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.