CHAPTER XVIII
FORGERIES AND IMITATIONS
With their intense veneration for the antique, it is only natural that the Chinese should excel in imitative work, and a great deal of ingenuity has been quite legitimately exercised by them in this direction. The amateur will sometimes have difficulty in distinguishing the clever copies from the originals, but in most cases the material and the finish of the work frankly belong to a later period, and sometimes all doubt is removed at once by a mark indicating the true period of manufacture. But the collector has to be on his guard against a very different kind of article, the spurious antique and the old piece which has been “improved” by the addition of more elaborate decoration or by an inscription which, if genuine, would give it historic importance. The latter kind of embellishment is specially common on the early potteries of the Han and T’ang periods. Genuine specimens taken from excavated tombs have often been furnished with dates and dedicatory legends cut into the body of the ware and then doctored, to give the appearance of contemporary incisions. But a careful examination of the edges of the channelled lines will show that they have been cut subsequently to the firing of the ware, when the clay was already hard. Had the inscription been cut when the pot was made, it would have been incised in a soft unfired substance, like the writing of a stylus in wax, and the edges of the lines would be forced up and slightly bulging; and if the ware is glazed, some of the glaze will be found in the hollows of the inscription. There are, besides, minor frauds in the nature of repairs. Pieces of old pottery, for instance, are fitted into a broken Han jar; the lost heads and limbs of T’ang figures are replaced from other broken specimens, and defective parts are made up in plaster. Such additions are often carefully concealed by daubs of clay similar to that with which the buried specimen had become encrusted. Further than this, Han and T’ang figures have been recently manufactured in their entirety, and mention has already been made (Vol. I., p. 27) of a factory at Honan Fu, where figures and vases with streaked and mottled glazes, fantastic ewers with phœnix-spouts and wing-like excrescences, and the like, are made with indifferent skill.
The collector of Sung and Yüan wares, too, has many difficulties to surmount. The fine imitations made from the Yung Chêng period onwards, both in pottery and porcelain, fortunately are often marked; but sometimes the mark has been carefully removed by grinding, and the scar made up to look like the natural surface. The imitative wares made in Kuangtung, at Yi-hsing, and in various Japanese factories have been already discussed in the sections concerned; and there is pottery with lavender blue, “old turquoise” and splashed glazes resembling the Chün types, but made at the present day in Honan and elsewhere, which is likely to deceive the beginner. The commonest kind has a buff earthen body which is usually washed with a dull brown clay on the exposed parts. But such obstacles as these add zest to the collector’s sport, and they are not really hard to surmount if a careful study be made of the character of authentic specimens. The eye can be easily trained to the peculiarities both of the originals and of the various imitative types, and no one who is prepared to take a little trouble need be afraid of attacking this fascinating part of Chinese ceramics.
The _T’ao lu_[529] quotes an interesting note on the repairing of antique wares: “In the _Chu ming yao_ it is stated with regard to old porcelain (_tz’ŭ_), such as (incense-) vessels which are wanting in handles or feet, and vases damaged at the mouth and edge, that men take old porcelain to patch the old, adding a glazing preparation, and giving the piece one firing. When finished it is like an old piece, and all uniform, except that the patched part is dull in colour. But still people prefer these specimens to modern wares. If the process of blowing the glaze on to (the joint of the repair) is used in patching old wares, the patch is still more difficult to trace. As for specimens with flaws (_mao_), I am told that on the Tiger Hill in Su-chou there are menders who have earned the name of _chin_ (close-fitters).” The collector knows only too well that there are “close-fitters” in Europe as well as in China.
Apart from the numerous instances in which early Ming marks[530] have been indiscriminately added to later wares, the careful copies and imitations of true Ming types are comparatively few. Among the imitative triumphs of the Yung Chêng potters a few specialties are named, such as blue and white of the Hsüan Tê and the Chia Ching periods, and the enamelled decoration of the Ch’êng Hua and Wan Li, but reference has already been made to these in their respective chapters. The modern Chinese potters make indifferent reproductions of Ming types; and the most dangerous are those of the Japanese, who from the eighteenth century onward seem to have taken the sixteenth century Chinese porcelains as their model. The Chia Ching and Wan Li marks are common on these reproductions, which often catch the tone and spirit of the Ming ware with disquieting exactitude. A well-trained eye and a knowledge of the peculiarities of Japanese workmanship are the only protection against this type of imitation.
The high esteem in which the K’ang Hsi porcelains are now held has naturally invited imitation and fraud. The ordinary modern specimen with a spurious K’ang Hsi mark is, as a rule, feeble and harmless, and even the better class of Chinese and Japanese imitations of the blue and white and enamelled porcelains of this period are, as a rule, so wide of the mark as to deceive only the inexperienced. Many frauds, however, have been perpetrated with French copies of _famille verte_, of _famille rose_ “ruby-back” dishes, and of vases with armorial decoration. These are cleverly made, but the expert will see at once that the colours and the drawing lack the true Oriental quality, and that the ware itself is too white and cold. Clever copies of Oriental porcelain, especially of the _famille rose_, have also been made at Herend, in Hungary. But perhaps the most dangerous Continental copies are some of the French-made monochromes of dark blue and lavender colours, with or without crackle, fitted with ormolu mounts in eighteenth century style, which conceal the tell-tale base. Monochromes are, as a rule, the most difficult porcelains to date, and the well-made modern Chinese and Japanese _sang de bœuf_, apple green, and peach bloom are liable to cause trouble, especially when the surface has been carefully rubbed and given the appearance of wear and usage. The expert looks to the truth of the form, the finish of the base, and the character of the clay exposed at the foot rim, and judges if in these points the piece comes up to the proper standard.
But without doubt the most insidious of all the fraudulent wares are those which have been redecorated. I do not refer to the clobbered[531] and retouched polychromes or to the powder blue and mirror black on which the gilding has been renewed, but to the devilish ingenuity which takes a piece of lightly decorated K’ang Hsi porcelain, removes the enamelling, and even the whole glaze if the original ornament has been in underglaze blue, and then proceeds to clothe the denuded surface in a new and resplendent garb of rich enamel. Naturally, it is the most sumptuous style of decoration which is affected in these frauds, such as the prunus tree and birds in a ground of black, green, or yellow enamel on the biscuit; and the drawing, execution and colours are often surprisingly good. The enormous value of this type of vase, if successful, repays the expense and trouble involved in the _truquage_; and the connoisseur who looks at the base for guidance is disarmed because that critical part has been undisturbed, and has all the points of a thoroughbred K’ang Hsi piece. If, however, his suspicion has been aroused by something unconvincing in the design or draughtsmanship, he will probably find upon minute examination some indication of the fraud, some trace of the grinding off of the glaze which the enamels have failed to cover, suspicious passages at the edge of the lip where the old and new surfaces join, or traces of blackening here and there which are rarely absent from a refired piece. But if the work is really successful, and no ingenuity or skill is spared to make it so, his suspicions may not be aroused until too late. Frauds of this kind belong to the most costly types, and concern the wealthy buyers. The poorer collectors have to deal with small deceits, the adding of a _famille verte_ border to a bowl or dish, the retouching of defective ornament, the rubbing of modern surfaces to give them fictitious signs of wear, the staining of new wares with tobacco juice, and other devices easily detected by those who are forewarned. Against all these dangers, whether they be from wilful frauds or from innocent imitations, I can only repeat that the collector’s sole defence is experience and a well-trained eye.
INDEX
Accomplishments, Four, ii. 133, 282, 299
Adams, H., ii. 136
Akahada, i. 123
Alamgir, ii. 13
Alchemy, god of, ii. 288
Alexander Collection, i. 51, 56, 57, 68, 115, 121, 125; ii. 49, 119, 171, 205, 220
Alms bowl, ii. 285
Altar cups, ii. 7, 8, 35, 93
Altar sets, i. 206; ii. 272
Ambassadors of the Tribes of Man, eight, ii. 262, 268, 283
Amida Buddha, ii. 302
Amoy, i. 184, 202; ii. 112
Ancestor worship, ii. 283
Anderson, W., ii. 111, 281, 303
_An hua_ (secret decoration), ii. 6, 8, 17, 37, 52, 56, 63
Animal forms, ii. 159
Animal motives, ii. 292
Annals of Fou-liang, i. 141, 153, 155; ii. 35, 228, 231
Annals of Han Dynasty, i. 144
Annals of the Sui Dynasty, i. 143
Anthropological Museum at Petrograd, i. 101
Antiques, the Hundred, ii. 134, 181, 297, 298
“Ant tracks,” i. 117
Arabesques, ii. 130, 131, 133
Arabic writing, ii. 31
Architectural pottery, i. 201, 205, 206
Ardebil, ii. 69
Arhats, i. 35; ii. 43, 285
Arita, ii. 173
Armorial porcelain, ii. 202, 203, 251, 256, 257, 258
Arrow cylinder, ii. 274
Ary de Milde, i. 178
Ash colour, _see_ Hui sê.
“Ashes of roses,” ii. 124
Ashmolean Museum, Oxford, i, 193; ii. 68
Astbury ware, i. 178
Aster pattern, ii. 134
Attiret, i. 205
Augustus the Strong, i. _xxiii_, 178; ii. 113, 134
“Awns,” i. 92
“Baba ghouri,” i. 87
Bahr, A. W., i. 32, 124, 171
Bamboo grove, ii. 208, 215, 281
Bamboo pattern, ii. 149, 264, 269
Bamboo thread brush marks, i. 92
Barrel-shaped seats, ii. 8, 15, 17, 97, 277
Basket of flowers, ii. 67
Batavian porcelain, ii. 191
Bats, five, ii. 11, 204, 224, 295, 300, 301
Battersea, ii. 260
Bear, the, i. 12
Bell, Hamilton, i. 114
Benson Collection, i. 56, 104, 169; ii. 27
Biddulph, Sir R., ii. 23
Bijapur, i. 87; ii. 78
Billequin, M., ii. 233
Binyon, L., i. 44; ii. 242
Bird, the red, i. 20, 56
Birds, ii. 294
Birds, the Hundred, ii. 295
“Birthday plates,” ii. 169, 207
Birthday, the Emperor’s, ii. 63
Biscuit, ii. 18, 75, 77, 100, 196, 197
Biscuit figures in high relief, ii. 89
Black and gold decoration, ii. 215
Black, brown, ii. 155
Black, _famille rose_, ii. 210
Black glaze, varieties of, ii. 156, 159, 192, 229
Black ground gilt, ii. 231
Black ground, white decoration in, ii. 231
Black, mirror, ii. 192, 193, 218, 226, 230
Black Rock Hill, i. 16
Blackthorn, ii. 264
Black Warrior, the, i. 20
_Blanc de Chine_, ii. 109, 112
Blessings, five, ii. 300
“Blue and white,” i. 164; ii. 3, 8, 9, 11, 13, 24, 26, 29, 36, 38, 47, 56, 89, 92, 203, 239, 240, 263, 268, 271
Blue and white, K’ang Hsi, ii. 67, 128–144
Blue and white porcelain, Ming, ii. 105
Blue, cloisonné, ii. 219, 220, 224, 229, 231
Blue, lapis lazuli, ii. 239
Blue, mazarine, ii. 183
Blue, mottled, ii. 204
“Blue of the sky after rain,” i. 41, 42, 52, 54, 62; ii. 10, 179
Blue painting on Sung wares, i. 99, 104, 158
Blue, powder, ii. 127, 170, 180, 181, 183, 218
Blue “put in press,” ii. 143
Blue, ritual significance of, ii. 195
Blue, scratched, ii. 144
Blue, sky, ii. 232, 238
Blue, soufflé, ii. 127, 180, 218, 224
Blue, sponged, ii. 180, 183
Blue, Temple of Heaven, ii. 238
Blue, turquoise, ii. 99, 184, 185, 229, 237
Bock, Carl, i. 87
Bodhidharma, ii. 110, 285
Book stands, ii. 276
Border patterns, ii. 67, 257, 258, 302
Borneo, i. 68, 87, 99, 189, 190, 193; ii. 70, 99, 223
Börschmann, Herr Ernst, i. 8
Bottengruber, ii. 260
Böttger ware, i. 178; ii. 192
Bow, ii. 112, 258, 260
Bowls, ii. 277
Bowls, alms, ii. 285
Bowls, brinjal, ii. 151
Bowls, bulb, i. 109, 110, 114
Bowls, double-bottomed, ii. 115
Bowls, fish, ii. 36, 59, 117, 229, 234, 275, 281
Bowls, hookah, ii. 97
Bowls, medallion, ii. 264
Bowls, Ming, ii. 97
Bowls, narghili, ii. 77, 278
Bowls, Peking, ii. 239, 244, 264
Bowls, Polynesian khava, i. 129
Bowls, “press-hand,” ii. 93
Bowls, rice, ii. 148
Bowls, soup, ii. 269
Bowls, swordgrass, i. 110
Bowls, tea, ii. 5, 278
Bowls, wedding, ii. 268
Boxes, ii. 56, 57, 60, 68, 85, 160, 246, 265, 275, 276, 288
Boy holding a branch, ii. 57
Boys, Hundred, ii. 62
Boys in branches, design of, i. 85, 150
Branches, the Twelve, i. 210
Bretschneider, i. 62
Bricks, i. 201, 202, 205
Brighton Museum, i. 193
Brinjal bowls, ii. 151
Brinkley, F., i. 97, 102, 104, 131, 163, 168, 171, 174, 175, 176, 190; ii. 111, 113, 114, 190
Bristol, ii. 141, 258
British Museum, _passim_
Brocade designs, ii. 38, 165, 167, 170, 243, 244, 303
Bronze forms, ii. 272
Bronze patterns, ii. 240, 243, 247
Brooke, Lieutenant, i. 10
Brown, coffee, i. 103
“Brown mouth and iron foot,” i. 60, 61, 66, 68, 72, 78, 83; ii. 188, 217
Brush pot, ii. 32, 60
Brush rest, ii. 14, 60, 76, 275
Brush washers, i. 165
“Buccaro,” i. 120, 178, 181
Buddha, ii. 40
Buddhism, i. 6, 36; ii. 284
Buddhist emblems, eight, ii. 25, 38, 42, 298
Bulb bowls, i. 109, 110, 114
Burdett-Coutts Collection, ii. 164
Burial customs, i. 14
Burlington Fine Arts Club Exhibition, catalogue of, i. 104, 114, 130, 149, 150, 167, 193, 209; ii. 6, 27, 33, 60, 68, 77, 78, 85
_Burlington Magazine_, i. 12, 34, 50, 68, 72, 79, 88, 102, 106, 123, 163, 168, 171; ii. 14, 17, 23, 70, 73, 75, 89, 90, 105, 209, 212, 213, 292
Burman, A., ii. 43, 145, 164
Burton, W., i. 47, 49, 50, 154; ii. 127
Burton and Hobson, ii. 247
Bushell, S. W., i. _xviii_, 1, 39, 50, 54, 55, 68, 102, 104, 140, 143, 145, 154, 159, 160, 162, 165, 168, 206, 218; ii. 1, 2, 8, 18, 19, 22, 26, 35, 39, 40, 42, 43, 121, 176, 188, 190, 196, 212, 223, 242, 248, 267
Butterflies, ii. 266, 289, 295
Butterfly cages, ii. 160
Cadogan Teapot, ii. 278
Caffieri, ii. 194
Cairo, i. 87
Calicut, ii. 209
Candle design, ii. 25, 133, 203
Candlesticks, ii. 272
Canton, i. 166, 184, 188; ii. 202, 212, 251, 260
Canton Chün, i. 127, 172
Canton enamels, i. 166, 167; ii. 209, 211, 243
Canton merchants, ii. 140
Canton, porcelain decorated at, ii. 211, 256
Canton ware, i. 167, 171, 172, 179, 190, 193, 194, 198
Cash, ii. 76, 288
Cassia tree, ii. 291, 296
Castiglione, i. 205
Catalogue of Boston Exhibition, i. 104
Catalogue of Burlington Fine Arts Club Exhibition, _See_ Burlington Fine Arts Club.
Catalogue of Loan Exhibition, New York, i. 110, 124
Catalogue of Morgan Collection, i. 140
Celadon, i. 32, 39, 46, 54, 76, 77, 80, 81, 84, 85, 87, 88, 114; ii. 77, 146, 188, 266, 270
Celadon, brownish, i. 85
Celadon, Corean, i. 51
Celadon, inlaid, i. 84
Celadon, Japanese, i. 85
Celadon, Ming, i. 81
Celadon, Siamese, i. 88
Celadon, spotted, i. 80
Celadon, Sung, i. 81
Celadon wares, traffic in, i. 88
_Celadonfrage_, i. 86
_Ch’a Ching_, i. 37, 40
Cha no yu, i. 131
_Ch’a Su_, i. 93
Ch’a yeh mo, ii. 233
Chadwick, arms of, ii. 256
Ch’ai ware, i. 40, 41, 42, 48, 49, 50, 52, 54, 124
Chain pattern border, ii. 257
Chalfant, F. H., i. 4
_Chambrelans_, ii. 260
Chang, potter, i. 105
Chang brothers, i. 67, 76
Chang Ch’ien, i. 6; ii. 14, 291, 292
Chang Chiu-ko, ii. 289
_Ch’ang ming fu kuei_, ii. 53
_Ch’ang nan chih_, i. 156
Chang-kuo Lao, ii. 284
Chang Sêng-yu, ii. 292
_Chang wu chih_, ii. 94
Chang yao, i. 77
Chang Ying-wên, i. 41, 60
Ch’ang-chou Chên, i. 202
Ch’ang-nan, i. 45
Chang-tê Fu, i. 101, 105
Chantilly, ii. 173
Chao, ii. 59
Chao family, i. 107
Chao Ju-kua, i. 86, 188, 189
Chao-ch’ing Fu, i. 172
Ch’ao-chou Fu, i. 184
Characters, grass, ii. 301
Characters, Sanskrit, ii. 66, 240, 286, 302
Characters, seal, i. 208, 209; ii. 301
Characters, the Hundred Shou, ii. 61
Charles Edward, Prince, ii. 255
Charlotte, Queen of Prussia, ii. 133, 155
Charlottenberg Palace, ii. 90, 133, 155, 193
Charteris, Hon. E., ii. 33
Chavannes, Prof. E., i. 7, 17
Chelsea, ii. 112, 140, 173, 183, 251, 260
Ch’ên Chün, i. 175
Ch’ên Chung-mei, i. 175, 176
Ch’ên-lin, i. 82
Chên Tsai, ii. 110
Ch’ên Wên-ching, ii. 78
Chêng Chou, i. 40
Chêng Ho, ii. 12
Ch’êng Hua mark, ii. 155, 189, 252
Ch’êng Hua wares, ii. 22–29, 203, 207, 224, 225
Ch’êng ni, i. 61
_Ch’êng tê t’ang_, ii. 265
Ch’êng Tê wares, ii. 29–33, 207, 208, 224
Chêng T’ung, ii. 27, 28
_Chêng tzŭ t’ung_, the, i. 15
Ch’êng-tu, i. 13, 199
Chên-ting Fu, i. 53, 89, 94, 156, 199; ii. 107
Chess, ii. 276, 282
_Chi Ch’ing_ (dark violet blue), ii. 99, 218, 219, 223, 270
Chi Chou ware, i. 71, 98, 157
_Chi hung_ (red), ii. 9, 10, 11, 29, 59, 79, 101, 118, 123, 145, 223, 268
_Ch’i sung t’ang shih hsiao lu_, i. 37
Chia Ching wares, ii. 11, 34–55, 203, 225
Chia Ch’ing wares, ii. 262, 263
_Chiang hsia pa chün_, ii. 40
_Ch’iang hsi t’ung chih_, i. 53, 60, 118, 141, 153, 154, 159, 181; ii. 223, 228, 237, 267
Chiang, Memoirs of, i. 92, 155, 156, 158, 159, 160, 161, 162, 163, 164; ii. 20
_Chiang-t’ai_, ii. 141
_Chiang t’ang_, ii. 34
Chicago, i. 146
Chicken cups, ii. _xvii_, 23, 24, 26
Ch’ien family, i. 38
_Ch’ien k’un ch’ing t’ai_, ii. 56
Ch’ien Lung, i. 31; ii. 33, 227–249
Ch’ien Lung, Imperial poems of, ii. 227, 301
Ch’ien Lung monochromes, ii. 216
Ch’ien Niu, ii. 291
Chien yao, i. 8, 31, 93, 94, 103, 130–135; ii. 109
Chien-an, i. 130, 131
Chien-ning Fu, i. 130, 132, 133; ii. 291
Chien-yang, i. 130, 164; ii. 109
_Chih lung_, ii. 157, 292
_Ch’i-hsia-lei-k’ao_, i. 67
Chih-t’ien, i. 136
Children playing with branches of flowers design, ii. 56
Children (_wa wa_), ii. 40, 281
_Ch’i-lin_, ii. 67, 293
_Ch’i-lin_ reclining before fountain, ii. 67
Chin dynasty, i. 16
_Chin huang_ (golden yellow), ii. 37
_Chin lü_, ii. 34
_Ch’in ting ku chin t’u shu chi ch’êng_, i. 127, 187
_Ch’in ying wên_, i. 113
Chinese and Japanese porcelain, the distinction between, ii. 174
_Chinese Commercial Guide_, i. 184, 187
Chinese porcelain decorated in Europe, ii. 259
_Ch’ing_, i. 16, 41, 46, 52, 60
_Ch’ing pi tsa chih_, i. 38
_Ch’ing pi ts’ang_, i. 41, 53, 54, 60, 77, 79, 92, 93, 109; ii. 9, 11, 13
_Ch’ing po tsa chih_, i. 52, 96, 97, 157
Ching T’ai, ii. 27
_Ch’ing tien_, ii. 142, 201
_Ch’ing ts’ung_, i. 62
_Ch’ing tz’ŭ_, i. 46
_Ch’ing_ ware, i. 76
_Ch’ing wei t’ang_, ii. 247
_Ch’ing yi lu_, i. 131
Ching-tê Chên, i. _xv_, 40, 45, 71, 83, 84, 89, 92, 94, 95, 96, 99, 109, 119, 120, 147, 152, 162; ii. 1, 12, 212, 228
_Ching-tê Chên t’ao lu, passim_
Ch’ing-yün, ii. 108
Chini-hane, ii. 69
Chin-shih, i. 167
Chin-ts’un, i. 76, 80
Chipped edges of plates, ii. 140
_Chiu_, wine, ii. 34
_Cho kêng lu_, i. 55, 60, 61, 66, 109, 134
Chou dynasty, i. 3, 44; ii. 41
Chou, Hui, i. 157
Chou kao-ch’i, i. 174
Chou Mao-shu, ii. 25, 296
Chou Tan-ch’üan, i. 94, 95, 96; ii. 65
Chou Ts’ang, ii. 284
Chrome tin, ii. 177
Chrysanthemum plant, ii. 25, 296
Ch’üan-chou Fu, i. 86, 188; ii. 108
_Chü chai tsa chi_, i. 98
Ch’ü Chih-kao, i. 201
_Chu fan chih_, i. 86
Chu Hsi, i. 20
Chu Mai-chên, ii. 282
_Chu ming yao_, ii. 305
_Chü pao shan_, i. 202
_Chu shih chü_, ii. 167
_Ch’ŭ yao_, i. 76, 80
Ch’ŭ-Chou Fu, i. 76, 77, 80, 83, 201
_Ch’ui ch’ing_, ii. 180, 181
_Ch’ui hung_, ii. 125
Chün chou, i. 179, 198
_Ch’un fêng t’ang sui pi_, i. 77
Chün glaze of the muffle kiln, i, 120, 177; ii. 217
Chün-t’ai, i. 109
Chün wares, i. 41, 42, 48, 62, 109–130, 157, 167, 179, 181; ii. 18, 19, 94, 220, 229
_Ch’ung Chên_, ii. 86
_Chung-ho-t’ang_, ii. 145
Church, Sir A., i. 167
Ch’ü-yang Hsien, i. 199
Cicada, ii. 73, 295
_Cicerone_, i. 87
Citron dishes, ii. 8
Civil and military vases, ii. 281
_Clair de lune_, i. 60; ii. 179, 219, 252
Clays, ferruginous, i. 80
“Clobbered china,” ii. 261
Clennell, W. J., i. 155, 156
Cloisonné blue, ii. 219, 220
Cloisonné enamels, i. 167; ii. 17, 82, 209, 232, 243
Cloud and thunder pattern, ii. 272, 290, 302
Cloud pattern, ii. 302
“Cloud scroll,” i. 113; ii. 42
Club shaped, ii. 274
Cobalt, ii. 12, 98
Cochin China, i. 144
Cock, ii. 294
Cole, Fay-Cooper, i. 87, 189
Colouring agents, i. 49
Colours, _famille verte_, ii. 163
Colours, foreign, ii. 221, 225, 229, 232, 242, 243
Colours iridescent, ii. 241, 264
Colours, mixed, ii. 264, 271
Combed patterns, i. 85, 150
Confucius, i. 7, 18, 79; ii. 40, 43, 283
Constantinople, i. 87
Convex centre, bowls with, ii. 51
Cope Bequest, ii. 149
Copper oxide, i. 118, 137; ii. 10, 177, 232
Copper red, ii. 6, 11, 55
Coral red, ii, 6, 48, 51
Corea, i. 39, 134, 148, 150, 151
Corean design, i. 34, 107; ii. 56
Corean wares, i. 39, 42, 54, 59, 84, 85, 102, 107, 149, 150, 151; ii. 115
Cornaline, i. 53; ii. 123
Cornelian, ii. 10
Cornflower sprigs, ii. 258
Corpse pillows, i. 105
Cotton cultivation, ii. 164
_Couleurs de demi grand feu_, ii. 18, 20
_Couleurs de grand feu_, ii. 98
_Couleurs de petit feu_, ii. 20
“Crab’s claw” crackle i. 53, 60, 67, 96
Crab-shell green, i. 117
Cracked specimens, ii. 233
Crackle, i. 67, 68, 99, 171; ii. 9, 37, 99, 121, 142, 180, 189, 197, 198, 199, 218
Crackle, apple green, ii. 121, 125, 187
Crackle, buff, ii. 145
Crackle, fish roe, i. 53, 67
Crackle, green, ii. 170
Crackle, millet, ii. 197
Crackle, oatmeal, ii. 199
Crackle, plum blossom, i. 61; ii. 244
Crane, ii. 288
“Crane cups,” i. 17
Cranes, six, ii. 61
Cricket pots, fighting, i, 188; ii. 21, 160, 275
Crickets, fighting, ii. 295
Crucifixion, ii. 252
Crusader plate, ii. 113
Crutch, ii. 287
Cumberbatch Collection, ii. 49
Cups floating on river, ii. 168, 281
Cups, Keyser, ii. 252
Cups, libation, ii. 278
Cycles, table of, i. 211
Cyclical dates, i. 210, 213; ii. 213, 230, 240, 268
Cyclical dates, table of, i. 212
Dana Collection, i. 11
Date marks, i. 210
Date marks prohibited, i. 208
Dated porcelain, ii. 213, 257, 263
Deer, ii. 286, 294
Deer, the Hundred, ii. 61, 243
de Groot, Dr. J. J. M., i. 17, 18, 19, 20, 21, 105; ii. 25, 110
Delft, i. 178; ii. 139, 251, 252
Demons, ii. 290
_Denkmäler Persischer Baukunst_, ii. 69
Derby, i. 114; ii. 251, 258
Deshima, ii. 173
Dharmatrata, ii. 285
Dillon, E., ii. 26, 51
Dinner table sets, ii. 36, 267
Dishes, ii. 278
Divining rod vases, ii. 274
Dodder, i. 113
Dog, ii. 291
“Dog of Fo,” ii. 39, 149, 160, 293
Double gourd shape, ii. 94
Double ring under base, ii. 69
Dour-er-Raçibi, i. 87
Dragon, ii. 5, 32, 33, 39, 144, 292
Dragon and phœnix design, ii. 8, 30, 37, 39, 67, 81
Dragon and sea waves, ii. 37
Dragon, azure, i. 20; ii. 291
Dragon boat design, ii. 25
Dragon horse, ii. 41, 290
Dragon medallions, ii. 38, 39
Dragon of the East, i. 56
Dragon procession, ii. 281
Dragon rising from waves, ii. 170
Dreams, ii. 283
Dresden collection, i. 178; ii. 48, 51, 80, 112, 133, 134, 147, 148, 151, 155, 164, 167, 179, 215, 243; mark of, ii. 213
Drucker, J. C. J., ii. 139, 170
Drums, pottery, i. 137
Ducks on water design, i. 90
Duesbury, ii. 260
Dukes, E. J., ii. 114, 115
Dutch, ii. 89, 111, 191
Dutch East India Company, ii. 89, 128, 213
Dutch enamellers, ii. 259
Dutch pictures, ii. 73, 89
Dwight, i. 37, 178; ii. 112
Dyaks, i. 189, 193; ii. 223
Eagle, heraldic, ii. 139
Eagle on a rock, ii. 73
Earth, symbol of, ii. 41
“Earthworm marks,” i. 113, 117
East India Company, British, ii. 133, 155
East Indies, ii. 70
East, symbol of, ii. 41
Edwards, Mr., i. 148
“Eel’s blood,” i. 61
“Egg and tongue” pattern, i. 35
Egg green, i. 61
“Egg shell” porcelain, ii. 4, 20, 64, 168, 169, 195, 202, 207, 210, 224, 243, 248
“Egg white,” i. 53, 54, 61, 71
Egypt, i. 2, 86, 88; ii. 30, 44
Egyptian tombs, i. 140
“Eight Ambassadors of the Tribes of Man,” ii. 262, 283
Eight Emblems of Happy Augury, ii. 297
Eight Immortals, attributes of, ii. 297
Eight Immortals of the Wine Cup, ii. 282
Eight Musical Instruments, ii. 297
Eight Precious Objects, ii. 297, 298
_Ei raku_, ii. 6
Elephants, ii. 61, 242, 269, 286
Elephant checkers, ii. 282
Elers, i. 178
Elixir of life, ii. 286, 289
_Emaillé sur biscuit_, ii. 152
Emblematic motives, ii. 41, 62
Embossed ornament, ii. 37, 102, 224
Embroidery ornaments, twelve, ii. 297
Empress Dowager, ii. 271
Enamel, apple green, ii. 103
Enamel, _famille rose_, ii. 210
Enamel glaze, ii. 21
Enamel on biscuit, ii. 21, 79, 80, 152, 153, 160
Enamel, white, ii. 163, 245
Enamelled ornament, i. 161, 162, 163
Enamelling establishments, ii. 260
Enamels, Canton, i. 166
Enamels, mixed, ii. 242
Enamels on glaze, ii. 18, 48, 160, 161, 170
Enamels, transition, ii. 169, 257
Engraved background, ii. 244
Engraved designs, i. 106; ii. 102, 224
d’Entrecolles’ letters, Père, i. 83, 84, 147, 154; ii. 77, 112, 114, 122, 124, 126, 127, 129, 130, 140, 141, 143, 148, 151, 161, 162, 163, 182, 183, 188, 189, 192, 193, 195, 196, 198, 218, 252, 276
Ephesus, i. 87
Epicurus, ii. 286
_Erh shih lu_, i. 138
Etched design, ii. 183, 195
Eumorfopoulos Collection, i. 29, 31, 34, 35, 42, 57, 59, 63, 69, 73, 107, 111, 114, 115, 131, 149, 171, 179, 191, 197, 203, 218; ii. 27, 31, 52, 78, 79, 85, 115, 139, 204, 219, 227, 278
European influence, i. 205; ii. 90, 135, 209, 250–261
European merchants, ii. 139
European shapes, ii. 98, 128, 251
European subjects, ii. 244, 245, 255, 257
Ewers, i. 165
Excavations in Honan, i. 132
Exports forbidden, i. 88, 189
Export wares, ii. 44, 68, 70, 73, 78, 81, 85, 108, 128, 167, 202, 245, 258, 266, 271, 280
_Fa ch’ing_, ii. 219, 224, 231
_Fa lan_, ii. 231
_Fa lang_, ii. 209, 229, 231
Factories at Peking, ii. 126
Fairies, ii. 286
Falkner, Frank, ii. 259
_Famille noire_, ii. 101, 159
_Famille rose_, i. 177; ii. 163, 169, 191, 202, 203, 207, 208, 209, 210, 213, 214, 221, 242, 247
_Famille verte_, ii. 85, 121, 125, 136, 137, 160, 161, 162, 163, 167, 168, 173, 183, 193, 207, 256
_Famille verte_, dated examples of, ii. 168
_Famille verte_ enamels, over blue outlines, ii. 207
_Fan_, ii. 288
Fan Ching-ta, i. 136
_Fan hung_, ii. 10, 34, 35, 37, 48, 52, 55, 101
_Fan tz’ŭ_, ii. 196
Fat-shan Chün, i. 123, 171, 172, 179
Feet, cramping of, i. 24
_Fei ts’ui_, i. 38; ii. 237
Fei-kuan, i. 107
_Fên ch’ing_, i. 53, 54, 59, 60, 67, 71, 99
_Fên hung_, i. 60, 65
_Fên ting_, i. 90; ii. 218
Fêng-kan, i. 56
_Fêng-huang_, ii. 293
Field Museum, Chicago, i. 128, 182, 189, 194, 198, 199, 200
Figures, i. 107, 108, 197, 201; ii. 110, 151, 152, 197, 251, 279, 283
Figures in European costumes, ii. 111, 251
Figures in high relief, ii. 102
Firefly decoration, ii. 247
Fish bowls, ii. 36, 59, 117, 229, 234, 275, 281
Fish, double, ii. 294
Fish roe crackle, i. 53, 67
Fish roe design, ii. 167
Fish-dragon, ii. 284
Fishes, i. 78; ii. 7, 9, 11, 40, 204, 224
FitzWilliam Museum, i. 125, 127
Five blessings, ii. 300
Five colours, ii. 19, 20
Florentine porcelain, ii. 44
Flower Fairy, ii. 289
Flower pots, i. 109, 110, 113, 114, 197; ii. 19, 275
Flower vases, ii. 273, 275
Flowers, ii. 295
Flowers, basket of, ii. 67
Flowers, celestial, ii. 38
Flowers, fairy, ii. 295
Flowers for the months, ii. 295
Flowers, the Hundred, ii. 243
Flute, ii. 287, 288
“Flying gallop,” i. 12
Fly-whisk, ii. 287
_Fo lang_, ii. 209, 231
_Fo t’ou ch’ing_, ii. 30, 98
Foot, finishing off the, ii. 92, 202, 249
Foot rim, grooved, ii. 26, 92, 129
Forgeries, ii. 304–307
Forms, ii. 60, 272–279
Fou-liang, i. 140, 152
Fou-liang, Annals of, i. 141, 153, 155; ii. 35, 228, 231
Franks Collection, i. _xxiii_; ii. 4, 5, 14, 17, 21, 26, 27, 121
Franks, Sir Wollaston, ii. 212
Freer Collection, i. 33, 71, 114, 129
French, A. B., ii. 212
“Fresh red,” ii. 35, 36, 123
Fretwork, incised, ii. 76
Friends, three, ii. 269, 289, 296
Frog wares, ii. 66
Frog’s spawn, ii. 167
Fruits, three, ii. 11, 204, 224, 296
_Fu_ (happiness), ii. 11
Fu Chou, i. 16
_Fu fan chih ts’ao_, ii. 108
Fu Hsi, ii. 41, 290
_Fu ju tung hai_, ii. 62
_Fu kuei_ flower, ii. 294
_Fu lang_, ii. 231
Fu, Lu, Shou, ii. 62
_Fu sê_, ii. 24, 26
_Fu shou k’ang ning_, ii. 43, 75
Fu-hsing, ii. 287
Fukien porcelain, i. 8; ii. 78, 108, 110, 251, 259
Fulham, i. 178
“Funeral vases,” i. 56, 147
Fungus design, ii. 11, 95, 204, 224
Furnace transmutations, i. 137, 156, 175; ii. 18, 192, 218, 232
G (mark), ii. 136, 137, 167
Gama Sennin, ii. 288
Gandhara, i. 17
Garlic-shaped vases, ii. 273
Gems, seven, ii. 298
General, the chess-playing, i. 79
Genghis Khan, i. 159
Genii of Mirth and Harmony, Twin, ii. 159, 288
Gilding, i. 163, 177; ii. 37, 102, 162, 164, 173, 183, 215, 226, 231, 246
Giles, H. A., i. 24
Ginger jar, i. 182; ii. 134
Glass, i. 200; ii. 215
Glass, Bristol, ii. 215
Glass, _mille fiori_, ii. 234
Glaze, bird’s egg, i. 177; ii. 217, 233
Glaze, black, i. 11, 31, 42, 93, 103, 106, 131; ii. 192
Glaze, chocolate brown, i. 31
Glaze, crystalline, i. 171, 178
Glaze, donkey’s liver and horse’s lung, i. 119
Glaze, dragon skin, i. 110, 113
Glaze, first use of, i. 8
Glaze, _flambé_, i. 50, 118, 119, 168, 205; ii. 85, 124, 193, 218, 232, 233, 235
Glaze, Han, i. 10
Glaze, hare’s fur, i. 93
Glaze, iron rust, ii. 233
Glaze, lavender, i. 48, 63, 109, 168
Glaze, lavender grey, i. 49
Glaze, lemon yellow, ii. 264
Glaze, leopard skin, ii. 192
Glaze, liver, ii. 238
Glaze, maroon red, ii. 178, 179, 238
Glaze, Ming, ii. 93
Glaze, moon white, ii. 224
Glaze, oil green, ii. 224
Glaze, old turquoise, i. 48
Glaze, opalescent, i. 50, 51, 62, 110, 118
Glaze, peach bloom, ii. 99, 146, 176, 177, 178, 179
Glaze, pea green, ii. 37, 99
Glaze, preparing the, ii. 248
Glaze, red, i. 117; ii. 10, 11, 64, 79
Glaze, red Chün, i. 117
Glaze, robin’s egg, i. 120; ii. 217
Glaze, shrivelled, i. 110; ii. 31, 245
Glaze, sun-stone, i. 200
Glaze, T’ang, i. 24, 31
Glaze, turquoise, i. 48, 103; ii. 18, 99, 127, 184, 185, 224
Glaze, varieties of black, ii. 229
Glaze, yellow, ii. 28, 126
Glaze. _See also_ Black, Blue, Red, Yellow, Green, etc. _Also_ _Clair de lune_, _Sang de bœuf_, Crackle, Hare’s fur, Kingfisher’s feathers, Tea dust, Iron rust.
Glazes, Chün, i. 114, 118, 120
Glazing, methods of, ii. 92, 249
Glazing mixture, ii. 163
Gods of longevity, rank, and happiness, ii. 159
Goff Collection, i. 193
Golden brown, ii. 65
Gombroon ware, i. 148; ii. 173
Gotha Museum, i. 71, 79
Gourd shape, ii. 94, 273, 287
Gouthière, ii. 194
Graceful ladies, ii. 40, 136
Græco-Buddhist influence, i. 34
Græco-Roman influence, i. 35
_Graffiato_, i. 106, 107, 135
“Grains of millet,” ii. 13
Grain pattern, i. 44
Grandidier Collection, Louvre, i. _xxiii_, 185, 195; ii. 75, 163, 168
Grape vine cup, ii. 24
Grass characters, ii. 301
Grasshoppers, ii. 24
_Graviata_, ii. 239
Great Bear, ii. 284
Great Wall of China, i. 202
Green, ii. 238
Green, apple, ii. 177, 188
Green, cucumber tint, ii. 157, 238
Green, _eau de nil_ tint, ii. 238
Green, emerald, ii. 37, 51, 52, 271
“Green of a thousand hills,” i. 82
Green, opaque bluish, ii. 244
Green, snake skin, ii. 127, 187, 223, 238
Grœneveldt, W. P., ii. 12
Grotto pieces, i. 197; ii. 151
Grünwedel Expedition, i. 16, 23
Gulland, W., ii. 29
Gypsum, ii. 77, 196
_Haarlem_, ii. 136
Hainhofer, Philipp, ii. 48, 73
_Hai shou_, ii. 61, 293
_Hakugorai_, i. 151
Hall marks, i. 217; ii. 265
Halsey, Mrs., ii. 13, 47, 78
Hamburg Museum, ii. 90
Han dynasty, the, i. 5–22
Han glaze, i. 10
_Han hsing_, i. 97
Handles, i. 165; ii. 277
Hang Chou, i. 43, 45, 60, 67, 72
Hang Chou Kuan ware, i. 61, 134
_Han Kan_, i. 25
Han Lin College, i. 218
Han-tan, i. 147
Hao Shih-chiu, ii. 64, 178, 219
“Happy meeting,” ii. 282
Hare mark, ii. 67, 82
Hare, the, ii. 286, 289, 291
“Hare’s fur” glaze, i. 93, 94, 113, 131, 133, 164; ii. 108
Hâriti, ii. 111
Hat stand, ii. 31, 97, 277
Hawthorn design, ii. 134
Heaven, symbol of, ii. 41
Heaven, Temple of, i. 205; ii. 195, 238
_Hei chê shih_, ii. 98
Hêng fêng, i. 201
Herend, ii. 306
Heroes of Han dynasty, the three, ii. 281
“Hill censer,” i. 12
“Hill jar,” i. 12
Hippisley, A. E., ii. 64, 122, 216, 290, 292, 300
Hippisley Collection, ii. 99, 207, 215, 246, 265
Hirado, ii. 14, 25, 76, 147
Hirth and Rockhill, i. 86, 88, 188
Hirth Collection, i. 71
Hirth, Prof., i. 5, 67, 81, 86, 89, 143, 145, 146, 188; ii. 30
_Ho_ (colour), i. 40
Ho Chou, i. 32, 94, 97
Ho Ch’ou, i. 17, 143, 144, 147
Ho Chung-ch’u, i. 153
Ho Hsien-ku, ii. 152
Honan, i. 193
Honan Fu, i. 27, 130; ii. 305
“Honeysuckle” pattern, i. 35
Hookah bowl, ii. 97
Ho-pin, i. 1
Horses of Mu Wang, the eight, ii. 289
Horses, sea, ii. 294
Horse, the white, ii. 286
Hose and McDougall, i. 193
Ho-shang, ii. 285
Hotei, ii. 285
Hou Hsien Shêng, ii. 288
Hsi Shih, ii. 282
Hsi Wang Fu, ii. 288
Hsi Wang Mu, i. 7; ii. 107, 141, 264, 286, 288, 289
Hsi yao, i. 97
Hsi Yung Chêng, i. 135
Hsi-an Fu, i. 15
Hsiang, i. 105
_Hsiang Ch’i_, ii. 282
Hsiang family, i. 199
_Hsiang ling ming huan chih_, i. 24
Hsiang yao, i. 96
Hsiang Yüan-p’ien, i. 50, 54; ii. 14
Hsiang-hu, i. 71; ii. 220, 224
Hsiang’s Album, i. _xviii_, 62, 71, 77, 90, 93, 94, 118, 161, 175; ii. 7, 9, 12, 13, 20, 21, 23, 24, 25, 32, 127
Hsiao Hsien, i. 97
_Hsiao nan_, ii. 65
Hsieh An, ii. 282
Hsieh Min, ii. 223, 229, 230, 231, 237
_Hsien_, ii. 40, 289
Hsien Fêng, ii. 267
_Hsien hung_, ii. 3, 6, 10, 11, 34, 37, 52, 55, 59, 99, 123, 223
_Hsin Chou_ year, ii. 213
Hsin-p’ing, i. 141, 152, 156
_Hsin ting_, i. 94
Hsing Chou, i. 37, 147
_Hsiu hua_, i. 91, 101, 161
_Hsiu nei ssŭ_, i. 59, 60, 61
Hsü Ch’ih, ii. 35, 55
Hsü Ching, i. 39, 54, 151
Hsü Chou, i. 107, 108, 166
_Hsü hua t’ang_, ii. 265
_Hsü Shui Hu_, ii. 281
Hsü Tz’ŭ-shu, i. 93
Hsü wares, i. 66
Hsü Yu-ch’üan, i. 175
Hsüan Chou, i. 201
_Hsüan ho po ku t’u lu_, i. 44
Hsüan Tê, ii. 6, 7–21, 22, 24, 32, 204, 246
Hsüan T’ung, ii. 271
Hsü-chên, ii. 35
Hsün-wares, i. 66, 134
Hu kung, ii. 64
_Hu yin tao jên_, ii. 64, 65
_Hua_ (ornament), i. 91; ii. 43, 130
_Hua hua_ (carved ornament), i. 91, 106
_Hua shih_ (steatite), i. 99; ii. 141, 196, 198, 201
Huai-ch’ing Fu, i. 201
Huang An, ii. 288
Huang Ti, i. 1
Huang-chih, i. 143
Huang-ssŭ, i. 205
Hua-ting Chou, ii. 107
_Hui hui ch’ing_, ii. 12, 98
_Hui hui hua_, ii. 31
_Hui hui wên_, ii. 31
_Hui hu ta ch’ing_, ii. 13
_Hui sê_ (ash colour), i. 61, 67, 71; ii. 199
Hui Tsung, ii. 164
Hulagu Khan, ii. 30
Hundred Antiques, the, ii. 297, 298
Hundred Birds, ii. 295
Hundred Deer, the, ii. 61, 243
Hung Chih, ii. 28, 29
Hung-chien, i. 108
Hung Chou, i. 38
_Hung fu ch’i t’ien_, ii. 62, 300
Hung Wu, ii. 1, 2
_Huo yen ch’ing_, i. 113
Hu-t’ien, i. 160, 163; ii. 28
_I chih_, i. 208; ii. 35, 38
IHS, ii. 252
_I shou_, ii. 61
Imari, ii. 171, 173, 174
Imari, Chinese, ii. 161, 173, 174
Imitation of Chia Ching ware, ii. 225
Imitation of Chün glazes, ii. 217, 268, 223, 224
Imitation of Chün yao, ii. 234
Imitation of five colour porcelain, ii. 208
Imitation of Hsüan Te and Chêng Hua wares, ii. 55, 224
Imitation of Ko, Kuan, Ju and Lung-ch’üan glazes, ii. 223, 268
Imitation of mother-of-pearl, ii. 234
Imitation of peach bloom, ii. 178
Imitation of Sung wares, ii. 216, 224
Imitation of the antique, ii. 201, 203, 243
Imitation of Ting ware, ii. 65, 74, 142, 197, 223
Imitation of Tung-ch’ing and Lung-ch’üan glazes, ii. 224
Imitation of various substances in porcelain, ii. 234
Imitations, i. 83, 117, 119, 120; ii. 11, 43, 82, 156, 203, 304–307
Immortals, Eight Taoist, i. 79; ii. 40, 110, 134, 141, 159, 287, 289
Immortals of the Wine Cup, Eight, ii. 130, 282
Imperial colours, ii. 189
Imperial factory, i. 123, 153; ii. 1, 29, 30, 64, 105
Imperial porcelains, lists of, ii. 223, 267, 268
Imperial vases, ii. 81
Imperial wares, ii. 148, 195, 207, 229
Incense burners, i. 128, 161, 194, 198, 206; ii. 108, 112, 113, 276
Incised designs, ii. 112
Incised fret pattern, ii. 275
India, i. 88, 193; ii. 44, 76, 278
Indian lotus, ii. 25, 38
Indian market, wares for, ii. 73, 76, 78, 81
Ink pallet, ii. 80, 155, 276
Ink, porcelain painted in, ii. 214, 225, 229
Ink screens, ii. 160, 276
Ink slab, ii. 31
Inlaid designs, i. 84
Inlaid ornament, i. 107
Insect cages, ii. 246
Inscriptions, i. 177; ii. 62, 112, 252, 301
Inscriptions, Koranic, ii. 255
Inscriptions, posthumous, i. 9, 12
Iridescent colours, ii. 241, 242
Iron oxide, ii. 189
_Islam_, i. 148
Isles of the blessed, ii. 286
Ispahan, ii. 30
Italian wares, i. 106; ii. 44
Itier, M., ii. 10, 230
I-yang, i. 201
I-yang Hsien, i. 201
Jacquemart, ii. 160, 211
Jade Emperor, ii. 291
Jade, green, i. 82
Jade Hall, ii. 75
“Jade” mark, ii. 252
Jade, ware turned to, i. 99
Jao-chou Fu, i. 152; ii. 34, 107
“Jao-chou jade,” i. 156, 157
Jao-chou wares, old, i. 161
Japan Society of New York, exhibition of, i. 72, 113
Japanese patterns, ii. 174
Japanese porcelains, ii. 264
_Japanese Temples and their Treasures_, i. 36
Jesuit china, ii. 252, 255
Jesuits, ii. 122, 123
Jewel, Buddhist, ii. 286
Jewel Hill, i. 154; ii. 1
Jewels, set with, ii. 51, 113
Jih-nan, i. 144
“Joyous meeting” design, ii. 56
Ju-chou, i. 52, 56
Ju-chou wares, i. 39, 42, 45, 48, 49, 51, 52–59, 61, 67, 89, 90, 92; ii. 9, 10, 123
_Ju shih wo wên_, i. 41
_Ju-i_ head or cloud border, i. 113; ii. 289
_Ju-i_ pattern, ii. 71, 83, 130, 131
_Ju-i_ sceptre, ii. 42, 287, 289
Julien, i. 143, 145, 162; ii. 10, 24, 127, 228, 230, 234, 248, 266
Ju-ning Fu, i. 198
Junk, ii. 151
Kaga ware, ii. 155
K’ai-fêng Fu, i. 43, 52, 59, 60, 82, 109
Kaiser Friederik Museum, i. 148
Kakiemon ware, ii. 173, 174
_Kaki temmoku_, i. 31
Kan Chou, i. 135
K’ang Hsi, ii. 14, 27, 47, 77, 79, 80, 118, 122, 126, 128–199
K’ang Hsi blue and white, ii. 67, 128–144
_K’ang Hsi Encyclopædia_, i. 127, 187; ii. 107, 109, 197
K’ang Hsi mark, ii. 155, 177, 242, 271
K’ang Hsi monochromes, ii. 176
_Kao chai man lu_, i. 38
Kao Chiang-ts’un, ii. 23, 24, 25
_K’ao kung chi_, i. 1
Kao Tan-jên, ii. 23
Kao Tsung, i. 19
Kaolin, i. 123, 148; ii. 91, 123, 248
Karabacek, Professor, i. 86
Ka-shan, i. 206
Kennedy Collection, ii. 149, 194, 238
Kenzan, i. 103
Kershaw, F. S., i. 12
Key-fret, ii. 291
“Keyser cups,” ii. 252
Khotan, i. 23
Kichimojin, ii. 111
Kiln supports, tubular, i. 85
Kilns, Chinese, ii. 100
Kilwa, i. 87
“Kingfisher’s feathers,” i. 82
_Kinrande_, ii. 6
Kinsai, i. 22
Kin-shan, Temple of, i. 205; ii. 291
_Kinuta seiji_, i. 57
Kirk, Sir John, i. 87, 88
Kishiu, i. 197
Ko Ming-hsiang, i. 168, 171
Ko ware, i. 45, 48, 49, 65, 67–72, 73, 76, 77, 98, 99, 134, 181; ii. 65, 199, 220
Ko Yüan-hsiang, i. 168
_Kochi yaki_, i. 190
Koranic inscriptions, ii. 255
_Ku chin t’u shu chi ch’êng_, ii. 107
_Ku ch’u_, i. 92
Ku Liu, i. 68
Ku Ying-t’ai, i. 40
_Ku yü t’u p’u_, i. 44
Kua Chou, i. 202
Kuan Chung, i. 16
_Kuan ku_, i. 54
Kuan P’ing, ii. 284
Kuan Ti, ii. 159, 284
Kuan wares, i. 45, 48, 49, 51, 59–67, 72, 77, 82, 124, 134, 181; ii. 9, 65, 223
Kuan Yü, i. 203; ii. 110, 283
Kuang Hsi, ii. 271
Kuang Wu, i. 18
Kuang yao, i. 166, 172; ii. 224
Kuangtung, i. 123; ii. 78
Kuangtung wares, i. 166–173; ii. 217, 224
_Kuan-tzŭ_, the, i. 3
Kuan-yin, i. 176; ii. 18, 29, 110, 111, 156, 285
Kuan-yin vase, i. 55
Kublai Khan, i. 159
_K’uei fêng_, ii. 269, 293
_Kuei hai yü hêng chih_, i. 136
Kuei Hsing, ii. 159, 284
_Kuei lung_, ii. 292
Ku-li, ii. 209
Kümmel, Dr., i. 85
Kung-ch’un, i. 175, 176
Kung Hsien, i. 107
_Kung ming fu kuei_, ii. 294
Kunstgewerbe Museum, Berlin, i. _xxiii_, 100; ii. 51, 252
K’un-wu, i. 1
Kuo Tao-yüan, i. 39, 147
_Ku-yuëh-hsüan_, ii. 202, 215, 264
Kylin. See _Ch’i-lin_.
_Lac burgauté_, ii. 247
Lacework, ii. 246, 263
Lacquer, ii. 234, 263, 265
Laffan, Mr., ii. 118
Lambert, arms of Sir John, ii. 257
Lamp, porcelain, ii. 200
Lancastrian pottery, i. 49, 200
Landscape, ii. 296
Lang Shih-ning, ii. 122
Lang T’ing-tso, ii. 118, 121, 122
_Lang yao_, ii. 118, 119, 121, 122, 123, 124, 170, 176, 188
_Lange lijsen_, ii. 40, 136, 282
Lanterns, ii. 246, 277
Lan Tsa’i-ho, ii. 287, 289
Lao Yang, i. 26
Lao-tzŭ, ii. 40, 159, 283, 286
Lapidary, designs cut by, ii. 260
_L’Astrée_, i. 78
Laufer, Berthold, i. 3, 4, 6, 9, 10, 11, 15, 27, 44, 55, 65, 103, 144, 182, 188, 189; ii. 41, 289, 294, 295, 296
Law’s bubble, John, ii. 260
Le Sueur, ii. 255
Leaf stencilling, i. 106
_Lei kung ch’i_, i. 199
Lei-hsiang, i. 199
_Lettres édifiantes et curieuses_, ii. 127
_Li_, a, i. 155
Li Chü-lai, ii. 228
_Li Chung-fang_, i. 175
Li Fêng-ming, i. 62
_Li hsi yai_, i. 91
Li Hung-chang, ii. 267
Li Jih-hua, ii. 65
_Li ki_, i. 44
Li Po, i. 23
_Li t’a k’an k’ao ku ou pien_, i. 41, 127; ii. 115
_Liang ch’i man chih_, i. 107
Libation cups, ii. 278
Library table apparatus, ii. 275
Life movement, i. 136
Lin-ch’ing, i. 200, 202
Lin-ch’uan, i. 164
_Ling chih_, ii. 38, 95, 286, 289
_Ling lung_ (pierced work), ii. 59, 63, 74, 76, 102
_Ling nan hui chê_, ii. 211
_Ling piao lu i_, i. 166
Lin-kuei, i. 136
Lin-tzŭ, i. 4
Lions, ii. 39, 68, 272, 286, 293
Lions, Buddhist, ii. 149, 159
Lions in peony scrolls, ii. 81
“Liquid dawn cups,” ii. 64, 219
Li-shui Hsien, i. 76
Li T’ai-po, ii. 160, 177, 185, 282, 292, 296
Literary success, symbol of, ii. 291, 299
Literature, gods of, ii. 284, 287
_Liu ch’ing jih cha_, i. 52, 60, 92, 96, 113, 132, 133
Liu Han, ii. 288, 291
Liu t’ien, i. 67, 76
Liu Yen-t’ing, i. 55, 56
Liu-hsün, i. 166
_Liu-li_, i. 17, 143, 144, 161
Liu-li-chü, i. 200, 202
Li-shui Hsien, i. 80
Liu-t’ien Shih, i. 80
Liverpool, ii. 141
Lograft, ii. 292
Lohan, i. 35; ii. 285
_Lo kan ma fei_, i. 118
Lokapalas, i. 27
Long Elizas, ii. 136, 282
Longevity, ii. 286
Longevity, emblems of, ii. 62, 289
Longevity, god of, ii. 40, 108, 159
Longevity, hills of, ii. 286
Lorenzo de Medici, i. 87
Lorenzo, Magalotti, Count, i. 178
Lotus, ii. 25, 287, 288, 296
Lotus, Indian, ii. 25
Lotus service, ii. 245
Louis XIV., ii. 252
Love chase, ii. 134
Lowestoft, i. 187; ii. 173, 250, 251, 258, 259, 260
Lo-yang, i. 16, 143; ii. 62, 285
Lu, i. 188
Lu Hung-chien, i. 107
Lu Kuei-mêng, i. 37
Lu Yü, i. 37
_Luan_, ii. 293
_Luan ch’ing_, i. 62
_Luan pai_, i. 53, 61, 62, 71
Lu-hsing, ii. 287
Lung Ch’ing, ii. 55, 56, 57
_Lung kang_, ii. 229
_Lung ma_, ii. 41, 294
Lung Nü, ii. 110
Lung Shang, i. 201
Lung-ch’üan wares, i. 45, 46, 48, 49, 61, 72, 76–88, 134, 156, 189; ii. 94, 189
Lung-mên, ii. 284
Lustre, golden, ii. 241
Lyman’s Collection, ii. 78
Ma-Chuang, i. 194
_Ma-chün_, i. 124
Ma-k’êng, i. 201
_Ma nao_, ii. 10, 123
Ma-ts’ang, ii. 35, 59, 91
Magnolia blossom cups, i. 95
Magnolia design, ii. 134
Magpies, ii. 291, 294
_Man_, i. 31
Manchu, ii. 86
Mandarin porcelain, ii. 245, 259
Mandarin ducks, ii. 294
_Mang_, ii. 292
Manganese, ii. 98, 184
Manjusri, ii. 110, 285
Mantis, praying, ii. 295
Marbling, i. 33, 107; ii. 78
Marco Polo, i. 22, 43, 86, 188; ii. 113
Mark, spider, ii. 140
Marks, i. 207–224
Marks and symbols, miscellaneous, i. 227
Marks, cyclical, i. 210
Marks, date, i. 210
Marks, hall, i. 217–219; ii. 265
Marks, imperial, ii. 244
Marks, numerals as, i. 109
Marks of commendation, i. 187, 224, 226; ii. 6, 136
Marks of dedication, i. 224
Marks of felicitation, i. 224, 225
Marks of painters, ii. 212
Marks, palace, ii. 264
Marks, palace hall, i. 220
Marks, potters’, i. 221–222
Marks, prohibited date, i. 208
Marks, shop, i. 220; ii. 89, 113, 152
Martaban, i. 77, 88
_Martabani_, i. 77
Martin, Dr., i. 34
Massagetae, i. 144
“Mat marking,” i. 3
Mazarin, Cardinal, ii. 183
“Mazarine blue,” ii. 183
Measures, Chinese, ii. 234
Medallion bowls, ii. 264
Medici porcelain, ii. 44
_Mei hua_ (prunus), ii. 153
_Mei jên_, ii. 136, 282
_Mei p’ing_, ii. 79, 94, 95, 274
Meissen, i. _xvi_; ii. 112, 173, 251, 258, 261
Melon-shaped vases, i. 32, 97; ii. 47, 94
Metal band on mouth, i. 90
Metallic specks, i. 200
Metropolitan Museum, New York, i. _xxiii_; ii. 251
Meyer, A. B., i. 86, 87, 193
_Mi sê_ (millet colour), i. 68, 71, 99; ii. 28, 190, 199, 220, 223, 224, 225
_Miao hao_, i. 213
Milky way, ii. 291
_Mille fiori_ glass, ii. 234
_Mille fleurs_, ii. 295
Millet colour. See _Mi sê_.
Millet markings in glaze, ii. 9, 13, 93
_Ming ch’ên shih pi chou chai yü t’an_, ii. 52, 57
Ming colours, ii. 98
Ming period, porcelain assigned to, ii. 151, 155
Ming pottery, i. 194
Ming shapes, ii. 94
Ming Ti, i. 6; ii. 284
Ming Tombs, near Nanking, i. 205
Ming Yüan-Chang, ii. 303
Minister, the Chinese, ii. 233
Minoan pottery, i. 2
Mirror black, ii. 192
Miscellaneous marks and symbols, i. 227
Miscellaneous potteries, i. 184–206
Mitford Collection, ii. 121, 122
_Mo hung_, ii. 179, 225
Mohammedan blue, ii. 3, 12, 21, 29, 32, 33, 34, 35, 37, 43, 44, 45, 52, 59, 66, 70, 98
Mohammedan design, ii. 31
Mohammedan flowers, ii. 31
Mombasa, i. 87
Mongols, i. 159, 165; ii. 1, 27
Monkey in design, ii. 82, 294, 297
Monkhouse, Cosmo, i. _xviii_, 55, 68, 124; ii. 26, 90, 220, 223
Months, flowers for, ii. 295
Monochrome, lustrous brown, ii. 191
Monochromes, blue, ii. 179
Monochromes, dating of, ii. 176
Monochromes, green, ii. 187, 238
Monochromes, red, ii. 177
Monochromes, yellow, ii. 189
Moon, goddess of, ii. 291
Morgan Collection, Pierpont, i. _xxiv_; ii. 29, 51, 69, 70, 79, 81, 116, 118, 156, 168, 220
Mortuary wares, i. 24
Mosaic, ii. 133
Mother-of-pearl, ii. 234, 247
Motives for painted decoration, ii. 60, 280
Mott, Mr., i. 168; ii. 177
Moulds, i. 2, 27
Mounts, metal, on porcelain, ii. 68, 69, 77
Mu Wang, Emperor, ii. 288
Mu Wang, the eight horses of, ii. 289
Muffle kiln, i. 120, 177; ii. 20, 79, 101
Munich, National Museum at, ii. 73
Musée Cernuschi, i. _xxiii_, 56
Musée Guimet, i. _xxiii_; ii. 288
Museum für Ostasiatische Kunst, i. 133
“Musical cups,” i. 39, 146
Musical instruments, eight, ii. 297
Musical instruments, porcelain, ii. 201
“Mustard crackle,” ii. 220
Nagasaki, ii. 173
Nail heads, i. 53
_Namako_, i. 167
Names, potters’, i. 223
Nan (-ning Fu), i. 137
Nan-Ch’ang, i. 152
Nan-fêng Hsien, i. 98, 164
_Nan ting_, i. 89
Nanking, i. 153, 187, 202, 206
Nanking, Old, ii. 173
Nanking Pagoda, i. 202; ii. 4, 20
Nan Shan, i. 15
Nara Collection, i. 23, 25, 32
Narghili bowls, ii. 77, 278
Natural History Museum, New York, i. _xxiv_, 182
Nature worship, ii. 290, 292
Nei yao, i. 61
_Neue Rundschau_, i. 35
Neuwenhais, i. 193
New Year, Chinese, ii. 134
New York Exhibition, i. 72, 113
_Ni ku lu_, i. 218
Nicholls, Dr., i. 15, 146
_Nien hao_, i. 213, 214
Nien Hsi-yao, ii. 121, 200, 227
Nien yao, ii. 121
Nightingale Collection, ii. 75
Ninagawa, Mr., ii. 115
_Ning chai ts’ung hua_, i. 136
Ning-kuo Fu, i. 201
Ningyo-de, i. 164
North, symbol of, ii. 41
Northern Sung, i. 52, 54
Nose drinking, i. 136
Numerals as marks, i. 109, 110, 113, 114
Nur-ed-din, i. 87
Nyo-fu ware, i. 97
O. C. A. (_Oriental Ceramic Art_, by S. W. Bushell), _passim_.
_Oesterreichische Monatschrift_, i. 86
O-fu. i. 2
_O-t’u_ (white earth), ii. 107
Ogre design, ii. 133, 263, 290
Old Imari, ii. 174, 260
“Old Kochi,” i. 190
_O mi t’o fo_ (Amitabha Buddha), i. 100; ii. 302
On-biscuit decoration, ii. 242
On-glaze enamels, ii. 18, 48
“Onion green,” i. 62
Opalescence, i. 50
Openwork designs, i. 177; ii. 102, 245, 246
Opium pipes, i. 177; ii. 277
Orange, ii. 296
Orange peel markings, ii. 8, 9
Orchid Pavilion, ii. 281
_Orientalisches Archiv_, i. 145
“Oriental Lowestoft,” ii. 251
Ormolu mounts, French, ii. 146, 194
Ornament, symbolical, ii. 285
Orrock Collection, ii. 134
_Ostasiatischer Zeitschrift_, i. 27
Ou, i. 17, 37, 120, 181; ii. 65, 217
Ou, Eastern, ii. 108
Owen, ii. 76
Ox, ii. 286
Oxide of copper, i. 118, 137
Oxides, metallic, i. 49
_Pa chi hsiang_, ii. 25, 42
_Pa kua_ (Eight Trigrams), ii. 39, 41, 67, 274, 290
Pa-kwoh, i. 187
_Pa pao_ (Eight Precious Symbols), ii. 42
_Pa pei_ (handle cups), ii. 7, 23
Pa Shan, waterfalls of, ii. 43
Pagoda, porcelain, i. 202; ii. 4, 20
_Pai ma_, ii. 286, 294
_Pai-o_, i. 146
Pai-shih, ii. 211, 212, 213
_P’ai-shih-lei-p’ien_, i. 68
Pai-shui, i. 199
_Pai-ting_, i. 92, 96
Pai-t’u Chên, i. 97
_Pai-tz’ü_, ii. 109
Painted decoration, i. 161
Painted T’ang wares, i. 34
Painted ornament, i. 91
Painted red flowers, i. 136
Painted Tz’ŭ ware, i. 101, 103
Painters’ signatures and seals, ii. 164, 212
Painting, i. 33
Painting in enamels, i. 46
Painting in gold, ii. 21
Painting porcelain, system of, ii. 63, 105, 106, 163, 239
Painting, red and green, i. 104
Pak-hoi, i. 172, 173, 184
Palace hall marks, i. 220
Palace porcelain, ii. 1, 271, 293
“Palm eye” markings, i. 53; ii. 9, 93, 219
Palmette-like ornaments, i. 28
Panel decoration, ii. 133
Pan Fei, i. 24
_Pan t’o tai_ (“half bodiless”), ii. 3, 195
P’an Yo, i. 16
_Pao hsiang hua_, ii. 39, 87, 295
Pao kuo ssŭ temple, ii. 18
_Pao shao_, ii. 24, 224
_Pao shih hung_, ii. 10, 24, 59, 99, 123, 223
_Pao shih lan_, ii. 219, 224
Paper-beater, shape, ii. 268, 274
_Paragons of Filial Piety, the Twenty-Four_, ii. 134, 282
Paraphernalia, seven, ii. 297
Parian ware, ii. 266
Paris Exhibition, i, 173, 184, 187, 188, 202
Parthian coffins, i. 9
Parthians, i. 5
“Partridge cups,” i. 93, 103, 131, 132, 164
Partridges, ii. 295
_Pâte sur pâte_, ii. 77, 196
Pattern books, ii. 105, 303
Peach, ii. 286, 288, 301
“Peach bloom,” ii. 99, 146, 176, 177, 178, 179, 185
Peacocks, ii. 39, 258
“Pear skin” clay, i. 174
Pearl or jewel, ii. 291
Peking, i. 200, 205, 206; ii. 126
Peking bowls, ii. 239, 244, 264
Peking lacquer, ii. 263
Pekingese spaniel, ii. 39, 293
Peking, tile works near, ii. 237
Pen rest, ii. 32
P’êng Chün-pao, i. 94, 97
P’êng ware, i. 164
Pêng-lai mount, i. 7; ii. 156, 290
Peony, ii. 294
Perfume vase, ii. 68
Persia, i. 86, 193; ii. 12, 29, 30, 31, 44, 69, 247, 278
Persian forms, ii. 67
Persian glazed bricks, i. 9
Persian Gulf, i. 149
Persian market, wares for, ii. 73, 77, 81
Persian monsters, i. 27
Persian ware, i. 34, 103, 104, 148; ii. 30, 48
Perzynski, F., i. 27, 35; ii. 43, 70, 73, 74, 75, 89, 90, 105
Peters Collection, S. T., i. 12; ii. 18, 190, 191, 192
Peters, S. T., i. 114
_Petuntse_, i. 148; ii. 91, 123, 248
Pheasant, ii. 295, 297
Philippines, i. 87, 189
Phillips, Rev. H. S., i. 132
Phœnix, i. 90; ii. 39, 269, 288, 293
Phœnix ewer, i. 149
Phœnix Hill, i. 59, 61, 72, 134
_Pi chuang so yü_, i. 72
_P’i hsieh_, ii. 294
P’i-ling, i. 91, 95
_Pi liu li_, i. 144
_Pi sê_ (secret colour), i. 38, 39, 40, 54
_Pi ting ju i_, ii. 301
_Pi t’ung_, ii, 275
_P’iao tz’ŭ_, i. 16, 143
Pictures of manufacture of porcelain, ii. 248
_P’ieh_, i. 165; ii. 5
Pierced design, i. 194; ii. 59, 75, 76, 79, 196, 246
Pigments, unfired, i. 3
Pilgrim bottles, ii. 274
Pilkington Tile Works, i. 200
Pillows, i. 104, 105, 107; ii. 97, 276
Pine, bamboo and plum design, ii. 47
_P’ing hua p’u_, i. _xvi_; ii. 94
_P’ing shih_, ii. 94
P’ing-ting Chou, i. 97; ii. 107
P’ing-yang Fu, i. 32, 97
Pink, ruby, ii. 238
Pipes, ii. 278
Plaques, ii. 97, 117, 277
Plates, ii. 97
Plates, seven border, ii. 211
Plum blossom crackle, ii. 244
Plum blossom design, i. 133
P’o-hai, i. 148
_Po shan lu_, i. 12
_Po t’ang_ blue, ii. 98
Points of compass, ii. 41
Polynesian khava bowls, i. 129
Pomegranate-shaped pots, i. 198
Pools of glass, i. 171
Porcelain, archaic specimens of translucent, i. 163
Porcelain, beginnings of, i. 15, 39, 89, 141–151
Porcelain, decorated, at Canton, ii. 211
Porcelain, special kinds of, ii. 201
Porcelain, white, ii. 195
Portuguese, ii. 68, 89
Po-Shan Hsien, i. 103, 107, 188, 200
_Po wu yao lan_, i. 61, 224
Po-yang Lake, i. 152
Pot-hook-like herbage, ii. 90
Potter Palmer Collection, i. 34, 35
Potters’ marks, i. 221
Potters’ names, i. 220, 223; ii. 64
Pottery, origin of, i. 2
Precious Objects, Eight, ii. 297, 298
Precious stone red, ii. 11, 122
Precious Symbols, Eight, ii. 42
“Press-hand” bowls, ii. 93
Preussler, ii. 260
Pricket candlesticks, ii. 60
Prints, copying effect of European, ii. 214
Prunus design, ii. 134, 135, 152
_P’u shu t’ing chi_, ii. 23
Puzzle jug, ii. 251
Quails, ii. 295
Radiating lines under base, ii. 92
Ram, ii. 294
Rams design, three, ii. 43
Raphael Collection, i. 63
“Rat and vine” pattern, ii. 231, 245, 303
Read, Sir C. Hercules, i. _xxv_, 31
Rebus designs, ii. 299, 300
Red and gold decoration, ii. 6
Red and green family, i. 104
Red biscuit, ii. 9
Red, copper, ii. 6, 11, 55
Red, coral, ii. 6, 48, 51, 160, 238
Red family of Wan Li porcelain, ii. 81
Red, _flambé_, ii. 124
Red in the glaze, ii. 204
Red, iron, ii. 51, 55, 165, 179, 215, 235, 244
Red, jujube, ii. 210, 219, 238
Red, liver, ii. 99, 178, 194, 238
Red, maroon, ii. 178, 179, 194
Red, crushed strawberry, ii. 119, 125
Red, ox-blood, ii. 124
Red, ritual significance of, ii. 195
Red, ruby, ii. 221, 224
Red, soufflé, ii. 127, 193, 194, 218, 219, 224, 238
Red, underglaze, ii. 10, 79, 99, 119, 145, 146, 204, 205, 241
Relief work, ii. 74, 196
Revolving necks, ii. 246, 262
Rhages, i. 87
Rhinoceros jars, ii. 36
de Ricci, M. Seymour, ii. 194
Rice grain pattern, ii. 246, 247, 263
Richard’s Geography, i. 56, 172
Rijks Museum, Amsterdam, ii. 75
Ring under base, double, ii. 69
Ritual vessels, ii. 272
Rock and wave design, ii. 81, 87, 290
Rockery and flowering plants, ii. 164
Rococo ornaments, ii. 258
Rome, i. 5
Roof tiles, i. 201
Rookwood Potteries, i. 200
Rose and ticket pattern, ii. 133
Rose pinks, ii. 210, 229, 237
Roth, Ling, i. 87, 193
Rotterdam, siege of, ii. 252
_Rouge de fer_, ii. 101, 160
_Rouleau_ shape, ii. 165, 269, 274
Rubbing with sand, ii. 159
“Ruby-back” porcelain, ii. 210, 213, 243
Rush pattern, i. 44
Ryoben, i. 36
Sages meeting in landscape, ii. 95
St. Cloud, ii. 112, 173
St. Louis of France, ii. 252
St. Mark’s, Venice, ii. 113
Sakyamuni, ii. 284
Saladin, i. 87
Salting Collection, i. _xxiii_, 197; ii. 81, 83, 90, 95, 145, 156, 160, 165, 168, 170, 179, 181, 185, 187, 235, 244
Salt glaze, ii. 144
Salvétat, M., ii. 10
Samantabhadra, ii. 285
Samarra, i. 101, 148, 149
Samian ware, i. 31
_San kuo_, ii. 11
_San ts’ai_ (three colours), i. 197; ii. 26, 33, 79, 100, 151, 152, 153
_San yang k’ai t’ai_, ii. 43
_Sang de bœuf_ red, ii. 11, 99, 121, 123, 124, 125, 146, 176, 194, 232, 271
Sanscrit characters, ii. 62, 66, 240, 286, 302
Sanuki, i. 200
Sarre, Professor, i. 101, 148; ii. 69
Sassanian, i. 34
Sassanian monsters, i. 27
Satsuma faience, i. 103
Saucers, ii. 278
Sawankalok, i. 81, 85, 88
Scale pattern, ii. 158, 259
Scholar design, famous, ii. 25
“Scratched blue,” ii. 144
Screens, ii. 277
Seagulls, little, i. 97
Sea-horses design, ii. 80
Sea waves, ii. 42
Seal characters, ii. 301
Seals, ii. 276
Seasons, flowers of four, ii. 38, 56, 134, 156, 296
Seasons, landscape, ii. 297
Seats, barrel-shaped, ii. 8, 15, 17, 60, 97, 277
“Secret colour” ware, i. 38, 59
Seggars, i. 156; ii. 248
Self-warming cups, i. 138
Seligmann, Dr. C., ii. 51, 67
Sepulchral furniture, i. 19
Sepulchral pottery, Han, i. 14
Sesamum design, i. 53
Seto, i. 123, 132
Sets, dinner-table, ii. 36, 267
Sets of five vases, ii. 97, 134, 279
Seven border plates, ii. 211
Sèvres, i. _xvi_; ii. 140, 251
Sèvres Museum, i. _xxiii_; ii. 230
_Sha t’ai_, i. 110, 123, 124, 128; ii. 141
Shah Abbas, ii. 30, 69
Shakuan, i. 172
Shan Chou, i. 201
_Shan kao shui ch’ang_, ii. 263
_Shan yü huang_, ii. 126
Shang dynasty, i. 44
Shanghai, i. 174, 188; ii. 212
Shansi, i. 97, 98
Shantung glass works, ii. 210
Shao Ch’êng-shang, i. 59
_Shao yao_, i. 61
Shao-wu Fu, ii. 108
_Shê p’i lü_, ii. 126
_Shên tê t’ang_, ii. 247, 264
_Shên tê t’ang po ku chih_, ii. 81
Shêng Tsung, i. 22
Shên-nung, i. 1
_Shih ch’ing_ (stone blue), ii. 9
_Shih ch’ing jih cha_, ii. 93, 305
Shin Huang Ti, i. 5
Shih Ta-pin, i. 175, 176, 177
Shih Tsung, i. 40, 41
Shih-kao, ii. 196
Shih-ma, i. 187
_Shih-mo_ (powdered stone), ii. 91
_Shih-tzŭ ch’ing_, ii. 98
Shih-wan, i. 172
_Shih wu kan chu_, ii. 30, 34
_Shin sho sei_, i. 94
Shop marks, i. 220; ii. 89, 113, 152
Shoso-in, i. 23, 25
_Shou_, ii. 33, 42, 302
Shou Characters, the Hundred, ii. 61
Shou Ch’êng, i. 25
Shou Chou, i. 40
Shou-hsing, ii. 287
Shou Lao, i. 185; ii. 286, 287, 289
Shou Shan, ii. 286, 288, 290
_Shou shan fu hai_, ii. 38
Shu, i. 98, 198
Shu chiao, i. 98
_Shu fu_ (mark), i. 161, 162, 163
_Shu wêng_, i. 98
_Shuko-yaki_, i. 85
Shun, the Emperor, i. 1; ii. 281
Shun Chih, ii. 117, 237
Shun-tê Fu, i. 39
_Shuo Wên_, i. 141
Siam, i. 81; ii. 278
Silkworm scrolls, ii. 270
Silvering, i. 161, 163; ii. 20, 175, 192, 215, 225, 226, 229
Slip decoration, ii. 77
Smith, Lieut. C., i. 87
Snuff bottles, ii. 202, 203, 216, 227, 262, 266, 277
“Soft Chün,” i. 121, 124, 127, 128
“Soft-paste” porcelain, i. 150; ii. 65, 75, 140, 142, 197, 241
Soleyman, i. 148
“Solid agate,” i. 33
Solon, M. L., i. 181
Southern Sung, i. 43, 67, 99
South, symbol of, ii. 41
Spanish, ii. 89, 252
Spanish dollar, ii. 90
Spider mark, ii. 140
Spinning Maiden, ii. 291, 292
Spirits of the Doorway, i. 20
“Spotted blue,” i. 166
“Spring painting,” ii. 57
Sprinklers, ii. 273
“Spur-marks,” i. 11, 53, 118
Square vases, ii. 274
Ssŭ Chou, i. 96
Ssŭ-hao, ii. 289
Ssŭ-ma Ch’ien, i. 1
Ssŭ-ma-kuang, ii. 281
_Ssŭ pu t’ang_, ii. 265
Ssŭ-t’iao, i. 144
Ssŭ-tu, ii. 108
Staff, knotted, ii. 286
Staffordshire, i. 33, 178
Stars, ii. 297
Statuettes, i. 24, 105; ii. 159
Steatite, ii. 77, 141, 196, 198, 201
Steatitic porcelain, ii. 141, 142, 203, 240, 246
Stein, Sir Aurel, i. 23, 25, 28, 31, 32, 107, 134, 149, 193
Stem-cups, ii. 7, 8, 202, 208
Stems, the Ten, i. 210
Storks, ii. 39, 286
Storks, the Hundred, ii. 61
Strawberry leaves border, ii. 257
Stübel Collection, i. _xxiii_, 84
Studio names, ii. 167, 215
Study, Four Subjects of, ii. 282
Su Chou, i. 96, 187, 188, 202
Su Chou lacquer, ii. 263
Su Shih, ii. 5
Su Wu, ii. 281
_Sui ch’i yao_, i. 99
Sui dynasty, i. 16, 17
Sulphate of iron, ii. 101
“Sulphuring,” ii. 146
Sultan of Egypt, i. 87
Sultan’s treasure, i. 87
_Su-ma-ni_, ii. 12
Sumatra, ii. 12
Summer Palace, i. 205
Sumptuary law, ii. 233
Sun, Mr., i. 91
Sun, the, ii. 291
_Su-p’o-ni_, ii. 12, 13
_Sung hsiang_, i. 187
Sung Pharmacopœia, i. 146
_Sung shih_, ii. 12
Sung wares, i. 43–51, 104
_Su-ni-p’o_, ii. 12, 22, 98
Supper sets, ii. 160, 278
Swallows, ii. 295
Swastika, ii. 76, 299, 302
Swatow, i. 184
Sword-grass bowls, i. 110
Symbol of literary success, ii. 6
Symbols, ii. 268, 297
Syria, ii. 247
Syrian pottery, i. 103; ii. 12, 30, 44
Syrup pots, ii. 278
Table Bay, ii. 136
_Ta chiao_, ii. 34
Ta-ch’in, i. 144
_Ta ch’ing_, ii. 179
Ta-yi bowls, i. _xvi_
Ta Yüeh-chih, i. 144
Tael, i. 175
Ta-hsin, i. 177
_T’ai ch’ang_, i. 91; ii. 86
_T’ai chi_, ii. 268
T’ai-ming, ii. 108
T’ai p’ing rebellion, i. 154, 155; ii. 267, 271
_T’ai p’ing yu hsiang_, ii. 268
T’ai-po tsun, ii. 177, 185
T’ai-yüan Fu, i. 97, 194
Takatori, i. 31
Taklamakan Desert, i. 25
_Ta kuan_, i. 59, 60
Talbot, arms of, ii. 257
_Ta lü_, i. 65
Tamo, ii. 285
Tan, i. 202
Tan Hui-pan, ii. 282
_Tan kuei_ (red cassia), ii. 6, 51, 53
_Tan pai_, i. 61, 67, 71
_T’an yung_, ii. 34
Tanagra, i. 24
_Tan ch’ing_, i. 53, 54
_T’ang chien kung t’ao yeh t’u shuo_, i. 113
T’ang, district, i. 55
T’ang dynasty, i. 166, 201; ii. 233
_T’ang kuo shih pu_, i. 39
_T’ang ming_, i. 217
_T’ang pên ts’ao_, i. 89
T’ang Pharmacopœia, i. 89, 146
T’ang polychrome pottery, i. 33
_T’ang shih ssŭ k’ao_, i. 90, 142; ii. 59
_T’ang Shu_, i. 201
T’ang, the President of the Sacrifices, i. _xvii_, 91, 95
T’ang tomb, i. 101
T’ang wares, i. _xx_, 11, 16, 23–42, 56, 132; ii. 28, 78
T’ang wares, base of, i. 26
_T’ang yao_, ii. 121
T’ang Ying, i. 71, 141, 166, 167, 181; ii. 59, 121, 126, 200, 201, 202, 209, 215, 216, 217, 220, 227, 228, 229, 230, 234, 237, 239, 248
_T’ang ying lung kang chi_, ii. 58
T’ang’s manufactory, i. 166
T’ang’s white incense vase, i. 92
Tantalus cup, ii. 276
_T’ao_, i. 141, 142
_T’ao chêng chi shih_, i. 166
_T’ao Ch’êng shih yü kao_, i. 71; ii. 228
_T’ao chi lüo_, i. 159
Tao kuang, ii. 263
_T’ao lu_, the, _passim_
_T’ao shuo_, the, _passim_
_T’ao t’ieh_, ii. 290
T’ao yin-chü, i. 146
T’ao yü, i. 147, 153
T’ao Yüan-ming, ii. 25, 296
Taoism, i. 7; ii. 286
Taoist Immortals, Eight, ii. 38
Tassie, ii. 251
Tattooed design, ii. 144
Ta-yi, i. 32, 40, 147
Tazza-shaped cup, ii. 272
Tea bowls, ii. 5, 278
Tea competitions, i. 94, 131
Tea cup handles, ii. 277
Tea drinking, i. 178
“Tea dust,” i. 31, 135; ii. 233, 264
Tea green, i. 31, 133
Tea leaves, staining with, ii. 197, 198
Tea pot, i. 176, 178; ii. 278
Tear stains, i. 90, 101, 113
Tê-hua porcelain, i. _xv_; ii. 107, 108, 109, 111, 112, 113, 114, 115
_Temmoku_ ware, i. 31, 131, 132, 133
Têng, district of, i. 55, 56
Têng-fêng Hsien, i. 201
“Three colours,” i. 104, 197; ii. 26, 100, 147, 151, 190, 207, 241
Three heroes of Han dynasty, ii. 281
Three kingdoms, ii. 281
Three-legged bird, ii. 291
_Ti_ (saucers), i. 110
_T’ieh hsin_, ii. 233
_T’ien Ch’i_ ii. 86
_T’ien ch’ing_, i. 62, 65; ii. 238
_T’ien chu ên po_, ii. 240
_T’ien kung k’ai wu_, ii. 107
_T’ien lan_, i. 117; ii. 232
_T’ien lu_, ii. 294
T’ien Ming, ii. 117
_T’ien pai_, ii. 37, 248
T’ien Shun, ii. 28
_T’ien t’ang_, ii. 264, 290
T’ien Tsung, ii. 117
Tiger, ii. 294
Tiger lily design, ii. 131, 134
Tiger of the West, i. 56
“Tiger skin,” i. 31; ii. 80, 89, 127, 148, 190, 226, 264
Tiger, the white, i. 20; ii. 291
Tiles, i. 187, 194, 201, 202, 205
Tiles, lustred, ii. 30
Tin, in the glaze, i. 182
Ting Chou, ii. 107
Ting Chou ware, red, i. 158
Ting Chou wares, i. _xvi_, 40, 45, 52, 85, 89–96, 105, 146, 147
_Ting chuang_, ii. 63, 74
Ting type of ware, ii. 86
Ting ware, i. 45, 78, 89–96, 101, 102, 146
Ting ware, black, i. 92, 93, 133
Ting ware, new, i. 94
Ting ware, Northern, i. 90, 162
Ting ware, purple, i. 92, 93, 98
Ting ware, red, i. 92
Ting ware, Southern, i. 90
Ting ware, white, i. 146, 149; ii. 201, 218
Ting yao, imitation of old, ii. 142, 197, 201
Toad, ii. 289, 291
_Tobi seiji_, i. 80
_Toko_, ii. 238
Tomb wares, i. 17, 24
Tombs, i. 9, 13, 101
Tombs, Egyptian, ii. 266
Torrance, Rev. Thomas, i. 10, 13, 14
Tortoise, i. 95; ii. 288, 289
Tortoise of the North, i. 56; ii. 291
_T’o t’ai_ (“bodiless”), ii. 3, 5, 195, 248
_Tou ch’ing_, ii. 37, 99
_Toyei Shuko_, i. 25
Trade between China and West, mediæval, i. 86
Tradescant Collection, i, 193; ii. 68
Trading station, i. 86
Transfer prints, ii. 260
Transition enamels, ii. 257
Translucent porcelain, i. 148
Transmutation ware, i. 137, 156, 175; ii. 18, 192, 218, 232
Trenchard bowls, ii. 29
Trigrams, Eight, ii. 39, 41, 62, 268, 290
Trumpeter service, ii. 255
Ts’ai, i. 198
Ts’ai Chin-ch’ing, ii. 267
T’sai-hsiang, i. 131
_Ts’ai hua t’ang_, ii. 265
_Ts’ai hung_, ii. 179
_Ts’ai jun t’ang_, ii. 265
_Ts’ang yao_, ii. 121
Ts’ang Ying-hsüan, ii, 121, 126, 168, 180, 187, 190
Ts’ao-chao, i. 40
Ts’ao Chiung, i. 75
_Tsao’rh hung_, ii. 218
_Tsao t’ang_, ii. 34
_Ts’ao tien yu chi_, ii. 58
_Tso Ch’uan_, the, i. 2
_Tsou_, i. 97, 188
Tsou Hsien, i. 201
_Ts’ui_, i. 77; ii. 161
_Ts’ui kung yao_, ii. 52
Ts’ui, Mr., ii. 52, 64
_Ts’ui sê_, i. 37
Ts’ung Tê, ii. 116
_Ts’ung ts’ui_, i. 109
Tu, i. 40, 147
_Tu shu_, i. 76, 166, 201; ii. 197
_T’u ssŭ wên_, i. 113
_T’u ting_, i. 90, 91, 92, 94, 97, 98, 135, 164, 168, 190; ii. 113, 218
Tu Yü, i. 16
Tu-chiu, i. 95
_T’u k’uai_, i. 27
_Tu kung t’an tsüan_, i. 62
Tulip-like flower pattern, ii. 90
Tun-huang, i. 28
T’ung, ii. 58, 59, 117
T’ung Chih, ii. 267
_Tung ch’ing_, i. 48, 75; ii. 189
T’ung-chou Fu, i. 199
Tung-fang So, ii. 133, 159, 288
Tung-han, i. 176
_Tung hsiang t’ang_, i. 198
Tung-p’o, i. 137
_Tung ya_, ii. 18, 19, 92
Tung ware, i. 66, 82
Turfan, i. 16, 23, 31, 36, 101, 107, 130, 134, 149
Turkestan, i. 86, 193
Turkey, ii. 218, 279
Twelve embroidery ornaments, ii. 297
_Tz’ŭ_ (porcelain), i. 140, 141, 142
_Tzŭ_ (purple), i. 93, 109
_Tzŭ chin_ (golden brown), ii. 37, 38, 65, 99, 191, 192
Tzŭ-ching, ii. 14
Tz’ŭ Chou ware, i. 46, 91, 101–108, 128, 133, 135, 149, 166, 193, 198, 218; ii. 30
Tz’ŭ-jén Temple, ii. 23
_Tz’ŭ_ stone, i. 101, 107, 147
_Tz’ŭ t’ai_ (Chün ware), i. 110, 113, 123, 128
_Tz’ŭ-tsao_, ii. 108
Urfe, d’, Honoré, i. 78
Ushaktal, i. 134
Vaidurya, i. 144
Vajrapani, ii. 286
Van Eenhorn, i. 178
Vase organ, i. 138
Vases, bottle shaped, ii. 273
Vases, civil and military, ii. 281
Vases, divining rod, ii. 274
Vases, flower, ii. 273, 275
Vases, perfume, ii. 68
Vases, square, ii. 274
Vash-shahri, i. 130, 134
Venetian glass, ii. 139
Vermilion boxes, ii. 35
Vermilion pigment, ii. 148
Victoria and Albert Museum, _passim_
Violet blue, dark, ii. 99
Virgin and Child, images of, ii. 111, 285
Virtuous Heroines, ii. 282
Voretzsch, i. 206
_Wa wa_(children), ii. 25, 281
Wall of China, great, i. 5
Wall vases, ii. 275
Walters Collection, ii. 227
_Wan_, ii. 76
_Wan fu yu t’ung_, ii. 51
_Wan ku ch’ang ch’un ssŭ hai lai chao_, ii. 62
Wan Li wares, ii. 24, 57, 58–81, 161, 208, 224
_Wan Li wu ts’ai_, ii. 48, 81, 82, 100, 160
_Wan shih chü_, ii. 167
_Wan shou_, ii. 82
_Wan shou am chiang_, ii. 169
Wang Ch’iao, ii. 288
Wang Chih, ii. 110, 133, 282
Wang Ching-min, ii. 59
Wang Hsi Chih, ii. 281
Wang Ping-jung, ii. 266
Wang Shêng-kao, ii. 247
Wang Shih-chêng, i. 201
Wang-tso, i. 40
Wang Tso-t’ing, ii. 266
Wang Wei, i. 23
Wang-yu, ii. 164
Wantage Collection, Lady, ii. 221, 262
Warham bowl, i. 88
Warner, Langdon, i. 36
Water droppers, ii. 276
Waterfall, ii. 68
Water pots, ii. 276
Wave and rock pattern, ii. 63
Wave pattern, i. 137; ii. 56, 302
Waves and plum blossoms design, ii. 56, 63, 80, 155
Wedding bowl, ii. 268
Wei, i. 27
_Wei ch’i_, ii. 282
Wei dynasty, i. 16
Wei Hsien, i. 103, 104
Weights, ii. 97
Well-head, i. 12
Wells Williams, S., i. 172, 184
Wên, Prince, i. 25
Wên (Sung minister), i. 99
Wên Ch’ang, ii. 159, 284
Wên Chêng-ming, ii. 243
Wên-chou, i. 143; ii. 108
_Wên fang ssŭ k’ao_, i. 60
Wên Lang-shan, ii. 263
_Wên p’ing_(civil vase) and _wu p’ing_ (military vase), ii. 281
_Wên-wang_ censers, i. 94
West, symbol of, ii. 41
Wheel, potter’s, i. 2
Whieldon wares, i. 25, 33
Whitechapel Art Gallery, ii. 233
“White earth village,” i. 97
White earth, where found, ii. 107
White in blue ground design, ii. 130
White porcelain, ii. 195
White slip, ii. 5
White ware, dead, ii. 201
Wilkes, John, ii. 255
Williams, Mrs., i. 110, 123
Willow, ii. 296
Willow pattern, ii. 258, 296
Wine cup, ii. 278
Wine Cup, Eight Immortals of the, ii. 282
Wine pot, i. 161, 162
Winter Palace, i, 205
Winthrop, Mr., ii. 29
Wolfsbourg, de, ii. 260
Wood, Enoch, ii. 259
Worcester, i. 187; ii. 76, 136, 141, 183, 251, 258, 259, 260
_Wu chên_, ii. 230
_Wu chin_, ii. 192, 193, 210, 218, 226, 229, 230, 231
Wu-ch’ing Hsien, i. 200, 202
Wu chou, i. 40
_Wu fu_, ii. 11
Wu I-shan, i. 175
_Wu kung yang_, ii. 24
_Wu lao_, ii. 283
Wu-mên-t’o, ii. 59, 91
_Wu ming_ tzŭ, ii. 12, 98
_Wu ming yi_, i. 187; ii. 12, 98
_Wu-ni_ wares, i. 61, 66, 67, 133, 134, 164
Wu San-kuei, i. 154; ii. 125
Wu _sê_, i. 162; ii. 20
Wu Tao-tzŭ, i. 23, 137
Wu Ti, i. 7, 11, 15; ii. 288
_Wu ts’ai_ (“decorated in five colours”), ii. 8, 9, 17, 20, 22, 23, 26, 55, 63
Yacut, i. 87
_Ya ku ch’ing pao shih_, i. 62
_Ya shou_ pei, ii. 3, 4, 5
Yang-Chiang, i. 84, 166, 172
_Yang-hsien ming hu hsi_, i. 139, 174, 176
Yang Kuei-fei, ii. 282
_Yang ts’ai_ (foreign colours), ii. 209, 225
Yangtze, i. 89
_Yang tz’ŭ_ ware, i. 166, 167
_Yao_, i. 142
Yao, ii. 281
Yao, district of, i. 55, 56
Yao Niang, i. 24
_Yao pien_, i. 137, 139, 157, 175; ii. 18, 193, 218, 224, 232
Yeh-chih, i. 55
Yellow, eel, ii. 127, 190, 218, 223
Yellow, European style, ii. 220
Yellow, mustard, ii. 190, 223
Yellow, Nanking, ii. 145, 170, 191, 192
Yellow, ritual significance of, ii. 195
Yellow, spotted, ii. 126, 127, 190, 218, 223, 226
Yellow, sulphur, ii. 220, 239
Yellow ware, i. 160, 163, 187; ii. 28, 190, 239
Yen-shên Chên, i, 200
Yen Shih-ku, i. 144
_Yen yen_ vase, ii. 156
Yesdijird, i. 34
Yetts, Dr., ii. 292
Yi, Prince of, ii. 200
Yi-chên, i. 200, 202
Yi Hsien, i. 201
Yi-hsing, ii. 65, 187
Yi-hsing Chün, i. 120, 179
Yi-hsing wares, i. _xv_, 120, 123, 127, 171, 172, 174–183, 188, 190, 198; ii. 217, 224, 245
_Yin hua_, i. 91, 161
_Yin Yang_, ii. 62, 268, 283, 290
_Yin yang tsa tsu_, the, i. 19
Yo Chou, i. 40, 199
_Yo fu tsa lu_, i. 39
Yorke and Cocks, arms of, ii. 212, 213
Yoshitsune, flute of, ii. 113
_Yu chai_, ii. 212
_Yü chih kêng chih t’u_, ii. 164
Yü Chou, i. 109, 124, 128, 147; ii. 107
_Yü fêng yang lin_, ii. 212
Yü-hang Hsien, i. 67
Yü-hang wares, i. 66, 134
_Yü lan_, i. 53
_Yu li hung_, ii. 122, 125, 204, 225
_Yu lü_, ii. 224
_Yu po lo_, ii. 25
_Yü t’ang chia ch’i_ mark, i. 218; ii. 75, 77, 79, 82
_Yu t’u_ (glaze earth), ii. 91
Yu-tzŭ Hsien, i. 97
Yü wang shang ti, ii. 291
Yü-yao, i. 38
_Yüan chai pi hêng_, i. 55
Yüan Ming Yüan, i. 205
Yüan tz’ŭ, i. 110, 124, 128, 129, 130, 164
Yüan wares, i. 41, 50, 155, 159–165
Yüeh Chou, i. _xvi_, 17, 37, 38, 39, 40, 54
_Yüeh pai_, ii. 224
Yüeh ware, i. 59
Yuima, the, i. 36
_Yün hsien tsa chi_, i. 138
Yün-mên, i. _xvi_
_Yün shih chai pi t’an_, i. 91, 95
_Yün tsao_, i. 83
Yung-ch’ang, ii. 30
Yung Chêng, i. 45
Yung Chêng imitations, i. 117, 119, 120; ii. 11, 43, 82
Yung Chêng list, i. 120
Yung Chêng mark, ii. 217
Yung Chêng monochromes, ii. 216
Yung Chêng wares, ii. 169, 200–226
Yung-Chou, i. 136
Yung-ho Chên, i. 98, 99
Yung Lo bowl, ii. 86
Yung Lo wares, ii. 3–6, 9, 12, 224
Yunnan, ii. 29
Zanzibar, i. 86, 87
_Zeitschrift für Ethnologie_, the, i. 8
Zengoro Hozen, ii. 6
Zimmermann, E., i. 87, 145; ii. 5
Zinc, i. 168, 182
PRINTED BY CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LONDON, E.C. F 15.115
FOOTNOTES:
[1] See vol. i, p. 153.
[2] _fêng huo_. Bushell renders “blast furnaces.”
[3] [chch 2] _lan kuang_, lit. “burn tube.” Omitting the radical [chch] (_huo_, fire) in both cases, Bushell takes the characters as _lan_ (blue) and _huang_ (yellow). Possibly Bushell’s edition had variant readings.
[4] Bk. vii., fol. 25 recto.
[5] Or, perhaps, “greenish black,” taking the two words together.
[6] [chch 2] lit. “omit body.” A slightly thicker porcelain is known as _pan t’o t’ai_, or “half bodiless.”
[7] [chch 2] _ts’ai chui_. These words seem to have been taken to mean “decorated with an awl”; but they are better translated separately to mean “bright coloured” and “(engraved with) an awl,” the suggestion being that _ts’ai_ refers to enamelled porcelain.
[8] Bk. ii., fol. 8 verso.
[9] [chch 3] _Ya shou pei_, lit. “press hand cups.”
[10] “Made in the Yung Lo period of the great Ming dynasty.”
[11] The reading in the British Museum copy is [chch] _pai_ (white), which seems to be an error for [hch] _ssŭ_ (four): taken as it stands, it would mean written in white slip.
[12] [chch] _hua_, lit. “slippery.” The meanings include “polished, smooth, ground,” etc., from which it will be seen that the word could equally refer to a glazed surface or an unglazed surface which had been polished on the wheel.
[13] This conical form of bowl was by no means new in the Ming period. In fact, we are told in the _T’ao shuo_ that it is the _p’ieh_ of the Sung dynasty, the old form of tea bowl. See vol. i, p. 175.
[14] There are several others of this type in Continental museums; cf. Zimmermann, op. cit. Plate 23.
[15] _Cat._, F 6.
[16] Bk. v., fol. 5.
[17] Bk. ii., fol. 8.
[18] _pa pei_, lit. handle cups. This type, as illustrated in Hsiang’s Album (op. cit., No. 54) is a shallow cup or tazza on a tall stem which was grasped by the hand.
[19] An example of the figure subjects on Hsüan Tê blue and white is given in the _T’ao shuo_, “teacups decorated with figures armed with light silk fans striking at flying fire-flies”; see Bushell’s translation, op. cit., p. 136.
[20] “Citron dishes” are specially mentioned in the _Wên chên hêng ch’ang wu chi_ (_T’ao lu_, bk. viii., fol. 4).
[21] _Ch’ang k’ou_, lit. “shed mouth.”
[22] Lit. “pot-bellied.”
[23] Lit. “cauldron (_fu_) base.”
[24] _an hua_, secret decoration (see p. 6).
[25] “Made in the Hsüan Tê period of the great Ming dynasty.”
[26] Lit. “orange-peel markings (_chü p’i wên_) rise in the glaze.”
[27] i.e. red lines coloured by rubbing ochre into the cracks. See vol. i, p. 99.
[28] _O. C. A._, p. 371.
[29] Unfortunately the term _pao shih hung_ has been loosely applied in modern times to the iron red. See Julien, op. cit., p. 91 note: “Among the colours for porcelain painting which M. Itier brought from China and offered to the Sèvres factory, there is one called _pao shih hung_, which, from M. Salvétat’s analysis, is nothing else but oxide of iron with a flux.” In other words, it is a material which should have been labelled _fan hung_. This careless terminology has led to much confusion.
[30] _T’ao lu_, bk. v., fol. 7 recto.
[31] The _Ch’ing pi tsang_ mentions “designs of flowers, birds, fish and insects, and such like forms” as typical ornaments on the red painted Hsüan porcelain.
[32] The three fruits (_san kuo_) are the peach, pomegranate, and finger citron, which typify the Three Abundances of years, sons and happiness.
[33] _Wu fu._ This may, however, be emblematically rendered by five bats, the bat (_fu_) being a common rebus for _fu_ (happiness).
[34] See p. 122.
[35] According to Bushell, _O. C. A._, p. 130, “cobalt blue, as we learn from the official annals of the Sung dynasty (_Sung shih_, bk. 490, fol. 12), was brought to China by the Arabs under the name of _wu ming yi_.” This takes it back to the tenth century. _Wu ming yi_ (nameless rarity) was afterwards used as a general name for cobalt blue, and was applied to the native mineral. The name was sometimes varied to _wu ming tzŭ_. Though we are not expressly told the source of the _su-ni-p’o_ blue, it is easily guessed. For the Ming Annals (bk. 325) state that among the objects brought as tribute by envoys from Sumatra were “precious stones, agate, crystal, carbonate of copper, rhinoceros horn, and [chch 3] _hui hui ch’ing_ (Mohammedan blue).” See W. P. Groeneveldt, _Verhandelingen van het Bataviaasch Genootschap van Kunsten en Wetenschappen_, vol. xxxix., p. 92. These envoys arrived in 1426, 1430, 1433, 1434, and for the last time in 1486. Sumatra was a meeting-place of the traders from East and West, and no doubt the Mohammedan blue was brought thither by Arab merchants. Possibly some of the mineral was brought back by the celebrated eunuch Chêng Ho, who led an expedition to Sumatra in the Yung Lo period. See also p. 30.
[36] See _Cat. B. F. A._, 1910, L 23; a pilgrim bottle belonging to Mrs. Halsey, inscribed after export to India with the word Alamgir, a name of the famous Aurungzib. Cf. also the fine cylindrical vase in the Victoria and Albert Museum (Case 2), with floral scrolls in this type of blue combined with underglaze red, and the Hsüan Tê mark.
[37] Op. cit., Nos. 9, 31, 37, 39, 48, 69 and 83.
[38] _Hui hu_ is a variant for _hui hui_ (Mohammedan).
[39] Probably due to over-firing.
[40] On the parallelism between this type of porcelain decoration and cloisonné enamel, see _Burlington Magazine_, September, 1912, p. 320. It is worthy of note that missing parts of these vases, such as neck rim or handles, are often replaced by cloisonné enamel on metal, which is so like the surrounding porcelain that the repairs are often overlooked.
[41] The yellow of this group is usually of a dull, impure tint, but there is a small jar in the Peters Collection in New York on which the yellow is exceptionally pure and brilliant, and almost of lemon colour.
[42] In these cases the porcelain would be first fired without glaze and the colours added when it was in what is called the “biscuit” state. In the blue and white ware, on the other hand, and the bulk of Chinese glazed porcelain, body and glaze were baked together in one firing.
[43] Bushell, _O. C. A._, p. 152.
[44] Translation of the _T’ao shuo_, op. cit., p. 51.
[45] This is the verdict of the _Po wu yao lan_, and it is repeated in the _T’ao lu_, see Bushell, op. cit., p. 60.
[46] Painted decoration is mentioned in Chiang’s Memoir of the Yüan dynasty (see vol. i, p. 160), but without any particulars; and the _Ko ku yao lun_ speaks of _wu sê_ decoration of a coarse kind at the end of the Yüan period (see vol. i, p. 161). The latter may, of course, refer to the use of coloured glazes.
[47] Op. cit., fig. 77.
[48] The application of these enamels in large washes puts them practically in the category of glazes, but for the sake of clearness it is best to keep the terminology distinct. After all, the difference between a high-fired glaze which is applied to the biscuit and a low-fired enamel applied in the same way is only one of degree, but if we use the term enamel or enamel-glaze for the colours fired in the muffle kiln as distinct from those fired in the porcelain kiln, it will save further explanations.
[49] A late Ming writer quoted in the _T’ao lu_ (bk. viii., fol. 18) says, “At the present day Hsüan ware cricket pots are still very greatly treasured. Their price is not less than that of Hsüan Ho pots of the Sung dynasty.”
[50] Bushell, op. cit., p. 140.
[51] _Po wu yao lan_, bk. ii., fol. 9 verso.
[52] [chch] _hsien_. The emperor Ch’êng Hua was canonised as Hsien Tsung.
[53] See p. 12.
[54] [chch 2] _ch’ien tan_. The _T’ao shuo_, quoting this passage, uses a variant reading, _ch’ien shên_ [chch], which Bushell renders “whether light or dark.”
[55] _yu hua i_, lit. “have the picture idea.”
[56] See Bushell, _O. C. A._, p. 385.
[57] See Hsiang’s Album, op. cit., fig. 38.
[58] Bk. vi., fols. 7–9, and Bushell’s translation, op. cit., pp. 141–3.
[59] Op. cit., fig. 55.
[60] _Burlington Magazine_, December, 1912, pp. 153–8.
[61] The author of the _P’u shu t’ing chi_ (_Memoirs of the Pavilion for Sunning Books_), quoted in the _T’ao shuo_, loc. cit.
[62] Op. cit., fig. 64.
[63] Bushell (_T’ao shuo_, p. 142) gives the misleading version, “bowls enamelled with jewels” and “jewel-enamelled bowls,” omitting in his translation the note in the text which explains their true meaning as _pao shih hung_ or ruby red.
[64] [chch 2] _ts’ao ch’ung_ can equally well mean “plants and insects” or “grass insects,” i.e. grasshoppers. In fact, Julien translated the phrase in the latter sense.
[65] _Chin hui tui_, lit. brocade ash-heaps.
[66] Not as Bushell (_T’ao shuo_, op. cit., p. 143), “medallions of flower sprays and fruits painted on the four sides”; _ssŭ mien_ (lit. four sides) being a common phrase for “on all sides” does not necessarily imply a quadrangular object.
[67] _Shih nü_, strangely rendered by Bushell “a party of young girls.”
[68] The dragon boats raced on the rivers and were carried in procession through the streets on the festival of the fifth day of the fifth month. See J. J. M. de Groot, _Annales du Musée Guimet_, vol. xi., p. 346. A design of children playing at dragon boat processions is occasionally seen in later porcelain decoration.
[69] Cf. the favourite design of children under a pine-tree on Japanese Hirado porcelain.
[70] Op. cit., figs. 38, 49, 55, 56, 63, 64, 65, 66 and 76.
[71] [chch 2] Bushell has translated it “diffused colours,” but _fu_ is also used for “applying externally” in the medicinal sense, which seems specially appropriate here.
[72] [chch 2], lit. “fill up (with) glaze,” the colour of the glaze being specified in each case. Cf. _lan ti t’ien hua wu ts’ai_ (blue ground filled up with polychrome painting), a phrase used to describe the decoration of the barrel-shaped garden seats of the Hsüan Tê period. See p. 17.
[73] Fig. 63, a cup in form like the chicken cups (_chi kang_).
[74] [chch 2] _ch’i shang._
[75] Op. cit., Plate ii.
[76] See E. Dillon, _Porcelain_, Plate xviii.
[77] See E. Dillon, _Porcelain_, Plate vii.
[78] See _Cat, B. F. A._, 1910, H 21, I 7.
[79] [chch 2]
[80] [chch 2]
[81] [chch 2].
[82] [chch 2].
[83] Op. cit., No. 42.
[84] [chch], delicate, beautiful.
[85] [chch 2].
[86] [chch 2].
[87] Vol. ii., p. 277.
[88] See vol. i, p. 154.
[89] See p. 12.
[90] This account is quoted from the _Shih wu kan chu_, published in 1591.
[91] See p. 12.
[92] See Hirth, _China and the Roman Orient_, p. 179.
[93] The converse is equally true, and Chinese porcelain of this kind is frequently classed among Persian wares. Indeed, there are not a few who would argue that these true porcelains of the hard-paste type were actually made in Persia. No evidence has been produced to support this wholly unnecessary theory beyond the facts which I have mentioned in this passage, and the debated specimens which I have had the opportunity to examine were all of a kind which no one trained in Chinese ceramics could possibly mistake for anything but Chinese porcelain.
[94] This peculiarity occurs on a tripod incense vase in the Eumorfopoulos Collection, which in other respects resembles this little group, but it is a peculiarity not confined to the Chêng Tê porcelain, for I have occasionally found it on much later wares.
[95] A somewhat similar effect is seen on the little flask ascribed to the Hsüan Tê period. See p. 14.
[96] Op. cit., Nos. 52 and 80. These are the latest specimens which are given by Hsiang Yüan-p‘ien.
[97] _Cat._, H 8.
[98] A similar vase is in the Victoria and Albert Museum.
[99] [chch 3] _hsien hung t’u_, lit. “the earth for the fresh red,” an expression which would naturally refer to the _clay_ used in making ware of this particular colour, though Bushell has preferred to take it in reference to the _mineral_ used to produce the colour itself. See p. 123.
[100] Bk. ii., fol. 10.
[101] A Ming writer quoted in the _T’ao lu_, bk. viii., fol. 4, adds that these cups were marked under the base [chch 2] _chin lu_ (golden seal), [chch 2] _ta chiao_ (great sacrifice), [chch 2] _t’an yung_ (altar use).
[102] _Ch’ing k’ou_, lit. mouth like a gong or sounding stone.
[103] _Man hsin_, lit. loaf-shaped centre.
[104] _Yüan tsu_, lit. foot with outer border.
[105] An extract from the _I Chih_ (quoted in the _T’ao lu_, bk. viii., fol. 14) states that “in the 26th year of Chia Ching, the emperor demanded that vessels should be made with 'fresh red’ (_hsien hung_) decoration; they were difficult to make successfully, and Hsü Chên of the Imperial Censorate, memorialised the throne, requesting that red from sulphate of iron (_fan hung_) be used instead.” A memorial of similar tenor was sent to the emperor by Hsü Ch’ih in the succeeding reign.
[106] _O. C. A._, pp. 223–6.
[107] Bk. vi., fols. 9–15. See also Bushell’s translation op. cit., pp. 145–51, and _O. C. A._, loc. cit.
[108] Some idea of the quantity supplied may be gathered from the following items in the list for the year 1546: 300 fish bowls, 1,000 covered jars, 22,000 bowls, 31,000 round dishes (_p’an_), 18,400 wine cups.
[109] See Bushell, _O. C. A._, p. 226.
[110] There are examples of this work in the British Museum, in which the blue seems to have been sponged on or washed on, and the decoration picked out with a needlepoint, and then the whole covered with a colourless glaze.
[111] _hsiang yün_, lit. felicitous clouds.
[112] [chch 2] _t’ieh chin_, lit. stuck-on gold.
[113] _O. C. A._, p. 221.
[114] [chch 2] _t’ien pai_, a phrase frequently used in this sense, though it is not quite obvious how it derives this meaning from its literal sense of “sweet white.”
[115] See p. 34. The _fan hung_ is an overglaze colour of coral tint, derived from oxide of iron; the _hsien hung_ is an underglaze red derived from oxide of copper.
[116] _jang hua_, lit. “abundant or luxuriant ornament.” _Embossed_ is Bushell’s rendering.
[117] See Bushell’s translation, op. cit., p. 151.
[118] [chch 3].
[119] See p. 298.
[120] [chch 2] _ling chih_, a species of agaric, at first regarded as an emblem of good luck, and afterwards as a Taoist emblem of immortality.
[121] See Bushell, _O. C. A._, p. 563.
[122] [chch 2] _shih tzŭ_. The mythical lion is a fantastic animal with the playful qualities of the Pekingese spaniel, which it resembles in features. In fact the latter is called the lion dog (_shih tzŭ k’ou_), and the former is often loosely named the “dog of Fo (Buddha),” because he is the usual guardian of Buddhist temples and images.
[123] [chch] _ts’ang_, azure or hoary.
[124] Named by Bushell mackerel, carp., marbled perch, and another.
[125] [chch 4].
[126] [chch] _chün_, a fleet horse.
[127] Translation of the _T’ao shuo_ (p. 145).
[128] _O. C. A._, p. 227.
[129] [chch 4].
[130] See Laufer, _Jade_, p. 120.
[131] See Mayers, part ii., p. 335.
[132] _hua_ [chch]. Bushell (_T’ao shuo_, p. 146) has rendered this with “flowers and inscriptions, etc.” In many cases in these lists it is almost impossible to say whether the word _hua_ has the sense of _flowers_ or merely _decoration_. The present passage _fu shou k’ang ning hua chung_ seems to demand the second interpretation.
[133] This dark blue Chia Ching ware was carefully copied at the Imperial factory in the Yung Chêng period. See p. 203.
[134] See _J. Böttger, Philipp Hainhofer und der Kunstschrank Gustav Adolfs in Upsala_, Stockholm, 1909, Plate 71. The same interesting collection includes a marked Wan Li dish with cloud and stork pattern in underglaze blue, two cups, and a set of Indian lacquer dishes with centres made of the characteristic Chinese export porcelain described on p. 70.
[135] _Cat B. F. A._, D 17.
[136] A good example of this colouring is a large bowl with Chia Ching mark in the Kunstgewerbe Museum, Berlin.
[137] See vol. i, p. 225.
[138] Figured in F. Dillon, _Porcelain_, Plate v.
[139] Bk. v., fol. 9 recto.
[140] [chch 2]. _Ts’ui_ is a fairly common name. It occurs as a mark on a small figure of an infant in creamy white ware of Ting type in the Eumorfopoulos Collection; but it is highly improbable that this piece has anything to do with the Mr. Ts’ui here in question.
[141] The _Ming ch’ên shih pi chou chai yü t’an_, quoted in the _T’ao lu_, bk. viii., fol. 4, says, “When we come to Chia Ching ware then there are also imitations of both Hsüan Tê and Ch’êng Hua types (they even are said to excel them). But Mr. Ts’ui’s ware is honoured in addition, though its price is negligible, being only one-tenth of that of Hsüan and Ch’êng wares.”
[142] Bk. iii., fol. 7.
[143] See Bushell, _O. C. A._, p. 235.
[144] Bk. vi., fol. 16, and Bushell’s translation, p. 152.
[145] See _Ming ch’ên shih pi chou chai yü t’an_ (quoted in _T’ao lu_, bk. viii., cf. 4 verso): “For Mu Tsung (i.e. Lung Ch’ing) loved sensuality, and therefore orders were given to make this kind of thing; but as a matter of fact 'Spring painting’ began in the picture house of Prince Kuang Chüan of the Han dynasty....”
[146] See _T’ao lu_, bk. viii., fols. 10 and 11, quoting from the _Ts’ao t’ien yu chi_.
[147] _T’ang ying lung kang chi_, quoted in the _T’ao lu_, bk. viii., fols. 11 and 12.
[148] Chao was supposed to have displayed superhuman skill in the manufacture of pottery in the Chin dynasty (265–419 A.D.).
[149] Bk. v., fol. 8.
[150] For explanation of these terms, see p. 10.
[151] Bushell’s rendering, “cups and saucers,” is misleading if not verbally incorrect.
[152] These are Bushell’s renderings.
[153] [chch 3] _ssŭ hsŭ t’ou_, a phrase which would more usually refer to the beard than the hair of the head. The above rendering is Bushell’s.
[154] [chch 2].
[155] [chch 2].
[156] [chch 3].
[157] [chch 4]. There is an allusion in this name to the story of Hu Kung, a magician of the third and fourth centuries, who was credited with marvellous healing powers. Every night he disappeared, and it was found at length that he was in the habit of retiring into a hollow gourd which hung from the door post. See A. E. Hippisley, _Catalogue of a Collection of Chinese Porcelains_, Smithsonian Institute, Washington, 1900. Hao’s porcelain is also known as _Hu kung yao_ (the ware of Mr. Pots).
[158] See _T’ao lu_, bk. v., fol. 10, and bk. viii., fol. 7, and _T’ao shuo_, bk. vi., fol. 26.
[159] [chch 2] _luan mu_, “the curtain inside the egg,” which conveys the idea of extreme tenuity better than the most usual expression, “egg shell” porcelain.
[160] Half a _chu_.
[161] [chch 3].
[162] _Tzŭ chin._ Golden brown with reddish tinge (_tzŭ chin tai chu_), accurately describes one kind of stoneware tea pots made at Yi-hsing (p. 177); but it is not stated whether Hao’s imitations were in stoneware or porcelain.
[163] An allusion to the celebrated orchid pavilion at Kuei-chi, in Chêkiang, the meeting place of a coterie of scholars in the fourth century. The scene in which they floated their wine cups on the river has been popularised in pictorial art. See Plate 104 Fig. 1.
[164] [chch 2].
[165] The _K’ao p’an yü shih_.
[166] Bk. vi., fol. 16 recto.
[167] See p. 140.
[168] Bk. v., fol. 10 verso, under the heading, _Hsiao nan yao_ (Little South Street wares).
[169] [chch 2], apparently referring to the size of the vessels and not necessarily implying that they were shaped like a frog. On the other hand, small water vessels in the form of a frog have been made in China from the Sung period onwards.
[170] [chch 2].
[171] A similar ewer in Dr. Seligmann’s collection is marked with one of the trigrams of the _pa kua_.
[172] _Cat._, L 24.
[173] _Cat._, E 19–25.
[174] _Denkmäler Persischer Baukunst_, Plate lii., Text p. 41 and Fig. 44.
[175] The same emperor showed his appreciation for Chinese ceramics by importing a number of Chinese potters into Persia. See p. 30.
[176] It is recorded that the Emperor Wan Li sent presents of large porcelain jars to the Mogul Emperor, and it is likely that similar presents had arrived at the Persian Court.
[177] _Cat._, Case X, No. 245, and Plate xv.
[178] _Burlington Magazine_, October, 1910, p. 40.
[179] See _Franks Catalogue_, No. 763.
[180] _Burlington Magazine_, March, 1913, p. 310. See also _Hainhofer und der Kunstschrank Gustav Adolfs_, op. cit., Plate 69, where a set of dishes of India lacquer is illustrated, each mounted in the centre with a roundel of this type of porcelain. These dishes are mentioned in a letter dated 1628.
[181] Numbered 1191 and 1192. A number of other painters who have introduced these Chinese porcelains into their work are named by Mr. Perzynski (_Burlington Magazine_, December, 1910, p. 169).
[182] See p. 63.
[183] C 5–7.
[184] _Cat._, No. 112D.
[185] _Burlington Magazine_, December, 1910, p. 169.
[186] The figures sometimes stand out against a background coloured with washes of green, yellow and aubergine glaze. See Plate 82, Fig. 2.
[187] See p. 43.
[188] See vol. i., p. 218.
[189] See p. 196.
[190] I have seen occasional specimens with the Wan Li mark.
[191] See vol. i., p. 218.
[192] _Cat._, J 21.
[193] _Cat._, A 33. In the Lymans Collection in Boston there are several examples of this ware, including specimens with dark and light coffee brown grounds and a jar in blue and white.
[194] A collection of these is in the British Museum, and they include many types of late Ming export porcelains.
[195] _Cat. B. F. A._, K 37.
[196] A jar with vertical bands of ornament in a misty underglaze red of pale tint in the Eumorfopoulos collection probably belongs to this period. Though technically unsuccessful, the general effect of the bold red-painted design is most attractive.
[197] See vol. i., p. 218.
[198] _Cat._, J 16.
[199] There is a whole case full of them in the celebrated Dresden collection, a fact which is strongly in favour of a K’ang Hsi origin for the group.
[200] Eight Precious Things. See p. 299.
[201] See vol. i., p. 219.
[202] The fact that the enamellers’ shops at Ching-tê Chên to this day are known as _hung tien_ (red shops) points to the predominance of this red family in the early history of enamelled decorations.
[203] See p. 67.
[204] See vol. i., p. 218.
[205] See p. 224.
[206] See p. 90.
[207] H 17, exhibited by Mr. G. Eumorfopoulos.
[208] See p. 4.
[209] See p. 94.
[210] Other saucers of this kind have a decoration of radiating floral sprays, and there are bowls of a familiar type with small sprays engraved and filled in with coloured glazes in a ground of green or aubergine purple. Some of these have a rough biscuit suggesting the late Ming period; others of finer finish apparently belong to the K’ang Hsi period. They often have indistinct seal marks, known as “shop marks,” in blue.
[211] _Burlington Magazine_, December, 1910, p. 169, and March, 1913, p. 311.
[212] Figured in Monkhouse, op. cit., Fig. 2. The date of the mount is disputed, some authorities placing it at the end of the sixteenth century.
[213] Figured by Perzynski, _Burlington Magazine_, March, 1913. A vase of this style with tulip design in the palace at Charlottenburg has a cyclical date in the decoration, which represents 1639 or 1699 (probably the former) in our chronology.
[214] [chch 3] _pai tun tzŭ_ white blocks.
[215] A sixteenth-century work. See p. 2.
[216] Many observers positively assert that the grooved foot rim does not occur on pre-K’ang Hsi porcelain. If this is true, it provides a very useful rule for dating; but the rigid application of these rules of thumb is rarely possible, and we can only regard them as useful but not infallible guides.
[217] Quoted in _T’ao lu_, bk. viii., fol. 6.
[218] _fu ti._
[219] _Man hsin._
[220] See _T’ao shuo_, bk. iii., fol. 7 verso. “Among other things the porcelain with glaze lustrous and thick like massed lard, and which has millet grains rising like chicken skin and displays palm eyes (_tsung yen_) like orange skin, is prized.” The expression “palm eyes” occurring by itself in other contexts has given rise to conflicting opinions, but its use here, qualified by the comparison with orange peel and in contrast with the granular elevations, points clearly to some sort of depressions or pittings which, being characteristic of the classical porcelain, came to be regarded as beauty spots.
[221] e.g. The _P’ing shih_, the _P’ing hua p’u_, and the _Chang wu chih_, all late Ming works. An extract from the second (quoted in the _T’ao lu_, bk. ix., p. 4 verso) tells us that “Chang Tê-ch’ien says all who arrange flowers first must choose vases. For summer and autumn you should use porcelain vases. For the hall and large rooms large vases are fitting; for the study, small ones. Avoid circular arrangement and avoid pairs. Prize the porcelain and disdain gold and silver. Esteem pure elegance. The mouth of the vase should be small and the foot thick. Choose these. They stand firm, and do not emit vapours.” Tin linings, we are also told, should be used in winter to prevent the frost cracking the porcelain; and _Chang wu chih_ (quoted _ibidem_, fol. 6 verso) speaks of very large Lung-ch’üan and Chün ware vases, two or three feet high, as very suitable for putting old prunus boughs in.
[222] Cobalt, the source of the ceramic blues, is obtained from cobaltiferous ore of manganese, and its quality varies according to the purity of the ore and the care with which it is refined.
[223] _0. C. A._, p. 263. This very dark blue recalls one of the Chia Ching types noted on page 36.
[224] See p. 10.
[225] But see p. 177.
[226] _Biscuit_ is the usual term for a fired porcelain which has not been glazed.
[227] See p. 17.
[228] It has been suggested by Mr. Joseph Burton that the opacity of the colours described in the preceding paragraphs may have been due to the addition of porcelain earth to the glazing material.
[229] See p. 82.
[230] See, however, p. 85.
[231] See p. 2.
[232] The _T’ao lu_ (bk. ix., fol. 17 verso) quotes an infallible method for fixing the gold on bowls so that it would never come off; it seems to have consisted of mixing garlic juice with the gold before painting and firing it in the ordinary way.
[233] Loc. cit., and Bushell, _O. C. A._, p. 268.
[234] See p. 75.
[235] See _T’ao shuo_, bk. iii., fol. 10 verso.
[236] See p. 55.
[237] e.g. The _Chieh tzŭ yüan ma chuan_ of the K’ang Hsi period, mentioned by Perzynski, _Burlington Magazine_, March, 1913, p. 310.
[238] Bushell’s translation, op. cit., p. 71.
[239] _Ku chin t’u shu chi ch’êng_, section xxxii., bk. 248, section entitled _tz’ŭ ch’i pu hui k’ao_, fol. 13 verso.
[240] [chch 2]
[241] The supplies of porcelain earth in the immediate district of Jao Chou Fu were exhausted by this time.
[242] The others were the Ch’ing-yün factory at Ssŭ-tu, and the Lan-ch’i factory in the Chien-ning district. The latter district was mentioned in vol. i., p. 130, in connection with the hare’s fur bowls of the Sung period.
[243] See vol. i., p. 17.
[244] Tê-hua was formerly included in the Ch’üan-chou Fu, but is now in the Yung-ch’un Chou.
[245] See vol. i., p. 131.
[246] Bk. vii., fol. 13 verso.
[247] Loc. cit.
[248] According to de Groot, _Annales du Musée Guinet_, vol. xi., p. 195.
[249] Brinkley, _China and Japan_, vol. ix., p. 274.
[250] See W. Anderson, _Catalogue of the Japanese and Chinese Paintings in the British Museum_, p. 75.
[251] _O. C. A._, p. 628.
[252] In the letter dated from Jao Chou, September, 1712, loc. cit.
[253] Incised designs on Fukien wares consist of the ordinary decoration etched in the body of the ware and of inscriptions which have evidently been cut through the glaze before it was fired. The latter often occur on wine cups, and are usually poetical sentiments or aphorisms, e.g. “In business be pure as the wind”; “Amidst the green wine cups we rejoice.”
[254] _Japan and China_, vol. ix., p. 273.
[255] _Everyday Life in China, or Scenes in Fukien_, by E. J. Dukes, London, 1885, p. 140. The reference is given by Bushell in his _Oriental Ceramic Art_.
[256] Loc. cit., p. 273.
[257] The _Li t’a k’an k’ao ku ou pien_, a copy of which, published in 1877, is in the British Museum. This book does not inspire confidence, but I give the passage for what it is worth: “When the glaze (of the Chien yao) is white like jade, glossy and lustrous, rich and thick, with a reddish tinge, and the biscuit heavy, the ware is first quality ... Enamelled specimens (_wu ts’ai_) are second rate.”
[258] In the Pierpont Morgan collection (vol. i., p. 78), a specimen with a blue mark is described as Fukien porcelain; but I should accept the description with the greatest reserve, white Ching-tê Chên ware being very often wrongly described in this way.
[259] _O. C. A._, p. 294.
[260] In the second volume of the Pierpont Morgan catalogue--which, unfortunately, had not the benefit of Dr. Bushell’s erudition--the late Mr. Laffan extended the term _lang yao_ so as to embrace the magnificent three-colour vases with black ground and their kindred masterpieces with green and yellow grounds. It is impossible to justify this extension of the term unless we assume that the pieces in question were all made between the years 1654–1661 and 1665–1668, while Lang T’ing-tso was viceroy of Kiangsi.
[261] _O. C. A._, p. 302.
[262] Quoted in the Franks _Catalogue_, p. 8.
[263] _O. C. A._, p. 302 footnote.
[264] See also Hippisley, _Catalogue_, p. 346, where another version is given which makes this Lang actually a Jesuit missionary, a version which Mr. Hippisley afterwards abandoned when research in the Jesuit records failed to discover any evidence for the statement.
[265] See p. 11.
[266] See p. 34.
[267] Op. cit., Section ix. The paragraph in the first letter runs: “Il y en a d’entièrement rouges, et parmi celles-là, les unes sont d’un rouge à l’huile, _yeou li hum_; les autres sont d’un rouge soufflé, _tschoui hum_ (_ch’ui hung_), et sont semées de petits points à peu près comme nos mignatures. Quand ces deux sortes d’ouvrages réüssissent dans leur perfection, ce qui est assez difficile, ils sont infiniment estimez et extrêmement chers.”
[268] There is a very beautiful glaze effect known as “ashes of roses,” which seems to be a partially fired-out _sang de bœuf_. It is a crackled glaze, translucent, and lightly tinged with a copper red which verges on maroon.
[269] The Emperor K’ang Hsi was specially concerned to encourage industry and art, and in 1680 he established a number of factories at Peking for the manufacture of enamels, glass, lacquer, etc. Père d’Entrecolles mentions that he also attempted to set up the manufacture of porcelain in the capital, but though he ordered workmen and materials to be brought from Ching-tê Chên for the purpose, the enterprise failed, possibly, as d’Entrecolles hints, owing to intrigues of the vested interests elsewhere.
[270] Bushell, op. cit., p. 3.
[271] Bk. v., fol. 11.
[272] [chch] lit. watered. This word has been rendered by some translators as “pale”; but probably it has merely the sense of “mixed with the (glaze) water,” i.e. a monochrome glaze. The recipe given in the _T’ao lu_ (see Julien) is incomplete, only mentioning “crystals of saltpetre and ferruginous earth (_fer ologiste terreux_).” Another _chiao_ which signifies “beautiful, delicate,” is applied to the Hung Chih yellow in Hsiang’s Album. See vol. ii., p. 28.
[273] Lit. “yellow distribute spots.” See, however, p. 190.
[274] See O. C. A., p. 317.
[275] The two letters were published in _Lettres édifiantes et curieuses_. They are reprinted as an appendix to Dr. Bushell’s translation of the _T’ao shuo_. They have been well translated by William Burton, in his _Porcelain_, Chap. ix.; Bushell gave a _précis_ of them in his O. C. A., Chap, xi., and Stanislas Julien quoted them extensively in his _Porcelaine Chinoise_.
[276] Père d’Entrecolles (second letter, section xii.) points out that the glaze used for the blue and white was considerably softer than that of the ordinary ware, and was fired in the more temperate parts of the kiln. The softening ingredient (which consisted chiefly of the ashes of a certain wood and lime burnt together) was added to the glaze material (_pai yu_) in a proportion of 1 to 7 for the blue and white as against 1 to 13 for the ordinary ware.
[277] On some of the large saucer-shaped dishes of this period the foot rim is unusually broad and channelled with a deep groove.
[278] See Bushell, _T’ao shuo_, op. cit., p. 192. It is tolerably clear that d’Entrecolles in this passage is giving a verbatim rendering of a Chinese description. The “flowers” is, no doubt, _hua_, and might be rendered “decoration” in the general sense, and the “water and the mountains” is, no doubt, _shan shui_, the current phrase for “landscape.”
[279] For the shape of the _ju-i_ head, see vol. i., p. 227.
[280] “Flaming silver candle lighting up rosy beauty,” a Ch’êng Hua design (see p. 25) but often found in K’ang Hsi porcelain, which usually has, by the way, the Ch’êng Hua mark to keep up the associations.
[281] For further notes on design, see chap. xvii.
[282] There is a small collection of these porcelains salved from the sea and presented to the British Museum by H. Adams in 1853; but there is no evidence to show which, if any, were on board the _Haarlem_.
[283] This design was copied on early Worcester blue and white porcelain.
[284] In spite of Bushell’s translation of a Ming passage which would lead one to think otherwise; see p. 40.
[285] See vol. i., p. 226.
[286] There are frequent allusions to the European trade in the letters of Père d’Entrecolles. In the first letter (Bushell, _T’ao shuo_, p. 191) a reference is made among moulded porcelains to “celles qui sont d’une figure bisarre, comme les animaux, les grotesques, les Idoles, les bustes que les Europeans ordonnent.” On p. 193: “Pour ce qui est des couleurs de la porcelaine, il y en a de toutes les sortes. On n’en voit gueres en Europe que de celle qui est d’un bleu vif sur un fond blanc. Je crois pourtant que nos Marchands y en ont apporté d’autres.” On p. 202, to explain the high price of the Chinese porcelain in Europe, we are told that for the porcelain for Europe new models, often very strange and difficult to manufacture, are constantly demanded, and as the porcelain was rejected for the smallest defect, these pieces were left on the potter’s hands, and, being un-Chinese in taste, were quite unsaleable. Naturally the potter demanded a high price for the successful pieces to cover his loss on the rejected.
On the other hand, we are told (p. 204) that the mandarins, recognising the inventive genius of the Europeans, sometimes asked him (d’Entrecolles) to procure new and curious designs, in order that they might have novelties to offer to the Emperor. But his converts entreated him not to get these designs, which were often very difficult to execute and led to all manner of ill-treatment of the unfortunate workmen.
On the same page we are told that the European merchants ordered large plaques for inlaying in furniture, but that the potters found it impossible to make any plaque larger than about a foot square. In the second letter (section x.), however, we learn that “this year (1722) they had accepted orders for designs which had hitherto been considered impossible, viz. for urns (_urnes_) 3 feet and more high, with a cover which rose in pyramidal form to an additional foot. They were made in three pieces, so skilfully joined that the seams were not visible, and out of twenty-five made only eight had been successful. These objects were ordered by the Canton merchants, who deal with the Europeans; for in China people are not interested in porcelain which entails such great cost.”
[287] This defect is noticed by Père d’Entrecolles, who mentions another remedy used by the Chinese potters. They applied, he tells us in section ii. of the second letter, a preparation of bamboo ashes mixed with glazing material to the edges of the plate before the glazing proper. This was supposed to have the desired effect without impairing the whiteness of the porcelain.
[288] See p. 74.
[289] Second letter, section iv.
[290] See Bushell, O. C. A., p. 320.
[291] See p. 201.
[292] The use of crackle glaze over blue (_porcelaine toute azurée_) is noted by Père d’Entrecolles in his first letter. See Bushell, op. cit., p. 195.
[293] See Bushell, _T’ao shuo_, p. 197.
[294] A somewhat similar but clumsier decoration was the “scratched blue” of the Staffordshire salt glaze made about 1750.
[295] On exceptional examples the red seems to have turned almost black, and in some cases it seems to have penetrated the glaze and turned brown.
[296] A similar combination of coloured glazes was effectively used on the moulded porcelains of the Japanese Hirado factory.
[297] See pp. 48 and 100.
[298] Loc. cit., second letter, section xiv.
[299] Apparently _huang lü huan_, yellow and green (?) circles. But without the Chinese characters it is impossible to say which _huan_ is intended. The description seems to apply to the “tiger skin” ware, where yellow, green and aubergine glazes have been applied in large patches. Bushell (_O. C. A._, p. 331) makes this expression refer to the specimens with engraved designs in colour contrasting with the surrounding ground, such as Fig. 1 of Plate 79; but this does not seem to suit the word _huan_.
[300] Loc. cit., section xiv.
[301] See footnote on p. 89.
[302] The same technique is employed on some of the Japanese Kaga wares.
[303] Apparently derived from manganese.
[304] See p. 80.
[305] Another favourite form is the ovoid beaker (see Plate 101), which is sometimes called the _yen yen_ vase, apparently from _yen_, beautiful. But I only have this name on hearsay, and it is perhaps merely a trader’s term.
[306] See p. 110.
[307] A lotus-shaped set in the Salting collection numbers thirteen sections.
[308] The underglaze blue almost invariably suffered in the subsequent firings which were necessary for the enamels, and, as we shall see, a different kind of glaze was used on the pure enamelled ware and on the blue and white.
[309] Apart from the cases in which the enamel colours were added to faulty specimens of blue and white to conceal defects.
[310] See p. 85.
[311] Op. cit., section vi. “Il n’y a, dit on, que vingt ans ou environ qu’on a trouvé le secret de peindre avec le _tsoui_ ou en violet et de dorer la porcelaine.” As far as the gilding is concerned, this statement is many centuries wrong. The _tsoui_ is no doubt the _ts’ui_, which is very vaguely described in section xii. (under the name _tsiu_) of the same letter. Here it is stated to have been compounded of a kind of stone, but the description of its treatment clearly shows that the material was really a coloured glass, which is, in fact, the basis of the violet blue enamel.
[312] Bushell, op. cit., p. 193.
[313] Loc. cit., p. 195.
[314] See d’Entrecolles, second letter, section xii.
[315] Burnt lime and wood ashes. See p. 92.
[316] Catalogue of the 1910 exhibition, No. 84.
[317] These seals are usually difficult to decipher, and the one in question might be read _shui shih chü_ (water and rock dwelling). This would be a matter of small importance did not the signature read by Bushell as _wan shih chü_ occur in the Pierpont Morgan Collection. Other instances in the same collection are _chu chü_ (bamboo retreat), _shih chü_ (rock retreat), and _chu shih chü_ (red rock retreat). The signature _chu chü_ also occurs on a dish in the Dresden collection.
[318] See p. 212.
[319] See p. 64.
[320] Cat., vol. i., p. 156.
[321] Similar bottles in the Drucker Collection have the “G” mark.
[322] _Fang tung yang_, “imitating the Eastern Sea” (i.e. Japan).
[323] The first specimens (according to Bushell, _O. C. A._, p. 309) to reach America came from the collection of the Prince of Yi, whose line was founded by the thirteenth son of the Emperor K’ang Hsi.
[324] The general reader will probably not be much concerned as to whether the peach bloom was produced by oxide of copper or by some other process. Having learnt the outward signs of the glaze, he will take the inner meaning of it for granted. Others, however, will be interested to know that practically all the features of the peach bloom glaze, the pink colour, the green ground and the russet brown spots can be produced by chrome tin fired at a high temperature. I have seen examples of these chrome tin pinks made by Mr. Mott at Doulton’s, which exhibit practically all the peculiarities of the Chinese peach bloom. It does not, of course, follow that the Chinese used the same methods or even had any knowledge of chrome tin. They may have arrived at the same results by entirely different methods, and the peach bloom tints developed on some of the painted underglaze copper reds point to the one which is generally believed to have been used; but the difference between these and the fully developed peach bloom is considerable, and though we have no definite evidence one way or the other, the possibilities of chrome tin cannot be overlooked.
[325] The form of this water pot is known (according to Bushell, _O. C. A._, p. 318) as the _T’ai-po tsun_, because it was designed after the traditional shape of the wine jar of Li T’ai-po, the celebrated T’ang poet. In its complete state it has a short neck with slightly spreading mouth.
[326] See p. 146.
[327] See p. 64.
[328] i.e. lead glass.
[329] _Chi_, lit. sky-clearing, and _chi ch’ing_ might be rendered “blue of the sky after rain.”
[330] There are some bowls and bottles in the Dresden collection with glazes of a pale luminous blue which are hard to parallel elsewhere.
[331] Loc. cit., section xvii. In another place (section iii.) we are told how the Chinese surrounded the ware with paper during the blowing operation, so as to catch and save all the precious material which fell wide of the porcelain.
[332] I cannot recall any example of the powder blue crackle which is here described.
[333] See Julien, p. 107.
[334] P. 170.
[335] Second letter, section xvii.
[336] The word “mazarine” has become naturalised in the English language. Goldsmith spoke of “gowns of mazarine blue edged with fur”; and “Ingoldsby” says the sky was “bright mazarine.” See R. L. Hobson, _Worcester Porcelain_, p. 101.
[337] See p. 99.
[338] See p. 102.
[339] These glazes generally have the appearance of being in two coats, and in some cases there actually seem to be two layers of crackle.
[340] See p. 125.
[341] i.e. the strong heavy types. Chinese literature speaks of thinner and more refined celadons of the Sung period, but few of these have come down to our day.
[342] Père d’Entrecolles fully describes these spurious celadons. See vol. i., p. 83.
[343] Second letter, section vii.
[344] The _T’ao lu_ (see Julien, p. 213) gives this recipe for the kind of celadon known as _Tung ch’ing_, and a similar prescription with a small percentage of blue added for the variety known as _Lung-ch’üan_.
[345] See Bushell, O. C. A., p. 316.
[346] See p. 147.
[347] There are some fine examples of orange yellow monochrome in the Peters Collection in New York. The colour was also used with success in the Ch’ien Lung period, the mark of which reign occurs on a good example in the Peters Collection.
[348] Bushell, _O. C. A._, Plates xxv. and lxxxiii.
[349] See Monkhouse, op. cit., fig. 22. The crackle on the mustard yellow glaze is usually small, but there is a fine specimen in the Peters Collection with large even crackle. Sometimes this yellow has a greenish tinge, and in a few instances it is combined with crackled green glaze.
[350] Second letter, section vi.
[351] See Père d’Entrecolles, second letter, section xiii.: “L’argent sur le vernis _tse kin (tzŭ chin_) a beaucoup d’éclat.”
[352] See p. 145.
[353] The blue of the cobalt is sometimes clearly visible in the fracture of the glaze; and in other cases the black has a decided tinge of brown.
[354] d’Entrecolles, loc. cit., section viii.: “Le noir éclatant ou le noir de miroir appellé _ou kim_” (_wu chin_).
[355] d’Entrecolles declares that it was the result of many experiments, apparently in his own time. See p. 194.
[356] Second letter, section xi.
[357] See M. Seymour de Ricci in the introduction to the _Catalogue of a Collection of Mounted Porcelain belonging to E. M. Hodgkins, Paris_, 1911, where much interesting information has been collected on the subject of French mounts and their designers. He quotes also from the _Livre-journal de Lazare Duvaux marchand-bijoutier ordinaire du Roy_ (1748–1758), which includes a list of objects mounted for Madame de Pompadour and others, giving the nature of the wares and the cost of the work.
[358] Persian, Indian, and occasionally even Chinese metal mounts are found on porcelain; and Mr. S. E. Kennedy has a fine enamelled vase of the K’ang Hsi period with spirited dragon handles of old Chinese bronze.
[359] White was also used in the worship of the Year Star (Jupiter). Other colours which have a ritual significance are _yellow_, used in the Ancestral Temple by the Emperor, and on the altars of the god of Agriculture and of the goddess of Silk; _blue_, in the Temple of Heaven and in the Temple of Land and Grain; and _red_, in the worship of the Sun.
[360] Brinkley has aptly described it as “snow-white oil.”
[361] Cf. Père d’Entrecolles, second letter, section xviii.: “(The designs) are first outlined with a graving-tool on the body of the vase, and afterwards lightly channelled around to give them relief. After this they are glazed.”
[362] See d’Entrecolles, loc. cit., sections iv. and v. After describing the preparation of the steatite (_hua shih_) by mixing it with water, he continues: “Then they dip a brush in the mixture and trace various designs on the porcelain, and when they are dry the glaze is applied. When the ware is fired, these designs emerge in a white which differs from that of the body. It is as though a faint mist had spread over the surface. The white from _hoa che_ (_hua shih_ or _steatite_) is called ivory white, _siam ya pe_ (_hsiang ya pai_).” In the next section he describes another material used for white painting under the glaze. This is _shih kao_, which has been identified with fibrous gypsum.
[363] See p. 74.
[364] First letter, Bushell, op. cit., p. 195.
[365] _O. C. A._, p. 533.
[366] _Ku chin t’u shu_, section xxxii., vol. 248, fol. 15. In this way, we are told, were produced (1) the thousandfold millet crackle and (2) the drab-brown (_ho_) cups. The colour of the latter was obtained by rubbing on a decoction of old tea leaves. The former is a name given to a glaze broken into “numerous small points.”
[367] See Bushell, _T’ao shuo_, loc. cit., p. 195.
[368] The _Tao lu_ (see Julien, p. 214) informs us that the _sui ch’i yu_ (crackle ware glaze) was made from briquettes formed of the natural rock of San-pao-p’êng. If highly refined this material produced small crackle; if less carefully refined, coarse crackle. In reference to _sui ch’i_ in an earlier part of the same work, we are told that the Sung potters mixed _hua shih_ with the glaze to produce crackle. _Hua shih_ is a material of the nature of steatite, and Bushell (_O. C. A._, p. 447) states that the Chinese potters mix powdered steatite with the glaze to make it crackle. It is, then, highly probable that the “white pebbles” of Père d’Entrecolles and the rock of San-pao-p’êng are the same material and of a steatitic nature.
[369] [chch 3]. Another name of this official, _Yen kung_, is mentioned in the _T’ao lu_, bk. v., fol. 11 verso.
[370] Situated at the junction of the Grand Canal and the Yangtze.
[371] Loc. cit.
[372] Silvering the entire surface (_mo yin_), as opposed to merely decorating with painted designs in silver (_miao yin_), appears to have been a novelty introduced by T’ang Ying.
[373] i.e. porcelain services painted with European coats of arms.
[374] See p. 215.
[375] See p. 225, Nos. 41 and 42.
[376] Cf. p. 25, where “high-flaming silver candle lighting up rosy beauty” is explained in this sense among the Ch’êng Hua designs.
[377] See p. 13.
[378] See p. 225, No. 45.
[379] See p. 224, Nos. 19 and 20.
[380] A beautiful example of a “stem-cup” in the Eumorfopoulos Collection, with three fishes on the exterior in underglaze red of brilliant quality and the Hsüan Tê mark inside the bowl, probably belongs to this class.
[381] See p. 148.
[382] See p. 225, No. 30.
[383] See p. 224, No. 26.
[384] See _Catalogue_ 300–303. “On each is a miniature group of the Seven Worthies of the Bamboo Grove with an attendant bringing a jar of wine and flowers. The porcelain is so thin that the design, with all the details of colour, can be distinctly perceived from the inside.” It is only right to say that their learned possessor has catalogued them as genuine examples of the Ch’êng Hua period.
[385] See p. 224, No. 25.
[386] See p. 201.
[387] See p. 224, No. 27.
[388] See p. 225, No. 36.
[389] _T’ao shuo_, bk. i., fol. 15 verso.
[390] See p. 225, No. 49. _Fo-lang_, _fa-lang_, _fu-lang_, and _fa-lan_ are used indiscriminately by the Chinese in the sense of enamels on metal.
[391] In the _T’ao lu_, under the heading _Yang tz’ŭ_. It is a curious paradox that the Chinese called _famille rose_ porcelain _yang ts’ai_ (foreign colours) and the Canton enamels _yang tz’ŭ_ (foreign porcelain). See _Burlington Magazine_, December, 1912, “Note on Canton Enamels.”
[392] See pp. 224–226, Nos. 29, 37, 38, 49, 51, 53, and 54.
[393] Apart from the rose pinks which are derived from purple of cassius, i.e. precipitate of gold, and the opaque white derived from arsenic, the colouring agents of the _famille rose_ enamels are essentially the same as those of the _famille verte_. The colours themselves were brought to Ching-tê Chên in the form of lumps of coloured glass prepared at the Shantung glass works. These lumps were ground to a fine powder and mixed with a little white lead, and in some cases with sand (apparently potash was also used in some cases to modify the tones), and the powder was worked up for the painter’s use with turpentine, weak glue, or even with water. Cobaltiferous ore of manganese, oxide of copper, iron peroxide, and antimony were still the main colouring agents. The first produced the various shades of blue, violet, purple, and black; the second, the various greens; the third, coral or brick red; and the fourth, yellow of various shades. A little iron in the yellow gave the colour an orange tone.
The modifications of the green are more numerous. The pure binoxide of copper produced the shade used for distant mountains (_shan lü_), which could be converted into turquoise by the admixture of white. The ordinary leaf green was darkened by strengthening the lead element in the flux and made bluer by the introduction of potash in the mixture. Combined with yellow it gave an opaque yellowish green colour known as _ku lü_ (ancient green); and a very pale greenish white, the “moon white” of the enameller, was made by a tinge of green added to the arsenious white.
The carmine and crimson rose tints derived from the glass tinted with precipitate of gold, which was known as _yen chih hung_ (rouge red), were modified with white to produce the _fên hung_ or pale pink; and the same carmine was combined with white and deep blue to make the amaranth or blue lotus (_ch’ing lien_) colour.
The ordinary brick red (the _ta hung_ or _mo hung_) was derived from peroxide of iron mixed with a little glue to make it adhere, but depending on the glaze for any vitrification it could obtain. The addition of a plumbo-alcaline flux produced the more brilliant and glossy red of coral tint known as _tsao’rh hung_ (jujube red).
The dry, dull black derived from cobaltiferous manganese was converted into a glossy enamel by mixing with green. This is the _famille rose_ black as distinct from the black of the _famille verte_, which was formed by a layer of green washed over a layer of dull black on the porcelain itself.
There are, besides, numerous other shades, such as lavender, French grey, etc., obtained by cunning mixtures, and all these enamels were capable of use as monochromes in place of coloured glazes as well as for brushwork.
[394] Bushell, _Chinese Art_, vol. ii., fig. 61.
[395] _Histoire de la porcelaine_, pt. viii., fig. 3.
[396] These marks were discussed by Bushell in the _Burlington Magazine_, August and September, 1906. They are figured on vol. i., pp. 219 and 223.
[397] Quoted from a letter written to Sir Wollaston Franks by Mr. Arthur B. French, who visited Ching-tê Chên in 1882.
[398] Officially the reign of K’ang Hsi dates from 1662–1722, but he actually succeeded to the throne on the death of Shun Chih in 1661, so that his reign completed the cycle of sixty years in 1721.
[399] As Bushell has done in _Chinese Art_, vol. ii., p. 42.
[400] See “Note on Canton Enamels,” _Burlington Magazine_, December, 1912.
[401] See p. 225, No. 40.
[402] Op. cit., second letter, section xx.
[403] Nos. 39 and 55–57.
[404] _Miao_ is used in the sense of to “draw” a picture or design.
[405] Bushell, _O. C. A._, p. 400, explains how the studio name was formed by the common device of splitting up Hu [chch] into its component parts _ku_ [chch] and _yüeh_ [chch].
[406] From the Hippisley collection, _Catalogue_, p. 408.
[407] _Catalogue of Hippisley Collection_, p. 347.
[408] _Chinese Art_, vol. ii., fig. 74.
[409] See p. 224, Nos. 15–17.
[410] A recipe given in the _T’ao lu_ (bk. iii., fol. 12 verso) for the _lu chün_ glaze speaks of “crystals of nitre, rock crystal, and (?) cobaltiferous manganese (_liao_) mixed with ordinary glaze.” But apart from the uncertain rendering of _liao_ (which Bushell takes as _ch’ing liao_, i.e. the material used for blue painting), it is difficult to see how this composition, including the ordinary porcelain glaze, can have been fired in the muffle kiln.
[411] In the jujube red the iron oxide is mixed with the plumbo-alcaline flux of the enameller, whereas in the _mo hung_ it is simply made to adhere to the porcelain by means of glue, and depends for the silicates, which give it a vitreous appearance, on the glaze beneath it.
[412] _O. C. A._, p. 360.
[413] See p. 224, No. 18.
[414] See p. 225, No. 44.
[415] Op. cit., p. 67.
[416] _Catalogue_, K. 18.
[417] _Catalogue_, vol. i., p. 38. The colour has already been discussed in a note on p. 68 of vol. i. of this book.
[418] See vol. i., p. 68.
[419] See Bushell, _O. C. A._, p. 368
[420] The Chinese is _kua yu_ [chch 2], lit. hanging, suspended or applied glaze. The Yi-hsing stoneware was not usually glazed; hence the force of the epithet _kua_ applied.
[421] The gold-flecked turquoise has yet to be identified.
[422] Bushell says this is the sapphire blue (_pao shih lan_) of the period.
[423] [chch] mo, lit. “rubbed.” Bushell (_O. C. A._, p. 383) explains the term _mo hung_ as “applied to the process of painting the coral red monochrome derived from iron over the glaze with an ordinary brush.”
[424] Bushell takes this to be the lemon yellow enamel which was first used at this time.
[425] See p. 37.
[426] [chch 14] _yu t’ung yung hung yu hui hua chê, yu ch’ing yeh hung hua chê._ Bushell (_O. C. A._, p. 386) gives a slightly different application of this passage, but the meaning seems to be obviously that given above.
[427] This note is given by Bushell, apparently from the Chinese edition which he used; but it does not appear in the British Museum copy. It is, however, attached to the list as quoted in the _T’ao lu_.
[428] As already explained, _miao chin_ refers to gilt designs painted with a brush, and _mo chin_ to gilding covering the entire surface.
[429] _O. C. A._, p. 50.
[430] [chch 2]
[431] Translated by Bushell, _O. C. A._, p. 398.
[432] Bk. v., fol. 12.
[433] [chch 3], _yu hsin shih_, lit. “also he newly made.” This is undoubtedly the sense given by the Chinese original, and Julien renders it “il avait nouvellement mis en œuvre.” Bushell, on the other hand, translates: “He also made porcelain decorated with the various coloured glazes _newly invented_,” a reading which makes the word _chih_ do duty twice over, and leaves it doubtful whether T’ang was the inventor of these types of decoration or merely the user of them. Both the grammar and the balance of the sentences in the original are against this colourless rendering.
[434] See p. 192.
[435] _La Porcelaine Chinoise_, p. 216.
[436] See p. 225. “In the new copies of the Western style of painting in enamels (_hsi yang fa lang hua fa_), the landscapes and figure scenes, the flowering plants and birds are without exception of supernatural beauty.”
[437] See p. 209.
[438] P. 397.
[439] An interesting series of these bird’s egg glazes appearing, as they often do, on tiny vases was exhibited by his Excellency the Chinese Minister at the Whitechapel Art Gallery in November, 1913.
[440] There is a very old superstition in China that cracked or broken pottery is the abode of evil spirits. The modern collector abhors the cracked or damaged specimen for other reasons, and it is certain that such things would not be admitted to the Imperial collections. Many rare and interesting pieces which have come to Europe in the past will be found on examination to be more or less defective, and it is probable that we owe their presence chiefly to this circumstance.
[441] See Bushell’s translation, op. cit., p. 6.
[442] The _T’ao shuo_ was published in 1774.
[443] See vol. i., p. 119.
[444] See Julien, op. cit., p. 101, under the heading _lung kang yao_ (kilns for the dragon jars).
[445] The Chinese foot as at present standardised is about two inches longer than the English foot, and the Chinese inch is one-tenth of it.
[446] See p. 58.
[447] There are four examples of the large size of fish bowl in the Pierpont Morgan Collection, but they are of late Ming date.
[448] Possibly the tint named in the _T’ao shuo_ (Bushell, op. cit., p. 5). “They are coloured wax yellow, tea green, gold brown, or the tint of old Lama books,” in reference to incense burners of this period.
[449] Nos. 8, 9 and 11. See Bushell, _T’ao shuo_, op. cit., pp. 16–19.
[450] See p. 140.
[451] A plaque in the Bushell Collection with _famille verte_ painting has also a remarkably lustrous appearance, which I can only ascribe to excessive iridescence.
[452] See Bushell’s translation, op. cit. p. 20.
[453] Figured by L. Binyon, _Painting in the Far East_, first edition, Plate XIX. There is a fine vase of late Ming blue and white porcelain with this design in the Dresden collection.
[454] This green enamel is sometimes netted over with lines suggesting crackle studded with prunus blossoms. Possibly this is intended to recall both in colour and pattern the “plum blossom” crackle of the Sung Kuan yao; see vol. i., p. 61.
[455] _Shên tê t’ang_ and _ch’ing wei t’ang_. See vol. i., p. 220.
[456] See Burton and Hobson, Marks on _Pottery_ and _Porcelain_, p. 151.
[457] Op. cit., pp. 116–175.
[458] _T’ao shuo_, op. cit., pp. 7–30 and _O. C. A._, ch. xv.
[459] The Lowestoft factory started about 1752, but its earlier productions were almost entirely blue and white, often copied, like most of the contemporary blue and white from Chinese export wares.
[460] A curious instance of imitation of European ornament is a small bowl which I recently saw with openwork sides and medallions, apparently moulded from a glass cameo made by Tassie at the end of the eighteenth century; and there is a puzzle jug with openwork neck, copied from the well known Delft-ware model, in the Metropolitan Museum, New York.
[461] Rotterdam was captured by the Spaniards in 1572; but those who are interested in the anachronism of Chinese marks will observe that these plates have the date mark of the Ch’êng Hua period (1465–1487).
[462] See vol. i., p. 226.
[463] Op. cit., p. 207.
[464] An interesting example of an early eighteenth century service with European designs is the “trumpeter service,” of which several specimens may be seen in the Salting Collection. It has a design of trumpeters, or perhaps heralds, reserved in a black enamelled ground.
[465] One of these pieces, for instance, is a plate with arms of Sir John Lambert, who was created a baronet in 1711 and died in 1722. It has enamels of the transition kind.
[466] P. 209.
[467] The willow pattern is merely an English adaptation of the conventional Chinese landscape and river scene which occurs frequently on the export blue and white porcelain of the eighteenth century. That it represents any particular story is extremely improbable.
[468] Frank Falkner, _The Wood Family of Burslem_, p. 67.
[469] Another _chambrelan_ who flourished about the same time and who worked in the same style was C. F. de Wolfsbourg.
[470] _O. C. A.,_ p. 464.
[471] “The mountains are high, the rivers long.”
[472] See vol. i., p. 220.
[473] _Catalogue_, No. 367.
[474] Vol. i., p. 220.
[475] Hippisley Collection, _Catalogue_, No. 169.
[476] _O. C. A._, p. 469.
[477] This extravagant idea has been long ago exploded, and need not be rediscussed. See, however, Julien _Porcelaine Chinoise_, p. xix., and Medhurst, _Transactions of the China Branch of the Royal Asiatic Society_, Hong Kong, 1853.
[478] _O. C. A._, p. 470.
[479] Bk. 93, fols. 13–15.
[480] _O. C. A._, pp. 474–83.
[481] Bushell applies the phrase _pan tzŭ_ to the bowls and renders it “of ring-like outline.”
[482] Bushell renders _ju-i_ in the general sense, “with words of happy augury”; it is, however, applied to ornaments of _ju-i_ staffs and to borders of _ju-i_ heads.
[483] See vol. i., p. 225.
[484] Bk. i., fols. 1 and 2; see Bushell, op. cit., pp. 3–6.
[485] This is a variety of the key pattern or Greek fret, which is of world-wide distribution.
[486] A less usual variety has the ovoid body actually surmounted by a beaker
[487] See Bushell, _O. C. A._, p. 797.
[488] See Bushell’s translation, op. cit., p. 4.
[489] See Bushell, _O. C. A.,_ p. 489.
[490] Among others is the “tantalus cup,” with a small tube in the bottom concealed by a figure of a man or smiling boy. When the water in the cup reaches the top of the tube it runs away from the base.
[491] Loc. cit., p. 204.
[492] The cup with handle was made in the tea services for the European market, but the handle is not, as has been sometimes asserted, a European addition to the cup. Cups with handles were made in China as early as the T’ang dynasty (see Plate 11, Fig. 2); but for both wine and tea drinking the Chinese seem to have preferred the handleless variety.
[493] When the names are known the incidents can usually be found in such works of reference as Mayers’ _Chinese Reader’s Manual_, Giles’s _Chinese Biographical Dictionary_, and Anderson’s Catalogue of Chinese and Japanese Pictures.
[494] Told in the _Shui Hu Chuan_; see _O. C. A._, p. 570, a note in Bushell’s excellent chapter on Chinese decorative motives, of which free use has been made here.
[495] A not uncommon subject is the meeting of a young horseman with a beautiful lady in a chariot, and it has been suggested that this may be the meeting of Ming Huang and Yang Kuei-fei; but the identification is quite conjectural.
[496] Another game, _hsiang ch’i_ (elephant checkers), is far nearer to our chess.
[497] A group of five old men similarly employed represents the _wu lao_ (the five old ones), the spirits of the five planets.
[498] Chang Kuo Lao, the Taoist Immortal, is also regarded as one of the gods of Literature; see p. 287.
[499] Vajrapani is one of the gods of the Four Quarters of the Heaven, who are guardians of Buddha. They are represented as ferocious looking warriors, sometimes stamping on prostrate demon-figures. As such they occur among the T’ang tomb statuettes, but they are not often represented on the later porcelains.
[500] The Kanzan and Jitoku of Japanese lore.
[501] See _Catalogue of the Pierpont Morgan Collection_, vol. i., p. 156.
[502] Indeed it is likely that the modern _ju-i_ head derives from the fungus. The _ju-i_ [chch 2] means “as you wish” or “according (_ju_) to your idea (_i_),” and the sceptre, which is made in all manner of materials such as wood, porcelain, lacquer, cloisonné enamel, etc., is a suitable gift for wedding or birthday. Its form is a slightly curved staff about 12 to 15 inches long, with a fungus-shaped head bent over like a hook. On the origin of the _ju-i_, see Laufer, _Jade_, p. 335.
[503] The Japanese Mt. Horai.
[504] See Hippisley, _Catalogue_, op. cit., p. 392.
[505] The Buddhist pearl or jewel, which grants every wish.
[506] See a rare silver cup depicting this legend, figured in the _Burlington Magazine_, December, 1912.
[507] See W. Perceval Yetts, _Symbolism in Chinese Art_, read before the China Society, January 8th, 1912, p. 3.
[508] Hippisley (op. cit., p. 368), speaking of the various dragons, says that “the distinction is not at present rigidly maintained, and the five-clawed dragon is met with embroidered on officers’ uniforms.”
[509] A dual creature, the _fêng_ being the male and the huang the female.
[510] See Laufer, _Jade_, pl. 43.
[511] See Laufer, _Jade_, p. 266.
[512] See Bushell, _Chinese Art_, vol. i., p. 111.
[513] See p. 300.
[514] They also symbolise the three friends, Confucius, Buddha, and Lao-tzŭ.
[515] _O. C. A._, p. 106.
[516] It is also used as a synonym for “embroidered,” and when it occurs as a mark on porcelain, it suggests the idea “richly decorated.”
[517] Also a symbol of conjugal felicity; and a rebus for _yü_, fertility or abundance.
[518] Having the same sound as _ch’ang_ (long).
[519] _O. C. A._, p. 119.
[520] A pair of open lozenges interlaced are read as a rebus _t’ung hsin fang shêng_ (union gives success); see Bushell, _O. C. A._, p. 120.
[521] Bushell, _O. C. A._, p. 521.
[522] See Hippisley, _Catalogue_ No. 381.
[523] _Ibid._
[524] _Ibid._, No. 388.
[525] _Ibid._
[526] See p. 299.
[527] See p. 258.
[528] See Anderson, op. cit., No. 747.
[529] Bk. viii., fol. 4, quoting the _Shih ch’ing jihcha_.
[530] See chap. xvii. of vol. i., which deals with marks.
[531] See p. 261.
Transcriber’s Notes:
1. Obvious printers’, punctuation and spelling errors have been corrected silently.
2. Superscripts are represented using the caret character, e.g. D^r. or X^{xx}.
3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.