Chapter XVIII: Forgeries and Imitations (2)

_Pâte sur pâte_, ii. 77, 196

Pattern books, ii. 105, 303

Peach, ii. 286, 288, 301

“Peach bloom,” ii. 99, 146, 176, 177, 178, 179, 185

Peacocks, ii. 39, 258

“Pear skin” clay, i. 174

Pearl or jewel, ii. 291

Peking, i. 200, 205, 206; ii. 126

Peking bowls, ii. 239, 244, 264

Peking lacquer, ii. 263

Pekingese spaniel, ii. 39, 293

Peking, tile works near, ii. 237

Pen rest, ii. 32

P’êng Chün-pao, i. 94, 97

P’êng ware, i. 164

Pêng-lai mount, i. 7; ii. 156, 290

Peony, ii. 294

Perfume vase, ii. 68

Persia, i. 86, 193; ii. 12, 29, 30, 31, 44, 69, 247, 278

Persian forms, ii. 67

Persian glazed bricks, i. 9

Persian Gulf, i. 149

Persian market, wares for, ii. 73, 77, 81

Persian monsters, i. 27

Persian ware, i. 34, 103, 104, 148; ii. 30, 48

Perzynski, F., i. 27, 35; ii. 43, 70, 73, 74, 75, 89, 90, 105

Peters Collection, S. T., i. 12; ii. 18, 190, 191, 192

Peters, S. T., i. 114

_Petuntse_, i. 148; ii. 91, 123, 248

Pheasant, ii. 295, 297

Philippines, i. 87, 189

Phillips, Rev. H. S., i. 132

Phœnix, i. 90; ii. 39, 269, 288, 293

Phœnix ewer, i. 149

Phœnix Hill, i. 59, 61, 72, 134

_Pi chuang so yü_, i. 72

_P’i hsieh_, ii. 294

P’i-ling, i. 91, 95

_Pi liu li_, i. 144

_Pi sê_ (secret colour), i. 38, 39, 40, 54

_Pi ting ju i_, ii. 301

_Pi t’ung_, ii, 275

_P’iao tz’ŭ_, i. 16, 143

Pictures of manufacture of porcelain, ii. 248

_P’ieh_, i. 165; ii. 5

Pierced design, i. 194; ii. 59, 75, 76, 79, 196, 246

Pigments, unfired, i. 3

Pilgrim bottles, ii. 274

Pilkington Tile Works, i. 200

Pillows, i. 104, 105, 107; ii. 97, 276

Pine, bamboo and plum design, ii. 47

_P’ing hua p’u_, i. _xvi_; ii. 94

_P’ing shih_, ii. 94

P’ing-ting Chou, i. 97; ii. 107

P’ing-yang Fu, i. 32, 97

Pink, ruby, ii. 238

Pipes, ii. 278

Plaques, ii. 97, 117, 277

Plates, ii. 97

Plates, seven border, ii. 211

Plum blossom crackle, ii. 244

Plum blossom design, i. 133

P’o-hai, i. 148

_Po shan lu_, i. 12

_Po t’ang_ blue, ii. 98

Points of compass, ii. 41

Polynesian khava bowls, i. 129

Pomegranate-shaped pots, i. 198

Pools of glass, i. 171

Porcelain, archaic specimens of translucent, i. 163

Porcelain, beginnings of, i. 15, 39, 89, 141–151

Porcelain, decorated, at Canton, ii. 211

Porcelain, special kinds of, ii. 201

Porcelain, white, ii. 195

Portuguese, ii. 68, 89

Po-Shan Hsien, i. 103, 107, 188, 200

_Po wu yao lan_, i. 61, 224

Po-yang Lake, i. 152

Pot-hook-like herbage, ii. 90

Potter Palmer Collection, i. 34, 35

Potters’ marks, i. 221

Potters’ names, i. 220, 223; ii. 64

Pottery, origin of, i. 2

Precious Objects, Eight, ii. 297, 298

Precious stone red, ii. 11, 122

Precious Symbols, Eight, ii. 42

“Press-hand” bowls, ii. 93

Preussler, ii. 260

Pricket candlesticks, ii. 60

Prints, copying effect of European, ii. 214

Prunus design, ii. 134, 135, 152

_P’u shu t’ing chi_, ii. 23

Puzzle jug, ii. 251

Quails, ii. 295

Radiating lines under base, ii. 92

Ram, ii. 294

Rams design, three, ii. 43

Raphael Collection, i. 63

“Rat and vine” pattern, ii. 231, 245, 303

Read, Sir C. Hercules, i. _xxv_, 31

Rebus designs, ii. 299, 300

Red and gold decoration, ii. 6

Red and green family, i. 104

Red biscuit, ii. 9

Red, copper, ii. 6, 11, 55

Red, coral, ii. 6, 48, 51, 160, 238

Red family of Wan Li porcelain, ii. 81

Red, _flambé_, ii. 124

Red in the glaze, ii. 204

Red, iron, ii. 51, 55, 165, 179, 215, 235, 244

Red, jujube, ii. 210, 219, 238

Red, liver, ii. 99, 178, 194, 238

Red, maroon, ii. 178, 179, 194

Red, crushed strawberry, ii. 119, 125

Red, ox-blood, ii. 124

Red, ritual significance of, ii. 195

Red, ruby, ii. 221, 224

Red, soufflé, ii. 127, 193, 194, 218, 219, 224, 238

Red, underglaze, ii. 10, 79, 99, 119, 145, 146, 204, 205, 241

Relief work, ii. 74, 196

Revolving necks, ii. 246, 262

Rhages, i. 87

Rhinoceros jars, ii. 36

de Ricci, M. Seymour, ii. 194

Rice grain pattern, ii. 246, 247, 263

Richard’s Geography, i. 56, 172

Rijks Museum, Amsterdam, ii. 75

Ring under base, double, ii. 69

Ritual vessels, ii. 272

Rock and wave design, ii. 81, 87, 290

Rockery and flowering plants, ii. 164

Rococo ornaments, ii. 258

Rome, i. 5

Roof tiles, i. 201

Rookwood Potteries, i. 200

Rose and ticket pattern, ii. 133

Rose pinks, ii. 210, 229, 237

Roth, Ling, i. 87, 193

Rotterdam, siege of, ii. 252

_Rouge de fer_, ii. 101, 160

_Rouleau_ shape, ii. 165, 269, 274

Rubbing with sand, ii. 159

“Ruby-back” porcelain, ii. 210, 213, 243

Rush pattern, i. 44

Ryoben, i. 36

Sages meeting in landscape, ii. 95

St. Cloud, ii. 112, 173

St. Louis of France, ii. 252

St. Mark’s, Venice, ii. 113

Sakyamuni, ii. 284

Saladin, i. 87

Salting Collection, i. _xxiii_, 197; ii. 81, 83, 90, 95, 145, 156,
160, 165, 168, 170, 179, 181, 185, 187, 235, 244

Salt glaze, ii. 144

Salvétat, M., ii. 10

Samantabhadra, ii. 285

Samarra, i. 101, 148, 149

Samian ware, i. 31

_San kuo_, ii. 11

_San ts’ai_ (three colours), i. 197; ii. 26, 33, 79, 100, 151, 152,
153

_San yang k’ai t’ai_, ii. 43

_Sang de bœuf_ red, ii. 11, 99, 121, 123, 124, 125, 146, 176, 194,
232, 271

Sanscrit characters, ii. 62, 66, 240, 286, 302

Sanuki, i. 200

Sarre, Professor, i. 101, 148; ii. 69

Sassanian, i. 34

Sassanian monsters, i. 27

Satsuma faience, i. 103

Saucers, ii. 278

Sawankalok, i. 81, 85, 88

Scale pattern, ii. 158, 259

Scholar design, famous, ii. 25

“Scratched blue,” ii. 144

Screens, ii. 277

Seagulls, little, i. 97

Sea-horses design, ii. 80

Sea waves, ii. 42

Seal characters, ii. 301

Seals, ii. 276

Seasons, flowers of four, ii. 38, 56, 134, 156, 296

Seasons, landscape, ii. 297

Seats, barrel-shaped, ii. 8, 15, 17, 60, 97, 277

“Secret colour” ware, i. 38, 59

Seggars, i. 156; ii. 248

Self-warming cups, i. 138

Seligmann, Dr. C., ii. 51, 67

Sepulchral furniture, i. 19

Sepulchral pottery, Han, i. 14

Sesamum design, i. 53

Seto, i. 123, 132

Sets, dinner-table, ii. 36, 267

Sets of five vases, ii. 97, 134, 279

Seven border plates, ii. 211

Sèvres, i. _xvi_; ii. 140, 251

Sèvres Museum, i. _xxiii_; ii. 230

_Sha t’ai_, i. 110, 123, 124, 128; ii. 141

Shah Abbas, ii. 30, 69

Shakuan, i. 172

Shan Chou, i. 201

_Shan kao shui ch’ang_, ii. 263

_Shan yü huang_, ii. 126

Shang dynasty, i. 44

Shanghai, i. 174, 188; ii. 212

Shansi, i. 97, 98

Shantung glass works, ii. 210

Shao Ch’êng-shang, i. 59

_Shao yao_, i. 61

Shao-wu Fu, ii. 108

_Shê p’i lü_, ii. 126

_Shên tê t’ang_, ii. 247, 264

_Shên tê t’ang po ku chih_, ii. 81

Shêng Tsung, i. 22

Shên-nung, i. 1

_Shih ch’ing_ (stone blue), ii. 9

_Shih ch’ing jih cha_, ii. 93, 305

Shin Huang Ti, i. 5

Shih Ta-pin, i. 175, 176, 177

Shih Tsung, i. 40, 41

Shih-kao, ii. 196

Shih-ma, i. 187

_Shih-mo_ (powdered stone), ii. 91

_Shih-tzŭ ch’ing_, ii. 98

Shih-wan, i. 172

_Shih wu kan chu_, ii. 30, 34

_Shin sho sei_, i. 94

Shop marks, i. 220; ii. 89, 113, 152

Shoso-in, i. 23, 25

_Shou_, ii. 33, 42, 302

Shou Characters, the Hundred, ii. 61

Shou Ch’êng, i. 25

Shou Chou, i. 40

Shou-hsing, ii. 287

Shou Lao, i. 185; ii. 286, 287, 289

Shou Shan, ii. 286, 288, 290

_Shou shan fu hai_, ii. 38

Shu, i. 98, 198

Shu chiao, i. 98

_Shu fu_ (mark), i. 161, 162, 163

_Shu wêng_, i. 98

_Shuko-yaki_, i. 85

Shun, the Emperor, i. 1; ii. 281

Shun Chih, ii. 117, 237

Shun-tê Fu, i. 39

_Shuo Wên_, i. 141

Siam, i. 81; ii. 278

Silkworm scrolls, ii. 270

Silvering, i. 161, 163; ii. 20, 175, 192, 215, 225, 226, 229

Slip decoration, ii. 77

Smith, Lieut. C., i. 87

Snuff bottles, ii. 202, 203, 216, 227, 262, 266, 277

“Soft Chün,” i. 121, 124, 127, 128

“Soft-paste” porcelain, i. 150; ii. 65, 75, 140, 142, 197, 241

Soleyman, i. 148

“Solid agate,” i. 33

Solon, M. L., i. 181

Southern Sung, i. 43, 67, 99

South, symbol of, ii. 41

Spanish, ii. 89, 252

Spanish dollar, ii. 90

Spider mark, ii. 140

Spinning Maiden, ii. 291, 292

Spirits of the Doorway, i. 20

“Spotted blue,” i. 166

“Spring painting,” ii. 57

Sprinklers, ii. 273

“Spur-marks,” i. 11, 53, 118

Square vases, ii. 274

Ssŭ Chou, i. 96

Ssŭ-hao, ii. 289

Ssŭ-ma Ch’ien, i. 1

Ssŭ-ma-kuang, ii. 281

_Ssŭ pu t’ang_, ii. 265

Ssŭ-t’iao, i. 144

Ssŭ-tu, ii. 108

Staff, knotted, ii. 286

Staffordshire, i. 33, 178

Stars, ii. 297

Statuettes, i. 24, 105; ii. 159

Steatite, ii. 77, 141, 196, 198, 201

Steatitic porcelain, ii. 141, 142, 203, 240, 246

Stein, Sir Aurel, i. 23, 25, 28, 31, 32, 107, 134, 149, 193

Stem-cups, ii. 7, 8, 202, 208

Stems, the Ten, i. 210

Storks, ii. 39, 286

Storks, the Hundred, ii. 61

Strawberry leaves border, ii. 257

Stübel Collection, i. _xxiii_, 84

Studio names, ii. 167, 215

Study, Four Subjects of, ii. 282

Su Chou, i. 96, 187, 188, 202

Su Chou lacquer, ii. 263

Su Shih, ii. 5

Su Wu, ii. 281

_Sui ch’i yao_, i. 99

Sui dynasty, i. 16, 17

Sulphate of iron, ii. 101

“Sulphuring,” ii. 146

Sultan of Egypt, i. 87

Sultan’s treasure, i. 87

_Su-ma-ni_, ii. 12

Sumatra, ii. 12

Summer Palace, i. 205

Sumptuary law, ii. 233

Sun, Mr., i. 91

Sun, the, ii. 291

_Su-p’o-ni_, ii. 12, 13

_Sung hsiang_, i. 187

Sung Pharmacopœia, i. 146

_Sung shih_, ii. 12

Sung wares, i. 43–51, 104

_Su-ni-p’o_, ii. 12, 22, 98

Supper sets, ii. 160, 278

Swallows, ii. 295

Swastika, ii. 76, 299, 302

Swatow, i. 184

Sword-grass bowls, i. 110

Symbol of literary success, ii. 6

Symbols, ii. 268, 297

Syria, ii. 247

Syrian pottery, i. 103; ii. 12, 30, 44

Syrup pots, ii. 278

Table Bay, ii. 136

_Ta chiao_, ii. 34

Ta-ch’in, i. 144

_Ta ch’ing_, ii. 179

Ta-yi bowls, i. _xvi_

Ta Yüeh-chih, i. 144

Tael, i. 175

Ta-hsin, i. 177

_T’ai ch’ang_, i. 91; ii. 86

_T’ai chi_, ii. 268

T’ai-ming, ii. 108

T’ai p’ing rebellion, i. 154, 155; ii. 267, 271

_T’ai p’ing yu hsiang_, ii. 268

T’ai-po tsun, ii. 177, 185

T’ai-yüan Fu, i. 97, 194

Takatori, i. 31

Taklamakan Desert, i. 25

_Ta kuan_, i. 59, 60

Talbot, arms of, ii. 257

_Ta lü_, i. 65

Tamo, ii. 285

Tan, i. 202

Tan Hui-pan, ii. 282

_Tan kuei_ (red cassia), ii. 6, 51, 53

_Tan pai_, i. 61, 67, 71

_T’an yung_, ii. 34

Tanagra, i. 24

_Tan ch’ing_, i. 53, 54

_T’ang chien kung t’ao yeh t’u shuo_, i. 113

T’ang, district, i. 55

T’ang dynasty, i. 166, 201; ii. 233

_T’ang kuo shih pu_, i. 39

_T’ang ming_, i. 217

_T’ang pên ts’ao_, i. 89

T’ang Pharmacopœia, i. 89, 146

T’ang polychrome pottery, i. 33

_T’ang shih ssŭ k’ao_, i. 90, 142; ii. 59

_T’ang Shu_, i. 201

T’ang, the President of the Sacrifices, i. _xvii_, 91, 95

T’ang tomb, i. 101

T’ang wares, i. _xx_, 11, 16, 23–42, 56, 132; ii. 28, 78

T’ang wares, base of, i. 26

_T’ang yao_, ii. 121

T’ang Ying, i. 71, 141, 166, 167, 181; ii. 59, 121, 126, 200, 201,
202, 209, 215, 216, 217, 220, 227, 228, 229, 230, 234, 237, 239,
248

_T’ang ying lung kang chi_, ii. 58

T’ang’s manufactory, i. 166

T’ang’s white incense vase, i. 92

Tantalus cup, ii. 276

_T’ao_, i. 141, 142

_T’ao chêng chi shih_, i. 166

_T’ao Ch’êng shih yü kao_, i. 71; ii. 228

_T’ao chi lüo_, i. 159

Tao kuang, ii. 263

_T’ao lu_, the, _passim_

_T’ao shuo_, the, _passim_

_T’ao t’ieh_, ii. 290

T’ao yin-chü, i. 146

T’ao yü, i. 147, 153

T’ao Yüan-ming, ii. 25, 296

Taoism, i. 7; ii. 286

Taoist Immortals, Eight, ii. 38

Tassie, ii. 251

Tattooed design, ii. 144

Ta-yi, i. 32, 40, 147

Tazza-shaped cup, ii. 272

Tea bowls, ii. 5, 278

Tea competitions, i. 94, 131

Tea cup handles, ii. 277

Tea drinking, i. 178

“Tea dust,” i. 31, 135; ii. 233, 264

Tea green, i. 31, 133

Tea leaves, staining with, ii. 197, 198

Tea pot, i. 176, 178; ii. 278

Tear stains, i. 90, 101, 113

Tê-hua porcelain, i. _xv_; ii. 107, 108, 109, 111, 112, 113, 114,
115

_Temmoku_ ware, i. 31, 131, 132, 133

Têng, district of, i. 55, 56

Têng-fêng Hsien, i. 201

“Three colours,” i. 104, 197; ii. 26, 100, 147, 151, 190, 207, 241

Three heroes of Han dynasty, ii. 281

Three kingdoms, ii. 281

Three-legged bird, ii. 291

_Ti_ (saucers), i. 110

_T’ieh hsin_, ii. 233

_T’ien Ch’i_ ii. 86

_T’ien ch’ing_, i. 62, 65; ii. 238

_T’ien chu ên po_, ii. 240

_T’ien kung k’ai wu_, ii. 107

_T’ien lan_, i. 117; ii. 232

_T’ien lu_, ii. 294

T’ien Ming, ii. 117

_T’ien pai_, ii. 37, 248

T’ien Shun, ii. 28

_T’ien t’ang_, ii. 264, 290

T’ien Tsung, ii. 117

Tiger, ii. 294

Tiger lily design, ii. 131, 134

Tiger of the West, i. 56

“Tiger skin,” i. 31; ii. 80, 89, 127, 148, 190, 226, 264

Tiger, the white, i. 20; ii. 291

Tiles, i. 187, 194, 201, 202, 205

Tiles, lustred, ii. 30

Tin, in the glaze, i. 182

Ting Chou, ii. 107

Ting Chou ware, red, i. 158

Ting Chou wares, i. _xvi_, 40, 45, 52, 85, 89–96, 105, 146, 147

_Ting chuang_, ii. 63, 74

Ting type of ware, ii. 86

Ting ware, i. 45, 78, 89–96, 101, 102, 146

Ting ware, black, i. 92, 93, 133

Ting ware, new, i. 94

Ting ware, Northern, i. 90, 162

Ting ware, purple, i. 92, 93, 98

Ting ware, red, i. 92

Ting ware, Southern, i. 90

Ting ware, white, i. 146, 149; ii. 201, 218

Ting yao, imitation of old, ii. 142, 197, 201

Toad, ii. 289, 291

_Tobi seiji_, i. 80

_Toko_, ii. 238

Tomb wares, i. 17, 24

Tombs, i. 9, 13, 101

Tombs, Egyptian, ii. 266

Torrance, Rev. Thomas, i. 10, 13, 14

Tortoise, i. 95; ii. 288, 289

Tortoise of the North, i. 56; ii. 291

_T’o t’ai_ (“bodiless”), ii. 3, 5, 195, 248

_Tou ch’ing_, ii. 37, 99

_Toyei Shuko_, i. 25

Trade between China and West, mediæval, i. 86

Tradescant Collection, i, 193; ii. 68

Trading station, i. 86

Transfer prints, ii. 260

Transition enamels, ii. 257

Translucent porcelain, i. 148

Transmutation ware, i. 137, 156, 175; ii. 18, 192, 218, 232

Trenchard bowls, ii. 29

Trigrams, Eight, ii. 39, 41, 62, 268, 290

Trumpeter service, ii. 255

Ts’ai, i. 198

Ts’ai Chin-ch’ing, ii. 267

T’sai-hsiang, i. 131

_Ts’ai hua t’ang_, ii. 265

_Ts’ai hung_, ii. 179

_Ts’ai jun t’ang_, ii. 265

_Ts’ang yao_, ii. 121

Ts’ang Ying-hsüan, ii, 121, 126, 168, 180, 187, 190

Ts’ao-chao, i. 40

Ts’ao Chiung, i. 75

_Tsao’rh hung_, ii. 218

_Tsao t’ang_, ii. 34

_Ts’ao tien yu chi_, ii. 58

_Tso Ch’uan_, the, i. 2

_Tsou_, i. 97, 188

Tsou Hsien, i. 201

_Ts’ui_, i. 77; ii. 161

_Ts’ui kung yao_, ii. 52

Ts’ui, Mr., ii. 52, 64

_Ts’ui sê_, i. 37

Ts’ung Tê, ii. 116

_Ts’ung ts’ui_, i. 109

Tu, i. 40, 147

_Tu shu_, i. 76, 166, 201; ii. 197

_T’u ssŭ wên_, i. 113

_T’u ting_, i. 90, 91, 92, 94, 97, 98, 135, 164, 168, 190; ii. 113,
218

Tu Yü, i. 16

Tu-chiu, i. 95

_T’u k’uai_, i. 27

_Tu kung t’an tsüan_, i. 62

Tulip-like flower pattern, ii. 90

Tun-huang, i. 28

T’ung, ii. 58, 59, 117

T’ung Chih, ii. 267

_Tung ch’ing_, i. 48, 75; ii. 189

T’ung-chou Fu, i. 199

Tung-fang So, ii. 133, 159, 288

Tung-han, i. 176

_Tung hsiang t’ang_, i. 198

Tung-p’o, i. 137

_Tung ya_, ii. 18, 19, 92

Tung ware, i. 66, 82

Turfan, i. 16, 23, 31, 36, 101, 107, 130, 134, 149

Turkestan, i. 86, 193

Turkey, ii. 218, 279

Twelve embroidery ornaments, ii. 297

_Tz’ŭ_ (porcelain), i. 140, 141, 142

_Tzŭ_ (purple), i. 93, 109

_Tzŭ chin_ (golden brown), ii. 37, 38, 65, 99, 191, 192

Tzŭ-ching, ii. 14

Tz’ŭ Chou ware, i. 46, 91, 101–108, 128, 133, 135, 149, 166, 193,
198, 218; ii. 30

Tz’ŭ-jén Temple, ii. 23

_Tz’ŭ_ stone, i. 101, 107, 147

_Tz’ŭ t’ai_ (Chün ware), i. 110, 113, 123, 128

_Tz’ŭ-tsao_, ii. 108

Urfe, d’, Honoré, i. 78

Ushaktal, i. 134

Vaidurya, i. 144

Vajrapani, ii. 286

Van Eenhorn, i. 178

Vase organ, i. 138

Vases, bottle shaped, ii. 273

Vases, civil and military, ii. 281

Vases, divining rod, ii. 274

Vases, flower, ii. 273, 275

Vases, perfume, ii. 68

Vases, square, ii. 274

Vash-shahri, i. 130, 134

Venetian glass, ii. 139

Vermilion boxes, ii. 35

Vermilion pigment, ii. 148

Victoria and Albert Museum, _passim_

Violet blue, dark, ii. 99

Virgin and Child, images of, ii. 111, 285

Virtuous Heroines, ii. 282

Voretzsch, i. 206

_Wa wa_(children), ii. 25, 281

Wall of China, great, i. 5

Wall vases, ii. 275

Walters Collection, ii. 227

_Wan_, ii. 76

_Wan fu yu t’ung_, ii. 51

_Wan ku ch’ang ch’un ssŭ hai lai chao_, ii. 62

Wan Li wares, ii. 24, 57, 58–81, 161, 208, 224

_Wan Li wu ts’ai_, ii. 48, 81, 82, 100, 160

_Wan shih chü_, ii. 167

_Wan shou_, ii. 82

_Wan shou am chiang_, ii. 169

Wang Ch’iao, ii. 288

Wang Chih, ii. 110, 133, 282

Wang Ching-min, ii. 59

Wang Hsi Chih, ii. 281

Wang Ping-jung, ii. 266

Wang Shêng-kao, ii. 247

Wang Shih-chêng, i. 201

Wang-tso, i. 40

Wang Tso-t’ing, ii. 266

Wang Wei, i. 23

Wang-yu, ii. 164

Wantage Collection, Lady, ii. 221, 262

Warham bowl, i. 88

Warner, Langdon, i. 36

Water droppers, ii. 276

Waterfall, ii. 68

Water pots, ii. 276

Wave and rock pattern, ii. 63

Wave pattern, i. 137; ii. 56, 302

Waves and plum blossoms design, ii. 56, 63, 80, 155

Wedding bowl, ii. 268

Wei, i. 27

_Wei ch’i_, ii. 282

Wei dynasty, i. 16

Wei Hsien, i. 103, 104

Weights, ii. 97

Well-head, i. 12

Wells Williams, S., i. 172, 184

Wên, Prince, i. 25

Wên (Sung minister), i. 99

Wên Ch’ang, ii. 159, 284

Wên Chêng-ming, ii. 243

Wên-chou, i. 143; ii. 108

_Wên fang ssŭ k’ao_, i. 60

Wên Lang-shan, ii. 263

_Wên p’ing_(civil vase) and _wu p’ing_ (military vase), ii. 281

_Wên-wang_ censers, i. 94

West, symbol of, ii. 41

Wheel, potter’s, i. 2

Whieldon wares, i. 25, 33

Whitechapel Art Gallery, ii. 233

“White earth village,” i. 97

White earth, where found, ii. 107

White in blue ground design, ii. 130

White porcelain, ii. 195

White slip, ii. 5

White ware, dead, ii. 201

Wilkes, John, ii. 255

Williams, Mrs., i. 110, 123

Willow, ii. 296

Willow pattern, ii. 258, 296

Wine cup, ii. 278

Wine Cup, Eight Immortals of the, ii. 282

Wine pot, i. 161, 162

Winter Palace, i, 205

Winthrop, Mr., ii. 29

Wolfsbourg, de, ii. 260

Wood, Enoch, ii. 259

Worcester, i. 187; ii. 76, 136, 141, 183, 251, 258, 259, 260

_Wu chên_, ii. 230

_Wu chin_, ii. 192, 193, 210, 218, 226, 229, 230, 231

Wu-ch’ing Hsien, i. 200, 202

Wu chou, i. 40

_Wu fu_, ii. 11

Wu I-shan, i. 175

_Wu kung yang_, ii. 24

_Wu lao_, ii. 283

Wu-mên-t’o, ii. 59, 91

_Wu ming_ tzŭ, ii. 12, 98

_Wu ming yi_, i. 187; ii. 12, 98

_Wu-ni_ wares, i. 61, 66, 67, 133, 134, 164

Wu San-kuei, i. 154; ii. 125

Wu _sê_, i. 162; ii. 20

Wu Tao-tzŭ, i. 23, 137

Wu Ti, i. 7, 11, 15; ii. 288

_Wu ts’ai_ (“decorated in five colours”), ii. 8, 9, 17, 20, 22, 23,
26, 55, 63

Yacut, i. 87

_Ya ku ch’ing pao shih_, i. 62

_Ya shou_ pei, ii. 3, 4, 5

Yang-Chiang, i. 84, 166, 172

_Yang-hsien ming hu hsi_, i. 139, 174, 176

Yang Kuei-fei, ii. 282

_Yang ts’ai_ (foreign colours), ii. 209, 225

Yangtze, i. 89

_Yang tz’ŭ_ ware, i. 166, 167

_Yao_, i. 142

Yao, ii. 281

Yao, district of, i. 55, 56

Yao Niang, i. 24

_Yao pien_, i. 137, 139, 157, 175; ii. 18, 193, 218, 224, 232

Yeh-chih, i. 55

Yellow, eel, ii. 127, 190, 218, 223

Yellow, European style, ii. 220

Yellow, mustard, ii. 190, 223

Yellow, Nanking, ii. 145, 170, 191, 192

Yellow, ritual significance of, ii. 195

Yellow, spotted, ii. 126, 127, 190, 218, 223, 226

Yellow, sulphur, ii. 220, 239

Yellow ware, i. 160, 163, 187; ii. 28, 190, 239

Yen-shên Chên, i, 200

Yen Shih-ku, i. 144

_Yen yen_ vase, ii. 156

Yesdijird, i. 34

Yetts, Dr., ii. 292

Yi, Prince of, ii. 200

Yi-chên, i. 200, 202

Yi Hsien, i. 201

Yi-hsing, ii. 65, 187

Yi-hsing Chün, i. 120, 179

Yi-hsing wares, i. _xv_, 120, 123, 127, 171, 172, 174–183, 188,
190, 198; ii. 217, 224, 245

_Yin hua_, i. 91, 161

_Yin Yang_, ii. 62, 268, 283, 290

_Yin yang tsa tsu_, the, i. 19

Yo Chou, i. 40, 199

_Yo fu tsa lu_, i. 39

Yorke and Cocks, arms of, ii. 212, 213

Yoshitsune, flute of, ii. 113

_Yu chai_, ii. 212

_Yü chih kêng chih t’u_, ii. 164

Yü Chou, i. 109, 124, 128, 147; ii. 107

_Yü fêng yang lin_, ii. 212

Yü-hang Hsien, i. 67

Yü-hang wares, i. 66, 134

_Yü lan_, i. 53

_Yu li hung_, ii. 122, 125, 204, 225

_Yu lü_, ii. 224

_Yu po lo_, ii. 25

_Yü t’ang chia ch’i_ mark, i. 218; ii. 75, 77, 79, 82

_Yu t’u_ (glaze earth), ii. 91

Yu-tzŭ Hsien, i. 97

Yü wang shang ti, ii. 291

Yü-yao, i. 38

_Yüan chai pi hêng_, i. 55

Yüan Ming Yüan, i. 205

Yüan tz’ŭ, i. 110, 124, 128, 129, 130, 164

Yüan wares, i. 41, 50, 155, 159–165

Yüeh Chou, i. _xvi_, 17, 37, 38, 39, 40, 54

_Yüeh pai_, ii. 224

Yüeh ware, i. 59

Yuima, the, i. 36

_Yün hsien tsa chi_, i. 138

Yün-mên, i. _xvi_

_Yün shih chai pi t’an_, i. 91, 95

_Yün tsao_, i. 83

Yung-ch’ang, ii. 30

Yung Chêng, i. 45

Yung Chêng imitations, i. 117, 119, 120; ii. 11, 43, 82

Yung Chêng list, i. 120

Yung Chêng mark, ii. 217

Yung Chêng monochromes, ii. 216

Yung Chêng wares, ii. 169, 200–226

Yung-Chou, i. 136

Yung-ho Chên, i. 98, 99

Yung Lo bowl, ii. 86

Yung Lo wares, ii. 3–6, 9, 12, 224

Yunnan, ii. 29

Zanzibar, i. 86, 87

_Zeitschrift für Ethnologie_, the, i. 8

Zengoro Hozen, ii. 6

Zimmermann, E., i. 87, 145; ii. 5

Zinc, i. 168, 182

PRINTED BY CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LONDON,
E.C. F 15.115

FOOTNOTES:

[1] See vol. i, p. 153.

[2] _fêng huo_. Bushell renders “blast furnaces.”

[3] [chch 2] _lan kuang_, lit. “burn tube.” Omitting the radical [chch] (_huo_, fire) in both cases, Bushell takes the characters as _lan_ (blue) and _huang_ (yellow). Possibly Bushell’s edition had variant readings.

[4] Bk. vii., fol. 25 recto.

[5] Or, perhaps, “greenish black,” taking the two words together.

[6] [chch 2] lit. “omit body.” A slightly thicker porcelain is known as _pan t’o t’ai_, or “half bodiless.”

[7] [chch 2] _ts’ai chui_. These words seem to have been taken to mean “decorated with an awl”; but they are better translated separately to mean “bright coloured” and “(engraved with) an awl,” the suggestion being that _ts’ai_ refers to enamelled porcelain.

[8] Bk. ii., fol. 8 verso.

[9] [chch 3] _Ya shou pei_, lit. “press hand cups.”

[10] “Made in the Yung Lo period of the great Ming dynasty.”

[11] The reading in the British Museum copy is [chch] _pai_ (white), which seems to be an error for [hch] _ssŭ_ (four): taken as it stands, it would mean written in white slip.

[12] [chch] _hua_, lit. “slippery.” The meanings include “polished, smooth, ground,” etc., from which it will be seen that the word could equally refer to a glazed surface or an unglazed surface which had been polished on the wheel.

[13] This conical form of bowl was by no means new in the Ming period. In fact, we are told in the _T’ao shuo_ that it is the _p’ieh_ of the Sung dynasty, the old form of tea bowl. See vol. i, p. 175.

[14] There are several others of this type in Continental museums; cf. Zimmermann, op. cit. Plate 23.

[15] _Cat._, F 6.

[16] Bk. v., fol. 5.

[17] Bk. ii., fol. 8.

[18] _pa pei_, lit. handle cups. This type, as illustrated in Hsiang’s Album (op. cit., No. 54) is a shallow cup or tazza on a tall stem which was grasped by the hand.

[19] An example of the figure subjects on Hsüan Tê blue and white is given in the _T’ao shuo_, “teacups decorated with figures armed with light silk fans striking at flying fire-flies”; see Bushell’s translation, op. cit., p. 136.

[20] “Citron dishes” are specially mentioned in the _Wên chên hêng ch’ang wu chi_ (_T’ao lu_, bk. viii., fol. 4).

[21] _Ch’ang k’ou_, lit. “shed mouth.”

[22] Lit. “pot-bellied.”

[23] Lit. “cauldron (_fu_) base.”

[24] _an hua_, secret decoration (see p. 6).

[25] “Made in the Hsüan Tê period of the great Ming dynasty.”

[26] Lit. “orange-peel markings (_chü p’i wên_) rise in the glaze.”

[27] i.e. red lines coloured by rubbing ochre into the cracks. See vol. i, p. 99.

[28] _O. C. A._, p. 371.

[29] Unfortunately the term _pao shih hung_ has been loosely applied in modern times to the iron red. See Julien, op. cit., p. 91 note: “Among the colours for porcelain painting which M. Itier brought from China and offered to the Sèvres factory, there is one called _pao shih hung_, which, from M. Salvétat’s analysis, is nothing else but oxide of iron with a flux.” In other words, it is a material which should have been labelled _fan hung_. This careless terminology has led to much confusion.

[30] _T’ao lu_, bk. v., fol. 7 recto.

[31] The _Ch’ing pi tsang_ mentions “designs of flowers, birds, fish and insects, and such like forms” as typical ornaments on the red painted Hsüan porcelain.

[32] The three fruits (_san kuo_) are the peach, pomegranate, and finger citron, which typify the Three Abundances of years, sons and happiness.

[33] _Wu fu._ This may, however, be emblematically rendered by five bats, the bat (_fu_) being a common rebus for _fu_ (happiness).

[34] See p. 122.

[35] According to Bushell, _O. C. A._, p. 130, “cobalt blue, as we learn from the official annals of the Sung dynasty (_Sung shih_, bk. 490, fol. 12), was brought to China by the Arabs under the name of _wu ming yi_.” This takes it back to the tenth century. _Wu ming yi_ (nameless rarity) was afterwards used as a general name for cobalt blue, and was applied to the native mineral. The name was sometimes varied to _wu ming tzŭ_. Though we are not expressly told the source of the _su-ni-p’o_ blue, it is easily guessed. For the Ming Annals (bk. 325) state that among the objects brought as tribute by envoys from Sumatra were “precious stones, agate, crystal, carbonate of copper, rhinoceros horn, and [chch 3] _hui hui ch’ing_ (Mohammedan blue).” See W. P. Groeneveldt, _Verhandelingen van het Bataviaasch Genootschap van Kunsten en Wetenschappen_, vol. xxxix., p. 92. These envoys arrived in 1426, 1430, 1433, 1434, and for the last time in 1486. Sumatra was a meeting-place of the traders from East and West, and no doubt the Mohammedan blue was brought thither by Arab merchants. Possibly some of the mineral was brought back by the celebrated eunuch Chêng Ho, who led an expedition to Sumatra in the Yung Lo period. See also p. 30.

[36] See _Cat. B. F. A._, 1910, L 23; a pilgrim bottle belonging to Mrs. Halsey, inscribed after export to India with the word Alamgir, a name of the famous Aurungzib. Cf. also the fine cylindrical vase in the Victoria and Albert Museum (Case 2), with floral scrolls in this type of blue combined with underglaze red, and the Hsüan Tê mark.

[37] Op. cit., Nos. 9, 31, 37, 39, 48, 69 and 83.

[38] _Hui hu_ is a variant for _hui hui_ (Mohammedan).

[39] Probably due to over-firing.

[40] On the parallelism between this type of porcelain decoration and cloisonné enamel, see _Burlington Magazine_, September, 1912, p. 320. It is worthy of note that missing parts of these vases, such as neck rim or handles, are often replaced by cloisonné enamel on metal, which is so like the surrounding porcelain that the repairs are often overlooked.

[41] The yellow of this group is usually of a dull, impure tint, but there is a small jar in the Peters Collection in New York on which the yellow is exceptionally pure and brilliant, and almost of lemon colour.

[42] In these cases the porcelain would be first fired without glaze and the colours added when it was in what is called the “biscuit” state. In the blue and white ware, on the other hand, and the bulk of Chinese glazed porcelain, body and glaze were baked together in one firing.

[43] Bushell, _O. C. A._, p. 152.

[44] Translation of the _T’ao shuo_, op. cit., p. 51.

[45] This is the verdict of the _Po wu yao lan_, and it is repeated in the _T’ao lu_, see Bushell, op. cit., p. 60.

[46] Painted decoration is mentioned in Chiang’s Memoir of the Yüan dynasty (see vol. i, p. 160), but without any particulars; and the _Ko ku yao lun_ speaks of _wu sê_ decoration of a coarse kind at the end of the Yüan period (see vol. i, p. 161). The latter may, of course, refer to the use of coloured glazes.

[47] Op. cit., fig. 77.

[48] The application of these enamels in large washes puts them practically in the category of glazes, but for the sake of clearness it is best to keep the terminology distinct. After all, the difference between a high-fired glaze which is applied to the biscuit and a low-fired enamel applied in the same way is only one of degree, but if we use the term enamel or enamel-glaze for the colours fired in the muffle kiln as distinct from those fired in the porcelain kiln, it will save further explanations.

[49] A late Ming writer quoted in the _T’ao lu_ (bk. viii., fol. 18) says, “At the present day Hsüan ware cricket pots are still very greatly treasured. Their price is not less than that of Hsüan Ho pots of the Sung dynasty.”

[50] Bushell, op. cit., p. 140.

[51] _Po wu yao lan_, bk. ii., fol. 9 verso.

[52] [chch] _hsien_. The emperor Ch’êng Hua was canonised as Hsien Tsung.

[53] See p. 12.

[54] [chch 2] _ch’ien tan_. The _T’ao shuo_, quoting this passage, uses a variant reading, _ch’ien shên_ [chch], which Bushell renders “whether light or dark.”

[55] _yu hua i_, lit. “have the picture idea.”

[56] See Bushell, _O. C. A._, p. 385.

[57] See Hsiang’s Album, op. cit., fig. 38.

[58] Bk. vi., fols. 7–9, and Bushell’s translation, op. cit., pp. 141–3.

[59] Op. cit., fig. 55.

[60] _Burlington Magazine_, December, 1912, pp. 153–8.

[61] The author of the _P’u shu t’ing chi_ (_Memoirs of the Pavilion for Sunning Books_), quoted in the _T’ao shuo_, loc. cit.

[62] Op. cit., fig. 64.

[63] Bushell (_T’ao shuo_, p. 142) gives the misleading version, “bowls enamelled with jewels” and “jewel-enamelled bowls,” omitting in his translation the note in the text which explains their true meaning as _pao shih hung_ or ruby red.

[64] [chch 2] _ts’ao ch’ung_ can equally well mean “plants and insects” or “grass insects,” i.e. grasshoppers. In fact, Julien translated the phrase in the latter sense.

[65] _Chin hui tui_, lit. brocade ash-heaps.

[66] Not as Bushell (_T’ao shuo_, op. cit., p. 143), “medallions of flower sprays and fruits painted on the four sides”; _ssŭ mien_ (lit. four sides) being a common phrase for “on all sides” does not necessarily imply a quadrangular object.

[67] _Shih nü_, strangely rendered by Bushell “a party of young girls.”

[68] The dragon boats raced on the rivers and were carried in procession through the streets on the festival of the fifth day of the fifth month. See J. J. M. de Groot, _Annales du Musée Guimet_, vol. xi., p. 346. A design of children playing at dragon boat processions is occasionally seen in later porcelain decoration.

[69] Cf. the favourite design of children under a pine-tree on Japanese Hirado porcelain.

[70] Op. cit., figs. 38, 49, 55, 56, 63, 64, 65, 66 and 76.

[71] [chch 2] Bushell has translated it “diffused colours,” but _fu_ is also used for “applying externally” in the medicinal sense, which seems specially appropriate here.

[72] [chch 2], lit. “fill up (with) glaze,” the colour of the glaze being specified in each case. Cf. _lan ti t’ien hua wu ts’ai_ (blue ground filled up with polychrome painting), a phrase used to describe the decoration of the barrel-shaped garden seats of the Hsüan Tê period. See p. 17.

[73] Fig. 63, a cup in form like the chicken cups (_chi kang_).

[74] [chch 2] _ch’i shang._

[75] Op. cit., Plate ii.

[76] See E. Dillon, _Porcelain_, Plate xviii.

[77] See E. Dillon, _Porcelain_, Plate vii.

[78] See _Cat, B. F. A._, 1910, H 21, I 7.

[79] [chch 2]

[80] [chch 2]

[81] [chch 2].

[82] [chch 2].

[83] Op. cit., No. 42.

[84] [chch], delicate, beautiful.

[85] [chch 2].

[86] [chch 2].

[87] Vol. ii., p. 277.

[88] See vol. i, p. 154.

[89] See p. 12.

[90] This account is quoted from the _Shih wu kan chu_, published in 1591.

[91] See p. 12.

[92] See Hirth, _China and the Roman Orient_, p. 179.

[93] The converse is equally true, and Chinese porcelain of this kind is frequently classed among Persian wares. Indeed, there are not a few who would argue that these true porcelains of the hard-paste type were actually made in Persia. No evidence has been produced to support this wholly unnecessary theory beyond the facts which I have mentioned in this passage, and the debated specimens which I have had the opportunity to examine were all of a kind which no one trained in Chinese ceramics could possibly mistake for anything but Chinese porcelain.

[94] This peculiarity occurs on a tripod incense vase in the Eumorfopoulos Collection, which in other respects resembles this little group, but it is a peculiarity not confined to the Chêng Tê porcelain, for I have occasionally found it on much later wares.

[95] A somewhat similar effect is seen on the little flask ascribed to the Hsüan Tê period. See p. 14.

[96] Op. cit., Nos. 52 and 80. These are the latest specimens which are given by Hsiang Yüan-p‘ien.

[97] _Cat._, H 8.

[98] A similar vase is in the Victoria and Albert Museum.

[99] [chch 3] _hsien hung t’u_, lit. “the earth for the fresh red,” an expression which would naturally refer to the _clay_ used in making ware of this particular colour, though Bushell has preferred to take it in reference to the _mineral_ used to produce the colour itself. See p. 123.

[100] Bk. ii., fol. 10.

[101] A Ming writer quoted in the _T’ao lu_, bk. viii., fol. 4, adds that these cups were marked under the base [chch 2] _chin lu_ (golden seal), [chch 2] _ta chiao_ (great sacrifice), [chch 2] _t’an yung_ (altar use).

[102] _Ch’ing k’ou_, lit. mouth like a gong or sounding stone.

[103] _Man hsin_, lit. loaf-shaped centre.

[104] _Yüan tsu_, lit. foot with outer border.

[105] An extract from the _I Chih_ (quoted in the _T’ao lu_, bk. viii., fol. 14) states that “in the 26th year of Chia Ching, the emperor demanded that vessels should be made with 'fresh red’ (_hsien hung_) decoration; they were difficult to make successfully, and Hsü Chên of the Imperial Censorate, memorialised the throne, requesting that red from sulphate of iron (_fan hung_) be used instead.” A memorial of similar tenor was sent to the emperor by Hsü Ch’ih in the succeeding reign.

[106] _O. C. A._, pp. 223–6.

[107] Bk. vi., fols. 9–15. See also Bushell’s translation op. cit., pp. 145–51, and _O. C. A._, loc. cit.

[108] Some idea of the quantity supplied may be gathered from the following items in the list for the year 1546: 300 fish bowls, 1,000 covered jars, 22,000 bowls, 31,000 round dishes (_p’an_), 18,400 wine cups.

[109] See Bushell, _O. C. A._, p. 226.

[110] There are examples of this work in the British Museum, in which the blue seems to have been sponged on or washed on, and the decoration picked out with a needlepoint, and then the whole covered with a colourless glaze.

[111] _hsiang yün_, lit. felicitous clouds.

[112] [chch 2] _t’ieh chin_, lit. stuck-on gold.

[113] _O. C. A._, p. 221.

[114] [chch 2] _t’ien pai_, a phrase frequently used in this sense, though it is not quite obvious how it derives this meaning from its literal sense of “sweet white.”

[115] See p. 34. The _fan hung_ is an overglaze colour of coral tint, derived from oxide of iron; the _hsien hung_ is an underglaze red derived from oxide of copper.

[116] _jang hua_, lit. “abundant or luxuriant ornament.” _Embossed_ is Bushell’s rendering.

[117] See Bushell’s translation, op. cit., p. 151.

[118] [chch 3].

[119] See p. 298.

[120] [chch 2] _ling chih_, a species of agaric, at first regarded as an emblem of good luck, and afterwards as a Taoist emblem of immortality.

[121] See Bushell, _O. C. A._, p. 563.

[122] [chch 2] _shih tzŭ_. The mythical lion is a fantastic animal with the playful qualities of the Pekingese spaniel, which it resembles in features. In fact the latter is called the lion dog (_shih tzŭ k’ou_), and the former is often loosely named the “dog of Fo (Buddha),” because he is the usual guardian of Buddhist temples and images.

[123] [chch] _ts’ang_, azure or hoary.

[124] Named by Bushell mackerel, carp., marbled perch, and another.

[125] [chch 4].

[126] [chch] _chün_, a fleet horse.

[127] Translation of the _T’ao shuo_ (p. 145).

[128] _O. C. A._, p. 227.

[129] [chch 4].

[130] See Laufer, _Jade_, p. 120.

[131] See Mayers, part ii., p. 335.

[132] _hua_ [chch]. Bushell (_T’ao shuo_, p. 146) has rendered this with “flowers and inscriptions, etc.” In many cases in these lists it is almost impossible to say whether the word _hua_ has the sense of _flowers_ or merely _decoration_. The present passage _fu shou k’ang ning hua chung_ seems to demand the second interpretation.

[133] This dark blue Chia Ching ware was carefully copied at the Imperial factory in the Yung Chêng period. See p. 203.

[134] See _J. Böttger, Philipp Hainhofer und der Kunstschrank Gustav Adolfs in Upsala_, Stockholm, 1909, Plate 71. The same interesting collection includes a marked Wan Li dish with cloud and stork pattern in underglaze blue, two cups, and a set of Indian lacquer dishes with centres made of the characteristic Chinese export porcelain described on p. 70.

[135] _Cat B. F. A._, D 17.

[136] A good example of this colouring is a large bowl with Chia Ching mark in the Kunstgewerbe Museum, Berlin.

[137] See vol. i, p. 225.

[138] Figured in F. Dillon, _Porcelain_, Plate v.

[139] Bk. v., fol. 9 recto.

[140] [chch 2]. _Ts’ui_ is a fairly common name. It occurs as a mark on a small figure of an infant in creamy white ware of Ting type in the Eumorfopoulos Collection; but it is highly improbable that this piece has anything to do with the Mr. Ts’ui here in question.

[141] The _Ming ch’ên shih pi chou chai yü t’an_, quoted in the _T’ao lu_, bk. viii., fol. 4, says, “When we come to Chia Ching ware then there are also imitations of both Hsüan Tê and Ch’êng Hua types (they even are said to excel them). But Mr. Ts’ui’s ware is honoured in addition, though its price is negligible, being only one-tenth of that of Hsüan and Ch’êng wares.”

[142] Bk. iii., fol. 7.

[143] See Bushell, _O. C. A._, p. 235.

[144] Bk. vi., fol. 16, and Bushell’s translation, p. 152.

[145] See _Ming ch’ên shih pi chou chai yü t’an_ (quoted in _T’ao lu_, bk. viii., cf. 4 verso): “For Mu Tsung (i.e. Lung Ch’ing) loved sensuality, and therefore orders were given to make this kind of thing; but as a matter of fact 'Spring painting’ began in the picture house of Prince Kuang Chüan of the Han dynasty....”

[146] See _T’ao lu_, bk. viii., fols. 10 and 11, quoting from the _Ts’ao t’ien yu chi_.

[147] _T’ang ying lung kang chi_, quoted in the _T’ao lu_, bk. viii., fols. 11 and 12.

[148] Chao was supposed to have displayed superhuman skill in the manufacture of pottery in the Chin dynasty (265–419 A.D.).

[149] Bk. v., fol. 8.

[150] For explanation of these terms, see p. 10.

[151] Bushell’s rendering, “cups and saucers,” is misleading if not verbally incorrect.

[152] These are Bushell’s renderings.

[153] [chch 3] _ssŭ hsŭ t’ou_, a phrase which would more usually refer to the beard than the hair of the head. The above rendering is Bushell’s.

[154] [chch 2].

[155] [chch 2].

[156] [chch 3].

[157] [chch 4]. There is an allusion in this name to the story of Hu Kung, a magician of the third and fourth centuries, who was credited with marvellous healing powers. Every night he disappeared, and it was found at length that he was in the habit of retiring into a hollow gourd which hung from the door post. See A. E. Hippisley, _Catalogue of a Collection of Chinese Porcelains_, Smithsonian Institute, Washington, 1900. Hao’s porcelain is also known as _Hu kung yao_ (the ware of Mr. Pots).

[158] See _T’ao lu_, bk. v., fol. 10, and bk. viii., fol. 7, and _T’ao shuo_, bk. vi., fol. 26.

[159] [chch 2] _luan mu_, “the curtain inside the egg,” which conveys the idea of extreme tenuity better than the most usual expression, “egg shell” porcelain.

[160] Half a _chu_.

[161] [chch 3].

[162] _Tzŭ chin._ Golden brown with reddish tinge (_tzŭ chin tai chu_), accurately describes one kind of stoneware tea pots made at Yi-hsing (p. 177); but it is not stated whether Hao’s imitations were in stoneware or porcelain.

[163] An allusion to the celebrated orchid pavilion at Kuei-chi, in Chêkiang, the meeting place of a coterie of scholars in the fourth century. The scene in which they floated their wine cups on the river has been popularised in pictorial art. See Plate 104 Fig. 1.

[164] [chch 2].

[165] The _K’ao p’an yü shih_.

[166] Bk. vi., fol. 16 recto.

[167] See p. 140.

[168] Bk. v., fol. 10 verso, under the heading, _Hsiao nan yao_ (Little South Street wares).

[169] [chch 2], apparently referring to the size of the vessels and not necessarily implying that they were shaped like a frog. On the other hand, small water vessels in the form of a frog have been made in China from the Sung period onwards.

[170] [chch 2].

[171] A similar ewer in Dr. Seligmann’s collection is marked with one of the trigrams of the _pa kua_.

[172] _Cat._, L 24.

[173] _Cat._, E 19–25.

[174] _Denkmäler Persischer Baukunst_, Plate lii., Text p. 41 and Fig. 44.

[175] The same emperor showed his appreciation for Chinese ceramics by importing a number of Chinese potters into Persia. See p. 30.

[176] It is recorded that the Emperor Wan Li sent presents of large porcelain jars to the Mogul Emperor, and it is likely that similar presents had arrived at the Persian Court.

[177] _Cat._, Case X, No. 245, and Plate xv.

[178] _Burlington Magazine_, October, 1910, p. 40.

[179] See _Franks Catalogue_, No. 763.

[180] _Burlington Magazine_, March, 1913, p. 310. See also _Hainhofer und der Kunstschrank Gustav Adolfs_, op. cit., Plate 69, where a set of dishes of India lacquer is illustrated, each mounted in the centre with a roundel of this type of porcelain. These dishes are mentioned in a letter dated 1628.

[181] Numbered 1191 and 1192. A number of other painters who have introduced these Chinese porcelains into their work are named by Mr. Perzynski (_Burlington Magazine_, December, 1910, p. 169).

[182] See p. 63.

[183] C 5–7.

[184] _Cat._, No. 112D.

[185] _Burlington Magazine_, December, 1910, p. 169.

[186] The figures sometimes stand out against a background coloured with washes of green, yellow and aubergine glaze. See Plate 82, Fig. 2.

[187] See p. 43.

[188] See vol. i., p. 218.

[189] See p. 196.

[190] I have seen occasional specimens with the Wan Li mark.

[191] See vol. i., p. 218.

[192] _Cat._, J 21.

[193] _Cat._, A 33. In the Lymans Collection in Boston there are several examples of this ware, including specimens with dark and light coffee brown grounds and a jar in blue and white.

[194] A collection of these is in the British Museum, and they include many types of late Ming export porcelains.

[195] _Cat. B. F. A._, K 37.

[196] A jar with vertical bands of ornament in a misty underglaze red of pale tint in the Eumorfopoulos collection probably belongs to this period. Though technically unsuccessful, the general effect of the bold red-painted design is most attractive.

[197] See vol. i., p. 218.

[198] _Cat._, J 16.

[199] There is a whole case full of them in the celebrated Dresden collection, a fact which is strongly in favour of a K’ang Hsi origin for the group.

[200] Eight Precious Things. See p. 299.

[201] See vol. i., p. 219.

[202] The fact that the enamellers’ shops at Ching-tê Chên to this day are known as _hung tien_ (red shops) points to the predominance of this red family in the early history of enamelled decorations.

[203] See p. 67.

[204] See vol. i., p. 218.

[205] See p. 224.

[206] See p. 90.

[207] H 17, exhibited by Mr. G. Eumorfopoulos.

[208] See p. 4.

[209] See p. 94.

[210] Other saucers of this kind have a decoration of radiating floral sprays, and there are bowls of a familiar type with small sprays engraved and filled in with coloured glazes in a ground of green or aubergine purple. Some of these have a rough biscuit suggesting the late Ming period; others of finer finish apparently belong to the K’ang Hsi period. They often have indistinct seal marks, known as “shop marks,” in blue.

[211] _Burlington Magazine_, December, 1910, p. 169, and March, 1913, p. 311.

[212] Figured in Monkhouse, op. cit., Fig. 2. The date of the mount is disputed, some authorities placing it at the end of the sixteenth century.

[213] Figured by Perzynski, _Burlington Magazine_, March, 1913. A vase of this style with tulip design in the palace at Charlottenburg has a cyclical date in the decoration, which represents 1639 or 1699 (probably the former) in our chronology.

[214] [chch 3] _pai tun tzŭ_ white blocks.

[215] A sixteenth-century work. See p. 2.

[216] Many observers positively assert that the grooved foot rim does not occur on pre-K’ang Hsi porcelain. If this is true, it provides a very useful rule for dating; but the rigid application of these rules of thumb is rarely possible, and we can only regard them as useful but not infallible guides.

[217] Quoted in _T’ao lu_, bk. viii., fol. 6.

[218] _fu ti._

[219] _Man hsin._

[220] See _T’ao shuo_, bk. iii., fol. 7 verso. “Among other things the porcelain with glaze lustrous and thick like massed lard, and which has millet grains rising like chicken skin and displays palm eyes (_tsung yen_) like orange skin, is prized.” The expression “palm eyes” occurring by itself in other contexts has given rise to conflicting opinions, but its use here, qualified by the comparison with orange peel and in contrast with the granular elevations, points clearly to some sort of depressions or pittings which, being characteristic of the classical porcelain, came to be regarded as beauty spots.

[221] e.g. The _P’ing shih_, the _P’ing hua p’u_, and the _Chang wu chih_, all late Ming works. An extract from the second (quoted in the _T’ao lu_, bk. ix., p. 4 verso) tells us that “Chang Tê-ch’ien says all who arrange flowers first must choose vases. For summer and autumn you should use porcelain vases. For the hall and large rooms large vases are fitting; for the study, small ones. Avoid circular arrangement and avoid pairs. Prize the porcelain and disdain gold and silver. Esteem pure elegance. The mouth of the vase should be small and the foot thick. Choose these. They stand firm, and do not emit vapours.” Tin linings, we are also told, should be used in winter to prevent the frost cracking the porcelain; and _Chang wu chih_ (quoted _ibidem_, fol. 6 verso) speaks of very large Lung-ch’üan and Chün ware vases, two or three feet high, as very suitable for putting old prunus boughs in.

[222] Cobalt, the source of the ceramic blues, is obtained from cobaltiferous ore of manganese, and its quality varies according to the purity of the ore and the care with which it is refined.

[223] _0. C. A._, p. 263. This very dark blue recalls one of the Chia Ching types noted on page 36.

[224] See p. 10.

[225] But see p. 177.

[226] _Biscuit_ is the usual term for a fired porcelain which has not been glazed.

[227] See p. 17.

[228] It has been suggested by Mr. Joseph Burton that the opacity of the colours described in the preceding paragraphs may have been due to the addition of porcelain earth to the glazing material.

[229] See p. 82.

[230] See, however, p. 85.

[231] See p. 2.

[232] The _T’ao lu_ (bk. ix., fol. 17 verso) quotes an infallible method for fixing the gold on bowls so that it would never come off; it seems to have consisted of mixing garlic juice with the gold before painting and firing it in the ordinary way.

[233] Loc. cit., and Bushell, _O. C. A._, p. 268.

[234] See p. 75.

[235] See _T’ao shuo_, bk. iii., fol. 10 verso.

[236] See p. 55.

[237] e.g. The _Chieh tzŭ yüan ma chuan_ of the K’ang Hsi period, mentioned by Perzynski, _Burlington Magazine_, March, 1913, p. 310.

[238] Bushell’s translation, op. cit., p. 71.

[239] _Ku chin t’u shu chi ch’êng_, section xxxii., bk. 248, section entitled _tz’ŭ ch’i pu hui k’ao_, fol. 13 verso.

[240] [chch 2]

[241] The supplies of porcelain earth in the immediate district of Jao Chou Fu were exhausted by this time.

[242] The others were the Ch’ing-yün factory at Ssŭ-tu, and the Lan-ch’i factory in the Chien-ning district. The latter district was mentioned in vol. i., p. 130, in connection with the hare’s fur bowls of the Sung period.

[243] See vol. i., p. 17.

[244] Tê-hua was formerly included in the Ch’üan-chou Fu, but is now in the Yung-ch’un Chou.

[245] See vol. i., p. 131.

[246] Bk. vii., fol. 13 verso.

[247] Loc. cit.

[248] According to de Groot, _Annales du Musée Guinet_, vol. xi., p. 195.

[249] Brinkley, _China and Japan_, vol. ix., p. 274.

[250] See W. Anderson, _Catalogue of the Japanese and Chinese Paintings in the British Museum_, p. 75.

[251] _O. C. A._, p. 628.

[252] In the letter dated from Jao Chou, September, 1712, loc. cit.

[253] Incised designs on Fukien wares consist of the ordinary decoration etched in the body of the ware and of inscriptions which have evidently been cut through the glaze before it was fired. The latter often occur on wine cups, and are usually poetical sentiments or aphorisms, e.g. “In business be pure as the wind”; “Amidst the green wine cups we rejoice.”

[254] _Japan and China_, vol. ix., p. 273.

[255] _Everyday Life in China, or Scenes in Fukien_, by E. J. Dukes, London, 1885, p. 140. The reference is given by Bushell in his _Oriental Ceramic Art_.

[256] Loc. cit., p. 273.

[257] The _Li t’a k’an k’ao ku ou pien_, a copy of which, published in 1877, is in the British Museum. This book does not inspire confidence, but I give the passage for what it is worth: “When the glaze (of the Chien yao) is white like jade, glossy and lustrous, rich and thick, with a reddish tinge, and the biscuit heavy, the ware is first quality ... Enamelled specimens (_wu ts’ai_) are second rate.”

[258] In the Pierpont Morgan collection (vol. i., p. 78), a specimen with a blue mark is described as Fukien porcelain; but I should accept the description with the greatest reserve, white Ching-tê Chên ware being very often wrongly described in this way.

[259] _O. C. A._, p. 294.

[260] In the second volume of the Pierpont Morgan catalogue--which, unfortunately, had not the benefit of Dr. Bushell’s erudition--the late Mr. Laffan extended the term _lang yao_ so as to embrace the magnificent three-colour vases with black ground and their kindred masterpieces with green and yellow grounds. It is impossible to justify this extension of the term unless we assume that the pieces in question were all made between the years 1654–1661 and 1665–1668, while Lang T’ing-tso was viceroy of Kiangsi.

[261] _O. C. A._, p. 302.

[262] Quoted in the Franks _Catalogue_, p. 8.

[263] _O. C. A._, p. 302 footnote.