the large furnace, it produced a 
 very line glaze. 
 
 With regard to the other materials used in the prepara- 
 tion of the paste of Chinese porcelain, which varies very 
 widely in composition, their name is legion. Nearer 
 sources of the feldspathic rock have been discovered in 
 Yii-kan-hsien, and at a place called Hsiao-li, not far south 
 of Fou-liang-hsien, specimens of which have also been 
 analyzed. Another kind of compact tough rock, which is 
 pounded in larger mills, yields a yellow material called 
 huang-ttm., which is used for coarser wai'e, but is said to 
 be required for the proper development of the colors of 
 certain glazes. 
 
 Illustration No. 2 : " Washing and Purification of 
 
 THE Paste." 
 
 "In porcelain-making the first requisite is tliat of washing and 
 purifying the mateiials of the paste, so as to make it of fine homo- 
 geneous texture. Tiie presence of stars (i. e., crystals of mica) or 
 of fragments of stone would cause flaws in the porcelain, foreign 
 bodies or loose paste would lead to cracks. 
 
 "The method of purifying the paste is to mix the materials with 
 water in large earthenware jars, and to stir the mixture with 
 wooden prongs, so that it remains suspended in the water while the 
 impurities sink to the bottom. Tlie paste is then passed through a 
 fine horse-hair sieve, and next strained through a bag made of 
 a double layer of silk. It is then poured into a series of earthen- 
 ware jars, from which the water is run off, and the paste is left to 
 become solidified. A wooden box with no bottom having been 
 placed upon a pile composed of several tiers of new bricks, a large 
 cloth of fine cotton is spread inside, and the solidified paste is 
 poured in, wrapped round with the cloth and pressed with more
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 425 
 
 bricks, wliicli absorb all the water. The prepared paste, freed from 
 the superfluous water, is then thrown on to large stone slabs and 
 worked with iron spades until it has become perfectly compact and 
 ductile, and fit for the manufacture of porcelain. 
 
 " All the different kinds of paste are prepared in the same way, 
 the various materials having been mixed in definite proportions 
 according to their different properties. The picture contains in 
 detail the various utensils and the different processes of work com- 
 prised in this department of pre])aration of the paste." 
 
 Pere d'Eiitrecolles in his letters gives a more detailed 
 account of the washing of the materials of the paste and 
 the proportions of the ingredients. He says that the 
 finest poi'celain is made of equal parts of kaolin and 
 petuntse ; that the usual proportion is four parts of kaolin 
 to six of petuntse ; and that the least amount of kaolin 
 that can be used is one part to three parts of petuntse. 
 The larger proportion of kaolin gives a greater plasticity 
 to the paste, and enables it to be more readily fashioned 
 on the wheel ; it also gives strength to the material when 
 fired, so that it will withstand a higher temperature with- 
 out softening. For this reason the Chinese call it " the 
 bone," while the feldspar, the more fusible ingredient, 
 which gives trauslucency to the porcelain, is " the flesh." 
 The hard porcelain of Sevres and of Germany contain a 
 greater proportion of kaolin, and are consequently more 
 aluminous than any Chinese ware. It is found at Sevres, 
 however, that it was too hard for the proper development, 
 from a decorative point of view, of the colors, and in 1880 
 MM. Lauth and Voo^t besran to make a more siliceous 
 porcelain with a calcareous glaze, attempting to imitate 
 as closely as possible Oriental porcelain. This porce- 
 lain, which bears the name at Sevres of i)oi'ceJaine nou- 
 velle, can be ornamented, like that of China, with glazes 
 of single colors, with flamhes^ Avith decorations^ under the 
 glaze in colors of the grand feti, as well as in the muffle
 
 426 
 
 ORIENTAL CERAMIC ART. 
 
 stove with bright and limpid enamels fixed in relief on 
 the surface of the pieces."^ 
 
 This new porcelain is composed of : 
 
 Kaolin 
 
 Feldspar 
 
 Quartz 
 
 38 parts. 
 38 " 
 24 " 
 
 It is fired at a temperature of about 1,350° C; the 
 older hard porcelain at Sevres is fired at 1,550°; and that 
 of China, according to the recent researches of M. Vogt,. 
 at 1,475°. 
 
 The following table gives the composition of different 
 kinds of porcelain : 
 
 
 
 
 1 
 
 
 
 
 
 >> 
 
 Source. 
 
 < 
 
 
 o 
 
 
 
 
 < 
 
 
 
 
 •< 
 3 
 
 Q 
 >< 
 
 
 < 
 o 
 
 H 
 
 S 
 
 1 
 
 < 
 
 o 
 
 n 
 
 H 
 
 •a 
 
 
 < 
 
 m 
 
 O 
 
 Ph 
 
 oc 
 
 .3 
 
 a 
 
 < 
 
 Meissen 
 
 35.43 
 
 60.0 
 
 
 2.26 
 
 1.55 
 
 0.57 
 
 
 Muller. 
 
 Sevres . 
 
 34.5 
 
 58.0 
 
 
 3.0 
 
 
 4.5 
 
 
 Salvetat. 
 
 Vienna (old) . 
 
 34.2 
 
 59.6 
 
 ().8 
 
 2.0 
 
 
 
 1.7 
 
 1.4 
 
 Laurent. 
 
 SSvres, 1880 . 
 
 32.0 
 
 60.75 
 
 0.8 
 
 3.0 
 
 
 
 4.5 
 
 
 Vogt. 
 
 Vienna 
 
 31.6 
 
 61.5 
 
 0.8 
 
 2.2 
 
 
 
 1.8 
 
 1.04 
 
 Laurent. 
 
 Bayeux 
 
 30.0 
 
 61.6 
 
 1.56 
 
 3.26 
 
 
 
 3.56 
 
 
 Salvetat. 
 
 Berlin . 
 
 38.0 
 
 66.6 
 
 0.7 
 
 3.4 
 
 
 
 0.3 
 
 6.6 
 
 A. Laurent. 
 
 FoScy (Berry) 
 
 28.0 
 
 66.2 
 
 0.7 
 
 5.1 
 
 
 
 
 
 Salvetat. 
 
 Limoges . 
 
 24.0 
 
 70.2 
 
 0.7 
 
 4.3 
 
 
 
 6.7 
 
 6.1 
 
 Salvetat. 
 
 Sevres, pate nou- 
 
 
 
 
 
 
 
 
 
 telle . 
 
 23.6 
 
 70.83 
 
 
 2.82 
 
 2.09 
 
 1.1 
 
 0.46 
 
 Vogt. 
 
 Paris . 
 
 22.0 
 
 71.2 
 
 6.8 
 
 4.5 
 
 
 0.8 
 
 
 Laurent. 
 
 China . 
 
 22.2 
 
 70.0 
 
 1.3 
 
 3.6 
 
 2.7 
 
 0.8 
 
 
 Salvetat. 
 
 Bohemia . 
 
 21.3 
 
 74.78 
 
 
 2.48 
 
 0.58 
 
 0.64 
 
 
 Muller. 
 
 Japan . 
 
 20.55 
 
 70.77 
 
 
 3.99 
 
 3.16 
 
 0.83 
 
 6.18 
 
 Vogt 
 
 China . 
 
 20.7 
 
 70.5 
 
 6.8 
 
 
 3.9 
 
 0.5 
 
 0.1 
 
 Salvetat. 
 
 China . . . 
 
 19.3 
 
 73.3 
 
 2.0 
 
 2.5 
 
 2.3 
 
 0.6 
 
 
 Salvetat. 
 
 Nymphenburg 
 
 18.4 
 
 72.8 
 
 2.5 
 
 0.65 
 
 1.84 
 
 3.3 
 
 6.3 
 
 Vielguth. 
 
 * La Porcelairie, par Georges Vogt. 
 
 li
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 427 
 
 Illustration No, 3 : "■ Burning the Ashes and 
 
 PREPARING THE GlAZE." 
 
 " All kinds of porcelain require glaze, and the composition used 
 for glazing can not be prepared without aslies. The ashes for the 
 glaze come from Lo-p'ing-hsien, which is one hundred and forty li 
 to the south of Ching-te-chen. They are made by burning a gray- 
 colored limestone with ferns piled in alternate layers; the residue, 
 after it has been washed thoroughly with water, forms the ashes 
 for the glaze. Tlie finest kind of petuntse made into a paste with 
 water is added to the liquid glaze ashes, and mixed to form a kind 
 of puree^ the proportions being varied according to the class of 
 porcelain. Within the large jar, in which the mixture is made, is 
 placed a little iron pot, through the two handles of which a curved 
 stick is passed, to make a ladle for measuring the ingredients. This 
 is called a ^'e?i. For example, ten measures of petutitse paste and 
 one measure of ashes form the glaze for the higliest class of porce- 
 lain. Seven or eight ladles of paste and two or tliree ladles of ashes 
 form the glaze for the middle class. If the paste and ashes are 
 mixed in equal proportions, or if the ashes are more than the paste, 
 the glaze is only fit for coarse ware. 
 
 " In the picture the little iron pot whicli is seen floating inside 
 the large jar is the /?'ey/, or ' measure.' " 
 
 Specimens of rock from Lo-p'ing-lisieu were sent to 
 France by Pere Ly, the Chinese Lazarist priest, and 
 examined by M. Salv^etat, who describes it as a compact 
 limestone lightly colored by pyrites disseminated through- 
 out the mass. The ashes left after repeated combustion 
 of this rock with ferns are composed mainly of lime, the 
 action of whicli is to increase the fusibility of the petuntse, 
 the vitrifiable feldspathic rock which gives its peculiar 
 properties to the glaze. This rock is the same that is 
 used in the composition of the porcelain body ; only the 
 best pieces are picked out for the glaze, those of uniform 
 greenish tone, which are covered with dendrites in the 
 form of arbor-vitoe leaves. The Chinese call this Yu-l-uo,
 
 428 
 
 ORIENTAL CERAMIC ART. 
 
 "glaze fruit" — i. e., essence of the glaze. A specimen 
 analyzed by Salvetat had tlie following composition : 
 
 Water 
 
 
 
 
 
 2.3 
 
 Silica 
 
 
 
 
 
 75.9 
 
 Alumina 
 
 
 
 
 
 14.2 
 
 Oxide of iron 
 
 
 
 
 
 0.8 
 
 Lime 
 
 
 
 
 
 0.5 
 
 Oxide of manganese 
 
 
 
 
 
 0.3 
 
 Magnesia 
 
 
 
 
 
 a trace 
 
 Potash 
 
 
 
 
 
 2.8 
 
 Soda 
 
 
 
 
 
 3.2 
 
 The analysis of two actual glazes chipped off from 
 pieces of Chinese porcelain l)y the same authority gave: 
 
 Silica 
 
 68.0 
 
 Alumina 
 
 12.0 
 
 Oxide of iron 
 
 a trace 
 
 Lime 
 
 14.0 
 
 Potash and soda 
 
 6.0 
 
 64.1 
 
 10.2 
 
 a trace 
 
 21.0 
 
 5.1 
 
 The glaze of Chinese porcelain is always rich in lime. 
 It is the lime that gives the characteristic tinge of green 
 or blue, but at the same time produces a brilliancy of 
 surface and translucent depth never found in the harder 
 glazes which contain no lime. The glaze of the iwuveUe 
 porcdaine of Sevres is prepared with thirty-three per 
 cent of chalk. 
 
 Illustration JVo. 4- ■' " Manufacture of the Cases 
 OR Seggars." 
 
 " The porcelain while being fired in the furnace must be kept 
 perfectly clean; a single spot of dirt makes a colored stain. More- 
 over, the blast of air and fierce flames of the furnace would injure 
 the delicate paste. For these reasons it is 7iecessary to place the 
 porcelain inside the seggars. The clay used in making these cases 
 comes from the village of Li-ch'un, which is on the northeast of
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 429 
 
 Cl»ing-te-cben. It is of three different colors — black, red, and 
 white. A kind of blackish-yellow sand, which is found at Pao- 
 shih-shan, is mixed witii the clay to form the paste, so that it may 
 be more readily fired. The cases are fashioned on a wheel, which 
 is similar to the wheel used for porcelain. The paste need not be 
 finely levigated. After the cases have been partially dried they 
 are roughly finished off with the knife, put into the furnace, and 
 fired for the first time empty. When baked and ready for use, 
 they are called by the name of ta-hsia, or ' finished cases.' 
 
 "The workmen who manufacture the seggars are accustomed 
 with the same coarse paste to make, on the same wheel, a supply of 
 earthenware bowls for the daily use of the potters in their native 
 hamlets." 
 
 The seggars are made of a common yellow ferruginous 
 clay, which darkens to a brick-red tint when fired. They 
 are in the form of circular trays about six inches high, 
 fitting one upon the other, so as to form the columns 
 seven feet in height, which are ranged inside the large 
 furnace. Intervals to allow free play of the flames are 
 left between the piles. The lower cases, which are par- 
 tially imbedded in the gravel floor of the furnace, are left 
 empty. The bottom of each tray forms the cover of the 
 case below, only the top case having a cover of its own. 
 If the pieces of porcelain are too high for the case, one 
 or more" circular rings of the same size as the trays are 
 substituted, by which means the height of the seggar can 
 be increased indefinitely. In early times, as we saw in 
 the descriptions of the Ming dynasty, they had special 
 kilns for firing the seggars ; now they are fired empty, 
 together with the older cases which are charged Avith 
 porcelain in the usual way, the new ones being placed in 
 the middle of the columns. A supply of flat disks (/w^ 
 deaux) made of biscuit porcelain, or of fire-clay, is pro- 
 vided as supports for the pieces of porcelain, which are 
 prevented from adhering to the disks by dusting them 
 over with kaolin.
 
 430 ORIENTAL CERAMIC ART. 
 
 Illustration No. 5 : " Preparation of the Molds 
 FOR THE Round Ware." 
 
 *' In the manufacture of the round ware each several piece has to 
 be repeated liundreds or thousands of times : without molds it 
 would be most difficult to make the pieces all exactlj' alike. The 
 molds must be made in accordance with the original design, but 
 the size can not be so precisely measured; they must be larger than 
 the model, otherwise the piece will come out smaller than the pat- 
 tern. The ravv^ paste, which is expanded and loose in texture, 
 becomes during the process of firing contracted and solidified to 
 about seven or eight tenths of its original size, a result following 
 from the natural laws of physics. The proper proportionate size of 
 the unbaked piece is fixed by the mold, and therefore the molders 
 use the term ' prepare ' (Jisiii) instead of ' make ' (tsao). Each 
 piece must have several molds prepared, and the size and pattern of 
 the contents when taken out of the kiln must be exactly alike. A 
 good practical knowledge of the length of firing required and of 
 the natural properties of the paste is necessary before it is possible 
 to estimate the exact amount of shrinkage, so as to fashion the 
 molds of the proper form. In tlie whole district of Ching-te-chen 
 there are only three or four workmen reputed clever at this special 
 handiwork." 
 
 Tbe term " round ^vare," or yuan-cliH, is a general 
 tei'm applied by Chinese potters to all the different kinds 
 of porcelain articles in ordinary use, such as dishes Q^^avi), 
 bowls (^wmi), cups (flmng), and platters (tieli). They 
 are first " thrown " on the ^vheel, the wheels being of two 
 sizes, managed by different classes of workmen. After 
 having been fashioned on the wheel, they are given to 
 the molders to be pressed in the molds referred to above, 
 which are of rounded form externally, and are composed 
 of two parts, the outside of the piece being molded in 
 the one, and the interior by the other, which is called 
 technically the " core." The use of the mold by Chinese 
 potters can be traced back to very early times. The 
 ICao hung chi, a technical work of the Cliou dynasty
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 431 
 
 (b. c. 1122-249), wliicli has beeu already referred to, dis- 
 tingiiislies the ordinary potters (^T''aojeii), who worked 
 with the wheel, from the molders (Fang jen), who made 
 the round, tazza-shaped sacrificial dishes called tou and 
 the oblong bowls for meat offerings called huei. The 
 Imu Heng, a critical book of the Han dynasty by Wang 
 Ch'unof, who lived a. d. 19-90, refers to the molds used 
 by potters of that time under the name of huei-lien : 
 " The 2^otters make molds of earth which fix the size of 
 the pieces so that they can not be enlarged or diminished 
 afterward ; correct estimates of the sizes i-equired must 
 be made beforehand, as they are changed during baking." 
 
 Illustration JVo. 6 : " Fashionino the Round Ware on 
 
 THE Wheel." 
 
 "There are several different processes of work in tlie manufac- 
 ture of tliis round ware. The square, polygonal, and ribbed pieces, 
 and those with projecting corners, have to be carved, engraved, 
 molded, and finished with the polishing knife, all of Avhich are 
 different branches of work. The plain round pieces are turned on 
 the wheel, being distributed according to their size between two 
 classes of workmen. The first take the large pieces and fashion the 
 round dislies (^/a?*), tlie bowls {irdn), the cups (chtiug), and the 
 saucer-plates (tie/i), from one up to two or three-feet in diameter; 
 the second make on the wheel the same kind of jiieces which 
 measure less than a foot across. The wlieel consists of a disk of 
 wood mounted below upon a perpendicular axle, so as to revolve 
 continuously for a long time, during which the piece must be prop- 
 erly turned, without becoming too thick, too tliin, flattened, or 
 otherwise misshapen. There is a carpenter at hand to repair it 
 when necessary. 
 
 "Beside the wheel is an attendant workman, who kneads the 
 paste to a proper consistence and puts it on the table. The potter 
 sits upon the border of the framework and turns the wheel with a 
 bamboo staff. Wliile the wheel is spinning round he works the 
 paste with both hands; it follows tlie hands, lengtliening or sliorton-
 
 432 ORIENTAL CERAMIC ART. 
 
 ing, contracting or widening, in a succession of shapes. It is in 
 this way that tlie round ware is fashioned so that it varies not a 
 hair's breadth in size." 
 
 The potter's wheel is one of the most ancient instru- 
 ments of human industry, and the date of its invention 
 is lost in the mists of time. The simplest form is that 
 described above, which is kept in motion by the feet of 
 the workman as he fashions the piece of porcelain with 
 his hands. Just as simple a form is still in use at many 
 manufactories — at Sevres, for example. In most large 
 factories, however, the wheel is of more elaborate con- 
 struction, and it is kept in motion by some mechanical 
 means, so that the potter is relieved of a portion of the 
 woi'k. Even in China, as we see in pictures, an assistant 
 is often there, rotating the wheel with a rope passed 
 round it, the ends of which lie holds in his hand, or 
 balancing himself by a rope attached to the ceiling while 
 he turns the wheel with his foot. This is the " throwing 
 wheel " by wliich the soft white clay is fashioned, with 
 the half of the lingers only, into a shape roughly approxi- 
 mating that desired ; it is on the polishing wheel, or 
 "jigger," that it is finally '' turned " to the exact shape of 
 the model or design. 
 
 When the thrower has a piece to fashion on the 
 wheel, he first places on the top a flat disk, ^vhich he 
 puts in the middle and moistens with water, and then 
 upon this disk he places the quantity of paste necessary 
 to form the piece, dips his hand into diluted paste or 
 " slip," and puts the apparatus in motion with his feet ; 
 then, pressing between his hands the shapeless lump of 
 paste, he raises it, lowers it, makes it into a kind of large 
 lentil, and pierces the lenticular mass with his two 
 thumbs ; he lifts it up once more while squeezing the 
 lump between his thumb and fingers into the shape
 
 ILLUSTEATIONS OF MANUFACTURE OF PORCELAIN. 433 
 
 desired. He develops it gradually, keeping it moist all 
 the time with slip, and brings it by degrees to a form 
 which approaches, more or less, that of the perfect piece. 
 The smaller objects are shaped between the thumb and 
 index finger, either of one hand or of both hands. 
 Larger pieces are made by being pressed between the 
 hand and wrist or with the help of a pad or sponge. 
 The workman in this case usually stands, and the size of 
 the pieces that he can make is limited by the length of 
 his arms. If this limit has to be exceeded, he must 
 build up the borders of the cylinder, previously thrown 
 on the wheel, with bits of paste stuck on with slip. 
 The pieces with no mouths and those with very narrow 
 necks are thrown in two halves, which are cemented 
 together with slip. 
 
 The precautions to be taken to secure a good result, 
 according to Brongniart, are: 1. The paste must not be 
 too soft; it will be easier to throw, but at the risk of 
 some defect. 2. The woi'kman must have a sure hand 
 and not press unequally on any part of the piece that he 
 is lifting into shape. 3. And specially, it is important 
 that he maintain a perfect accord between the speed of 
 rotation of his wheel and the rate of ascent of his hands, 
 so as to describe a spiral, cylindrical, or conical, in which 
 the steps are the smallest possible. The more plastic 
 and kaolinic the paste the more difficult it is to throw it 
 successfully — not that this paste is harder to throw than 
 a short paste, but because any inequalities of molding 
 and pressure are so much more apparent in this than in 
 a thinner paste. The princi[)al defect of a bad throw is 
 " screwing " (^vissage). This defect consists of grooves, 
 more or less apparent after firing, which start from the 
 base and rise in spirals like the thread of a screws 
 These grooves are due to inequalities of the pressure 
 exerted while the piece is in the hands of the workman.
 
 434 ORIENTAL CERAMIC ART. 
 
 If the paste be less plastic, less supple, the pieces to be 
 turned subsequently must be so much the thicker ; gen- 
 erally speaking, the thickness of pieces of hard porcelain 
 as they come from the throwing wheel is so great that 
 one can hardly at hrst sight recognize the form that will 
 be ultimately evolv^ed on the jigger, the turning wheel 
 proper. 
 
 lUmtratioii No. 7 : " Manufacture of Vases 
 {Cho cKiy 
 
 " The vases and sacrificial vessels, called p'ing, lei, tstin, and yi, 
 are comprised in this general name of cho ch'i. The plain round 
 vases are fashioned upon the potter's wheel, in the same manner as 
 tlie ordinary round ware; they are then dried in the open air and 
 turned on the polishing wheel to be finished with the knife. After 
 the vase has been thus shaped it is washed vvitli a large goat's-hair 
 brush dipped in water, till the surface is perfectly bright and spot- 
 lessly clean. After tliis the glaze is blown on, it is fired in the kiln, 
 and comes out a piece of wliite porcelain. If painted in cobalt on 
 the paste and then covered with glaze, it is a piece decorated in 
 blue. 
 
 "In making the carved polygonal, ribbed, and fluted vases, the 
 paste, wrapped in cotton clotli, is pressed witli flat boards into thin 
 slabs, which are cut witli a knife into sections. The pieces are 
 joined together by a cement (Jiarhotine or slip) made of some of the 
 original paste witli water. There is another kind of vase which is 
 made by tlie process of molding, and wliich is finished after it is 
 taken from the mold in tlie same way. The carved polygonal 
 vases and the carved molded vases have to be filled in and washed 
 clean with the brush in tlie same way as the round vases turned 
 upon the wheel. 
 
 " All the varied forms of vases ma}' be engraved with the style, 
 or embossed in relief, or carved in openwork designs, for which 
 purposes, when sufficiently dried, they are given to artificers spe- 
 cially devoted to these several branches of work." 
 
 The character cho, which means properly " carved 
 jade," is applied in Chinese ceramics to vases generally,
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 435 
 
 which are called vho cli'l, in contradistinction to the 
 yuan chJi^ or " round pieces," which include the bowls, 
 cups, plates, etc., intended for ordinary use. The p'in(/ 
 was originally a bottle-shaped vase, in which the mouth 
 was less in diameter than the body, but the term is now 
 applied to all kinds of ornamental vases ; the lei are 
 sacrificial vases with scrolled grounds ; the fswi are the 
 vases with flaring mouths that we call beaker-shaj^ed, 
 and the yi the modern incense urns ; the former are 
 modeled after ancient bronze wine-vessels, the latter 
 after the bronze bowls used in olden times for sacrificial 
 offerings of food and corn. 
 
 The round {yuaii) vases are turned upon the wheel, 
 the square {^fcmg) vases are made of sections of paste, 
 pressed or molded in various "ways, and cemented 
 together by slip. The author of the Sliili tvu han chit, a 
 miscellany published in 1591, says: "In the manufacture 
 of porcelain it is the square pieces that are the most 
 difficult. They are so difficult because when taken out 
 of the kiln they are so often misshapen or cracked and 
 rarely free from some defect. During their making the 
 cornel's have to be evenly carved, the fluted parts have 
 to be scooped out Avith the knife, and the lines of junc- 
 tion of the sections have to be closely cemented ; in 
 some unseen corner there may be a want of cohesion, or 
 some slight irregularity, either above or below, in front 
 or behind, to the right or left. Hence the common say- 
 ing that the square is difficult. The round vases are 
 made at one operation, and follow the movements of the 
 hands, while the wheel does more than half the man's 
 work ; not like the square and I'ibbed vases, which 
 depend wholly upon the manual skill of the artisan." 
 
 The different branches of work alluded to above are 
 more fully described in the letters of Pere d'Eutrecolles, 
 translated in Chapter XI.
 
 436 ORIENTAL CERAMIC ART. 
 
 Illustration iVu S: "Collection of the Material 
 FOR the Blue Color." 
 
 " All kinds of porceliiiii, whether round ware or vases, that have 
 to be decorated in blue, whether modeled after that of the reigns of 
 HsiXan-te, G/Ceng-hua, Chia-ching, or Wan-li, require this blue 
 color for the painting of their decoration. The deep blue mono- 
 chrome glaze, gros bleu, also requires this blue for its preparation. 
 The material comes from the province of Chekiang, where it is 
 found in several mountains within the prefectures Shao-hsing Fu 
 and Chin-hua Fu. The collectors who go into the hills to dig for it 
 wash away the earth which adheres to it in the water of the moun- 
 tain streams. Tiie mineral is dark brown in color. The large 
 round pieces furnish the best blue and are called ' best rounds,' 
 distinguished in addition bj^ the name of the place of production. 
 It is brought by merchants to the porcelain manufactory, and is 
 buried by them under the floor of the furnace, roasted for three 
 days, and waslied after it is taken out, before it is finally offered 
 for sale, ready for use. . The material is also found in different 
 mountains in the provinces of Kiangsi and Kuangtung, but the 
 color produced by these kinds is comparatively pale and thin, and 
 it is unable to support the fire, so that they can be used oiih'^ in 
 painting coarse ware for sale in the market. 
 
 " The picture exhibits only the collection of the material : the 
 processes of preparation and of roasting are not shown." 
 
 Blue is the leading decorative color on porcelain, as 
 the learned author of the T''ao shuo observes. In the 
 Chin dynasty (265-419) blue porcelain was caWedi pHao 
 tzii, resembling in color the pale blue shade (^p'iao) of 
 certain silks. In the T'^ang dynasty (618-906) it was 
 called the blue color of distant hills ; in the Chou 
 dynasty (951-960) the blue of the sky after rain ; under 
 the Wn Yueh the prohibited color, because it was 
 reserved for the sovereign ; afterward, under the Sung 
 dynasty (960-1279), although other colors were also 
 used, the Ju-chou porcelain was baked with a pale blue 
 glaze ; the finest imperial porcelain of the time was
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 437 
 
 starch-blue {fenchHng), and the crackled Ko yao and the 
 ordinary Lung-ch'tiau porcelain of the time were also of 
 bluish shade; 
 
 Abundant specimens of the Chinese minei-al have 
 reached Europe. Ebelmen, in his book so often quoted 
 (vol. i, page 385), says that he had specimens of the 
 mineral as it comes fi'om the mine, of the same after it 
 had been roasted in closely luted porcelain crucibles 
 placed under the floor of the furnace, and of the powder 
 produced by grinding the roasted material in mortars. 
 The raw mineral had the form of irreo:ular concretions 
 hollow in the interior, of a deep bro^vu color with a 
 slight shade of green, giving a brownish powder which 
 stained the fingers. Heated in a closed tube it gave off 
 twenty per cent of water, and after prolonged calcination 
 acquired a more pronounced greenish shade. It proved 
 to be a complex mineral of cobaltiferous manganese in 
 the form of oxides, which did not, however, constitute all 
 the mass of the fragments, being associated with a vari- 
 able quantity, up to nearly half the weight, of silicate of 
 alumina. 
 
 The analysis of two specimens gave the following 
 result : 
 
 Loss in the fire (water and oxygen) 
 
 Silica (insoluble residue) 
 
 Oxide of copper 
 
 Alumina 
 
 Oxide of manganese 
 
 Oxide of cobalt 
 
 Oxide of iron . 
 
 Lime 
 
 Magnesia 
 
 Arsenious acid 
 
 Oxide of nickel, sulphur 
 
 Raw 
 
 Roasted 
 
 mineral. 
 
 mineral 
 
 20.00 
 
 4.00 
 
 37.46 
 
 27.00 
 
 0.44 
 
 2.00 
 
 4.75^ 
 27.50 ! 
 5.50 
 1.65-^ 
 
 
 65.00 
 
 
 0.60 
 
 1.00 
 
 a trace 
 
 a trace 
 
 a trace 
 
 1.00 
 
 a trace 
 
 
 97.90 
 
 100.00
 
 •438 ORIENTAL CERAMIC ART. 
 
 The complex structure of tlie mineral explains the 
 minute precautions taken by the Chinese in selecting the 
 best pieces, and also the infinite variety in tbe shades of 
 blue obtained after firing. The larger the proportion of 
 cobalt the purer the blue ; a blackish or grayish tint is 
 said to be due to an excess of nickel or iron, a purplish 
 to an excess of manganese. The vigor of the color is 
 due, however, as much to the limpid purity of the white 
 glaze which it has to penetrate, being painted, as it 
 always is, on the raw body of the porcelain. Penciled 
 stcr biscuit upon Sevres porcelain, glazed, and fired cm 
 gi'and feu, the thinner strokes came out blue, but the 
 deeper parts were sensibly grayish. Its fugitive nature 
 caused the loss of much of the color, as it was fired at a 
 temperature so much higher than that of the Chinese 
 furnace. 
 
 Illustration No. 9 : " Selection of the Blue Material." 
 
 "The blue material, after it lias been roasted, must be specially 
 selected, and there is a particular class of workmen whose duty it 
 is to attend to this. The superior kind selected is that which is 
 dark green in color, of rich translucent tint and brilliant aspect. 
 This is used in the imitation of antiques, for the monoclirone blue 
 glaze, and for fine porcelain painted in blue. When of the same 
 dark-green color, but wanting somewhat in richness and luster, it is 
 used for the decoration of the coarser porcelain made for sale. 
 The remainder, that has neither luster nor color, is picked out and 
 thrown away, 
 
 "When the material has been selected it is ready for use. The 
 method employed is to paint with it upon the piece that has not 
 been fired, to invest the piece afterward with glaze, and then to 
 fire it in the furnace, from which it comes out with the color 
 uniformly transformed into a brilliant blue. If it has not been 
 invested with glaze the color will be black. Should the piece be 
 overfired, the blue of the painted decoration will 'run' into the 
 white ground of the piece, 
 
 "There is one kind of blue, commonly called 'onion sprouts,*
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 439 
 
 which makes very clearly defined strokes which do not change in 
 the furnace, and this must be selected for fine painting. 
 
 "The picture shows baskets filled with boxes of the color, with 
 an ordinary background ; there is no actual reference in it to 
 the selection of the color." 
 
 The cobaltiferous manganese mineral, which is col- 
 lected from the hills, where it occurs either on the sur- 
 face of the ground or at the depth of a few feet, is of 
 very uncertain composition. One portion of the same 
 concretionary piece may be rich in cobalt, while another 
 is quite inert, consisting of silicate of alumina with per- 
 haps a few crystals of quartz. The pieces are generally 
 about the size of the thumb and flattened in shape, and 
 are known commonly by the name of slu'lt-tzu citing — i. e., 
 " stone-blue," or " mineral-blue." But the material figures 
 in books under a nuiltitude of synonyms. In the Sung 
 dynasty * it was imported from western Asia under the 
 name of Wu ming yi — i. e., " nameless rarity " — and 
 there are several specimens of the Chinese mineral under 
 this name in the Musee iVHistoire Naturelle at Paris, 
 which were examined by Brongniart. Other names are 
 T\io cli'ing, '^ ceramic blue " ; Ta cliUng^ " gros bleu " ; 
 Fo-tou dicing, " Buddlia's-head blue"; Pao-sliih-Ian^ 
 " sapphire-blue," and a number of other names, with the 
 place of production prefixed; the only difficulty of 
 which is the way they are contracted — die liao, literally 
 " die material," being the form usually found in Chinese 
 books for dieJciang cKing liao, or "blue material of 
 Chekiang," the province from which the best is obtained. 
 A name which puzzled me for a long time was Hitn-sliui 
 dicing, " turbid-water blue," till I found that it referred 
 to the puree prepared by mixing a little of the first-class 
 blue with water that had been employed for painting the 
 
 * Cf . Chinese Porcelain before the Present Dynasty, by S. "W. Bushell, 
 (page 52).
 
 440 ORIENTAL CERAMIC ART. 
 
 ground of a piece with the decoration reserved in white, 
 like the celebrated " hawthorn ginger-pots," with their 
 brilliant mottled grounds of pulsating blue, of which one 
 is so beautifully illustrated in Plate II, 
 
 The same mineral is employed in the preparation of 
 the black glazes, for which purpose it need not be so 
 good — that is to say, so rich in cobalt, according to the 
 Chinese. Sometimes the decoration of what was intended 
 to be a blue and white piece will come out of the kiln 
 perfectly black, because the glaze was laid on too thin. 
 
 Illustration i\u 10 : " Molding the Porcelain and 
 G-rindinct the Color." 
 
 " After tlie large atid small round pieces have been shaped on 
 the wheel, and have been sufficiently dried in the air, tliey are put 
 into the molds which have been previously prepared, and are 
 pressed gently with the hands, until the paste becomes of regular 
 form and uniform thickness. The piece is then taken out and 
 dried in a shady place till it is ready to be shaped with the polish- 
 ing knives. The damp paste must not be exposed to the sun, as 
 the heat would crack it. 
 
 " With regard to the preparation of the color for the artists, it 
 must be ground perfectly fine in a mortar; if coarse, spots of bad 
 color will appear. Ten ounces of the material are put into each 
 mortar, and it is ground by a special class of workmen for a whole 
 month before it is fit to be used. The mortars used for grinding 
 it are placed upon low benches, and at the sides of the benches are 
 two upright wooden poles supporting cross-pieces of wood, which 
 are pierced to hold the handles of the pestles. The men, seated 
 upon the benches, take hold of the pestles and keep them revolving. 
 Their monthly wage is only three-tenths of an ounce of silver. 
 Some of them grind two mortars, working with both hands. Those 
 who work till midnight are paid double wages. Aged men and 
 5'oung children, as well as the lame and sick, get a living by this 
 work." 
 
 The color referred to above is still the cobalt-blue, the 
 predominating color of old Chinese porcelain. The
 
 ILLUSTRATIONS OF ^MANUFACTURE OF PORCELAIN. 441 
 
 Chinese owe their success in the ceramic art in great 
 measure to their careful and methodical preparation of 
 the materials. Imagine the patience of a man sitting on 
 a bench, as described here, for a whole month, with a 
 pestle in each hand, grinding the same color all the time, 
 and satisfied with monthly wages of less than half a dol- 
 lar ; with the addition, however, it is to be hoped, of an 
 allowance of food ! The editor of the official records of 
 the imperial manufactory says that two of the chief cri- 
 teria of success are perfect dryness and fineness of all the 
 materials : " The furnace must be dry, the porcelain must 
 be dry, and the fuel must be diy ; then there will be lit- 
 tle breakage, loss of shape, or dullness of color. The 
 clay must be fine, the color must be fine, and the work 
 of the artist must be fine ; then the defects of coarse, 
 rough finish, of spoiled coloring, and of stains will be 
 avoided." 
 
 Oxide of cobalt is one of the most ancient and widely 
 known of the coloring matters used in the decoration of 
 all kinds of pottery. As M. Deck says in La Faience 
 (loc. cit., page 185) : " The beautiful blue color of the 
 oxide of cobalt is persistent at the highest temperature of 
 the porcelain furnace ; its coloring power is so strong 
 that the least trace is enough to color the vitreous flux. 
 It has an immense vogue, and is the color most fre- 
 quently used in ceramic decoration, both in ancient and 
 modern times. It has the great advantage of accommo- 
 dating itself to all fires, from the most violent to the 
 most feeble. It combines and harmonizes with every 
 kind of medium {fondanf), and can be applied to all 
 sorts of ceramic bodies, and its blue color is one of the 
 most beautiful and the most solid in our palette. The 
 Egyptians and Assyrians employed it from the highest 
 antiquity ; the Persians, Chinese, and Japanese have 
 executed charmino; decorations with nothino; but this
 
 442 ORIENTAL CERAMIC ART. 
 
 blue ; it is perhaps the most suitable color to be employed 
 aloue in decoration." 
 
 Illustration No. 11 : " Painting the Round 
 Ware in Blue." 
 
 " The different kinds of round ware painted in blue are eacii 
 numbered by the liundred and tlioii'^und, and if the painted decora- 
 tion upon every piece be not exact iy alike, tlie set will be irregular 
 and spoiled. For this reason tlic men who sketch the outlines 
 learn sketching, but not paintin,; ; those who paint study only 
 painting, not sketching ; by this means their hands acquire skill in 
 their own particular branch of work, and their minds are not dis- 
 tracted. In order to secure a certain uniformity in their work, the 
 sketchers and painters, although kept distinct, occupy the same 
 house. 
 
 "As to the other branches of work — embossing, engraving, and 
 carving in openwork — they are treated in the same way, and each 
 is intrusted to its own special workmen. The branch of decorating 
 in underglaze red, although really distinct, is allied to that of paint- 
 ing. With regard to the rings round the borders of the pieces and 
 the encircling blue bands, these are executed by the workmen who 
 finisli the pieces on the polishing wheel ; while the marks on the 
 foot underneath, and the written inscriptions, are the work of the 
 writers who attach the seals. 
 
 " For painting flowers and birds, fishes and water-plants, and 
 living objects generally, the study of Nature is the first requisite ; 
 in the imitation of Ming dynasty porcelain and of ancient pieces, 
 the sight of many specimens brings skill. The art of painting in 
 blue differs widely from that of decoration in enamel colors." 
 
 In this rapid sketch of the art of painting in under- 
 glaze cobalt-blue most of the different processes of 
 decoration displayed in collections of Chinese blue and 
 white porcelain are touched upon. The blue is painted 
 upon the white body of the j^orcelain before it is glazed 
 by immersion or otherwise, and the encircling rings which 
 define the borders of bowls and the shoulders of vases 
 are easily penciled by a light touch of the brush as the 
 
 I
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 443 
 
 object revolves on the jigger ; by uo other method could 
 they be executed with such j^erfect regularity. A single 
 line of blue of this kind round the rim is the sole decora- 
 tion of some of the translucently white eggshell wine- 
 cups of the reign of Wan-li, which are among the liglitest 
 and most delicate objects ever produced in porcelain. 
 The work of the writer, who outlines the seals and other 
 marks and writes the labels and verses that accompany 
 the pictures, is quite as important as that of the artist, 
 in the estimation of the Chinese, who are great connois- 
 seurs of caligraphy, and distinguish at first sight, from 
 that one criterion, a piece of imperial manufacture (kuan 
 yao) from the production of a private kiln {ssu yao). 
 
 Painted decoration in copper-red under the glaze prop- 
 erly finds its place here. The technique is the same, and 
 the pieces, after they have been glazed, are fired in the 
 same furnace as the blue and white. For an illustration, 
 see Fig. 229. It may, of course, be used in combination 
 with the blue in the decoration of the same vase, or with 
 other colors of the grand feu, such as celadon, or coffee- 
 brown. 
 
 Illustration No. 12 : " Fashioning and Painting 
 
 OF Vases." 
 
 " The different forms of vases and sacrificial vessels comprised 
 in tlie general term of cho chH include the square, the round, the 
 ribbed, and those with prominent angles ; tliere are variotis styles 
 of decoration executed by painting in colors and carving in open- 
 work. In copies from antiquity artistic models must be followed ; 
 in novelt}' of invention there is a deep spring to draw from. In 
 the decoration of porcelain correct canons of art should be fol- 
 lowed ; the design should be taken from the patterns of old 
 brocades and embroidery, the colors from a garden as seen in 
 springtime from a pavilion. There is an abundance of specimens 
 of the Kuan, Ko, Ju, Ting, and Chun (wares of the Sung dynasty)
 
 444 ORIENTAL CERAMIC ART. 
 
 at liand to be copied ; and water, fire, wood, metal, and eartli (tlie 
 five elements of physics) supply an inexhaustible fund of material* 
 for new combinations of supernatural beauty. Natural objects are 
 modeled, to be fashioned in molds, and painted in appropriate 
 colors ; the materials of the potter's art are derived from forests 
 and streams, and ornamental themes are supplied by the same 
 natural sources. The sacrificial wine-vessels, tsun and lei, are of 
 equal importance ; the censers, shaped like the ancient bronzes, yi 
 and ting, emit flames of brilliant color. In addition to the ancient 
 earthenware drums (wa/ou), many kinds of musical pipes are now 
 made, and the artistic skill of the color-brush perpetuates on por- 
 celain clever works of genius." 
 
 In this paragraph T'ang Yiiig, instead of describing 
 the illustration, gives a disquisition upon his view of the 
 correct canons of art, as applied to the decoration of 
 porcelain, expressed in high-flown antithetical couplets,. 
 Avhich are not so easy to render intelligibly in plain 
 prose. Julien suppresses them altogether as " devoid of 
 interest from the point of view of histoiy and of fabrica- 
 tion," but they give us some insight into the ideas of a 
 Chinese artist and the motives of his decorative work. 
 Antiquity is always the first desideratum ; the forms of 
 the objects are taken from productions of the old ceramic 
 factories of the S^ing dynasty, which were themselves 
 derived from more ancient bronzes ; and the decorative 
 designs are often derived from the patterns woven in 
 China from the most ancient times in brocades or worked 
 by the needle in. silk embroideries. The prevalence of 
 colored grounds, of medallions, and of all the varieties 
 of diaper, in the decoration of Chinese porcelain, is traced 
 back to the occurrence of similar patterns in these bro- 
 caded and embroidered silks.* 
 
 * The names of more than twenty of these brocade patterns that were copied 
 in Ming porcelain were enumerated in Chapter VII. 
 
 II
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN, 445 
 
 Illustration yo. 13 : " Dipping into the Glaze and 
 Blowing on the Glaze." 
 
 " All the different kinds of round ware and vases, including the 
 pieces decorated in blue, as well as the copies of Kuan, Ko, and Ju 
 porcelain, must have the glaze applied before they are fired. The 
 ancient method of putting on the glaze was to apply it to the sur- 
 face of the vase, whether square, tall, fluted, or ribbed, with a 
 goat's-liair brush filled with the liquid glaze, but it was difficult to 
 distribute it evenly in this wa}'. The round ware, both large and 
 small, and the plain round vases and sacrificial vessels used all to 
 be dipped into the large jar which held tl)e glaze, but they failed 
 b}' being either too thickly or too thinh^ covered, and, besides, 
 so many were broken that it was diflicult to produce perfect 
 specimens. 
 
 " In tlie present day the small round pieces are still dipped into 
 the large jar of glaze liquid, but the vases and sacrificial vessels and 
 the larger round pieces are glazed by the souffle process. A bam- 
 boo tube one inch in diameter and some seven inches long has one 
 of its ends bound round with a fine gauze, which is dij)ped repeat- 
 edly into the glaze and blown tlirough from tlie other end. The 
 number of times that this process has to be repeated depends partly 
 on the size of the piece, partly on the nature of the glaze, varying 
 from three or four times up to seventeen or eighteen. These are 
 tlie two distinct methods of glazing : by immersion and by 
 insufllation." 
 
 The glaze contains a notable proportion of lime, ^vhich 
 aids in the liquefaction of the feldsj^atliic base, and gives 
 the slight greenish tinge to the ground, which is one of 
 the characteristics of Chinese porcelain. It is applied in 
 China u[)on the raw body of the piece, Avhich has been 
 previously dried in the open air. In other countries the 
 unglazed ware undergoes a preliminary baking to bi'ing 
 it to the condition called degottrdi, so that even the 
 largest pieces may be strengthened sufficiently to enable 
 them to be dipped in the water holding the materials of 
 the glaze in suspension. The porous clay absorbs the
 
 446 ORIENTAL CERAMIC ART. 
 
 water, and there is deposited on the surface a uniform 
 la3^er of the vitrifiable materials suspended in it. Large 
 vases fiv^e feet in height are glazed in this way at Sevres, 
 being placed in open wooden cages and lowei'ed by 
 means of pulleys ; they are imnjersed for thirty or forty 
 seconds, according to the greater or less strength of the 
 preliminary baking, and ai"e then allowed to drain, after 
 which any difference of thickness is corrected as much as 
 possible by hand. 
 
 The Frencli consul, M. Scherzer, fully describes the 
 Chinese method of glazing by sprinkling : " Having 
 brought the finely pulverized materials to the consistence 
 of a liquid houilUe by mixing them with pure water, the 
 workman takes a tube of bamboo which he covers at 
 one end with fine gauze and dips it into the glaze, which 
 he projects upon the vase by blowing through the 
 opposite end. The number of layers that the worknian 
 sprinkles in this \vay depends upon the nature of the 
 glaze. For the white, three layers are applied succes- 
 sively by blowing, while the fourth and last layer is 
 given with a very soft brush. For the colored glazes 
 the operation is more complicated and comprises nine 
 successive layers ; the first three are ap})lied by blowing 
 the glaze upon the piece properly dried, sufficient time 
 being left between each to acquire its original dry con- 
 dition. The fourth layer is painted on with a veiy soft 
 brush. The fifth, sixth, and seventh layers are given by 
 blowing. Finally, the eighth and ninth are applied 
 with the brush." 
 
 M. Vogt says that the qualities required for a perfect 
 glaze are so numerous that its preparation is unques- 
 tionably one of the most delicate operations of the 
 ceramic art. A good glaze ought, during firing, to spread 
 uniformly over the piece that is being enameled, without 
 forming either of the defects of "shrinkage" or "bub- 
 
 I
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 447 
 
 bling." Its fusibility ought to be adapted to the degree 
 of temperature required for the firing of the paste. If 
 too fusible, it will penetrate the paste, and the glazing 
 will be dull and dry; if too hard to melt, it will be 
 covered all over with little holes, which give to the 
 porcelain the peculiar appearance that is called technically 
 coqve iVwiif. There must, besides, be a perfect agree- 
 ment in the coefficient of dilatation between the paste 
 and the glaze. If not, as the porcelain cools the glaze 
 will break, and its surface will Ije soon furro\ved by a 
 network of lines. This crackled condition, which is 
 called technically tressaillure, is due solely to a physical 
 cause ; it is the result of a difference of dilatation 
 between the ])aste and the glaze, as the piece is returning 
 to the surrounding temperature. The crackles aie started 
 when the glaze, as it is cooling, contracts more than the 
 paste ; being fixed to the paste, it must necessarily crack, 
 and the space between the lips of the furrows indicates 
 the difference of contractibility. In the inverse case — 
 that is to say, when the paste contracts more than the 
 glaze — the glaze maybe detached in splinters and "scale 
 oif " ; a piece with this defect is irretrievably lost. It is 
 not so with the defect called tressaillure. A perfect 
 master of paste and glazes can produce at will fissures in 
 the glaze, forming more or less close networks, composed 
 of lines joining together with no long straight lines 
 between ; in this case a defect is converted into a good 
 quality, and we have the craqvele or truite. The Chinese 
 make such good use of this quality as to be able to 
 produce on the same piece crackled zones of different 
 dimensions in the midst of uncrackled srlazes. 
 
 The conditions that chanoje the coefficient of dilatation 
 in porcelain are not well ascertained ; it is known, how- 
 ever, that alkalies increase it in the glaze, and that silica 
 increases it in the paste. A paste rich in aliunina,
 
 448 ORIENTAL CERAMIC ART. 
 
 invested with a non-calcareous glaze, always tends to 
 become crackled, according to M. Vogt. This is con- 
 firmed by Chinese accounts. The Ting Yao, the so-called 
 '' soft porcelain " of collectoi'S, which is so apt to become 
 crackled, is characterized by a highly kaolinic paste, and 
 the glaze is pre]3ared without lime. The milk of lime, 
 which is an important ingredient of the ordinary Chinese 
 glaze, is replaced in the crackled glazes by a, puree com- 
 posed principally of steatite previously ground to a fine 
 powder. Any of the ordinary colored glazes may be 
 crackled by adding this last to their ordinary ingredients. 
 Some glazes are always crackled, without requiring the 
 addition of anything to their ordinary ingredients, like 
 the turquoise and aubergine purple, single colors of the 
 dertii-grand feu^ which are both of triiite texture ; the 
 turquoise glaze is rich in alkali, being prepared with a 
 niter flux, and the aubergine glaze is combined with a 
 minimum amount of lead. 
 
 Many of the curious ceramic terms met with in old 
 Chinese books are due to alterations of the glaze during 
 firing, such as " palm-eye " spots, the effect of bubbles, 
 " crab's-claw " and " chicken's-claw " veining in the sub- 
 stance of the unctuous glaze, and " orange-peel " texture 
 of its undulatory surface. These partake really of the 
 nature of small flaws, a recent Chinese writer i-emarks, 
 and are only particularly noticed as criteria of genuine 
 productions of an early time, when the porcelain was not 
 so perfectly glazed as it is in the present day. 
 
 Illustration No. 14 : '' Turning the Unbaked Ware 
 AND Scooping out the Foot." 
 
 " Tlie size of the round piece has been fixed in the mold, but the 
 smooth polisli of the surface depends on the polisher, whose province 
 is another branch of work, that of ' turning,' He uses in his work
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 449 
 
 the polishing wlieel, which in form is like the ordinary potter's 
 wheel, only it has projecting upward in the middle a wooden 
 mandrel, the size of which varies, being proportioned to that of the 
 porcelain which is about to be turned. The top of this mandrel, 
 wliich is rounded, is wraj:)ped in raw silk to protect the interior of 
 the piece from injury. The piece about to be turned is put ujton 
 the mandrel, the wheel is spun round, and it is pared with the knife 
 till both the inside and outside are given the same perfectly smooth 
 polish. The coarser or finer finish of the form depends upon the 
 inferior or superior handiwork of the polisher, whose work is con- 
 sequentl}^ of great importance. 
 
 " With regard to the next process, that of scooping out the foot, 
 it is necessary, because each piece, when first fashioned upon the 
 potter's wheel, has a paste handle left under the foot two or three 
 inches long, by which it is held while it is being painted and the 
 glaze blown on. It is only after the glazing and the painting of 
 the decoration are finished that this handle is removed by the 
 polisher, who at the same time scoops out the foot, after which 
 the mark is written underneath. 
 
 " In the picture the workmen are seen occupied in the two 
 processes of polishing the surface and scooping out the foot." 
 
 To prepare the porcelain for the polishing wheel ©r 
 " jigger," it has to be dried sufficiently to enable it to be 
 shaved with the knife without being reduced to powder. 
 The tools used by the Chinese workmen are of the 
 simplest kind — thin iron plaques of rectangular or curved 
 outline. The piece is mounted upon the mandrel, so 
 that its axis is a prolongation of the axle-tree of the 
 apparatus, and it is shaved down to the required thick- 
 ness while the wheel is revolvins:. Encirclincr bands or 
 fillets that have to be executed in relief, and rings defin- 
 ing the shoulder or borders of the vase, are carved at 
 the same time with a neatness and regularity that no 
 other process could attain. 
 
 The removal of the shapeless lump of clay which has 
 been left projecting underneath the foot is one of the 
 last operations in the fabrication of the piece; the mark 
 is penciled in blue, the glaze is applied over it, and the
 
 450 ORIENTAL CERAMIC ART. 
 
 piece is ready for tlie furnace. The rim round the edge 
 of the foot is left uncovered with glaze, and exhibits the 
 peculiar character of the paste to the eye of a connoisseur. 
 In older specimens no glaze is applied to the foot, and a 
 j)ortion even of the outside of the bowl or cup is left 
 unglazed, the glaze running down in thick, unctuous 
 masses so as only partially to cover the surface, stopping 
 short in a wavy line of thick drops. During the Ming 
 dynasty there were some characteristic differences in the 
 feet of bowls which may be noted in this connection. 
 The shallow spreading eggshell bowls of the reign of 
 Yung-lo have a sandlike rim and smoothly glazed bottom ; 
 the altar-cups of the reign of Hsuan-te have a conical 
 projection in the middle with a threadlike rim at the 
 edge ; the shallow cups painted with fish, of the reign 
 of Cliia-ching^ have a circularly rimmed base with a 
 loaflike prominence inside the bowl. In the present 
 dynasty, too, the foot of the vase is often examined as 
 a'n aid to the determination of its date, the presence or 
 absence of glaze, its plain or crackled texture, and its 
 particular shade of color affording a valuable criterion 
 for that purpose in different cases. 
 
 Illustration No. 15 : " Putting the Finished Ware 
 INTO the Kiln." 
 
 " The kiln is long and round, and resembles in shape a tall 
 water-jar (weng) turned over on its side. It measures a little over 
 ten feet in height and breadth, about twice as much in depth. 
 It is covered with a large, tiled building which is called the ' kiln- 
 shed.' The chimney, which is tubular, rises to a height of over 
 twenty feet behind, outside the kiln-shed. 
 
 "The porcelain, when finished, is packed in the seggars and 
 sent out to the furnace men. When these men put it in the kiln 
 they arrange the seggars in piles, one above the other, in separate 
 rows, so as to leave an interspace between the rows for the free
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 451 
 
 passage of the flames. The fire is distinguished as front, middle, 
 and back; the front of tlie fire is fierce, the middle moderate, the 
 l>ack feeble. The different kinds of porcelain are placed in the 
 furnace according to the hard or soft quality of the glaze with 
 which they ai'e coated. After the kiln has been fully charged the 
 fire is lighted, and the entrance is then bricked up, leaving only 
 a square hole, through which billets of pine wood are thrown in 
 without intermission. When the seggars inside the furnace have 
 attained a silvery red color (white heat) the firing is stopped, and 
 after the lapse of another twenty-four hours the kiln is opened." 
 
 The form of the furnace has ah'eady been fully de- 
 scribed, and the changes in its dimensions from ancient 
 to modern times have been alluded to. It has gradually 
 become larger in size, till in the present day, according 
 to M. Scherzer, although the breadth is about the same 
 as that described above, being three and a half meters, 
 the height and length are increased by about one-half 
 to five meters and ten meters respectively. The way in 
 which the Chinese take advantage of the irregularity 
 of the form and of tlie varied force of the fire in different 
 parts of the furnace has also been described. During 
 the Ming dynasty tliere were different kinds of furnaces 
 in the imperial manufactory — furnaces for the clay 
 seggars, for the large garden fishbowls, for the blue and 
 white porcelain, and for the colored glazes, etc. In the 
 present day there are none, with the sole exception of 
 the muffle stoves for the second firing of the porcelain 
 painted in enamel colors. Everything is sent out to be 
 fired in the private kilns, called Pao CJi'mg Yao^ be- 
 cause they guarantee the success of each firing. There 
 are two classes of kilns at Ching-te-chen. In tlie first 
 kind the fuel is pine wood ; all the imperial porcelain is 
 sent to these. In the second kind, which are intended 
 for the firing of the commoner and coarser porcelain, the 
 fuel is ordinary brushwood, which is brought in by men 
 from the neiohborino; hills.
 
 452 ORIENTAL CERAMIC ART. 
 
 Illustvatioli No. 16 : " Opening the Kiln when the 
 Porcelain has been Fired." 
 
 " The perfection of the porcelain depends upon the firing, which, 
 reckoning from the time of putting in to that of taking out, usually 
 occupies three days. On the fourth da}^, early in the morning, the 
 furnace is opened, but the seggars inside, which contain the porcelain, 
 are still of a dull-red color, and it is impossible to enter yet. After 
 a time the workmen who open the kiln, with their hands protected 
 by gloves of ten or more folds of cotton soaked in cold water, 
 and with damp cloths wrapped around their heads, shoulders, and 
 backs, are able to go in to take out the porcelain. 
 
 " After the porcelain has all been removed and while the furnace 
 is still hot the new charge of ware is arranged in its place. In this 
 way the new porcelain, which is still damp, is more gradually 
 dried, and is rendered less liable to be broken into pieces or cracked 
 by the fire. 
 
 " The men in tlie picture who are leaning on the table wrapped 
 in cloths are those that take the porcelain out of the kiln; the 
 other men who are carrying loads of firewood are waiting to fire 
 the next charge; the actual process of carrying out the contents of 
 the furnace is not clearly indicated." 
 
 During each firing the " gentle fire " or ^>6^«'^ feu is 
 kept lip for about twenty-four hours, to heat the porce- 
 lain gradually, until the interior is brought from a dull 
 red to a cherry red. Having attained this stage, the 
 period of the " fierce fire " or grand feu begins, during 
 which pine billets are thrown in as fast as possible till 
 the furnace is quite full, and it is kept full till the neces- 
 sary white heat has been attained, and this is continued 
 durins: the third stas^e. This is the s^eneral course of the 
 fire, but its effect varies in different parts of the furnace 
 according to the oxidizing or reducing nature of the 
 flames. If air predominates in the products of combus- 
 tion, the flame will be oxidizing; if, on the contrary, 
 unburned gases are circulating in excess, the flame \\\\\ 
 be reducing. The fireman judges by inspection : if the
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 453 
 
 flames are perfectly clear, be considers them to be oxi- 
 dizing; if they are thick and loaded with heavy 
 volumes of smoke, he concludes they are reducing. 
 A clever fireman is able at will to make his furnace 
 pass from one to another of these conditions, and ought 
 even to know how to keep the flames neutral, neither 
 oxidizing nor reducing, which will give the maximum 
 temperature without exerting any chemical influence 
 upon the porcelain that is being baked. 
 
 All hard porcelain is composed essentially of kaolin, 
 feldspar, and quartz. To give to this mixture the trans- 
 parency and vitrification which characterize porcelain, 
 it is necessary to reach during the firing at least the 
 temperature required to fuse the feldspar. Feldspar 
 fuses, at about 1_300°_C, , and th is is the minimum [)oint 
 at which a porcelain rich in feldspar can be successfully 
 fired. For a highly kaolinic porcelain it is necessary 
 to push the heat up to 1500°, or even to 1550°. Sub- 
 mitted to these high temperatures, the elements of the 
 porcelain change their nature; the feldspar in fusion 
 attacks the quai'tz and the kaolin to form new com- I 
 binations. 
 
 Illustratioii No. 17: " Round Ware and Vases 
 Decorated in Foreign Style." 
 
 " Botl) round ware and vases of wliite porcelain are painted in 
 enamel colors in a stj'le imitated from Western foreigners, wliich is 
 consequently called Ycoig ts'ai, or ' Foreign Coloring.' Clever artists 
 of proved skill are selected to paint the decoration. The different 
 materials of the colors having been previously finelv ground and 
 properly combined, the artist first paints with them upon a slab of 
 white porcelain, which is fired to test the properties of the colors 
 and the length of firing thej' require. He is gradually promoted 
 from coarse work to fine, and acquires skill by constant practice; 
 a good eye, attentive mind, and exact hand being required to 
 attain excellence.
 
 454 ORIENTAL CERAMIC ART. 
 
 " The colors whicli are emploj^ed are tlie same as those used for 
 cloisonne enameling upon copper {F<i-laug). The}' are mixed with 
 tliree different kinds of medium, tlie first being turpentine, the 
 second liquid glue, the tliird pure water. Turpentine is best 
 adapted for free coloring; glue is more suitable for thin waslies, 
 water for retouching the colors in I'elief. While it is being painted 
 the piece is either supported upon a table or held in the hand, or 
 laid upon the ground, according to its size, and it is placed in the 
 position most convenient for the ready use of the brush." 
 
 The art of cloisonne enameling upon copper was intro- 
 duced into China from the West. It was one of the 
 early industrial arts of Byzantium, and is fully described 
 in the writings of the monk Theophilus, who lived 
 in the eleventh century a. d. It was from Byzantium 
 that it must have come to China, as is clearly proved 
 by the Chinese name for the art, Fa-lan^ or Fa-langy 
 which is a corruption of Fo-lang or Fo-lin^ the name 
 of Byzantium in the Chinese historical annals. As ex- 
 plained by the author of the Fao Shhio, the syllable 
 lin is pronounced Jang in the dialect of Canton, and he 
 accounts in this way for the change of Fo-Un to Fo-lang, 
 Fo-lang ChHen, or " Fo-lang inlaid work," is given by 
 him as the correct form of the full name ; but the 
 Chinese shirk trisyllabic locutions as too complicated^ 
 so the third syllable was iirst dropped ; the others 
 became gradually corrupted to Fa-lan, in whicli the 
 
 * The name of Fo-Un or Fu-lin has given rise to much discussion. It first 
 occurs in the annals of the Sui dynasty (581-621) as the name of a country 
 situated 4,500 li to the northwest of Persia. It often occurs subsequently, 
 applied to the Greek Empire as the successor of the Roman Empii-e (7'a th'in), 
 and as rivals of the rising Arabs (Ta-Shi/i). The initial was originally hard in 
 Cliiuese, and the name is generally supposed to be derived from irSXiv, just as 
 the Turkish name of Constantinople (Stamboul, or Istambul) seems to be a 
 corruption of els ttjv wdXiv. The Greeks were proud of the title of " citizens " 
 of their great city. Some derive the name from " Frank," but the Chinese 
 could hardly have heard of the Franks so early as the sixth century. Dr. 
 Hirth's valuable paper on Cliina and the lioman Orient may be referred to for 
 a fuller discussion of the question, without adopting, however, his proposed 
 identification of Fu-lin with Bethlehem. 
 
 II
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 455 
 
 second character means " blue/' and all trace of the 
 original derivation is lost. Another common name for 
 the art, whicli is cultivated in Peking in the present 
 day, is Ching-tai Lan, or Ching-tai enamel, and the 
 mark of the reign of Ching-kd is not infrequently found 
 underneath ancient specimens. The emperor of the 
 Ming dynasty who reigned under this title occupied 
 the throne in 1450-56, and he is said to have patronized 
 the art, and to have had sets of sacrificial utensils made 
 for temples. It was in 1453 that Constantinople was 
 taken by the Turks under Mohammed II, and some of 
 the Greek workmen may possibly have come to China 
 as fugitives about this time. 
 
 Julien translates the expression Fo-lang ClUien Ycu), 
 '* Porcelaines a incrustations {ornees (Vemaux) de Fo-lang 
 (de France).'''' Although it is a kiln ware (^yao), it has 
 certainly nothing to do with porcelain, and there is no 
 probability of its introduction into China having been 
 due to France, although it is adopted by Salvetat, who 
 writes : " This fact presents by itself a very great impor- 
 tance in the history of the industrial progress of nations. 
 It is well known that in China enamels upon copper are 
 made in great perfection. It appears to follow from this 
 passage that the Chinese only made these enamels in 
 imitation of productions that Europe — perhaps France — 
 sent to them by way of exchange." 
 
 The old Byzantine enamels w^ere generally w^orked 
 upon gold. In China the usual excipient is copper, which 
 is gilded after the enamels have been tired and polished, 
 so that the designs appear like a mosaic of colors inclosed 
 in clolmns, the outlines of which are defined by a line of 
 gold. Two other processes of enameling are also executed 
 in China: the champUve, in which the pattern is exca- 
 vated in the solid copper vase, to be filled in with the 
 enamel colors ; and the transparent {a jour) enameling,
 
 456 ORIENTAL CERAMIC ART. 
 
 in which the colors are inserted in open cloisons, having 
 no background ; both these methods were employed pre- 
 viously in Byzantium, and may be seen also in old Russian 
 ecclesiastical work. There is yet a fourth process of 
 enameling on copper in China, where the colors are 
 painted on without any previous preparation of the 
 excipient ; this is chiefly carried on in the province of 
 Canton, where the art is said to have been introduced 
 from the country of Ku-li — i. e., Calicut, in India; the 
 productions are commonly known under the name of 
 Yang tz'u, or "foreign porcelain." The author of the 
 Wen fang ssu k'ao says of this : " One often sees incense- 
 urns and flower-vases, winecups and saucers, bowls and 
 dishes, wine-ewers and boxes, painted in very brilliant 
 colors ; but, although vulgarly called porcelain, they have 
 nothing of the pure translucency of the true material, and 
 are fit only for the service and ornament of the ladies' 
 apartments — not for the chaste decoration of the library 
 of a scholar or mandarin." 
 
 The enamel colors in the present day are manufactured 
 in the glass-works in the province of Shantung, and sent 
 thence to every part of China to be employed in all kinds 
 of enameling upon metal, and in the glazing of common 
 earthenware and faience, as well as in the decoration of 
 porcelain. They are composed of a vitreous flux, colored 
 by a small percentage only of metallic oxide, which is 
 generally kept in solution in the state of silicate. The 
 coloring matei'ials are oxide of copper for the greens and 
 bluish greens ; gold for the reds ; oxide of cobalt for the 
 blues ; oxide of antimony for the yellows ; arsenious acid 
 for the whites ; peroxide of iron is used for coral-red 
 and other shades of this color, and impure oxide of man- 
 ganese gives the blacks. The last two materials which 
 give the colors directly are only mixed with the flux, not 
 dissolved. These form the colors of the muflfle stove, by 
 
 J
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 457 
 
 the fire of wliicli they are incorporated in the softened 
 wliite glaze. It is impossible to employ them in the 
 decoration of European porcelain, the hard glaze of which 
 contains no lime, and when the Chinese enamel colors 
 were tested at Sevres they scaled off in the stove. They 
 have all been thoroughly examined in Europe and chemi- 
 cally analyzed. 
 
 Illustration No. 18 : " Open and Closed Muffle 
 
 Stoves." 
 
 " White paste porcelain that has been previously fired in the fur- 
 nace is first decorated by the artist with painting in colors. When 
 it has been painted in colors it must be again fired to fix the colors. 
 For this purpose two kinds of muffle stoves are used, one kind being 
 open, the other closed. 
 
 " The open stove is used for the smaller pieces. This stove is 
 similar to that used for cloisonne enamels on copper, and it has a 
 door opening outward. When the charcoal fire has been lighted 
 inside, the porcelain is placed upon an iron Avheel, which is sup- 
 ported upon an iron fork, by which the porcelain is passed into the 
 stove, and the fireman holds in his other liand an iron hook, so that 
 he may be able to turn the wheel around in the fire to equalize the 
 action of the heat. When the colors appear clear and bright the 
 firing is reckoned to have been sufficient. 
 
 " For large pieces the closed stove is employed. Tliis stove is 
 three feet high and nearl}- two feet and three-quarters in diameter. 
 It is surrounded by a double wall to hold the charcoal fire, the wall 
 being perforated below for the entrance of air. The porcelain is 
 introduced into the interior of the stove, while the man holds 
 a circular shield to protect himself from the heat of the fire. The 
 top of the stove is then closed by a flat cover of yellow clay and 
 closely luted. The firing takes a period of about twenty-four 
 hours. 
 
 "The process of firing the monochrome yellow, green, and pur- 
 plish brown porcelains is the same as tlie above." 
 
 The open muffle stove is no longer used in China. The 
 author of the Ohing-te-chen T'ao lu says (chapter iv, folio
 
 458 ORIENTAL CERAMIC ART. 
 
 5) : " Porcelain painted in colors at Ching-te-chen was 
 formerly not so highly valued, until the beginning of the 
 reign of CJiHen-lung, when })oth the mandarins and the 
 common people thronged to buy it, so that the supply had 
 to be day by day increased. The manufactories are com- 
 monl}^ called ' red shops,' but the owners style themselves 
 ' stove-men.' They do not, however, use open and closed 
 muffle furnaces made in the ancient style, but only build 
 up a cylinder of bricks on the ground like the mouth of 
 a well, a little over three feet high and between two and 
 three feet broad, leavins; holes underneath for the drauo-jit. 
 The decorated porcelain is put inside, a cover is fixed 
 over the fire, and that is all. It is called a muffle stove 
 (shao Iu\ and there are fixed rules for the time of firing. 
 If you ask them what the open and close stoves are, they 
 will generally answer that they do not know." 
 
 There is a good representation of this modei'n shao lu in 
 Julien {La Porcelaine Cliiiioise, Plate XIV), which is 
 copied from the book just quoted. The open stove which 
 accompanies it is taken from some older Chinese book. 
 There are good illustrations of the open and closed 
 muffle stoves of the foi'ms described above in the Atlas 
 accompanying Brongniai't's classical work (Les Arts 
 Ceramiques, Plate XLIV) taken from a Chinese book of 
 the Ming dynasty. 
 
 Illustration yo. 19 : " Wrapping in Straw and 
 Packing in Cases." 
 
 " After tlie porcelain has been taken out of the furnace it is 
 arranged into four separate classes, which are known by the names 
 of 'first-class color,' 'second-class color,' 'third-class color,' and 
 ' inferior ware,' and the price is fixed accordingly at a high or low 
 rate. The porcelain of ' third-class color' and the ' inferior ware * 
 are kept back for local sale. The round ware of ' first-class color ^ 
 and the vases and sacrificial vessels of the ' first and second class ' are
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 459 
 
 all wrapped up in paper and packed in round cases, there being 
 packers whose duty it is to attend only to this w^ork. With regard 
 to the round ware of ' second-class color,' the dislies and bowls are 
 tied together in bundles, each composed of ten pieces, which are 
 wrapped round with straw and packed in round cases, for conveni- 
 ence of carriage to distant parts. 
 
 " The coarser porcelain intended for ordinary use, whicli is dis- 
 tributed throughout the different provinces, is not packed in cases 
 with straw, but only tied up in bundles with reeds and matting. 
 From thirty or forty pieces up to sixty make a ' load ' sufficient for 
 a man to carry at each end of his yoke. The ' loads ' are packed 
 inside with reeds and matting and bound round outside with strips 
 of bamboo, ready to be conveyed either by water or by land as may 
 be more convenient. 
 
 "The workmen wlio do the packing are generally known by the 
 name of ' mat-men.' " 
 
 The above descriptiou refers especially to the produc- 
 tions of the imperial iiiaiiufactory, only the best pieces of 
 which are picked out to be sent to Peking, while the rest 
 are sold locally. A regidar supply is sent to the palace 
 twice every year, an additional amount being requisitioned 
 on any extraordinary occasion, such as an imperial wed- 
 ding ; the lists are generally published at the time in the 
 Ching Pao, the official "Peking Gazette." According to 
 T'ang Ying in his "Records of the Porcelain Manufac- 
 tory," quoted in the Annals of the Province of Kiangsi : 
 ^' After the porcelain made in the imperial manufactory 
 has been finished, every year at the two seasons of 
 autunm and winter, a number of broad flat-bottomed 
 boats and a gang of porters are hired to convey to the 
 capital the six hundred and more casks packed with round 
 j^ieces and vases. The annual supply required for the 
 palace of round ware of the highest class, including 
 round dishes, bo^vls, cups and saucer-plates, ranging from 
 between one and two inches up to two and three feet in 
 diameter, amounts to between 16,000 and 17,000 pieces, 
 in addition to 6,000 or 7,000 pieces selected from the best
 
 460 ORIENTAL CERAMIC ART. 
 
 of the second class. These are all packed together Id 
 casks and conveyed to Peking, to be ready for imperial 
 presents, and for the emperor's own use. The vases of all 
 kinds intended for ornamental and sacrificial use of the 
 highest class, including ovoid vases with tall, narrow 
 necks, sacrificial vases witli scrolled designs, beaker- 
 shaped vases and urns for burning incense, etc., ranging 
 from three and four inches u[) to three and four feet in 
 height, require a yearly su})ply of over 2,000 pieces, with- 
 out reckoning the 2,000 or ^3,000 vases selected from the 
 best of the second class. These also are all packed 
 together in casks and comeyed at the same time to 
 Peking." 
 
 In addition to the firing of the imperial porcelain, the 
 kilns at Ching-te-chen, whicli are num])ered by the thou- 
 sand, practically supply the whole of the Chinese 
 Empire, as well as the porcelain required for export to 
 foreign countries. Boats laden with it are no uncommon 
 sight iu the inland waterways of China, and I have even 
 seen a line of large wheelbarrows under full sail, pushed 
 and supported on both sides by running men and dra^vn 
 in front by donkeys, speeding along the highways 
 
 " Of Sericaiia, wliere Chineses drive 
 With wind and sail their cany waggons light." 
 
 Paradhe Lost, iii, 437. 
 
 Illustration No. 20: " Worshiping the God and 
 OFFERING Sacrifice." 
 
 " Ching-te-chen, situated within the jurisdiction of Fou-Iiang- 
 Hsien, is only some ten or more li in circuit, environed by moun- 
 tains and rivers, so as to form, as it were, an island, yet on account 
 of its porcelain production merchants throng to it fiom all quarters. 
 The private kilns, between two and three hundred in number, 
 exhibit a constant succession of flames and smoke the whole year 
 round, and give employment to not less than several hundreds of
 
 ILLUSTRATIONS OF MANUFACTURE OF PORCELAIN. 461 
 
 thousands of workmen and assistants. The porcelain industry- 
 gives subsistence to an immense number of people whose life hangs 
 on the success or failure of the furnace fires, and they are all 
 devout in worship and sacrifice. 
 
 " Their god, named T'ung, was once himself a potter, a native of 
 the place. Formerly, during the 3Iing dynasty, when they were 
 making the large dragon fish-bowls, tl)ey failed in the firing year 
 after year, although the eunuchs in charge inflicted the most severe 
 punishments, and the potters were in bitter trouble. Then it was 
 that one of them, throwing away his life for the rest, leaped into 
 the midst of the furnace, whereupon the dragon bowls came out 
 perfect. His fellow-workmen, pitying him and marveling, built a 
 temple within the precincts of the imperial manufactory^, and wor- 
 shiped him there under the title of ' Genius of Fire and Blast.' 
 Down to the present day the fame of the miracle is cherished, and 
 the potters continue to worship him, not a day passing Avithout 
 reverential sacrificial offerings. Theatrical shows are also instituted 
 in his honor, during which crowds of people fill the temple grounds. 
 He is worshiped here as tlie tutelary gods of agriculture and land 
 are in other parts of the empire." 
 
 The Chinese are devoted to ancestral worship, in the 
 ceremonies connected with which sacrifice is offered to 
 the manes or spirits of the deceased. Many of their 
 deities are canonized mortals who have lived among 
 them in historical times. No schoolboy must enter a 
 public school without paying reverence to the picture of 
 the sacred sage, Confucius, who lived b. c. 551-479 ; and 
 every soldier worships the image of Kuan Ti, the God 
 of War, who lived on earth as Kuan Yli, and was 
 beheaded a. d. 219, after a life of martial prowess. The 
 potter, T'ung, the vicarious sacrifice of whose life is 
 sketched above, was not, however, the fii'st deity of the 
 craft. His predecessor was named Chao, according to 
 the Ching-te-chm T\io In (book xiii, folio 10), which 
 says that it was in the reign of Hung-hsi, who lived a. d. 
 1425, that the assistant director of the porcelain manu- 
 factor}^, Chang Shan, was the first to worship the patron
 
 462 ORIENTAL CERAMIC ART. 
 
 god of the potters, and built a temple within the walls 
 of the maniifactoiy. The deity, whose surname was 
 Chao, his name K'ai, and his literary appellation Shu- 
 peng, is said to have been in charge of the work during 
 the CJiin dynasty (265-419), to have acquired a wide 
 re2:)utation for the choice productions inspired by his 
 genius, and to have risen afterward to the rank of 
 prince. It was in this dynasty that the famous azure- 
 blue o:laze first came into vofjue, and we should like to 
 know more of the history of the director Chao, if he be 
 not altogether a legendary character. His temple has 
 long been in ruins, and his cult is now supplanted by 
 that of another patron -god. The present temple was 
 rebuilt in the reign of Yting-clieng b}' Nien Hsi-yao, as 
 commemorated by a stone tablet, erected by him in front 
 of the main hall, which is still standing. T'ang Ying, in 
 the next reign, discovered a large fish-bowl, decorated 
 with dragons, of the reign of Wan-U, the bottom of 
 which had fallen out in the kiln, and had it installed in 
 the temple courtyard as a specimen of the porcelain 
 "composed of the blood and bones of the deity.'' 
 
 I
 
 CHAPTER XVI. 
 
 MODERN PERIOD (1796-1895). IMPERIAL LIST OF THE 
 
 YEAR 1864. 
 
 DURING the long reign of CKien-lung, which came 
 to an end in 1795, there was a ojradiial des^enera- 
 tion in the artistic qualities of the porcelain produced at 
 the imperial manufactory, and this is reflected in a still 
 more mai'ked degree in the ceramic products of the 
 private kilns of Ching-te-chen. The decoration lost by 
 degrees much of its vigor and freedom of execution, and 
 the colors gradually failed in the dei)th, pnrity, and 
 brilliancy of tone which distinguished the older period. 
 These defects are not compensated by a certain improve- 
 ment in technical manipulation and a studied finish of 
 design, which are mechanical rather than artistic. A 
 century has passed since the death of Cli'ien-lung, and 
 there has been hardly any check to this steady progress 
 of degeneration in any of the five reigns of his successors. 
 These reigns may be conveniently grouped together to 
 form the modern period of the ceramic art in China, 
 which will consequently comprise about a century, 
 dating back from to-day. They are barely represented 
 in collections, unless perhaps by an occasional imitation, 
 which has been so perfectly repi'oduced as to deceive the 
 unwary collector. Still, some knowledge of the porce- 
 lain of the time is necessary, if only to enable one to 
 distinguish such modern counterfeits from the real 
 antiquities that they are intended to represent. A 
 glance at the designs and processes of decoration in use 
 
 463
 
 464 ORIENTAL CERAMIC ART. 
 
 at the present time is necessary, moreover, to help us to 
 understand the descriptions in the older books, when we 
 have not the actual pieces before us. Chinese art, more 
 perhaps than any other, is essentially reproductive and 
 imitative, and most of the modern designs can be traced 
 back to early periods. The artists seem to have no 
 inventive faculty, and yet it is astonishing to notice 
 how rarely they adopt anything from abroad in recent 
 times. 
 
 The imperial porcelain of the reign of Chia-chHng 
 (1796-1820) can hardly be distinguished, except by the 
 mark, from that of CKien-lung. It is highly appreciated 
 by the Chinese connoisseurs on account of its finished 
 technique and the perfect regularity of its decorative 
 designs. The figure scenes are carefully painted, and 
 the scrolled borders and lambrequins are finely and 
 neatly penciled. There is a class of vases, characteristic 
 of this reign, which are entirely covered Avith elaborate 
 scrolls of diverse pattern in underglaze blue, enhanced 
 by a richly gilded background, and which are highly 
 decorative ; but this highly ornate style of decoration 
 seems more fitting for enameling on metal than on a 
 fragile material like porcelain. The mark on the 
 imperial porcelain of this reign is usually attached in the 
 form of a seal, impressed in the paste ; the foot, as well 
 as the interior of the vase, is often glazed with the same 
 pale-green enamel that was noticed in the official produc- 
 tions of the preceding reign. 
 
 The perfect finish of the monochromes of the time is 
 beautifully shown in the finely crackled turquoise vase 
 that has been illustrated in Fig. 8, which is delicately 
 etched under the soft-toned glaze with dragons and bats 
 enveloped in scrolled clouds, and is marked underneath 
 with the seal, also etched in the paste, of Ta CJCing 
 Cilia cKing nien chili — i. e., "Made in the reign of
 
 MODERN PERIOD (1796-1895). 465 
 
 Chia-chHng of the great CKing [dynasty]." Of the 
 other single colors the imperial yellow and the coral-red 
 are among the most successful, although not equal to the 
 finest productions of the CNien-hmg period. 
 
 The bowl illustrated in Fig. 294 is an examj^le of the 
 more complicated decoration of the period. It is orna- 
 mented with floral emblems of longevity in a threefold 
 series, consisting of blossoming prunus-trees, sprays of 
 bamboo, and fir-trees with Polyporus fungus (ling-cliili), 
 which are painted in enamel colors inside and outside 
 the bowl in identical designs, and have the foliage and 
 flowers pierced in parts and filled in with glaze so as to be 
 transparent. The decoration is completed by a medallion 
 containing melons j)ainted in the bottom of the bowl. 
 The seal, penciled in blue under the foot, is Ta CWing 
 Chia chHng nieii c/iih — "Made in the reign of Cliict-cli'ingj 
 of the great CKing [dynasty]." 
 
 This emperor, like his accomplished father, Chien-lungy 
 was fond of poetry. I have in my possession some pieces 
 of a tea service made for him, which are decorated in soft 
 enamel colors with bands of floral scrolls, relieved by a 
 bright enameled gi'ound, and defined by lines of gilding. 
 These are inscribed with an ode of his own composition, 
 celebrating the virtues of tea, the rhyming verse being 
 signed Chia-cJiing in two small panels of round and 
 square outline, attached at the end of each inscription 
 and penciled in vermilion. The full seal mark of the 
 I'eign is also penciled underneath in red, within an oblong 
 white panel reserved in the bright yellow enamel which 
 covers the rest of the ground. The accompanying super- 
 scription is taken from the interior of one of the little 
 fluted dishes of this set ; and it is followed by an attempt 
 at a literal version of the simple verse, which consists of 
 four stanzas of ten characters, each stanza ending with 
 the same rhyme :
 
 466 ORIENTAL CERAMIC ART. 
 
 " Finest tribute tea of the first picking 
 And a briglit full moon prompt a line of verse. 
 A lively fire glows in the bamboo stove, 
 The water is boiling in the stone griddle, 
 Small bubbles rise like eyes of fish or crab. 
 Of rare Ch'i-cli'iang tea, rolled in tiny balls, 
 One cup is enough to lighten the heart. 
 And dissipate the earl}-^ winter chill." 
 
 " Written by the emperor in the middle decade of the ' little spring ' month 
 (i. e., the first month of winter, the tenth month), of the cyclical year ting-ssu 
 (1797) of the reign of Chia-ch'ing. (Signed) Chia-ch'ing." 
 
 The Emperor Tao-huang, wlio succeeded his father, 
 Ohia-chHng, reigned for thirty years, from 1821 to 1850. 
 Some illustrations of the porcelain of his time have been 
 already given. The finest ^vork was lavished at this time 
 on articles intended for ordinary use, such as soup-basins, 
 rice-bowls, teacups Avith covers, and miniature wine-cups, 
 and the seal mark of Tao-hiiang is usually well repre- 
 sented in collections of such things. One of the most 
 attractive of the styles is a plain decoration reserved in 
 white on a soft coral-red ground, which defines the out- 
 line of sprays of bamboo, or other simple floral designs 
 in a charming way. An idea of this may be gained 
 from the flanged bowl in Fig. 63 ; the floral decoration 
 in this, outlined in red, has the blossoms of the China 
 rose slightly touched with pale green. The incinerated 
 iron oxide in these cases is very finely pulverized and 
 intimately mixed with the euameler's plumbo-alkaline 
 flux, and it acquires a brilliancy of tone which is not 
 attainable by the ordinary method of painting it on com- 
 bined by means of glue witli a white-lead flux. This 
 enameled red ground, which dates from the Yung-chmg 
 period, is the "jujube-red" of Chinese ceramic art. The 
 " medallion bowls " of this period are perhaps the most 
 general favorites, and in London, at Christie's auction-
 
 MODERN PERIOD (1796-1895.) 467 
 
 rooms, where they ai'e wont to figure under the name of 
 " Peking basins," they are seldom sold for less than ten 
 guineas a pair. The name is as misleading as that of 
 "Nanking blue and white," as porcelain was never made 
 at either Peking or Nanking. The bowls are found at 
 Peking to-day, because they were sent there from 
 Chlng-te-chen at the time they were made for the 
 service of the emperor. They are ordinary rice-bowls 
 in shape, as may be seen from a glance at the typical 
 specimen illustrated in Fig. 73. This has an etched 
 crimson ground brocaded with conventional flowers, and 
 the medallions which are reserved in the roiige-cVor 
 ground contain sprays of flowers and fruit, Avhile the 
 interior is painted in underglaze cobalt-blue with a 
 basket of flowers encircled by floral sprays. In a second 
 set of similar bowls the medallions are filled ^vith land- 
 scapes of lake and mountain scenery, representing the 
 four seasons. In a third series, decorated with the same 
 crimson ground, the medallions display the varied para- 
 phernalia of the liberal arts known as the /><? hi(, ov 
 "■ hundred antiques." 
 
 In addition to the crimson (^rouge-d\*i') ground, the 
 "■ medallion bowls " display etched grounds of four other 
 colors, viz., pink (I'ose (Vor), which is derived also from 
 gold ; lavender, a manganese color of a charming tint 
 approaching the shade commonly known as French 
 gray; lemon-yellow, and blue; this last is the least 
 successful of the colors, although the rarest, being some- 
 what of greenish tone. The resei'ved medallions usually 
 contain sprays of prunus, magnolia, chrysanthemum, and 
 lotus, mingled with the sacred longevity fungus and 
 bunches of scarlet nandina berries. The yellow bowls 
 include, in addition, another series Avith four medallions 
 filled with miniature landscapes of hill scenery dotted 
 with temples and pagodas, and a third set with three
 
 468 ORIENTAL CERAMIC ART. 
 
 medallions containing outdoor scenes with rams, emblems 
 of the universal revivifying power of spring, according to 
 the punning motive, San yang h^ai ta% in which Yang 
 means " spring " as well as " ram." The blue medallion 
 bowls have the etched ground overlaid with colored 
 clouds, and the four medallions painted with mytho- 
 logical subjects corresponding to the pictui-e in the 
 interior, which is painted in shaded blue. This is a 
 circular medallion containing a picture of a male and 
 female stellar divinity in the midst of clouds, with their 
 constellations above their heads and a flock of birds flying 
 around their feet. The picture suggests a joyous meet- 
 ing of lovers, Imi meaning " joy " as well as " magpie," 
 the "joyous bird" of the Chinese. The stellar divinities 
 in the picture are the cowherd "Ch'ien Niu," riding upon 
 a buffalo, identified with a constellation comprising por- 
 tions of Capricornus and Sagittarius, and " Chih Nii," 
 the Spinning Damsel, a Lyrse. An ancient legend 
 related by Huai Nan Tzii, who died b. c. 122, promul- 
 gates the romantic idea that the two are separated all 
 the year round except on the seventh night of the seventh 
 moon, when Magpies fill up the Milky Way to enable 
 the Spinning Damsel to cross over. A legion of poetical 
 allusions have sprung from this passage picturing the 
 separated lovers gazing at each other from afar or 
 celebrating their joyful reunion.* Of the four medal- 
 lions on the exterior of the- bowls, two opposite ones 
 contain separate pictures of the same cowherd and 
 spinster; the other two are filled with outdoor scenes, 
 in one of which the Spinning Damsel is seen walking 
 under a tree with maiden attendants, in the other in 
 amorous dalliance witli her lover in a garden pavilion. 
 
 Some of the most beautiful bowls and plates of this 
 time, as well as richly decorated vases, have the mark 
 
 * Mayer's Chinese Reader's Manual, pp. 97, 98.
 
 MODERN PERIOD (1796-1895.) 469 
 
 of Shen-te-fang — " Hall for the Cultivation of Virtue " — 
 inscribed underneath. It has already been explained 
 that this was the designation given by the emperor to 
 one of the halls of his palace. That the mark really 
 belongs to this reign has been doubted, but it is 2>i'0ved 
 by a small bowl with everted brim in the Hippisley 
 Collection (No. 367 in the catalogue), which is " decorated 
 with a spray of white plum and longevity fungus, beauti- 
 fully painted, accompanied by a poem from the pen of 
 the Emperor Tao-kuang, and bearing his seal attached. 
 The seal is in the form of a little oval panel with the 
 two characters, placed vertically, reserved in white upon 
 a vermilion ground. Nothing is sacred to the fraudulent 
 imitator in China, and this hall-mark is often forged, so 
 that it is found, as Sir A. W. Franks remarks {loc. cit., 
 page 213), ^' on specimens of different kinds and very 
 vai'ied quality." 
 
 Some of the white unglazed porcelain made at this 
 time, reminding one of the Parian ware of European 
 pottei'ies, is finely modeled and of finished technique. It 
 is seen especially in articles intended for the writer's 
 table, such as cylindrical brush-pots, seals, boxes for seal 
 vermilion, and the like. 
 
 The Emperor Hsien-feng succeeded to the imperial 
 throne in 1851. During his reign the south of China 
 was ravaged by the " Long-haired Kebels " (the lai- 
 pings), who started from the provinces of Kuangtung and 
 Kuangsi, reached the province of Kiangsi in his third 
 year, and were not finally expelled till the spring of the 
 third year of the reign of his successor, Timg-cliili 
 (1864). Ching-te-chen was besieged and taken by the 
 rebels, the imperial potteries were burned to the ground, 
 and the workmen either massacred or driven away. 
 Imperial porcelain of this period is consequently rare, as 
 it could only have been produced and forwarded to
 
 470 ORIENTAL CERAMIC ART. 
 
 Peking duriug the early part of the reign. It resembles 
 in character the production of 2ao-huang, and is inscribed 
 generally with the six-character mark of the reign^ 
 penciled underneath in red in the ordinary script. 
 Among the pieces I have seen that are woi'thy of special 
 notice are vases of good form decorated with nine five- 
 clawed dragons, painted in soft enamel colors, on a white 
 background which is etched in the paste with scrolled 
 waves ; and a dinner service of bowls, cups, and saucer- 
 shaped dishes, painted in coloi'S with processional figures 
 of the eighteen Lohau, or Arhats of early Buddhist 
 history. 
 
 In the third year of the reign of the young Emperor 
 T\ing-cid]i (1864), after the expulsion of the rebels from 
 the province of Kiangsi by Li Hung-chang, who was 
 appointed acting viceroy in that year, while Tseng Kuo- 
 fan, the celebi'ated viceroy, took command of the imperial 
 army in the field, the imperial manufactory at Chiug-te- 
 chen was rebuilt. A shoi't account of the seventy-two 
 buildings which were erected more or less ou the old 
 foundations by the ncAV director, Ts'ai Chin-ch'ing, who 
 Mvas appointed at this time, has already been given in 
 Chapter IX. Some idea will be gained of the porcelain 
 manufactured by a discussion of the ofiScial list of the 
 articles which were requisitioned in this year for the use 
 of the emperor. This is extracted from the Annals of 
 the Province of Kiangsi {Chiang hsi Thing chili, book 
 xciii, folio 13-16), where it comes immediately after the 
 oflUcial list of the reign of Yung-cheng, the analysis of 
 which has been given already in Chapter XIII. The new 
 list is dated the third year (1864) of the reign of T^ung- 
 chill. It is comprised under two headings, of which the 
 first is devoted to the vases and larger pieces {cho chH)y 
 the second to the round ware (jjuan clii).
 
 MODERN PERIOD (1796-1895). 471 
 
 " A. Vases to be sent to Peking for the 
 Emperor. i:^MW^)- 
 
 " 1. Quadrangular vases witli api'icot-sbaped medallions 
 and two tubular handles enameled w itli the Chiin glaze. 
 
 The modern Chun Yu is so called because the colors 
 of the glaze are intended to resemble that of the ancient 
 Chiin-chou porcelain of the Stmg dynasty. It is the 
 sovjffie glaze with a greenish-blue flecking and dappling 
 on a reddish ground, the red being subordinate to the 
 blue, which has been ap})r()priately named " Robin's Egg" 
 by American collectors. The form described here is that 
 of the brilliant jiamhe quadrangular vase illustrated in 
 Plate XLVI, whicli has an apricot-shaped medallion 
 worked in slight relief in the paste under the glaze, in 
 front and behind, and two wide tubular handles at the 
 sides. 
 
 '' 2. Quadrangular vases with apricot-shaped medallions 
 and two tubular handles invested \vith Ko Yao glaze. 
 
 The shape is exactly the same as that Just described, 
 and it occurs not infrequently from the reign of GlCiein- 
 Inng downward, in the stone-colored crackle traversed by 
 a network of reddish lines, Avhich is known as Ko Yu. 
 Ko means " elder brother," and the name dates from 
 early in the Sung dynasty, Avhen t^vo brothers named 
 Chang are related to have made celadon ware at Lung- 
 chHian. The productions of the elder brother, which 
 were distinguished by liaving a crackled glaze, were 
 called Ko Yao, and the name, as applied to crackled 
 porcelain generally, has survived to the present day. It 
 is given especially to the ordinary stone-gray crackle 
 which is seen in every Chinese collection. The cracklins^ 
 
 &
 
 472 ORIENTAL CERAMIC ART. 
 
 is produced by combining with the materials of the glaze 
 a natural stone called Lan-t'ien shih from its place of 
 j^roduction, which appears to be a kind of compound 
 magnesia silicate allied to steatite, and which takes the 
 place of the lime that gives solubility to the ordinary 
 glaze. 
 
 " 3. Quadrangular vases with the /)« hua symbols 
 enameled with the Ko Yao glaze. (^ f jl E9 ^ A^ 
 
 These are tall oblong vases of square section with the 
 eight trigrams of ancient Chinese mystic lore worked in 
 relief underneath the crackled stone-gray glaze. The 
 eight symbols usually stand out in relief on each of the 
 sides, but sometimes, as in the vase of this kind illusti'ated 
 in Plate XXIII, there are two displayed on each side, 
 separated by the dual yin-yang symbol in the middle. 
 Vases of this form and design stand upon Taoist altars 
 holding the slips of bamboo used in divination ; the vase 
 is shaken, and the stated number of slips are selected at 
 each operation to determine the prognostic, which is 
 worked out by the presiding seer with the aid of his 
 divination books, while the ^\ orshiper is burning incense 
 before the sacred shrine. 
 
 " 4. Vases in the foi'm of ancient wine-vessels of Jade 
 enameled copper-red. (^ fl[ 3l ^ ^ S)-" 
 
 Yu hu cli'un is the common name of a vase with bulg- 
 ing pyriform body poised upon a circularly rimmed foot, 
 contracting gradually upward with a narrow neck and 
 expanding sharply at the orifice to make a w^der hori- 
 zontal lip. The name comes from the modeling of the 
 form on the lines of the graceful wine-vessels that used to 
 be carved out of jade, although these last were generally 
 ewers furnished with a curved spout, an open flowing 
 handle, and a knobbed cover, while the porcelain type is 
 an ornamental flower-vase. The term chi-hvng used here
 
 MODERN PERIOD (1796-1895). 473 
 
 answers to the bright ruby-reel derived from copper, which 
 is the most successful of the modern single colors, and 
 occasionally will almost rival the celebrated savg-ch-hmif 
 of the JCang-hsi period in the brilliancy of its flashing 
 tones. The character chi employed above is an unau- 
 thorized form, that one would hardly expect to find in an 
 official list ; it means the color of the sky after rain, and 
 can consequently be combined properly only with citing, 
 "blue," to form cld-clCing, as in No. 42, beloAV, and 
 another character with tlie same sound, meaning "sac- 
 rificial," ought to be substituted, chi-lmng, or " sacrificial 
 red," being the traditional name of the ruby-red cups 
 which were made in the reio:n of Hsimn-te for the ritual 
 worship of the emperor on the Altar of the Sun. 
 
 " 5. Vases in the form of ancient wine-vessels of jade 
 with threads worked in relief decorated in blue. ( p^ 
 
 I have not seen an example of this kind, but am told 
 that the vases have encircling rings worked in the paste 
 in the form of ropes, so as to divide them into sections for 
 decoration in blue and white. 
 
 "6. Vases of the Yil hit cWun, or carved jade type, 
 decorated in blue with c^arden scenes inclosed by railings. 
 
 (W ^ ffi IF 5 ^ § «)." 
 
 These vases, the form of which has been already 
 described, have an open-rail fence drawn round the lower 
 part of the bulging body, inside which rise clumps of 
 graceful bamboos, shrubs of naudina with bunches of 
 berries and flowering trees of all kinds, with an occa- 
 sional rockery in the intervals. The design dates from 
 the reign of Cli'ien-lung. 
 
 " 7. Vases in the form of paper-beaters, with the fai- 
 clii symbol, invested with imperial o;laze decorated in 
 
 colors. mM'nm±mm ii »)." 
 
 The cliih-rli'ui pUng, or " paper-beater vase," has a
 
 474 OKIENTAL ( ERAMIC ART. 
 
 cyliiulrical body rounding in above to a straight upright 
 neck, of about the same length as that of the body of the 
 vase. If the body is more l)ulging and the upright neck 
 proportionally narrower, as in the powder-blue vase which 
 is illustrated in Plate XCIIl, we have the Yv-cli'ui P"* incjy 
 or "oil-beater vase," the sluqie being that of the mallet 
 commonly used in China for crushing seed to extract the 
 oil. The Cai-clii symbol refci red to is the creative monad 
 disk dividing into the dual yin ycmg, "darkness and 
 light," which is displayed in Plate XXIII. 
 
 *' 8. Quadrangular vases, with the elephant symbol of 
 great peace enameled skv-'>lue. (^ W ^ >vC i 
 
 The rebus T\il p'lng yu linking (fifth to eighth charac- 
 ters above), " an auguiy of great peace," was referred to 
 in Chapter V, in the descri[)tiou of an ancient pallet of 
 Sung porcelain etched with the figure of an elephant. 
 The vases referred to above have two handles molded in 
 the form of elephants' heads, implying the same happy 
 augury. The modern single color called fien-cJi'mg, or 
 " sky-blue," is dei'ived from cobalt mixed with the feld- 
 s})athic glaze of the high fire ; it is of somewhat darker 
 tone than the dair de June of older times, which was pro- 
 duced by the combination of the same ingredients with a 
 purer and more translucent glaze. 
 
 " B. Round Ware to be sent to Peking for the 
 Emperor. ["^^ ^ |M^ ^^ 
 
 " 9. Medium-sized l)owls decorated in brown with 
 dragons. [% f| ^ ^)." 
 
 These are the bo^vls with five-clawed imperial dragons 
 of maroon tint ; the decoration was painted on with the 
 copper-red color sur le era, and the piece was subse-
 
 MODERN PERIOD (1796-1895). 475 
 
 quently glazed and fired in tlie large furnace, so that 
 the technique is the same as that of the blue and 
 white. 
 
 " 10. Medium-sized bowls enameled in copper-red. 
 
 Ohi-hung is the ruby-red monochrome derived from 
 copper silicate referred to under No. 4 of this list. 
 
 "11. Large bowls painted in blue with the Indian 
 
 lotus, mmm^w-' 
 
 The Western or Indian lotus (Hsi Fan lien) is the 
 most common motive of the conventional floral scrolls 
 with which Chinese porcelain is so often decorated. 
 
 " 12. P'ive-inch dishes painted in blue with the Western 
 
 lotus. (WS^Si'M)" 
 
 The dishes and plates of a Chinese service are all 
 round, and what we should call saucer-shaped. In this 
 list those of half a foot in diameter and upward are called 
 p'an, " round dishes "; those of less size are called tieh, 
 w^iich we may conveniently render as "platters," 
 
 "13. Medium-sized bowls painted in blue with the 
 eiirht mystic trigrams and storks in the midst of clouds. 
 
 (W « m A ib cf ffl" 
 
 The bowls are decorated outside with eight flying 
 storks enveloped in scrolled clouds. The stork is the 
 aerial courser of the Taoist immortals, and it is often 
 represented carrying in its beak bamboo slips of fate 
 inscribed with the^^^r hita symbols. 
 
 " 14. AVine-cups decorated in enamel colors with nar- 
 cissus-flowers. (5 ^ 7K lUl ^ 51 ^)." 
 
 The wine is served hot at the Chinese banquet, poured 
 into tin}' bowl-shaped cups of porcelain. The Aareissus 
 tazetta, which has white flowers with yellow cups in the 
 center, is a favorite floral decoration on porcelain ; it is 
 the slnii hsien liua, " the water-fairy flower," of the 
 Chinese.
 
 470 ORIENTAL CERAMIC ART. 
 
 " 15. AVine-cups with exj^anding rim painted in red 
 with dragons. (^ ll f | ic P g 3l)." 
 
 This is the design most frequently seen on these little 
 cups. The dragons, of the imperial iiv^e-clawed type, 
 are painted in coral-red over the white glaze ; the j)orce- 
 lain, having been previously glazed and fired in the large 
 furnace, is decorated with the iron-red color, and fired a 
 second time in the muffle stove. The bowl illustrated in 
 Plate LXVII may be referred to as a beautiful example 
 of this kind of decoration. 
 
 " 16. Round dishes a foot in diameter decorated in blue 
 with a pair of dragons. (W tt f I ffi K M)-" 
 
 "17. Soup-bowls Avith di'agous incised in the paste 
 under a dark imperial yellow glaze. (^ ^ "^ 0g g^ 
 
 The soup-bowl {pang ivari) is sjnaller and shallower 
 than tbe ordinary rice-bowl {fern wan). The first charac- 
 ter used here means literally " pretty " or " bright "; it is 
 substituted for another of the same sound meaning 
 " watered," which is technically given to several single- 
 colored glazes applied with a brush. An lung means 
 " concealed dragons," but an has a special technical mean- 
 ing in ceramic art, and an laia is the expression always 
 used for decorations etched with a style in the paste, 
 which are brought out more strongly by holding the 
 piece up to the light. 
 
 " 18. Medium-sized bowls of barrel-shaped form with 
 dragons incised in the paste under a bright yellow glaze. 
 
 19. "Teacups enameled bright yellow. (^ J^ ^ 
 
 SSL}' 
 
 The teacup (cli' a-chung) referred to here is taller and 
 more upright in form than the clt'a-wan, and differs in 
 never being furnished with a cover, but the names are 
 often used indiscriminately ; neither has a handle at the 
 
 I
 
 MODERN PERIOD (1796-1895). 477 
 
 side like our teacups. When a teapot is not used, the 
 tea-leaves are infused in cups with cov^ers, which ai'e 
 called hai-ivan, Jcai meaning " cover." AVhen the tea is 
 drunk, the cover is manipulated so as to leave only a 
 narrow chink at the rim of the cup, to keep the tea- 
 leaves inside. 
 
 " 20. Medium-sized bowls with dragons incised in the 
 paste under a bright yellow glaze. (^ S © f I 't' 
 
 " 21. Medium-sized bowls of ringlike outline painted in 
 ])lue with designs of the three fruits. (^ ^ ^^ -^ j)P 
 
 ^ ^ ^)" 
 
 The three fruits which are usually represented are 
 
 the peach, j)omegranate, and Buddha's-hand citron, em- 
 blems of the three abundances (san to) of years, sons, 
 and promotions. 
 
 " 22. Soup-bowls with expanding rims w^ith dragons 
 incised in the paste under a bright yellow glaze. (^ "i^ 
 
 "23. Kound dishes six inches in diaiueter ]\'iinted in 
 blue with a pair of dragons. (^ !^ hI ^ ~\1* ^)-" 
 
 " 24. Round dishes a foot across painted in blue with a 
 decoration of spiral scrolls inclosing longevity characters 
 
 '' 25. Teacups {GlCa Waii) painted in blue with sprays 
 of the Oleafragrans flower. (W ;^ >B ^ ^ ^)-'' 
 
 The Mu-lisl is a dwarf variety of Oleafragrans with 
 7'eddish flowers, which are even more sweet-scented than 
 those of the ordinary white variety; it is but rarely 
 employed for the decoration of porcelain. 
 
 " 26. Medium-sized bowls decorated in enamel colors 
 with sprays of precious lotus, (jj ^ ft ^ 't' ffi)-" 
 
 The precious lotus (^pao lieii) is one of the varieties of 
 the Neliuiihiiiin speciosum held sacred by the Buddhists, 
 who liken the precious jewel of their faith to the limpid
 
 478 
 
 ORIENTAL CERAMIC ART. 
 
 drops of pure water that collect upou its l)i'oad peltate 
 leaves. 
 
 " 27. Teacups decorated with white bamboo upon a 
 ground painted red. (^ It Sfe 6 W ^ ^)" 
 
 This charming design, with tlie graceful leafy sprays 
 of the bamboo reserved in white and relieved by a soft 
 coral-red background, was adopted in the imperial manu- 
 factory in the CNien-lvmg period, the seal of which is 
 found penciled iu blue underneath bowls of almost egg- 
 shell thinness and purest color. The red is produced 
 from iron peroxide prepared by the incineration of the 
 green sulphate. The more modern bowls are thicker, 
 and the red tends to become of a brick-dust hue. 
 
 " 28. Six-inch saucer-dishes painted in blue with the 
 'three friends' and figure scenes. (^ -^. ^ \ ^ 
 
 The " three friends" (san yu) in ordinary Chinese par- 
 lance are the evergreen pine, the bamboo, and the winter- 
 flowering plum, whicli keep green in cold times of advei'- 
 sity. In the decoration of porcelain they are usually 
 grouped in a landscape scene with the figures of hermits 
 or aged pilgrims. But there is another group of " three 
 friends" in the persons of Confucius, Buddha, and Lao 
 Tzu, who are often depicted examining scrolls of ancient 
 lore, or engaged in distilling the elixir vitm. 
 
 " 29. Tea-dishes {ClCa P''an) painted in blue with a 
 pair of dragons, (W ffl SI ^ ®-" 
 
 There are no porcelain saucers in Chinese tea-sets, their 
 place being taken ])y boat-shaped saucers of metal, lac- 
 quer, or some other material. The tea-dishes referred to 
 here are little trays with upi'ight borders of oblong, foui- 
 lobed, or fluted outline, like the one that was described 
 under the reign of Chia-cli'ing^ with the imperial verse 
 inscribed upon it. 
 
 " 30. Six-inch saucer-shaped dishes decorated with
 
 MODERN PERIOD (1796-1895). 479 
 
 green di-agons on a ground with scrolled waves incised in 
 the jiaste and painted in colors. (^ H§ 7}v U f | 
 
 " 81. liound dishes a foot in diameter, painted in blue 
 with archaic phoenixes. (W S IE Vffi K M)-" 
 
 The l^uei feng is tlie peculiar conventional phoenix of 
 ancient bronzes in which the body desjenerates into orna- 
 mental sci'oUs. 
 
 " 32. Round dishes nine-tenths of a foot across, with a 
 blue ground inclosing dragons and clouds painted in yel- 
 
 low. (M * ^ s a ii ;t t ^'•" 
 
 This is a very ancient style of decoration, \vhich w^e 
 noticed in the description of the imperial porcelain of the 
 reign of CMa-ching (1522-66). The piece is first treated 
 like an ordinary blue and white specimen, which is to 
 liave the decoi'ation reserved in white upon a mottled 
 blue ground, the white parts being subsequently enam- 
 eled yellow, and the dish being retired to fix the color. 
 
 " 33. Medium-sized bowls decorated with phoenix 
 medallions painted in i-uby-red underneath a pure wliite 
 
 grouiui. (ig e f IB s ji in H E tf .ffi)" 
 
 The red of the grand feu, ^\ Inch is derived from cop- 
 per, has had the name of pao sliao Imng, literally " ruby- 
 iired red," since the time of Hsilan-te (1426-35), when it 
 was first nsed in the decoration of porcelain, and there is a 
 widespread conviction in China that the color is actually 
 produced by rubies pulverized and combined with the 
 materials of the glaze. In the present day amethystine 
 quartz (tzu ying shih) is used in the preparation of the 
 color, but this can act only in modifying its solubility and 
 penetrative power, because, like the ruby, amethyst be- 
 comes colorless in the intense heat of the furnace. The 
 expression fienpai yu, which is used here to distinguish 
 the class from that painted in red under a celadon ground, 
 like No. 39 in this list, has also given i-ise to much misap-
 
 480 ORIENTAL CERAMIC ART. 
 
 prehension both in China and elsewhere. The character 
 fien., " filled in," is substituted for an older one of the 
 same sound meaning " pure " or " sweet," and the expres- 
 sion can hardly mean " a\ hite glaze to be filled in with 
 colors," although Du Sartel, in La Porcelaine de 
 Cliine, gives it so on Julien's authority, and makes 
 it the heading of a whole class, which, as a critic 
 justly observes, threatens to remain without a member 
 to I'epresent it. 
 
 *' 84. Teacups painted with yellow dragons and clouds 
 lelieved by a blue ground. (^ tt ^ S S f I 
 
 '' 35. Six-inch saucer-shaped dishes of copper-red. (^ 
 
 "36. Medium-sized bowls of copper-red. (^ ^I ff* 
 
 " 37. Seven-inch saucer-shaped dishes of copper-red. 
 
 (* ir -b ^ ®." 
 
 " 38. Soup-bowls of depressed barrel-shaped form enam- 
 eled brown. (^ ^ f fll 1: ^ ?i ffi;)." 
 
 This glaze, called tzii clmi, or "burnished gold" {or 
 brunl), by the Chinese, is derived by them from a native 
 ferrug-inous mineral called tzu chin sliih, which is com- 
 bined with the glaze in the way so fully described in 
 Pere d'Entrecolles's Letters. 
 
 " 39. Medium-sized bowls painted with phoenix medal- 
 lions in red under a celadon glaze. (^ ^ fpl ^ H 
 
 a + ffl" 
 
 Tiung-chbing is the Chinese name of the soft sea-green 
 shade which we call celadon. In modern books it is 
 often written, as it is here, with "winter" as the first 
 character, as if it were " evergreen " ; originally it appears 
 to have been written with a character of the same sound 
 (tung) meaning " east," the tint being that of the porce- 
 lain produced during the Sung dynasty at the eastern
 
 MODEKN PERIOD (1796-1895). 481 
 
 capital, the modern K'ai-feng-fu, in the province of 
 Honan. The combination of the decoration in under- 
 glaze copper-red of the grand feu Avith the celadon glaze 
 has been already noticed in the description of the porce- 
 lain of the reign of Yung-cheng. 
 
 "40. Seven-inch round dishes decorated in the five 
 enamel colors with spiral scrolls and words of hajijiy 
 augury. (£ ^ K » ^P S -fa "t M)" 
 
 The spiral-scroll design is likened by the Chinese to 
 " silkworm coils " ; forms of it occur on the most archaic 
 bronzes. A fitting felicitous inscription, which is often 
 displayed on modern imperial porcelain, is Wari shou tvu 
 cldang, " A myriad ages never ending ! " Several other 
 formulae were found in the lists of the Ming dynasty 
 given in Chapter VII. 
 
 " 41. Teacups (ChVc chung) decorated in the five enamel 
 colors with mandarin ducks and lotus flowers. (3S. ^ 
 
 The beautiful -waterfowl called Anas galericulata is 
 commonly known as the '^ mandarin duck." They exhibit, 
 when paired, a remarkable attachment to each other, and 
 have thus become emblems of connubial love and fidelity 
 in a higher sj^here. This decoration is often met with, 
 and it has already been described in the ceramic art of 
 the Ming dynasty. 
 
 "42. Teacups (^Oli'a Wan) enameled deep blue. (^ 
 
 The character chi is defined in dictionaries as the color 
 of the clear sky after rain, and clii chHng in ceramic par- 
 lance is the deep blue monochrome tint derived from 
 cobalt, which in its deepest shade, approaching that of 
 indigo, becomes the ta cliHng of the Chinese, the gros 
 hleii of Sevres. It may be either blown on to form the 
 "powder-blue" glaze, or painted on with the brush in 
 the ordinary way.
 
 482 ORIENTAL CERAMIC ART. 
 
 "43. Teacups (67i'« TF^i'/O decorated in colors with the 
 eight precious emblems. (^ J\^ ^ ^ ^)." 
 
 The I^a Pao referred to here are the eight precious 
 emblems of the Taoist cult, the several attributes of the 
 eight genii, or immortals, which are displayed on the 
 large pilgrim bottle in Fig. 50. 
 
 " 44. Large bowls decorated with the PaHsien painted 
 in blue, and sea-waves penciled in red. (^ ^ ^ TK 
 
 W ^ A I'll] X mr 
 
 The eight Taoist immortals crossing the sea in proces- 
 sion is a favorite subject of decoration for the sides of a 
 bowl, each one holding in his Ijands his distinguishing 
 attribute. A large bowl of the o\(\.famille verte is illus- 
 trated by the inimitable pencil of Jules Jacquemart in 
 Plate IX of Histoire de la Porcelaine, although the 
 author, in his description of the bowl, ingeniously discov- 
 ered an emperor and empress accompanied by a band of 
 musicians in the procession of figures. 
 
 " 45. Mediuai-sized bowls decorated inside in blue and 
 white, and outside in colors with lotus-flowers. (^ ■^ 
 
 ^ ^ ^ W « tf ffi)" 
 
 " 46. Bowls decorated with the eight symbols of happy 
 augury. (A ^ P ^)." 
 
 The Pa Glii-hsiang, the well-known set of eight Bud- 
 dhist symbols that are so often found on porcelain, were 
 figured and described in Chapter IV. 
 
 "47. Bowls of peach-yellow porcelain decorated in 
 
 green. (H ;fE t* ^ g ^)." 
 
 These are said to be invested with a monochrome 
 ground of the shade referred to, variegated with green 
 mottled clouds, which are overlaid in the style of some 
 of the composite ^6i'/?2/>e glazes. 
 
 " 48. Round dishes five inches in diameter with purple 
 and green dragons on a monochrome yellow ground. 
 
 i f I M 'K £ t
 
 MODERN PERIOD (1796-1895). 483 
 
 This is a very favorite pattern in the imperial palace 
 to-day. It comes under the heading of the '^tliree-col- 
 ored decoration of the muffle stove." The outlines of 
 the designs are incised in the paste and filled in with 
 manganese-purple and copper-green glazes, so as to be 
 displayed on the enameled yellow })acl<ground. The 
 bottom is also coated yellow^, and the mark underneath is 
 penciled in green. 
 
 " 49. Three-inch platters (2/e// ) with purple and green 
 drao;ons on a monochrome yellow ground. (^ |J h1 
 
 " 50. Soup-bowls of the fourth size enameled bright 
 
 yellow. mWumM^&)\ 
 
 " 51. Round dishes five inches in diameter, decorated 
 with phoenixes and clouds. (5 S £ "^ ^)-" 
 
 " 52. Medium-sized bowls decorated in the live colors, 
 with dragons and ]^h<:enixes in the midst of flowers. 
 
 (£ ^ ii a * ^ 4" ffi)" 
 
 " 53. Four-inch platters with purple and green dragons 
 on a monochrome vellovv ground. (^ ^ gg 5ra K k9 
 
 " 54. Round dishes nine-tenths of a foot in diameter, 
 decorated in colors with the eight Buddhist symbols of 
 happy augury in the midst of a floral ground, i:^ yv 
 
 "55. Large bowls decorated in colors, with ])li(enixes 
 of archaic design flying through flowers. (^ ^ HL $ 
 
 There is a certain amount of repetition in this some- 
 what lengthy catalogue, but it is hoped that it may be a 
 useful contribution to the terminology of the ceramic art, 
 and it is with this view that the Chinese characters in the 
 original have been inserted under each heading. Actual 
 specimens of the articles described are not j'are in collec- 
 tions, and it is always safest to go back from the known
 
 484 ORIENTAL CERAMIC ART. 
 
 to the unknown, and it is more especially so in China, 
 where nothing modern is acceptable unless it be modeled 
 after the antique. Chinese decorative art in its present 
 phase is highly conventionalized. It has never been dis- 
 tinguished for originality, and some of its most promi- 
 nent motives, like the dragons and phoenixes that occur 
 so frequently in the lists, have been adopted from India 
 through Buddhist cliannels, and may be traced back to 
 the nagas and garudas of Indian mythology. 
 
 Another aspect of modern porcelain manufacture is the 
 direct and studied reproduction of older pieces. The 
 correct date is certainly inscribed upon the porcelain of 
 the imperial factory, but it is rarely, if ever, found upon 
 the productions of the private kilns. The most ambi- 
 tious efforts of the private potters are carefully copied 
 from ancient pieces, and the original marks, as well as 
 every detail of the ornamental designs, are exactly repro- 
 duced. For the rest, the general rule is that the com- 
 moner the ware the more ancient the mark ; and a visit 
 to any ordinary crockery shop in China will show that 
 nearly every blue and white cup on the shelves is marked 
 Hsi'mn-te, and that most of the colored ware is inscribed 
 CKeng-hua, although everything in the shop is avowedly 
 modern, and the pieces have not the slightest preten- 
 sions even in style to such an early date as the Ming 
 dynasty. 
 
 Some of the colorable imitations of celadons and other 
 single colors come from Japan, but Japanese porcelain 
 rings with a different note when tested, being made of 
 other materials than that of China. The Chinese are in 
 these latter days also coming to the front in the fabrica- 
 tion of fraudulent counterfeits, and have lately exported 
 blue and white vases decorated with figure scenes, as well 
 as others with a raottled-blue ground overspread with 
 prays and blossoms of prunus reserved in white, and the
 
 MODERN PERIOD (1796-1895). 485 
 
 new pieces are occasionally brilliantly executed in this 
 K^ang-hsi style in a way to deceive the unwary. The 
 modern copies of the vases of the same period, decorated 
 in enamel colors, are much less successful, and may be 
 readily distinguished by the want of luster in the colors, 
 especially in the greens. 
 
 For the single colors the greatest pains are lavished by 
 the imitator upon the rarest and most expensive, as giving 
 the most remunerative result. The vase shown, in Fig. 
 297 is an example of a new specimen of satig-de-hoeuf 
 glaze of remarkably rich and brilliant color. It rivals a 
 genuine old Lang Yao vase in its varied i^lay of crimson 
 shades, albeit the crackled o-laze wants somethino; in 
 depth of tint. The technique, however, is less perfect ; 
 the thick, grayish, minutely crackled glaze with which 
 the interior is coated is deeply fissured in places, and the 
 foot of the vase has had to be ground on the wheel to 
 remove drops of glaze that have "run " down during the 
 firing. It is impossible to remove all traces of such 
 drops, which usually occur in modern pieces of the kind — 
 never on the old, when the glaze, which is uniformly dis- 
 tributed throughout, always terminates below in a 
 straight line of mathematical regularity, and the foot of 
 the vase exhibits no marks of the polishing wheel. The 
 glaze in the new pieces is much more fluescent, so that 
 the color tends to run down, and the upper rim of the 
 vase is often left perfectly white. I may perhaps be 
 excused a personal reminiscence to express my meaning : 
 On a visit to a curio-shop in Peking one day this year, I 
 was shown a small sang-de-hoeiif vase, the lower part of 
 which displayed the richest color, but the upper two 
 inches of the neck were a glassy white, and I remarked 
 that, were it not for the neck, it might well pass for an 
 old piece. A month later I was invited to see a collec- 
 tion that a traveler was making, and in the most promi-
 
 486 ORIENTAL CERAMIC ART. 
 
 nent position was exhibited the same little vase, neatly 
 mounted in a case, lined with pale blue silk, to throw 
 out its color. Two inches of the neck had been sawn off, 
 and the place had been so carefully rounded and polished 
 that no suspicion of the fact had occurred to the pur- 
 chaser, who fondly imagined that he possessed a genuine 
 antique of the first water. I must confess that I did not 
 expose the ingenious fraud of the " heathen Chinee " at 
 the time, but am driven to do penance now 2i^ particeps 
 crirainis. 
 
 For cutting porcelain the jade-carver's wheel is the 
 means commonly employed. The apparatus, which is 
 worked by a treadle, is fitted with flat disks of soft iron 
 of different sizes. The disk selected, w^hen it has been 
 fitted for use, is kept moistened at the edge with a paste 
 made of garnet or ruby powder mixed wdth water. It is 
 astonishing to see how" readily a large porcelain vase can 
 be cut horizontally in two, or the rim of a chipped piece 
 trimmed perfectly even, by a simple machine like this. 
 Many a neat ovoid vase has been carved in this way out 
 of the lowei' part of a broken Ijeaker ; and, by the same 
 means, originally oblong tiles, intended to be inlaid in 
 woodw^ork, are often found to have been bisected longi- 
 tudinally, so that the two faces may be framed and 
 mounted separately as companion pictures. 
 
 The imperial porcelain of the present reign of Kucvng- 
 hsii continues to be decorated in the same lines, and it 
 does not call for any special notice. There has been 
 some attempt at a revival of the ceramic art under the 
 patronage of the empress dowager, who has ruled 
 China durinii: two Ions; minorities. In addition to her 
 other accomplishments, she is a pi'ofessed artist and 
 calligraphist, and a picture from her pencil with her 
 autograph signature is often seen occupying the place 
 of honor among the birthday gifts of a high mandarin.
 
 MODERN PERIOD (1796-1895). 487 
 
 The special seals attached to the porcelain made for her 
 palace have been already given in Chapter IV. 
 
 Quite recently Ching-te-cheu has been devastated 
 by Hoods brought down by the mountain torrents, and 
 a sad account of ruin and desolation is related by 
 Rev. Virgil C. Hart, D. J)., one of the latest missionary 
 visitors to the place. It is to be hoped that better times 
 are in store for China, and for the porcelain industry, 
 which was once one of her chief glories. As M. Gran- 
 didier says, in concluding his work (X<x Ceramique 
 Chinolse, page 224) : " The modern period, up to the 
 present day at least, is little worthy of our attention ; 
 the art is dormant, and holds itself aloof, disowned, 
 abandoned, dishonored. Cheapness attracts the buyer. 
 The fatal consequence is a common product ; quality 
 is incessantly sacrificed to quantity. The hour of 
 decadence struck a hundred years back, and there is 
 no sign by which to foresee any serious renaissance 
 near at hand."
 
 CHAPTER XVII. 
 
 THE FORMS OF PORCELAIN OBJECTS AND THEIR USES 
 IN CHINA. 
 
 THIS is a wide subject, on which there is oppor- 
 tunity here for only a few desultory remarks. An 
 extensive collection of Chinese porcelain exhibits a long 
 series of objects of multitudinous shapes and sizes, 
 removed from their original habitat, and far from their 
 usual surroundings, so that the proper use of some of 
 the things can hardly be guessed by the uninitiated. 
 Images of Buddhist and Taoist divinities, torn from 
 their temple shrines, are grouped with profane figures, 
 and sacred ritual vessels, intended for ancestral offerings 
 of food and w^ine, are mingled promiscuously with 
 common utensils of daily life. A seated representa- 
 tion, for instance, of Maitreya, the Buddhist Messiali, 
 with rosary in hand, whose smiling features and luxuri- 
 ant fio-ure have earned for him in France the traditional 
 title of the Pousa or god of content and sensuality, is 
 placed close to the reclining figure of Li T'ai-po, the 
 celebrated poet, who has fallen, overcome with wine, 
 and is embracing his capacious wine-jar, designed to 
 hold water for the ink-pallet of a modern emulator of 
 his genius. An ecclesiastical vase from a Buddhist 
 altar, like the one of a pair, illustrated in Plate XX, 
 should be distinguished from an ornamental flower-vase 
 or a perf ame-sprinkler ; and a sacred libation-cup, or 
 a cup designed for use during the marriage ceremony, 
 from an ordinary wine-cup. Sweet-smelling flowers are 
 highly appreciated by the Chinese, and we see per- 
 
 488
 
 THE FORMS OF PORCELAIN OBJECTS. 489 
 
 f orated baskets of porcelain in which they are sus- 
 pended before Buddhist altars, pierced cylinders and 
 boxes for the table, and openwork flasks, fashioned in 
 the form of scent-satchets, intended to be strung uj)on 
 a lady's girdle, filled with blossoms of the scented 
 jasmine or of the Olea fragrans. So one ought to be 
 able to diagnose the use of an incense-urn or a Joss-stick 
 holder, to recognize a bowl for goldfish, a flowei-pot, or 
 a dish for flowering bulbs, an arrow-receptacle (chien 
 thing), or a brush-cylinder (^9^ t\mg), the apparatus for 
 a game of gohang, or a dice-box. The dice-box is a little 
 round tray with a raised circular rim, within which fits 
 tlie dome-shaped cover in which the dice are shaken ; 
 this is taken off to show the result of the throw. 
 Cricket-fighting is another favorite pastime with the 
 Chinese, and the curved hollow cellules with movable 
 covers, in which the tiny champions are brought to the 
 fray and incited to combat, are sometimes molded out of 
 white biscuit porcelain, although ordinary faience^ being 
 more absorbent of water, is a better material for the 
 purpose. The cricket naturally lives in dam^^ places, 
 and, in solitary captivity, is kept in an earthenware jar 
 with a cover like an old-fashioned tobacco-Jar, the lid 
 of which is excavated to hold water. The cricket-bowls 
 of ancient porcelain that we read of are of wide, shallow 
 form, and are used as the arena of the fio^ht. 
 
 The author of the Tao Shuo, in the first chapter of 
 bis book, gives a brief sketch of the various kinds of 
 objects made during the present dynasty, the outlines 
 of which may be followed here with some amplification 
 by the way. He begins with a list of the sacrificial 
 vessels of bronze, dating from the Three Ancient 
 Dynasties, that are now all made in porcelain, including 
 the large vessels of varied form called tsun, the smaller 
 vases called lei, from their scrolled designs, the tripod
 
 490 ORIENTAL CERAMIC ART. 
 
 or four-legged bowls called thig^ the bowls without feet 
 (yi) for oiferiugs of corn, the wiue-jars (yu)^ and the 
 libation-cups (cliiieli). The forms of the ancient vessels 
 are not, however, always exactly copied, nor are the uses 
 necessarily the same in modei-n times. The ting and yi, 
 for example, which used to contain rice and millet, are 
 now employed for burning incense, which was unknown 
 in ancient China before the introduction of Buddhism ; 
 and the ancient vessels of bronze, fashioned in the form 
 of an elephant or of a rhinoceros, in which the holloAV 
 body contained the wine, are now represented by the 
 same animals, molded of solid porcelain, carrying on their 
 backs capacious vases with movable covers. The forms 
 of these are figured in the illustrated ritual books, and 
 accompanied by a minute description of the different 
 designs and dimensions. 
 
 Some idea of the variety of the sacrificial vessels may 
 be gathered from an account of the tables set out for the 
 ceremonial worship of the emperor at the T'ai Miao, the 
 Ancestral Temple in the Prohibited City at Peking, to 
 which he proceeds in state four times every year, to offi- 
 ciate as chief priest and preside over a banquet prepared 
 for the spirits of his ancestors. A i-ow of six libation- 
 cups (cliileh) tilled with wine is placed in front, followed 
 by four tureens of yellow porcelain containing soup and 
 broth, which include a pair of teng, tazza-shaped, with 
 solid stem and spreading foot, and a pair of Jising with 
 mask handles and three scrolled legs, all of which are 
 provided with covers. In the center are four deep 
 dishes, with spreading feet and shaped covers, made of 
 wood, lacquered and gilded, filled with boiled rice and 
 three kinds of millet, a pair of /'?^ of oblong shape, and a 
 pair of oval huei.^ These are flanked on either side by 
 
 * One of these dishes, made of yellow porcelain, is figured by Grandidier {La 
 Ceramigue Chinoise, Plate II, 7).
 
 THE FORMS OF PORCELAIN OBJECTS. 491 
 
 twelve stemmed bowls with covers coutainiDg all kinds 
 of cooked dishes, sturgeon and minced carp, deer's 
 sinews, minced hare and minced deer, sweetbread, pickled 
 pork, etc., with cakes of different sorts, and fruit, includ- 
 ing hazelnuts, water caltrops, the prickly waterdily 
 {Euryale ferox), jujubes, and chestnuts ; the twelve 
 bowls {j)ien) on the right being made of closely Avoven 
 slips of bamboo, lacquered yellow, the twelve {tou) on 
 the left of carved wood, gilded. Next come three large 
 oblong metal trays on separate stands with the meat 
 offerings of a bullock, a sheep, and a pig. A box of 
 woven bamboo, in front of all, holds rolls of undyed silk 
 stuffs, which are burned so that the spirits of the deceased 
 may be clothed as well as fed. 
 
 The Wu Kung, or set of five sacrificial utensils, which 
 is never absent, is displayed in the foreground on a sep- 
 arate table, consisting of au incense urn in the centei\ 
 with two pricket candlesticks and two side pieces. The 
 last are changed at each season, a pair of rhinoceros vases 
 (Jm tsun) being set out in the spring, a pair of elephant 
 vases (lisiang tsuii) in the summer, a cup-shaped pair of 
 vessels {cliu tsun) in the autumn, and a pair of plaiu 
 ovoid vases with spreading lips (Jiu tsun) in the ^vinter. 
 
 The ritual vessels for the Ancestral Temple are 
 enameled yellow, that beiug the imperial color. It is 
 aIso, in accordance with notions upon color symbolism, 
 which the Chinese share with other ancient Oriental 
 nations, the color of earth, so that the porcelain vessels 
 for the Altar of Earth in Pekins; are also enameled yel- 
 low, as Avell as those used by the emperor in his worship 
 of the patron god of agriculture, and by the empress in 
 her worship of the patron goddess of silk, at their 
 respective temples. Blue is the color of heaven, and its 
 temple is roofed with tiles of sapphire tint, and the ritual 
 vessels used upon the Altar of Heaven have to be
 
 492 ORIENTAL CERAMIC ART. 
 
 enameled blue, as well as those used in the Temple of the 
 Land and Grain, where the emperor offers annual sacri- 
 fices for a favorable harvest. Red is tlie symbolical color 
 of the sun, and the ritual vessels of porcelain displayed 
 upon its altar are still investe<l with that color, as they 
 used to be in the days of Jlsilan-te, when the famous 
 ruby-red, derived from copper, was first introduced for 
 the altar-cups to hold the wine offered up by that emperor 
 in the worship of the sun. White is the color of Jupiter, 
 the Year Star of the Chinese, and is reserved for the 
 sacred vessels used upon its altar. 
 
 Some of the Buddhist altar sets of five pieces (v)w 
 lung) that have just been referred to are noble speci- 
 mens of the ceramic art. A similar set is often seen on 
 Taoist altars, like that made by T'ang Ying for presenta- 
 tion to the Temple of Tungpa, near Peking, of which the 
 inscription was given in Chapter IV. 
 
 The same sacrificial set of five pieces is displayed upon 
 the domestic altar of larger Chinese houses, but in smaller 
 houses one sees perhaps only a single censer, like the 
 specimen of ivory-white Fuchien porcelain, illustrated in 
 Fig. 302, which is inscribed underneath wath the sacred 
 swastika symbol. In other cases a tazza-shaped cup is 
 placed before the sacred shrine, to hold a daily offering 
 of fresh flowers, flanked by a pair of lions mounted upon 
 pedestals, from which spring little tubes to hold the 
 molded rods of fragrant sawdust, which are commonly 
 called " joss-sticks " by foreigners, " joss " being the 
 pigeon-English corruption of the Portuguese Dios. The 
 burning of incense is an indispensable accompaniment of 
 every act of worship. One of these lions (shih-tzu) i& 
 exhibited in Fig. 303, and the tube which holds the stick 
 of incense is seen in the picture rising from the pedestal 
 at the back. The lion figures in Buddhism as a protector 
 of the faith. The tazza-cup is called ch'ing shui wmi, or
 
 TIIE FORMS OF PORCELAIN OBJECTS. 493 
 
 " pure-water bowl " ; it may be replaced by a plain white 
 bowl of ordinary form, and the beautiful "lace-bowls" of 
 the reign of Ch^kn-lung are specially prized for the 
 purpose. 
 
 Two other Buddhist vessels may be noticed here, the 
 alms-bowl (Chinese j»<9, Sanskritj9a«!/'«), and the lustration 
 vase (Chinese tsao-p'ing, Sanskrit hundikd^, which eveiy 
 mendicant monk carried in olden times. The alms-bowl 
 is of flattened globular form rounding into a small circu- 
 lar mouth. The lustration vase, intended for ceremonial 
 ablution, is of more varied form ; one of them is pre- 
 sented in Fig. 304 with a tall, curved S23out springing 
 from the monstrous head of a dragon, which is richly 
 decorated with floral diapers and bands of conventional 
 ornament, painted in colors of the K^mig-Jisi period, 
 relieved by a tzu-chin ground of " old-gold " tint. The 
 older lustration vases are larger and of plainer form; 
 sometimes they are elaborately worked ift the paste, 
 under a crackled glaze of the Sung dynasty, with dragons, 
 frogs, fish, crabs, and all kinds of water plants — antitypes 
 of the famous Palissy ^vare, which is ornamented in simi- 
 lar style. 
 
 There is another incense apparatus with no religious 
 significance, which is provided as part of the furniture of 
 eveiy Chinese reception-room or library of any preten- 
 sions. The emperor is always represented as having one 
 on the table before his throne, and it is a necessary part 
 of the equipment of a scholars study. This is the San 
 She, or " Set of Three," which is so often seen mounted 
 on stands in Chinese collections, carved in jade, rock- 
 crystal, turquoise, lapis lazuli, and other precious ma- 
 terials, molded in bronze or silver, enameled in painted 
 or cloisonne work upon metal, as Avell as in faience 
 and porcelain. The three pieces of this set comprise 
 an urn (lu) for burning the chips of sandalwood or
 
 494 ORIENTAL CERAMIC ART. 
 
 other scented material with the fumes of which the 
 room is to be impregnated; a box (Jio) with a cover 
 to store the fragrant fuel ready for use ; and a vase 
 (^jy'ing) to hold the miniature tongs, poker, and shovel, 
 made usually of gilded copper, with which the fire 
 is kept up. 
 
 The Chinese literati are very particular in selecting 
 their library apparatus and writing-tools, and a long 
 series of scholars have published at different times a small 
 library of books on the subject. For the writing-table 
 there are porcelain pallets {yeii) ; rests for the cake of 
 ink {mo chuang) ; water-pots (sliui chJeng) of varied 
 form, with tiny ladles of gilt metal or coral inside ; 
 water-droppers (fi-tzii) of quaint designs, such as a tor- 
 toise or a three-legged toad distilling drops from its 
 mouth, a lotus-pod, or a miniature wine-ewer ; paper- 
 weights (^chen ehik), a coil of dragous, a scantily clad 
 urchin or gayly dressed girl reclining upon a leaf, or such 
 like; hand-rests (^;/^'6»)of oblong shape, with convex 
 surface, to support the ^vrist when ^vriting. The pencil- 
 brush {pi) of the writer or artist may be mounted in a 
 porcelain handle {pi kuan) ; it has a bath {pi hsi), a dish 
 in which it may be dipped and washed, which is often a 
 specimen of ancient celadon, or of some other celebrated 
 production of the older dynasties; "there is," according 
 to our Chinese authority, " a bed (^;/ chuang) for it to lie 
 down in, a rest {pi ho) for its support, the orthodox form 
 of which is a miniature range of hills, and a cylinder {pi 
 fung) for it to stand up in when not in use." The 
 ancient seals {yin) of the Han dynasty, which used to be 
 carved in Jade or molded in copper, are now all copied 
 in porcelain ; they are of oblong form, surmounted by 
 handles, fashioned in the form of a camel, a tortoise, an 
 archaic dragon or tiger, a curved tile or two interlacing 
 rings. Some of these seals have been dug up in Irish
 
 THE FORMS OF PORCELAIN OBJECTS. 495 
 
 bogs, supposed to be of great antiquity, and a volume has 
 been published on the subject."" 
 
 There are oblong plaques of poi'celaiu, covei'ed ^vith 
 written inscriptions, or decorated with pictures, in blue 
 or \vhite, or in colors, jjrepared to be mounted as panels 
 in large leaf screens, framed in carved and lacquered, 
 wood ; decorated porcelain panels for inlaying in an 
 oblong wooden pillow, to provide a cool rest for the 
 head in the hot season ; hollow slabs of circular and 
 oblong shape, with pictures painted on both front and 
 back, to be inserted in the woodwork of beds, a round 
 slab being placed at the head of the bed in the middle, 
 succeeded by a series of oblong slabs, extending down 
 the sides, and triangular mounts for the legs. Then 
 there are porcelain mounts for the two ends of the 
 wooden rollers attached to scroll pictures ; porcelain han- 
 dles for walking-sticks ; sets of chessmen \vith boards, 
 and other games, including a pair of bowls, of the 
 traditional form of the Buddhist alms-bowl, for holdintr 
 the black and Avhite men for the game of wei-cK'i, the 
 ^' miniature war practice " of the Chinese. 
 
 With regard to vases adapted for the display o'f cut 
 flowers to decorate the reception-room or library, it 
 would require a volume to describe all the varied shapes 
 and designs. Archaic bronze forms alone, in Avhich 
 China is so rich, afford an inexhaustible series of models, 
 as may be seen by a glance at the voluminous illustrated 
 books on the subject such as the Po hu fou, and the Ilsi 
 eliding hu chien catalogue of the imperial collection of the 
 Emperor Cli'ieii-lung, which have already been referred 
 to. The older ceramic productions supply another sug- 
 gestive source of inspiration, and according to the 
 T^ao ShvA), select specimens of the Ting-chou, Ju-chou, 
 crackled Ko Yao, and imperial porcelains (Kuan Yao) of 
 
 *Nottces of Chi/me Seals found in Ireland, by Edmund Gettj, Dublin, 1850.
 
 496 OEIENTAL CEEAMIC AET. 
 
 the Sung dynasty, as well as porcelain vases of the 
 celebrated reigns of Hsilan-te, OJi'eng-hua, and Ohia- 
 ching, and cloisonne enamels on copper, of the reign of 
 Ching-tai, of the Ming dynasty, are sent down from the 
 palace, and gathered, besides, into the workshops at 
 Ching-te-chen from all parts of the empire for the 
 purpose. 
 
 The same book describes porcelain vases generally a& 
 ranging in size from a height of two to three inches up 
 to between five and six feet. In shape the hu are round, 
 like the ancient earthenware vessels of that name; the 
 tan are round and swelling below like the gall-bladder, 
 from which their name is derived ; the tsun are broad 
 and round in section, with low body and expanding 
 mouth, the hu of slender hornlike form, with vertical 
 ridges on the body and trumpet-shaped mouth ; these 
 last two are archaic bronze forms, being varieties of 
 what we, for some unexplained reason, call beakers. 
 
 There are two special works before us on flower-vases, 
 both of which were published toward the end of the 
 Ming dynasty in the beginning of the seventeenth cen- 
 tury. The first, entitled PHng sJiili, " History of Vases," 
 is by Yuan Hung-tao, a famous scholar and high official 
 who died in 1624, and whose biography, together with 
 that of his two brothers, " The Three Yuan," as they were 
 called by their contemporaries, is recorded in the Ming 
 shiJt (or Annals). In his description of the forms he 
 says : 
 
 "Among the vases in private collections in the province of 
 Kiangnaii, the finest are the ancient beakers {hu) with trumpet- 
 shaped mouths, invested with a bright azure-blue penetrating into 
 the paste marked with patches of vermilion tint rising in slight 
 relief ; these may be termed golden halls for flowers. Next in 
 rank come select specimens of the imperial potteries of the Sung 
 dynasty, of the crackled Ko Yao, of the crackled white porcelain 
 
 I
 
 THE FORMS OF PORCELAIN OBJECTS. 497 
 
 of Ilsiang-slian, near Ningpo, and of the ivory-white Ting-chou 
 ware ; these, when slender and graceful in form and of rich luster, 
 all make elegant cots for the fairy blossoms. Vases for the deco- 
 ration of the scholar's study ought not to he large and heavy, and 
 any of the porcelain productions of the above factories, such as the 
 vases shaped like paper-beaters, those with goose-necks, those 
 fashioned in the shape of aubergine fruit, the flower bags or baskets 
 {hua nang), the flower-beakers {hua tsun), the receptacles for 
 divining-rods, and the bulrush-shaped — any of these that are short 
 and small are suitable for chaste decoration." 
 
 The other book, called F Hng hua p^u, is a treatise on 
 vases and the methods of arranging flowers in them, by- 
 Chang Ch'ien-te, a son of the author of the CKi/ng pi 
 tsang, an antiquarian work that has ali-eady been quoted, 
 and for which he wrote a preface dated 1595. He says: 
 
 "In the art of floral decoration the first requisite is the selection 
 of the vases. In spring and winter they should be of bronze, in 
 sunmier and autumn of porcelain, on account of the variations of 
 temperature. The larger ones are placed in the reception-hall, the 
 smaller in the library, on account of exigency of space. Bronze 
 and porcelain are preferred to gold and silver, as harmonizing 
 better with the simple tastes of a scholar. Rings and pairs are to 
 be avoided, and special attention is to be given to rarity and beauty. 
 The mouth of a vase should be small and the foot thick, so that it 
 may stand firml}'^ and not emit unpleasant vapor." 
 
 The last paragraph recalls a favorite shape of the 
 Ming dynasty, slender below, enlarging upward to a 
 wide, bulging shoulder, and finally rounding into a small 
 narrow neck; this is the mei pHng or "prunus vase" of 
 the Chinese, who consider the form appropriate for the 
 display of blossoming branches of the mei luia, the 
 winter })lum ; in American auction catalogues it is often 
 called a '^gallipot," for some reason not clear to the 
 uninitiated. Gourds are considered most suitable for the 
 display of lotus-flowers, bulrusli-shaped vases for peony- 
 blossoms. The Chinese never arrange flowers in mixed
 
 498 ORIENTAL CERAMIC ART. 
 
 bouquets ; a spray or two of Ijamboo may be put with 
 orchids, or a few l)lades of reed or other water-phiut 
 with lotus-blossoms, that is all. The festivals of the four 
 seasons must be celebrated b}^ a lavish exhibition of their 
 floral emblems, the spring peony, the summer lotus, the 
 autumn chrysanthemum, and the winter prunus. Each 
 montli of the year, too, has its distinctive flower, which 
 the florist is expected to produce for his jjatrons in due 
 rotation, as well as to provide a supply of cut flowers 
 for other calendar holidays and festive occasions. 
 
 Next to vases for cut flowers we come to flowerpots 
 for growing plants, wliich are always pierced in the 
 bottom with one or more holes, and are often provided 
 with saucers. Some of the smaller ones, intended for 
 interior decoration, are finely modeled and elaborately 
 painted in colors. The ancient Chlin-chou flowerpots, in 
 their brilliant red coats of richly varied transmutation 
 tints, rank as the most valued treasures of the Chinese 
 connoisseur. The larger flowerpots, which are intended 
 for the veranda and balcony, are also of varied form and 
 design, being round, square, or polygonal, barrel-shaped, 
 or like a miniature tank with rolled sides, and in other 
 cases simulating the trunk of a tree or some grotesque 
 monster. Tlie large dragon fish-bowls (lurig hang) that 
 are placed on wooden stands in Chinese gardens or court- 
 yards and filled with lotus-plants or with goldfish have 
 been often referred to. Smaller bowls (^yu hang) of the 
 same shape are made for keeping goldfish in rooms, and 
 are often decorated in the traditional way with dragons ; 
 others are made in the shape of the Buddhist alms-bowl 
 as flattened globes with small circular mouths, the most 
 attractive of which, perhaps, are the white bowls in 
 which the sides have been pierced on geometrical lace- 
 work patterns and filled in with transparent glaze, giving 
 a charmingly light effect as they stand on a side-table in
 
 THE FORMS OF PORCELAIN OBJECTS. 499 
 
 front of the window. The shaped dishes of foliated 
 outline mounted upon low, scrolled feet are for the 
 cultivation of narcissus-flowers, which it is the ambition 
 of every Chinese householder to have in full blossom 
 upon New Year's day ; the bulbs are supported in the 
 dish by a layer of pebbles and kept watered. A circular 
 dish of plainer form is generally seen upon one of the 
 tables at the same time piled up with a heap of Bud- 
 dha's-hand citrons or fragrant melons to perfume the air; 
 the large Yung-cheng dishes, of which one is illustrated 
 in Plate XLVIII, are used in the palace for this purpose, 
 and a still more choice receptacle for the fragrant fruit 
 is a dish of old Lung-ch'iian celadon, or of some other 
 kind of ancient porcelain of the Sung dynasty. 
 
 Many other objects are made of porcelain for the recep- 
 tion-room : Barrel-shaped seats (^Tso-hvti) ; slabs of rectan- 
 gular or circular shape for insertion in the tops of tables 
 and benches ; hanging baskets with pierced sides for 
 flowers, hanging lamps (Jcua-teng) of eggshell thinness, or 
 with openwork panels, like the two beautiful examples 
 illustrated on these pages ; and all kinds of boxes and 
 cabinets of varied shape and design. 
 
 Three characteristic forms of the floral receptacles with 
 pierced openwork sides through which the fragrance of 
 the flowers is diffused throughout the room, are shown 
 here. Fig. 306 is a hanging basket decorated in enamel 
 colors, with gilding of the ICang-hsi period, with floral 
 band near the rims, and the sides painted in black, green, 
 and yellow to simulate wicker. The cylinder w^hich fits 
 inside is painted in coral-red Avith scrolls of lotus and a 
 ring of spiral fret. 
 
 Fig. 307 shows a basket-shaped bowl, with a cover 
 surmounted by a lion, decorated in JPang-hsi colors. 
 The handle is painted in black lines upon a yellow ground 
 to imitate basket-work. The sides are pierced in six
 
 500 ORIENTAL CERAMIC ART. 
 
 panels of hexagonal trellis interrupted by cbrysanthe- 
 mum-llowers alternately red and liglit purple, and the 
 <jover has a similar openwork design. The borders are 
 painted with scrolls in red. The perfume globe, hsiang 
 chHu, in Fig. 308, is of light biscuit porcelain inlaid with 
 ICaiig-lisi colors, a bi*illiant green in combination with 
 the usual enamels of the oAdfamille 7'ose. The pierced 
 medallions contain alternately peony and lotus "flowers. 
 It has a tiny round cover for the introduction of the flowers, 
 and is strung with a silk cord, although it would usually 
 stand on the table. It is fashioned in the likeness of one 
 of the globular gourds which are often carved in open- 
 w^ork as receptacles for fragrant flowers, as cages for 
 singing cicadas, or to carry fighting crickets in safe cus- 
 tody inside. 
 
 There must always be a paii* of hat-stands (mao chia) 
 on one of the side-tables for visitors' hats, which are kept 
 on the head during calls of ceremony, but are allowed to 
 be taken oif on less formal occasions ; these are often 
 made of porcelain and vary very much in form. M. 
 Grandidier describes an elaborate porte-calotte exhibited 
 in his collection in the Louvre, consisting of a sphere 
 supjDorted by a long tube, to which it is buttressed by 
 branches of foliage, mounted upon a lobed stand with 
 trefoil feet, the globe being hollow so as to hold fire or 
 ice, according to the season, for the purpose of warming 
 or cooling the hat. Another not uncommon design has a 
 little box supported upon long, curved spindle legs with 
 a perforated lid, adapted to hold a scent sachet or a few 
 chips of sandalwood. 
 
 Having disposed of objects of utility, we come to those 
 intended solely for decorative purposes. To this class 
 belongs the great majority of the vases and jars seen in 
 Oriental collections. Their function is purely orna- 
 mental, although in form they are lineal descendants of
 
 THE FORMS OF PORCELAIN OBJECTS. 501 
 
 the flower-vases, the wine-receptacles, and the Jars with 
 covers for storing preserved fruits and dried tea-leaves, 
 that were made for actual use in earlier times. 
 
 An ornamental group or set of five pieces is often seen 
 arranged in line on one of the long side-tables of tlie 
 Chinese reception-hall. This is the Wv She, or " Five 
 Set," and it may be either of a single color, or decorated 
 in one or several enamel colors, or painted in blue and 
 white. It consists of a vase (^l^ing)^ in which the mouth 
 is less in diameter than the body, placed in the middle, a 
 pair of jars (kuaii) with covers on each side of the cen- 
 tral vase, and a pair of beaker-shaped vases (htt), with 
 flaring mouths wider than the bodies, at the two ends of 
 the line. This arrangement differs from that of the gar- 
 niture de clie7ninee, or " mantelpiece set," of European 
 collections, which is also composed of five pieces of simi- 
 lar design displayed in line, but the central vase of the 
 Chinese *set is missing, its place being usurped by a third 
 covered jar; two other jars are placed at the ends of 
 the line, and the pair of beakers between the jars. 
 Tliis was the conventional " o-arniture " of the Dutch in 
 their interiors of the sixteenth and seventeenth centuries, 
 in which the Oriental porcelain lighted up the old oak 
 furniture, and gathered an added brilliancy contrasted 
 with its dark settincr. These were ideal surrouudinofs for 
 the lustrous blue and white porcelain of the IV ang-hsi 
 epoch, and it could hardly be exhibited anywhere under 
 greater advantages. 
 
 One of these garnitures de cheminee has been photo- 
 graphed for Fig. 213. It is decorated in bands and 
 panels of varied form painted in bright enamel colors 
 with gilding, relieved by a monochrome tzu-chin ground 
 of coffee-brown tint. The ground is interrupted by 
 encircling bands and lambrequins of floral brocade, by 
 blossoms of peony, aster, peach, and plum, and by scrolled
 
 502 ORIENTAL CERAMIC ART. 
 
 aud foliated panels filled with pictures of landscape 
 scenes with temples and pagodas. The covers of the 
 Jars, enameled with the same brown ground, have leaf- 
 shaped reserves painted with peony-flowers. The pecu- 
 liar style of decoration is commonly known in Europe as 
 " Batavian," the Dutch having imported it so largely in 
 the last century, during the time that they were the chief 
 merchant-carriers from the far East. 
 
 The magnificent ovoid vases, five feet in height, with 
 bell-shaped covers on the top, which made their first 
 appearance toward the end of the reign of K'^aiig-lm., 
 gorgeously decorated in colors of the famille rose, are 
 called by the Chinese ti p'ing, or " ground vases," their 
 place being on the ground at the sides of the entrance of 
 the hall, mounted upon low stands of carved wood. In 
 Europe they are seen occasionally on the grand staircase 
 of a palace, supporting branched chandeliers of ormolu. 
 
 A peculiar shape of the reign of K^uig-lisi is !he chien 
 thing, or " arrow cylinder." The Manchu Tartars have 
 always been famous for their skill in archery, and even in 
 the present day the military officer depends on it for his 
 promotion. The arrow receptacles are either tall cylin- 
 ders, or of square tubular form, and are mounted in 
 socketed pedestals of the same material surrounded by 
 an openwork railing. They are very richly decorated in 
 the brilliant enamel colors of the period, combined with 
 relief molding and chiseled openwork, as exemplified in 
 the characteristic specimen in Fig. 313. 
 
 The small vases with thin necks tapering upward to a 
 contracted orifice, like the pair of which one is pre- 
 sented in Fig. 309, are perfume sprinklers (Jisiang shui 
 ping^. This pair, which came from the collection of a 
 Persian prince, uncle of the Shah, had been mounted in 
 that country with metal, and doubtless used there for 
 sprinkling\ose-water, the favorite scent of the Persians. 
 
 I
 
 THE P^ORMS or POECELAIN OBJECTS. 503 
 
 The porcelain is, of course, Chinese, and it is decorated in 
 the chai'acteristic style of the K''ang-hsi period with a 
 powder-blue ground, interrupted by three reserved medal- 
 lions of quatrefoil, pomegranate, and fan shape, which are 
 lightly penciled in underglaze blue upon a white ground 
 with wild flowers growing from rocks. 
 
 The smallest vases of all are the snuff-bottles {yen hu), 
 one or two of which are generally laid upon the small 
 table that stands on the divan of a Chinese reception- 
 room, with little ivory spoons attached to the stoppers 
 inside, to ladle out the contents. The tobacco plant is 
 indigenous to America, and there is no reason for doubt- 
 ing that it was introduced into the Far East by Spanish 
 or Portuguese ships at about the same time that it 
 reached Europe. In fact, the Chinese Emperor Wan-li 
 (1573-1619) vied with his contemporary, James I of 
 England, in fulminating edicts which he issued against 
 the new weed, that was then just coming into vogue in 
 China. It flourished, notwithstanding, and in the pres- 
 ent day it is cultivated throughout the empire and 
 smoked alike by man, Avoman, and child. But the little 
 bottles seem to have been made in China before the 
 introduction of snuif, and the apparent anachronism is 
 due to the fact that they Avere originally intended to 
 hold valuable aromatics or rare drugs, Avhich is proved 
 by their old name of yao p'iiig, or "medicine-bottles." 
 Glass bottles are now gradually coming into use for the 
 purpose, but old-fashioned druggists still send out their 
 pills in the little porcelain flasks. The 'itinerant medi- 
 cine-venders often have a supply of these little flasks 
 made to order, with their professional name inscribed on 
 one side, and perhaps a quaint superscription on the 
 other, like chH tal or pa tai, "seven generations" or 
 " eight generations," to indicate that the secret formula 
 has been a hereditary possession for so long a period.
 
 504 ORIENTAL CERAMIC ART. 
 
 Before tbe Portuguese ships appeared in the Indian 
 Ocean and interrupted tlie traffic, Chinese junks visited 
 the coasts of Africa and Arabia, and seem to have taken 
 a quantity of these medicine-bottles of coarse fabric and 
 rough manufacture to store the precious aromatics which 
 formed the most valuable part of their cargo. Little 
 bottles of the kind are found to-day in Cairo, and their 
 fraudulent introduction into ancient tombs by the Arab 
 workmen has led some to claim for them a fabulous 
 antiquity, after Rosellini,* who describes one as having 
 been " found by him in an Egyptian tomb which had 
 never been o])ened before, and the date of which be- 
 longed to a Pharaoh reigning not later than the eighteenth 
 century before Christ." Their false pretensions have 
 been long ago exposed by Sir Walter Medhurst and Sir 
 Harry Parkes, in the Transactions of the China Bi'anch 
 of the Royal Asiatic Society, and need hardly have been 
 alluded to here, had one not seen a row of the so-called 
 snuff-bottles exhibited among true Egyptian antiquities 
 in the AbVjott Collection in New York, and found Dr. 
 Prime boldly claiming, in his book on the Pottery of all 
 Times and Nations published in 1879, an age of a thou- 
 sand years for tliree snuff-bottles in his own collection, 
 obtained by him from Arabs at Thebes and Cairo. 
 
 There is a peculiar attraction in Chinese snuff-bottles, 
 and I have seen three envoys of great European powers 
 at Peking vying with each other in the acquisition of 
 rare specimens. They are made of many other materials 
 besides porcelain, such, for example, as cameo-glass, jade, 
 rock-crystal, amethyst, caruelian, chalcedony, heliotrope, 
 sardonyx, chrysoprase, turquoise, agate, nielle bronze^ 
 damascened iron, painted and cloisonne enamels, carved 
 cinnabar lac, etc. Several pamphlets have been written 
 on the subject, the latest of which is the beautifully 
 
 * I Monumenti delV Egitto, etc., vol. ii, p. 337. Pisa, 1834.
 
 THE FORMS OF PORCELAIN OBJECTS. 505 
 
 illustrated contribution, under the title of CJdnese Snuff- 
 Bottles by Mr. M. B. Huish to the Opuscula of the Odd 
 Volumes Sette, of which, unfortunately, only one hun- 
 dred and forty-nine copies have been printed, the circu- 
 lation being;; limited to Odd-Volume members. 
 
 Of the porcelain snuif-bottles several of quaint form 
 and cunning device have been selected for some of the 
 head-pieces for these pages, and Plate XXXVII is 
 specially devoted to their illustration. The collection 
 exhibits, in epitome, many of the diiferent processes of 
 decoration, including single colors plain and crackled, 
 painting in blue, red, and in many colors, relief modeling 
 and openwork carving in those provided with a pierced 
 outer casing. The different forms of larger vases are 
 reproduced in miniature, single or bijugate ; there are 
 flasks upright and recumbent, gourds of all kinds, trellis 
 designs, and basket Avickerwork. One little bottle simu- 
 lates a bursting cob of maize, another the fruit of the 
 eggplant, a third is fashioned, as it Avere, of two lotus- 
 leaves joined together, a fourth of a pair of butterflies. 
 A quaint form is that of a Chinese damsel whose 
 inverted body is the receptacle for the snulf, while one 
 leg is hollowed for the spoon, which is cemented to the 
 tiny porcelain foot that is made to officiate as the 
 stopper of the strange bottle. 
 
 The civil mandarin may have the one hundred and 
 eighth bead of his official rosary, or the clasp of his 
 girdle, made of porcelain ; the military mandarin, the 
 broad ring which protects his thumb against the bow- 
 string, or the little tube which is attached to the top of 
 his hat to hold the streaming peacock's feather. Chinese 
 ladies are said to possess in their inner apartments 
 boxes, large and small, for holding powder, rouge, and 
 other cosmetics, in which they indulge so freely, as well 
 as bottles for liquid scents ; they occasionally wear in
 
 506 ORIENTAL CERAMIC ART. 
 
 their headdress elaborate liairpins of porcelain, they 
 adorn theraselv^es with earrings and bracelets, fasten 
 their robes with porcelain rings and buttons, and attach 
 ornamental pendants to their girdles. Some of these 
 things are very delicately decorated. There is a certain 
 badofe worn at relio;:ious ceremonies which often finds its 
 way into collections ; it has inscribed on one side the 
 Chinese characters chai chieh, " fasting and abstinence,"^ 
 inclosed within an ornamental frame, and on the other 
 side the same motto in the Manchu script ; it may be of 
 oblong or oval form, or shaped like a double gourd. 
 
 The pretty little vase-sha])ed receptacle in Fig. 314,, 
 with globular body and wide-spreading neck, is an 
 imperial hand-spittoon (cha-toii). It is decorated in twa 
 shades of coral-i'ed with a pair of five-clawed dragons 
 pursuing pearls in the midst of clouds, a band of conven- 
 tional flowers, and rings of gadroon and spiral fret. It 
 may be referred confidently to the ClxHen-luung period^ 
 although there is no mark underneath. A pair of taller 
 vessels of the same form are usually seen on the toilet- 
 table in a Chinese room, perhaps with a toothbrush 
 standing up in one ; they take the place of glass 
 tumblers with us. 
 
 Our Chinese guide proceeds next in the T\io Shuo to 
 give a brief enumeration of the porcelain services and 
 other things made for the dinino-.room. He beo-ins with 
 rice-spoons, teaspoons, and the chop-stick service. The 
 latter consists of a pair of chop-sticks for each guest 
 (which he uses in lieu of knife and fork) and a number 
 of little saucer-shaped dishes of varied form, some empty,, 
 for the guests to lay their chop-sticks on, or to use as they 
 help themselves from the bowls that are being constantly 
 brought in courses of four or eight plats ; others dotted 
 about the table filled with melon-seeds, peach-kernels^ 
 nuts, and sweetmeats. The " drageoirs," or comfit-dishes^
 
 THE FORMS OF PORCELAIN OB.JECTS. 507 
 
 are sometimes modeled in the form of a large lotus- 
 flower or plum-blossom in movable compartments, so 
 that they can be taken to pieces to form separate little 
 dishes for the dining-table. Comfit dishes of this floral 
 or geometi'ical design, dating from the reign of ICang-hsi, 
 are often very richly decorated, being enameled sur' 
 biscuit with graceful scrolls of the same flower, displayed 
 upon a bright green or buff-colored ground. 
 
 The ditt'erent kinds of bowls, teacups, wine-cups, 
 dishes and platters have been already referred to, and it 
 is not necessary to describe all the various forms of 
 teapots and wine-ewers. The tall ewers of cylindrical 
 shape with tiara-fronted tops, like that in Fig. 168, are 
 used by the Chinese for iced fruit-sirups ; the Mongols 
 are fond of the same design foi' their Icouniis or milk- 
 wine ewers, which are made of bronze or silver. The 
 ordinary wine-cups of the Chinese are small, sometimes 
 not larger than thimbles ; marriage wine-cups are of 
 more elaborate design ; sacrificial libation-cups are 
 molded in the form of bronze ritual- vessels with hieratic 
 designs. For the dining-table there are also vinegar- 
 cruets, oil-lamps, pricket candlesticks, and square recep- 
 tacles for the snuff from the candles (la tou), made of 
 porcelain. For daily use there are wash-basins, pots, 
 and pans, and jars of manifold form and capacity, which 
 need not be minutely described. 
 
 Some of the dinner services used for sendins: out 
 dinners from restaurants are of very elaborate character, 
 the covered dishes being molded in the form of ducks, 
 fishes, and the like, so as to indicate the nature of their 
 contents. 
 
 White services, decorated with arabesques and other 
 designs incised in the paste under the glaze, are intended 
 for use during mourning. Imperial mourning-bowls are 
 etched with five-clawed draorons under the white srlaze.
 
 CHAPTER XVIII. 
 
 PECULIAR TECHNICAL PROCESSES. CRACKLE PORCELAIN. 
 
 FURNACE TRANSMUTATIONS. SOUFFLES. LAQUE BUR- 
 
 GAUTEE, PIERCED AND " RICE-GRAIN " DESIGNS. 
 
 WHITE SLIP, ETC. 
 
 BEFORE proceeding to a consideration of the colors 
 and the motives of decoration of Chinese porcelain^ 
 a few words may be said on certain characteristic tech- 
 nical processes of their ceramic art. Some of the 
 peculiar methods referred to have been successfully imi- 
 tated in Japan, as well as, more recently, in Western 
 countries, but they were all first invented in China, the 
 original country of the art. 
 
 Crackle porcelain is one of the most peculiar produc- 
 tions of the Oriental potter, and has not been success- 
 fully imitated elsewhere. Several of the most ancient 
 wares are distinguished by their crackled glazes. There 
 lies on the table before me at tlie present moment a col- 
 lection of potsherd fragments of bowls and dishes dating 
 fj'om the Sxing and Yuan dynasties, recently dug up 
 within the precincts of the city of Peking, which are all 
 crackled. The glaze lias been laid on so thickly in some 
 of these ancient pieces that it is actually thicker than the 
 underlying paste, accounting so far for the hackneyed 
 native simile of " massed lard." It ranges in color 
 through all shades of purple to the j^ale cerulean tint 
 known as yueh pal, or elair de hme, and has its lustrous 
 depth traversed by an infinity of lines so as to look like 
 fissured ice. The Chinese collect such fragments of old 
 vessels, when the color is suflficiently attractive, to mount 
 
 508
 
 PECULIAR TECHNICAL PROCESSES. 509 
 
 them in girdle clasps, or to frame them in gilded metal 
 for use on the study-table as rests for the wrist of the 
 writer, etc. An old legend declares that the azure-tinted 
 j)orcelain of the ancient Imperial House of Ch'ai, whicli 
 flourished in the tenth century, was so brilliant that a 
 fragment placed in front of the helmet of a warrior 
 would even deflect the course of an arrow. 
 
 There are two varieties of the old celadon porcelain 
 made at Lung-ch'iian during the Sung dynasty which 
 differ in the glaze, one being uncrackled, while that of 
 the other was crackled. The invention of this last was 
 attributed, as we have seen in Chapter V, to an elder 
 brother of a family of potters named Chang, and it was 
 from this fact that it first came to be known as Ko Yao, 
 ko meaning " elder brother." Another common name for 
 crackled porcelain is sui clt'i, sui meaning " broken," or 
 " shattered in pieces." This name, derived from the 
 mosaiclike aspect of the glaze, looking, it was said, as if 
 the porcelain were made of a thousand sej)arate pieces 
 cemented together, also dates from the Sung dynasty, 
 when it was applied to the crackled porcelain produced 
 at Chi-chou, in the province of Kiangsi. Tliis is de- 
 scribed in the old books as resembling the ancient ho 
 yao, both in color and in being I'eticulated with lines like 
 fissured ice. Descriptive names of crackle that are often 
 met with are pbig-lieh, " fissured ice," which is applied 
 to the coarser variety, and yii tzii, " fish-roe," ^vhich is 
 applied to the variety with a closer crackled network 
 that is called by French ceramic writers truitee, oji 
 account of its fancied resemblance to the fine scales of 
 the trout. 
 
 Crackling, as has been explained in Chapter XV, is 
 due to a physical cause. It may happen accidentally in 
 some pieces during the firing of a European furnace, 
 although it is then considered to be a defect. Its
 
 510 ORIENTAL CERAMIC ART. 
 
 productiou in China even was doubtless originally acci- 
 dental ; but it had to be produced artificially in the imita- 
 tion of the old glazes which exhibited this peculiarity, 
 until finally the Chinese potter was enabled to produce 
 it at will. The crackled glaze in the present day, accord- 
 ing to the Ching-te-chen T''ao lu, is pre[)ared from a 
 natural rock found at San-pao-p'eng, from which place it 
 is brought to the manufactory in the form of prepared 
 bricklets called sui cli'i tun^ or " crackled-ware bricklets." 
 These, when finely levigated, produce the ordinary 
 crackled glaze ; when they are roughly washed the 
 crackled lines appear at larger and wider intervals. In 
 the old crackle of the Sung dynasty, made at Chi-chou, 
 the porcelain, which was heavy, thick, and of strong, 
 coarse texture, was coated with glazes of two colors, 
 either rice-gray or light blue. The mosaic-like crackled 
 lines were produced by the addition of hua-shih, or stea- 
 tite, to the materials of the glaze. When ink or vermil- 
 ion was rubbed in, and the su2:)erfluity rubbed off after 
 the piece was finished, a charming network of fissured 
 lines appeared of subdued black or red tint. 
 
 There was another variety of crackled porcelain pro- 
 duced at the same manufactory in which a decoration in 
 blue was added to the grayish-white crackled ground, 
 being painted on the raw body before the application 
 of the glaze. Specimens of archaic-looking crackle 
 roughly decorated in blue, generally with dragons, 
 are found in the present day in Borneo and other 
 islands of the Eastern Archipelago. They are highly 
 prized by the Dayaks and handed down in families 
 as heirlooms. Some of them may date from the Sung 
 or Yuan dynasties, like the plain crackled ware with 
 which they are associated. The little tripod censer in 
 Fig, 66, although it may not perhaps be so old, is a good 
 illustration of the style.
 
 PECULIAK TECHNICAL PROCESSES. 511 
 
 There is another kiud of crackled porcelain of more 
 modern date than the last, in which the surface, origi- 
 nally white, is tinted pink or crimson. It is represented 
 by comj:)aratively small pieces, such as vases a few inches 
 high, teacups, and the like, and the surface is usually 
 tiiiely crackled, or truitee. The color is produced by 
 yen-chill hung, or rouge d'o)\ combined with a flux, and is 
 the same as that employed for the celebrated ruby- 
 backed dishes. The crackled piece, after it has been 
 fired, is placed in a little cage oi- netting made of iron 
 wire and heated strongly in a coal fire ; it is then re- 
 moved, and the color, suspended in water, is blown on 
 the heated surface with the usual bamboo tube covered 
 with gauze ; it produces immediately the effect desired, 
 and requires no further firing. 
 
 Crackled porcelain may also be decorated in enamel 
 colors, which are fixed in the oi'diuary way by a second 
 firing in the mufile stove, and some very beautiful bowls 
 of the K''ang-hsi period illustrate this combination. The 
 style and technique of the colors fix the date, if the bowl 
 be not marked, with a certainty that could hardly be 
 attained by an examination of the crackled glaze alone. 
 A striking example in the present collection is the 
 statuette of Kuau Yin, the Goddess of Mercy, which is 
 reproduced in colors in Plate LX. 
 
 With regard to the crackled glaze in single colors, 
 v/hich include some of the most attractive of Chinese 
 monochromes, they are well represented in the colored 
 plates. The Chinese potter claims to be able to crackle 
 any one of the monochrome glazes by introducing some 
 of the mii-cli'i tun, or " crackle petuntse," into the ingre- 
 dients. Some of the single colors, however, such as the 
 coral-red produced by iron, and the rouges d''or of pink 
 and ruby shades, are never in actual practice so treated. 
 These colors are so delicate as to require no extrinsic
 
 512 ORIENTAL CERAMIC ART. 
 
 adornment to add to their charm. Some others of the 
 monochromes, on the contrary, are always crackled, such 
 as the turquoise-blue derived from copper, and the auber- 
 gine purple of cobaltiferous manganese, both couleurs cho 
 demi^g rand feu. Turquoise crackle in its varied shades is 
 fully 'illustrated in Plates XCIII, LXXXIV, XLV, and 
 LXXV ; and a magnificent vase of finely crackled purple 
 blue of deepest and richest tone is presented in Plate 
 XXIX. 
 
 Several of the early ceramic productions of the Sniu/ 
 and Yuan dynasties are distinguished by their crackled 
 glazes, like the two pieces illustrated in Plate XII. It 
 was during his repeated attempts at the reproduction 
 of such ancient pieces that the modern Chinese potter 
 acquired his skill in the management of crackle. The 
 modei'n representation of the old dair-de-lime crackled 
 glaze of Ju-chou is the vase illustrated in Plate LXXVII^ 
 with its glaze of the color technically known as ^'2/ yu — 
 i. e., '' Juchou glaze " — varying from pale blue to gray^ 
 traversed by a reticulation of reddish lines; the repre- 
 sentative of the purple-colored imperial w^are (huan yao) 
 of the soutJiern Sung dynasty is the crackled lavender 
 vase in Plate XLIII, with its brown-tinted mouth and 
 its foot artificially coated to simulate the brown paste of 
 the original model. In a similar fashion the crackled 
 white Fen Ting vases exhibited in Plates LXXXIX 
 and XCI, both of which date from early in the present 
 dynasty, are the representatives of the ancient ivory- 
 white crackled porcelain made at Ting-chou in the 
 Sung dynasty, from which they take their name ; and 
 the crackled grayish-green vase in Plate LXXXVI 
 is a representative of an ancient celadon. 
 
 The most brilliant of all the crackles is the celebrated 
 Lang-yao of the reign of K''ang-lisi, already described 
 in Chapter X, the original sang-de-hcevf of ceramic
 
 PECULIAR TECHNICAL PROCESSES. 513 
 
 connoisseurs, which ranks deservedly among the highest 
 achievements of the Oriental potter. Its gorgeous 
 mottled dress of mingled tones of crimson and ruby 
 shade can be seen in the four vases, selected from the 
 series in the collection, to be illustrated in Plates LIX^ 
 LVII, I, and LVI. The largest and most characteristic 
 example, perhaps, is the vase in Plate LIX, which shows 
 the crackled texture of the glaze, the stippled ground, 
 and the vertically streaked play of rich colors, passing 
 from the deepest crimson through all intermediate shades 
 to pale apple-green toward the rim. The tall, graceful 
 vase in Plate LVI and the beaker in Plate I both ex- 
 hibit rich, full tones of red, deepening in the latter 
 case almost to black upon the shoulder of the vase. 
 But a more j)erfect example than the bottle-shaped 
 vase in Plate LVII, in its rich coloring and finished 
 technique, could hardly be imagined, and it displays 
 near the base the typical patch of apple-green which 
 is so often associated with the ox-blood red. An occa- 
 sional vase of the Lang yao type is seen, in which the 
 crackled glaze is entirely apple-green (^p'ing-lcvo clCing^y 
 with perhaps a patch of red near the lower rim. 
 
 The green monochromes of Chinese porcelain are 
 generally produced by copper, the exceptions being 
 the celadon proper, or tung-chHiig, the sea-green tint 
 of which is due to ferruginous clay, and the modern 
 representatives of the old Lung-ch'lian celadons, which 
 are brought to a more pronounced grass-green or olive- 
 green hue by the addition of a small dose of cobalt 
 to the ingredients of the former glaze ; any of these 
 celadon glazes may be purposely crackled. A brilliant 
 green derived 'from copper is the leading note in the 
 decoration with colored enamels of the K^ang-hsi period, 
 and the same color appears naturally in the foreground 
 among the monochromes of the time. It is distinguished
 
 514 ORIENTAL CERAMIC ART. 
 
 by its marked iridescence, a quality which is displayed 
 in a high degree by the vase illustrated in Plate LXXIX. 
 The vases in Plates LXXXI and LXXVIII are invested 
 with crackled green enamels of two of the shades com- 
 prised by the Chinese under the name of hua-p'i I'ii, or 
 ^'cucumber-green," which is fairly distinctive, although 
 other names are used in European books, such as 
 ^'camellia-leaf green," or "apple-green." Tlie last term 
 ought, I tliink, to be confined to the pale green so 
 often found upon porcelain, associated with tlie " apple- 
 red," which is also due to copper ; the same dual com- 
 bination that occurs curiously on the rind of a ripe 
 apple. The fourth vase of green crackle, illustrated 
 in Plate XXVII, is a typical example of the "fish-roe 
 green " {iju-tzu-cK ing) of the Chinese, which, like its 
 congener, the truitee yellow or nuistard crackle, was 
 a favorite glaze of the OKien-lung period. A fine 
 specimen of this yii-tzu huang, or "fish-roe yellow," of 
 the Chinese, is displayed in Plate LXXXVII. 
 
 The discussion of transmutation colors succeeds that 
 of the ordinary crackled porcelain by natural transition, 
 because tliey attain their most brilliant effect in com- 
 bination with a crackled glaze. The name of "furnace 
 transmutation " is a literal rendering of the Chinese 
 term yao pien, which is applied especially to the flmnhee 
 porcelain of variegated coloring, due to different degrees 
 of oxidation of the copper silicates to which it owes 
 its bi'illiant hues, passing from the warmest crimson 
 through all intei'mediate shades to turquoise-blue. It 
 is difficult to depict in words the gorgeous effect of 
 the varied play of colors in this decoration, which is 
 justly considered to be one of the most marvelous 
 products of the Orient. The cause of this transmuta- 
 tion is well known. Copper in its first degree of oxida- 
 tion gives to the vitrified glaze the bright ruby-red tint 
 
 fl
 
 PECULIAR TECHNICAL PROCESSES. 515 
 
 known to the Chinese as eld hung^ or '■'■ sacrificial red " ; 
 witli more oxygen it produces a brilliant green, and at 
 its highest degree of oxidation a turquoise-blue. Any 
 of these effects may be produced in the chemical labora- 
 tory. In the furnace the various modifications are pro- 
 duced suddenly by the manipulation of the fire. In 
 a clear fire with a strong draft all the oxygen is not 
 consumed, and is free to combine with the metal in 
 fusion. If, on the other hand, the fire be loaded with 
 thick smoke, the carbonaceous mass will greedily absorb 
 all the free oxygen, and the metal will attain its mini- 
 mum degree of oxidation. So, when placed in a given 
 moment in these various conditions by the rapid and 
 simultaneous introduction of currents of air and sooty 
 vapors, the glaze assumes a most picturesque appearance; 
 the surface of the piece becomes diapered with veined 
 and streaked colorations, changing and capricious as 
 the flames of spirits ; the red oxide passes thi-ough 
 violet and green to the pale blue peroxide, and is even 
 dissipated completely upon certain projections, which 
 become w^hite, and thus furnish another happy fortuitous 
 combination. 
 
 The transmutation glazes are of ancient date in China, 
 some of the Chiin-chou porcelains of the Sung dynasty 
 being of this class. The name of Lo hem ma fei — i. e., 
 "mule's liver and horse's lung" — was, in fact, invented 
 as descriptive of the mingled colors of one of the 
 varieties of Chiin-chou vases which was sent down from 
 the palace in the reign of Yunng-cheng to be copied at 
 Ching-te-chen. The name ^vas well chosen, suggesting, 
 as it does, what has been described by an expert* as 
 the mixture of red, blue, violet, and yellowish green, 
 flowing over the porcelain like a kind of lava of blood, 
 lungs, and liver, chopped up and melted into enamels. 
 
 * La Porcelaine, par Georges Vogt, p. 23.
 
 516 ORIENTAL CERAMIC ART. 
 
 The idea of liver-colored would suggest brown as well, 
 and we often, indeed, found tbis color present in the 
 old jiambe glazes, due doubtless to the presence of iron. 
 The occurrence of yellow and brown spots on certain 
 -fiambes is always a sure indication of the existence of 
 iron. 
 
 Pere d'Entrecolles, in his second letter dated in 1722, 
 the last year of the long reign of the Emperor ICang-hsi, 
 writes : " There has just been brought to me one of 
 those pieces of porcelain that are called yao-'pieii, or 
 transmutation.' This transmutation occurs in the fur- 
 nace, and is caused either by some defect or excess in 
 the firing, or perhaps by some other causes which are 
 not easy to conjecture. This piece, which was a failure, 
 according to the workman, and ^vhich was the eifect of 
 pure chance, was none the less beautiful nor the less 
 highly prized. The workman had designed to make 
 vases of red souffle. A hundred pieces had been entirely 
 lost ; the one alone of which I am speaking had come 
 out of the furnace resembling a kind of agate. If one 
 were willing to run the risk and the expense of repeated 
 trials, one might discover, as the result, the art of mak- 
 ing with certainty what chance had produced a single 
 time." The words of the worthy Father are prophetic, 
 for it was early in the succeeding reign of Yung-clieng 
 that the art was verily discovered and rapidly brought 
 to perfection ; the best pieces of this class are rarely 
 marked, but the rare marks are seals of Yung-clieng and 
 ChHen-lu7ig, which are sometimes impressed in the paste 
 underneath. 
 
 The process described above may be characterized as 
 the academic transmutation method. In actual practice 
 the result is often aimed at in a more artificial way. The 
 piece, coated with a grayish crackle glaze, or ^vith a 
 ferruginous enamel of yellowish-brown tone, has the
 
 PECULIAR TECHNICAL PROCESSES. 517 
 
 transmutation glaze applied at the same time as a kind 
 of overcoat. It is put on with the brush in various ways, 
 in thick dashes not completely covering the surface of 
 the piece, or flecked on fi'om the point of the brush in a 
 rain of drops, etc. The piece is finally fired in a reducing 
 atmosphere, and the air, let in at the critical moment 
 when the materials are fully fused, imparts atoms of 
 oxygen to the copper, and speckles the red base with 
 points of green and turquoise-blue, so that the glaze 
 becomes vitrified into the characteristic variegated hues 
 as it gradually cools. An inspection of the pieces will 
 indicate the various methods of application. The hexag- 
 onal vase, for example, illustrated in Plate LXXXVIII, 
 has a crackled o-laze of olive-brown tint overlaid with 
 thick splashes of jlamhe glaze, which have run down 
 in the kiln in massive drops, so as to stand out on 
 the surface of the vase in marked i-elief. The recep- 
 tacle for divining rods in Plate XXIII, which is a more 
 modern piece, with a thinner glaze, also indicates, from 
 the association of olive-brown with the mottled grays 
 and purples which bedizen its sides, the presence of iron 
 as well as of copper. 
 
 A curious combination of the transmutation o-laze 
 with blue and white decoration is presented in the vase, 
 attributed to the early CJiHen-lung period, that is shown 
 in Fig. 312. It is painted in underglaze blue with a 
 landscape scene, hills with temples and pavilions, and a 
 lake with boats upon it, and with bands of rectangular 
 fret round the rims. This is overspread with splashes 
 oijlambe glaze, so as nearly to conceal the picture under 
 variegated clouds of purple, crimson, and olive-bro^vn 
 tints, which become crackled where the glaze is thin. 
 The interior of the vase is coated with the same crackled 
 and varieo-ated o:laze. 
 
 The next special technical process to be noticed is that
 
 518 ORIENTAL CERAMIC ART. 
 
 of the application of soiiffih. The bamboo tube with 
 gauze tied over one end that is used by the potter has 
 already been described. With that the Chinese blow 
 on the ordinary white glaze in repeated layers, as well as 
 many of the single colors, such as the cobalt-blue, the 
 high-fired reds derived from copper, the coral-red produced 
 by iron, the pinks and carmines of gold, and the pure 
 metals, gold and silver combined with a lead flux. The 
 colors applied in this way can generally be I'ecognized 
 by the stippled aspect of the glaze, which is well marked 
 in the sang-de-hoenf glaze of the Lang Yao, and in the 
 ruby-red monochrome of the succeeding reign oE Yung- 
 cheng, which is one of the most characteristic glazes of 
 the class of porcelain known as Nien Yao. What we 
 have especially to notice now are the compound glazes 
 in Avhich a second color is blown upon a monochrome 
 previously prepared. Such is the " Robin's Egg," or 
 Okiin Yu, which was alluded to in Chapter XIII as a 
 souffle glaze with a greenish-blue flecking and dappling 
 on a reddish ground, the red being subordinate to the 
 blue. The second color in these compound glazes is 
 either blown on so as to cover the entire surface of the 
 first with a delicate stippling, combining with and 
 modifying the original tint, such as red upon a green or 
 yellow ground, or green upon yellow ; or it is projected 
 in layer drops, which dapple the surface or run down 
 over the piece in regular veins, leaving traces like tears. 
 
 One of the best-known glazes of this class is the CKa- 
 yeh-ino^ or " Tea-dust " glaze, produced by the insufilation 
 of green enamel upon a yellowish-brown ground, which 
 owes its color to iron. The combination produces a 
 peculiarly soft tint of greenish tone, which was highly 
 prized in the reign of Cli'ien-lang, w^hen it was invented, 
 so that a sumptuary law was made, according to M. 
 Billequin, restricting the use of this color to the emperor,
 
 PECULIAR TECHNICAL PROCESSES. 519 
 
 to evade which collectors used to paint their specimens 
 with imaginary cracks, and even to put in actual rivets, 
 to make them apj^ear to be broken. 
 
 Another souffie combination of the same time produced 
 the THeli-lisiu-liua^ or ' ' Iron-Rust Decoration," whicli 
 has been described in Chapter XIV, and is well illustrated 
 in colors in Plate XIX. The K'u-tang4^ai^ or "Ancient 
 Bronze Coloring," which is one of the chief triumphs of 
 the same reign of CJi'ien-linuj^ offers some analogies to 
 the iron-rust decoration. There is a specimen in the 
 Miisee du Louvre (No. 248) which, according to M. 
 Jacquemart, when placed among bronze objects can not 
 be distinguished from them ; it is necessary to examine it 
 closely and to touch it to recognize the work of the 
 potter. The ground of the piece is bronze-colored, some 
 of the salient parts being gold-tinted ; while the decora- 
 tions impressed upon the sides, in the style of metal 
 casting, have received in the hollow parts a greenish- 
 blue enamel, which simulates perfectly the natural oxida- 
 tion of an ancient copper object. A smaller specimen 
 of similar character is shown in Fis;. 274. 
 
 Some of the many imitations of natural materials on 
 which the Chinese pride themselves were referred to in 
 the same chapter. There are cups simulating walnut- 
 wood, with the grain so perfectly rendered in painted 
 enamels that it is difficult to believe, ^^^ithout handling 
 them, that it is not the actual veining of wood. The 
 vase in Fig. 316 is enameled inside and outside in colors 
 of the K\ing-lisi period, laid on siir hisciiit, to look like 
 to]'toise-shell. 
 
 The carved cinnabar lac, of which a specimen was 
 illustrated in Plate XXXVII, 4, is sometimes laid and 
 worked upon a porcelain base, such as a vase or cup. It 
 is also pei-fectly imitated in porcelain, with the designs 
 modeled in the paste in similar relief and enameled
 
 520 OKIENTAL CERAMIC ART. 
 
 vermilion. There is another peculiar combination of the 
 incrusted lacquerwork with porcelain, which has been 
 named 'porcelaiiie laquee hwt^gauUe after hurgau^ the 
 French name of the shell of the turbo. This was first 
 noticed and described by Jacquemart, but he erroneously 
 attributes it to Japan, although the style of art and the 
 nature of the porcelain both prove it to be Chinese. 
 The Chinese call it Lo4ien-Tz^u — i. e., "Porcelain inlaid 
 with shellwork " — and the technique is the same as that 
 of the incrusted cabinet work of Canton, only worked 
 upon porcelain instead of wood. The porcelain is com- 
 paratively thick, with solid rims, and the ground of the 
 piece is usually left unglazed, so that the lacquer may 
 adhere more firmly to the surface. The finest vases date 
 from the reign of IVang-lm^ and it seems to have been 
 first worked on porcelain at this time, in spite of the 
 fact that the mark of GKeng-hua of the Ming dynasty 
 is occasionally found inscribed underneath. 
 
 The decoration of the laque burgautee class is gener- 
 ally of a landscape character, executed in a mosaic 
 mother-of-pearl, varied sometimes by thin plaques of 
 beaten gold and silver, displayed upon a velvety back- 
 ground of ink-black lac. The pieces of shell, extremely 
 thin, are tinted artificially, shaped with the knife, and 
 combined cleverly by the artist to form the details of 
 the picture. The patience of the workman is almost 
 incredible, shaping one by one the leaves of a willow- 
 tree, or of a clump of bamboos, the feathers of a bird, 
 the glittering morsels designed to represent the pebbly 
 bank of a river, or the faults of a rock, and carving 
 silhouettes for clouds and waves, fine and supple as 
 the strokes of a pencil. There is a large bowl in the 
 Sevres Museum, covered with a lake scene, with lotus- 
 flowers, reeds, and water-fowl, which is a chef-d''GSVA)re 
 of naturalistic art. I have seen a lar2:e vase of the
 
 PECULIAR TECHNICAL PROCESSES. 521 
 
 kind nearly three feet high, of the K^ang-hsi period, 
 with the neck and swelling body filled in with black 
 lac, exhibiting in delicately tinted mosaic the varied 
 scenes of Chinese lily life, in their minutest details, 
 each scene being labeled in tiny characters ; the gilded 
 disk of the sun was shining over all in its pristine 
 brightness; but the silver walls of the houses had 
 become quite black from age. The little cylindi'ical 
 beaker illustrated in Fig. 315 is a less important 
 example. 
 
 The next peculiar technical processes in the short list 
 that forms the heading of this chapter are those of orna- 
 mental pierced work of the ordinary kind, and pierced 
 work filled in with glaze, so as to form the transparencies 
 which are known from their usual shape as " rice-grain " 
 designs. These methods have been already described. 
 They are now well known, and are practiced all over the 
 world, at Sevres and Worcester, as well as in Japan. 
 Fig. 318 is a Japanese vase of this description that was 
 exhibited at the Chicago Exposition. They may be used 
 in combination with all kinds of decoration, but are most 
 charming and effective in pure white porcelain, such as 
 the little white cups of design similar to the one illus- 
 trated in Fig. 138, which are lined with beaten gold or 
 silver when used, and the white bowls with lacework 
 transparencies of the Ch^ien-lung period, which are the 
 lightest and most delicate of all the triumphs of the 
 ceramic art. A white cup of the kind just referred to is 
 presented in Fig. 319. The sides are carved with a 
 trelliswork of svastikco pattern, in the intervals between 
 five circular solid medallions, from which stand out in 
 salient relief figures of the longevity god, alone in his 
 glorj^, and of the eight Taoist genii, associated in j^airs. 
 The figures, modeled in " biscuit," project from the glazed 
 ground of velvety aspect. Their background of clouds,
 
 522 OKIENTAL CERAMIC ART. 
 
 and the light scrolls which wind round the borders of the 
 cup, are worked in white slip, contrasting in its cloudy 
 opacity with the underlying glaze. The delicate little 
 cup in Fig. 322 is carved in openwork with a broad trel- 
 lis band composed of five medallions of pierced floral 
 pattern, connected by a ground of interlacing cii-cles, 
 reminding one of the open tilework of Chinese architec- 
 ture. A narrow pierced band encircles the upper rim. 
 
 The little flower cylinder in Fig. 333 shows the com- 
 bination of pierced work with painted decoration. It is 
 a receptacle for scented blossoms like the fragrant 
 jasmine, the mo-li-hua of the Chinese, which is closed at 
 the top, but has a hole in the bottom for the introduction 
 of the flowers, shaped for a screw cover. The top and 
 sides are painted in delicate enamel colors of the Cli'ien- 
 lung period, upon a ground molded in relief, and pierced 
 in the intervals of the decoration, so that the scent of the 
 flowers may penetrate. The figures, which are grouj)ed 
 under a tall pine, represent the Taoist Triad of star gods. 
 Lu Hsing stands in the middle, holding a ^'w-^' scepter ; 
 Shou Hsing, upon his right, is leaning upon a long, gnarled 
 stafF, Avith a scroll tied to the top, a peach in his hand, his 
 robes brocaded with longevity characters; Fu Hsing, upon 
 his left, holding a baby boy in his arms, while two s]3rites 
 dance in the foreground, clapping their hands. On the 
 cover is a representation of a Taoist figure speeding across 
 the clouds, with a branch of sacred peach on his shoulder. 
 
 The " rice-grain " decoration, in which the pierced orna- 
 mentation is filled in with glaze, seems to be of compara- 
 tively modern introduction in China. No marks anterior 
 to the reign of CJCien-lung have been noticed, and the 
 majority of the marked pieces bear the date of his suc- 
 cessor, Chia-cWing (1796-1820). The white bowls' and 
 saucer-shaped dishes of the soft, fritty material made in 
 Persia, which were kuo\vn as Gombroon ware, have rude
 
 PECULIAE TECHNICAL PKOCESSES. 523 
 
 decorations of the same nature, but, as Sir A. W. Franks 
 observes, " there is no evidence to show in which country 
 this mode of ornamentation originated." In addition to 
 the ordinary rice-grain work, which is usually associated 
 with conventional designs, jDainted in blue of grayish 
 tone, this process supplies a means of varying the usual 
 colored designs by making the dragons, storks, or other 
 details transparent, or by picking out some of the leaves 
 in the foliage or the petals of a flower. The mug of 
 European form in Fig 321 displays the typical mode, the 
 sides being pierced with a broad band of rice-grain trans- 
 jiareucies arranged in a formal star pattern. The handle, 
 composed of two interlacing bands, is studded at their four 
 points of junction with flowers worked in relief, which are 
 tinted in underglaze cobalt-blue, touched with gold, and 
 the bands of conventional design, which are painted in the 
 same grayish blue round the borders, are also picked out 
 with gilding. The upper rim is stained brown ; the 
 bottom is unglazed, and there is no mark attached. 
 
 The class of porcelain with white slip decoration 
 includes those specimens in which the white decoration 
 appears to have been applied in a semi-liquid state, tech- 
 nically called "slip," or engohe, on a colored ground. 
 Designs are also modeled in relief in the same slip in the 
 paste of porcelain before it is glazed, and have been 
 referred to in the description of celadons and jlainhes, as 
 vv'ell as in that of decorated vases, but these would be 
 excluded. The white slip decoration is used in China in 
 combination with one of the dark-brown coffee-colored 
 monochromes of the tzu-chin glazes, or with the dark and 
 pale blue and the lavender-tinted glazes derived from 
 cobaltiferous manganese. Some of the soft, siliceous 
 wares of Persia are ornamented on a blue ground with 
 white designs of this kind applied in relief, and they have 
 been imitated in the Italian potteries, at Nevers, Rouen,
 
 524 ORIENTAL CERAMIC ART. 
 
 and elsewhere. For this reason Jacquemart lias attrib- 
 uted the vases of hard porcelain with white slip decora- 
 tion on a brown ground to Persia, and he iigures one, 
 which is undoubtedly Chinese, in Plate XIX, No. 1, of 
 his book, as a production of Shiraz. There is no reason, 
 however, to suppose that hard porcelain was ever made 
 in Persia, although it appears from their style and 
 designs that some of the specimens were made in China 
 for the Indian or Persian market. The gourd-shaped 
 vase shown in Fig. 323, which has a copper rim and cork- 
 like stopper engraved with figures and birds of Persian 
 workmanship, is a fair illustration of the style, dating 
 from the K^ang-lisi period. It is enameled with an ii^i- 
 descent tzu-cliin ground of dark-brown color. The white 
 decoration over the glaze, roughly modeled in low relief 
 and lightly touched with the graving tool, consists of 
 four sprays of conventional flowers, two on each half of 
 the gourd. The three circles from which the lower 
 sprays seem to sprout would be rocks in more finished 
 work ; in Jacquemart's vase, which is almost as roughly 
 decorated as this one, there is a somewhat similar design, 
 which is taken for an articulated cactus-stem ; in addition 
 to the floral decoration there is an ornamental border 
 round the bulbous enlargement of the neck of this vase 
 of scroll design with beaded pendants, which is often met 
 with upon Chinese vases of this type. 
 
 The other illustration exhibits, in Fig. 324, a small vase 
 of baluster form, also attributed to the K\ing-lisi period, 
 invested with a pale-blue glaze of the tint called by the 
 Chinese tHen-chHng, or " sky-blue," sparsely crackled with 
 a few brown lines. It is decorated in slight relief with a 
 spray of blossoming prunus carefully modeled in white 
 slip and finished with the graving tool. The foot, coated 
 with the same pale-blue glaze underneath, has the promi- 
 nent rim artificially colored iron-gray.
 
 CHAPTER XIX. 
 
 CHINESE CEKAMIC COLORS. 
 
 THE principal colors used by the Chinese in the 
 decoration of their porcelain and the chemical 
 composition of some of them have been already alluded 
 to. A list of the colored glazes employed during the 
 Ming dynasty was included in Chapter YIH, together 
 with a number of the prescriptions used in their prepa- 
 ration. Still, a short chapter on the special subject of 
 ceramic colors may not be superfluous. 
 
 The most striking point in Chinese ceramic art is the 
 paucity and simplicity of the materials wdth w'hich 
 they produce so many brilliant effects. They have 
 no chemical knowledge, and their methods are entirely 
 empirical, depending on the varied effects produced by 
 the admixture of the simple coloring materials, on the 
 different results obtained by theu' combination ^vith 
 different glazes, and on the degree of oxidation of the 
 minerals due to the manipulation of the fire. Take, for 
 example, the native mineral which, after calcination and 
 pulverization, is used for painting in blue and Avhite, 
 and in the preparation of blue glazes. It is found on 
 the hillsides in several parts of China, occurring, not far 
 from the surface of the ground, in small, irregular 
 nodules of concretionary formation, and is essentially a 
 cobaltiferous peroxide of manganese, mixed with oxides 
 of iron and nickel, Avith traces of arsenic, bound together 
 by a variable proportion of silica. But the composition 
 of this complicated ore seems to vary indefinitely, not 
 only in the productions of different provinces, but even
 
 526 ORIENTAL CERAMIC ART. 
 
 in specimens dug up from the same hillside. The 
 purity of the blue depends upon the richness of the 
 mineral in cobalt ; an excess of manganese will give it a 
 purplish tinge; it will be darkened by too much nickel 
 or iron. So the presence of an expert is required at the 
 imperial manufactory, whose sole duty it is to pick out 
 the best pieces, judging from their color and aspect, to 
 supply the coloring material for the painted decoration 
 in blue and the powder-blue grounds, and for the mono- 
 chromes ranging from the darkest blue chi eliding down 
 to the palest clair de lune^ which are obtained by mixing 
 the calcined mineral in different proportions with the 
 ordinary feldspathic white glaze of the grand feu. The 
 blue enamel of the muffle stove, used in overglaze decora- 
 tion in colors, is also formed of the same cobaltiferous 
 material, combined with a vitreous flux ; it varies very 
 much in tone, and is often of purplish tint. The same 
 mineral is used in the preparation of the ordinary black 
 glaze of the painted wares, and of the aubergine purple 
 glaze of the demi-grand feu, but in these cases the colors 
 are due mainly to manganese, and the Chinese expressly 
 say that the poorer ores are available for these two 
 glazes. The cobaltiferous ore is used, again, to modify 
 the tint of other single colors, to give a pea-green hue to 
 the ordinary celadon glaze due to the protoxide of iron, or 
 to convert the carmine {yen-chih hung) of gold purple of 
 Cassius into amaranth, the color of the blue lotus- 
 blossom {cli' lug -lien) of Chinese ceramic art. 
 
 The influence of different glazes and of the reducing 
 or oxidizing powers of the flames in changing the colors 
 of the same material is well illustrated in the case of 
 copper. When this element is maintained in a highly 
 siliceous medium in the minimum condition of oxidation 
 in a reducing fire, it develops, as a suboxide, a brilliant 
 red of ruby tone, the typical red of the grand feu.
 
 CHENTESE CERA]VnC COLORS. 527 
 
 When fired mtli a lead flux it becomes fixed as a pro- 
 toxide, and develops a brilliant green, ranging from pale 
 apple-green to the deepest emerald in the gros vert^ 
 according to the concentration of the glaze ; it becomes 
 in this way the source of all the greens of the muffle 
 stove, as well as of the finely crackled cucumber-green of 
 the demi-grand feu, which is applied generally sur 
 hiscuit. Finally, when fired with niter, or with a lead 
 flux containing an excess of alkalies, the silicate of 
 copper is still more highly oxidized, and develops a 
 beautiful turquoise-blue. Similar changes may even be 
 made to appear upon the same piece. A Lang-Yao 
 vase, for example, often displays a patch of apple-green 
 toward the edge of its rich mantle of sang de hoeuf, and 
 the peach-bloom glaze owes its charm to the peculiarly 
 soft combinations produced by the fortuitous mingling 
 of the two colors. The three colors are all seen together 
 in the mottled garb of a flamhe specimen, brought out by 
 the oxidation of the glaze while still fluescent by a cur- 
 rent of fresh air suddenly introduced into the furnace. 
 So iron, when fired in a reducing atmosphere in the 
 large furnace, in the presence of a large excess of sili- 
 cates, develops, as a protoxide, the peculiar sea-green tint 
 known to us as celadon, deepening to an olive shade, or 
 to a dark bottle-green, as the proportion of iron increases. 
 The same element develops, as a peroxide, a graduated 
 series of browns, ranging, according to the concentration 
 of the glaze and the " warming " influence upon the color 
 of the oxidizing flames, from pale buff, through cafe au 
 lai% dead leaf, chocolate, and bronze, to the blackish 
 shade of the darkest fond laque. The peroxide mixed 
 with a simple flux of white lead painted on the porcelain 
 over the white glaze, and fired in the muffle stove, 
 produces the beautiful red which, in its purest tone, 
 reminds one of coral, and is usually called coral-red.
 
 528 ORIENTAL CERAMIC ART. 
 
 This is the mo hung^ or " painted red," ^;ar excellence^ of 
 the Chinese. When it is combined with a silico-alkaline 
 vitreous flux it takes on a brighter hue of the same 
 vermilion color, which suggests to the Chinese the red 
 cheeks of the ripe jujube, one of their favorite fruits, so 
 that they call the glaze now tsao-erh hung, or "jujube- 
 red." 
 
 The above shades of red differ completely in tone 
 from those of the other red of the muffle stove, which is 
 obtained from gold precipitate, the compound of tin and 
 gold which is commonly known as purple of Cassius. 
 This produces the tints of the underneath borders of 
 the rose-backed dishes, which are enameled with glazes 
 of single color ranging from deep carmine, the yen-cliih 
 Jjbung, or " cosmetic rouge " of the Chinese, down to fen 
 hung, or pink, the "rose Pompadour," or "rose Du 
 Barry," of French ceramic writers. 
 
 There is occasionally, on the other hand, a remarkable 
 resemblance in the shade of coloring of glazes produced 
 from different elements, so that a pale cobalt mono- 
 chrome of sky-blue (fien chHng) tint may be confused 
 for a moment with an azure-tinted glaze of turquoise 
 shade derived from copper. On closer inspection, how- 
 ever, the latter will be seen to have a minutely crackled 
 texture, being one of the glazes of the demi-grand feu, 
 while the former is one of the single colors of the 
 grand feu. 
 
 These few introductory remarks are intended to show 
 that some knowledge of the chemistry of colors is abso- 
 lutely necessary as an aid to their distinction and classi- 
 fication. Their proper distinction is often of great 
 assistance in the correct chronological arrangement of 
 the specimens in which they occur. The presence of 
 any of the I'ouges d^or, for example, would prove that 
 the piece could not be earlier than the seventeenth
 
 CHINESE CERAMIC COLOES. 529 
 
 century, in the first quarter of wMch these colors were 
 introduced. 
 
 The coloring materials used by the Chinese in the 
 decoration of porcelain are few and simple when com- 
 pared with those employed in Europe. They comprise 
 oxide of cobalt for the ordinary blues ; oxide of copper 
 for certain reds and greens and for turquoise-blue ; oxide 
 of antimony for the yellows ; gold for carmines and 
 pinks ; arsenious acid for opaque whites ; oxides of iron 
 for celadon, coral-red, and browns ; and peroxide of 
 manganese less rich in cobalt for the blacks and purples. 
 '' In Europe," as M. Ebelmen observes,* " they make use 
 of the different oxides that have just been enumerated, 
 and take advantage also of many other substances 
 unknown to the Chinese. The tint of the oxide of cobalt 
 is modified by combining it with oxide of zinc or 
 alumina, sometimes with alumina and oxide of chrome ; 
 pure oxide of iron furnishes a dozen shades of red, from 
 orange-red to the deepest violet-red ; oclires, pale or 
 dark, yellow or brown, are obtained by the combination 
 of different proportions of oxide of iron, oxide of zinc, 
 and oxides of cobalt or nickel ; the browns are prepared 
 by increasing the dosage of oxide of cobalt in the pre- 
 scriptions for the ochres ; the blacks, by the suppression 
 of the oxide of zinc in the same preparations. We vary 
 the shades of our yellows by the addition of oxide of 
 zinc or of tin to clear them, and of oxide of iron to 
 deepen their tone. Oxide of chrome, either pure or 
 combined with oxide of cobalt or the oxides of cobalt 
 and zinc, gives yellomsh greens and bluish greens, which 
 can be made to range from pure green to almost pure 
 blue. Metallic gold furnishes for us the purple of 
 Cassius, which we can afterward transform at will into 
 violet, into purple, and into carmine. We may cite also 
 
 ,* Travavx Scientijiques. tome i, p. 423,
 
 530 ORIENTAL cera:mic art. 
 
 the oxide of uranium, and the chromates of irou, baryta, 
 and cadmium, which give useful colors, and will conclude 
 by mentioning the recent application of metals unoxidiz- 
 able by fire, the discovery and preparation of which 
 require a knowledge of chemistry that the Chinese are 
 far from possessing." 
 
 The poverty of the Chinese palette, however, is more 
 apparent than real, as they produce by diiferent com- 
 binations of the colors an infinite variety of shades, so 
 that the color scale is almost exhausted in their series of 
 monochromes. Some colors may have escaped their in- 
 cessant researches, like the abnormal pigments extracted 
 from petroleum and coal-tar, such as Magenta and Sol- 
 ferino, the fruits of recent scientific investigation, broken 
 and fugitive tints of uncertain shade that can well be 
 spared. 
 
 Ceramic colors are simple or compound, pure or 
 broken ; red, yellow, and blue are simple colors. Red 
 and yellow form orange, yellow and blue form green, 
 blue and red form violet ; these are compound colors. 
 
 The intensity of the coloring can be attenuated by 
 white, the colors can be deepened by black. It is by 
 this means, by the addition of white or black to other 
 colors, that all the different grades of tone are produced. 
 M. Grandidier gives a list of about eighty different 
 shades of color represented by select specimens in his 
 own collection of Chinese porcelain, now worthily 
 installed in the Louvre at Paris under his own oflicial 
 curatorshij^. They occur there not only as monochromes, 
 but also as backgrounds for painted decoration in blue or 
 in different colors, relieving and enhancing the brilliancy 
 of the effect in an infinite series of combinations, several 
 of which have been illustrated and referred to in our own 
 pages. Porcelain is conveniently divided into mono- 
 chrome and polychrome, but in actual practice the same
 
 CHINESE CEEAMIC COLORS. 531 
 
 colors are used for both kinds, the only essential requisite 
 being that tliey will withstand the degree of temperature 
 required for the firing. The same gold pink {rose cVoi"), 
 for example, that is used for enameling the monochrome 
 black of an eggshell dish, serves for penciling the dia- 
 pered bands that decorate the interior; and the same 
 cobaltiferous material that is blown on to form a powder- 
 blue ground is used for painting the blue lines of the 
 pictures in the medallions reserved for the purpose. In 
 another class of pieces that have been already decorated 
 in colors of the gr mid feu, the white ground ma}^- be 
 subsequently filled in with soft enamels such as yellow 
 or coral-red, or, again, any of the singly-colored grounds 
 may be stippled with souffles of other enamel, to be 
 subsequently fixed in the muffle stove. 
 
 The decoration of Chinese porcelain becomes more 
 interesting when theii' methods of applying the colors 
 are compared with those employed in Europe. As 
 M. Ebelmen explains, the processes employed in Europe 
 are very varied : sometimes pastes of different colors are 
 used for the body ; sometimes the coloring material is 
 incorporated with the glaze ; sometimes, again, the colors 
 are applied uj^on the surface of white porcelain. The 
 first two methods of decoration require a degree of 
 temperature as high as that necessary for the firing of 
 the porcelain itself. The colors employed are called 
 de grand feu. For painting, on the contrary, upon the 
 surface of porcelain, only such colors are used as can be 
 vitrified at a much louver temperature than the pre- 
 ceding; these are the colors called de moufle, the only 
 ones that afford, up to this time, resources for painting 
 upon porcelain pictures that can be compared with oil 
 paintings of the old masters on canvas. 
 
 The Chinese coloring materials can be classed in the 
 same way as those used in Europe into two main divi-
 
 532 ORIENTAL CERAMIC ART. 
 
 sions : tliose that can be compared with the colors of the 
 grand feu, and those that have more analogy with 
 the muffled colors. These last differ, however, from the 
 European muffle colors in being mostly true vitreous 
 enamels, the same that are used for enameling on metal. 
 There is an intermediate division in China, known as the 
 colors of the demi-grand feu, which differ from those of 
 the first division in being combined w^ith a lead flux, and 
 fuse at a lower temperature, although practically they 
 are generally fired in the same furnace. We will 
 attempt a cursory classification of the colors under these 
 three divisions, adding a few notes on the principal tones 
 of color as we proceed. 
 
 1. High-fired Colors or the Grai^d Feu. 
 
 The principal colors that come under this division 
 are : the whites derived from the ordinary feldspathic 
 glaze; the series of reds and a grayish celadon-green 
 obtained from copper ; the ordinary celadons, olive- 
 greens, and different shades of brown, which owe their 
 coloring to iron ; the blues and purples of the cobaltifer- 
 ous oxide of manganese, and the blacks derived from the 
 same complex mineral. The coloring materials referred 
 to above are occasionally used in combination ; the sea- 
 green celadon of iron is darkened by the addition of a 
 dosage of the cobalt mineral, and the black monochrome 
 ground of the cobaltiferous manganese is rendered 
 lustrous and iridescent by the addition of tzu-chin skill, 
 the ferruginous material of the fond-laque glazes. The 
 work of the Chinese potters is mainly empirical, and 
 some of their principal successes, the despaii' of European 
 imitators, are due to mixtures, in different proportions, 
 of the cobaltiferous, in manganesian and ferruginous 
 minerals, wdth the fusible White glaze. The result will
 
 CHINESE CERA3IIC COLORS. 533 
 
 depend not only upon the richness of the materials in 
 these ingredients, but also upon the atmosphere of the 
 furnace, in its reducing or oxidizing effect. 
 
 The colors of this division are combined with a feld- 
 spathic glaze, rendered more soluble by a notable addition 
 of lime. This distinguishes them at once from the colors 
 of the next two classes, in the flux of which oxide of lead 
 is an indispensable element. The coloring materials are 
 usually mixed with the white glaze, and applied upon the 
 white surface of the unbaked porcelain by immersion, by 
 insufflation, or with the brush. Occasionally the color is 
 projected by the souffle method upon the body of the 
 piece and invested afterward with the white glaze in 
 successive coats. The porcelain in China is rarely sub- 
 mitted to a preliminary baking as in Europe, but some 
 of the ancient celadon glazes are described as having 
 been aj^plied sur hisciiit. 
 
 The white glazes may be noticed first. In eveiy collec- 
 tion of Chinese porcelain there are two varieties of white 
 that ought to be carefully set apart from the ordinary 
 productions of the Ching-te-chen jjotteries. These are 
 the products of Ting-chou in the province of Chihli, and 
 of Te-hua in the province of Fuchien. The Ting-chou 
 ware dates from the Sung dynasty ; it has been described 
 in Chapter Y, under its two varieties, the Fen Ting, with 
 the paste white like flour, and the Tu Ting, with a less 
 pure yellowish body. The glaze, which is either un- 
 crackled or crackled, has in both varieties an ivory-white 
 tone, and a texture resembling in surface that of soft- 
 paste porcelain, to which it is frequently likened. The 
 decoration, which is often of very intricate floral design 
 finished off with bands of geometrical scroll-work, is 
 either molded in relief or chiseled at the point in the 
 paste under the glaze. The ornamentation of the Ming 
 dynasty is less elaborate in character. During the pres-
 
 534 ORIENTAL CERAMIC ART, 
 
 eiit dynasty the old potteries are closed, but fine repro- 
 ductions of the Fen Ting class have been made at 
 Ching-te-chen, especially in the reigns of K''ang-hsi and 
 Ch^ien-lung. The ceramic production of Te-hua is the 
 Cliien Tz'% or Fuchien porcelain of the Ming and (JKlng 
 dynasties, which will be described in a later chapter. It 
 is the typical hlanc de Chine of collectors, with a rich 
 satiny glaze of siliceous aspect closely blending with the 
 paste underneath, either creamy white in color, or of a 
 more opaque tone approaching that of ivory ; it is repre- 
 sented chiefly by well-modeled statuettes of Buddhist 
 divinities, such as those of the Goddess of Mercy, of 
 Maitreya the Coming Buddha, figures of lions and myth- 
 ological animals, incense-burners, teapots and libation- 
 cups, the latter of oval or octagonal shape, made to imitate 
 the cups carved out of rhinoceros horn, with applique 
 ornaments of archaic character. 
 
 After the specimens of these two potteries have been 
 grouped upon separate shelves, there ^vill remain a varied 
 assortment of plain white porcelain to represent the pot- 
 teries of Ching-te-chen. White, when pure in tint, has 
 always been highly esteemed in China, where the earliest 
 porcelain was made to simulate the precious cups and 
 bowls of translucent white jade. The reign of Yung-lo, 
 the third of the Ming emperors, is distinguished for its 
 fragile white porcelain ornamented with impressed de- 
 signs giving transparent effect like the water-mark in 
 paper, and the reign of Wan-li, toward the end of the 
 same dynasty, is marked by the renaissance of pui-e white 
 jadelike wine-cups of eggshell thinness and incredible 
 lightness. White is the mourning color in China, and a 
 relic of an imperial mourning dinner service is often seen 
 on a foreign shelf in the shape of a rice-bowl etched with 
 five-clawed dragons under a pellucid white glaze. The 
 delicate^ white cups carved in openwork and the charming
 
 CHINESE CERAMIC COLORS. 535 
 
 lacework bowls with pierced designs filled iu with glaze 
 were described in the last chapter. 
 
 Plain white porcelain is generally enameled, but there 
 is a special variety which is purposely left in the state of 
 biscuit without any coating of glaze, like the Parian ware 
 of the West. The special Chinese name for this hfan 
 tz'u — i. e., "■ turned porcelain," as if the vase were in- 
 verted, so that the unglazed interior appeared outside, 
 and the fiction is occasionally kept up by applying a 
 touch of glaze inside the mouth. Flower-vases molded 
 with a string network in relief, brush-cylinders, boxes for 
 seal-color, and water-pots for the writing-table with land- 
 scapes in salient relief, snuff-bottles, and many other 
 small objects, are met with of this kind. The covered 
 cylindrical pots in which fighting crickets are kept, the 
 open cellules in which they are brought to the fray, and 
 the trays on which they fight, are usually made of brown 
 earthenware, because it absorbs water more readily, l)ut 
 they are sometimes seen molded out of unglazed white 
 porcelain. 
 
 In addition to the glazed white porcelain intended to 
 remain plain white, a quantity is turned out to be sub- 
 sequently decorated with enamel colors. Most of it is 
 finished at the manufactory ; some is sent to Canton and 
 painted in the peculiar style which characterized the old 
 porcelain of the East India Company commonly known 
 as '' India China." An occasional piece has found its way 
 abroad and been afterward painted in surface colors with 
 European designs at Meissen or Chelsea. 
 
 The reds of the grand feu are derived from copper. 
 The copper is generally applied in China in a metallic 
 form, the molten metal, derived from the cupellation of 
 silver, or from other sources, being granulated by being 
 thrown into water, finely pulverized, and fused with a 
 large excess of silica in a reducing fire, so as to be con-
 
 536 ORIENTAL CERAMIC ART. 
 
 verted into a protosilicate. The firing is a most delicate 
 operation, and must be stopped at the critical moment 
 to attain a bright uniform color: if it be pushed too 
 high, the metal will be dissipated, and the vase will 
 come out wholly or partially colorless ; if it be insuffi- 
 cient, the piece will be dull or liver-colored ; if the flames 
 be allowed to become oxidizing for a moment, it will be 
 transformed into a persilicate, and be converted to green 
 or even to turquoise-blue, this last color representing the 
 maximum amount of oxidation. Copper is the protean 
 metal which gives rise in this way to the varied changes 
 t)f color known as furnace-transmutation, or yao-pien, 
 which were described in the last chapter. 
 
 Ked is a favorite color with the Chinese in the decora- 
 tion of their porcelain, but this copper-red of the high 
 fire is easily distinguishable at a glance from the reds of 
 the muffle stove, which are derived from iron or gold. It 
 shines out from the depth of the translucent glaze with 
 tones approaching that of the ruby, so that the Chinese 
 call \t pao-sJiih hung, or " ruby -red " ; the iron-reds {fan 
 hung), on the contrary, are more superficial and of coral 
 or brickdust hue ; the rouges cfor {yen-chili hung), which 
 are also surface enamels, are carmine or pink. 
 
 Copper-red is one of the most ancient of Chinese ce- 
 ramic colors, being met with in some of the most brilliant 
 monochromes among the productions of the Chiin-chou 
 potteries in the Sung dynasty. The reign of Hsi'mn-te 
 (1426--35) of the Ming dynasty was especially distin- 
 guished for its ruby-red, which was used at this time 
 either as a single color or in painted decorations. The 
 wine-cups used by the Emperor Hsiian-te at the ritual 
 services at the Temple of the Sun were made of this 
 color. Later in the Ming dynasty, in the reigns of Cliia- 
 ching and Wan-li, we are told that the firing of the cop- 
 per-red was found to be too difficult, and that its place
 
 CHINESE CERAMIC COLORS. 537 
 
 was usurped by the iron-red, whicli \vas much cheaper, 
 ^nd easier of application. In the reign of K'cmg-hsi it 
 reappeared as the Yti-U hung^ or "glaze-inclosed red," 
 described at the time by Pere d'Entrecolles, and the 
 brilliant sang-de-hceuf of the Lang Yao, together \\'ith the 
 attractive peach-blooms of this period, were both discov- 
 ered in attempts at reproducing the sacrificial red of 
 Hsuan-te. The attempts culminated early in the next 
 reign in the production of the well-known monochrome 
 red of the Nien Yao, a stippled color of bright uniform 
 tint, which continued to be successfully produced during 
 the reign of Clbien-lung. There is a marked renaissance 
 of the copper-red as a single color in quite recent times, 
 and a piece is occasionally seen rivaling the finest old 
 ^aiig-de-boeuf in its brilliant tones of color, although infe- 
 rior in technical finish. 
 
 It may be useful to add a few points of distinction 
 between these different reds. The Lang Yao of the 
 reign of ICang-hsi, which may be considered as the sang- 
 de-boenf proper, displays a brilliant red of crimson tone, 
 permeating the vitreous enamel, which is crackled 
 throughout, and strewn under the surface with innumer- 
 able little points. These points have been justly com- 
 pared to the tiny bubbles of carbonic acid that are 
 continually rising to burst on the surface of gaseous 
 water in a thermal spring. The vases are glazed under- 
 neath, and exhibit three typical bottoms, according to 
 Chinese connoisseurs, a plain white enamel, a grayish 
 •celadon crackle, or an apple-green crackle. The red of 
 these vases is rarely uniform ; their chief charm is in the 
 mingling modulated tints of their mottled texture and 
 streaked depths, varied, perhaps, by an occasional patch 
 of apple-green near the rim. Some are wanting in lim- 
 pid depth and become brownish or even liver-colored ; 
 these are failures in baking.
 
 538 ORIENTAL CERAMIC ART. 
 
 The Lil Lang Yao, or " Green Lang Yao," of the 
 Chinese is much rarer than the sang-de-hoe'nf, and it is not 
 certain that the pieces wliich exist were not accidentally 
 produced in the firing of vases that were originally in- 
 tended to be red. On caieful examination a spot or two 
 of red will generally be found lurking in places where 
 the glaze is deepest. M. Ebelmen (Joe. cit., page 445) 
 refers to several examples of celadon coloration as 
 obtained by him in his experimental researches upon the 
 copper-red. He explains how a reducing atmosphere is 
 necessary to maintain the coloring material at a minimum 
 of oxidation for the production of the red, and how, in 
 an oxidizing atmosphere, on the contraiy, the color 
 would totally disappear if the volatilization of the metal 
 were possible, or would become green if the coloring 
 material survived in appreciable quantity. According to 
 this hypothesis, some specimens of so-called celadon& 
 would be either abortive I'eds or copper-greens of suffi- 
 ciently poor color. He places in his class of celadon de 
 cuivre all the vases, barrel-shaped gai'den-seats, and balus- 
 trade fittings that the Chinese make in stoneware. He 
 quotes also a very remarkable fact of a fragment of sea- 
 green or grayish celadon porcelain, showing clearly in 
 the fracture an opaque-red layer, looking like sealing- 
 wax, in immediate contact with the paste. The oxidiz- 
 ing atmosphere, in this case, had acted only on the sur- 
 face, Avhich it had changed from red to a pale greenish 
 tint. 
 
 Another glaze that owes its charming tints to copper 
 is the peach-bloom, or peati de pecli£, which has been 
 already described and fully illustrated in these pages. 
 
 The Chi-hung was brought to perfection by Nien Hsi- 
 yao, the director of the imj)erial potteries in the reign of 
 Yting-cheng. The name, which means " sacrificial red,'^ 
 dates from the reign of Hman-te of the preceding
 
 CHINESE CERAMIC COLORS. 539 
 
 dynasty, as already explained. The red vases of the 
 Nieii Yao, as this porcelain is called after its inventor, 
 are coated with a deep, uniform glaze of ruby tone, the 
 stippled texture of \vhich indicates the method of ap- 
 plication of the color by insufflation. In the uext reign 
 of QKien-lung this single color loses something of its 
 purity and transparency and becomes brownish, so that 
 it has been compared to that of the skin of a medlar 
 {jyeau de nejle). The modern chi-hung vases are less uni- 
 form in tint, developing purplish or crimson mottled 
 shades like the old sang-de-boeuf, or changing to the varie- 
 gated flamhe tints described in the last chapter. But 
 they are improving daily under the stimulus of high 
 prices, and I have a new vase now before me, clothed in 
 as brilliant a garb as any ancient Lang Yao specimen. 
 
 The next colors of the high fire for consideration are 
 those due to iron, which range, according to the degree 
 of oxidation of the metal, from the palest sea-green to 
 the deepest brown. It is to the paler green shades that 
 the term celadon is properly confined ; the darker shades, 
 which are due to the peroxide, are the yellow-browns 
 and browns of the fond-laque division. Some French 
 ceramic writers use the term celadon in a much wider 
 sense, to include the pale blue derived from cobalt, 
 which is the ymli pat, or clair de June of the Chinese, 
 and hardly needs a second name of " starch-blue " celadon 
 (celadon bleu d'^einpois), as well as the soufie tea-dust 
 {cKa-yeh mo), and some even group the crackled tur- 
 quoise and purple of the demi-grand feu in the same 
 division. We use it here as generally synonymous with 
 the Chinese ceramic color tou-cJi'ing, literally " pea- 
 green," which includes the two varieties of Tung cKing, 
 the color of the old celadon ware made at the Eastei'n 
 Capital of the Sung dynasty, and the Lung-cKuan yu, 
 the glaze of the ancient Lung-ch'uan celadons of contem-
 
 540 ORIENTAL CERAMIC ART. 
 
 porary date. The prescription for the ton-cli'mg glaze^ 
 which was applied to the celadons of the Ming dynasty^ 
 made at Ching-te-chen, was given in Chapter VIII. The 
 coloring material was derived from a yellow ferruginous 
 clay, and the color was explained to be due to the sili- 
 cates of lime and iron developing a light greenish shade 
 under the influence of a reducing atmosphere maintain- 
 ing the iron at a minimum of oxidation. A similar pre- 
 scription produces the Tung-chbing celadons of the pres- 
 ent dynasty, whereas the Lung-ch'iian glaze of to-day 
 is made by the addition of a small dosage of calcined 
 cobaltiferous oxide of manganese, the eft'ect of which is 
 to darken the shade till it approaches that of the Chinese 
 olive, which is the traditional color of the ancient Lung- 
 ch'iian wares. 
 
 The celadons comprise many shades of clear green^ 
 some of which approach blue ; others tend to become 
 gray ; the tones vary with the depth of the glaze, en- 
 hancing the effect of the incised and relief designs which 
 often accompany it. The old celadons of the Sung 
 dynasty are found sometimes darkening almost to bottle- 
 green, or even becoming in exceptional cases brown- 
 ish. The ratimiale of this is explained by the chemist 
 M. Ebelmen, who asks: "What would happen if the 
 celadon glaze Avere fired in an oxidizing atmosphere ? 
 The tint would pass into red, and if the iron were in 
 sufficient proportion a warm tone with hardly any green 
 in it should be obtained. All these shades are found in 
 Chinese productions, and if only the oxide of iron be 
 increased a little, one can pass from the celadons to a 
 deep lac-brown in an oxidizing atmosphere, to an olive- 
 green or a bottle-green in a reducing atmosphere." 
 
 The browns, in fact, owe their color to the same mate- 
 rial as the celadons, the compact ferruginous clay, which 
 is called tzu dtin shih^ literally " brown gold stone,"
 
 CHINESE CERAMIC COLORS. 541 
 
 because it is the mineral soui'ce of the ceramic golden 
 browns. Its preparation and mode of apj^lication were 
 fully described in Pere d'Entrecolles's Letters. AVhen 
 mixed with a large excess of feldspar and lime it pro- 
 duces a clear buff, or an " old-gold " tint. The Chinese 
 tell how the potters tried to produce a yellow mono- 
 chrome by mixing actual gold with the glaze of the high 
 fire, but found that the metal was all evaporated in the 
 furnace, so that they returned to the or hruni as a grace- 
 ful and efficient substitute. Among other monochrome 
 shades of this class, found on highly fired Chinese porce- 
 lain, are brown ochre, cafe an lait, chestnut, capuchin, 
 maroon, dead-leaf (^feuille nioHe), chocolate, bronze, lac- 
 colored (almost black), etc. The darker shades are often 
 highly iridescent. 
 
 The blues of the grand feu owe their color to cobalt, 
 which resists the highest temperature of the furnace. 
 The Chinese coloring material is a native cobaltiferous 
 mineral of very variable composition, which has been 
 already sufficiently described. The best pieces having 
 been selected by an expert, they are first calcined in 
 porcelain capsules, and then pulverized in hand-mortars 
 for a whole month before the material is considered fit 
 for use. The purest and most brilliant blues are pro- 
 duced when the material is applied immediately ujion 
 the raw white body of the unbaked piece, and covered 
 with the white feldspathic glaze which it penetrates 
 under the solving influence of the fire. The magnificent 
 blue and white decoration, and the powdered blue 
 grounds of lapis lazuli tint that distinguish the reign of 
 K\mg-li8i were all executed in this way, giving an un- 
 dulating intensity and pulsating depth to the color, and 
 preserving it, moreover, indefinitely, so that a vase two 
 hundred years old will look as if just fresh from the kiln. 
 If the ore be not sufficiently rich in cobalt, the color will
 
 542 ORIENTAL CERAMIC ART. 
 
 be grayish ; if the glaze be too thin, or the piece be over- 
 fired, so that the color comes to the surface, it will be 
 turned black by the oxidation of the manganese, which 
 is always present in the ore. The soii^e blue may be 
 crackled by the addition of the proper ingredients to the 
 white glaze, bringing out a clear color quite different in 
 tone from the more finely crackled deep sapphire-blue 
 of the demii-grand feu, illustrated in Plate XXIX, in 
 which the cobaltiferous material is combined with a lead 
 flux. 
 
 AVhen mixed with the feldspathic glaze and applied in 
 the fashion of the ordinary single colors the effect of the 
 cobalt is different. There is no longer the same intensity 
 and depth of color, but we have in compensation a 
 peculiar purity of tint and softness of tone in the series 
 of charming single colors w^hich the Chinese potter has 
 achieved in this way. The most delicate of all ceramic 
 colors, the yueh jyai, or clwir de hme, displayed in Plate 
 LI, is produced by the smallest addition of cobalt. 
 Added in larger quantity the ordinary t''ien cKing, or 
 " sky-blue," glaze of the vase shown in Plate LXXIV is 
 developed in the furnace. A still larger proportion is 
 requii'ed to bring out the chi-cJiHng, the " blue of the sky 
 after rain," which is defined as the deep azure of the clear 
 rifts between the clouds. 
 
 We possess many specimens dating from the Sung and 
 Yuan dynasties, like the two illustrated in Plate XII, 
 which derive their color from cobalt-tinged glazes of 
 the grand feu, crackled or uncrackled in texture. They 
 often display shades of lavender or pale purple, indicating 
 the presence of manganese in the coloring material. The 
 celebrated ancient ware of Ju-chou was purer in tint 
 than any other of the Sung porcelains, being described 
 as a clair de lune of the color of the blossoms of the 
 Vitex incisa, the " sky-blue flower " of the Chinese.
 
 CHINESE CERAMIC COLORS. 543 
 
 The same cobaltiferous mineral is utilized in tlie ])ro- 
 duction of the black grounds of the graiidfeii, for which 
 purpose the pieces of ore that are less rich in cobalt will 
 suffice. Pere d'Entrecolles describes two kinds of black 
 glaze. The first, which is duller in aspect, is obtained by 
 combining three parts of the blue coloring material with 
 seven parts by weight of the ordinary feldspathic glaze, 
 but the proportions may be varied in accordance with 
 the tint required ; the mixture is applied to the unbaked 
 piece, which is afterward fired in the big furnace. It 
 forms an effective background for a decoration in gold, 
 which is penciled on after the first baking, and fixed by 
 refiring in the muffle. The second black glaze, called 
 wii chin, or ^' metallic black," which is more lustrous and 
 iridescent in aspect, is formed by adding some of the tzu- 
 oJiiji sliih, the ferruginous mineral w^hicli produces the 
 coffee-brown glazes, to a liquid mixture composed of the 
 above ingredients, in which the porcelain is plunged, and 
 baked in an oxidizing fire. If the firing be carelessly 
 managed the color will be brown instead of black, as we 
 often see in modern pieces. 
 
 The colors of the high fire are used in combination 
 with each other in the decoration of Chinese porcelain, as 
 well as singly for monochrome glazes. The essential 
 point is that all the associated colors should be able to be 
 brought out properly by the same fire. The uuderglaze 
 <jobalt-blue seems to be developed with any kind of fire if 
 only it be buried in the depths of the glaze in the pres- 
 ence of an excess of silica, so that we see blue and white 
 painting, with touches, perhaps, of bright copper-red, 
 associated on one vase witli broad bauds of palest sea- 
 green celadon and zones of grayish crackle, and on 
 another find zones of warm dead-leaf brown encirclincr 
 the shoulder and rims and separating pictures penciled in 
 blue. The blue seems to acquire additional brilliancy
 
 544 ORIENTAL CERAMIC ART. 
 
 when enhanced, as it occasionally is, by a background of 
 ox-blood or peach-bloom of the same mottled tones as 
 characterize the single-colored vases of the period. 
 Many of these different combinations have been already 
 referred to ; one of the most effective is that of copper- 
 red with pale celadon, as illustrated in Plate XXXVI ; 
 in such pieces the red coloring material is painted with a 
 brush upon the unbaked surface before the celadon glaze 
 is applied ; it gradually infiltrates under the solving 
 action of the reducing fire till it penetrates to the surface. 
 There is always a certain lack of clearness of definition in 
 designs produced in this way, which is often combated by 
 tooling the outlines in the paste, or working them into 
 low relief. 
 
 Another common combination of high-fired colors upon 
 vases is that where the decoration is executed in blue and 
 maroon with touches of celadon. The cobalt and copper 
 colors are painted on under the glaze, while the celadon 
 is inlaid, as it were, in the white enamel, filling in the out- 
 line of a rockery, for example, or some other detail of the 
 picture. In other styles of decoration we see lustrous 
 black grounds with reserve medallions containing cameo 
 pictures in blue, and powder-blue vases with panels of 
 mirror-black displaying pictures in gold that have been 
 penciled on subsequently to the first firing. The dead- 
 leaf and coffee-colored grounds of the grand feu furnish 
 in the same way a long series of combinations. Finally 
 come an infinite variety, designed for additional decora- 
 tion in enamel colors, which can be fired in the mufifle 
 stove at a comparatively low temperature Avithout injury 
 to the original highly fired colors, on which the enamels 
 are overlaid, or with which they are intermingled.
 
 CHINESE CERAMIC COLORS. 545 
 
 2. Colors of the Demi-grand Feu. 
 
 Among the monochromes peculiar to Oj'iental porce- 
 lain there are some which appear to have been applied 
 SUV hiscuit — that is to say, upon porcelain that has 
 already been fired in the furnace. On close examination 
 they are seen to be truite, to have a minutely crackled 
 texture, a characteristic which is rarely seen in glazes fired 
 at a very high temperature. On being tested with hydro- 
 fluoric acid by M. Ebelmen, they proved to contain, in 
 addition to the blue, yellow, and green coloring agents, a 
 notable proportion of oxide of lead. This approaches 
 them to the enamel colors of the mufile stove included in 
 the next class. They are fired by the Chinese in the 
 deepest part of the large furnace, and are placed below 
 the level of the vent-hole opening into the chimney, 
 where the temperature is much lower than it is in the 
 body of the kiln. 
 
 The colors of this class are not numerous ; they com- 
 prise turquoise-blue, aubergine-violet, yellow, and green. 
 Their composition is sufiiciently well known, as they are 
 all included in the list of colored glazes of which the 
 prescriptions were given in Chapter VIII, extracted from 
 technical books of the Ming dynasty, and the Chinese 
 accounts have been confirmed by a qualitative analysis of 
 actual specimens. 
 
 The mode of application of these glazes is described by 
 Pere d'Entrecolles. The bowls, for example, are first 
 fired unglazed in the large furnace, from which they come 
 out quite white but lusterless ; if they are to be single- 
 colored, they are immersed in a crock containing the 
 coloring materials made into a kind of cream with water ; 
 if they are to be party-colored, like the bowls known to 
 the Chinese as " tiger-spotted," which are daubed all over,
 
 546 ORIENTAL CERAMIC ART. 
 
 inside and outside, with irregular blotches of purple, 
 green, yellow, and white, the colors are laid on with a 
 brush. Tlie piece is finally fired again in the most tem- 
 perate part of the large furnace, as a fierce fire would 
 destroy the colors. 
 
 These were the earliest vitreous colors used in China, 
 and they were employed centuries before the enamel 
 colors of the muffle stove were introduced. Fusing as 
 they do at a comparatively low degree of heat, they are 
 availaVjle for the decoration of common pottery or earth- 
 enware, as well as of porcelain, and they are widely 
 utilized for this purpose throughout the East, more 
 especially foi- architectural decoration. In the celebrated 
 porcelain pagoda of Nanking, which was rebuilt in the 
 beginning of the fifteenth century (but is now destroyed), 
 only the white bricks were made of porcelain ; the 
 colored tiers, panels, and antefixal ornaments were all of 
 enameled earthenware. The roofs of the palaces and 
 imperial temples in Peking are covered with yellow tiles ; 
 those of the princes with bright green ; the Temple of 
 Heaven shines in the sun as intensely purple as the vase 
 in Plate XXIX ; and bi'oken ornaments in all the soft 
 tones of crackled turquoise are to be picked up in the 
 ruins of the summer palaces which were burned in 1860. 
 All the four colors are represented also in the grotesque 
 monsters of European form, and in the helmets and 
 trophies of arms that were designed by the Jesuit Frere 
 Attiret for the fountains and other decorations of the 
 Versailles that was built under his superintendence at 
 Yuan-ming-yuan in the last century for the Emperor 
 Oh^ien-lung. These were made at the potteries near 
 Peking. I allude to them here because at these very 
 potteries they are now busily engaged in making a 
 quantity of vases and bowls glazed with the same beauti- 
 ful colors, to which the soft excipient seems to impart 
 
 I
 
 CHINESE CERAMIC COLORS. 547 
 
 an added softness, which are destined for exportation to 
 supply the increasing demands of enthusiastic collectors 
 of " single colors." The fact that yellow clay used often 
 to be mixed with the porcelain earth in the old fabrics, to 
 enhance the brilliancy of the glaze colors, gives a certain 
 vraisemhlance to the fraudulent reproductions which I 
 have seen sold for as many dollars as they would cost in 
 cents to produce. 
 
 3. Enamel Colors of the Muffle Stove. 
 
 The materials used by the Chinese in their ordinary 
 decoration in colors fuse at a much lower temperature 
 than that required for baking porcelain, and they are 
 painted over the glaze on pieces that have been pre- 
 viously fired, and which must be retired in the muffle 
 to fix the colors. They may be compared to our own 
 muffle colors, but they differ in some essential points^ 
 in their composition as well as in their mode of appli- 
 cation. 
 
 There is, to begin with, a radical difference in the first 
 principles of Chinese art, shown in the want of per- 
 spective, the absence of shading, and the studied avoid- 
 ance of mixed tints. The hio-hest aim of the artist 
 at Sevres is to copy an oil-painting on canvas of one 
 of the old masters, to reproduce exactly every varied 
 shade of color in the original, and to take care that, 
 after baking, the picture shall appear uniformly glazed. 
 The Chinese artist is attempting to reproduce on porce- 
 lain a water-color on silk or paper of one of his old 
 masters, limned in pure, soft colors, with no broken tints 
 and no mixed tones. The Chinese colors are far from 
 presenting the uniformity of thickness and glazing that 
 is considered to be de rigioeur in Europe in a painting 
 on porcelain. Some are brilliant, perfectly fused, and
 
 548 
 
 ORIENTAL CERAMIC ART. 
 
 laid on so thickly as to stand out iu tangible relief on 
 the surface of the porcelain ; the carmines obtained from 
 gold, the purple-blues, the greens, and the yellows are 
 examples ; others, such as the iron-reds and the blacks, 
 present generally a dull surface, and are only glazed 
 in the thinner parts ; their depth is always less than 
 that of the vitrified colors. In the Chinese pictures 
 there is no shading in the figures or other details ; the 
 outlines are sharply defined by single lines of red or 
 black ; there is no gradation in the different tints ; the 
 colors are laid on in Inroad strokes, to which the artist 
 returns occasionally to execute a damask, either with the 
 same color, with other colors, or with metals ; he rarely 
 mixes on his palette powders of different coloring ma- 
 terials. The aspect of their pictures, when examined 
 closely, reminds one of the glass mosaics that were so 
 artistically executed in Europe during the thirteenth 
 century, and in which all the details of the design and 
 modeling of the figures were produced simply by red 
 or brown lines upon the mosaic ^vork executed in frag- 
 ments of white or colored glass. 
 
 - These enamels are colored by a small percentage only 
 of the metallic oxide dissolved in the vitreous mass, and 
 they require to be laid on thickly to give the proper 
 intensity of tone ; this gives a relief which is impossible 
 to obtain by any other method, and imparts a certain 
 cachet to Chinese productions. The general harmony 
 of the coloring is due to the nature and composition 
 of their enamels. The flux, in China, is composed of 
 silica and oxide of lead combined with a greater or 
 less proportion of alkalies. It holds in solution, in 
 the state of silicates, a few hundredths only of the 
 coloring oxides, the number of which is extremely 
 limited. The coloring materials are oxide of copper 
 for the greens and the bluish greens, gold for the reds.
 
 CHINESE CERAMIC COLORS. 549 
 
 oxide of cobalt for the blues, oxide of antimony for the 
 yellows, arsenious acid, and more rarely stannic acid, 
 for the whites. Oxide of iron and the impure oxides 
 of manganese, which give the first red, and the second 
 hlaclc, are the sole exceptions, and this is, no doubt, 
 because it is impossible to obtain these colors in solu- 
 tions by means of the oxides that have just been 
 mentioned. 
 
 M. Ebelmen sfives the followins; resume of his re- 
 searches : 
 
 " 1. The colors called muffle colors — that is to say, 
 baking at a very low temperature compared with that 
 at which porcelain is baked — are essentially few in 
 number. 
 
 " 2. The palette is composed not of colors, properly 
 so called, but of enamels — that is to say, of plumbo- 
 alkaliue glasses, variously colored by a few hundredths 
 of dissolved oxides. 
 
 " 3. The composition of the vitreous flux is generally 
 very uniform ; its tint is always light, and it is this 
 lightness of tone, as well as the vivacity of the color- 
 ing, which gives Chinese porcelain its harmonious effect 
 and characteristic richness. 
 
 " 4. The enamels are colored by oxide of cobalt, by 
 oxide of copper in the state of binoxide, and by gold — 
 all substances easily soluble in a vitreous flux, and of 
 very simple preparation. 
 
 "To these shades the Chinese add a yellow derived 
 from antimony, and an opaque white, the base of which 
 is sometimes tin, sometimes arsenious acid, both of 
 which they mix with the other enamels, as they combine 
 these last with each other to obtain a nearly infinite 
 variety of shades, which, however, it is always possible 
 to decompose and to reduce to the five following ele- 
 ments : blue from oxide of cobalt, blue or green from
 
 550 ORIENTAL CERAMIC ART. 
 
 oxide of copper, carmine from gold, and yellow from 
 oxide of antimony. 
 
 ''If we add to these enamels the very impure oxide 
 of cobalt, which, under the glaze, will always develop 
 into blue, the same oxide mixed with white lead to 
 make it adhere to the glaze becomes black ; and the 
 calcined oxide of iron, which, combined with white lead 
 and with flux, produces a series of iron-reds, dull or 
 brilliant, like or dark ; and finally gold, which is made 
 adhesive by the addition of a tenth part of white lead, 
 we shall be able to gain a complete idea of the means 
 that form all the resources of the Chinese decorator." 
 
 The enamel painting in colors of the next period, 
 which came in after the new Manchu dynasty was firmly 
 established, is commonly known as Khmg-hsi Wu ts'ai 
 — i. e,, "Decoration in colors of the reign of K^'ang-lisir 
 The pictures are usually executed entirely in enamels, 
 the underglaze blue being replaced by a surface cobalt 
 silicate of vitreous composition, which accompanies the 
 old purple enamel color derived from the same native 
 manganese ore less rich in cobalt. The full, strong 
 red of coral tint continues and improves in purity of 
 tone, and the greens become more and more prevalent 
 and brilliant, so that the class has been called by the 
 distinctive name of famille verte. This class, the color- 
 ing of which is perfectly shown in the vase illustrated 
 in Plate VI, is also known in China by the name 
 of ying ts'ai, or ''hard colors," to distinguish it from 
 a different style of coloring which was introduced 
 toward the end of the same reign, executed in pale tints 
 of pure tone and broken colors, among which carmines, 
 pinks, and an amaranth purple, all derived from pre- 
 cipitated gold, appeared for the first time in ceramic 
 art. This constitutes the decoration in jua7i ts'ai, or 
 " soft colors," which is known also by the name of fm
 
 CHINESE CERAMIC COLORS. 551 
 
 ts'ai, or " ^2^^ colors." Plate LXIII is a fine example of 
 the style. 
 
 But it is time to examine the enamel colors in detail. 
 They are brought to Ching-te-chen in the shape of 
 irregularl}^ broken fragments of vitreous composition 
 from the glass-works in the province of Shantung. A 
 collection of Chinese glass will exhibit all the different 
 single colors in their primitive state, simply molded into 
 shape to form various kinds of utensils and ornaments. 
 The pieces as they come from the glass manufactory, com- 
 posed of a plumbo-alkaline flux of very uniform com- 
 position tinged by the metallic oxide which gives the 
 color, have first to be pounded and finely pulverized, and 
 at the same time a variable proportion of white lead is 
 added if it be necessary to increase the fusibility, and 
 some siliceous sand if the color be too soft. The color is 
 finally worked on the palette, either with turpentine, with 
 weak glue, or with pure water, and painted on over the 
 glaze with the brush. 
 
 In addition to their use in the decoration of painted 
 porcelain, these enamel colors are all used singly to pro- 
 duce monochromes. The class of monochrome enamels, 
 all of which are fired in the mufile, will include : the reds 
 of vermilion and coral tint derived from iron, exemplified 
 by a typical example in Plate XCII ; the carmines and 
 pinks derived from gold, of which one is represented in 
 Plate LIII ; the yellows, ranging from the pale canary of 
 Plate LXV to the deep imperial yelloAV of Plate V, which 
 are derived from antimony, tinged more or less by the 
 presence of iron ; the plain, uncrackled greens of varied 
 tone and sheen, often iridescent, w^hich owe their color 
 to copper binoxide ; the uncrackled sapphire-blue of 
 intense tone known as ^J)«<9-5^^'^ Ian, due to cobalt silicate ; 
 the deep grayish purple (tzii) manganese monochrome, 
 and a brilliant glossy black of vitreous composition.
 
 552 ORIENTAL CERAMIC ART. 
 
 The white enamel colors owe the opacity of their tint 
 to arsenic, of which they generally contain about five per 
 cent. The vdtreous compound is widely used also in 
 combination with other colors, being mixed with them, 
 to modify their tint and make them opalescent. The 
 various white enamels known to the Chinese by the 
 names oi y a pal, "ivory-white," lisuehpai, "snow-white," 
 smd po-li pad, "glass-white," differ but slightly in. com- 
 position. The yioelip)(ii, " moon- white," of the enameler's 
 palette, which has a pale greenish tinge, is prepared by 
 adding a small amount of one of the transparent greens 
 to the white. 
 
 The blacks, of varied composition, all owe their color to 
 cobaltiferous manganese not rich in cobalt. The calcined 
 mineral is sometimes painted on combined with white 
 lead as a flux and mixed with glue, when the surface 
 will be a dead black, and only partially vitrified at the 
 edges by combining with some of the silica of the white 
 glaze. The wu chin, or " metallic black " of the enam- 
 eler's palette contains an additional quantity of oxide 
 of copper, which imparts a greenish tone. The same 
 coloring material, when mixed with the oi'dinary viti'eous 
 flux, produces the brilliant color known as Hang liei, or 
 "glossy black," which contains a smaller proportion 
 of oxide of manganese than the other blacks. 
 
 The blue of the enamel painter, like that of the grand 
 feu, owes its color to cobalt. There are many shades, 
 differing in fusibility, but all made by the same method, 
 and consisting of oxide of cobalt, more or less impure, 
 dissolved in a more or less fusible plumbo-alkaline glass. 
 The color is very intense in the state of silicate, so that the 
 deepest sapphire-blue does not contain more than one and 
 a half per cent of oxide of cobalt, and the lighter azure-blue, 
 called fen cKing, yields only one-third as much on an 
 analysis of the flux. The presence of oxide of manga-
 
 CHINESE CERAMIC COLORS. 553 
 
 nese skives a violet tint. The enamel fuses on tlie surface 
 of the porcelain in salient relief so tbat it can be distin- 
 guished at once from the underglaze Ijlue ; its brittleness 
 causes it to be easily injured, and it is occasionally found 
 broken and scaled oft* in patches, the result of wear. 
 
 The green enamels used for the surface decoration 
 ■of porcelain are all colored by oxide of copper, being 
 either pure, or changed to a yellowish tone by the addi- 
 tion of prepared yellow, or to a bluish tone by the 
 addition of arsenical white or the use of a harder flux. 
 The flux is varied according to the tint desired. Oxide 
 of lead in excess deepens the green ; soda communicates 
 a tint less blue than that developed by potash under 
 similar circumstances. Tlie pale sea-green tint used for 
 filling in distant mountains is called for that reason sJtan 
 lii, or " mountain green " ; this is the pure biuoxide of 
 copper, and it is converted into turquoise-blue of darker 
 or lighter shade by being mixed with dift'erent propor- 
 tions of white enamel containing arsenic. The color 
 called hu lii, or vert passe, is made by the combination 
 of antimonial yellow with the copper green. The deep- 
 est shade of camellia-leaf gi-een, called ta lii, or gros vert, 
 is brought out in the firing of the pure copper oxide dis- 
 solved in a highly plumbiferous flux combined with 
 the smallest possible proportion of alkalies. 
 
 The yellows of the mufile stove are colored by anti- 
 mony. Antimony alone is colorless, but in combination 
 with oxide of lead it gives a bright canary-yellow when 
 pure. When contaminated with iron a reddish or orange 
 tone is produced. The purest tint is exhibited in the 
 yellow ground of the vase illustrated in Plate LXV, and 
 tne same yellow characterizes the finest painted decora- 
 tion of the period. The imperial yellow, which is spe- 
 cially reserved in China for the use of the sovereign, 
 is of fuller, deeper tone, approaching orange. Peroxide
 
 554 ORIENTAL CERAMIC ART. 
 
 of iron is purposely mixed with the pulverized yellow 
 enamel to produce the surface color of dull aspect which 
 is known by the name of hu Ciing, or " old bronze." 
 
 The deep purplish brown monochrome enamel, ap- 
 proaching a dark claret color, which is known to the 
 Chinese as tza, is produced by manganese. The oxide of 
 manganese communicates to alkaline glazes, as we saw 
 in the colors of the demi-grand feu, a beautiful violet 
 d''eveque (bishop's purple), or aubergine purple ; to lead 
 glazes it gives the brownish or grayish purple of the 
 muffle stove, wdiich we find in imperial ware in combina- 
 tion usually with dragons and other ornamental designs, 
 etched at the point in the paste underneath. 
 
 The reds of the enameler's palette remain for considera- 
 tion. They consist of two distinct and well-defined classes, 
 viz., the rouges defer, which owe their color to iron per- 
 oxide, and the rouges d''or, which owe their color to gold 
 precipitate, the purple of Cassius. The former are of 
 brickdust or bright coral hue ; the latter are I'ose-colored,. 
 carmine, or pink. Peroxide of iron is self-colored, and 
 does not require to unite chemically with any other sub- 
 stance to bring out its tint. In this it resembles the 
 peroxide of manganese, which produces the black, and 
 the technical application of the two colors is consequently 
 the same. The peroxide of iron requires only a simple 
 flux to cause it to adhere and to glaze its surface. It i& 
 prepared in China by the incineration of crystals of green 
 vitriol (sulphate of iron). The peroxide is combined 
 with five times its weight of white lead, the two materials 
 being passed through a fine sieve and triturated together ; 
 a little glue must be dissolved in water w^hen it is used 
 on the palette, anfl it must be painted on with a light 
 brush. The color applied in this way is of deep, full 
 tone, but of dull aspect, as it depends for vitrification on 
 the small proportion of silica that it is able to absorb 
 
 >
 
 CHINESE CERAMIC COLORS. 000 
 
 from the underlying glaze; it differs from the ordinary 
 enamel colors in not being in apprecial)le relief. This is 
 the ta hung, or gros rouge, of the Chinese, also known as 
 mo hung, or " painted red," being the oi'dinary red of 
 decorative painting on porcelain. The iron peroxide, like 
 the peroxide of manganese, is also employed in combination 
 with the ordinary plumbo-alkaline vitreous flux when the 
 color is required to be more brilliant and glossy. The 
 bright coral-red single color, known to the Chinese by 
 the name of tsao-^rh hung, or " jujube red," is produced 
 by this means ; it differs from the other in being completely 
 vitrified, even when laid on thickly, and excels it in trans- 
 lucency and luster, although not so deep and full in tone. 
 The vase illustrated in Plate XXVI displays this ground 
 in combination with a decoration in enamel colors ; in 
 other cases it is employed with the best eft'ect to form 
 a rich ground for ornamental designs reserved in white, 
 as in the charming little bowds of the ChHen-lung period, 
 which are so gracefully decorated with white sprays of 
 bamboo, thrown out in crisp outline by the lustrous ver- 
 milion background. 
 
 The rouges d'or are of comparatively modern introduc- 
 tion into the Chinese ceramic field, and seem to have been 
 quite unknown until the latter part of the reign of K\ing- 
 hsi. They are not mentioned by Pere d'Entrecolles, but 
 the cyclical date corresponding to the year 1721 has been 
 found on several saucer-dishes of Chinese porcelain deco- 
 rated with enamels of this class, and they occur among 
 the colors of vases painted in the style known us Juan 
 ts^ai, or " soft coloring," that are credibly attributed to 
 the reign of IC^ang-hsi. The color called yen-chih hung, 
 from its likeness to the cosmetic rouge of the Chinese, is 
 brought to Ching-te-chen in the shape of irregular frag- 
 ments of ruby-colored glass, the precipitated purple of 
 Oassius having been previously combined with a vitreous
 
 556 ORIENTAL CERAMIC ART. 
 
 flux. This is finely pulverized, worked up on the palette 
 with water or turpentine, and painted on without further 
 addition to produce the deep carmine of the rose-backed 
 es-o-shell dishes, or the crimson blossoms of a flower on a 
 decorated piece. The color is known also as hua Jiung, 
 or "flower red," on account, probably, of its frequent use 
 in coloring petals. Anal}sis shows it to consist of the 
 usual plumbo-alkaline flux, tinged with about one-quarter 
 per cent of metallic gold. A pink called /m hung, of 
 the " rose Du Barry " type, is prepared by mixing the 
 materials of the carmine color with those of the ordinary 
 white enamel. The third color of this class, which is 
 called by the name of chUing lien., or "blue lotus," is pre- 
 pared by mixing together three enamels — the caiminCy 
 colored ruby-red by dissolved gold ; the ivory-white^ 
 made opaque by arsenious acid ; and the deep blue 
 derived from cobalt ; the result when fired is a deep 
 amaranth of purplish tone. 
 
 Gold is also used in its ordinary metallic form in gild- 
 ing porcelain and in penciling upon it decorative designs, 
 which are fixed bv beina; fired in the muifle, Pere d'En- 
 trecolles has described fully its method of preparation 
 and its application, mixed with one-tenth of its weight of 
 white lead, by means of weak glue. It is singular that 
 exactly the same proportions ai-e employed in Europe in 
 mixing the gold with the flux which makes it adhei'e to 
 the porcelain, although the flux used at Sevres is subni- 
 trate of bismuth. Silver is also employed in China in its 
 metallic form, combined with white lead, whether as a 
 souffle overglaze or as an efliective decoration penciled 
 upon a dead-leaf ground.
 
 CHAPTER XX. 
 
 MOTIVES OF DECOEATIOX OF CHINESE PORCELAIN. 
 
 THE principal modes of decoration have been casually 
 alluded to already in the description of particular 
 pieces and of the style of different peiiods, but a short 
 resume of the more usual motives selected by the Chinese 
 artist may be attempted in a separate chapter. A com- 
 plete account of the varied phases of an art the principles 
 of -which diff'er so completely from our own, or of the 
 alien religions and strange philosophy which furnish its 
 chief subjects, is hardly to be expected. The first impres- 
 sion is apt to be that of the grotesque, and we notice the 
 absence of pei'spective in the landscapes, the want of 
 drawino; in the fio-ures, and the strang-e forms of the weird 
 monsters that are so often introduced. It is necessary 
 to get accustomed to these peculiarities to appreciate the 
 full effect of the vivid and harmonious colorino: in which 
 the brush of the Oriental decorator of porcelain has 
 never been surpassed. The same effect is aimed at 
 whether he be painting on the ra^v body with a single 
 color, such as cobalt-blue, so that the picture may be 
 imbibed in the fire in the translucent depths of the wdiite 
 overglaze, or whether he be working with the vitreous 
 colors of the enameler's palette, which are applied over 
 the glaze and fixed in the lesser heat of the muffle stove. 
 It is brilliancy which is the leading note in the decoration 
 of porcelain, and it is produced in its perfection in the 
 vivid greens of the polychrome pictures of the o\d. famille 
 veHe, as well as in the pulsating vigor which distinguishes 
 the best " blue and white " of the same reign of ICancj- 
 
 557
 
 558 ORIENTAL CERAMIC ART. 
 
 Tisi. These two acliievements mark the culmiuating point 
 of the ceramic art of Cliina, and they have never been 
 surpassed in any other country. 
 
 The earliest prehistoric pottery that is dug up from 
 the ground in all parts of Eastern Asia, specimens of 
 which are so highly prized by the Chinese as relics of 
 the time of their sacred emperors, Yao and Shun, w^hose 
 virtues are extolled by Confucius, is made of coarse, yel- 
 lowish clay. It is roughly ornamented with indented 
 dots and scored lines arranged in geometrical patterns, 
 or with string marks, impressed while the clay was still 
 moist, and has generally a remarkable similarity to the 
 archaic pottery discovered in other parts of the world. 
 In the Han dynasty it begins to be marked with inscrip- 
 tions in the same way as the bricks and tiles of the 
 period, which indeed it exactly resembles in material and 
 structure. An example of this is a roughly shaped globu- 
 lar vessel, six and a quarter inches high, six inches in 
 diameter, with an expanding mouth strengthened by a 
 prominent lip, which has been added to my collection 
 since the chapter on Marks was written. The form is 
 precisely that of some of the Anglo-Saxon urns dug up in 
 England. The mark, Avhich is stamped under the foot of 
 the vase, so that the characters stand out in low relief, is 
 Wufeng erli nien — i. e., "second year of the Wu-feng 
 period," which corresponds to b. c. 56, the eighteenth 
 year of the reign (b. c. 73-49) of tlie ^m^^erov Hsuan Ti 
 of the Han dynasty. 
 
 The more finely finished pieces of the Han dynasty 
 are composed of a kind of gray faience coated with a 
 brilliant green glaze derived from copper, the tint of 
 which is fitly compared by the Chinese to that of the 
 rind of a cucumber. The vases, modeled in the form of 
 the sacrificial bronze vessels of the period, have usually 
 mask handles fashioned in the shape of monsters' heads,
 
 I 
 
 MOTIVES OF DECORATION. 559 
 
 and are ornamented ^vith encircling bands worked in 
 relief in the paste under the glaze. These bands are 
 generally filled with the forms of grotesque dragons 
 and other monstrous creatures traversino; a frieze of 
 clouds. The designs are identical with those employed 
 at this period in the mural sculptures of tombs carved in 
 bas-relief on stone which I was the first to introduce into 
 Europe by the exhibition of a series of rubbings at the 
 Oriental Congress at Berlin in 1881.* The photographs 
 of these rubbings are included in the beautifully illus- 
 trated volume f lately published by my friend M. Cha- 
 vannes, the learned Professor of Chinese at the College de 
 France^ which should be consulted by every student of 
 early Chinese art. The scenes displayed so strikingly in 
 these mural sculptures are of the most varied character, 
 and are especially interesting as indications of the ancient 
 myths of the Chinese, before they were modified by the 
 introduction of Buddhism from India. AVe see the 
 astronomical star-gods, headed by the Supreme Deity 
 enthroned in the Great Bear, round which the lesser 
 satellites continually circle in token of homage, the storm- 
 gods in the midst of clouds shaping themselves into the 
 forms of dragons and winged horses, the elemental gods 
 of wind and rain, and the dreaded god of thunder 
 canopied by a rainbow, the latter being depicted as a 
 two-headed dragon with arched body. There are battle 
 scenes and warlike processions with chariots and spear- 
 men, representations of the early men of mythical times 
 with serpent bodies, and peaceful pageants, such as 
 Confucius attended by his disciples, or the meeting of 
 Confucius and Lao Tzu. Historical scenes from classical 
 times follow, a series of pictures of the assassins of 
 
 * Inscrij)tions from the Tombs of the Wu Fuinily from the Neighborhood of the 
 City Chiahsiang-hsien in the Province of Shantung. By Dr. S. W. Bushell. 
 
 j; La Sculpture sur Pierre en Chine au temps des deux Dynasties Han. Par 
 Edoiiard Chavannes. Paris, 1893.
 
 560 OKIENTAL CERAMIC ART. 
 
 tyrannical sovereigns, and of the noted examples of 
 feudal devotion, the virtuous heroines of ancient stoiy 
 and the paragons of filial piety, that have so often sup- 
 plied motives for the decoration of porcelain in more 
 modern days. 
 
 One of tlie stone slabs figures the felicitous omens that 
 herald the rule of a virtuous sovereign ; the well of pure 
 water that appeared spontaneously without digging ; the 
 miraculous bronze tripod in which food could be cooked 
 without fire ; the spotted unicorn called lin {hH-liii) ; the 
 yello\v dragons that appeared swimming in the lakes ; the 
 calendar plant of the time of the Emperor Yao, that 
 indicated the day of the month by throwing out a sprout 
 on each successive day of the waxing moon, till there 
 were fifteen, and by dropping one by one these sprouts 
 each day of the waning moon; the six-legged monster; 
 the white tiger that harmed no man ; the jade horse ; 
 Jade growing up miraculously from the ground ; the red 
 bear ; the twin tree with two trunks united above ; the 
 crystal gem (^pi-liu-li), disk-shaped, with a round hole 
 in the middle ; the deep-green tablet (Jisuan Icuei) of 
 jade, of oblong shape, with pointed top, an ancient badge 
 of rank ; two-headed quadrupeds, birds, and fishes ; the 
 white carp that appeared to Wu Wang, the founder of 
 the Chou dynasty, as he was crossing the ford at Meng- 
 chin ; the white deer on which foreign envoys from the 
 south are said to have ridden to the court of the ancient 
 Emperor Huang Ti\ the silver wine-jar (ym weng)^ 
 and the Jade symbol of victory {ijil slieng), the form of 
 which resembled that of a weaver's spindle, or of two 
 disks united by a central bar. 
 
 Bronze has been one of the principal materials for 
 artistic work in China from the most remote times, and 
 the collections of bronze antiquities that have been pub- 
 lished in the many illustrated books that are referred to
 
 MOTIVES OF DECORATION. 561 
 
 in tlie chapter on Bibliography have furnished a mine of 
 wealth for the potter in supplying forms as well as 
 decorative designs. The circular mirrors of bronze, for 
 example, which go back to the Han dynasty (b. c. 206- 
 A. D. 220), are molded and engraved on the back with 
 varied designs, accompanied often by written inscriptions, 
 and form by themselves a suggestive chapter of Chinese 
 art. The round mirror is a sacred article in the Taoist 
 cult, being supposed to have the power of detecting evil 
 spirits masquerading in human guise by reflecting their 
 true form, and the back is usually covered with pictures 
 of mythological and astrological character. In the Han 
 dynasty we have winged figures of the celestial deities, 
 four-horse chariots, and grotesque monsters in the style 
 of the mural sculptures of the time, lions and phcenixes 
 in the midst of arabesquelike scrolls of flowers, dragons, 
 and sea-horses in festoons of grapes. The divinity Hsi 
 Wang Mu, "Royal Mother of the West," with kneeling 
 attendants bearino; olferinofs, and bands of musicians, is 
 seated, either enthroned alone, or in association with 
 Tung "Wang Fu, "Royal Father of the East"; the 
 legends connected with these two deities are supposed 
 to be partly borrowed from Hindu sources, being 
 arranged like those relating to Indra and his consort, 
 and the Buddhistic aspect of the figures, posed as they 
 are occasionally on lotus thalami, lends some color to the 
 supposition. The astrological figures on the Han mii'i'ors 
 are those of the four quadrants of the uranoscope, viz., 
 the azure dragon of the eastern quadrant, the somber 
 tortoise and serpent of the north, the white tiger of the 
 Avest, and the red bird of the south. The bronze mirrors 
 of the T\vn(j dynasty (618-906) display a further series 
 of astrological figures, including the twelve animals of 
 the solar zodiac, the twenty-eight animals of the lunar 
 zodiac, the asterisms to which they correspond, etc.
 
 562 ORIENTAL CERAMIC ART. 
 
 The list of the animals of the solar zodiac has beeu 
 already given in Chapter III, in connection with the 
 duodenary cycle. They are represented on the backs 
 of the mirrors in rings, which are sometimes filled in 
 with sprays of ilowei's or leafy scrolls. On porcelain of 
 more modern times the animals are occasionally grouped 
 in a landscape scene filled in with ordinary details. 
 They are also found molded in porcelain, either in a 
 series of small animal forms, or as statuettes with human 
 bodies and animal heads. 
 
 One of the large bronze mirrors of this period, fifteen 
 inches in diameter, with the usual boss in the middle, 
 perforated for a silk cord, has round the boss a ring of 
 the four quadrants enumerated above, followed by a 
 succession of concentric rings. The second of these 
 rings has the pa hua^ the eight trigrams of broken and 
 unbroken lines, used in divination; the third ring con- 
 tains the twelve animals of the solar zodiac ; the fourth, 
 the ancient names of the lunar asterisms in archaic 
 script ; the fifth, the figures of the twenty-eight animals 
 of the lunar zodiac, followed by their names, the names 
 of the constellations over which they rule, and those of 
 the planets to which they correspond. The planets are 
 arranged in the same order as in our days of the week, 
 and the Chinese are supposed to have derived their 
 first knowledge of the division of the periods of the 
 moon's diurnal path among the stars into weeks of seven 
 days about the eighth century, when they obtained also 
 the animal cycles, which had been previously unkmown 
 to them. Their knowledge of the twenty-eight lunar 
 mansions is, however, far more ancient, and long dis- 
 cussions have taken place as to whether they were 
 invented in Chaldea, India, or China, or derived from 
 some common source in central Asia. Professor W. D. 
 Whitney, in his studies on the Indian Nahsliatras, or
 
 MOTIVES OF DECORATION. 56& 
 
 Lunar Stations, sums up the discussion by the con- 
 clusion that, " considering the concordances existing 
 among the three systems of the Hindus, Chinese, and 
 Arabians, it can enter into the mind of no man to doubt 
 that all have a common origin, and are but different 
 forms of one and the same system." 
 
 In addition to the astrological and hieratic devices on 
 these old bronze mirrors, which are mostly of Taoist 
 character, with wild animals, such as the deer and hare^ 
 bringing herbs in their mouths to the hermit, or sacred 
 birds, such as the swallow and crane, carrying in their 
 beaks scroll messages from the gods or fateful talismans 
 for the religious recluse, there is another kind with purely 
 ornamental decoration. These are covered with sprays 
 of natural flowers and buttei'flies, with conventional gar- 
 lauds of idealized flowers, such as are called by the Chi- 
 nese pao hsmng Jma, or '' flowers of paradise," with flsh 
 swimming in waves among moss and water-weeds, with 
 boys circling round the field weaving flowers, with drag- 
 ons and phcenixes disporting in tlie midst of floral ara- 
 besques, and with many others of the designs that we 
 find so often repeated later as art motives for ceramic 
 decoration. 
 
 In Buddhism, bronze objects of the same circular form, 
 looking like large medallions with the face polished to a 
 mirrorlike surface, represented the sacred w^heel (/« hiQi)^ 
 and are molded on the back with Sanskrit dharani. 
 One of these is sometimes placed in the hand of a Bud- 
 dhist divinity, or suggests the decoration of a porcelain 
 dish penciled with concentric rings of Sanskrit writing. 
 
 The ancient bronze moldings, in connection with the 
 carvings in jade of the Han dynasty, which were exe- 
 cuted in a similar style, furnished in fact the first models 
 for the porcelain manufacture. The old crackled wares 
 of the Sim(/ dynasty, the grass-green celadons, and the
 
 564 ORIENTAL CERAMIC ART. 
 
 ivory-white Tingcliou porcelain of the same period (960- 
 1279), all have the decorative designs molded in reliefer 
 engraved in the paste underneath the glaze, which was 
 applied subsequently. We know nothing from actual 
 experience of the older fabrics, but are told in the })ooks 
 that they were made in imitation of white and green 
 jade, and that they owed their chief beauty to the bi'il- 
 liant tints of their single colors, emulating the emerald 
 hue of moss-green jade, or the clear blue of the sky after 
 rain. Specimens of the Sung dynasty are not so uncom- 
 mon ; the vases are seen to have been molded with the 
 designs of the character that has been described, outside, 
 so as to cover their surface ; the bowls, cups, and dishes 
 have had the interior ornamented by being pressed upon 
 the mold and finished afterward with the graving tool. 
 Among the most frequent of the molded designs are 
 phcenixes flying among flowers, and brocaded grounds 
 composed of intei'lacing sprays of Moutan peonies and. 
 lilies, the rims being defined by encircling bands of fret 
 of varied pattern. A pair of fishes is occasionally seen 
 in Ijold relief in the bottom of a circular dish of old cela- 
 don porcelain, and the same design is found on the older 
 copper basins of the Han dynasty ; other dishes are 
 lightly engraved under the glaze with a spray of lotus or 
 of peony, or with grounds of checkered and fluted pat- 
 tern. There is no reference to painted decoration till 
 toward the end of the Sung dynasty, and even then only 
 in the case of some of the coarser productions, which 
 seem to have been occasionally roughly ornamented with 
 a few strokes of brown derived from some ferruginous 
 material, or witli touches of a dull blue composed of 
 impure manganiferous cobalt laid on over the glaze and 
 incorporated with it at the same firing. The blue and 
 white of the Yuan dynasty (1280-1367) was probably 
 of the same type, and perhaps some of the crackled jars
 
 MOTIVES OF DECORATION. 565 
 
 roughly painted iu blue with dragons, that are cherished 
 as heirlooms by the Dayaks of Borneo and in other islands 
 of the Eastern Archipelago, may date from this period. 
 China has never been so isolated from the outer world 
 as some have supposed. The oldest writings and tradi- 
 tions have so much in common with those of the ancient 
 Accadians and Babylonians as to suggest the theory of a 
 joint origin for both.* Many of the philosophical ideas 
 of the early Taoist writers are evidently inspired from a 
 Hindu source, and the Buddhist missionaries, when they 
 came to China in the first century a. d., brought with 
 them carved images and sacred pictures, and besides 
 exercised subsequently a considerable influence on Chi- 
 nese art, as is freely confessed by native writers on the 
 subject. Even before the Christian era the Emperor Wi/ 
 Tl of the Han dynasty had opened up intei'course with 
 w^estern Asia, sent envoys ^vho penetrated as far as 
 the Persian Gulf, followed by a large army, which con- 
 quered the Greek kingdom of Ferghana, enthroned a new 
 king there, and exacted a tribute of Nisgean horses, so 
 famous in classical history, which were, indeed, the 
 avowed object of the expedition. Herodotus describes 
 these horses, which " sweated blood," as coming from 
 Nisa in Media ; and Ssu-ma Ch'ien, the author of the 
 Sliih Chi^ the first of the official Chinese histories, who 
 has been called " the Chinese Herodotus," describes them 
 in similar terms under the name of JSfi-ssu horses ; while 
 Li Kuang-li, the commander-in-chief of the expedition, 
 who was appointed in the year b. c. 102, Avas given the 
 honorary title of Nissean General. The Greeks are 
 described in the Chinese history under the name of 
 Yuan, which is equivalent to laon, the name they have 
 always borne in Asia ; and the influence of Greek art is 
 
 * Western Origin of the Early Chinese Civilization. From 2300 B. C. to 200 
 A. D. By Terrlen de Lacouperie. London, 1894.
 
 566 ORIENTAL CERAMIC ART. 
 
 betrayed by several details in the mural sculptures of 
 Chinese tombs dating from the Han dynasty as well 
 as in early Buddhist sculpture. 
 
 During the succeeding centuries there was occasional 
 intercourse both by land and by sea until the thirteenth 
 century, when nearly the whole of Asia was under the 
 dominion of the Mongol descendants of Genghis Khan^ 
 who occupied the thrones of both China and Persia, over- 
 ran Russia, and reached nearly to the walls of Vienna. 
 Marco Polo in his well-known Travels describes his jour- 
 neys about this time between Europe and Cathay both 
 by sea and by land. Rabruquis, the envoy of Saint 
 Louis of France to Mangu Khan, who arrived at Kara- 
 korum in the year 1252, found there a Parisian gold- 
 smith named Guillaume Boucher, who was specially 
 attached to the court and had made for the Khan's 
 palace a wonderful fountain of silver, which he describes 
 minutely. It was in the form of a tall ti'ee surmounted 
 by an angel with a trumpet, having four large receptacles 
 concealed in its trunk, from which started four pipes, 
 emerging in the form of gilded serpents, and terminating 
 in the mouths of four silver lions which surrounded the 
 foot of the tree, and furnished a supply of wine, cosmos 
 made from mare's milk ; mead made from honey, or 
 rice-water, whenever either of these four beverages was 
 required. It was toward the close of this dynasty that 
 the Byzantine art of cloisonne enameling in copper seems 
 to have been first introduced into China, as the nUn-liao 
 of Chili^cheng (1341-67) is found underneath the foot 
 of pieces which there is no reason to doubt are actual 
 productions of the time, although the art was not offi- 
 cially adopted until the reign of CJdng-tai (1450-56) of 
 the next dynasty. 
 
 We are told by Sir John Malcolm, in his History of 
 Persia (volume i, page 422), that a hundred families of
 
 MOTIVES OF DECORATION. 567 
 
 Chinese artisans and engineers came to Persia with 
 Hulagu Khan about the year 1256, and it has been 
 surmised that theie were some potters among the 
 number. If there had been the}^ would have found 
 many processes of decoration in use there in the fabrica- 
 tion of faience and fine earthenware (for no true porce- 
 lain has ever been made in Persia) such as would seem 
 hitlierto to have been unknown in their own country, 
 and it seems natural to conclude that these would have 
 been introduced into China about this time rather than 
 invented de novo. The reign of Hsuan-te (1426-35) was 
 the first to become celebrated for its blue and white, and 
 the Chinese attribute its excellence to the quality of the 
 cobalt mineral which was imported by them at the time --^^ 
 vJrom Western Asia under the name of " Mohammedan 
 ^blue.'^ The process of decoration in enamel colors com- 
 bined with a lead flux, which were painted on over the 
 white glaze and fixed by a second firing in the mufile 
 stove, came in later. 
 
 Blue was the leading color in the decoration of porce- 
 lain throughout the Ming dynasty (1368-1643). The 
 other colors were at first principally used as grounds to 
 relieve the blue designs, or to fill in ornamental details 
 that had been previously reserved in white on a blue 
 ground. Even in the reign of Wan-li (1573-1619), 
 when painting in enamel colors had come into wider 
 vogue, the blue was still sketched in first on the raw 
 body, while the other enamel colors were filled in after- 
 ward over the glaze. A complete palette of overglaze 
 enamel colors appears later as a characteristic of the 
 reign of K^ang-hsi (1662-1722), and the large vases of 
 this class decorated in brilliant enamels of the fatnille 
 verte, that are so often classified as Ming pieces because 
 they are inscribed with the mark of Cli' eng-lma^ are 
 really productions of the K\mg-Jisi period.
 
 568 ORIENTAL CERAJriC ART. 
 
 Next to bronze designs and antique carving, the 
 patterns of old silk brocades and woven stuffs afforded 
 frequent motives for the decoration of porcelain, as we 
 have already seen in Chapter VII. China is the original 
 country of silk, and it has been celebrated for its woven 
 productions from the most remote times. The twelfth 
 book of the Po wu yao Ian, an excellent work on 
 objects of art which has often been quoted, and which 
 was published in the beginning of the seventeenth 
 century, is devoted to ancient silks under the heading of 
 cldii, " brocades," and hsiu, " embroideries," the former 
 of which were woven on the loom, the latter worked bv 
 hand with the needle. It includes an account of the 
 designs used in different dynasties, in which there occurs 
 a curious notice of five rolls of brocade with draerons 
 woven upon a crimson ground that were presented, in 
 the second year of the Cliing-cli^'u period (238), by the 
 Emperor Ming Ti of the Wei dynasty to the Empress 
 of Japan, who is recorded to have sent an embassy to 
 the Chinese court in that year. Under the Sung 
 dynasty (960-1279) is given a list of about fifty brocade 
 patterns of the same general character as those enumer- 
 ated on pages 255-256 ; and this is followed by another 
 long list of figured silk handkerchiefs of the time, which 
 were woven with designs similar to those of the brocades, 
 and used for head wrappers and for carrying things in. 
 This list of handkerchiefs ends with a reference to the 
 white wool kerchiefs of the Kitan Tartars, the arabesque 
 designs used by the Niichih Tartars, and the white 
 kerchiefs of the Koreans of the period, which were 
 woven with figures of eagles, vultures, and flowers, with 
 pheasants and other birds. 
 
 All the different desio-ns enumerated in both these 
 lists have been constantly used in later times in the 
 decoration of porcelain. 
 
 Ji
 
 MOTIVES OF DECORATION. 569 
 
 The painter on porcelain claims for himself only a 
 subordinate position in the school of Chinese art, and his 
 greatest triumph is a colorable imitation of one of the 
 old painters on silk and paper, whose pictures are kept 
 mounted upon rollers in Chinese cabinets. These pic- 
 tures are either graphically sketched in black ink, or 
 delicately tinted in water-colors, painting in oil being 
 unknown to the Chinese. The Chinese artist is first a 
 writer, and he acquii'es his skill in outline as a callig- 
 raphist of the written script, which was often originally 
 a picture of the object. He has always possessed, as 
 M. Paleologue observes in L'Art Cliinois (page 246), 
 the sentiment of color, and has acquired by intuition, as 
 it were, a perfect skill and finished delicacy in its appli- 
 cation. It is mainly in the advantage they have taken 
 of the vibration of colors that the Chinese have revealed 
 their power as colorists. Instinct and observation have 
 taught them that by shading the tints upon themselves a 
 singular depth and intense power can be brought out. 
 In painting on porcelain, even more perhaps than in 
 painting on silk, they have made the colors vibrate and 
 pulsate by putting blue upon blue, red upon red, yellow 
 upon yellow, in every shade from the lightest to the 
 darkest. The defects of want of perspective and ab- 
 sence of relief modeling are less noticeable on porcelain 
 than in pictures executed on a larger scale. 
 
 With regard to the different branches of his art there 
 is nothing that the artist on silk or paper, followed in 
 his turn by the painter on porcelain, has not attempted. 
 He treats in succession religious and historical subjects, 
 scenes of actual daily life, illustrations of poetry, romance, 
 and the drama, landscapes and copies of Nature, animals 
 real and mythical, flowers natural and symbolical, etc. 
 The Chinese generally recognize four genres, viz.: (1) 
 Eigures {rien Wu); (2) Landscape {Shan Shui), the
 
 570 ORIENTAL CERAMIC ART. 
 
 name meaning literally " liill and water"; (3) Nature 
 {Hua Niao)^ literally "flowers and birds"; and (4) 
 Miscellaneous {Tsa Hua). 
 
 As a striking example of tlie first class of decoration 
 with figures, the large vase, thirty inches high, that is 
 illustrated in Figs. 328 and 341, may be presented. It 
 is painted with a battle scene, sketched with a certain 
 amount of life and energy, so that the picture covers the 
 whole surface of the vase, extending over the neck as 
 well as the body. The colors used are the brilliant 
 overglaze enamels of the K'ang-hsi period (1662-1722),. 
 greens of different shade pi'edominating, and the daik 
 cucumber-green, the pale apple-green, and rich purple 
 exhibit the finely crackled texture which distinguishes 
 some of the monochrome glazes of the period. The 
 names of the generals that are written on their ban- 
 ners show that the scene is taken from the Hsii Slmi 
 Ha, a well-known collection of stories of brigands of 
 the reign of Hiii Tsung of the Sung dynasty, in the 
 beginning of the twelfth century, and we must turn to 
 the book for a short explanation : 
 
 The general, Sung Cliiang, had been sent by the emperor witli an 
 army to recover the city of Ch'in-chou in the province of Sliensi, 
 which had been captured by brigands. Tlie brigands, led by Lei 
 Ying-ch'un, accompanied by his v/Me P'o-p'o Niang, who was called 
 Pai Fu-jen, " The White Lady," a noted swordswoman, whose 
 charger was a lion that vomited flames, had taken refuge in the 
 Hung-tao Mountain, wliicli was over one hundred miles round. 
 Sung Chiang had advanced his troops, massed in three divisions, to 
 the attack, and Lei Ying-ch'un had been killed by Lin Ch'ung in 
 the first battle. The White Lady, when told the news of the death 
 of her husband, had wept bitterly, but had hastened to the front, and 
 had defeated the two generals Hua Jung and Ch'in Ming, whose 
 horses had fled affrighted by the lion, and alarmed by the power of 
 the enemy's magicians over the elements. 
 
 Sung Chiang, the imperial general, afterward had a number of 
 imitation lions made with moving eyes and heads filled with sulphur.
 
 MOTIVES OF DECORATION. 571 
 
 wliicli could be lighted at tlie critical moment. This is the moment 
 chosen for illustration. The White Lady, wielding a long-handled 
 sword, is seen in the foreground mounted upon a grotesque lion, 
 and her charger is just turning back, frightened by the dummy 
 lions which are grouped on the other bank of a river, as if being 
 driven in a team by an attendant. Slie is attended by two of her 
 generals on horseback, whose names are inscribed on their bannei's 
 Chang Ying-kao and Ching Ch'en-pao, and the large, waving 
 triangular banner dis2:>lays the constellation of the Great Bear and 
 the archaic dual symbol in token of her occult art. The loyal 
 generals are gathered on tiie other bank of the river, the large 
 square flag wliich is carried b}^ one of the horsemen being inscribed 
 Ta Sung, " Great Sung," the name of the reigning dvnasty. The 
 smaller group depicted on the neck of the vase represents the 
 commander-in-chief of the imperial army and his staff, the waving 
 banner being inscribed Shiiai, the title of his rank. His commands 
 are rendered by the man below, who is beating a drum. They are 
 all gazing upward, looking at an apparition in the sky in the guise 
 of a martial figure, which is approaching with each foot poised 
 upon a fiery wheel. This is Kuan Ti, the national god of war, who 
 appears in China at critical occasions as an omen of victory, and 
 animates the fray, just as the gods of ancient Greece were related 
 to have done in Homeric times. 
 
 We are told in the stoiy that afterward the White Lady 
 returned riding a chestnut horse, to be killed by Hu Yen- 
 sho, and that her two generals, whose names are given 
 above, were slain at the same time by the great general 
 Ch'in Ming and by Kuan Sheug the " long-sworded/' 
 whose devices are to be seen inscribed among the rest 
 upon the vase. The background of the picture is a 
 mountain scene with large pines growing from precip- 
 itous rocks. 
 
 The next illustration (Fig. 16) exhibits a " cool pillow " 
 of porcelain for summer use, which is also painted in 
 brilliant enamels of early ICaiig-lisi date, laid on over 
 the white glaze, including manganese purple, coral-red, 
 black, and a few touches of gold, relieved by bright 
 emerald-green and pale primrose-yellow grounds. It is
 
 0<2 ORIENTAL CERAIVIIC ART. 
 
 covered in the middle with a foliated panel of floral bro- 
 cade, with peony scrolls painted in colors on a yellow 
 ground, so as to extend over three of the sides. The 
 fourth side has a round hole in the middle of a painted 
 flower, which is fltted with a screw cover, so that fragrant 
 flowers or scented herbs may be introduced into the hol- 
 low interior of the pillow. The borders are surrounded 
 by bauds of diaper and spiral fret. The square ends, of 
 which one is shown in Fig. 342, are decorated with scenes 
 from some comedy. A traveler of mature years, with an 
 attendant carrying baskets of fruits or flowers, is stand- 
 ing in the courtyard of a house at the porch of which 
 stands a lady, bowing politely as she listens to him talk- 
 ing. The wine-cups j)laced side by side on the table 
 inside suggest an approaching wedding, which is perhaps 
 the subject of the discussion. 
 
 Porcelain is often molded after sacred designs in the 
 form of images and the like, or illustrated with themes 
 derived from some one of the religious cults followed in 
 China, and a word of introduction on the subject may be 
 attempted here. There are in China three systems com- 
 monly spoken of by foreigners as " religions," and known 
 as Confucianism, Taoism, and Buddhism. The first is the 
 cult of the literati, of which Confucius, who lived b. c. 
 551-479, is the prophet, and the reigning emperor, as the 
 Son of Heaven and the vice-regent of the Supreme Deity 
 on earth, is the great high priest, and he has the sole 
 right of offering sacrifice, unless he deputes the duty to 
 one of the princes or high mandarins. It is really a sys- 
 tem of state philosophy rather than a religion, as Confu- 
 cius was himself a professed agnostic, and was wont to 
 refuse to discuss the supernatural with his disciples, but 
 the practice of ancestral worship is inextricably inter- 
 woven with its tenets. The state gods, like Kuan Ti, the 
 God of AVar, are deified mortals, and subject to promo- 
 
 I
 
 MOTIVES OF DECOEATION. 573 
 
 tion or degradation by the emperor, who rules the celes- 
 tial hierarchy on the same lines as the earthly mandarin- 
 ate, and may even adopt into it any deity from the other 
 cults. 
 
 The God of War has already been noticed as appearing 
 in the air as an omen of victory in a battle scene depicted 
 on the large vase illustrated in Figs. 328 and 341. Kuan 
 Yii, a well-known historical character, rose into celebrity 
 in the troublous times at the close of the Han dynasty. 
 He is reputed to have been in early life a seller of bean- 
 curd, but to have subsequently devoted himself to study, 
 until in the year 184 he casually encountered Liu Pei, 
 when the latter was about to take up arms against the 
 rebellion of the Yellow Tui'baus, and a solemn compact 
 was sworn in a peach orchard. The fidelity of Kuan Yii 
 to his adopted leader remained unshaken in despite of 
 many trials. At an early period in his cai'eer he was 
 created a baron by the notorious regent Ts'ao Ts'ao, who 
 tried to turn the hero from his fealty to Liu Pei, whose 
 tAvo wives had fallen into his power, by shutting up Kuan 
 Yii at night in the same house with the two imprisoned 
 ladies ; but the trusty warrior preserved their reputation 
 from innuendo, and proved his own fidelity by mounting 
 guard in an antechamber the livelong night with a lighted 
 lantern in his hand. His martial prowess was proved in 
 many campaigns with Liu Pei, before the throne of his 
 chief as sovereign of Shu became assured, but he fell a 
 victim at last to the superior force and strategy of Sun 
 Ch'iian, the founder of another of the Three Kingdoms 
 into which the empire then became subdivided, and Avas 
 taken prisoner and beheaded in the year 219. Although 
 always celebrated as one of the most renowned of China's 
 heroes, it was not till early in the twelfth century that 
 he was canonized by the Emperor Hid Tmng of the 
 Simg dynasty. By the Emperor Waii-li of the Ming 
 
 iff
 
 574 ORIENTAL CERAMIC ART. 
 
 dynasty he was raised, in 1594, to the rank of TV, the 
 highest in the hierarchy, and since that date, and espe- 
 cially since tlie accession of the reigning Manchu dynasty, 
 his worship as the God of War has been firmly established. 
 
 The porcelain figure presented in Fig. 343 is Kuan Ti, 
 the Chinese God of War, as he sits enshrined upon the 
 altar in the gateway or front hall of most of the temples 
 in China. It represents a mail-clad warrior seated, in a 
 speaking attitude, with one hand uplifted, in a wooden 
 chair which has dragons' heads projecting from its arms, 
 one of his legs resting on rocks, the other placed on a 
 lion footstool. The figure is molded in one piece, with 
 the exception of the liands, which can be detached. 
 
 The principal God of Literature is the stellar divinity. 
 Wen Chang Ti Clitin, whose constellation is one of the 
 smaller groups of stars in Ursa Major. He is represented 
 in pictures as a dignified figure in mandarin dress and a 
 broad-brimmed hat of antique style, riding a mule, accom- 
 panied by attendants carrying banner-screens and other 
 paraphernalia. His superior claims have been ousted, 
 however, by one of his satellites known as K'uei Hsing, 
 who is the personification of the star hhtei^ and who is by 
 far the most popular God of Literature in the present 
 day, although he was not formally canonized till the four- 
 teenth century. Tradition says that he once lived on 
 earth, and attained by his literary genius the highest 
 grade at the official examinations, but was refused the 
 post to which he was entitled on account of his ugliness, 
 whereupon he precipitated himself in his despair into the 
 Yellow River, and was borne to the place which he now 
 occupies in the firmament by the dragon. The porcelain 
 statuette reproduced in Fig. 86, which is decorated in 
 overglaze enamel colors, shows K'uei Hsing standing with 
 one leg upon the head of a fish-dragon, which is rising 
 from the waves. His face is that of a demon, with
 
 MOTIVES OF DECORATION. 575 
 
 repulsive features, projecting canine teeth, protuberant 
 eyes, and two budding horns; the bare arms and legs are 
 encircled by bracelets and anklets, and the cloak waving 
 loosely above the head with long, floating ends conveys 
 the impression of movement. A pencil-brush is wielded 
 in his uplifted right hand, and he holds a square cup of 
 ink in his other hand, or a cake of ink molded in the form 
 of a silver ingot. The fish-dragon (yil-lung), which is his 
 special attribute, is the emblem of literary perseverance 
 and success, and is often used alone in symbolical decora- 
 tion, as in the blue and white piece shown in Plate 
 LXIX. The Yellow River passes in its course through 
 a famous defile known as Lung-Men, or " Dragon-Gate," 
 and according to old legends, when the salmon ascend 
 the stream in the thii'd moon of each year, any that suc- 
 ceeded in passing through the precipitous rapids at this 
 point become transformed into dragons. The list of suc- 
 cessful candidates is called the " dra2:on list " in allusion 
 to this. 
 
 Taoism is the second of the three srreat relio-ions of 
 China. Lao Tzii, the founder of the occult philosophy of 
 the Taoists, is said to have been l)orn in the year 604 
 B. c, and to have been a keeper of the official records at 
 Lo, the capital of the Chou dynasty, in the province of 
 Honan, till near the close of the fifth century b. c, when 
 he was visited by Confucius. The meeting of the two 
 sages is one of the scenes on the mural tomb sculptures 
 of the second century that have been already alluded to, 
 and it forms occasionally the motive of the decoration of 
 a porcelain vase. After a long period of service Lao Tzii 
 retired from office, foreseeing the decadence of the suze- 
 rain house of Chou, and ti'aveled away to the west. The 
 governor of the frontier pass of Han Ku besought him 
 to write a book before retiring from the world, and was 
 intrusted with the Tao Te Chmg, before the author dis-
 
 576 ORIENTAL CERAMIC ART. 
 
 appeared from mortal ken. This work, the Bible of 
 Taoism, has been translated into several European lan- 
 guages. Later legends have assigned to its author a 
 period of fabulous antiquity, and a miraculous concep- 
 tion through the influence of a star, alleging him to have 
 been the incarnation of the supreme celestial entity, 
 which they called the " Venerable Prince of the Great 
 Supreme," whence he is also termed Lao Chiin, or " Ven- 
 erable Prince." Shou Lao, the " Ancient of Ages," the 
 stellar god of longevity, whose celestial seat is near the 
 south pole, is supposed to be the disembodied spirit of 
 the venerable philosopher. The mystic elements of his- 
 teaching were progressively developed by his early dis- 
 ciples in their search after an elixir to preserve the body 
 from decay and death, and in their efforts to discover the 
 lapis divinus, and to transmute metals into gold, which 
 gave rise to the ancient study of alchemy, in its two lead- 
 ing branches. Their first great patron was the Emperor 
 Wu Ti (b. c. 140-87) of the Han dynasty, and from his 
 period onward the reverence paid to Lao Tzii began to 
 assume a divine charactei*. In a. d. 666 the emperor of 
 the T''ang dynasty canonized him with the title of " Im- 
 perial God of the Dark First Cause," and other titles 
 were added subsequently, till it has become difficult to 
 distinguish his attributes from those of Shang Ti, the 
 supreme god of the celestial hierarchy. Shang Ti is 
 identified with the northern pole star, his chariot is the 
 Great Bear, and the stars of the circumpolar space consti- 
 tute his court — the Taoist kingdom of heaven — under 
 appropriate titles. Shou Lao is established at the oppo- 
 site pole of the heavens, and only appears on auspicious 
 occasions. He is represented (Fig. 348) as a venerable 
 man of benevolent aspect, with bald head, protuberant 
 forehead, and long, flowing white beard, dressed in robes 
 brocaded with the character shou, "■ longevity," and carry-
 
 MOTIVES OF DECORATION. 577 
 
 ing a sacred peach in his hand. Sometimes he is mounted 
 upon a deer, or' speeding through the air on a stoi-k, or 
 he may be depicted as a mortal sage in a rocky landscape 
 riding an ox on his long journey to the west. 
 
 The old " Nature gods " of the Chinese, the devouring 
 ogre of the wilderness, called T'ao-tieh, whose features 
 are delineated on archaic bronzes, the rain- and storm- 
 gods, which appear dimly outlined in the dark clouds 
 before the tempest, and the dreaded thunder-god, whose 
 bolts are the prehistoric stone axes and celts that are 
 often found in ground washed aAvay by the torrent after 
 a thunderstorm, have all been adopted by the Taoists, 
 but they are rarely seen on porcelain, and need not detain 
 us here. 
 
 Much more popular is the Taoist Triad of Happiness^ 
 Rank, and Longevity, " Fu, Lu, Shou," which is depicted 
 in Fig. 325. The vase is decorated in delicate enamel 
 colors with gilding of the Yung-cJieng period, with scat- 
 tered scrolls of clouds and flying storks bringing branches 
 of peaches in their beaks. On one side the strokes of 
 the character sIwk, '' longevity," filled in with a brocaded 
 ground, are interrupted in the middle by a peach-shaped 
 medallion containing a picture of a group of figures 
 gathered under a spreading pine. The three principal 
 figures represent the Taoist Triad, the others being only 
 attendant sprites. The Star God of Rank, Lu Hsing^ 
 stands in the middle, dressed in mandarin robes, with a 
 winged official hat of ancient style, and holding a jii-i 
 scepter ; the Star God of Longevity, Shou Hsing, stands 
 on his right, leaning upon a long staff, to the top of 
 which is slung a scroll, and holding in his left hand a 
 peach, the sacred fruit of life ; the Star God of Happi- 
 ness, Fu Hsing, on the other side, has a babe in his arms, 
 who is reaching out his hand for the peach. The boy 
 dancing at the side holds up a lotus-flower, the one stand-
 
 578 ORIENTAL CERA^^C ART. 
 
 ing at the back a hand-organ (tseng). On the other side 
 of the vase the strokes of the companion character /"?/, 
 ^' happiness," are interrupted in the middle by a circular 
 medallion containing a picture of the Taoist goddess, 
 Hsi Wang Mu, accompanied by two female attendants, 
 crossing the sea on a raft. 
 
 The goddess is represented again in the saucer-shaped 
 dish of eggshell porcelain painted in soft enamel colors 
 with gilding, which is shown in Fig. 339. The central 
 panel is designed in the shape of a peony-petal, and 
 sprays of peony-flowers and buds are displayed upon the 
 lilac diaper which surrounds it. It is painted in sepia 
 tints, touched with gold, with the picture of two grace- 
 ful female figures, representing the Taoist divinity, Hsi 
 Wang Mu, with a youthful attendant standing upon 
 branches of equisetum moss, as if floating on water, with 
 their scarfs flowing in the breeze. The goddess, dressed 
 in dragon-brocaded robes, holds a gilded sce^^ter ; the 
 attendant carries a dish of peaches, the " fruit of life " of 
 Taoist story. The rim of the dish is encircled by a band 
 of pink diaper, interrupted by medallions containing 
 sprays of peony, the floral attribute of the goddess. 
 
 Hsi Wang Mu, the queen of the genii, is the ruler of 
 the Taoist paradise in the K'un-lun Mountains, which is 
 celebrated in ancient myth and fable. Legends in the 
 old books record the visit of the Emperor Mu Wang in 
 his journey to the west in b. c. 985, and relate how he 
 was entertained by the goddess in her fairy abode, where 
 she lives, surrounded by troops of genii, on the shores 
 of the " Lake of Gems," where grow all kinds of trees 
 bearing fruit of jewels and precious jade, and the peach- 
 tree whose magic fruit confers the gift of immortality. 
 The goddess bestows this fruit upon the favored beings 
 admitted to her presence, or dispatches it by the azure- 
 winged birds who serve, like the doves of Venus, as her
 
 MOTIVES OF DECORATION. 579 
 
 messengers. The magiiiliceiice of her riioimtain palace is 
 described iu glowing terms by Lieh Tzti, a Taoist alle- 
 gorical writer of the fifth century b. c. In later times 
 the Emperor Wu Ti of the Ha/i dynasty is alleged to 
 have been favored with visits by Hsi Wang Mil and her 
 fairy troop, and his regal entertainment of his super- 
 natural guests is a well-worn theme of old picture and 
 story. 
 
 The suuif-bottle shown in Fig. 347 exhibits Shou Lao 
 again, in the guise of an aged pilgrim, leaning upon a 
 long staff to the gnarled head of which is tied a double 
 gourd, the traditional pilgrim's bottle. The deer at his 
 side has a branch of the sacred Polyporus fungus in its 
 mouth, and the bats flying round are introduced as sym- 
 bols of happiness. At other times he is seen as a vener- 
 able figure seated on the rocks in a mountain landscape 
 under a pine-tree, with the bamboo, flow^ering plum, and 
 sacred fungus growing near, and his familiar animals, the 
 deer, tortoise, and stork, near at hand, while the motley 
 crowd of immortals and genii gather round in homage, 
 distinguished by their various attributes. The best 
 known of these is the group of Taoist rishi, or hermit 
 immortals, that constitute the J^a Hsien, the " Eight 
 Genii," of the Chinese, whose emblems Avere given iu the 
 chapter on Marks. The individual members of the eight 
 have long been venerated among the Taoist saints, 
 although they do not seem to have formed into a defined 
 group before the thirteenth century. They are regarded 
 as the patron saints of different arts and industries, and 
 are found separately as porcelain statuettes, or united in 
 the decoration of porcelain bowls and dishes, especially 
 on those intended to hold sacrificial offerings. Their 
 names and attributes are as follows : 
 
 1. Chung-li Ch'uan, who lived during the Chou dj^nasty, and 
 was one of the discoverers of the elixir of life. He is represented
 
 580 OEIENTAL CERAMIC AET. 
 
 as a fat man, with bare, pendulous abdomen, holding a sacred fun- 
 gus, or a peach, in one hand, and in the other a fly-brush, or a fan, 
 witli which he is said to revive the spirits of the dead. He is also 
 known as Ilan Chung-li. 
 
 2. LiX Tung-pin, born in 755, was one of the most prominent 
 among the later Taoist patriarchs, who held office as magistrate of 
 Te-hua, and studied the mysteries of alchemy in the recesses of the 
 hills called Lu Shan in the province of Kiangsi. A personage of 
 martial aspect, he is armed with the sword of supernatural power, 
 with wliich he traversed the empire for upward of four hundred 
 years, slaying dragons and ridding the earth of divers evil things. 
 He is also known by his personal name of Lii Yen, and is worshiped 
 everywhere as the special ])atron of the sick, who hang up the 
 magic sword by their bedside to exorcise maleficent spirits. Under 
 the designation of Lti Tsu, or the " Patriarch Lii," he is the patron 
 saint of tlie fraternity of barbers. 
 
 3. TA T''ieh-l:imi — that is to say, " Li with the Iron Crutch " — 
 presents himself in the guise of a lame and crooked beggar dressed 
 in rags. No precise period is assigned to his existence on earth, but 
 he is said to have been of commanding stature and dignified mien, 
 and devoted to the stud}' of Taoist lore, in which he was instructed 
 b}"" Lao Tzu himself, who used to summon his pupil to the celestial 
 spheres. When his spirit mounted on high, the care of his body, 
 Avhich remained on earth, was confided to one of his disciples. On 
 one occasion, unhappily, the watcher was called awa}' to the deathbed 
 of liis mother, and his trust being neglected, when the disembodied 
 spirit returned it found its earthly habitation no longer vitalized. 
 The first available refuge was the body of a lame beggar, whose 
 si)irit had at that moment been exhaled, and in this shape the sage 
 continued his existence, supported by an iron crutch, and carr3dng 
 a pilgrim's gourd, from which clouds and magic apparitions are 
 often seen to be issuing. He is the special patron of astrologers 
 and magicians. 
 
 4. Ts'ao JCiio-cIi' lu is said to have been the son of a famous 
 general of the tenth centurj^, and brother of an empress regent of 
 the Su7ig (iywA^iy. He is dressed in oflScial robes, wears a winged 
 hat, and carries a pair of castanets. He is the patron of mummers 
 and actors. 
 
 5. Ija7i Ts'ai-ho, a legendary being of whom little is known, the 
 sex even being uncertain. One stor}'- says that it was a weird woman 
 
 I
 
 MOTIVES OF DECORATION. 581 
 
 dressed in a tattered blue gown, with a cloak of leaves, who used to 
 beg a liveliliood in the streets, clianting a doggerel verse denunciatory 
 of fleeting life and its delusive pleasures. She carries a spade and 
 a basket of flowers, and is worshiped b}' gardeners and florists as 
 their tutelary saint. 
 
 6. Chang Kuo Lao, a celebrated necromancer, who is said to 
 have flourished in the seventh and eighth centuries, and to have 
 possessed a wonderful white mule which carried him thousands of 
 miles at a stretch. He used to carry the picture of his mule folded 
 and hidden awa}"^ in his wallet, and made the beast resume its proper 
 shape b}' spurting water on the picture. At other times he would 
 conjure it out of liis magic gourd. He is recognized by the peculiar 
 musical instrument which he carries, a kind of drum of bamboo, 
 with a pair of rods. He is the patron of artists and calligraphists, 
 and of scholars generally. 
 
 7. Han Hsiang Tz-iX is reputed to have been a great-nephew of 
 the celebrated statesman Han Yii, who lived 768-824, and was an 
 ardent lover of transcendental study. As a pupil of the patriarch 
 Lii Tung-pin, he gained admission into the Taoist paradise and 
 ■climbed the tree of life, the sacred peach-tree, fiom which he fell 
 to the ground, and, in descending, entered into the state of immor- 
 talit}'. He is represented as a young man plajnng upon a flute, and 
 is specially worshiped b}' musicians. 
 
 8. Ho Hsien Kii, the maiden immortal of the group, is said to 
 have been a native of tlie neighborhood of Canton. At the age of 
 fourteen a spirit visited her in a dream, and instructed lier in the 
 art of attaining immortality by eating powdered jade and mother- 
 of-pearl. She followed these instructions implicitly, vowed herself 
 to a life of virginity, gradually renounced ordinary human food, 
 and acquired the facult}' of traversing the hills in spiritualistic 
 fashion, as if endowed with wings. She used to return at night 
 with the herbs she had gathered during her solitary wanderings. 
 She still appears occasionally to her favored votaries, floating upon 
 a cloud of many colors, as depicted on the charming eggshell dish 
 illustrated in Plate LXHI, where she is represented as carrying 
 in her hands a large jar of the elixir of life. She is usually clad in 
 a cloak of mugwort-leaves, carries a lotus, and is the tutelary genius 
 of housewifer^^ 
 
 Tlie obloug porcelain plaque wbicli is exhibited, 
 mouutecl in its frame of carved wood, in Fig. 352, is
 
 582 ORIENTAL CERAMIC ART. 
 
 painted in enamel colors of the OhHen-lung period, with a 
 picture of the eight immortals (Pa Hsien) crossing the 
 sea on their way to the immortal realms on the far bank. 
 The shore to which they are proceeding is a conventional 
 mountain scene, with tall pines in the foreground, repre- 
 senting the Elysian fields of the Taoist cult. 
 
 Tung Fang So, who lived in the second century b. c.^ 
 was one of the favorite associates of the Emperor Wu 
 Ti of the Han dynasty, into whose service he entered 
 B. c. 138, when the young sovereign summoned the most 
 gifted scholars and men of genius. He encouraged the 
 emperor's leaning to the superstitious and marvelous, and 
 was soon after his death adopted as a Taoist saint and 
 endowed with all kinds of miraculous qualities. He was 
 declared to be an embodiment of the planet Venus, and 
 to have been incarnate many times in the course of 
 Chinese history. The goddess Hsi Wang Mu, who saw 
 him during her visit to the court, is said to have 
 exclaimed, " That is the boy who once stole three of my 
 sacred peaches, and acquired thereby a longevity of nine 
 thousand years ! " He is always represented holding a 
 gigantic peach in his hand, or speeding across the clouda 
 with a branch of the fruit of life thrown over his 
 shoulder. 
 
 The list of Taoist genii is nearly endless,* for every 
 vocation has its tutelary saint, who is often a deified 
 mortal who once worked at the craft, as in the case of 
 the patron Pousa of the potters, the story of whose 
 vicarious sacrifice has been related in the chapter on 
 Ching-te-chen, 
 
 Sailors worship the goddess Ma Ku, and build temples 
 
 * There are several books on the subject, one of the earliest being the Shen 
 Hsien Chuaii, by Ko Hung, written in the fourth century A. D., which gives 
 a series of biographical notices of eighty-four immortals. Cf. Harlez, Le 
 Livre des Esprits et des Imrnortels. Essai de mythologie Chinoise d'aprh le» 
 textes originaux. Bruxelles, 1893.
 
 MOTIVES OF DECORATION. 583 
 
 at the seaports, where she is enshrined under the title of 
 T'ien Hon, "Empress of Heaven"; she appears riding 
 upon the storm-clouds, or floating on the rough sea- waves, 
 to direct her votaries in times of danger, and is liberally 
 proj^itiated by ex voto offerings w^hen they are once more 
 safe on shore. The complaisant Taoists have even dedi- 
 cated an altar for thieves, and supplied them with a 
 deity of their own, to whom they devote a portion of 
 their ill-2:otten chains after a successful raid. Some of the 
 genii are connected with, folk-lore rather than religion, 
 and partake of the nature of the fairies of Western story, 
 like the mischievous elf who hides away in the thorny 
 recess of the jujube-tree, or the tiny peachling whose 
 abode is in the kernel of the fruit. 
 
 Among other genii often represented in the decoration 
 of porcelain are : Liu Han, ^vhose familiar is the three- 
 legged toad from the moon, which reveals to him secrets 
 of immortality and hidden treasures, and who holds up 
 a coin or jewel between finger and thumb, or weaves a 
 string of cash in the air ; Wang Ch'iao, the philosopher 
 j^rince of the sixth century b. c, who is seen playing 
 upon the flute as he rides through the air upon the white 
 crane, from whose back he w^aved a final adieu to the 
 world as he ascended to the immortal realms ; and the 
 scantily clothed hermit, Huang An, who sits cross-legged 
 upon the back of a tortoise swimming across the sea. 
 The twin genii, called Ho Ho Erh Hsieu — that is to say, 
 '' Two Genii, of Union and Harmony " — are perhaps the 
 most popular of any. They are two cronies, Arcades 
 ambo, who take many forms, being represented sometimes 
 as ragged mendicants, with staff' and besom, in friendly 
 converse, as they approach a priest who is ringing a 
 monastery bell ; sometimes as a couple of hermits ^^-ith 
 smiling, boyish faces, one carrying a lotus-flower, the 
 other a box from underneath the cover of- which a cloud
 
 584 ORIENTAL CERAMIC ART. 
 
 may be seen issuing whicli is shaping itself into the form 
 of bats as emblems of happiness. The twin merry genii 
 are presented in Fig. 346, wdth the arm of one encircling 
 the neck of the other. They have gold bracelets and 
 anklets, and their robes are richly brocaded in enamel 
 colors with gilding of the ClCien-lung period, so that they 
 have altogether a very mundane aspect, and their super- 
 natural character might hardly be suspected were it not 
 for the cloud-enveloped pedestal of celadon tint on which 
 they are posed, which mark them as celestial beings. 
 These smiling features pervade domestic life in China: 
 they are printed on the wall-paper, and woven in silk as 
 appropriate hangings for the marriage couch, and even 
 towels imported from abroad are seen stamped in fugitive 
 ink with the effigies of the two merry genii. Should 
 there be an estrangement between lovers or friends, one 
 of them must go to a temple, burn incense at the shrine 
 consecrated to the two genii, and bring away a pinch of 
 ashes from the censer, and if this be surreptitiously put 
 into a cup of tea and the decoction be drunk by the 
 estranged one unknowingly, it will infallibly bring about 
 a complete reconciliation. 
 
 Buddhism, the third great religion of China, was intro- 
 duced from India. The earliest missionaries came over- 
 land to the southwest of the Chinese Empire, the modern 
 province of Ssu-chuan, and arrived in the second century 
 B. c, but gained few converts. It was not till the year 
 61 A. D. that the Emperor Ming Ti, in consequence of a 
 dream of a golden figure of supernatural proportions, 
 whose head was encircled by a shining halo, sent an 
 embassy to India, which brought back with them many 
 sacred books and images. Two Indian priests, Matanga 
 and Gobharana, accompanied the mission on its return to 
 China, and the emperor built a temple for their residence 
 at Loyang, then the capital. It was called Pai Ma Ssti,
 
 MOTIVES OF DECORATION. 586 
 
 "White Horse Monastery," in commemoration of their 
 having brought the Sanskrit books on a white horse, and 
 they forthwith proceeded to translate those books into 
 Chinese. Buddhism penetrated subsequently to Korea, 
 and through that country into Japan, which, however, it 
 did not reach till the middle of the sixth century. 
 
 Buddhism is well known, in comparison with Taoism, 
 and there is a vast literature on the subject available for 
 reference, so that it need not detain us so long. One of 
 the most recent works on the subject is that written by 
 Dr. Waddell,* on the borders of Tibet. It is well illus- 
 trated, and will be found a mine of myth and symbolism, 
 the author having, he tells us, purchased a Buddhist 
 temple, with all its ritual fittings, and obtained much of 
 his information on obscure points from learned lamas on 
 the spot. 
 
 Sakyamuni, the historical Buddha, is rarely molded in 
 porcelain, more precious materials, such as jade, rock- 
 crystal, amethyst, or turquoise, being considered more 
 suitable for his exalted dignity when represented on a 
 small scale. His principal representations are : 
 
 1. His JBirth, A figure of a child standing erect upon a lotus- 
 thalamus, pointing upward to heaven witli his right hand, down- 
 ward to earth with his left, according to the tradition which tells 
 us that he cried out at the moment, '^I the only, most exalted 
 one ! " 
 
 2. Sctkya returning from the 3Iou7itains. Of ascetic aspect, 
 with beard and shaven poll, attired in flowing garments and hold- 
 ing his hands in a position of prayer. The ear-lobes are enlarged, 
 a sign of wisdom, and the brow bears the ilrna, the luminous mark 
 that distinguishes a Buddha, or a Bodhisattva. 
 
 3. The All-wise Sdkya. A Buddha seated cross-legged upon a 
 lotus throne, resting the left hand upon the knee, the right hand 
 raised in the mystic preaching pose. The hair is generally repre- 
 
 *T}ie Btiddhism of Tibet, or Lamaism, with its Mystic Cults, Symholism, and 
 Mythology, and in its Relation to Indian Buddhism. By L. A. Waddell, M. B., 
 etc., London, 1895.
 
 586 ORIENTAL CERAMIC ART. 
 
 seuted as a blue mass composed of short, close curls, and a jewel is 
 placed about midway between the crown and forehead. 
 
 4. The Kirvuna. A recumbent figure lying upon a raised 
 bench, with the head i^illowed upon a lotus. 
 
 5. In the Sdkyamuni Trinity. Either erect, or seated in the 
 attitude of meditation, with the alms-bowl in his hands, between 
 his spiritual sons, the Bodhisattvas Manjusri and Samantabhadra, 
 the three forming a mystic triad. 
 
 Manjusri, or Manjughosha, "Tlie sweet-voiced," the 
 Buddliist Apollo or God of Wisdom, is tlie great dis- 
 peller of ignorance. Witli the bright sword of divine 
 knowledge, which he wields in his right hand, he cuts 
 all knotty points, and he carries in his left hand the 
 bible of transcendental wisdom placed upon a lotus- 
 flower. He is often represented mounted on a lion. 
 
 Samantabhadra, "The All-good," the other celestial 
 Bodhisat of the Buddhist Trinity, is always seated upon 
 an elephant, and usually holds a book. 
 
 Gigantic images of the above triad occupy the center 
 of the large hall of a Chinese temple, while the walls are 
 lined with figures of the eighteen Lohan (Sanskn't, 
 Arhat), representing the chief of the early apostles or 
 missionaries of the faith, each provided with its own 
 particular shrine and altar. The number was originally 
 sixteen, and the Japanese still keep to the original group, 
 not having adopted the two saints which have been more 
 recently added in China. Each of these " eighteen 
 Arhats " is figured in a fixed attitude, and each has his 
 distinctive symbol or badge, in the same way as our apos- 
 tles are represented — Mark with a lion, Luke with a book, 
 etc. The group is sometimes painted on a porcelain vase 
 or snuif-bottle, or is seen passing in procession round the 
 sides of a bowl or cup intended for sacrificial use. 
 
 The two best-known members of the group are perhaps 
 the seventeenth and eighteenth : Dliarmatrdta^ born, like
 
 ' MOTIVES OF DECORATION. 587 
 
 the original sixteen, in India, and Ho-shang, " The 
 Monk," the only one that has a Chinese name. Dhar- 
 matrata, as a lay devotee, wears long hair. He holds a 
 vase and fly-whisk, carries on his back a bundle of 
 books, and gazes at a small image of the mystic celestial 
 Buddha Amitabha. He wrote seven works, of which 
 the chief, Uddnm)arga, a collection of verses from the 
 Buddhist Canon, has been translated into English by 
 Mr. W. W. Rockhill. 
 
 Ho-shang, "The Monk," is the familiar Pu-tai Ho- 
 shang, "the Pnest with the Hempen Bag," whom the 
 Japanese call Ho-tei, that being their pronunciation of 
 the first two syllables of his name, which mean " hempen 
 bag." They describe him as a Chinese bonze or monk, 
 who lived about a thousand years ago, and was remark- 
 able for his fatness, his love of children, and especially 
 for always carrying a large hempen sack, from which his 
 name was derived. The bag, which has always a bol- 
 sterlike roundness, is put to many uses ; it may be a 
 bed on which the owner is reclining, a receptacle for the 
 hundred precious things, or a trap for the little boys and 
 girls who cluster round and are enticed inside to see the 
 wonderful things it contains ; whatever it may be, it is as 
 inseparable from Ho-tei as are his fair, round stomach and 
 double chin. In China he represents the last incarnation 
 of Maitreya^ " The Loving One," the coming Buddha or 
 Buddhist Messiah, and his obese image, with a loosened 
 girdle in one hand and a rosary in the other, is enshrined 
 by them in the front hall of every temple, under the 
 name of Mi-lo Fo— i. e., Maitreya Buddha. He ranks as a 
 Bodhisat, having only once more to pass through human 
 existence to attain Buddhahood, and under this title, con- 
 tracted to poii-sa, or poussah, has become proverbial in 
 French as an emblem of contentment and sensuality. 
 His image is very frequently molded in porcelain, and it
 
 588 ORIENTAL CERAMIC ART. % 
 
 lias often been erroneously considered to be that of tlie 
 martyr j)atron of tlie potters, and labeled as le dieu de la 
 porcelaine. Maitreya is supposed now to be enthroned 
 in the Tushita heaven, and he is a favorite deity of the 
 Tibetans, 
 
 The most popular of all the Buddhist divinities in 
 China, as well as in Japan, is Kuan Yin, the Goddess of 
 Mercy, whose figure is illustrated here in Plate LX. 
 She also ranks as a Bodhisat, and is identified with 
 Avalokita, " The Keen-seeing Lord," the spiritual son of 
 the celestial Buddha Amitabha, who shares with him the 
 dominion of the Paradise in the West. This is the most 
 powerful of all the Bodhisats, and the one of which the 
 Dalai Lamas of Tibet pretend to be the incarnation. 
 Avalokita, being a pure mythological creation, is seldom, 
 like Buddha, represented as a mere man, but is invested 
 with all kinds of supernatural forms and attributes. 
 The four-handed form figures him as a prince sitting in 
 the Buddha posture, with the front pair of hands joined 
 in devotional attitude, while the other hands hold a 
 rosary and a long-stemmed lotus-flower. Another form 
 has eleven heads, piled up in the shape of a cone, and 
 eighteen, or even forty hands, grasping symbols and 
 weapons, and stretched out in all directions to defend 
 and I'escue the wretched and the lost ; and some of the 
 manifestations are endowed with a thousand eyes, ever 
 on the lookout to perceive distress. The Chinese Bud- 
 dhists relate that Avalokita once appeared on earth as a 
 daughter of a king of the Chou dynasty in 696 b. c, 
 although Buddhism was not introduced into the country 
 till long after that date. The princess was sentenced to 
 death by her father for refusing to marry, but the execu- 
 tioner's sword broke without harming her. When her 
 spirit went down to hell, hell was changed into paradise, 
 until Yama, the ruler of the realms below, sent her back
 
 I 
 
 MOTIVES OF DECORATION. 589 
 
 to life, and she was miraculously conveyed upon a lotus- 
 petal to the island of Potala. Hers is the image that is 
 worshiped throughout the far East to-day as the personi- 
 fication of love and charity. In one of its shapes, Kuan 
 Yin the Maternal, the Goddess of Mercy has a child in 
 her arms, and is specially sacrificed to by women desirous 
 of offspring, who load her altar with ex-voto offerings of 
 doll-like babes made of silk or molded in porcelain. 
 These are the images that have been occasionally mis- 
 taken for representations of the " Virgin and Child." 
 
 Bodhidharma is a Buddhist saint frequently repre- 
 sented in Chinese and Japanese art, and he is seen 
 molded in stoneware in Plate XLI. He was the twenty- 
 eighth and last of the line of Indian patriarchs, and the 
 first Chinese patriarch. The son of a king in southern 
 India, he came to China by sea in the year 520, and was 
 the first to bring the palm called patra (J5orassus flahel 
 liformis). He settled in Loyang, where he was called 
 " The AVall-gazing Brahman," because he remained per- 
 fectly still the whole time engaged in silent meditation. 
 He died about the year 529, and was buried in the monas- 
 tery grounds, but was met, the legend says, soon after, 
 enveloped in his shroud, on his way back to his native 
 land, holding one shoe in his hand, saying, when ques- 
 tioned, that he had forgotten to bring the other. The 
 grave was afterward opened ; the corpse had disappeared, 
 and only a single shoe was found. Bodhidharma is often 
 pictured crossing the water standing upon a reed, which 
 he had plucked from the bank. The Chinese form of his 
 name is Tamo, and some of the more credulous of the 
 early R-oman Catholic missionaries in China were inclined 
 to believe, from the similarity in the names, that he 
 might be identified with St. Thomas, who is supposed to 
 have gone as an apostle to India, and might well, they 
 argued, have extended his journeyings to China.
 
 590 ORIENTAL CERAMIC ART. 
 
 The influence of Buddliism on Chinese art was of the 
 most profound and far-reaching nature, and extended to 
 buikling and sculpture, as well as to the carving of 
 images in precious stones, the casting of ritual vessels 
 of novel design in metals, and the painting of sacred 
 pictures on paper and silk. In all these arts the Hindu 
 monks are said to have been skilled, and they imposed 
 their canons on the Chinese, so that down to the present 
 day the sacred images are modeled on the old lines, 
 and exhibit a marked Aryan type and physiognomy. 
 Monasteries were soon founded throughout China in the 
 most picturesque spots in the hills, with tall pagodas 
 to enshrine sacred relics and chaityas of varied form as 
 funeral monuments, such as now make a necessary 
 adjunct to every Chinese landscape. One of the ordi- 
 nary forms of the chaitya, or dcigaha, is seen molded 
 in porcelain in Fig. 349. It is a microcosm of the 
 universe according to Buddhist ideas. The plinth is 
 square, the form of earth ; the hollow shrine, with open 
 door, has the vaulted form of heaven ; and the spire is 
 horizontally ridged to represent the thirteen celestial 
 spheres in superimposed tiers; the umbrella-shaped top 
 is crowned with the " jeweled vase," bound with waving 
 fillets. The painted decoration of strings of colored 
 beads and gilded rings hanging from grotesque mon- 
 strous heads, and of arabesque scrolls of conventional 
 flowers, is also of Buddhist type. 
 
 Among Buddhist mythological animals, the dragon 
 (jutga) and the golden-winged bird (^garuda) are the 
 chief. The former had a serpent form like the cobra, 
 and the latter had something in common with the 
 adjutant-bird, the enemy of the serpent tribe, but the 
 Chinese have modified both after their previous con- 
 ceptions of the dragon (lung) and phoenix (feng). The 
 lion is an animal that occupied an important place in
 
 MOTIVES OF DECORATION. 591 
 
 Hindustan as one of the insignia of royalty and a sup- 
 porter of the throne, and it is often figured also as 
 a guardian of the jewel of the law. It was new to 
 China, not being a native of the country, and even now, 
 although a pair of bronze or stone lions stands before 
 the gateway of every palace and large temple in China, 
 and another is often molded in porcelain in miniature, as 
 we have seen, for ritual use, they are ahvays of grotesque 
 form, and have flames issuing from the hips and 
 shoulders, the attributes of mythological animals. The 
 lion in ordinary Chinese art is a tame beast, sporting 
 with a brocaded ball ; their own king of beasts is the 
 dreaded tiger, which contends with the dragon as the 
 prince of the powers of the air. 
 
 The elephant, the horse, and the hare are sometimes 
 seen in a picture on a porcelain vase, crossing the dark 
 sea which leads to paradise, the only animals that have 
 obtained admittance to Nirvana by their own merit. The 
 elephant is also molded in porcelain for the Buddhist 
 altar as the bearer of the jeweled vase, and the horse 
 as carrying on his back sacred books ; the hare, which 
 now lives in the moon, was exalted after it had offered 
 itself a willing sacrifice as food for Buddha when he was 
 starving. When horses form the decoration of a vase, it 
 is generally the team of eight famous horses of the 
 ancient Emperor 2Iu Wang, which were driven by his 
 charioteer Tsao Fu, on his expedition to the K\m-lun 
 Mountains to visit Hsi AYang Mu, the Queen of the 
 Genii. 
 
 The four supernatural or spiritually endowed crea- 
 tures {Ssu Ling) of the Chinese are the dragon, the 
 phoenix, the tortoise, and the unicorn. Sometimes the 
 tiger is associated, making a group of " Five Ling." 
 
 1. The dragon (Lioig), the chief among the scaly reptiles, is 
 conventionally depicted as a four-footed monster, resembling some
 
 592 OKEENTAL CERAMIC AKT. 
 
 of the huge saurians that have recently been discovered by paleon- 
 tologists, and the fossil bones of such, it may be added, really 
 figure as "dragon's bones" in the Chinese pharmacopoeia. It 
 is conventionally represented with a bearded, scowling head, 
 straight horns, a scaly, serpentine body, with four feet armed 
 with formidable claws, a line of bristling dorsal spines, and 
 flames proceeding from the hips and shoulders. The claws, origi- 
 nally three in number on each foot, were afterward increased to 
 four and five, the last number being restricted to the imperial 
 dragon of the last and present dynasties, as brocaded on imperial 
 robes and painted on porcelain made for the use of the palace. 
 The dragon, in ancient philosophy, corresponds to the East, to 
 spring, etc., and ''Azure Dragon" is the name of the eastern 
 quadrant of the urauosphere. It has the power of transformation, 
 and the gift of rendering itself visible or invisible at pleasure. 
 Kuan Tzu (seventh century B. c.) declares that ''the dragon 
 becomes at will reduced to the size of a silkworm, or swollen till it 
 fills the universe ; it desires to mount, and it rises until it affronts 
 the clouds; to sink, and it descends until hidden below the 
 fountains of the deep." The early cosmogonists described four 
 kinds of dragons : the celestial dragons {t'ie?i lung), which support 
 and guard the mansions of the gods ; the spiritual dragons (shen 
 lung), which rule the winds and produce rain for the benefit of 
 mankind ; the earth dragons {ti lung), which direct the fiow of 
 rivers and springs ; and the dragons of hidden treasures {fu ts'ang), 
 which watch over buried wealth concealed from mortals. The 
 Buddhist dragon of the law {fa limg) is represented as . tightly 
 grasping the jewel of the faith in one of its outstretched paws ; 
 originally hostile, it has become submissive to Buddha and a trusty 
 guardian of the faith. The celestial dragons in Chinese art, as 
 they ascend and descend, are usually represented in pursuit of 
 effulgent jewels that appear to be whirling in space, and that are 
 supposed to be of magic efficacy, granting every wish. The 
 congener of the celestial dragon is the cMao lung, the dragon of 
 lakes and marshes, who is figured in the luuar zodiac, already 
 referred to, as a dragon-headed serpent without feet. The ji^'aw 
 lung is the dragon coiled in a circle, hibernating in the watery 
 depths, that often forms medallions on bowls and dishes ; some say 
 it is the dragon which does not mount to heaven. The ch'ih lung 
 is the archaic dragon of ancient bronzes, a clinging, lizardlike 
 reptile with clawless feet and spiral bifid tail, that is often molded 
 in relief on libation wine-cuj^s and other porcelain vessels of
 
 MOTIVES OF DECOEATION. 593 
 
 antique design. The Chinese dragon is sometimes hornless; occa- 
 sionally, but very rarely, it is provided with a pair of wings. The 
 fish dragon has already been alluded to as the chosen emblem 
 of literary success ; and there is also the yellow dragon, or dragon 
 horse, the most honored of its tribe, which rose out of the river 
 Lo, in the time of the fabulous Fu-M, the legendary founder of the 
 Chinese polity, with a scroll upon its back inscribed with the eight 
 mystic trigrams (jsa hua). The dragon is peculiarly symbolical 
 of all that pertains to the Son of Heaven, the emperor's throne 
 being styled the dragon-seat, and his face described as the dragon- 
 countenance ; his banner is the dragon flag, and after his death he 
 is borne aloft by dragons to the regions of the blessed. 
 
 2. Feng is the name of the male, huang the name of the female, 
 of a fabulous bird of wondrous form and mystic nature, the second 
 of the four supernatural creatures. The compound of the two 
 {feiig-huang) is the generic name of the bird, which has many 
 symbolical analogies with the phoenix of the Greeks, and, like it, is 
 immortal, has its dwelling in the highest regions of the air, and 
 only ap^Dears to mortals as a presage of the advent of virtuous 
 rulers, or an emblem of an auspicious reign. In the fabulous times 
 of Huang Ti the phoenix made its nest in the palace, and the 
 ancient Booh of History records that they came with measured 
 gambolings to add sj^lendor to the musical ceremonies of the great 
 Shun. In the eastern gateway of the palace of to-day a huge 
 bronze phoenix hovers under the roof of the great hall, over its 
 nest, which is also fashioned of bronze in the shape of a circlet 
 of clouds. The phoenix has always been taken as the presage and 
 emblem of a virtuous sovereign, and it figures still as the special 
 emblem of the Mikado in Japan. In China it used to rank above 
 the dragon, which was the emblem of a good minister. In the 
 present day it has become the special emblem of the empress, and 
 the dragon that of the emperor. In poetry the inseparable feng 
 and huang are models of conjugal love. The phoenix is usually 
 depicted with the head of a pheasant and the beak of a swallow, 
 a long flexible neck, plumage of many gorgeous colors, a flowing 
 tail, between that of an argus pheasant and a peacock, and long 
 claws pointed backward as it flies. They are seen flying in the 
 midst of scrolled clouds mingled with forked flames, or wending 
 their way through a close floral ground, which is preferably made 
 up of sprays of the tree-peony. Three times three is the lucky 
 number for the decoration of a vase, just as we find nine dragons
 
 594 OEiENTAL cera:\iic aet. 
 
 on another vase in pursuit of whirling jewels, or nine lions sport- 
 ing with as many brocaded balls. If there be ten, one is certain 
 to be much larger tlian the rest, and it will be the parent dragon 
 or phoenix, with nine young ones. 
 
 3. The tortoise {Kuei) is the third of the supernaturally endowed 
 creatures. The greatest of the tribe is the divine tortoise, which 
 rose out of the river Lo, and presented to the gaze of Yii the 
 Great a mystic plan of numerals inscribed upon its back, which he 
 deciphered and adopted as the basis of moral teaching and a clew 
 to the philosophy of the unseen. Tlie shell of the tortoise was 
 used in divination by the ancient Chinese, who augured from the 
 lines on the scorched shell, in the same way as other ancient tribes 
 used to augur from the roasted blade-bone of a sheep. Like the 
 rest of the sacred group, the tortoise is given a marvelous longev- 
 ity, even a span of five thousand years, and after a certain age it 
 bears the sign of its patriarchal dignity in the shape of a hairy 
 tail. As an emblem of strength it appears in Hindu legends, sup- 
 porting an elephant, which in turn bears the world ; in China it is 
 represented as bearing on its back P'eng Lai Shan, tlie sea-girt 
 abode of immortal genii. 
 
 4. The unicorn {Ch'i-lin), the fourth of the group of supernatural 
 creatures, has its generic designation compounded of the names of 
 the male {ch'i) and of the female {lin). It is usually written 
 k'i-lin, and this name, under the form of kylin, is often erroneously 
 applied in European ceramic books to lions, and generally to other 
 lionlike grotesque creatures with which the Chinese fill in rocky 
 landscapes under the generic name of hai-shoit, or '' sea-monsters," 
 the chimeres of old French catalogues. The Chinese unicorn has 
 the body of a deer, with slender legs and divided hoofs, the head 
 resembles that of the dragon, the tail is curled and bushy, like that 
 of the conventional lion, and the shoulders are adorned with the 
 flamelike attributes of its divine nature. Its appearance is a happy 
 portent, and it used to grace the palaces of the ancient emperors of 
 fabulous times. It is said to attain the age of a thousand years, to 
 be the noblest form of the animal creation, and the emblem of per- 
 fect good ; and to tread so lightly as to leave no footprints, and so 
 carefully as to crush no living creature. 
 
 Other supernatural animals occur occasionally. They 
 are usually composite creations, like the dragon-horse
 
 MOTIVES OF DECORATION. 595 
 
 of ancient fable, lionlike monsters with the heads of 
 wolves, and the like. The fox is a beast whose nature 
 is deeply tinged with supernatural qualities, and it bears 
 a worse reputation in China than its brother does in 
 European fairy tale. It is a spirit of mischief, of super- 
 natural cunning, with the powder of assuming various 
 forms, its favorite and most baneful transformation 
 being into the semblance of a young and beautiful 
 girl, in which shape it lures its victim to destruction. 
 The fox is the courser upon which ghostly beings ride, 
 and when it reaches the term of a thousand years it 
 becomes a Celestial Fox, characterized by a golden color 
 and nine tails, and serves in the halls of the Sun and 
 Moon. The hare has already been alluded to as living 
 in the moon, where it sits under the shade of the Olea 
 fragrans tree, pounding the elixir of life with pestle and 
 mortar. Its companion in the moon is the toad {clihin- 
 cliht), into which the lady Ch'ang-ngo was changed, 
 after she had stolen from her husband the drug of 
 immortality which had been given to him by the god- 
 dess Hsi Wang Mu, and taken flight with her precious 
 booty to find refuge wdth the moon. These legends 
 appear to be of Taoist origin, and the animals are those 
 that the solitary hermit was accustomed to see in his 
 mountain retreat. He was wont to gather his herbs 
 in the light of the full moon, and this luminary was an 
 important power in his alchemistic speculations. The 
 deer is another of his sacred animals ; it is represented 
 bringing the Polyporus fungus (ling-chiK) in its mouth, 
 and is always placed near the deity of longevity as one 
 of his peculiar attributes. 
 
 The other animal attributes of Taoist divinities are 
 the tortoise and stork, whence comes the usual birthday 
 greeting, " May your years be those of the tortoise and 
 stork ! " The stork (Iio) is the sacred bird par excellence.
 
 596 ORIENTAL CERAMIC ART. 
 
 and is supposed to attain a fabulous longevity. The 
 variety usually represented is the Manchurian crane 
 {Qrus viridirostris), which is characterized by a plum- 
 age of white and black, and by a bare crimson patch 
 upon the crown. It must not be confounded with 
 the egret, which is often found in the decoration of 
 porcelain in combination with the lotus, and which has 
 no mythological attachments. The stork is the aerial 
 steed of some of the genii, and it brings the talismanic 
 rods of fate in its beak from the other world. In 
 pictures of the Taoist paradise it is often seen swimming 
 round the rock on which the sacred peach-tree is grow- 
 ing, or gathering in large flocks upon the pine-clad 
 shores of the Mount of the Immortals. 
 
 There are also a number of emblems of longevity 
 selected from the vegetable kingdom, which supply 
 frequent motives of decoration. Among fruits the most 
 prominent place is given to the peach {fao). It is an 
 emblem of mamage, as well as a symbol of longevity ; 
 the early odes liken a bride in her graceful elegance and 
 promise to a blossoming peach-tree, and the most ancient 
 superstitions of the Chinese attribute magic virtue to its 
 twigs, which were brought in the beeks of sacred birds. 
 The peach is the tree of life in the mystical dreams of 
 the Taoists ; it grows in the grounds of the palace of the 
 goddess Hsi Wang Mu, bearing fruit that ripens but 
 once in three thousand years, and conferring that period 
 of life upon those that are fortunate enough to taste it. 
 The peach figures with the pomegranate and the Bud- 
 dha's-hand citron, as "the three fruits" (san Icuo) sym- 
 bolical of the three abundances (san to), viz., abundance 
 of years, abundance of sons, and abundance of happiness. 
 
 The fungus of longevity (chih), usually called ling- 
 chill, ling meaning "miraculous," is a branched woody 
 fungus of brightly variegated coloring, known to bot-
 
 MOTIVES OF DECOEATION. 597 
 
 anists as Polyporiis lucidus, as determined by Sir 
 Joseph Hooker from a dried specimen taken by me from 
 a Taoist temple at Peking to tlie herbarium at Kew. 
 Chinese myth dilates upon its rapid growth, its vivid 
 coloring, and its durability. It sometimes incloses 
 curiously a growing plant, so that blades of grass appear 
 to be sprouting out of its substance, a combination of 
 good omen ; more propitious still is a branching stem 
 bearing seven or nine heads, and this sometimes forms 
 the motive of the shape of 2i flamhe vase, the gorgeous 
 coloring of which is intended to represent the natural 
 tints of the variegated fungus. A branch of this fungus 
 is placed as a magic wand in the hand of Taoist genii, 
 and the peculiar shape of the head of the jeweled ju-i 
 scepter, which has been frequently referred to, betrays 
 its original derivation from the same fungus form. 
 
 The Chinese gourd is another of the chosen emblems 
 of longevity on account of the durability of its dried 
 fruit, as well as a symbol of fertility from the quantity 
 of seeds it produces. There are single and double 
 gourds of varied form, cultivated varieties of Lagenaria 
 vulgaris, the calabash or bottle-gourd. Bottles and 
 drinking-cups have been made of its dried shell from the 
 most ancient times, and it is still used in temples for 
 libation-cups and ladles for sacrificial ^vine. The variety 
 of the bottle-gourd called hu-lu, the "double gourd," 
 which is naturally contracted into a waist in the middle, 
 is the pilgrim's gourd ^:>rt;' excellence. The Taoist hermit 
 carries one strung upon his girdle, and occasionally con- 
 jures spirits and apparitions from its interior, like the 
 magician in the stories of the Arabian Mghts. 
 
 The pine, bamboo, and winter-blossoming plum {sung, 
 chu, met) are constantly grouped together as a threefold 
 symbol of longevity. The first two figure as evergreens, 
 emblems of a green old age ; the last as a tree which
 
 598 ORIENTAL CERAMIC ART. 
 
 throws out blossoming twigs from its gnarled, worn, and 
 leafless trunk before the winter is over. The three may 
 form the sole decoration of a vase, or be combined in 
 Taoist pictures to form sacred groves in their mountain 
 paradise, or a canopy for the God of Longevity, as he 
 sits enthroned on the "rock of ages" {shou sJiaji), wor- 
 sliiped by the motley crowd of immortals. 
 
 The plum {Prumts doynestica) is sacred to Lao Tzii, 
 who is said to have been born under its bi'anches, and 
 three of its purple fruit form his special attribute. This 
 fruit, called li in Chinese, is to bp distinguished from 
 the smaller and sourer fruit called mei {Prunus Tnume), 
 the blossoming twigs of which make such an effective 
 floral decoration, as in the so-called " hawthorn " jars 
 and vases. 
 
 This charming variety of prunus is the typical flower 
 of winter, the tree-peony {PcBonia nioutan) being the 
 typical flower of spring, the lotus {Nehimhiutn sped- 
 osuiii) of summer, and the chrysanthemum of autumn. 
 These " Flowers of the Four Seasons " [Ssu Chi Hua) 
 are a frequent motive for the decoration of the four faces 
 of a quadrangular vase, or the four side panels of a 
 bowl. The amateur of the chrysanthemum is T'ao Yuan- 
 ming ; the lover of the lotus, the poet Li T'ai-po ; and 
 a pair of large round dishes or bowls are often decorated 
 Avith companion pictures of these two worthies sur- 
 rounded by their favorite flowers. T'ao Yuan-ming 
 was a noted scholar and poet of the fifth century, who 
 resigned the seals of ofiice in preference to "bending 
 his back" to a superior functionary, remarking that it 
 was not worth while to " crook the loins for the sake of 
 five measures of rice." After he had retired he passed 
 his days drinking, playing upon the lyre, and making 
 verses amid the chrysanthemums that embellished the 
 garden of his retreat, until he died, 427 a. d., at the age
 
 MOTIVES OF DECORATION. 599 
 
 of sixty-two. Li T'ai-po, the most famous of the poets 
 of China for his erratic genius, romantic career, and 
 devotion to the wine-cup, as well as for his powers of 
 verse, has already been often referred to. The scene in 
 which the emperor himself is handing dishes to liim at 
 a banquet, while his favorite and haughty concubine 
 attends with the poet's brush and ink-pallet, and the 
 chief privy counselor, Kao Li-ssu, pulls off his boots, 
 is often pictured on porcelain as the ne plus ultra of 
 success of literary genius. 
 
 The Chinese artist excels in flowers and birds. The 
 four plants to which he devotes the most attention are 
 the prunus {mei^, the bamboo (chu), the orchid (Ian), 
 and the chrysanthemum (cliii), and most art books con- 
 tain a series of studies of these, some of which, pub- 
 lished over two centuries ago, are curious examples of 
 the technique of printing in different colors. Among 
 the other flowers used in decoration the following may 
 be mentioned : Sliao-yao, the Pcwnia alhijlora'^ T'u-mi, 
 the Rom rugosa', Jui-hsiang, the Vilniinum odoratissi- 
 mum', Mo-li, the Jasminum samhac] Lien-hua, the 
 Nelumbium speciosnm ; Kuei-hua, the Olea fragrans ; 
 Hai-t'ang, the Pyrus specfahilis', Chih-hua, the Gar- 
 denia florida ; Ting-hsiang, the Syringa sinensis ; 
 Ch'iang-wei, the Posa indica; Mou-tan, or Pwonia 
 moutan ; Yii-lan, or Magnolia yulan ; Chi-kuan, tlie 
 Celosia cristata ; Hu-tieh-hua, the Iris japonica ; Hsiu- 
 ch'iu, the hydrangea ; K'uei-hua, the hibiscus ; Chiu- 
 hai-t'ang, the Begonia, discolor ; Ho-pao moutan, the 
 Dielytra spectabilis ; Shili-chu, the Dianthus or pink ; 
 and the Shui-hsien-hua, the " Water-fairy " flower, or 
 Narcissus tazetta. Some of tliese may be combined to 
 form a floral rebus, or they may be massed together with 
 sprays, as in the vase shown in Fig. 279. Particular 
 birds also are commonly associated with particular trees
 
 600 ORIENTAL CERAMIC ART. 
 
 and flowers, such as phoenixes, peacocks, or pheasants 
 with the Moutan peony; partridges or quails with mil- 
 let ; swallows with the willow ; storks with the pine, etc. 
 The composition called Po Niao CKao Feng, or " The 
 Hundred Birds paying Court to the Phoenix," represents 
 all the dift'erent kinds of birds coming in pairs to gather 
 round a couple of phoenixes which are seen strutting 
 proudly in the foreground. 
 
 Painters of figure subjects {jen-wii) have a wider 
 range of selection, as may be gathered from a glance 
 at the catalogue of the Anderson Collection which is 
 now in the British Museum.* The kind of pictures 
 chosen for the decoration of porcelain is often a reflex of 
 the manners and customs of the times. The close of the 
 Ming dynasty was a period of luxuiy and indolence, and 
 the decollated porcelain is painted with pictures of court 
 life, with bands of gayly dressed damsels playing instru- 
 ments of music, and with all phases of processional pomp. 
 Magistrates are represented seated in state at the justice- 
 table, and parties of scholars and poets are grouped in 
 garden pavilions, drinking wine and making verses. 
 The emperor Lung-cWing (1567-72) was notorious for 
 his profligacy and for his devotion to the pleasures of 
 the harem, and we find some of the imperial porcelain 
 of his reign so defaced with erotic scenes that there is 
 no place for it in a decent collection. After the Manchu 
 conquest of China in 1644, when the emperor IVang-lisi 
 was firmly established on the throne, and the impei'ial 
 porcelain manufactory was once more at work, the 
 decoration reflects a changed scene. Pitched battles, 
 single combats of spearmen mounted on party-colored 
 horses, and military processions with men in armor, 
 
 * Descriptive and Ilistorical Catalogue of a Collection of Japanese and Chinese 
 Paintings in the British Museum. By W. Anderson, F. R. C. S., London, 
 1886.
 
 MOTIVES OF DECORATION. 601 
 
 are the new order of the clay. The ladies of the court 
 •even are often seen mounted on horseback and engaged 
 in equestrian sports, a\ hich the emperor ^vatches seated 
 in a raised pavilion. The heroes most frequently pic- 
 tui'ed are the military commanders of the troubled 
 times of the " Three Kingdoms," and the historical 
 drama supplants for the moment scenes of comedy. 
 There is a certain crude vigor in the art of the earlier 
 half of this reign, which has led many to attribute the 
 productions to a more archaic period. Before the end 
 of the long reign of sixty years a more finished style 
 has come into vogue, and the strong, brilliant colors 
 that distinguish the older style are gradually being 
 replaced by shades of softer tint, such as seem to befit 
 the new themes, which are illustrations of the processes 
 of agriculture and silk- weaving, pictures of the liberal 
 arts, and scenes from the tales of the popular drama. 
 
 Themes from the classical times of the ancient Book 
 ■of History are popular subjects of illustration ; such 
 as the story of Shun, the model emperor of ancient 
 times, who was chosen to succeed to the throne on 
 account of his filial piety by the Emperor Yao, who is 
 pictured approaching with a cavalcade bearing presents 
 to Shun as he is plowing in the fields with an ox ; or 
 that of Kiang Tzii-ya, the trusted counselor of Si Po, the 
 prince of Chou, in the twelfth century b. c, who is 
 sitting on the rock, fishing with a rod, when the prince 
 <jomes to offer him the minister's bado:e of ofiice and 
 a state chariot for him to ride in. Among literary 
 subjects may be mentioned The Seven Worthies of the 
 Bamboo Grove {Chu Lin Ghbi Hsien^, a famous asso- 
 ciation of learned men who used to meet, about the 
 year 275, for discussion and jovial relaxation in a grove 
 of bamboos; and the "Orchid Pavilion" {Lan Ting), 
 the rendezvous in the fourth century of a party of
 
 602 ORIENTAL (ERAMIC ART. 
 
 distingiiislied scLolars, whose compositioDS in prose and 
 verse have survived to the present day in the hand- 
 writing of the celebrated calligrapher, Wang Hsi Chih^ 
 who was one of their niniiber. A pattern for poor 
 scholars is the high mandarin of the Han dynasty, wha 
 is seen in the picture reading a book while carrying 
 bundles of fagots, as the humble seller of firewood used 
 to do when his thirst for knowledge led him to read 
 incessantly, until the fame of the wood-seller's learning 
 was noised abroad, reached at last the ears of the 
 emperor, and led to his appointment to oiSce. 
 
 The " Twenty-four Paragons of Filial Piety " and the 
 *■' Virtuous Heroines," whose stories as models of chastity 
 and wifely devotion are recorded in the old annals, are 
 familiar to all students of Chinese lore. The Chinese 
 standard of female beauty is seen in the "Pretty Girls" 
 {Mel Jmi), with long, graceful figures, which the old 
 Dutch collector used to call ^^lange lijsenP The artist 
 occasionally poses the figures with slender bamboos 
 waving in the background, or willow-branches drooping- 
 overhead, as accessory suggestions of airy grace and 
 willowy elegance. Others are scattered in a garden 
 picking flowers, or again collected in four groups prac- 
 ticing the four liberal accomplishments of "writing,, 
 painting, music, and chess." Familiar life is not neg- 
 lected by the artist, and ladies and children are seen 
 in the midst of ordinary household surroundings, em- 
 bellishing the interior of an eggshell dish, or decorating 
 a charming vase of the famille rose. Children are 
 sympathetically shown, either masquerading in mock 
 procession, or flying kites and playing games, such 
 as hobby-horse and blind man's buff. Stories of clever 
 children are also pictured, like that of the rescue of the 
 little eleventh-century boy who had fallen into a large 
 porcelain fish-bowl as he was trying to reach a frog. 
 
 I
 
 MOTIVES OF DECOKATION. 603 
 
 by one of his playmates, who liad the presence of mind 
 to seize a stone and bi-eak a liole in the side of the bowl 
 to let out the Avater, while the rest of the children were 
 running away affrighted, leaving their comrade to drown. 
 The rescuer was Ssu-nia Kuang (1009-86), who after- 
 ward became one of the most distinguished statesmen 
 and historians of the Sung dynasty.
 
 CHAPTER XXL 
 
 PORCELAIN .MADE FOR EXPORTATION. SPECIAL FORMS 
 
 AND DESIGNS. INDIAN CHINA. ARMORIAL CHINA. 
 
 JESUIT CHINA. HINDU STYLE. ORIENTAL PORCELAIN 
 
 DECORATED IN EUROPE. — IMITATIONS. 
 
 DOWN to tbe end of the Ming dynast)^ the Chinese 
 seem to have carried on the porcelain manufacture 
 on their own lines, and decollated it after their own taste; 
 we hear nothing of novel forms or special designs made 
 for exportation to foreign countries. There had been a 
 large quantity of Chinese porcelain exported to Western 
 countries from early Mohammedan times, when the 
 Arabs first came to Canton by sea, and were permitted to 
 establish a colony there under the control of their own 
 magistrates. Chinese fleets rode in the Persian Gulf, as 
 related in their own annals of the ninth century, and 
 confirmed by Mohammedan writers of the time. Dur- 
 ing the Yuan dynasty (1280-1367), when the same 
 Mongolian house ruled Persia and China, the relations 
 between the two countries became still more intimate, 
 and there w^as constant traffic by land as well as by sea, 
 for an account of which the celebrated Travels of Marco 
 Polo may be consulted. In the Ming dynasty the over- 
 land route was barred by the Mongolian Timur (the 
 great Tamerlane), but Chinese ships continued to go 
 west, touched at Ceylon and Ormuz, passed the Straits of 
 Babelmandeb into the Red Sea, to land cargo at Jidda, 
 the port of Mecca, and coasted the shore of Africa as far 
 southward as Magadoxu and Zanzibar. The voyages 
 are described in detail in the Chinese annals of the reigns 
 
 604
 
 PORCELAIN MADE FOR EXPORTATION. 605 
 
 of Ytmg-lo (1403-25) aud Hsiiaii-te (1426-35). Early 
 in the next century the Portuguese made their appear- 
 ance in these seas, and from this time no more Chinese 
 junks were seen in the Indian Ocean. The great mart 
 was in the Persian Gulf, and any porcelain that reached 
 Europe before the discovery of the voyage round the 
 Cape of Good Hope Avould have come by caravan to 
 Cairo or to Aleppo. Ancient Chinese porcelain has been 
 found in the present day at many stations of the route 
 that has been thus briefly sketched. Collections have 
 been gathered from Kandy, and from other parts of the 
 interior of Ceylon ; many of the older specimens in the 
 South Kensington Museum were purchased in Persia by 
 Major Murdoch Smith ; and the greater part of the old 
 celadon dishes in European possession are described as 
 having been obtained in Cairo. Chinese celadon has also 
 been discovered by Sir John Kirk in ruins at Zanzibar, 
 together with Chinese "cash" of the tenth and eleventh 
 centuries. Potsherds of the same peculiar sea-green 
 ware have even been dug up, we are told, on the African 
 mainland farther south, on the sites of ruined cities in 
 Mashonalaud. 
 
 In the year of the Hejira 567 (a. d. 1188) we find the 
 first distinct mention of porcelain, out of China, in the 
 record of a present of forty pieces having been sent to 
 Nui'eddin, the Caliph of Syria, by his lieutenant Saladin, 
 afterward the celebrated hero of the Crusades, on the 
 occasion of his concpiest of Eg3'pt. It penetrated subse- 
 quently to the principal countries of Europe, and is 
 classed in court inventories of the thirteenth and four- 
 teenth centuries among the most precious possessions of 
 sovereigns, being mounted in gold and silver and inlaid 
 with jew^els. It was about 1440 that the Sultan of 
 Babylonia (i. e., Cairo, which was often called Babylonia 
 in the middle ages) sent a present of three bowls and a
 
 606 ORIENTAL CERAMIC ART. 
 
 dish of Chinese porcelain (^'porcelaine de Sinant) to 
 Charles VII, King of France. In 1487 an ambassador 
 arrived at Florence from Egypt with valuable presents, 
 including some large vases of celadon porcelain for 
 Lorenzo de' Medici. In the same year porcelain is 
 enumerated in the Maritime Laws of Barcelona among 
 the imports from Egypt into Spain. The earliest piece 
 of Oriental porcelain that can be referred to as having 
 been brouo;ht to Eno-land before the Keformation is a 
 pale sea-green bowl mounted in silver gilt, which is 
 preserved in New College, Oxford, under the name of 
 Archbishop Warham's cup, and which is said to have 
 belonged to that prelate (1504-32). In the year 1506, 
 Philip and Joan, of Austria, who had taken the title of 
 King and Queen of Castile, left the Low Countries for 
 Spain, but were driven by a storm into Weymouth, 
 where they were entertained by the high sheriff. Sir 
 Thomas Trenchard. When the king took his leave he 
 presented his host with some bowls of blue and white 
 porcelain, one of which was inclosed in massive silver 
 gilt, Moresco pattern, and one of them is said to be still 
 kept in the Trenchard family. 
 
 Mounted specimens of Elizabethan date are not so 
 uncommon. In the Blue and White Catalogue of the Bur- 
 lington Fine Arts Club {loc. cit., page 3), a basin deco- 
 rated in four panels with vases of lotus-fiovvers and birds, 
 mounted in English silver gilt (Elizabethan hall-mark), 
 and lent by Sir Wollaston Franks, is described. At the 
 same time there were exhibited four celebrated pieces, 
 mounted in the same style, from the Burghley House 
 collection, which are believed to have been in the Cecil 
 family from the time of Queen Elizabeth. One of the 
 pieces, painted in brilliant blue with phoenixes and 
 chrysanthemums, was marked with the date of the con- 
 temporary Chinese Emperor Waii-li (1573-1619). Mr.
 
 PORCELAIN MADE FOR EXPORTATION. 607 
 
 Cosmo Monkboiise, the learned editor of the catalogue, 
 says in his Introduction : " Perhaps it was out of the 
 same ' parcel ' of china that the Lord Treasurer Burgljley 
 offered to Queen Elizabeth one porringer of Svhite por- 
 selyn ' garnished with gold, and Mr. Robert Cecill a ' cup 
 of green pursselyne,' as New Year's gifts in 1587-88." 
 
 After the discovery of the route by the Ca2:)e of Good 
 Hope, porcelain became better known in Europe. The 
 Portuguese navigators aj)peared on the shores of the far 
 East in the beginning of the sixteenth century, and 
 arrived at Canton in the year 1517, where they were at 
 once admitted to trade. Japan was opened to them in 
 1542 by the shipwreck of a Portuguese vessel on the 
 shore of the island of Kyushu, ^vhere they were well 
 treated by the Japanese, and allowed to set up a trading 
 establishment at Nagasaki. During the time that the 
 Portuguese enjoyed the monopoly of the East Indian 
 trade they imported splendid collections of porcelain, 
 including vases of the largest size, like those that used 
 to be installed in the Royal Palace of Alcantara, now 
 unfortunately dispersed. The Dutch succeeded the 
 Portuo-uese in the control of the trade with the far East, 
 Van Neck established a factory at Batavia in 1602, the 
 Dutch East India Company was formed in the same 
 year, and under its auspices vast quantities of porcelain 
 were imported into Holland and the north of Europe. 
 A fine selection, made 1698-1722, is still to be seen in 
 the Johanneum at Dresden, and another is preserved in 
 the palace at The Hague. 
 
 The English East India Company, which was estab- 
 lished in the reign of Queen Elizabeth, did not for a long 
 period after its foundation succeed in opening a direct 
 trade with China, being excluded by the Portuguese and 
 Dutch. The port of Gombron, opposite to Ormuz, in 
 the Persian Gulf, was for a long time the chief entrepot
 
 608 ORIENTAL CERAMIC ART. 
 
 of the British trade, and the earliest " China ware " 
 introduced into England derived its name of " Gombron 
 ware" from this place. In 1631, among the Avares and 
 merchandise allowed to be imported from India, a 
 catalogue includes " China dishes and puslanes of all 
 sorts." In 1640 a factory was established at Canton, and 
 direct trade has been carried on, with occasional inter- 
 ruptions, since that date. 
 
 With regard to the kinds of porcelain imported, a fund 
 of interesting information has been gathei'ed by Du 
 Sartel (loc. cit, pages 112-148) from French catalogues 
 of the eighteenth century, of which that of the Fonsper- 
 tuis Sale * is one of the most important, containing notes 
 by Gersaint, a celebrated expert of the time. The ear- 
 liest porcelain imported was of single color, principally 
 celadon or white ; blue and white followed, as confirmed 
 by Pere d'Entrecolles, writing in 1712, who says that up 
 to that date this ^vas almost the only kind exported from 
 China to Europe. Gersaint also writes in the same strain 
 in 1747. 
 
 The porcelain imported seems to have been generally 
 a selection from the ordinary contemporary productions 
 of the private potters of Ching-te-chen. The work of 
 the imperial mauufactoiy could only have been exception- 
 ally represented, as it is reserved for the service of the 
 emperor. The private collections of Chinese connoisseurs 
 were not ransacked, as the}^ are in these later days, so 
 that we can hardly expect to find any important exam- 
 ples of ancient ceramic art among the piles of dishes^ 
 plates, and tea services that were imported, as we gather 
 from old bills of lading, by the hundred thousand. 
 Among the larger decorated vases of the reign of K^ang- 
 hsi, a certain number are usually set aside in European 
 
 * Catalogue de la vente des tableaux, bijoux, porcelaines, etc., de M. Angram, 
 Vicomte de Fonspertuis. Paris, 1747.
 
 PORCELAIN MADE FOR EXPORTATION. 609 
 
 collections because they happen to be inscribed with old 
 marks, and are supposed, moreover, to have an archaic 
 aspect. Representative cabinets of so-called Ilman-te 
 and Oil' eng-hua porcelains are filled in this way, although 
 genuine Ming dynasty porcelain, which is rare even in 
 China, is conspicuous by its absence. 
 
 It was in the reign of JCang-hsi (1662-1722) that 
 porcelain seems to have been first made at Ching-te-chen 
 in new forms and special designs for the European 
 market. These were often executed after European 
 models and designs taken there for the purpose by 
 native agents from Canton. The earliest pieces with 
 foreio;n desio-ns were made for Persia and the Moham- 
 medan market, and were decorated with scrolls of Arabic 
 writing, generally texts from the Koran, the incorrect 
 lettering of which, apart from the character of the floral 
 designs with which they were associated, betrayed the 
 Chinese hand. Next came Chinese copies of the old 
 Imari ware of Japan, which were so perfectly executed 
 during the reign of K'ang-hsi that it would be some- 
 times difficult to distinguish the copy from the original 
 were it not for the different quality and ring of the 
 paste. In later days Delft ware has been copied in a 
 similar way, one of the faience plates, originally painted 
 in blue after Chinese lines, having been reproduced in 
 porcelain, so that it might have been mistaken for the 
 first model, if the Chinaman had not tried to copy the 
 initials of the signature of the Dutch decorator. 
 
 Porcelain has also been decorated in China for the 
 Hindustan market in the form of quadrangular sweet- 
 meat trays, oblong boxes with covers, and the like, 
 painted with copies of Indian miniatures, such as nautch 
 girls dancing before men of rank, holding up swords and 
 flowers, or potentates seated on marble tei'races with 
 attendants standing behind holding fans, and a line of
 
 610 ORIENTAL CERAMIC ART. 
 
 slender arches of palace architecture rising in tlie back- 
 ground. The cover of a betel-nut box of this class is 
 illustrated by Jacquemart (loc. cit.^ Plate XVII, Fig. 3), 
 as an example, however, of his class oi 'porcelaiiie hindoue, 
 the existence of which is highly problematical. A label 
 is occasionally attached to these pictures, penciled in 
 gold ; but the Arabic inscriptions are always very incor- 
 rectly written, evidently by persons unacquainted with 
 the language, and the unaccustomed hand is detected as 
 readily as when the Chinese artist is trying to form 
 European letters. 
 
 The usual style of Arabic inscriptions on Chinese por- 
 celain is shown in Fig. 103, an eggshell saucer-shaped 
 dish, with designs penciled in black and filled in with 
 gold, which is to be attributed, from its technique, to 
 about the middle of the eighteenth century. It has a 
 medallion in the middle with a dentated border from 
 which four projections extend inward, which is filled 
 with Arabic writing, and a broad belt of the same script 
 on a gold ground encircles the border of the dish. The 
 rim is surrounded by a narrow band of floral scrolls con- 
 sisting of alternate sprays of peony and chrysanthemum 
 of purely Chinese design. Two dishes of the same shape, 
 size, and technique are now in the British Museum."'^" 
 
 The name of " porcelaine des Indes " in France, of 
 " India china " in England, was applied generally in the 
 eighteenth century to the decorated Chinese porcelain 
 which was imported in such large quantities, and eagerly 
 sought after, until the time came when a similar material 
 could be produced in Europe. Although the art of mak- 
 ing hard porcelain was discovered in Saxony by Bottger 
 in 1708, it was not till 1760 that it was made at Sevres, 
 and it hardly came into domestic use before the end of 
 the eighteenth century. Meanwhile it was made and 
 
 * See the Franks Catalogue, loc. cit., Nos. 619, 620.
 
 POKCELAIN MADE FOR EXPORTATION. 611 
 
 specially painted in China for exportation, and often 
 from designs furnished by Europeans. In the sale 
 catalogue of the collection of Vicomte de Fonspertuis by 
 Gersaint, which has just been referred to, the Chinese 
 and Japanese are generally referred to as "Indiens." 
 Some confusion would have been avoided if the term 
 " porcelain of the East India Company " had been adopted 
 instead of " India china." Jacquemart has ascribed the 
 porcelain of this class to Japan, but on very slender 
 grounds. Others by a still more singular hallucination 
 have attributed it to Lowestoft in England, although 
 there are many dated specimens anterior to 1777, the 
 date of the so-called invention of hard paste at Lowes- 
 toft. Sir A. W. Franks has exposed these fallacies and 
 proved its Chinese origin. A large proportion of it was 
 evidently painted in Canton by Chinese artists, the por- 
 celain being brought for the purpose overland from 
 Ching-te-chen, glazed in the ordinary white state, with 
 the addition perhaps of a few rings or outlines in under- 
 glaze blue defining the spaces intended to be tilled in 
 with colors. The style was similar, and the colors 
 employed were the same that were used in the ateliers 
 of Canton in the decoration of j)ainted enamels on copper, 
 which are a specialty of the place, under the name of 
 ycmg tz'i\ or " foreign jDorcelain," so called, we are told, 
 because the art was originally introduced from Calicut 
 in India. Precisely similar designs occur on the copper 
 and porcelain objects of the period, which w^ere molded 
 in identical forms, and fired in the same muffle kilns to 
 fix the colors. The porcelain of this class is known to 
 the Chinese by the name of ya7ig ts'ai, or "foreign colors." 
 It is comparatively rare, however, in China, having been 
 principally made for exportation and sent abroad at the 
 time it was made. 
 
 Many of the services have on them the armorial bear-
 
 612 ORIENTAL CERAMIC ART. 
 
 ings of the persons for whom they \veie made. The col- 
 lection in the British Museum is very rich in this class of 
 ^' armorial china," including portions of services made for 
 Frederick the Great, and for the royal families of Den- 
 mark and France, as well as many pieces with the arms 
 of European families of rank, and of merchants wlio 
 are known to have traded with China. A large service 
 was made for the palace of the Swedish kings at Grips- 
 holm, the name of which is inscribed on the pieces. 
 
 The large, deep plate illustrated in Fig. 52, which is 
 nearly nineteen inches across, is an earlier specimen of 
 armorial china than the above. The decoration is partly 
 in underglaze blue, partly in overglaze muffle colors of 
 the ICang-hsi period, blue, green, yellow, and red, with 
 touches of gold, and the rim is gilded. 
 
 Some of the earlier pieces decorated with foreign 
 designs were painted entirely in blue. The tall cups 
 with covers called " Keyser cups," which are illustrated in 
 Sir Heniy Thompson's Catalogue, and also by Jacque- 
 mart, are painted with a broad panel containing St. Louis 
 of France and his queen on a canopied throne, and nar- 
 rower alternate panels with kneeling figures and birds, 
 and have inscribed round the top, l'empire de la vertu 
 EST etabli jusqu'au BOUT DE l'univers. The inscription 
 is occasionally misspelled in a way that at once betrays 
 the Chinese hand (see page 106). A second well-known 
 series of tall cups and saucers is painted in blue with a 
 Dutch design known as Kockock in liet Huisje (the 
 cuckoo in the house); a sketch of a small building on a 
 platform with trees and plants and two birds above. 
 
 The decoration was sometimes copied from European 
 pictures brought to China for the purpose, so that we 
 find in collections of Chinese porcelain sea views with 
 Dutch vessels, punch-bowls with pictui-es of English har- 
 vesting and of the harvest feast inscribed undei'neath
 
 PORCELAIN MADE FOR EXPORTATION. 613 
 
 HARVEST HOME, aud grotesque copies of the famous pic- 
 tures of the elements by Francesco Albani, now in the 
 gallery at Turin. One would hardly expect to see an 
 English political cartoon on Chinese porcelain, but refer 
 to Franks Catalogue, loc. cit, No. 625 : 
 
 " Punch-Bowl. Chinese porcelain, painted in colors with gild- 
 ing; on each side are a pair of medallions exactly similar, each 
 forming a satirical coat of arms. No. 1, Bust of John Wilkes; 
 crest, a lion passant; supporters, Sergeant Glj'n and Lord Temple; 
 motto, ALWAYS READY IN A GOOD CAUSE; above is inscribed, 
 WILKES AND LIBERTY. No. 2, Bust of Lord Mansfield, with a 
 h3'dra below; crest, a viper; supporters, Lord Bute and the Devil; 
 motto, JUSTICE SANS piTiE. The devices on this bowl appear on the 
 heading to an address by John Wilkes, 'To the Gentlemen, Clergy, 
 and Freeholders of the County of Middlesex,' dated from King's 
 Bench Prison, Saturdaj^ June 18, 1768. They are entitled 'arms 
 
 OF LIBERTY AND SLAVERY.' " 
 
 A Dutch skippei', detained in harbor after a voyage to 
 China, would have a picture of his ship painted on porce- 
 lain, as shown b}^ the service noticed by Jacquemart and 
 Le Blant (Joe. cit., page 384), which was decorated in 
 colors with gilding, with a vessel under full sail, flying 
 the Dutch flag, and inscribed underneath, t : schip. 
 
 VRYBURG CEYOERT : DOOR '. CAPITEYN JACOB. RYZIK IN : 
 
 CHINA. INT lAAR. 1756 (The sliip Vryburg, conducted by 
 Captain Jacob Ryzik, in China, in the year 1756). A 
 plate of similar decoration, described in the Franks Cata- 
 logue (loc. cit., No. 598), has the inscription, written in a 
 medallion, chris"^ schooneman opp^. stuerman op t'sciiip 
 
 VRYBURG : TER REEDE WANPIIO IN CHINA INT lAAR : 175() 
 
 (Christopher Schooneman, chief mate of the ship Vry- 
 burg, in the roads off Whampoa, in China, in the j^ear 
 1756). Whampoa is the harbor of Canton, and the plates 
 were doubtless painted in that city while the ship was in 
 port. There would be hardly time to send the order on
 
 614 ORIENTAL CERAMIC ART. 
 
 the long overland journey to Ching-te-chen, and it is still 
 less likely that the artists of Nippon had anything to do 
 with them, although M. Jacquemart argues so at some 
 length. 
 
 Occasionally the decoration is of more familiar charac- 
 ter. Fig. 361 represents a saucer-shaped eggshell dish in 
 the Walters Collection, painted in brilliant enamel colors 
 with gilding. The design that decorates the interior^ 
 composed of waving foliations mingled with paneled 
 bands, has the shaj^e of a coat of arms, and it is sur- 
 mounted by the figure of a white goose, the Chinese 
 emblem of marriage, standing upon a gilded visor of gro- 
 tesque form, looking somewhat like a crest. The two 
 oval shields displayed side by side in the middle contain 
 the monograms i. v. e. and i. b. upon blue grounds of 
 different shade. These are no doubt the initials of the 
 Dutch bridal pair whose names are penciled in full below 
 within a blue baud in gold letters, ian : van : ens and 
 lOANNA bochoute. The band of scrolled foliations that 
 encircles the above designs is etched in gold. The 
 border of the dish is decorated with a gilded diaper 
 interrupted by four foliated medallions. Two of these 
 contain miniature portraits of the happy couple, the other 
 two are filled with symbols of good omen, a heart between 
 two pairs of clasped hands, tied by ribbons to musical 
 stones, hung with beaded tassels and waving fillets. 
 
 The porcelain made to ordei' for the European market^ 
 with which the Dutch inundated Europe for more than a 
 hundred years, is generally overdecorated, in accordance 
 with the foreign taste. Jacquemart Justly distinguishes 
 the objects made at the same time which were decorated 
 according to Chinese taste by classifying them under 
 the title of " porcelaine artistique." A single spray of 
 flowers, a sacred or mythological figure encircled by a 
 lightly etched floral scroll or a key border, or a dramatic
 
 PORCELAIN MADE FOR EXPORTATION. 615 
 
 scene with the personages in antique costume, forms the 
 whole decoration, following the canons of Chinese art. 
 The result is more attractive than the most gayly deco- 
 rated scenes of familiar life framed in as many rings of dif- 
 ferent floral diaper as it is possible to get into the space ; 
 such, for instance, as surround the seven-bordered eggshell 
 plate illustrated in Plate X, fascinating as this is from its 
 minute finish. The vases of the same style and period 
 being covered with richly dressed officials in their robes 
 of office, have been sometimes classed apart under the 
 title of " mandarin porcelaine." This style is a favorite 
 one with the Cantonese artist to the present day, when he 
 is working for his foreign patron, although the native 
 school of art, following always the canons of the old 
 masters, disdains the modern costume of everyday life. 
 
 Among the objects made for Europe are found wash- 
 basins and ewers of elaborate form completely covered 
 with floral brocaded grounds of diverse pattern, inter- 
 rupted in the middle by a medallion with a coat of arms. 
 The tea services which w^ere imported consisted generally 
 of a teapot with a hexagonal or octagonal tray, a pair of 
 ovoid jars with covers as tea-caddies, a graceful cream- 
 jug with cover, one large bowl, a variable number of tea- 
 cups with or without handles, sometimes furnished with 
 saucers, often without, and a plate or two for cakes, or a 
 couple of saucer-shaped dishes. Few perfect sets remain, 
 but several separate pieces of the class have already been 
 figured. Fig. 362 show^s a typical teapot with a cup and 
 saucer of the same pattern, which are not so elaborately 
 decorated as some of the services of the period, but still 
 somewhat overloaded with floral ornaments, as the sj^rays 
 of prunus with birds perched upon them seem to be a little 
 cramped for want of space, in the intervals betw^een the 
 foliated panels displaying ch^i-lin in the midst of brocaded 
 flowers, with which the rest of the surface is covered.
 
 616 ORIENTAL CERAMIC ART. 
 
 There is one class of Chiuese porcelain wliicli has been 
 dignified with the name of " Jesuit china," as it was sup- 
 posed to have been made under the influence of the Jesuit 
 missionaries. The pieces are usually painted in blue and 
 white, and date from the earlier part of the reign of 
 K''ang-hsi (1662-1722). They are characterized by hav- 
 ing the crucifix and other sacred symbols of the Roman 
 Catholic faith inti'oduced in the intervals of the decoi'a- 
 tion, which is usually of the ordinaiy Chinese style, as 
 may be seen in the jar illustrated in Plate XIV, which 
 has the cross and three nails with the Christian mono- 
 gram I. H. S., inclosed in a quatrefoil panel. The sym- 
 bols in these specimens are penciled on the paste under 
 the glaze, and must have been put on at the same time as 
 the other part of the decoration, before the firing. 
 
 Jacquemart in his several works on ceramic subjects has 
 tried to establish the existence of both Hindu and Siam- 
 ese porcelain, but on very insufficient grounds ; and I am 
 strongly inclined to agree with Sir Wollaston Franks that 
 there is no evidence that true kaolinic pottery was ever 
 produced either in Hindustan or in any of the countries 
 of the peninsula of Farther India. They have, on the 
 contrary, always depended on China and Japan for their 
 supply of porcelain until quite recent times, when a few 
 factories have been established there on European lines. 
 The class of pieces on which Jacquemart principally 
 relied is well exemplified in the bowl illustrated in Fig. 
 363. 
 
 It is necessary to say a few words here on the subject 
 of the decoration of Oriental poi'celain in Europe. This 
 was first attempted in Holland, as is shown by M. Havard 
 in his researches into the annals of the corporation of Delft 
 potters.* It was about 1700 that these potters are said 
 to have discovered the secret of the preparation of a cer- 
 
 * Histoire de la faience de Delft. Par Henri Havard. Paris, 1877.
 
 PORCELAIN MADE FOR EXPORTATION. 617 
 
 tain number of the colors of the muffle stove. These 
 enamel colors, which were of the same class as those em- 
 ployed by the Chinese, were used not only for their own 
 soft faience, but also in the decoration of hard porcelain 
 imported from the far East, being applied on white 
 pieces, or on pieces spaced with a few blue lines, as pre- 
 pared at Chiug-te-chen for the artists of Canton, which 
 were passed on to Europe for the purpose. Other pieces, 
 in which the decoration appeared to Dutch taste to be 
 sparse, had the white ground filled in with various acces- 
 sories and details of semi-Oriental style, the result being 
 a curious hybrid combination of colors as well as of styles. 
 Some of these may be seen illustrated by Du Sartel, with 
 the piece in its original state jjlaced side by side with the 
 sur-decoration. Gersaint, the " expert " of Paris, in his 
 catalogue published in 1747, describes t^vo square bottles 
 of porcelain of this kind painted in colors with figures 
 of men and tigers, and adds that "the figures, animals, 
 and otlier ornaments on these bottles have been painted 
 in Holland, as is done there, often Tuial a propos, on pieces 
 of fine white porcelain." 
 
 It is not difficult to distinguish the work of the Dutch 
 decorator by the aspect of the colors, apart from the 
 style ; the Dutch palette compi-ised black, red derived 
 from iron, a dull blue, and a pale green ; the four enamels 
 are applied in strong relief, but are wanting in vivacity 
 and transparency, and look as if the coloring oxides were 
 not sufficiently developed. The red is especially dis- 
 tinctive, being ahvays of deep brick-red tint, imperfectly 
 glazed, and standing out in tangible mass, piled on, as it 
 were, with a thick brush. The Chinese iron-red, on the 
 contrary, is of coral tint, is perfectly incorporated with 
 tlie glaze, and affords no appreciable relief even when 
 most intense in tone. 
 
 Several of the other European manufacturers of porce-
 
 618 ORIENTAL CERAMIC ART. 
 
 lain of the eighteenth century tried tlieir skill in the decora- 
 tion of Oriental porcelain. The work of Saxon artists is- 
 seeu in the Dresden Museum placed beside the primitive 
 pieces of old Japanese porcelain ; the work of French artists 
 is preserved in the Musee at Sevres ; and there are in the 
 British Museum several examples of color painting from 
 Bow and Chelsea, and of transfer printing from Worces- 
 ter, all executed on Oriental porcelain. The Musee de 
 Limoges contains an interesting series of specimens, 
 including some of rare Venetian work, like the Jap- 
 anese vase illustrated by Du Sartel Qoc. cit., Fig. 117),. 
 which was originally an artistic production of an 
 Oriental artist of the seventeenth century, simply orna- 
 mented with a narrow scroll border round the shoulder, 
 and with light sprays of flowers repeated at the base and. 
 round the neck, penciled in coral-red and gold. The 
 Venetian artist, in his task of filling in this chaste and 
 graceful decoration, had at his disposal only the black 
 enamel which was used in his country for enameling 
 upon glass. Treating the porcelain vase as if he were 
 decorating one of the feathery glass cups that he was 
 accustomed to handle, he first completed the floral scrolls 
 on the neck with an elaborate band of birds and flowers 
 of charming design, and then painted on the body of the 
 piece two large vases with Japanese flowers springing 
 from their interior. The rest of the space was filled, in 
 with a garden scene, enlivened by the figures of two 
 mandarins with strange birds and insects flying round 
 them, painted according to the fancies, more brilliant 
 than exact, which the Italian artist fondly imagined 
 about the things of the far East. At a later date much 
 Oriental porcelain, principally blue and white, according 
 to Sir Wollaston Franks, has been spoiled by painting it 
 in tawdry colors, with gilding — a detestable process 
 which, he says, was carried on not long ago in London. 
 
 I
 
 POKCELAIN MADE FOR EXPORTATION. 619 
 
 There are also quite modern forgeries on which coats of 
 arms have been added to old pieces of porcelain painted 
 in colors, where the sparseness of the original decoration 
 left room for such additions ; these can be detected by 
 the different conditions of the old and new enameled 
 •colors, the former being somewhat altered by passing 
 twice through the fire. 
 
 Su7'-decoration in all its phases is also practiced in 
 China. It may be contemporary with the original deco- 
 ration, as in the case when a blue and white piece has 
 come out of the kiln with some defect of the glaze, and a 
 spray of flowers has been deftly painted on in enamel 
 colors to conceal the defect and fixed in the mufHe. On 
 the other hand, it may be quite modern, and an attempt 
 may be made, for example, to increase the value of a blue 
 and white vase by plastering on a fusible enamel of some 
 other color, such as the yellow of antimony, which is 
 ^«asily refired, and so present the original blue designs 
 with a new livery. The " ginger-pot " illustrated in 
 Fig. 357 was originally an ordinary example of the 
 reign of K''mig-lm (1622-1722), marked underneath in 
 blue with a double ring, and had the scattered prunus- 
 blossoms reserved in white, on a blue ground of poor 
 color, traversed in the usual way by a reticulation of 
 darker lines. It has been varied by having the petals of 
 the alternate flowers filled in with bright-green and dull- 
 red enamels, so as to present a kind of formal diaper 
 studded with blossoms of these two shades. The red 
 might pass, as the buds of the prunus are naturally 
 tipped with red, but the glaring inconsistency of green 
 flowers stamps the production at once as a forgery, apart 
 from the coloring, which is certainly not that of the 
 K''ang-hsi period, if it be Chinese at all. 
 
 Another kind of subsequent decoration is shown in 
 Fig. 359. It is a strongly made porcelain bowl of the
 
 620 ORIENTAL CERAMIC ART. 
 
 K\mg-hsi period (1662-1722), with the interior painted 
 in blue under a wliite glaze with chrysanthemum scrolls 
 spreading over the field, and with a floral border round 
 the rim, while the exterior is enameled with a dark- 
 brown monochrome glaze of "dead-leaf" type. The 
 chocolate-colored glaze has been pierced through to the 
 white paste underneath, so as to decorate the bowl out- 
 side in intaglio with a broad band of floral sprays and 
 birds, executed in European style. This has been 
 worked on the lapidary's wheel, probably in Austria. 
 
 The Chinese cut porcelain, hard as it is, is cut with the 
 utmost facility on the jade-cutter's lathe, which is pro- 
 vided with cutting disks and piercing tools of soft iron 
 that, when in work, are kept constantly moistened with 
 corundum paste. The top of a chipped vase or bowl 
 will be shaved off evenly — "barbered" as they call it — 
 or the jagged edges of a fracture will be neatly round ed^ 
 for a new piece of porcelain to be fitted in the holes 
 and cemented round the rim. A reproduction of the 
 original design is then painted over a f raid in common 
 oil colors. The Chinese collector has a horror of a mao 
 ping (crack or other small defect), and infinite trouble is 
 taken to conceal one by carrying sprays of flowers along 
 the fissures, or even by investing the whole of the white 
 ground of the vase with an inky coat of lampblack 
 hardened by cement, or by applying a uniform coat 
 of lacquer. The sur-dec(yi'ation a froid will become dis- 
 colored in time, and it may be detected at once by 
 a wash of weak acid, which should always be sponged on 
 in case of doubt. 
 
 The question of the modern reproduction of ancient 
 wares is a burning one. Caveat emptor ! The W'Ould-be 
 connoisseur of porcelain must buy his experience while he 
 educates his eye. Any other test is worthless. Where 
 the demand is so great the supply threatens to become
 
 POECELAIN MADE FOR EXPORTATIOlSr. 621 
 
 unlimited. At tlie Kioto Exposition of 1895 the latest 
 triumphs of the Japanese in the imitation of old Chinese 
 porcelain were exhibited on long shelves ; the Ching-te- 
 chen potters are daily improving in their reproductions 
 of the finest sang-de-hoeuf and blue and white of the 
 K''ang-hsi period, and even the tile works of Peking are 
 busily occupied in these latter days in the manufacture 
 of single colors for the markets of the United States. In 
 Europe the old Chelsea potters turned out Chinese por- 
 celain with marks complete ; the earliest Meissen ware 
 was an exact copy of the ancient artistic sort of Japan ; 
 and the pride they take at Sevres in the reproduction of 
 Chinese eggshell is proved by the display in the museum, 
 of the original plate and its copy, placed side by side, 
 as if to defy the visitor to distinguish between the two. 
 The well-known shop of Samson at Paris is full of all the 
 varieties of " Oriental porcelain " made in France, but 
 one views them there as avowed imitations. It is differ- 
 ent when one sees the same French things, as I have seen 
 them, in the back room of a curio-dealer at Shanghai, 
 purposely begrimed with real Oriental dirt to give an air 
 of antiquity, and the casual globe-trotter is more apt to 
 be deceived under such altered circumstances. However 
 it may be, many of these forgeries find their way into 
 cabinets, and flaunt for a brief while their borrowed 
 plumes, until they are detected as impostors and banished 
 to another sphere. The Walters Collection is happily 
 free from such unauthorized intruders, so the question 
 need not detain us further. But it has been laid down 
 on good authority that doubt is one of the first requisites 
 of the scientific inquirer, and it is certainly required 
 in China for things Chinese almost more than in other 
 parts of the globe.
 
 CHAPTER XXII. 
 
 PORCELAIN PRODUCTION IN THE OTHER PROVINCES OF 
 
 CHINA. THE WHITE PORCELAIN OF THE PROVINCE OF 
 
 FUCHIEN. THE YI-HSING BOCCARO WARE OF THE PROV- 
 INCE OF KIANGSU. THE POTTERIES OF THE PROVINCE 
 
 OF KUANGTUNG. 
 
 ri"^HE pi'ovince of Kiangsi has been the one great cen- 
 -L ter of the porcelain manufacture during the present 
 dynasty, and it may be said generally that nothing of 
 any artistic value is produced elsewhere in China in the 
 present day. In earlier times a certain amount of por- 
 celain was made in other provinces for local consumption, 
 and some of the fabrics attained special excellence and 
 even acquired a wider vogue under some of the past 
 dynasties when directly patronized by the emperor reign- 
 ing at the time, or temporarily stimulated by demands 
 for export abroad, but most of the different manufac- 
 tories have failed, either from want of support or from 
 exhaustion of the materials, and those that still remain 
 produce now nothing worthy of their old renown. 
 
 A list of these potteries, ancient and modern, has been 
 compiled by Julien (loc. cit., pages li-lxvi), and the differ- 
 ent localities referred to have been indicated upon a map 
 of China prepared by him for the purpose. Thirteen out 
 of the eighteen provinces of China are represented in this 
 list, but many of the potteries, included because they 
 have been mentioned only once perhaps in some ancient 
 book, have long been extinct, and some of the others, 
 like that of Sin-p'ing, in the province of Honan, tjie 
 
 622
 
 PORCELAIN PRODUCTION IN OTHER PROVINCES. 623 
 
 reputed place of tlie iuveDtion of porcelain, are, as 
 we have endeavored to prove, purely hypothetical. 
 
 The principal potteries that were still working toward 
 the end of the Ming dynasty, in the beginning of the 
 seventeenth century, are briefly enumerated in the THen 
 hung Wai wu^ a little manual of industrial work which 
 was published at that time. It says (Book II, folio 10) : 
 
 " The white plastic clay called e-fu is required for the fabrica- 
 tion of porcelain, and the finest and most beautiful pieces can not 
 be made without it. Throughout the whole of China there are 
 only a very few places in which it is found — viz., in the north: (1) 
 at Ting-cliou, in the prefecture of Chen-ting-fu (pi-ovince of 
 Cliihli); (2) at Hua-t'ing-hsien, in the prefecture of P'ing-liang-fu 
 (province of Shensi); (8) at P'ing-ting-chou, in the prefecture of 
 T'ai-yuan-fu (province of Shansi); (4) at Yu-chou, in the prefec- 
 ture of K'ai-feng-fu (province of Honan). In the south it is pro- 
 duced (1) at Te-hua-hsien, in the prefecture of Ch'iian-chou-fu 
 (province of Fuchien) ; (2) at Wu-Yuan-hsien and at Ch'i-men- 
 hsien — both situated in the prefecture of Hui-chou-fu (province of 
 Anhui). 
 
 " In the potteries of Te-hua there are fabricated onl}' the figures 
 of divinities and statuettes of famous persons artistically modeled 
 and various ornamental objects of fantastic form not intended for 
 actual use. The porcelain which comes from the districts of Chen- 
 ting-fu and K'ai-feng-fu is occasionally of j^ellowish shade. The 
 productions of all the other districts are far from equaling that of 
 Jao-chou-fu (in the province of Kiangsi). 
 
 " The two kinds of porcelain that were made at Li-shui and at 
 Lung-ch'tlan, in the prefecture of Ch'u-chou-fu, in the province of 
 Chekiang, had the enamel applied after the pieces had been fired. 
 The cups and bowls (from these two districts) which range from 
 sea-green, or celadon, up to a dark-green color approaching that of 
 lacquer, are called CKu Yao — i. e., ' Ch'u Ware,' after the name of 
 the prefecture. 
 
 " With regard to the porcelain which is so eagerly sought after 
 by foreigners from all the four quarters of the world, this is 
 all fabricated at Ching-te-chen, in the district of Fou-liang-hsien, 
 and the prefecture of Jao-chou-fu. Porcelain has been constantly 
 produced there from the period Ching-te-chen (1004-07), when the
 
 624 ORIENTAL CERAMIC ART. 
 
 imperial manufactoiy was founded, down to our own days, although 
 neither of the two materials of which the paste is made is pro- 
 duced in the district." 
 
 The porcelain of the province of Chekiang acquired 
 some renown as early as the Chin dynasty (265-419), 
 when it was made at Wen-chou-fu, and in the T\tng 
 dynasty (618-906) the cups of Yueh-chou, the modern 
 Shao-hsing-fu, were esteemed above all others for tea 
 services, and the famous ware of "prohibited color" 
 reserved for imperial use was produced in the same dis- 
 trict. Now there remains in this province only a small 
 local manufactory at Chapu, a port on the northern shore 
 of Hangcliou Bay. When the Emperor ChHen-lung 
 visited the province of Chekiang in the year 1780, 
 a series of illustrations of the handicrafts of the people 
 was presented to him, which was afterward published 
 under the title of T''ai p'ing liuan lo fou — " Illustrations 
 of the Vocations of Peaceful Times " — and which has 
 been lately republished. The fifty-eighth of the one 
 hundred pictures is that of the porcelain-seller carrying 
 his fragile wares in a couple of baskets slung upon 
 a pole. The artist says in his description : 
 
 " In the province of Chekiang they have made porcelain from 
 ancient times. The prohibited color {pi se yao) of Yueh-chou, the 
 Lung-ch'iian ware (old celadon), and the Ko Yao, or crackled 
 celadon, are among the most celebrated of its productions of olden 
 time. With regard to the different ceramic productions of the 
 present day the porcelain that is most highly valued by the people 
 for eating and drinking purposes all comes from Ching-te-chen in 
 the adjoining province of Kiangsi. Potteries have been recently 
 establislied in Chekiang at Chapu, whei*e they make vases, basins, 
 wine-cups, rice-bowls, and the like. The porcelain is white, with 
 designs painted in blue, and the potters strive to emulate their 
 rivals of Jao-chou-fu." 
 
 Hangchou is one of the places thrown open in Sej)tem- 
 ber, 1896, to foreign residence and trade, as a result of
 
 PORCELAIN PRODUCTION IN OTHER PROVINCES. 625 
 
 the recent war between China and Japan ; and it will be 
 interesting to inquire whether the potteries at Chapu 
 (tlie port of Hangchou) are still working, and, if so, 
 what is the quality of the production. 
 
 The potteries at Ting-chou in the province of Chihli 
 ceased to work at the close of the Ming dynasty, when 
 we found Chou Tan-chu'an making at Ching-te-chen re- 
 productions of ancient four-legged censers of the peculiar 
 ivory-white finely crackled ware that used to be produced 
 at Ting-chou, and astonishing his contemporaries by his 
 imitative skill. During the present dynasty all the Fen 
 Ting ware, the so-called " soft paste " porcelain, whether 
 plain white or decorated in soft underglaze cobalt-blue, 
 has continued to be made in Kiangsi. It is the same 
 with many of the other old wares ; the Ju Yao and the 
 imperial porcelain {Kuan Yao) of the Sung dynasty, the 
 old celadons, plain and crackled, and the jfambe glazes 
 of ancient Chiin-chou among the rest. These were all 
 attempted to be reproduced by T'ang Ying in the reign 
 of Yung-clieng (1723-35), in the imperial manufactory 
 at Ching-te-chen. Their original localities know them 
 no longer. 
 
 The potteries at Tz'u-chou in the province of Chihli 
 are indeed the only representatives of the better known 
 manufactories of the Sung dynasty that have continued 
 to turn out porcelain down to the present day. Their 
 productions were not much esteemed in former days, 
 when they were described as a kind of inferior " Ting- 
 Yao," and the modern work is still less valued, its only 
 recommendation being a certain archaic simplicity of 
 form and design. The paste is very white, but it is 
 opaque and imperfectly vitrified. This Tz'ii-chou ware 
 is well known in Peking and throughout northern China, 
 as it supplies the domestic needs of the common people. 
 Among the more curious objects are pillows made in the
 
 626 ORIENTAL CERAMIC ART. 
 
 sliape of scantily clothed urchins and hollow in the 
 interior, so that they can be filled, if it be desired, with 
 hot water in cold weather, Kudely molded idols and 
 figures of Buddhist and Taoist saints are also produced 
 here, roughly painted in different shades of brown 
 (tzu-cliin) derived from iron peroxide, or penciled in a 
 dull blue with manganiferous cobalt applied over the 
 glaze. 
 
 The province of Fuchien, in the south, has long been 
 noted for its production of porcelain. The Clden Tz'u, 
 or Chien Yao — i. e., " Fuchien porcelain " — oi the Stoig 
 dynasty, was originally fabricated at Chien-an-hsien, in 
 the prefecture of Chien-ning-fu, although the potteries 
 were moved later in the same dynasty to Chien-yang- 
 hsien, which is within the bounds of the same prefecture 
 farther north. The porcelain of Chien-an is referred to 
 by the author of the Ch''a Iai, a book on tea written in 
 the eleventh century, in which he speaks of the teacups 
 of Chien-an under the name of " leveret-fur cups," and 
 describes them as being of thick material invested with 
 a soft black glaze flecked with lighter spots like the fur of 
 a hare. Other authors of the time speak of the black 
 glaze being sprinkled with yellowish tears. These cups 
 w^ere the most highly prized of all by the enthusiasts of 
 the competitive tea parties of the time. AV hen tea clubs 
 were started in Japan these were the cups that were 
 valued by the Japanese at a hundred ounces of silver 
 each, and they supplied models for some of the early tea- 
 jars made in that country, the dark, speckled glaze of 
 which might be described in the very words of the old 
 Chinese writers of the Sung dynasty in their description 
 of this fabric* The manufacture of porcelain in this 
 
 * A recent letter from Japan says that the potter Takemoto, of Tokyo, is 
 making a specialty of black glazes, with the aim of rivaling the Chien Yao of 
 the Sung dynasty, and has succeeded in producing many varieties of mirror-
 
 POKCELAIN PRODUCTION IN OTHER PROVINCES. 627 
 
 district continued to flourish during tbe Yuan dynasty 
 (1280-1367), but after that we hear of it no more. 
 
 Early in the Ming dynasty, if not before, potteries 
 were established at Te-hua-hsien, in the same province of 
 Fuchien, which was then subject to Ch'uan-chou-fu, but 
 was afterward placed under the jurisdiction of Yung- 
 ch'un-chou. These potteries are still woiking, and are 
 the sole source of the well-known Chien Tz'u of to-day^ 
 which is different from the older ware that was described 
 under the same name of "Fuchien porcelain," being 
 white instead of black. This is the pal tz'u, " white 
 porcelain," ^«/' excellence, of the Chinese, the hlanc de 
 Chine of French ceramic writers. It differs considerably 
 from other Oriental porcelain, the paste of smooth tex- 
 ture being of a creamy-white tint resembling ivory, while 
 the rich, thick glaze, which has a satiny aspect, like the 
 surface of soft paste porcelain, blends closely with the 
 paste underneath. These potteries became renowned 
 during the Ming dynasty (1368-1643) for their figures 
 of Buddhist divinities and saints — Kuan Yin or Avalokita^ 
 as the Goddess of Mercy, Mi-lo Fo or Maitreya, as the 
 Buddhist Messiah, and Ta-mo or Bodhidharma, the last 
 Indian and the first Chinese patriarch, being the three 
 most frequently represented. The statuette of the God- 
 dess of Mercy, illustrated by M, Grandidier (loc. cit., 
 Plate X, 28), furnishes a striking example of the skill- 
 ful modeling of the Fuchien potters. A more elaborate 
 figure of the many-handed form of the same Pusa is 
 illustrated fi-ora the Musee de Limoges by M. du Sartel 
 {loc. cit, Plate XVII, Fig. 60). The divinity is seated 
 upon a lotus thalamus, with one pair of arms folded in 
 front with the fingers raised in mystic fashion, w^hile 
 
 black and raven's-wing-green glazes, of leveret-fur streaking and of russet 
 moss dappling ; more varieties, by the way, than I suspect were ever turned 
 out from the original kilns in China.
 
 628 ORIENTAL CERAMIC ART. 
 
 eight other pairs of arms are extended in ev^ery direction, 
 to display to the whole world, as it were, the various 
 sacred symbols grasped in the hands. In the same plate 
 are illustrated two groups of three figures gathered 
 under a pine-tree, with a rocky background, two of whom 
 are playing chess, molded in the same ivory-white 
 porcelain. These are scenes from the legend of Wang 
 Chi, one of the Taoist ])atriarchs, who is said to have 
 flourished under the Gliin dynasty (265-419). While 
 wandering in the hills one day to collect firewood, he 
 found two aged men playing chess, and laid down his 
 axe to watch the game. One of the players gave him a 
 fruit-stone, which he swallowed. After a while they 
 exclaimed, " It is long since you came, and time to go 
 home." He found that the handle of his axe had moldered 
 into dust, and when he reached home many generations 
 had passed away and he was clean forgotten, so he retired 
 again to the mountains and devoted himself to Taoism, 
 till he was finally enrolled among the immortals. 
 
 The natives of this province are among the most 
 superstitious of the Chinese,* and their religious tempei'a- 
 ment seems to be reflected in the chai'acter of theii' 
 cei'amic productions. The rice-bowls are molded with 
 figures in relief of the eight Taoist genii worshii)ing the 
 Longevity Grod, and the ordinary wine-cups have the air 
 of sacrificial libation-cups, being shaped like the old 
 carved cups of rhinoceros horn, and impressed outside 
 with all kinds of Taoist sacred emblems. When a mark 
 is attached it is a religious symbol like the swastika, or 
 sim])ly the name of the potter, stamped somewhere under- 
 neath the foot or on the reverse side of the piece. They 
 were not, however, above working for the European 
 market, as is proved by whole shelves of European figures 
 
 * See Social Life of the Chinese. By the Rev. Justus Doolittle. New York, 
 1867.
 
 PORCELAIN PRODUCTION IN OTHER PROVINCES. 629 
 
 and designs molded in this peculiar white porcelain, 
 which are exhibited in the Johanneuni at Dresden, dating 
 from the seventeenth and the beginning of the eighteenth 
 centuries. 
 
 Three pieces of Chien Tz'u have been selected from 
 the Walters Collection for illustration here. The cen- 
 ser (lisiang hi) in Fig. 371, which is of depressed, 
 rounded shape, with the body bulging in the middle, 
 is molded with a floral decoration on one side composed 
 of sprays of bamboo and peony-flowers growing from 
 rocks, worked in relief under the ivory-white translucent 
 glaze with which it is invested. There is a circular 
 panel stamped underneath, with four archaic characters 
 in the middle, Hsuan te nien cJiih — i. e., " Made in the 
 reign of Hsumi-te (1426-35) " — but the piece does not 
 look so old. 
 
 The vase in Fig. 372, of solid make, has the globular 
 body ornamented with four identical sprays of j)ruuus 
 (mei hud) modeled in strong relief, and the neck, which 
 has a wide ring projecting horizontally below, is en- 
 circled above by a line of fret succeeded by a band of 
 triangular foliations, while a similar band defines the 
 shoulder of the vase. The glaze is of pure ivory-Avhite 
 tint, and the technique generally is that of the Ming 
 dynasty. 
 
 The third, a small vase illustrated in Fig. 373, with 
 wide circular base and short cylindrical body rounding 
 in at the shoulder to a straight tubular neck, is an 
 example of the form known to the Chinese as hoof- 
 shaped vases (ma fi p'ing^. It is molded in sharp 
 relief with the eight Buddhist symbols of good augury 
 (^pa chi-hsiang^ enveloped in waving fillets and leafy 
 scrolls, and the rims are defined by light conventional 
 foliations. The rich, satiny glaze is ivory-white with 
 a slight creamy tinge. There is no mark, but the style
 
 630 OEIENTAL CEEAMIC ART. 
 
 of execution points to the reign of Cl^ien-lung (1736- 
 95), or somewhat earlier. 
 
 Two typical pieces of Chieu Tz'ti are illustrated in 
 Plate XIII. In the little wine-pot molded in the form of 
 a pomegranate the artist has reproduced remarkably well 
 the characteristic tone of the white glaze. In the teapot 
 the glaze is somewhat grayer in shade, but very I'ich 
 and lustrous, and the uuglazed base exhibits the pecu- 
 liarly smooth texture of the paste. A picked specimen 
 of the white porcelain of Ching-te-chen of the finest 
 quality is illustrated in Plate XC, and it will be seen, on 
 comparison, to have a slight tinge of blue, although the 
 glaze is of perfect purity and translucency ; this shade 
 is due to lime, which is always added by the Chinese 
 in appreciable quantity to give fluidity to the glaze 
 when the porcelain is being fired. The white Fen-Ting 
 glaze is quite different from either of the other tAvo, 
 as may be seen by turning to Plate LXXXIX, an 
 admirable specimen, to be referred probably to the 
 ICang-lisi period. The glaze here looks thinner, and 
 it has a wavy or undulatory surface, as it seems to sink 
 into and blend intimately with the siliceous paste under- 
 neath ; the ivory-white, which is the prevailing tone^ 
 has a creamy tinge, and it is delicately crackled with 
 an infinity of fine lines. 
 
 There is a crackled variety of the Chien-Tz'u, which^ 
 however, I liave met with only in quite modern vases 
 of no particular merit or beauty, having the glaze deeply 
 fissured by a wide reticulation of colorless lines ; so that 
 it ought not to be confounded with the delicately crackled 
 Fen-Ting porcelain. 
 
 In addition to the ivory-white porcelain, which has 
 given the Fuchien potters their chief reputation, they 
 also make a quantity of ordinary domestic ware for 
 local consumption. Missionaries penetrate to all parts
 
 PORCELAIN PRODUCTION IN OTHER PROVINCES. 631 
 
 of the interior of China in these days, and one of tliem * 
 gives a pleasing sketch of the potters at work in this 
 district which is worth quoting : 
 
 " Tek-kwa [the local pronunciation of tlie Te-hua of the man- 
 darin dialect] is the most extensive manufactor}' of china in the 
 Fulikien province. The valley is broad, and clothed over a con- 
 siderable area with very pretty houses, in many cases resembling 
 Swiss chalets. Pottery, pottery everywhere, in the fields, in the 
 Btreets, in the shops. In the open air children are painting the 
 cups. Each artist paints with his own color, or his own few 
 strokes, whether a leaf, a tree, a man's dress or beard, and passes 
 it over to his neighbor, who in turn applies his brush to paint what 
 is his share in the decoration. I have seldom received a more 
 courteous and cordial welcome than from these artists in earthen- 
 ware at Tek-kwa." 
 
 The writer is somewhat vague in his use of the tei'ms 
 " china," " pottery," and " earthenware " in this short 
 paragraph, and we wish that he had looked at the ware 
 with a technical eye and told us the exact nature of the 
 material. The Chinese themselves are apt to be just 
 as vague in their definition of tz'''U (porcelain), and to 
 find their ultimate criterion in the clear ring that they 
 can produce by striking the object with their long 
 finger-nails. This test is not infallible, as a perfectly 
 vitrified stoneware of colored opaque body, if it be not 
 too thick, will give as musical a ring as the most snowy 
 and translucent pottery of pure kaoliuic structure. The 
 two ceramic wares of China that still remain for a word 
 of notice would nevertheless always be rejected by a 
 Chinese connoisseur from his porcelain class, although, 
 strangely, we find specimens of the first, the faience of the 
 province of Kuangtung, so often figuring with porcelain 
 vases on the shelves of tlie Occidental connoisseur. 
 
 *Eoery-Day Life in China, or Scenes in Fuhkien. By E. J. Dukes. 
 London, 1885.
 
 632 OKIENTAL CERAMIC ART. 
 
 This is the Kuang- Yao of the Chiuese, the " Pottery 
 of Kuaiigtung." It is in material a colored stonewai'e, 
 the fabric passing from pale yellowish-gray through buff 
 and various intermediate shades of yellow and red to 
 deep brown. All kinds of things are made of it, archi- 
 tectural antefixal ornaments, cisterns, fish-bowls, and 
 flower-pots for gardens, religious images, sacred figures 
 and grotesque animals, tubs and Jars for storage, domes- 
 tic utensils, and vessels for eating and drinking, and 
 many objects of ornament and fantasy — the various 
 articles, in fact, that are made in other parts of China of 
 porcelain. The ware is exported to all parts of the 
 world, and piles of it are to be seen in the commoner 
 stores in China Town at San Francisco. 
 
 There are two principal centers of manufacture in the 
 province. The first is in the vicinity of the treaty port 
 of Amoy, from which it is exported by sea. Dr. S. W. 
 Williams, in his description of the principal articles of 
 export from China,* says, under Chinaware : 
 
 " The largest part of tlie export at present consists of coarse 
 blue ware to India and the archipelago. Large manufactories of 
 it exist at Pakwoh, a village near Shih-raa, between Amoy and 
 Changchou, and the common articles of domestic use find their 
 way from Amoy to India and the archipelago, Siam, and over the 
 southern provinces. Its fantastic figures and uniformity of color- 
 ing and design have impressed themselves on the popular mind 
 of Asiatics. ... Of the fine ware, which is made at King- 
 te-ch^n in Jao-chou-fu, not so much is exported. Some of it is 
 brought to Canton in its plain state, and the pieces are painted 
 according to demand. The figures are sketched in Indian ink, and 
 then painted with water-colors mixed with strong glue; the pieces 
 are then placed in a reverberating furnace about half an hour, and 
 taken out and washed when sufiiciently cooled. The division of 
 labor in the preparation and painting of chinaware is carried to 
 a minuteness not often seen in other branches of native art." 
 
 * The Chinese Commercial Guide. By S. Wells Williams, LL. D. Fifth 
 edition, Hong-Kong, 1863.
 
 PORCELAESr PRODUCTION IN" OTHER PROVINCES. 633 
 
 The second manufactory is in the extreme south of 
 the province of Yaug-chiang-hsien. The author of the 
 Ching-te-chen T''ao lu says, under the heading of Kuang- 
 Yao : 
 
 " This was first made in the province of Kuangtung, in the 
 <ii8trict of Yang-cliiang-hsien, in the prefecture of Cliao-ch'ing-fu. 
 It was probably fired in tlie same way as the foreign painted 
 enamels on copper (which, the author tells us in another part of 
 his book, had been copied from those made at Calicut in Hindu- 
 stan), so that porcelain is included in the official description of tlie 
 province among the productions of Yang-chiang-hsien. I have 
 seen censers for burning incense, vases, cups and platters, bowls 
 and round dishes, gourd-shaped bottles and boxes with covers, and 
 the like, made of this ware, which were finely decorated in the 
 most brilliant colors; but in style, finish, and artistic treatment it 
 is not to be compared with real porcelain, and it is never free 
 from unsightly fissures in some part of the glaze in which the 
 body of the piece is exposed to view. Nevertheless, the repro- 
 ductions that have been made at Ching-te-chen, under the super- 
 intendence of the dii'ector T'ang Ying, are worthy of attention 
 for the beauty of their coloring, which exceeds by far that of the 
 original Kuang-Yao." 
 
 The particular glaze referred to in this last paragraph 
 was a sowfflS blue. It figures as No. 17 in the list giv^en 
 in Chapter XIII, where it is described as having been 
 <5opied by T'ang Ying from an ancient specimen of 
 Kuang-Yao which had been sent down from the imperial 
 palace at Peking for the purpose. The glazes of the 
 Kuang-Yao are often, indeed, of the mottled and varie- 
 gated class, the prevailing ground being blue, which may 
 be streaked and flecked with green and pass into olive- 
 brown toward the rim. But many other colors occur, 
 such as purple, camellia-leaf green, and stone-colored 
 -crackle; they are usually colors of the demi-grand feu, 
 and may develop the most brilliant reds of sang-de-hoeuf 
 tone, as in the figure of the Buddhist patriarch Bodhi-
 
 634 ORIENTAL CERAMIC ART. 
 
 dharma, illustrated in Plate XLI, which is invested in 
 a robe of lustrous crimson. This statuette is a typical 
 example of Kuang-Yao, and exhibits the reddish-gray 
 color of the dense, hard material in the pai'ts uncovered 
 by glaze. On the vases of more ancient date the surface 
 is often only partially enameled, the glaze stopping in an 
 irregular line as it runs down and congeals in drops, so 
 that a third part of the piece may be left bare. In this 
 it resembles some of the ancient w^ares of the Sung 
 dynasty, with which it may be confounded if special 
 attention be not paid to the pdte^ which is peculiarly 
 dense and opaque, although it may occasionally be of 
 a pale grayish tint approaching white. 
 
 The vase in Fig. 369 is a characteristic production of 
 the potteries of Kuangtung. Molded of solid form, with 
 two ring handles in relief springing from grotesque lions^ 
 heads, it is invested with a thick, translucent glaze of 
 bright green tint, mottled with dark brown, and becom- 
 ing grayish blue at the edges. This does not quite reach 
 the bottom of the vase, ending below in an undulatory 
 line, so that the brown stoneware body is exposed to 
 view at this spot. 
 
 The bottle-shaped vase in Fig. 370, with a pair of 
 lizardlike dragons (cKili-lung) of archaic shape project- 
 ing in openwork relief from the neck, is made of light 
 but hard stoneware of brown color. It is covered with 
 a translucent crackled glaze of rich emerald-green tint, 
 passing into purplish gray at the rim of the vase and 
 over the more prominent parts of the accessory modeling. 
 
 In Fig. 374 is illustrated one of the quaint little recep- 
 tacles for water {shui cJi'eng) designed for the desk of 
 a Chinese writer. An ancient specimen of Kuang-Yao, 
 judging from the texture of the paste, which is of pale 
 buif color, and the celadon hue of the glaze, it is molded 
 in the form of a sacrificial ox, with a small oval bowl
 
 PORCELAIN PRODUCTIOISr IN OTHER PROVINCES. 635 
 
 attached to the mouth, into which the pencil-brush may 
 be (lipped. A channel leads from this through the 
 mouth of the ox, the body of which is hollowed to hold 
 water, and the back is pierced with a circularly rimmed 
 aperture. The design is adopted from one of the ancient 
 sacrificial wine-vessels of bronze, which, however, were 
 usually modeled in the form of a rhinoceros, and this 
 is suggested by the spiral folds on the skin, the thick 
 legs, and the grotesque outline of the miniature monster 
 before us. 
 
 The Chinese ceramic ware that remains for our con- 
 sideration is the Yi-hsing Yao, which derives its name 
 from its place of production — Yi-hsing-hsieu, in the pre- 
 fecture of Chang-chou-fu, in the province of Kiangsu. 
 It has been cursorily referred to already in Chapter VII, 
 in a notice of some of its earlier productions during the 
 Ming dynasty. The pottery produced here is a fine kind 
 of stoneware of various tints — buff, red, brown, and 
 chocolate-colored, red predominating. The Portuguese 
 called it hoccaro, and the name has remained. Bottger, 
 the inventor of Saxon porcelain, fii'st tried his hand in 
 the imitation of this material in 1708, with some success, 
 although his essays hardly deserved the epithet of force- 
 laine rouge^ with which they were baptized. The Elers, 
 who established a pottery in Staffordshire, England, also 
 copied the red varieties with great exactness, so that it is 
 not always easy, according to Sir Wollaston Franks, to 
 distinguish their productions from Oriental examples. 
 
 The Chinese prefer this fine stoneware to any other, 
 even to true porcelain, for the infusion of tea, and for 
 keeping delicate sweetmeats. There is a special book 
 which is often quoted (but I have not seen the original), 
 called Yang-lisien ming Tin hsi, written by Chou Kao- 
 ch'i, an author of the seventeenth century, who gives an 
 account of the teapots (ming hu) made here (Yang-hsien
 
 636 ORIENTAL CERAMIC ART. 
 
 being au old name of Yi-hsing). These teapots are 
 made in the most varied and fantastic forms, such as 
 a dragon rising from waves, a phcenix or other bird, 
 a section of bamboo, the gnarled trunk of a pine, or a 
 branch of blossoming prunus, a fruit such as a peach, 
 a pomegranate, or a finger-citron, or a flower like the 
 nelumbium, the Chinese lotus. 
 
 Many of the pieces derive their sole charm from the 
 simple elegance of the form and the soft self-coloring of 
 the fine, close faience in which it is modeled. Others are 
 ornamented with designs molded in relief, impressed 
 with delicate diapers, or engraved with decorative 
 designs. Others, again, are painted in enamel colors,, 
 applied with a brush so as to come out in sensible relief, 
 or inlaid, as it were, in a ground previously prepared for 
 the purpose, the technique being that of champleve 
 enamel on copper. The enamel colors may be either 
 single or multiple. The material makes a charming 
 background for a spray of flowers worked in clear cobalt- 
 blue combined with a vitreous flux, or for a landscape 
 lightly penciled in the soft grayish white afl^orded by 
 arsenic. The decoration in multiple colors is almost* too 
 elaborate, especially when the piece is completely covered,, 
 so that none of the ground is visible, in which case the 
 nature of the excipient can be detected only by examin- 
 ing the rim of the foot underneath. 
 
 All kinds of things have been made at Yi-hsing-hsien 
 of this peculiar faience, and out of the multitude of 
 objects of use and ornament that are usually made in 
 China of porcelain, there is hardly one that is not also to 
 be found in hoccaro ware. This last material is, how- 
 ever, considered most suitable for small ohjets de liixey 
 and these are often very cunningly and minutely finished. 
 Miniature teapots and fruit and flowers of charming 
 design are made to hold water for the writer's pallet ;
 
 POKCELAIN PRODUCTION IN OTHER PROVINCES. 637 
 
 perfume-bottles, rouge-pots, powder-boxes, trays, saucers, 
 and other uameless accessories for the toilet-table of the 
 harem ; small vases for flowers, comfit-dishes, chopstick- 
 trays, and miniature wine-cups for the dinner-table. The 
 mandarin wears a thumb-ring, a tube for the peacock's 
 feather in his hat, and has enameled beads and other orna- 
 ments for his rosary made of this material ; the Chinese 
 exquisite carries a snuff-bottle, the tobacco-smoker has 
 his water-pipe, and the opium devotee the bowl of his 
 bamboo pipe artistically inlaid in soft vitrified colors. 
 
 Two of these small pieces have been selected for illus- 
 tration. The first (Fig. 23) is a snuff-bottle of brown 
 Yi-hsing ware, decorated with a miniature mountain 
 landscape of temples, pavilions, and bridges, painted in 
 soft-toned enamel colors. The second is a little receptacle 
 for water, fashioned out of pale buff-colored faience in 
 the form of a folded leaf, and imbued with autumnal 
 tints, the outer aspect being covered with a roughened 
 brown enamel, while the interior is coated purplish gray. 
 The ivory stand, carved in openwork with bamboos and 
 flowers and mounted upon a second rosewood stand, 
 shows how it was once appreciated in China. 
 
 Glazed stoneware is made in the other provinces of 
 China, but nothing of artistic value or interest seems to 
 be produced that can be compared with the fine-grained 
 hoccaro of Yi-hsiug. Potteries near Peking have been 
 referred to as producing a kind of archaic-looking ware, 
 which is occasionally enameled in brilliant single colors 
 so as to cover the ground and conceal the material. 
 This is a kind of glazed earthenware or terra-cotta, and 
 can be easily scratched with a steel point. The ordinary 
 glaze is a reddish brown of marked iridescence, shining 
 with an infinity of metallic specks, an effective back- 
 ground to the molded decoration which covers the sur- 
 face. The designs are generally of hieratic character.
 
 638 ORIENTAL CERAMIC ART. 
 
 This terra-cotta is largely used in China for ai'chitec- 
 tural purposes. The ruins of Wan-shou-shan and the 
 other imperial summer palaces near Peking that were 
 burned in I860, have furnished large images of Kuan- 
 Yin enameled with turquoise-blue and other soft colors, 
 smaller Buddhist images that were inlaid by the thou- 
 sand in the brick walls of their temples, and dragons, 
 k'i-lins, phoenixes, and other figures, that foi-med the ante- 
 iixal ornaments of the roofs. Not the least interesting of 
 these relics are the shields and trophies of arms of Euro- 
 pean design, and the classical figures for the fountains of 
 the Italian palace which was built in the Yuan-Ming- 
 Yuen for the Emperor ChHen-lung under the superin- 
 tendence of the Jesuit missionaries. These were all 
 made in the encaustic tile-works near Peking. 
 
 It has been imagined by some that porcelain was so 
 common in China that it usurped the place of all other 
 ceramic wares, but this is not the case. From true 
 kaolinic pottery, or true porcelain, we pass through all 
 the different grades of faience and stoneware, in \vhich 
 the material becomes gradually coarser and less perfectly 
 vitrified, till we come to ordinary glazed earthenware, and 
 finally to unglazed terra-cotta, which is roughl}^ fired in 
 an open kiln. These should be set apart in collections, 
 and an attempt be made to classify them according to the 
 different places of production, as well as in chronological 
 sequence. The study is not Avithout interest, as the de- 
 velopment of some of the minor potteries that have been 
 working for centuries in their own lines occasionally 
 throws a side-light on the gradual progress of the decora- 
 tion of porcelain. Although this is essentially a Chinese 
 art, it has been more modified by external influences than 
 some of its humbler sisters, which I would ventui'e to 
 bring into more prominent notice for that reason.
 
 CHAPTER XXIII. 
 
 CHINESE BIBLIOGRAPHY IN RELATION TO THE 
 CERAMIC ART. 
 
 A SHORT excursion in the vast field of Chinese bibli- 
 ography is undertaken here, in order to give some of 
 the principal sources of information that have been availed 
 of, and to indicate the ground that is open for fui'ther 
 research. In the course of it the Chinese names of most 
 of the books that have been quoted in the preceding 
 pages will be given, with a reference to the dates of their 
 publication, and a brief sketch of the nature of their 
 contents. 
 
 Of works on the ceramic art that have been published 
 out of China, two special books * are available for refer- 
 ence, in addition to more partial bibliographical lists 
 which accompany some of the general works on pottery, 
 such as the one of which the title is quoted below.f 
 
 Some idea of the vast extent of Chinese literature may 
 be gathered from the scholarly work of the late Alexan- 
 
 * BibliograpMe ceramique. Nomenclature analytiqite de tontes les Publications 
 faites en Europe et en Orient sur les arts et I'industrie ceramiques, depuis le XVI' 
 sihle jusqu'd nos jours, par Champfleury, conservateur du Musee de Sevres. 
 Paris, 1881. 
 
 A List of Works on Pottery and Porcelain in the National Art Librae-)/, com- 
 piled for the use of students and visitors, by R. H. Soden Smith, Science and 
 Art, Department of the Committee of Council on Education, South Kensing- 
 ton Museum. The first edition was published in 1875, but revised and enlarged 
 editions, incorporating later additions to the art library, have since been 
 issued. 
 
 f Pottery : Roto it is made ; its Shape and Decoration. Practical Inatructiom 
 for Painting on Porcelain and all Kinds of Pottery icith Vitrifiable and Com- 
 mon Oil Colors. With a full bibliography of standard works upon Uie ceramic 
 art, and forty-two illustrations. By George Ward Nichols. New York, 1878. 
 
 639
 
 640 OEIENTAL CERAMIC ART. 
 
 der Wylie, agent of the Britisli and Foreign Bible Society 
 in China,* which, extensive as it is, is only a short epit- 
 ome of the i)C ^ EB # ^ # li S, GliHn ting Ssu 
 Fu chi'ian slut tsinig mu, the voluminous descriptive cata- 
 logue of the Imperial Library of the present dynasty^ 
 which was drawn up by command of the Emperor 
 CJi'ieii-lung, and completed in 1790. The library is 
 arranged, as indicated by the title of the catalogue, in 
 Ssii Fu, or " Four Divisions," viz., Classics, History^ 
 Philosophy, and Belles-Lettres, and the catalogue alone 
 consists of two hundred books. 
 
 The Five Classics or Canonical Books in the first di- 
 vision, which have been occasionally referred to in our 
 text, include : 
 
 1. Tlie S. ^^, Yi Ching, "Book of Changes," which is so 
 highly reverenced by the Cliinese on account of its antiquity and 
 the unfathomable wisdom which is supposed by them to lie con- 
 cealed under its mystic symbols. These are the pa kua, the eight 
 trigrams of ancient divination, which are often represented on por- 
 celain of all periods, especiall}' on ritual vessels of the Taoist cult. 
 
 2. The^ |g, Shu Ching, " Book of History," a collection of 
 state documents of the "Three Ancient Dynasties," ranging from 
 the time of Yao and Shun in the third millennium b. c, down to 
 the reign of P'ing Wang of the Chou dynasty, which ended in the 
 year b. c. 720. 
 
 3. The gi ^^, Shih Ching, " Book of Odes," a collection of 
 songs of homage and popular ballads, three hundred and eleven in 
 number, selected by Confucius from among those current in 
 ancient times in the various petty states into which China used to 
 be divided. 
 
 4. The ^^ ij^, San JLi, " Three Rituals," comprising the Chou 
 Zii, the Ritual of the Chou dynasty, the Yi Li, " Decorum Ritual,"^ 
 and the official Li Chi, "Book of Rites." The first of the three, 
 the " Ritual of the Chou," is the most interesting to us in the pres- 
 ent connection, because it contains a short notice of the govern- 
 ment potters of the period under the two headings of Vao jeriy 
 " potters," who worked on the wheel, and fang jen, " molders,'* 
 
 * Notes oil Chinese Literature. By A. Wylie. Shanghae, 1867.
 
 CHINESE CERAMIC BIBLIOGRAPHY. 641 
 
 showing that these two branches of the handicraft were already 
 distinguished at this early period. The cooking utensils and sacri- 
 ficial utensils that they made seem to have been of common clay, 
 and were directed to be sold in the market under certain official 
 regulations. The particulars are contained in the ^^ ^J^ "^^j K^ao 
 kung chi, " Artificer's Record," which forms the sixth section of 
 the classic. The names and dimensions of the vessels are given in 
 the original, but little else is known about them, and Chinese 
 authorities even differ as to whether the potterj^ of the time was 
 glazed or not. The figures in the ^^ jjjfi ^, San Li Tou, " Illus- 
 trations of the Three Rituals," in twenty books, b}' Nieh Tsung-yi, 
 who lived in the tenth century a. d., and in the other illustrated 
 commentaries of more modern date, are generally imaginarj'^ and 
 more or less fanciful, 
 
 5. The ^^ 7&Hr, CK'un ChHu, " Spring and Autumn Annals," is 
 the only one of the five canonical books that was actually compiled 
 by Confucius, It is the history of his native state of Lu (in the 
 present province of Shantung), from 722 to 484 b. c, derived from 
 the official records of the Chou dynasty. 
 
 In Chinese bibliography the dictionaries are placed 
 after the classics. The most ancient of them is the J^A 
 Ya^ ^ ^) a relic of the Cliou dynasty, which at one 
 time used to rank as one of the canonical books. The 
 commentary which is always associated with the text 
 was written by Kiio P'u of the third century a. d., but 
 the accompanying illustrations date only from the Sung 
 dynasty, aljout the tenth century. The next dictionary 
 is the ^ ^, Shiio Wen, which is devoted to an explana- 
 tion of the ancient characters in which the classics were 
 originally written ; it was compiled by Hsli Shen at the 
 close of the first century a. d., and was presented by him 
 to the Emperor An Ti in the year 121. The largest of 
 the dictionaries, and the one that is invaluable for special 
 research, is the flj ]^ h^ )^, P^ei tven yun fu, which 
 was compiled under the special superintendence of the 
 Emperor IVang-lisi., and published in 1711 in 110 thick 
 octavo volumes. The foreign Chinese-English diction-
 
 642 ORIENTAL CERAMIC ART. 
 
 aries need hardly be alluded to here ; those by Williams 
 and Giles are the best. 
 
 The second great division of Chinese bibliography 
 includes the works on history, geography, and kindred 
 subjects. The "Twenty-four Dynastic Histories" form 
 the first class. Contemporary records are written day by 
 day by the state historiographers in China, and one of 
 the first duties of a new dynasty, when it is firmly estab- 
 lished on the dragon throne, is to appoint an imperial 
 commission to compile an ofiicial history of the preceding 
 dynasty from the archives preserved in the historiog- 
 raphers' office. These histories are therefore practically 
 contemporary. They are all framed on a nearly uniform 
 model, the general arrangement being in three sections, as 
 follows : 
 
 1. Imperial Records, containing a succinct chronicle of the 
 several emperors of the djmasty. 2. Memoirs, consisting of a 
 succession of articles on Matlieniatical Chronology, Rites, Music, 
 Jurisprudence, Political Economy, State Sacrifices, Astronomy, 
 Natural Piienomena, Geography, and Literature. 3. Narratives, 
 comprising official biograpliies of all persons of eminence, and end- 
 ing with a short description of any foreign nations that happen to 
 have sent embassies to China during the period. 
 
 The official histories commence with the ^ g^, Sliili 
 Chi, by Ssii-ma Ch'ien, who lived b. c. 163-85, and who 
 has been termed the Herodotus of China. His Histori- 
 cal Records, in 130 books, start from the most remote 
 antiquity and extend down to the year b. c. 122. The 
 other dynastic histories that have been occasionally 
 referred to, generally by quotations from individual 
 biographies, are the ^^ ^, Sui Shu, " Book of the Sui 
 [dvnnsty]," covei'iiig tlie years 581-617; the voluminous 
 jg^ #, Tang Shu, "Book of the Tang'' (618-906); 
 the ^ ^, Sang Shih, " History of the Sung " (960- 
 1279), the most extensive of all, comprising as it does
 
 * CHINESE CERAMIC BIBLIOGEAPHY. 643 
 
 496 books; and the g^ ^, Ming Shili, " History of the 
 Ming'''' (1368-1643), which is the last of the series of 
 twenty-four. 
 
 Works on geography and topography follow next in 
 order. The series of topographical writings in China is 
 justly pronounced by Mr. Wylie (loc. cit., page 35) to be 
 unrivaled in any nation for extent and systematic com- 
 prehensiveness. Leaving out of account the sections 
 devoted to geography in the several dynastic histories, 
 there are separate official works on every part of the 
 empire. At the head of these may be placed the ^ 
 ^ — * ^ j£> Td OhHng Yi tung chih, in 500 books, 
 which is a geography of the whole empire, published 
 about the middle of the eighteenth century under imperial 
 patronage. This takes up the various provinces seriatiniy 
 giving under each an account of the astrological divisions, 
 limits, configuration of the country, officers, poj^ulation, 
 taxes, and renowned statesmen. Under each prefecture 
 and department is a more detailed description of the 
 various districts, giving, in addition to the above, the 
 cities, educational institutes, hills and rivers, antiquities, 
 passes, bridges, defenses, tombs, temples, men of note, 
 travelers, female worthies, religious devotees, and produc- 
 tions of the soil. Besides the above general compilation 
 there are separate topographical accounts of each of the 
 eighteen ^ (sJieng) ^'provinces," of every }^ (f^) "pi'e- 
 fecture " and ^|»| (clioit) " department," of almost every 
 ^ Qisien) " district " or " county," and, in many cases, of 
 smaller towns included in the district. 
 
 The province, for example, of Kiangsi, which interests 
 us more particularly, containing as it does the great 
 center of the manufacture of porcelain, has a general 
 description called 21 ® ffl jS' Gliiang Jisi fung chih, 
 which has been very often quoted. This was first pub- 
 lished in the reign of Chia-cJiing (1522-66) of the Ming
 
 644 ORIENTAL CERAMIC ART. 
 
 dynasty ; two new and revised editions were issued dur- 
 ing the reign of ICang-Jisi, and another, much enlarged, 
 was completed in 162 books in the next reign (1732), 
 under the superintendence of Hsieh Min, who was then 
 governor of the province. In the reign of T''ung-chih, 
 after the Taiping rebellion had been put down, an 
 imperial commission, whose names and titles fill six folios 
 of the book, was appointed, under the presidency of the 
 viceroy, Tseng Kuo-fan, to make a new revision. It was 
 completed in 1882, and the result is the bulky work in 
 180 books which is now before us. The account of the 
 imperial porcelain manufacture forms part of the ninety- 
 second book, under the heading of T^ao Cheng, " Porce- 
 lain Administration." 
 
 There were other descriptive works on the province in 
 circulation before the publication of the above, of which 
 the ^ ;^ /^ ^ f2» ^^^ cluing ta sJiih chi, or " Record 
 of Important Affairs of the Province," under its ancient 
 name of Yii-chaug, is the most important. This was 
 written by Kno Tzu-chang, a president of the Board of 
 War in the Ming dynasty. 
 
 The "^ ^M jfj j^, Jao chou fu chili, is the official 
 description of the prefecture Jao-chou-fu, in the province 
 of Kian2:si, which has Fou-liansf-hsien as one of the seven 
 districts or counties under its jurisdiction. The edition 
 before me is dated the eleventh year of the reign of 
 Thtng-cliili (1872) ; it reprints several of the prefaces of 
 the older editions, the first of which is dated in the 
 cyclical year lisin-wei (1511) of the reign of Oheng-te oi 
 the Ming dynasty. There are thirty-two books, the third 
 of which, devoted to " Bridges, Antiquities, Customs of 
 the People, and Natural Productions," includes an article 
 on the porcelain industry, which is appended to the last 
 section, under the heading of |5§ JJ^, T^ao CWang, 
 " Imperial Porcelain Manufactory."
 
 CHINESE CERAMIC BIBLIOGRAPHY. 645 
 
 A still more complete account of the ceramic industry 
 is the one that is included in the ;^ ^ ^ jg, Fou Hang 
 hsieii chih, " The Description of Fou-liang-hsien," which 
 has been so often quoted in these pages, and which is 
 referred to in some detail in the introductory chapter of 
 this work as one of our chief authorities on the subject. 
 The earliest edition of this work was published during 
 the Sung dynasty, in the year 1270 ; the edition at our 
 disposal was the official revision issued in the reign of 
 Tao-humig (1821-50). The eighth book contains a 
 memoir on porcelain from the official standpoint, entitled 
 ^ ^, Tao Cheng, " Porcelain Administration." 
 
 There is no official description of Chiug-te-chen itself 
 in the regular series, but the place of one is fairly well 
 tilled by the ft @. ^ I^ lit, Ohing te chen Tao lu, 
 ** Description of the Porcelain of Ching-te-chen." This 
 was published under direct official sanction, as described 
 in the preface by Liu Ping, the chief magistrate of the 
 district, and is dated 1815. It contains a good map of 
 the town, a plan of the imperial potteries, and fourteen 
 woodcuts illustrating the different processes of manufac- 
 ture, sketched by an artist on the spot. 
 
 Gigantic encyclopaedias made up of extracts from exist- 
 ing works, classified under different headings according 
 to the subject-matter, form one of the most remarkable 
 features of Chinese literature. The :;5C ^ #P K- ^'^^ 
 jpHng yii Ian, which is very often referred to, was com- 
 piled in 1,000 books, divided into fifty-five sections, after 
 a mandate issued by the second emperor of the Sung 
 dynasty in the year 977. The largest of all is the ^ 
 ^ -^^ ^j Yung lo ta tien, the vast cyclopi^dia of the 
 Emperor Yung-lo of the Ming dynasty, Avho appointed a 
 commission of scholars in 1403 to collect in one body the 
 substance of all the classical, historical, philosophic, and 
 literary works hitherto published, embracing astronomy,
 
 646 ORIENTAL CERAMIC ART. 
 
 geography, the occult sciences, medicine, Buddhism^ 
 Taoism, and the arts. Their work was completed m 
 1407, and the result was 22,877 books, besides the table 
 of contents, which occupied sixty books. It was ordered 
 by the emperor to be transcribed for printing, but the 
 expense was too great, and it still remains in manuscript, 
 although many ancient and rare works, that would other- 
 wise have been irretrievably lost, have been pieced 
 together again from the extensive quotations in the 
 mauusci'ipt columns and reprinted separately. From this 
 we may pass on to the ^ ^ "i' ^ ^ ^ ^ ^, CKin 
 ting leu chin fou shu cJii cKeng^ the huge cyclopaedia of 
 the Emperor K''ang-hsi, the second of the present 
 .dynasty, which contains 10,000 cliHlan or " books." It 
 gives 426,304 extracts, long and short, from older books^ 
 which are arranged under 6,109 headings, distributed 
 among thirty-two classes, and the full-page illustrations 
 number 8,041. These illustrations are executed in the 
 style of the Ming dynasty, which is celebrated for its 
 woodcuts, and the printing was done with movable 
 copper type cast expressly for the purpose, ordinary 
 Chinese books being piinted from wood-blocks. There 
 is a complete example of the original quarto edition^ 
 w^hich was limited to about 100 copies, in the British 
 Museum, and a new edition has been recently published 
 in octavo form at Shanghai by the aid of the photolitho- 
 graphic process. There are some curious illustrations in 
 this encyclopaedia under the heading Porcelain, but of 
 importance from a literary and antiquarian point of view 
 only. 
 
 Books on art come next for a word of notice. The 
 Chinese have methodical treatises of more than a thou- 
 sand years' standing on writing, painting, engraving, 
 music, and the kindred subjects that are grouped to- 
 gether under the name of liberal arts. An elaborate
 
 CHINESE CERAMIC BIBLIOGRAPHY. 647 
 
 treatise on painting, in ten books, appeared during the 
 Tang dynasty (618-906), entitled JR ft ^ 4 !£» 
 Li taiming hua eld, "Records of the Celebrated Pictures 
 of Different Dynasties," by Chang Yen-yuan, with descrip- 
 tive and historical details regarding the art, having refer- 
 ence particularly to a hereditary collection of paintings 
 in the family of the author, and accompanied by bio- 
 graphical sketches of the artists. The ^ ^ J H§» 
 Hsilcm ho hua p'u, is a description, in twenty books, of 
 the pictures in the imperial collection during the Hsiian- 
 ho period (1119-25). There is a companion publication 
 called ^ ^ ^ i§, Hsiian ho shii ])\i^ containing speci- 
 mens of the calligraphy of successive ages gathered from 
 the imperial archives of the same time. But all the 
 older books have been supplanted by the large compila- 
 tion which was referred to in Chapter V under the title 
 of Imperial Cycloixedia of Celehrated Writers and Paint' 
 ers, the ^ ^ iS( "^C ^ ♦ • If, Oh'in ting P'ei wen 
 chai shu hua p^u. This was drawn up by a commis- 
 sion appointed by the Emperor K\mg-hsi^ who wrote 
 the preface himself when the book was published, in the 
 forty-seventh year of his reign (1708). The titles of the 
 principal authorities, which are cited in the introduction, 
 number 1,844. The cyclopaedia comprises 100 cMian, or 
 books, and it is divided usually, in Chinese fashion, into 
 sixty-four J9e?i, or volumes. It is a perfect mine of infor- 
 mation, giving instructions in the arts of writing and 
 painting, descriptions of manuscripts and pictures, no- 
 tices of celebrated collections and collectors, and of the 
 certificates of authenticity w^hich they are in the habit of 
 writing on the scrolls, biographical notices of writers and 
 artists, etc. None of the artists on porcelain, however, 
 seem to be mentioned by name, although there are 
 occasional references to the designs used in ceramic dec- 
 orations, as in book xii, folio 24, which gives a long list
 
 648 ORIENTAL CERAMIC ART. 
 
 from official sources of the motives of decoration em- 
 ployed in the eighth year of the reign of Ohia-ching 
 (1528). 
 
 The Chinese, it is well known, have the greatest rev- 
 erence for antiquity, and the study of ancient relics 
 and of the inscriptions upon them forms another impor- 
 tant branch of literature. Archaeologists classify the 
 specimens, which are constantly being dug up from 
 the ground, under the two headings of Chin, " Metal," 
 and Shih, " Stone." The former class includes sacrificial 
 vessels, musical instruments, and ordinary utensils of 
 bronze, bronze mirrors, bronze weapons, and coins ; the 
 latter class comprises stone sculptures in bas-relief, 
 carved inscriptions, Buddhist images and other figui-es, 
 prehistoric stone weapons, vessels and utensils of neph- 
 rite or other kinds of jade, archaic pottery, inscribed 
 bricks and tiles, etc. There are separate works on 
 ancient bronze vessels and on swords dating from the 
 fifth and sixth centuries a. d., but they include much that 
 is legendary. The most important of the old books on 
 ancient bronzes now in circulation is the ^ ^ |^ ~^ 
 pj ^, Hsi'ian ho Po hu Cou lu, " Illustrated Description 
 of Antiquities published in the Hsilan-ho Period," in 
 thirty books, which was compiled by Wang Fu in the 
 beginning of the twelfth century, and has been fre- 
 quently reprinted since. It is usually printed together 
 with the ^ "^ m, IVao hu fou, "Illustrated Examina- 
 tion of Antiquities," the description of a similar collec- 
 tion of older date written by Lti Ta-lin in 1092, in ten 
 books ; and with a smaller work in two books entitled 
 ■^ 3E. ^> -^^ y^ tou, " Illustrations of Ancient Jade." 
 Another collection of the Sung dynasty is the j|§ ]^ ^ 
 *^ m, Shoo hsing chie^i hu fou, " Illustrated Mirror of 
 Antiquities of the Shao-hsing Period " (1131-62), which 
 furnished a model for the porcelain censer with fish
 
 CHEN^ESE CERAMIC BIBLIOGRAPHY. 649 
 
 bandies of the reign of Hsuan-te of the Ming dynasty, 
 referred to in Chapter VII. The most magnificent work 
 of this class of more recent times is the illustrated de- 
 scriptive catalogue of the imperial collections at Peking, 
 entitled B fo 1& l^> Hsi chHng hu chien, which was 
 published by the Emperor ChHen-lung in 1751 in forty- 
 two folio volumes ; the S ^r ^ ^, Hsi ch^mg hsil 
 chien, in fourteen folio volumes, is a supplement to the 
 above catalogue, still unpublished, and circulating in a 
 few manuscripts only ; and the ^ ^ "^ ^, Ning sliou 
 leu chien, is another work similar to the preceding, also 
 as yet unpublished, which is written and illustrated in 
 ■the same superb style, twenty-eight volumes in folio, 
 being the description of the collection of antiquities in 
 the Ning-shou Kung, another of the palaces within the 
 prohibited city at Peking. The original edition of the 
 Hsi cKing hu, chien costs several hundreds of dollars in 
 China, but it has been lately so perfectly reproduced at 
 Shangliai by photographic process, in small octavo, that 
 it is within the reach of every collector, and it ought to 
 be at hand, for the study of bronze forms and designs. 
 
 The ^ in 1^ 1^ ^ /f^, Shub chHng yuan chen shu 
 tang, which was quoted in Chapter V (page 98), is very 
 different from the above, being merely an ordinary 
 official inventory in manuscript of the furniture and 
 specimens of art work on daily exhibition in the Shu- 
 ch'ing Yuan, one of the palaces in the Western Gardens 
 i^Hsi Yuan) on the northern shore of the large lake in 
 the imperial city, corrected to the thirteenth year of 
 Ghia-chHng (1808). 
 
 The standard work on ancient jade is the "i^ 5. 
 H |§, Kxi yii fou p'u, " Illustrated Description of 
 Ancient Jade," in 100 books, with more than 700 full- 
 page woodcuts. It was compiled by an imperial com- 
 mission, composed of the notorious Lung Ta-yuan and
 
 650 ORIENTAL CERAMIC ART. 
 
 eigliteen other members, including one writer and four 
 artists, appointed by the second emperor of the South- 
 ern Sung dynasty, and it was completed in the year 
 1176. A manuscript copy was purchased for the Im- 
 perial Library in 1773 ; the Emperor ChHen-lung ordered 
 it to be printed in the palace, and it appeared in 1779, 
 with a preface dedicating it to the emperor. Some 
 doubts have been expressed by native scholars as to the 
 authenticity of the book, but on more or less slender 
 grounds, and w^e may accept the imperial imprimatur as 
 a sufficient warrant. The genuine character of many of 
 the objects figured may be more justly criticised ; there 
 is certainly no ground for the remote antiquity that is 
 ascribed to some of the inscribed pieces. 
 
 In addition to these special works there are several 
 books of a wider scope devoted to the general subject of 
 antiquities and objects of art. The Ming dynasty was dis- 
 tinguished for this kind of research, and the authors of the 
 four following books, which have been quoted more than 
 once in our pages, all belong to that time ; each one gives 
 a short chapter on porcelain. They are all before me now, 
 and, arranged in the order of their publication, are : 
 
 1. The ^ 'fi' ^ Ira, Ko leu yao hm^ "Discussion of 
 the Principal Criteria of Antiquities," in thirteen books, 
 by Tsao Ch'ao, published in the reign of Hung-ivu, the 
 founder of the Ming dynasty, in the year 1387. A 
 revised and enlarged edition was prepared by Wang Tso 
 and issued in 1459. The new editor always carefully 
 marks the additions made by him, so that the text of the 
 original edition may be easily distinguished. The follow- 
 ing table of contents will give some idea of the scope 
 of the work, which is interesting from its early date : 
 
 Book I. Ancient Lyres, and other stringed musical instruments. 
 Book II. Old Manuscripts, with a discussion of the distinctive 
 characteristics of the paper and ink.
 
 CHINESE CERAMIC BIBLIOGRAPHY. 651 
 
 Book III. Inscriptions from ancient stone tablets and other 
 monuments, classified according to the provinces from which the 
 rubbings were obtained. 
 
 Book IV. Select Extracts from Previous Authors on the subject. 
 
 Book V. Old Pictures, with a discussion of the peculiar water- 
 colors emplo^-ed, and other marks of authenticity. 
 
 Book VI. Precious Stones and Jewels, including jade, agate, 
 moss-agate, rock-crystal, glass, cat's-eyes, emeralds, pearls of dif- 
 fei'ent kinds, garnets, rubies, sapphires, lapis lazuli, coral, and 
 amber; rhinoceros horn and ivory, with reference to concentric 
 openwork spheres, libation-cups, and other carvings; gold, silver, 
 steel, and inlaid iron-work, white metal; sacred figures occurring in 
 natural stones; ancient bronzes and methods of distinguishing 
 false antiques, etc. 
 
 Book VII. Ancient Ink Pallets, with an account of the natural 
 stones suitable for their fabrication, references to potter}^ pallets, 
 and to pallets made of ancient tiles and potsherds. Curious 
 Stones; jet and variegated stones used for inlaying furniture, 
 minerals resembling jade, agate, or mother-of-pearl used for carv- 
 ing, etc. Ancient Pottery and Porcelain; with notes on the pro- 
 ductions of different manufactories, commencing with the ancient 
 azure-tinted products of the Ch'ai potteries, and ending with the 
 contemporary wares of the imperial potteries of Fou-liang-hsien. 
 There are brief references to Korean pottery, and to the introduc- 
 tion of the process of painting in enamels on copper from the 
 Arabs {Ta-shih), in which the editor tells us that the same color- 
 ing materials were emplo3'^ed as in the cloisonne enameling on 
 copper {Fo-laiig Ch''ien), which was so called because it originally 
 came from Byzantium. 
 
 Book VIII. Lacquered Work; painted lac, carved cinnabar lac, 
 lac inlaid with gold, lacquered furniture inlaid with mother-of- 
 pearl, etc. Brocaded and embroidered silks, silk stuffs woven on 
 the loom with threads of different colors. Asbestos cloth, carpets 
 of silk and wool. Foreign AVoods, sandalwood, rosewood, ebony, 
 and other fragrant or variegated kinds. Varieties of Bamboo. 
 
 Book IX. Description of Objects for the Study and Library. 
 Brushes, cakes of ink from different parts, principal paper factories, 
 seal vermilion, books and tlieir care, etc. 
 
 Book X. Collections of Essays and Prefaces of old authors on 
 the subject. 
 
 Book XI. Miscellaneous Researches, Part I. On Jade Seals. On 
 • Iron Tablets of Authority.
 
 652 ORIENTAL CERAMIC ART. 
 
 Book XII. Miscellanies, Part II. Wording of Imperial Edicts.^ 
 Official Girdles, with a description of the jade, gold, silver, and 
 other appendages that were worn upoTi them at different times as 
 tokens of rank. 
 
 Book XIII. Miscellanies, Part III. On a series of illustrations 
 depicting the process of rice-culture and of silk-weaving. Re- 
 searches on tlie old palaces of the Sxing and Yuan dynasties. 
 
 2. The JS "^ ^1^, M hu lu, " Description of Anti- 
 quarian Inquiries," is a work of the same character as 
 the last, but smaller, being an account in four books of 
 old manuscripts, pictures, antiquities, and other objecta 
 of art and curiosity, etc., by Ch'en Chi-ju, an author of 
 the Ming dynasty, which was published in the middle 
 of the sixteenth century. 
 
 3. The ^^ ^ ^, CVing pi ts'ang, " Collection of 
 Artistic Rarities," is another little work in two books on 
 antiquities, pictures, brocaded silks, ancient bronzes, por- 
 celain, seals, jewels, and miscellaneous objects of art^ 
 by Chang Ying-wen, who wrote the last page on the day 
 he died. It was published by his son Chang Ch'ien-t^^ 
 the author of a book on flowers, vases, and the art of 
 arranging flowers in them, which will be alluded to 
 presently, and who wrote the preface for his father's 
 work, which is dated 1595. There is a curious notice in 
 the second book of a visit to an exhibition, called CKing 
 
 Wan Hid — i. e., " Exposition of Art Treasures " — which 
 was held in the province of Kiangsu in the third month 
 of the fourth year of the reign of Lung-chJing (1570)^ 
 the objects being loaned for the purpose by four of the 
 principal families of tlie province. 
 
 4. The tS ^ ^ ^? Po tvu yao Ian, " General Survey 
 of Art Objects," which was referred to in Chapter V, is 
 perhaps the best work of the class that is under consid- 
 eration. It was written by Ku Ying-t'ai, in the reign of 
 IHen-cJiH (1621-27) of the Ming, but remained in manu-
 
 CHnO:SE CERAMIC BIBLIOGRAPHY. 653 
 
 script till the beginning of the j^resent dynasty, when it 
 was printed by Li Tiao-yun, with a preface signed by 
 himself as editor. It comprises sixteen books, which 
 make two octavo volumes bound in Chinese style. The 
 second book is devoted to porcelain, under the several 
 headings : 
 
 1. The Ju-cbou, Imperial, and Ko potteries, of the Sung 
 dynast}', with lists of the different objects made in the last two 
 potteries arranged in three classes according to their artistic value. 
 2. The Ting-chou potteries, with a list of the most important 
 objects produced there in the Sung dynasty, 3. The ancient 
 Lung-ch'iian potteries, with an account of the grass-green celadon 
 porcelain made there in the Simg dynasty, and a list of the objects 
 that are considered most worthy of notice. 4. Ancient potteries 
 of the province of Fuchien. 5. Description of the ceramic pro- 
 duction of Chiin-chou during the Sioig dynasty. 6. The Arabian 
 enamels on copper, V. Glassware, 8, Ancient and modern pro- 
 ductions of Jao-chou, referring to the porcelain made at Ching- 
 te-chen. 
 
 There is only the briefest notice in this last section 
 of the older porcelain of the Sung and Yuan dynasties, 
 but the productions of the writer's own dynasty (the 
 Ming) are described at greater length, under the sev- 
 eral reigns of F^m^-Zo (1403-24), Hsuan^te (1426-35), 
 CKeng-Jma (1465-87), and Clvia-cking (1522-66), and 
 Ku Ying-t'ai is constantly quoted by connoisseurs as the 
 best authority for this period. 
 
 Literature is, as it were, a religious cult for the Chinese 
 scholar, and he cherishes the tools of his craft as almost 
 sacred. There is a small class of books Avritten in this 
 connection on the furniture and literary apparatus of the 
 study, among which certain articles of porcelain find 
 a place. One of the earliest of the books of this class is 
 the II ,g. Pi CJdng, '' Canon of the Pencil Brush," by 
 Wang Hsi-chih, a celebrated calligrapher who lived
 
 654 ORIENTAL CERAMIC ART. 
 
 321-379 ; Le wrote down tlie poems of the club tLat 
 used to meet in the Lan T'ing or " Orchid Pavilion," 
 and down to tlie present time tliese poems, as written by 
 Wang, continue to be cut in stone all over China as 
 models of handwriting. The ^ M El 1^? ^^'^^ /<*^^ 
 ssu p\i, is one of the older books on the materials of the 
 study, which was compiled by Su Yi-chien in 986. It 
 consists of four parts, which ti-eat respectively of pencils, 
 ink-pallets, ink, and paper, with i-emarks on the various 
 descriptions and characteristics, historical memoranda, 
 and essays and stanzas appended to each section. 
 
 The ^ §§ -^ y, JCao p'an ijil sliih, by T'u Lung, 
 a writer of the sixteenth century, is another general 
 handbook for the man of learning and cultui'e, of some- 
 what wider scope, discussing, as it does, in order : 
 
 Printed Books, Ancient Inscriptions, Manuscripts and Callig- 
 rapliy, Painting and Artists, Paper, Ink, Brushes, Pallets, Music 
 and the Lyre, Perfumes and Incense-burning Apparatus; Tea, its 
 choice brands, preparation, tea-drinking utensils; Flowers, their 
 cultivation in pots and their display in vases; Storks for the garden 
 and the different varieties of goldfish; the Country House in the 
 Hills, its library, medicine-room, summer-house, Taoist and Bud- 
 dhist shrines, and outdoor pavilion for drinking tea; Furniture, 
 materials for the study, traveling apparatus, etc. 
 
 It is a curious epitome of antiquarian information, 
 extending to boats and fishing-rods, as well as describing 
 the forms of vases, etc., and ends with the pictures of 
 two double and single gourds, which are recommended 
 as the lightest and most elegant of wine-flasks for the 
 pilgrim to carry on his girdle when traveling. 
 
 The work of the present dynasty of this class that is 
 
 the most frequently referred to is the ^C. Wi ^ ^? Wen 
 
 fang ssu k^ao, an examination of the belongings of the 
 
 scholar by T'ang Ping-chlin, which was published in 
 
 eight books in the forty-seventh year of the reign of
 
 CHINESE CERAMIC BIBLIOGRAPHY. 655 
 
 ChHen-lung (1782). It is illustrated witli a jwrtrait 
 of the author and a picture of his study, with palms, 
 dryandra-trees, and bamboos growing from rocks in tlie 
 background of the pavilion in which he is seated with 
 an open volume on the table. 
 
 The first two books are devoted to ink-pallets of carved stone, 
 illustrated I)}'' forty-six full-page woodcuts of appropriate designs. 
 Book III contains an account of paper, ink, and brushes, and an 
 investigation of ancient pottery and porcelain. This last is mostly 
 a medley of quotations from older writers, strung together some- 
 what loosely, and generall}^ without acknowledgment of the 
 sources from which the}' are derived, and it contains little that 
 can not be found under better auspices in the J"rto Shuo. 
 Book IV is on ancient bronzes and the means of distinguishing 
 modern imitations; on jade, ancient and modern, its liistory and 
 characteristics, with notes on the minerals that resemble it; on 
 lyres, ancient and modern. Book V treats of the history of the 
 written character, books, and paintings, and Book W of the art of 
 literary composition. Books VII and VIII give an account of the 
 drug ginseng, and a collection of essays and miscellaneous 
 inquiries. 
 
 The special books on tea and its preparation occasion- 
 ally throw some light on the j^orcelain of the correspond- 
 ing time in their description of the cups and other 
 utensils employed in its infusion. We should know 
 nothing of the early fabrics of the T''ang dynasty (618- 
 906) were it not for the ^ g, Ch'a Cliing, the "Tea 
 Classic," written by Lu Yii in the middle of the eighth 
 century, the contents of which have been briefly sketched 
 in Chapter I (page 14). The author discusses the colors 
 of the diffei'ent glazes, and gives the palm to the pale- 
 blue cups from Yueh-chou, as imparting an agreeable 
 greenish tinge to the yellow liquid. The writers of the 
 Sung dynasty (960-1^79), on the contrary, such as Ts'ai 
 Hsiang, who wrote the ^ ^, Cli^a Iai, " Description 
 of Tea," in the eleventh century, prefer the black cups
 
 656 ORIENTAL CERAMIC ART. 
 
 mottled like hare's fur, wliicli came from Chien-an 
 (Chien-chou), as showing the last trace of the whitish 
 tea-dust that remained in the bottom in the course of 
 their competitive trials. The earliest book on the sub- 
 ject is the Chhian Fu^ " Odes on Tea," by Tu Yu, a poet 
 of the Chin dynasty (265-419), and he, as well as many 
 of the other old versifiers, is often quoted when the 
 ceramic productions of the time happen to be touched 
 upon by them. Some of the Sung dynasty books on tea 
 are illustrated with woodcuts, like the ^ g§, Gl^a P''u^ 
 by Ku Yuan-ch'ing, published in 1269, which gives curi- 
 ous pictures of i\\e little copper roller, the miniature 
 stone grinding-mill, the gauze sieve, the little " tea-jar " 
 for the dust, made of carved vermilion lac, the teacup 
 with its vertically striated bowl and widening mouthy 
 the graceful ewer for boiling water, of which the 
 best, the author tells us, were made at this time of 
 gold, the bamboo whisk, and the napkin, or duster of 
 brocaded silk. No teapot was used at this period ; the 
 hot water was poured on a carefully weighed quantity of 
 tea-dust put into the cup, and stirred with the whisky 
 which is exactly like that used to-day in other countries 
 in the preparation of more inebriating " drinks." The 
 winner in the " tea-fight " was he whose tea withstood the 
 most " waters," and whose sediment-trace lasted longest 
 on the bottom of the bowl. For teapots Ave must con- 
 sequently refer to more modern works, like the |^ ^ ^ 
 ^ ^, Yang hsien Ming hu hsi, " Account of Celebrated 
 Teapots of Yang-hsien (an old name of Yi-hsing)," by 
 Chou Kao-ch'i, which is a disquisition on those of the 
 peculiar brown boccaro ware which is still made at Yi- 
 hsing-hsien, near Shanghai. Two special books on vases 
 were published toward the close of the Ming dynasty, in 
 the beginning of the seventeenth century, which have 
 been quoted in Chapter XVII, viz., the ^ ^, P^ing
 
 CHINESE CERAMIC BIBLIOGKAPHY. 657 
 
 shih, " History of Vases," by Yuan Hung-tao, and the 
 S ^ H§5 P^in(j liucL phiy a small treatise, in one book, 
 on vases (^ij'ing) and the art of arranging cut flowers (liuob) 
 in them, by Chang Ch'ien-te, already alluded to as the 
 author of an introduction to his father's book on antiqui- 
 ties entitled C King pi ts'ang, which was dated 1595. 
 
 The forms of the ritual vases used by the emperor in 
 the various sacrificial ceremonies at which he officiates are 
 all figured and minutely described in the various official 
 books, such as the iJC S ^ ^^ ^ :ft @' Cli'in ting 
 la Clbing Hui tien fou, the imperial illustrated edition 
 of the statutes of the reigning dynasty, a voluminous 
 compilation in eighty books, accompanied by 102 books 
 of plates. For Buddhist and Taoist ritual vessels refer- 
 ence must be made to the canonical books of the two 
 religions. The principal Taoist writer, wdio has been 
 quoted once, is Chuang Chou, who lived in the fourth 
 century b. c, and left the work in ten books called ^ 
 -f, Chuang Tzu, which has been translated into English. 
 
 The most important manual industries of the Chinese 
 are rice-cultivation and silk-weaving, the former being 
 the work of the men, the latter of the women. There is 
 an annual ceremony celebrated at the Temple of Agricul- 
 ture at Peking, during which the emperor plows a furrow, 
 followed by the chief officers of state ; and the empress 
 picks mulberry-leaves and feeds silkworms on a stated 
 occasion each year, accompanied by the ladies of the 
 court, before worshiping the tutelary Goddess of Sericul- 
 ture at the temple which is consecrated to her inside the 
 palace. The different processes of work have been fa- 
 vorite subjects for artists of all periods. The Emperor 
 K^ing-hsi, the second of the reigning dynasty, Avi'ote a 
 preface and composed a series of verses to illustrate the 
 two sets of drawings executed by Chiao Ping-chen, an 
 official of the Astronomical Board, which are published
 
 658 ORIENTAL CERAMIC ART. 
 
 in the f P ^ ^ ^ 0, Yil chiJi King Chili Tou, 
 " Imperial Edition of Illustrations of Agriculture {Keng) 
 and Weaving {Cliili)^'' which has been referred to already, 
 and which was published in the thirty-fifth year of his 
 reign (1696). The plates, twenty -three in each set, are 
 engraved in the finest style of Chinese art, and have the 
 imperial verses on the page opposite each picture inclosed 
 in a broad frame containing a pair of imperial dragons 
 represented rising from the sea in pursuit of the flaming 
 jewel of omnipotence. Apart from their artistic value 
 they afford naturalistic scenes of ordinary Chinese life, 
 and it would be interesting to compare them with the 
 twenty illustrations of the ceramic industry described in 
 Chapter XV, which seem to have been drawn up on the 
 same model, should these last ever be recovered from 
 their hiding-place in the palace libraries. 
 
 There is a little manual of Chinese industry called 
 ^ HI ^ tp"? T'^kn hung hai \du^ illustrated with pic- 
 tures, which was compiled by Sung Ying-sheng and pub- 
 lished in the year 1637, toward the close of the Ming 
 dynasty, and which gives a brief account of the various 
 industrial processes, arranged in three books in the follow- 
 ing order : 
 
 Book I notices agriculture, different kinds of cultivated corn, and 
 processes of irrigation; culture of silkworms, silk-winding, and 
 silk-weaving; dyeing of stuffs, manufacture of the colors employed, 
 including indigo-blue, safflower-red, and yellow extracted from tlie 
 flowers of the Sophora japonica; winnowing-machines and mills 
 for grinding corn; salt from sea- and river-water, rock-salt obtained 
 by mining; sugar, honey, and methods of preserving fruit. Book 
 II refers to the work of the potter, to tile- and brick-making, and 
 to porcelain; the metals and their different alloys used in the cast- 
 
 * There is a copy of this book, which is very rare, in tlie BibliothSque 
 National at Paris. Some of the articles in it liave been translated by Stanislas 
 Julien and published in the proceedings of L' Academic des Sciences and in the 
 Journal Asiatique.
 
 CHINESE CERAMIC BIBLIOGEAPHY. 659 
 
 ing of sacrificial utensils, images, cannon, mirrors, and money; 
 boats and carts; axes, spades, files, knives, saws, anchors, needles, 
 and gongs; mineral lime, lime from oyster-shells, coal; crj^stallized 
 products, alum, iron-sulphate, copper-sulphate; sulphur, arsenic; 
 mineral and vegetable oils; the manufacture of paper, paper from 
 the mulberry [Broiissonetia pajyyrifera), paper from bamboo. 
 Book III describes such metals as: Gold, silver, copper, including 
 bronze, brass, and white metal, tin, iron, zinc, lead, white lead, and 
 red lead. Arms: Bows, shields, gunpowder, saltpeter, cannon, 
 fowling-pieces; mines, cinnabar, vermilion, ink, coloring materials; 
 spirit distilled from corn; precious stones, pearls, diamonds, jade, 
 agates, rock-crystal, and glass. 
 
 Some of the books that come under the class of miscel- 
 lanies have occasionally been quoted when they touch on 
 the ceramic art — for example, the ^ ^ ^ 3^, 8hih ivu 
 han cku, a general miscellany of ajlfairs and things, by 
 Huang Yi-cheng, which was published in forty-one books 
 in the year 1591 ; and the -^ ^ j£, Ch\mg tvu cMh, a 
 somewhat similar miscellany of rather later date. The 
 1^ "Olf, Lun Heng, referred to in Chapter XV, is a much 
 earlier work, being a critical disquisition by Wang 
 Ch'iing, one of the most philosopLical waiters of the 
 Han dynasty, who lived a. d. 19-90. 
 
 Collected works of individual authors form one of the 
 principal divisions of the fourth and largest class of 
 Chinese literature, which is usually known as belles- 
 lettres. The titles chosen for these woi'ks are often of a 
 fanciful nature, so as to give the uninitiated no clew to 
 the name of the author. In the account in Chapter VII 
 of the porcelain of the reign of Che''ng-kua, for example, 
 two authors are referred to. The first is Kao Shih-ch'i, 
 a miscellaneous writer who lived 1645-1704; he is 
 quoted under his literary appellation of Tan-jen, "The 
 Tranquil," as Kao T'an-jen ; his collected works are en- 
 titled f^ 31 >)^ ^, Kax) Chiang-ts'un cli% Chiang-ts'un 
 chi being a favorite nom-de-plume of the author. The
 
 660 ORIENTAL CERAMIC ART. 
 
 collected works of the second author are quoted under 
 their title of H^ ^ ^^ ^, P\i-shu fing chi, " Memoirs 
 of the Pavilion for Sunning Books," which was the " hall- 
 name," or libi'ary-name, of Chu Yi-tsun (1629-97), a cele- 
 brated scholar and poet. He was the author of the Jih 
 hsia cliiu wen, a fine historical and archaeological descrip- 
 tion of Peking in many volumes, and was altogether a 
 most voluminous writer, his literaiy works, which were 
 published under the above nom-de-plume, filling no less 
 than eighty books. 
 
 There are two illustrated books on the making of ink 
 which should have been noticed before, as the woodcuts 
 which were originally designed as models for the molds 
 in which the cakes of ink were pressed are very finely 
 €xecuted, and supply a rich fund of information on 
 Chinese art motives. The authors, according to the edi- 
 tors of the Imperial Library Catalogue, who notice both 
 books at some length, were both good scholars and culti- 
 vated artists, clever in writing all the ancient and modern 
 styles of character, and their works are full of antiquarian 
 and symbolical lore. For this reason they are most use- 
 ful to the foreign inquirer into such subjects. The first 
 of these two books is the ^ ^ S %» CKeng shili mo 
 yuan, " Collection of Ink of the Ch'eng Factory," in 
 twelve books, by Ch'eng Chiin-fang, of Hi-Hsien, in the 
 province of Anhui. This is a large collection of cuts, 
 exhibiting artistic designs for cakes of ink, drawn from 
 many different sources, sacred and pi'ofane. There is a 
 series of eulogistic prefaces at the beginning, one of which 
 is by the celebrated Italian Jesuit priest Matteo Ricci, 
 the founder of Roman Catholic missions in China. His 
 preface, dated the thirty-third year of Wanli (1605), is 
 signed with his Chinese name, "Li Ma-t'ou, of Ou-lo-pa 
 {Europa), composed and written with a quill by himself." 
 It includes a complete syllabary written in the Italian
 
 CHINESE CERAMIC BIBLIOGRAPHY. 661 
 
 hand and reproduced in facsimile, and the worthy father 
 has contributed, besides, three European woodcuts as 
 designs for ink, one of which depicts the " Destruction of 
 Sodom and Gomorrah," by way of inculcating a moral 
 lesson on heathen readers. The second work is the ~)^ 
 &* S R^' Fang shih mo p'u, " Description of Ink of the 
 Fang Factory," in six books, by Fang Yii-lu, a fellow- 
 townsman and trade rival of Ch'eng, who was the 
 imperial maker of the time, and accused Fang of stealing 
 his secrets and pirating his ink. The work of the latter, 
 however, is a fine specimen of xylography executed in 
 the finished style of the Ming dynasty. It was published 
 in six books, in the year 1588, and contains 385 cuts of 
 cakes of ink of all sizes and shapes, exhibiting a large 
 number of antiquarian, symbolical, and mythical designs, 
 the same as those which are often used in the painted 
 decoration of porcelain. Although fairly eclectic in his 
 religious views, the author shows a certain predilection 
 for Buddhism, and he gives in the fifth book, which is 
 devoted to the Buddhist cult, an interesting collection of 
 emblems and pictures, as well as a series of circular mir- 
 rors and amulets containing inscriptions in ancient San- 
 skrit and representations of old manuscripts written on 
 palm-leaves tied together in bundles. One or two of the 
 most sacred are inscribed with the quaint label Pu Vo mo, 
 " Not to be rubbed," as if it were expected that the ink 
 should be treated as a relic and not used in the ordinary 
 way. The cakes of ink molded with his signature are 
 cherished as works of art by collectors of the present 
 day. 
 
 Having disposed briefly of the writers on other sub- 
 jects who touch more or less cursorily on the ceramic art, 
 or who throw indirectly some light on the question, we 
 come at last to the special authors on pottery and porce- 
 lain. These are, unfortunately, very few in number.
 
 662 ORIENTAL CERAMIC ART. 
 
 The subject is looked upon by the literati of the high 
 school from two points of view : either that the ordinary 
 bowls, cups, and dishes of every day are too common for 
 their notice, or tliat porcelain vases and the like of elab- 
 orate form and brilliant decoration are too meretricious^ 
 and therefore unsuited to the simple tastes of a scholar. 
 There is always a censor ready to remonstrate with 
 an emperor who is inclined to patronize the art, on the 
 ground of expense ; calling his attention to the ancient 
 kings, Avhose sacrificial vessels ^vere recorded to have 
 been of plain pottery, and who are said to have deemed 
 glaze too great a luxuiy for their earthenware. The 
 ancient sages, according to some modern commentators, 
 knew everything, and they explain away the primitive 
 character of rudimentary art, as shown by relics recov- 
 ered from the ground, by such theories of voluntary 
 abnegation on their part ; they were only afraid of 
 exacting too much from the people. 
 
 The earliest memoir that we have on the ceramic 
 industry treats it from an economic point of vmw, dep- 
 recates the exactions of the mandarins of ihe^ Ytian or 
 Mongol dynasty, who looked at it only as a source of rev e- 
 nuej am remonstrates with them as squeezing the poor 
 Chinese potters so remorselessly that they were driving 
 away the industry from its old seat at Ching-te-chen. 
 This memoir, under the title of f^ f£ Ji^-, T^io Chi 
 LiJbo, " Abstract of Ceramic Records," by ^ )jiI5, Chiang 
 Ch'i, has been preserved in the annals of the district 
 of Fouliang ever since it was first printed there in 
 the edition that was published in the year 1322. It has 
 been translated in Chapter VI, and therefore requires no 
 further notice here. 
 
 There is no special writer, as far as I know, during the 
 Ming dynasty, and we have derived most of our infor- 
 mation from the accounts of the imperial manufactory
 
 CHINESE CERAMIC BIBLIOGRAPHY. 663 
 
 detailed iu the official geographical works, io connection 
 with what has Vjeen gathered from contemporary writers 
 on art subjects. These accounts are strikingly elucidated 
 by the water-color drawings of the illustrated album J^ 
 ft ^ fi il If , Li Tai Ming Tzu Tou Fti, " Illus- 
 trated Description of the Celebrated Porcelain of Differ- 
 ent Dynasties," by Hsiaug Yuan-p'ien, which dates from 
 the latter part of the sixteenth century, and which has 
 been fully described in Chapter V. 
 
 T'ang Ying, ^ ^, the most celebrated of the super- 
 intendents of the imperial manufactory during the pres- 
 ent dynasty, is the author of the P^ }^ Bl ^, T\io 
 Yell T'o?</S'/m^(9, the description of the twenty illustrations 
 of the manufacture of porcelain, which was translated. in 
 Chapter XV. The other articles from his pen which 
 have been referred to were mostly written as introductory 
 to or as part of the accounts of the work of the imperial 
 factory in the official books. The articles are entitled 
 K )SL pS, T^(^ cKmg chiy "Records of the Ceramic 
 Manufacture," or [5^ ^ 7p; f|^ ^, T\io cKeng sliili yu 
 Ic'ao, " Leaflets of the Regulations of the Ceramic Manu- 
 facture." They are doubtless included iu the collected 
 works of T'ang Ying, which the author of the Ohing-te-chen 
 T''ao Iu (Book VI, folio 3) refers to as having been issued 
 with an introductory eulogistic preface by Li Chii-lai of 
 Lin-ch'uan, in the province of Kiangsi, but which I have 
 not had an opportunity of consulting. 
 
 The special work on the ceramic art that is alw^aya 
 referred to Avhen the subject is discussed by the learned 
 in China is the f^ ^, T'ao Shuo, a comprehensive 
 description of pottery and jDorcelain by Chu Yen, which 
 was first published in the thirty-ninth year of the reign 
 of the Emperor Ch'ien-lung (1774). The author ^ J^, 
 Chu Yen, whose literary ajipellation was ^ jl|, T'ung- 
 ch'uan, was also known as ^ ^, Li-t'ing, the latter being
 
 664 ORIEI!«^TAL CERAMIC ART. 
 
 his " hall-uame " or nmn-de-plu7ne, under which a selec- 
 tion of his writings was published. He was a native of 
 Hai-yen, in the province of Chekiang, and was a volu- 
 minous writer, judging from a long list of his works 
 given in the preface, which was composed by a relative 
 of the author to introduce a new edition of the T''ao 
 Shuo issued in the year 1787, which is the best edition. 
 This list comprises twelve different works besides the 
 present one, which is characterized as being the most 
 important of all, and includes " A Commentary on the 
 Shuo Wen,'''' the ancient dictionary of the second century 
 A. D., '' Selections from old Prose Authors and Poets 
 of the T^ang and other Dynasties," "Instruction for 
 Playing the Lyre," " On the Art of Versification," etc., 
 winding up with a " Collection of Verses of his own 
 [Li T'ing's] Composition." He is described by his con- 
 temporaries as a learned scholar and antiquarian, and 
 when he was appointed in the year 1767 to a post in the 
 secretariat of Wu Shao-shih, who was the governor of the 
 province of Kiangsi from 1766 to 1771, he at once pro- 
 ceeded to study the history of the ceramic industry, the 
 porcelain of Ching-te-chen being the most important 
 product of the province of Kiangsi. 
 
 The title T^ao Shuo means literally " Discussion of 
 Pottery," the word fao being equivalent to " pottery " 
 (la ceramique) in its widest sense, and made to comprise 
 all kinds of clay objects fired in the kiln, so as to include 
 the different varieties of earthenware, glazed and unglazed, 
 faience and stoneware (g?'es), as well as porcelain. The 
 form of the book consists of a series of extracts bearing 
 on the subject gathered from the wide field of native 
 literature, in the course of which nearly a hundred and 
 fifty different authors are quoted. This is accomplished 
 by a running commentary in the form of notes, which 
 are distinguished by having the character an prefixed to
 
 CHIKESE CERAMIC BIBLIOGRAPHY. 665 
 
 €ach paragraph, and by having the columns of type 
 printed on a lower level, so as to leave a wider interspace 
 at the top of the page. The general scope of the work 
 will be indicated by a glance at the table of contents 
 which follows : 
 
 Book I. Discussion of Modern Times. An account of the por- 
 celain made at Jao-chou-fu during the present dynasty. The de- 
 scription of the twenty illustrations of the porcelain manufacture 
 from the Imperial Library, written in 1743 by T'ang Ying, director 
 of the imperial manufactory. 
 
 Book II. Discussion of Ancient Times. The invention and 
 early history of pottery. Researches on the productions of the 
 different potteries, from the beginning of the T^ang dynasty, in 
 618, to the close of the Yuan dynasty, in 1367. 
 
 Book III. Discussion of tlie Ming Period. The Jao-chou-fu 
 potteries and the porcelain produced at the imperial manufactory 
 there during the Ming dj'nasty (1368-1643). The processes of 
 manufacture during this dynasty under the headings: 1. Materials 
 and Colors. 2. Departments of Work. 3. Coloring Materials and 
 their Preparation. 4, Painted Decoration in Underglaze Cobalt- 
 Blue. 5. Embossed Work, Incised Designs, Decoration in Gold 
 and in Overglaze Enamel Colors, 6. The making of the Cases or 
 Seggars. 7. Furnaces and the Methods of Charging them. 8. 
 Rules for Firing the Porcelain. 
 
 Book IV. Discussion of Particular Ceramic Objects, Part I. 1. 
 •Objects of the Thing and Yil (third millennium b. c), referred to 
 in old books. 2. Objects of the Chou dynasty (b. c. 1122-249). 
 3. Objects of the Han dynasty (b. c. 206-a, d. 224). 4. Objects 
 of the ^Vei dynasty (a. d. 221-264). 5. Objects of the Chin 
 dynasty (a. d. 265-419). 6. Objects of the contemporary Southern 
 and Northern dynasties (420-588), 7, Objects of the Sxd dynasty 
 (589-617). 
 
 Book V. Discussion of Particular Ceramic Objects, Part II, 8. 
 Objects of the T'ang dynasty (618-906). 9. Objects of the five 
 dynasties (907-959). 10. Objects of the aSw/^^^ dynasty (960-1279). 
 
 11. Objects of the Ti^a^i dynasty (1280-1367). 
 
 Book VI. Discussion of Particular Ceramic Objects, Part III. 
 
 12, Objects of the 3Iing dynasty (1368-1643), Description of 
 some sacrificial utensils made for imperial worship. Porcelain of 
 the reign of Yung-lo. Porcelain of the reign of Ilsuan-tS. Por-
 
 666 ORIENTAL CERAMIC ART. 
 
 celain of the reign of CKeng-hna. Porcelain of the reign of Chia- 
 ching, under the headings: (1) Specimens painted in blue on a 
 white ground. (2) Blue specimens; being either decorated in 
 white reserve on a blue ground, or coated with single-colored 
 glazes, viz., in cobalt-blue of lighter or darker shade, or in tur- 
 quoise-blue derived from coppei'. (3) Specimens decorated in 
 blue outside, with the interior of the bowl or cup glazed white. 
 (4) White porcelain; eitlier plain, or with decoration incised at 
 the point in the paste under the white glaze. (5) Brown porcelain 
 of the fond-laque or "dead-leaf" type; in two shades of dark 
 brown or " old gold " tint, either plain or engraved, under the glaze. 
 (6) Single colors, such as coral-red, green, and imperial yellow, and 
 mixed decorations, not included in the other classes. Porcelain of 
 the reign of Lung-ck'mg. Porcelain of the reign of W^an-liy 
 including: (a) Specimens in bhie and wliite; {b) Specimens deco- 
 rated in enamel colors; (c) 8]iecimens of single colors, and of 
 complicated decoration not included in the other two classes. 
 Reproductions of the ivory-white Ting-chou porcelain. The dawn- 
 red wine-cups and the eggshell cups of Hao Shih-chiu, a celebrated 
 potter of the reign of Wan-li. 
 
 In the 1787 edition of the T'ao Shuo, which is now 
 before rae, there are no less than four eulogistic prefaces 
 and appendices from different hands. One of them, 
 dated in the cyclical year ehia-wu (1774), is by Pao 
 T'ing-po, the learned editor and publisher of the large 
 collection of reprints issued in the eighteenth century 
 under the title of ^P ^ j^^ ^ ^ ^, CMhpu tsu chai 
 tiling shu. Some Chinese books are to be found only in 
 these vast collections of reprints, which are analogous to 
 Bohn's Miscellany, only that all the works are published 
 at the same time instead of being issued at intervals.* 
 
 The woi'k that has just been described is mainly 
 literary and antiquarian in its character, and it is, besides^ 
 more than a century old. For a more recent account of 
 the ceramic art in China we must turn to the "Ml ^ Ift 
 
 *SeeWylie's Notes on Chinese Literature. The Appendix, pages 205-224, 
 contains the titles of some of these collections and lists of their contents.
 
 CHINESE CERAMIC BIBLIOGRAPHY. 667 
 
 I® ^j Cliing te clien T^io lu, " History of the Ceramic 
 Industry at Ching-te-cben," which has been partially and 
 somewhat imperfectly translated into French.* In the 
 professed translation there is a complete rearrangement 
 of the order of the books, and a short analysis of the 
 plan of the original may not be out of place here. The 
 author, Lan P'u, whose literary appellation was Pin-nan, 
 Avas a native of Ching-te-chen, who lived, he tells us, in 
 the midst of the porcelain works, and was constantly 
 taking; notes of the various technical details with a view 
 to publishing a book on the subject. But he died 
 toward the end of the reign of CKien-lung, at the close 
 of the eighteenth century, and his manuscript was put 
 by for twenty years, his widow lacking funds to pul)lish 
 it. In the sixteenth year of the reign of Chia-chHng 
 (1811) a new governor, or chief magistrate, named Liu 
 Ping, was appointed to Fou-liang-hsien, and he happened 
 to engage, as teacher for one of his sons, Cheng T'ing- 
 kuei, who had been educated as a scholar by Lan P'u. 
 The professor introduced his old master's book to the 
 notice of the new governor, who requested him to edit 
 it, and it was finally published in the year 1815, with a 
 preface by Liu Ping, and a post-face by the editor, Cheng 
 T'ing-kuei. As explained in the appendix, the editor 
 rearranged the manuscript and divided it into eight 
 sections, which form Books II to IX of the printed work. 
 Book I contains a map of the district, a plan of the 
 imperial manufactory, and a series of fourteen illustra- 
 tions of the different processes of work, which were 
 sketched on the spot by Cheng Hsiu, a brother of the 
 editor, and offer a fairly complete picture of the industry 
 as it is carried on in the present day. The plates in the 
 French translation differ considerably from these, being 
 
 * Histoire et Fabrication de la Porcelaine Chinoise. Ouvrage traduit du 
 Chlnois, parM. Stanislas Julien, Membre de I'lnstitut. Paris, 1856.
 
 668 ORIENTAL CERAMIC ART, 
 
 squeezed laterally into half the space, and being, besides,, 
 occasionally combined together, so as to confuse some of 
 the details of the work, and they have even been com- 
 pleted, when thought necessary, by the insertion of parts 
 of pictures taken from Chinese albums of much older 
 date. The descriptions of the fourteen illustrations are 
 mostly abridged, as is avowed by the editor, from those 
 of the famous twenty illustrations described for the 
 Emperor GKien-lung by T'ang Ying. Book X, entitled 
 " Supplementary Observations," is mainly the work of 
 the new editor, assisted by a string of collahorateurSj. 
 some with technical knowledge of the art derived from 
 personal experience, whose names he gives at the end of 
 the book. 
 
 The following is the original table of contents : 
 
 Book I. Illustrations of Technical Processes with Descriptions. 
 
 Book II. Records of the Imperial Porcelain Manufactory under 
 the reigning dynasty. Origin of the various kinds of porcelain 
 made at Ching-te-chen. 
 
 Book III. Technical Catalogue, enumerating the different fur- 
 naces and the classes of firemen employed, the various branches of 
 manual decorative and artistic work, the auxiliary branches of work, 
 the forms and designs of objects, the various kinds of glazes and 
 the coloring materials used in their preparation, etc. 
 
 Book IV. General Account of the Porcelain Manufacture as it is 
 carried on in the present day. 
 
 Book V. Examination of the porcelain made at Ching-t^-ch^n 
 during successive dynasties, beginning with the first year (583) of 
 the period C hih-tS, in the reign of the last sovereign of the C h'en 
 dynasty, and ending with the reign of C JCien-lung of the present 
 dynasty (1736-95). 
 
 Book VI. Examination of the different kinds of ancient porcelain 
 that are now imitated at Ching-te-chen. 
 
 Book VII. Investigation of ancient ceramic wares. Examination 
 of the ceramic productions of the different provinces and districts, 
 including those of the present day. Investigation of foreign pro- 
 ductions, referring cursorily to Korean ceramic ware, and to painted
 
 CHINESE CERAMIC BIBLIOGEAPHY. 669 
 
 and cloisonne enamels on copper introduced into China from tlie 
 West. 
 
 Book VIII. Miscellaneous quotations on the ceramic subject from 
 different authors, Part I. 
 
 Book IX. Miscellaneous quotations on the ceramic subject, 
 Part II. 
 
 Book X. Supplementary observations on some points in the fore- 
 going work by the editor, Cheng T'ing-kuei. 
 
 The first and last books are the additions of the new 
 editor, who tells us that the other eight represent the 
 original work, in his own words, of his old master 
 Lan P'u. 
 
 The Too Lii is indispensable for an inquirer into the 
 technology of the ceramic industry in China, and its 
 statements may be relied upon as being generally taken 
 from actual personal knowledge, but in the historical and 
 critical accounts of the ancient productions it is decidedly 
 inferior to the T\io Shuo. The author relies mainly on 
 the Wen Fang Ssu K\io^ which has already been referred 
 to as one of the least critical of those which relate to 
 the apparatus of the scholar's study. 
 
 With the exception of mere manuals for the use of the 
 curio-dealer, I have seen nothing of later date, so that we 
 have no more recent work of authority on the subject, 
 and, in truth, the decadence of the ceramic art in modern 
 times is so rapid that it scarcely deserves a chronicler.
 
 CHAPTEK XXIV. 
 
 KOREA. 
 
 Korea an intermediary between China and Japan. A class of early 
 Japanese decorated porcelain wrongly attributed to Korea, 
 Questionable existence of an indigenous ceramic art in the 
 country. Notices in Chinese literature of early Korean pro- 
 ductions. Ancient crackled and celadon examples in Korea. 
 Korean Mishima ware and other early encaustic decorations. 
 Relics dug up from tombs. Modern ceramic manufactures. 
 
 KOREA is situated midway between China and Japan, 
 and derives its chief importance from having been 
 the medium of the introduction of the arts and sciences 
 from the mainland of Asia into the Japanese islands. The 
 earlier ceramic relations of the three countries have been 
 cursorily summed up in Chapter II, and it was noticed 
 there how the Japanese traced back tlie source of each 
 successive step in their practice of the cei'amic art either 
 to Korea or to China. Korea would seem, however, 
 merely to have played the part of an intermediary, and 
 to have cari'ied on to Japan the knowledge of technical 
 points which it had derived from China in the course of 
 its traffic with the latter country. This traffic has been 
 principally carried on by sea from the poi"ts of the prov- 
 ince of Shantung. Korea has only recently been thrown 
 open, but the country has been thoroughly explored dur- 
 ing the last few years, and it is now known that no 
 artistic pottery is produced there in the present day, and 
 no indisputable evidence of any original skill in former 
 times has been discovered. 
 
 Before the poverty of the land was laid bare it was 
 possible, w^ith some show of probability, to attribute to it 
 
 670
 
 KOREA. 671 
 
 the possession of unkuowii art treasures, and Jacquemart 
 accordingly endowed Korea with a class of decorated 
 porcelain of artistic beauty and perfect finish, which he 
 styled Famille archaique de Coree, under the mistaken 
 idea that the mixed Japanese and Chinese character of 
 the desio-ns indicated an intermediate oris^in. We are 
 indebted, however, to his artistic faculty for the separa- 
 tion of this class from other Oriental porcelains, and for 
 its correct designation as " archaic," for it seems really to 
 have been one of the earliest productions in enamel colors 
 of the Arita kilns of Japan. The porcelain of this class 
 was among the fii'st brought to Europe from Japan by the 
 Dutch, whose original trading establishment was at Hi- 
 rado, not far from the Arita kilns. The importation of 
 the artistic ware appears to have ceased before the end of 
 the seventeenth century, so that specimens were eagerly 
 sought for by the earlier collectors in Europe, who gave 
 them a prominent place in their cabinets under the name 
 oi premiere qualite coloriee du Ja'pon. The description of 
 several pieces may be found in the Catalogue de la vente 
 de M. Randon de Boisset, which ^vas compiled by the 
 French expert Julliot in 1777, ^vho writes : 
 
 "The late collector, CTidowed with a delicate and severe taste, 
 gathered together important examples of several kinds, and most 
 particularly of the ancient Japanese porcelain called premihre 
 qualite coloriee, for which, as a true connoisseur, he had a special 
 predilection. This porcelain, of which the composition is now 
 entirely lost, has always captivated the attention of amateurs by 
 the fine grain of its beautifully white paste, the charming tints of 
 its soft reds, the velvet}' tones of its clear greens, and its intense 
 sky-blue. The merits of this class of porcelain are perfectly recog- 
 nized, so that some of the best collections are, or have been, com- 
 posed of it, which alone is its sufficient eulog}'." 
 
 This peculiar class, in fact, is readily identified by its 
 fine compact paste of ivory-white tone, which has been
 
 672 OKIENTAL CERAMIC ART. 
 
 justly likened to that of the Hirado blue and white por- 
 celain, invested with a thin non-vitreous glaze, and simply 
 decorated, in soft enamels, with a few formal flowers sym- 
 metrically posed, or a clump of bamboos rising from 
 behind a trellis fence of straw. The flowers are usually 
 the iris, chrysanthemum, pink, or peony ; the light orna- 
 mental borders are triangular or rectangular frets or zig- 
 zags ; birds or symbolical animals are rarely seen, still 
 more rarely figures. The designs, sketched either in 
 black or in red, are lightly touched with soft colors, com- 
 bined with the perfect harmony that distinguishes old 
 Japanese art ; the decoration being sparingly applied, as 
 if to display as much as possible of the perfectly white 
 ground. The dominating color is a well-glazed iron-red 
 of rich tone ; the other colors, applied in enamels so as to 
 stand out in relief upon the surface, are a pale clear 
 green, a pure sky-blue, a light yellow, and a brilliant 
 black ; the gold is applied more solidly than usual ; blue 
 under the glaze is excluded. The vases and jars are gen- 
 erally small and of polygonal outline, of molded forms, 
 and not fashioned upon the wheel ; the bowls and cups 
 are fluted and flanged, and often provided with socketed 
 stands. A typical example of this charming class is rep- 
 resented by the sake-bottle of square section illustrated 
 in colors in Plate XCVII, Fig. 1, which is reasonably 
 attributed to the middle of the seventeenth century. 
 
 Some other specimens are illustrated in colors by Du 
 Sartel, in La Porcelaine de Chine, to which reference has 
 often been made. 
 
 Pieces of this peculiar type supplied the first models 
 for many of the early porcelain works of Europe. At 
 Meissen the imitations were very close, as may be seen in 
 the Dresden Museum, where the originals and the copies 
 are purposely exhibited side by side. They Avere also 
 copied at St. Cloud ; at Chelsea, on pieces bearing the
 
 KOKEA. 67 S 
 
 earliest mark — the raised anchor ; at Bow, on the plates 
 decorated with quails, and elsewhere. There is a bowl 
 of Bow porcelain in the British Museum decorated in the 
 same style as the plates with quails, having an inscrip- 
 tion upon it stating that it was " painted by Thomas- 
 Croft in 1760 in the old Japan taste"; which shows, as 
 Sir Wollaston Franks remarks, " that both in England 
 and France this porcelain was recognized to be Japanese^ 
 and of some antiquity." So it was in China, for it waa 
 exactly reproduced in the factories at Ching-te-chen dur- 
 ing the second half of the reign oiK''ang-hsi (1662-1722)^ 
 under the name of Tung Yang Ts'ai or Japanese colors, 
 so that some care must be taken not to confound these 
 early Chinese copies with the originals, the main crite- 
 rion being the different quality of the pate, besides the 
 frequent occurrence of " spur-marks " * underneath the 
 foot of the Japanese pieces. 
 
 This appears to have been the earliest decorated j)orce- 
 lain brought in any considerable quantity to Europe from 
 the East. It was imported into Holland in the ships of 
 the Dutch East India Company and distributed by them 
 under the title of porcelaine des Indes. The Dutch seem 
 also to have exercised some influence over its decoration 
 in Japan, according to an interesting passage quoted by 
 Jacqueraart from the account of the embassy of the Dutch 
 Governor who was sent by the company to Yedo in the 
 year 1634, and who was rewarded afterward for the suc- 
 cess of his mission by being given the monopoly of the 
 valuable trafiic in porcelain. We are told there : f 
 
 * The slender projections of the paste designed to support the piece and pre- 
 vent contact with the floor of the kiln are technically known as " cock-spurs." 
 They are broken off afterward, and leave small rough marks on the glaze. 
 They are found occasionally, although rarely, on Chinese pieces. The Chi- 
 nese technical term is t'o-chih, or " supporting twigs." 
 
 f Ambassades Memorables de la Compagnie des Indes Orientales des Provinces 
 Unies vera les Empereurs du Japon. Amsterdam, 1680, folio; IP partie, p. 102.
 
 674 ORIENTAL CERAMIC ART. 
 
 " While the Sieur Wagenaar was preparing for his return voyage 
 to Batavia, he received 21,567 pieces of white porcelain; and a 
 month previously a very large quantity had arrived at Disnia [that 
 is, Desima or Deshinia], which, however, had not had a great sale 
 because there were not flowers enough upon it. For some years 
 past the Japanese have applied themselves to this kind of work 
 with much industry, and they iiave become so skillful at it that not 
 onl}'^ the Dutch, but even the Cliinese buy of them. The best por- 
 celain is tl'.at which is made at Fisen (Ilizen), the earth at no other 
 place being so white or so fine as it is here. The Sieur Wagenaar, 
 a great connoisseur, and ver}^ clever himself at this kind of work, 
 invented a flower design upon a bhie ground which was found to be 
 so prett}^ that out of two hundred pieces on which he had it painted 
 not a single one remained unsold, so that there was not a shop with- 
 out some of it on display." 
 
 The first porcelain manufactory in the province of 
 Hizen was founded in the beginning of the seventeenth 
 century near Arita by Li San})ei (or Risampei), a Korean 
 potter who was brought over in 1598 in the suite of 
 Prince Nabeshima. He discovered the necessary mate- 
 rials in the neighborhood in the Idzumi Mountains, and 
 initiated the Japanese workmen in the new art. The 
 earliest decoration is said to have been penciled in cobalt- 
 blue under the glaze after the fashion of the faience that 
 previously had been made there. The honor of acquiring 
 for Japan the art of painting in enamel colors applied 
 over the glaze is generally attributed to Tokuzayemou, a 
 native of Imari in the same province, who is suj^posed to 
 have learned it from a Chinese resident at Nagasaki about 
 the middle of the century. But the clear vitreous enamel 
 colors of the muffle stove which distinguish this class of 
 porcelain were not known at this time in Chinese ceramic 
 decoration, and when they were introduced into China, 
 in the latter half of the reign of K''ang-hsi, their source 
 was acknowledged to be foreign. In India they had 
 been previously used for centuries in enamel painting 
 
 A
 
 KOREA. 675 
 
 upou metal. Their introduction into Japan seems to 
 have been due to the Dutch, at a time when tlie factories 
 at Ching-te-chen were closed on account of the wars at 
 the end of the Ming dynasty, and their usual supplies of 
 porcelain from that source had failed. The influence of 
 the Dutch in the further development of the ceramic art 
 in Japan is shown in a more marked degree in the poly- 
 chromatic "old Imari ware," which gradually supplanted 
 the more artistic and simply decorated porcelain that has 
 just been referred to. This porcelain, decorated in the 
 style of the many-colored Chinese production of the 
 Wan-li period with blue under the glaze in combination 
 with overglaze enamel colors and gilding, became the 
 established ware of the Hizen potteries by the year 1680. 
 Fig. 381 shows a typical example of one of the more 
 finely decorated pieces of the period. The foliated 
 border and the interior of the dish, divided into panels 
 by lines of underglaze blue, are filled with diapers of 
 varied design, and the slope is encircled by a broad band 
 with four-clawed dragons of Chinese type disporting in 
 clouds. The overglaze colors are a full iron-red, brilliant 
 green, yellow, and manganese-purple, the last three being 
 in strong relief. The under surface of the rim is roughly 
 painted in dark blue under the glaze with sprays of 
 flowers and symbols in panels. There' are several spur- 
 marks underneath. 
 
 This is a choice specimen of the riclily ornamented 
 ware known in Europe ixir excellence as "Old Japan," 
 which was fashioned and decorated expressly for the 
 European market, and was imported in large quantities 
 into Europe toward the end of the seventeenth century, 
 when Augustus the Strong filled his Japanese Palace 
 with the magnificent jars and beakers and the huge 
 dishes which are still displayed in the museum at Dres- 
 den. There is no longer any question here of sparse
 
 676 ORLET^TAL CERAMIC ART. 
 
 decoration such as we are told made the older porcelain 
 unsalable, the surface being covered with mythological 
 monsters and gorgeously plumaged birds in the midst 
 of profuse floral sprays of chrysanthemum and peony. 
 There is no space in a modest Japanese interior for such 
 monstrosities, and the native connoisseur can hardly be 
 brought to acknowledge them as genuine productions of 
 his own country, any more than he will accept the large 
 vases decorated with armies of mail-clad figures or legions 
 of saints that are painted in Yokohama to-day for the 
 foreign market, and which figure in the West as fair 
 representatives of the modern ceramic art of Japan. 
 
 This long digression is preparatory to the introduction 
 of the vexed question of the existence of polychromatic 
 decoration in Korea before the date of its introduction 
 into Japan. The description of three remarkable speci- 
 mens may be quoted from the catalogue * of the Brinkley 
 Collection, which was exhibited at the Boston Museum 
 of Arts in 1884, where they are described as "Korean 
 Ware." 
 
 "Elephant, on stand. Height, five and a half inches; lengtli, 
 seven inches. Heavy stoneware, covered with a cream-colored 
 glaze slightly crackled. The trappings of the elephant are black; 
 his feet, eai's, mouth, and howdah -cloth are of a reddish brown. 
 Date, 1260." 
 
 "Vase, with narrow base and swelling body. Height, thirteen 
 inches; diameter, twelve inclies. Stoneware, cream-colored glaze 
 finely crackled. Round the base and shoulder are lines and a band 
 of diaper. On the sides are three large medallions bordered by 
 broad black lines. One medallion contains the figure of an old 
 man seated ; behind him is a fir-tree with a gourd hanging from 
 its branches; before him, conventional waves and a design intended 
 to represent the constellation of ursa major {Sh'chiya no hoshi). 
 The second medallion contains a stork fljnng down toward reeds 
 
 * Collection of Japanese, Chinese, and Korean Porcelain, Pottery, and Faience, 
 illustrating all the Best-known Wares of the Three Countries, p. Ill, Nos. 
 779-781.
 
 KOREA. 677 
 
 and lotus-plants. The third, an open lily, surrounded by leaves. 
 All the decoration is in ver}^ dark brown, and the inside is covered 
 with a glaze of that color. Date, 1300." 
 
 "Vase, with narrow base and swelling body. Height, eleven 
 and a half inches; diameter, twelve inches. Stoneware, covered 
 inside and outside with a cream-colored glaze. Round the neck 
 are two bands of floral scroll in red and green enamels. Round 
 the base a band of conventional leaves. Round the body are three 
 large medallions. In one is a man seated on a fish swimming in 
 green waves; in the distance are mountains and a castle. In 
 another are two figures with trees, a hill, etc., in green and red. 
 Date, 1300. [This is a very remarkable specimen. Korean ware 
 decorated with colored enamels is exceedingly rare — so much so, 
 indeed, that its very existence has been doubted. The present 
 specimen has been preserved in the province of Kaga, in Japan, 
 since 1598.]" 
 
 There is another archaic-looking ware often attributed 
 by Japanese experts to Korea, which has crude designs 
 lightly penciled in dull blue overlaid with a deeply 
 crackled glaze of grayish tone. The paste is of open 
 porous texture, like the old Tingchou productions of 
 China, and the general aspect of the pieces reminds one 
 of the ancient crackled wares of Chinese origin treasured 
 by the Dayaks in Borneo and in other islands of the 
 Eastern Archipelago. A specimen which was brought 
 from Japan as a piece of ancient Korean ware is pre- 
 sented in Fig. 134. It is a small globular vase roughly 
 decorated in dark blue with a broad band round the 
 body containing two lions sporting with filleted balls, 
 and a narrow band of conventional ornament encircling 
 the shoulder. The thick glaze, of ivory-white tone, is 
 crackled with deeply fissured lines, and covers the base, 
 only leaving the foot-rim exposed, which is white, of 
 porous texture, but intensely hard ; there is no mark 
 inscribed underneath. 
 
 With regard to the porcelain objects sent from Japan 
 as old Korean it is necessary, first, to show that the
 
 678 ORIENTAL CERAMIC ART. 
 
 particular piece is not a modern reproduction ; sec- 
 ondly, that it is not an old piece of one of the less 
 kno\vn Chinese wares which may have been brought to 
 Japan through Korea. There are two Chinese wares, 
 for instance, which often figui-e as Korean upon the 
 shelves of museums. The first is the Tz'u-chou ceramic 
 ware of the Chihli province, which is decorated in shades 
 of brown, and like the peculiar class of Satsuma known 
 as '' Sunkoroku," to which reference will presently be 
 made. The second is the ivory-white porcelain of the 
 province of Fuchien. Ten pieces of so-called Korean 
 ivory-white porcelain were exhibited at the Boston 
 Museum of Arts in 1884. Captain Brinkley says, in 
 regard to this ivory-white porcelain, that " it is often 
 exceedingly difficult to distinguish it from Chinese ware, 
 and, indeed, the question is still open whether the 
 so-called Korean ivory-white is not porcelain of Chinese 
 manufacture, which found its way to Japan through 
 Korea. Japanese experts maintain obstinately that such 
 is not the case. They profess to recognize without 
 difllculty a difference between the Chinese and Korean 
 paste, and by way of historical confirmation adduce 
 the authenticated fact that from the time of her inva- 
 sion by Taiko's armies (1596), and the consequent paral- 
 ysis of all her art industries, Korea entirely ceased to 
 send Japan any specimens of the beautiful ivory-white 
 porcelain, though its great value to the latter country, as 
 well as Korea's intimate relations with China, rendered 
 such a traffic more than ever probable." 
 
 There is also an ancient brown stoneware attributed 
 to Korea coated with a thick crackled glaze resembling 
 very closely the old Chinese crackle of the Yuan dy- 
 nasty (1280-1367), which has been illustrated in Fig. 3. 
 
 The only certain information that we have about old 
 Korean porcelain is derived from Chinese sources. The
 
 KOREA. 679 
 
 first Chinese author who alludes to it at any length is 
 Hsii Ching, who wrote the Hsuan-lw feng shift Kao-li 
 foil ddng^ an illustrated description of the country, 
 customs, and institutions of Korea {Kao-li), in forty 
 books, after his return from a mission to the country on 
 the occasion of an accession of a new king, in 1125. 
 The maps and illustrations which originally accompanied 
 the manuscript were unfortunately lost before the book 
 was printed for the first time, in the year 1167. The 
 following is a literal translation of his notes upon the 
 subject : 
 
 " There is a ceramic ware made in Korea of green color, wliich 
 is called by the natives of the country 'kingfisher green.' In these 
 latter years the pieces have been more skillfully fashioned, and the 
 color of the glaze has also been much improved. There are Avine- 
 pots [chiu tsun) molded in the shape of melons, with small lids at 
 the top surmounted by ducks squatting in the midst of lotus- 
 flowers. The Koreans are clever also in the making of bowls and 
 dishes {tocm, tieh), wine-cups and teacups {pei, ou), flower vases 
 {hua pHjig), and hot-water vessels for tea-drinkers [fang chan), 
 which are all, generallj^ speaking, copied from the forms of the 
 Ting-chou wares (of China), so that I need only allude to tliem and 
 not illustrate them by figures, only giving the wine-pots, as being 
 of novel and original design. 
 
 " In Korea the table vessels used at entertainments for eating 
 and drinking are usually made of gilded metal or of silver, although 
 they esteem green porcelain ware more highly than either of these 
 two materials. They have incense-burners {hsiang lu) shaped like 
 lions, which are also of ' kingfisher green ' color, the four-footed 
 monster being represented seated upon a lotus leaf with tilted 
 margin, which forms the stand of the urn. This is one of the 
 most ingenious and striking of their ceramic designs; the other 
 forms are for the most part modeled after the shapes of the ancient 
 imperial porcelain of Yueh-chou, or from the modern productions 
 of the kilns of Ju-chou. 
 
 " The pottery made by the Koreans includes also large water-jars 
 [toing), with broad bellies and contracted necks ending in very 
 
 *See Notes on Chinese Literature, by A. Wylie, loc. cit., p. 46.
 
 680 ORIENTAL CERAMIC ART. 
 
 small rnoutlis, which are as much as six feet liigh and four and a 
 lialf feet in diameter, and hold between fifty and one hundred 
 gallons of water eacli. These are used for storing water on the 
 boats passing upon the sea between islands wiien water is difficult 
 to ])r()cure, so as to carry on board a sufficient supply." 
 
 The term "kingfisher green," used here, is intended to 
 indicate the liglit blue-green tint of the plumes of the 
 kingfisher's feathers, which are much used in the East 
 for inlaying gold and silver oi-naments of jewelry. The 
 clear emei'ald-green color of jadeite, which is so highly 
 prized by the Chinese, has earned for it a similar title of 
 " kingfisher stone " (^fei-ts'vi'). 
 
 In ceramic parlance the term indicates the translu- 
 cent emerald-green hue of the old celadon glazes, wdiich 
 approach sometimes an olive tint. The color was ob- 
 tained in China by the mixture of an iron mineral 
 with the ordinary white glaze of the grand feu, dark- 
 ened by the addition of a variable proportion of the 
 cobaltiferous ore of manganese, and the term w^as 
 adopted to distinguish the hew color from the deeper 
 camellia-leaf green of the older wares, wdiich was derived 
 from copper. The most ancient Korean porcelain of 
 which we have any cei'tain knowledge is really a 
 celadon monochrome of the characteristic tint of this 
 beautiful variety of jadeite. A pair of bowls of this 
 kind were j^i'esented l)y the King of Korea to President 
 Carnot, of France, as " the most valuable of the ancient 
 productions of his poor country," and are now j^re- 
 served in the museum at Sevres. There is a similar 
 bowl, gadrooned below with a border of lotus-petal 
 design, in the Dana collection at New York, which was, 
 I believe, originally given by the King of Korea as a 
 present to an American physician who had been con- 
 sulted by him. 
 
 The next notice of Korean ceramic ware is in the Ko 
 
 I
 
 KOREA. 681 
 
 Jcu yao lun, the well-known book on objects of art by 
 Ts'ao chao, published in 1387, which has been so often 
 quoted. The short paragraph on " Korean Ceramic 
 Manufacture " (^Kao-li Yao), in Book VII, folio 22, says : 
 
 "Tlie ceramic objects produced in the ancient Korean kilns were 
 of a grayish-green color resembling that of the celadon ware of 
 Lung-ch'uaii (in Cliina), There was one kind overlaid with white 
 •spra\'s of flowers, but this was not valued so very highly." 
 
 These are the conclusions of a Chinese connoisseur of 
 the fourteenth century. The second class which he 
 refers to is a faience inlaid with encaustic designs in 
 wliite clay, like the so-called Henri Deux faience in 
 Europe, and it was, on the contrary, most highly valued 
 in Japan, and formed the model of some of the early 
 Japanese manufactures, like the Yatsushiro faience of 
 the province of Higo, which was decorated with stoi'ks 
 flying among clouds, in the Korean style, or with simple 
 combinations of lines and diapers, the designs being 
 traced in the paste and filled in with white clay before 
 glazing. A typical vase of ancient Korean woi-k of this 
 kind is illustrated in Plate CXVI. The decoration was 
 occasionally varied by the execution of a portion of the 
 encaustic designs in black. 
 
 The vogue attained in Japan by the tea ceremonies 
 known as the cha-no-yu under the Ashikaga Shoguns 
 was the chief cause of the gi'eat popularity of Korean 
 pottery in that country. The first fixed rules for the 
 cult seem to have been made under the patronage of the 
 Shogun Yoshiniasa (1443-73), after he had retired to 
 private life in this last year. The famous Taiko Hide- 
 yoshi in 1594 appointed Sen-no-Rikyu, a celebrated vir- 
 tuoso, to revise the old statutes of the cult, and the 
 elaborate code of etiquette drawn up by him has hardly 
 been varied since his day. Up to this time utensils of
 
 682 ORIENTAL CERAMIC ART. 
 
 Korean pottery had been preferred to any others for the 
 tea ceremonial, and the Korean experts of the craft who 
 were brought over to Japan at the end of the sixteenth 
 century, after the expedition to Korea in 1592-96, intro- 
 duced their technique into several of the Japanese manu- 
 factories. Nearly all Japan's chief potteries are said to 
 have dated from that time, her teachers in the art of 
 porcelain-making being Korean captives. In the follow- 
 ing century a number of Korean potters settled at Yatsu- 
 shiro, in the province of Higo, and the Japanese pottery 
 produced there still preserves unmistakable character- 
 istics of its Korean origin, the fine reddish pate being 
 enameled with a diaphanous, pearl-gray glaze, uniform, 
 lustrous, and finely crackled, overlying encaustic decora- 
 ation in white slip. 
 
 One class of Korean tea-bowls is known to the Japa- 
 nese by the name of Mishima ware, because the formal 
 lines of its decoration resemble at a distance the printed 
 columns of the almanac which is issued from a famous 
 temple at Mishima on the Tokaido, the great route from 
 Kioto to Yedo. There is a Mishima basin in the Franks 
 collection in the British Museum, which was sent from 
 Japan as Korean, but is considered by the learned 
 curator to be more probably a production of the Yatsu- 
 shiro kiln, and is described by him as follows : 
 
 " Basin. Gray glazed Japanese stoneware, with engraved de- 
 signs, filled in with white clay. Inside, a chrysanthemum sur- 
 rounded by similar flowers; and inside and out, borders of zigzag 
 pattern with hatched lines. Mishima ware. Diameter, five and a 
 half inches. No. 1185." 
 
 The shallow bowl illustrated in Fig. 380 (1), which is 
 of the same diameter as the above, was also sent from 
 Japan as an example of Korean Mishima ware, but is pro- 
 nounced by Mr. H. Shugio to be a Japanese reproduction
 
 KOREA. 683 
 
 of the old Korean style, judging from the peculiarities 
 of the pate. This is of dark reddish-gray color, and is 
 enameled with a white glaze of soft aspect, decorated in 
 geometrical j^atterns with formal bands of vertical lines 
 and encircling rings of diaper, which are lightly etched 
 with a graving-tool, and filled in with black. 
 
 Among the other ancient Korean bowls in the collec- 
 tion is the one illustrated in Fig. 382, which is of 
 rounded conical shape with upright edge, and has a solid 
 circular rim round the foot. It is coated with a smooth 
 celadon glaze of buif tone, sparsely crackled, and is 
 roughly scored in the paste underneath with ornamental 
 lines both outside and inside, the pattern in the interior 
 simulating a flower. The foot, and a portion of the 
 exterior surface, where the glaze does not reach the 
 bottom, show a light-red paste, which is roughened in 
 crepe-like fashion. The bowl, broken into fi-agments, 
 has been pieced together and cemented with gold lac- 
 quer in Japan. 
 
 In former times it was the custom in Korea, as well as 
 in China, to bury pottery with the dead, the pottery 
 vessels employed for the purpose being a flask filled with 
 wine and a set of bowls containing a provision of cooked 
 millet and rice. In more recent times it has been cus- 
 tomary in both countries to place the funeral meats upon 
 an altar above the grave. It is a capital oft'ense for a 
 Korean to dig up this potteiy, but specimens occasionally 
 find their way into collections, notwithstanding. 
 
 The bowl illustrated in Fig. 380 (2), for example, was 
 brought from Seul, the capital of Korea, by Mr. Walter 
 C. Hillier, H. B. M. consul-general in Korea, together 
 with a small saucer-dish of Korean ivory-white ware dug 
 up from an old grave. It is of archaic conical shape, two 
 inches high, five and a half inches in diameter, composed 
 of a hard pale-colored faience, coated with a thin yel-
 
 684 ORIENTAL CERAMIC ART. 
 
 lowish glaze thickly flecked with darker spots. The 
 foot, unglazed, exhibits many glistening points of mica, 
 marks of an imperfectly triturated clay. 
 
 There is no mention of Korean pottery, so far as I 
 know, by any more modern Chinese writer, and, in truth, 
 the ceramic productions of the present time seem to be 
 hardl}^ worthy of notice, being»of the crudest kind pos- 
 sible, and quite devoid of any artistic interest. The few 
 authentic specimens in the museum at Leyden and The 
 Hague are of the most common description, and all recent 
 travelers confirm the accounts of M. Billequin, who col- 
 lected some pieces at Peking for the museum at Sevres, 
 and recorded his experiences in the Gazette des Beaux- 
 Arts,1877, page 230. Japan certainly owes many of the 
 technical methods of the different varieties of the old 
 Satsuma faience to Korea, and Korean potters were the 
 first instructors in the early productions of most of its 
 porcelain kilns, but the stroke of genius which converted 
 a manual handicraft into a new branch of art was due 
 entirely to the innate artistic faculty of the Japanese 
 themselves. There is no evidence of anything of the 
 kind in Korea. 
 
 I
 
 CHAPTER XXV. 
 
 CERAMIC ART OF JAPAN. 
 
 Introduction. Bibliography. Table of the principal centers of 
 the ceramic industr3\ 
 
 IT is witli some difficlence that I approach the subject 
 of the ceramic art of Japan, not being so intimately 
 acquainted with it as with that of China, and having, 
 moreover, a very superficial knowledge of the language 
 and literature. I have been fortunate in having had the 
 opportunity of i-eferring any doubtful points as to the 
 date of a piece, or its origin, to Mr. Henry Walters and 
 to Mr. Sliugio. At the outset I acknowledge my 
 indebtedness to them. Much more has been written in 
 Europe upon Japanese porcelain and pottery than upon 
 Chinese, and the former is, consequently, far better and 
 more generally known, so that a lengthy disquisition is 
 not necessary here, even did space allow. There are 
 several books, both English and French, available for 
 further reference. 
 
 The early relations of Chinese and Japanese ceramics 
 have already been alluded to, and it has been shown how 
 the Japanese acknowledge their debt to China at every 
 step. Chinese is the classical language of the Japanese, 
 and many of the technical books of the latter are written 
 almost entirely in the Chinese script, only the order of 
 the characters being changed, in obedience to the new 
 construction and grammar of a different language. Most 
 of the ceramic terms have been adopted directly from 
 those current in China, and are employed in the same 
 sense, differing only in pronunciation ; a few have be- 
 
 685
 
 686 ORIENTAL CERAMIC ART. 
 
 come obsolete, being used only in books, and being 
 replaced in ordinary parlance by colloquial equivalents. 
 This last is the case with the Chinese fe'-?/, " porcelain," 
 which occurs constantly in the text of Ninagawa Nori- 
 tane's work, and is used by him to include the ancient 
 fine white kaolinic potteries coated with camellia-leaf 
 green and ash-colored glazes, of which he figures two 
 fragments, in the same way as it is by the Chinese, 
 although we should question the right of such wares to 
 be called " porcelain," on account of their want of traus- 
 lucence. It survives also in the Japanese name of 
 celadon porcelain, which has always been highly es- 
 teemed by them under the name of seiji,^ according to 
 their peculiar pronunciation of the Chinese cKmg tz^u, 
 literally " green porcelain." The ordinary term for porce- 
 lain in Japan is 8etotno7io, "Seto-ware," Seto being the 
 place in the province of Owari where the first fine glazed 
 pottery was made after a Chinese model, in the thirteenth 
 century of our era, and the term is now used in Japan in 
 the same way as chinaware or china is commonly used 
 by us. 
 
 The classical term for " pottery " in its widest sense is 
 tdhi, the Chinese fao-ch^i [t'ao-k'i], which comprises in 
 
 * With regard to the pronunciation of Japanese letters, in the system of 
 orthography which has been generally followed here, the vowels are to be pro- 
 nounced as in Italian, the consonants as in English: e. g., a as in father; e as 
 in prey; i as in machine; « as in no; m as in rule; when a horizontal line is 
 over ov u the sound is prolonged; diphthongs are ai, as in aisle; au, with the 
 sound of ow in now. Care must be taken to pronounce the vowels separately; 
 in cha-ire, " tea-jar," the second word is read eeray, and is consequently some- 
 times written ire; in Ninsei, the name of the celebrated Kyoto potter, the 
 second syllable, pronounced say-ee, may be written se'i. N at the end of a 
 word has the sound of final n in French; in the middle, when followed by b, 
 m, or p, it is m; and t, in combination, is d. Consonants often become soft, 
 chi or slii becoming Ji- ho, bo; tsu, dzu; su, zu; /cu, gu, etc. The native 
 dialectal variations and the different orthographical systems of foreigners make 
 consistency difficult, if not impossible, and the efforts of the Romajikwai, a 
 society founded in Japan for the purpose of securing a uniform system of 
 transliteration, have not yet met with the success they deserve.
 
 CERAMIC ART IN JAPAN. 687 
 
 Japan, as it does in China, all kinds of ceramic ware, 
 common earthenware (Japanese tsuchiyahi), and the dif- 
 ferent varieties of stoneware (Jaj^anese isJdyaJci), as well 
 as true porcelain. Yahi means " baked," and yahimono, 
 " baked ware," is more commonly used in Japan as the 
 general term for jDottery, including all kinds of Avare 
 fired in a kiln. The productions of the province of 
 Hizen, for instance, are grouped under the term Iniari- 
 yaki\ those of Kyoto are known as Kyo-yahi^ and the 
 fine faience of the province of Satsuma, Satsuma-yaki, is 
 so called, as well as the worse stoneware of the pi'ovince 
 of Bizen, Bizen-yaki or Imhe-yahi. In this sense " yaki " 
 generally takes the place of the Chinese yao, although 
 the latter character occasionally occurs among Japanese 
 marks upon porcelain in the compound hwan-lco (Chinese 
 huan-yao), "imj^erial ware," and hin-ho (Chinese cltin- 
 yao)^ "brocaded j^o^elain," as it does also, rarely, in 
 its primitive sense of " kiln " in the potter's mark of 
 Fu-ji-yo^^ i. e., " Matchless Kiln." The Japanese name 
 of the brocaded silk that has just been referred to under 
 the name of chin is nishihi, and this is given, by an 
 analogy, to porcelain decorated in enamel colors, which 
 is, however, known also as go-sai, the equivalent of 
 wu-tiai, "five-colored," the technical Chinese name. 
 ^' Blue and white " is commonly known in Japan as 
 sometsuhe, which means simply " figured " ; " crackled 
 porcelain " is called hihiyaki^ " hibi " being the equiva- 
 lent of the Chinese wen, " a crack in crocker)^" 
 
 The ceramic wares of Japan exhibit great differences 
 in their composition, texture, and appearance, but may 
 be roughly classed under three principal heads : 1. Com- 
 mon pottery and stoneware, coarse or fine, ornamented 
 by engraving the sui-face, inlaying with colored clays, 
 and coating it with glazes. 2. A cream-colored faience, 
 
 * See the Franks Catalogue, loc. cit., Japanese marks, Plate XIV, Fig. 175.
 
 688 ORIENTAL CERAMIC ART. 
 
 with a glaze, often crackled, and delicately painted in 
 enamel colors. 3, Hard porcelain. 
 
 To tlie first of these classes belong the wares of Bizen 
 and Takatori, old Seto, Shigaraki, and other small 
 fabrics, and it includes the Kaku wares of Kyoto. The 
 texture varies from that of the ancient wares of 
 Shigaraki and Iga, which are fashioned in an earth 
 almost as coarse as fine gravel, to that of the Banko- 
 yaki, made in the province of Ise, which has been com- 
 pared to Wedgwood, the material being a fine brown 
 clay of remarkable toughness, so that it can be molded 
 into extremely light and thin forms. The Baku ware of 
 Kyoto is somewhat soft and tender, while the products 
 of the Bizen province have an almost metallic hardness. 
 The Japanese take advantage of the different qualities 
 of the paste in the fabrication of objects according to 
 the use to which they are intended to be put. The soft 
 paste of the Baku bowls makes them feeble conductors 
 of heat, so that they are preferred by the votaries of the 
 Cha-no-yu to bowls of porcelain or any other material, as 
 they retain the heat in the tea for a longer period^ 
 and, moreover, do not burn the hands, as they are 
 clasped in both palms when the tea is sipped in the 
 orthodox way. The remarkable hardness and refractory 
 quality of the Bizen stoneware make it especially suit- 
 able for incense-burners, hand braziers, and charcoal 
 stoves, and its fineness and toughness render it a good 
 medium for modeling, to which use it has been put with 
 great success, so that in the pottery of Bizen are to 
 be found the choicest masterpieces of Japanese plastic 
 skill. 
 
 The principal factories of the second class are those 
 of Satsuma and Awata, and the more modern establish- 
 ments at Ota, near Yokohama, and elsewhere, where the 
 recent imitations of the Satsuma ware are produced.
 
 CERAMIC ART IN JAPAlSr. 689 
 
 Both the Satsuma and the Awata wares, the latter of 
 which are made in one of the suburbs of Kyoto, are 
 made of a kind of porcelain clay of very refractory 
 nature, which does not undergo a partial fusion like the 
 genuine porcelain mixture, or, at any rate, not to the 
 same degree. The glaze is composed of feldspathic 
 materials and lixiviated wood-ash, without any addition 
 of lead or borax ; when cooled it is always crackled with 
 a fine network of superficial lines. The final simul- 
 taneous baking of the body and the glaze takes place 
 in a temperature much higher than that to which the 
 so-called biscuit is submitted in the preliminary firing. 
 The soft-looking glaze of ivory-white tone forms an 
 admirable background for the decoration in enamel 
 colors, which is painted on subsequently and fixed by 
 a third firing in the muffle stove. This last is an easy 
 process, so that Satsuma ware is often imported in a plain 
 state, to be painted by artists in the ateliers of Kyoto or 
 Tokio. The Awata ware is distinguished from the 
 slightly buff -colored Satsuma ware by a more marked 
 yellow tint, which has earned for it the name of ta- 
 mago-yahi, or " Qg^ pottery." The material of both 
 these Avares may be considered to be a kind of semi- 
 porcelain. 
 
 The third class comprises the true porcelain wares, of 
 which the coarsest are included in the productions of 
 Kutani and Awaji, while the most celebrated fabrics are 
 in the province of Hizen, at Seto in Owari, and Kiyo-. 
 midzu near Kyoto. A full and detailed account of the 
 materials and technique is given in the second part of 
 Le Japan a V Exposition JJniverselle de 1878, published 
 at Paris under the authority of the Imperial Japanese 
 Commission, which has been reprinted in Japan under 
 the title Z/es Zaques et La Ceramiqne du Japon, Yoko- 
 hama, 1879. The processes, in the main, are very similar
 
 690 ORIENTAL CERAMIC ART. 
 
 to those followed in China, with the exception of the 
 preliminary firing at a low temperature to which 
 Japanese porcelain is submitted before it is either 
 painted or glazed, which is often conducted in an 
 ordinary malt oven. The clays are evidently less 
 tenacious than the ordinary Chinese kaolins of Ching- 
 te-cheu, hence Japanese specimens are frequently 
 slightly out of shape, and they seem to require 
 numerous supports in the kiln, which have left the 
 scars on the glaze known as " spurmarks," which are 
 rarely found on Chinese pieces. 
 
 One of the chief charms of Japanese pottery consists 
 in the simplicity and marked originality of the old potter, 
 who was not content with a slavish imitation of the 
 Korean or Chinese model on which the technique of his 
 art was professedly based, but always succeeded in 
 imparting a peculiar cachet to his productions, which are 
 not to be confounded with their prototypes. He was 
 truly, in his palmiest days, an artist-potter, and not 
 a mere machine working for the glorification of his 
 brother of the brush. This is shown in the pleasing 
 quaintness of form in which he fashioned the pieces 
 intended for the personal use of his daimyo pati'on, 
 and in the loving care which he devoted to their 
 finish, rude as they look at first sight to an un- 
 trained eye. The Japanese artist is not ashamed of 
 his hands or his tools, and just as he delights to 
 show the marks of the brush in a rapid sketch or 
 a line of bold calligraphy, so does he prefer to re- 
 tain the natural prints of the fingers impressed on 
 the soft clay as the piece is being molded, or even 
 to accentuate the marks of the spatula with which 
 it is being roughly shaped and decorated. The simpler 
 the decoration of this rustic pottery the better, and the 
 greatest triumph of the artist is to suggest a pine wood
 
 CEEAMIC ART IN JAPAN. 691 
 
 on the seashore or a silhouette of the sacred volcano of 
 Fiijisan (Fiiji-no-yama), in a single curved line. As 
 a people, the Japanese are singularly free from ostenta- 
 tion, and their homes exhibit a simplicity and refinement 
 in all their surroundings which render them unique. 
 They are devoted admirers of Nature's art. As in 
 woodwork the ornamental value of the natural grain or 
 the rugosities of the bark are considered of such high 
 interest that remarkable specimens are accorded the 
 most honorable place in the house ; as in metal-work the 
 natural patina is looked upon as its chief beauty ; so in 
 earthenware the earthiness of earth has to them a charm 
 which should not be hidden, but developed by the work 
 of the artist. The art of it lies in the eloquence it dis- 
 plays of its earthy nature, Just as the art of old Vene- 
 tian glass lies in the witness it bears of its vitreous 
 nature. 
 
 I am following here the argument of Mr. Charles 
 Holme, the author of the sympathetic chapter on 
 Pottery and Porcelain, in the excellent work on Japan 
 and its Art by Mr. M. B. Huish, the well-known 
 editor of The Art Journal, in which periodical the 
 articles first appeared that are now collected into 
 a small volume that ought to be in the hands of 
 every student of the subject. Mr. Holme speaks 
 with some authority, having devoted much time to 
 the question both in England and in Japan, and from 
 the producer's as well as the artistic point of view. 
 He is defending the simple taste of the native school 
 of connoisseurs and of those who follow them against 
 the views of the European collectors, who reserve their 
 highest admiration for such examples of the ceramic 
 as display a more florid and elaborate style of decoration 
 painted in rich colors with a profuse use of gold and 
 silver.
 
 692 ORIENTAL CERAMIC ART. 
 
 Mr. Holme's account of the colored glazes used in 
 decoration may also be quoted with advantage : * 
 
 " Tosliiro, a Japanese potter of the early tliirteeiitli centiuy, made 
 a special visit to China to perfect himself in his art, and on his return 
 to his native town of Seto, in Ovvari, he introduced great improve- 
 ment in the character of the wares made there. Although the 
 glazing of pottery may have been practiced in Japan at a much 
 earlier date than the time of Tosliiro, there is no doubt that it was 
 •owing to his exertions that a great impetus was given to the art. 
 He not only improved tlie quality of vitreous enamels, but he 
 introduced new and aitistic methods of their application. From 
 his time onward great attention was paid to tliis branch of the 
 potter's art, of which it soon became one of the most important and 
 interesting features. To know something of Japanese glnzes is to 
 be familiar with the soft greenish grays of the Sanda Seiji ware, the 
 dull leaden blue or the metallic sheen of the brown glaze of Bizen, 
 iridescent blacks, reds, browns, and bottle-greens of the Raku wares, 
 the lustrous 3'ellow-brown of Old, the splashed Oribe wares, the 
 thick opaque overglazes of Shigaraki, the delicate gra3'S and salmon 
 shades of Hagi, the heavy brown and yellow glazes of Tamba, or 
 the speckled graj^s and browns of Soma. These and many others 
 of like interest and beaut}^ as the}' are better known and their 
 characteristics better understood, have an ever-increasing charm to 
 the earnest and sympathetic student, who soon ceases to wonder, 
 as perchance he may at first have done, at the artistic value in which 
 the}' are held by the Japanese connoisseur." 
 
 There has been much discussion as to whether the rus- 
 tic simplicity of the Japanese pottery was due to the 
 innate taste of the people or to the artificial cult of the 
 Cha-no-yu affected by the feudal nobles, who were 
 the special patrons of the industry in its early days. In 
 these discussions it has been usual to assume that the 
 tea clubs were a peculiar institution of Japan. But we 
 have seen that the cult was practiced in all its details 
 in China, and that there are illustrated books on the 
 
 * Japan and its Art. By Marcus B. Huish, LL. B. Second edition. 
 London, 1893. Chapter XIV, p. 230.
 
 CEKAMIC ART IN JAPAISr. 693 
 
 subject dating from the early part of the ^ng dynasty 
 (960-1279), with pictures of tlie apj^aratus, and a full 
 account of the proceedings at the competitive tea meet- 
 ings at which the comparative viitues of decoctions 
 made from the powdered leaves of various brands of 
 tea, as well as of the frasfrant fumes of the different 
 kinds of incense imported from the shores of Arabia and 
 Africa, were tested with the same ceremonial rules that 
 we find afterward adopted in Japan. Prose authors and 
 poets of this dynasty in China descant alike on the merits 
 of the speckled black cups which they liken to the 
 plumage of the gray partridge {Perdrix cinered) and the 
 " leveret-streaked " or " hare's-fur " glazes of the pro- 
 ductions of the kilns of Chien-chou, which were dark 
 brown or black streaked with lighter spots of yellowish 
 tinge. There are the kilns at which Toshiro, the " father 
 of pottery" in Japan, acquired the rudiments of the art 
 toward the close of the Sung dynasty, and his produc- 
 tions and those of his immediate successors, figured by 
 Ninagawa Noritane, seem to be exact copies of the Chi- 
 nese originals as described above. The archaic shapes 
 are similar, and the pi'imitive technique is the same, the 
 way in which the glaze runs down outside and gutters 
 below, so as only partially to cover the bowl, leaving the 
 lower margin, as well as the foot, bare. The Japanese 
 in their estimation of the dift'erent kinds of pottery place 
 the Chinese or Korean specimens first, and their own 
 early reproductions next ; the tea-jars and tea-bowls are 
 wrapped in padded bags of silk brocade, inclosed in 
 lacquer boxes protected by outer cotton covers, and are 
 brought out by their ownei's only on special occasions, to 
 be handled with the greatest care. 
 
 The shapes and uses of Japanese vases are well de- 
 scribed by Sir Wollaston Fi-anks in liis introduction to 
 the native report on Japanese pottery which forms one
 
 694 ORIENTAL CERAMIC ART. 
 
 o^ the art handbooks of the South Kensington Museum. 
 The pottery utensils used in the tea ceremonies are a 
 furnace, water-vessels, jars to hold powdered tea, a pan 
 for ashes, and a tea-bowl. The furnace (fu/'o) is generally 
 a globular vessel on three legs, with openings in the 
 upper part to create a draught. Into this upper part fits 
 the vessel in which the water is boiled, a smaller repeti- 
 tion of the same form, with two handles and a lid. The 
 water-vessels comprise a vase or pitcher (midznrSasJii\ 
 with a supply of fresh water for washing the utensils, 
 and a slop-basin (^nidzu-hohoshi) ; they are usually rudely 
 made, and often with lacquer covers. The tea-jars 
 (clta-ire), of which specimens are illustrated in Plates 
 CXIV and CXV, are generally small oviform vases of 
 hard pottery, with no decoration beyond the mottled 
 glaze, and with flat lids of ivory ; they are all of small 
 size, as the green tea is powdered and very strong, 
 besides being very costly. The tea-bowl (cha-wan) is 
 purposely very rudely made, and varies in shape. Some 
 tea-bowls are round shallow dishes, others tall and nearly 
 cylindrical ; the tea is not only made in the bowl, but 
 drunk out of it, and great care is taken to make the 
 edge smooth to the lips. The ash-pan (JioroJcu) is a 
 shallow pan of unglazed ware, with incurved rim. It 
 holds the charcoal ashes with which the brazier or fur- 
 nace is partly filled, as well as the urn in which the 
 incense is burned. 
 
 Incense-burning formed part of the tea ceremony, and 
 it was also a favorite pastime among the Japanese nobles 
 of old times, the incense game consisting of guesses of 
 the names of the perfumes that were being burned, with 
 forfeits, etc. The incense-boxes' (kogd) are of the most 
 varied shapes, generally small in size. The incense- 
 burner (hd)'o) also varies considerably. Some incense- 
 burners are modeled after old Chinese forms, others
 
 CERAMIC ART IN JAPAN. 695 
 
 quaintly fashioned as men, animals, or birds, like the 
 urn of Hirado porcelain illusti-ated in Plate CX, which 
 represents a pup squatted on the ground, the head of 
 which, detached, forms the cover of the censer; others 
 are intended to be hung from the ceiling, like the old 
 Imari censer decorated in red and gold which is figured 
 in Plate CVI. The lower part of the censer is filled 
 with fine white ashes, with a piece of lighted charcoal on 
 the top on which the tablet of incense is placed ; on this 
 account the old incense-burners in collections sho^v no 
 marks of fire on the lower part, although begrimed with 
 smoke above and underneath the lids. They are used 
 occasionally as clove-boilers {clwji-huro) to perfume the 
 room with the aromatic odor of cloves. 
 
 A small earthenware hand brazier (shiti-rd) is used for 
 warming the hands, which is usually pear-sha23ed, with 
 an aperture in the side, and is modeled in many quaint 
 forms. A small charcoal burner of pottery is fitted inside 
 the iabakii-bon or portable tobacco-box, from which the 
 smoker lights his pipe, a miniature Jar of cylindrical 
 shape. 
 
 The objects intended for use on the writing-table are 
 generally fashioned after Chinese models, and we find 
 similar cylinders for holding the brushes, vases for water 
 to dip them in, brush-rests and ink-rests, paper-weights 
 of varied design, and small screen pictures mounted on 
 stands, miniature water-droppers for the ink-pallet, boxes 
 for the vermilion used for seals, small flower-vases, etc. 
 
 The flower- vases Qiana-ike) form a large class. Some 
 are adapted to stand upon the shelves of the recessed 
 alcove of the living-room, known as the tohonoma, others 
 to hang against one of the pillars, or to be suspended by 
 cords from the ceiling. These last are fashioned in all 
 kinds of designs, a gnarled branch of a fir-tree or a 
 jointed section of bamboo, a bunch of wistaria-blossom,
 
 696 ORIENTAL CERAMIC ART. 
 
 an old pine-cone, a gourd, a firefly, or a swallow beating 
 against tlie wall. Among ornamental pieces (ohimond) 
 made by the artist potters there is another long series of 
 figures of men and animals and other forms generally 
 taken from Nature. 
 
 Teapots and cups for ordinary tea-drinking, sake ket- 
 tles, bottles, and cups, water-bottles, and other domestic 
 articles, were also made by celebrated artist potters ; but, 
 as a rule, such articles as these, being for general use, 
 have been produced in the way of trade by less renowned 
 potters ; the great majority of domestic utensils for table 
 use are made of lacquered wood. 
 
 With reoard to the multitudinous modes of decoration 
 of Japanese porcelain, the subject motives of the pictures, 
 sacred and profane, and their relations to the art of 
 China and of the farther west, the w^orks on Japanese 
 art are so many, and generally so well illustrated, that a 
 short sketch of the bibliography may be the best way of 
 directing inquirers to the available sources of informa- 
 tion. The expedition of Commodore Perry in 1853, 
 and the treaty negotiated by him on behalf of the United 
 States, opened Japan to foreign intercourse, but it was 
 mainly by means of the great international expositions 
 that its wealth in art treasures was made known to the 
 outer world. The first collection was made for the Lon- 
 don International Exhibition of 1862 by Sir Kutherford 
 Alcock, Avho was then British minister to Japan, the au- 
 thor of the Capital of tJie Tycoon, an illustrated narrative 
 of a three years' residence in Japan (two volumes, 1863), 
 and also of a small volume on Japanese art industries.* 
 More comprehensive collections were sent to Paris in 
 1867, and to Vienna in 1873, under the direction of the 
 Japanese Government, who appointed special commis- 
 
 * Art and Art Industries in Japan. By Sir R. Alcock, K. C. B. 8vo. 
 London, 1878.
 
 CERAMIC ART IN JAPAN. 697 
 
 sioners to represent tLem. Mr. W. T. Walters was offi- 
 cially connected with the Vienna Exposition, and availed 
 himself of this occasion of acquiring an interesting 
 series of objects of Oriental porcelain sent from Persia 
 by Prince Ehtezadesaltanet, an uncle of the Shah, of 
 which some of the Chinese pieces with Persian mounts 
 of chased metal have been illustrated in these pages. 
 
 A still more important display of Japanese ceramic 
 art appeared in 1876 at the Great Centennial Exposition 
 at Philadelphia, and there is a certain amount of authen- 
 tic information on the ceramic industry to be gathered 
 from the catalogue,* although the details are not so full 
 as in the official catalogue of the Exposition Universelle 
 of 1878 at Paris, which was also published under the 
 direction of the Imperial Japanese Commission, and to 
 which reference has already been made. It gives a 
 sketch of the history and technique, with lists of the 
 various materials with their Japanese names, that are 
 used at the different factories, and is a fund of exact 
 knowledge. The display of Japanese porcelain in the 
 Chicago Exposition of 1893 that was admitted into the 
 fine-art section was chiefly remarkable for showing some 
 indications of a recent renaissance in the art. The chief 
 representatives of the new school, according to the offi- 
 cial catalogue, are Seifu, Kozan, and Takemoto. Seifu 
 Yohei of Kyoto is placed in the very foremost rank of 
 Japanese potters, whether of ancient or modern times, and 
 called the Yeiraku of the Meiji era. His chief special- 
 ties are celadons, ivory-white and coral, but he also pro- 
 duces Jewelry ware showing vitrifiable enamels as pure 
 and brilliant and as perfectly applied as the best work 
 of former days, and canary-yellow glazes with reserved 
 
 * International Exhibition, 1876. Official Catalogue of the Japanese Section and 
 Notes on the Industry of Japan. Philadelphia : Published by the Japanese 
 Commission, 1876.
 
 698 ORIENTAL CEEAMIC ART. 
 
 designs in rich blue of tlie K''ang-hsi type. Miyakawa 
 Kozan, better known as Makuzu, has his kiln at Ota, in. 
 the suburbs of Yokohama, and there is hardly anything, 
 in old Chinese ware that he can not reproduce. The 
 astute Chinese dealer is said to inclose Kozan's peach- 
 blooms, for example, in the traditional silk-lined box of 
 his countiy, and to sell them to trustful Occidentals 
 at figures commensurate with the magnitude of the 
 deception. The greatest success of the third potter,, 
 Takemoto Hayata, a resident of Tokyo, is declared to 
 have been his copies of the ancient Chien Yao, of the 
 Simg dynasty, characterized by a glossy black glaze,, 
 sometimes showing tints of raven's-wing green, striated 
 with hairlike lines of silver and dappled with golden, 
 brown, which he mounted with silver rims in traditional 
 fashion, but which, judging from the description, must 
 have far outshone the originals. In addition to these 
 three, Higuchi Haruzane is easily first among the Hirada 
 potters of the present day. He is distinguished espe- 
 cially for his success in the Chinese "rice-grain" per- 
 forated work of the last century. 
 
 The vase which was exhibited at the time as his mas- 
 terpiece is now in the Walters Collection, and is illus- 
 trated in Fig. 318. It is a beaker-shaped vase (liana-ike)^ 
 nine and a half inches high, with a bulging body of 
 depressed globular form on a circularly rimmed foot, and 
 a wide neck spreading in a graceful curve into a slightly 
 flaring mouth. The decoration is painted in three 
 shades of uuderglaze cobalt-blue of soft tones, contrast- 
 ing admirably w^ith the milk-white surface of the piece, 
 and this again throws out effectively the pale-green, 
 waxlike translucency of the glaze with which the pierced 
 designs on the neck of the vase are filled. Three kylin 
 {cKi-liii) are displayed on the body in darker and lighter 
 shades of blue, drawn in the traditional Chinese style^.
 
 CERAMIC ART IN JAPAN. 699 
 
 with the bodies of deer, unicorn dragon heads and flow- 
 ing tails, and with flames proceeding from their shoulders 
 indicative of their supernatural origin. A ring of orna- 
 mental fret encircles the foot of the vase, and a band 
 of paulownia sprays of conventional design winds round 
 the base of the neck. The pierced designs on the neck 
 represent two phoenixes coiled in medallions underneath 
 a fringe of scrolled clouds. The mark penciled under- 
 neath in blue in two columns of the tiniest characters 
 reads, Bai-hwa do Go Hei sei — i. e., " Made by Go Hei 
 of the Plum Blossom Hall." 
 
 To the Centennial Exhibition at Philadelphia we owe 
 the representative series of the olden ceramic wares of 
 Japan which is now in the South Kensington Museum, 
 having been transferred at the close of the exhibition in 
 accordance with an arrangement previously made with 
 the Japanese authorities, as explained in the catalogue * 
 which forms one of the museum art handbooks. A still 
 more valuable selection is contained in the special Franks 
 Collection, which was first exhibited on loan for some 
 years at the Bethnal Green Branch Museum, when the 
 catalogue f which has been so often quoted was issued. 
 The collection, with many additions made since the pub- 
 lication of the catalogue, is now in the British Museum, 
 having been presented by Sir Wollastou Franks, K. C. B., 
 the accomplished collector and curator. 
 
 The first large special work on the subject published 
 in Europe was the ponderous and gorgeously illustrated 
 Keramic Art of Japan^X in which the more ornate vari- 
 eties of the decorated wares are reproduced in colors. 
 
 * Japanese Pottery. Being a Native Report, with an Introduction and 
 Catalogue. By A. W. Franks. 8vo. London, 1880. 
 
 I Catalogue of a Collection of Oriental Porcelain and Pottery lent for Ex/iibi- 
 4ion hy A.. W . Fr&nks. Second edition. 8vo. London, 1878. 
 
 I Keramic Art of Japan. By G. A. Audsley and J. L. Bowes. Folio, 1878, 
 1879. Imperial 8vo. London, 1881.
 
 700 ORIENTAL CERAMIC ART. 
 
 But in tliis, as the authors confess afterward, " some 
 quite modern works of Ota ware and Shiba decoration 
 were described as old Satsuma," although some of the 
 errors were corrected in the large octavo edition of the 
 book which was published later. Uniform with this is 
 the volume on Marhs and Seals,^ by one of the joint 
 authors of the Keramic Art, which is a valuable com- 
 pilation, as the marks are given in exact facsimile^ 
 although not always correctly deciphered. The same 
 industrious author has also published a special work on 
 Enamels,^ and, more recently, another large illusti'ated 
 volume of 576 pages on Japanese Pottery % with a de- 
 tailed description of the productions of the different 
 kilns, followed by interesting notes on the chief motives 
 of decoration. 
 
 The art of Japan has been studied with much success 
 during recent years in America as well as in Europe, its 
 chief exponents being M. Louis Gonse in France, Mr. 
 William Anderson in England, and Professor Fenallosa 
 in the United States. The large work § of M. Gonse, 
 which is a veritable edition de luxe, is enriched by a 
 chapter entitled £tude snr La Ceramique, by M. J. Bing, 
 a well-known authority on the subject, who was good 
 enough to go through the Walters Collection with me 
 one day, with much profit to myself. A small handbook 
 by M. Gonse was issued in Paris in the following year, 
 under the same title of L^Art Japonais, as one of the 
 volumes of the BihliotTieqne de V Enseignement des Beaux- 
 Arts, with a section on La Ceramique which gives such 
 an excellent and succinct view of the artistic side of the 
 
 * Japanese Marks and Seals. By J. L. Bowes. London, 1882. 
 
 f Japanese Enamds. By J. L. Bowes, printed for private circulation, 1884, 
 and published in London, 1886. 
 
 X Japanese Pottery . With Notes on its Decoration and Illustrations from the 
 Bowes Collection. By J. L. Bowes. Liverpool, 1890. 
 
 § L 'Art Japonais. Par Louis Gonse. 2 vols. gr. in 4to. Paris, 1885.
 
 CERAMIC ART IN JAPAN. 701 
 
 industry that it lias been translated and reproduced in 
 the next chapter. 
 
 The excellent work of the German Professor J. J. Rein 
 may also be referred to for notes on the technique of the 
 ceramic industry taken on the spot. An English edition* 
 has been published in London, as Avell as one of the 
 general work by the same author on Japan. These two 
 works are the result of several years of travels and 
 researches in the country undertaken on behalf of the 
 Prussian Government. 
 
 The native literature of Japan upon the subject of 
 ceramic art is not so extensive as of China, partly because 
 in the latter country it has been more directly fostered 
 by the state, since the imperial manufactory was founded 
 at Ching-te-chen in the beginning of the eleventh cen- 
 tury, whereas in Japan the development of the industry 
 was left to private potters under the patronage of the 
 feudal nobles, who were wont to keep their methods to 
 themselves with the utmost secrecy. The first precise 
 details of the porcelain manufacture in Japan "were pub- 
 lished in 1856, as an appendix to Julien's book on Chinese 
 Porcelain, iii a short article on Imari-yaki, translated by 
 Professor J. Hoffmann, of Leyden, from an encyclopaedia 
 of the productions of the country printed in five volumes 
 at Osaka in 1799. Among the older books the one most 
 frequently quoted is the Man-po zen-sho, a general book 
 on art subjects in fourteen volumes, published in 1694. 
 A valuable recent record of the arts is the Kbgei Sliirio, 
 a compilation from older w^orks by Kurokawa Mayori 
 and Murayama, published in 1878, which is said to have 
 formed the basis for the government reports issued by 
 the commissioners of the international expositions already 
 referred to, and of most of the essays published in 
 
 * The Industries of Japan. By J. J. Rein, Professor of Geography in the 
 University of Bonn. London, 1889.
 
 V02 ORIENTAL CERAMIC ART. 
 
 Europe. Mr. Bowes says, in the j^reface to his Japanese 
 Pottery : 
 
 "I have availed myself of this work for much of what 1 have 
 written about the earlier wares, witli which it chiefly deals; l)ut it 
 is singularly deficient in information about the brilliant develop- 
 ment of the artistic taste of the country which occurred under the 
 rule of the Tokugawa fainil}^ during the seventeenth and eight- 
 eenth centuries, when, without a doubt, the most exquisite exam- 
 ples of Japanese art were produced." 
 
 The same strictures might be applied to the illustrated 
 work ou pottery (tdhi) by Ninagawa Noritane, the late 
 archaeologist of the museum at Tokyo, which has been 
 quoted as the special native work on the subject, and 
 which has been partially and somewhat impei'fectly 
 translated into French. This forms Parts II to V of 
 the Kwam ho dzu setsu, " Illustrations of Antiquity, with 
 Plates and Descri^^tions," Part I being devoted to city 
 walls and fortifications, accompanied by photograj^hs, 
 and it was published in the tenth year of Meiji (1877). 
 If one turns, for example, to the section ou Satsuma 
 Yaki in Part III, one finds three specimens illustrated ; 
 one of these three (Fig. 25) is a narrow-necked vase 
 (tsifbo) of archaic form, ornamented with only a few 
 parallel rings round the gloljular body, and coated with 
 a green glaze, guttering below so as to leave an inch or 
 more of russet-colored paste exposed ; the other two 
 (Figs. 26, 27) are plain tea-jars (clia-ire) with small 
 loop handles, invested with yellowish-brown and dark- 
 brown glazes, the copper-colored feet of which are figured 
 separately to show different forms of the itoguiri or 
 concentric thread-marks. One would think that deco- 
 rated Satsuma hardly existed for the Japanese archae- 
 ologist, who, however, figures an interesting rice-bowl 
 of old Kutani ware in Part V, Fig. 74, and a more
 
 CERAMIC ART IN JAPAN. V03 
 
 modern teacup of decorated Awaji crackled ware in 
 Fig. 30, tlie last plate of bis woi-k. 
 
 The latest book * from a Japanese hand has recently 
 been published in Paris, as one of the volumes of the 
 Petite Bihliotlieque d''Art et d'' Archeologie, piihliee sous 
 la direction de M. ICaempfen, Directeur des Musees 
 nationaux et de VJ^cole du Louvre. It is a compilation 
 from native sources, with the names of the authorities 
 generally appended to the quotations, and more care has 
 been taken with the dates than is the case with some 
 other Japanese books — the native report on which the 
 South Kensington Catalogue is based, for example. The 
 ceramic wares are arranged in tabular form according to 
 the places of production in the diffe^'ent provinces, with 
 the names of the first makers, when known, their dates, 
 and a sketch of their principal productions. The table, 
 with a few modifications of what seemed to be misprints, 
 and slight changes in transliteration, is given here (see 
 the next page), as a most useful summary of the indus- 
 try. The book takes the form of notes attached to the 
 Leadings of the table. The author's methods may be 
 gathered from a translation of his account of the Raku 
 ware of Kyoto : 
 
 "Raku-Yaki. — Tlie Raku-Yaki, one of the varieties of the Kyo- 
 Yaki, owed their origin to a Korean, a naturalized Japanese, of the 
 name of Anieya Yeisei (1504-1520). After his death his widow 
 continued his industr}-, becoming at the same time Ama ('bonzesse' 
 or Bnddliist nun), and lier ware was consequently given the name 
 of Ama-Yaki. Choyu, their son, made here, after a model given 
 to him by Senno Rikiu (1517-1591), the celebrated chajin who 
 reformed the code of the tea ceremonies, some cups with a black 
 glaze for Ota Nobunaga (1533-1582), who was then the real head 
 of the Shogun's Government, In the sixteenth year of Te)isJw 
 
 * La Ceramique Japoi^aise. Les principanx centres de fabrication ceramique 
 au Japan. Par Oueda Tokounosouke ; avec une preface par E. Deshayes, 
 conservateur-adjoint au Musee Guimet. Paris, 1895.
 
 704 ORIENTAL CERAMIC ART. 
 
 (1588), llideyoslii, who had become dictator at the death of 
 Nobunagu, and is better known under tlie name of Taiko-Sama, 
 ordered him to .make a set of cups of a reddisli-black color, with 
 which he was so thoroughly pleased that he gave him a gold seal 
 inscribed with the character Haku, part of the name of the palace 
 of Ju-Raku at Kyoto, where Ilideyoshi was then residing. Cho3^u 
 marked with it afterward all his pieces. It is starting from thi& 
 period that the name of Rakii was given to the ware made by him 
 and by his descendants. His cups were called Raku-oha-wan. In 
 the period Keicho (1596-1014) the gold seal was replaced with 
 a common seal. 
 
 "The Raku-Yaki are composed of a white clay without resist- 
 ance; it appears red when it is coated exteriorly with a 3'^ellow 
 earth which becomes red in the kiln; it appears black when a glaze 
 is used in the composition of which enter pebbles from the Kamo- 
 gawa (Kyoto) reduced to powder. The Raku-Yaki consist only of 
 Tezukune (articles fashioned by hand), and were all made without 
 the help of the potter's wheel or of the mold. This is why one 
 finds among the pieces that infinite variety of form which justly 
 constitutes their superiority over similar articles derived from 
 other sources." 
 
 The following is the genealogy of the Raku. They 
 are all called by the personal name of Kichizayemon : 
 
 1. Chojiro choyu (f 1592). 2. Chokei (f 1642). 3. Doniu 
 (t 1657). 4. Ichiniu (f 1696). 5. Soniu (f 1716). 6. Saniu 
 (t 1739). 7. Choniu (f 1759). 8. Seitoku (f 1778). 9. Riyoniu 
 (end of eighteenth century). 10. Tanniu (beginning of nine- 
 teenth century). 11. Keiniu. 12. Kichizayemon, our contem- 
 porary. 
 
 The interest that has constantly been taken by the 
 ruling classes of Japan in the ceramic art is proved by 
 an appendix attached to M. Oneda's work, which is 
 entitled " Maecenases and Grand Personages who are 
 cited in the Foregoing Notes as having patronized the 
 Ceramic Industry." It is a chronological list extending 
 over eleven pages, beginning with the Emperor Yuriaku
 
 CERAMIC ART IN JAPAN. 705 
 
 (a. d. 457-476), who is recorded to have had earthenware 
 vases made for his own use at Fiishimi near Kyoto, and 
 ending with Senno Sohitsu, a master of the " Cha-no-yu," 
 who ordered, in 1864, services of utensils for the tea 
 ceremonies from Zoroku, a celebrated potter of Kyoto, 
 and. rewarded him with a new name beginning with the 
 same initial as his own.
 
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 CHAPTER XXVI. 
 
 A GENERAL SKETCH OF THE CERAMIC ART OF JAPAN.* 
 
 I. 
 
 . A MONGr all the arts of Japan, the ceramic art 
 JTJl. remained, down to the most recent times, the least 
 known to Europeans, and the one on the subject of 
 which the most erroneous ideas had become current. It 
 can not be said that this was because it had not already 
 attracted much attention. Considerably before the first 
 and timid essays of Albert Jacquemart there had been 
 long discussions about its history and about its pro- 
 ductions. Since the early part of the eighteenth cen- 
 tury collectors of Chinese porcelain have eagerly sought 
 for what was called in the lano-uasie of the dealers the 
 vieilles qualites du Japon. But, having started from the 
 outset upon a wrong track, it seemed that criticism w;a8 
 bound to be involved for an indefinite period in its 
 own errors. It required the thorough opening up of 
 Japan after the revolution of 1868, the points of contact 
 brought about by the great exhibitions of Paris, Vienna, 
 and Philadelphia, and the perseverance of two or three 
 collectors, to throw some light upon the real facts of the 
 ceramic history. 
 
 It is to M. Bing, the great Parisian importer of 
 Japanese objects, a scholar and at the same time one 
 
 *Thi3 chapter is a literal but slightly abridged translation of the article on 
 La Geramique in the manual of the Bibliotheqne des Beaux-Arts, entitled L' Art 
 Japonaia, by M. Louis Gonse, the author of the larger book witli the same 
 title referred to in the preceding chapter. It gives the latest views of the 
 accomplished author, and is a charming compendium of the subject from an 
 artistic point of view. 
 
 708
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 709 
 
 of the most distinguished of collectors — it is to the rigor 
 of his methods, to the patieuce of his inv^estigations 
 begun at Paris iu 1878, pursued iu Japau itself, and 
 continued without intermission during the formation of 
 one of the most beautiful and most curious collections 
 that could possibly be seen — that we owe the first and 
 true clearing up of the question. To-day, thanks to 
 him, one can say that the history of Japanese ceramics 
 is made, the canvas is sketched in solid outline ; it will 
 be possible certainly to fill in details, but not to modify 
 essential lines. 
 
 The study of the questions which touch on the history 
 and on the classification of the ceramic productions of 
 Japan would demand developments which neither the 
 nature nor the extent of this volume allow. I shall 
 content myself with a rapid sketch of the question, and 
 shall refer those who are more specially interested in the 
 subject to the fine and very complete study by M. Biug, 
 which I have published in full iu my large work.* 
 
 As I have said elsewhere, Japanese pottery occupies, 
 in the family of the ceramic art, one of the first places, 
 if not the first. I say purposely "pottery," for it is 
 principally by their work in earthy clays, upon which 
 the varied play of enamel colors produces the liveliest, 
 the most sumptuous, and the most unexpected effects, 
 that tiie artists of Nippon have proved their superiority. 
 It is sufficient to remark in general terms that hard 
 porcelain occupies a secondary rank in Japan when com- 
 pared with that of the soft clays, the faience, and the 
 ordinary pottery. The kaolinic productions of the 
 Japanese, perfect as they are occasionally as examples 
 of successful kiln- work, are only in reality more or less 
 clever imitations of the admirable porcelains of China. 
 Tlie Chinese are the ])orcelainiers par excellence, the 
 
 * L'Art Japonais. Par M. Louis Gonse. Paris: Quantin. 2 vols. gr. in 4to.
 
 710 ORIENTAL CERAMIC ART. 
 
 uncontested masters of kaolin. The Japanese are potters 
 without rivals. With the former the interest of the 
 decoration is often subordinated to the beauty of the 
 materials or to the excellence of the workmanship ; ^vith 
 the latter, on the contrary, it remains always the domi- 
 nant aim. The picturesque effect, the advantage to be 
 gained from the splendor, the transparency, and the 
 vivacity of the enameled glazes : these are the preoccu- 
 pations of the Japanese potter. A marvelous instinct 
 for the laws of decoration has revealed to the Japanese 
 the fact that pottery, with its forms, its resources, its 
 infinite methods, offered an incomparable field for the 
 development of their imagination. 
 
 A disregard of this fundamental character of the 
 ceramic art of Nippon has been one of the most serious 
 obstacles to Europeans in their study of its history. On 
 no other question has there been a greater number of prej- 
 udices to be uprooted ; a priori, it has been necessary on 
 almost every point to take a stand against preconceived 
 views. The Japanese porcelains which had been the 
 delight of our fathers, the dishes and the jars from the 
 factories of Imari and Arita, decorated in blue, or with a 
 decoration in blue, red, and gold — all those pieces called 
 old Hizen, Avith which the Dutch had inundated Europe 
 during the course of the seventeenth century — were in the 
 eyes of the pure Japanese only second-rate productions 
 intended for commercial export. Down to these later 
 years, the true ceramic art of Japan, that I shall call the 
 national ceramic art, has remained absolutely unknown to 
 Europeans. It was with difficulty that a few rare pieces 
 from Kyoto, known to collectors as vieux truitS, were 
 brought over with the lacquer that came from that city. 
 Among the centers of the ceramic industry we knew only 
 the least interesting, those least appreciated by the natives 
 of the country, and those least endowed with any per-
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 711 
 
 Bonal characteristics. It will be sufficient for me to 
 remark that the vast collections at Leyden, The Hague, 
 and Dresden, where Hizen pieces are to be counted by 
 thousands, do not offer for the visitor's notice a solitary 
 specimen from Kutani, from Kyoto, from Satsuma, from 
 Bizen, or from Owari — that is to say, not a single piece 
 to give him a glimjjse of the originality of Japanese taste 
 in ceramic matters. It is hardly credible, but it is so not- 
 withstanding. A stranger who knew nothing of Kouen, 
 of Nevers, or of Moustiers, or of the soft pates of Sevres, 
 would be in the same situation vis-d-vis France. The 
 worst of it is that these false opinions have the resistance 
 of the most obstinate prejudices ; it will require many 
 years still to make amateurs and dealers of the old school 
 understand that their empirical admirations have no value 
 from the Japanese point of view. 
 
 II. 
 
 The ceramic industry of Japan is divided, therefore, 
 into two thoroughly distinct branches : porcelain and 
 pottery. 
 
 The principal center of the porcelain manufacture is 
 the province of Hizen, where important deposits of kaolin 
 are found, especially on the skirts of the mountain of 
 Karatsu, which has in consequence given its name to the 
 primitive ceramic production of this province. The 
 pieces of Karatsu ware, dating back to the thirteenth 
 and fourteenth centuries, that I have had before me for 
 inspection, were of a barbarous type ; they were uni- 
 formly coated with a gray enamel, rather coai'se, thick 
 and always crackled, after the fashion of the Korean pot- 
 tery of which they are simply an imitation. 
 
 It was a potter of the name of Gorodayu Shonsui who 
 brought from China, about 1520, the elements of the
 
 Vl2 ORIENTAL CERAMIC ART. 
 
 making of porcelain. The village which rose up round 
 his first kiln took the name of Arita. There is every 
 reason to suppose that the pieces that came from the 
 hand of Shonsui were timid copies of Chinese porcelain, 
 probably of small dimensions and of blue and white. 
 His two pupils, Gorohichi and Gorohachi, were already 
 more skillful. The pieces of theirs that I have seen, and 
 notably a bowl decorated with sprays, after the Persian 
 style, in blue upon a finely crackled gray ground, testify 
 to progress in the art, which was already at its highest 
 point at the close of the seventeenth century. Kakiye- 
 mon introduced at Imari, in 1647, the art of decorating 
 porcelains by means of vitrifiable colors relieved with 
 gold (Fig. 389). The Dutch, established at Nagasaki, 
 gave a vigorous impulse to the new productions ; the 
 exportation rapidly increased and created an almost 
 inexhaustible source of riches for the Prince of Hizeu ; 
 the town of Imari became the principal center of the 
 manufacture, and Europe was literally inundated with 
 its productions. The finer pieces of Imari may possibly 
 rival in technical execution the works of the Chinese 
 ceramic artists, but their decoration is a little mouoto 
 nous. They are generally mere productions of the w^ork 
 shop, on which, with rare exceptions, the personal 
 invention of the artist is not apparent. The best known 
 type, with a decoration of chrysanthemums and j^eonies, 
 in blue, red, and gold, has been classed by Albert Jacque- 
 mart under the name oifamille chrysantlierao-fceoni&Rne. 
 This is essentially an article of commerce, exempt from 
 any element of the unforeseen. The pottei's of Delft, in 
 Holland, devoted themselves to the imitation of its gen- 
 eral characteristics. Another type, the peculiar inven- 
 tion of Kakiyemon, is of a more delicate order. The 
 creamy and soft white of the enamel plays the principal 
 role here. The decoration, fired in the muffle stove, is
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 713 
 
 composed generally of scattered blossoms, painted on 
 sparingly, of graceful birds, and of gardens with flowers, 
 which brinf out in its full value the exquisite finish of 
 the glaze. The paste is of the finest grain. It is from 
 the study of this type that the productions of Saxony 
 and of Chantilly were started. The pieces of this sort 
 have always been eagerly sought for by the aristocracy 
 of Japan. 
 
 In the course of the eighteenth century the same prov- 
 ince gave birth to the porcelain centers of Okawaji, of 
 Hirado, and of Mikawaji. The two last were particu- 
 larly devoted to the making of objects in pure wliite 
 without any decoration, or in blue and white (Fig. 391). 
 Fine pieces of Hirado are very highly esteemed. Their 
 white enamels have never, however, been able to attain 
 to the incomparable softness of the old white porcelains 
 of China. On the other hand, they excel the similar 
 Chinese things in the finish, variety, and grace of their 
 form. The incense-burners fashioned in the shape of 
 birds, pigeons, mandarin ducks, and other animals, or 
 of persons, are objects fit to figure in the most select of 
 collections. 
 
 Many potters of the other provinces have tried their 
 hands in kaolinic productions ; pieces of high artistic 
 interest and of great technical perfection have come from 
 the workshops of Kutani and of Kyoto ; but it is only 
 in the ceramic centers of Hizen that the art attained a 
 complete and continuous development. 
 
 III. 
 
 It is certain that the origin of pottery reaches back in 
 Japan to the highest antiquity. Japanese authors admit 
 generally that it was the ancient Korean productions of 
 Shiraki, Kudara, and Koma that supplied the first mod-
 
 714 ORIENTAL CERAMIC ART. 
 
 els for tlieir own indigenous productions. It is, on the 
 otlier Laud, no less certain that the primitive pottery of 
 Ja[)an 2)reserved during long centuries an absolutely 
 embryonic and barbarous character, approximating some- 
 what to the archaic pottery of the Troad and of Mexico. 
 In the fifth century kilns w^ere established in different 
 provinces ; but it is not till the seventh that we can 
 arrive at any precise indications. A Buddhist priest of 
 the name of Gryogi who had come from Korea and is 
 celebrated for the foundation of the temple of Todaiji, 
 where the treasures of the ancient emperors of Nara are 
 to be found preserved to the present day, gave a great 
 impulse to the ceramic industry ; he passes as having 
 been the inventor of the potter s wheel. A certain num- 
 ber of pieces made under his direction exist among the 
 treasures of the temple, and would give an idea of the 
 progress realized. One can also see in my work VArt 
 (Taponais (tome ii, page 249) the reproduction of a Gyogi 
 piece belonging to the magnificent collection of M. Bing. 
 
 The knowledge of the process of enameling dates in 
 Japan only from the ninth century. The first enameled 
 pieces called Seiji, AV'ith a glaze of neutral gray, recall the 
 ancient celadons. It is starting from this epoch that the 
 direct influence of China intervenes. 
 
 A curious fact to be noted is that the development 
 and progress of tjie ceramic industry in Japan coincide 
 precisely with the inti'oduction of the use of tea. The 
 necessity of obtaining vases w^ell adapted for the pres- 
 ervation of the pow^dered tea led the potters to decisive 
 researches. It is to a potter of the village of Seto, in 
 the province of Owari, that one owes the first tea-jars 
 called cha-ire, those little vases coated with beautiful 
 thick enamel colors, with ivory stoppers, which Japanese 
 amateurs keep tenderly wrapped up in silken cases in- 
 closed in double boxes. Toshiro had made the voyage
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 715 
 
 to China in tlie beginning of the thirteenth century. His 
 works, so ardently souglit by collectors, justify tlieir 
 reputation by the remarkably fine grain of their paste 
 and by their warm and harmonious glazes. The imme- 
 diate successor of Toshiro ^vas Tojiro. 
 
 In reality, all Japanese pottery is derived, when its 
 origin is traced back, from the first workshops of Seto. 
 Hence the consecration of the term setomono (Seto 
 articles or objects) to denote ceramic ware generally. 
 The productions of Seto dominate the ceramic industry 
 down to the beginning of the seventeenth century, the 
 moment of the appearance of Ninsei, an artist of genius, 
 who was the veritable creatoi* of the national ceramic 
 art, and who even down to the present day remains the 
 greatest ceramiste that Japan has ever produced. 
 
 The three elements, Chinese, Korean, and Japanese, 
 are blended together in him ; and from their union 
 springs an original art armed at every point, the national 
 art, in one 'svord. An admirable logic, a powerfully 
 inventive spirit, a refined and exquisite taste preside 
 over the work of Ninsei. Not only does he invent and 
 bring to perfection the technical details, but he frees the 
 decoration little by little from Chinese conventionalities 
 a,nd endows it with grand ornamental laws after the 
 Japanese genius. He creates, so to speak, fundamental 
 forms of objects so perfectly adapted to their destination 
 that they have remained in current use ever since. The 
 work of Ninsei is marked with a popular character ; it 
 flows from an inexhaustible and charming fancy. His 
 researches opened up for his successors the boundless 
 field of polychrome decoration by means of vitrifiable 
 colors. 
 
 Ninsei was a native of Kyoto. The date of his birth, 
 as I have already said, is not known pi-ecisely, but it 
 must have been during tlie last quarter of the sixteenth
 
 716 OEIENTAL CERAMIC ART. 
 
 century. He worked during the whole of tbe first half 
 of the seventeenth century, and died about 1660. 
 Before he devoted himself to the ceramic art he had 
 already acquired great renown as- a painter. He traveled 
 in succession through different provinces of Japan, and 
 visited the principal ceramic centers ; but it was at 
 K3^oto that he established his domain and founded there, 
 in the suburbs of Kyomidzu, Avvata, Mizoro, Seikanji^ 
 Otawa, etc., his kilns, the chief of which exists down to 
 the present day, and still carries on his traditions. It is 
 to Niusei, and to Ninsei alone, that the glory belongs of 
 having made of the ancient capital the most energetic 
 and the most brilliant center of the ceramic art. 
 
 The works of Ninsei offer examples of the most varied 
 styles ; it seems as if each piece which came from his 
 hand were the fruit of a j^ai'ticular stroke of invention, of 
 a careful study of the art. The most popular creation of 
 Ninsei is that of a pottery with a fawn-colored, finely 
 crackled glaze, decorated with flowers in which blue and 
 green enamels enhanced by gold predominate. This^ 
 industry, which is carried on at the present time in the 
 suburbs of Kyoto, principally at Awata, at Kyomidzu 
 and at Iwakura, is known to us under the general name 
 of "old Kyoto" ware. There are no ceramic produc- 
 tions that I prefer to it ; only the suj^erb faiences of 
 Persia appear to us capable of rivaling these pieces in 
 harmony and brilliancy. It is hardly necessary for me 
 to remark that authentic works of the great ceramic 
 artist are of extreme rarity. Care must be taken not to 
 confound with them the many pieces of later date which 
 bear his seal, and which are only the productions of his 
 workshop. The ancient specimens are recognized by the 
 fine texture of the paste, by the neatness and suppleness- 
 of the outline, by the warm transparency of the glaze,, 
 and by the opalescent reflections of the enamels.
 
 GENERAL SKET(^II OF CERAMIC ART OF JAPAN. 717 
 
 The teachiiio-s of Ninsei had the most fruitful results. 
 Two artists of great renown, Kinkozan and Kenzan, made 
 Kyoto illustrious at the close of the seventeenth century. 
 
 The type created by Kinkozan is very remarkable ; it 
 is a nearly black " biscuit " of a very close and veiy 
 homogeneous texture, which sei'ves as a ground for enam- 
 els laid on in regular designs of marked relief, the prevail- 
 ing color being a dark blue, discreetly interspersed with 
 yellow, white, and green. 
 
 Ogata Kenzan, who lived from 1663 to 1743, was the 
 younger brother and pupil of the celebrated lacquer- 
 painter Koriu. His works are distinguished by an ex- 
 traordinary freedom in the decorations, laid on in large 
 masses, of powerful tone, among which emerald greens 
 give nearly always the predominant note with their 
 glowing reflections. They show "svell all the advantage 
 that can be gained from a simplification of the deco- 
 ration. With Kenzan this apparent artlessness is only 
 the result of profound technical skill. His fine pieces 
 are able to compete in the eyes of amateurs with those of 
 Ninsei. The originality of the forms, of the methods, 
 and of the designs is no less great. The sense of color is 
 even superior in Kenzan. From the standpoint of a full, 
 vibrating, and harmonious richness of enamel coloring, he 
 still remains without a peer. The matei'ial of Kenzan's 
 pieces is usually rather coarse, or at any rate light and 
 friable, and is consequently very inferior to that of Nin- 
 sei's ; their value consists in the splendid vesture with 
 which the artist envelops them. The originals can be 
 distinguished at a glance by a transparency and delicacy 
 in the enamels which no copyist has been able to imitate. 
 
 At the close of his life Kenzan migrated to Yedo, where 
 he founded the kiln of Imado. As M. Bing has very 
 justly observed, this ware presents beauties of a differ- 
 ent order, and constitutes a very marked evolution in
 
 718 ORIEISTAL CERAMIC ART. 
 
 tlie research of color effects. In the place of the neutral 
 grounds on which liis brilliant sketches were first dis- 
 played, we have here luminous glazes of a highly vitreous 
 composition which enhanced the bold freedom of the 
 coloring. 
 
 Parisian collections contain very beautiful and very 
 numerous examples of the different styles of Kenzan's 
 ^vork. 
 
 The history of the Kyoto factories gives us next the 
 names of Ogata Shuhei, who distinguished himself in the 
 modeling of little figures full of life and spirit ; of Moku- 
 bei and Kokubei, skillful in the finish of small miniature 
 objects, of boxes in the shape of animals for pei"fumes or 
 unguents ; of Dohachi ; and lastly of Yeiraku, the most 
 astonishing 'pasticlieur that the ceramic art has produced. 
 Yeiraku is in truth a surprising practitioner. His bowls 
 for the preparation of tea ai"e marvels of decorative inge- 
 nuity and of technical perfection. He is the last of the 
 great ceramists whose works are worthy of exciting the 
 passion of collectors. 
 
 Let us cite, in conclusion, among the special produc- 
 tions which have remained apart, away from the influence 
 of Ninsei or of Kenzan, the pottery of Raku, with mono- 
 chrome glazes becoming generally red or orange, blend- 
 ing with very friable pates, and the miniature figures in 
 terra-cotta of Ikakura Goyemon which are the Tanagra 
 of Japan. 
 
 Outside the province of Hizen, the only kilns in which 
 porcelain, properly so called, has been produced in at all 
 ancient times are those of Kaga. The center of the indus- 
 try, founded in the middle of the seventeenth century by 
 a potter named Goto Saijiro, who had gone and found 
 out the secrets of the manufacture at Arita, is found in a 
 locality called Kutaui. But the productions of Kutani 
 have never had, like those of Arita, a commercial charac-
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 719 
 
 ter ; they were destined for the Prince of Kaga, for the 
 Shogiin, or for some of the celebrated cliajin. This is 
 what explains their great rarity and the high price that 
 they have alwa3's I'etained. They deserve, moreover, in 
 all regards, their celebrity. An artist of the school of 
 Kano, of the name of Morikage, was the inventor of the 
 artistic decoration at Kutani, and freed it from archaic 
 imitations. 
 
 At the end of the seventeenth century the art had 
 acquired a definite character which it has never since 
 lost. The type is well known ; its beauty resides in the 
 almost exclusive play of three tones of enamel color, 
 the effect of which in combination is admirable — green, 
 yellow, and violet. Fine pieces of Kutani, with their 
 thick and translucid glazes, have a brilliancy which can 
 vie with that of real jewels. The association of these 
 three colors, the intensity of which is multiplied by the 
 transparency of the glaze, produces upon the eyes a 
 voluptuous sensation, as it were, at least equal to that of 
 certain pieces of old Kyoto, Even the jlamhes of China 
 would almost pale before picked specimens of Kutani. 
 
 But of all the branches of the ceramic art of Japan, the 
 most celebrated, perhaps, is that of the faience of Sat- 
 suma; it is the one best kno^vn in Europe, thanks to the 
 productions imitated or painted with overglaze decora- 
 tions at Tokyo which have flooded our markets fraudu- 
 lently ticketed as Satsuma. All of those large vases, 
 flower-receptacles, and dishes of gorgeous aspect, loaded 
 with gold in relief, were for a long time taken for 
 authentic Satsuma. At first the dealers all became 
 enriched by this easy commerce, selling for a thousand 
 francs at Paris what they had paid fifty for at Yokohama. 
 The secret has been pretty well kept, so that even to- 
 day a number of people allow themselves to be taken in. 
 The pieces that came out of the Tokyo workshops are
 
 720 ORIENTAL CERAMIC ART. 
 
 at the same time extremely brilliant, and lend themselves 
 with marvelous effect as adjuncts in the furnishing of our 
 rooms. The best are made at Satsuma and decorated at 
 Tokyo ; these have a certain value in themselves. 
 
 One can lay down the general rule that all the pieces 
 that have come out of the prince's factory at Satsuma are 
 of small dimensions. One of the largest that is known 
 is the incense-burner in the form of a cat, executed about 
 1780, presented by the Prince of Satsuma to the Prin- 
 cess Tayasu-Tokugawa, and acquired since and brought 
 to Paris by M. Wakai. This classic specimen of Sat- 
 suma presents to us, like all the other pieces made for 
 the use of the Daimyos and of the Shoguns, a very dense 
 pate of extremely fine texture. The glaze, in play of 
 color, ranges from creamy white to the gilded tones of 
 old ivory ; upon this harmonious and soft ground, lightly 
 crackled, stand out enamels of tender and airy color, in 
 marked relief, in the midst of which shades of dead gold 
 marble blend with the most delicious effect. As M. 
 Bing has remarked, old Satsuma has the properties of 
 jewelry fully as much as of ceramic ware. 
 
 This artistic pottery owes its origin to the expedition 
 which the famous Taiko Hideyoshi made in Korea. It 
 is Prince Shimadsu Yoshihisa who brought back from 
 that country, in 1598, seventeen families of ceramic 
 workmen whom he established in the village of Nawa- 
 shiragawa. At first they contented themselves with 
 copying the Korean productions with a gray glaze, orna- 
 mented with regular designs in black or brown. It is 
 only from the beginning of the eighteenth century that 
 the delicately and niinutely crackled faience that has 
 become so renowned under the name of Satsuma dates, 
 and the first decoration of this was designed by potters 
 summoned from Kyoto for the purpose. 
 
 Apart from the production of this type the kilns of
 
 GENERAL SKETCH OF CERAMIC ART OF JAPAN. 721 
 
 this province attempted also monochrome pieces, which 
 j)resent no decoration other than the exquisite colors of 
 their glazes. These exceptional productions are of the 
 greatest beauty and of the greatest rarity. 
 
 Among the other centers formed by the Korean 
 potters of 1598, or sprung directly from their influence, 
 it is necessary to mention the kilns of Yatsushiro, Agano, 
 Takatori, Odo, Hagi, Idzumo, Tamba, and Zeze, each of 
 which, in its own style, has produced some remarkable 
 types. 
 
 The potteries of Owari, illustrated by the ancient kiln 
 of Seto, had little by little fallen into decadence ; we see 
 them rise again for a moment in the seventeenth century 
 under the influence of two eminent artists, Shino and 
 Oribe. Their works present a character of remarkable 
 grandeur and simplicity. Shino has modeled statuettes 
 decorated in enamels of the grand feu which attest his 
 profound knowledge of sculpture. 
 
 The stoneware (gres) of Bizen are productions apart, 
 and their sj^ecial character does not attach them to any 
 of the types of which I have just been speaking. The 
 origin of these productions is purely Japanese, without 
 any trace of foreign influence, and appears to mount up 
 to the highest antiquity. The fine productions of this 
 princely faVjric, especially those of the seventeenth and 
 eighteenth centuries, are particularly appreciated by 
 European amateurs. The baking of the j^^ste of the 
 Bizen ware is effected by a very violent fire, Avhich 
 imparts to it a beautiful brownish red and covers it, by 
 the fusion of the vitreous particles, with a sort of metallic 
 glaze. Bizen pieces bear no other decoration ; they are 
 generally personages or animals modeled with singular 
 power. The center of this industr^^ has been for cen- 
 turies past fixed at Imbe. 
 
 It is necessary to add to the list of these principal
 
 722 OEEENTAL CERAMIC ART. 
 
 centers of the industry the names of those of less 
 antiquity, or less importance, of Soma (province of 
 Iwaki), of Akahada (province of Yamato), of Minato 
 (province of Idzumi), of Awaji, made illustrious in the 
 last quarter of the eighteenth century by a skillful and 
 ingenious artist of the name of Mimpei. 
 
 Some potters have practiced their art in an altogether 
 independent fashion, and have created kilns which have 
 disappeared immediately after their death. Such a one 
 is the old Banko, a pupil of Kenzan, who established 
 himself at Kuwana, in the province of Ise, and produced 
 there works of masterly skill and originality, often rival- 
 ing those of his preceptor. Such, again, is the celebrated 
 lacquer-painter Ritsuo, whose incrustations of faience 
 upon lacquer rank among the rarest and most precious 
 objects that Japan has ever produced. Such, finally, is 
 Koren, the lady modeler in clay, who is still living, and 
 whose works, instinct with spirit, are highly esteemed in 
 Europe. 
 
 Toshiro, Gorodayu Shonsui, Kakiyemon, Ninsei, Shino, 
 Kenzan, Banko, Kinkozan, Yeiraku, and Mimpei, these 
 are the names it is important to remember as dominating 
 the whole history of the ceramic art in Japan. 
 
 Modern productions are only a more or less adroit 
 imitation of the types created by those great artists. 
 The technical skill is always extremely high, of which 
 the elegant pottery wares of Kyoto, and the Kutani, Sat- 
 suma, and Imari pieces of modern days are a proof. The 
 current industry yields still to commerce some charming 
 productions, of exceptional cheapness when compared 
 with our own ; but it creates and invents no longer any- 
 thing that is worthy of comparison with the art-work of 
 the finest epochs. 
 
 1
 
 CHAPTER XXVII. 
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. OWARI POT- 
 TERY AND PORCELAIN. KYOTO WARES. HIZEN PRODUC- 
 TIONS : OLD IMARI PORCELAINS, HIRADO BLUE AND 
 
 WHITE, ETC, SATSUMA FAIENCES, KUTANI OR KAGA 
 
 WARES. 
 
 I. OWARI. 
 
 THE collectors of Japanese ceramic wares and the 
 writers on tlie ceramic art of Japan may be divided 
 broadly into two schools. The one school is devoted to 
 the archaic and rustic potteries, coinciding in their views 
 with native connoisseurs, who prefer antique simplicity 
 and quaint originality of design to any other qualities. 
 Tlieir claims have been ably urged by an enthusiastic 
 advocate in the preceding chapter. The other school is 
 more attracted by the artistic decoration and harmonious 
 coloring of some of the old Hizen porcelains, by the sub- 
 dued tones and technical finish of the Hirado blue and 
 white, and by the soft shades of the enamel colors of 
 decorated Satsuma faience enhanced by the finely 
 crackled background on which they are displayed. The 
 latter school is fully justified by the beautiful specimens 
 of these classes exhibited on the shelves of the cabinets 
 in the Walters collection, as may be seen by the examples 
 which have been selected for colored illustration in these 
 pages. 
 
 The wares will be noticed in the order of the " Table 
 of the Principal Centers of the Ceramic Industry " given 
 on pages 706 and 707. The list is too long to allow of 
 a discussion of all the different kilns in the limited space 
 
 723
 
 724 ORIENTAL CERAMIC ART. 
 
 available here, so that reference will only be made to 
 those represented in the illnstrations. For the rest, one 
 may refer to the books the titles of which have been 
 given in the bibliographical section of Chapter XXV. 
 
 The first province in the list is that of Owari, which is 
 one of the earliest seats of the industry, and which was 
 so noted in early times that the name of its productions — 
 " Setomono " — has become a synonym for all kinds of 
 ceramic wares in Japan, in the same way as china with 
 us has become a common synonym for porcelains. It is 
 recorded in the official annals that three potteries of this 
 province were attached to the court of the Mikado in 
 816, and there are lists, under the years 905 and 1114, of 
 the articles of earthenware which were furnished at the 
 time for the use of the emperor. The first real progress 
 in the art is attributed to Kato Shirozayemon, a native of 
 the village of Seto, whose name is generally abbreviated 
 to Toshiro. He traveled to China in 1223, with a Bud- 
 dhist monk named Dogen, and stayed there five years, 
 studying the Chinese processes of manufacture. The 
 most highly appreciated ware at the tea-testing pai'ties 
 which were very fashionable in China at this time, as we 
 have seen, was the dark-colored pottery of the province 
 of Fuchien {Gliien Tz'u) flecked or dappled with lighter 
 spots, the tea-bowls of which were known to Chinese vir- 
 tuosos as " hare's-f ur bowls" or "gray partridge bowls," 
 from the spotted aspect of the glaze. These wei'e the 
 manufactories, no doubt, that Toshiro visited, and the 
 tea-bowls and jars for powdei-ed tea made in the kiln 
 which he set up in his native village after his return were 
 fashioned, after the pattern of the old Chinese pottery of 
 the Sung dynasty, of a reddish-brown stoneware coated 
 with dark chestnut-colored mottled glazes, sometimes 
 sprinkled, we are told, with flying yellow spots. His 
 successors lightened up the russet and bronze-colored
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 725 
 
 grounds with a translucent overglaze of golden }ellow, 
 or with viscid enamels of transmutation type wliicli 
 became streaked with hviWmut Jlcwihe tints as they gut- 
 tered down in the kiln over the surface of the jar, but 
 they always left part of the surface of the piece bare, so 
 that the perfect potting of the material might be appre- 
 ciated. Tea-jars (eha-ire) of a similar type were prodnced 
 in tnrn at the other kilns throughout Japan, and large 
 collections are made in the present day by the initiated, 
 who classify them with infinite pains according to the 
 texture and shade of coloring of the glazes, and according 
 to the microscopic structiu'e of the paste from different 
 localities examined with a magnifying lens. 
 
 Specimens of these tea-jars from different kilns are to 
 be found in Plates CXIV and CXV, and the coloi-ed 
 illustrations give an excellent idea of some of the differ- 
 ent forms, with their ivory lids, and of the varied coloi-ing 
 of the glazes, contrasted with the soft shades of the old 
 brocaded silk bags in which the little jars are wrapped. 
 The tea-jar in Plate CXIV, 3, is a ])roduction of the Seto 
 kilns in Owari which we are now discussino;. The water- 
 bottle (shahu-date) beside it (Plate CXIV, 1), made of a 
 similar brown stoneware of fine grain, coated with an 
 olive-brown glaze flecked with lustrous yellow spots and 
 overlaid with splashes of crackled oi'ange-yellow, is a 
 more recent production of the Fujina kilns in the prov- 
 ince of Idzumo, attributed to the beginning of the 
 nineteenth century. A marked improvement in the 
 manufacture here was due to a skillful potter named 
 Zenshiro, who, according to Oueda Tokonnosouke (loc. 
 cit, page 91), established himself at Fujina in the period 
 An-yei (1772-80), after an invitation from Matsudairo 
 Harusato, the daimyo of the province of Idzumo, and 
 made for him, after his designs, pottery for the clia-no-yiij 
 of which cult this prince was a great amateur. He was
 
 726 ORIENTAL CERAMIC ART. 
 
 succeeded liere in turn by Zenshiro II, Zenroku III, and 
 Zenroku IV, aud the fifth of the Hue, whose personal 
 name is Dentaro, is mentioned as still carrying on the 
 \vork in the present day. A tea-jar from the same kilns 
 of somewhat earlier date is exhibited in Plate CXV, 3, 
 and is described there. 
 
 The two tea-jars which are illusti'ated in the same plate 
 come from two other kilns, being specimens of Shigaraki 
 ware from the province of Omi, aud o"f Takatori ware 
 from the province of Chikuzen. The Shigaraki potteries 
 date from the Ko-an period (1278-87), but at first only 
 jars for storing grain and ordinar}"^ domestic utensils were 
 made, of a very hard, dense stoneware of grayish color 
 with a large admixture of sand, which is known as Ko- 
 Shigarahi, Ico meaning ancient. The first articles for the 
 cha-no-yu were made in the period Yei-sho (1504-20), 
 and the names of several of the celebrated masters of the 
 tea cult have been attached to varieties of this gray stone- 
 ware made under their instructions. In 1828, according 
 to the Franks Catalogue (loc. cit, page 41), the Shogun 
 of the Tokugawa family ordered the manufacture of tea- 
 jars called Koshishiro-TsuJceminii, since which the factory 
 has become still more noted for its jars, which are said to 
 preserve the flavor of the tea remarkably well on account 
 of the peculiarly hard, impervious quality of the j^wfe. 
 
 The Takatori-yaki is yet more famous. In Captain 
 Brinkle3^'s words : 
 
 " If popularity be any criterion of excellence, the first place 
 among the achievements of Taiko's imported artisans belongs to 
 the ware made by Shinkuro and Hachizo (natives of the ceramic 
 district of Ido in Korea) at Takatori in the province of Chikuzen. 
 Their earliest productions were after the Korean style, having 
 only one thin coat of diaphanous glaze, but subsequently, with the 
 assistance of Igarashi Jizayemon, a skillful potter of Seto, they began 
 to imitate the Chinese fiambe, glazes, and succeeded so admirably
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 727 
 
 tliat their pieces wei-e unanimously pronounced the chefs-d''c/eicvres 
 of their times (1624-44). Something of tiiis esteem was no doubt 
 won for tliem b^' the patronage of the celebrated art critic Kobori 
 Masakadzu, Earl of Yenshiu, who at the request of Tadaynki, 
 Duke of Chikuzen, instructed * Shinkuro and Hacliizo in the 
 shapes and technical details of the pottery which best accorded 
 with the aesthetic code of the Tea Clubs, and afterward, selecting 
 certain of their best productions, gave them names indicative of 
 their peculiar merits. It is scarcely possible to overestimate the 
 value attaching to pieces distinguished by the approval of such an 
 amateur." 
 
 At a subsequent period of its history cleverly modeled 
 figures of mythological personages and imaginary animals 
 were turned out by the Takatori workshops for use as 
 incense-burners, alcove ornaments, and so forth, which 
 were coated with a thick, lustrous glaze of a jlarnhe 
 character, the general color being gray or buff passing 
 into green, chocolate, brown, or sometimes blue. The 
 large temple vase (Jiana-ike), eighteen inches high, shown 
 in Fig. 383, is of a more archaic type, being enameled 
 with a pale-green crackled glaze mottled with clouds of 
 olive tint, which only partially covers the surface, so 
 that the paste, of light-red color, is left unglazed round 
 the base. Outside the vase, modeled in slip in slight 
 relief, are the figures of three Buddhist saints, with 
 halos in the form of wide rings encircling their brows. 
 One is seated upon a rock in the attitude of meditation ; 
 another is elevating with both hands an alms-bowl, from 
 which a spiral column of water is ascending — the special 
 attribute of Ndgasena ; the third, apparently Vajra- 
 buddha, is leaning upon a long and knotted pilgrim's 
 staff. The mark stamped in an oblong panel is in- 
 
 * Hacliizo figures in our table as the founder of the Takatori factory. He 
 was the son-in-law of Shinkuro, according to Mr. Oueda, wlio says that it was 
 Hachizo and his son Hachiyemon who were sent by the dainiyo to receive the 
 orders of Masakazu in the period Kwaiujei (1624-43). According to him, the 
 principal glazes of the Takatori-yaki were white, light blue, and ash-colored.
 
 728 ORIENTAL CERAMIC ART. 
 
 scribed Taka (short for Takatori), iu a circle, and 
 Arashi Tanemune^ the uame of the potter. 
 
 To return to the province of Owari : One of the 
 minor productions of the kihis of Nagoya is tabulated 
 as Gempin-yalci, the name being that of a Chinaman 
 who became naturalized as a Japanese and established 
 himself there. He is wrongly called a Korean in most 
 Japanese books, even in tlie official reports of the Phila- 
 delphia Exposition. Indeed, one of the difficulties in 
 the discussion of ceramic art is the loose way in which 
 the Japanese writers on the subject apply the term 
 Korai^ properly Korea, to northern China, and Kochi, 
 properly Kochin-China or Annam, to southern China, 
 so that the influence of China on the industry is often 
 apt to be lost sight of for the moment. In this con- 
 nection the story of Gempin is worth relating, as told 
 by Captain Brinkley. In the year 1640, when the Ming 
 dynasty of China was on the point of overthrow by the 
 Manchu Tartars, four Chinese nobles came to Japan 
 to pray for aid against the northern invaders. The 
 Japanese were at first disposed to entertain the request, 
 but reflecting that they would be supporting rulers who 
 fifty years before had sent an army to oppose Hide- 
 yoshi's generals in Korea, they ultimately decided to 
 let the Ming fight their own battles. The fugitive 
 nobles were, however, treated with all courtesy. Con- 
 fided to the hospitable care of Japanese barons, three of 
 them seem to have passed the remainder of their lives 
 in uneventful seclusion, while the fourth, Gempin, resid- 
 ing at Nagoya, devoted his leisure to painting and 
 pottery-making. As an artist he possessed considerable 
 ability, but his ceramic efforts are not very creditable, 
 though much valued by the Tea Clubs. His pieces 
 consist of a crackled faience, decoi-ated sometimes with 
 archaic designs iu blue under the glaze, and sometimes
 
 THE PRIXCIPAL CERAMIC WARES OF JAPAN. 729 
 
 with arabesques in relief. Genuine specimens are gener- 
 ally marked with his name in blue under the glaze. 
 
 Down to the beginning of the nineteenth century 
 nothing but faience was made in the province of Owari, 
 although it is to-day the principal center of porcelain 
 manufacture in Japan. The introduction of porcelain 
 was the work of Kato Tamikichi, a descendant of the 
 celebrated Kato Shirozayemon, the " father of pottery," 
 who went to China in 1223. Tamikichi was sent to 
 Hizen in 1804 to study the processes of fabrication 
 there. It is said that he found the secrets of the manu- 
 facture so jealously guarded at the various potteries, 
 that it was not until his marria<2::e with the widow of 
 an Arita potter and the birth of his child seemed to 
 afford a sufficient guarantee of good faith, that his new 
 connections consented to instruct him. After he had 
 learned all he could, Tamikichi left his wife and child 
 to shift for themselves, and hastened back to Seto to 
 impart his knowledge to his old comrades, whom he 
 rejoined in 1807, after nearly four years' absence. He 
 was rewarded with a hereditary title of nobility by 
 the Prince of Owari, who belonged to the Tokugawa 
 family, and given the privilege of wearing two swords, 
 a rare distinction for a plain potter. The new industry 
 flourished apace, and within fourteen years some two 
 hundred potters had abandoned their old work to take 
 up porcelain. From the first, decoration in blue under 
 the glaze (sometsulce) has been a specialty of this prov- 
 ince, and its blue and white production fifty years ago 
 is said to have been second to none in Japan. It is 
 famed to-day for colossal dishes over five feet in diame- 
 ter, slabs for tables mounted upon baluster stands, and 
 temple lamps nine feet high ; but the cheaper smalt 
 imported from Europe has usurped the place of the old 
 cobaltiferous ores of China, and scarcely a memory re-
 
 730 ORIENTAL CERAMIC ART. 
 
 mains of the pure, rich blue of former times, blending 
 so softly with the fluescent paste. 
 
 The decorators of Owai'i porcelain, however, have not 
 confined themselves to the use of blue under the glaze. 
 Since 1820 enameled ware has been made at Inazi in the 
 old Chinese style of the Ming dynasty, a white porce- 
 lain painted with designs roughly executed in red and 
 green enamels with an occasional addition of blue under 
 the glaze. Another variety is decorated with figure 
 subjects in red and gold upon a white ground, so as 
 to resemble in general effect modern Kaga porcelain. 
 Of late years the Owari potters have developed consider- 
 able skill in the use of colors of the grand feu, and 
 many pieces decorated in sea-green, maroon, and blue 
 are exported. Celadon monochromes are also made, 
 and a species of jlanihe ware in which chocolate color 
 predominates. There is hardly anything that is not 
 atten^pted in the jiresent day, but the methods are 
 rough, and it would not be a great loss to art if the 
 potters confined themselves to the making of household 
 utensils, which seems to be their proper field. A large 
 quantity of their ware is taken to Tokyo to be deco- 
 rated in enamel coloi's, so that the two places in com- 
 bination have been fitly styled the Stoke-upon-Trent 
 of Japan. 
 
 Seto itself produces all the materials necessary for the 
 making of ordinary pottery, but most of the ingredients 
 required for porcelain have to be brought from Kamo, in 
 the adjoining province of Mikawa. 
 
 The Toyosuke ware was first made by a potter of this 
 name at Aichi, in Owari, about 1825. It is a ci"ackled 
 faience thinly coated outside with lacquer delicately 
 painted in gold. Of less, if an}^, ai'tistic value is the 
 cloisonne enameling upon porcelain as a base, which dis- 
 credited the workshops of Nagoya for a few^ years subse-
 
 THE PKINCIPAL CERAMIC WARES OF JAPAN. 731 
 
 queiit to 1870, before the liappy renaissance of the 
 ceramic art which has since appeared. 
 
 II. KYOTO. 
 
 The origin of the potteries of Kyoto, the old capital 
 of Japan, is lost in antiquity. Tradition ascribes to the 
 celebrated priest Gyogi, about the Tembio period (729- 
 748), the fabrication of earthenware vases at Chawan- 
 saka (Hill of Cups), where the present village of Sei- 
 kanji, near Kyoto, is situated, which is still the pi'incipal 
 center of the manufacture of the Kyomidzu wares. 
 There were gradual improvements in the technique of 
 the ware as time went on, but it was the celebrated 
 potter Ninsei, in the seventeenth century, whose work 
 brought it to the prominent position, from an artistic 
 point of view, which it has since enjoyed. He has been 
 justly given the same place in Japanese ceramics as that 
 occupied by Bernard Palissy in Europe, and a short 
 sketch of his career, as given by Oueda Tokounosouke, 
 may not be out of place here. 
 
 Nonomura Ninsei, whose proper name was Seibei. later 
 Seizayemon, was a native of the province of Tamba. In 
 his youth he learned the ceramic art from a naturalized 
 Korean potter of the name of Butsuami. Having come 
 to Kyoto in the Gemva period (1615-23), he continued 
 his apprenticeship at the atelier of an artist of Seikanji. 
 He was attached afterward as potter to the imperial 
 Prince of Ninwaji, who authorized him to adopt his own 
 initial, Nin. Hence the name of Ninsei, which is com- 
 posed of this initial {Niii) and of the initial of his own 
 proper name {Sei). Ninsei received later from the same 
 prince the honorary title of Harima no Daijo (a high 
 official grade of the province of Harima). He died at 
 Omuro in the period Manji (1658-60).
 
 732 OKIENTAL CEKAMIC ART. 
 
 Ninsei established a succession of kilns in the vicinity 
 of Kyoto, at Mizoro, Omuro, Iwakura, Awata, Seikanji^ 
 etc., where he adopted the different processes of Seto, of 
 Hagi and Matsumoto, in the province of Nagano, of 
 Shigaraki, in the province of Omi, etc., as well as the 
 methods imported by the first Korean potters. He 
 excelled especially in making objects for use in the 
 Tea Ceremonies, of ndchii-sashi (water-bowls), dishes, 
 plates, and such like; a great mnnber of his pieces 
 were painted, and their designs are the work of the 
 celebrated painters Kano Taniu and Kano Yeishin, his. 
 contempoi'aries. 
 
 This celebrated potter, who enjoyed a very great 
 renown, had numerous imitators even during his own 
 lifetime. In his later years, during the Meireki period 
 (1655-57), he succeeded in producing pieces decorated in 
 several colors (I^isJiilcide), which were much admired^ 
 thanks to secrets of technique revealed to him by a 
 merchant of Kyoto named Chawanya Kiubei, who had 
 learned them himself from Aoyama Koyemon, a native of 
 Arita. The Arita potter was afterward prosecuted, and, 
 it is said, crucified in his own province for having 
 divulged the secrets of the Hizen kilns, and the Kyoto 
 dealer became a lunatic at the neAvs of the execution of 
 his friend. 
 
 After the death of Ninsei the Kyo-yaki was divided 
 into tw^o main branches, the Aioata-yaki and the Kyo- 
 midzu-yciki. The names of his principal successors have 
 been given in the preceding chapter. 
 
 One of the cleverest of the Kyoto potters, in the esti- 
 mation of his own countrymen at least, ^vas Mokubei, 
 who flourished at the beginning of the nineteenth cen- 
 tury. This is said to be an abridgment of the name 
 of Aoki Yasohachi, a native of the province of Owari. 
 In his later vears he became deaf, and took the name of
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 733 
 
 Robei, TO meaning deaf. From liis youth lie showed a 
 great taste for art and antiquity, and his imitative ability 
 procured for him the title of the best artist of modern 
 times. He afterward embraced the career of a potter, 
 and succeeded in rivaling by his talent the works of 
 Ninsei and Kenzan. He is credited Avith the introduc- 
 tion of molds into Japan, and of many other novel 
 processes derived from a study of Chinese works on the 
 ceramic industry, and he also published a work of his 
 own on the subject. There was nothing that he did not 
 succeed in reproducing, and so perfectly as to deceive the 
 greatest cei-amic experts of his time. The enameled 
 stonewares of southern China, the ordinary decorated 
 porcelains and celadons of China, the encaustic inlaid 
 pottery and the ivory-white porcelain of Korea, aie said 
 to have been copied by him with success. In the fifth 
 3^ear of the period JBunsei (1822) he constructed private 
 kilns for the imperial Prince Seiren-in, and made sets of 
 utensils for the personal use of the princes of Kii of the 
 Tokugawa house. He died in the year 1832. 
 
 The vase {liana-ike)^ seventeen inches high, in Fig. 
 397, is an example of his work, being decorated in bright 
 enamel colors, with gilding in Chinese style. The colors 
 comprise red, green, black, and a light translucent blue of 
 turquoise tint. The three figures inclosed in three lai'ge 
 oval j^anels represent the Buddhist Trinity, Sakyamuui, 
 Samantabhadra, and Manjusri, displayed upon a back- 
 ground of variegated clouds, their heads encircled by 
 golden halos. The Buddha is seated on a mat of leaves 
 upon a rock, his forehead marked with the sacred urna, 
 and a gilded lishnisha projecting in the midst of the close 
 black curls of his hair, his hands folded under his robe, 
 which is brocaded with lotus-flowers. Samantabhadra, 
 as seen in the picture, is seated upon an elephant, reading 
 from an open book. Manjusri, upon a grotesque lion,
 
 734 ORIENTAL CERAMIC ART. 
 
 holds a rolled scroll in one band, a coral scepter {ju-i) in 
 tlie other. 
 
 The panels are framed by green bands of fi-et, and 
 bands of similar design encircle the upper and h)\ver 
 rims of the vase. The space between the panels is lilled 
 with a close reticulation of floral scrolls of lotus pattern, 
 extending up to the middle of the neck, which is marked 
 by a sunk ring containing panels of lotus-blossoms 
 penciled in gold. The upper part of the neck is dec- 
 orated with three conventional phoenixes displayed in 
 colors on the same red backo^round as the lotus scrolls 
 below. 
 
 The mark, written underneath in red within a double 
 red ring in two columns, is Ko-ki-kwan Mohu-hei tsuhunt, 
 "Made by Mokubei at the Hall of Ancient Wai-e." 
 
 III. niZEN. 
 
 The province of Hizen contains many porcelain manu- 
 factories, and has from tlie first occupied the foremost 
 rank in Japan for its artistic productions in that material, 
 Kyoto being moi'e famous for its art work in ordinary 
 pottery than for its porcelain. Tradition can-ies bnck 
 the origin of the ceramic industry in this province to the 
 time of the Emperor Kotoha^ who reigned from 645 to 
 654.* A few specimens of the primitive pieces made 
 here hav^e been pi'eserved, vases made of an intensely 
 hard refractory clay, uncoated with glaze. The earliest 
 kilns were in the vicinity of the harbor of Kai-atsu, 
 where the first glazed pottery was made in Japan, and 
 where gradual improvements were introduced into the 
 
 ■*It was in the reign of this monarcli that the old method of counting years 
 by the reigns of the emperors was abandoned in Japan, and the Cliinese sjstcm 
 of counting by periods called Nien-hao (in Japanese Nen-go) was adopted. The 
 first period (645-49) was called Tai-kwa. — Editor's Note.
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 735 
 
 manufacture under the influence of the early Korean 
 teachers. Tlie first of them was naturalized under the 
 name of Koji-ro Kwauja, and there is a temple dedicated 
 to him in one of the adjoining mountains at which the 
 pottei's still offer incense. In the beginning of the 
 Keicho period (1596-1614) the daimyo of Karatsu 
 transferred the Avorkshops, which had previously been 
 within the walls of his castle, to a locality called Kara- 
 bori (" Chinese canal "), in a quarter of the town named 
 Tojin-machi ("Chinese quarters"), where he established 
 a number of potters who were brought over at that 
 time from Korea. Many kinds of Karatsu-yaki are de- 
 scribed, but they are all stonewares of primitive type, 
 comprising principally articles of ordinary domestic use 
 and utensils for the tea ceremonies. The factory is now 
 in a state of decay. 
 
 The other ceramic productions of the province of 
 Hizen are all grouped together under the heading of 
 Imari-Yaki, Imari being the name of the seaport at 
 which they are shipped to be distributed to other parts 
 of the empire. There are many different factories, but 
 the three principal productions from an artistic point 
 of view are those of Ai-ita, Okawaji, and Mikawaji 
 (Hirado). Arita is the most important center of porce- 
 lain manufactui-e in Japan. It is about fifty miles to the 
 north of Nagasaki, and its potteries were the source of 
 the "old Japan" porcelain which the Dutch imported 
 into Europe in such large quantities during the seven- 
 teenth and eighteenth centuries ; the first export of 
 pieces ornamented with colored enamels, in gold and 
 silver, etc., having been, according to the official Japanese 
 report, in the second year of SJio-lw (1645). Okawaji is 
 about eight miles to the north of Arita. It Avas the seat 
 of the private factory of the princes of Nabeshima, 
 established there in the middle of the ei2:hteenth cen-
 
 736 ORIENTAL CERAMIC ART. 
 
 tiiiy, their previous locality, close to Arita, having been 
 found to be unfavorable to the maintenance of the 
 required secrecy. The porcelain made here was in- 
 tended for presentation to the Shogun or to the friends 
 of the daimyo, the rest being reserved for his own per- 
 sonal use, so that specimens are comparatively rare in 
 private collections. The third factory at Mikawaji was 
 under the special patronage of the house of Hirado, and 
 produced the plain white ware of finest texture and the 
 soft-toned blue and white of perfect technique, which ai-e 
 usually given the first j)lace among the porcelains of 
 Japan. • 
 
 The introduction of real porcelain-making into Japan 
 is attributed to Gorodayu Shonsui, who went to China 
 to study the art, and returned to his own country in the 
 year 1513. After his return he settled in Hizen, and 
 succeeded in making a ceramic ware decorated in the 
 Chinese fashion with cobalt under the glaze, although 
 authorities differ as to the kaolinic structure of the 
 material. A specimen of porcelain said to have been 
 made by him in China and marked with his name, as 
 inscribed below, is preserved in Japan at Nara. The 
 small brush cylinder in the Walters Collection which is 
 inscribed with his mark is shown in Fig. 396, although 
 it would be rash to guarantee its authenticity. It is a 
 little cylinder, five inches high, with a serrated rim, 
 painted under the glaze in dull blue with flowering trees 
 and storks. Through the large oval perforation which 
 is pierced in one side is seen the mark, penciled in blue, 
 of Go-ro-da-yu go Slion-sui ts'ukuru, " Made by the honor- 
 able Gorodayu Shonsui." * 
 
 * No Japanese collection seems to be complete without a specimen with this 
 mark. Cf. Franks's Collection of Oriental Porcelain (Plate XIV, Fig. 183), and 
 Bowes's Japanese Marks and Seals (Hizen Pottery, No. 81). In the latter case 
 it is strangely deciphered Go-ro-ta-narabini Slio-zui sin-zo, "Made by Gorota 
 and Sho-zui together."
 
 THE PRINCIPAL CERA^JIC WARES OF JAPAN. 737 
 
 The first of the Arita kilns was founded in the period 
 KeirchO (1596-1614) by the Korean Li-Sanpei, one of 
 the many potters brought over to Japan by Nabeshima 
 Naoshige on his return from the exj^edition to Korea. 
 After many researches he discovered the necessary 
 materials in the Idzumi Mountains near the village of 
 Tanaka, which was afterward called Arita. Damaged 
 pieces of his fabrication found on the sites of the old 
 kilns, and preserved in collections under the name of 
 horidashite, "dug up from the ground," have a white 
 kaolinic paste. Li-Sanpei, after his naturalization, took 
 the name of Kane, the Japanese pronunciation of Kin- 
 Ko, the name of the place where he was born. Several 
 branches of his descendants are still living, and carry on 
 the same industry, having changed their name from 
 Kane to Kanegae. 
 
 We may follow Oueda Tokounosouke again in his 
 account of the Arita kilns. In the seventeenth century 
 the development of the ceramic industry in the domains 
 of the princes of Nabeshima was very considerable. One 
 consequence of this was the destruction of the forests 
 round all the centers of the industry, and about 1610 
 orders were issued by the prince prohibiting eight hun- 
 dred Avorkmen from carrying on their business as potters, 
 and giving the monopoly of the industry to the Koreans. 
 In spite of this prohibition, however, a certain number 
 of Japanese potters succeeded in getting the permission 
 of the authorities to continue their work. The interdict, 
 instead of arresting the progress of the industiy, con- 
 tributed to its prosperity by giving the monopoly of the 
 manufacture to a certain number of families. Skillful 
 artists appeared in succession, who distinguished them- 
 selves by the production of true objects of art. It was 
 not, however, till the Sho-lw period (1644-47) that a 
 native of Imari, Toshima Tokuzayemon, learned from a
 
 738 ORIENTAL CERAMIC ART. 
 
 Chinese traveler at Nagasaki tlie method of decorating 
 porcehiin with metal.* The process was indicated to 
 Sakaida Kakiyemon of Nankawarayama (who had, it is 
 said, served his apprenticeship in the workshops of 
 Goroshichi, a potter of the house of Hideyoshi), but he 
 failed in his first attempts. It was not till the aid of 
 Gosu Gombei had been enlisted, and after many years of 
 research and repeated experimental trials, that Kakiye- 
 mon succeeded. The productions of this novel fabrica- 
 tion, very similar to those of the same class made in 
 China, were exported afterward in their turn into this 
 last country from the port of Nagasaki. 
 
 In the period Kuam-Jmn (1661-72) a Prince Date, of 
 Sendai, sent to Arita a porcelain dealer of Yedo, of the 
 name of Imariya Gorobei, to order some things to be 
 made thei'e. He took back with him, after two years' 
 stay in this place, some articles made by Tsuji Kizaye- 
 mon, who had the reputation of being a clever potter. 
 The articles were offered by Prince Date at the court of 
 the emperor, and Kizayemon was afterward a[)pointed 
 imperial purveyor and commissioned to send an annual 
 supply to the court. The vases sent to Kyoto for the 
 personal use of the sovereign were painted with chrys- 
 anthemum-flowers, the arms of his house, and decorated 
 with flying storks, emblems of longevity according to- 
 Japanese symbolism. The grandson of Kizayemon, Ki- 
 heiji, who became in his turn court pottei', was honored 
 with the official title of "Hidachi no Daijo." It was he 
 who is said to have accidentally discovered the use of 
 seggars. He employed two kinds, the ordinary cylindri- 
 cal cases piled in columns, in which the more common 
 pieces were fired, and sepai-ate seggars covered with lids, 
 
 * It is uncertain whether the term " metals" {kane) used here refers to gold 
 and silver only, or comprises other metal oxides as well, so as to denote enamel 
 <5olor generally.
 
 THE PRINCIPAL CEKAJIIC WARES OF JAPAN. 739 
 
 the joints of which were luted so as to be hei'metically 
 sealed, and which had to be broken when the baking 
 was completed. Tsiiji Katsuzo, a descendant of Kiljeiji, 
 is one of the cleverest manufacturers of the present day, 
 and is specially skilled in pierced work, specimens of 
 which have been shown by him in the international 
 exhibitions. He is also one of the court purveyors, and 
 is besides a leading member of the " Koransha," a com- 
 pany recently founded at Ai'ita to encourage foreign ex- 
 port. There is now a technical school at Arita, which 
 was established in 1880, to teach the ceramic art in all 
 its branches, and to foster the so-called modern improve- 
 ments, which threaten to replace the individual touch 
 which has always been the chief charm of Japanese art, 
 by mechanical perfections of machinery and plaster-of- 
 Paris molds, and by the use of the most recondite chemi- 
 cal colors of the grand feu of Sevres. 
 
 The situation of the province of Hizen, immediately 
 opposite the coast of Korea, made it the chief medium of 
 the introduction of improvements in the ceramic art of 
 Japan at a time when dii-ect intercourse between Japan 
 and China was interrupted. Its ports have, at the same 
 time, been the means of its export from Japan to the 
 outer world. The Portuguese made their first appear- 
 ance there in the year 1542, but we hear nothing of the 
 import of porcelain into Europe by them, or by the 
 Spaniards. The Dutch came in 1609, sent a deputa- 
 tion to Yedo to the Shogun lyeyasu, and were given 
 authority by him to trade. They established their first 
 factory at Hirado in the following year, and after the 
 expulsion of the Portuguese a few years later the mo- 
 nopoly of the foreign trade remained in their liands, 
 with occasional interruptions, until Commodore Perry's 
 expedition in 1853. The Dutch were established at 
 Nagasaki in 1640, when they occupied the small island
 
 740 ORIENTAL CERAMIC ART. 
 
 of Deshima, and Av^ere allowed some miuor facilities for 
 trade. This, together with a like limited arraugemeiit 
 with the Chinese, was the sole foreign intercourse al- 
 lowed by Japan for more than two centuries. 
 
 China was devastated by the inv^asion of the Manchu 
 Tartars in the middle of the seventeenth century, and 
 the porcelain factories at Ching-te-chen were practically 
 closed for more than fifty years, which cut oft' the sup- 
 plies which the Dutch wanted for Europe. This led 
 them to foster the new industry in Japan, and Imaii 
 became the chief source of the export of porcelain till the 
 Ching-te-chen factories were opened again in the early 
 part of the reign of K'ang-hsi (1662-1722). The porce- 
 lain made under their auspices in Chinese style was 
 decorated with Chinese subjects and inscribed very often 
 with marks of the Ming dynasty of China. 
 
 Typical specimens of this " old Japan " Imari class 
 liave been illustrated in colors in Plates XCV, XCVII, 
 XCVIII, XCIX, and CV, and need not be further de- 
 scribed. Two more examples are shown in Fig. 398, 
 a large circular dish with a floral decoration of the kind 
 that has earned for the class the name of famille clirysan- 
 tJiemo-peonienne, and a tall jar (Fig. 399) decorated ^vith 
 figure subjects and panels of pierced trellis-work. 
 
 Round Dish, twenty-two inches in diameter (Fig. 398), deco- 
 rated with underglaze cobalt-blue in combination with enamel color 
 and gilding. The center is filled with a basket standing upon a 
 railed balcony containing a formal bouquet of peonies and cherry- 
 blossom flanked by two birds. The border is decorated with sprays 
 of chrysanthemums, interrupted by lambrequins containing alter- 
 nately peonies and butterflies displayed in colors upon backgrounds 
 of mottled blue. The under edge is decorated with three sprigs of 
 plum-blossom. There is no date inscribed underneath, but a num- 
 ber of large " spur-marks " are visible on the glaze. 
 
 Jar, with coyer, thirt\'-otie inches high (Fig. 399), of ovoid form 
 with rounded octagonal section, painted in underglaze cobalt-blue
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 741 
 
 of full tone filled in with enamel colors and gilding. The shoulder 
 of the jar and tlie vault of the cover are pierced with alternated 
 lozenges and medallions of trellis-work, interrupting mottled blue 
 bands, overlaid with scrolls penciled in gold. The rims are 
 encircled by similar bands of blue and gold, three in number, 
 interrupted by smaller panels of the same shape painted alternately 
 with sprays of peony and storks. The blue bands are succeeded by 
 narrower bands of floral sprays upon a white ground. The floral 
 bands inclose the main decoration of the jar, which consists of four 
 panel pictures of Japanese execution in Chinese st\de. Two of 
 these panels contain outdoor scenes, with figures standing on a 
 balcony and horses in a meadow; the other two are filled M'ith 
 formal vases of flowers. 
 
 The two smaller pieces sliown in Figs. 400 and 401 are 
 still more markedly inspired by Chinese models, the first 
 being shaped in the form of the fish-dragon (ifii-lung), 
 the AN'-ell-knowu symbol of literary genius and success ; 
 while the second, although, of more modern date, might 
 almost be mistaken for a specimen of the old famille 
 verte of the IVang-lisi epocli. 
 
 Water- Vessel for the writer's table (Fig. 400), seven and a 
 quarter inches high, molded in the shape of a fish with a two- 
 horned dragon's head, its tail curved as if leaping from the water. 
 Additional support is afforded by one of the posterior fins, and by 
 a tassel suspended from a cord which passes through the dragon's 
 mouth. The details are painted in dark cobalt-blue; the project- 
 ing fins of the fish-body, as well as the bullock-like horns and the 
 long mustachios of the dragon head, are enameled black overlaid 
 with gold. There is a mark written in the same underglaze blue 
 within the throat with the inscription Ta Ming Ghia-ching nien 
 chih — i. e.,"Made in the reign of Chia-ching (1522-66) of the 
 Great 3fmg [dvnast}^]," but this piece is evidentl}'^ a Japanese pro- 
 duction of the fifteenth century. 
 
 Sake-Pot, of quadrangular section (Fig. 401), eight inches high, 
 enameled in colors. It is covered with a scrolled ground of dark 
 green penciled with black lines inclosing cJi'i-lin conch-shells, and 
 scattered plum-blossoms, filled in with deep red, pale yellow, and
 
 742 ORIENTAL CERAMIC ART. 
 
 manganese purple. A border of crested waves extends in wliite 
 reserve round the bottom, and the rims are touched with yellow- 
 brown. Tliere is a mark penciled in blue underneath in Japanese 
 style, with the inscription Fu ki cJio mei, "Riches, rank, and long 
 life! " a reproduction of the common Chinese mark Fu kuei cICaug 
 rning. 
 
 The next kilns to be noticed in the province of Hizen 
 are those of Okawaji (or Okochi). This was the private 
 factory of the princes of Nabeshima. The kihis were 
 first established at Iwayagawa, close to the Arita, in the 
 period Kio-hio (1716-35), but were moved afterward to 
 their present site, and their productions were ordered to 
 be reserved entirely for the prince's own use or for pres- 
 entation purposes, their sale being strictly prohibited. 
 Great care was taken in the refining of the clay and in 
 the enamel decoration, which is distinguished by the 
 prevalence of clear pale tones contrasting excellently 
 with the pure white paste, a light red color, almost 
 orange, being especially characteristic. There is never 
 an excess of ornament, and the style closely resembles 
 that of the earlier Imari productions which have been 
 referred to under the name of fmnille artistique, and are 
 sometimes know^n as the genre Kakiyemon. The designs 
 are generally somewhat stiff and conventional, but charm- 
 ing medallions are found with well-drawn birds and ani- 
 mals and delicately executed floral sprays. Among the 
 productions of this factory selected for especial notice are 
 a variety of tea-bowls and sake-cups of delicate texture 
 known as hushite, " comb-teeth-" because they were orna- 
 mented with decorative borders composed of closely set 
 parallel lines resembling the teeth of a comb. 
 
 The example of Okawaji ware shown in Fig. 390 is of 
 rough type and more rustic aspect. It is a sake-bottle 
 {tokuri) nine inches high, of oval bladder-like form with 
 irregularly compressed sides, coated with a glaze of
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 743 
 
 greenish celadon color, deeply crackled throughout with 
 a network of dark-brown lines. The foot-rini is iron- 
 gray of a reddish tint. It is decorated in enamel colors 
 of subdued tone, in combination Avith touches of gold, 
 with a maple-tree in autumn-tinted foliage, and an old 
 man standino; on a walk underneath, holdino; iu his hand 
 a screen fan mounted upon a long handle. The date is 
 said to be about 1750. 
 
 The celebrated Hirado ware ranks as another of the 
 ceramic productions of the province of Hizen. It is also 
 known as Mikawaji-yaki, from the name of the district 
 where it is made, some fifteen miles south of Arita. 
 The kilns, which are still working to-day in the village 
 of Oriose, were originally called HiroAlo-gama, or " Hi- 
 rado kilns." They were founded by Sannojo and his 
 son Jo-en, who established themselves at Oriose, in the 
 Keicho period (1596-1614). Sannojo was a son of one 
 of the Koreans who followed the Prince of Hirado of the 
 house of Matsura on his return from the Korean expedi- 
 tion, and who had previously set up kilns at Nakano, in 
 the district of Matsura, under the patronage of this 
 prince. Jo-en made a " blue and white " (so7iietsuke) 
 faience from materials which he discovered at Eo^ami. 
 Several of his descendants moved afterwaixl to Kiwara 
 and Enaga, which became known, with Oriose, as the 
 "Three Porcelain Hills" of Hirado. 
 
 The industry made great progress in the period Shotohu 
 (1711-15^, thanks to a native of the locality named 
 Yokoishi Toshichibei, who made the first fine })orcelaiu 
 by mixing the earth previously used with another kind 
 obtained by him from Amakusa. 
 
 It took a new stride in advance after the establishment 
 in the period Horehi (1751-63) of new kilns, which the 
 Prince of Matsura reserved exclusively for the making of 
 articles intended for his own use, or for presents to the
 
 744 orip:ntal ceramic art. 
 
 ShogUQ at Yedo, or to his dainiyo friends. Among the 
 pieces made at these private kihis, a favorite decoration 
 was a sketch of Karako (" Chinese boys ") playing around 
 pine-trees. These are described by Japanese connoisseurs 
 as real works of art, the finest representing a group of 
 seven children, the others either five or three. Anotlier 
 class of pieces decorated with relief work of marvelously 
 delicate execution are not less appreciated by Japanese 
 collectors. 
 
 An illustration of the Karako decoration is presented 
 in Fig. 402. It is a cake-dish (^Kashizard)^ nine and 
 a half inches across, of quadrangular outline with the 
 corners beveled oft", and a nearly flat surface gently 
 sloping from the straight rim, painted in soft tones 
 of grayish-blue, with the sketch of a garden scene dis- 
 playing a group of seven boys, in Chinese dress, quarrel- 
 ing over an interrupted game of go under the shade of a 
 spreading pine. Fig. 386 may be referi-ed to as another 
 instance of the same decoration. It represents a small 
 incense-burner with a pierced outer casing, through the 
 interstices of which can be seen a picture of five children 
 playing in a garden, painted in blue upon the inner 
 cylinder, while a pine-tree spreads its branches in solid 
 relief across the open grating of the cover. 
 
 The blue of the Hirado porcelain is a soft grayish-blue, 
 specially attractive from the purity and perfect harmony 
 of its shaded tones. It excels in these respects the 
 productions of all the other Japanese kilns, in which 
 European smalt is often used, the result being a darker 
 and more solid color, but one with little gradation of tone. 
 The Chinese mineral, a cobaltiferous ore of manganese, 
 was imported for use in the Hirado kilns, that found 
 in the province of Chekiang being preferred by the Japa- 
 nese, as it is by the Chinese, to any other. The nod- 
 ules, imported in the raw state, were roasted in the
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 745 
 
 furnace, and iniich depended upon the skill of the expert 
 whose duty it was to pick out the best pieces after 
 roasting. Although the same material is used in Japan 
 as in China, there is generally a peculiar difference in 
 tone in the blue of old Japanese porcelain, which seems 
 to be partly absorbed into the glaze instead of being 
 under it, while the glaze itself looks softer. The blue, 
 though put on, as in China, before the glaze, was painted 
 in Japan on the clay after it had received a preliminary 
 firing, the principal firing taking place after the glaze 
 had been added. The different appearance, distinguish- 
 ing it from the Chinese, is probably caused by the 
 materials being less hard and more absorbent, the same 
 cause necessitating the first slight firing, which Japanese 
 porcelain always undergoes. 
 
 Hii'ado porcelain and its different processes of decora- 
 tion are well represented in our colored plates. The 
 ordinary blue and white is illustrated in Plate CX, Fig. 
 1, and Phites CXI and CXIII ; in combination with 
 relief work in slip in Plate CX, Fig. 2 ; in combination 
 with more salient molding in relief and with delicate 
 pierced work in the beautiful censer on Plate CXII. This 
 last piece exhibits the ordinary style of the mark, being 
 inscribed underneath in minute script with the potter's 
 name and that of the locality, " Made at Mikawaji in 
 Hirado." The quaint originality of Japanese fancy is 
 seen in some of the forms. The wide-mouthed beaker, 
 for example, in Plate CXIII, is a molded version of the 
 familiar fable of the frog, the Japanese emblem of per- 
 severance and success, its two handles being fashioned 
 in relief as frogs leaping up from the waves which curl 
 round the bowl of the vase, into the branches of willow 
 which sweep down from its upper rim. AVho but a 
 Japanese would make a censer in the shape of a pnppy 
 with a movable head for the introduction of the incense.
 
 746 ORIENTAL CERAMIC ART. 
 
 as shown on Plate CX ? He has substituted this for the 
 Buddhist canonical form of a lion, which figures as a 
 guardian of the law, in the spirit of ridicule which leads 
 him so often to caricature his deities in pictorial art. 
 
 An example of white Hirado porcelain is presented in 
 Plate CIX, a gourd-shaped sake-bottle with chrysanthe- 
 mum sprays worked in slight relief in the paste and 
 finished with the graving tool under soft-looking glaze. 
 Among the most cherished productions of these kilns are 
 the small globular incense-burners, with pierced outer 
 casings and openwork covers, of w^hich one is illustrated 
 in Fig. 403. It is a miniature hbro tw^o and three quar- 
 ter inches high, delicately carved in a trellis pattern of 
 charming design and wonderfully minute workmanship, 
 enameled with a pale celadon glaze of gray-green tones. 
 Inclosed in a trellis-work are two circular medallions 
 containing a crest of three converging mallow-leaves, the 
 badge of the famous Tokugawa family which ruled Japan 
 from 1603 to 1868, under the title of Shogun, and, be- 
 sides, supplied daimyos for many of the feudal princi- 
 palities. The porcelain trellis-W'OJ-k cover is surmounted 
 by a tiu}^ bow. A companion incense-burner, which is 
 illustrated in Fig. 391, has the trellised casing interrupted 
 by three spra3^s of chrysanthemum-flowers modeled in 
 slight relief, instead of crests, and an open^york lid of 
 silver. 
 
 The statuette of Sakyamuni Buddha, which is illus- 
 trated in Fig. 404, is a production of the Hirado kilns 
 of the close of the eighteenth century, and is painted in 
 blue with touches of brown and black. It is a standing 
 figure, eleven inches high, modeled in the traditional 
 lines, dressed in long, flowing robes with wide hanging 
 sleev^es which are painted in blue of lighter and darker 
 shades, with the head encircled b}'' a sweeping halo which 
 is colored yellow-brown, and holding an alms-bowl of the
 
 THE PRINCIPAL CERAMIC WARES OF .TAPAX. 747 
 
 same tint. The face, the neck, and the bare feet are 
 reserv^ed en biscidt, the ears are characteristically en- 
 larsfed, and the forehead has the urna mark of a Bod hi- 
 sattva. The hair, which is arranged in close spiral curls, 
 is gray-black, ^vhile the iishnislia which projects in the 
 middle of the hair is enameled white. Tlie pedestal is 
 molded in two pieces in the form of a lotus thalamus, 
 surrounded by rings of petals worked in relief, and 
 marked above with a circlet of seeds, and is coated ^vith 
 a whiter glaze of slightly greenish tone. The story is 
 told in Nao'asaki that one of the hereditary daimyos of 
 Hirado, who lived over a hundred years ago, was cured 
 ■of a malady by a pilgrimage to a shrine at the top of 
 Fujiyama, and that each year for the rest of his life he 
 sent a party of his retainers to the sacred volcano with an 
 ex-voto offering of one of these figures, which he ordered 
 to be made for the purpose at his porcelain factory at 
 Mikawaji. 
 
 Colored enamels were occasionally employed in the 
 decoration of Hirado porcelain, either in combination 
 with the blue, or by themselves. The usual colors are 
 of subdued rather than brilliant tints, comprising a rus- 
 set-brown, a pale clear green, and a straw-yellow. The 
 vase shown in Fig. 405 is a production of these potteries, 
 and is referred to their palmy period, the second half of 
 the eighteenth century. It is a flower-vase (liana-il'e), 
 €leven inches high, with a floral decoration relieved by a 
 russet ground broken by a broad band of white round 
 the middle. This band, which is enameled white of 
 greenish tone, extends round the lower half of the wide 
 cylindrical neck, and from the two sides project loop 
 handles springing from the mouths of grotesque unicorn 
 dragons, the parts of the neck to which the handles are 
 attached beins; modeled in slio-ht relief under the o-laze 
 with a wavy pattern mingled with scrolls of clouds.
 
 748 ORIENTAL CERAMIC ART. 
 
 The floral decoration consists of foliated scrolls starting 
 from two large conventional flowers, one of which is dis- 
 played npon the front, the other upon the back, of the 
 globular body of the vase. The idealized blossoms rep- 
 resent those of the sacred Indian lotus (^Hsi Fan lieri) 
 of Chinese art, which the Japanese call ICara-husa — i. e., 
 " Chinese plant." Light cliains of rectangular fret define 
 the borders of the floral bands and complete the decora- 
 tion. The bottom is overlaid with a black silver plate ; 
 the mark, if there be any, is concealed. 
 
 IV. SATSUMA. 
 
 Whatever title to ceramic celebrity Japan may base 
 upon her porcelain productions, it is for her pottery she 
 will be longest remembered, and of that pottery the first 
 place belongs incontestably to the Satsuma faience. The 
 word Satsuma is nearly as well known to us as the word 
 Japan, and it is familiar not so much for its brilliant 
 achievements in the past, for the grand part it took in 
 the war of restoration, or for its tragic rebellion after- 
 ward, as for the peculiar type of faience which it pro- 
 duces. Its soft-looking ivory-colored glaze with its deli- 
 cately crazed surface provides the most charming back- 
 ground for decoration in enamel colors that can be 
 conceived, while the texture of the. pate \^ so close and 
 fine that it can hardly be distinguished from ivory. No 
 collection is considered complete without a shelf of "old 
 Satsuma," but the pieces commonly seen abroad differ 
 essentially from the beautiful faience which is so 
 highly prized by Japanese connoisseurs. The latter 
 consists generally of small pieces, cups, incense-burners^ 
 tea-jars, figures, and the like, richly but chastely deco- 
 rated with a spra)^ of flowers or foliage, occasionally with 
 a phoenix, Chinese lion or unicorn, in combination with
 
 THE PKINCIPAL CERAMIC WARES OF JAPAN. 749 
 
 delicate diapers and lightly penciled fret borders. The 
 materials were carefully selected and prepared, the pot- 
 ting of each piece was perfect, and its decoration was 
 executed with skill and precision, so that the ware has 
 been justly called " jeweled." The ordinary " old Sat- 
 suma," on the contrary, is usually of indifferent manu- 
 facture, it rings with a dull note, and although all the 
 resources of ingenuity and patience may be lavished 
 upon its decoration, the pains are often lost, as the 
 imperfectly enameled pigments do not last, and the thin 
 wash of alloy which is substituted for pure gold soon 
 becomes tarnished. Elaborate combinations of diapers, 
 bouquets of brilliant flowers, armies of gorgeously 
 appareled saints, peacocks with spreading tails, aud 
 dragons environed by golden clouds — all subjects, in 
 fact, that can help to achieve gaud and glitter — are 
 employed by painters who have long since abjui'ed 
 the aesthetic creeds of their country. The Japanese 
 themselves scorn the preposterous jars and huge beakers 
 which find no purchasers in their own country. They 
 represent neither the spiiit nor fashion of true Japa- 
 nese art, but simply the wonderfully adaptive genius of 
 Japanese artists. Just as in the seventeenth century 
 the Arita potters covered the " old Japan " ware of that 
 time with Chinese figures and mythological monsters, 
 interwoven with garlands of peonies and chrysanthe- 
 mums, when their patrons complained that their own 
 artistically decorated vases had not flowers enough for 
 the Dutch taste, so do the Satsuma decorators to-day 
 crowd their " old Satsuma " with mail-clad warriors and 
 long Buddhist processions to satisfy the taste of the 
 American and European collector. 
 
 But much of this " old Satsuma " is not even Satsuma 
 at all. It is Awata faience from Kyoto painted in con- 
 ventional Satsuma style, or some other modern ware,
 
 750 ORIENTAL CERAMIC ART. 
 
 fraudulently painted at the Sliiba kilns in Tokyo, at the 
 Ota kilns near Yokohama, or elsewhere. If it is a piece 
 of real old Satsuma, decorated subsequently in enameled 
 colors at one of these kilns, the deception is not so trans- 
 parent. One of the most daring frauds of recent times 
 was attempted in London in 1879, when a heterogeneous 
 collection of modern Ota and Shiba pieces, vases, kdro, 
 and so forth, w^ere sold by auction under the description 
 of "rarest old Satsuma." A group of some fifty, de- 
 scribed as " The Papal Pieces," were stated to have been 
 " prepared for the Jesuit priests' expedition from Japan 
 to the Holy City, under special auspices of the Prince 
 of Bungo, in 1582. Francis Xavier himself assisted in 
 the selection of these papal offerings, but it is well 
 known that the collection never left Japan, but was 
 retained by the prince of Bungo in his fortress during 
 the mission slaughter, after which it was publicly shown 
 as relics of Catholic devoteeship." Some of the pieces 
 were stained to give an appearance of age ; others, which 
 had been broken and mended, were catalogued as " bear- 
 ing evidence of having undergone much vicissitude and 
 hiding," and so on. 
 
 It would be tedious to refer further to the many mis- 
 conceptions that have arisen on the subject. For the 
 first exact information ^ve are indebted to Sir Ernest 
 Satow, K. C. M. Gr., now H. B. M. minister at Tokyo, 
 who visited the kilns in 1877,* and whose conclusions 
 on the vexed question of the period of introduction of 
 the nisliihi style of decoration in enamel colors are worth 
 quoting. Speaking of the discovery of white clay in 
 1624-40, he says that the manufacture of white Satsuma 
 crackled ware dates from then, but for a long time, he 
 adds, the wares appear to have been ornamented very 
 
 * The Corean Potters in Satsuma, by E. Satow, a paper read February 20, 
 1878. Transactions of the Asiatic Society of Japan, vol. vi, part ii, Yokoliama.
 
 THE PRI]SrCIPAL CERAMIC WARES OF JAPAISr. 751 
 
 sparingly with color, and lie considers that the nisliihi 
 style of decoration was originated in the period of 
 Kwan-sei (1789-1800) by Narinobu, who is reported 
 to have sent two of his artists to Kyoto to learn the art 
 of painting figures, landscapes, and set patterns in this 
 particular style. Another view is that the use of 
 vitrifiable enamels and gold was commenced shortly 
 after the discovery of the white clay, about 1630, that 
 the manufacture subsequently deteriorated for want of 
 patronage, and that its revival at the end of the eight- 
 eenth century, although often erroneously described 
 as the origin, was in reality only the renaissance of 
 Satsuma enameled faience. 
 
 The history of Satsuma faience is au epitome of that 
 of the ceramic industry of Japan generally, beginning 
 with the introduction of Korean potters, who discovei'ed 
 the necessary raw materials and taught the technical 
 elements of a handicraft which only gradually became 
 artistic under the inspiration of Japanese genius. Mr. 
 Oueda (loc. cit., pages 62-74) gives a summary account 
 of it, which we will follow. The kilns of the Satsuma- 
 yaki are dispersed at different points throughout the 
 province. The largest center of fabrication is at 
 Nawashiro, where there is to-day a very considerable 
 production. Like the productions of other factories 
 which abound in the island of Kyusiu (the southern- 
 most island of Japan, of which the provinces of Satsuma 
 and Osumi form the southernmost extremity), the Sat- 
 suma wares date from the time of the Japanese expedi- 
 tion to Korea {B'unroku^ 1592-95). Shimazu Yoshi- 
 hiro, daimyo of Satsuma, brought back Mitli his army 
 seventeen Korean potters, two of whom were named 
 Hochu and Boku-Heii. Some of the potters established 
 themselves with the first named in the quarter Korai- 
 Machi (Korean Street), at Kagoshima, the capital of the
 
 752 ORIENTAL CERAMIC ART. 
 
 province; the others at Kushikino, under the direction 
 of the second. Tliey all came afterward to settle at 
 Chosa, in the adjoining province of Osurai, having been 
 snnnnoned to this place by Shimazu Yoshihiro, who 
 had his i-esidence there. This prince, a devoted amateur 
 of the Cha-no-yu, ordered from the Korean potters 
 a large number of pieces to be made after his taste. 
 They were composed of a fine-grained clay, with a glaze 
 colored in shades of blue, yellow, and black ; the most 
 precious had a variegated glaze, called " Jakatsu," which 
 is defined in the " Man-po-zen-sho," published in 1694, 
 as a lizard-colored enamel. The pieces are called 
 Golionde (articles with the honorable seal), which 
 Yoshihiro appreciated most, and which he marked with 
 his personal seal. When the daimyo changed his 
 residence to Kajiki, in another part of the province of 
 Osumi, he sent for Hochu to come to Tatsu no Kuchi, 
 built a factory for him there, and charged him to ti-ain 
 the w^orkmen. Kihei, the son of this potter, adopted by 
 order of the prince the surname of Kawara (i. e., bank), 
 from the situation of Tatsu no Kuchi on the bank of 
 the Kuro-Kawa. After the death of Yoshihiro, which 
 occurred in the Genwa period (1615-23), Hochu con- 
 tinued to carry on the work and to superintend the 
 potters. His family divided into two branches — Tobei, 
 the younger son of Kihei, surnamed Kawara; and 
 Kozayemon, his elder son, Yamamoto. Both established 
 themselves in the second year of Kwanbun (1662) at 
 Tatsumonji. The Yamamoto are to-day represented 
 by only a single family, while the Kawara count as 
 many as twenty-four. 
 
 Tobei had a son named Juzayemon, who settled at 
 Oyamada. His son, who called himself Juzayemon 
 Hoko, was a potter of great merit. In the fifth year of 
 Meiwa (1768) he worked in the private factory of the
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 753 
 
 princes of Shimazu at Tateno, in Kagoshima, which 
 he left ten years later. Commissioned by the prince 
 of this house to go to Arita to finish his studies 
 there, he resumed his industry on his retui-n to 
 Oyamada in the eighth year of Anyei (1779) 
 with great success. In the fifth year of Kxoansei 
 (1793), after having visited in succession the prin- 
 cipal ceramic districts of the provinces of Hizen 
 and Chikuzen, he went to Kyoto, and from there to 
 the province of Owari, where he studied the fabrica- 
 tion at Ofukei in Nagoya. Returning again to Kyoto, 
 he formed an intimate friendship with Kinkozan Sobei, 
 and studied with him the processes of manufacture of 
 the Kyo-yaki, especially of the Raku wares. The travels 
 of Juzayemon resulted in an immense progress in the 
 industry at Oyamada. The origin of the fabrics called 
 Same-yahi (Sharkskin ware) dates from the time of this 
 celebrated artist. 
 
 Boku-Heii and his companions, who settled at first, as 
 we have seen, at Kushikino, moved their workshops in 
 the eighth year of Keiclio (1603) to Nawashiro. In the 
 nineteenth year of the same period (1614) Boku-Heii 
 explored by order of Yoshihiro his territories in Satsuma 
 and Osumi and discovered new materials required for the 
 fabrication. The kilns of Nawashiro produced thence- 
 forward articles resembling the work of Komogawa, in 
 Korea, which acquired great renown. While Boku- 
 Heii was the director of the factories, Yoshihiro showed 
 a vivid interest in the industry, and he frequently visited 
 the Avorks, which under his patronage ra})idly became 
 important. Here, as at Chosa, he marked \s\\\\ his per- 
 sonal seal those pieces which he found to his taste, and 
 they are also called Gohonde. The artisan population of 
 Nawashiro rapidly increased, and they turned out suc- 
 cessfully their novel vases of white translucent materials
 
 754 ORIENTAL CERAMIC ART. 
 
 aud re[)r()(luctious of the genres known as Hakeme, 
 Misliiina, and Siinkoroku.* 
 
 The factoiy of Nawasliiro, when it was first founded, 
 included in its personnel the Korean Chin-Tokitsu, a 
 potter full of talent. His son aud successor, Toju, had a 
 son Tokitsu, the second of the name, who earned by his 
 great merit the name of To-ichi (the first of potters) and 
 a pension bestowed by one of the Shimazu princes. The 
 present fabricator, Cliin-Jukwan, is a descendant in the 
 twelftli generation of Tokitsu I. He was appointed in 
 1857 the director of the factories at Nawashiro, -with 
 several hundred workmen un^er his orders, and the es- 
 tablishment prospered under his direction. The loss of 
 its domains by the house of Shimazu, after the fall of the 
 feudal regime in 1869, paralyzed the industry for the 
 moment and threw the workmen into misery. Chin- 
 Jukwan succeeded by his praiseworthy efforts in rescuing 
 them from their difficulties, and in assuring independence 
 for the enterprise and regular work for the potters. The 
 name of Gyoku Kozan is that which he has adopted since 
 this epoch. 
 
 The factory of Tateno, at Kagoshima, was founded in 
 the period ^w6l^7^;y6^ (1624-43). This was another pri- 
 vate establishment of the princes of Shimazu." The most 
 skillful artist of this factory was Kono-Sanyemon, who 
 
 * In 1878, according to the official report of the Paris Exposition, the Korean 
 potters at Nawashiro numbered five hundred families, including fourteen hun- 
 dred and fifty individuals, all carrying on the industry of their ancestors. 
 Never having married any but Korean women, they are said to have retained 
 their distinctive type and language and many of their old manners and cus- 
 toms. The Hakeme and Mishima wares are of Korean origin, and both are of 
 the pate sur pate class. In the Hakeme the designs, usually iu white slip upon 
 a gray body, look as if executed with a brush (hake). The Mishima, which 
 has already been referred to, was chased and inlaid with encaustic sprays of 
 white, gray, or black color, and was so called because it reminded the Japanese 
 of the lines of idiographs in one of their printed almanacs. The Sunkoroku 
 decoration was painted in browns of different shades in simple floral and 
 diapered patterns. Tlie origin of tlie name is obscure.
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. ToO 
 
 lived in the period Meiwa (1764-71). Plis processes of 
 mainifacture were those of Hochii. His productions 
 Avere crackled, the glaze being either white or of different 
 colors. In the Kwansei period (1789-1800), Narinobu, 
 prince of the house of Shimazu, had gold employed in 
 the decoration, and the new productions obtained a great 
 success under the name of " Nishikide," or " brocaded 
 ware." They were superior to those of Hochu, which 
 are valued only from an antiquarian point of view. It 
 was the artists of Tateno who taught, in the eleventh 
 year of the period Tempo (1840)^ the fabrication of the 
 Nishikide to Boku-Sokuan, son of Boku-Shoki, of Nawa- 
 shiro, where this decoration was heretofore unknown. 
 Sokuan was appointed afterward by his prince, in the 
 first year of Kohwa (1844), the director of the new fac- 
 tory of Iso, which owes its beautiful productions to this 
 artist. He spent one year there, and then returned to 
 Nawashiro, where he continued to carry on with success 
 the fabrication of the " brocade-painted wares." 
 
 The decorated Satsuma was never made in large quan- 
 tities. It was from the first an article de luxe, intended 
 for the personal use of the daimyo, or as presents to those 
 he wished to honor. The finest enameled pieces were the 
 work of the artists of the Tateno factory. 
 
 The productions of the Satsuma kilns are represented 
 in the colored illustrations in Plates C, CI, CII, CVII, and 
 CVIII, where nine specimens are figured. The compara- 
 tively small size of the finer and older pieces is shown by 
 the fact that there is room for two side by side upon 
 each page, except in Plate CII, and this last vase, deco- 
 rated with storks flying among clouds in enamel colors 
 with touches of gold and silver, relieved by an intensely 
 black ground, is certainly the most recent of the series. 
 The pictures give a good general idea of the soft, creamy 
 tones of the finely crazed grounds, ranging from old ivory
 
 756 ORIENTAL CERAMIC ART. 
 
 to vellum ; of the artistic style of the chaste decoration 
 with graceful floral sprays and lightly penciled borders 
 of conventional ornament; of the harmony of coloring 
 and technical finish which distinguish the productions of 
 the artists who worked for the princes of Shimazu at the 
 end of the eighteenth century and the beginning of the 
 nineteenth. Not a single figure is to be seen, and thei'e 
 is no sign of the mail-clad warriors and Buddhist pilgi-ims, 
 or of the profusion of gorgeous colors, such as mai-k the 
 " old Satsuma " which is painted in the present day in 
 Japan in such quantities for the export ti'ade. 
 
 The earliest piece is the archaic-looking teapot in Plate 
 CI, where the crackled ground is left undecorated, only 
 clouded and stained by use in a way that reminds one, it 
 has been aptly said, of a tobacco-stained meerschaum pipe, 
 and Avhicli the Japanese collector is fond of bringing out 
 and polishing with a soft cloth which he keeps for the 
 purpose. The teacup on Plate C is also undecorated, 
 except for a splashed line of overglaze round the rim, of 
 deep amber tint, laid on in one of the monochrome enam- 
 els used at Nawashiro in the eighteenth century. The 
 rest of the pieces, which are decorated in the JSfishihi or 
 brocade-painted style, are sufticiently described. They 
 all belong to the palmy period of the Satsuma factories. 
 
 The other Satsuma pieces shown in Figs. 392, 393, 395, 
 406, 407, 408, and 410 are all of a type similar to the 
 above, and are generally referred to the same period — 
 circa a. d. 1800. 
 
 1. Sake-Bottle {Tokuri), eight and a half inclies liigh (Fig. 
 393), of cylindrico-ovoid form, tapering to a thin neck with a 
 prominent rounded lip. Decorated in subdued enamel colors with 
 formal sprays of the kiri Qow ev {Pauloivnia i?nperialis) with grace- 
 fully waved tendrils. A ring of slender foliations spreads down 
 from the neck, alternately greenish-blue and coral-red touched 
 with gold. The flowers are of the imperial type, with a spike of
 
 THE PllINCIPAL CERAMIC WARES OF JAPAN. 757 
 
 seven florets rising in tlu> middle flanked by two spikes of five florets; 
 and the stopper, wliicli is of silver, is molded in tlie shape of a kiku 
 flower (chrysanthemum), the imperial crest of Japan. 
 
 2. Tea-Jar [Cha-tsubo), three and a quarter inches high (Fig. 
 406), of regular oval form witli rounded lip, painted in enamel 
 colors and gilding, with a floral brocade ground of checker pattern 
 interrupted bv two foliated medallions containing bunclies of scarlet 
 cherry or Pi/rus japonica blossoms enveloped in conventional 
 scrolls, a gadroon band round the foot, and a light floral scroll 
 round the neck completing the decoration. The old cover of oxi- 
 dized silver is fashioned in the shape of a peltate lotus-leaf with the 
 stalk at the top. 
 
 3. Small Figure {Okimo7io), two and a half inches high (Fig, 
 395), of Hotel, one of tiie seven beneficent beings of the Japanese 
 Pantheon, decorated in enamel colors Avith gilding. Hotel, the 
 Japanese transcription of the Chinese Putai, represents Putai 
 Hoshang, the " Monk with the Hempen Bag," of Chinese ]3uddhist 
 lore, who is to reappear as the Buddha of the coming age, so that 
 he may be styled the Buddliist Messiah. With shaven head, broad, 
 smiling face, and large j)endul()us ear-lobes, his cloak looseh' thrown 
 back so as to leave the abdomen as well as the right shoulder bare, 
 he is modeled here in the traditional Chinese lines, holding the 
 jewel of the law in his left hand, and seated beside the caj)acious 
 bag wliich is his special attribute. Hisi-obesare richl}' embroidered 
 with gold brocade, and his bag is emblazoned with the takara-mono, 
 or " precious things," as symbols of the gifts he has to bestow upon 
 bis votaries. 
 
 These symbols are as frequent in Japanese art as the 
 po kuj or hundred antiques, are in Chinese art, and many 
 objects are common to the two lists. The things which 
 occur most often in Japan are : The anchor, an emblem 
 of safety ; a branch of coral in a vase, symbol of rank 
 and honor; rolls {maki?)W7io), either a crossed "pair" 
 rolled up, or one partially unrolled to show the writing; 
 a couple of bridges for the lyre, emblems of harmony; 
 the hammer of Daikoku, which, wielded diligently, pro- 
 duces wealth ; the spindle-shaped weight with which the
 
 758 ORIENTAL CERAMIC ART. 
 
 tradesman weighs his silver ; a pair of keys of the go- 
 dowu ill which precious possessions are stored ; two rolls 
 of brocaded silk, or nishilci ; an orange, on a leafy twig, 
 emblem of fruitf illness ; manifold symbols of M^ealth, 
 such as the cowry, or ancient shell-money, the copper 
 cash with a hole in the middle, the hotsubo, a jar full of 
 precious things to be buried for security, a pile of gold 
 hohan, a chest labeled " a thousand gold pieces," bag- 
 purses of money, etc. Articles of fairy lore are the 
 invisible rain cloak, the wide hat which also renders its 
 wearer invisible, and the feather robe of supernatural 
 l)eings. Buddhist symbols include the three precious 
 jewels of the law emitting eifulgent rays, a pile of sacred 
 jewels heaped upon a stand, a lion with its forepaw upon 
 a jewel (^8 hishidanict) as guardian of the faith, and the 
 palm-leaf fan of the pilgrim saint. The rhinoceros horn 
 libation-cups of Chinese symbolism have become in Japan 
 choji, or " cloves," although their shape often belies their 
 new name. 
 
 4. Miniature Figure ( Okiinono) of Chinese boy {KaraJco), with 
 partly shaven liead (Fig. 407), the hair left in a topknot and two 
 side tufts, in a richly brocaded dress, holding up a sacred jewel. A 
 companion Figure, with a palm-leaf fan in one hand, is shown in 
 Fig. 392. 
 
 5. Vase [Hana-ike), six and a quarter inches high (Fig. 393), 
 decorated in enamel colors and gold, with borders of conventional 
 ornament round the rims, inclosing a selection of the takara-mono 
 enumerated above in the description of Hotel, mingled with floral 
 sprays of chrysanthemum and plum blossom, and with branches with 
 twin peaches, the symbolical fruit of long life. 
 
 6. Small IisrcEXSE-BuRNER {Koro), two and one eighth inches 
 high (Fig. 408), of bowl-shaped outline mounted upon three scrolled 
 feet, with an outer casing painted with a minute diaper of flowers 
 inclosed in interlacing circles, interrupted by three pierced medal- 
 lions containing a spray of bamboo, a stork, and a bear supporting a 
 
 II
 
 THE PEINCIPAL CERAMIC WARES OF JAPAN. 759 
 
 leaf -shaped shield, and with a dentated rim molded as three tiers of 
 leaves. 
 
 V. Incense-Burner {Kdro)y six and a lialf inches broad (Fig. 
 410), of flattened form, with a large cover modeled in the shape of 
 an 'ancient Japanese court hat. The "base" is encircled with a 
 diaper of triangular fret pattern; the " cover " is pierced with floral 
 designs and decorated in the intervals with sprays of scrolled flowers 
 enameled in colors with gilding. 
 
 V. KUTANI. 
 
 The last ware which remains for consideration is that 
 of Kutaui, a name almost as familiar to collectors as 
 those of Imari, Hirado, and Satsuma. Kiitani is in the 
 province of Kaga, on the west coast of the main island of 
 Japan, and its ceramic productions are called Kaga-yaki 
 and Kutani-yaki indifferently. The exact date of the ori- 
 gin of the factory is not known. Mr. Oneda gives in the 
 table (see pages 706 and 707) the period Kivanyei 
 (1624-43), although in his notes, which we will follow, he 
 says that the origin of the Kutani-yaki dates back to the 
 period Keian (1648-51). It was Mayeda Toshiharu, 
 daimyo of the town of Daishoji, who had the first kilns 
 constructed in the village of Kutani by two of his vassal 
 Samurai named Goto Saijiro and Tamura Gonzayemon. 
 The materials employed in the early wares resembled 
 those of the stoneware productions of Seto, in Owari, but 
 the objects, crude and ungraceful in form, were far from 
 equaling those of this great ceramic center. 
 
 Toshiaki, the son and successor of Toshiharu, with a 
 view to developing the industry in his territory, sent 
 Goto Saijiro to Arita, in Hizen, in the period Manji 
 (1658-60) to study the processes of manufacture in use 
 there. The Arita ^vorkmen were very loath to impart 
 their secrets to a stranger, but he served as a hired menial 
 in the house of a potter for more than three years, and
 
 760 ORIENTAL CERAMIC ART. 
 
 became initiated in all the details of the art. As soon 
 as he had learned all he could he fled by night, and his 
 return made a new era for the ceramic industry of 
 Kutani. The materials found at Suizuka were used by 
 him in the fabrication of his finest vases, and there is still 
 to be seen in that village a porcelain pedestal in the form 
 of a lotus thalamus, with a seated statue of Buddha upon 
 it, which is one of the objects modeled by the artist at 
 this time. 
 
 The celebrated painter of Kyoto, Hisazumi Morikage, 
 happened at this time to be on a visit to Kanazawa, the 
 chief city of the province of Kaga, and he was intrusted 
 with the execution of the designs, and contributed 
 materiall}- to their beauty and renown. Hence the name 
 of Morikage-shitaye — i. e., " Morikage Sketches " — by 
 which they are still known. 
 
 The early wares, known afterward as ICo Kutani 
 (ancient Kutani), are of two almost distinct varieties. 
 The first, of a grayish pate, faience rather than porcelain, 
 was coated with lustrous, full-bodied glazes of the denii- 
 grand feu, green, yellow, and purple, the former pre- 
 dominating ; the decoration usually consisting of large 
 flowers, in the midst of fret grounds and diaper of archaic 
 pattern, which are penciled in black so as to show 
 through the green or yelloAv enameled surface. This 
 style is compared by the Japanese to the productions of 
 China and Kochi (Annam), and it was evidently inspired 
 by the former country. The second variety of old 
 Kutani is a milk-white porcelain which is compared to 
 old Imari ware, and may almost be mistaken for it some- 
 times. The most characteristic examples are to be distin- 
 guished, however, by the prevalence of a peculiarly soft 
 russet-red, which differs essentially from the hard, full, 
 brick-dust red of the old Imari ware. The Kaga potters 
 used silver much more,freely for decorative purposes than
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 761 
 
 the Hizeu potters, while they relegated underglaze blue, 
 on the contrary, to a more subordinate position. 
 
 Tradition says that the perfection of their results was 
 due mainly to the great care and patience devoted to the 
 preliminary preparation of the materials, that the mixing 
 and braying of the coloring materials was the daily task 
 of the women and children at the Kutani potteries, and 
 that the rich deep red of the older periods was ground 
 for six months under the pestle befoi-e it passed into the 
 hands of the painter. 
 
 Although the early Kaga productions were so highly 
 appreciated, the manufacture fell into decay afterward, 
 and the kilns of Kutani were abandoned some sixty or 
 seventy years after their foundation. The industry was 
 revived in the seventh year of Btmikwa (1810), by Yoshi- 
 daya Hachiyemon, a merchant of Daishoji, who rebuilt 
 the ancient factories and reproduced the different varie- 
 ties of the old productions. This was the renaissance of 
 the ceramic industry of Kutani. In the eleventh year of 
 the same period (1814) the kilns were moved to Yama- 
 shiro, a locality which offered greater facilities of trans- 
 port ; but the necessary materials were still brought there 
 from Kutani and Suizuka. The new fabrications are 
 called Yoshidaya-yaki, after tlie name of the merchant 
 who revived the industry that had almost disappeared. 
 They rank in quality innnediately after the Ko Kutani, 
 
 Yoshidaya was succeeded by Miyamotoya Kiyemon in 
 the sixth year of Tempo (1835). The new director was 
 assisted by the painter lidaya Hachiroyemon, who revived 
 tlie art of decorating in gold upon the red ground in the 
 characteristic Kutani style. He was the first to intro- 
 duce the NishiM style of decoration into these potteries. 
 The porcelain made to-day in the district of Nomi and at 
 Kanazawa is, generally speaking, very similar to lidaya's. 
 
 During the last years of the feudal period the house of
 
 762 ORIENTAL CERAMIC ART. 
 
 Mayeda, of Daishoji, encouraged tlie local industry by 
 large grants of money, and engaged Yeiraku Zengoro, the 
 twelfth of the famous family of hereditary potters of 
 Kyoto, to come to Yamashiro to superintend the work. 
 This potter, whose personal name w^as Hozen, arrived in 
 1863, and during the five years that he remained a num- 
 ber of objects were made in the Mnrande, or " gold- 
 brocaded," style, of finished form and decoration, and fired 
 in the kilns that were called after him, Yeiraku-gama. 
 But the Yeiraku kilns were closed at the time of the 
 revolution in 1868. 
 
 Porcelain commonly known under the name of Kutani- 
 yaki is made in several other localities of the province of 
 Kaga, within the districts of Enuma and Nomi. The 
 ceramic productions of these two districts are generally 
 classified under the headings of Enuma Kutani and 
 Nomi Kutani. The names of many celebrated potters 
 are recorded who have worked in these factories, but 
 there is no space for them here. Potteries exist in the 
 present day at more than twenty localities in the district 
 of Nomi alone. It is in these that the porcelain so well 
 known abroad as Kaga- Ware is made. It is painted 
 with a profusion of designs of the red and gold type, 
 often executed with the delicacy and accuracy of a minia- 
 ture painting, but the gaudy glitter of gilding and massing 
 of red pigment pall after a time upon the least fastidious 
 taste. The Japanese themselves have never appreciated 
 it, and the potters, fearing the inevitable consequences of 
 the monotony, are now reviving with some success the 
 richer and more varied methods of the older Kutani dec- 
 orations in polychrome enamels. One of the Kaga pot- 
 ters, Watano Kichiji, sent to the Chicago Exposition in 
 1893 a pair of large vases illustrating this revival. They 
 were covered with an elaborate and boldly designed 
 decoration of hydrangea flowers and leaves in full-toned
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 763 
 
 and brilliant enamels, purple, blue, and green on a yellow 
 ground. Their decoi-ative effect was fine, and they were 
 highly praised. 
 
 Kutani porcelain is illustrated in Plates CIII and CIV, 
 and the pictures give a good idea of the peculiarly soft 
 tone of the red ground in the old pieces, which forms 
 such an effective background for the decorative scrolls 
 painted upon it in gold and silver. This is the hinrande 
 or "gold brocade" decoration of ceramic writers, and it 
 is evidently inspired by the silk stuff's interwoven 
 with designs in gold and silver thread, which have 
 been made on the looms of the far East from time 
 immemorial, and of which one of tlie favorite grounds 
 is a soft vermilion. The ceramic designs, too, are 
 those of the old silk brocades of China and Japan : 
 dragons winding through crested waves, phoenixes travers- 
 ing scrolls of the tree-peony, conventional bands of sacred 
 lotus, and medallions of formal flowers, with borders of 
 fret pattern, 'encircling rings of lotus-petals, chains of 
 beads with tassels, and the like. 
 
 No large vases nor purely ornamental pieces seem to 
 have been made in the Kutani kilns in the early days, 
 only incense-burners and incense-boxes, sake-bottles and 
 wine-cups, bowls and dishes, and other ai-ticles of daily 
 use. The small censer in Plate CIII and the first rice- 
 bowl in Plate CIV are decorated in the tyj)ical style, with 
 gilded and silvered designs upon the red ground ; the 
 rice-bowl in Plate CIII is decorated besides with touches 
 of enamel colors of subdued tone, including a pale green. 
 The three pieces are referred to the same period, about 
 the middle of the last century ; they have a buff"-colored 
 or grayish pate, and are enameled red underneath the 
 feet as well, one of the bowls being so completely coated 
 that none of the pate is visible. The third bowl (Plate 
 CIV, Fig. 2) is somewhat older, being attributed to the
 
 764 ORIENTAL CERAMIC ART. 
 
 beginning of the century. It is of thinner, more translu- 
 cent material, and is molded in the interior with intri- 
 cate floral scrolls and fret borders, after the technique of 
 some of the ancient Chinese porcelains, while the rim is 
 mounted Avith a silver collar in the fashion of ancient 
 Chinese bowls of the Sung dynasty. The ground 
 between the red medallions with which it is decorated 
 outside is filled in with the so-called yorakude or " neck- 
 lace" designs of the Japanese painted in enamels. 
 
 Two other specimens of Kutani ware have been se- 
 lected for illustration. The censer (Fig. 409), w^hich is 
 decorated in enamel colors, is attributed to the middle of 
 the eighteenth century. The bowl (Fig. 411), which is 
 artistically decorated in brilliant harmonious colors upon 
 a characteristically milk-white ground, is of earlier date, 
 and may Avell be ascribed to Morikage, who, we have 
 seen, was working at these kilns toward the close of the 
 seventeenth century. 
 
 Incense-Burner i^Koro), five inches high, seven and a quarter 
 inclies broad, with a rounded body, bulging below, mounted upon 
 three short legs with scrolled feet, and with two handles project- 
 ing from the sides molded in the shape of grotesque lions' heads 
 with gilded tongues protruded and curled at the tips. The surface 
 of the bowl is painted in i-ed, green, and gold, with tiers of mallow- 
 leaves {cioi) spreading alternately upward and downward so as to 
 cover the ground. The upper rim is defined by a line of pale 
 green, succeeded by a band of curved scrolls in colors, and the 
 lower border is encircled by a ring of rectangular fret. The base 
 is unglazed, with no marks inscribed. The cover is made of lac- 
 quered metal. 
 
 Large Bowl [Domhiri), six and a half inches high, six and 
 three-quarter inches in diameter, shaped with tall, upright sides 
 slightly swelling at the rim, and a bandlike foot gently spreading 
 outward. It is boldly and artistically decorated with sprays of iris 
 (^shaga) springing from the base outside and sweeping upward to 
 extend over the rim and ornament the interior as well as the exte-
 
 THE PRINCIPAL CERAMIC WARES OF JAPAN. 765 
 
 rior of the bowl with large, brilliant blossoms and broad purple- 
 tinted green leaves. The decoration is completed by a ring of 
 lozenge fret of svastika pattern penciled in red round the foot. 
 Mark, Faku, " Happiness," in black, in a small square panel, over- 
 laid with a patch of translucent purple enamel. 
 
 The painting, sketched in black outline, is executed in 
 overglaze enamel colors of finely crackled texture, won- 
 derfully intense in tone and of marked iridescent luster. 
 They include a brilliant green, a purplish blue approach- 
 ing turquoise in some of its translucid tints, and a soft 
 red derived from iron peroxide, in combination with a 
 few touches of black. The general effect of the coloring 
 is magnificent, and one is almost inclined to enshrine this 
 beautiful bowl as a perfect flower of the ceramic art of 
 Japan.
 
 II
 
 APPENDIX. 
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 I. COLORED PLATES. 
 
 The original water-color drawings from whicli the lithographic 
 plates were reproduced were executed by Messrs. James and J. C. 
 Callowhill, of Boston, artists whose experience as color-designers 
 in one of the great English potteries gave tliem special qualifica- 
 tions for the work. 
 
 Beaker-shaped Vase [Hua Jvu), 16^ inches high, enameled 
 with the crackled glaze of the s<i.ng-de bceuf mottled tints of the 
 celebrated Lang Yao. It exhibits the rich, full tones of the cop- 
 per-red, deepening almost to black upon the shoulder of the vase. 
 The interior is coated with the same rich red glaze. The lip is 
 defined by a prominent line of white, and the foot by a rounded 
 rim of purest white, projecting be3'ond the " biscuit " edge below. 
 
 The base is invested with an apple-green enamel, mottled with 
 clouds of typical "ox-blood" color. Period IPang-hsi (1662- 
 1V22). L 
 
 Plum-blossom Jar [Mei Hua Kuan), of globular form, with a 
 bell-shaped cover, decorated in brilliant cobalt-blue of the K''ang- 
 hsi period (1662-1722), with blossoming branches and twigs of the 
 floral emblem of the New Year. The branches spread alternately 
 upward and downward on the four sides of the jar, so as to display 
 their white blossoms and buds, reserved upon a mottled back- 
 ground of pellucid blue, which is covered with a reticulation of 
 darker blue lines to represent cracking ice, a symbol of the coming 
 spring. The rim is ornamented by a castellated border ; a plain 
 band of white defines the edge of the overlapping cover. The 
 outer surface of the lip surrounding the mouth is unglazed, show- 
 ing the fine white " biscuit," and its inner side is onlv partially 
 glazed — one of the " points" of the best " hawthorn jars " of this 
 
 767
 
 768 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 period. The Chinese offer presents of fragrant tea and preserved 
 fruits at the New Year in jars of this kind, and tlie plum is the 
 floral emblem of the season. II. 
 
 Flower- Vase [Jlua PHng), enameled with the typical "peach- 
 bloom " glaze, and displaying a characteristic play of color, so as 
 to resemble as far as possible the velvety hues of the bloom of the 
 rind of the ripening peach. A ])erfect idea of the charming con- 
 trast of soft shades of red is given by the artist, who has repro- 
 duced the vase in the size of the original, and has attempted to 
 represent tlie finished polish of the surface as it reflects the picture 
 of an outside scene. The reverse of the vase exhibits a splash 
 of apple-green in the midst of the other colors. 
 
 The "mark" underneath, beautifully written in underglaze 
 cobalt-blue, consists of six characters in three columns, Ta ChHng 
 K''ang-hsi nien chih — i. e., " Made in the reign of K'ang-hsi 
 (1662-1722), of the Great Ch'ing [dynasty]." III. 
 
 Vase (PHng), 10| inches high, with solid spreading foot and 
 tapering above to a slender tubular neck, enameled with a mono- 
 chrome glaze of darkest green color, the gros vert of the French, 
 the ta lu of Chinese ceramists. This intense ground color is mot- 
 tled with clouds of varying shade. The texture of the glaze is 
 " bubbly," and the surface is pitted at places, especially round the 
 base, where it lias collected in superfluous drops which have been 
 ground down on the lathe after the piece had been fired. The 
 base is coated underneath with the pure white enamel distinctive 
 of the K\mg-hsi period (1662-1722), and this peculiarly strong 
 green occupies a foremost rank among the ceramic productions of 
 this unrivaled reign. IV. 
 
 Jar {Kuan), nine inches high without the cover, enameled with 
 a monochrome glaze of imperial yellow. The faint horizontal line 
 in the middle indicates that the jar was originally fashioned upon 
 the wheel in two pieces. There is a mark underneath, written in 
 underglaze cobalt-blue in large, bold characters, Ta ChHng K''ang- 
 hsi nien chih — i. e., "Made in the reign of K'ang-hsi (1662-1722), 
 of the Great Ch'ing [dynasty]." V. 
 
 Club-shaped Vase {Pang-chih P^ing), \S\ inches high, richlj' 
 decorated with the most brilliant enamel colors of the K'ang-hsi 
 period (1662-1722).
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 769 
 
 The decoration is arranged in four panels, tlie two upper oblong 
 with rounded indented corners, the lower shaped like iicus-leaves, 
 displaj^ed upon a ground profusely brocaded witli flowers. The 
 front panels contain pictures of a pomegranate-tree with a couple 
 of birds perched upon it, labeled Tan Huo, "The Vermilion 
 Flower," with the artist's studio seal, Wan shih chu, " The 
 Myriad Rock Retreat," appended ; and of a spray of chrysanthe- 
 mum labeled (Jhiao Hua, " Fresh Flowers." The two panels behind 
 contaiti pictures of the tree-peony, with birds and butterflies, and a 
 similar floral spray with appropriate stanzas of verse signed with 
 the same seal. 
 
 The floral ground is composed of lotus-flowers, with coral-red 
 blossoms, purple buds, and green leaves, mingled with leaves of 
 other Avater-plants, on a pale-green background dotted with black. 
 This ground is overlaid below with grotesque figures of a lion 
 guarding the wheel of the Buddhist law, and an elephant laden 
 with sacred books ; above, the characters/"?/ (" happiness ") and he 
 (" rank "), in black, relieved by sprays of prunus flowers in shaded 
 red. The character shou (" longevity ") is penciled in red on the 
 two sides of the neck. 
 
 A band of diaper, interrupted by foliated panels containing 
 censers, and a light spiral scroll in red round the lip, complete the 
 decoration. VI. 
 
 Flower- Vase [Hua PHtig), fashioned on the lines of the peach- 
 bloom vases (see Plate III), with the same two white rings in 
 relief round the base of the neck, and a similar mark underneath. 
 It is covered with a celadon monochrome glaze of purest sea-green 
 tint varying in tone according to the depth, so as to bring out the 
 decorative details underneath, which are worked in low relief in the 
 paste. This decoration consists of a fringe of scrolled and crested 
 waves round the lower part of the vase, from which project the 
 tails and a pair of three-clawed feet of two dragons, the remainder 
 of the bodies of the " sea-serpents " being concealed, as it were, under 
 the surface of the rough water. The mark written underneath in 
 cobalt-blue, in three columns, is Ta ChHng K''ang-h,si nien chih — 
 " Made in the reign of K'ang-hsi (1662-1722) of the Great Ch'ing 
 [dynasty]." ^ VII. 
 
 Plate-shaped Dish [Kuo P\in), 14 inches in diameter, with a 
 broad rim and a prominent boss in the middle, painted in brilliant 
 shaded cobalt-blue of the K\mg-hsi period (1662-1 T22).
 
 770 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 The raised medallion in the center is painted with a summer 
 scene, a group of four ladies on a terraced veranda, gathering 
 lotus-flowers from the lake below. This is surrounded by a rocky 
 landscape, with the fir, bamboo, and blossoming prunus on one 
 side, palms and jasmine-flowers on the other, canopied by a bank 
 of clouds above, with the sun, moon, and stars, including the con- 
 stellation of the Great Bear. 
 
 The border of the plate is filled with four garden scenes 
 separated by rockeries, representing the four seasons, with their 
 appropriate floral emblems. Spring is figured by two damsels witli 
 book and fan, under the shade of a weeping willow; summer, by a 
 party in a boat culling lotus-flowers; autumn, by ladies gathering 
 Olea fragrans', winter, by its special emblem, the flowering 
 prunus. 
 
 Underneath, the foot is encircled by a ring of conventional folia- 
 tions, and the rim is painted with the eight Buddhist symbols of 
 happy augury. VIII. 
 
 QuADRANGULAK Vase {Fang P''ing) one of a pair, 19^ inches 
 high, with the oblong sides rounded above and gently tapering 
 downward, decorated with the typical flowers of the four seasons; 
 the shoulders with four medallions of fruit, and the neck with 
 mythical monsters in two foliated panels. The decoration, 
 sketched in black, and filled in with green, yellow, and manganese 
 purple, is relieved by a background of brilliant black, with a pur- 
 plish iridescent surface, passing into olive-brown at the edges. 
 
 The Moutan peony, emblem of spring, is accompanied by a 
 Magnolia yulan tree, with birds in the branches; the lotus of summer 
 witl) other water plants, storks, and mandarin ducks; the chrysan- 
 themum of autumn with birds and butterflies; and the flowering 
 plum of winter has a couple of birds in its branches. The sprays 
 of fruit include peaches, melons, persimmons, and Buddha's-hand 
 citrons. The chH-lin on the neck of the vase, with scaly bodies, 
 horned dragon-heads, lions' tails, and deer's hoofs, seated upon a 
 rocky floor, are relieved by a yellow background. 
 
 The vase is modeled after a form of the Ming dynasty, but is 
 probably not earlier than K''ang-hsi (1662-1722). IX. 
 
 Deep Seven-bordered Plate (Tieh), of eggshell porcelain, 
 decorated in brilliant enamel colors with gilding, and enameled of 
 a ruby tint in roiige d'or at the back. In the center is a large leaf- 
 shaped panel, surrounded by a floral diaper, displayed upon a gold
 
 DESCKIPTIVE LIST OF THE ILLUSTRATIONS. 771 
 
 grouiul; it contains a picture of family life — a lady seated in 
 a chair, witli two small boys playing beside lier, one holding a 
 lotus-flower, the other a gilded ju-i scepter; two large jars stand 
 on the ground, and there is a table behind with vases, books, and 
 pictures upon it, the accessories of a cultured Chinese interior. 
 The slope of the plate is encircled by three borders, a band of 
 pink with dragon scrolls, interrupted b}^ medallions of floral scrolls 
 in blue, between narrower diapered bands of green and yellow 
 ground. Upon the border is another pink diaper, studded with 
 four dragon medallions, and interrupted by four trellis-bordered 
 panels of white ground painted witli sprays of peony, aster, 
 chrysanthemum, and Rosa sinensis; this is succeeded inside by a 
 foliated diaper of pale lilac, outside by a gilded belt of lotus sprays 
 encircling the rim of the plate. 
 
 This beautiful plate is known as the "plate with the seven bor- 
 ders," the gold brocade round the leaf being counted as one. X. 
 
 Octagonal Lantern (Teng), of elongated oval outline, molded 
 of eggshell porcelain, enameled over the glaze with the brilliant 
 colors and gilding of the best ICcoig-ksi period (1662-1V22). 
 
 The lantern is decorated with a procession of the eight Taoist 
 Immortals crossing the ocean (Pa Hsien kiio hai), and with sym- 
 bols of longevity round the borders. The pieced openwork railing 
 at the top and bottom is carved with cloud scrolls inclosing circular 
 sho^l characters, worked in slight relief in the paste under the 
 celadon glaze. The sloping edges are painted with large sJioii 
 characters, alternately green and gold, enveloped in clouds; and 
 the receding shoulders are also covered with clouded scrolls upon 
 a background dotted with black. 
 
 The floor of the lantern is covered with rolling crested sea- 
 waves, painted green; the top is studded with constellations of 
 gilded stars, a flying stork, and the gilded solar disk. The Taoist 
 figures occupy the eight panels, represented, with their various 
 attributes, floating across the sea. Beginning with the principal 
 and proceeding from right to left, we see: 
 
 1. Chung li chHlan, standing upon a large gourd and holding up 
 a monstrous peach. 
 
 2. L'ii Tung-pin, dressed in official robes, with a scroll j)icture in 
 his hand, and his supernatural sword slung upon his back, stamping 
 upon a gnarled willow with its green branches waving overhead. 
 
 3. Lan Ts\d-ho, on a floating lotus-leaf, carrying a wicker 
 basket filled with lotus-blossoms and reeds.
 
 772 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 4. Han Hsiang Tzu, playing upon his flute, uiounttHl upon the 
 head of a gigantic shrimp. 
 
 5. Chang Kuo, riding upon his famous mule, with the magic 
 double gourd slung to his girdle, and a bamboo drum and sticks in 
 his hand. 
 
 6. TIs-'ao Kuo-cli'm, standing upon a carp, holding a pair of 
 castanets. 
 
 7. Li THeh-kuai, standing upon a panicled reed supported bjr 
 his " iron crutch," a gourd in liis left hand, with the smoke issuing 
 from it unfolding to show the lame and crooked beggar into which 
 his spirit passed. 
 
 8. Ho Hsien-ku, a slender damsel with a short cloak of leaves, 
 supported upon a lotus-petal and carrying a lotus-leaf. 
 
 The last four figures are seen in Fig. 2 in the text, from a pho- 
 tograph of the opposite side of the lantern. XL 
 
 1. Teacup {CJi'a Wan), of the Hang-chou imperial ware {Kuan 
 Yao) of the Southern Sung dynasty (1127-1279), of semiglobular 
 
 form, curving in at the lip, with a circularly rimmed, slightly 
 spreading foot, which has a pointed projection in the middle un- 
 dei-neath; invested with a minutely but deeply crackled glaze of 
 grayish-blue color, becoming of more pronounced lavender tint in- 
 side the cup. The rim of the foot, where it is not covered by the 
 glaze, shows the characteristic brownish iron-gray color of the 
 paste, and the lip is reddish gray at the edge, where the glaze is 
 thin. It is mounted on a carved stand of dark wood, and is of 
 thick, solid material, in order to retain heat, as prescribed in the 
 ceremonial of the tea clubs of the period. XII. 
 
 2. Vase for Flowers [Hua Tsnn), of tj^pical Yuan dynasty 
 porcelain {Yuan Tz'ti, 1280-1367), of rounded quadrangular form, 
 with two tubular handles, modeled after an archaic bronze sacri- 
 ficial design. The glaze, which is spread on thickly, runs down in 
 an unctuous mass, which does not completely cover the foot, and 
 shows a grayish buff -colored paste of intense hardness; inside the 
 mouth of the vase it runs down for about an inch, and ends also in 
 an irregularly convoluted line. It is of grayish-blue color, with a 
 shade of lavender, crackled with an irregular reticulation of deep 
 lines, becoming pale brick-red round the upper rims of the vase 
 and handles where the glaze is thin. The surface is stained in two 
 places with mottled clouds of warm red passing into purple at the 
 edges. 
 
 Clouds of this kind, the result of some fortuitous oxidation
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 773 
 
 during a firing, are highly valued by Chinese collectors; sometimes 
 they are fancied to take the form of a bird or butterfly, or of some 
 other natural object. XII. 
 
 1. Wine-Pot ( Chiu Ho), of ivorj^-white Fuchien porcelain 
 (Chien Tz'ii), modeled in the shape of an inverted pomegranate, 
 and of about the natural size of the fruit, thedentated apex of which 
 forms the foot. The handle is modeled as a branch which sends 
 off two twigs to supply a relief decoration for the bowl as it 
 winds up to make a loop on the cover, which it envelops in a crown 
 of leaves. A line of verse is engraved on the back of tlie bowl. 
 
 XIII. 
 
 2. Cylindrical Teapot ( CA'a JTu), of the same ivory-white 
 porcelain, in the form of a joint of bamboo bound around with 
 a knotted cord, with a pair of bearded dragons of archaic lizard- 
 like design with spreading bifid tails attaclied to it; the one 
 crawling downward with its back bowed to make the handle, the 
 other lifting up its gaping mouth as the spout. The round cover is 
 surmounted by the tiny figure of a grotesque lion. The design, 
 freely and artistically treated, is clotlied with a soft-looking lus- 
 trous glaze of the cliaracteristic ivory-white tone of the finest 
 old porcelain of the province of Fuchien, and the base, unglazed, 
 shows the smooth, even texture of the paste. XIII. 
 
 1. Tall Two-handled Cup and Cover (Kai Wan), with each 
 loop handle fashioned in a form of two dragons' heads grasping a 
 round jewel between their gaping jaws, and a bulging cover 
 surmounted by a metal knob shaped like an acorn of European 
 design. The cover, as well as the cup, is decorated in pale blue of 
 pure color, with conventional borders of foliated panels brocaded 
 with white flowers on a blue ground. The intervals on the cup 
 are filled with groups of the paraphernalia of the scholar and 
 artist, books on tables, brushes in vases, water receptacles, and 
 scrolls pictures, all enveloped with waving fillets, and mixed with 
 tasseled wands and double diamonds, symbols of literary success. 
 
 xlv. 
 
 2. Small Jar [Hsiao ICuart), painted in bright blue in tlie early 
 K^ang-hsi style (1662-1722), with lotus-flowei's and reeds growing 
 in water, flying insects, and lightl}' sketclied floral spra3^s. The 
 front of the vase displays, in an interval left in the floral decoration, 
 a quatrefoil medallion containing the sacred Cliristian monogram
 
 774 DESCKIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 I. H. S., with a cross above, and tliree nails meeting in a point 
 below. XIV. 
 
 Brush Cylinder {J*i T^ung), 9 inches higli, of tall, slender 
 form, modeled in the sliape of a section of bamboo, witli a double 
 ring worked in relief in the paste near the foot, between two 
 lightly etched bands of scrolled design. A ChHh-lung, the dragon 
 of archaic bronzes, is represented in salient relief as coiled around 
 the tube, with scowling head and bristling mane, having flames 
 proceeding from the shoulders and flanks. The cylinder is 
 enameled with a celadon glaze of grayish-green tint, contrast- 
 ing with the dragon, which is invested with a white enamel. 
 The bottom is also celadon, leaving a wide encircling rim 
 where the grayish biscuit is visible. Period ICajig-hsl (1662- 
 1722). ' XV. 
 
 Transmutation Splash Vase (PHtig), of regular ovoid form, 
 slightly tapering below, where it is excavated to make a cir- 
 cularly rimmed foot, and rounding in above toward the mouth, 
 which is surmounted by the form of a coiling dragon. The 
 ChHh-lung, of three-clawed archaic design, is modeled in salient 
 openwork relief so as to grasp the rim with its claws, and nearly to 
 envelop it with its serpentine body and long, clinging bifid tail. 
 The vase is enameled with a grayish superficially crackled glaze, 
 exhibiting a r'lchflambe investment vertically splashed with mottled 
 stripes of varied changing tint, passing from light blue through 
 purple and intermediate sliades of red into brilliant crimson where 
 the glaze is thickest. The dragon is colored red, and partially 
 splashed with the same fianibe, glaze. The foot is enameled olive- 
 green, with no mark inscribed. The technique and style of dec- 
 oration indicate the CKien-limg period (1736-95), during which 
 this Yao-pien or "furnace-transmuted" glaze was much in 
 vogue. XVI. 
 
 Club-shaped Vase i^Pang-chih PHng), 17|^ inches high, dec- 
 orated in the brilliant enamel colors, with touches of gold, of the 
 best period of the reign of K^ing-hsi (1662-1722). The deco- 
 ration is arranged in two large oblong panels and four larger 
 circular panels, displayed upon a ground of floral brocade. The 
 scrolled coral-red ground is studded with chrysanthemum-blos- 
 soms, alternately tinted apple-green and celadon. The large panel 
 in front has a picture of a gayly plumaged bird perched upon
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 775 
 
 a branch of blossoming prunus, penciled in brown, with red flowers 
 touched with gold, mingled with sprays of bamboo having tlie 
 leaves filled in with bright green and overglaze blue. The disk 
 of the rising sun is seen above, partly hidden by the clouds of 
 dawn tint, indicated in pale coral-red. The corresponding panel 
 at the back has a bird on a branch of hydrangea shrub, interwoven 
 with sprays of Hibiscus rosa sinensis. The circular panels contain 
 landscapes below, insects above, the Mantis religiosa, with millet 
 and wild pinks in front, the grasshopper perched on a spear of grass 
 with trifid panicles, and single chrysanthemums behind. 
 
 The shoulder slope of the vase is decorated above with a band of 
 scrolled chr3^santhemum, with large red flowers and green leaves 
 studding a purple ground, which is interrupted with four foliated 
 medallions containing butterflies. The colors of the gadroon 
 border around the foot, and of the diverse rings of conventional 
 fret and diaper which encircle the upper part of the vase, are 
 perfectly shown in the illustration. XVII. 
 
 Club-shaped Vase [Pang-chih P''ing), 18|^ inches high, with 
 a ground of souffle cobalt-blue, in which are reserved panels, 
 decorated, on a white ground, in enamel colors of the K'^ang-hsi 
 period (1662-1722), including emerald-green, buff, vermilion, red, 
 and black. The blue ground was originally overlaid with a rich 
 decoration in gold of conventional floral scrolls and hanging chains 
 of symbols, of which only traces now remain. 
 
 The reserves are outlined in the shape of the Chinese characters 
 for happiness and longevity, interrupted in the middle by medal- 
 lions containing the figures of the corresponding Taoist divinities. 
 The character Fa in front, with a diapered ground, has a circular 
 medallion in the middle, with Fu Using, the star-god of happiness, 
 an aged personage leaning up&n a gnarled staff, attended b}' two 
 sprites carrying a palm-leaf and a fly whisk. The character Shou at 
 the back, filled in with a similarly colored diaper, is interrupted by 
 a peach-shaped panel, with a picture of Shou Using, the star-god of 
 longevity, inside, in the guise of an aged figure with wrinkled fore- 
 head and long beard, a branch of his miraculous peaches over his 
 shoulder, speeding across a rocky landscape, with a conspicuous 
 spreading pine on one side of the picture. XVIII. 
 
 Iridescent Iron-bust Vase (P'my), egg-shaped, with a small 
 round mouth and a circularly rimmed foot, enameled with a dark- 
 brown monochrome glaze, thickly speckled \vith minute points of
 
 776 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 deep metallic lustrous aspect, and irregularly flecked all over with 
 clouds of vermilion color, the lip being covered with a ring of the 
 same red. 
 
 It is a striking example of the fieh-hsiu yu, or " iron-rust glaze," 
 of naturalistic color and inimitable metallic luster. The foot is 
 enameled underneath with a dark olive-brown monochrome glaze 
 of rugose " bubbly " appearance. There is no mark inscribed, 
 although it is evidently an early ChHen-lung piece (1736-95). 
 
 XIX. 
 
 Buddhist Ecclesiastical Vase {PHng), one of a pair, 16f 
 inches high, of hexagonal section and complicated outline, elab- 
 orately decorated in brilliant enamel colors with gilding, for the altar 
 set of a Buddhist temple ; each altar set consisting of a tripod cen- 
 ser and two pricket candlesticks, flanked by a pair of vases, five 
 pieces in all. 
 
 The body of the vase, of reversed conical form, is modeled in the 
 shape of a ddgaba, or relic shrine, with a sunk panel in each of the 
 six sides containing a vase, which stands out i>i relief from the floral 
 background, displaying the sacred wheel of the law surmounted by 
 the trisula symbol. The edges and borders are filled with floral 
 brocades and bands of conventional flowers, sprays of fruit, and 
 birds, relieved by grounds of different color. The neck of the vase, 
 channeled externally, and correspondingly fluted inside, is painted 
 with pendant chains of flowers and jewels, relieved by a red 
 ground. The foot is painted in green, with rings of palmetto 
 foliations on a yellow ground, and with gilded chrysanthemum 
 sprays upon a red ground around the rim. The interior of tlie 
 vase and the under surface of the foot are enameled pale green. 
 A small panel is reserved in the middle, underneath, in which 
 is inscribed the seal in underglaze blue, Ta ChHng Yung-cheng 
 nien chih — i. e., "Made in the reign of Yung-cheng (1723-35), 
 of the Great Ch'ing [dynasty]." XX. 
 
 Vase (^PHng), 17 inches high, of cylindrical form, slightly en- 
 larging upward and receding at the neck, painted in the brilliant 
 enamel colors of the Yung-cheng period (1723-35). 
 
 There is a group of figures on the vase, the three principal 
 of which represent the Triad of the Taoist cult, called Fu Lu Shou 
 San Ilshig, or " The Three Star-Gods of Happiness, Rank, and 
 Longevity," the other smaller figures being attendant sprites. Lu 
 Using, the " Star-God of Rank," has the place of honor in the
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 777 
 
 middle, clad in imperial robes, representing Shang Ti, tlie superior 
 ruler of the Taoist pantheon, whose throne is the Great Bear, 
 round which all the other stars revolve in homage ; he holds a 
 baton of rank, and has a peony, the " mandarin's flower," stuck in 
 his winged hat. On his right is Shou Hsing, the " Divinity of 
 Longevity," an aged, bent figure, with wrinkled, smiling face and 
 bald, protuberant brow, leaning upon a gnarled staff, dressed in 
 robes brocaded with sprays of peach-blossoms, and carrying a 
 peach, tlie "fruit of life," in his hand. A stork is flying overhead, 
 and a tall pine, another of his emblems, covered witli flowering 
 bignonia, rises in the background. He is attended by three play- 
 ful sprites, dancing under the flowers and striving to reach the 
 peach. On tlie left stands Fu Hsing, the personified " Star of 
 Happiness," liis head covered with a blue hood, his girdle em- 
 broidered with the sacred fungus and bat, while two other bats, his 
 special attributes, are flying in the air above ; he holds a child 
 in his arms, and another is dancing behind. The neck of the vase 
 is decorated in front with a gi*oup of fruit, composed of a little 
 bi'anch with twin peaches upon it, surrounded b}'^ twigs of water- 
 caltrop, Buddha's-hand citron, pomegranate, olive, melon, and 
 lotus. Tlie foot, excavated to make a circular rim, is unglazed. 
 
 XXI. 
 
 Openwork Lantern {Teng), of oval hexagonal form, 10^ 
 inches high, with panels carved in openwork designs, decorated 
 in brilliant colored enamels of the famille rose, belonging to the 
 ChHen-lung period (1736-95). 
 
 The six sides of the lantern have oblong panels pierced with 
 trelliswork of two different patterns, surrounding solid circular 
 medallions in the middle, which are painted with pictures of 
 Taoist saints or hermits, each accompanied by an attendant sprite. 
 They are figured in landscapes filled in with appropriate surround- 
 ings, pines, dryandra-trees, the sacred fungus, and spotted deer, and 
 ■carry the usual attributes, such as ling-chih, peaches, baskets of 
 flowers and herbs, hoes, or pilgrims' gourds ; one of the attendants 
 holds up a double gourd from which a cloud of smoke is issuing at 
 his master's behest, which unfolds above to display a flying crane. 
 The upper and lower receding rims are also pierced with six 
 smaller panels. The borders and edges are all richly decorated 
 with painted diapers of diverse pattern with floral grounds. 
 
 A similar lamp is figured by Du Sartel in La Porcelaine de Chine, 
 Plate XXXL XXH.
 
 778 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Oblong Crackled Vase {Fang P^ing), 10^ inches bigh, of 
 square section, with a circular rim at the base, cuhninating in a 
 short neck leading to a round mouth, and having the corners 
 projected in the form of broken, dentated ridges. The sides are 
 molded in relief, with the creative monad symbol {yin-yang) four 
 times repeated in the middle, and the series of eight mystic 
 trigrams {pa hud) above and below. The glaze which invests the 
 whole surface is superficially crackled, and colored with thin 
 splashes of grayish mottled purple and olive-brown tints. The foot, 
 somewhat roughly plastered with grayish purple and olive-brown,, 
 has a rim showing a gray paste of comparatively coarse texture. 
 
 XXIII. 
 
 Deep Eggshell Plate ( Tieli), decorated in brilliant enamel 
 colors of the familU rose with gilding. Of the same eggshell 
 texture and artistic style as the " rose-back " plates, it is decorated, 
 instead, underneath the rim, with three floral sprays, boldly 
 painted in overglaze cobalt-blue. The plate is painted inside with 
 a garden scene containing a group of figures, representing an 
 emperor and empress surrounded by courtiers. The emperor, 
 identified by his robes brocaded with dragons, by the tassels of red 
 silk on the trappings of his white horse, and by the oval banner 
 screens embroidered with gold dragons held up by attendants 
 behind him, has just mounted upon horseback ; the empress, fol- 
 lowed by court ladies holding dragon-centered processional fans 
 of peacocks' feathers, is in the act of mounting a piebald horse 
 with the aid of a stool, supported by a lady attendant, while a cour- 
 tier holds the gilded stirrup hanging on the off side of the saddle. 
 
 The borders of the plate are filled with ornamental diapers of 
 different pattern; that on the slope inside is interrupted by blue 
 dragon-scrolls, and the broad blue band that succeeds is overlaid 
 with dragon-scrolls in gold; the rim is encircled by a gilded 
 quatrefoil diaper upon a black ground. XXIV. 
 
 Tripod Censer {Ting Lit), of depressed globular form, round- 
 ing ill to a wide, circular mouth, supported upon three feet 
 of scrolled outline, which spring from the gaping mouths of gro- 
 tesque lions' heads projecting from the lower surface of the bowL 
 It is invested with a glaze of brownish-yellow color, mottled 
 with clouds of darker brown toward the bottom; the glaze, 
 extended over the molded feet, is paler in the relief parts, deep 
 brown in the recesses where it is thicker. The base is unglazed,,
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 779 
 
 with the exception of a round patch of the cafe-au-lait enamel 
 in tlie middle. 
 
 The censer dates, doubtless, from the Ming dynasty. Vessels of 
 this form are used in Chinese temples for burning " joss-sticks," 
 made of fragrant woods, before the images of the deities. This one 
 must have come from some Taoist temple, as the openwork cover 
 of rosewood is surmounted hy a Taoist figure carved out of red 
 agate, representing an acolyte of the god of longevity, with a peach 
 in his hand, leaning upon a deer. XXV. 
 
 Coral-Red Vase {Hua PHng), with globular body and slightly 
 spreading neck, decorated in enamel colors, with an imperial dragon 
 pursuing the jewel of omnipotence, relieved by a monochrome iron- 
 red ground of pure vermilion tint, of the CKien-lung period (1736- 
 95). The outlines of the decoration are penciled in underglaze blue. 
 The five-clawed dragon coiled round the neck of the vase is colored 
 green, with the enamel laid on thickh', so as to stand out in slight 
 relief, the jewel being depicted on the shoulder as a yellow disk 
 with a green spiral coil inside emitting bluish flames. The rim of 
 the foot shows a paste of grayish tint; the glaze underneath, of 
 pale-green color, is crackled. XXVI. 
 
 Crackled Green Vase [PHng), 16^ inches high, bottle-shaped, 
 with globular bod}^ and wide tubular neck, invested with a 
 monochrome glaze of pale " camellia-leaf green " color, minutely 
 •crackled throughout. The foot is enameled underneath with the 
 same glaze, which is also partially spread on inside the mouth so as 
 to leave some of the buff-colored paste visible. The rim of the 
 mouth is lightly touched with a ring of brown tint. The fine 
 orackle is sometimes known as truitee, from its resemblance to the 
 scales of the trout; the Chinese call it T/il tzH wen, or " fish-roe 
 crackle," as distinguished from the coai-ser reticulation of the 
 pitig lieh men, or "fissured ice crackle." The color approaches 
 ** apple-green." The period is CK'ien lung (1736-95); it is enam- 
 eled sur biscuit like the fitiely crackled turquoise vases of the 
 time, and the paste is of similar character. XXVII. 
 
 Club-shaped Vase {Pang-chih P''ing), 17| inches high, 
 painted in overglaze iron-red of darker and lighter shade, with 
 touches of gold and spots of black to define the eyes of the 
 ■dragons, executed in the vigorous style and coloring of the reign 
 of K^ang-hsi (1662-1722).
 
 V80 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 The body of the vase is decorated in panels of different shape, 
 surrounded by a red ground diapered with clirysantliemum scrolls. 
 Two large oblong panels contain four-clawed dragons disporting 
 among clouds, in pursuit of the jewel of omnipotence, which is de- 
 picted as a gilded disk with spiral center, as if whirling in the air. 
 At the sides there are two rectangular panels with flowers and fly- 
 ing insects, branches of pomegranate fruit and blossoming peach 
 and sprays of bamboo, and two panels of foliated outline below, 
 with carp swimming in the midst of water plants. The shoulder is 
 encircled by a brocaded ground of diamond pattern studded with 
 peach-blossoms and broken by four foliated medallions with chrys- 
 anthemum-flowers inside; the neck is painted with four circular 
 shou characters in a graceful floral scroll; the elaborate decoration 
 being completed by a band of false gadroons round the foot, a ring 
 of spiral scroll on the upright lip, and a castellated border at the 
 base of the neck. XXVIII. 
 
 Vase (P^ing), 12f inches high, covered with a monochrome 
 glaze of an intense and rich sapphire-blue color, minutely and uni- 
 formly crackled throughout. It is a cobalt-blue, the gros bleu of 
 French ceramists, the pao-shih Ian, or "sapphire-blue," of the 
 Chinese. 
 
 It invests a buff-colored paste, exhibited under the foot, which is 
 unglazed. The vase is probably not older than the Cfi'ien-lung 
 period (1V36-95). XXIX. 
 
 Flower-Vase {Hua PHng), 10^ inches high, of solid make, 
 bottle-shaped, with a slightly tapering neck, enveloped in the folds 
 of a dragon modeled in salient relief with openwork. The vase is 
 enameled with a mottled glaze of gray ground streaked with pale 
 purple. The dragon, a three-clawed monster of archaic design, 
 with a spirally curved tail, is enameled crimson with a rouge-ffor 
 glaze; one of its long horns, accidentally broken off, has been 
 replaced in gold. It is marked underneath, below the coat of 
 purplish-gray glaze, with a seal, very lightly etched in the paste, 
 containing the inscription Ta ChHng CKlen-htng nien chih, 
 " Made in the reign of Ch'ien-lung (1736-95) of the Great Ch'ing 
 [dynasty]." XXX. 
 
 Large Vase {PHng), 23^ inches high, decorated with a pair of 
 five-clawed imperial dragons in the midst of clouds, enameled 
 green, displayed upon a monochrome ground of yellow. The de-
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 781 
 
 tails of the design are etched in the paste with a style under the 
 green enamel. One of the dragons is emerging from the sea, the 
 rolling waves of which surround the base of the vase ; the other is 
 descending, its tail reaching to the top of the neck. They are 
 enveloped by scrolls of clouds, the rifts of which are occupied 
 b}' flying bats. A formal band of foliations pointing downward en- 
 circles the foot, and a ring of spiral ornament surrounds the upper 
 rim. The foot is enameled yellow underneath, with no mark; the 
 period would be that of CKien-lung (1736-95); the design is of 
 imperial character, and the yellow ground of the typical shade re- 
 served for the use of the emperor, known as " imperial yellow." 
 
 XXXI. 
 
 Flower- Vase [Hua P''mg), with a wide circular mouth, the 
 upright rim of which is surmounted by the head of a five-clawed 
 dragon, its body, projected in salient relief, being modeled in open- 
 work upon the shoulder of the vase. The surface of the vase is 
 covered with a deep monochrome glaze of " iron-red " of dark coral 
 tint and undulating aspect. The dragon is enameled green, the 
 details are touched in black. The mouth is covered inside with a 
 greenish-white glaze partially crackled with brown lines, and the 
 same glaze covers the base, underneath, inside the rim, which ex- 
 hiljits a paste of grayish tone. It is not older than the reign of 
 Ch'ien-lung (1736-95). XXXII. 
 
 Vase {PHng), 11 inches high, of bottled-shaped outline, with a 
 tall neck, enameled with a thick opaque glaze of grayish tone, 
 mottled and streaked with amethyst, passing into splashes of deep 
 purple shade. The glaze is extended over the lip and for about an 
 inch downward inside the mouth. Underneath the foot it is 
 coated with an opaque ivory-white glaze, slightly crackled. The 
 rim exhibits a rather coarse buff-colored paste resembling that of 
 stoneware, but paler than that of the ordinary Kuang Yao, the 
 production of the province of Kuangtung, which is illustrated in 
 Plate XLI. XXXIII. 
 
 Plum-blossom Jar {Mei Hua ITiiati), 10^ inches high, of glob- 
 ular outline, with rounded cover, decorated with an interlacement 
 of floral sprays, springing upward from a rockery on one side, and 
 downward from the rim of tlie jar on the other, so as to cover its 
 surface as well as that of the cover. Two pairs of magpies are 
 perched among the branches. The intervals are studded with
 
 782 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 single flowers and buds. The colors are manganese-brown of 
 purplish tinge, green, and yellow, i-elieved by an enameled ground 
 of intense black, which becomes shaded with a greenish tone at the 
 edges. The interior of the jar and the foot are glazed with a 
 greenisli-white enamel, and the paste is of somewhat gray porous 
 texture, differing from the perfect technique of the blue and white 
 " ginger jar " of Plate II, but resembling the well-known large 
 vases of the K''ang-hsi period, painted with the same colors re- 
 lieved by a similar black ground. XXXIV. 
 
 Vase (P'inff), 14^ inches high, of somewhat thick, solid struc- 
 ture, with the neck buttressed with two vertical ribs, encircled 
 above by six tubular handles, and the shoulder studded with a ring 
 of six prominent bosses. It is enameled with a crackled glaze of 
 grayish celadon color, reticulated with fine lines of reddish brown, 
 mottled all over with clouds of copper-red of strawberry hue, 
 flecked with darker shades of brown. The inside of the mouth 
 and the under aspect of the foot are also crackled, but of plain 
 celadon color without mottling. The circular rim of the foot is 
 touched with a coating of iron-gray, to cover the rather coarse buff- 
 colored paste, which is accidentally left bare at one point where one 
 of the handles springs from the neck. It belongs, probably, to the 
 Ch'ien-lung period (1736-95). XXXV. 
 
 Bowl for Goldfish ( Yii ICang)^ 7 inches high, 10 inches across, 
 modeled in the form of a large lotus-leaf turned up at the edge, so 
 that the folded margin of the peltate leaf makes the irregularly 
 convoluted rim of the bowl, which is etched inside and out to rep- 
 resent the natural venation of the leaf. The two handles which 
 project at the sides are fashioned in full relief in the shape of lotus- 
 flowers, one of which, fully expanded, shows the cup-shaped fruit 
 in the middle. These blossoms, which are colored maroon, are 
 each flanked by two buds of the same color in similar relief. Two 
 more flowers are painted in maroon to decorate the front and back 
 of the bowl ; all the tuberculated flower-stems are represented 
 curving up from below. The rest of the surface of the bowl is 
 enameled inside and out with a celadon glaze of greenish tint, 
 which darkens in the etched parts of the design and becomes nearly 
 white over the relief parts. The bottom is unglazed, only super- 
 ficially coated with a thin wash of brown color. Period CJCien- 
 lung (1736-95). XXXVI. 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 783 
 
 Six Snuff-Bottles {Pi yen Hu). 1. Of cylindrical fonn, dec- 
 orated with a dragon pursuing the jewel in the midst of clouds, 
 painted in black upon a ground of deep mottled yellow; sea- waves 
 at the foot, lambrequin round the upper rim. Mark underneath, in 
 blue, Yung-cheng nien chih, " Made in the reign of Yung-cheng " 
 <l723-35). 
 
 2. Of flattened globular form, decorated with landscapes in 
 maroon-red, with the distant hills and water shaded in the same 
 copper-red of greenish tint. The stopper, with gilded rim, is enam- 
 eled of a crackled apple-green to simulate turquoise. Mark under- 
 neath, in one line of "seal" characters, Ta chHng Tao-kuang nieti 
 chih, "Made in the reign of Tao-kuang (1821-50) of the Great 
 Ch'ing [dynasty]." 
 
 3. Of baluster shape, enameled with a crackled monochrome 
 glaze of purplish -gray color. No mark. The spoon is mounted on 
 metal stopper inlaid with coral. 
 
 4. Of pilgrim-bottle shape, made of copper invested with Soo- 
 chow cinnabar lac, carved with scrolls of peonies, fret borders, and 
 dragon-head handles. Intaglio mark underneath, a monogram 
 meaning " myriad-fold longevity and happiness." 
 
 5. Of flattened oval form, decorated in enamel colors with a 
 mountain landscape extending all round, with a figure in the fore- 
 ground standing in front of a pavilion, an old fisherman on a rock 
 angling, a rustic behind carrying a plow, and a bo}^ with brush- 
 wood. Stopper, with gilded rim, enameled to represent coral and 
 turquoise. No mark. 
 
 6. Carved out of clouded agate, sliowing the natural veining of 
 the stone, supposed to resemble a dragon concealed by clouds. 
 The stopper, with a rim of turquoise, is mounted with a coi-al 
 bead. XXXYII. 
 
 Etched Celadon Vase {P^ing), 17 inches high, bottle-shaped, 
 with a bulging body of globular outline, ornamented with bats fly- 
 ing among scrolled clouds, worked in slight relief in the paste and 
 etched so as to cover the body and neck of the vase, tlie intervals 
 being filled in with ornamental borders. Plainly paneled boi'ders 
 encircle the body above and below, a broad chain of rectangular 
 fret defines the base of the neck, and a band of diamond-pattern 
 fret encircles the mouth, interrupted by four floral studs, and suc- 
 ceeded by a ring of trefoil foliations. The whole surface is in- 
 vested with a celadon glaze of typical color, which varies in shade 
 according to its depth, thereby enhancing the effect of the etched
 
 784 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 decoration underneath. Tlie base is enameled white underneath, 
 without any inscription. The period would be Yung-cheng (1723— 
 35) or CJCien-lung (1736-95), the vase being a fine example of the 
 celadon tone of this period called by the Chinese tung-cKing. The 
 tint resembles that of the vase of the preceding reign, illustrated 
 in Plate VII, but the glaze is not quite so rich and translucid. 
 
 XXXVIIL 
 
 White Bottle- shaped Vase (P'm^), with double ring worked 
 in slight relief in the middle of the long neck under the thick white 
 glaze tinged witli a shade of green, which covers the whole surface, 
 reserving the decoration, which is etched in the paste with a grav- 
 ing-tool and left en biscuit, showing the natural color of the mate- 
 rial after it has been fired. It consists of a four-clawed dragon, 
 winding round tlie shoulder of the vase in pursuit of the jewel of 
 omnipotence enveloped in flames of effulgence. The mark under- 
 neath, penciled in underglaze cobalt-blue, is Ta Ming CKeng-hua 
 nien chih, " Made in the reign of Ch'eng-hua of the Great Ming 
 [dynasty]," but the form, style of decoration, and technical details, 
 seem to be those of the reign of K^mg-hsi (1662-1722). 
 
 XXXIX. 
 
 Pea-geeen Celadon Vase {Tsuii)^ of antique form and design, 
 modeled with a band of lotus-petals rising in slight relief round the 
 foot, and with three prominent ribs encircling the upper part. 
 Upon the shoulder is crouched the monstrous form of a dragon, 
 worked in salient relief and undercut, so as nearly to envelop the 
 circumference of the vase within its massive folds, the interval 
 being occupied by the jewel, with its effulgent halo, which the 
 dragon is pursuing. Of the usual conventional form, it has two 
 branched horns and a bristling mane, the feet are five-clawed, and 
 flaming processes issuing from the shoulders indicate its super- 
 natural character. It is boldly modeled and finished with engrav- 
 ing. The glaze with which the whole surface is enameled is of 
 tou-ckHng, or pea-green celadon color, and is not crackled. It 
 darkens somewhat in the recesses of the molded decoration. 
 
 The foot is coated underneath with the same celadon glaze, and 
 has no mark attached. The piece may perhaps be referred to the 
 reign of Yung-cheng (1723-35). XL. 
 
 KuANG Yao Figure of Bodhidhaema {Ta-mo Hsiang), the 
 famous Buddhist pilgrim, who came from India to China in the
 
 DESCEIPTIVE LIST OF THE ILLUSTEATIONS. 785 
 
 year 520, and was the first of tlie Chinese Buddhist patriarchs. 
 The statuette, 13^ inches high^ is fashioned in the peculiar red- 
 disli-gray stoneware of the province of Kuangtung {Kuang Yao)y 
 exhibited at the base and in the liollow of the figure, whicli are 
 unglazed. He is standing in tlie attitude of religious meditation, 
 dressed in flowing robes, witli the hands folded in the sleeves ; the 
 poll is shaven, and the ears have the traditional large lobes of the 
 Buddhist saint. The breast and face show the natural red color 
 of the fired clay; the hair, left long behind so as to fall over the 
 shoulders in curls, is colored dark brown; the rest of the figure is 
 invested with a thick, lustrous crimson glaze of mottled flmnhe 
 character, overspread with a reticulated cloud of olive-brown 
 tint. XLI. 
 
 Blue and White Brocaded Vase {PHng), of Persian form, 
 with bulging body and slender, tapering neck, decorated in pale 
 blue of pure tint with floral grounds and foliated panels of floral 
 brocade. 
 
 There are four lozenge-shaped panels on the bod}^, of foliated 
 outline, filled with floral designs in white on a blue ground, con- 
 nected by straps and linked chains. Leaf-shaped panels of similar 
 design spread upward and downward; the intervals are studded 
 with tiny blossoms. The neck has two leaf-shaped paiiels spread- 
 ing up from the base, and two narrow foliations at the lip ; the 
 rest is covered with an overlapping floral pattern. Bands of 
 angular fret round the rim and a ring of conventional ornament to 
 define the shoulder complete the decoration, which is of aj-abesque 
 character. The mark inscribed underneath is a leaf, outlined in 
 blue, a common sign of the K^mg-hsi period (1662-1'722), to which 
 this little vase is to be attributed. XLII. 
 
 Pomegranate Vase [Shihliu JP'ing), being fashioned of a curi- 
 ous shape simulating a pomegranate crowned with its permanent 
 calyx. The body, of six-lobed section, is alternately ribbed and 
 fluted, and drawn in above to a short, slender neck, whicli flares 
 into a recurved mouth with an irregularly indented rim. The lip 
 is tinted with a line of dark-brown color, and the foot is invested 
 underneath with a dark-brown glaze, so that the material might be 
 mistaken for a dark stoneware, did not a slight flaw in the glaze at 
 one point lay bare the whitish paste. The vase is coated outside 
 with a mottled glaze of dull purplish or lavender color, crackled 
 with a network of dark lines. The interior of the mouth is enam-
 
 786 DESCKIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 €led with a lustrous glaze of grayish white more superficially 
 crackled. It appears to be a reproduction, to be attributed to the 
 Yung-cheng period, of the famous Kuan Yao of the Sung 
 dynasty, which is described as having had an "iron-colored foot" 
 and " copper-red mouth." XLIII. 
 
 Beaker-shaped Vase {Hua Ku), of slender, graceful form, 
 modeled after an ancient sacrificial bronze, with a prominent band 
 round the middle, a spreading foot, and a trumpet-shaped mouth. 
 The surface is covered with molded and etched designs of archaic 
 bronze character, with an ornamental band of scrolls, proceeding 
 from dragons' heads, round the middle, between two rings of inter- 
 rupted rectangular fret, and witli palniations, spreading upward 
 and downward, outlined in spiral curves. It is entirely covered 
 with a minutely crackled glaze of pure turquoise tint, which 
 changes in tone according to its depth, thereby enhancing the 
 effect of the relief and chiseled work. There is no mark under- 
 neath, but a similar piece in the collection is engraved with the 
 seal Ta Ch'ing GlCien-lxing nien chih, and this vase must be 
 referred to the same reign of Ch'ien-lung (1736-95). XLIV. 
 
 Beaker-shaped Vase [Hua Ku), of slender, graceful form, with 
 slightly spreading foot and trumpet-shaped mouth, modeled after 
 an ancient bronze design on lines similar to those of the vase figui'ed 
 in Plate XLIV, but differing in having a perfectly plain surface. 
 It is enameled with the same finely crackled glaze of mottled tones 
 of the purest turquoise tint, which extends over the rim inside the 
 mouth, and invests the base of the foot, with the exception of the 
 cii'cular rim, which is unglazed, and shows the grayish texture of 
 the paste. It must be referred to the same period, the reign of 
 Cli'ien-lung (1736-95). It is a pale bluish variety of the glaze 
 which Chinese ceramists call Wung-chuo-lu, or "peacock-green." 
 
 XLV. 
 
 Brilliant Flambe Quadrangular Vase {Fang Tsun), 12 inches 
 high, of antique design, with two wide-open scroll handles pro- 
 jecting from the sides of the neck. The mouth has the rounded 
 corners indented, and the indentations are continued downward as 
 grooves, which gradually disappear about the middle of the vase. 
 A pointed ovoid panel is outlined in slight relief on the front and 
 back, to break the uniformity of the surface. The vase is enam- 
 eled outside with a gray, superficially crackled glaze, overlaid with 
 vertical streaks and mottled clouds, so as to exhibit splashes of 
 
 \
 
 DESCEIPnVE LIST OF THE ILLUSTEATIONS. 787 
 
 brilliant transformation colors of varied tints, passing through 
 brilliant shades of crimson aiid purple into deep olive-brown. The 
 upper rim and the interior of the mouth are coated with the same 
 yao-pien, or " furnace transmuted " glaze. The enamel under the 
 foot is yellow, and not crackled ; the paste is very white, as shown 
 by a slight accidental chip. Period, ChHen-lung (1736-95), 
 
 XLVI. 
 
 Large " Pilgrim-Bottle " Vase, or Pao-yueh P''ing, literally 
 "full-moon vase," 16 inches high, with floral decoration in enamel 
 colors of the Yung-cheng period (1723-35). 
 
 The scrolled openwork handles, which connect the neck and 
 slioulders, are fasliioned in the form of grotesque dragons. The 
 base of the neck is encircled by a band of fret, succeeded above by 
 a formal palmate ring of foliations, below by a scroll border, and a 
 ring of scroll ornament surrounds the foot. The body of the vase 
 is decorated on both sides with flowering branches springing from 
 a point near the foot and spreading over the surface. On the side 
 illustrated we see scarlet pomegranate-flowers and branches of the 
 white prunus and pink Pyrus japonica, mingled with twigs of 
 bamboo and sacred fungus. On the other side narcissus-flowers, 
 with white petals and yellow bells in the middle, spring from 
 rocks clad with fungus, with bamboo sprays, and there is a bunch 
 of red nandina berries waving above. A pair of butterflies is 
 flying across the field, and bees are hovering around the plum- 
 blossoms. The seal penciled underneath in underglaze blue is 
 Ta CKing Yung-cheng nien chih — i. e., " Made in the reign of 
 Yung-cheng, of the Great Ch'ing [dynasty]." XL VII. 
 
 Large Round Dish {Ta Kuo P''an), 20 inches in diametei-, with 
 a floral decoration, painted in the brilliant enamel colors of the 
 Yicng-cheng period, extending from the base over the rim and 
 along the sides, as well as filling the interior of the saucer-shaped 
 dish. The decoration consists of branches of the blossoming plum 
 {mei-htca) mingled with sprays of pomegranate (shih-lin), both 
 of which send off twigs before they wind over the rim to orna- 
 ment the under border of the dish Avith the same white and red 
 flowers. A clump of the branching sacred fungus (ling-chih), 
 with its scrolled heads of diverse colors, is sprouting from the 
 branch of the prunus. The mark penciled underneath in cobalt- 
 blue inside a double ring of the same color is Ta CJi'ing Yung-
 
 788 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 cheng nien chih — i. e., " Made in tlie reign of Yung-cheng (1723-35), 
 of the Great Ch'ing [dynasty]." 
 
 The companion disli, of the same size, style, and mark, is deco- 
 rated, still more effectively, with branches of the tree-peony (mou- 
 tan), Magnolia yulan, and Pyrus japonica (hai-t^ang), and has 
 trailing sprays of the three flowers extending round tliree-fourths 
 of the lower border. The large, conspicuous blossoms of the 
 peony are nearly white, tipped with pink, and the magnolia-petals 
 are filled in with the same white enamel. XLVIII. 
 
 Large Globular Jar [Kang), painted in deep brilliant blue, of 
 the tone of coloring and archaic decorative st3'le characteristic of 
 the Chia-ching period of the Ming dynasty. The body is divided 
 into four panels of foliated outline, which are filled with landscape 
 pictures of familiar life in China. In front, a poet is seated in a 
 pavilion composing, while a boy attendant holds up his ink-pallet, 
 and two others carry wine-pot and cup. Two men are working in 
 the garden below, the trees of which are the symbolical pine, 
 bamboo, and plum. The scene on the left depicts a scliolar on 
 horseback riding to visit a friend in his mountain retreat, at the 
 door of which an attendant is knocking to announce his arrival. 
 Similar scenes occupy the other two panels. The recesses are filled 
 with alternate sprays of peony and chrysanthemum, and the 
 decoration is completed by a band of sacred fungus round the 
 shoulder of the jar, and another of beaded gadroon pattern round 
 the base. Underneath, boldly written in dark underglaze cobalt- 
 blue, is the mark Ta Ming Chia ching 7iien chih — i. e., "Made in 
 the reign of Chia-ching (1522-66), of the Great Ming [dynasty]." 
 
 XLIX. 
 
 Tvs^o Vases {JSua PHng), of the "peach-bloom" type. The 
 first is invested with a grayish-green glaze variegated with streaks 
 and mottled clouds of intense emerald-green, passing into olive at 
 the lower edges as they "run " down over the field. A blush of 
 " crushed-strawberry" tint is seen near the rim at the base. Tlie 
 magnificent coloring seems to bean accidental success of the potter, 
 due to prolonged firing of a glaze unusually rich in copper. The 
 usual mark of Ta ChHng K'^ang-hsi nien chih, " Made in tlie 
 reign of K'ang-hsi, of the Great Ch'ing [dynasty]," penciled under- 
 neath in cobalt-blue, has also "run," the characters being much 
 blurred. The lip has been replaced in gold. 
 
 The second piece is clad in a rich, smooth glaze of charmingly
 
 DESCRIPTIVE LIST OP^ THE ILLUSTRATIONS. 789 
 
 uniform color, a pinkish pearl-gray, reminding one of the hue of 
 the opening bud of the lavender. It is flecked witli a few olive- 
 brown spots in the receding hollow of the neck. It is of perfect 
 technique, with the lip defined by a rounded edge, and tlie foot 
 enameled pure white underneath, but not inscribed. The interior 
 of the mouth exhibits a mottled glaze, displaying the most beauti- 
 ful *' peach-bloom " tints. Period, /l^'a??^-As^ (1662-1722), L. 
 
 Flower- Vase [Ilua PHng), of graceful shape, exhibiting in 
 typical form the mottled play of colors characteristic of the 
 celebrated " peach-bloom " glaze. The three tints distinguished 
 by the Chinese connoisseur are all seen in the illustration — viz., 
 the chiang tou hung, or " haricot-red," of the ground, the mei 
 Jcuei pan, or " rose spots," and the clouds of p''ing-kuo ch'mg, or 
 " apple-green." The glaze ends below in the usual sharply cut 
 straight line, so as to leave a rim of biscuit round the foot, which is 
 deeply hollowed out underneath. The mark penciled in brilliant 
 underglaze blue is composed of six minute characters arranged in 
 two columns, reading, Ta Cli'ing K''ang-hsi nien chih, " Made in 
 the reign of K'ang-hsi (1662-1722), of the Great Ch'ing [dynasty]." 
 
 LI. 
 
 Ovoid Vase {Hua PHng), one of a pair, of the same period as 
 the last, and with the same mark underneath written in still more 
 minute blue characters, covered with a monochrome glaze of pale 
 sky-blue tint, a charming example of the rare ?/weA ^:)a^, literally 
 *' moonlight white," or clair-de-hme glaze. LI. 
 
 Flower-Vase {Hua PHng), 7|^ inches high, with a ring of 
 upright foliated panels molded in slight relief in the paste round 
 the base. The upper part of the neck, which had a slightly flaring 
 mouth, has been ground down and mounted with a silver collar of 
 Japanese workmanship. The vase is enameled with a " peach- 
 bloom " glnze of " cruslied-strawberry " tint, flecked with spots 
 of darker red, and mottled with clouds of apple-green passing into 
 a bright grass-green in the middle. The mark written under- 
 neath in cobalt-blue under a white glaze is Ta ClCing K''ang-hsi 
 nien chih, "Made in the reign of K'ang-hsi (1662-1722), of the 
 Great Ch'ing [dynasty]." 
 
 The companion vase in the collection, 8 inches high, of a similar 
 form, and with the same mark underneath, has a " crushed -straw- 
 berry " ground, flecked with reddish-brown spots, and onl}^ slightly
 
 790 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 clouded, at one spot, with apple-green. The glaze has run down 
 in thick drops and partially enfoliated, leaving bare places, which 
 have been filled in with tiny petals of gold lacquer. The upper 
 rim is capped with a silver mount etched with a floral pattern, and 
 the neck is encircled by scrolled clouds and a gold dragon of 
 Japanese design. LII. 
 
 Flower- Vask {Haa PHng), 9 inches high, of eggshell thinness,, 
 invested with a soft monochrome glaze of pink color, belonging to 
 the Yung-chefigr (1722-35) or early C^'^ew-Zw/^^ (1736-95) ^period. 
 This beautiful and rare tint is the same as that with which the backs- 
 of some of the delicate eggshell dishes of the time are enameled. 
 It is a variety of the rose <Vor, being derived from gold ; different 
 shades of pink were produced by combining the " purple of Cas- 
 sius," which gives a pure crimson tint, with graduated doses of 
 white. The pink, illustrated here, is called hai-fang hung, or 
 " Pyrus japoniea red," by the Chinese, from its resemblance to the 
 petals of that flower ; the deeper crimson of the " ruby-backed "" 
 dishes, one of which is illustrated in Plate X, they call yen-chih 
 hic?ig, or "rouge-red." LIII. 
 
 Flower-Vase [Hua P''ing), with the "peach-bloom" glaze of 
 the JCang-hsi period (1662-1722). The illustration, in the size of 
 the original, shows the gracefull}'^ curved lines of the form and the 
 perfect technique of the piece. The swelling lip is defined by a 
 line of white, and two white rings in slight relief encircle the neck 
 as it springs from the shoulder. The rest of the surface is covered 
 with a rich glaze of velvety aspect, exhibiting the beautiful play 
 of colors which distinguishes the "peach-bloom" or "crushed- 
 strawberry " vases. The neck is coated inside with a glaze of 
 bright apple-green tint, sprinkled with a few dark-red spots, and 
 tipped at the edge with a ring of mottled "peach-bloom." The 
 mark underneath, Ta ChHng JCang-hsi nien chih, " Made in the 
 reign ofK'ang-hsi, of the Great Ch'ing [dynasty]," is beautifully 
 written in underglaze cobalt-blue, the six characters arranged in 
 three columns. LIV. 
 
 Wine-Pot ( Ghiu Hu), of somewhat rough paste and antique 
 style, enameled with colors and touches of gold, of the ICang-hsi 
 period (1662-1722). Of oblong form, with the corners I'ounding 
 inward, it has an upright arched handle which is painted with 
 black lines on a yellow ground, to simulate basketwork. The
 
 DESCRIPTIVE LIST OF ITIE ILLUSTRATIONS. 791 
 
 decoration is in panels, with the typical flowers of the seasons on 
 the four sides ; the plum of winter, with a bird perched in the 
 branches, and an evergreen bamboo growing from tlie rocks 
 beneath ; the tree-peony of spring, with butterflies flying around ; 
 the lotus of summer ; and the chrysanthemum of autumn. The 
 intervals are filled with bands of floral diaper, interrupted on 
 the shoulder by two medallions containing sprays of peony, and 
 formal sprigs of the same flower are painted on the curved spout. 
 The foot is glazed white underneath, with no mark attached. LV. 
 
 Bottle-shaped Vase {PHng), 16|^ inches high, of good form 
 and finished technique, enameled with the celebrated red glaze of 
 the Zang Yao of the reign oiK^mig-hsl (1662-1722). The surface 
 of the glaze exhibits a superficial network of crackled lines, and 
 its depth reflects the richly mottled tints of sang-de-bceuf tj'pe, 
 streaked with lighter shades below. The upper edge of the tall 
 neck is defined by a rounded rim of white. The foot is apple-green 
 underneath, not crackled, mottled with undefined rings of pale red. 
 
 LVI. 
 
 Vase {PHng), 18 inches high, of the celebrated Lang Yao of 
 the reign of K''ang-hsi (1662-1722). Bottle-shaped, with swelling 
 body and tall, wide, cylindrical neck ; the rich deep glaze, crackled 
 throughout, exhibits the characteristic crimson tints of sang-de- 
 bceuf in its darkest mottling. The base is covered underneath 
 with a gray, " rice-colored " glaze, slighth^ mottled with brown. 
 
 LVII. 
 
 Flower- Vase {Hua P^ing), 8^ inches high, covered with the 
 crackled sang-de-boenf glaze, the characteristic colors of which are 
 well represented in the lithograph. The mottling of apple-green 
 crackle exhibited near the foot is still more marked on the opposite 
 side of the vase. The base underneath is coated with a crackled 
 white glaze, barely tinted with green. It belongs to the reign 
 of K'ang-hsi (1662-1722). LVIII. 
 
 Large Vase {PHng), 21 inches high, of the celebrated Lang 
 Yao of the reign of K^ing-hsl (1662-1722), covered with the 
 characteristic crackled monochrome glaze of sang-de-boenf color. 
 The colors, of varied tone, pass from apple-green to deepest 
 crimson, through all intermediate shades, according to the degree 
 of oxidation of the copper silicates in the glaze. The vase
 
 792 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 is green toward the edges, where the network of crackles is 
 most clearly visible ; red on the body, where the glaze runs down 
 toward the foot in richly mottled streaks ; and of dark, sanguin- 
 eous tint on the shoulder, where the glaze is thickest. The rims 
 are defined by lines of white glaze ; the base is covered under- 
 neath with a crackled glaze of pale apple-green color. The plate 
 shows well the vertical play of colors, the crackled texture, and 
 the stippled ground which mark this glaze — one of the most 
 brilliant achievements of the Chinese potter. The reflections give 
 a touch of contrast to the tone, and indicate the finished radiance 
 of the surface lit up by the sun. LIX. 
 
 Statuette of Kuan Yin [Kuan Yin Hsiang), 1*7 inches high, 
 mounted upon a pedestal, representing the Chinese goddess of 
 Mercy, a Buddhist divinity, the special " hearer of prayers," as the 
 name signifies. Modeled in a dignified pose, she stands upright 
 with braceleted hands crossed in front, her robes, with broad and 
 loose sleeves, hanging gracefully down so as to cover all but 
 the tips of her bare feet. The face, with calm, complacent 
 features, is marked between the eyebrows with the illumianting 
 urna, characteristic mark of a Buddha, and the ears have the tra- 
 ditional pendulous lobes of a Buddhist saint. The hair is crowned 
 with a tiara of lotus design ; a lotus-flower is suspended upon 
 the breast by a jeweled necklace, and another hangs down from 
 the girdle. A short brocaded cloak covers the shoulders and forms 
 a hood, which projects forward in a point above the head-dress. 
 The pedestal is fashioned in scrolled outlines to represent the waves 
 of the sea, with the two-horned bristling head of a dragon emerg- 
 ing in front, flanked by two four-clawed feet, the hinder part of its 
 serpentine form being seen behind. 
 
 The figure is enameled with a crackled glaze of soft grayish tone 
 with reticulating brown lines. The decorated parts are painted in 
 the brilliant colors of the old famille verte ; the hair is jet-black, 
 the eyebrows are outlined in black, and the lips touched with coral- 
 red. The hood is brocaded with scrolls of lotus-flowers ; the upper 
 border of the robe is encircled by shou characters alternating with 
 flowers. Period, K'ang-hsi (1662-1'722). LX. 
 
 Tall Vase {Hu-lu P'm^), 28 inches high, of threefold outline, 
 fashioned in the form of a double gourd with broad, swelling 
 waist, and decorated in enameled colors of the K''ang-hsi period 
 (1662-1722).
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 793 
 
 The middle section is decorated on a white ground with two 
 grotesque lions enveloped in flames, and brocaded balls, looking like 
 wheels, suiTounded by waving fillets. The balls, outlined in un- 
 derglaze blue, are painted partly in the same blue, partly in colors, 
 coral-red and green predominating ; the lions, painted in similar 
 colors, have the curly manes and spreading tails touched with an 
 overglaze blue enamel. The borders are filled in with a band of 
 floral diaper in colors. The upper and lower segments of the vase 
 are glazed with a monochrome ground of brilliant " mirror-black." 
 This was once profusely painted in gold, and traces remain on the 
 iower part of the vase of floral and diapered grounds, inclosing 
 panels containing rocky scenes with deer, Jc'ilin, and monstrous 
 quadx'upeds, surmounted by a ring of symbols, including the double 
 -fish, lozenges, and "cash"; and of panels containing landscapes 
 with temples on the upper segment. LXI. 
 
 Floweb-Vase [Hua PHng), 10|- inches high, of the reign of 
 ICang-hsi (1662-1722), decorated in panels with cobalt-blue of 
 brilliant mottled tone, and in the intervals with floral sprays on an 
 enameled black ground. The body of the vase is decorated with 
 three quatrefoil panels containing vases filled with bouquets of 
 lotus-flowers and reeds, pots of sword-grass, and writing apparatus 
 set on low tables ; the neck, with two leaf-shaped panels below, 
 having sprays of chrysanthemum inside, with alternate svastika and 
 jewel symbols round the bulb, and with rings of formal foliations 
 round the base and rim. The ground between the panels is filled 
 in with sprays of plum blossom, painted in delicate green and 
 yellow, relieved by a background of intense iridescent black. There 
 is no mark underneath. LXII. 
 
 Saucer-shaped Dish (Tieh), of delicate eggshell porcelain, 
 -decorated with brilliant enamel colors of the Ytmg-chenff period 
 ^1723-35). The graceful figure, supported by a scrolled bank of 
 many-colored clouds, represents one of the female divinities of the 
 Taoist cult, as shown by her attributes, and seems to be Ho Ssien- 
 ku, the virgin member of the band of inunortals who, the story 
 says, occasionally appears to her worshipers in a cloud of diverse 
 colors. The goddess is dressed in long, flowing robes, with a short 
 -cloak of lotus-leaves thrown across her shoulders and a long black 
 scarf with the ends floating loosely down, and has her jet-black 
 hair ornamented with a pink flower ; a pilgrim's gourd hangs sus-
 
 794 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 pended from her girdle, and slie carries in lier hands a large blue 
 jar, tied round with pink silk, containing, doubtless, the beverage 
 of immortality — tlie magic elixir vitce. LXIIL 
 
 Quadrangular Vase (JPh/u/ P''ing), 13 Indies high, with ver- 
 tical openwork railings of scrolled outline projecting from the four 
 corners, richly decorated in enamel colors, with gilding, of the 
 ChHtn-lung period (1736-95). 
 
 The vase is decorated with foliated panels framed in a blue ground 
 brocaded with bats in gold. The large oblong panels on the body 
 are painted on a white ground with landscape pictures of the four 
 seasons. The picture representing spring is a mountain scene, 
 with temples half hidden by trees, and a river spanned by a plank 
 bridge on which a traveler is standing, admiring the peach-trees 
 with their pink blossoms ; a Pyrus japonica is flowering near a 
 temple, and the willows on the river-bank are clad in the rich ver- 
 dure of spring. The summer scene is a similar picture, with pines 
 and poplars in full foliage and reeds waving over the water. The 
 picture of autumn, seen in the illustration, has also a mountain 
 background, with temples and pillared pavilions on the shore of a 
 river swollen by the torrents of the rainy season, and foliage show- 
 ing bright autumnal tints. A snow scene follows for winter, even 
 the fisherman seated in his boat in the foreground being covered 
 with snow, and showing out white upon the sepia-tinted water. 
 A grove of pines surrounds the temple buildings ; all the other 
 trees are bare, sketched in the same neutral shades that darken sky 
 and water. 
 
 The neck of the vase has four small square panels filled with 
 colored clouds. The shoulder is decorated with bands of conven- 
 tional floral scrolls issuing from the mouths of two bats displayed 
 upon a yellow ground. The borders and the openwork railing are 
 enameled of soft coral-red, overlaid with gilded scrolls, succeeded 
 by bands of blue with scrolls of gold peonies round the upper and 
 lower rims. The seal underneath, penciled in red on a white panel 
 reserved in the middle of the pale-green enameled grounds, which 
 characterizes the finest imperial porcelain of this period, is Ta 
 ChHng ChHen lung nien chih, — i. e., " Made in the reign of Ch'ien- 
 lung (1736-95), of the Great Ch'ing [dynasty]." LXIV. 
 
 Flower- Vase {Hua PHng), of graceful ovoid shape, with 
 tapering neck and expanded rim, enameled with a pure mono- 
 chrome glaze of delicate citron-yellow tint. The yellow ground is
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 795 
 
 interrupted on both sides of the vase, to be decorated by little pic- 
 tures sketched in sepia upon a white ground. The pictures are 
 represented as if painted upon scrolls, partially unrolled so as to 
 sliow the brocaded mounts at the sides ; one is a mountain land- 
 scape with a pilgrim in the foreground on the bridge leaning upon 
 his staff, the other a rustic scene with a cottage in front. The rim 
 of the lip and the interior of the mouth are white, with a tinge of 
 green, and the foot of the same color, underneath, with no inscrip- 
 tion. It is a choice specimen of a monoclirome glaze which seems 
 to have been produced in such perfection only in the reign of 
 Tung-cheng (1Y23-35). LXV. 
 
 Saucer-shaped Dish (Tie/i), of eggshell porcelain decorated 
 with brilliant enamel colors of the /amille rose and gilding. The 
 motive of the decoration is a screen fan, laid down, as it were, in 
 the dish upon a bed of flowers. The screen is painted with the 
 picture of a pheasant perched upon a rockery, with daisies and 
 grass and a branch of shan-li-hiing berries in the background. It 
 has a curved bamboo handle tinted red, gilded mounts, and black 
 tassels attached by silken cords. The flowers are sprays of peony 
 And chrysanthemum, displayed in bright colors upon the sepia 
 ground of diapered pattern, which is seen lining the rest of the 
 interior of the dish. The rim is encircled by a wavy band of con- 
 ventional floral sprays studded with alternate peony and chrysan- 
 themum flowei's, penciled in sepia and filled in with gold. Period, 
 Yung-cheng or ChHen-lung (1723-95). LXVI. 
 
 Bowl ( Wan), molded after a characteristic design of the reign 
 of Ykmg-lo, with spreading sides and a gently everted rim nicked 
 at regular intervals in six places. Of eggshell texture and marvel- 
 ous transparence, it has yet, in addition to the painted decoration, 
 a complicated pattern molded in relief in the paste inside, consist- 
 ing of an interlacing scroll of lotus lifting up eiglit blossoms to 
 support the eight Buddhist emblems of happy augurj'^ [pa chi 
 hsiang), which form a circle round the rim of the bowl, surrounded 
 by waving fillets; this ornamentation, too fugitive to be illustrated, 
 has the effect, under transmitted light, of watered satin or water- 
 marked paper. The decoration, painted in coral-red over the glaze, 
 ■consists of nine four-clawed dragons — two pairs inside and two 
 outside — speeding round the sides in pursuit of whirling jewels, all 
 enveloped in forked flames, and the ninth coiled in a ring in the
 
 796 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 bottom of the bowl. This is one of the exclusive designs sacred to- 
 the emperor, and the dragons are all four-clawed, a special mark of 
 the K''ang-hsi period (1662-1722), to which this bowl belongs. It 
 is thinner and more perfect in technique than a ChHen-lung bowl,. 
 with a glaze of softer tone, although not so brilliant nor so vitreous 
 in aspect, and is of the same style and date as the vase figured in 
 Plate XXVIII. LXVIL 
 
 1. Rice-Bowl {Fan Wan), 7f inches in diameter, of the IT^atig- 
 hsi period (1662-1722), artistically decorated in shaded blues with 
 a lake scene, a group of storks standing in a clump of lotus, rocks 
 and panicled reeds in the background ; a medallion of lotus-flowers 
 is painted inside in tlie bottom of the bowl, and a band of sprays of 
 the same flower round the inner rim. The mark underneath is a 
 six-spoked wheel encircled by a waving fillet with dots, simulating 
 a flower ; an identical mark occurs on a brilliant "hawthorn-spray '^ 
 plate in the collection dating from the same period. 
 
 2. Water Receptacle (Shut Ch'eng), 2\ inches high, for the 
 writing-table, in the form of an ordinary teapot, decorated in soft- 
 toned blue under a crackled, soft-looking fen-ting glaze of ivory- 
 white tint. It is decorated with the paraphernalia of the scholar : 
 a censer, a book, and a water-pot with ladle inside on a palm-leaf,. 
 in front ; a lyre in its brocaded case and 2iju-i scepter tied with 
 fillets, behind ; and with four symbols on top — a musical stone, a 
 Buddhist wheel, a lozenge, and a " cash " — and two on the cover, 
 with cloud scrolls between the symbols. The mark underneath is 
 yu, " jade," the period that of K''ang-hsi. LXVIII. 
 
 3. Miniature Vase [Hsiao PHng), 3 inches high, delicately 
 painted in blue, the depressed bulging body covered with interlac- 
 ing scrolls of Indian lotus, the neck, which is marked near the base 
 by a prominent white ring, encircled by conventional bands of 
 spiral and triangular fret and foliated design respectively. The 
 mark underneath, in well-written characters, penciled inside a 
 double ring, is Ta Ming Hsiian te nien chih — i. e., " Made in the 
 reign of Hsiian-te (1426-35), of the Great Ming [dynasty]." 
 
 LXVIIL 
 
 Plate {P''an tzfi), \0\ inches in diameter, painted inunderglaze 
 cobalt-blue of lighter and darker shades, in the free, artistic style 
 and tone of coloring characteristic of the K''ang-hsi period (1662— 
 1722). The interior of the plate is decorated with a four-clawed
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 797 
 
 dragon emerging from the waves with flames proceeding from its 
 shoulders and flanks, while two fishes, one a carp, are swimming in 
 the water which covers the ground with curling crest, dotted with 
 foam. The border of the plate is encircled by scrolled waves ; its 
 under surface is ornamented round the rim with six emblems tied 
 with fillets, including a couple of books, a round jewel, a diamond 
 {fang sheng), an umbrella, a conch-shell, and a palm-leaf. The 
 mark underneath, inscribed within a double ring, is Ta Ming Ch'eng- 
 hxia nien chih, " Made in the reign of Ch'eng hua, of the Great 
 Ming [dynasty]," but the form and style of decoration indicate 
 certainly the reign of ICa/ig-hsl. The fabled metamorphosis of 
 the " Fish Dragon " ( Yii Lung) is symbolical of the scholar's 
 success at the state competitive examinations, LXIX. 
 
 Beaker-shaped Vase [Hua Ku), 11'^ inches high, of solid 
 material and somewhat arcliaic form, with a flat base not glazed ; 
 decorated with etched borders and painted blue designs, executed 
 in the style of the Wan-li period (1573-1619). Three bands of 
 wavy conventional scrolls, lightly etched in the paste under the 
 glaze, encircle the vase so as to divide its surface into two parts, 
 which are decorated in brilliant cobalt-blue of shaded tones. The 
 body represents a combat between a tiger, the king of land ani- 
 mals, and a dragon, prince of the powers of the air. Tlie tiger is 
 in the foreground, crouching upon the reedy bank of a lake, from 
 the waves of which a dragon has just emerged and is seen ap- 
 proaching on the right, with its huge scal}^ form half hidden by 
 clouds ; rocks and clouds fill in the background. The neck of the 
 vase is painted with a rocky landscape with palms rising in the 
 background ; a kH-lin is seated in front, with flames issuing from 
 its throat and body, indicative of its supernatural attributes ; it 
 has a scaly skin, a two-horned dragon's head, the hoofs of a deer, 
 and the spreading tail of a lion. A phcenix is flying in the air 
 above. LXX. 
 
 Ovoid Vase, of the Buddhist form, called Kuan Yin Tsioi, be- 
 cause it resembles the ritual vase carried by the goddess of Mercy, 
 18 inches high, decorated in shaded tones of brilliant blue, in the 
 characteristic style and coloring of the K^ang-hsi period (1662- 
 1722). 
 
 The body of the vase displays the grotesque forms of three lions 
 of the traditional Chinese type, sporting with brocaded balls, the 
 wheel-like balls being tied with broad fillets, which fill in all the
 
 798 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 intervals with their spirall}'- waving folds. The neck of the vase, 
 marked with three ribs faintly worked in the paste, is painted in 
 blue with an encircling band of " scepter-head " ornament above a 
 liglit ring of spiral fret. The mark underneath is a large double 
 ring, penciled in blue, such as frequently occurs at the time referred 
 to, when the potters were forbidden to use the imperial title. This 
 decorative motive is always called Shih-tzU, k''un hsiu chhi, " Lions 
 sporting with brocaded balls," and the lions, by a pun on the word 
 sfiih, which also means "generation," are often said to be symbol- 
 ical of three generations of the same famil3\ The original ecclesi- 
 astical signification of lions guarding the sacred wheel of the Bud- 
 dhist law seems to be quite forgotten, although one can almost 
 detect the spokes of the wheel in tlie picture before us. LXXI. 
 
 Tall, Vase {Hua-Ku), 33 inches high, of archaic form, with six 
 prominent serrated ridges projecting vertically from the bulging 
 center, and extending down to the gently spreading foot, and two 
 handles fashioned in the shape of grotesque lions' heads, channeled 
 for rings, on the neck. It is painted in cobalt-blue of characteris- 
 tic tone, under a rich lustrous white glaze slightly tinged with 
 blue. The decoration consists of conventional scrolls of peonies 
 arranged in vertical panels. A band of sea-waves stretches round 
 the base, two undulating rings of foliated scrolls define the bor- 
 ders of the body, a band of sacred ling-chih fungus winds round 
 the shoulder, and two horizontal bands of conventional ornament 
 mark the borders of the neck. Inside the mouth there are two 
 encircling bands of formal flowers, succeeded by a ring of palmated 
 design pointing downward. The mark, inscribed in a framed 
 panel near the upper border, is Ta Ming Wan li nien chili — i. e., 
 "Made in the reign of Wan-li (15'73-1619), of the Great Ming 
 [d3'na8ty]." The bottom is unglazed. LXXII. 
 
 Vase (PHng), of gracefully eloiigated ovoid form, decorated in 
 brilliant blue, in the style and coloring of the best ICang-hsi 
 period (1662-1722). The picture represents, apparentl}-, a dra- 
 matic scene. A traveler in official dress is kneeling in the foi"e- 
 ground on a river-bank, to which the boat is moored from which he 
 has just landed, his umbrella and bundle thrown on the ground 
 near. A martial figure stands in front with his hand upon the hilt 
 of his sword, the hero of the piece, indicated by the long pheasant 
 plumes in his helmet, who is attended by two soldiers armed with 
 long halberds. The background is filled in with rocks and waving
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 799 
 
 willows, enveloped in clouds of mottled blue. The neck of the 
 vase is painted with a few light spraj^s of bamboo. The mark 
 underneath, penciled in blue within a double ring, of Ta Ming 
 Chia ching nieii chih, " Made in the reign of Chia-ching, of the 
 Great Ming [dynasty]," is evidently fictitious. LXXIII. 
 
 Vase (P''i>ig), 10 inches high, with a decoration of floral bands 
 and ornamental borders, worked in slight relief in the paste, under 
 a monochrome glaze of pale grayish-blue color, derived from the 
 native cobaltiferous ore of manganese. This is the Vieii-ch'ing, or 
 " sky-blue," of Chinese ceramists, which resembles somewhat in 
 tint the turquoise glaze illustrated in Plate XLV, although this is, 
 on the other hand, derived from copper, and differs from the cobalt 
 glaze in being minutely crackled. The decoration consists of con- 
 ventional scrolls of .peonies round the body, with a baiid of false 
 gadroons below and a border of scrolled " scepter heads " above. 
 The rim of the foot is encircled by a continuous rectangular fret, 
 and the shoulder is defined by a chain of similar design. The neck 
 has a ring of palmations, alternatelj^ longer and shorter, ascend- 
 ing from the base. The rim of the lip is marked with a line of 
 brownish-yellow color. The foot is enameled underneath with the 
 same grayish-blue glaze as the vase, without any inscription. It 
 may be attributed to the early part of the K''ang-hsi period (1662- 
 1722). LXXIY. 
 
 Crackled Turquoise Flower-Pot [Hua P^en), of rectangular 
 outline and oblong section, with the rim incurved, resting upon four 
 scrolled feet. The interior is strengthened by six vertical ribs ; 
 the bottom is perforated by two round holes. It is enameled out- 
 side with a rich translucent glaze of deep turquoise tint, which is 
 minutely crackled throughout with a network of well-defined lines. 
 The interior and the under surface, both for the most part unglazed, 
 exhibit a paste of whitish texture resembling that of the vase figured 
 in Plate LXXXIV, and this flower-pot is also to be referred to the 
 Ming dynasty. It is probably a production of the reign of Wan-li 
 (1573-1619). LXXV. 
 
 Vase, with Cover {A'a^ PHng), one of a pair, of broad ovoid 
 shape, composed, as it were, of two vases coalesced into one, with 
 the line of junction indicated b}'^ vertical grooves, surmounted by a 
 double composite cover crowned by two gilded knobs. It is painted 
 in the finest enamel colors with gilding of the CKien-lung period,
 
 800 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 tones of red predominating, and is a brilliant example of the /amille 
 rose. The body of the vase is filled with groups of playing boys 
 painted upon a translucently white ground. On one side there is 
 a group of children playing upon musical instruments, and carry- 
 ing branches of peach-blossom, gathered round three goats, the 
 special emblem of the creative energies of spring, indicated by the 
 punning name of the design, " San yang Mai tai.'''' On the other 
 side the boys surround a central figure holding a vase from which 
 a cloud is issuing as it unfolds to display five flying bats, symbols 
 of the five kinds of happiness. The receding neck and the hollow 
 of the foot are filled with broad bands of ruby-red, with the rose- 
 d^or ground etched with scrolls and overlaid with chains of 
 symbols painted in colors, fringed with narrower bands of yellow 
 and sepia color diapered with flowers. The cover has a similar 
 scrolled ground, with foliated rings round the knobs. The base^ 
 enameled pale green, is inscribed, in overglaze blue, with one line 
 of antique " seal " characters, reading Ta Ch'hig (JlCien lung tden 
 chih, "Made in the reign of Ch'ien-lung (1736-95), of the Great 
 Ch'ing [dynasty]." LXXVL 
 
 Vase ( Tsun), modeled in the form of an ancient sacrificial wine- 
 vessel of the Han dynasty, with encircling bands worked in slight 
 relief in the paste, and three solid handles fashioned in the shape 
 of rams' heads projecting on the shoulder. The glaze with which 
 it is enameled is of gra3dsh tint, crackled throughout with a close 
 network of reddish-brown lines. Upon the shoulder of the vase^ 
 where the glaze is thicker, it is pale blue, and the crackled reticu- 
 lation becomes almost colorless ; also upon the spreading rim of 
 the foot, where the conditions are similar. The same crackled 
 glaze extends into the interior of the vase, and invests the base, 
 which is marked in the middle, under the glaze, with the " seal "^ 
 in dark cobalt-blue, inscribed 7'« ChHng CKien lung nien chih — 
 i. e., "Made in the reign of Ch'ien-lung (1736-95), of the Great 
 Ch'ing [dynasty]." LXXVII. 
 
 Vase (PHng), enameled with a monochrome glaze of green of 
 the color of cucumber-rind (the kuap'i I'd of Chinese ceramists), 
 minutely and uniformly crackled throughout. The glaze exhibits 
 an undulating surface, and the green color takes on a mottled 
 aspect in places, becoming slightly paler on the shoulder in one spot 
 which happens to be more thinly covered. The finely crackled 
 or truit'e surface of this bottle offers a typical example of the
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 801 
 
 yii tzH teen, or " fisli-i'oe crackle." The foot is invested underneath 
 with a similar crackled green enamel. The upper rim is touched 
 with brown, which is concealed in the illustration by the ebony 
 stopper. Period, CJi'ien-hotg (1736-95). LXXVIII. 
 
 Vase i^Tsun), modeled after an archaic bronze form, with bulg- 
 ing body, upright rim, and two tubular handles. Composed of 
 grayish paste, it is invested with a thick brilliant enamel of trans- 
 lucent eraerald-green, uniformly crackled with a network of brown 
 lines. Reflected light produces a marked iridescent effect, which 
 the artist has indicated in the illustration. The enamel, which 
 thins to a straight edge toward the foot, is stained below by a line 
 of olive-brown at the point of junction with the ferruginous paste. 
 The foot, unglazed underneath, and showing the circular marks of 
 the wheel, is of dark color, almost black. LXXIX, 
 
 Tall Vase [P^i/tg), 18|^ inches high, enameled with a mono- 
 chrome glaze of very dark olive color, becoming black in some 
 parts where the glaze is thickest, as it collects, for instance, upon 
 the shoulder and round the edge of the foot. It was originally 
 richly decorated in gold, with a pair of dragons rising into the air 
 from the sea, traces being still visible, on close inspection, of sea- 
 waves below, and of the forms of large four-clawed dragons pursu- 
 ing jewels in the midst of clouds, extending over the bulging body 
 and slender neck of the vase. Although there is no mark inscribed 
 underneath, the characteristic shape, coloring, and decorative style 
 all indicate the reign of K''ang-hsl (1662-1722). LXXX. 
 
 Vase (PHng), 12 inches high, with a bulging body and a solid 
 circularly rimmed foot enameled with a brilliant Kua-p'i lii, or 
 " cucumber-green " glaze, minutely crackled throughout. The color 
 ranges from apple-green to dark olive, the slirface of the vase being 
 vertically streaked with deep mottled tints of olive, where the glaze 
 has collected as it ran down in the furnace. The same glaze 
 extends down inside the mouth, but the foot is unglazed and has 
 no mark inscribed underneath. If not older, it is an early speci- 
 men of the reign of ChHeii-liing (1736-95). The lip is mounted 
 with a silver collar. LXXXI. 
 
 Vase {P^ng), 17 inches high, bottled-shaped, with bulging 
 body and wide neck, painted with a floral decoration of shaded 
 black, invested with a monochrome iridescent glaze of deep-camel- 
 lia-leaf green. The decoration consists of a boldly designed pic-
 
 S02 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 ture of peonies, with sprays of other plants, growing from rocks in 
 the foreground, and a single leafy spray behind. It has run in 
 some parts so as to be hardly visible under the overglaze, which, 
 paler above, collects as it flows down the vase in unctuous masses, 
 becoming of wonderfully deep, metallic-like luster where it absorbs 
 and mingles with the black underneath. The rim, which has been 
 broken, has been mended in Japan with gold lacquer. The foot is 
 enameled pale green underneath, with no mark attached. The 
 specimen belongs to the reign of K^ang-hsi (1662-1722), which is 
 famous for the variety of its green glazes, one of which is called 
 she p^i III, or " snake-skin green," because it resembled, in its deep 
 luster, the beautiful iridescent hue which distinguishes the scaly 
 skin of some serpents. LXXXII. 
 
 Vase (PHtiff), 15 inches high, with a globular body poised upon 
 a swelling recurved foot, having a pair of dragons incised in the 
 paste under a monochrome glaze of " eel-skin yellow " {shan-yu 
 huang), of the reign of K''ang-hsi (1662-1722). The dragons, 
 of the typical four-clawed design of the period, are represented in 
 pursuit of tlie jewel of omnipotence, a disk with spiral center emit- 
 ting rays of effulgence; the form of one is half concealed by the 
 rolling waves which are engraved round the base of the vase; the 
 other is fully displayed in the midst of etched scrolls of clouds and 
 forked flames, filling in all the intervals. The investing glaze, of 
 yellowish-brown tint, deepens into olive-brown to enhance the 
 effect of the incised decoration, and collects in brown drops as it 
 runs down over the rim of the foot. The base is coated underneath 
 with the same glaze. The tints resemble precisel}'^ those of the 
 shan yiX, the common brown eel of north China ; the glaze was 
 introduced into the imperial manufactory by Ts'ang Ying-hsiian, 
 who was sent to Ching-te-chen by the Board of Works in the year 
 1683. LXXXIII. 
 
 Vase {Tsun), 9^ inches high, of somewhat archaic form and 
 design, with the details of the decoration worked in relief in the 
 paste and finished with the graving tool. 
 
 The body is encircled by a belt of rings connected by double 
 links, between two lines of rope pattern; a ring of studs surrounds 
 the base between similar lines of rope, and there is another ring of 
 studs at the top above a single rope line. An interrupted chain of 
 rectangular fret defines the base of the neck, and the everted lip 
 is ornamented with a chain of the same fret; the lower part of the
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 805 
 
 neck has a band of spiral foliations embossed with studs. I'he vase 
 is enameled with a crackled glaze of the deep turquoise tint that 
 is called by Chinese ceramists k''ung-chuo lu, or " peacock-green,'^ 
 which enhances the effect of the relief decoration by the brilliant 
 play of its richly mottled tints, varying according to the depth of 
 the glaze. The interior of the mouth, and the foot underneath, are 
 invested with the same turquoise glaze. There is no mark, but 
 the solid, very white paste and the general technique resemble 
 those of the imperial turquoise bowls and plates of the Ming 
 dynasty, which are usually marked, so that this vase must be 
 referred to the same period. LXXXIV. 
 
 Robin's-egg Gray Vase {PHng), 10 inches high, of egg-shaped 
 outline, with an archaic dragon modeled in full relief, with open- 
 work, upon the shoulder of the vase, so as to envelop half of the 
 rim of the circular mouth with its coils. It is two-horned, with 
 indistinct claws and a bifid, spirally curved tail, like the cJi'ih- 
 lung of ancient bronzes. The dragon is colored maroon on a gray 
 ground; the vase is invested with a thick glaze of bluish-gray 
 tone, flecked with copper-red spots and streaks of mottled maroon 
 tints. 
 
 The rim of the foot is iron-gray; the middle is plastered with a 
 yellowish-brown enamel, covering the seal, which is impressed un- 
 derneath the paste, inscribed Ta CliHng Yung cheng nien chihy 
 "Made in the reign of Yung-cheng (1723-35), of the Great Ch'ing 
 [dynasty]." LXXXV. 
 
 Vase {PHi^g), 7| inches high, of depressed, bulging form, with 
 a pair of handles projecting from the shoulder fashioned in the 
 shape of lions' heads with rings in their mouths. It is enameled 
 all over with a pellucid glaze of grayish celadon color, crackled 
 with a wide reticulation of brownish-red lines, connected by a few 
 superficial colorless lines within the meshes. The foot is invested 
 underneath with the same crackled glaze, so as to leave the rim 
 uncovered, which is tinted iron-gray. The upper rim and the han- 
 dles are touched with brownish-red. 
 
 There is no mark. It is probably a production of the Yung- 
 cheng period (1723-35), emulating the ancient Ko Yao of the 
 Sung dynasty, which is described as having had iron-colored feet 
 and copper- red mouths. LXXXVI. 
 
 Vase {P^ing), of ovoid form, swelling toward the shoulder, 
 which is defined b}"^ a line in slight relief as it recedes into the
 
 804 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 neck. The tliin lip of the gently flaring mouth is encircled by a 
 ring of black enamel, and the two solid handles which project 
 from the sides of the vase, modeled as grotesque lions' heads and 
 perforated for rings, are invested with a brilliant bronze-black 
 glaze of metallic aspect. Tlie rest of the surface is enameled with 
 a bright yellow monochrome glaze of slightly greenish tone, 
 crackled throughout with a fine network of superficial lines {trui- 
 tee). The foot is invested with the same glaze. Period, ChHen-lung 
 (1736-95). LXXXVII. 
 
 Furnace-Tkansmutation Vase {Yao Pien P''ing), of hexag- 
 onal section, with two open looped handles projecting from the 
 neck, roughly fashioned in the shape of elephants' heads. The 
 enameled surface, superficially crackled with a wide reticulation, 
 exhibits a mottled investment of olive-brown, overlaid with thick 
 splashes of brilliant crimson shades streaked with purplish grays, 
 produced by varied oxidation of the copper silicates of the glaze 
 as it ran down in the kiln in massive drops. The inside of the 
 mouth shows the substratum of pale-green tint, flecked with a few 
 Jlambe spots. The foot is of mottled olive -color, leaving a broad 
 rim unglazed, where the dark, yellowish color of the paste is ex- 
 posed. Period, (7A'2e?i-?Mn^ (1736-95). LXXXVIII. 
 
 Double-Gourd Vase {Hu-lu P''ing), of Fen-Ting porcelain, 
 with a grayish- white paste of fine texture, and an ivory-white glaze 
 of purest translucence, delicately crackled throughout with a wavy 
 network of light-brown lines. The decoration, worked in the paste 
 in slight relief, consists of two broad bands of floral scrolls, com- 
 posed of sprays of the lotus, peony, and lily, designed in a conven- 
 tional or idealized style, with formal borders of gadroon bands and 
 *' scepter-head " scrolls, and a girdle of rectangular, interrupted fret 
 round the waist. The base is invested with a similar crackled 
 glaze. It is an admirable specimen of perfect beauty and finish, 
 to be referred, probably, to the IC^ang-hsi period, when the potters 
 of Ching-te-Chen emulated, and surpassed, the makers of the 
 ancient Ting-chou ware of the Sung dynasty. LXXXIX. 
 
 Flower Vase [Sua PHng), of fine form and finished tech- 
 nique, with molded and chiseled designs invested with a white glaze 
 of perfect purity and translucence. Tiie body is ornamented with 
 a broad band worked in relief, composed of a pair of the archaic, 
 one-horned, lizardlike dragons called chHh-lungy winding through 
 interlacing scrolls of the miraculous fungus of longevity (ling-chih).
 
 DESCREPTIVE LIST OF THE ILLUSTRATIONS. 805 
 
 This is succeeded above and below by an etched band containing 
 symbols encircled by waving fillets, with cloud scrolls in the in- 
 tervals, the symbols represented being a pair of rhinoceros-horn 
 cups, and the fang-sheng^ or double lozenge, above, the conch- 
 shell and the palm-leaf below. Round the lip a ring of triangular 
 fret is lightly etched. There is a mark of the Sung dynasty 
 penciled on the foot in underglaze blue — Hsuan ho nien chih — i. e., 
 "Made in the period Hsiian-ho (1119-25)," a time when the pro- 
 ductions of Ching-te-chen are said to have rivaled the finest white 
 /^jade. This piece, however, is a reproduction, and, from its perfect 
 technique, is to be attributed to the reign of K^ang-hsi (1662- 
 1722). XC. 
 
 Vase [PHng), of white Fen-Ting porcelain of the K''ang-hsi 
 period (1662-1722), with a rich, pellucid glaze of pure tone, crackled 
 with a wide network of superficial, colorless lines. The charac- 
 teristic translucence of the surface is well represented in the illus- 
 tration. The foot is enameled underneath with a similarly crackled 
 glaze, and has no mark attached. XCI. 
 
 Bottle-shaped Vase {Ilua P^mg), enameled with a mono- 
 chrome coral-red glaze of perfect purity, displaying a remarkably 
 uniform vermilion tint. The lip is defined by a line of white. 
 The foot is coated underneath with a white glaze of greenish tone, 
 leaving exposed a ring of paste of grayish color. There is no mark 
 attached; it belongs, probably, to the CKien-lung period (1736-95). 
 
 XCII. 
 
 Vase {P^ing), 15f inches high, with a bulging body and 
 slender cylindrical neck, exhibiting the souffle cobalt-blue glaze of 
 mazarin tint in its most brilliant tone of coloring. 
 
 There is no mark underneath, but the vase, without doubt, is to 
 be referred to the reign of JT^ang-hsi (1662-1722). The process 
 of ch'ui chHng, or " insufflation of the blue," on the unburned clay 
 before glazing is fully described by P^re d'Entrecolles in his 
 second letter written from Ching-te-chen in the year 1722. 
 
 XCIII. 
 
 Ancient CH^tJN-CHOu Flower-Pot [Hua-P^eyi), 8 inches across, 
 of depressed globular form, with slightly spreading feet, per- 
 forated at the bottom with five holes. The bowl is enameled with 
 a rich glaze of finely mottled aspect, in which the prevailing tone 
 of bluish gray is flecked with purple and crimson spots; it becomes
 
 806 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Stone-gray on the upper rim, and is broadly splashed with crimson 
 at the back near the foot, vvliere it has run down more thickly. In 
 the hollow of the foot is a brown of olive tint. The paste, where 
 it is exposed at the top, shows tlie material to be a dense, hard 
 stoneware of yellowish tint. The upper rim is mounted with a 
 wooden collar, and the stand is also elaborately carved in rose- 
 wood, and incised underneath with the cyclical character chiay 
 indicating that it came from the imperial collection at Peking^ 
 where the stands are marked in this way. There is a companion 
 flower-pot in the collection, of the same size and shape, enameled 
 with a glaze of darker tint, and more thickly flecked with crimson, 
 passing into purple. They are both specimens of Chun Yao from 
 the Chun-chou potteries of the Sung dynasty. Modern reproduc- 
 tions of the Chbien-lung period are distinguished by the finer and 
 whiter texture of their paste and by a more finished technique. 
 
 XCIV. 
 
 Tall Imari Vase [Hana-ike), 23 inches high, of cylindrical, 
 beaker-shaped form, swelling into a prominent ridge near the foot, 
 and flaring above at the mouth. It is decorated in blue and white 
 in combination with enamel colors and gilding. The floral ground, 
 painted in blue with interlacing sprays of peonies, is interrupted by 
 two long panels of foliated outline, which contain flowers growing 
 from rocks, painted in enamel colors upon a white ground. The 
 blue floral ground is overlaid with fillets of deep verrailion-red tied 
 in bows which inclose flowers, and the foot of the vase is encircled 
 by a ring of foliations filled with stiff upright flowers. The inner 
 rim of the mouth is decorated in plain blue with a band of peony 
 sprays; tlie foot is glazed white underneath, with no mark in- 
 scribed. Period, 1650-1700. XCV. 
 
 Statuette, of Tokyo porcelain invested in white enamel, with 
 the face and right hand reserved en biscuit, representing the 
 famous general and statesman, Take-nouchi no Sukune, who was 
 the leading spirit in the celebrated Korean expedition under the 
 Empress Jingo, and prime minister under three succeeding em- 
 perors, and who is said to have attained the great age of two hun- 
 dred and fifty years. The figure is boldly modeled, with bearded 
 face and beetling eyebrows, the furrowed brow surmounted by 
 a winged hat of ancient Chinese style. The flowing robes are 
 brocaded with dragon scrolls and ornamental borders worked in 
 relief under the glaze, and the figure of a stork flying among 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTEATIONS. 807 
 
 clouds is emblazoned on the breast. The right hand is lifted up 
 as if gi'asping tlie official badge of his high j-ank. The mark 
 incised underneath is Dai Nippon Tokyo Eaouye Riosai tsukuru 
 — i. e., *' Made in Great Japan at Tokyo by Enouye Riosai." It is 
 said to have been specially made for the Philadelphia Centenary 
 Exposition. XCVI. 
 
 1. "Old Japan" Imari Sake-Bottle (Tokuri), of square section, 
 with a bulging body gracefully tapering upward to a slender neck, 
 ending in a square thin-rimmed mouth. Invested with a glaze of 
 pure ivory-white tone, it is decorated in a formal archaic style with 
 floral designs painted in delicate enamel colors with gilding; the 
 four sides of the body with a gnarled plum-tree bearing red and 
 gilded blossoms, alternating with a conventional spray displaying 
 three bundles of starlike flowers; the neck with long, foliated 
 panels of floral scrolls relieved by coral-red and white grounds. 
 The base is flat and unglazed underneath, showing a fine paste of 
 finished technique; the date would be circa 1650. 
 
 2. " Old Japan " Imari Sake-Bottle ( Tokuri), of circular sec- 
 tion, with an ovoid body and a long, slender neck with eveited 
 lip, decorated in a bold, free hand, after the Chinese style of the 
 
 Wan-li period, partly in cobalt-blue of two shades, painted sur 
 -biscuit partly in overglaze enamel colors, with profuse gilding. A 
 rocky outdoor scene is represented Avith two aged figures in 
 Chinese costume in the foreground, one carrying a crooked staff, 
 standing under the trees; the rocks are clad with bamboos, and 
 there are palms rising in the background, and an open rockery with 
 peony shrubs beside it. No mark underneath. Period, about 
 noo'. XCVII. 
 
 Tall " Old Japan " Imari Vase {P''iug), 2b inches high, painted 
 partly in cobalt-blue, partl\' in enamel colors with lavish gilding. 
 It is decorated with panels containing pictures painted upon a white 
 ground, irregularly distributed upon a blue ground richly bro- 
 caded with flowers. Two large panels, of indented oval outline, 
 contain identical pictures of landscapes, executed in conventional 
 Chinese style, with lake scenes and waterfalls, temples and pago- 
 das; two minor panels, which thev partly hide, are filled with droop- 
 ing wistaria-flowers; and the two indented panels below display 
 tlie same outdoor scene, with a traveler in Chinese dress attended 
 by two boys, one holding a gilded umbrella over his head, the 
 other pointing to a waterfall. The blue ground which covers the
 
 808 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 remainder of the vase, with tlie exception of a few floral reserves 
 and a band of white around the shoulder, a deep cobalt color of 
 mottled brilliant sheen, is overlaid with gilded sprays of chrysan- 
 themum-flowers, at) occasional blossom of which is penciled in red; 
 the neck is decorated in gold with a pair of three-clawed dragons 
 among clouds and flames; the shoulder is gilded with a band of 
 conventional flowers on white; and chains of spiral and rectangular 
 fret and heavily gilded rims complete the decoration, with small 
 square patches of gold-leaf applied at irregular intervals inside the 
 mouth. 
 
 Tliere is no mark underneath. The vase dates from the middle 
 of the seventeenth century, and is a fine example of the richly 
 ornamented porcelain produced in Japan at this time for export to 
 Europe. XCVIII. 
 
 "Old Japan" Imari Sake-Pot (Choshi), of hexagonal form 
 with rounded top, the handle of which is the overarching seal}'" 
 body of a dragon, which protrudes its head through the side of the 
 pot to form the spout. The dragon, which has a two-horned head 
 and four-clawed feet, with red flames proceeding from its flanks, is 
 modeled after the Chinese type. The enamel colors used in the 
 decoration are deep " iron-red," overglaze blue of greenish tint, 
 pale green, and gold. The top of the sake-pot, being the firma- 
 ment in which the dragon is disporting, is gilded with cloud scrolls 
 and flames upon a red ground; the cover is painted witli similar 
 designs and crowned with a floral knob. The six panels are 
 enameled with grounds of different color; the central panels at the 
 front and back have a circular medallion reserved in the middle of 
 the red ground, which contains a gilded floral crest; the side panels 
 display the three jewels of Buddhistic lore enveloped in flames, and 
 two identical pictures of crested sea-waves and distant hills. The 
 feet are three floral buttons. There is no mark, but the date would 
 be about 1750. XCIX. 
 
 1. Teacup (Cha-wan), of Satsuma faience, covered with a finely 
 crackled glaze of pale, mottled-brown tint, invested round the 
 upper rim with a line of light olive-brown, which runs down 
 inside the lip in deep, coloi-ed drops, becoming almost black. 
 This rare example of Satsuma decorative treatment is referred to 
 the middle of the eighteenth century. 
 
 2. Flower-Vase (Hana-ike), of Satsuma faience, modeled in 
 the form of a four-lobed beaker, and chastely decorated in soft
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 809 
 
 colors with gilding. It is molded with a prominent ring encircling 
 the base of the neck above four panels bordered in spiral relief, 
 which spread downward and are painted inside with red peony- 
 tiowers encircled by green leaves, all outlined in gold. The rest 
 of the decoration consists of three narrow bands of conventional 
 ornament, tilled in witli the same three colors — red, green, and 
 gold. Date, about 1800. C. 
 
 1. Incense-bubner (ICdro), of Satsuma faience, finel}'^ decorated 
 in delicate enamel colors with gilding. The body is divided by 
 bands of spiral fret into three broad panels, which are filled with 
 formal sprays of peonies; conventional foliations surround the 
 shoulder and spread down over the three feet; the neck is encircled 
 bv the eight mystic trigrams {pa kua) of Chinese philosophy. 
 The dome-shaped cover, decorated with an ornamental band round 
 the rim, is perforated by six round holes, and surmounted l)y the 
 figure <»f the Chinese lion couchant. The rims, both of the censer 
 and of the cover, are strengthened by a silver casing. Date, close 
 of the eigiiteenth century. 
 
 2. V E WOT {Choshi), of Satsuma faience, of somewhat archaic 
 design, four-lobed in outline, with a short spout, and overarching 
 handle, invested with a minutely crackled glaze of ivory-white 
 tone. It has been used for sake, and the surface is dulled by wear 
 and stained brownish in some places by the liquid. Pei'iod, 1700- 
 1750. CI. 
 
 Vase {IJana-ike), \\\ inches high, of Satsuma faience, ovoid 
 in form, bulging above, with two handles fashioned in the shape 
 of lions' heads projecting from the shoulder. It is decorated with 
 storks flying among clouds, relieved by an intensely black ground, 
 which fills in all the intervals of the decoration. The details are 
 painted with red and green enamel colors in combination with 
 gilding and silvering, some portion of the cloud scrolls being left 
 untouched, so as to sliow the natural finely crackled surface of the 
 ivory-white glaze. The borders are encircled by ornamental bands 
 of geometrical design, defined by lines of gold. The base is 
 eiiajnele<l plain black underneath, with no mark affixed. Date, 
 1800-1850. CTI. 
 
 1. Japanese Kutani Incense-burner {Koro), of circular sec- 
 tion, with three small feet, enameled with an iron-red glaze of 
 deep vermilion tint, overlaid with gilded and silvered decoration.
 
 810 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 On tlie bod}^ a three-clawed dragon outlined in gold is winding^ 
 round the side, above a floor of crested waves painted in silver; 
 a band of lotus petals, touched in silver with gilded outlines, 
 encircles the upper rim. The paste, buff inside, is enameled white 
 round the edge and underneath the foot. CIII. 
 
 2. Rice-Bowl {Meshi-wa/i), of Japanese Kutani ware, enameled 
 with the same deep vermilion glaze, and decorated in colors, includ- 
 ing a pale green, in combination with the gold and silver. A con- 
 ventional scroll of the sacred lotus extends round the bowl, 
 studding it with four formal flowers, bordered above by a broad 
 band of ornamental fret, alternately gilded and silvered below, 
 with a ring of lotus-petals. The foot is red underneath, as well as 
 the lower rim, leaving none of the paste visible; the interior of the 
 bowl is coated with a white enamel of pitted texture. Period of 
 both pieces, about 1750. CIII. 
 
 1. Japanese Kutani Rice-Bowl [Meshl-%oa)t), enameled with 
 a monochrome iron-red glaze of deep vermilion tint, with gilded 
 rings to define the borders, and decorated in gold and silver, with 
 a pair of phoenixes with long, trailing tails, traversing scrolls of 
 the moutan peony wound round a paling, indicated convention- 
 ally in the intervals. The rim of the foot is painted with lozenge- 
 shaped symbols, separated by light scrolls of clouds. The foot is 
 red underneath, the interior of the bowl a greenish white. Date, 
 about 1750. 
 
 2. Japanese Kutani Rice-Bowl {3Ieshi-ioau), of thin, trans- 
 lucent porcelain, with the interior molded in the style of ancient 
 Chinese Tingchou ware, with sprays of lotus, chrysanthemum, 
 aster, and other flowers inclosed in panels, six of foliated outline 
 surrounding the circular panel beneath, and with an encircling 
 chain of rectangular frel^— all molded in slight relief under a glaze 
 of pale celadon color. The exterior of the bowl is decorated in 
 enamel colors, with gilding, with four round medallions containing 
 peonies, alternately green and gilded, in a red ground, and with 
 floral designs in the intervals, connected by a network of beaded 
 strings hung with sjnnbols and tassels. The foot is enameled red 
 underneath, with a wliite rim; the lip is strengthened b3^ a silver 
 collar. Period, 1700-1750. CIV. 
 
 " Old Japan " Imari Incense-burner {Koro), modeled in the 
 form of a rounded bowl, mounted upon three small scrolled feet,, 
 with two molded handles projecting from the shoulder, fashioned
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. Sll 
 
 in the shape of grotesque lions, and a cover fitting inside tlie rim 
 of the bowl, surmounted by an elaborate superstructure, delicately 
 modeled in openwork relief, consisting of a hollow chestnut-tree 
 with prickly fruit upon it, burst open so as to show the gilded nuts 
 inside, and having a spray of chrysanthemum and a bunch of scarlet- 
 berried fruit attaclied. The rim of the bowl is encircled b}' a band 
 of fret; the surface, as well as that of the neck, is ornamented 
 with floral scrolls on a vermilion-red ground. This floral ground 
 is interrupted, on the bowl, by panels of dentated outline, which are 
 painted in delicate enamel colors, green, buflF, pale purple, red, and 
 gold; a broad panel in front with the picture of a mountain scene, 
 with two aged figures in Chinese costume resting under a spread- 
 ing pine; two panels, side by side, at the back, one containing 
 peonies growing behind a reed fence, the other a rockery and a 
 blossoming plum-tree. The foot is only partiall}' glazed under- 
 neath, with no mark attached. Period, about 1700. CV. 
 
 .Japanese Imari Hanging Censer (JiTdro), of regular oval form, 
 with a gilded loop-handle at the top for suspension, and an opening 
 of indented oval outline in front for the introduction of the 
 incense, which is closed b}' a movable silver lid, pierced in the 
 middle with a kiri-mon, or Paulownia crest. The censer is dec- 
 orated outside, in shaded vermilion-red and gold, with panels of 
 brocaded design, both on the front and back, which are decorated 
 with jewels emitting efl^ulgent rays poised upon clouds, and with 
 cloud scrolls, outlined in gold upon a mottled red ground. The 
 panels hang from dragons' heads at tlie upper corners, and are 
 encircled by gilded foliations; the intervening ground is spx'inkled 
 with sacred jewels and conventional flowers. Date, about 1700. 
 
 CVI. 
 
 1. Sake- Pot (Choshi), of Satsuma faience, with a minutely 
 crackled glaze, decorated in enamel colors — blue, red, and green — 
 with gilding. Of square outline, with a spout curving upward 
 from below and a scrolled handle, it has a cover fashioned in tlie 
 form of a chrysanthemum, and a second ring of petals encircling 
 the rim of the mouth, below a dotted blue band which intervenes. 
 The upper surface of the sake-pot, and tlie four side panels, are 
 filled with sprays of the fir, plum, and bamboo — the three floral 
 emblems of long life; the panels are framed in blue and studded 
 with gilded flowers. 
 
 2. Flower- Vase [Hana-ike), of Satsuma faience, enameled
 
 812 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 with a similar finely crackled glaze, and decorated in delicate 
 colors with gilding. The body is covered witli gracefully waving 
 sprays of the Paulownia imperialis, displaying large conventional 
 flowers; the neck is encircled b}^ formal foliations of pointed shape 
 in two rings, spreading upward and downward. The mottled 
 brown staining of the surface indicates that the vase has been used 
 as a sake-bottle. The two pieces are referred to the same period 
 — the end of the eighteenth century. CVII. 
 
 1. Teacup ( CAa-toa/i), of Satsuma faience, decorated in colors^ 
 covered outside with a trelliswork pattern oi svastika design painted 
 in bright green, outlined with gold, so as to stand out in slight relief 
 upon the white background, which is finely crackled with brown 
 lines. Tlie fretted ground is broken on either side by a badge or 
 crest, tlie one in front being composed of a double garland of 
 wistaria-flowers, with three leaflets at tlie top, the other of a formal 
 spray of Paulownia, with a central flower of five florets and lateral 
 flowers of three, springing from three gilded leaves, representing 
 the official and private crests of the owner. Bands of diaper 
 penciled in red and gold encircle the rims. Date, 1800-1850. 
 
 2. Flower- Vase (Hana-ike), of Satsuma faience, of graceful 
 ovoid form, with two handles composed, as it were, of plain and 
 brocaded fillets tied in knots. The surface, of the usual finely 
 crackled texture, is decorated with delicate scrolls of a vine with 
 many colored leaves and curling tendrils. Waving spirals encircle 
 the foot, which is partly gilded, and the rim of the lip is defined 
 by a heavy line of gold. Date, 1750-1800. CVIII. 
 
 Sake-Bottle (Tokuri), of Hirado porcelain, modeled in the 
 sliape of a gourd, with a slightly compressed waist, and drawn in 
 above to a small mouth, which is closed by a round stopper. The 
 aperture is tightened by a cap of yellow silk, the fringe of which 
 is seen in the illustration. There is a floral decoration outside, 
 executed in white slip, worked in slight relief, and finished with 
 the graving tool; it consists of sprays of chrysanthemum-flowers,^ 
 intermingled with a few ])lades and a single penciled head of grass. 
 The investing glaze is of soft, white tone with a tinge of green. 
 There is no mark attached. The date is 1750-1800. CIX. 
 
 1. Sake-Bottle (Tokuri), of Hirado porcelain, modeled in the 
 form of a vase, with a bulging, globular body tapering into 
 a slender, upright neck. It is decorated in soft-toned cobalt-blue^
 
 DESCKIPTIVE LIST OF THE ILLUSTRATIONS. 813 
 
 with a miniature garden-scene, a sketcli of a rockery and a paling, 
 with a palm, peonies, and other flowers, behind the fence. At the 
 back there is a group of five small boys dancing round a couple of 
 fighting-cocks. Date, 1750-1800. The Sometsuke, or blue and 
 white, decorated at this period with Chinese boys playing, was 
 made especially for the use of a prince of the Matsu-ura family 
 residing at Hirado, and its sale was prohibited. 
 
 2. Incense-burner [Koro), of Hirado porcelain, molded in the 
 form of a puppy squatting o*. the ground, its head, which is 
 detachable, being the cover, the line of junction being the lower 
 edge of the ribbon which is represented as tied round the neck. 
 The flanks are decorated with chrysanthemum-sprays, which have 
 the flowers worked in white relief, the leaves penciled in blue; on 
 the back is a panel similarly ornamented with a carp leaping from 
 waves, and a foliated patch with a blue ground is painted between 
 the ears. No mark. Period, 1750-1800. CX. 
 
 Water-Jar (3Iidsu-sashi), of Hirado porcelain, of bowl-like 
 form' with upright sides; of circular section below, it becomes 
 gradually quadrangular, with rounded corners toward the upper 
 rim. It is decorated with bamboos painted in underglaze cobalt- 
 blue, shaded in soft tones of grayish tint; a small clump of bam- 
 boo rises in front, with three-jointed stems, from which branches 
 of foliage spread over the bowl, while the other side is painted with 
 a hanging spray of foliage extending along the upper rim. Date, 
 1750-1800. CXI. 
 
 Hirado Blue and White Censer {Jloto), of depressed globu- 
 lar form, with a pierced outer casing and a rounded openwork 
 cover, poised upon a pillar with a square base, which is mounted 
 on a square pedestal with four scroll feet — all molded in one piece. 
 There are two projecting loop-handles of scrolled form proceeding 
 from the mouth of monstrous unicorn heads, and the pillar has 
 a pair of two-horned, three-clawed dragons coiled round it, mod- 
 eled in salient openwork relief, with the scaly spinous bodies enam- 
 eled white. Through the outer casing of the censer, which is 
 pierced in a trellis pattern, the decoration is seen penciled inside in 
 delicate blue, consisting of a flock of sea-birds on one side and 
 a pair of butterflies on the other. The rims of the bowl and cover 
 are encircled by borders of conventional ornament, painted in the 
 same grayish blue; the intervals of the dragon forms are filled in 
 with cloud scrolls, and the base of the pillar enveloped in rolling
 
 814 DESCEIPTIVE LIST OF THE ILLUSTEATIONS. 
 
 sea-waves; tlie pedestal is surrounded by a cliain of rectangular 
 fret, and the feet with spiral bands. There is a mark painted in 
 minute blue characters under one of the feet, of which the first 
 character of the potter's name is blurred and illegible. It reads: 
 Hirado san Mikawachi . . . Jake sei — i. e., " Made by . . . 
 Jake at Mikawachi in Hirado." CXII. 
 
 t 
 
 Hirado Blue and White Vase [Hana-ike), 12| inches high, 
 of round beaker-shaped form, with a widely flaring mouth, and two 
 solid handles molded in the guise of frogs crawling, as it were, up 
 the neck. It is decorated, inside and out, in underglaze cobalt-blue 
 of grayish tone with a water scene. Two trunks of drooping wil- 
 low-trees rise from the interior of the vase, decorating its surface 
 with a mass of foliage, and sending, besides, several branches over 
 the rim to cover the upper portion of the exterior with gracefully" 
 curving s})ra3'S. The lower portion is painted with scrolled waves 
 to indicate the water fi'om which the frogs are supposed to spring. 
 The scene depicted on the vase, it is suggested, reminds a Japanese 
 of the famous calligraphist and poet, Ono no Dofu, who lived dur- 
 ing the tenth century a. d., and who is always represented watch- 
 ing frogs leaping out of a stream into willow-trees — illustrative of 
 successful perseverance. There is no mark. It is to be referred, 
 probably, to the beginning of the nineteenth century. CXIII. 
 
 1. Japanese Hot-water Bottle {Shaku-date), used with a 
 ladle {shakii) inside at tea-ceremonies; brown stoneware, invested 
 with an opaque olive-brown glaze, flecked with minute yellowish 
 spots of lustrous aspect, terminating in an irregularh' undulating 
 line before it reaches the base, so as to show the natural color 
 of the fired clay; near the top it is overlaid with splashes of deep 
 yellow color with crackled surface, becoming reddish as they min- 
 gle with the surrounding ground. Idzumo ware, made at Fujina, 
 in the province of Idzumo, in the beginning of the nineteenth 
 centur}'. 
 
 2. Japanese Tea-Jar (Cha-rre), made of folds of translucent 
 paper, gilded in the interior, and coated externality with lacquer to 
 imitate glazed pottery, from which it can hardly be distinguished. 
 The cover is made of ivory, the bag of brocaded silk. 
 
 3. Japanese Tea-Jar {CJia-ire), of cylindrical form, tapering 
 upward to the shoulder; made of dark-brown stoneware, covered 
 with a brilliant yellowisli-brown glaze of mottled aspect and par- 
 tially crackled surface, invested round the top with a layer of dark
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 815 
 
 olive color, wliich runs down behind in a vertical streak, mingling 
 with the other glaze. Seto-ware, made in the province of Owari 
 about IVOO. CXIV. 
 
 Japanese Tea-Jars ( Cha-ire). 
 
 1. Of oval form, with a sharply ridged slioulder contracting to a 
 small mouth. A paste of light graj^isK material, invested with 
 a yellowish-brown glaze of brilliant tini, overlaid with a splash of 
 verdigris color which runs down on one side in two finely crackled 
 green streaks, ending in olive drops. Shigaraki pottery, made 
 in the province of Omi about 1850. 
 
 2. Of wide, depressed form, with a prominently ridged center, 
 simulating a covered bowl. Composed of a red clay and covered 
 with a brown glaze, over which is spread a thick enamel of mottled 
 gra}^ tone passing into brilliant olive tints, running down irreg- 
 ularly in unctuous drops. Takatori stoneware, made in the prov- 
 ince of Chikuzen about llbO. 
 
 3. Of oval shape, with a horizontally ridged surface, and two 
 slightly projecting strap handles. A paste of light-brown material, 
 covered with a yellowish-brown glaze, overlaid on either side of the 
 shoulder by an irregular splash of paler yellow with a brilliant 
 crackled surface. Idzumo stoneware, from Fujina, in Idzumo 
 province, about 1750. CXV. 
 
 Vase (JP^ijig), 12 inches high, of ancient Korean faience, dating 
 from the thirteenth century a. d., covered with a gray-brown glaze, 
 crackled where it is thick as it collects round the neck and above 
 the circular rim of the foot. It is decorated with floral designs and 
 diapered grounds, inlaid in an ivory-white slip of brilliant crackled 
 texture. The bod}", defined by encircling rings, is inlaid with two 
 boldly designed sprays of formal flowers, with flying insects like 
 wasps filling in the intervals of the floral decoration, and a bird of 
 rough archaic outline perched upon one of the flowers. The 
 remainder of the surface is filled in with simple diapers, two broad 
 bands extending round the neck and shoulder of the base, two nar- 
 rower bands round the base. The bottom, curioush^ wrinkled un- 
 derneath, is only partially — for about half of its surface — coated 
 with a gray-brown glaze, so as to expose the material, which is 
 a drab-colored faience. CXVI.
 
 816 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 II. TEXT CUTS. 
 
 Baluster-shaped Vase {Mei P''mg), of good form, vertically 
 grooved so as to be of five-lobed section. The decoration, which is 
 lightly etched at the point in the paste, consists of birds and grace- 
 ful sprays of bamboos, with lambrequins round the neck studded 
 with single blossoms, and rings of palmations encircling the rims 
 above and below. The finely crackled turquoise glaze, which in- 
 vests the whole, varies in soft translucid tints, according to its 
 depths, so as to enhance the effect of the engraving underneath. 
 French mounting of the most graceful and artistic style. Height, 
 6^ inches. 
 
 Pair of Vases ( Yi Tai P''ing), of hexagonal outline, with spread- 
 ing feet, and slender necks f urnislied at the side with two open loop 
 handles emerging from projected heads of dragons. The spring of 
 the foot is encircled by a fillet, binding rings of leaves, which spread 
 upward and downward, worked in slight relief in the paste. The 
 finely crackled monochrome glaze of rich and translucent turquoise 
 tint, together with the form and technique, indicate the reign of 
 Wan-li (1573-1619), of the Ming dynasty. Tlie mounting is 
 French ormolu work of the eighteenth century. Height, 12 inches. 
 
 No. 1. 
 
 Octagonal Eggshell Lantern {To-faiTetig), of the K''a7ig-hsi 
 period (1662-1722), decorated in brilliant enamel colors with the 
 eight Taoist immortals {Pa Hsien) crossing the sea in procession. 
 The other side of this lantern is illustrated in Plate XI, where it is 
 described in full detail. Height, 13 inches. A full account of each 
 of the Pa Hsien is given on pages 579-581. No. 2. 
 
 Yuan Dynasty Bowl ( Yuan Tz'ti Wan), a small bowl of hard 
 dense ware of grayish fabric, invested with a thick lustrous glaze of 
 ivory-white tone, minutely crackled with a network of dark lines. 
 It is only partially enameled underneath, the lower third and the 
 foot being left bare. Diameter, 4^ inches. 
 
 Jar, of archaic iron-gray stoneware, with a crackled glaze of 
 stone-gray celadon color; Kioang-yao of the Yuan dynasty. 
 
 Bowl, of Yuan dj'nasty ware, of reddish-gray body, with crackled 
 purplish glaze, mottled with brown. No. 3. 
 
 Square Bottle {Fang PHng), one of a pair, of the K''ang-hsi 
 period, enameled with a remarkably iridescent ground of coral-red
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 817 
 
 of intense tone, with reserved ineilallfons painted in enamel colors 
 with gikling upon a white ground. The panels on the front and 
 back, shaped like finger-citrons, are filled with pomegranates and 
 asters, witli a cock crowing; the panels on the sides, shaped a8 
 begonia-flowers and plum-blossoms, jontain goldfish and moss, 
 crabs and shrimps. Tiie bottoms are unglazed. Louis XVI 
 mounts. Height, 14 inches. No. 4. 
 
 Large Vase (PHng), of Lang Yao porcelain of K\i)ig-hsi date, 
 with a brilliant scmg-de-hoeuf glaze of crackled texture, displaying 
 tlie characteristic mottling and streaked play of color. The base is 
 coated underneath with a grayish "rice-colored" {mi-si) crackled 
 glaze, mottled with brown. A rare example of the class, with 
 an old European mounting. Height, 20 inches. No. 5. 
 
 Ovoid Vase ( Yuan PHng), one of a pair, coated with brownish- 
 red monochrome glaze of K''ang-hsi date,which have been cut across 
 horizontally and mounted in silver in Europe as bowls with covers. 
 The enamel, of deep rich tone mottled with darker spots, is finely 
 pitted on the surface. Tiie bases are enameled pure white. Height, 
 8 inches. No. 6. 
 
 Large Vase {Ta PHng), of the Ming period, coated with a cela- 
 don glaze {Lixmg-cKiXan yu) of darkest green tint, not crackled, but 
 dotted all over with minute bubblelike points. The decoration, 
 which is boldly worked in the paste in slight relief under the glaze, 
 consists of a pair of phoenixes flying through a floral ground of 
 sprays of the tree-peony {Pceonia moiitan). The foot is encircled 
 outside by a band scored with crossed lines. It is unglazed at tlie 
 base, showing a paste of grayisli-yellow color. Height, 2 feet 5 
 inches. No. 7. 
 
 Vase (PHng), coated with a minutely crackled turquoise glaze of 
 pure soft tone, over a delicately etched decoration of dragons and 
 bats enveloped in scrolls of clouds. A gadroon band extends round 
 the vase, succeeded by a chain of rectangular fret at the foot, also 
 incised at the point in the paste under the glaze. There is an 
 etclied seal underneath, inscribed Ta CkHng Chla cKing nien chih, 
 "Made in the reign of Cliia-ch'ing of the Great Ch'ing [dynasty]." 
 The openwork mounting is of modern French work, executed in 
 gold. Height, 8 inches. No. 8. 
 
 Fruit-Dish (Iluo P''an), one of a pair of rare type, of K^ang-hsi 
 date, which are molded in the shape of leaves with convoluted
 
 818 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 folded Miargins, and decorated sur biscuit, in colored enamels. The 
 dish is enameled with a tniit^ ground of apple-gi'een; the handle, a 
 knotted branch of primus, colored purple, passes over the rim of the 
 dish, to decorate the interior, in relief, with sprays of flowers and 
 buds which are colored red, dark blue, and gold. 
 
 The companion disli is overlaid inside with branches of fruit, 
 instead of flowers, which are painted in similar colors. The stands 
 are designed in gilded bronze as graceful mermaids of classical 
 form, seated with their fish-legs intertwined, and supporting the 
 dishes with extended arms. Diameter, 10 inches. No. 9. 
 
 Gourd-shaped Vase [Hu-la PHny ), one of a pair of old stone- 
 gray crackled gourds that have been mounted in Europe, witii 
 scrolled liandles of graceful design springing from classic masks. 
 Height, 10| inclies. No. 10. 
 
 Vase {P''ing), one of a pair, of Khing-hsi porcelain painted sur 
 biscuit in delicate enamel colors, the base being unglazed, only 
 marked with the cross-lined pattern of the stuff on which the paste 
 was pressed. They are molded with ribbed surfaces as if composed 
 of a series of jointed bamboo-stems, the joints of which are used as 
 panels for the decoration of floral sprays. The flowers, including 
 the lotus, chrysanthemum, aster, peony, peach, plum, magnolia, 
 pink, iris, and narcissus, with palm-leaves and twigs of bamboo, are 
 relieved by enameled grounds of white, yellow, purple, and two 
 shades of bright green. At the base of tlie neck a ring of lotus- 
 petals modeled in slight relief is tinted red and bound round with 
 a green strip of reed. Height, 8^ inches. No. 11, 
 
 SxuFF-BoTTLE {Pi Yen I£u), decorated in enamel colors and 
 gilding with groups of the varied paraphernalia of the liberal arts 
 known as Po Ku, or the " Hundred Antiques," displayed in salient 
 relief upon a pale-green background of lozenge-pattern fret. 
 Marked in red underneath with a seal similar to that described 
 in No. 25. No. 12. 
 
 Small Jar with Cover {Hsiao Kuan), enameled with a pale 
 pea-green glaze {tou-chHng yu), the typical celadon of the ChHen- 
 lung period. It is decorated in relief in the paste with archaic 
 designs taken from ancient bronzes, bands of fret of different pat- 
 tern, rings of scrolled palmations, and other foliated designs of 
 conventional ornament, which show out in pale relief in the parts 
 less thickly coated with glaze. There is an impressed seal under-
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 819 
 
 neath — Ta CWing ChHen lung nien chili, " Made in the reign of 
 Ch'ien-lung of the Great Ch'ing [d^Miasty]." The jar is elaborately 
 mounted in metal, parcel gilt, and inlaid with colored enamels. 
 An openwork floral scroll extends around the foot, inclosing bats 
 and peaches, linked chains are attached to the upright looj)-han- 
 dles, a lizardlike dragon is coiling up the shoulder, and a lion with 
 one of its fore feet upon a ball surmounts the cover. Height, with 
 mount, 6 inches. No. 13. 
 
 Tall Vase i^Hua P'^ing), one of a pair, artistically decorated 
 in brilliant blue and white of the Khiitg-hsi period, with idealized 
 floral scrolls consisting of encircling bands and upright sprays of 
 graceful arabesquelike design. The broad band round the body of 
 the vase is interrupted by four circular medallions inclosing phoe- 
 nixes in the midst of clouds, the intervening sprays displaying 
 blossoms like asters and lilies with anomalous buds and leaves of 
 diverse form, all springing from the same stalk, the general effect 
 of which is highly decorative. Mounted in bronze of old European 
 work. A similar unmounted vase in the Walters Collection shows 
 the mark underneath — a double ring. Height, 16 inches. No. 14. 
 
 Bottle-shaped Vase {P''ing), one of a pair, of J^ien Yao of the 
 Yung-cheng period, enameled with a monochrome glaze of ruby-red 
 tint derived from copper. The glaze, of a beautiful uniform tone, 
 exhibits the characteristic stippled texture which is due to its soufie 
 method of application. They are mounted with an artistic setting 
 of the Louis XV period as ewers, with the lip formed of the out- 
 spread wings of a swan alighting upon a clump of bulrushes. 
 Height, 16^ inches. No. 15. 
 
 Porcelain Pillow {Tz'il Chen), decorated in bright enamel 
 colors of the K''an.g-hsi period, with a foliated diamond-shaped 
 panel of floral brocade composed of scrolls of peonj^ relieved by a 
 yellow^ ground, and with bands of formal diaper and fret round the 
 two ends. The colors, all overglaze, include a bright green, nan- 
 kin-yellow of primrose tint, manganese-purple, coral-red, and black, 
 with a sparing addition of gold. Length, 19 inches. No. 16. 
 
 Saucer-shaped Dish (^Kuo PUin), of the K\ing-fisi period, 
 painted in blue under the white glaze with conventional scrolls of 
 lotus spreading over the interior and covering the under border 
 with a symmetrical arrangement of large blossoms, which are fully 
 expanded, so as to display in each flower the cup-shaped fruit
 
 820 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 studded with the seeds in the midst of a whorl of petals. Round 
 the base of the dish, underneath, a groove is left unglazed, so tliat 
 it has a second sharply prominent inner rim, a characteristic of 
 some of the finest large dishes of the time. In the middle the 
 mark is penciled in blue, encircled by a double ring, Ta ChHiig 
 ICang-hsi nien chih, " Made in the reign of K'ang-hsi of the 
 Great Ch'ing [dynasty]." Diameter, 15 inches. No. 17. 
 
 Wine-Cup (Chiu (Jhwig), of eggshell thinness and bell-like 
 form with upright rim, translucidlj'' white, with the exception of a 
 formal scroll of underglaze blue penciled round tlie foot outside, 
 which shows clearly through inside when the delicate fragile cup is 
 held up to the light. The mark, written in minute characters, 
 almost requiring a lens to read them, within a double ring, is 2\t 
 ChHng K^ang-hsi nien chih, " Made in the reign of K'ang-hsi of 
 the Great Ch'ing [dynasty]." Diameter, 2^ inches. 
 
 Wine-Cup [Chiu Pei), one of a pair, of delicate eggshell fabric, 
 with a white glaze having a slight tinge of blue. The decoration 
 is lightly molded, or impressed in the paste, in the interior of the 
 cups, so as to show through in shaded tones when held up to the 
 light, like a Avater-mark in paper. It consists of a pair of five- 
 clawed dragons in the midst of flames and scrolled clouds, pursuing 
 effulgent jewels. The mark, boldly written in underglaze blue, in 
 an oblong double-lined panel, is Ta Ming Wan li nien chih, 
 "Made in the reign of AVan-li (1573-1619) of the Great Ming 
 [dynasty]." Diameter, 2^ inches. No. 18. 
 
 Tall Cylindrical Ewer [Thing Hu), of the K''ang-hsi period, 
 modeled in the shape of a three-jointed section of bamboo, with the 
 rim projected upward in front in the form of a tiara; there is a 
 short curved spout on one side, and on the other there are two studs 
 fashioned as grotesque lions' heads and perforated for the copper 
 handle. It is enameled, inside and outside, as well as over the base, 
 with a finely crackled monochrome purple glaze of rich aubergine 
 tint. The elaborate mounts are in French metal-work of the Louis 
 XVI period. Height, 19 inches. No. 19. 
 
 Tall Vase {Hua P''ing), of perfect form and beautifully soft 
 turquoise tint, dating from the finest period of the reign of K''ang- 
 hsi. A crested dragon (chHhlung) of archaic form, with waving 
 scrolls of mane and long mustaches, projects, in full undercut relief, 
 upon the shoulders of the vase, with its branching tail coiled closely 
 round the neck. The ground color is a pure turquoise of finely
 
 DESCRIPTIVE LIST OF TTIE ILLUSTRATIONS. 821 
 
 crackled texture, collecting as it "runs" in greenisli drops, and 
 mottled witli brownish tints over the dragons. It is magnificently 
 mounted in tiie most artistic Frencli work of the seventeenth cen- 
 tury. Height, witli mount, 22 inclies. No. 20. 
 
 Small Balustkr Vase {Hsiao Mei P''ing), enameled with dark- 
 brown, almost black, monoclironie glaze, thickly flecked with iri- 
 descent spots of metallic aspect. A typical specimen of the " iron- 
 rust " (<'ie/t-As^^<) glaze of the Ciiinese. It has been mounted in 
 Europe with flowing handles, a spreading open foot, and a cover in 
 ormolu. Height, with mount, 8| inches. No. 21. 
 
 Large Vase {PHng), one of a pair, of ovoid form, bulging in 
 the midtUe, alternately lidged and grooved in vertical lines so as to 
 be of foliated section. Tliey are coated with a monochrome glaze 
 derived from cobalt of pale-blue color, the Chinese " sky blue '' 
 {fien-chHug), which is of grayish tone, and becomes nearly white 
 over the prominent ridges. Dating from the K''ang-hsi period, 
 they are mounted in ormolu of Louis XVI work, with handles of 
 fish having garlands of oak witli acorns hanging from their mouths, 
 tied together at tlie ends with bows. Height, 21 inches. No. 22. 
 
 Snufp-Bottle {Pi Yen Hn), of Yi-hsing "boccaro" ware, being 
 made of fine red faience, enameled outside in soft colors with a 
 miniature mountain landscape of temples, pavilions, and bridges. 
 
 No. 23. 
 
 Bowl ( Win), one of a pair, of the IC^a7ig-hsi period, enameled 
 siir biscuit with a finely crackled monochrome purple glaze of auber- 
 gine tint. The base is partially coated with a wrinkled grayish 
 enamel. European mounts of bronze. Diameter, 7 inches. 
 
 No. 24. 
 
 Snuff- Bottle [Pi Yen. Tin), with an outer pierced casing carved 
 with nine lions sporting with brocaded balls, between borders of 
 conventional scrolls, and with a fret band etched round the rim, 
 enameled white. The mark umler the foot is a red seal inscribed 
 Chid chHug tiien chili, " iNIade in the reign of Chia-ch'ing (1796- 
 1820)." The stopper, mounted with a button of glass and ame- 
 thyst, has the usual miniature s})oon of ivory attached to it inside 
 for ladling out the snuff. No, 25. 
 
 Vase {PHng), coated with a deep rich glaze of greenish celadon 
 color, crackled throughout. A band is reserved in the glaze round
 
 822 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 the shoulder of the vase and filled in with a ring of rectangular fret 
 succeeded by formal scrolls, all worked in relief in slip and colored 
 iron-gray. The handles are oval garlands of rosettes in the same 
 relief-work. It is elaborately mounted in ormolu of old European 
 Avorkinanship. Height, with mount, 14 inches. No. 26. 
 
 Transmutation Vase ( Yao-jylen J^Ung), one of a pair, of Euro- 
 pean form and design, festooned, as it were, with curtains gathered 
 np b3^ ribbons in front and hanging in knotted folds at the sides, 
 and coated with a transmutation glaze of early CJi'len-lnm/ date, 
 exhibiting all the characteristic brilliant tints as it runs down in 
 heavy drops, streaked and mottled with ci"inison, purple, and brown, 
 in variegated clouds. European mounts. Height, 14 inches. 
 
 No. 27. 
 
 Vase (P^hif/), of JVien Yao of the Yung-chtng period, of the same 
 ruby-red monochrome glaze as the pair described under 15. The 
 neck of the vase has been cut down, and it has been mounted in 
 Europe in gilded bronze as a cistern, placed in an elaborate stand 
 supported by three dolpliins, and perforated for a tap, which is 
 fashioned in the shape of a griffin. Height, with mount, 12 inches. 
 
 No. 28. 
 
 Square Bottle {Fang P''ing), one of a pair, with powder-blue 
 grounds of the K''ang-hsi period, enameled over in gold with 
 flowers and birds. Bottoms unglazed, European mounts of the 
 eighteenth century. Height, 8|^ inches. No. 29. 
 
 Vase {P''ing), of decoration similar to the pair described under 
 No. 11, and mounted in the same style, to form a center-piece of a 
 set, intended to figure as a garniture de cheminee. The artistic set- 
 ting, which is beautifully executed in gilded openwork designs of 
 Oriental scrolls, is signed " F''' Boucheron, Paris." Height, 10 
 inches. No. 30. 
 
 Little Covered Bowl [Hsiao Kai Wari), one of a pair, of 
 finely crackled turquoise enamel of CKien-lung date, mounted in 
 European metal-work, and placed upon square pedestals of German 
 porcelain which are marked F., probably for Fiirstenburg. Height, 
 with mounts, 7 inches. No. 31. 
 
 Snuff-Bottle {Pi Yen Hit), of rounded vaselike form, molded 
 in a basket-work pattern, with lions'-head liandles, and enameled 
 with a minutely crackled turquoise glaze of the usual mottled tone. 
 
 No. 32.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 823 
 
 ^ Shell {Lo-ssti), one of a pair, fashioned of pure vihite pdte in the 
 shape of whelks, and enameled sur biscuit with a finely crackled 
 turquoise glaze of uniformly blue tint. The round covers are 
 molded in the form of lotus-leaves, with conical shells on the top as 
 handles. One of tlie shells is marked in the interior, which is 
 unglazed, with the Chinese numeral 3 penciled in black; the other 
 is incised with a line surmounted by a dot. The mounts are French 
 work of the eighteenth century. Height, 1\ inches. No, 33. 
 
 Mug ( Chill Pet), of the K''ang-shi period, painted in brilliant 
 blue, with a formal mountain landscape containing temples and 
 open pavilions on wooded hills and houses on the banks of a wide 
 river. The base is encircled by a ring of conventional foliations, 
 and the upper rim b}' a band of chrysanthemum-sprays. The 
 bottom is unglazed. Mounted in Europe, with a silver lid engraved 
 with a crest. Height, 18 inches. No. 34. 
 
 Cylindrical Vase ( Thing PHng), of K\(ng-hsi porcelain, bril- 
 liantly decorated in enamel colors in the same style as the vase 
 described under No. 268. It has been cut down and mounted in 
 Europe as a mug, with a coronet and coat of arms etched upon the 
 lid. Height, 9| inches. No. 35. 
 
 Vase (P^ing), of white enameled porcelain of ancient bronze 
 form and design, with two loop handles springing from grotesque 
 heads, and archaic designs worked in slight relief in the paste under 
 the white glaze. The seal, impressed in the paste underneath, is 
 Ta ChH7ig Ch'ien-lung nien chih — i. e., " Made in the reign of 
 Ch'ien-lung (1736-95) of the Great Ch'ing [dynasty]." The 
 mounting is European. Height, 9J inches. No. 36. 
 
 Bowl ( Wan), enameled with a pale souffle glaze of sky-blue 
 {tHen- ch'ing) derived from cobalt, mounted in Europe upon a 
 pedestal representing a clump of bulrushes, together with a pair of 
 fish of finely crackled turquoise, the "peacock-green " {kung-cliiio 
 lu) glaze of the Chinese ceramist. Height, 1\ inches. 
 
 Cup with Cover {Kai Wan), of the Fen-Ting class, painted in 
 blue after the early style of the Ming dynasty. The handle of the 
 cover is fashioned in the shape of a phoenix and colored blue. 
 Both the cup and the cover are decorated outside with a pair of 
 five-clawed dragons pursuing jewels in the midst of clouds and 
 flames, painted in soft-toned shades of blue under the soft-looking 
 glaze, which is of ivory-white totie and finely crackled throughout —
 
 824 BESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 ill the interior of the piece as well as outside. Height, with cover, 
 4^ inches; diameter, 3 inches. 
 
 Flower-Vase [IFua PHng), molded in the form of a growing 
 Shantung cabbage {Brassica chhiensis, L. ; in Chinese, Po-ts'ai), 
 mistaken for an opening Nelumbo, with a sprout springing from 
 the base, making a smaller receptacle for a separate tiower. The 
 leaves stand up in duplex tier, shaped in naturalistic detail with 
 finelj' dentated margins, and colored outside in two shades of green 
 etched over with the natural venation in black, the stalks being 
 left white. The interior is enameled with the soft, pale-green 
 Uionochrome glaze characteristic of some of the finest vases of the 
 Cfi'ien-lung period, to which, no doubt, this quaint specimen be- 
 longs. Height, 4f inches. No. 37. 
 
 AViNE-Cup [Ohm Pei), of swelling, bowl-like form and most 
 delicate texture, decorated over the white glaze in gold with sprays 
 of chrysanthemums. The hall-mark of Ching SsU T''ang Chih is 
 penciled underneath in red. Diameter, 2| inches. 
 
 WiNE-PoT ( CJiiu Hu), a miniature square vessel of the Mmg 
 period, fashioned in the shape of an old bronze casting. Of solid 
 make, with an arched handle on the top, and a short hexagonal 
 spout projecting from one side, it is enameled turquoise-blue over- 
 laid with splashes of aubergine-purple, both these glazes being of 
 minutely crackled texture. 
 
 Wine-Cup [Chiu Pei), decorated in soft enamel colors with 
 the eight propitious symbols {pa-chi-hsiang) of Buddhist origin, 
 arranged in four pairs encircled by waving fillets, and with borders 
 of conventional scrolls round the rims. The mark, penciled in red 
 underneath the foot, is 7'ao kuaiig keng hsu nien chih, " Made in 
 the year keng-hsii (1850) of the reign of Tao-kuang." Diameter, 
 2f inches. No. 38. 
 
 Gourd-shaped Bottle {Mu-lu P''m.g), one of a pair, of the 
 K''ang-hsi period, decorated on a white ground with convention- 
 alized scrolls studded with formal cruciform flowers, painted in 
 mottled blue of very brilliant tone. European mounts, the cover 
 representing a bee in the middle of a garland of flowers. Height, 
 10 inches. No. 39. 
 
 Fish-Bowl ( YiX Kong'), one of a pair, of depressed globular 
 form, the traditional shape of the alms-bowl of Buddha, enameled 
 with a finely crackled turquoise glaze of mottled hue, of the same 
 date as the vase illustrated in Fig. 20. The two bowls are elabo- 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 825 
 
 rately mounted in artistic French work of style similar to that of 
 the vase. Diameter, 9 inches. No. 40. 
 
 Pilgrim Bottle (Pei Hu PHtig), with a central l)oss, a chan- 
 neled foot, and four looped handles at the sides. The surface is 
 worked in slight relief witli white flowers and butterflies, etched 
 with the graving-tool, and brought out by a monochrome ground of 
 pale cobalt-blue. Artistically mounted in Europe for suspension. 
 Height, with mount, 12 inches. No. 41. 
 
 Vase (PHng), one of a pair, painted in brilliant blue of the 
 K''ang-hsi period. The body is decorated with figures of Chinese 
 ladies standing, or seated on barrel-shaped seats, arranged in 
 oouples, beside pots of peonies, and holding flowers in their hands. 
 Palms fill in the intervals, and a formal band of blue defines the 
 base of the neck, which is covered with sprays of blossoming 
 prunus. The mark, penciled in blue underneath, is a leaf encircled 
 by a fillet, inclosed within a double ring. Height, with mounts of 
 European work, 1^ inches. No. 42. 
 
 FivE-NOzzLED RosADON ( Wu Tsui P''ing), enameled with a pea- 
 green celadon glaze [tou-ch'ing yu) of the Yung-cheng or early 
 GhHen-lung period. Artistically mounted in Europe with grape- 
 knobbed covers, connected by chains, and with garlands of vine 
 stretched round the necks. Height, with mount, 12 inches. 
 
 No. 43. 
 
 Large Celadon Dish [Liaig-ch'''uan P^an), of circular form, 
 with vertically ribbed sides and foliated rim, decorated with floral 
 designs etched in the paste under the rich glaze, which is of green- 
 ish tone. The large medallion occupying the bottom inside is filled 
 with branches of a fruit tree, apparently the JVephelium litc/ii. 
 The slope is chased with upright sprays of peony-flowers, sixteen 
 in number, of identical design, in panels corresponding to tlie folia- 
 tions of the border. The panels on the convexity underneath are 
 worked with leafy sprays in slight relief. The rim is lightly 
 etched. Under the foot there is a wide ring of paste uncovered 
 with glaze, with regular edges, as if ruled by a compass, the bare 
 field of which, 1^ inches broad, is of brick-dust color. Diameter, 
 22 inches. No. 44, 
 
 Covered Bowl (ICoi Wau), pierced with trellis panels and deco- 
 rated in enamel colors of the best It^ang-hsi period. The sides, 
 pierced with six panels of hexagonal trellis-work inclosing sprays
 
 826 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 of flowers, are painted with bands of diaper and with borders 
 of dotted green studded with priinus-blossorns alternately white 
 and overglaze blue of purplish tone. The cover, which is sur- 
 mounted by a blue lion, is encircled b}' a belt of trellis, succeeded 
 by a band of floral pattern similar to that on the bowl. It has been 
 artistically'' mounted in bronze in Europe as a flower-basket raised 
 upon a four-footed stand. Height, with mount, 7^ inches. 
 
 No. 45. 
 
 Oblong Vase {Fang PHng), of lozenge-shaped section, enam- 
 eled with a pale monochrome glaze of K''ang-hsi date of pure cela- 
 don tint [Tung cJi'lng). It is molded with symbols under the 
 glaze, displaying the yin-yang emblem between the eiglit trigiams 
 {pa kna) in sunk panels on each of the four sides. Height, 11 
 inches. No. 46. 
 
 Vase {PHttg), enameled with a coral-red monochrome glaze of 
 beautiful color, the charming effect of which is enhanced by the 
 European ormolu mounts of light sprays and festoons of grapevine 
 which wind round the vase. The graceful form, with spreading 
 foot, indicates the Yung-cheng period, and the white enamel with 
 which the foot is coated underneath is of pale greenish tone. 
 Height, with mount, 9| inches. No. 47. 
 
 Snuff-Bottle {Pi Yen IIu), with carved decoration filled in 
 with enamel colors of the ChHen-lung period. The two panels 
 contain the star-gods of happiness, rank, and long life, with their 
 attributes, mounted on cloud pedestals, displayed upon a back- 
 ground of scrolled sea- waves. The framework is carved in pierced 
 work, with the symbols of the eight Taoist immortals {Pa Ilsien) 
 inclosed in scrolls. The upper rim is gilded. No. 48. 
 
 Vase {P^ing), of ancient brownish-red stoneware of the JIan 
 dynasty (b. c. 206-a. d. 220), coated with a thin but lustrous glaze 
 of camellia-leaf green. The bottom, only partially enameled over 
 about one third of its surface, shows the color of the material. 
 Height, 9J inches. Diameter, 10 inches. No. 49. 
 
 Pilgrim Bottle {Pao Yueh P''huj), with two open flowing han- 
 dles fashioned in the form of archaic two-horned dragons {cKih- 
 lung), decorated in enamel colors and gilding of the Gh?ie7i-lung 
 period, in connection with details previously outlined in underglaze 
 blue. The dragon-handles are in shaded red touched with gold. 
 Round the neck and in the hollow of the foot are bats displayed in
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 827 
 
 tlie midst of clouds. Tlie body is emblazoned on each side with a 
 central shou (longevity) monogram, surrounded by the eight Taoist 
 emblems {pa ati-hsien) tied in pairs with waving fillets, inter- 
 mingled with floral sprays and cloud scrolls, inclosed in a wide 
 panel by a circular line of blue and gold. The convexities of the 
 vase between tlie panels are occupied by the eight Buddhist 
 symbols {pa chi-hsiang) with scrolls and flowers. The seal pen- 
 ciled in blue underneath has the ordinary seal-character inscription 
 of the reign of CKien-lung (1736-95). Height, 19| inches. 
 
 No. 50. 
 
 Large Jar with Covke {Mei Hua Jvuan), of the K^ang-hsi 
 period, decorated in brilliant hue with blossoming branches of 
 prunus {mei hua) alternately rising and descending to cover the 
 surface of the jar as well as the top of the cover. The flowers are 
 reserved in white upon a mottled blue background, which is penciled 
 with a reticulation of darker blue lines. A band of triangular fret 
 defines the upper and lower borders of the jar, and another encircles 
 the projecting rim of the cover, which is surmounted b}' a globular 
 knob colored plain blue, A band of conventional foliations, extend- 
 ing midway up the neck of the jar, completes the decoration. The 
 mark under the foot is a double ring. Height, with cover, 17 
 inches. No. 51. 
 
 Large Deep Plate {Kuo J*''ati), of Chinese porcelain of early 
 K''ang-hsi date, with designs painted in underglaze cobalt-blue, 
 filled in with enamel colors — blue, green, yellow, and red, with 
 gilding. The rim is gilded. The brocaded grounds of diaper 
 round the border are in underglaze blue, as well as the outlines of 
 the diversely shaped panels, which are painted inside with pictures 
 in colors. The field is filled witii birds flying through spraj's of 
 chrysanthemum and peony, with a coronet near the top, under 
 which is a shield emblazoned with the heraldic lion of Holland. 
 Diameter, 18|- inches. No. 52. 
 
 Small Oval Jab {CJi'a Kua7i), one of a pair, decorated with a 
 pale-blue monochrome ground etched in darker blue with floral 
 designs. The sides are vertically ribbed, interrupted by three 
 circular medallions. Of the K^ang-hsi period, the mark under- 
 neath is a palm-leaf inclosed in a double ring. The mounts are 
 European, and the covers, of Oriental powder blue, are not original. 
 Height, without cover, 5\ inches. A tliird little jar in the collec- 
 tion, with a similar decoration and mark, only with symbols pen-
 
 828 DESCRIPTIVE LIST OF ITIE ILLUSTRATIONS. 
 
 ciled aiouiid the neck instead of sprays of flowers, is mounted witlr 
 a Persian cover of chased copper. No, 53. 
 
 Blue and White Garniture of the famed Lange-Eleizen 
 pattern; period, K''ang-hsi. The mark on the foot — Chia-ching 
 nieft chih — is apocryphal. Height, \1\ inches. No. 54. 
 
 Vase [PHiig), with flanged lip, of white enameled porcelain, of 
 the C/i'ien-lu?ig period, coated with a rich glaze of somewhat 
 greenish tint over a decoration molded in slight relief in the paste. 
 This consists of four encircling bands of conventional floral sprays, 
 defined by prominent rings; the neck is surrounded by two rings 
 of formal scroll design, and the foot by a continuous chain of rec- 
 tangular fret, succeeded by a spiral gadroonlike border. Height, 
 15 inches. No. 55. 
 
 Brush-Pot {Pi T^img), of wide cylindrical form, swelling at 
 the mouth, with the decoration partly worked in relief in " slip," 
 painted in underglaze blue and in overglaze enamel colors, includ- 
 ing coral-red, yellow, greens of varied shade, and black. The 
 pictures of a scholar dreaming are intended to be an illustration of 
 the half stanza of verse — Meng pi sheng hua, "Dreaming the 
 pencil blossoms into flowers." The seal, inscribed underneath in 
 underglaze blue, is Ta (JKing Yung-cheng nien chih, " Made in 
 the reign of Yung-cheng (1723-35) of the Great Ch'ing [dynasty]." 
 Diameter, 8 inches. No. 56. 
 
 Libation-cup {Chiieh), of white Fuchien porcelain [Chien Tz'ii). 
 Of hornlike form, it is fashioned in the outline of a knotted branch 
 of prunus, giving off a blossoming twig, which is worked in relief 
 outside near the rim. The rest of the surface is decorated in the 
 same salient relief with other archaic designs — a flying stork on 
 one side, a four-clawed dragon, half hidden in the clouds, on the 
 otiier, and a fish emerging from waves underneath; a deer is out- 
 lined near the foot in front, and floral lozenges project on either 
 side. The glaze, of satiny texture, blends intimately with the 
 ivor\'-white paste. Height, 2| inches. No. 57. 
 
 Seal ( Yi7i), one of a pair, of oblong form and square section, 
 with lions mounted upon the top as handles, seated upon brocaded 
 squares of rich floral pattern, painted sur biscuit, in brilliant enamel 
 colors of the famille verte, dating from the ICang-hsi period. 
 Height, 3 inches. No. 58.
 
 DESCRIPTIVE LIST OV THE ILLUSTRATIONS. 829 
 
 Inscriptions, on the two seals witli lions as handles, of which 
 one is represented in V\g. 58. That on the left is engraved, the 
 characters appearing in white reserve. The other is carved in 
 relief. No. 59. 
 
 Wine-Cup {Chiu Pel), one of a pair, of ivory-white Fuchien 
 porcelain {Chien l^z'ii), molded of floral form, with everted rim, 
 and supported by three small feet. The stanza of verse etched in 
 the paste upon the side is 7'sid hou liu chiXn, cho raiug yueh, 
 " When drunk with wine, save a little, as a libation to tlie briglit 
 moon." Diameter, 3|^ inches. No. 60. 
 
 Hanging Wall.- Vase {Kua P''htg), with flattened back perfor- 
 ated for suspension, a stand molded in porcelain as part of the 
 piece, and two open-scrolled handles. It is decorated in delicate 
 enamel colors and gilding with foliated panels, surrounded by 
 floral designs, and with conventional palmated borders. The 
 larger panel is painted with the picture of a hunting scene; the 
 smaller panel above contains an ode in praise of hunting, signed by 
 the Emperor CKien-lutuj. The back of the vase and the interior 
 of the mouth are coated with the pale-green enamel which dis- 
 tinguishes the imperial porcelain of the time, and the base is coated 
 with the same, reserving a white panel for the mark of Ta CKing 
 GhHen-lung nien chih, " Made in the reign of Ch'ien-lung of the 
 Great Ch'ing [dynasty]," which is penciled in underglaze blue in 
 one line of antique script. Heiglit, 8^ inches. No. 61. 
 
 "Hoof-shaped" Y&.s,^ {Ma-fi PH)ig),\\a,\mg a dome-shaped 
 body rounding in to a cylindrical neck, decorated in delicate enamel 
 colors of the GKien-lung period, with a picturesque landscape 
 representing the woody islet Yen yii shan, in the Western Lake at 
 Hangchou, with temples and pavilions on the hillside, pine-trees 
 and willows, waterfalls and bridges, and a boat crossing the lake. 
 A descriptive ode in four stanzas of rhyming verse is penciled in 
 black on the other side of the vase, which is also illustrated. 
 Height, 7 inches. No. 62. 
 
 Bowl ( Wan), Mith flanged brim, of the Tao-kiiang period, 
 decorated on one side with sprays of flowers, hung with an endless 
 knot — a Buddhist symbol of longevity — painted in colors, and 
 relieved by an enameled monochrome background of coral-red. 
 On the other side a verse is inscribed in white characters reserved 
 in the red ground. The seal, enameled in red on a pale-green
 
 830 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 ground under tlie foot, is Ta ClCing Tao-kuang nien chih — i. e., 
 "Made in the reign of Tao-kuang (1821-50) of the Great Ch'ing 
 [dynasty]." Diameter, 7 inches. No. 63, 
 
 SxuFF-BoTTLE {Pi Yen IIu), of flattened form, decorated on one 
 side in enamel colors with a little garden scene, a rockery and 
 peonies and a boy witli a basket feeding a hen and chicken. On 
 the other side an ode upon the ceramic art, written by the Emperor 
 Cfi'len-lung, is penciled in black, with the imperial seal attached in 
 red. The mark inscribed underneath in red enamel is CKien lung 
 nien chih, "Made in the reign of Ch'ien-lung (1736-95)." No. 64, 
 
 Snuff-Bottle, same as that represented in Fig. 64, but greatly 
 enlarged in order to show the inscription, a poem by the Emperor 
 Chbien-lung in praise of the ceramic art. A translation is given on 
 page 31. No. 65. 
 
 Censeb {Hsiang Lh), of archaic aspect, dating from the K''ang- 
 hsi period, with a decoration roughly painted in cobalt-blue under 
 a crackled glaze of grayish tone, traversed by deep brown fissures. 
 The decoration consists of a pair of four-clawed dragons grasping 
 the effulgent jewel of magic power, with cloud scrolls atid forked 
 flames filling in the intervals. Diameter, 5 inches. No, 66. 
 
 Bowl ( Wan), designed in the form of a lotus-blossom, with an 
 outer ring of eight petals molded round the foot, and the rim of 
 eightfold foliated outline. It is enameled with a monochrome 
 ground of coral-red, with a decoration painted upon it of two five- 
 cl-awed dragons pursuing effulgent jewels; and with a tiny floral 
 spray on each of the foliated panels round the foot, depicting in 
 order the prunus and bamboo, narcissus, begonia, chryKanthemum, 
 jasmine, orchid, convolvulus, aster and lilac, and plum blossoms. 
 The foot is enameled, like the interior, pale-green, with a white 
 panel reserved in the middle, which is penciled in red, with the seal 
 Hsieh Chu Tsao, in antique script. Diameter, 7 inches. No. 67. 
 
 Teapot {CKa Hit), of the finest K%i Yueh Hsaun type, deco- 
 rated with two broad panel pictures of landscapes penciled in 
 bright overglaze cobalt-blue enamel. The rest of the surface is 
 covered with bands of floral design, containing tiny sprays of many 
 different kinds of flowers, delicately painted in enamel colors. Tlie 
 cover is ornamented with a similar floral ground, painted in the 
 same characteristically translucid enamels, and the knob is made to 
 simulate a chrysanthemum. There is a seal penciled underneath in
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 831 
 
 overs^laze blue enamel inscribed Yimg cheng nien cJiih, " Made in 
 the reign of Yung-clieng (1723-35)." No. 68. 
 
 Quadrangular Vase [Fang P''i)ig), of fine dark-colored paste, 
 invested with two coats of glaze, in the style of the ancient imperial 
 productions of the Sung dynasty. The base, which is thinly glazed, 
 is incised in the middle with the two characters HsiXan ho, which 
 are filled in with the same grayish-white enamel tliat forms tlie 
 overglaze of the vase. Height, 3^ inches. No. 69. 
 
 Eggshell Bowl {To-fai Wan), of light fragile structure, with 
 a small base, spreading sides, and a wide rim notched at regular 
 intervals with six indentations. Invested witli a pellucid glaze of 
 slightlv grayish ivory-white tone. The decoration, lightly incised 
 in the paste in the interior of tlie bowl round the sides, so as to 
 show in transparency when it is held up to the light, consists of a 
 pair of five-clawed imperial dragons pursuing a flaming jewel 
 enveloped in clouds. The inscription, which is also faintly en- 
 graved in the bottom of the bowl, inside, in a bold archaic style, 
 is Yung lo nien chih — i. e., " Made in the reign of Yung-lo 
 (1403-24)." Height, 2| inclies; diameter, 8^ inches. No. 70. 
 
 Wine-Cup ( Chiu Pei), of eggshell thinness, decorated, partly in 
 underglaze blue, partly in enamel colors of the K''ang-hsi period, 
 with a pair of mandarin ducks in a lake with lotus and other water- 
 plants growing in it and a kingfisher flying above. The stanza 
 of verse at the back and the peculiar mark are explained in 
 Chapter IV, page 73. A precisely similar cup, painted entirely in 
 blue, with the same stanza inscribed at the back, has the ordinary 
 mark written underneath of Ta CKing IPang hsi nien chih, 
 "Made in the reign of K'ang-hsi of the Great Ch'ing [dynasty]." 
 Diameter, 2| inches. No. 71. 
 
 Eggshell Bowl ( To-fai Wan), decorated in the artistic style 
 of the " rose-backed " plates with the soft brilliant enamels and 
 gold of the faniille rose. The richly brocaded floral grounds 
 inclosing foliated medallions of fruit, and the varied diapers sur- 
 rounding the panel picture of a Chinese family scene, with a lady 
 seated and two children playing, which fill the interior of the bowl, 
 are well shown in the illustration. The exterior is decorated with 
 similar minutely painted diapers and floral designs, with four cir- 
 cular medallions of antique dragons on a dark-blue ground, and 
 with four large foliated panels containing charming sprays of
 
 832 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 peony and clirysantlieniutn. It derives additional interest from 
 being dated, which very rarely occurs on pieces of the class. The 
 mark underneath is the ordinary six-character inscription of the 
 reign of Yung-cheng, which is penciled under the foot in under- 
 glaze blue written in stiff archaic style, encircled by a double 
 ring. Diameter, 7| inches. No. 72. 
 
 Medallion Bowl ( Yueh-kuang Wan), decorated in enamel col- 
 ors with a brocaded floral ground interrupted by four circular 
 medallions. The ground, outside, etched with a scroll pattern, is 
 crimson (rouge (Por), and is covered with sprays of conventional 
 flowers painted in delicate colors ; the medallions display fruit and 
 flowers on a white ground, pomegranates, peaches, and longan 
 fruit, peonies, China rose, narcissus, and daisies. The interior is 
 painted in underglaze blue with a basket of flowers surrounded 
 with four sprays of fruit, flowers, and branched Polyporus fungus. 
 The seal, penciled under the foot in the same blue, is Ta Ch^lng 
 Too huang nien ehih, " Made in the reign of Tao-kuang of the 
 Great Ch'ing [dynasty]." Diameter, 6 inches. No. 73. 
 
 RiCE-BowL {Fan Wan), decorated outside with butterflies, 
 painted in delicate enamel colors, and relieved by an enameled 
 monochrome ground of coral-red. The rim is gilded. The mark, 
 penciled in red under the foot, is Shen Te T''ang Chih, which is 
 said to be an imperial hall-mark of the reign of Tao-kuang. 
 Diameter, 5\ inches. No. 74, 
 
 Teapot {Gh\i Hu), of the JC ang- hsi Y>Gr'wd, decorated in blue 
 and white, with the borders and rims enameled pale yellow, and the 
 overarching handle penciled in black upon a yellow ground in 
 imitation of basketwork. The panels on the side are filled, two 
 with pictures of domestic scenes, and one with bamboo growing 
 from rocks. The upright rim has small jjanels with sprays of the 
 emblematic flowers of the four seasons. The knob on the cover, 
 carved in openwork with the character hi, "rank," is encircled by 
 a four-clawed dragon painted blue. The bottom is en biscuit 
 with the exception of a sunk panel in the middle, which is inscribed 
 sous couverte, Yl Yil T''ang chih, " Made at the Hall of Ductile 
 Jade." Height, 9 inches. No. 75. 
 
 Vase {P''ing), of the CKien-lung period, with a decoration, 
 etched at the point in the paste, of a pair of five-clawed imperial 
 dragons in the midst of cloud scrolls and lightning-flames, pursuing 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 833 
 
 the magic jewel, which is represented as a round disk emitting a 
 spiral efiFulgent ray from its center. It is invested with a turquoise 
 glaze of charmingly soft mottled tones and minutely crackled 
 texture. There is a hall-mark engraved in the paste underneath, 
 Ssfi Kan Ts'ao T''ang. The mounting is European work of the 
 eighteenth century. Height, with mount, 12 inches. No. 76. 
 
 Wine-Cup ( Chiu Pei), one of a pair, of four-lobed form with 
 indented rim, painted in enamel colors, with a procession of the 
 eight Taoist immortals {Pa Hsien) crossing the sea. The interior 
 is sprinkled with a few white jasmine-flowers {nio-ll hua), touched 
 with the same delicate tints. There is a mark under the foot, 
 Hsieh Chu Tsao, penciled in red, in antique script within a square 
 panel. Diameter, 2^ inches. No. 77. 
 
 Wine-Cup {Chiu Pei), of perfect form and technique, painted 
 outside in pure colors upon a translucently white ground with a 
 floral decoration. This consists of a clump of bamboos with 
 dianthus pinks growing from the ground beneath, and a bat with 
 a propitious emblem hanging from a ribbon in its mouth flying 
 above. There are butterflies at the back, and a half stanza of verse 
 penciled in black, "Vows for good fortune and a thousand fruitful 
 years !" A blossom and a bud of the fragrant jasmine are painted 
 inside the cup at the bottom. The hall-mark, Chih Ilsiu Ts'ao 
 T^mg, is penciled in red under the foot. Diameter, 2^ inches. 
 
 No. 78. 
 
 Wine-Cup {Chiu Pei), decorated upon a white ground in deli- 
 cate enamel colors with a floral group composed of the three 
 emblems of longevity, the evergreen fir {sung), the graceful leafy 
 bamboo {chu), and the blossoming winter prunus (^we^). The hall- 
 mark of Pao Sha7i Chai is penciled in red under the foot. Diam- 
 eter, 2{ inches. No. 79. 
 
 Wine-Cup ( Chhi Pei), one of a pair, each painted in shaded red 
 with fifty bats, covering the ground inside and outside, as emblems 
 of hundredfold happiness. The circular form of the longevity 
 character {Shotc) is outlined in red on the bottom of the cup, filled 
 in with gold. The hall-mark under the foot is J^u Ch^ing T^ang 
 chih, " Made at [or for] the Hall of Happiness and Good Fortune." 
 Diameter, 2^ inches. No. 80.
 
 834 DEscRipnvE list of the illustrations. 
 
 Tall Ewer (Chiu IIu), of blue and white porcelain of the 
 Wan-li period. It has a flowing bandlike handle, and a long 
 curving spout attached to the neck by a spiral buttress; the slender 
 neck swells into a bulb near the mouth, wliich has a six-sided cover 
 crowned with a knob. It is decorated with phoenixes and storks 
 flying in the midst of clouds, and with scrolled bands and foliated 
 borders round the rims. The mark, penciled in blue under the 
 foot witl)in a double ring, is ClCang vting fu kuei — i. e., "Long 
 life, happiness, and honor! " The handwriting, as well as the style 
 of decoration of the wine-pot, indicate the Ming dynasty. It is 
 studded all over with uncut turquoises and garnets arranged alter- 
 nately in gilded settings of Oi'iental work. The rims show traces 
 of gilded rings, and are mounted in chased metal. Height, 13| 
 inches. No, 81. 
 
 WiNE-PoT {Chiu Hit), tnolded in the form of the character /'«, 
 " happiness," and decorated sur biscuit in the tj'pical " three 
 colors" {sail ts^ai) of the IT^ang-hsi period — viz., yellow, green, 
 and purple. The rims and borders are colored light green; the 
 spout has a pale yellow ground with diverse forms of shou (lon- 
 gevity) penciled upon it, alternately pale purple and green; the rest 
 of the surface is covered with l)ands of lotus-scrolls, with white 
 and purple blossoms and green foliations, relieved by a pale-yellow 
 ground outlined in purple, interrupted by panels of foliated outline 
 in the middle, which are framed in green relief. These panels are 
 painted with s^'mbolical pictures in the same soft colors; on one 
 side a pine, ling-chih fungus, and grass growing from rocks, an 
 axis-deer, and a stork; on the other side a peach-tree, rocks with 
 bamboo, a couple of birds flying together, and a tiger. The base, 
 unglazed, is cross-hatched with the lines of the stuff of wliich the 
 paste was molded. Height, 9 inches. No. 82. 
 
 Vase (P'ing), decorated in blue and white of the ICang-hsi 
 period. The body displays two groups of symbols around oval 
 panels in the middle, which are inscribed in antique script, ChHen, 
 *' Heaven," and /SAom, " Longevity "; in front is a palmleaf fan, 
 ending in a fly- whisk, and a branch of peach-blossoms; behind, 
 a rolled-up scroll and a spray of chrysanthemum. Light chains of 
 fret encircle the shoulder and the rim of the mouth. There is no 
 mark underneath. Height, 8 inches. No. 83. 
 
 Vase {PHjig), modeled in the form of a tall bowl with a vaulted 
 cover, the line of junction being indicated by a prominent ridge.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 835 
 
 It is enameled with a crackled glaze of light gray-brown color, 
 interrupted by transverse bands worked in the paste and colored 
 black, a gadroon band round the foot, and two basketwork bands 
 overlaid with circular longevity {shou) characters filled in with 
 crackled glaze. The two loop-handles, roughly shaped as elephant 
 heads, are colored black, also the rim of the mouth, and tlie under 
 surface of the foot. Height, 6 inches. No. 84. 
 
 Gourd-shaped Vase {Hu-lu jP'ing), richly decorated in enamel 
 colors of the K^ang-hsi period, with no gilding. The two segments 
 are hung with lambrequins of floral brocade, in which chrysan- 
 themum-flowers are conspicuous, tied with hanging bows of red 
 ribbon; the intervals being filled in with medallions of storks. 
 The neck is studded with four large circular shou characters in 
 yellow, accompanied by four smaller svastika symbols in red. 
 Encircling bands of floral brocade and formal ornamental scrolls of 
 diverse pattern complete the decoration of the vase, which is a 
 striking example of brilliant coloring, as well as of artistic decora- 
 tion. Height, 18 inches. No. 85. 
 
 Figure of K'uei Hsing {Khiei Hsing Jlsiatig), the Stellar God 
 of Literature, painted in enamel colors. Poised with one foot upon 
 the head of a fish-dragon, which is swimming in waves, one hand 
 is uplifted to wield the pencil-brush, while the other grasps a cake 
 of ink. The cloak waving loosely above his head and hanging 
 down in long ends, and the general pose of the figures, are intended 
 to give the impression of movement. Height, 14| inches. No. 86. 
 
 Eggshell Vase {To-fai PHng), of delicate texture and undula- 
 tory surface, decorated over the translucently white glaze with a 
 spray of cluysanthemuin and a single head of spiked millet, beauti- 
 fully painted in a neutral sepia tint. The one touch of color is the 
 vermilion outline of the seal, which is attached to the stanza of 
 verse, quoted from an ode written upon the chrx^santhenium b}' an 
 old poet of the T''ang dynasty, which is inscribed on the back of 
 the vase. Height, 8^ inches. No. 87. 
 
 Vase {P''ing), of the K''ang-Jisi period, with a swelling domelike 
 body and a tall c^'lindrical neck, resembling somewhat in shape a 
 Buddhist ddgaha. The body is a pale-blue monochrome derived 
 from cobalt, the shoulder is surrounded by a ring of cofi'ee-brown, 
 and the neck is painted in dark blue, with a two-horned dragon of 
 archaic design pursuing a jewel disk. Old European mounts. No
 
 836 DESCRIPllVE LIST OF THE ILLUSTRATIONS. 
 
 mark. A pair of similar vases, from the Marquis Collection in 
 Paris, not mounted, have the dragons on the neck painted in 
 maroon and blue, and the light-blue body of the vase penciled 
 in darker blue with lotus medallions and shou characters. They 
 are marked underneath Shou Fa, " Longevity and Happiness." 
 Height, 10| inches. No. 88. 
 
 Wide-necked Vase {Iliia 7'sun), with slightl}'- spreading foot, 
 decorated in enamel colors of the K^ang-hsi period without under- 
 glaze blue or gold. It is modeled in relief with foliated panels and 
 spirally waving scrolls painted with brocaded bands and chains of 
 fret, and the field, thus divided into panels, is delicately painted 
 with landscapes, sprays of iiowers, birds and butterflies, vases and 
 censers, symbols and emblems, and the varied apparatus of literary 
 culture in China. Among the symbols the eight Buddhist emblems 
 of good fortune (pa chi-hsiang) occupy a conspicuous position, and 
 the apparatus of the four liberal arts of the scholar, viz., writing, 
 painting, music, and chess. The base is plainly enameled, with no 
 mark inscribed. Height, 19 inches. No. 89. 
 
 Ritual Wine-Pot ( Chiu Hu), of ancient bronze form, with a 
 rounded body mounted on four cylindrical feet, a wide loop-handle, 
 and a straight spout; the cover wanting. Painted in blue, with 
 conventional scrolls of sacred-fungus design, and with sprays of 
 Indian lotus supporting the eight Buddliist symbols of happy 
 augury {pa chi-hsiang) encircled by waving fillets. A chain of 
 interrupted rectangular fret round the shoulders and a ring of 
 spiral fret at the base of the spout complete the decoration. The 
 mark underneath, outlined in blue, is the seal Ta GKing CKien 
 lung nien chih, "Made in the reign of Ch'ien-lung of the Great 
 Ch'ing [dynasty]." Height, 7 inches. No. 90. 
 
 Snuff-Bottle {Pl-yeJi-hic), with Buddhist symbols [pa chi- 
 hsiang), molded in relief. No. 91. 
 
 The Mark on the foot of the tall vase shown in Fig. 93. It 
 consists of the sacred ling-chih fungus enveloped in tufts of grass. 
 
 No. 92. 
 
 Gourd-shaped Vase (Hu lu PHng), one of a pair, of the 
 K''ang-hsi period, painted in pure full tones of shaded blue. It is 
 decorated in two sections with a floral ground of interlacing peony 
 scrolls inclosing panels of diverse form. The three quatrefoil 
 medallions on the upper section contain sprays of blossoming
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 837 
 
 prunns, and birds. The three panels on the lower section contain 
 quadrupeds displaj^ed in white upon a mottled-blue background, an 
 elephant in a panel of pomegranate shape, a lion with one forefoot 
 on a ball in a ficus-leaf, and a dCi lln in a palm-leaf. Bands of 
 chrysanthemum scrolls round the rim, above and below, and two 
 double chains of triangular fret, sepai*ated by encircling rings, in 
 white relief, complete the artistic decoration. The mark (Fig. 92) 
 is a sacred fungus with tufts of grass inclosed in a wide double 
 ring. Height, 16J inches. No. 93. 
 
 Large Plate [Kuo P^an), decorated in brilliant enamel colors 
 of the K''ang-hsi period. The rim is gilded over coffee-brown, 
 and the slope of the plate is encircled by a red sci-oll and a chain 
 of fret in overglaze blue between plain rings of yellow, pale purple, 
 and apple-green. The broad band of peony scrolls round the 
 border has red and purple blossoms tipped with gold, springing 
 from a wavy, slender, black stem, relieved by a ground of pale 
 green dotted with black, and five archaic dragons are wending 
 their way round through the floral scrolls. The field is occupied 
 by a tall, graceful vase, of Ming dynasty style, filled with a bouquet 
 of peonies, surrounded by a varied selection from the paraphernalia 
 of the liberal arts, which have been described in Chapter IV under 
 the name of Po Ktc, the "Hundred Antiques." Diameter, 18 
 inches. No. 94. 
 
 Vase {PH?ig), richly and profusely decorated in brilliant enamel 
 colors of the K^atig-hsi period. The body is decorated in panels, 
 displayed*upon a ground of lotus scrolls, with the slender forms of 
 two dragons winding through, relieved by a background of coral- 
 red. Two of the panels contain mountain scenes: one shows four 
 old men plajnng (70, with the board placed upon a rock; the other, 
 a man on horseback, with an attendant carrying a lyre, on his way 
 to visit a friend who is awaiting him at the door of his mountain 
 retreat; a third panel has a tiger standing in the foreground; 
 another a clump of chrysanthemums growing from rocks. The 
 remaining two contain pictures of the Po Kv.^ or "Hundred An- 
 tiques." The neck is covered with a svastika pattern brocade, 
 interrupted by two panels of water scenes — an old man fishing 
 with a rod in one, a man poling a boat in the other. The shoulder 
 is encircled by a broad band of floral brocade, with medallions con- 
 taining the apparatus of the four liberal arts — the case of books of 
 the scholar, the bundle of scroll pictures of the artist, the folding
 
 838 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 board ami boxes for wliite and black men of the ^d-player, and the 
 lyre in its brocaded case of the musician. A chain of rectangular 
 fret, penciled in overglaze blue round the rim of the moutli, and 
 another, black upon a green ground, round the foot, complete the 
 decoration. No mark attached. Height, IQ^ inches. No. 95. 
 
 Vase (I£ua P''lng), of the K''ang-hsi period, decorated in red 
 and pale green, with touches of gold. The neck and foot are 
 encircled by successive ornamental bands of fret brocade, diaper, 
 and gadroon of varied design; the shoulder has a broad band of 
 brocade interrupted by medallions containing clirysanthemum- 
 blossoms. The body of the vase is decorated with four panels 
 separated by a ground of chrysanthemum scrolls richly worked in 
 red and gold. The panels, which are illustrated in succession in 
 Figs. 97, 98, and 99, are filled with the apparatus of the liberal arts 
 and the materials of the scholar, which have been described in 
 Chapter IV. Height, 15 inches. Nos. 96-99. 
 
 Ornamental Vase {Hua P''lng), of imperial porcelain of the 
 reign of Gfi'ien-hing, richly decorated in enamel colors, with gild- 
 ing, with no underglaze blue. It has two handles on the neck, of 
 open scroll design, fashioned as dragons, on which hang suspended 
 gilded movable rings; and rims of gold define the lip and the foot, 
 as well as the top of the neck and of the body. The fret borders, 
 above and below, are penciled in light blue upon a pale vermilion 
 ground. The vase is decorated in panels filled with flowers and 
 butterflies and various emblematic designs, the spaces between the 
 panels being decorated with conventional floral sprays, relieved by 
 a plain yellow enameled ground. The flowers represented in the 
 four large panels on the body of the vase are emblematic of the 
 four seasons. In the first panel (spi'i'ig) which is illustrated 
 in the picture we see the Magnolia yulan and Poeonia moutan^ 
 growing from rocks, and a pair of butterflies flying in the 
 air. The next panel (summer) contains hydrangea shrubs, 
 with pinks (dianthus) and flags (iris). The next (autumn) an 
 oak with acorns and russet-tinted leaves, overshadowing chrys- 
 anthemums of varied tint. The last (winter) displays a leafless 
 pi-unus-tree in full blossom (rnei hua), and the monthly rose [yueh 
 chi), which flowers in China the whole year round. 
 
 The seal, penciled underneath in blue on a white panel reserved 
 in the pale-green ground, is Ta Gh'ing Cli'len lung nien chih, 
 " Made in the reign of Ch'ien-lung of the Great Ch'ing [dynasty]." 
 Height, 11^ inches. No. 100.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 839 
 
 Large Circular Dish {^Ta Kuo Jt^hin), of the finest imperial por- 
 celain of the reign of Yung-cheng, artistically decorated in enamel 
 colors, on a white ground, a companion piece to the disli wliich has 
 been illustrated in colors in Plate XLVIII, and inscribed with the 
 same mark underneath. The floral decoration consists of sprays 
 of peony {Pmoma mouta/i), magnolia {Magnolia yulan), and 
 "liait'ang" {Pgras spectabilis), Avhich throw off branches to 
 decorate the under border as they spring from the foot and then 
 spread over the ritns to decorate the interior of tlie disk. The 
 pyrus-blossoms are pink, the large peonies nearly white just tipped 
 with pink, and the magnolia-flowers snow-white, being filled in 
 with an opaque enamel of a different tone in the white of the 
 translucent ground. Diameter, 19| inches. No. 101. 
 
 Snuff-Bottle {Pi-yen-hu), inscribed with the character shou, 
 " longevity." No. 102. 
 
 Circular Dish (P^a/i Tzti), of saucer-shaped form and eggshell 
 texture, decorated with scrolls of Arabic writing (for a translation 
 of which see page 72, Illustrated Edition) penciled in black and 
 filled in with gold. The outer rim is encircled by a light band of 
 floral scrolls composed of alternate sprays of peony and chrysanthe- 
 mum, relieved by a gilded ground. Diameter, 8 inches. No. 108. 
 
 Wine-Flask {(Jhiu P^big), of Tz'u-chou ware, fashioned in the 
 shape of a small pilgrim bottle, with two loop-handles for suspen- 
 sion, and a mouth drawn in to a fine point. It is painted on one 
 side with a spray of flowers in darker and lighter shades of brown. 
 Height, 6^ inches. 
 
 Gourd shaped Bottle (IIu-lu PUng), of Tz'u-chou ware, dec- 
 orated in two shades of brown, with the character/V/, "happiness," 
 on the upper segment, and a spray of prunus-blossom, as the floral 
 emblem of longevity, on the lower segment. Height, 7J inches. 
 
 Twin Genii of Peace and Harmony [Ho Ho Erh IIsie7i), the 
 merry genii of the Taoist cult, molded together in white Tz'u-chou 
 ware, and painted in brown of two shades. They are intended to 
 hold an incense-stick before a Taoist shrine, the joss-stick being 
 inserted in the tube which is seen projecting from the shoulder of 
 one of the figures. Height, 6 inches. No. 104. 
 
 Large Rice Boavl {Fan Wan), of the K^tng-hsi period, with a 
 fretwork design involving the svastika S3^mbol carved in relief out- 
 side and enameled white, the recesses being inlaid with a grass-
 
 840 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 green iiioiioclirome. The fretwork is interrupted by four eirculur 
 medallions, which are decorated, in delicate enamel colors and 
 gilding, with small pictures of flowers and insects. A band of 
 spiral fret is penciled in red round the rim of the foot, and the 
 upper border is gilded. The mark is a lotus-flower modeled under- 
 neath in slight white relief. Diameter, 7} inches. No. 105. 
 
 Small Water-Bowl [S/ml Kamj), modeled after the form, and 
 decorated in the style, of the large garden fish-bowls of the Ming 
 dynast^^ The sides are ornamejited with four foliated medallions, 
 filled alternately with flowers and rocks, and with fruit and birds, 
 painted in brilliant colors, the intervals being brocaded in blue, 
 with a diapered ground inclosing small single blossoms painted in 
 enamel colors, and the rims encircled by gadroon and foliated bor- 
 ders in colored enamels. The seal, penciled in blue under the 
 glaze, within a double circle, is 7^a Ming Wan li nien chih, 
 "Made in the reign of Wan-li of the Great Ming [dynastyl." The 
 silver cover, of pierced floral design, is Japanese. Height, with 
 mounts, 5^ inches. No. 106. 
 
 FiSH-BowL ( Yu Kang), of rounded shape, with the lower part 
 vertically fluted outside and enameled with a monochrome glaze of 
 pale-green celadon tint, while the shoulder is decorated with a pair 
 of three-clawed dragons of archaic type enveloped in clouds, under 
 a pure translucidly white glaze. The scrolled clouds are worked 
 round in relief in the paste, so tiiat the forms of the dragons are 
 partially hidden; the parts that appear being painted in greenish 
 celadon touched with maroon, and having brownish-red flames 
 issuing from their bodies. The technique is probably that of the 
 Yung-cheng period; the bottom is unglazed, and there is no mark. 
 Diameter, 10 inches. No. 107. 
 
 Vase {P''ing), of imperial porcelain of the CJi'ien-limg period, 
 richly decorated in enamel colors of i\\e fandlle rouge, with gilding. 
 Of regular ovoid form, it has two solid handles fashioned in the 
 shape of elephants' heads projecting from the gracefully receding 
 neck. The neck and foot are covered with floral scrolls painted in 
 delicate colors relieved by a ground of critnson [rouge cVor) etched 
 all over with spiral foliations. The swelling bod}'^, defined by two 
 bands of conventional scrolls worked in relief, is enameled with a 
 pale monochrome glaze thickly strewn with tiny rings of darker 
 tint, looking like minute bubbles, of souffle color, and overlaid with 
 a vertical rain of crimson flecks, sprinkled on evidently from the
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 841 
 
 point of a brusli. This is one of the so-called Chun Yti, or " Chiin 
 glazes" of the period, artificial facsimiles of the celebrated Chun- 
 chou glazes of the Siuuf dynasty, aitliough these were really 
 mottled productions of X\\e grand feu, and not fired in the muffle 
 stove like this vase. The foot is enameled pale green underneath, 
 with a panel reserved in the middle for the seal, which is penciled 
 in underglaze blue, Ta CJCing ChHen lung nien chih, " Made in the 
 reign of Ch'ien-lung of the Great Ch'ing [dynasty]." Height, 15 
 inches. No. 108. 
 
 Vase with Flaring Mouth [Ling-chih P''ing), modeled in 
 the form of the sacred fungus Polyporus lucidtts, swelling into a 
 large head at the top, and having the stem covered with a number 
 of branchlets, bearing smaller fungus blades, all roughly worked 
 in relief in the paste. The whole is enameled with a crackled glaze 
 of gra^'ish tint, overlaid with irregular splashes of two kinds, a 
 dull purplish blue and a variegated ^amJe glaze of mottled olive- 
 brown and crimson tints. The ground color is seen in the inter- 
 vals of the splashes, and it also covers the foot, which is not 
 marked. Height, 13 inches. No. 109. 
 
 Double Gourd-shaped Vase {flu-lu PHng), enameled with a 
 finely crackled turquoise glaze of grayish tone over a floral decora- 
 tion worked in the paste underneath, in the style of the Ming 
 dynasty or early K''ang-hsi period. The low^er section is worked 
 with a broad band of freely designed scrolls of the ])olyporus 
 fungus mingled with blades of grass traversed b}" a dragon of 
 archaic type. The upper section is decorated with a band of pe- 
 ony scrolls, from the upper border of which springs a line of 
 spiral clouds encircling the base of the neck. The base is coated 
 with a truite enamel of ivory-white tint. The mounts are of old 
 bronze work etched with similar floral designs. Height, 8 inches. 
 
 No. 110. 
 
 Cylindrical Vase {Hua T^tmg), with the rim of the mouth 
 marked with four slight indentations, and the sides molded with 
 two prominent handles fashioned as lions' heads with oval rings sus- 
 pended from their tnouths. It is enameled inside and out, as well 
 as under the foot, with a celadon glaze of bluish tint, which is known 
 as ,/u Yu, being the traditional shade of the ancient Ju-chou wares 
 of the Sung dynasty. The glaze is traversed irregularly by 
 crackled lines, which are colorless in some parts, as under the foot.
 
 842 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 and become reddisli brown in otliers. The rim of the foot is 
 plastered brown, simulating the natural color of the pdte of the old 
 Sioif/ dj'nasty ware, which was a ferruginous faience. Height, 15 
 inches. No. 111. 
 
 Vase {P^ing), of the CKien-luny period, decorated in blue and 
 white with archaic dragons of conventional design, carrying sprays 
 of flowers in their mouths, which spread over the surface to cover 
 it with formal scrolls, enveloping the large longevity {sliou) char- 
 acters, which are penciled on the body of the vase. A chain of con- 
 tinuous rectangular fret runs round the shoulder, and borders of 
 scrolls and foliations surround the rims. The broad everted lip i& 
 painted with a circlet of four pairs of small dragons. Height, 13 
 inches. No. 112. 
 
 Vase {P''ing), with a two-horned, four-clawed dragon modeled 
 upon it in full relief, bestriding the shoulder and enveloping the 
 neck within the scaly, snakelike coils. The dragon is coated with 
 a purplish-brown mottled glaze, the eyes and other small details 
 being touched witli dark brown. The rest of the vase is enameled 
 with a grayish, white ground, mottled wnth cloudlike splashes of 
 olive-brown passing into bluish variegated tint as they fade into 
 the surrounding ground. The foot is coated underneath with a 
 similar glaze mottled with brown. Height, 19 inches. No. 113. 
 
 Cylindrical Vase [Thmg P''ing), of K'^ang-hsi blue and white,, 
 artistically decorated with sprays of lotus and peony and with 
 foliated borders, of similar design to the pair of jars described 
 under Fig. 178, and mounted in the same style to form 2^ garniture 
 de cheminee with them. The mark under the foot is a double ring. 
 The elaborate European mounts make it appear as a slender-necked 
 vase with ring handles. Height, without mounts, 12 inches. 
 
 No. 114. 
 
 Gourd-shaped Vase {Kua P''ing), of regular oval shape, 
 modeled in the form of an ordinary melon {kua), with eight 
 vertical grooves, and coated with a turquoise enamel of finely 
 crackled texture and mottled greenish tone, the typical "peacock- 
 green " {Kxing-chuo Id) of the Chinese. Elaboratel}'^ mounted 
 with a pedestal and cover of European work of the last century. 
 The piece is to be attributed from its technique to the early part 
 of the seventeenth century. Height, 15 inches. No. 115,
 
 •DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 843 
 
 Vase {P''ing), of tall arcliaic form, with the bulging part of the 
 body encircled bj'' two prominent ribs, a horizontally ridged neck, 
 and a swelling mouth, the rim of which is held in the jaws of two 
 horned crested dragons, with their necks curving upward and 
 ■downward to form the flowing handles, which are ornamented 
 with a row of studs in their outer surface. Below the point of 
 attachment of each handle an oval foliated boss projects from the 
 surface, engraved with cloud scrolls, and a ring of similar knobs is 
 embossed round the shoulder of the vase. The enamel is a crackled 
 glaze of clair-de-lune ( Ykieh-jxxi) tint, deepening to azure blue in 
 the thicker parts. The crackled lines are reddish brown. The 
 foot is coated underneath with the same crackled glaze, and 
 inscribed with a seal, penciled in underglaze blue, Ta ChH?iff Yung 
 chhig nien chih, "Made in the reign of Yung-cheng of the Great 
 Ch'ing [dynasty]," Height, 21 inches. No. 116. 
 
 Bottle-shaped Vase {P''ing), with the neck curving over to 
 •end in a duck's head; an ancient bronze design. There is a cir- 
 cularly rimmed aperture in the convexity' of the neck at the top. 
 It is invested with a celadon glaze of tj^pical sea-green tint. 
 Height, 1\ inches. No. 117. 
 
 Vase {P''ing), of form somewhat similar to that of the vase 
 shown in Fig, 163, with a mouth swelling into a broad recurved 
 lip of indented outline worked with conventional scrolls, enameled 
 with a brilliant transmutation {yao-jnen) glaze of the CJi'ien-lung 
 period. A ground of grayish crackled texture is invested with a 
 Y\(i\\flambe coating, passing into deep crimson mottled tints flecked 
 with spots of light purplish blue. The foot is enameled under- 
 neath with a pale purplish glaze, not crackled, and there is no 
 mark inscribed. Height, 10| inches. No. 118. 
 
 " Double Fish " Dish [S/niang Yil P''an), a typical specimen of 
 ancient Lung-ch'iian Yao of the Su)ig dj'nasty (960-1279), having 
 a pair of flsh worked in the paste, so as to project inside in strong 
 relief as if swimming around. The little dish has a plain horizon- 
 tal rim, and the convexity of the border, underneath, is vertically 
 ribbed. It is invested with a crackled celadon glaze of greenisii- 
 brown tones approaching olive-green, shot and flecked with a 
 brighter grass-green, which the Chinese liken to the tint of onion 
 sprouts. The rim of the foot, which is unglazed, shows the rtMldish- 
 buff color of the fabric. Diameter, 5^ inches. No. 119.
 
 844 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Saucer-shaped Dish {P''an), of old Lung-ch'iian celadon of tlie 
 Ming dynasty (1368-1043). It has a foliated rim, and tlie sides 
 are fluted in the interior so as to be ribbed underneath. A spray of 
 peony is etched inside under the i^laze. The glaze is a typical cela- 
 don of sea-green tint, varying in depth of tone according to its thick- 
 ness. The under surface of the disii has been photogiaphed to show 
 the irregular ring in the bottom, which distinguishes the class, when 
 the paste, left bare, is of the nsual reddish-buff color. Diameter,. 
 11^ inches. No. 120. 
 
 Crackled Cup (/ib Yao Pel), modeled after an ancient design, 
 simulating a lotus-leaf with convoluted everted rim, to which a 
 lizardlike dragon is clinging, forming a handle for the cup. It is 
 coated inside and out with a gra}', stone-colored enamel, crackled 
 by a network of deeper dark lines connected by superficial colorless 
 lines. The foot-rim is stained brown, the traditional shade of the 
 old Ko Yao of the /S<m(7 dynasty. Height, 4 inches. N >. 121. 
 
 ' Small Censer {Ilslaag Lu), of primitive Ko Yao of the Sung 
 dynasty. Of globular form, with three small mammillated feet, 
 it is coated with a speckled glaze of gra^nsh tint, crackled through- 
 out with a close network of brown lines. The feet show at their 
 points a fabric of dark iron-gray color, and are encircled at their 
 bases with brown lines of stain. It has been mounted in China 
 upon an elaborately carved stand, and has a rosewood cover with 
 a fungus-shaped knob of white jade. Height, 2 inches. No. 122. 
 
 Water Receptacle [Shui Cli'eng), of ancient Sung dj'iiasty 
 crackle, coated inside and outside, as well as under the foot, with 
 a thick unctuous translucent glaze of dark brownish-gray tone,, 
 traversed by a reticulation of dark lines. The mouth is tinged a 
 coppery red; the foot-rim shows a darkish iron-gray fabric. 
 Height, \\ inch; diameter, 3 inches. No. 123. 
 
 Miniature Vase {Hsiao PHng), of primitive Ko Yao of the 
 Sung dynast}'. It is molded with two mask handles in relief,^ 
 and invested with a rich glaze of light gray tint, crackled by a 
 reticulation of dark lines, and is coated underneath with the same 
 crackled glaze. The foot-rim shows a pale iron-gray paste. 
 Height, 3 inches. No. 124. 
 
 Water-Pot {Shui CJi'eng), of ancient Chun Yao of the Sung 
 dynasty (960-1279). Of solid dense structure, it has an archaic
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 845 
 
 dragon roughly modeled in bold relief on one side so as to lift its 
 liead above tlie rim. The rich crackled glaze is of the pale-blue 
 shade known as clair de lane {t/ueh jjcit). It is stained at one 
 point with a characteristic patch of deep crimson, shaded with a 
 purple border, whicli is seen on tlie left side of the illustration. 
 The mark, deeply cut in tlie paste under the foot, is the numeral 
 san (3), The foot-rim shows a fabric of reddish-gray stoneware. 
 Height, 2^ inches. No. 125. 
 
 Shallow Bowl [Hua Pen), modeled after the form of one of 
 the ancient Chiin-chou bowls of the Sung dynasty, which were 
 used for the cultivation of narcissus bulbs, and enameled to repro- 
 duce the " pear-blossom red " (hai-Vang hung) of the period. It 
 is circular in form, with a rounded lip of sixfold foliated outline 
 and vertically ridged sides, and is mounted upon three scrolled 
 feet. The glaze is a mottled red of the grand feu, derived from 
 copper, exhibiting a pink ground flecked with darker purj)lish 
 spots, and it becomes changed to apple-green on the ridges and 
 more prominent parts. The bottom, coated with a grayish enamel, 
 has six spur-marks round the rim, and the Jiumeral san (3) on one 
 side, cut in the paste, and it is stamped in the middle with the 
 seal Ta CWing Yitng cheng nien chih, " Made in the reign of 
 Yung-cheng of the Great Ch'ing [dynasty]." Diameter, 11 inches. 
 
 No. 126. 
 
 Club-shaped Vase {Pang-chih P''ing), one of a pair of tall 
 vases of early ICang-hsi date, enameled with a crackled turquoise 
 glaze of pure tone and uniformly bluish tint, over an artistic 
 decoration previously molded and etched in the paste. This con- 
 sists of scrolled sprays of peonies extending over the lower two- 
 thirds of the body, succeeded by a band containing ogre-like 
 fao'Vieh heads, displayed upon a spiral background; the shoulder 
 is encircled by a chain of rectangular fret, and the neck by rings 
 of formal scrolls. The foot is coated underneath with the same 
 truite turquoise enamel. The highly decorative mounts are of 
 European workmansliip of Louis XV date. Height, 27 inches. 
 
 No. 127. 
 
 Wine-Ewer {Chiu IIu), with a flowing cylindrical handle, an 
 upright curving spout, and a bell-shaped cover surmounted by a 
 knob. An earl}^ J{"'ang-hsl piece, it is decorated in panels of 
 foliated outline, filled with formal trees, painted in deep blue, with
 
 846 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 cross-hatched strokes in a style not common in Chinese art. The 
 intervals are filled in with floral scrolls and scattered blossoms, and 
 the rims are defined by chains of fret of varied pattern. Tiie 
 metal mounting is of Oriental workmanship. Height, 13^ inches. 
 
 No. 128. 
 
 Broad-mouthed Vase {Hua Tsun), modeled in the form of an 
 ancient sacrificial wine-vessel, with a liorizontally grooved body 
 and four vertically projecting broken ribs; the two handles being 
 fashioned in full openwork relief as alligatorlike dragons. It is 
 invested with a crackled glaze of transmutation tj'^pe variegated 
 with vertical splashes of grayisli purple and olive-green, in the 
 same way as the square vase of similar type illustrated in Plate 
 XXIII. In the bottom, which is only partially glazed, a coarse 
 reddish paste is exposed. Height, 12^ inches. No. 129. 
 
 Vase [P'in(/), modeled in one of the graceful forms character- 
 istic of the Yung-cheng period, and charmingly decorated on a 
 pellucid white gi'ound in the delicate enamel colors of the time. 
 A magnolia-tree spreads round the vase to cover it with sprays of 
 snow-white blossoms and buds; a gayly plumaged bird is clinging 
 to one of the branches, and bright butterflies are flying round. 
 Tlie intervals are filled in with tree-peonies, branches of Ilihisctis 
 rosa sinensis and of pink-blossomed Pyrus japonica. The swelling 
 rim of the foot is scattered with peach-blossoms and small sprays 
 of chrysanthemum. There is no mark under the foot. Height, 16| 
 inches. No. 130. 
 
 Vase (P'^ing), with three lions projected in full openwork relief 
 upon the shoulder, represented in pursuit of brocaded balls tied 
 with fillets, which are executed in similar salient relief. 1'he 
 lions are of the usual grotesque form, with gilded bodies, touched 
 with 3^ellow, green, and purple enamels, outlined in dark brown. 
 The ground of the vase is covered with close spiral curves pen- 
 ciled in dull brownish red, and it has no claims to either beauty or 
 antiquity. Height, 16^ inches. No, 131, 
 
 Wide-mouthed Vase (Ilua Tsun), enameled inside and outside 
 with a crackled glaze of grayish-white tint mottled with pale- 
 reddish spots, traversed by a well-mai-ked, deep network of dark 
 lines. The bases of the neck and of tlie body are defined by rings 
 uncovered by enamel and colored iron-gray, succeeded on the neck
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 847 
 
 by another prominent ring round the .top of tl»e shoulder. The 
 shoulder is studded with four handles executed in relief in " slip " 
 as butterflies with suspended rings. The neck is surrounded by a 
 band of the same iion-gray color, composed of a chain of inter- 
 rupted rectangular fret between two formal scrolls, and the 
 upright rim of the raouth is encircled by a single ring of conven- 
 tional scrolls of the same pattern. The foot, colored iron-gray, is 
 dotted at regular intervals with small buttons of gray enamel, as 
 if to cover spur-marks. Height, 11 inches. No. 132. 
 
 Large Heavy Vase, of the Sang dynasty; exceedingly dense 
 body and deep indented glaze of livid red, purple, and gray. 
 Height, with mount, 14^ inches. No. 133. 
 
 SmaEitArchaic Vase, with coarsel}" crackled ivory-white glaze, 
 crudely decorated in blue. No. 134. 
 
 Snuff-Bottles, (1) decorated in blue and white; (2) of white 
 paste, modeled in high relief, and surmounted by the so-called dog 
 Fo; (3) of Fen-ting white paste, with a perforated and reticulated 
 design. No. 135. 
 
 Gourd-shaped Vase {Hu-lu P''hig), modeled in the shape of a 
 large double gourd, with a branch of the same plant worked in 
 salient undercut relief, spreading down from the top to cover the 
 upper half of the vase with a reticulation of trailing vines bearing 
 small gourds, leaves, and tendrils. The intervals of the leafy net- 
 work are occupied by five flying bats — emblems of the five happi- 
 nesses, the gourd itself being the emblem of long life, as the Taoist 
 receptacle of the elixir vitcp. The vase is covered with a souffle 
 monochrome glaze of pale azure-blue tint [fien-c/i^ing), while the 
 bats and small gourds are touched with a mottled red derived 
 from copper, wl)ich runs down to stain the surface of the vase in 
 several spots. Height, 17 inches. No. 136. 
 
 Threefold-Gourd Vase (San JTu-ln P^ing), of composite form 
 and three-lobed section, simulating three gourds tied together at 
 the waists, so that tlie three bodies liave coalesced into one, while 
 the necks remain distinct. The band with which they are girdled 
 is worked in relief, and the ends tied together in a bow so as to 
 hang down on one side. It is enameled with a transmutation 
 ( Yao-pien) glaze of grayish crackled texture, darkening to mottled
 
 848 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 crimson, and becoming purplish toward tlie edges, leaving the rim 
 colorless, as well as the prominent parts of the ends of the ribbons. 
 The foot is coated with the same grayish-white crackle. Height, 
 13| inches. No. 137. 
 
 Cup {Pel), of Cfi'ien-hmg date, pierced with a broad band of open- 
 work carving composed of interlacing circles extending round the 
 sides, interrupted by five solid medallions, on which are posed in 
 salient undercut relief the figures of the star-god of longevity 
 {Shoic Using) and of the eight immortals {Pa ITsien), grouped in 
 pairs, holding their vai'ious attributes, with backgrounds of clouds. 
 The figures are molded in hrown pate, and touched with colored 
 enamels of dull tone, including white. A scroll of chrysanthemums 
 is lightly worked round the foot in an opaque white of different tone 
 from the lustrous white glaze underneath, and with which the rest 
 of the cup is enameled. The foot is in white biscuit unglazed. 
 The lining of the cup is of beaten silver, gilded. Dijtmeter, 3^ 
 inches. No. 138. 
 
 Teapot ( CA'a Stt), one of a pair, artistically modeled in the 
 form of a fully expanded lotus-blossom, the sides being molded 
 with rings of petals, and the rim studded with the seeds that 
 naturally project from the cuplike fruit in the middle. The handle 
 is the bowed body of a dragon {chHh-lung) which is clinging to 
 the bowl by its jaws and four feet as well as by its bifid tail. The 
 spout is the hollowed bod}^ of an alligator rising with gaping mouth 
 to form the lips. The bottom, which is unglazed, is carved to 
 represent a lotus-leaf, and a second veined peltate leaf with its stalk 
 attached forms the lid. It is enameled with a truite turquoise 
 glaze of softly mottled tones, deepening into purple where it 
 thickens, round the rim of the cover, for example. Height, 4 
 inches. No. 139. 
 
 Vase (P^ing), of thi-ee-lobed outline, with indented mouth, and a 
 vertically grooved body of solid form, molded with the figures of 
 three lions projecting in salient relief from the sides. It is enameled 
 with a transmutation [yao-pieii) glaze of the ChHenlnng period, of 
 a grayish pale-colored crackled grouiid, splashed with olive-brown 
 and crimson patches of variegated mottled tints. The mouth, in- 
 side, and the foot are coated with a light purple, the latter only 
 partially, so as to expose a yellowish joa^e in the intervals. Height, 
 9f inches. No. 140.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 849 
 
 Yuan Dynasty Bowl ( Yuan T'£%i Wan), composed of a coarse 
 reddish-gray stoneware coated with a crackled glaze of pale purple 
 tint, mottled with darker spots, and becoming brown at the edges. 
 On the under side of the bowl the glaze has run down in a thick 
 unctuous mass, so as to cover only part of the surface, stop})ing in 
 an irregularly curved line, and leaving about a third of tiie side, 
 as well as the foot, uncovered. Diameter, 6^ inches. No. 141. 
 
 Jar {Kuan), of ovoid form and archaic aspect, composed of a 
 rough dark iron-gray stoneware, coated with a thick deeply crackled 
 glaze of light stone-gray celadon tint. The upper rim is stained 
 brown. It resembles the ancient jars so highly prized by the 
 natives of Borneo and other islajids of the Eastern Archipelago, 
 and is probably a production of the Kuangtung potteries {Kuang 
 Yao), of the Sung or Yuan dynasty. Height, 5 inches. No. 142. 
 
 Miniature Tripod Censer [Hsiao Ting Lu), with two loop 
 handles, invested inside and out with a gray crackled glaze of the 
 same character as that described under No. 121. Height, 2 inches. 
 
 No. 143. 
 
 Broad-necked Vase [Hua Tsun), with mask handles fashioned 
 in relief as lions' heads holding rings, enameled with a superficially 
 and minutely crackled glaze of mottled tones, passing from pale 
 translucid celadon to crimson and ruby tints. The glaze has " run," 
 so that the lower part of the vase is densely coated and dark- 
 colored while the upper rim and the prominent handles remain 
 almost colorless. In the interior it has collected \wjlamhe drops of 
 brightly mottled purple. The foot has been ground on the wheel 
 to remove the superfluous enamel. The base is coated yellowish 
 gray with a crackled network of brown lines. Height, 13 inches. 
 
 No. 144. 
 
 Vase [Ilua P^iug), of a ritual form inodeled after that of the 
 Buddhist ddgaba illustrated in Fig. 349, decorated in brilliant 
 enamel colors of early K^oig-hsi date, greens predominating, with 
 a pure vermilion red, an orange yellow, a brownish purple, and 
 touches of black, without gold or underglaze blue. The neck is 
 enveloped in the coils of a four-clawed dragon pursuing an effulgent 
 jewel among green clouds and red lightning-flames; its base is 
 encircled by a diapered band inclosing medallions of lotus-flowers,
 
 850 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 and the upper rim by rings of svastika pattern diaper and of 
 cbrysantheraum brocade. The body of the vase has ornamental 
 fret borders, a graceful chain of conventional lotus sprays below, 
 and four shou, " longevity," characters emblazoned on the shoulder 
 above, between the four circular panels with foliated rims, which 
 form the main decoration. One of tliese panels contains fish 
 tossed in tlie waves, with a large one rising from the water, 
 exhaling red flames, as if about to be metamorphosed into a 
 dragon. The opposite panel has an eagle of majestic aspect 
 perched upon a rock on the seashore. The other two panels dis- 
 pla}^ Taoist scenes. In one, two old men, seated on a rocky shore, 
 are looking at a temple rising in tlie waves and a stork flying across 
 carrying a tally of fate in its beak. In tlie other, one of the genii 
 is bestriding the branch of a tree, which is taking the form of a 
 dragon's head in front, his pilgrim's gourd and rolled scroll slung 
 on a branch behind, as he crosses the sea in this strange craft. 
 Height, 18J inches. No. 145. 
 
 Beaker-shaped Vase {^Hua Kti), of graceful form and finished 
 technique, modeled in the lines of an ancient bronze sacrificial 
 vessel, and coated all over, inside the month as well as outside and 
 under the foot, with a bright j'^ellow glaze of uniform orange tone, 
 the typical "imperial j^ellow " monochrome of the C JCien-limg 
 period. Height, 8| inches. No. 146. 
 
 Vase {^P''in(/), of finished technique, dating from the Yung- 
 cheng period,, enameled with a plain white glaze of pure translucent 
 tone. A dragon of archaic t^^pe is projected in bold, undercut 
 relief upon the shoulder of the vase, and colored with a bright-blue 
 overglaze enamel of mottled tint derived from cobalt. Height, Sc- 
 inches. No. 147. 
 
 Wine-Pot ( Chia Hu), of rustic form, decorated sur biscuit in 
 the three colors of the demi- grand feu — viz., turquoise-blue, auber- 
 gine-purple, and touches of pale green — all of finely crackled 
 texture. It is roughly fashioned to simulate jointed bamboo, with 
 branches of pine attached as handle and spout, from which sprays 
 of foliage spread out to decorate the surface in relief. A sprig of 
 bamboo surmounts the false cover, which is immovable, the wine 
 being poured in through a hole in the bottom of the wine-pot, 
 which is coated all round with the turquoise glaze. Height, 5 
 inches. No. 148.
 
 DESCEIPTIVE LIST OF THE ILLUSTKATIONS. 851 
 
 Globular Bowl {Shul ClCeng), one of a pair, of lavender 
 crackle, traversed by a network of brown lines. It is mounted 
 upon a tall tripod stand of European work. Diameter, 4 inches. 
 
 No. 149. 
 
 Vase {PUtig), of the K^oig-hsi period, of graceful form and 
 fine technique, artistically decorated with conventional floral designs, 
 painted in red and gold with touches of pale green. The body is 
 studded with live large blossoms of the idealized fl^owers known as 
 pao hsiang hua, " flowers of paradise," connected by delicate wavy 
 foliations. A gadroon border with beaded foliations surrounds the 
 base, the shoulder is encircled by a band of brocaded pattern, and 
 the rim of the mouth by a similar band, running round under the 
 lip, which shows signs of gilding. A series of scrolled palraations 
 springs up from the base of the neck, and it is ornamented above 
 with strings of beads hung with tassels suspended from a ring of 
 scroll fret. Height, IV inches. No. 150. 
 
 Water-Pot {Shui Ch^eng), for the writer's table, molded in 
 the shape of a white univalve shell, and lightly tinted with pink 
 and yellow enamels at the edges; the three feet are tiny shells, 
 and a lizardlike dragon {ch^ lh-h(?ig) is coiled upon the top of the 
 shell, executed in full undercut relief. Height, 2 inches. No. 151. 
 
 Vase {P^ing), one of a pair of tall bottle-shaped vases, with a 
 monochrome ground of pale-green celadon tint, decorated in " slip " 
 with flowers and birds in relief. The floral decoration is composed 
 of blossoming prunus-trees, bamboos, chrysanthemums, and lotus- 
 plants, naturalistically modeled, so that most of the flowers stand 
 out in white relief, but some of the leaves and other details, and the 
 birds which are perched upon the branches, are penciled in under- 
 glaze cobalt-blue. The pedestal, flowing open handles, and other 
 mounts are in European bronze work of ornate style. Height, with 
 mounts, 2 feet 6 inches. No. 152. 
 
 Tea-Jar (CA'a Kuan), a typical specimen both in style and 
 coloring of blue and white porcelain of the Ming dynasty. It is 
 painted in brilliant blue, with the eight Taoist immortals {Fa Ilsien) 
 crossing the sea in procession, holding up in their hands their 
 peculiar attributes. The scrolled waves lift up crested tops in the 
 intervals, and the clouds dip down in formal scrolls from above to 
 form a kind of canopy for each figure. The borders are decorated
 
 852 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 with eiicirclino- \)an(ls of coiiventioiiiil scrolls. Tlie mark, penciled 
 
 under the foot in blue, inclosed within a double ring, is Ta Ming 
 
 Wan-U fiieu chih, " Made in tlie reign of Wan-li (1573-1619) of 
 
 the Great Ming [dynasty]." Height, inclies. No. 153, 
 
 Vase [P''ing), bottle-shaped, witli a projecting rim at tlie top, 
 ami a globular body, from the upper part of which proceeds a short, 
 solid mouthpiece. It is decorated with floral sprays of peony, 
 lotus, jasmine, and aster, enameled in briglit colors, surrounded by 
 scrolls of green leaves, and relieved by an intensely black ground. 
 A band of white, lightly penciled in red with a triangular fret, 
 separates the neck from the body. Tlie upper rim is mounted with 
 metal, and the mouthpiece is fitted with a nozzle of Oriental work- 
 manship. It was evidently decorated in China for the Moham- 
 medan market, and has been subsequently mounted, perhaps in 
 Persia, as part of a narghili. Height, 10| inches. No. 154. 
 
 DouBLE-Fisii Vase [Shuang Yil PHng), one of a ))air, with 
 details molded in slight relief under a celadon monochrome glaze of 
 typical sea-green tint. Mounted in ormolu of European work. 
 Height, 6 inches. No. 155. 
 
 Tai-1. Club-shaped Vase {Ta Pang-chih PHng), elaborately 
 decorated in enamel colors with a few touches of gilding in the 
 style of the ICa/ig-hsi " famille verte." The body is decorated 
 with a battle scene. The heroine of the tight is on horseback in 
 front, clad in mailed costume, brandishing a sword in one hand, a 
 spear in tlie other, and having a small babe wrapped in her girdle, 
 out of whose head pi'octeeds a thin red line which unfolds above 
 into clouds displaying the gilded form of a dragon. An uml)rella- 
 shaped tent with imperial insignia in front is pitched on the hill- 
 side, in the direction in which the commMiider-in chief is riding, 
 surrounded by his staff cai'rying flags and banners. The neck of 
 the vase is decorateil wiiii a picture of the " flveancients" (wulao), 
 the diviniti(!s of the five ])lanets, examining a scroll with the i/in- 
 yang dual svnibol inscribcil upon it, the surroundings being of Taoist 
 character, with pines and stoi-ks, spotted deer, and rocks covered 
 with SMcred fungus. The shoulder slope is tilled with a broad 
 band of lotus scrolls traversed by dragons, interrupted by medal- 
 lions containing lions sporting with brocaded balls. A Vnocaded 
 band of plum-blossom su(^ceeds, and encircling rings of triangidar 
 fret and of gadrooji pattern complete the decoration. Height, 30| 
 inches. No. 156.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 853 
 
 V^ASE [PHug), bottle-shaped, witli a swelling globular bodj-^ and 
 two projecting rings on the neck, dating from the ICang-hsi 
 period. It is enameled with a dark-brown cofFee-colored mono- 
 chrome ground, interrupted by four circular medallions painted in 
 dark underglaze blue with flowers, and by a ring round the slioulder 
 with alternate lozenges and circles di8pla3'ed upon the white ground. 
 Tlie mark under the foot is a palm-leaf penciled in blue. It is 
 mounted with a chased bronze cover of Persian work. Height, 
 with cover, 8^ inches. No. 157. 
 
 Threefold Gourd Vase {San Hu-la P''hig), with a vertically 
 grooved body simulating three coalescent gourds with tlie necks 
 distinct, so as to form three oiifices for the vase. It is one of a 
 pair enameled with a finely crackled turquoise glaze of unusuall}'" 
 deep tones, becoming almost black in the depths of the grooves and 
 near the foot, which is unglazed at the base. They have been 
 mounted in Europe with three-footed stands, tasseled cords tied 
 round the waists, and covers inlaid with three disks of crackled 
 turquoise porcelain, hung round witli festoons and tassels and sur- 
 mounted b}'^ circular garlands of flowers. Height, without mounts, 
 8 inches. No. 158. 
 
 Celadon Vase [Lung -cJi' uan P^ing), of the Ming period, of 
 whitisli paste coated with a rich unctuous-looking glaze of pale 
 greenish tone. The decoration, which is worked in relief in the 
 paste under the glaze, is in three horizontal bands defined by 
 prominent rings. The lower band is vertically ribbed. The 
 middle band has waving scrolls of chrj'^santhemunis under a ring 
 of diamond pattern fret. The upper band contains ititerlacing 
 sprays of the mountain peony. A spot of iridescent purple black 
 is to be noticed on the shoulder, shaded with red clouds, starting 
 from a slight pit in the glaze, and indicating the presence of iron 
 in the materials. The base is enameled underneath with the same 
 celadon glaze. Height, 17 inches. No. 159. 
 
 Tripod Censer [Ting Lu), with short cylindrical feet, and two 
 spreading loop-handles of rope pattern, coated with a Lang Yao 
 glaze of tlie K''ang-hsi period. The glaze, of the usual crackled 
 texture, displays the characteristic sang - de-boeuf co\oYm^ in streaky 
 mottled tones, passing in some parts of the surface into pale apple- 
 green, wliile the rims and more prominent parts are nearly white. 
 The stand and cover are of rosewood, carved in Cliina in a string-
 
 854 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 net pattern, and mounted with a steatite knob. Height, 4^ inches; 
 breadtii, 5 inches. No. 160. 
 
 Vase (P'm^), bottle-shaped, one of a pair, with wide-spreading 
 necks, enameled with a monochrome coral-red glaze, penciled over 
 with two floral scrolls in gold of arabesque-like design on the bodies 
 and with light floral borders round the edges. They have been 
 mounted in Persia with copper rims and covers, minutely chased 
 all over with figures, hunting-scenes, ornamental bands, and panels 
 containing birds and flowers. Height, 7| inches. No. 161. 
 
 Quadrangular Vase {Fang PHng), of oblong section, with 
 rounded indented corners, molded with two handles fashioned as 
 lions' heads suspending rings. There is a floral decoration on the 
 front and back, incised in the paste, and inlaid with green and 
 white enamels, the surrounding ground being a purplish brown of 
 brilliant iridescent tints. The decoration consists of flowers grow- 
 ing from rocks, a blossoming prunus with a twig of bamboo, on one 
 side, chrysanthemums and grass, with a pair of butterflies flying, on 
 the other. The mark, incised in the paste under the glaze in 
 ai'chaic script, is Cheng-te nien chih — i. e., "Made in the period 
 Cheng-te (1506-21)." It seems really, however, to be a reproduc- 
 tion of the time of GKien-lung. Height, 7| inches. No. 162. 
 
 Vase [P''ing), of depressed ovoid form, with a short narrow neck 
 widening into a flaring mouth with coarsely serrated rim. A five- 
 clawed imperial dragon envelops the vase within its coils as it pur- 
 sues the magic jewel, which is represented on one side as a disk 
 emitting branching rays of effulgence, the intervals being filled in 
 with the scrolled clouds in which the dragon is disporting. The 
 details are modeled in relief in the paste, and finished with the 
 graving-tool. The investing glaze is a minutel}^ crackled turquoise- 
 blue of the CK Un-lung period, clouded with characteristic mottling 
 of greenish tone, and becoming darker where it thickens. Round 
 the foot, where it has " run " into a thick mass, it becomes deep 
 crimson, affording a striking example of the manifold transforma- 
 tions of the protean copper silicates under varied degrees of oxida- 
 tion. Height, \^\ inches. No. 163. 
 
 Cylindrical Vase {Ilua T^nng), of the Wan-li period, deco- 
 rated upon a white ground with enamel colors — red, green, yellow 
 of brownish tone, and manganese-purple — without underglaze blue. 
 The rim of the mouth is colored litrht brown: the shoulder and base
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 855 
 
 of tlie vase are encircled by bands of spiral fret penciled in red. 
 The body is decorated with trees growing from behind an open 
 rocker^', lit up by tlie yellow-brown disk of the sun, and filled in 
 with a background of red trellis- work. A peach-tree is conspicuous 
 with scarlet blossoms, and a clump of bamboo, with graceful green 
 foliage; orchids and other flowers are blossoming at the foot, and a 
 pair of birds is flying across above. The neck is covered with 
 a diaper of foliated pattern, brocaded with branches of fruit and 
 sprays of flowers. The base is unglazed, with the exception of a 
 spot of white in the center. Height, 15 inches. No. 164. 
 
 Figure of a Cat [Mao Hsiang), naturally modeled in a grayish 
 paste of light porous fabric, and enameled with a crackled gray 
 glaze splashed with transmutation colors of bronzelike tones passing 
 into olive-brown, to imitate tortoise-shell. Height, 7^ inches. 
 
 No. 165. 
 
 Small Wine-Pot (Chiu Hit), of rustic form, molded in the 
 shape of a lotus capsule with striated sides and the seeds projecting 
 all round at the top, and mounted upon three spiral feet; the flow- 
 ing handle is a roughly tuberculated stalk, and the curved spout 
 another, while a small folded leaf projects on either side as a decora- 
 tion. The enamel colors, applied sur biscuit, are green and yellow. 
 Height, 3 inches. No. 166. 
 
 Cylindrical Vase [Hua T''ung), decorated in colors of the 
 Wan-li period, with floral arabesques, painted partly in underglaze 
 blue, partly in emerald-green and vermilion enamels. The ground- 
 work is a bold design of leaf scrolls studded with large blossoms 
 like those of the wild rose, executed in blue, which is brocaded with 
 small green leaves and filled in with a diaper pattern penciled in 
 red. The light bands of scroll which encircle the rims are outlined 
 in red upon aAvhite ground. The bottom is unglazed, only marked 
 by concentric lines of the wheel. The vase is mounted with a 
 collar and lid of copper, which is elaborately chased with bands 
 containing figures of men, four-footed animals, and birds, and with 
 floral and foliated designs of Persian work. Height, l^\ inches. 
 
 No. 167. 
 
 Cylindrical Ewer [Thing Hu), modeled in the form of a 
 jointed tube of bamboo with a tiaralike projection at the top. The 
 handle is a one-horned draijon with bowed back and bifid curlinor 
 tail, and it is colored red with gilded details; the spout springs
 
 856 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 from a lion's liead, and the cover is surmounted by tlie figure of a 
 unicorn. Tlie surface is covered witli sprays of flowers and butter- 
 flies of naturalistic design painted in enamels of the CKien-lurKj 
 period. The flowers include separate sprays of the tree-peony, rose, 
 hydrangea, lotus, peach-blossom, magnolia, chrysanthemum, lily, 
 hibiscus, convolvulus, aster, orchid, and nandina berries. Height, 
 14| inclies. No. 168. 
 
 Club-shaped Vase {Pang-chih P''iny), of the K''ang-hsi period, 
 decorated in blue and white with panels of varied form, inclosed 
 in a soujffle ground of brilliant powder-blue. There are six pan- 
 els on the body, of which the two below — square, with indented 
 corners — are painted with landscapes; the two fan-shaped panels 
 above contain peonies and chrysanthemums growing from rocks, 
 and the other two — of rounded foliated outline — are filled with 
 vases of flowers and peacock's feathers; censers, and the parapher- 
 nalia of the scholar. There are two panels in the neck, shaped like 
 leaves of the Ficus religiosa, one of which has a kingfisher inside 
 perched upon a peony-branch; the other, incense-burning appa- 
 ratus and a folding fan. The mark under the foot is a double ring 
 penciled in blue. Height, 18 inches. No. 169. 
 
 Vase {Ilua PHng), of the ChHen-lung period, fashioned on an 
 archaic bronze luodel, with decorations executed in relief and 
 engraved in the paste, invested with a finely crackled turquoise 
 glaze, which varies in tone according to the depth, so as to enhance 
 the effect of the decoration underneath. This decoration consists 
 of a broad band of peony scrolls round the body and a ring of 
 upright palniations on the neck, completed by encircling bands of 
 ornamental scroll and fret designs of varied pattern. The foot, 
 only partially glazed, sliows a grayish-buff pate in the intervals. 
 Height, 13| inches. No, 'iVO. 
 
 Vase {PHng), of the K^ang-hsi period, very brilliantly deco- 
 rated in enamel colors, with rich borders of scroll and fret, floral 
 brocade and conventional foliations. The two large panels on the 
 body contain a grotesque lion sporting with a brocaded ball tied 
 with waving fillets, and a unicorn [ch'i-lin) of orthodox traditional 
 form with flames proceeding from its body; the panels are 
 separated by vertical bands containing lozenge-shaped symbols of 
 success {fang-sheng). The vase, slightly cut down, has been fitted 
 with European bronze mounts. Height, 8| inches. No, 171.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 857 
 
 Vase (P'm^), of the Fen Ting, or "soft paste" class, painted 
 in soft-toned blue in characteristic style with fine and clearly 
 defined strokes, under a soft-looking ivory-white glaze of crackled 
 textui'e and undulatory surface. It is decorated witli nine gro- 
 tesque lions: five grouped on the body of the vase, and four on the 
 neck, supported on banks of scrolled clouds and enveloped in flames, 
 disporting with brocaded balls tied witli waving fillets. The 
 receding slope of the shoulder is encircled by a band of cloud 
 scrolls, traversed by five flying bats, symbols of the five happi- 
 nesses, and the foot has plum blossoms, the floral emblem of long 
 life, scattered over a reticulated ground of mottled blue. The foot 
 is crackled underneath; no mark. Height, 8f inches. No. 172. 
 
 Grotesque Unicokn Monster (7'm GhiXeh Shou), molded in 
 porcelain of the Ming period, with a lionlike bod}'', having a horn, 
 shaped like the horn of a rhinoceros, curving up from the middle of 
 the forehead. The body, etched with a gi'aving-tool, is coated with 
 a snow-white crackled glaze; the ears, beard, and flowing tail are 
 overlaid with bright blue; the mane and spiral coils of hair are 
 touclied with dark green. The interior, which is hollow, is par- 
 tially lined with crackled glaze, showing a grayish paste in the 
 intervals. Length, 6 inches. No. 173. 
 
 Small Vase {Hua PHng), of turquoise crackle of the Ming 
 dynasty. It is molded of archaic design, with a ribbed body verti- 
 cally grooved and a mouth with an eightfold foliated rim. 
 Round the body and neck of the vase are coiled the forms of two 
 three-clawed lizardlike dragons, modeled in complete undercut 
 relief, in pursuit of the jewel-ball, which is attached in front mid- 
 way between the heads of the monsters. The truite glaze changes 
 from its pure turquoise tint to olive-gray in the thinner parts, and 
 deepens into purple where it collects in thick drops. The foot is 
 unglazed, showing a yellowish-gray ^^d/e. Height, 5| inches. 
 
 No. 174. 
 
 Beaker-shaped Vase {Hua Ivu), of crackled celadon, dating 
 from early iti the 3iV/i_(7 dynasty, if not older. The flaring mouth 
 has a rim alternately projected and indented as if formed of eight 
 foliations, and the vase is marked with slight vertical ribs starting 
 from the points of the foliations. The prominent band around the 
 middle of the vase is etched with triangular lines and clouds show- 
 ing Indistinctly under the thick glaze. The glaze, which spreads
 
 858 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 over half of tlie interior of the vase, and also covers the base, is a 
 celadon of green tint and lustrous aspect, crackled with a network 
 of dark-brown lines, although inside and under the foot the reticu- 
 lated lines are colorless. The foot-rini shows a pdte of reddish- 
 yellow color. Height, 11 inches. No. 175. 
 
 Pilgrim Bottle {Pei-hu P'^ing), of the rounded form and oval 
 section known also as Pao-yueh P''ing, from its resemblance to that 
 of the full moon. Decorated in blue and maroon under the white 
 glaze, with five-clawed imperial dragons rising from the sea into 
 the clouds in pui'suit of the wish-granting jewel, which is dej)icted 
 in the middle of the vase as an effulgent disk. There is a seal 
 under the foot, penciled in the same underglaze cobalt-blue, with 
 the inscription Ta Cfi'mg CK len-lxmg nien chih, " Made in the 
 reign of Ch'ien-lung (1736-95) of the Great Ch'ing [dynasty].'^ 
 Height, 12| inches. No. 176. 
 
 Vase {P''iiig),oi the coarser Ting-chou ware of the Ming period 
 known as T^u Ting. The decorative designs are either molded in 
 relief or etched at the point in the grayish-white paste, which is- 
 coated with an ivory-white crackled glaze, become greenish in tone 
 where it thickens. The neck swells above into a bulbous enlarge- 
 ment, which is grooved like a bulb of garlic. A dragon of archaic 
 design is coiled round in salient relief, pursuing a jewel among 
 clouds. The bulging body is engraved with floral scrolls, a band 
 of gadroon pattern runs round below and a band of spiral fret 
 above, succeeded b}'^ a chain of rectangular fret etched round the 
 shoulder. The foot is coated with the same soft-looking crackled 
 glaze. The foot-rim shows a hard fabric, which can not be 
 scratched by a steel point. Height, 13^ inches. No. 177. 
 
 Jar [Kuan), one of a pair, with bell-shaped covers, richly 
 decorated in blue atid white of the ICanghsi period, and mounted 
 in European work of the eighteenth century in the same style as 
 the vase in Fig. 114. It is decorated with clumps of lotus inter- 
 mingled with reeds, alternating with hanging branches of peonies 
 and sprays of asters. Foliations of brocaded design spread upward 
 and downward from the borders, which are encircled also with 
 floral bands. The cover is painted with sprays of peony at the top,^ 
 succeeded by a conventional floral border. The mark under the 
 foot is a diamond-shaped symbol [fang-sheng), tied with a fillet^ 
 inclosed in a double ring. Height, 17 inches. No. 178.
 
 DESCKIPTIVE LIST OF THE ILLUSTRATIONS. 859 
 
 Five Snuff-Bottles, of the reigns of Yitng-c/wuff a,nd ChHen- 
 lung. No. 179. 
 
 Small Vase {Hsiao P''ing), of wliite Fen Ting porcelain, fash- 
 ioned after an antique model, with a flaring bell-shaped mouth. 
 The rims are lightly etched with scroll borders, and the vase is 
 encircled with three foliated bands worked in slight relief in the 
 paste. The glaze, of characteristically soft ivory-white tone, is not 
 crackled, but has the undulatory pitted texture known as chu-pH 
 wen, or "orange-peel marking." Height, 5^ inches. No. 180. 
 
 Vase [P^ing), of bulbous form, with vertical grooves, so as to 
 be of six-lobed section, invested with a \noli\edi flambe glaze of dark 
 brownish-crimson tint, flecked with lighter spots at the edges. The 
 interior is coated with a gra3'ish, superficially crackled glaze, which 
 also appears on the lip and more prominent points of the surface. 
 The foot is enameled with a greenish, uncrackled glaze, and has no 
 mark inscribed. Height, 13 inches. No. 181. 
 
 Beaker-shaped Vase (Una Ku), of the K''ang-]isi period, 
 painted in colors — greens of diverse tone, brownish-yellow, ver- 
 milion, and shaded purples, relieved b}'^ a black enameled ground. 
 It is decorated in two divisions. The lower half is covered with 
 blossoming prunus-trees witli white flowers and buds, and a bird 
 perched on one of the branches, filled in with colored sprays of 
 asters and grass and bunches of peaches and persimmons. The 
 upper half has peach-trees with red and purplish flowers and peony 
 shrubs with large shaded vermilion blossoms, mingled with the 
 prunus, a Reeves' pheasant in the foreground on a rock, and other 
 birds flying among the trees. The foot is enameled white, with no 
 mark attached. Height, 18 inches. No. 182. 
 
 Large Vase i^Ta PHng), of the CKien-lung period, enameled 
 with a monochrome glaze of greenish celadon tint, deepening in 
 tone as it thickens in the recesses of the decoration, which is 
 worked in relief in the paste underneath. This consists of a pa'ir 
 of five-clawed imperial dragons, one just emerging from the 
 scrolled waves, which surround the base of the vase, the other 
 enveloping the body and neck within its scaly coils. Flames issue 
 from the bodies of the monsters, the intervals are filled in with 
 scrolled masses of clouds, and the jewel which they are pursuing is 
 represented on one side as a disk emitting threefold branching rays 
 of effulgence. The base, unglazed, shows a comparativeh^ coarse, 
 yellowish paste. Height, 21^ inches. No. 183,
 
 860 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Jar {Kuan), painted in blue and white, of the K^ang-hsi period^ 
 with a band of Amazons riding down a mountain valley toward a 
 military encampment, the tents of which are seen over the liills in 
 the distance. They have long pheasant-feathers stuck in their fur 
 caps, and are carrying flags and banners, with spears slung on their 
 backs; one has a drawn sword in each hand. The mark under the 
 foot is a palm-leaf encircled by a wide double ring. Height, 9 
 inches. No. 184. 
 
 GouKD-SHAPED Vase [Hu-lu PHng), one of a pair, intricately 
 fashioned with carved openwork casings and movable appendages, 
 and riclily decorated in delicate enamel colors and gilding of the 
 ChHen-lung period. Through the open trellis bands, inclosing 
 foliated panels with svastika symbols, glimpses are caught of a 
 solid cylindrical core painted with bats flying among clouds. Tlie 
 waists are belted with movable rings, with two projecting scrolled 
 handles, by which the rings can be made to revolve. The foot is 
 enameled red underneath, with the seal, penciled in gold, inscribed 
 Ta CkHng GKien-lung nien chih, " Made in the reign of Ch'ien- 
 lung of the Great Ch'ing [dynasty]." Height, 16^ inches. 
 
 No. 185. 
 
 • Small Teapot ( Ch'a Hu), carved in openwork designs, and 
 richly decorated in enamel colors and gilding of Yung-cheng or 
 early ChHert-lung date. The globular body, which represents a 
 brocaded ball, is studded with four floral bosses with gilded, 
 pierced centers, and has the intervals filled in with brocaded designs 
 relieved by an enameled black ground. Two grotesque lions, 
 colored pink {rose d*or), are crouching upon the ball, of which one 
 forms the handle, while the other has a tube projecting from its 
 back as the spout. The cover is crowned by a floral knob set in the 
 middle of a gilded openwork boss, encircled by the same delicate 
 floral scrolls as decorate the rim of the teapot. Height, 4J inches. 
 
 No. 186. 
 
 Vase (P^mg), of K''ang hsi blue and white. The long, grace- 
 ful neck is decorated with floral scrolls, conventional bands of 
 ornament, and palmated foliations. The body displays a pair of 
 hexagonal vases with arrows inside, as well as in the tubular 
 handles, which are mounted on tripod tables, alternating with two- 
 pairs of lamps, each pair being suspended side by side with cords 
 hung with tassels. The mark under the foot is a flower sprig. 
 Height, 10| inches. No. 187.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 861 
 
 Water Receptacle {l^^n-po Txxui), so called because it is 
 modeled in the shape of the wine-jar {tsun) of the famous poet Li 
 T'ai-po, enameled outside with a mottled " peach-bloom " glaze of 
 reddish tone, variegated on one side with a cloud of apple-green. 
 There is an etched decoration in the paste under the glaze in the 
 form of three medallions of archaic dragon scrolls. The mark, 
 written underneath in blue in large cliaracters, is Ta Cfi'lng 
 K''ang-hsi nien chih, " Made in the reign of K'ang-hsi of the 
 Great Ch'ing [dynasty]." Diameter, 5^ inches. Bronze mount 
 and stand. No. 188. 
 
 Vase {Hua Tsiin), of the CK'ien-hing period, modeled in the 
 form of a bronze sacrificial wine-vessel, with the handles fashioned 
 as elephants' heads, and the sides worked in relief and etched under 
 the finely crackled turquoise glaze, which is of the usual mottled 
 tone. The body is encircled by a broad band filled Avith lizardlike 
 dragons holding scrolls of sacred fungus (ling-chili) in their 
 mouths, the neck with a ring of conventional palmations, and the 
 foot by a continuous chain in double outline of rectangular fret. 
 The foot, partially glazed, sliows a white pate of fine texture. 
 Height, 9 inches. No. 189. 
 
 Gourd-shaped Vase [Hu-lu PHug), of pale-colored Lang Yao 
 of the K''ang-hsi period. The glaze, which is slightly crackled in 
 parts, is of liver tint, thickly flecked with light spots, and it is of 
 minutely pitted texture. The vase is enameled so as to leave a 
 well-defined white rim round the mouth and at the base; the foot 
 is coated with a pure white glaze underneath, with no mark in- 
 scribed. Height, 16 inches. No. 190. 
 
 Vase {P''ing), of grayish crackle, executed in the %iy\e of the 
 ancient Ilo Yao. The glaze, which runs in thick unctuous masses, 
 is a gray celadon, traversed by a network of reddish-brown lines 
 connected by more superficial colorless lines. It is stained brown, 
 as if accidentalh% under the handles and ornamental i-ings. The 
 two handles are fashioned in the form of lions' heads, surrounded 
 by fringes of curled mane, and are perforated for rings. They are 
 colored iron-gra}', like the three encircling bands of fret which are 
 worked round the vase. The interior of the vase is created with 
 the same gray crackle; the foot, unglazed, is stained a reddish 
 brown. Height, 15 inches. No. 191. 
 
 Vasf {P''i7ig), of later CJCien-lung date, enameled with a finely 
 crackled yellow monochrome ground of clouded tone. The dec-
 
 862 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 oration, wliicli is molded in relief in the paste and finished by 
 engraving, consists of a group of three lions sporting with a 
 brocaded ball tied with waving fillets, and a single bat fl3'ing 
 across the neck of the vase above; the enamel colors used comprise 
 a bright green and purple, with a sparing addition of white. The 
 base is coated with the same truite yellow enamel, with no niark 
 inscribed. The fabric is peculiarly thin and light. Height, 12 
 inches. No. 192. 
 
 Statuette (Hsianff), of a mandarin of high rank, richly enameled 
 in brilliant colors of the K''ang-hsi period, with smiling features of 
 Chinese type, and flowing mustaches, painted black in openwork 
 relief. The official robes with wide hanging sleeve are brocaded 
 with four-clawed dragons on a pale-purple ground, and display the 
 square insignia of the highest rank embroidered with storks behind 
 as well as in front. Tlie girdle is set in ancient stjde, with oblong 
 and circular plaques, which are executed in relief and colored " old 
 gold," of tint different from the ox'dinary j^ellow derived from 
 antimony, which is used on the brocade designs. The hat and the 
 baton of rank, once held in the hands, are both lost. Height, \'l^ 
 inches. No. 193. 
 
 Delicate and Graceful Vase {PHng), of the best K''ang-hsi 
 period; pdte sur pdte modeling of cICi-lin amid surges in fine white 
 beneath a beautiful translucent glaze, set off with clCi-lin in a 
 strong peach-bloom tint. Height, with mounts, 9 inches. 
 
 No. 194. 
 
 Baluster Vase {Mei PHng), finely decorated in bright enamel 
 colors of the best K''ang-lisi period, with two prominent handles 
 pierced for rings fashioned in the form of grotesque lions' heads, 
 and reserved in pure white " biscuit." It is decorated in horizontal 
 bands separated by chains of rectangular and spiral fret ])enciled 
 on purple grounds. The broad band round the middle has a pair 
 of archaic dragons [clCih-lung) in the midst of graceful scrolls of 
 lotus, relieved by an enameled black ground. A band of ])eony 
 scrolls spreads round the foot displayed upon the same black 
 ground, and sprays of peony wind round the shoulder of the vase 
 with a bright-green background etched with a spiral pattern, A 
 ring of palmations encircles the neck, filled in with black. The 
 foot is enameled white underneath, with no mark inscribed. 
 Height, \\\ inches. No. 195.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 863 
 
 Lang Yao Vask i^Lang Yao P''ing). A small bottle-shaped 
 vase with bulging body, displaying the same rich sang-de-boeuf 
 coloring as the large vase which is illustrated in Plate LIX. 'J'he 
 foot is coated underneath with a crackled apple-green glaze mottled 
 with tints of olive. Height, 9 inches. No. 196. 
 
 Vase (Hua jP^i?ig), decorated in brilliant enamel colors of the 
 ICang-hsi period. Formal rings of conventional palm-leaves 
 spread upward and downward to ornament the neck and foot with 
 scrolled foliations, of which four on the neck display the dual yin- 
 yang symbol with black and gilded red segments. The body of 
 the vase is covered above with lambrequins of floral brocade, 
 exhibiting, in regular rotation, sprays of tlie emblematic flowers of 
 the four seasons — the peony of spring, the lotus of summer, the 
 chrysanthemum of autumn, and tlie prunus of winter — grouped 
 with other flowers. The rest of the surface underneath is dec- 
 orated with butterflies and with scattered sprays of peony and 
 plum-blossom. The foot, enameled white, has no mark. Height, 
 16| inches. No. 197. 
 
 Box FOR Seal Vermilion ( Yin Se Ho), of circular shape, com- 
 posed of two equal parts, of which one is the cover. It is coated 
 with a typical " peach-bloom " glaze, having a light pinkish-red 
 ground mottled with clouds of darker red, and passing into apple- 
 green toward the middle. The mark, written in blue in orthodox 
 style, is Ta GKing K''ang'hsi nien chih, "Made in the reign of 
 K'ang-hsi of the Great Cli'ing [dynasty]." Diameter, 2|- inches. 
 
 No. 198. 
 
 Group of Snuff-Bottles, of the Khing-hsi period. No. 199. 
 
 Vase, of the K''ang-hsi period; imperial yellow glaze. Height, 
 11^ inches. No, 200. 
 
 Small Pilgrim Bottle {^Pei Hu P''ing), of the Iv^ang-hsi 
 period, invested with a copper-red glaze of the " peach-bloom " 
 type and coloring. It has two open flowing handles of wav}' out- 
 line, and a dragon of archaic form (chHIi-lung) is worked in bold 
 relief in a raedallionlike coil upon the shoulder both in front and 
 behind. The rims are lightly mounted in metal. There is no 
 mark under the foot. Height, 8 inches. No. 201. 
 
 Vase {Hua P''ing), of the "peach-bloom" class with foliated 
 base, the neck of which has been cut, but mounted with gold and
 
 864 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 silver in Japan in the lines of the original form. This is a com- 
 panion piece to the vase whicli was illustrated in Plate LII, and the 
 description will be found accompanying that plate. No. 202, 
 
 Double-Fish Vase {SJtiutng Yu FHng), modeled in the form 
 of a pair of fish rising from waves, with their bodies blending into 
 one, and their gaping mouths coalescing to make a single oval rim. 
 Thej^ are enameled in soft coral-reds of graduated tone, over details 
 etched in the paste; the waves at the foot are colored blue and 
 green, and the eyes of the fish are touched with points of black 
 enamel. ■ Height, 74 inches. No. 203. 
 
 Vase {Hxia PHng), of flattened ovoid form, with an oval mouth 
 of four-lobed outline, the indentations of which are continued 
 down the vase as far as the rim of the foot. It is coated with a 
 lustrous glaze of crackled texture, which is of a pale-green celadon 
 tone, thickly flecked with clouds of dull cherry-red; become more 
 intense in the grooved parts, where the glaze is deepest. The 
 inside of the mouth and the base of the vase are lined with a gray- 
 green enamel of similar shade, flecked with red, but not crackled. 
 It is a specimen of crackled apple-green [p'ing-kuo cJiHng) of the 
 K''ang-hsi period. Height, 7f inches. No. 204. 
 
 Lang Yao Vase {P''ing), of form similar to the one illustrated 
 in Plate LIX, showing the way in which the color is apt to "run," 
 so as to be partially obliterated in the furnace. The upper half of 
 the vase is a pale gray-green crackle with brown reticulations, only 
 slightly tinged with pink, while the lower half displays all the 
 rich sang-de-boett/ tones of color, shot with a dark speckled mottling. 
 The two parts are separated by an irregularly undulating line, 
 evidently of fortuitous origin. The base is coated with a typical 
 apple-green crackled glaze slightly clouded over with olive tints. 
 Height, 18 inches. No. 205. 
 
 Vase {PHng), of the K''ang-hsi period, of graceful form, coated 
 with the mottled cobalt glaze known as " powder-blue " or " maza- 
 rin-blue," and decorated over the blue glaze of the grand feu with 
 sprays of large-blossomed chrysanthemum and bamboo painted in 
 gold and fixed in the mufile. An inscription in ten characters, 
 penciled in gold on the back of the vase, now half obliterated, is a 
 stanza taken from an ode on the chrysanthemum. Height, 10 
 inches. No. 206.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 865 
 
 Vase {P''ing), of tlie I'Cang-hsi period, of rare type and magnifi- 
 cent coloring, Laving the decoration executed in cobalt-blue and 
 copper-red of the grand feu, enha?iced by a sang-de-bceuf back- 
 ground of tlie type of the Lang Yao monochrome vases of the 
 time. The crackled ground exhibits the usual brilliantly mottled 
 tones, passing from paler ruby shades into the deepest crimson. 
 There is a floral decoration worked in relief in the paste, the 
 shoulder is defined by a prominent ring, and the neck, which has, 
 by the way, been cut at the top, is horizontally ribbed. On the 
 front of the vase a lotus plant is modeled, growing naturally in 
 water represented by crested waves; the large folded leaves, lifted 
 upon rough tuberculated stalks, are painted in blue; the flowers 
 and buds are shaded in wavy lines of red within blue outlines; a 
 couple of swallows painted in blue complete the scene, one flying, 
 the other perched upon a leaf-stalk. The foot is enameled white, 
 with a tinge of green. No mark. Height, 14^ inches. No, 207. 
 
 Club-shaped Vase [Pcmg-chih P''ing), painted in brilliant col- 
 ors with gilding of the ICang-hsl period. The panels of diverse 
 form which decorate the vase are of powder-blue souffle ground, 
 outlined and painted in gold. The panels on the neck display a 
 mountain landscape and sprays of plum-blossom. The larger 
 panels on the body contain a picture of a temple in the sea repre- 
 senting the Taoist paradise, with a stork flying near, bringing a 
 "rod of Fate" in its beak; a mountain scene with fishing-boats; 
 a pair of fighting-cocks; and a pine scene with a couple of deer; 
 the smaller panels show a flock of geese, an aquatic monster, and 
 four sprays of flowers. The intervening ground is painted wuth 
 chrysanthemum scrolls traversed by dragons {ch' Ih-lung) ; the 
 neck, with butterflies and flowers on a pale-green background 
 dotted with black, with phoenixes in clouds coiled in medallions, 
 and storks penetrating the floral ground. The shoulder has a ring 
 of floral brocade, interrupted by four foliated medallions, with 
 pictures of fish and fishermen, flowers, and apparatus for chess and 
 incense. Height, 18 inches. No, 208. 
 
 Small Vase [Hua PHng), with a one-horned three-clawed 
 dragon modeled upon it in full undercut relief, coiling round the 
 shoulder at the base of the long cylindi'ical neck. The ground of 
 the vase is ? " peach-bloom " glaze of nearly uniform deep tint, 
 except the slightly prominent rim, which is defined by a clear line 
 of white. The dragon is enameled a bright apple-green of uniform
 
 866 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 shade, contrasting vividly as a complementary color with the red 
 backgrout)d. The mark, penciled beneatli the foot in underglaze 
 blue, is Ta Cli'ing K^aiig hsi nien chih, " Made in the reign of 
 K'aiig-hsi of the Great Ch'ing [dynasty]." Height, 9 inches. 
 
 No. 209. 
 
 Wine-Cup {Chiu Pei), a little bowl-shaped cup of eggshell 
 texture, with a gently expanded rim, which is defined by a line of 
 white. The rest of the surface, both inside and outside, is invested 
 with a mottled glaze of the characteristic " peacli-bloom " type, 
 flecked with spots of darker, duller red, and variegated with clouds 
 of apple-green tint, the latter being more marked near the base. 
 The mark, penciled under the foot in cobalt-blue, encircled by a 
 single ring, is Ta Ming Hsuante nie7i chih — i. e., "Made in tlie 
 reign of Hsiian-te (1426-35) of the Great Ming [dynasty]," but 
 the technique and peculiar st^de of coloring indicate rather the 
 K'ang-hsi period (1662-1722). Height, If inch; diameter, 2| 
 inches. No. 210. 
 
 Baluster shaped Vase [Mei P''ing), of the ICang-hsi period, 
 enameled with a brilliant crackled glaze of emerald-green passing 
 into olive at the edges, invested with a thick overglaze of peach- 
 bloom red, irregularly mottling the green substratum with clouda 
 of crushe<l-strawberry color. A lightlj'^ etched decoration in the 
 paste underneath the glaze of a border of sea-waves round the 
 foot of the vase, and two dragons mounting among clouds up 
 the sides, is barely visible through the dense and variegated over- 
 lying mantle. The middle of the foot, bounded by a broad rim of 
 " biscuit," is marked with concentric lines of giayish-white crackle. 
 Height, 6f inches. No. 211. 
 
 Triple Gourd-shaped Vase [IIu-lu PHug), of the ICang-hsi 
 period, a companion piece to the tall vase which is illustrated in 
 Plate LXI. Tiie middle section is enameled in colors upon a white 
 ground with butterflies in the midst of sprays of flowers and leaves, 
 defined above and below by rings of spiral and rectangular fret 
 penciled in coral-red. The upper and lower sections are enameled 
 with a black iridescent ground of " raven's-wing " hue, over 
 designs executed in relief in the paste underneath; these designs 
 represent on tlie upper part three lionlike monsters surrounded by 
 flames of fire, on the lower part three lions of the ordinary gro- 
 tesque type sporting with embroidered balls encircled by waving
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 867 
 
 fillets. Traces of gilding can be detected on this vase. Height, 
 28 inclies. No. 212. 
 
 Set of Five Pieces ( Wu She), arranged as a Garniture de 
 Cheminee, composed of thi-ee ovoid jars with covers, and two 
 cj'lindrical beakers. The pieces are enameled with a monochrome 
 ground of coffee-brown shade, leaving white reserves of varied 
 form, scroll pictures, leaf-shaped panels, flowers, lambrequins and 
 bands of floral brocade, and the like, which are decorated in bright 
 enamel colors with gilding. The larger panels are filled with hill 
 landscapes, with temples and pagodas; the flowers that fill the 
 brocaded bands and stud the intervals include peonies, asters, and 
 blossoms of the peach and plum. Height, 10^ and 11 inches. 
 
 No. 213. 
 
 Vase {Ilua PHng), of the K^ing-hsi period, with the body- 
 enameled with a tziX-chin glaze of light yellowish-brown tint, and 
 the neck decorated in blue and white with a band of diaper inclosing 
 three medallions of flowers, succeeded by a ring of svastika pattern 
 fret, and upright sprays of pinks. The mark, underneath the foot, 
 is a double ring penciled in blue. Height, 8 inches. No. 214. 
 
 Vase [Hua PHng), of the K''ang-hsl period, of complex form 
 and mixed decoration. The globular body has the lower half 
 enameled with a tziX-chin {orbruni) glaze of cafe-au-lait color, which 
 is succeeded by a ring of grayish-white crackle, and this by a band 
 of floral sprays painted in blue. The upper part, which is shaped 
 like a "beaker," poised upon the globe, is decorated in blue and 
 white with pinks (dianthus) growing from rocks and with spraj's 
 of daisies. No mark. Height, 7 inches. No. 215. 
 
 Bottle-shaped Vase {Ilua P''ing), of the K''ang-hsi period, 
 enameled with a brown tztt-chin glaze of chocolate-color, and 
 decorated over the glaze, in white slip, with two formal baskets of 
 flowers on the bod3%and a conventional scroll round the upper rim, 
 hung with beaded pendants. The foot is enameled white under- 
 neath. Height, 101 inches. No. 216. 
 
 Wine-Pot {Chin Hu), molded in the shape of a peach, with a 
 hole in the bottom for the introduction of the wine. The handle 
 and curved sport are fashioned as small branches, which send off 
 leafy twigs to decorate the surface on which they are worked in 
 relief in the paste. The paste, which is gray in color, is invested 
 with aubergine-purple and turquoise glazes of the clenii- grand feu.
 
 868 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 mingling as they meet in brilliant intermediate tints. Height, 5^ 
 inches. No. 217. 
 
 Miniature Flower-Vase [Flua Ch^a), of purest white porcelain 
 of the K''ang-hsi period, chaiming in design and perfect in tech- 
 nique. It is molded in the sliape of a flowering twig of the 
 Magnolia yulan, lifting up a blossom, as white as the finest jade 
 from which the flower takes its name, to form the vase, and but- 
 tressed by two buds, which rise from the same twig as it winds 
 round in openwork relief to form the support. The sepals of the 
 flowers are delicately etched under the white glaze, which is rich 
 and translucid. Height, 5 inches. No. 218. 
 
 Water Receptacle (Shut C/i'eiig), of eggshell. Fen 2\ng, 
 porcelain, with uncrackled \vhite glaze of soft tone. It has two 
 handles molded in open relief upon the sides of the bowl in the 
 shape of a pair of archaic dragons {cWih-lung). Height, 2^ inches. 
 
 No. 219. 
 
 Vase [P''ing), of Ting- Yao porcelain, bottle-shaped, with de- 
 pressed bulging body and long cylindrical neck. It is coated 
 with a deep ivory-white glaze crackled throughout with brown 
 lines, overspread with light clouds of buff tint partially investing 
 the brown reticulation. The rim of the mouth is defined by a line 
 of white. Height, 8 inches. No. 220. 
 
 Vase {PHng), of Ting- Yao porcelain of tall, graceful form, 
 tapering gradually downward from the rounded shoulder. The 
 rich glaze is minutely crackled throughout with brown lines of 
 varying depth and color, invested with mottled buff tints clouding 
 the surface. Height, 8| inches. No. 221. 
 
 Vase {P''ing), of delicate Fen- Ting fabric of the l-Cang-hsi 
 period, invested with a soft-looking undulatory glaze of ivory- 
 white tone, traversed by a few sparse lines of crackling. The 
 molded decoration consists of a four-clawed dragon in relief, pur- 
 suing a disk with dotted, "jeweled" surface and spiral center, 
 enveloped in flaming raj'S. Height, 8|- inches. No. 222, 
 
 Miniature Vase for Divining-Rods {Shih-ts'ao PHng), of 
 oblong quadrangular form and square section, with ribbed corners, 
 and ridged sides studded with four central bosses which are carved 
 in openwork as brandies of peaches. The paste, of Fen-Ting 
 texture, is invested with a soft-looking crackled glaze of ivory- 
 white tone. Height, 4 inches. No. 223, 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 869 
 
 Baluster Vase (Mei PHng), of the Fen-Ting or " soft paste " 
 class, dating from the reign of K^ang-hsi. Of remarkabl}^ light 
 weiglit, owing to the porous texture of the material, which is, in 
 reality, very hard, it is invested with an undulatory glaze, pitted 
 like the peel of an orange, with uncrackled surface, under which 
 the decoration is penciled in pure soft-toned blue. The strokes of 
 the brush are neatly defined in the way that is characteristic of 
 this material, which differs from ordinar}-^ porcelain as vellum does 
 from paper. The chaste decoration consists of three formal upright 
 sprays of lotus, each composed of a single peltate leaf, an expanded 
 blossom and a bud, with simple rings of rectangular fret round the 
 shoulder and foot. Height, 13 inches. No. 224. 
 
 Small Vase {PHng), of graceful form and finished technique, 
 decorated on each side with a five-clawed imperial dragon enveloped 
 in flames, painted in maroon, the underglaze red of the grand feu, 
 which is derived from copper. The mark, penciled underneath, in 
 underglaze cobalt-blue of brilliant tint, is Ta ChHng K^ang-hsi 
 nien chih, " Made in the reign of K'ang-hsi of the Great Ch'ing 
 [dynasty]." Height, 8^ inches. No. 225. 
 
 Vase i^PHng), of tall ovoid form, with the decoration molded in 
 relief and painted in colors of the grand feu, blue, maroon, and 
 celadon. Four-clawed, two-horned dragons are depicted on the 
 obverse and reverse sides of the vase, rising from the waves of the 
 sea, with brown bodies and blue manes, the jewels which they are 
 pursuing in the air are shaded in brown, emitting spirally effulgent 
 rays; and flames proceeding from the limbs of the monsters fill in 
 the interstices. The rocks that rise out of the blue crested waves 
 are painted in celadon. Tiie mark, penciled underneath in blue, 
 within a double ring, is Ta ChHng K^ang-hsi nien chih, " Made 
 in the reign of K'ang-hsi of the Great Ch'ing [dynasty]." 
 Height, 171 inches. No. 226. 
 
 Vase [PHng), decorated in underglaze blue, maroon, and cel- 
 adon, all colors of the grand feu, with a combat between the 
 tiger, king of land animals, and the dragon, prince of the powers 
 of the air, Tlie tiger is standing in the foreground of a rocky 
 landscape, with large pines rising in the background having their 
 knotted trunk? painted in brown and the foliage in blue; the rocks 
 are tinted celadon, and the clumps of Polyporus fungus growing on 
 the rocks are outlined in maroon, pierced througli by blue blades of 
 grass. The four-clawed dragon, of fierce aspect, is half hidden in
 
 870 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 scrolled clouds, which roll round the vase, worked on in white 
 " slip" in slight relief. The mark, penciled in blue within a double 
 ring, is Ta CfC'mg K''ang-hsi nien chih, " Made in the reign of 
 K'ang-hsi of the Great Ch'ing [dynasty]." Height, 16f inches. 
 
 No. 227. 
 
 Club-shaped Vase {Phing-chih P''ing), of the IVang-hsi pe- 
 riod, artistically decorated in brilliant enamels, with a touch or 
 two of gold, without any underglaze blue. It is painted in panels 
 of diverse form, the intervals being filled in with butterflies and 
 floral sprays of lotus, peony, chrysanthemum, begonia, pink, and 
 aster. The panels contain symbols of rank and honor with the 
 apparatus of the liberal arts and other antiques (/>o k%C)\ grotesque 
 monsters on rocks, with eagles flying in the air; storks on a pine, 
 with peaches floating in the water beneath ; phoenixes under a 
 dryandra-tree, peacocks with peonies, and warblers in a blossoming 
 prunus-tree. The shoulder of the vase is encircled by a band of 
 diaper with butterflies in medallions, and the neck has quatrefoil 
 panels containing flowers and butterflies, separated by a spiral 
 diaper traversed by lizardlike dragons {cKili-lung) of archaic 
 design. Height, 17| inches. No. 228. 
 
 Vase {PHng), painted in underglaze red of maroon tint derived 
 from copper, covered with a white glaze of harmonious translucent 
 tone. The decoration consists of five horizontal bands of scrolled 
 sea-waves, containing dragons and other grotesque monsters, and 
 four bands of diaper of lozenge fret pattern, A fifth band of fret 
 winds round the prominent lip of the vase, succeeded by two rings 
 of formal foliations. A double white ring round the body breaks 
 the monotony of the decoration and defines the shape. The mark, 
 written under the foot in underglaze cobalt-blue, is Ta Ch'ing 
 K^ang-hsi nien chih, "Made in the reign of K'ang-hsi (1662-1722) 
 of the Great Ch'ing [dynasty]." Height, 10| inches. No. 229. 
 
 Eggshell Plate {To-fai P''mi), enameled on the back round 
 the border with a crimson {rogue d''or) ground, and decorated in 
 front in brilliant enamel colors of the faraille rose, with gilding. 
 The field is filled with a picture of the Dragon Festival annually 
 celebrated on the fifth day of the fifth moon, with a dragon-boat 
 being towed in procession, painted over the white glaze in sepia. 
 This is framed by encircling bands of floral brocade, and the 
 border of the plate is filled in with diapers of varied pattern 
 inclosing panels of scroll ornament and formal flowers, all richly
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 871 
 
 painted in delicate enamels, among wliich pink (ro.se tror) pre- 
 dominates. Diameter, 8 inches. No. 230. 
 
 CovEBED-BowL {^Kai Wan), of the K''ang-hsi period, with lions' 
 heads as handles, an archaic dragon surmounting the cover, and 
 Taoist figures molded in relief in the midst of scrolled clouds 
 round the sides. It is an example of the class of ^an Ts'ai or 
 "three colors," being enameled sur biscuit in yellow, green, and 
 purple of grayish tone. The foot is unglazed. Diameter, 4 inches. 
 
 No. 231. 
 
 Cylindrical Vase ( T''un.g P''iag), of the K''aiig-hsi period, dec- 
 orated in blue and white in the same style as the vase of similar 
 shape illustrated in Figs. 268 and 35, which are enameled in colors. 
 The decoration consists of horizontal bands, with alternate grounds 
 of white and mottled blue. The central band contains archaic 
 dragons {chHh-limg), with branches of sacred fungus; the other 
 bands floral scrolls with felicitous symbols and brocaded panels, 
 and the neck is encircled by stiff upright palm-leaves of formal 
 design. Height, 11 inches. No. 232. 
 
 Censer {ITsiang Lu), of circular shape, bulging below, coated 
 witli a finel}^ crackled glaze of ivory-white tone invested with 
 cloud}"^ tints of buff. Carved rosewood stand and cover of Chinese 
 work. Height, 4 inches; diameter, 8 inches. No. 233. 
 
 Vase-shaped Ewer (Ha PHng), with a flowing handle fash- 
 ioned in the outline of a dragon, a tall overlapping cover, and no 
 spout nor projecting lip. It is decorated in blue of the IVang- 
 hsi period with foliated panels of floral brocade, connected by 
 straps and links, and separated by diapered grounds, and the rims 
 are encircled by light bands of triangular fret. The base is 
 unglazed. Height, 11 inches. No. 234, 
 
 Plate {F^an-tzU), of ChHen-lung porcelain, coated with a 
 celadon glaze of pale greenish tone, eiiameled over the glaze in 
 opaque white derived from arsenic. In the field is a little garden 
 scene with peonies, cockscombs, asters, and millet, and a cock 
 crowing on a rockery, a favorite decoration of the time. The 
 border is filled with a scroll of conventional flowers executed in the 
 same white enamel. The rim is encircled b}^ a formal border pen- 
 ciled in over^laze blue, and is colored iron-brown at the edge, with 
 traces of gilding; on the inner slope of the border is a band of 
 chrysanthemum scrolls painted in the same cobalt-blue. Diameter, 
 8| inches. No. 235.
 
 872 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Small Censer {Hsiang Lv), mounted upon four nianunillated 
 feet, having an overlapping cover pierced in openwork with a 
 trellis framework inclosing two svastika symbols. Coated with 
 a thick stone-gray glaze of 7vc> Yao type crackled with brown 
 lines. An ancient i)iece, with the interior of the cover deeply 
 stained with incense-smoke. Height, 3 inches. No. 236. 
 
 Cylindrical Vases {PHng), a set of three, of the ICang-Jisi 
 period, with diapered borders and rim bands of fret penciled in 
 underglaze blue, inclosing panels of varied form, painted with 
 flowers in brilliant enamel colors with gilding. The central vase 
 has two large oblong panels on the body: the first containing a 
 lotus growing with reeds having one large leaf of pale green 
 splatched with black of purple iridescent tint and a smaller leaf 
 tipped with overglaze blue; the other containing a spray of 
 peony; the neck is decorated with a spray of poppies and a begonia 
 with a grasshopper feeding on its leaves. The two side vases 
 have small medallions inclosed in the diapered borders, displaying 
 dragons and peonies at the top; fish, shells, censers, lions, and lilies 
 down the sides; palm-leaves and musical stones bound with fillets 
 at the bottom; the large panels are painted on one side with 
 blossoming branches of prunus mingled with twigs of bamboo, on 
 the other side with hanging branches of Hibiscus rasa si7iensis\ 
 the necks are decorated with two small sprays of peony. The 
 mounts are in European work of the eighteenth century. No 
 marks underneath. Height, without mounts, 11 inches. No. 237. 
 
 Vase {P''ing), one of a pair of small bottle-shaped vases, 
 enameled with a finely crackled turquoise glaze of the ICang-hsi 
 period. They are elaborately mounted in gilded European bronze- 
 work, with foliated covers surmounted by strawberries as knobs, 
 garlands of flowers hanging in festoons round the rims and foliated 
 pedestals. Height, with mounts, 8^ inches. No. 238. 
 
 Tall Beaker of J\"'ang-Jisl porcelain, decorated in the charac- 
 teristic enamels of the period, showing a court interior, with a 
 dancing-girl, accompanied by an orchestra, performing before the 
 imperial circle. Height, 30 inches. No. 239. 
 
 Jar [Kuan), of tall ovoid form, with a rounded cover, artisti- 
 cally decorated in polychrome enamels {^wu ts^ai) of the finest 
 K^ang-hsi period. Lines of underglaze cobalt-blue define the 
 rims, but the decoration is entirely executed in brilliant enamels.
 
 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 873 
 
 among wliich overglaze cobalt-blue is conspicuous. The jar dis- 
 plays two duplicate pictures of family life, groups of ladies with 
 slender, graceful figures, and children in courtj^ards filled with 
 flowers and with various emblems of rank and culture. The cover 
 is painted with vases, incense apparatus, propitious symbols, and 
 parapliernalia of the liberal arts. Bands of floral sprays, with rings 
 of formal diaper and foliated pattern, complete the decoration. 
 The mark underneath is a double ring, penciled in underglaze 
 blue. Height, 15 inches. No. 240. 
 
 Vase (P'uig) with a pedestal (tso), of decorated porcelain of the 
 familU verte, dating from the reign of K''ang-]isl. Of similar 
 style to those illustrated in Figs. 11 and 30, it is fluted and painted 
 with the same floral designs in green, j^ellow, and manganese purple, 
 with touches of black. Height, with stand, 8| inches. No. 241. 
 
 Club-shaped Vase {Pang-chih PHng), of the ly^aag-hsi pe- 
 riod, covered with a souffle coral-red ground, interrupted by 
 reserved medallions of varied form outlined in gold, and decorated 
 in delicate enamel color. On the body are four panels, two of 
 quatrefoil shape, two in the form of leaves of the sacred fig {Ficns 
 religiosa), which are filled with flowers and butterflies; and on the 
 neck three circular panels with butterflies. Round the shoulder is 
 a band of diaper, enameled in green, inclosing medallions contain- 
 ing insects. Height, 11 inches. No. 242. 
 
 Cup with Cover {Kai Wa^i), of crackled Fen-Ting ware, 
 painted under tlie glaze in soft shades of cobalt-blue. The texture 
 of the material is light and delicate; the glaze, of soft aspect and 
 ivory-white tone, is traversed with a reticulation of brown lines. 
 The decoration, consisting of pomegranates, spreads over the rims 
 of both cup and cover into the interior. The under surface of the 
 foot and the top of the cover rise in the middle into small pointed 
 cones, in the traditional fashion of the teacups of the reign of 
 Hsilan-tS. (1426—35), after which this one is modeled. No. 243. 
 
 Club-shaped Vase {Pang-chih PHng), of the K^ang-hsi pe- 
 riod, displaying the sacred figures of the Taoist Triad painted 
 in colors, with a rich gold-brocaded background of Mazarin blue. 
 The gilded designs are scrolls of chrysanthemum, rings of spiral, 
 and rectangular fret, of gadroon pattern, and of diaper with floral 
 medallions, and the neck is studded with four large circular shou. 
 (longevity) characters. Reserves having been left in the powder-
 
 874 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 blue ground for the figures, tliey were first sketched in underglaze 
 blue, and subsequently filled in with enamel colors of the muffle 
 stove, bright green, coral-red, dark purple, and black. Height, 
 17 inclies. No. 244. 
 
 Vase (JP^ing), with a yellow-brown ground of the tzH-chin class, 
 inclosing a number of panels raised in slight relief and painted in 
 blue with various symbols. A large shou (longevit}') character is 
 emblazoned on the front and back, interrupted by an oblong panel 
 containing a fish, erect in the midst of waves, exhaling a slim 
 dragon. The smaller panels on the neck contain peaches with the 
 character shou inscribed upon them; and in the intervals on the 
 body are small oblong panels displaying another form of the same 
 ubiquitous character below, and round panels witl) Buddhist em- 
 blems, the wheel of the law bound with a fillet and a pair of fish 
 above. Height, 9 inches. No. 245, 
 
 Small Vase {Hsiao PHng), of white porcelain of the F^n-Ting 
 tj'pe, of light loose material, invested with soft-looking, sparsely 
 crackled glaze of somewhat grayish tone. Of hexagonal outline 
 and section, with a spreading foot, the bulging shoulder is overlaid 
 with two branching twigs of prunus-blossom {mei hua), modeled in 
 full relief with openwork. Height, 6f inches. No. 246. 
 
 " Hawthorn " Bottle (3fei-hua PHng), a large, conspicuous 
 vase of the K''ang-hsi period, with a rounded body gradually taper- 
 ing in to a tall, slender neck, decorated with blossoming sprays of 
 prunus {mei hua), displa3'ed in white reserve upon a brilliant back- 
 ground of pulsating mottled blue, penciled with a reticulation of 
 darker lines. The leafless branches spring from the base and wind 
 round in ever}^ direction so as to cover the whole surface of the 
 vase with a close floral investment of white flowers and buds, with 
 the exception of a narrow band under the prominent white lip, 
 which is lightly penciled in blue with a triangular fret. The foot 
 is coated white underneath, with no mark. Height, 17 inches. 
 
 No. 247. 
 
 Rice-Bowl {FanWan) and Teacup {Ch'a Wan), of Kang-hsi 
 blue and white porcelain with pierced openwork designs. The 
 bowl has an outer casing of hexagonal trellis connecting four circular 
 openwork medallions of floral designs. Through the trellis-work 
 are seen four couples of Chinamen with fans, and ladies holding 
 flowers, painted in blue. The interior is decorated with two boya 
 playing in a garden, within a medallion, and a border of svastika
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 875 
 
 pattern tliaper interrupted b}^ four panels containing peaches. 
 Tlie mark, in a double ring, is Ta Ming GJCeng-hua nien chih, 
 *' Made in the reign of Cli'eng-hua of the Great Ming [dynasty]." 
 Diameter, 6^ inches. The cup is pierced with a band comj)osed of 
 interlacing circles interrupted by six solid medallions painted in 
 blue with landscapes. To be used, it must have a thin lining of 
 silver or other metal. The bottom is left en biscuit. Diameter, 4|- 
 inches. No. 248. 
 
 Two Saucer-shaped Dishes {F^an-izii): (a) of semi-eggshell 
 texture, enameled inside in brilliant colors with a floral decoration 
 composed of a flowering-bulb of narcissus, a spra}^ of roses, and 
 two branching stems of Polyporus lucidus, the variegated fungus 
 of Taoist sacred lore. The mark written underneath, within a 
 double ring, in cobalt-blue, in the style afl'ected b}' the private 
 potters of the period, is Ta Cli'ing Yung-cheng nien chih, " Made 
 in the reign of Yung-cheng of the Great Ch'ing [dynasty]." 
 Diameter, 8J- inches, {b) Of decorated ChHen-lung porcelain, 
 designed after a well-known imperial pattern of the preceding reign 
 of Yung-cheng. Branches of peaches spring from the circular rim 
 which surrounds the foot and pass over the edge of the dish to 
 ornament the interior with large fruit and pink flowers growing on 
 the same twigs. This is the symbolical fruit of life, and is 
 accompanied b}-^ the emblems of all kinds of happiness in the shape 
 of five bats, which are painted in shades of red, three in the field 
 of the saucer, two upon its outer border. There is a seal under- 
 neath, inscribed in underglaze blue, Ta GhHng CKien-lung nien 
 chih — i. e., " Made in the reign of Ch'ien-lung of the Great Ch'ing 
 [dynasty]." Diameter, 8l inches. No. 249. 
 
 Small Baluster Vase {Hsiao Mei PHng), of the Yung-cheng 
 period, invested with a monochrome ground of rvxhy red tint 
 {chi hung), derived from copper. This souffle glaze, strewn with 
 little points, covers the whole surface with the exception of an 
 irregular panel on one side, where it gradually fades into a nearly 
 Avhite ground. The panel is painted with a picture of the Taoist 
 immortal Tung Fang So, speeding over the clouds, carrying the 
 branch of jieaches, which he has stolen from the tree of life in the 
 paradise of the divinity HsiWang Mu, thrown across his shoulders. 
 It is etched in sepia with touches of gold and a few points of light 
 overglaze blue and crimson rouge d^or. The foot of the vase is 
 enameled with an ornamental scroll, partly obliterated, penciled in 
 black and gold. Height, 8 inches. No. 250.
 
 876 DESCEIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Vase {P''ing), of oval, melon-sliaped form and six-lobed outline, 
 coated with a white glaze minutelj'^ crackled with a fine reticulation 
 of dark lines, giving a general gray effect. The technique points 
 to the Yung-cheng period (1723-35), but there is no mark inscribed. 
 Height, 8| inches. No. 251. 
 
 Vase [Una PHng), of white porcelain of the Yung ching period, 
 with a dragon coiled in undercut relief round the neck enameled 
 crimson (rouge (V or). A few single peach-blossoms are painted in 
 delicate colors on the rippled white surface of the vase, of which 
 two, upon the shoulder, are seen in the illustration, two others are 
 near the foot on the opposite side. The mark, which was inscribed 
 underneath, has been ground away on the lathe. Height, 8^ 
 inclies. No, 252. 
 
 Baluster Vase {Mei P^ing),* artistically decorated upon a 
 translucent white ground of perfect tone, in brilliant enamel colors, 
 with fruit and flowers. Branches, springing from the base on one 
 side, spread upward in all directions over the vase, covering it 
 with large pomegranates and peaches and bunches of yellow 
 dragon's-eye fruit (Nephelium longan^ mingled with sprays of 
 scarlet pomegranate-flowers and pink peach-blossom. The mark, 
 written underneath in underglaze blue within a double ring, is 
 Ta ChUng Yang-cheng nien chih, " Made in the reign of Yung- 
 cheng (1723-35) of the Great Ch'ing [dynasty]." Height, 13^ 
 inches. No. 253. 
 
 Small Tea-Jar ( Ch'a Kuan), with lotus plants worked in relief 
 round tlie base and round the top of the cover, painted in enamel 
 colors with gilding. It is decorated with a picture of a two-storied 
 temple, with gilded roof hung with gold bells, standing in the midst 
 of sea-waves; swallows are flying in the air. The ornamental 
 border above is composed of panels of gilded diaper alternating 
 with wave scrolls penciled in black. Height, 5 inches. No. 254. 
 
 Small Tea-Jar ( Ch\i Kuan), with an openwork scroll round the 
 foot, decorated in enamel colors with gilding. Sprat's of the tree- 
 peony are painted on a white ground within two lotus-leaf-shaped 
 
 *The name Mei P'ing means " Plum Vase," this peculiar form being con- 
 sidered to be most appropriate for the display of branches of blossoming prunus 
 (mei ?iua) at the Xew- Year's festival. The imperial porcelain of the period, of 
 which this piece is a striking example, represents, according to Chinese con- 
 noisseurs, in the perfection of its technique and in the artistic style of its 
 decoration, the highest achievement of their ceramic art.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 877 
 
 panels of convoluted outline, surrounded by afield of floral brocade, 
 composed of blue-leaved bamboo and overglaze white plum-blossom 
 on a spiral black ground. This specimen and that shown in Fig. 
 254 are examples of the " India china " class, being parts of tea 
 sets painted for exportation to Europe in the first half of the 
 eighteenth centur}'. Height, 5 inches. No, 255. 
 
 Vase {P''ing), of white Fen-Ting porcelain, molded with a whorl 
 of conventional palm-leaves round the shoulder, connected by eight 
 ridges with foliations encircling the bulbous mouth. It is covered 
 with a soft-looking, sparsely crackled glaze of slightl}^ grayish tone. 
 Height, 6^ inches. No, 256. 
 
 Vase {PUng), of tall slender form, decorated, in enamel colors 
 of the Yung-cheng period, with a picture of the Taoist goddess 
 Hsi Wang Mu crossing the sea upon a gigantic lotus-petal, holding 
 a branch of tlie sacred fungus of long life, accompanied by an 
 attendant carrying a peach, with a basket full of flowers and Bud- 
 dha's-hand citrons, on the frail craft beside her. In the back- 
 ground is a temple standing in the sea, with a peach-tree laden 
 with fruit close b}^; a stork is perched upon the roof, and its mate 
 is flying across, carrying scrolls in its beak. The clouds, of roseate 
 hue, are illumined by the vermilion disk of the sun. Height, 18^ 
 inches. No, 257. 
 
 Small Vase [Hsiao PHng), covered over two thirds of its sur- 
 face with a pale celadon glaze of clouded hue, and on the other 
 third with an irregular cloud of brilliantly mottled red. Of the 
 deepest sang-de-bceuf shade in the middle, the cloud becomes of 
 pinkish tint toward the edges, and then gradually fades awa}^ into 
 the celadon ground. It is evident!}' due to copper silicate soaking 
 through the investing glaze under the solving influence of the fur- 
 nace. The glaze is flecked throughout with a multitude of tiny 
 bubbles, giving a charming effect, and suggesting the souffle appli- 
 cation of the two colors. Height, 4 inches. No. 258. 
 
 Vase [PHng), of the Kang-hsi period, with a coral-red souffld 
 ground of rharming color. A four-clawed dragon in pursuit of a 
 jewel encircled by flaming ravs of effulgence is modeled in slight 
 relief on the surface of the vase etched with the graving-tool, 
 glazed and reserved in brilliant white. The rest of the ground is 
 imbued with coral-red, shot with minute mottled flecks, and shad- 
 ing off gradually into paler tints as it approaches the white relief
 
 878 DESCRIl^TIVE LIST OF THE ILLUSTRATIONS. 
 
 modeling. A broad riiu round the foot underneath is left in white 
 "biscuit," the middle is sunken and enameled white of greenish 
 tone. Height, 8|- inches. No. 259. 
 
 Vase [P^hiff) of the ICang-hsi period, a magnificent specimen of 
 the brilliant souffle glaze known as " powder-blue," the clear blue 
 ground being flecked all over with darker spots. The rims are 
 clearly defined by two lines of white. The foot is invested under- 
 neath with a rough brownish-black coating, so as to leave an ovoid 
 patch of the brilliantly white glaze in the middle, and another 
 patch at the edge. Height, I7f inches. No. 260. 
 
 Vase {Hua PHng), of graceful form, decorated, in green and 
 purple with touches of white, with peonies, chrysanthemums, and 
 daisies, growing from rocks, and with butterflies flying in the 
 intervals of the floral decoration. This is relieved by a minutely 
 crackled ground of pure yellow color. The details of the designs 
 are delicately etched in the paste with a graving-tool. The foot 
 is coated underneath with the same truite yellow glaze with no 
 mark attached. Height, 10 inches. No. 261. 
 
 Teapot ( Ch^a Hu), of " armorial china " decorated with gilded 
 arabesque borders outlined in red, and with gilded floral sprays on 
 the spout and handle, w^hile three sprays of flowers are painted on 
 the cover in enamel colors. There is an identical armorial design 
 on the front and back painted in enamels with gold of early ChHen- 
 lung date. It consists of a fanciful coat-of-arms mingled with 
 branches of flowers and having a bouquet in a vase standing upon 
 a pedestal on one side. In the middle are two shields, accolles, 
 with a gilded dual coronet above, beneath which is a red bearded 
 face emerging between wings, and as supporters are two yellow 
 eagles touched with red. Height, with cover, b\ inches. No. 262. 
 
 Double Vase {Shiimig PHng), formed, as it were, of two vases 
 coalescing, the line of junction being indicated by a vertical 
 groove. The shape resembles that of the ChHen-limg vase of the 
 famille rose illustrated in Plate LXXVI, and, like that, it is 
 intended to have a cover. It is a typical example of the Ku Yueh 
 Ms "an class, decorated in bright, delicate enamel colors, rouge (Tor 
 predominating, with Chinese copies of European pictures of minia- 
 ture-like finish, and tiny landscapes of European scenery, inserted 
 in framed panels, surrounded by floral scrolls and ornamental bor-
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 879 
 
 ders of purely Chinese style, executed in the same translucid colors. 
 It once had a seal of four characters penciled underneath in black 
 enamel, but the bottom of the vase has been broken, and onh-^ parts 
 of the last two characters, nien chih, remain. The first two were, 
 probabl}'^, ChHen-lung, indicating the date, 1736-95. Height, 5^ 
 inches. No. 263. 
 
 Vase [ITiia PHng), of European style, molded with a pedestal 
 overlaid with branches of fruit in solid relief, and with a delicate 
 interlacement of wild-roses and other flowers filling in the hollows 
 of the flowing bandlike handles. The faces of the vase are 
 decorated in gold with scrolls of sea-waves below, and phoenixes 
 with expanded wings and spreading tails above, and on the outer 
 surface of the handles are centiped-like dragons witii winged 
 insect heads of very un-Chinese aspect. The gilded decoiation is 
 completed by a few light floral scrolls, and the edges of tlie 
 handles, as well as the square rim of the mouth, are heavily gilded. 
 Height, 11| inches. No. 264. 
 
 Small Vase {Hsiao P''ing), of white uncrackled Fen-Ting 
 porcelain, w^ith a globular body, spreading foot, and swelling lip, 
 and wide loop handles springing from the mouths of dragons. The 
 body is delicately etched at the point in the paste, under the soft- 
 looking ivory-white glaze, with the figures of two imperial five- 
 clawed dragons disporting in clouds. Height, 6| inches. No. 265, 
 
 Water Receptacle [Shui CU'eng), in the shape of a small 
 glol)ular bowl-like vase of perfect technique, with a small cir- 
 cularly rimmed mouth, which is mounted with a silver ring. It is 
 soberly decorated with two small sprays of peony rising from the 
 base, penciled in underglaze red of maroon tint, the leaves of 
 which, outlined and veined in the same red, are touched with 
 bright-green enamel. The mark written underneath in blue, in the 
 stj'le of the " peach-bloom " vases, is Ta GKing K''ang-hsi nien 
 chih, " Made in the reign of K'ang-hsi of the Great C'hing [dy- 
 nasty]." Height, 3^ inches. No. 266. 
 
 Vase i^PHng), of charming design and finished technique, 
 enameled with a pellucid white glaze over a relief decoration deli- 
 cately molded and etched in the paste underneath. Of quatrefoil 
 section, the body of the vase is covered, in four large panels, with 
 symmetrically arranged scrolls of idealistic flowers and bats; orna-
 
 880 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 mental scrolls of conventional design encircle the upjjer and lower 
 borders of the body and the rim of the mouth, continuous chains of 
 rectangular fret run down the shoulder and foot, and a band of 
 palmations extends midway up the neck. There is a seal etched in 
 the paste under tl)e foot inscribed Ta ClCing ChHen-lung nien 
 chih, " Made in the reign of Ch'ien-lung of the Great Ch'ing 
 [dynasty]." Height, 10 inches. No. 267. 
 
 Cylindrical Vase (T\iug PHng), of the K\ing-hsi period, 
 richly decorated in brilliant enamel colors, one of a pair mounted 
 in European work to form a set with the three vases of the same 
 shape and size illustrated in Fig. 237. The body is decorated in 
 four bands; the first and third contain formal flower scrolls dis- 
 played upon a bright pale-green ground; the second has a pair of 
 dragons in the midst of flames pursuing jewels with a coral-red 
 background; tlie fourth is plain red, relieved by a linked chain of 
 green winding round below. A band of hexagonal diaper at the 
 foot, of flowers on a yellow ground round the shoulder, and a ring 
 of palmations in green filled in with red on the neck, complete tlie 
 decoration. The mark underneath is a double ring in underglaze 
 blue. Height, 11 inches. No. 268. 
 
 Snuff-Bottle, decorated in blue and white, with peach-bloom 
 dragon; mark, ChHen-hmg. No. 269. 
 
 Vase {PHng), of hexagonal section with two tubular handles, 
 enameled with transmutation [yao-pien) colors of early CJi'ien-lung 
 date. The groundwork, a crackled glaze, is invested with irregular 
 splashes of green passing into olive-brown and mingled with pur- 
 plish grays. Height, 7^ inches. No. 270. 
 
 Vase {PHng), of graceful form and very fine technique, dating 
 from the GKien-hmg period, vertically grooved, with a bulbous 
 body, and a long neck swelling into a bulb above under the circular 
 lip. A dragon of archaic type is executed upon the shoulder of 
 the vase in full undercut relief, with its long bifid tail coiling 
 upward to encircle the neck. The dragon is enameled green, while 
 the surface of the vase is coated with a monochrome-yellow 
 enamel of soft tone, which also lines the foot. Height, 9 inches. 
 
 No. 271. 
 
 Bean-shaped Snuff-Bottle, with archaic Ic'i-lm in blue and 
 green on yellow ground; K''ang-hsi period. No. 272. 
 
 1
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 881 
 
 Vase [Hua PHng), of the Ku Yueh Ilsiian class, molded of 
 tlie characteristically short, very white, vitreous-looking paste, and 
 crisply decorated in bright enamel colors of peculiar delicacy and 
 finish. A pair of quails stand out prominently in the foreground, 
 backed by an autumnal scene of trees with crimson-tinted leaves, 
 marguerite daisies, and a rockery with roses. A pink scroll border 
 worked in relief, succeeded by a blue fret, encircles the shoulder, 
 and a gilded line defines the swelling lip. The couplet of verse 
 which has suggested the motive for the little picture is inscribed 
 on the reverse side of the vase. Height, 1 inches. No. 273. 
 
 Wine-Cup ( Chiu JPei), molded in the form of an ancient bronze 
 libation-cup, and colored with enamels to imitate the surface of 
 patinated bronze. The genre is known as kii thitig ts'ai — i. e., 
 " archaic bronze coloring." The ground shade is olive-brown 
 flecked with tea-green, which is penciled with gilded scrolls and 
 encircling bands of fret, while the hollow parts of the designs, 
 which are artificially roughened or pitted, are partially filled in 
 with a grayish-blue enamel of mottled tint passing into green. 
 The seal underneath, outlined in gold, is ChHen-lung nien chih, 
 " Made in the reign of Ch'ien-lung." Length, 5 inches. No. 274. 
 
 Small Vase [Hsiao PHyig), of eggshell thinness and purest 
 white color. It is encircled near the neck and foot by faint rings 
 in the paste. There is no mark attached, but it must be a produc- 
 tion of Ching-te-chen, dating from the Yung-cheng, or, perhaps, 
 the early CKlen-lung period. Height, 6 inches. No. 275. 
 
 Small Vase (-Hsmo P'i>^^), a typical example of "soft porce- 
 lain," so called, dating from the reign of K''ang-hsi. Light in 
 weight, the body being of loose texture, it is invested with a white 
 glaze of somewhat graN'ish tone and slightly undulatory surface, 
 crackled {k^ ai-p' ioi) throughout. It is decorated under the glaze 
 with a monstrous lionlike quadruped standing at the foot of a 
 spreading pine, with a bat flying overhead, painted in blues of sub- 
 dued tones; the flames which proceed from the shoulders and hips 
 of the mons.er being tinged red, and its eyes lightly touched with 
 rings of the same underglaze color, derived from copper. Height, 
 7 inches. No. 276. 
 
 Water Receptacle (Shici Ch^e/tg), oi o\oid form r(junding into 
 a small circular mouth, above which is coiled in salient relief
 
 882 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 a dragon {chih-lung) of arcliaic type. Tlie bowl is etched at the 
 point with scrolls of lotus and peony under the white translucent 
 glaze; the dragon is enameled reddish brown touched with gold. 
 The seal, etched beneath the glaze in the paste underneath, is 
 Ta (Jfi'ing Ch'ien-lung nien chih — i. e., " Made in the reign of 
 Ch'ien-lung of the Great Ch'ing [dynasty]." Height, 4^ inches. 
 
 No. 277. 
 
 Small Beakeb [Hsiao 2hun) , modeled after an ancient bronze 
 form and design, with an archaic band of scroll round the middle, 
 and vertical dentated ridges down the corners and sides. The 
 haixlle is formed of a large lizardlike dragon {ch''}h-lung) in 
 undercut relief, with four smaller ones wriggling over its body, 
 and four others are crawling over the neck of the vase, which is 
 enameled white, while the dragons are all painted in soft colors of 
 the C/i'ien-lung period. Height, 4^ inches. No. 278. 
 
 Double Gourd-shaped Vase [Hu-lu PHng), decorated in poly- 
 chrome enamel colors, shades of pink predominating, of the Cli'ien- 
 lung period. The decoration is that commonly known by the 
 name of Po Ilua, or " The Hundred Flowers," the ground being 
 completely covered with a dense mass of floral sprays, presenting 
 a huge bouquet, as it were, culled from the Chinese flora, naturally 
 and artistically rendered. The neck, slightly cut, is mounted with 
 a metal collar, round the foot is a band of formal foliations, painted 
 in sliaded blue and green, relieved by a pink ground, between 
 heavily gilded rims. The base, enameled like the inside of the 
 mouth, pale green, has a red seal in a white reserve panel, inscribed 
 in bold, well-written style, Ta Gfi'ing Ch'ien-lung nien chih, 
 " Made in the reign of Ch'ien-lung of the Great Ch'ing [dy- 
 nasty]." Height, 21 inches. No. 279. 
 
 Flovp-er-Pot {Hua P^en), of ChHen-lung porcelain, molded of 
 rounded octagonal form, with a projecting lip, a perforated bottom, 
 and four scrolled feet, and decorated outside with flowers and 
 butterflies arranged in eight panels. The front panel in the illus- 
 tration contains a picture of the three symbolical plants of long 
 life — the pine, bamboo, and prunus; the panel on the left of this, 
 flowering bulbs of narcissus and roses; the panel on the right, 
 orchids with sprays of a red-foliaged plant and butterflies; the 
 other five panels exhibit, in succession, the pomegranate and 
 chrysanthemum, the Begonia discolor, the Hibiscus rosa sinensis.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 883 
 
 the Dielytra spectabiUs, and the azure-tipped maiguerite daisy, the 
 yellow jasmine, and scarlet fungus {Polyporus lucidus). Height, 
 9^ inches. No. 280. 
 
 Snuff-Bottle, with brilliant decoration on a deep-red ground; 
 mark, C hHen-lu/ig. No. 281. 
 
 Eggshell Vase [To fal PHng), of the Ch'ien-lung period, 
 decorated in soft enamel colors for gilding. It is overlaid with 
 a close-set floral decoration consisting of chrysanthemums and hai- 
 fang flowers and daisies, attached in salient relief, and painted in 
 red, green, and gold. Two oval panels are reserved in intervals of 
 tlie floral relief-work, and painted in delicate colors with scenes 
 of domestic life, a party of ladies drinking wine out of tinj^ gilded 
 cups, and a group in a garden looking at fighting-cocks. Light 
 floral scrolls penciled in gold round the upper and lower rims com- 
 plete the decoi'ation. Height, 8| inches. No. 282. 
 
 Vase [Ilua P^ing), of three-lobed outline, covered with an olive- 
 green monochrome glaze thickly flecked with tiny spots of lighter 
 green, the typical souffle glaze known as " tea-dust" {ch'a-yeh mo). 
 Upon this as a background stands out a white branch of pome- 
 granate, modeled in full undercut relief, with the fruit bursting 
 open to show the seeds inside, and flowers and leaves naturalistically 
 rendered. When this, as it winds round, leaves a small interval in 
 the shoulder of the vase, a branch stem of the Polgporus lucidus is 
 worked in, also enameled white. The foot is stamped underneath 
 with the seal Ta ChH/ig GhHen-lung nien chih, " Made in the 
 reign of Ch'ien-lung of the Great Ch'ing [dynasty]." Height, 
 8 inches. No. 283. 
 
 Articulated Vase {Chieh P''iiig — chieh meaning joined or 
 spliced), cut horizontally into two parts in a waved four-lobed line 
 of foliated outline. Of old bronze form and design, the details are 
 worked in relief in the paste, representing vaguely four monstrous 
 ogre {Vao-fieh) faces, so much conventionalized as to form a broad 
 band of ornamental scroll-work. The celadon glaze which covers 
 the vase v;,ries from pea-green to lighter shades, according to 
 its depth, so as to enhance the effect of the molded designs. The 
 seal underneath, penciled in blue under the same celadon glaze, 
 is Ta Ch'ing CKien-lnng nien chih — i. e., " Made in the reign of 
 Ch'ien-lung of the Great Ch'ing [dynast}^]." Height, 6 inches. 
 
 No. 284.
 
 884 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Lace-work Vase {^T''ou-hva PHiig), of palest celadon porcelain 
 of the reign of C Ji'ien-lun;/. The sides are pierced with a floral 
 design representing conventional {)eonies in the midst of leafy 
 scrolls, whicli is tilled in witli glaze so as to form a delicate "rice- 
 grain " transparency, giving the effect of lacework. The vase, 
 of almost eggshell thinness, is covered with a glaze of pale sea- 
 green tone, while the borders, molded with bands of conventional 
 ornament in slight relief, are picked out in white. Height, 7 
 inches. No. 285. 
 
 Snuff-Bottle; twin gourds, with decoration in brilliant enam- 
 els on yellow ground; mark, G hHen-hmg. No. 286. 
 
 Eggshell Vase {To-Vai P''i)ig), richly decorated, in soft enamel 
 colors and gilding of the Ch'ien-lung period, with illustrations of 
 the different processes of sericulture. The pictures show in suc- 
 cession tiie hatching of tlie eggs, the feeding of the silkworms 
 in the different stages of their growth, as they are kept in open 
 baskets on curtained bamboo shelves, the winding of the silk 
 from the chr^^salids, and the weaving of the spun thread in 
 hand-looms of complicated structure. Women and children carry 
 on all the branches of work, boys are bringing in baskets of 
 mulberry-leaves slung on their shoulders from the trees outside, 
 and one is seated at the loom helping the women. The decoration 
 of the vase is completed by light sprays of red and pink roses 
 underneath the gilded rim. Height, 10^ inches. No. 287. 
 
 Six Snuff-Bottles {Pi Yen Hu), of various designs, chiefly 
 of the Yung-cheng and GhHen-lung periods: 1. Decorated in 
 enamel colors of the Yung-cheng period (288), 2. A royal blue 
 double gourd (289). 3. Blue and white flower design on a brown 
 crackled ground (290). 4. Perforated design in reticulated work 
 upon a ground of broken sticks; dark-green glaze (291). 5. Intri- 
 cate designs in high relief of lions chasing w^heels and fire emblems; 
 ChHen-lung period (292), 6, A double bottle with a coral-red 
 decoration, of the ChHen-lung period. Nos. 288-293. 
 
 RiCE-BowL {Fa7i Wan), decorated in colors with the symbolical 
 plants of long life, the pine and sacred fungus, the bamboo and 
 prunus. The painted decoration is identical inside and outside, 
 and it has the foliage and flowers pierced through in parts and 
 filled in with glaze in " rice-grain " fashion, so as to appear as
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 885 
 
 a ])arti;il transparency. The seal, penciled underneatli the under- 
 glaze blue, is Ta ClCing Cliia-chHnfi nie)i cAi'A, " Made in the reign 
 of Chia-ch'ing (1796-1820) of the Great Ch'ing [dynasty]." 
 
 No. 294. 
 
 Melon-shaped Snuff-Bottle, with decoration of vines in blue 
 and white; mark, Yung-chhig. No. 295. 
 
 Snuff-Bottle; celadon on modeled decoration; Ch^ien-lung 
 period. No. 296. 
 
 Vase {P''ing), representing a modern attempt at reproduction 
 of the celebrated Lang Yiao sang-de-hoeuf of the reign of K\ing- 
 hsi. The crackled glaze exliibits brilliant tones of coloring, but 
 it is somewhat thin in aspect, especially toward the top of the 
 vase; at the bottom it has " run " and congealed, and a bare mark 
 can be detected on one side where a thick drop has had to be 
 removed on the lathe. No. 297. 
 
 Flower- Vase {Hua PHiig), of ovoid form, semi-eggshell tex- 
 ture, and partially crackled undulatory glaze, decorated in delicate 
 enamel colors with gilding of the ChHen-limg period. The two 
 panels have the foliated rims modeled in relief in the paste, and 
 the sprays of blossoming prunus, painted in red and gold, as 
 well as the white swallows, are also worked in relief, so as to 
 project from the intervening ground, which is filled in with dotted 
 circles sketched in blue. The panels are painted with pictures 
 of domestic life in the style of the so-called " Indian china" of the 
 eighteentli century, which was mostl}"^ painted in the workshops of 
 Canton for the European market. Height, 11|- inches. No. 298, 
 
 Vase (PHng), a t^^pical specimen of the soft-looking porcelain 
 of the reign of K''ang-hsi, painted in blue under a crackled glaze 
 of ivorN^-white tone, commonly known as chHng-Juia Fen Ting — 
 i. e., "Fen-Ting porcelain painted in blue." The rim of the 
 foot shows a paste of loose texture, but very hard, the bottom 
 being covered with the same crackled glaze as the vase, which 
 is very light in weight when compared with ordinary porcelain. 
 The decoration, penciled in soft shades of blue, is a rocky landscape 
 with a pair of grotesque lions sporting under the shade of a gnarled 
 pine, through the branches of which the full moon is visible. 
 Shrubs of prunus and bamboo are growing from the rocks, com-
 
 886 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 pleting the vegetable trio of longevity, and a cou])le of bats are 
 flyiiig together in the background as symbols of haj)()iness. 
 Height, 15| inches. No. 299. 
 
 Two Snuff-Bottles of the ChHen-lung period: 1. Blue and 
 white. 2. Modeled in high relief and decorated in brilliant colors. 
 
 Nos. 300, 301. 
 
 Censek {Hsiang Lii) of ivory-white Fuchien porcelain. It is 
 modeled as a round basket with ))ierced openwork sides worked 
 into sprays of peony, and has a band of bamboo as handles attached 
 by floral studs. Under the bottom, which is unglazed, is a stamped 
 seal in the form of a Chinese "cash " inclosing the sacred svastika 
 symbol. Height, with pedestal, 5\ inches. No. 302. 
 
 Lion (Shih-tzti), of white Fuchien porcelain [Chien tz'ii), seated 
 upon an oblong pedestal, with the right forefoot placed upon a ball 
 with a cord attached to it, the other end of which the lion holds in 
 his mouth. From the back of the stand a tube rises on the right 
 to hold the stick of incense. There sliould always be a pair of 
 these lions before the shrine, and tlie companion would have a cub 
 in place of the brocaded ball. Height, 5 inches. No. 303. 
 
 Lustration Ewer [Ch'mg Shui Hu), of complicated form, 
 intended for Buddiiist ritual use. It is richly decorated in colors 
 of the K''anr/-hsi period, with diapers inclosing floral medallions 
 and bands of conventional ornament, relieved by a tzi>.-chin g^vonndi 
 of "old gold" tint. The monstrous head of a dragon projects 
 from one side of the globular receptacle, modeled with for- 
 midable rows of teeth and black mustaches curling upward, from 
 which emerges the long curved spout, reminding one of the celestial 
 dragons that officiated at the miraculous baptism of the infant 
 Buddha. Height, 8 inches. No, 304. 
 
 Snuff-Bottle; gray crackle of the K''ang-hsi period; mark, 
 Ch^eng-fma nien chih. ' No. 305. 
 
 Hanging Basket {Ilua Lan), with two hooks springing from 
 the rim for the attachment of chains by which it is suspended to a 
 crossbar, richly decorated in enamel colors of the A''Vm^-A.s'^ period. 
 The sides are pierced in openwork and painted in yellow, green, 
 and black to simulate wicker. Through the interstices of the open 
 
 A
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 887 
 
 casing the decoration of the c^^inder, which fits inside, appears; it 
 is crisply painted in red with a scrolled ground of lotus-flowers and 
 a border of spiral fret. Height, 9 inches. No. .306. 
 
 Basket [Una Lan,) of IC\ing-hsi porcelain decorated in enanud 
 colors. The bowl, of depressed globular form, has an arched handle, 
 strengthened by side pieces, springing from the shoulder, and a 
 round cover surmounted by a lion as handle. The sides of the bowl 
 are pierced in six panels of hexagonal trellis interrupted by chrysan- 
 themum-flowers which are painted alternately red and pale purple, 
 and the cover is pierced with a similar trellis-work. The handle is 
 painted in black lines on a yellow ground to imitate basket-work. 
 Foot glazed white underneath. Height, 5 inches. No. 307. 
 
 Pierced Globe fob Scented Flowers {Hsiang C'/i'iii), of light 
 biscuit porcelain of the K''ang-hsi period, carved with trellis me- 
 dallions inclosing floral designs of the peony and lotus inlaid with 
 colors, including a brilliant green in combination with the usual 
 enamels of the o\A famille rose. It has a tiny round cover on the 
 top for the introduction of flowers, which are placed as a sacred 
 offering before the domestic shrine. Diameter, 4 inches. 
 
 No. 308. 
 
 Rose- Water Sprinkler (Hsiang Shui J^^ing), one of a pair, of 
 the reign of ICang-hsi, with powder-blue grounds, interrupted by 
 three reserved medallions, quatrefoil, pomegranate and fan-shaped, 
 which are filled with wild-flowers growing from rocks, penciled in 
 shaded underglaze blue with white gi'ounds. Tipped with metal 
 mounts. Height, 1^ inches. No. 309. 
 
 Miniature Vase (Hsiao P''ing), of Fuchien porcelain, with a 
 bulbous mouth, and a dragon in salient relief, winding round the 
 neck of the vase and projecting its head on one side. Ivory-white 
 glaze. Height, 4| inches. No. 310. 
 
 Snuff-Bottle, with green and white dragon; mark, Tao-kuang, 
 
 No. 311, 
 
 Vase (P^ing), of the ChHen-lung period, decorated in blue and 
 white in the ordinary way with a mountain landscape of temples 
 and pavilions on the shore of a lake. This is covered with splashes 
 of Jlambe glaze, laid on over the original white ground, so as nearly
 
 888 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 to conceal the painted design under variegated clouds of purple, 
 crimson, and olive-brown tints, the glaze becoming crackled in the 
 thinner parts. The interior of the vase is coated with the same 
 crackled and variegated enamel. Height, 15^ inches. No. 312. 
 
 Arrow Receptacle ( Chien Thing), of square section, mounted 
 in a socket pedestal of the same material. A production of the 
 finest Khmg-hsi period, it exhibits a combination of many of the 
 methods of decoration that distinguished the porcelain of the time, 
 such as openwork molding, pierced-work carving, and relief model- 
 ing, all artisticalh' painted in richl}'^ varied designs, laid on over the 
 white glaze in the brilliant enamel colors of the fullj'-equipped 
 ceramic palette of the period. Height, 29 inches. No. 313. 
 
 Small Vase, with globular body and expanding mouth, intended 
 for use as a hand spittoon {fan ho pHng). It is decorated over 
 the white glaze, in two shades of coral-red, with a pair of five- 
 clawed imperial dragons in the midst of flames and clouds pursuing 
 jewels, with light bands of gadroon and spiral fret, and with a 
 scroll of conventional flowers round the mouth. There is no mark 
 underneath, but the technique and stj^le are those of the C hHen- 
 lung period. Height, 3^ inches. No. 314. 
 
 Cylindrical Beaker {HuorT^ung), with flaring mouth, of laque 
 hurgautee inlaid on porcelain, of the K''ang-hsi period. The dec- 
 oration is a mountain landscape with temples, pagodas, and open 
 pavilions, overlooking a lake upon which boats are sailing, a tall 
 Avillow with drooping branches forming the background. The 
 rims are encircled by light borders of diaper pattern inlaid in the 
 same thin plaques of mother-of-pearl. Height, 11 inches. 
 
 No. 315. 
 
 Vase [PHng), of the IPang-hsi period, with a few encircling 
 parallel rings lightly tooled in the paste, coated stir bisctnt with 
 enamels of different colors, yellow, green, and olive-brown, above a 
 white glaze of soft ivory tint. The paste is grayish. The eflfect, 
 which somewhat resembles that of tortoise-shell, is known to the 
 Chinese by the name of hu p'i toen, " tiger-spotted," Height, 84^ 
 inches. No, 316, 
 
 Snuff-Bottle, with foliations in soft parts, white on dark-blue 
 ground; C hHen-hmg period. No. 317,
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 889 
 
 Beakeb-shaped Vask of Hirado porcelain, with the decoration 
 partl}'^ painted in shaded bhie, partly pierced and filled in with glaze 
 so as to appear as a transparency. Height, 11| inches. No. 318. 
 
 Pierced Cup {T''ou-hua Wan), with the sides carved in open- 
 work, with a broad band of svastika pattern connecting five solid 
 medallions, upon which are attached, in full relief, figures of the 
 longevity star god, Shou Using, and of the eight Taoist immortals, 
 arranged in pairs. The figures are en biscuit, the clouds in the 
 background are worked in slip, as well as the floral scrolls, which 
 are carried round the rims of the cup over the white glaze which 
 invests the rest of the surface. The foot is unglazed. Period, 
 CKien-lung. Diameter, 3|- inches. No. 319. 
 
 Tazza-shaped Cup (Pa P^0> ^^ ^'^^ C hHen-hmg period, deco- 
 rated in enamel colors on a white ground, with formal archaic 
 designs, including six conventionally ornamented pendants hung 
 with symbols round the bowl, and a ring of brocaded palmations 
 ■encircling the stem. Height, 4|^ inches. No. 320. 
 
 Mug {Pei) of GhHen-lung " rice-grain " work, having the sides 
 pierced with a broad central band of star pattern filled in with 
 glaze, so as to be seen in transparency. The conventional bands of 
 ornament that surround the rims and the flowers that stud the 
 points of junction of the handle are penciled in underglaze cobalt- 
 blue of grayish tone and picked out with gold. Height, 4f 
 inches. No. 321. 
 
 Pierced Cup (T''ou-hua Wan) of delicate texture, dating from 
 the GlCien-lung period, carved in openwork [a Jour) with a trellis 
 pattern of intersecting circles, broken by five circular medallions 
 of floral design, and with a narrow conventional border round the 
 rim. The white glaze is of rich unctuous texture, and of the slightly 
 greenish tone characteristic of Ciiing-te-chen. The foot is left en 
 biscuit. Diameter, 3f inches. No. 322. 
 
 Gourd-shaped Yase [IIu-lu PHng), enameled with an irides- 
 cent deep-br >wn glaze {fzu-chin yu) overlaid with a decoration, 
 roughly executed in white slip, of sprays of conventional flowers 
 springing from rocks. The neck is mounted with a copper rim, 
 and the mouth is plugged with a corklike stopper of Persian metal- 
 work chased with figures and birds. Height, 10 inches. No. 323.
 
 890 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Small Baluster Vask {Hsiao Mei I*^i?ig) enameled of a })ale 
 sky-blue {fien-ch'ing) tint derived from cobalt, sparsely crackled 
 with rare brown lines, having a spray of blossoming prunus worked 
 upon it in sliglit relief and finished with the gravingtool. The 
 foot, of the same blue tint underneath, is colored iron-gray round 
 the rim. The neck, slightly chipped, is mounted with a copper 
 rim. Height, 8 inches. No. 324. 
 
 Decorated Vase {Hua PHng), painted in delicate enamel col- 
 ors with gilding of the Yung-cheng, or later JC^ang-hsi, period. 
 The large characters outlined in brocaded strokes on the twa 
 sides of the vase are shou, "longevity," andyw, "happiness." The 
 character shou is interrupted by a peach-shaped medallion, con- 
 taining a picture of the three stellar divinities, Fu, Lu, and Shou 
 of the Taoist Triad, with attendant sprites. The character fUy 
 on the opposite side, is interrupted by a circular medallion dis- 
 playing a picture of the Taoist goddess, Hsi Wang Mu, crossing 
 the sea on a raft. The intervals are filled in with colored cloud 
 scrolls, above which a couple of storks are flying, bringing peaches. 
 Height, 17 inches. No. 325. 
 
 LiBATiON-Cup {Chueh), of old brown " boccaro," of Yi-hsing- 
 bsien. The paste is seen underneath in the unglazed part, indicat- 
 ing the material to be a dark grayish-brown faience. The cup has 
 an open handle invested in two branches of scrolled fungus and 
 rests on three scroll feet. The molded decoration outside consists 
 of floral scrolls and a quatrefoil border. It is enameled inside and 
 out with a brownish-yellow crackled glaze, overlaid with irregular 
 splashes of mottled purplish-gray color, partially concealing the 
 yellow ground. Length, 4^ inches. No. 326. 
 
 Butterfly-shaped Snuff-Bottle; imperial yellow glaze. 
 
 No. 327. 
 
 Large Vase ( Ta PHng), decorated in brilliant enamel colors of 
 early K\mg-hsi date, with the picture of a battle scene taken 
 from the Ilsii, Shici IIu, a celebrated romance recounting the deeds 
 of notorious brigands. The heroine, the " White Lady," who is 
 riding a lion, and the principal generals mounted on horseback^ 
 carry small flags with their names inscribed. Greens of different 
 shade predominate among the colors; the dark cucumber-green^ 
 the pale apple-green, and the purple exhibit the finely crackled 
 
 1
 
 DESCRIPTIVE LIST OF THE ILLUSTRAllONS. 891 
 
 texture, cliai'acteristic of some of the splendid monochrome glazes 
 of the period. Height, 30 inches. No. 328. 
 
 Libation-Cup ( ChiXeh), of the Kang-hsi period, painted in col- 
 ors, with hieratic designs taken from ancient bronzes. The two 
 lizardlike dragons modeled in full openwork relief under the broad 
 lip of the cup are colored green, and there is another pair, colored 
 blue, clinging to the sides of the bandlike handle. Short dentated 
 ridges project vertically from the bowl, which is painted with the 
 features of the Vao-Vieh ogre emerging from spiral clouds. The 
 rim, both inside and outside, is surrounded by a band of dragons 
 and sacred fungus, displayed upon a pale-green background dotted 
 with black. Length, 4| inches. No. 329. 
 
 Snuff-Bottle; imperial yellow crackle. No. 330. 
 
 Snuff- Bottlk; blue and white with red dragon. No. 331. 
 
 Vase [Hua PHjig), of the finest porcelain of the Yung-cheng 
 period, artistically painted in delicate colors upon a translucently 
 white ground with flowers and birds. A yulan magnolia, spring- 
 ing from the foot of the vase, spreads gracefully round to decorate 
 it with snow-white flowers and buds, and beneath the tree are 
 peonies, with pink and white blossoms, and roses, yellow and red. 
 A flowering branch of Pyrus spectabilis [hai-fang) -with shaded 
 pink flowers winds across the interval, having a small gayly plum- 
 aged bird perched upon it, which is seen in the foreground, and 
 the mate is flj'ing in the background. Tiie neck is strengthened 
 by a European mounting designed as a trailing vine. Height, 8^ 
 inches. No. 332. 
 
 Cylindrical Receptacle for Scented Flowers [Ilsiaiig 
 Hua T''ung), adopted for offering blossoms of the mo-li hua 
 {Jasminum samhac) or other fragrant flowers before the domestic 
 shrine. Closed at the top, the bottom is perforated and shaped 
 for a screw cover for the introduction of the flowers, and the 
 sides are pierced in the intervals of the painted decoration, so that 
 the fragrance may penetrate and be diffused. The group of 
 figures on the sides represents the Taoist Triad, the three stellar 
 divinities of happiness, rank, and longevity, and on the top is 
 painted, in the same bright enamel colors of the ChHe7i-lung period, 
 the Taoist immortal Tung Fang So, speeding over the clouds.
 
 892 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 with a branch of peaches, the fruit of life, on his shoulder. 
 Height, 6^ inches. No, 333, 
 
 Four Snuff-Bottles: 1. Blue and white; mark, Chien-lung 
 (334). 2. With foliations in relief; mark, Tao-kuang nien chih 
 (335). 3. With dark, lustrous-brown glaze over dark-blue deco- 
 ration; Chien-lung period (336). 4. In the form of a bud, and 
 covered with a yellow glaze (337). Nos. 334-337, 
 
 Beakee-shaped Vase {Haa Ku), of the K''ang-hsi period, 
 artistically decorated, in bright enamel colors, with a pair of 
 magpies in plumage of glossiest black, recalling the tint of the 
 brilliant monochrome glaze of the period commonly known as 
 " raven's-wing." The birds are perched upon rocks, with a 
 prunus-tree in the background, which extends its blossoming 
 branches in all directions to cover the rest of the surface of the 
 vase with a charming floral decoration. The mark underneath 
 is an antique form of the character fu, " happiness," in a small 
 oblong panel, inclosed within a double circle. Height, 13|^ inches. 
 
 No. 338, 
 
 Eggshell Dish {To-Vai P''mi), painted in the delicate enamel 
 colors, with gilding, of the famille rose. The diapered band 
 encircling the rim is pink {rose cPor), the floral brocade which 
 succeeds it is displayed upon a lilac diaper, and the convoluted 
 edge of the central panel has the outline, which is that of a peony- 
 petal folded over at intervals, penciled in gold. The graceful 
 figures in the panel, upheld by light sprays of equisetum moss^ 
 represent the fairy goddess, Hsi Wang Mu, with a Ju-i scepter,, 
 and an attendant carrying a peach, painted in sepia tints lightly 
 touched with gold. Diameter, 7f inches. No. 339, 
 
 Snuff-Bottle, in the shape of a gourd overgrown by a gourd- 
 vine. No. 340, 
 
 Large Vase (Ta PHng). The opposite side of the piece 
 illustrated in Fig. 328, showing the rest of the picture of the 
 battle scene. The banner in the middle of the shoulder of the 
 vase is that of the imperial army, being emblazoned Ta Sung, 
 " The Great Sung," the name of the dynasty that reigned 960- 
 1279. The group on the neck of the vase represents the com- 
 mander-in-chief with a flag inscribed with his rank, shuai. 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 893 
 
 surrounded by his staff; they are gazing upward on tlie god of 
 war appearing on wheels of fire as an omen of victory. Height, 
 30 inches. No. 341. 
 
 Porcelain Pillow [Tzti Chen). One of the square ends of the 
 pillow shown in Fig. 16, decorated with a scene from a comedy 
 painted in overglaze enamel colors. The other end is painted 
 with a companion picture, taken apparently from the same play. 
 Diameter, 6 inches. No. 342. 
 
 Figure of Kuan Ti {Kuan Ti Hsimig), the Chinese god of 
 war. Seated in a dragon-armed chair of carved wood, in a con- 
 ventional attitude, with one foot raised upon a pile of rock, the 
 other resting on a lion. The figure is decorated in antique style, 
 sur biscuit, with minute and careful finish, in the rich enamel char- 
 acteristic of the finest K^mg-hsi period, combined with lavish 
 gilding to throw out the delicate pierced work of the coat-of-mail. 
 Height, 11 inches. No. 343. 
 
 Snuff-Bottle, with soft enamel decoi'ation, of C h'' ien-lung pe- 
 riod; mark, C h'eng-hua. No. 344. 
 
 Blue and White Snuff-Bottle. No. 345. 
 
 The Twin Genii of Peace and Harmony {Ho Ho Erh Hsien), 
 decorated in bright enamel colors with gilding of the ChHen-hoig 
 period. One carries in his hand a blossom and leaf of the sacred 
 nelumbium, or lotus, the other holds a round box, full of precious 
 gifts of happy omen. The pedestal simulates a bank of clouds, 
 being worked with tiers of scrolls under the glaze of celadon tint 
 with which it is enameled. Height, 12 inches. No. 346. 
 
 Snuff-Bottle, with Shou-Lao and a deer in brilliant enamels, 
 on a sang-de-bceuf gronwdil Ch'ien-hoig period. No. 347. 
 
 Figure of Shou Lao {Shou Lao Hsiang), the Stellar God of 
 Longevity. A small statuette of conventional design painted in 
 enamel colors of the Tao-huang period. A peach, the symbolical 
 " fruit of life," is held in one hand, and the robe is brocaded with 
 longevity {skoxi) characters. Height, 8 inches. No. 348. 
 
 Relic Shrine, or Dagaba (7"a), richly decorated in enamel 
 colors with gilding of the ChHen-lung period. The hollow dome
 
 894 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 in the center, witli an open door, symbolizes the vault of heaven, 
 and it is covered with arabesqiie-like scrolls of conventional " {)ara- 
 dise flowers" (jpao hsiang hud). The spirelike suinniit is ringed to 
 represent the twelve upper celestial tiers of the Buddhist universe; 
 it is surmounted by a sacred umbrella, supporting in its top a pre- 
 cious jar {jKio-p'ing) bound with fillets. Underneath it is enam- 
 eled pale green, like some of the finest imperial vases of the time. 
 Height, 16 inches. No. 349. 
 
 Blue and White Snuff-Bottle. No. 350. 
 
 Snuff-Bottle, covered with a dark, apple-green crackle; Khtng- 
 As^ period. No. 351. 
 
 Oblong Plaque {^Gli'a PHng), mounted in a frame of carved 
 wood with a stand as a screen picture. It is painted in colors, 
 witli a representation of the eight Taoist immortals, or genii {pa 
 hsien), crossing the sea in procession, on their wa}' to the Elysian 
 Fields, the Shou Shan, or "Longevity Hills," of Taoist story, 
 which are represented here as clad with fruit trees and gigantic 
 evergreen pines. The enamels are those of the ordinary pi'ivate 
 pottery of the CKien-lung period. Size, 18 X 11|^ inches. 
 
 No. 352. 
 
 Blue and White Snuff-Bottle; mark, CK' ten-lung . 
 
 No. 353. 
 
 Flower Receptacles {Ilua Cha), of white Fen-Ting porcelain 
 of the K^ang-hsi period, delicately molded in the shape of a bunch 
 of nelumbium bound round with a reed. The folded peltate leaf, 
 with its naturally convoluted margin, forms the vase. The leaf- 
 stalk curls round and is tied, as it extends upward, into a bundle 
 with a fully expanded Hower, showing the cupped lotus fruit in the 
 middle, a bud, and a smaller leaf; all modeled in natural detail with 
 the aid of the graving-tool. The soft-looking glaze, of ivory-white 
 tone, has an undulating pitted surface. Height, 6 inches. 
 
 No. 354. 
 
 Vase {Hua PHng), of brown Kuangtung stoneware {ICuang 
 Yao), modeled in the form of an archaic ritual wine-vessel of 
 bronze, with a string band in relief encircling the neck and oxen's 
 lieads as handles. It is covered with a pale, greenish-blue glaze of 
 crackled texture, which " runs " in thick drops. Height, 5 inches. 
 
 No. 355. 
 
 I
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 895 
 
 Saucer-siiapei) Plate (P'an-tzu), of eggshell porcelain of 
 CK ien-luti g date, painted in enamel colors of tlie fandlle rose, 
 witiiin panels and floral designs reserved in a richly enameled 
 ground of mottled crimson tint. The large central panel is ])ainted 
 with a picture of fighting-cocks and peonies displayed upon a 
 partially unrolled scroll. Sprays of plum-blossom fill in the spaces 
 above and below; and the border of the plate is decorated with 
 small panel sketches of mountain and water scenery, alternating 
 with sprigs of orchid. Diameter, 9 inches. No. 356. 
 
 " Hawthorn" Jar [Mei-IIua Kuan), of the K''ang-hsi period, 
 with clumps of prunus-blossom, alternating with single flowers, 
 studding the ground of mottled blue, which is traversed by a 
 reticulation of darker blue lines. The flowers, originail}'^ reserved 
 in white, have been filled in, subsequently, with bright green 
 and brick-dust-red enamels, so as to form a kind of formal floral 
 diaper of these two colors. Mark, double ring in underglaze blue. 
 Heiglit, 8 inches. No. 357. 
 
 Wine-Pot {Chiu Ha), of the ICang-hsi period, with looped 
 handle and cover, intended to be connected by a chain, enameled 
 deep reddish brown of the "dead-leaf" type {tziX chin), and deco- 
 rated over the brown monochrome glaze in enamel colors with 
 gilding. It is painted, on the two sides, with the picture of a 
 Taoist female divinity carrying a basket of the sacred longevity 
 fungus [ling-chih) suspended by a stick, and the cover is overlaid 
 with small sprays of flowers. Height, 6 inches. No. 358. 
 
 Bowl ( Wan), of the ICang-hsl period, having the interior 
 painted in blue and white with chrysanthemum scrolls and with 
 a floral border round the rim. The outside, originally a plain 
 monochrome brown, has been pierced on the lathe with a broad 
 band of flowers and birds in European style, executed, apparently, 
 in Europe. Diameter, 6 inches. No. 359. 
 
 Teapot {Cli'a Hu), of the "armorial china" type, richly deco- 
 rated in enamels of i\\Q famille rose class, with gilding. This deco- 
 ratior consists of brocaded floral grounds and diapered bands 
 inclosing foliated panels filled with sprays of chrysanthemum, 
 peony, and other flowers. An oval panel reserved in the middle 
 of the brocaded ground looks as if it were intended for a coat-of-
 
 896 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 arms, but is filled instead with a formal flower, which is painted in 
 black touched with gold. The tray, shown in Fig. 378, of the 
 usual hexagonal form, with foliated and indented rim, is decorated 
 with similar designs. No. 360. 
 
 Saucer-shaped Dish {P\m-tzii,), of eggshell texture, painted in 
 bright enamel colors of the famille rose class with gilding. The 
 decoration, of "armorial china" type, consists of floral bands and 
 gilded diapers of Chinese style, inclosing emblems, partly European, 
 partly Chinese, designed for the bridal service of the Dutch couple 
 whose names and monograms are inscribed in gilded letters. Their 
 miniature portraits have also been copied by the Chinese artist, 
 whose work dates from about the middle of the eighteenth century. 
 Diameter, 8 inches. , No. 361. 
 
 Teapot with Cup and Saucer ( CA'a Hu, Wan, Tieh), part of 
 a service painted in enamel colors with Chinese designs for the 
 European market, early in the seventeenth century. The foliated 
 panels contain grotesque Ui-lln, on a floral brocaded ground, and 
 the intervals are filled in with branches of prunus-blossom and 
 bii'ds. The teapot has a band of floral diaper round the shoulder, 
 and the cover is mounted with a floral knob. No. 362. 
 
 Bowl ( Wan), decorated in overglaze blue, red, and green 
 enamels with a conventional floral ground studded at regular 
 intervals with single blossoms. The formal borders of Indian 
 style that encircle the rims are relieved by a ground of crackled 
 yellow, the upper edge is gilded, and there is a rim of green round 
 the foot. Bowls of this peculiar style have been attributed by 
 some to Persia, by others to Hindustan, or to Siam; they would 
 seem, however, to have been made in China for this last country 
 after the native taste. Diameter, 7 inches. No. 363. 
 
 Plate ( P''an tzit), one of a pair, artistically decorated in soft 
 colors of the farnille rose, with the backs enameled in deep pink 
 {rose d'or) round the border. The interior is painted with a land- 
 scape representing the Hsi Hu Lake at Hangchou. Temples are 
 seen on the rocky islands, approached by bridges of varied form, 
 small boats are sailing in the lake and another is being towed along 
 the bank. A range of mountains, dimly outlined in pink, stretches 
 across in the far distance. The border is filled in with a diapered
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 897 
 
 pattern on a pale-pink ground, interrupted by three foliated panels, 
 which contain sprays of flowers and fruit, peonies and asters, 
 peaches, pomegranates, and melons. Diameter, 8 inches. No. 364. 
 
 Receptacle for "Water {Shut (_'h'e/if/), of the faience called 
 " boccaro," made at Yi-hsing-hsien. The paste of comparatively 
 pale color, approaching buff, is coated with reddish-brown and 
 purple-gray glazes, to imitate the tints of an autumnal leaf, in the 
 shape of which the little dish is molded. The stand of carved ivory 
 is mounted upon a second stand of rosewood. Length, 5 inches. 
 
 No. 365. 
 
 Gourd-shaped Vase {IIu-lu P''big), of the K\tng-hsi period, 
 enameled with a monochrome celadon glaze of pure tone and pale- 
 greenish shade. The decoration, which is beautifully executed in 
 slight relief in the paste, touched with the graving-tool, consists of 
 a close interlacement of waving scrolls of the tree peony {Pmonia 
 moutan). The rim of the mouth is defined by a line of white glaze, 
 and the interior is lined with white enamel, as well as the foot under- 
 neath, where there is no mark inscribed. Height, IV^ inches. 
 
 No. 366. 
 
 Tall Beaker (Hua Kti), decorated in cobalt-blue of brilliant 
 tints developed under the pure translucent glaze characteristic of 
 the K''atig-hsi period. The surface of the vase is divided by a 
 light horizontal band of triangular fret into two sections, which are 
 decorated, with sprays of magnolia springing from rocks, so that 
 the flowers stand out in snowy-white relief from a shaded back- 
 ground of pulsating blue. The mark, written underneath in three 
 columns of two characters, within a large double ring, is Ta ChHng 
 ICang-hsi nien chih, "Made in the reign of K'ang-hsi (1662-1722) 
 of the Great Ch'ing [dynasty]." Height, 20 inches. No. 367. 
 
 Cream-Jug [Nai Kuan), of the faniille rose class, with a cover 
 surmounted by a knob, modeled in European form, as part of a tea- 
 set, and decorated with enamel colors in the style of the rouge (for 
 dishes. Foliated panels, containing spraj's of peony, hibiscus 
 (China rose), jasmine, and other flowers, are inclosed in gilded 
 gr'^und of diaper pattern. No. 368. 
 
 Vase {Hua PHng), of Kuangtung stoneware, with ring handles 
 suspended on lions' heads. The opaque body of dark-brown paste
 
 898 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 is covered with a thick, transhiceiit glaze of biiglit-green tint 
 mottled with brown and becoming grayish blue at the edges. 
 Height, 10^ inclies. No. 369. 
 
 Vase [PHng), of Kuangtnng stoneware, made of light but liard 
 material, of brown color, with a pair of lizardlike dragons project- 
 ing in openwork relief from the base of the neck. It is enameled 
 with a translucent crackled glaze of rich emerald-green color, pass- 
 ing into purplish gray toward the rim of the vase and over the 
 more pron)inent parts of the molding. Height, 13|^ inches. 
 
 No. 370. 
 
 Censkr {Ilsiang Lu), of Fuchien porcelain, with a floral design 
 composed of bamboos and peonies growing from rocks molded in 
 relief under the tj'^pical ivor3'-white translucent glaze witli which it 
 is invested. A circular seal, stamped under the foot, displays the 
 inscription in ai*cliaic script, HsiXan-te nien chih, "Made in the 
 reign of HsUan-te (1426-35)." Diameter, 8 inches. No. 371. 
 
 Vase {Hua P'itig), of Fuchien porcelain ( Ghien tz'tc). The neck 
 is ornamented with a band of fret succeeded by a ring of triangu- 
 lar foliations, and the body with four identical sprays of prunus 
 modeled in relief, all worked in the ])aste uiuler the pure white 
 glaze, which is of ivory-white tone. Height, 7^ inches. No. 372. 
 
 HooF-SHAPED Vase {3fa T^i PHng), of Fuchien porcelain, cov- 
 ered with a molded decoration in relief, displaying the eight Bud- 
 dhist symbols of good augury, enveloped in waving fillets and leafy 
 scrolls. The white glaze of creamy tone has a slight bluish tinge. 
 Height, 6^ inches. No. 373. 
 
 Water Receptacle (Shui C/i'Sng), of ancient Kuangtung fa- 
 ience {ICuang Yao), modeled in the form of a bronze sacrificial 
 wine-vessel. The paste, of buff color, is invested with a celadon 
 glaze of pale sea-green shade. Height, 2^ inclies; length, 6 inches. 
 
 No. 374. 
 
 Okimono, of Hirado ware; three Chinese boys rolling a snow- 
 ball. No. 375. 
 
 Double Fish-Vase {Shuang Yii PHng), modeled in the form 
 of a pair of fish springing upright from the waves, the bodies of
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 899 
 
 which have coalesced to make a single mouth for tlie joint vase. 
 The dorsal fins project on either side as handles; the other fins, the 
 scaly bodies, the eyes and other details, as well as a fringe of waves 
 round the foot, are worked in the paste, as part of the decoration 
 of the vase, and come out in varied shade through the celadon glaze 
 of pale blue-green tint with which they are invested. The vases 
 are mounted as jugs with stands in an appropriate setting of bul- 
 rushes. Height, 10 inches. No. 3V6. 
 
 Vase {J*''ing), one of a pair, decorated with a pale-blue souffle 
 ground, derived from cobalt, penciled in a darker shade of the same 
 underglaze color, with a brocaded design of prunus-blossoms and 
 triangles. Pedestals and stoppers in the form of crowns of Euro- 
 pean work. Height, 4 inches. No. 377. 
 
 Small Tea-Tray {cfi'a pan), from the same set as the teapot 
 shown in Fig. 360, painted in colors, with a similar crestlike badge 
 in the middle. No. 378, 
 
 Gourd-shaped Vase {Hu-lu PHng), of the K\mg-hsi period, 
 with the lower two thirds of the globular body covered with a 
 glaze of cafe-au-lait color, succeeded by a girdle of grayish-white 
 crackle, and a narrow band of blue and white diaper, the upper part 
 being decorated in blue with flowers and lambrequins of floral bro- 
 cade. European silver mounts. No mark. Height, 7 inches. 
 
 No. 379. 
 
 MiSHiMA Bowl, of dark stoneware, enameled with a white glaze 
 with the incised designs filled in with encaustic black clay. See 
 page 682. 
 
 Conical Archaic Bowl of Korean faience, of yellowish color 
 stippled with darker spots. See p. 683. No. 380. 
 
 Shaped Dish, of "Old Japan " Imari ware, richly decorated in 
 brilliant colors with gilding. See p. 675. No. 381. 
 
 Old Korean Bowl, with a lightly incised decoration under a 
 buflf-tinted celadon glaze, sparsely and superficially crackled. See 
 page 683. No. 382. 
 
 Temple Vase, of Takatori pottery, enameled with a crackled 
 green glaze of mottled tint, decorated in slip in low relief with 
 Buddhist figures. No. 383.
 
 900 DESCEIPTIVE LIST OF THE ILLUSTEATIONS. 
 
 Ornament [Okiniono), of Hirado porcelain molded in the shape 
 of a white colza turnip witli blue-tinted leaves, with a rat crouched 
 upon the bulb. No. 384. 
 
 Vase, of Kyoto faience, with a grayish sparsely crackled glaze 
 decorated in enamel colors and gilding with flowers and insects in 
 the " Nishiki," or brocaded, style. No. 385. 
 
 Incense-Burner (ICoro), of Hirado blue and white porcelain, 
 with a picture on the inner cylinder, seen througli the openwork 
 trellis, of five children playing in a garden, under a pine-tree, which 
 spreads over the pierced cover. See page 746. No. 386. 
 
 Censer {I^dro), of white Hirado porcelain, molded in the form 
 of a grotesque unicorn lion, with a movable head as a lid, with the 
 details modeled in relief in the paste and lightly chased under the 
 glaze. No. 387. 
 
 Okimono, of white Hirado porcelain, with the figure of a Shojo, 
 with smiling face and long hair sweeping the ground, standing 
 beside a tripod wine-jar with a bamboo ladle in his hand. No. 388. 
 
 Incense-Burner {Koi'o), of Imari ware, fashioned in the shape 
 of a cock perched upon a stump of wood and painted in enamel 
 colors, black, brown, and red, with touches of gold and silver. 
 Circa, 1700. No. 389. 
 
 Sake-Bottle of Okawaji ware, with a crackled celadon glaze. 
 Fully described on page 742. , No. 390. 
 
 Small Censer [IToro), of Hirado porcelain, with a pierced outer 
 trellised casing overspread with three sprays of chrysanthemum 
 flowers modeled in slight relief. Silver openwork cover. No. 391. 
 
 Satsuma Figure of Chinese boy {Kara-ko), holding a jjalra-leaf 
 fan, richly decorated in enamel colors and gilding. No. 392. 
 
 Sake-Bottle of Satsuma ware, decorated in soft enamel colors 
 and gold with sprays of Paulonmia imperialis. Silver Kiku 
 stopper. — Satsuma Vase, decorated in enamel colors with a selec- 
 tion from the precious objects called Takaraniono described on 
 page 758. No. 393.
 
 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 901 
 
 Chinese Lion {Kara Shishi), of Hirado porcelain of the eight- 
 eentli century, with its left fore-foot upon an openwork ball of 
 quatrefoil brocade pattern. The details are lightly etched under 
 the white glaze, which is of pale greenish tone. No. 394. 
 
 Satsuma Figure of Hotel, the Monk of the Hempen Bag, painted 
 in enamel colors and gold. See p. 757. No. 395. 
 
 Small Cylinder, with perforated side, of Hizen blue and white 
 porcelain; mark of Shonsui. No. 396. 
 
 Vase, of Kyoto porcelain, decorated in rich enamel colors with 
 gilding, with elaborate floral scrolls and panel pictures of Buddhist 
 figures described on p. 733. No. 397. 
 
 Large Dish, of "Old Imari" ware, painted in underglaze blue in 
 combination with enamels and gilding in the tj^pical chrysanthemo- 
 peonienne style. See p. 740. No. 398. 
 
 Large Covered Jar, of " Old Imari " ware, decorated in colors 
 and gold with pictures of outdoor scenes and brocaded bands with 
 pierced trellis-work panels. No. 399. 
 
 Water-Pot, of Hizen porcelain molded in the shape of a fish- 
 dragon, and painted in underglaze blue with touches of black 
 enamel and gold. See page 741. No. 400. 
 
 Sake-Pot, of Hizen porcelain, decorated with dragons in the 
 midst of flower-strewn waves, painted in dark green and other 
 enamel colors. See page 741. No. 401. 
 
 Cake-Dish, of Hirado porcelain, painted in blue with a group 
 of seven Chinese boys playing under a pine-tree. See page 744. 
 
 No. 402. 
 
 Hirado Censer, of pale celadon tint, with openwork cover and 
 trellis casing displaying the badge of the Tokugawa house. See 
 page 746. No. 403. 
 
 Figure of Buddha, standing upon a lotus pedestal modeled in 
 Hirado porcelain, and painted in blue with touches of brown and 
 black. See page 746. No. 404.
 
 902 DESCRIPTIVE LIST OF THE ILLUSTRATIONS. 
 
 Vase, of Hirado porcelain, decorated in tliree sections, the 
 middle lightly chased with scrolls enameled white, the other two 
 decorated in colors relieved by a russet-red ground. See page 747. 
 
 No. 405. 
 
 Small Jar of Satsuraa faience, with conventional floral sci'olls in 
 enamel colors and gold. Old silver cover, a lotus-leaf. No. 406. 
 
 Satsuma Figure of Chinese boy, holding up a jewel, richly 
 decorated in enamel colors and gilding. No. 407. 
 
 Satsuma Censer, fashioned as a bowl on a tripod stand pierced 
 with three medallions and delicately painted in enamel colors and 
 gold. See page 758. No. 408. 
 
 Tripod Censer with mask handles, of Kutani porcelain, deco- 
 rated in enamel colors. Cover of lacquered metal. More details 
 are given on page 764. No. 409. 
 
 Satsuma Censer, modeled in the shape of a court hat, with 
 pierced work and painted decoration of floral scrolls. See page 
 759. No. 410. 
 
 Bowl, of Kutani porcelain, artistically decorated in brilliant 
 enamels colors with sprays of iris painted upon a soft milk-white 
 ground. See page 764. No. 411.
 
 INDE 
 
 Note. — The references given below to the text of Oriental Ceramic Art refer to pages 
 in this edition, while those referring to the Figures and Plates apply onlj' to the Illus- 
 trated Edition published in ten sections. 
 
 A 
 
 Abbott Collection, 504 
 
 Ablution vessels of porcelain, 21 
 
 Accadian source of Chinese civiliza- 
 tion, 25 
 
 Africa, 216; Chinese trade with, 605 
 
 After T'ang, 50 
 
 Agra sacked by the Mahrattas, 239 
 
 Aiclii, 730 
 
 Ai lien chen shang, 103 
 
 Airavata, 114 
 
 Ai yeh, 121 
 
 Alcantara, collection in Royal Palace 
 of, 607 
 
 Alchemists, the three, 227; mediaeval, 
 116 
 
 Alcock, Sir Rutherford, 696 
 
 Alms-bowl, the sacred, 114, 123. 493; 
 made of porcelain, 21 
 
 Altar-cups, 222; their proper colors, 
 225. 491 
 
 Altar of Earth, utensils for, 225 
 
 Altar of Heaven, 225, 491 
 
 Altar of Jupiter, 226 
 
 Altar of the Sun, 226 
 
 Amakusa, 743 
 
 Amaranthus, 415 
 
 Ama-Yaki, 703 
 
 Ameya Yeisei, 703 
 
 Amitabha, 588 
 
 Amoy, 298; a center of Kuang-yao 
 manufacture, 632 
 
 Analys's of blue material, 437 
 
 Ancestral Temple at Peking, 490 
 
 Ancestral worship in China, 461 
 
 Ancient odes, 79 
 
 Anderson, William, 700 
 N^An hua, 268, 476 
 An hui, 180, 279, 392 
 Animals, Buddhist mythological, 590 
 An lung, 476 
 ./Annals of Fou-liang hsien, 178 
 Antimony ore, 264 
 Antiquaries in China. 356 
 Antiquities, Chinese, 648 ; works on, 
 
 648, 649 
 An-yei, 725, 753 
 Aoi, 764 
 
 Aoki Yasohachi, 732 
 Aoyama Koyemon, 732 
 Apple-green Lang-yao. 303 
 Arabesques, 257 
 Arabic in.scriptions, 216, 217 
 Arab trade with China, 23 
 Arbor-vitfp leaf, 261 
 Archaic characters, 45 
 Arhats, 470, 586 
 Arita, 34, 674, 712; kilns, 735. 737; 
 
 technical school at, 739; first jiottery 
 
 at, 674 
 Armorial china, 380, 381, 612 
 Arrow receptacles, 489, 502 
 Arsenic, 552 
 Arsenious acid, colors developed from, 
 
 529 
 Art, Chinese books on, 646 
 Artificer's Record, 641 
 Art of Japan, its chief exponents, 700 
 Artemisia-leaf, 121 
 Ashes used in the glaze, how prepared, 
 
 181, 427 
 Ashikaga Shoguns, 681 
 Asia under Mongol rule, 566 
 
 903
 
 904 
 
 OEIENTAL CERAMIC ART. INDEX. 
 
 Astrological figures, 561 
 
 Aubergine, 129, 146, 157-161 
 
 Aubergiue-purple, how applied, 315; 
 of Yung-chgng period, 370 
 
 Augustus the Strong, 9, 35, 239 
 
 Avalokita, 588, 627 
 
 Avery Collection, 8 
 
 Awaji ware, 689 
 
 Awata ware, 688, 732, 750; how dis- 
 tinguished from Satsuma, 689 
 
 Azure-blue, 340, 341 
 
 B 
 
 Babylonia (= Cairo), the Sultan of, 605 
 Bagdad, 10 
 
 Bai-kwa do Go Hei Sei, 699 
 , Bamboo, 117; a symbol of longevity, 
 ' 597 
 
 Bamboo grove, the Seven Worthies of, 
 
 601 
 Bamboo tablets, 45 
 Bamboo tube and rods, 115 
 Banko-yaki, 688 
 Baragou Tumed, 95, 113 
 " Barbering " of porcelain, 620 
 Barbotine, 434 
 Barcelona, 149 
 
 Basins in Lung-cliing period, 238 
 Baskets of porcelain, perforated, 489 
 Bat, a rebus-device, 124; homonym of 
 
 happiness, 124 
 Batavia, a factory established at, 607 
 Batavian decoration, 502; wai"e, 314 
 Battersea enamels, 404 
 Battle-scenes, 570 
 Beads of porcelain, 505 
 Beakers (ku), 180 
 Belles-lettres, works relating to Chinese, 
 
 659 
 Bethlehem, 454 
 Bethnal Green Museum, 699 
 Bible of Taoism, 576 
 Bibliography of Chinese ceramics, 639- 
 
 669 
 Bibliotheque de V Enseignement des 
 
 Beaux-Arts, 700 
 Bibliotheque JSationale, 148 
 Bing, M. J., 700, 708 
 
 Bird, the three-legged solar, 109 
 
 Birds and flowers, 599 
 
 Birds paying court to the pha?nix, 600 
 
 Bishop, H. K., 175 
 
 Bizen-yaki, 687, 721 
 
 Bleu de roi, 266 
 
 Bleu fouette, 312 
 
 Black enamel, 552 
 
 Black glazes, 313, 440; copies of, in 
 Yung-cheng period, 389; mineral* 
 used for, 526 
 
 Black grounds of the grand feu, 543 
 
 Black, metallic, 313 
 
 Blanc-de-chine, 47, 97 
 
 Blowing on the glaze, 445 
 
 Blue, the leading color on porcelain, 
 436; the favorite Ming color, 258, 
 567; under the glaze, 675; selection 
 of the material, 438; derived from 
 cobalt, 312; of the grand feu, 541; 
 Mohammedan, 193, 203, 216, 221 ■, 
 porcelain, 226, 231, 232 
 
 Blue and white, 33, 34, 39, 82, 191, 194, 
 226, 232, 242, 243, 299, 322, 385, 525, 
 564, 687, 743; crackle, 320; pieces 
 illustrated, Figs. 14, 17, 34, 39, 42, 
 , 51, 54, 83, 90, 112, 114, 128, 135, 176, 
 178, 184, 187, 204, 226, 232, 234, 247, 
 248, 269, 290, 300, 331, 334, 345, 350, 
 353, 386, 396, Plates XLII, XLIX, 
 CXII, CXIII; imported into Europe, 
 "298 
 
 Board of Works, 295 
 
 Boccaro, 13, 1:^5, 219, 273, 374, 375, 635 
 
 Bodhidharma, 589, 627, 633; shown in 
 Plate XLI 
 
 Bodhisat, 335, 586, 587 
 
 Bodhisattva, 747 
 
 Boku-heii, 751, 753 
 
 Boku-Shoki, 755 
 
 Boku-Sokuan, 755 
 
 Bonzes, 286, 587 
 
 Bonzesse, 703 
 
 Book of Changes, 108, 640 
 
 Book of History, 25, 601, 640 
 
 Book of Odes, 640 
 
 Book of Rites, 640 
 
 Borneo, 154, 188, 510 
 
 Boston Museum, 676, 678
 
 ORIENTAL CERAMIC ART. — INDEX. 
 
 905 
 
 B5ttger, 610, 635 
 
 Bottle-gourd, 597 
 
 Boucher, Guillauine, 566 
 
 Bow decoration of Orieutal porcelain, 
 618 
 
 Bowls, 224, 225, 264; decorated in blue, 
 171; used for tea-drinking, 22; of 
 Lung-ch'ing period, 236; of Chia- 
 chiug period, 224, 225, 226, 227, 231, 
 232 
 
 Branches, the twelve, 52, 53 
 
 Brinkley, quoted or referred to, 34, 
 164, 676, 726 
 
 Briquettes, 334 
 
 British Museum, 8, 16, 216, 273, 280, 
 618, 682 
 
 Brocaded Avare, 208, 755, 756 
 
 Brocade patterns, list of ancient, 235- 
 236 
 
 Brocades, old silk used as decorative 
 motive, 568 
 
 Broissia, Marquis de, 286 
 
 Bronguiart, M. Alexandre, 12, 13, 265, 
 324 
 
 Bronze, the chief material for artistic 
 work in China, 560 
 
 Bronze articles, a penal offense to pos- 
 sess, 174 
 
 Bronze sacrificial vessels, different 
 kinds of, 489 
 
 Bronzes, Chinese works on, 648 
 
 Brown glaze, its varieties and many 
 names, 314; its ingredients, 265 
 
 Brown porcelain, 226, 233 
 
 Browns of the grand feu, 540 
 
 Brush pots, or cylinders, 173, 489, etc. 
 
 Brush-washers, 124, 173 
 
 Bubbling, 446 
 
 Buddha, 227, 478; jade image of, 202; 
 the coming, 587; signs on his foot, 
 111 
 
 Buddha's-hand citron, 141 
 
 Buddha's-head blue, 263, 439 
 /Buddha's heart, 114 
 
 Buddhism, 106; its introduction into 
 China, 111, 584; its spread to Korea 
 and Japan, 585: its influence on Chi- 
 nese art, 565, 590; of Tibet, work on, 
 585 
 
 Buddhist bronze objects, 563 
 
 Buddhist literature, vastness of, 585 
 
 Buddhist, Messiah, 587, 627, 757; 
 mythological animals, 590; sets of 
 five, 492; symbols, 95, 106, 111, 112, 
 113, 114; trinity, 733 
 
 Bungo, Prince of, 750 
 
 Bunkwa, 761 
 
 Bunroku, 751 
 
 Bunsei, 733 
 
 Burghley House Collection, 237, 606 
 
 Burlington Fine Arts Club, 70, 94, 322, 
 ^ 606 
 
 Burma, 148 
 
 Burning of the books, 46 
 
 Butsuami, 731 
 
 Byzantium, 454 
 
 C 
 
 Cafe-au-lait color, 314 
 
 Caillou transparent, 341 
 
 Cairo and Aleppo, 605 
 
 Caldrons with three liollow legs, 180 
 
 Calendar plant, 560 
 
 Calicut, 456 
 
 Cambula, 177, 190 
 
 Camellia-leaf green, 316 
 
 Canarv'-yellow, 131, 697 
 
 Canonical books, 640 
 
 Canon of Changes, 108 
 
 Canton, 280, 298, 456; visited by the 
 Portuguese, 607 
 
 Canton ware, 374 
 
 Capital of the Tycoon, 696 
 
 Carmine, 526 
 
 Caruot, President, 680 
 
 "Cash," 10, 102, 123, 137 
 
 Cassia-tree, 110 
 
 Cassius, purple of, 528 
 
 Castanets, 115 
 
 Catalogue of Imperial Library at Pe- 
 king, 640 
 
 Cathay, 566 
 
 Catty, its equivalent in pounds, 260 
 
 Celadon, the name explained, 148, 588, 
 J40: imported into Europe, 298. 609; 
 found in Africa. 148; colorable imita- 
 tions of. 484; its ingredients, 264;
 
 906 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 in the Yuan, 187; pieces illustrated, 
 Figs. 7, 13, 26. 43, 44, 100, 107, 117, 
 119, 120, 142, 152, 155. 159, 175. 183, 
 204. 235, 284, 296, 366, 376, Plates 
 VII, XV. XXXV, XXXVI, 
 XXXVIII, XL, LXXXVI 
 
 Celadon de cuivre, 538 
 
 Celebrated porcelain of different dynas- 
 ties, 132 
 
 Celebrated Writei's <nid Artids, Vyclo- 
 pmdia o/, 134 
 
 Celestial Fox, the, 595 
 
 Censers, 139, 143, 144, 145, 168, 238. 
 etc. ; used in tea ceremonies of Japan, 
 694 
 
 Ceramic art, appreciated in the T'ang, 
 21; its culminating period in China, 
 41; miscellaneous books regarding, 
 439; bibliography of, in Chinese, 639; 
 of Japan. 685; its fundamental col- 
 ors, 710; a general sketch of, 709 
 
 Ceramic art, History of the, b}' Jacque- 
 mart, 39 
 
 Ceramic colors, 525-556 
 
 Ceramic industry of Japan, traditions 
 regarding, 29; its principal centers, 
 706-722; fostered by the Dutch, 
 740 
 
 Ceramic literature. Japanese. 701 
 
 Ceramic records, abstract of, 662 
 
 Ceramics, Chinese works on, 639-669 
 
 Ceramic terms, Japanese, 686 
 
 Ceramic wares of Japan, the principal, 
 723; how classed, 687 
 
 Ceremonial classic, 15 
 
 Ceylon, blue and white discovered in, 
 239 
 
 Ch'a, 92, 222; chuug, 186, 205, 224; hu, 
 219 
 
 CKa Ching, 21, 656 
 
 Chaffers, W., 51 
 
 Chai, 79 
 
 Ch'ai porcelain, 24, 133, 138, 172 
 
 Cha-ire, 702 
 
 Chaityas, 590 
 
 Ch'ai yao, 127 
 
 Chajin, 703 
 
 Chakra, 111 
 
 Chakravartin (universal sovereign), 95 
 
 Chakravartti llaja. 111, 113 
 
 Chaldea, 562 
 
 ClCa-lu (history of tea), 170, 626, 655 
 
 Chamberlain, Professor, quoted, 31 
 
 Champleve, 455, 636 
 
 Chan (spade) 115; (wine-cup), 200, 224, 
 
 306 
 Chang, 509; (entrails), 112; (prosperity), 
 
 85; (the potter), 154; (the twelve), 109 
 Ch'ang-an (capital of Shensi), 277 
 Chang brothers. 147 
 Chang Chao-lin, 294, 301 
 Ch'ang Ch'i, 178 
 Chan ching chai chih, 80 
 Chang Ch'i-chuug, 41 
 Chang Ch'ien-tg, 497 
 Chang-chou, 218, 635 
 Chang Chui-chang, 140 
 Ch'ang Ch'un Kung, 81 
 Changes, Book (or Canon) of, 108, 640 
 Chang Hua-mei, 260 
 Ch'ang ku ch'i, 40 
 Chang Kuo, 115 
 Chang Kuo Lao, 581 
 Ch'ang ming fu kuei, 96 
 Ch'ang-nan-ch6n, 278 
 Ch'ang-ngo, The lady, 595 
 Chang River, 101, 190. 278 
 Chang-shan, 261, 461 
 Chang Sheng erh, " Chang Secundus," 
 
 147 
 Chang Sheng-yi, 147 
 Chang Ssu-ming, 295 
 Chang-te-fu, 164 
 Ch'ang wu chih, 172 
 Chang Yin-huan Collection, 16 
 Cha-no-yu, 705, 752; first utensils used, 
 
 726; in Japan, 681; its influence on 
 
 Japanese pottery, 692 
 Chao-ch'ing fu, 375 
 Chao K'ai, god of the potters, 462 
 Chao-t'ien (" worship of heaven"), 180 
 Ch'a p'an, 478 
 Ch'a-pei, 141, 204, 215 
 Chapu, 624 
 Ch'a P'u, 656 
 
 Charles VII, King of France, 606 
 Cha tou (" slop-dishes"), 226, 238 
 Cha-tsubo, 757
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 907 
 
 Cliatlra (" umbrella '), 112 
 
 Ciiavannes, M., 559 
 
 Ch'a-yeli-mo, 417 
 
 Cliawan Kiubei, 732 
 
 Chawan-saka, 731 
 
 Cli6 (= Chekiang), 179, 181, 439; -liao, 
 439 
 
 Chekiang, 22, 133, 436, 624 
 
 Ciielsea color-painting on Oriental por- 
 celain, 618 
 
 Chelsea, soft porcelain of, 320 
 
 Chemistry unknown in ("hina, 525 
 
 Chgn (gem), 102 
 
 Ch'gn (dynasty), 277; (ancient feudal 
 state), 14 
 
 Chgn Chih, " paper-weights," 168 
 
 Ch'gn Chi-ju, 170 
 
 Ch'On-chou Fu, 14 
 
 Ch'6ng Chun-fang (a noted ink-maker), 
 660 
 
 ChSngHo, 11, 142 
 
 Ch'gng-hua, 40, 50, 67, 68, 77, 133, 135, 
 191, 192, 193, 206-213, 220, 298, 299, 
 301, 323, 436, 484; blue and white, 
 copied in Yung-chgng period, 385; 
 marks on K'ang-hsi porcelain, 609; 
 porcelain, 206; five-color porcelain, 
 copied in Yung-chgng period, 378 
 
 Ch'gng hua nien chih, 68 
 
 GlCtncj sliih mo ymm, 660 
 
 Cheng-te (emperor), 33, 68, 135, 216, 
 217, 256, 378; porcelain, 216-220, 
 378 
 
 Chgng te nien chih, 217, 218 
 
 Chgn-ting-fu, 144; its porcelain, 178 
 
 Ch6n ting hsiian chih, 87 
 
 Chen Tsung, 65 
 
 Cheng-t'ung, 64, 206 
 
 Chen wan, 101 
 
 Ch^n yii, 101 
 
 Chi (good fortune), 100 
 
 Chia (wine-vessel), 146 
 
 Chia-ch'ang, 50 
 
 Chia-ching, 45. 66, 69, 92, 191, 193, 200, 
 220, 222, 223, 234, 256, 262-266, 271, 
 322, 323, 436, 450; designs, 223, 224. 
 225. 226; copies of, 385; iiorcelain, 
 220-234 
 
 Chia-ch'ing, 74, 80, 84. 86, 129, 464, 
 
 465, 466; porcelain, 466; pieces illus- 
 trated. Figs. 8, 80, 294, etc. 
 
 Chia-ch'ing (azure put in press), 350 
 
 Chia-cli'ing yii chih, 76 
 
 Chia-ho, 134 
 
 Chia-hsing-fu, 132 
 
 Chia k'uan (private marks), 103 
 
 Chiang (= Kiangnau), 179 
 
 Chiang Ch'i, 662 
 
 Chiang-hsi T'nmi Chih, 3, 309, 392; its 
 different editions, 367. 613 
 
 Chiang-t'ai (paste-bodied), 320 
 
 Chiang fang, 92, 222 
 
 Chiang-tou Hung (Haricot red or 
 peach-bloom), 6, 37, 308 
 
 Chiang-ts'uu, 208 
 
 Ch'iang-wei, the Rosa indica, 599 
 
 Chiang-yu (= Kiangsi), 399 
 
 Chiao (watered or pale), 381 
 
 Cbiao ch'ing, 267 
 
 Chiao huang, 289 
 
 Chiao shih p'ing, 195 
 
 Chiao teng, 161 
 
 Chiao tzu, 382 
 
 Chia-tzu, 53, 55 
 
 Chia Wu, 55 
 
 Chia yii. 277 
 
 Chi chen ju yii, 101 
 
 Chi ch'i, 225 
 
 Chi ch'ing, 85, 481, 526 
 
 Chi ch'ing yu yii, 125 
 
 Chi-chou, 127, 162, 509 
 
 Chicken-cups, 76, 208 
 
 Chicken-red, 372 
 
 Chicken's-claw, 448 
 
 Ch'ieh p'i tzu, 315, 370 
 
 Chieh-t'ien, 181 
 
 Ch'ieh tzii, 129, 161 
 
 Chien (sword). 115 
 
 Ch'ien ("cash"). 120; (heaven), 98 
 
 Chien-an, 163. 164, 170 
 
 Chien-chang-fu, 183 
 
 Chien-chou, 127, 162, 163, 172, 184 
 
 Cliien elm kuan, 253 
 
 Ch'ien fen, 264, 266 
 
 Chien-k'aug, 277 
 
 Ch'ien k'un ch'ing tai, 237, 247 
 
 Ch'ien-lung, 3, 45-50, (55, 71, 74,76, 77, 
 80-93, 115, 125, 128, 130, 270, 280,
 
 908 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 295, 296, 317, 328, 359, 391-419, 420, 
 458, 463, 473, 478; some specialties 
 of the period, 410; its fen-ting ware, 
 318; its flower decorations, 415; its 
 openwork carving, 269; pieces illus- 
 trated, Figs. 13, 27, 31,36, 50, 55, 61, 
 62, 65, 76, 79, 87, 90, 100. 108, 112, 
 118, 146, 163, 168, 170, 176, 179, 183, 
 185, 186, 189, 191, 249, 263, 267, 269, 
 270, 271, 273, 274, 277, 279, 281-286, 
 292, 296, 300, 301, 314, 317, 320, 333, 
 334, 336, 844, 346, 347, 349, 353, 362, 
 Plates XVI. XIX, XXII, XXVI, 
 XXVII, XXIX, XXX, XXXI, 
 XXXV, XXXVI, XXXVIII, 
 XLIV-XLVI, LXIV, LXXVI- 
 LXXVIII, LXXXI, LXXXVII, 
 XCII 
 
 Cli'ien-lung uien clii, 401, 406 
 
 Ch'ien-lung yti chili, 76 
 
 Ch'ien Niu the cowherd, 468 
 
 Chien-niug-fu, 163. 626 
 
 Ch'ien-t'an, 423 
 
 Chien t'ao, 177 
 
 Chien-t'ung, 489, 502 
 
 Chieu tz'ii (Fuchien w^are), 164, 534, 
 626, 724; examples of. Figs. 371- 
 373, Plate XIII 
 
 Chien-yang hsien, 184, 626 
 
 Chien Yao, 38, 164, 627; Takemoto's 
 I copies of, 698 
 '^ J Chih-cheng, 66, 566 
 
 Chih-chih, 178 
 
 Chih-ch'ui p'ing, 473 
 
 Chi-hsiang, 111 
 
 Chi hsiaug ju i, 100 
 
 Chill hsiu ts'ao fang, 85 
 
 Chih-luia, the Gardenia tiorida, 599 
 
 Chihli, 22, 130, 162, 257 
 
 Chih Nil, " the spinning damsel," 468 
 
 Chih pu tsu dud ts'ung shv, 606 
 
 Chih-tzii. 180 
 
 Chi Hung, 302, 371, 407, 472 
 
 Ch'ih-lung (dragon), j^n^sim, shown in 
 Fig. 278 
 
 Chi kang. 76, 208 
 
 Chi-kuan, 599 
 
 Chikuzen, 753 
 
 Children in porcelain decoration, 602 
 
 Ch'i-lin, 594 
 
 Ch'i-men-hsien, 423 
 
 Ch'in (or Kin), 108 
 
 Chin, Prince of, 144 
 
 China, its administrative divisions, 642; 
 not isolated, 565; Arab trade with, 23 
 
 China (porcelain), armorial, 611; ex- 
 amples of. Figs. 52, 360, etc. 
 
 Chin ch'ing Yu, 266 
 
 Ch'in, Ch'i, Shu, Hua, 106, 121 
 
 Chin dynasty, 56, 133, 436, 624 
 
 Chinese art, 646; characters, 42, 43, 44; 
 chronology, 25; civilization, 26; copies 
 of old Iniari ware, 609; cycles, table 
 of, 54; dictionaries, 641; dynasties, 
 table of, 56-57; literary research, 24; 
 encyclopaedias, 645, 647; intercourse 
 with western Asia, 565; numerals, 
 table of, 105; pronunciation, 45-46; 
 provinces producing porcelain, 622; 
 script, 45; syllabary, 44; works on 
 geography, 643 
 
 Chinese-English dictionaries, 641 
 
 Chinese and Japanese ceramists con- 
 trasted, 709 
 
 Chinese language, 42, 124; its translit- 
 eration, 44; used in Japan, 687 
 
 Chinese Music, 109 
 
 Chinese porcelain, classification of, 127; 
 decoration of, 557-603; Julien'sbook 
 on, 701 
 
 Ching-ch'u period, 568 
 
 Ching-lien Hall, 84 
 
 Ching lien fang fangku chih, 84 
 
 Ching-lung period, 19 
 
 Ching Pao (Peking Gazette), 459 
 
 Ching ssii fang chih, 85 
 
 Ching-tai, 455, 566 
 
 Cbing-f ai, 64, 206 
 
 Ching te, 278, 287 
 
 Ching-t?-chen passim, its name, posi- 
 tion, history, etc., 276-292; described 
 by Pere d'Entrecolles, 283-286; its 
 furnaces by Scherzer, 291, 292, etc. 
 
 Ching-U-cheii T'ao Lu, 2, 19, 172, 281; 
 quoted, 294, 306, 362, 374, 397, 457, 
 460, 633; its contents, 668 
 
 Chiug-tih (same as Chgng-tg), 217 
 
 Ching wei fang chih, 80 
 
 II
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 909 
 
 Ching-yu, 355 
 
 Ch'ing (congratulations), 100; (good 
 
 fortune), 108; (a sounding-stone), 
 
 108; (pure) 293 
 •Ch'ing-Cli'uan, 287 
 Ch'ing d^'nasty, 57; table of rulers of, 
 
 58, 61, 62; marks, 70 
 Ch'ing fan (iron sulphate), 264, 266 
 Ch'ing hua liao, 263 
 Ch'ing hua (blue and white), 289 
 Ch'ing hua pai ti (blue decoration on 
 
 white ground), 322 
 Cli'ing kuo (a fruit), 348 
 Ch'ing-lien, 526 
 
 ■Ch'ing pai tz'u (celadon porcelain), 284 
 Ch'ing pi ts'ang, 127, 133, 652 
 Ch'ing t'zu, 10, 147, 160, 686 
 Ch'ing Wan Hui, 653 
 Ch'ing yao, 271, 272 
 Chin-hua-fu, 436 
 Chin-Jukwan, 754 
 Chin-K'gng, 181 
 Chinkiang, 279 
 Chin ku (golden valley), 104 
 Chin lu (handkerchief boxes), 251 
 Chin lun (golden wheel), 113 
 Chin 111 yu. 266 
 Ch'i pao, 106, 113 
 Chin (kin) po (gold leaf), 264 
 Chin-sha, 211 
 
 Ch'in Shih Huang (emperor), 46, 287 
 Chinta-mani, 114 
 Ch'in ting ku chin t'ou sliu chi ch'eng, 
 
 646 
 Ch'in ting P'ei wen chai shu hua p' it, 
 
 647 
 Chin-Tokitsu, 754 
 Ch'in wang (imperial prince), 309 
 Chin Yung-chiin, 2'^9 
 Chiseled work, 39r, 
 Ch'i tai (seven generations), 503 
 Chiu (wine). 92, 222 
 Chiu Chan, 185, 224 
 Chiu-chiang (Kiukiang), 190 
 Chiu chung (wine-cups), 225 
 Chiu-hai fang, 599 
 Chiu Hai (wine seas), 231, 248 
 Chiu hu (wine-pots), 185 
 Chiu pei, 210 
 
 Chiu p'ing (wine-flask), 165 
 
 Chiu shih t'ung chft, 321 
 
 Chiu tsun, 23 
 
 Chi yii pao ting chih slu'n, 101 
 
 Chi yu fang chih, 88 
 
 Cho cli'i (table services), 226, 235, 435, 
 
 443 
 Choji-buro, 695 
 Chojiro choyu, 704 
 Chokei, 704 
 Choniu, 704 
 
 Chopsticks of porcelain, 506 
 Chou dynasty, 14, 26, 50, 107, 127, 
 
 436 
 Chou Ch'i yuan, 262 
 Chou Kao-ch'i, 635 
 Chou Kung, 108 
 Chou Li, 640 
 Chou Mao-shou, 209 
 Chou Ritual, 15, 640 
 Chou Tan-ch'uan, 143, 274, 625 
 Chou (historiographer), 45, 215 
 Choyu, 703 
 
 Chronology, Chinese, 14, 25, 52, 53 
 Chuan (a brick), 43; (seal characters), 
 
 46,61; (complete), 102 
 Ch'uun Fu, 657 
 
 Ch'uan (= Ssu-ch'uan), 179. 180 
 Ch'iian-chow, 184, 188 
 Chuang-yuan, 100 
 Chuang yuan chi ti, 100 
 Ch'uan Hsin Ho, 201 
 Chuan IIsli, 56 
 Ch'u chou-fu, 147, 149 
 Chlieh (Iiorns). 121; libation-cups, 141, 
 
 218. 225 
 Chu Hsi-hsiao, 197 
 Chu hung (vermilion red), 161 
 Chui ch'i (engraved pieces), 268 
 Ch'ui ch'ing (souffle blue), 347 
 Chui-hua (engraved designs), 381 
 Ch'ui hung (souffle red). 340, 347 
 Chu Lin Ch'i Hsien, 601 
 Ch'un ch'iu, 641 
 Chun-chou, 168, 471; glazes, 370, 374; 
 
 porcelain, 131, 157, 160, 161, 172, 
 
 398. 515; potteries, 195 
 Chung (bell), 108, 112; (cups), 228, 306 
 Ch'ung-chen porcelain, 70, 258
 
 910 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Chung ku cli'i, 40 
 
 Chung-lioiruan,83, 115, 579 
 
 Chung-Tsung (emperor), 278 
 
 Chuu pai yu (pure white glaze), 267 
 
 Cliiin yao, 127, 136, 157, 159, Plate 
 XCIV 
 
 ChQu-yu, 274, 289. 471, 518 
 
 Chii-p'i (orange-peel), 320, etc. 
 
 Chu P'ing. 168 
 
 Chu P'ing Chen, 114 
 
 Church at Ching-tg-chgn, 286 
 
 Chu Shan (Jewel Hill), 286 
 
 Chu shih chii, 103 
 
 Ch'li shun ]\Iei yi; fang chih, 88 
 
 Chu Sui, 19, 278 
 
 Chu t'ai, 241, 253 
 
 Chu Ts'ang Shen, 114 
 
 Chu tsun, 225 
 
 Chu Tz'u-pu (a physician), 213 
 
 Chu Yen (author of T'aoShuo), 1, 663 
 
 Chu Yi-tsun, 209 
 
 Cinnabar lac. Carved, 519; illustrated 
 in Plate XXXVII 
 
 Citron, Buddha's-haud, 141 
 
 Clair de lune, 7, 72, 129, 137, 139, 161, 
 187, 297, 310, 360, 375, 408; crackle, 
 512; illustrated in Plate LI 
 
 Classification of Chinese porcelain, 39, 
 127 
 
 Cloisonne, a Byzantine art, 566, 730; 
 flourished in Wan-li period, 259; blue 
 glaze, 379; enamels, 76, 454 
 
 Clove-boilers, 695 
 
 Cobalt, 11; native ore of, 267 
 
 Cobalt-blue, 105, 194; the predomi- 
 nating color, 440; introduced by the 
 Arabs, 130; used in Hizen potteries, 
 674; failureof supply of, 216; decora- 
 tion in, 234, 297; underglaze in 
 K'ang-hsi, 326; pieces. Figs. 22, 41, 
 53, 93. 324. 367, Plates II, VIII, 
 XVIII. LXII 
 
 " Cock-spurs," 673 
 
 Coffee-colored glaze, 313, 387, etc. 
 
 Collectors of Japanese wares, 723 
 
 Color-grinding described by T'ang 
 Ying. 440 
 
 Colored enamels >ised on Hirado ware, 
 747 
 
 Colored glass factory at Peking, 404 
 
 Coloring materials used in decorating 
 porcelain, 529 
 
 Colors, Chinese ceramic, 525-556; de- 
 scribed by P6re d'Entrecolles, 340- 
 342; used in the Ming period, 262- 
 265; that resist lieat. 291. 324; in the 
 K'ang-hsi period, 324; in the Yung- 
 chSng period, 367-390; characteristic 
 of Nien Yao, 360; used by the Dutch,^ 
 617; tlieir symbolism, 491 
 
 " Comb-teeth " texture, 742 
 
 Comfit-dishes, 507 
 
 ('ommendation, marks of, 101 
 
 (Jomnion pottery of Japan, 687 
 
 Confucius, 227, 461, 478, 559 
 
 Confucianism, 106, 572 
 
 Confucian Temple, 45 
 
 Constantinople, 454, 456 
 
 " Copper celadon," 304 
 
 Copper-greens, 538 
 
 Copper-red, 226. 235, 371; during dif- 
 ferent periods, 536; art of firing lost, 
 235; underglaze decoration in, 326; 
 pieces. Figs. 15, 28, 144, 201, 225, 
 250 
 
 Copper silicate, 194 
 
 Coque d'ceuf, 447 
 
 Coral-red, 7, 48, 311; derived from 
 iron, 511; examples of. Plates XXVI, 
 XXVIII, LXVII; combined with 
 gold, 328; example of, Plate XXVIII; 
 of the Ming period, 266; of the Ch'ien- 
 lung period, 408; illustrated in Plates 
 XCII, XXVI; of the Yung-cheng 
 period, 383; pieces. Figs. 4, 67. 96, 
 150, 161. 242, 259, 314 
 
 Couleurs de grand feu, 267, 324, 325; 
 de demi-grand feu, 266, 324; de petit 
 feu, 324 
 
 Counterfeits, fraudulent, 484 
 
 Crackled glaze (sui yu), 347, 350; how 
 prepared, 510; produced at will, 410 
 
 Crackled ware of China, 36, 188, 409, 
 508, 510, 624, etc.; of Japan, 687 
 
 Crackle petuntse, 511 
 
 Crackling, 508; due to a physical cause, 
 509; originally accidental, 510 
 
 Cream-colored faience of Japan, 687
 
 ORIENTAL CERAMIC ART. 
 
 -INDEX. 
 
 911 
 
 Cream-colored glaze, 676 
 Cricket-fighting, 195, 489 
 Crusades, 605 
 
 " Crushed strawberr}'," 307 
 Cucumber-green, 295, 317; illustrated, 
 
 Plate LXXVIII 
 Cups, various kinds of, 145, 208-209 
 Cycles of sixty years, 53; table of, 54 
 Cyclop!«dias, Chinese, 645 
 Cymbidium ensifolium, 415 
 
 D 
 
 Daishoji, 759, 761 
 
 DSgabas, 590; illustration of one, Fig. 
 349 
 
 Dana Coflection, 8, 16, 196, 680 
 
 Dark First Cause, 576 
 
 Date, Prince, 738 
 
 Dawn-red, 89 
 
 Dead-leaf, 131, 226, 265, 314, etc. 
 
 Deck, M., 441 
 
 Decorated porcelain classified, 324, 411 
 
 Decorated Satsuma, 755 
 
 Decoration, cobalt-bjue predominates, 
 ^^\^^^yiAO: motives of, 557-603; in foreign 
 " — style, 453^; in enamel colors, 270; in 
 mixed colors, 326, 412; in sepia, 326, 
 328; in white slip, 416, 523; in ink- 
 black. 884; in gold, 270; in gold and 
 silver, 328; sur biscuit, 331; of differ- 
 ent wares, 223, 256, 270, 328, 463, 
 696, 719, 729, etc. ; glazes used by the 
 Japanese in, 692 
 
 Decorative art of the Chinese, 484; de- 
 signs used, 307, 561, 563, 568, etc.; 
 objects, 499; proces.ses, 268 
 
 Decorum Ritual, 640 
 
 Deer, an attribute of Shou Lao, 116; 
 emblem of longevity, 117, 595 
 
 Degourdi, 445 
 
 Delft potters and the Chinese muffle 
 colors, 616, 712; ware in China, 609 
 
 Demi-grand feu colors, 324, 411; glazes, 
 327 
 
 Denary Cycle, 52 
 
 Dendrites, 263, 427 
 
 D'Entrecolles. See Pere d'Entrecolles. 
 
 Dentaro, 726 
 
 Descriptive list of the illustrations, 767- 
 
 902 
 Designs in the time of PC-re d'Entre- 
 colles, 351 ; in the Ch'ien-lung period, 
 
 406; with Arabic writing, 609 
 Determinatives in Chinese, 42 
 Devices as marks, different kinds of,. 
 
 105, 106 
 Dharani, 244, 246, 563 
 Dharniatrata, 586 
 Dhvaja, 112 
 Dice-boxes, 489 
 Dictionaries, Chinese, 44, 641 
 Dielytra spectabilis, 415 
 Dilatation, coefficient of, in porcelain^ 
 
 447 
 Diospyros, 181, 197, 198 
 Dipping, 445 
 
 Divination, symbols of, 106 
 Dogen, Buddliist abbot, 33, 724 
 Dohachi, 718 
 Dolichos sinensis, 7, 308 
 Dollar, Mexican, 137 
 Domburi, 7^4 
 Domestic altars, sacrificial vessels used 
 
 on, 490 
 Doniu, 704 
 Double-ring mark, 41 
 " Drageoirs " of porcelain, 506 
 Dragon, 123, 590; a full account of, 
 
 591-592; bowls, 294; -gate, 575; 
 
 -horse, 107; lamp (Chiao tgng), 161; 
 
 procession, Fig. 230; vases, 239 
 Dresden Museum, 9, 35, 98, 239, 298, 
 
 618 
 Dualism, Chinese, 107, 110 
 Ductile Jade Hall, 78 
 Duodenary Cycle, 562 
 D'Urfe, Honore, 149 
 Du Sartel, 480 
 Dutch East India Company, 9, 35, 607; 
 
 as importers of porcelain, 298; their 
 
 factory at Hirado, 739 
 Dutch influence on Japanese ceramics, 
 
 675, 712 
 Dutch intercourse with Japan, 739 
 Dynastic histories, general plan of, 
 
 642 
 Dynasties, the twenty-four. 56, 57
 
 912 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Earthenware, 13, 21, etc. 
 
 Eastern Archipelago, 510 
 
 East India companies established, 607 
 
 Eau-de-Nil tints, 390 
 
 Ebelmen, M.,263, 433, 529, 531, 540, 549 
 
 Eel-skin yellow, 73, 395, 316, 372 
 
 Egami, 743 
 
 Egg-pottery, 689 
 
 Eggshell porcelain, 191, 865, etc.; 
 pieces illustrated. Figs. 70, 71, 78, 87, 
 210, 219, 230, 335, 375, 382, 385, 287, 
 339, 356, 361, 363, 364, Plates X, 
 XI, XXIV, LIII, LXIII, LXVI, 
 LXVII, etc. 
 
 Egyptian potters and pottery, 13, 149 
 
 Ehtezadesaltanet,' Prince, 697 
 
 Eight Taoist genii, 83, 115, 579; shown 
 in Fig. 353; book on, 583 
 
 'Els T7)v ttSXiv, 454 
 
 Elder Brothers' ware, 147, 154, 369 
 
 Elector of Saxony, 239 
 
 Elements, the five Chinese, 52 
 
 Elephant, 114, 591; jar, 204 
 
 Elers of Staffordshire, 635 
 
 Elixir vitse, 116, 117, 478; prepared by 
 the hare in the moon, 595 
 
 Elizabethan porcelain, 607 
 
 Emblems of Happiness, 85 
 
 Embossed designs, 268, 383, 389, Figs. 
 55, 193 
 
 "Embroidered," symbol for, 111 
 
 Emerald-green, 139, 178, Plate LXXIX 
 
 Emouy (=Amoy), 383 
 
 Emperor of Japan, embassy to, 568 
 
 Empress Dowager, 81 
 
 Empress of Heaven, 583 
 
 Enaga, 743 
 
 Enamel colors. 130, -403, 547, 557, 567; 
 introduction into China, 675; where 
 made, 456, 551; list of monochrome, 
 551; introduction into Japan, 674; 
 pieces illustrated, Plates VI, X, XI, 
 XVII, XX, XXI, XXIV, XLVIII, 
 LXIII, LXIV, LXVI; painting in, 
 334, 550 
 
 Enameled porcelain described by Pere 
 d'Entrecolles, 344: Satsuma, 755 
 
 Enameling, in Japan, 31, 714; on cop- 
 per, 455; at Peking, 404 
 
 Enamels, how colored, 548; how ap- 
 plied, 410; European, 405; used in 
 India, 674; special work on, 700 
 
 English East India Company estab- 
 lished, 607; its trade with China, 607 
 
 Engobe, 533 
 
 Engraved pieces, how produced, 268 
 
 Enunia, 762 
 
 Erh Ya, 641 
 
 Etched designs, Figs. 8, 55, 170, etc. 
 
 Etched grounds, 467 
 
 Etude SUV La Ceramique, 700 
 
 Eunuchs as superintendents, 221, 287 
 
 European designs, 354, 355, 403, 609 
 
 Euryale ferox, 491 • 
 
 Exhibitions, 696 
 
 Export, porcelain made for, 604 
 
 Exposition of art treasures, 653 
 
 Expositions, Japanese ceramic art at, 
 696 
 
 " Face-cups," 170 
 
 Faience, 11, 12. 34, 44, 130, 456, 719 
 
 Ea-lan, or Fa-lang, name explained, 
 ^^ 380, 454 
 
 False jade vessels, 21 
 
 Fa Inn (wheel of the law), 563 
 
 Famille archai'que de Coree, 671 
 
 Famille artistique, 742 
 
 Fajnille chrysanthemo-peonienne, 270, 
 712; example of. Fig. 398 
 
 Famille rose, 63, 74, 87; colors intro- 
 duced by Ch'ien-lung. 404; typical 
 examples of. Plates XXIV, LXVI, 
 LXXVI 
 
 Famille verte, 129, 297; examples of, 
 Plates XI, LX 
 
 Famous scholar cups, 208 
 
 Fan (a Taoist symbol), 115 
 
 Fang hu, 140 
 
 Fang-jen (molders), 15 
 
 Fang Ku Yueh Hsiian, 87, 400 
 
 Fang-sh6ng, 120, 123, 247 
 
 Fang shih mo p'u, 661 
 
 Fang Yli-lu (a noted ink-maker), 661
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 913 
 
 Fan hung, 235, 266 
 
 Fan-tz'u (turned porcelain), 535 
 
 Fashioning and jKiintiug of vases, 
 
 described by T'ang Yitig, 443 
 " Father of Pottery " in Japan, 693 
 Fei-ts'ui, 315, 398, 409. 680 
 Feldspar, 426; its fusing point, 453 
 Feldspatiiic glaze mixed with cobalt, 
 
 541 
 Female beauty, Chinese standard of, 
 
 602 
 Fgn (flour), 142 
 Fenallosa, Professor, 701 
 Fgn-ch'ing (starch-blue), 138, 437, 552 
 Fgng, or Fgng-Huang, the Chinese 
 
 phoenix, 590; a full account of, 593 
 Feng hsien t'ang, 83 
 Fgng Huo Hsien (Genius of the Fire- 
 blast), 288 
 Fgng kuei tgng, 218 
 FSng t^ng (phoenix candlestick), 145 
 Fgngt'iaoyu shun, T'ien hsia t'ai p'ing, 
 
 246 
 Fgn-hung (pale pink), 408, 528 
 Fgn mi (grains of rice), 110 
 Fgn ting, 142, 318, 370, 533; reproduced 
 
 at Ching-t^-chSn, 174; made in 
 
 Kiangsi. 625; illustrated in Plates 
 
 LXXXIX, XCI; crackle, 320, Fig. 
 
 172 
 F^n ts'ai (pale colors), 550; example in 
 
 Plate LXIII 
 Feou-leam (= Fou-liang), 282 
 Ferghana, kingdom of, 565 
 Fer oligistique terreux, 265 
 Fertility, emblem of, 112 
 Feuille morte, couleur de, 348 
 Ficus religiosa, 123 
 Fighting crickets, bowls for, 195 
 Figure decoration, 570; examples of, 
 
 Figs. 328 and 341 
 Figures (Jgn Wu), 569 
 Figure-subjects, 600 
 Filial piety, animals distinguished for, 
 
 110; the twenty-four paragons of, 
 
 602 
 Firing of porcelain, described by Pere 
 
 d'Entrecolles, 344, 345; during the 
 
 Ming period, 260, 271, 272 
 
 First mention of porcelain out of China, 
 
 605 
 Fish-dragon, 574 
 
 Fish-roe crackle, Juchou glaze, 370 
 " Fish-roe green " of Ch"ien-lung ; illus- 
 trated in Plate XXVII 
 Fish-roe yellow crackle, 514; illustrated 
 
 in Plate LXXXVII 
 " Fissured ice," 509 
 Five classics, 640 
 Five-color decoration, 5, 325, 378, 387, 
 
 etc. See Wu-ts'ai. 
 Five happinesses, 116 
 Five Ling, 591 
 Flambe glazes, 6, 104, 107, 157, 219, 
 
 302, 870, 407, 516, 517; illustrated in 
 
 Plates XVI, XLI, XLVI, LXXXVIII 
 Flat jars (Pien kuan), 195 
 Floral devices on ancient bronze mir- 
 rors, 563 
 Floral rebuses, 599 
 Flower-pots for growing plants, their 
 
 different sizes, styles, and names, 498 
 Flowers, art of arranging, 607; used in 
 
 porcelain decoration, 415, 598, 599; 
 
 of the four seasons, 125, 228, 598: 
 
 the hundred, Fig. 279 
 Flower-vases, 151, 196, 499; Japanese, 
 
 693; special works on, 496 
 Flute, 115; of Wang Ch'iao, 583 
 Fluxes, composition of, 548 
 Flying storks, their symbolism in 
 
 Japan, 738 
 Fo-lang Ch'ien, 454, 455 
 Fo-lin, name explained, 454 
 Fond laque, 226, 265, 313 
 Fonspertuis Sale, 608 
 Foot, scooping it out, described by 
 
 T'ang Ying,' 448 
 Footprint of Buddha, 114 
 Foreign designs on porcelain nuide for 
 
 export, 380, 609 
 •/foreign intercourse with Japan, 739 
 Forms and uses of Chinese porcelain 
 
 objects, 488-507; of Japanese pottery, 
 
 693 
 ,^*^o-to'u ch'ing (Buddha's-head blue), 
 
 263, 439 
 Fou (vessel), 43
 
 G 
 
 914 ORIENTAL CERAMIC ART. INDEX. 
 
 Fou-kien (= Fuchien), 282, 283 Fungus, the sacred, 116, 596, etc. 
 
 Fou-liaug, 2, 17, 19, 20, 21, 41, 335; Furnaces and tiring, 271, 290, 344, 351 
 
 ^^ -cliou, 177; -lisien, 65, 177, 183, 260, Furnace-transmutation, 130, 219, 220, 
 
 262, 279, 281, 398, 424, 460 370, 514, 516. See Transmutation. 
 
 Foa Uany hsien chih, 2, 17, 178, 279; Fusliimi, 705 
 
 U^ its different editions, 645; extracts 'Fu shou (happiness and longevity), 99, 
 
 from, 223, 235 '"^ 104 
 
 \/^Fou lou tsiang, 92 Fu shou k'ang ning, 228, 242 
 
 " Four accomplishments," 121 Fu shou shuang ch'iian, 99, 124 
 
 Four-burner lamp described, 205 Fu Tsun (wine-jar), 138, 146 
 
 Four seasons, flowers of, 125, 228; Fylfot, 98 
 
 vase of, Plate LXIV 
 Four supernatural creatures of the Chi- 
 nese, 591 
 
 Fox, the, 595 Gallipot, 497 
 
 Fragments mounted as ornaments, 508 Garden bowls, 252 
 
 Fraise ecrasee, 307 Garden seats, 195, 251 
 
 Franks, Sir Wollaston, 8, 32, 693; his Garland Collection, 8 
 
 collection, 8, 214, 682, 699; his cata- Garniture de cheminee, 501, 502 
 
 logue, 94, 726 Garuda, the golden-winged bird, 590 
 
 Frederick the Great of Prussia, 239 Genipin-yaki, 728 
 
 French-gray, 467 •Genghis Khan, 256, 566 
 
 wFruit-dishes, 226 Genius of Fire and Blast, 461 
 
 Fruits in porcelain decoration, 597 Gem-e Kakiyemon, 742 
 
 Fu (axe), 111; (bats), 126; (happiness), Genwa, 752 
 
 97, 165; (an ornamental symbol). 111, Geography, Chinese works on, 643 
 
 124, 490 Ger.saint, porcelain expert, 608, 617 
 
 Fuchien, 89, 162, 164, 170, 180. 181, Ghanta (bell), 112 
 
 626, 627; porcelain, 143, 318, etc.; Gilded decoration, 260, 270, 343, 390 
 
 originally black, 626; now ivory- Giles, Herbert, his dictionary, 44 
 
 white, 678; pieces. Figs. 60. 303, 310, N/Glass-(liu li), 180 
 
 371-373, Plate XIII " Glaze earth," where obtained, 181 
 
 Fu ch'ing fang chih, 86 " Glaze fruit," 428 
 
 Fu-chou-fu, 183 Glazed pottery in Japan, 686, 734 
 
 Fuel used in tiring porcelain, 352 Glazed ware, ancient, 13, 40, 41 
 
 Fu-hi, or Fu-hsi, 25, 55, 107 Glazes, qualities required in, 446; 
 
 Fujina, 725 rocks used in their preparation, 261; 
 
 Fujisan, or Fujiyama, 691 how prepared, 427; how applied, 
 
 Fuji-yo, 687 446; described by PSre d'Entrecolles, 
 
 Fu-jung (Hibiscus mutabilis), 236 335, 336, 337; analyzed by Salvetat, 
 
 Fu ju tung hai, 245 428; that crackle, 448; monochrome, 
 
 Fu ki chb mei, 742 129; used in Japan, the, 692; of the 
 
 Fuku, 765 demi-grand feu, 760 
 
 Fu kuei cli'ang ch'un, 96 (ilazing, sprinkling method described, 
 
 Fu kuei ch'ang ming, 742 y 446 
 Fu kuei chia ch'i, 96 >/G6, the game of, 242, 744 
 
 Fu-kuei-flovver, 126 God of the Furnace-blast, Life of the, 
 
 Fu, hi, shou, 97, 242 306 
 
 Fu-lin, 454 God of Heaven, 93; of Literature, 100, 
 
 I
 
 ORIENTAL CERAMIC ART. INDEX, 
 
 915 
 
 572, 574; of Longevity, his special 
 attribute, 124; of Porcelain, 355; of 
 Pottery-making, 460; of Hiclies, 120; 
 of Thieves, 583; of AVar, as a motive 
 of decoration, 573 
 
 Goddess of Mercy, 130, 511, 627; 
 shown in Plate LX 
 
 Gods represented on porcelain, 100 
 
 Go Hei, 699 
 
 Gohonde, 752 
 
 Gold, in decoration, 556, 761; colors 
 developed from, 406, 529 x^ 
 
 " Golden wheel," 113 / 
 
 Gold precipitate, colors developed 
 from, 528 v 
 
 Gombroon ware, 522, 608 
 
 Gonse, Louis, 700 
 
 Goodrich, Rev. Chauncey, 44 
 
 Gorodayu Shonsui, 32, 33, 711, 736 
 
 Gorohachi, 712 
 
 Gorohichi, 712 
 
 Go-sai (= Chinese Wu-ts'ai) 35, 687 
 
 Gosu Gombei, 738 
 
 Goto Saijiro, 718, 759 
 
 Gourd, the Chinese, 165, 497, 597 
 
 Gouthiere, 4, 315 
 
 Graesse, Dr., 9, 149 
 
 Grand Canal, 190, 279 
 
 Grand feu, 267, 452; of Sevres, 739; 
 colors of the, 324, 325, 411, 531 
 
 Grandidier, M., 299, 372, 414, 488; his 
 collection, 9 ; his classification of 
 Chinese porcelain, 128 
 
 " Grape-trellis cups," 209 
 
 Grass hand, 46 
 
 Grayish-green crackle, Plate LXXXVI 
 
 Great Bear, 559 
 
 Great Learning, The, 80 
 
 Great Wall of China, 44, 177, 286 
 
 Greek art, its influence in the Han, 565 
 
 Green, crackle, 408, 514; illustrated in 
 Plate XXVII; enamels, 551; glazes, 
 317; Lang Yao. 303, 304; mono- 
 chromes, 513; illustrated in Plates 
 LXXVIII and LXXXI 
 
 Grinding the color, described by T'ang 
 Ying, 440 
 
 Gros bleu, 203, 436; illustrated in Plate 
 XXIX 
 
 Gros vert, 139, 317 
 
 Gudgi blanga, 154 
 
 Guiliaunie Boucher, 566 
 
 Gyogi, reputed inventor of the potter's 
 
 wheel, in Japan, 714, 731 
 Gyoku Kozan, 754 
 Gypsum (shih kao), 335 
 
 H 
 
 Ilachikan, 35 
 
 Hadji Khalifa, 148 
 
 Hague, The, 607 
 
 Hai-chou, 396 
 
 Hairpins of porcelain, 506 
 
 Hai-fang (cydonia). 126, 208, 416, 599; 
 
 hung, 370 
 Ha jibe (potters), 29 
 Hakeme ware, 754 
 Hall-marks, 78-91 
 Hall-names of tirms, 94 
 Hana-ike, 695, 698, 747, 758 
 Han Chiin (Chinese army), 393, 396 
 Han dynasty. 15, 16, 26, 27, 53, 116, 
 
 133, 146, 276, 392, 602; bricks and 
 
 tiles, 558; carvings, 563; mirrors, 
 
 561; piece illustrated. Fig. 49 
 Handkerchief-boxes, 251 
 Hand spittoon (cha-tou), 506; example 
 
 in Fig. 314 
 - Hangchou (city), 48, 138, 624 
 Hanging basket, 499; a good example, 
 
 Fig. 306 
 Hanging lamps, 499 
 Han Hsiang Tzii, 115, 581 
 Han-ku, 575 
 -^ Hanlin College, 3, 94 
 Hao Shih-chiu, 89, 274 
 Hard porcelain, its composition, 453; 
 
 art of making, 610; of Germany and 
 
 Sevres, 425; of Japan, 688 
 >-^^are (in the moon), 110, 591, 595 
 /^Hare-fur cups, 170, 184, 724 
 Hare-skin glaze, 164 
 Harima no Daijo, 731 
 Hat-stands, 500 
 Havard, M., 616 
 " Hawthorn-jars," 440, 598; examples 
 
 in Plates II and XXXIY
 
 916 
 
 ORIENTAL CERAMIC ART, INDEX. 
 
 Head-Hunters of Borneo, 154 
 
 Heaven, God of, 93; Empress of, 583; 
 worship of, 153 
 
 " Heaven "-character jars, 258 
 
 Heichesliih, 265 
 
 Hei ch'ien (lead), 264; mo, 265 
 
 Hejira, 605 
 
 Hempen Bag, Monk with the, 587, 757, 
 shown in Fig. 395 
 
 Henry Deux faience, 681 
 
 " Hermit hidden in the teapot," 274 
 
 Herodotus, the Chinese, 565 
 
 Hibiscus mutabilis, 236 
 
 Hibiyaki, 36, 687 
 
 Hidachi no Daijo, 738 
 
 Hideyoslii, 704, 738 
 
 Hieratic devices, 563 
 
 Higashima Tokuzayemon, 35 
 
 Higli-fired colors, 532; derived from 
 iron, 539; used in combination, 543 
 
 Higo, 681 
 
 Higuchi Haruzane, 698; his master- 
 piece. Fig. 318 
 
 Hi-Hsien, 660 
 
 Hindu source of Taoist ideas, 565 
 
 Hippisley, Mr., 20; his Collection, 8, 
 85, 400, 469 
 
 Hirado, 712; blue, 744; blue and white, 
 672; porcelain, 321; processes of 
 decoration, 744, 745; shown in Plates 
 CX-CXni; white, 746; example, 
 Plate CIX; ware, 736, 743; pieces 
 illustrated. Figs. 318, 384, 386-388, 
 391, 394, 402-405, Plates CIX-CXHI; 
 potters, 698; the Dutch factory at, 
 671, 739; Three Porcelain Hills of, 
 743 
 
 Hirado-gama (Hirado-kilns), 743 
 
 Hirth, Dr., 454 
 
 Historical Classic, 109 
 
 Historical liecords, 642 
 
 History, Book of, 640 
 
 Hisazumi Morikage, 760 
 
 Hizen, 34, 35, 753; origin of the ceramic 
 industry of, 674, 734; principal por- 
 celain center in, 710; first appear- 
 ance of the Portuguese at, 739; ware, 
 689,735; pieces illustrated, Figs. 396, 
 400, 401 
 
 Ho (boxes), 43 
 
 Hoai-ning-hien, 18 
 
 Hoai-yang, 18 
 
 Ho-ch'eug pei, 170 
 
 Ho-chou pottery, 185 
 
 Hochu, 751-755 
 
 Ho Chung-ch'u, 18, 21 
 
 Hoffman, Prof. J., 701 
 
 Ho Ho Erh Hsien, 165, 583; shown in 
 
 Fig. 346 
 Ho H.sien-ku, 83, 115,581; shown in 
 
 Plate LXni 
 Ho Hsi-ling, 3 
 Ho k^ng wan, 225 
 Holme, Charles, 691 
 Holtrop, M., 85 
 Holy Grail of Buddhism, 123 
 Holy Mother of the God of Heaven, 
 
 93 
 Honau, 24, 136, 157, 481 
 Honore d'Urfe, 149 
 Hooker, Sir Joseph, 597 
 Ho-pao Moutan, 599 
 Ho-pin, 14 
 Horeki, 743 
 Horidashite, 737 
 Horoku, 694 
 Horse in Art, 591 
 Ho-shang " the Monk," 587 
 Hotel, 587, 757, Fig. 395 
 " Hotel of Benevolence and Harmony," 
 
 79 
 Ho yeh, 180 
 Hsi (water-bowl), 156 
 Hsia dynasty, 25 
 Hsiang (the elephant), 114 
 Hsiang ch'iu (perfume-globe), 500 
 Hsiang-ho (incense-boxes), 168 
 Hsiang lu, 155 
 Hsiang Shan Shih, 46 
 Hsiang tsun (sacrificial jar), 144, 204, 
 
 491 
 Hsiang t'ui (elephant's legs), 180 
 Hsiang Yuan p'ien, 1, 132, 134, 193 
 Hsiang Yuan-tu, 170 
 Hsiao Hsiu, 195 
 Hsiao ku ch'i, 40 
 Hsiao-li, 424 
 Hsiao P'ing, 144
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 917 
 
 i 
 
 Hsia Yao (seggar furnaces). 271 
 
 Hsi ch'ao chi wan chili clien, 73 
 
 Hsi-Vh'iug ku chien, 45, 495, 649 
 
 Hsieh chu chu jgn tsao, 84 
 
 Hsien-feng, 75, 469 
 
 Hsien-hung (copper-red), 226, 235, 371 
 
 Hsien-shun, 3 
 
 Hsi Fan lieu (Indian lotus), 475, 748 
 
 Hsi hsuai p'en, 195 
 
 Hsi-kua cliou, 281 
 
 Hsin-ch'ang, 18 
 
 Hsing Chen, " the Stars," 110 
 
 Hsing-Cheng-tu, 260 
 
 Hsiug chou, 22 
 
 Hsin ch'ou (a cyclical year), 404 
 
 Hsing-sliu (running hand), 46, 61 
 
 Hsin-hai (a cyclical year), 399 
 
 Hsin-p'ing (original name of Fou-liang), 
 18. 19, 21, 127, 277 
 
 Hsin Ssil, 55 
 
 Hsin Ting (new Ting), 143 
 
 Hsin tsun (rhinoceros jars), 225, 491 
 
 Hsiu-ch'iu (the hydrangea), 599 
 
 Hsi Wang Mu, 116, 363, 561; visited by 
 ]Mu Wang, 591; represented in Fig. 
 339 
 
 Hsi yil, 101 
 
 Hslian-ch'eng, 211 
 
 Hsiian-ho, 45, 65, 142, 299; nien chili, 
 65; palace, 140 
 
 Hsiian-liofeng shih Kao-li t'ou ching, 679 
 
 Hsilan ho hua j/u, 647 
 
 Hsi'ian ho Po Jcu t'ou lu, 648 
 
 Hsiian-te, 11, 40, 67, 92, 133, 135, 168, 
 186, 191, 203-209, 216, 221, 222, 262, 
 267, 298, 302, 309, 321, 322, 385, 436, 
 450, 479, 484, 605; noted for blue and 
 white, 567; porcelain, 192, 193, 198- 
 205; copied, 371, 375, 379, 606; pieces 
 illustrated. Figs. 210. 371, etc.; nieu 
 cliih, 629; t'ung pao, 261 
 
 Hsiian Ti, emperor, 558 
 
 Hsiian-Wang, 45 
 
 Hsil Ching on Korean porcelain, 679 
 
 Hsixeh pal (snow-white), 552 
 
 Hsun-fu (governor of a province), 301 
 
 Hsii Shgn, 641; (a cyclical year), 397 
 
 Hsli Shih (President of the Censorate), 
 235 
 
 Hsu Shut JIu (Stories of Brigands), 570 
 Hsli T'ing-pi, 305 
 Hsil Tsung-ssii, a native artist, 198 
 IIu (= Hukuang), 179; (a measure), 
 
 200; (jar), 146, 203, etc.; (vase), 151; 
 
 (wine-pot), 160; (water-pot), 167; 
 
 (ewer), 225 
 Hua (flower), 112, passim 
 Hua-chiao, 169 
 Hua Chung (the variegated animal), 
 
 110 
 Huai an-fu, 274, 279, 392, 395, 397 
 Huai Nan Tzu, 468 
 Hua Lan, 115 
 
 Hua Naug (flower- vase), 151, 205 
 Huang (a general of the guards), 137, 
 
 198 
 Huang (yellow), 314; tiao (yellow stuff), 
 
 181 
 Huang An. the hermit, 583 
 Huang lu huan (yellow and green 
 
 panels). 331 
 Huang lu tien, 295 
 Huang pan tien (variegated yellow), 
 
 372 
 Huang-ti, " Yellow Emperor," 14, 25, 
 yhQ, 84, 560 
 Huang tien pan, 317 
 Huang-tu, 264, 424 
 Huan Ti (emperor), 47 
 Huan Ts'ui T'ing, 288 
 Hua-p'i (painters sur le cru), 339 
 Hua-shih (steatite), 350, 510; used to 
 
 replace kaolin, 350 
 Hua tsun, 195 
 Hu-ch'iu (a bonze), 214 
 Hui ch'ing (Mohammedan blue), 69, 
 
 216, 262; also hui-hui ch'ing, 193, 
 
 203, 256 
 Hui-chou-fu, 423 
 Hui-hui Wen, 256 
 Hui se (gray color), 139 
 Iluish, M. IB., 505, 691 
 Hui Tsung, 65, 570 
 Hui-tzu and Chuang-tzu, 102 
 Hu-k'6ng, 181 
 Hulu (gourd), 115, 176, 180, 214, 597, 
 
 etc. 
 Huluiiu, 256, 567
 
 ■918 
 
 ORIENTAL CERAMIC ART. — IXDEX. 
 
 Hundred antiques (Po ku), 106. 118, 
 etc. 
 
 "Hundred flowers" used in decora- 
 tion, 415; example of. Fig. 279 
 
 Hung (red). 314, etc. 
 
 Hung-chih, 68. 133, 135, 313. 214. 215, 
 266 
 
 Hung-chou. 19 
 
 Hung-hsi, 67, 461 
 
 Hung lu Iman, 345 
 
 Hung-tien (red sliops), 267 
 
 Hung wen (red markings), 374 
 
 Hung-wu, 66, 287; porcelain, 190 
 
 Hun-shui ch'ing (turbid-water blue), 
 221, 439 
 
 Hunting, Odes in praise of, 45 
 
 Hu-p'i (tiger-skin), 317 
 
 Hu-tieli-hua (Iris japonica), 599 
 
 Hu-t'ien, 179; potteries at, 183; shih, 
 281 
 
 Hu tou (paste-pots), 168 
 
 Hu yin Tao jgn, 89 
 
 Hwai Nan Tzii. 109 
 
 Hydrangea, 599 
 
 laon (in Chinese Yuan), Greeks, 565 
 
 Ibn Batuta, 11, 184 
 
 Ichiniu, 704 
 
 Idzumi, 29, 737 
 
 Idzumo, 707, 725 
 
 Iga, 688 
 
 lidaya Hachiroyemon. 761 
 
 Ikakura Goyemon, 718 
 
 Hlustrations, descriptive list of, 767-902 
 
 Imari, 35, 674; -yaki, 687, 712; name 
 
 explained, 735; pieces illustrated, 
 
 Figs. 389, 398, 399, Plates XCV, 
 
 CVI 
 Imariya Gorobei, 738 
 Imbe, 721 
 Imitation jade, 277 
 Imitations of Chinese porcelain, 469, 
 
 620; of natural substances. 519 
 Immortality, the drugs of, 110 
 Imperial Cyclopaedia, 134 
 Imperial Household (Nei Wu fu), 279, 
 
 305 
 
 Imperial potteries, 2, 66. 72, 287, 288, 
 
 305, etc. See Ching-te-chgn. 
 Imperial ware, 40. 50, 127, 306 
 Imperial yellow, 266, 316 
 Impressed designs, 534 
 Incense-boxes, 168. 238 
 Incense-burning among the Chinese, 
 
 168, 493; part of the Tea ceremonies, 
 
 694 
 " India china," 610 
 Indra and his consort, 561; his elephant. 
 
 114 
 Industrial processes, work on, 658 
 Ink, Chinese works on. 660, 661 
 Ink-black decoration. 384 
 Ink-pallets, 140, 166, 173, 202; of Tuan- 
 
 hsi. 22 
 Inscriptions, 42, 169; Arabic, 217, 
 
 610; example of. Fig. 103; poetic, 
 
 48-50. 73, 104. 402; of dedication, 92 
 Institutes of Ta Ch'ing dynasty, 225 
 Intercourse with Western nations, 604 
 Iron, colors developed from, 527, 539; 
 
 -peroxide, 478; sulphate, 264; staff of 
 
 lame beggar, 115 
 Iron-red. 235, 536; how prepared, 311; 
 
 decoration, 327; pieces illustrated. 
 
 Plates XXVI, XXVIII. XXXII 
 " Iron-rust." 406, 519; illustrated in 
 
 Plate XIX 
 Ise, 33, 688 
 Ishiyaki, 687 
 
 " Isles of the Blessed," 100 
 Ispahan, Chinese potters at, 256 
 Itoguiri, 702 
 Ivory-white, 143, 191, 534; illustrated, 
 
 Plate XIII; of Korea, 678, 683 
 Iwayagawa, 742 
 lyeyasu, 739 
 
 .1 
 
 Jacquemart, i\I., 35, 39, 40, 92, 214, 
 270, 482, 611, 616, 673, 708; and Le 
 Blant, 105 
 
 Jade, 108, 115, 120, 144; miraculous 
 growth of, 560; vessels of, 171, 198, 
 472; ornaments, etc., of, 30, 560; not 
 found in Japan, 31; books on, 648; 
 -cutter's wheel, 296, 486
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 919 
 
 Jadeite, 150 
 
 Jakatsu, 752 
 
 James I of England, 503 
 
 Jao-chou, 2, 19, 182, 190, 207, 221, 263, 
 
 , 279. 294. 332. 423; jade, 178; porce- 
 ' lain, 171-176 
 
 Jao choii fn rhifi, 644 
 
 Jao-chou jade, 178, 179 
 
 Jao-tcheou (= Jao-chou), 282 
 
 Japan, attempted Mongol conquest of 
 188; Portuguese intercourse with 
 607; a porcelain-purchaser in China 
 283; her indebtedness to Korea, 684 
 its opening by Perry, 696; its art 
 691, 700; chief exponents of its art 
 700; ceramic art of, 685-765; its 
 ceramic wares, 687, 689, 711, 723 
 ceramic literature, 700 
 
 Japanese language, 686 
 
 Japanese Pottery, work in English on, 
 700 
 
 Jars, 144, 146, 153, 160, 203, 224, 237. 
 etc. 
 
 Jasmine, 415 
 
 Jean Laudin, 405 
 
 Jehangir, 239 
 
 Jgn Ho (Benevolence), 402 
 
 Jgn ho kuan, 79, 166 
 
 Jgn-hsil (cyclical year), 178 
 
 Jgn-k'gng, 181 
 
 Jgn mien hsi, 369 
 
 J6n-mien pei (face-cups), 170 
 
 Jen Tsung, 255 
 
 Jesuit China, 616, example in Plate 
 XIV 
 
 Jesuits' expedition to Home, 750 
 
 " Jeweled " ware, 749 
 
 Jewel Hill at Ching-te-ch^n, 190 
 
 Jewel of the Law, 120 
 
 Jigger, the, 432, 443 
 
 Jili hsia cliiu wen, 660 
 
 Jo-en, 743 
 
 Johanneum at Dresden, 9, 239, 607 
 
 Jo sheu chen ts'ang, 101 
 
 Joss, explained, 492; joss-sticks, 492 
 
 Juan ts'ai (soft colors), 550 
 
 Ju-chou, 136; glaze, 369, 512; porcelain, 
 436 
 
 Ju I Chu, 114 
 
 .Jui hsiang, the Viburnum odoratissi- 
 
 muni, 599 
 Jui scepter, 112, 119, 123 
 Jujube-red, 466 
 
 Julien, Stanislas, 2, 17, 18, 368, 455 
 Jupiter, his color, 492 
 Ju-Kaku, 704 
 
 Ju yao, 127, 133-137, 160, 625; glaze, 136 
 Ju-yu (grayish blue) glaze. 410 
 Juzayemou, 752 
 
 K 
 
 Kaempfen, M., 703 
 
 Kaga as a porcelain center, 718, 759; its 
 
 ware, 762 
 Kagami no Hazama, 30 
 Kagoshima, 751, 753 
 K'ai-feng Fu, 24, 66, 138, 156. 369, 373, 
 
 481 
 K'ai p'ien (crackled), 320 
 K'ai shu, 61 
 K'ai-yuan, 18 
 Kajiki. 752 
 Kakiyemon, 712 
 Kalasa (vase), 112 
 Kamo. 730 
 Kamogawa, 704 
 Kanazawa, 760, 761 
 Kandy, Chinese porcelain found in, 
 
 605 
 Kane, Kanegae. 737 
 Kang (fish-bowl), 43, 212, 223, 230, 306 
 Kang-he (same as K'aug-hsi), 80 
 K'ang-hsi, 4-7, 41, 62, 63, 70-74, 77, 82. 
 
 85, 98-99, 103-106, 119, 122, 128, 137. 
 
 240, 259, 267, 287, 295-304, 312-323. 
 
 329, 332, 359, 380, 391, 414, 421, 674. 
 
 740; period, 293-331; brilliancy and 
 
 special triumphs of, 296; colors, 499; 
 
 decoration, 601; marks, 298; wu-ts'ai, 
 
 550; pieces illustrated. Figs. 4-6. 
 
 9-11, 14, 16-19, 22, 24, 26, 29, 34, 35, 
 
 37, 39, 42, 45, 46, 51-54. 58. 71. 75. 
 
 78. 82, 83, 85, 88, 89, 94-96, 105, 110. 
 
 114. 117. 127. 128, 145, 152, 156, 169, 
 
 171, 178, 182, 184, 187. 188, 193-195. 
 
 197-204, 208. 209, 212, 214, 215, 225- 
 
 228, 231-233, 236-242, 247, 248, 260,
 
 920 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 266, 268, 272, 299, 304-308, 313, 315, 
 328, 329, 338, 343, Sol, 357-359, 366, 
 367,379; Plates I-IX, XI, XIV. XV, 
 XVII. XVIII, XXVIII. XXXIV, 
 XXXIX, XLII, L-LII. LIV-LXII, 
 LXVII-LXIX, LXXI, LXXIII. 
 LXXIV, LXXVIII, LXXX, 
 LXXXII, LXXXIII, LXXXIX- 
 XCI, XCIII 
 
 K'ang-hsi yu chili, 76 
 
 Kang pei (wine-cups), 811 
 
 Kang yao (fish-bowl kilns), 271, 272, 
 290 
 
 Kano Tanin, 719, 732 
 
 Kano Yeishin, 732 
 
 Kao Chiang-ts'un chi, 659 
 
 Kaodzuke (Kodzuke), sepulchral 
 mounds at, 27 
 
 K'aoKu T'ou, 648 
 
 E'ao kung cJii, 15, 430, 641 
 
 Kaoli. 32; illustrated description of, 
 679; yao. 681 
 
 Kaolin, 285, 333; where found, 333, 
 described, 423; how prepared. 335; 
 proportions used in different wares, 
 425; in Japan, 711 
 ^^Kao-ling, 423 
 
 \ Kaolinic porcelain, temperature re- 
 quired, 453 
 
 Kao Li-ssu. 599 
 
 Kaoli-yao, 681 
 
 K\io p'an yil shih, 169; its contents. 
 654 
 
 Kao-shan. 181 
 
 Kao T'an-jgn, 208. 659 
 
 Kao-ti. 18 
 
 Kao Yao, an ancient judge, 44 
 
 Ka-pa, a Manchu official, 295 
 
 Karabacek, Professor, 10, 148 
 
 Karabori (Chinese canal), 735 
 
 Karako decoration, 744, 758; examples 
 of, 386, 402 
 
 Karakorum, 566 
 
 Kara-kusa, 748 
 
 Kara-mono (Chinese ware), 33 
 
 Karatsu, 32; -yaki, 734; -ware, 711 
 
 Kashizara, 744 
 
 Kato Shirozayemon, 33, 724, 729 
 
 Kato Tamikichi, 729 
 
 y 
 
 Kawara, 743, 752 
 
 Keian, 759 
 
 Keicho, 704, 735, 743, 7^3 
 
 Keiniu, 704 
 
 Keng Hsii, 55 
 
 Iveng-wu (cyclical year), 178 
 
 Kenzaii, Ogata, 717, 733 
 
 Keramic Art of Japan, 699 
 
 '■ Keyser-cups," 612 
 
 Khanbalik, 177 
 
 Kliaug hi (= K'ang hsi), 300 
 
 Iv'iai shu, 46 
 
 Iviangnan, 13, 93, 135, 179, 181, 185, 
 423 
 
 Kiangsi (province), 2, 93, 127, 130, 135, 
 162, 177, 181. 183, 206, 263, 279, 293, 
 295, 392-395, 423, 436, 470; devas- 
 tated, 75; general history of, 3 
 
 Kiangsu, 180, 279. 392, 635 
 
 Kiang Tzu-ya, 601 
 
 Kiang-yang hsien, 375 
 
 Kia-tsing, 45 
 
 Kichizayemon, 704 
 
 K'ien-lung, 45. 49. See Ch'ien-lung. 
 
 Kihei, 752 
 
 Kiheiji, 738, 739 
 
 Kii, Princes of, 733 
 
 Kiku-flower, 757 
 
 Ki lin (= Ch'i-lin), 251, 560, 594 
 
 Kiln, putting the ware in the, 450 
 
 Ki-men, 333 
 
 Kimura, 30 
 
 Kingfisher-green, 680; plumes, 265 
 
 King-t6-chen, 332-336, 356 
 
 King-te-tching (= Ching-te-chen), 282 
 
 Kinko, 687, 737 
 
 Kinkozan, 717 
 
 Kinkozan Sobei, 753 
 
 Kinrande, 762 
 
 Kio-hio, 742 
 
 Kiri-flower, 756 
 
 Kirk, Sir John, 148, 605 
 
 Ki Tzu, Viscount of Ki, 26 
 
 Kiukiang, 93, 279, 280, 392, 396, 397 
 
 Kizajemon, his discovery of seggars, 
 
 738 
 Ko-an, 726 
 Koban, 758 
 Kochi, 760
 
 ORIENTAL CERAMIC ART, INDEX. 
 
 921 
 
 Kogei SMrio, 701 
 
 Kogo, 694 
 
 Kojiki (ancient Japanese annals), 29, 31 
 
 Kojiro Kwanja, 735 
 
 Koki, a skilled Korean potter, 30 
 
 Ko-ki-kwan Moku-bei tsukuru, 734 
 
 Ko Kutani, two varieties of, 760, 761 
 
 Ko feu yno lun, 130, 142, 162, 165. 171, 
 185, 650, 680; its contents, 650 
 
 Kokwa, 755 
 
 Ko Ming lisiang chili, 89 
 
 Komogawa, 753 
 
 Ko porcelain, 137, 167 
 
 Korai-machi, 751 
 
 Koransha, 739 
 
 Korea, 32, 39, 676-684; its pottery and 
 porcelain, 670, 711 ; its early knowl- 
 edge of pottery, 26; Chinese author 
 on, 679; ware attributed to, 670, 676, 
 678; its popularity in Japan, 681; 
 Japan's indebtedness to, 684; burial 
 customs in, 683; pieces illustrated, 
 Figs. 134, 380, 382; Plate CXVI 
 
 Koro, 758, 764 
 
 Ko Seto, see Seto. 
 
 Ko-Shigaraki, 726 
 
 Koshishiro-Tsukemimi, 726 
 
 Kotoku, 734 
 
 Kotsubo, 758 
 
 Ko yao, 127-136, 140, 147, 154, 155, 160, 
 169-174, 176, 437, 509; crackle, 273; 
 glaze, 369, 471 
 
 Kozan, Miyakawa, 697, 698 
 
 Kozayemon, 752 
 
 Ku (ancient), 87; (drum) 108; (vase), 137 
 
 Kuai (sacrificial bowls), 394 
 
 Kuam-bun, 738 
 
 K'uan (mark or "seal"), 59; (imperial 
 or government), 138; (jars), 43, 229, 
 306 
 
 Kuan-chung (= Shensi), 21 
 
 Kuang (= Kuangtung), 180, 181 
 
 Kuang chiao, 266 
 
 Kuang-hsu, 2, 76; imperial porcelain of, 
 487 
 
 Kuang-p'ing fu, 164 
 
 Kuangsi, 469 
 
 Kuangtung, 89, 181, 436, 469; potteries, 
 188; principal centers, 632 
 
 L/ 
 
 Kuang Yao, 5, 188, 369, 375, 632; colors 
 
 of, 633; examples of. Figs. 369, 370, 
 
 374, Plate XLI 
 Kuan ku cli'i. 40 
 Kuan liao (imperial glass), 86 
 Kuan porcelain, 137, 139 
 Kuan-ti, the God of War, 461, 572; his 
 
 temple, 288; shown in Fig. 343 
 Kuantung, 393 
 Kuan Yao (imperial ware), 50, 66, 76, 
 
 127, 132, 136, 138, 154, 160, 169-172, 
 
 176. 306 
 Kuan Yin (Goddess of Mercy), 114, 130, 
 
 158, 195, 354, 511, 588, 627; shown 
 
 in Plate LX 
 Kuan Yii, his history, 573, 574 
 Kuan yu Kai (jars with covers), 224 
 Kua-p'i 111 (cucumber-green), 295, 317, 
 
 514; illustrated in Plate LXXVIII 
 Kua-teng, 499 
 . Kublai Khan, 57, 128, 177 
 Ku Chen, 101 
 Kudatama, 30 
 Kuei (oblong bowls for meat-offerings), 
 
 431, 490; (tortoise), 118, 594 
 Kueichou, 293 
 K'uei f^ng, 479 
 Kuei ho ch'i shou, 118 
 K'uei Hsing, 574 
 K'uei-hua (the hibiscus), 599 
 K'u-k'ou, 423 
 Ku-li (= Calicut), 456 
 Kun (staff of iron), 115 
 Kun-ch'ihka (= Sanskrit Kundika), 
 
 21 
 Kundika (Sanskrit), 21, 493 
 KungCh'un, 220; potteries founded by, 
 
 135 
 Kung-chiio Iti (turquoise), 315 
 Kung hua (arched design), 389 
 Kung Kuan (public ofUces), 288 
 Kung Tieh (palace dish), 201 
 Kung wan (palace bowl), 200 
 K'un-lun Mountains, 84, 578, 591 
 K'uo Ch'ing-lo, 141 
 Kuo ho (fruit-boxes), 230 
 Kuo P'u, 641 
 uKuo-tieh (fruit-dishes), 226 
 Kuo Tzii-chang, 644
 
 922 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Kurokawa Mayori. 701, 753 
 
 Kushite, 743 
 
 Kushikiiio, 752 
 
 Ku T'ai (author of Po wu yao Ian), 157 
 
 Kutani-ware, 759-765; examples of, 
 
 Figs. 409, 411, Plates CIII, CIV 
 Ku t'uug (old copper), 364, 357; -mo, 
 
 266; -ts'ai, 406, 519 
 Ku Yueh Hsuau, 60, 86, 400, 401; 
 
 style shown iu Fig. 263 
 Ku yi'i foil, 649 
 Kwang-hsli, 3 
 Kwan-ko, 687 
 Kwan-ko-(hu-setsii , 30, 702 
 Kwau-sei, 751-753 
 Kwaiiyei, 759 
 Kylin, 594, etc. 
 Kyomidzu, 689, 731. 733 
 Kyoto, 687; potteries, 716; ware, 731; 
 
 examples of, Figs. 385, 397 
 Kyo-yaki, 753; two branches of, 733 
 Kyushu (or Kiushiu), 607, 751 
 
 "Lace-bowls," 418, 493 
 
 La Ceramique, 700; translated, 708-722 
 
 La Ceramique du Japon, 698 
 
 La Ceramique Jajwnaise, 703 
 
 Lace work pattern decoration, example 
 of. Fig. 285 
 
 Lacouperie, M. Terrien de, 35 
 
 La Faience, 441 
 
 Lagenaria vulgaris, 597 
 
 Lamaism, 95, 111; book on, 585 
 
 Lamp with four burners, 305; sup- 
 ported by Tortoise and Pha?nix, 218 
 
 Land and Grain, Temple of, 235 
 
 Landscapes (Shan shui), 569 
 
 Lange-Eleizen or Lange Lysen, 337 
 
 Lang lijsen, 603; illustrated in Fig. 54 
 
 Lang T'ing-tso, 73, 394, 301 
 
 Lang Yao, 6, 72, 267, 485, 537; why so 
 called. 301; its characteristics, 302; 
 crackle, 512; vases, 297; pieces illus- 
 trated, Figs. 5, 160, 190, 196, 205, 
 Plates I, LVI, LVII, LXIX, etc. 
 
 Lang yin ko, 79 
 
 Lan P'u, 667 
 
 Lan-t'ien shih, 472 
 ' Lan T'ing (Orchid Pavilion), 90, 601 
 Lan Ts'ai-ho, 83, 115, 580 
 Lan wf»n (blue markings), 374 
 Lao-tzu (founder of Taoism), 327, 478, 
 
 575, 598 
 ^ Lapis-lazuli, 195, 363, 541 
 La Porcelaine de Chine, 196 
 Laque burgautee, 39, 530; specimen in 
 
 Sevres Museum, 530 
 L'Art Chinois, 569 
 L' Art Japonais, 700 
 L'Astree, 149 
 Laudin, Jean, 405 
 Lead carbonate, 264 
 Legge, Professor, 25 
 Lei, 435, 489. etc. 
 Le Japon a V Exposition Universelle de 
 
 1878, 689 
 Les Laqves du Japon, 689 
 Lettres edifiantes et curievses, 282, 332 
 Leveret-fur cups, 626 
 Li (square " official " characters), 42, 46; 
 
 (caldron with three legs), 180 
 Liang tun (cool .seats), 351 
 Libation-cup (chileh), 141, 488, 490 
 Library furniture, 494 
 Li Chi, 640 
 Li Chu-lai, 398 
 Li-ch'un, 428 
 Lien ch'eng ku t'ung, 265 
 Lien hua (lotus-flower), 115, -t'eng, 
 
 213, 599 
 Lien hui (^purified ashe-s), 361-367 
 " Light red " makes its appearance, 
 
 403 
 Li lluiig-chang, 470 
 Li Kuang-li, 565 
 Li Ma-t'ou (Matteo Ricci), 660 
 Lime, 267; an ingredient of glaze, 445 
 Lin-cli'iian, 398 
 
 Lin-ch'iian-hsien porcelain, 183 
 Ling-chih fungus, 116, 415, 465, 596 
 Ling Hsieh Chu Shou, 124 
 Ling Lun, 84 
 Ling-lung (openwork carving), 341, 
 
 368 
 Ling-pei, 181 
 Lin yli fang chili, 88
 
 ORIENTAL CERAMIC ART. 
 
 -INDEX. 
 
 923 
 
 k 
 
 Lions, 492; in Chinese art. 590 
 
 Li Sanpei, 674, 737 
 
 Li SsH, 46 
 
 List of designs and colors produced in 
 
 Yung-chgng, 369-388 
 Li tni ming hua chi, 647 
 Li tai ming tz'ti t'oii p'u, 133, 663 
 Li T'ai-po, the poet. 488, 598, 599 
 Literature, god of, 100, 572, 574 
 Li T'ieh-kuai, 115, 580 
 " Little Spring Month," 466 
 Liu Han and liis three-legged toad, 
 
 583 
 Liu Hin (Chinese editor), 15 
 Liu hsia chan (cups of liquid dawn), 
 
 275 
 Liu-li (glass), 20, 180 
 Liu Pei, 573 
 Liu Te-shgng, 47 
 Liu-t'ien, 147, 369 
 Liu-tou pei, 145 
 Li yen-li, 305 
 Lo (shell), 113 
 Lohan, or Arhats, the Eighteen, 470, 
 
 586 
 Lokanmafei, 6, 370, 515 
 London International Exhibition, 696 
 Long Elizas, 227 
 
 Longevity, emblems of, 116, 595, 596; 
 ^- god of, 116, 124 
 
 " Long-haired Rebels," 469 
 Lo-p'ing-hsien, 263, 427 
 " Lord of the White Umbrella," 112 
 Lorenzo de' Medici, 149, 606 
 si Lo-tien-tz'u, 520 
 ■ Lotus-Flower, 112. 115; lamp, 213 
 Louis XVI mounts, Fig. 4 
 Lowestoft, 611 
 Lo-yang, 589 
 
 Lozenge (symbol of victory), 120 
 Lu (censer), 139, 168. 306, etc. ; (rank), 
 
 82, 97, etc. 
 Luan mu pei (eggsliell cups), 275 
 Lii chu shan fang ch^n ts'ang, 84 
 "Lucky diagram," 113 
 Lu family of potters, 195 
 Lu Hu (rouge-pot), 198 
 Lii kuan (musical pipes), 180 
 Lii Lang Yao, 303, 538 
 
 Lu-ling-hsien, 130, 162 
 
 Lun (the wheel), 111 
 
 Lunar ^Mansions, the, 563 
 
 Lunar zodiac, the, 561; animals of the, 
 
 561 
 Lung (dragons), 110, 590, 591, etc. 
 Lung and Wan, porcelain of, 334 
 Lung-ch'ing, 69. 104, 303, 234, 600; 
 
 porcelain, 234-339 
 Lung-ch'lian, 172, 176; celadon, 257, 
 
 499, 509; pieces illustrated, Figs. 
 
 44, 159, 175; porcelain, 437; Yao, 
 
 137. 135, 146-152 
 Lung-ch'lian hsien, 147, 154, 348, 369; 
 
 emerald-green ware of, 178; glazes, 
 
 371; copies in rub\^-red, 375; illus- 
 trated in Plate XXXVI 
 Lung kang (dragon-bowls), 294 
 Lung-men, 575 
 Lung Ta-yuan, 649 
 Lustration vase, 493; example in Fig. 
 
 304 
 Lu T'ai (Deer Tower), 26 
 Lii Tung-pin, 83, 115, 580 
 Lii tz'u (green porcelain), invention of, 
 
 30 
 Lu yi T'ang, 83 
 
 Lu Yli (author of Tea Classic), 31 
 Lyre, 132 
 Ly-T'ang, 51 
 
 M 
 
 Ma (horse), 113 
 Ma-au-shan, 181, 281, 357 
 Macao, 332 
 
 Maecenases, Ceramic, 704 
 Ma-fei (horses' lung), 6 
 Magatama, 30 
 ]Magadoxo, 11, 604 
 ]Maghreb (Morocco). 185 
 Magnesia silicate, 473 
 Magnolia conspicua, 210 
 >^ Magpie, " the joyous bird." 468 
 Mahatara (the Almighty), 155 
 Mahrattas, Agra sacked by, 239 
 Maitreya (the loving one), 488, 587, 
 
 627; the coming Buddha, 335 
 Makimono, 757
 
 924 
 
 ORIENTAL CERAJIIC AKT.-^INDEX. 
 
 Ma Ku, the goddess of sailors, 582 
 
 Makuzii, 698 
 
 Malcolm, Sir John, 566 
 
 Mallow-leaves, 764 
 
 Ma-lochi, the Manchu who succeeded 
 Lang T'ing-tso, 301 
 
 Manchu conquest of China, 600 
 
 Manchu dynasty, 26, 56, TO 
 
 Mancliu Tartars, 111, 258, 502, 740 
 
 Manganese, mineral, 316; its occurrence 
 and different names, 439; analyzed 
 by Ebelmen, 263; purple, 409 
 
 Mangu Khan, 566 
 
 Manji, 759 
 
 Maujugosha, the Buddhist Apollo, 586 
 
 Manjusri, 586, 734 
 
 M(m-j)o Zen-sho, 701, 752 
 
 Mantel-piece sets, 501 
 
 Manual of Marks, 61 
 
 Manuscript album, 92, 132 
 
 Mao chia, 500 
 
 Mao hslieli p'an, 225 
 
 Mao ping (cracks and other defects) 
 abhorred by the Chinese, 620 
 
 Mao sliih p'Sn, 369 
 - Marco Polo, 10, 148, 183, 566 
 
 Marguerite daisies, 415 
 
 Marks, Chapter on, 59-12i3; of com- 
 mendation, 91, 101-105; referring to 
 decoration, 102; of date, 61-78; of 
 felicitation, 91-100; of dedication, 
 91-100; of the factory, 88; in two 
 characters, 101: in the form of 
 devices, 105; private, 103; undeci- 
 phered,103; classified, 61; frequently 
 obliterated, 362; unsafe to rely upon, 
 40; Japanese use Chinese, 40; seldom 
 show true date, 40; of K'ang-hsi 
 period rarely genuine, 298; on Chia- 
 ch'ing porcelain, 464 
 
 Marks and Seals, 700 
 
 Marquis Collection, 104, 405 
 
 Marriage, emblem of, 596 
 
 Martabani, 10, 148 
 
 Mashonaland, Chinese porcelain found 
 in, 605 ^ 
 
 " Massed lard," 508 
 
 Ma-ts'ang Hills, 222, 260 
 
 Matsudairo Harusato, 725 
 
 Matsura, 743 
 
 Matsya (Sanskrit), fish, 112 
 
 Matteo Kicci, 660 
 
 Maulmain, 148 
 
 Mayeda Toshiharu, 759, 762 
 
 Mazariu-blue, 312 
 
 JMedallion-bowls, 466 
 
 INIedhurst, Sir Walter, 504 
 
 Medici, Lorenzo de', 149 
 
 IMedicine-bottles, 16, 503 
 
 Mei kuei, 398 
 
 Mei-kuei tzu, 307, 370 
 
 Meiji era, 697, 702 
 
 Mei-ling Pass, 280 
 
 Mei p'ing (plum-blossom jars), 205, 362, 
 497, etc. 
 
 Meireki, 732 
 
 Meissen, 2 
 
 Mei-tzu ch'ing (plum-colored blue), 370 
 
 Meiwa, 752 
 
 M^ng-chin, 560 
 
 M6ng Pi Sheng Hua, 864 
 
 Mercy, Goddess of, 130, (see Kuan-yin). 
 
 IVIesopotamia, 25 
 
 Messiah, the Buddhist, 488, 587, 757 
 iMetropolitan Museum, 8 
 JMiao chin (decoration in gold), 270 
 
 Miao hao (temple name), 64 
 
 Mica, crystals of, 333 
 
 Midzu-kuboshi, 694 
 
 Midzu-sashi, 694, 732 
 
 jVIi Fei, a famous calligraphist, 166 
 
 Mikawa, 730 
 
 Mikawaji, 713; -yaki, 730, 743 
 
 Milne, Prof. J., 30 
 
 Mi lo-fo (Maitreya Buddha), 587, 627 
 
 Min (= Fuchien), 42, 43, 181 
 
 Mineral blue, 439 
 
 Ming dj-nasty, 1, 5, 11, 34, 36, 40, 42, 
 50, 69, 70, 84, 89, 93, 96, 100, 101, 128- 
 134, 142, 149, 150, 157, 159, 177, 183, 
 189-196, 201, 211, 220, 241, 256, 260- 
 263, 270, 273. 287, 293, 298, 309, 321, 
 322, 374, 393, 429, 442, 450, 455, 675; 
 table of rulers, 58, 64, 66; marks, 66, 
 68; often found on K'ang-hsi pieces, 
 299; colors, 262; blue the leading 
 color, 567; decoration, reproduced in 
 K'ang-hsi,. 300; porcelain, 189-259;
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 925 
 
 J 
 
 rare even in China, 609; leclinique, 
 
 260-275; pieces illustrated, Figs. 7, 
 
 70, 44, 120, 159, 164, 167. 173, 177; 
 
 Plates XXV, LXII. LXVIII, LXX, 
 
 LXXV, LXXXIV 
 Ming Shih, (Ming annals), 496, 643 
 Ming Ti, 585 
 Ming Tsung, 50 
 
 Ming tz'u (Ming porcelain), 240 
 Minor Odes of the Kingdom, 83 
 Mirror-black, 313 
 Mirrors of bronze, 561 
 VMi-sg (rice-color), 303, 370 
 Mishinia ware, 682, 754; example of, 
 
 Fig. 380 
 Mixed colors, decoration in, 233; of 
 
 the grand feu, 328; examples of, 
 
 Plates V, XVII 
 Miyagawa Kozan, 37, 698 
 Miyamotoya Riyemon, 761 
 Modeling in relief, in the Yung cheng 
 
 period, 364; illustrated in Fig. 254 
 ' Mohammedan blue, 69, 193, 203, 216, 
 
 221, 256, 263, 567 
 Mohammedan countries, 148 
 Mohammedan scrolls, 256 
 Mo hung, 383 
 Mo kuan (ink-jar), 205 
 Mokubei, 718, 733. 734 
 Molded designs in eggshell porcelain, 
 
 354 
 Molds, 430.431; their introduction into 
 
 Japan, 732 
 Mo-li hua (fragrant jasmine), 522, 599 
 Mo lin chix shih, 134 
 Mo lin Shan jen. 134 
 Mongol dynasty, 57, 92, 111 
 Mongol prince, service for, 95 
 .Mongols, China overrun by the, 177; 
 
 drive the Sung south, 143; conquests 
 
 in Asia, 188 
 Mongolian script, mark in, 95 
 Monkhouse, Cosmo, 412, 607 
 Monochrome decoration, 5; glazes, 129 
 
 of Ts'ang Yiug-hsiian, 72; green, 388 
 
 purple-brown, 382; vermilion, 195 
 
 yellow, with decoration in the five 
 
 enamels, 387; with chiseled designs, 
 
 382; liow applied siir biscuit, 545 
 
 J 
 
 J 
 
 Monochrome porcelain of Ch'ienlung, 
 407, 408; pieces illustrated, Figs. 6, 
 136, 146, 157. 161. 192, 200, 214, 215, 
 220-222, 245, 327, 337, Plates IV, V, 
 XXXIX, LIII, LIX, LXV, etc. 
 
 Morikage, 719; -shitaye, 760 
 
 Morse, Professor, 27, 28 
 
 Motives of decoration, 557-603 
 
 Mount Idzumi, 34 
 
 Mourning-bowls, imperial, 507 
 
 Mourning color in China, 534 
 
 Mou-tan, the Eaeonia moutan, 599 
 
 Mo Yin (painting with silver), 383 
 
 Mu (wood), 43 
 
 Muffle colors defined, 549 
 
 Muffle stoves described by T'ang Yiug, 
 457; colors, how prepared, 324; the 
 secret discovered bj- Delft potters, 
 616; enamel colors, 547 
 
 Mu-kua p'an, 176 
 
 Mules' liver (Lo-kan), 6, 370 
 
 Mural sculptures on tombs, 559 
 
 Murayama, 701 
 
 Murrhine vases, 17 
 
 Musee d'Histoire NatureUe, 439 
 
 Musee de Limoges, Venetian work in, 
 618 
 
 Musee du Louvre, 519 
 
 Museum at Sevres, 62, 618 
 
 Musical instruments, the eight, 84, 106 
 
 Musical pipes, 180 
 
 Musical scale, invention of, 84 
 
 Mussulman blue, 263 
 
 Mu Tsung, 61 
 
 Mu-Wang, 229 
 
 Mu AVang, Emperor, 578; his eight 
 famous horses, 591 
 
 Mythical ages, 55 
 
 Mythological animals, 590, 591, 592, 
 593 
 
 Mvths, ancient Chinese, 559 
 
 N 
 
 Nabeshima, Prince of, 34, 735, 737, 
 
 742 
 Naga (the dragon), 590 
 Nagasaki. 35, 36, 607: Dutch factory 
 
 at. 739
 
 926 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Nagasena, 727 
 
 Nagoya. 728 
 
 Nakauo, 743 
 
 Nakshatras (Lunar Stations), 562 
 
 Names of Emperors of China, i)ersoual 
 and postiiumous, 56-57 
 
 Nan-cirang fn, 19, 380 
 
 Nan ch'uan ch'in yu, 101 
 
 Nan-feng-hsien, its porcelain de- 
 cribed, 183 
 
 Nankawarayama, 738 
 
 Nankin yellow, 82, 326 
 
 Nanking, 135, 153, 190, 277, 467 
 
 Nan Pei Ch'ao, 57 
 
 Nan Ting (Southern Ting), 1-13 
 
 Nara, 736 
 
 Narcissus (shui hsien hua), 124, 475 
 
 Narinobu, 751 
 
 National University, 94 
 
 Native blue, 263 
 
 Nature (literally, flowers and birds), 
 570; the Chinese gods of, 577 
 
 Nawashiragawa, 720 
 
 Nawashiro, 751-754 
 
 Nei Wu Fu, 279, 305, 393 
 
 Nelunibium speciosum, 112, 477 
 
 Nen-go introduced in Japan, 734 
 
 Nephelium longanum, 363 
 
 Nero. Roman Emperor, 17 
 
 New College, Oxford, 149, 606 
 
 New process of decoration, 239 
 
 New Ting-chou porcelain, 185 
 
 Nien (year or period), 64 
 
 Nien cliih, 403 
 
 Nien hao, 40, 51, 63, 64; when tirst used 
 in China, 16; in Japan, 734; when it 
 begins to run, 62; that of K'ang-hsi 
 forbidden on pottery, 72 
 
 Nion Hsi-yao, superintendent of tlie 
 Imperial Factory at Ching-tg-chen, 
 279, 286, 302, 361, 368, 392, 462 
 
 Nien Yao, its name traced, 302; its 
 form and colors, 360; its finest 
 shades, 408; of Yung-ch6ng period, 
 361; illustrated in Fig. 250, Plate LI 
 
 Ni family, 79 
 
 m kit lu, 79, 166, 170, 652 
 
 Ninagawa Noritane, 30, 31, 164, 686, 
 693, 702 
 
 Niiig shou kit chieii, 649 
 
 Ning Tsung, Emperor, 169 
 
 Ninsei, 715, 731, 733 
 
 Ninwaji, Prince of, 731 
 
 Nippon, 709, 710 
 
 Nirvana, 586 
 
 Nisa in Media, 565 
 
 Nisa-an general, liorses, etc., 565 
 
 Nishiki (silken brocade), 36, 687, 756, 
 
 761; style of decoration, 750 
 Nishikide, 732, 755 
 Ni-ssii, 565 
 Niter (hsiao), 265 
 
 Niu-chih (or Nlichih) Tartars, 57, 56a 
 Nobility, rules for grading rank, 309' 
 Nobunaga, 704 
 Nomi, 761 
 
 Nomi no Sukune, 29 
 Nonomura Ninsei, 731 
 Niichih Tartars, 568 
 Number, philosophy of, 106 
 Numerals, table of Chinese, lO^ 
 " Numerical categories," 106 
 Nur-ed-din, 148, 605 
 
 O 
 
 " Oak basket," 214 
 
 O'Conor, Sir Nicholas, 81 
 
 Odd Volumes Sette, 505 
 
 Odes of Ch'i, 50 
 
 Odes, Book of, 640 
 
 " Odes on Tea," 657 
 
 Ofukei, 753 
 
 Ogata Shuhei, 718 
 
 Ohomuro, discoveries at, 28 
 
 Ohoya, discoveries at, 28 
 
 Oil-green glaze, 373 
 
 Oil-lamp (yu tgng), 153 
 
 Oil-painting unknown to the Chinese, 
 
 569 
 Okawaji, 713; ware produced at, 735, 
 
 742; example of, Fig. 390 
 Okimono, 696, 757 
 Okochi, 742 
 Old gold, 131 
 Old Imari ware of Japan, 390, 405, 609, 
 
 675; examplesof. Fig. 399, Plate CVI; 
 
 copied in China for export, 609
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 92r 
 
 n 
 
 "Old Japan," 85, 40; its source, 735; 
 models for, 270; examples of, Figs. 
 381, 399-401, Plates XCV, XCVII- 
 XCIX, cv 
 
 " Old Korean" from Japan, 677 
 
 ■' Old Ky5to" ware, 716 
 
 " Old Satsuma," 748, 749 
 
 Old Seto, 688 
 
 Olea fragrans, 416, 477 
 
 Omens, felicitous, 560 
 
 Omi, 30 
 
 Omori shell-Leaps, 27 
 
 " Onion-sprouts " (a kind of blue re- 
 ferred to by T'ang Ying) 438 
 
 Openwork porcelain described by Pere 
 d'Entrecolles, 351 ; in the Ming period, 
 260, 268, 269; in the Yung-ch6ng 
 period, 364; example in Fig. 255. 
 (See Ling-lung, Pierced work, and 
 Rice grain decoration.) 
 
 Orange-peel glaze, 320, 372 
 
 Or bruni, 348 
 
 Orchid Pavilion. 90, 601, 654 
 
 Orchids, 415 
 
 Ordinary ancient ware, 40 
 
 Oriental porcelain brought to England 
 before the Reformation, 606; deco- 
 rated in Europe, 616 
 
 Oriose, 743 
 
 Osumi, 752, 753 
 
 Ota, 37; kilns at, 698, 750; -ware, 688 
 
 Ota Nobunaga, 703 
 
 Ou (a noted potter of the Ming period), 
 273, 374; his teacups, 225, 228, 237; 
 his glazes, 374 
 
 Ouan min kem (pit for the myriad 
 people), 286 
 
 Oueda Tokounosouke (a French spell- 
 ing of Uyeda Tokunosuke), 704, 737, 
 751, 759 
 
 Overglaze enamel colors, 674; iron-red 
 of K'ang-hsi, 326 
 
 Owari, 686; its potteries, 721; its pot- 
 tery and porcelain, 723 
 
 Oxide of antimony, colors developed 
 from, 529; of cobalt, 441; colors de- 
 veloped from it, 529; of iron, 529 
 
 Oxidizing flames, 452 
 
 Oyamada, 752 
 
 Pa An Hsien, 115 
 
 Pa Chi-hsiang, 106, 111, 112, 482, etc. 
 Padma (flower), 112 
 Pagoda for relics, 201 
 Pa Hsien (eight genii or immortals), 
 ^y 252; a sketch of each, 579-581 ; shown 
 
 in Figs. 2, 352, Plate XI 
 Pa hsien kuo hai, 252 
 Pai (white), 142, etc. 
 Pai chuan (jitual bricks), 231 
 Pai Ma Ssii (Wliite House Monastery), 
 
 584 
 Painted decoration, 130; not referred to 
 
 until near the end of the Sung period, 
 
 564 
 Painters, some celebrated, 730 • 
 Painting, Chinese, books relating to, 
 
 647; in blue, 130; described by T'ang 
 
 Ying, 442; in enamels, 132, 674; in 
 
 silver in the Yung-ch^ng period, 390 
 Bfei fan (white charcoal), 264 
 \yPai Ting, 142 
 Pai-tun (white bricks), 423; -tzu, 261 
 Pai-tz'Q ti (bases of white porcelain), 
 
 303 
 Pai yu, used in jjreparing wu chin, 348 
 kua (the eight diagrams or tri- 
 
 grams). 106, 107, 472, etc. 
 Pale-blue glaze of the Ming period, 267 
 Paleologue, M., 569 
 Palissy, Bernard, 731; -ware, 493 , 
 " Palm eyes," 191, 372, 448 ^'' 
 
 Palm-leaf (chiao yeh), 153 —^ 
 Pan (round dishes), 43, 176, 206, 224, 
 
 230, 306; distinguished from tieh, 
 
 475; (castanets), 115 
 Pao (precious), 101, 102; Ch'ing, 290; 
 
 Ch'ing Yao, 451 
 Pao-en-ssu (porcelain tower of Nan- 
 king), 202 
 Pao hsiang hua (flower of paradise), 563 
 Pao-kuo-ssii (a temple near Peking), 
 
 130, 146. 158, 196, 199 
 Pao-lao revels, 229 
 Pao-lien, 477 
 
 Pao shao (ruby -fired), 375; hung, 479 
 Pao shen chai chili, 86 
 
 v^°
 
 928 
 
 ORIENTAL CKRA^riC ART. INDEX. 
 
 Pao sheng, 101 
 
 Pao-shih hung (ruby red), 371 
 V Pao-shih-lan (sapphire-blue), 380, 408, 
 
 439; illustrated in Plate XXIX 
 Pao-shih-shau, 429 
 Pao tiug (precious censer), 124 
 P'ao tsun (gourd-shaped jar), 153 
 Pao-yueh ping (full-nioou vase), 412 
 " Papal pieces," 750 
 ^ Pa pao (eight precious things), 106, 
 
 119, 230, 482 
 -J Pa pei (stemmed cups), 171, 186, 199, 210 
 Paper-beaters, 473 
 Paper-weights (chgn chili), 168 
 Pa-pien kuan, 229 
 Paradise Lost, 460 
 
 Paradise, Taoist, 119; flowers of, 563 
 Parian ware, 535 
 Parkes, Sir Harry, 504 
 "Partridge cups," 163 
 Paste, how it is prepared, 181, 423, 424; 
 
 pastes and glazes that crackle, 447, 
 
 448; -pots, 168, 174 
 Pa tai (eiglit generations), 503 
 Patra (Buddhist alms-bowl), 21, 234, 
 
 493. (See Po.) 
 Patrons of Ceramic Art in Japan, 704 
 Paulownia imperiulis, .756 
 Pavilion marks on porcelain, first used, 
 
 79 
 Pa wan (stemmed rice bowls), 171 
 Pa yin (eight musical instruments), 106 
 Peach, 124; its place in Taoist fancies, 
 
 116; its magic twigs, 596; emblem 
 
 of longevity and of marriage, 596; 
 
 -yellow, 482 
 Peach-bloom, 7; its invention 72, 307, 
 
 310; of K'ang-hsi, 307, 409; first 
 
 specimens that reached the United 
 
 States, 309; pieces illustrated. Figs. 
 
 188, 202, 209-211, 269, Plates III, 
 
 LI, LII, LIV; with streaks of green, 
 
 Plate L 
 Peacock's feathers, 123 
 Pea-green, 264 
 Pearl (chu), 120 
 Peau de pSche, 7, 307, 310, 538 
 Pegu, 148 
 Pei (cups), 43, 145, 191, 212, 213, etc. 
 
 Pei tou (northern bushel), 100 
 
 Pei Wen Yunfu, 641 
 
 Peking, 10, 175, 189, 404, 467; arclueo- 
 logical description of, 660; Oriental 
 Society, 1, 132; school for enameling, 
 404 
 
 P'en (basins), 43, 238, 306, 427, etc.; 
 (flower-pots), 306 
 
 Pencil-brush, 494, etc. 
 
 Pencil-rests, 173, 175; (pi chia), 253; 
 (pi ko), 167; yen-shan, 140, 155 
 
 P'Sng Chiiu-pao, 143, 185 
 
 Perdrix cinerea, 163 
 
 P6re d'EntrecoUes, 4, 14, 240, 265, 282, 
 296, 313, 332, 425, 516; his letters 
 translated, 332-358 
 
 P6re Ly, 427 
 
 Perfume-sprinklers, 502 
 
 Peroxide of iron, calcined, 408 
 
 Peroxide of manganese, colors devel- 
 oped from, 529 
 
 Perry, Commodore, 696, 739 
 
 Persia, 148, 567; history of, 566; blue 
 and white discovered in, 239; sili- 
 ceous wares of, 522 
 
 Persian Gulf, Chinese trade with, 188 
 
 Persimmon, 197; -wood, 181 
 
 Petite Bibliotlieque iVArt et d'Arche- 
 ologie, 703 
 
 Petit feu (gentle firing), 452; couleurs 
 de, 324 
 
 Petrosilex, 264, 267 
 
 Petsi, 32 
 
 Petuntse, 285, 833; where obtained, 
 261; its nature, 338, 325; described 
 by J\I. Ebelmen, 423; proportions 
 used in porcelain, 425 
 
 Pheasant, 110 
 
 Philip and Joan of Austria, 606 
 
 Pha>uix of the Chinese, 96,590,591; 
 the birds paying court to, 600 
 
 Phonetics, Chinese, 42, 43 
 
 Pi (pencil-brush), 125, etc. 
 
 P'i, terra-cotta ware, 48 
 
 Piao tzu, 436 
 
 Pi dhia (pencil-rests), 253 
 
 Pi Ching, 653 
 
 Pi ch'ung (brush-cylinders), 252 (com- 
 pare Pi-t'ung).
 
 OEIENTAL CERAMIC ART. INDEX. 
 
 929 
 
 Pieu, tbe twelve, 491 
 
 Pien ch'ing (stone chime), 120 
 
 Pien-chou, 138 
 
 Pieu-kuau (flat jars), 195 
 
 Pien-tou p'an, 225 
 
 Pierced work, 521, 739, etc.; examples 
 of. Figs. 25, 45,48, 185, 248, 291, 302, 
 306-308, 313, 321, 322,333, 386, 391, 
 403, Plate XXII 
 
 Pi hsi, 124, 167, 173 
 
 Pi ko (pencil-rest), 167, 173 
 
 Pilgrim-bottles, Figs. 41, 50, 176, 201, 
 Plate XLVII 
 
 Pilgrim's gourd, 115; example of, Fig. 
 176 
 
 Pi-ling, 274 
 
 Pi-liu-li, 560 
 
 Pillows of porcelain, 169, 571; illus- 
 trated in Fig. 16 
 
 Pin-chou, 19 
 
 Pine, a symbol of longevity, 597 
 
 P'ing, (vase, bottle, or flask), 42, 112, 
 144, 146, 152, 160, 166, 176, 180, 306, 
 435 
 
 P'ing f6ng, 241 
 
 Ping-hsu nien chili, 63 
 
 P'ing liua p'li, 497, 657 
 
 P'ing kuo ch'ing (apple-green), 7, 303; 
 etc. 
 
 P'ing-kuo hung (apple-red), 7, 307, 409, 
 etc. 
 
 P'ing-kuo lu, 409 
 
 Ping-kuo ti (bases of apple-green), 303 
 
 Ping-kuo tsun (apple-jar), 308 
 
 P'ing-li, 423 
 
 Ping lieh wen (fissured ice), 410; illus- 
 trated in Plate LXXVII 
 
 Ping-shen (a year of the cycle), 50, 177 
 
 P'ing Shih (History of Vases), 496, 656 
 
 Pink {rose d'or), 407; (the flower), see 
 Dianthus. 
 
 Pink illustrated, Plate LIII 
 
 P'ing-yang-fu, 43 
 
 Pi shan, 175 
 
 Pi Tung (brush-pot), 100, 123, 173, 489 
 
 Pi yen, 173 
 
 Pi yil (moss jade), 374 
 
 Plants in porcelain decoration, 597 
 
 Plaques of porcelain, 295, 495 
 
 Plate brought from Palestine by Cru- 
 saders, 98 
 
 Plinths of porcelain, 277 
 
 Plum-blossom Hall, 699 
 
 Plum-colored blue, 370 
 
 Po (= Sanskrit iiatru), 21, 234 
 
 Poetic inscriptions, 104, 402 
 
 Poetry, classical age of, 23 
 
 Poets of the T"ang refer to porcelain 
 cups, 23 
 
 Po ku (antique), 80, 118, 119, 124, 757. 
 etc.; designs, 122; illustrated in Figs. 
 95-99 
 
 Po ku chgn wan, 101 
 
 Po ku Chi wan ju yti, 101 
 
 Po ku foil, 45, 143, 151, 152, 495 
 
 Poland, King of, 239 
 
 Po-li pai (glass-white), 552 
 
 Political cartoon on punch-bowl, 613 
 
 Polychrome decoration, 325; enamels, 
 9; in Korea, 676 
 
 Polyporus lucidus, 116, 365, 417, 597, 
 etc. 
 
 Po Niao Ch'ao FSng (the hundred 
 birds paying homage to the phaniix), 
 600 
 
 Porcelain, 22, 36, 339, 428, 606; defined, 
 12; its origin, 17: different kinds of, 
 179, 180, 181; classification of Chi- 
 nese, 39, 127; naturally wiiite, 341; 
 its materials, 333; proportions of the 
 ingredients, 428; table of different 
 kinds, 426; first models for, 564; 
 ancient period of Chinese, 328; com- 
 pared with modern, 356; began to be 
 used by the emperors, 357; called 
 "imitation jade," 21; different arti- 
 cles of, 355, 495; can not be fired in 
 winter, 181; god of, 355; decoration, 
 216, 268, 339,' 350, 357, 381-384, 436, 
 572; in European style, 383; motives 
 of decoration, 557-603: of different 
 periods, 41, 42, 164, 165, 190, 192, 
 277, 359, 362, 363. 391, 606. 664; 
 modern period, 463-487; inlaid, 520; 
 with engraved designs, 382; Avith 
 Christian symbols, 357; with pierced 
 carvings, 351; decorated in Canton, 
 611; made to order of Europeans,
 
 930 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 614; kinds imported into Europe, 
 604-609; made for exportation, 604- 
 621; of provinces other than Kiangsi, 
 180, 622; Japanese, 685-765; Tower 
 of Nanking, 135, 277; forms and 
 uses of Chinese objects, 488-507 
 
 Porcelain centers, Japanese, 711, 712, 
 713; given in tabulated form, 706-707 
 ^ Porcelain earth, 221, 260 
 
 Porcelaine de Sinant, 606; des Indes, 
 610, 673; Hiudoue, 610; laquee bur- 
 gautee, 520; nouvelle, 425; propor- 
 tion of chalk in, 428; rouge, 635; 
 tendre, 320 
 
 Porcelain-making, Chinese, 24, 420-430, 
 440, 449, 458; described by Pere 
 d'Entrecolles, 337-340; twenty illus- 
 trations of, described by T'ang Ying, 
 420-462; Japanese, 32, 35, 701, 710, 
 712, 734 
 "^ Porcelain-painting, 412, 569 
 
 Porcelain tower of Nanking, 135, 277 
 
 Porte-calotte described by Grandidier, 
 500 
 
 Portuguese visit China, 605; arrival in 
 Canton and in Japan, 607; intercourse 
 with Japan, 739 
 
 Po-shan lu, 168 
 
 Posterior Chou dynasty, 24 
 
 Po-t'ang, 263 
 
 Potiche, 6 
 
 Potter's wheel, invention of, 14, 25, 
 714; introduced into Japan, 28, 31; 
 described by Tang Ying, 431 ; Bron- 
 gniart on its proper use, 433 
 
 Pottery in its widest sense, 44; pre- 
 historic, 27; term in Japan for, 686; 
 its origin and tirst models in Japan, 
 712; of the Han dynasty, 558; buried 
 with the dead, 683; when first glazed 
 in Japan, 686; special Chinese works 
 on. 661; Korean, 26, 670-684; centers 
 formed in Japan by Koreans, 721; 
 ware attributed to Korea, 676; pot- 
 teries of Ching-te-chgn and other 
 localities, 179, 180; in the Ming 
 dynasty, 623 
 
 Pousa (a Chinese contraction of Bodlii- 
 sattva), 355, 488, 582 
 
 V't. 
 
 Powder-blue, 312; pieces illustrated. 
 Figs. 29. 169, 206. 260, etc.. Plates 
 XVIII, XCIII 
 
 Po wu yao Ian, 92, 157, 191, 207, 222, 
 273, 568, 652 
 
 Po-yang, Lake, 18, 190, 279, 280; 
 ^ Hsien, 261 
 
 Premiere qualite coloriee du Japon, 
 671; the class described, 672 
 
 Prescriptions for Ming glazes, 264-267 
 
 Pretty girls, 602 
 
 Pricket candlesticks, 93, 242 
 
 Priest with the hempen bag, 587; 
 shown in Fig. 395 
 
 Primitive pieces illustrated, Plate XII 
 
 Private kilns in Ch'ien-lung period, 
 463 
 
 Private marks, 103 
 
 Processes, technical, 423, 424, 508-524 
 
 " Prohibited City." 82, 490 
 
 Pronunciation of Chinese, 45; of Japa- 
 nese, 686 
 
 Prunus (mei), 117, 597, etc. 
 
 Pu k'o mo (not to be rubbed), 661 
 
 Punch-bowls with cartoons, etc., 613 
 
 Purple (tzu), 145, 383, 554, etc. (see 
 Color); enameling in European style, 
 383; pieces illustrated. Figs. 19, 24, 
 38, 129, 193, 326, Plate XXIX, etc. 
 
 " Pursselyne," 607 
 
 P'u shu t'ing cki, 209, 660 
 
 " Puslanes of all sorts," 608 
 
 Pu-tai Ho shang (same as Hotel), 587, 
 757 
 
 Pyrus japonica, 371, 416, 757; red 
 illustrated in Plate LIII 
 
 Q 
 
 Quartz (Shih), 265, 424; amethystine, 
 
 479 
 Quince-dish, 176 
 
 R 
 
 Radicals, Chinese, 42 
 Raku-cha-wan, 704 
 Raku-ware, 688, 703, 718 
 Ramayana, 114
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 931 
 
 Randon de Boisset, 671 
 
 Rangoon, 148 
 
 Raven's-wing green, 37 
 
 Reading-lamps, 169 
 
 Rebus like devices, 106, 124 
 
 Reception-room furniture, 493, 499 
 
 Red, 528; different kinds of, 537; of 
 the grand feu, 479; derived from 
 copper, 194, 535; from green vitriol, 
 341 ; enameling in the European style, 
 389, 554; shops, 413, 458; symbolical 
 of the sun, 492; boccaro. Fig. 23, etc., 
 illustrations of. Plates XVII, XXVI, 
 XXVIII, XXXII, XLI, LXVII. 
 XCII. (See Color.) 
 
 Reducing flame, 452 
 
 Regular superintendents of the imperial 
 potteries first appointed, 278 
 
 Reign name forbidden to be used as a 
 mark, 41 
 
 Rein, J. J., 701 
 
 Relic pagoda, 201 
 
 Religions of China, 572 
 
 Reproductions of Chiin yao colors, 
 370 
 
 Rhinoceros (So), 152; horn, 121; jars, 
 225 
 
 Ricci, Matteo, 660 
 
 Rice-bowl, Fig. 294, Plates CIII, CIV 
 
 Rice-colored glazes, 369-373, 386 
 
 Rice cultivation, pictures illustrating, 
 421, 657; works on, 658 
 
 Rice-grain decoration, 418, 522, 698; 
 specimens of. Figs. 285, 318, 321 
 
 Rice-spoons of porcelain, 506 
 
 Riches, God of, 120 
 
 Risampei, 34, 675 
 
 Ritual bricks, 231; vessels, 491; works 
 on, 657 
 
 Riyoniu, 704 
 
 Robei, 733 
 
 Robin's egg, 374, 518; blue, 374, 471; 
 shown in Plate LXXXV; glaze, 289 
 
 Rocks used in preparing the glazes, 
 261 
 
 Rock-temples of India, 114 
 
 Rokubei, 718 
 
 Rosary, official, one bead of porcelain, 
 505 
 
 Rosa sinensis, 415 
 
 "Rose-backed" plates, etc., 63, 389. 
 
 404; illustrated in Plate XXIV 
 Rose crimson of Yung-cheng period, 
 
 370 
 Rose d'or (gold pink), 389, etc.; shown 
 
 in Plates LIII, LXXVI, etc. 
 Rose Dubarry, 360, 389, 528 
 Ro.se, famine, 388,404, 411, 413; shown 
 
 in Plates XXII. XXIV, LXVI, etc. 
 Rosellini's error, 504 
 Rouge-bo.xes, 212, etc. 
 Rouge de fer, 554 
 Rouge d'or, 361, 403, 413, 528, 554, 555, 
 
 etc. 
 Rouge-pot, 198 
 Rouge-red, 418 
 Round ware, 224, 236; how made, 430, 
 
 431 
 Rubruquis. 566 
 Ruby-backed plates, 74; e.xample in 
 
 Plate X 
 Ruby-red, 371, 375, etc.; dragon, Plate 
 
 XXX 
 Russian enameling, 456 
 
 Sacred designs, 572; genii, 124; lotus, 
 112; texts forbidden as inscriptions, 
 72 
 
 Sacrificial colors, 225, 371 
 
 Sacrificial vessels, 144, 204, 225; differ- 
 ent kinds of, 434, 489; their variety, 
 490; of bronze, 558; marks on, 92 
 
 Saddle-back Mountain, 281 
 
 Sagittarius, 468 
 
 Sakaida Kakiyemon, 738 
 
 Sake-bottles, shown in Plates XCVII, 
 CIX, CX 
 
 Sake-pots, shown in Plates XCIX, 
 CVII 
 
 Sakyamimi, 263, 733; principal repre- 
 sentations of, 585; statuette of. Fig. 
 404; trinity, 586 
 
 Saladin, 148, 605 
 
 Salting Collection, 8 
 
 Salvetat, M., 267, 373, 427 
 
 Samantabhadra, 586, 733
 
 932 
 
 ORIENTAL CERAinC AKT. INDEX. 
 
 Same-yaki, 753 
 
 San (umbrella), 112; ("3"), 159 
 
 Sang-de-b(inif , 6, 72, 195, 200, 267, 297, 
 304. 307, 310, 485, 512; origin of the 
 term, 302; pieces illustrated, Figs. 5. 
 181, 196, 207, 258, 297, 347, Plates I, 
 LVI-LIX, LXVII, LXVIII 
 
 Sang du poulet, 372 
 
 Saniu, 704 
 
 San Kuo (the three fruits), 596 
 
 li^arikha (conch-shell), 112 
 
 San Li, 640; -Ton, 641 
 
 Sannojo, 743 
 
 San-pao-p'gng, 510 
 
 San sli6 (sets of three), 493; in various 
 materials and styles, what they com- 
 prise, 493 
 
 San to (three abundances), 477, 596 
 
 San-ts'ai (three-color decoration), 324, 
 327, 329; specimen in Fig. 82 
 
 San yang K'ai t'ai, 230, 468 
 
 Sanyu (the three friends), 478 
 
 Sapphire-blue, 266, 408, 439, 542; ex- 
 ample of. in Plate XXIX 
 
 Sapphires, imitation, 216 
 
 Sapta Ratna (Sanskrit), " seven gems," 
 113 
 
 Sartel, M. du, 196 
 
 Satow, Sir Ernest, 27, 28, 750 
 
 Satsuma ware, 32, 175, 678, 687, 689, 
 702, 719, 748-757; pieces illustrated, 
 Figs. 392, 393, 395, 406-408, 410, 
 Plates C, CI, CII, CVIII 
 
 Saucer and saucer-shaped dishes, 141, 
 224, 236, 478, etc ; example in Fig. 
 249 
 
 Saxony, Elector of, 239 
 
 Scent-caskets (hsiang lien), 180, 505 
 
 Scherzer, M., 3,291,446 
 
 Scholar and his study, works in Chinese 
 relating to the, 653; the elegant ac- 
 complislmients of, 121; articles for 
 his study, 494 
 
 Scooping out the foot described by 
 T'ang Ying, 448 
 
 " Screwing," 433 
 
 Scroll-paintings, 122 
 
 " Sea-eyes," 180 
 
 Sea-green celadon, 36, 360, 373 
 
 Seal characters, 46 
 
 Seals (yin), 168; ancient, 494; of porce- 
 lain, 46; examples in. Fig. 58, 59 
 
 Seggars (hsia). 179, 181; their manu- 
 facture, 428; described, 738; furnaces, 
 271; in the Ming period, 290 
 
 Seibei, 731 
 
 Seifu Yohei, 37, 697 
 
 Seiji (= Chinese CTi'ing tz'u, or " green 
 porcelain "), 36, 148, 686, 714 
 
 Seikanji, 731 
 
 Seiren-in, Prince, 733 
 
 Seitoku, 704' 
 
 Seizayemon, 731 
 
 Sendai, 738 
 
 Sen-no-Rikyu, 681,703 
 
 Senno Sohitsu, 705 
 
 Sepia decoration, 328, 384; example in 
 Fig. 230 
 
 Sepulchral mounds, 27 
 
 Sericana, 460 
 
 Services for dining-room, 507 
 
 Seto, 33, 686; -kilns, 724; -mono, 33, 
 686, 714, 724; -ware, 689, 759 
 
 Sets of five pieces, Buddhist, 493 
 
 " Seven gems," 113 
 
 Seven Worthies, 601 
 
 Sevres, 2; hard porcelain, 424; mu- 
 seum, 9 
 
 S^ yao (colored-ware furnaces), 271 
 
 Shaga, 764 
 
 Shah Abbas, 256 
 
 Shah of Persia, 502 
 
 Shaku-date, 725, Plate CXIV 
 
 Shan (fan), 115; (mountains), 110 
 
 Shan-fang (mountain retreat), 79 
 
 Shan kao shui ch'ang, 60, 102 
 
 Shang (a gift), 73 
 
 Shang dynasty, 25 
 
 Shanghai, 219 
 
 Shang ku ch'i, 40 
 
 Shang Ti, 576 
 
 Shan lei (hill and thunder), 225 
 
 Shan shui (literally, "hill and water"), 
 569 
 
 Shausi, 43, 215 
 
 Shantung glass-works, 551 
 
 Shan wan (banquet-bowls), 224 
 
 Shan-yii-huang (eel-yellow), 295, 372
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 933 
 
 Shao-hao, 56 
 
 Shao-hsing, 197, 436; tea-services made 
 
 at, 624; wine, 275 
 Shao hsing chien ku t'ou, 648 
 Sliao-lu (muffle stove), 458 
 Shao yao, the Pomnia albijk>ra, 599 
 Shark-skin ware, 753 
 Sha-t'ai (saud-bodied). 320 
 Shg-li (sacred relics of Buddlia), 201 
 Shell mounds at Omori, Japan, 27 
 Sheug (reed organ), 109 
 Shgng shou (wisdom and long life), 249 
 Shgng-yang, 393 
 Shgng yu yn chi, 94 
 Sh6n-uung (Divine Husbandman), 56 
 Sheusi, 278 
 Shgn-tg-fang, 80, 469 
 Shgn tg fang chih, 80 
 Shgn tg t'ang po ku chih, 80 
 Shgn-tzii (dark purple), 370 
 Shgn-yang, 93 
 
 Shg-p'i lil (snake-skin green), 317 
 Shiba pieces, 750 
 Shigaraki, 688; -ware, 726 
 Shih Chi, 14, 565, 642 
 Shih Ching, 640 
 
 Shih-chu, the Dianthus pink, 599 
 Shih-grh Chang, 106 
 Shih kao (gypsum), 335 
 Shih-liu tsun (pomegranate-jar), 308 
 Shih mo (pounded quartz), 266 
 Shih Tsung (emperor), 24 
 Shih-tzu ch'ing (stone-blue), 221, 263, 
 
 266, 267, 439 
 Shih iDu kan chu, 216, 435 
 Shimazu, 753, Yoshihiro, 751; Yoshi- 
 
 hisa, 720 
 Shiraki, 30 
 Shiraz, 524 
 Shishidama, 758 
 Shiu-ro, 695 
 
 Sho-ho period, 35, 735, 737 
 Shousui, 34. (See Gorodayu.) 
 .Shotoku, 743 
 vShou (longevity), 86, 91, 97, 98, 125 
 Shou huau, 180 
 Shou Lao, 116, 230, 576; represented in 
 
 Figs. 347, 348 
 Shou pi nan shan, Fu ju tung hai, 99 
 
 Shou Shan. 119; fu hai, 227 
 
 Shou tlie tyrant, 107 
 
 Shrinkage, 446 
 
 Shuai fu kung yung, 94 
 
 Shuang fu chi ch'ing, 126 
 
 Shuang hsi (twofold joy), 95, 171 
 
 Shuang kuan p'ing, 205 
 
 Shuang shou po fu, 86 
 
 Shu, ch'in, ch'i, hua, 120 
 
 Shu-ch'ang, 94 
 
 Shu Chiao (the Fair Shu), 162 
 
 Shu Ching (Book of History), 56, 109, 
 
 640 
 Shu Ch'ing Yuan, 175, 205, 324 
 Shu family, 162 
 Shu fu (imperial palace), 92, 135, 186; 
 
 -yao, 186 
 Shugio, H.,682 
 Shui-ch'gng, 123, 140, 146, 151, 155, 
 
 159, 167, 176, 206, etc. 
 Shui Chu (water-pourers), 167, 173, 197 
 Shui Chung-Ch'eng, 173 
 Shui hsien hua, 124, 475, 599 
 Shui pa pao (eight aquatic jewels), 121 
 Shu King (Book of History), 25 
 Shun (Chinese emperor), 14, 25, 27, 44, 
 
 56, 109, 133, 241, 601; pottery of his 
 
 time, 357 
 Shunchih, 71, 293-296 
 Shuo Wen, 43, 46, 641 
 Shu-pgng, 462 
 Shu Teng, 169 
 Siddharta, 113 
 Sieur Wagenaar's voyage to Batavia, 
 
 674 
 Silk, 568; culture, illustrated in Fig. 
 
 287; handkerchiefs of the Sung, 568; 
 
 weaving, pictures illustrating, 421, 
 
 657; works on, 658 
 " Silkworm coils," 481 
 Silver in decoration, 556 
 Silvered porcelain in the Yung-chgng U^ 
 
 period, 383 
 Single colors, 346, 360 
 Sinico-Japanese school of ceramists, 36, 
 
 37 
 Sin-p"ing, 18 
 Sinra, 32 
 Si Po, Prince of Chou. 601
 
 934 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Six-legged monster, .leo 
 
 Sky-blue, 136, 369, 370, 37o, 524, 528 
 
 Slip decoration in partial relief, 364; 
 illustrated in Fig. 66 
 
 Slop-bowls, 238 
 
 Smith, Major Murdoch, 605 
 
 Smithsonian Institution, 8 
 
 Snake-skin green, 72 
 
 Snuff-bottles, 503; originall3' for med- 
 icines, 503; illustrated, Figs. 12, 23, 
 25, 32, 48, 64, 65, 91, 102, 135, 179, 
 
 ' 199. 269, 272, 281, 286, 288-292, 295, 
 296, 300, 301, 305, 311, 317, 327, 330, 
 331, 334-337, 340, 344, 345, 347, 350, 
 351, 353, 412, Plate XXXVII 
 
 So (rhinoceros), 152 
 
 Sodom and Gomorrah, destruction of, 
 661 
 
 "Soft glaze," 320 
 
 "Soft-paste" class, 320; examples of. 
 Fig. 276, Plate LXVIII 
 
 Soft porcelain of Chelsea, 320 
 
 Sokuan, 755 
 
 Solar bird, 109 
 
 Solar zodiac, animals of, 562 
 
 Soleyraan, Arab traveler, 23 
 
 Sometsuke, 34, 687, 729, 743 
 
 Soniu, 704 
 
 Souffles, 289, 313, 410, 518; blue, 347, 
 377, 542; examples in. Fig. 260, 
 Plate XVIII; red, 340, 347, 360, 
 377, 408; examples, Figs. 250, 259 
 
 South Kensington ]\Iuseum, 5, 605, 699 
 
 Special designs for the European 
 market, 609 
 
 Sphere, one of the pa pao, 119 
 
 Spider-mark, 98 
 
 Spinning damsel, 468 
 
 Spring and Autvmn Annuls, 641 
 
 Square seal, 70; vases, how made, 435 
 
 Sripada (Buddha's footprint), 114 
 
 Srivatsa, 112, 114 
 
 Ssu Chi Hua, 598 
 
 Ssii-chuan, 23, 127. 179, 180, 584 
 
 Ssu Fang Ch'ing Yen, 402 
 
 Ssii kan ts'ao t'ang, 79, 83 
 
 Ssu Ling of the Chinese, 591-594 
 
 Ssii-ma Ch'ien (the Herodotus of 
 China), 14, 565, 642 
 
 Ssu-ma-kuang's presence of mind as a 
 boy. 603 
 
 Ssii t'ai teng, 205 
 
 Ssu yao (private kilns), 76, 443 
 
 St. James, 403 
 
 St. Louis of France, 566 
 
 St. Thomas, 589 
 
 Stamboul, 454 
 
 "Starch-blue," 138, 437 
 
 Star-gods, 559 
 
 Star of longevity, 100 
 
 Statuettes of Kuan-yin, 354 
 
 Staunton, Sir George, 51 
 
 Steatite, 472; used in crackling. 510 
 
 Stellar divinities, 468 
 
 Stems, the ten, 51 
 
 Stone-blue, 221, 439 
 
 Stone-drums, 45 
 
 Stoneware, 13 
 
 Stork, the, 475, 595; symbol of longev- 
 ity, 117; aerial messenger of the 
 gods, 363 
 
 Su-ch'ien-hsien, 396 
 
 Su-chou, 140. 195 
 
 Sui ch'i, 509; tun, 510 
 
 Sui dynasty, 20, 454 
 
 Suinin, emperor, 29 
 
 Sui Shu, 20, 642 
 
 Sui yu (crackled glaze), 349 
 
 Suizuka, 760, 761 
 
 Sultan of Egypt, 149 
 
 Su-nia-li (or Su-ma-ni) blue, 11, 193 
 
 Sun, the horse-chariot of the, 113 
 
 Sun Ch'iian, 573 
 
 Sung Ching-lien, 84 
 
 Sung, chu, mei, 86, 117, 597 
 
 Sung dynasty, 3, 10, 38. 50, 79, 89. 92. 
 104, 109, 128-142, 143-155, 159-178, 
 183-187, 195, 203, 219, 255, 268. 273. 
 275, 278. 281. 318, 369-373, 436, 499. 
 508, 510. 515, 693; marks, 65,66; por- 
 celain, 165; crackles of, Plate XII; 
 painted decoration first referred to, 
 563; different wares of, 444; pieces 
 illustrated, Figs. 119, 122, 124, 125, 
 133, Plates XII, XCIV 
 
 Sung hsiang (turpentine), 264 
 
 Snng Shih, 130, 642 
 
 Sunkoroku, 678, 754
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 935 
 
 Su-ni-p'o blue, 193 
 
 Superititendents of imperial i)otleries, 
 
 72, 73, 86, 301 
 Sur-bificuit decoration, 31, etc. 
 Sur-decoration, 617, 619; an example in 
 
 Fig. 357 
 Su-ti (plain ground), 381 
 \^Su Tuug-p'o, 170 
 
 Svastika, 98, 114, 115, 121, 123. 765 
 " Swing-cups," 208 
 Symbolism of the colors, 491 
 Symbols, Buddhist, 106, 111; Taoist, 
 
 106, 115; of ancient Chinese lore, 106, 
 
 107; of victory, 560 
 
 Tabaku-bon, 695 
 
 Table services in Lung-ch'ing period, 
 235 
 
 Ta chi (great good fortune), 100 
 
 Ta Ch'in (Roman Empire), 454 
 
 Ta Ch'ing {gros bleu), 439 
 
 Ta Ch'ing (Great Pure dynasty), Chia- 
 cli'ing nien cliih, 75, 464, etc.; Ch'ien- 
 lung fang ku, 77; Ch'ien-lung nien 
 chill, 74, 416; K'ang-hsi nien chih, 
 72, 327, etc.; Kiiang hsii nien chih, 
 76; nien chih, 401; Shun chih nien 
 chih, 71; Tao-kuang nien chih, 75: 
 T'ung chi nien chih, 75; Yung-chgng 
 nien chih, 74, 363 
 
 Ta Ch'ing Hui Tien i'ou, 225 
 
 Ta Cn'ingyi T'ung Chih, 643 
 
 Tael, 137, 260, 264 
 
 Ta Hsiu, 195 
 
 T'ai-ch'ang, 67 
 
 Tai che Shih (antimony ore), 264, 265 
 
 T'ai-chi symbol, 473 
 
 T'al Kgng Wan, 225 
 
 Taiko Hideyoshi, 681, 720; same as 
 Taikosama, 704 
 
 Tai-kwa, 734 
 
 T'ai Miao, at Peking. 490 
 
 T'ai p'ing huan lo, 624 
 
 Tai pings, 75 
 
 T'ai p'ing yu hsing, 140, 474 
 
 T'ai-pHng yu Ian, 645 
 
 Tai Shan, 100 
 
 Tai-ting, 177 
 
 T'ai tsun, 225 
 
 T'ai-wu Lake, 219 
 
 Takara-mono, 757 
 
 Tukatori ware, 688, 726, 727; examples 
 of. Figs. 339. 383 
 
 Takemoto liayata, 37, 626, 697, 698 
 
 Ta-kuan glazes, 368 
 
 Ta lii {gros vert, or emerald-green), 139, 
 317 
 
 Tamago-yaki, 689 
 
 Tamba, 731 
 
 Tamerlane, 604 
 
 Tamikichi, 729 
 
 Ta Ming, Ch'eng hua nien chih, 68, 
 211; -yuan nien yi yu, 68; Cheng- 
 tS nien chih, 68; Chia-chiug liu nien 
 chih, 69, 223; nien chih, 70, 741; 
 Ch'ung-chen nien chih, 70, Hsilan-te 
 nien chih, 67, 194, 199, 201, 203, 205; 
 Hung chih nien chih, 68; Hung-wu 
 nien chih, 66; Lung-ch'ing nien chih, 
 69; T'ien-ch'i nien chih, 70; Wan-li 
 nien chih, 69, 242, 294; Yung-lo nien 
 chih, 191, 192 
 
 Tamo, 589, 627 
 
 Tamura Gonzayeraon, 759 
 
 Tan, 180 
 
 T'an (wine-jars), 43, 230, 238; (altar). 
 92; Chan (altar-cups), 222 
 
 Tanagra of Japan, 718 
 
 Tanaka, 737 
 
 T'ang (hall), 79, etc.; (soup), 476 
 
 T'ang dynasty, 10, 17, 18, 19, 20, 21, 
 26, 32, 50, 127, 129, 139, 278, 436, 561 
 
 T'ang Ping-chiin, 421 
 
 T'ang yao, its name traced, 302 
 
 T'ang Ying, 3, 73, 87, 93, 159, 273 \ 
 294, 302. 305, 309, 361, 391, 401; 
 appointed superintendent of the im- 
 perial potteries, 279; his autobiog- 
 raphy, 393; commanded to write 
 description of twentj' illustrations of 
 porcelain-making found at Peking, 
 396; his journey to Peking, 420; 
 memoranda by, 398; his description 
 of the Twenty Illustrations translated, 
 420-462; his successors, 399; value of 
 bis work, 174; his writings on pot 
 tery, 663 
 
 J
 
 936 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 T'ann Shu, 18, 642 
 
 T'an-jen (the Tranquil), 659 
 
 Tan kuei. 103 
 
 Tanniu, 704 
 
 T'ao (an ancient place name), 43; pot- 
 tery, 12, 13, 44, etc. 
 
 T'ao Ch'ang (porcelain manufactory), 
 644; Ch^ng (porcelain administra- 
 tion), 3 
 
 T'ao ch'eng shih yu k'ao, 398 
 
 T'ao ch'i, 686 
 
 Tao Chi Liio, 178,663 
 
 ^'ao ch'ing (ceramic-blue), 439 
 
 T'ao cli'u (porcelain plinths), 277 
 
 Taoism, 106; its founder, 575; its first 
 great patron, 576 
 
 Taoist genii, 83, 115, 482; paradise,119, 
 578; symbols, 106, 115; temple at 
 Tungpa, 93; Triad, 577; shown in 
 Figs. 244, 325, Plate XXI; writers, 
 565; devices in old bronze, 563 
 
 T'ao-jSn (potters who work with the 
 wheel). 15, 431 
 
 Tao-kuang, 3, 48, 55, 75, 80, 84, 91, 95, 
 113, 466; poem by, 469; pieces illus- 
 trated. Figs. 38, 63, 73, 74, 311, 335, 
 Plate XXXVII; k6ng hsii nien chih, 
 62; yi ssu nien, Kuangyiit'ang chih, 
 90 
 
 Tao Shuo, 2, 130, 165, 189, 208, 226, 
 255, 405, 436, 454, 489, 495; its date, 
 author, and contents, 663, 665, 666 
 
 Tao-t'ai (intendant of circuit), 190, 294, 
 295 
 
 Tao Te Ching, 575 
 
 T'ao-tieh,137, 145, 406; shown in Figs. 
 274, 329 
 
 T'ao t'u, (porcelain earth), 260 
 
 T'ao Teh Tou Shuo, 663 
 
 T'ao yil, 21 
 
 T'ao Yuan-ming (a lover of chrysanthe- 
 mums), 104, 209, 598 
 
 Tartar dynasty, 293, 740 
 
 Ta Shih (the Arabs), 454 
 
 Ta shu fang chih, 88 
 
 Ta Sung Yuan fgng nien chih, 65 
 
 Ta T'ang (principal hall), 288 
 
 Tateno, 753, 754 
 
 Tatsumonji, 752 
 
 Tatsu no Kuchi, 752 
 
 Ta Ya Chai, 81 
 
 Tayasu Tokugawa, 720 
 
 Ta-yi potteries, 23, 127 
 
 Tazza-shaped cups, 171, 199, etc. 
 
 Tchang-ho, 18 
 
 Tching (= Chgn), explained, 283 
 
 Tching-hoa (= Ch'gng-hua), 299 
 
 Tch'in koue, 18 
 
 Tch'in-tcheou-fou (a department of 
 Ilonau), 18 
 
 Tea, its coming into general use in 
 China, 21; its introduction into Japan, 
 714; a clas.sical treatise on, 21, 655; 
 special works on, 655; ceremonies, 
 32; book on the utensils used in, 656; 
 adopted in Japan, 163, 681; their in- 
 fluence on Japanese pottery, 692; 
 utensils used in, 694; illustrated in 
 Plates CXIV, CXV 
 
 Teacups (ch'a pei), 141; (ou), 225, 228, 
 231, 237 
 
 Tea-dust glaze, 518 
 
 Tea-jars, 33; Japanese, Plates CXIV, 
 CXV 
 
 Teapots, 275, 696; Chinese works on, 
 656 
 
 Teaspoons of porcelain, 506 
 
 Tea-tasters, 163 
 
 Technical processes, 508 
 
 Teclinique during the Ming period, 
 260-275 
 
 Te-hua (in Fuchien), 164, 184, 276, 
 534, 627, 631 
 
 Tg hua ch'ang ch'un, 96 
 
 Tembio, 731 
 
 Temple of Confucius at Peking, 45; of 
 Land and Grain, ritual vessels of, 
 492; of the patron god of potters, 461 
 
 Tempo, 755, 761 
 
 Teng (lamp), 153, 161, 490 
 
 Tensho, 703 
 
 Terra-cotta, 12, 43, 638 
 
 Terrien de Lacouperie, 25 
 
 Tezukune, 704 
 
 Themes illustrated in decoration, 600, 
 601 
 
 Thieves, god of, 583 
 
 Thirteen li Mart, 281
 
 ORIENTAL CERAMIC ART. — INDEX. 
 
 937 
 
 Thousand-character classic, 215 
 
 Three ancient dynasties, 14, 15, 56 
 
 Three color decoration, 324, 483 
 
 Three fruits, the, 596 
 
 Three kingdoms, the, 56, 573 
 
 Three-legged bird, 109; toad, 110, 583 
 
 Three Rituals, 640 
 
 Thumb-guards of porcelain, 505 
 
 Tibet, Buddhism in, 585 
 
 Tibetans, their favorite deity, 588 
 
 Tieh (saucer plates), 224, 228, 229, 306, 
 475 
 
 T'ieh-hsiu, technique of, 406; Plate 
 XIX 
 
 T'ieh-hsiu-hua, 519 
 
 Tieh t'o (saucer), 141 
 
 T'ien-ch'i, 70, 157, 258; porcelain of, 
 258, 259 
 
 T'ien-ch'ing, Plates LXXIV 
 
 Tien Hou (Queen of Heaven), 583 
 
 T'ien hsia t'ai p'ing, Ssvi fang hsiang 
 ts'ao, 247 
 
 T'ien-Kua Hu, 210 
 
 T'ien kuan tz'u fu, 100 
 
 T'ien kung k'ai tmi, 273, 623; its con- 
 tents, 658 
 
 T'ien-lan (sky-blue), 370 
 
 Tien mao fang chih, 84 
 
 T'ien pai (pure white), 268, 316, 385; yu, 
 479 
 
 T'ien-pao, IS, 139 
 
 T'ien-shun, 64, 206 
 
 T'ien ti yi chia ch'un, 81 
 
 Tientsin, 190, 279 
 
 T'ien tzii Kuan, 258 
 
 Tiger, the Chinese, 591; the white, 560 
 
 Tiger-skin glaze, 317 
 
 Timur the Mongol, 604 
 
 Ting, 490; (a cake of ink), 125; (fixed, 
 immovable), 87; (incense-burner), 139, 
 143, 145, 214; (sacrificial vessels), 273 
 
 T'ing (a summer-house), 79 
 
 Ting chou, 129, 136, 142, 146, 162, 165, 
 268; potteries at, 257; closing of, 625; 
 porcelain, 79-173, 184, 273, 533; imi- 
 tations of, 185, 273, 318 
 
 Ting-ch'ou (a cyclical year), 207 
 
 Ting-hsiang (the Syringa sinensis), 599 
 
 Ting ssu (a cyclical year), 466 
 
 Ting yao, 127, 133, 136, 142, 143, 160, 
 164, 176, 448, 625 
 
 Ti p'ing (ground vases), 502 
 
 Toad, the three-legged, 110, 583 
 
 Tobacco-plant, its introduction into 
 China, 503 
 
 Tobei, 752 
 
 T'o-chih (supporting twigs), 673 
 
 To-da-kichi-hei, 99 
 
 To-ichi, 754 
 
 Tojin-machi, 735 
 
 Toju, 754 
 
 Tokaido, 682 
 
 Toki (pottery), 686 
 
 Tokio, Tokyo, 27, etc.; porcelain, Plate 
 XCVI 
 
 Tokitsu, 754 
 
 Tokonoma, 695 
 
 Tokugawa family, 746 
 
 Tokuri, 742, 756 
 
 Tokuzayemon, 674 
 
 Tones in Chinese, 44 
 
 Topography, Chinese works on, 643 
 
 Tortoise (emblem of longevity), 117; a 
 full account of, 594; -shell, 520 
 
 Toshiaki, 759 
 
 Toshiharu, 759 
 
 Tosliima Tokuzayemon, 737 
 
 Toshiro, 32, 714; his influence on Japa- 
 nese ceramics, 692; his tea-bowls, 
 725 
 
 To-t'ai tz'u (eggshell porcelain), 192 
 
 Tou ch'ing, 234, 360; -yu, 264; illus- 
 trated in Plate XL 
 
 Tou li pei, 200 
 
 T'ou shou chi ch'eng, 273 
 
 Tou, the twelve, 491 
 
 Toyosuke ware, 730 
 
 Trade of China, 23; with Africa and 
 Arabia, 504 
 
 Transliteration of Chinese, 44 
 
 Traite des Arts Ceramiqites, 324 
 
 Transmutation colors, 130, 516; glazes, 
 37, 157, 407, 516, etc.; pieces illus- 
 trated. Figs. 27, 118, 137, 140, 165, 
 270; Plates XVI, XLVI, L, LI, 
 LXXXVII 
 
 Tree-peony (emblem of riches and 
 rank), 126, etc.
 
 938 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Trenchard, Sir Thomas, 606 
 
 Tressaillure, 447 
 
 Trevor, Thomas, 381 
 
 True porcelain of Japan, 689 
 
 Truite, truitee, 315, 327, 447, etc. 
 
 Trigrams, the eight, 106, 107, etc. 
 
 Tripod cen.ser, 139, 145, etc. 
 
 Tsa llua (miscellaneous designs), 570 
 
 Ts'ai chin (painting in gold), 328 
 
 Ts'ai Chin-ch'ing, 287, 470 
 
 Tsai cli'uan chih lo, 102 
 
 Ts'ai Ilsiaug, 170 
 
 Ts'ai hua (decoration in colors), 289 
 
 Ts'ai Hung (printing in red), 327, 383 
 
 Ts'ai jun t'ang chih, 88 
 
 Ts'ai shui-mo (painting in black), 383 
 
 Ts'ai tieh (food-dishes), 226 
 
 Tsang-pa (Zanzibar), 10, 148 
 
 Ts'ang T'ing-feng, 178 
 
 Ts'ang Yao, its name traced, 302; de- 
 scribed, 306 
 
 Ts'ang Ying-hsiian, 72, 302; superin- 
 tendent of imperial factory, 305; 
 glazes invented by, 372 
 
 Ts'ao (grass), 110; shu (grass hand), 46 
 
 Tsao Ch'ao, 650, 681 
 
 Tsao-fan (green vitriol), 341 
 
 Ts'ao Fu, 591 
 
 Ts'ao Kuo-cli'iu, an account of, 580 
 
 Tsao-p'ing, 493 
 
 Tsao-'rh hung, 408 
 
 Ts'ao Ts'ao, 573 
 
 Tsao t'ang (decoction of jujubes), 92, 
 222 
 
 Tsgng (a hand-organ), 353, 578 
 
 Tseng Kuo-fan, 470 
 
 Tsiu (misprint for ts'ui), 343 
 
 Tso-tsun, 499 
 
 Tsou family of potters, 195 
 
 Tsubo, 702 
 
 Tsuchiyaki, 687 
 
 Ts'u chui (vinegar-cruse), 226 
 
 Tsii Erh Chi, 44 
 
 Ts'ui ch'ing se (turquoise-blue), 226 
 
 Ts'ui lu, 226 
 
 Ts'ui se (turquoise), 409; -yu (glaze) 
 265 
 
 Tsuji Katsuzo, 739 
 
 Tsuji Kizayemon, 738 
 
 Tsun (jar), 144, 153, 160, 171, 435, 489; 
 (sacrjficial vase), 43, 394; (beaker- 
 shaped vases), 306 
 
 Ts'ung-cheng, 92 
 
 Ts'ung lii (onion-green), 129 
 
 Tsung-tu (governor general), 301 
 
 Tsung Yi (temple vessels), 110 
 
 Ts'u ti (vinegar-ewers), 238 
 
 Tu the poet, 23, 169 
 
 T'u (earth), 142 
 
 Tuan T'ing-kuei appointed superin- 
 tendent, 287 
 
 Tu Chiu-ju, 274 
 
 Tu-hsia (finished ca.ses), 429 
 
 Tui Ch'i (embossed pieces'), 268 
 
 Tui hua (embossed designs), 382, 389 
 
 T'u-mao chan, 170 
 
 T'u-mao-hua Ch'a-ou, 169 
 
 Tumed banners, 95; prince, 113 
 
 T'u-mi (Rosa rugosa), 599 
 
 T'ung-chih (sub-prefect), 279; (em- 
 peror), 61, 62, 75, 87, 469; list of 
 articles requisitioned by, 470-483 
 
 Tung-ch'ing (wintergreen), 156, 372, 
 480, etc. 
 
 Tung-ch'ing yao, 129, 136, 156; Plate 
 XXXVIII 
 
 T'ungchou (city near Peking), 93 
 
 Tung Fang So (a Taoist saint), 360; 
 his theft of the sacred peach, 582; 
 shown in Figs. 250, 333 
 
 T'ung h.sin fang sheng, 120 
 
 T'ung hua p'ien (oxide of copper), 345 
 
 T'ung kuan (cylindrical jars), 195 
 
 Tung-li garden, 104 
 
 Tungpa (a town near Peking), 93 
 
 Tung Wang Fu, 561 
 
 Tung Yang J6n, 390 
 
 Tung Yang Ts'ai, 673 
 
 Turning, tools used in, 448 
 
 Turquoi.se-blue, 131, 226, 315, 409; 
 glazes, 265, 376; pieces illustrated, 
 Figs. 1, 8, 20, 31-33, 40, 76, 110, 115, 
 127, 139, 148, 158. 163, 170, 174, 189, 
 192, 217, 238; Plates XLIV, XLV. 
 LXXV, LXXXIV, XCIII 
 
 Tushita heaven, 588 ' 
 
 T'u ting, 142, 370; ware, 257, 533, Fig. 
 177
 
 ORIENTAL CERAMIC ART. 
 
 -INDEX. 
 
 939 
 
 Tu Yu (an early poet), 656 
 
 Twelve Brandies, 51; Cbang, 109 
 
 Twenty-four dynasties, 56, 57; Para- 
 gons of Filial Piety, 603 
 
 Twin Merry Genii, 1G5, 583; Fig. 346 
 
 Tz'u (porcelain), 12, 20, 21, 43, 44. 686, 
 etc.; -clien (porcelain pillow), 169 
 
 Tzu (puri)le), 145, etc.; -chin (dead- 
 leaf tint), 226, 313, 348, 349; -yu, 264 
 
 Tzu-chlng, 134 
 
 Tz'u-chou, 127, 130, 162, 164, 165, 625, 
 678 
 
 Tz'u-en-ssu (temple at Peking), 209 
 
 Tz'u shlii-t'ang, 181 
 
 Tz'u shu ko, 79 
 
 Tzu tz'u fang cbih, 85 
 
 Tz'u yao, 164 
 
 Tzu ylng slilli, 479 
 
 U 
 
 TJndeciphered marks, 103 
 Underglaze colors, 326, 386, 442, 469; 
 
 decoration described by P^re d'En- 
 
 trecolles, 351 
 Unicorn, the Chinese, 594; the spotted, 
 
 560 
 Universal Monarch, one of the symbols 
 
 of the, 120 
 Uranoscope, 561 
 trna, 733, 747, etc. 
 Ushnlsba, 733, 747 
 Uten.slls of Sung porcelain, 128 
 
 Vajra Buddha, 727 
 
 Van Aalst, J. A., 109 
 
 Van Neck, at Batavla, 607 
 
 Vases, 237, 434; different kinds of, 180 
 (fang liu), 140; (hu), 151; (ch'i). 162 
 (ku), 137; (p'lng), 160; (tsun), 146 
 the manufacture and forms described 
 by T'ang Ylng, 434, 443; history of, 
 book on the, 680, 681; for cut flowers, 
 495; ecclesiastical, illustrated in 
 Plate XX 
 
 Veranda plaques, 71 
 
 Vermilion, 161; pencil, 402 
 
 Vert passe, 553 
 
 Victor}' or success, a .symbol of, 120 
 
 Viellles qualltes du Japon, 708 
 
 Vieux truite, 710 
 
 Vinegar-ewers, 238 
 
 Violet d'eveque, 554 
 
 Virgin Mother on porcelain, 403 
 
 Vlssage (screwing), 433 
 
 Vitex-blue, 136, 137 
 
 Vogt, M., 6, 290, 446 
 
 Vows of the Chinese, 98 
 
 W 
 
 Waddell, Dr. L. A., 585 
 
 Wade, Sir Thomas, 44 
 
 Wakal, M., 720 
 
 Wall-gazing Brahman, 589 
 
 Wan (bowls), 43, 180. 206, 224, 306, etc. ; 
 
 (" 10,000"), 98 
 Wan ku ch'aug ch'un, Ssii hal lai ch'ao, 
 
 247 
 Wanll, 36, 69, 70, 71, 89, 96. 101, 143, 
 
 189, 209, 222, 234, 239, 240, 242, 257. 
 
 260, 262, 268, 270, 273. 274, 287, 436, 
 
 443, 462, 503; decoration in colors, 
 
 239; mark often copied by the 
 
 Japanese, 36; porcelain, 239-257; 
 
 copies of, 378; pieces Illustrated, Figs. 
 
 18, 106, 153, 167, 173, 174, 38(a), etc.; 
 
 Plate LXXII; -nien ts'ai. 96; wu 
 
 ts'al, 193, 326 
 Wan shlh chii, 103 
 Wan Shou (" myriad ages"). 99; shan, 
 
 638; wu Chiang, 99, 481 
 Wan yu, 101 
 Wang-Chi, scenes from the legend of, 
 
 628 
 Wang Ch'iao (the philosopher Prince), 
 
 583 
 Wang Chlng-mln, 241 
 Wang Fu, 648 
 Wang Hsl Chili, 602 
 Wang-Jlh tsao, 295 
 Wang Mang, the usurper. 56 
 Wang Sun-chl, 211 
 Warhara. Archbishop, 149; his cup, 
 
 606 
 Watano Kichiji. 762
 
 940 
 
 ORIENTAL CERAMIC ART. INDEX. 
 
 Water-droppers, 167, 173 
 
 Watered blue, 267 
 
 Water-fairy flower, 475, 599, etc. 
 
 Watering pot (hua cliiao), 169 
 
 Watermelou Island, 281 
 
 Water-pot or receptacle (shui ch'gng), 
 140, 146, 151, 155, 159, 167, 173; 
 (hu), 167 
 
 " Wa-wa cups," 209 
 
 Wedded bliss, special emblem of, 95 
 
 Wedding-cups, 170, 207 
 
 Wei Ch'u, 23 
 
 Wei dynasty, 133 
 
 Wen chang shan tou, 100 
 
 Wgn Chang Ti Cliiln, 574 
 
 Wgn Chgn-heng, 172 
 
 Wgnchou-fu, 624 
 
 Wen Fang ssu K'ao, 421, 456, 654 
 
 Wen fan ssu p'u, 654 
 
 Wgng, 43, 450 
 
 WSn T'ien-hsiang, 162 
 
 Wgn Wang, 107, 143 
 
 W6n Wei-chung, 215 
 
 W6n yil pao ting, 101 
 
 "Western Buddha," 82 
 
 Weston, Stephen, 51 
 
 Weymouth, 606 
 
 Wheel of the law, 563 
 
 Whistler's illustrations of Blue and 
 White, 323 
 
 White, the color of .Jupiter, 492; carp, 
 560; charcoal, 264; deer, story of 
 the, 560; crane of Wang Ch'iao, 583; 
 enamel colors, 552; glazes, 267, 318, 
 319; Hirado porcelain, 746; -Horse 
 Monastery, 585; Lady, 570, 571; white 
 porcelain, 226, 232; of Ch'ien-lung, 
 408; of Fuchien, 623; of Hsing-chou, 
 22; of Ching-tg-chgn, 630; of Tg-hua, 
 276; of Yung-lo, 191; pieces illus- 
 trated. Figs. 18, 36, 37, 55, 104, 135, 
 138, 147, 151, 172, 177, 180, 218, 219, 
 222, 243, 246, 251, 252, 256, 264-267, 
 275, 277, 278, 302, 303, 310, 319, 322, 
 354, 371-373, Plate XC; slip decora- 
 tion, 341, 523; Ting-chou-ware, 370; 
 Umbrella, Lord of the, 112; unglazed 
 porcelain of Tao-kuang, 469 
 
 Whitney, Prof. W. D., 562 
 
 Williams, S. W., 632 
 v/Wine-cups, 43, 185, 227, 232, 236, etc. 
 Wine-jar (tsun), 171 
 Wine-pots, 185; (chia), 146; (yu), 153; 
 
 (hu), 160, etc. 
 V Winter-blossoming plum, 597 
 Wistaria sinensis, 82 
 Wonder-working jewels, 114 
 Wool kerchiefs of the Kitans, 568 
 Wrapping and packing porcelain, 
 
 described by T'ang Ying, 458 
 Writers and Painters, Cyclopmdia of, 
 
 647 
 Writing, Chinese, 42 
 Writing-table, articles for, 494, 695 
 Wu Chgu-hsien, 89 
 Wu chin (metallic black), 313; (black 
 
 porcelain), 347 
 Wu f6ng grh nien, 558 
 Wu fu (five happinesses), 91, 322, etc. 
 Wu-hsing, 204 
 
 Wu k'o (a Buddhist monk), 104 
 Wu kung (sets of five), 491 
 Wu-mgu, 205, 214; -t'o, 261 
 Wu-raing-yi (cobalt-blue), 10, 130, 439 
 Wu San-kuei, 41, 71, 287, 293, 305 
 Wu-shg (sets of five), 501 
 Wu-sung, 213 
 Wu Tai (five dynasties), 57 
 Wu tg, 18 
 
 Wu Ti (five rulers), 55; (emperor), 565 
 Wu ts'ai (five colors), 35, 201, 270, 325, 
 
 329, 687, etc.; piece decorated in. 
 
 Fig. 228 
 Wu Wang, 14, 26, 560 
 Wu-yuan-hsien, 261 
 Wu Yueh, 436 
 
 X 
 
 Xavier, Francis, 750 
 
 Yaki (= yao), 687 
 Yakimono, 687 
 Yamamoto, 752 
 Yamashiro, 761 
 Yamato, 30
 
 ORIENTAL CERA^lIC ART. INDl X. 
 
 941 
 
 Yang-chiang-hsien, 13; ;i center of the 
 manufacture of Kuang yao, 633 
 
 Yang ho fang chih, 88 
 
 Yang-hsien (an old name of Yi-hsing), 
 635; teapots, 656 
 
 Yang-hsien ming hit, hsi, 635, 656 
 
 Yang-hsin-tien, 93, 393, 420 
 
 Yang ts'ai (foreign colors), 388, 390, 
 404, 611 
 
 Yangtsii, 190, 279 
 
 Yang tz'u (foreign porcelain), 456, 611 
 
 Yao (Chinese emperor), 14, 25, 27, 44, 
 56; his filial piety, 601; and Shun, 
 ceramic relics of, 558; (jar), 43; 
 (pottery, etc.), 43, 302, 357, etc. 
 
 Yao-pien, 37, 130, 131, 219, 220, 370, 
 514, etc.; glazes, 407: examples of. 
 Plates XVI, XLVI, LXXXVIII 
 /Yao p'ing, 503 
 
 Ya pai (ivory-white), 552 (compare 
 F6n-ting). 
 
 Yatsushiro faience, 682 
 
 Ya Wan (literary toy), 48, 101 
 
 Year-star of the Chinese, 226 
 
 Yedo, 717 
 
 Yeiraku, 38, 697, 718, 762 
 
 Yei-sho, 726 
 
 Yellow, the imperial color, 491; 
 enamels, 217; glaze used in the Ming 
 period, 553; variegated, 317; of the 
 muffle stove, 553; Banner, 301; River, 
 107, 279, 574 
 
 Yen (ink-pallet), 140, 166, 202, etc. 
 
 Yen-chih ho (rouge-box), 212 
 
 Yen-chih hung, 408, 511 
 
 Yen-hsiao (niter crystals), 264 
 
 Yen shan (brush-rest), 140, 155, etc. 
 
 Yen-shui ti, 251 
 
 Yen Yu Shan, 48 
 
 Yi (sacrificial vessel), 44, 204, 435, 490 
 
 Yi, princes of, 132, 309 
 
 Ti Ching, 108, 640 
 
 Yi Ch'ou (second of the cycle of sixty), 
 55 
 
 Yi-hsing (hsien), 13, 135, 158, 218, 220, 
 273, 274, 374; -ware, 374, 635, 636 
 
 Ti Li, 640 
 
 Yi Lu, 197 
 
 Yi-mao (a cyclical year), 394 
 
 Yin (dynasty), 50; (darkne.ss), 107; 
 (seals), 168 
 
 Yin Ch'ih, 173 
 
 Ying (a cruse), 43 
 
 Ying-shua, 115 
 
 Ying ts'ai (hard colors), 550 
 
 Ying Tsung, 64 
 
 Yin-sg-Ch'ih, 168 
 
 Yin Weng (the silver jar), 560 
 
 Yin-yang (symbol), 106, 247, 472; showu 
 in Fig. 197 and Plate XXIII 
 
 Yi-ssu, 91 
 
 Yi yli fang chih, 78, 82 
 
 Yokohama, 388; school of ceramists, 36 
 
 Yokoishi Toshichibei, 743 
 
 Yorakude, 764 
 
 Yoshidaya Hachiyemon, 761 ; -yaki, 
 761 
 
 Yoshihiro, 752, 753 
 
 Yoshimasa, 681 
 
 Yu (wine-jars), 156, 490; (glaze), passim 
 
 Yil (emperor), 56; (jade), 43, 101, 321, 
 etc.; (basins), 43, 306; (bowls with 
 lips), 186; (fish), 112, 125, etc. (= yu, 
 abundance, prosperity); (imperial), 76 
 
 Yuan dynasty, 66, 92, 128, 133, 135, 
 143, 154, 163, 185, 187, 188, 205, 604; 
 blue and white of, 564; crackle, 508; 
 marks, 65; porcelain, 178-188; porce- 
 lain-making, 627; pieces illustrated. 
 Figs. 3, 141 
 
 Yuan (= laon, Greeks), 565 
 
 Yuan, the three (brothers), 496 
 
 Yuan ch'i (round ware), 288, 430. 435 
 
 Yuan fgng, 65 
 
 Yuan Hung-tao, 496, 497 
 
 Yuan-kuang, 16 
 
 Yuan-Ming Yuen, 638 
 
 Yuan tz'ii, 187 
 
 Yuau wen wu kuo chih chai, 90 
 
 Yu-chang, 206 
 
 Til Chang ta shih chi, 206, 644 
 
 Yli chSn, 101 
 
 Yil Ch'i Ch'ang (imperial manufactory), 
 190, 216. 281, 287 
 
 Yu cli'ing (pale green), 161 
 
 Yueh (the moon), 87, 110 
 
 Yueh-chou, 22, 127; cups, 22, 624 
 
 Yueh hsia pai (moonlight-white), 161
 
 942 
 
 OF lENTAL CERAMIC ART. 
 
 -INDEX. 
 
 Yueh-ltio. 110 
 yy Yueh pai (moou-white), 7, 129, 136. 139, 
 310, 860; illustrated in Plate LI 
 
 Yueh porcelain, 50 
 
 Yuhgng, 19 
 
 Yu lisin cli'ou nien chih, 62 
 
 Yii Im cli'un, 472, 473 
 
 Yu-hung, 423 
 
 Yu-kan-hsien, 261, 424 
 
 Yu-kang (flsh-bowls), 224, 295 
 
 Yu Ku, 115 
 
 Yu ku ch'i, 40 
 
 Yu-kuo (glaze fruit), 427; t'ien ch'ing, 
 369 
 
 Yu lai (coming friends), 94 
 
 Yii Ian (the magnolia yu Ian), 126, 210, 
 599 
 
 Yu-li-liung (red in the glaze), 340, 346, 
 386, 537 
 
 Yu lil (kiln-transmuted green), 310 
 
 Yung-chgng, 73, 79, 87, 128, 159, 279, 
 309, 332, 391, 397, 399, 401, 407, 414, 
 462; a special patron of tlie ceramic 
 art, 365; porcelain, 359-366; clair de 
 lune, 375; official list of colors of the 
 period, 367; characteristics of, 391; 
 with embossed designs, 382; in under- 
 cut relief, 389; with engraved designs, 
 382; decorated in red, 883, 386, 466; 
 with the five colors on monoclirome 
 yellow, 387; enameling in the Euro- 
 pean style, 383, 389; silvered, 383; 
 painting in colors in European style, 
 388; in gold, 390; in silver, 390; 
 copies of various glazes, colors, and 
 periods, 878, 879, 381, 385, 388; re- 
 productions in the period, 871, 873, 
 384; rice-colored glaze, 386; tur- 
 quoise, 376; pieces illustrated. Figs. 
 28, 38, 68, 72, 101, 116, 126, 180, 147, 
 179, 249, 252, 258, 262, 275, 288, 295, 
 382; Plates, XX. XXI, XXXVIII, 
 XL, XLI, XLIII, XLVII, XLVIII, 
 LII, LXIII, LXV, LXVI, LXXXV, 
 LXXXVI; nien chih, 60; yu chih, 
 76 
 
 Yung ch'ing ch'ang ch'un, 81, 102 
 
 Yung-ch'un-chou, 627 
 
 Yung-ho-chgu, 162 
 
 Yung-lo, 11, 66, 92, 133, 135, 186, 187, 
 191, 277, 450, 534, 6U5; porcelain, 
 190; copies of, in Yung-chgng period, 
 378; piece illustrated. Fig. 70; nien 
 chih, 67 
 
 Yung-lo Ta Tie)i, 645 
 
 Yung pao ch'ang ch'un, 247 
 
 Yung pao ch'ang shou, ssu hai lai ch'ao, 
 251 
 
 Yung pao ch'ien k'un, 252 
 
 Yung pao hung fu ch'i t'ien, 244 
 
 Yung pao wan Shou, 248 
 
 Yung sheng, 102 
 
 Yun Hsiang Ko, 94 
 
 Yun-lo, 358 
 
 Yunnan, 193, 216, 298, 805 
 
 Yun-tieh (vegetable dishes), 225 
 
 Yii nil (jadelike girl), 113 
 
 Yuriaku, 30, 704 
 
 Yu-shan, 181 
 
 Yil-sheng, 560 
 
 Yu Shih T'ing, 287 
 
 Yu shui, 264, 267 
 
 Yii fang chia ch'i, 88 
 
 Yii fang fu kuei, 126 
 
 Yu T'ao Ling Ssii, 288 
 
 Yii-tzii (fish-roe), 509; huang (fish-roe 
 yellow), 410; lii, 409; w^n, (fish-roe 
 crackle), 409, 410; Plates XXVII, 
 LXXVIII 
 
 Yii Yao Ch'ang (imperial manufac- 
 tory), 287 
 
 Zanzibar, 148; Chinese trade with, 604 
 
 Zayton, Zeitoun, 184 
 
 Zenroku, 726 
 
 Zenshiro, 725 
 
 Zizyphus communis, 408 
 
 Zodiac, the twelve animals of the, 561 
 
 Zoroku, 705
 
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