,,chats ,,on ,,oriental ,,china ,,books ,,for ,,collectors ,with ,coloured ,frontispieces and many ,illustrations4 ,large ,crown #hvo1 #es4 net4 ,,chats ,,on ,,old ,,china4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,furniture4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,prints4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,costume4 ,by ,g4 ,,woolliscroft ,,rhead4 ,,chats ,,on ,,old ,,lace ,,and ,,needlework4 ,by ,mrs4 ,,lowes4 ,,chats ,,on ,,oriental ,,china4 ,by ,j4 ,f4 ,,blacker4 ,,chats ,,on ,,miniatures4 ,by ,j4 ,j4 ,,foster4 ,,london3 ,t4 ,,fisher ,,unwin ,illustration3 ,,description ,,of ,,vase4 ,high-necked vase with melon-shaped body and double protuberance above4 ,one of a pair4 ,formal handles on the neck in imitation of bamboo-work4 ,the body and protuberances decorated with bamboo stems having yellow and green reserves decorated with flowers and plants4 ,the neck decorated with diaper pattern1 yellow on green4 ,the flattened top ornamented with black and green triangle-work4 ,period1 7,kang-he7 #affb-agbb4 ,,chats ,,on ,,oriental ,,china ,,by ,j4 ,f4 ,,blacker ,,author ,,of ,,the ,a ,b ,c ,,of ,,collecting ,,old ,,china1 ,,etc4 ,,illustrated ,,london ,t4 ,,fisher ,,unwin ,,adelphi ,,terrace ,,mcmviii 7,all rights reserved7 ,,preface ,if there is one regret that accompanies the issue of these ,chats on ,oriental ,china it is that the illustrations could not be given in all the beauty of their magnificent colouring4 ,in a photograph1 however fine it may be1 it is obvious that only the shape and the decoration can be given4 ,roughly speaking1 the illustrations represent in its ,ming and ,kang-he specimens about #ajj1jjj in value4 ,the pieces represented are the most admirable and the rarest4 ,the reader is advised to bestow much attention on the reading of the descriptions accompanying each picture4 ,there is no form of instruction more valuable than this analysis1 which forms the basis of the sale catalogues of the most recherch collections4 ,the collector who masters this book may betake himself to the museums with considerable confidence that he will be in a position to understand2 in fact1 to read the pieces which he wishes to study4 ,take for example1 the unique ,salting ,collection at the ,victoria and ,albert ,museum1 ,south ,kensington4 ,to the ordinary visitor interested in porcelain the specimens present an exquisite1 if embarrassing1 assembly of choice pieces whose colour1 decoration1 and age cannot be grasped1 they can only be admired4 ,the eye may be trained1 but the understanding never4 ,the absence of a catalogue handicaps and indeed baffles the amateur4 ,but if the knowledge previously obtained is sufficient to enable him to master the subject1 the style1 form1 and colour1 nothing can give more pleasure than the investigation of such a collection which has been brought together at a vast expense of time1 money1 and knowledge4 ,in the ,british ,museum the descriptive labels are helpful4 ,in this book the reader will find some statements repeated perhaps over and over again4 ,when we chat about anything we do repeat the points on which we want information1 or in which we may be specially interested4 ,the information is concise1 so that1 section by section1 the range of ,oriental porcelain will pass before the student1 the chief consideration which regulates the letterpress being the space at our disposal4 ,naturally the labour bestowed on repression is considerable4 ,when we consider the ,national ,collections of ,england1 ,france1 and ,germany alone we find material for many volumes4 ,perhaps of all the museums that of ,limoges1 where the ,jacquemart and ,gasnault collections are so well cared for1 is one of the most instructive1 and the lover of old ,oriental could not do better than spend a holiday at this delightful old ,french town with the object of really learning what these two friends teach4 ,with regard to books of reference1 all of the recognised authorities have been studied1 especially the ,jacquemart and ,gasnault catalogues and descriptions1 and the ,petit ,guide ,illustre au ,muse ,guimet4 ,the visitor to ,paris should make a point of visiting this museum1 so little known1 so intensely interesting1 at the junction of the ,rue ,boissire and the ,avenue d',iena4 ,its aim is to propagate a knowledge of the civilisation of the ,east1 to facilitate the study of ancient historical religions largely by means of images1 statuettes1 or figures4 ,there we see classified methodically1 in chronological order1 representations of the various divinities in which form and attitude both have a meaning4 ,the specimens are old and rare4 ,the catalogue of the ,franks ,collection is referred to in the various chapters4 ,formerly exhibited at the ,bethnal ,green ,museum1 the collection is now distributed in the ,british ,museum1 where the pieces may be recognised as having a printed description4 ,the two volumes by the late ,w4 ,g4 ,gulland are delightful and very helpful1 and it was the privilege of the writer to have spent some hours in his company shortly before his lamented decease4 ,i owe sincere thanks to ,mr4 ,edgar ,gorer1 of ,s4 ,gorer and ,son1 ,bond ,street1 for his constant courtesy and his kindness in supplying most of the fine illustrations in the book1 and for securing permission from other collectors to use their photographs4 ,and more than this1 his practical knowledge has been put at my disposal in every way1 and specially in reading the proofs4 ,to ,messrs4 ,duveen ,brothers1 of ,bond ,street1 ,i am indebted for specimens specially noted4 ,to other friends who have helped recognition is due1 especially to ,mr4 ,c4 ,h4 ,mc,queen1 whose knowledge of ,chinese porcelain has been altogether at my disposal4 ,the marks are those given in the ,franks catalogue1 in ,mr4 ,gulland's books1 and in the ,guimet ,museum guide4 ,the vastness of the subject here shortly treated may bring many collectors into touch with one another1 and the author hopes that they will avail themselves of the opportunity of using him as the medium for this intercommunication4 ,finally1 with regard to the illustrations and the lessons they teach1 the reader will note that vases have been selected wherever this has been possible4 ,generally speaking the vase1 being an ornamental and purely decorative object1 has received from the ,chinese potter that artistic--one is almost tempted to say that reverential--treatment which embodies all that is best in his ceramic art4 ,for the rest1 it may be that the mythological aspects of the ,oriental decoration1 its divinities and their attributes1 have received unusual attention4 ,the ,buddhist faith1 here feebly exposed1 embodies the highest truths1 and ,taoism1 the more popular religion1 cannot be neglected by any student of ,oriental porcelain4 ,the ,japanese section is not illustrated4 ,japanese collectors are keen in collecting old ,chinese specimens4 ,,contents ,,page ,,preface #e ,,section ,i ,,chinese ,,porcelain ,,chapter ,i4 ,,introductory #ba ,,ii4 ,,hard ,,paste #bi ,,iii4 ,,religion ,,and ,,mythology #ce ,,iv4 ,a ,,sketch ,,showing ,,porcelain ,,classed ,,according ,,to ,,the ,,order ,,of ,,the ,,discovery ,,of ,,the ,,colours ,,and ,,glazes #dc ,v4 ,,the ,,four ,,chief ,,fabulous ,,animals ,,and ,,two ,,goddesses #ea ,,vi4 ,a ,,short ,,account ,,of ,,the ,,early ,,history ,,of ,,porcelain #hi ,,vii4 ,,the ,,ming ,,dynasty ,,and ,,its ,,products #ie ,,viii4 ,,the ,,tsing ,,dynasty1 ,,kang-,,he ,,period #ajc ,,ix4 ,,the ,,yung-,,ching ,,period #aji ,x4 ,,the ,,keen-,,lung ,,period #aai ,,xi4 ,,mandarin ,,porcelain1 ,,yung-,,ching ,,period ,,and ,,later #aca ,,xii4 ,,kea-,,king1 ,,taou-,,kwang1 ,,and ,,the ,,later ,,emperors #aci ,,xiii4 ,,chinese ,,white ,,porcelain #adg ,,xiv4 ,,single ,,or ,,self-,,colour ,,glazes #aec ,,xv4 ,,chinese ,,crackle #age ,,xvi4 ,,blue ,,and ,,other ,,colours ,,under ,,the ,,glaze #aha ,,xvii4 ,,clobber ,,ware ,,or ,,redecorated ,,porcelain #bja ,,xviii4 ,,reticulated ,,porcelain #bjc ,,xix4 ,,decorated ,,with ,,coloured ,,enamels #baa ,a4 ,,the ,,black ,,family--,,famille ,,noire ,b4 ,,the ,,green ,,family--,,famille ,,verte ,c4 ,,powdered ,,and ,,mazarine ,,blue ,,with ,,enamel ,,colours ,d4 ,,the ,,green ,,and ,,yellow ,,family--,,famille ,,jaune ,e4 ,,coral ,,red ,,ground--,,rouge ,,de ,,fer ,f4 ,,the ,,rose ,,family--,,famille ,,rose ,g4 ,,other ,,enamel ,,colours ,,xx4 ,,porcelain ,,of ,,the ,,east ,,india ,,company #bhe ,,xxi4 ,,imitations ,,of ,,oriental ,,porcelain #bia ,,xxii4 ,,symbolical ,,designs #big ,a4 ,,emblems ,,in ,,animals ,b4 ,,emblems ,,in ,,trees ,c4 ,,emblems ,,in ,,flowers ,,xxiii4 ,,date ,,marks ,,on ,,oriental ,,porcelain #cjg ,,xxiv4 ,,symbolical ,,marks ,,and ,,ornaments #cbc ,,xxv4 ,,the ,,immortals ,,or ,,chens #ccg ,,xxvi4 ,,the ,,dresden ,,collection #cde ,,section ,,ii ,,japanese ,,porcelain ,,and ,,pottery ,,chapter ,,page ,,xxvii4 ,,japanese ,,porcelain ,,and ,,pottery #cdi ,,imari1 ,,arita1 ,,or ,,hizen ,,hirado ,,nabeshima ,,xxviii4 ,,satsuma #ceg ,,kyoto ,,awata ,,marks1 ,,first ,,set ,,xxix4 ,,bizen ,,or ,,imbe #cfg ,,kutani ,,kenzan ,,ware ,,yeiraku ,,ware ,,xxx4 ,,kishu #cge ,,banko ,,soma ,,sanda ,,sheba ,,various ,,marks1 ,,second ,,set ,,section ,,iii ,,xxxi4 ,,sale ,,prices #che ,,index #djc ,,illustrations ,,vase1 ,,in ,,proper ,,colours1 ,,kang-,,he ,frontispiece ,,page ,,pa-,,yueh-,,kouang ,,and ,,tien-,,kong #dj ,,the ,,dragon #ed ,,the ,,true ,,kylin #ee ,,the ,,corean ,,lion #ef ,,the ,,ho-,,ho ,,or ,,ph,,nix #eg ,,kwan-,,yin1 ,,ming #fj ,,another ,,kwan-,,yin1 ,,ming #fc ,,kwan-,,yin1 ,,with ,,attendants #fd ,,si-,,wang-,,mu #fg ,,od-,d,,pag-,,med ,,amit,,bha ,,or ,,amida #fh ,,wan ,,chong1 ,,the ,,god ,,of ,,the ,,learned #ga ,,kuan-,,ti1 ,,the ,,god ,,of ,,war #gb ,,wen-,,tchang1 ,,the ,,god ,,of ,,wisdom #ge ,,piu-,,hwo1 ,,taoist ,,god #gf ,,han ,,seang-,,tse 7#b7 ,,and ,,chang ,,ko-,,laou #gi ,,buddhist ,,divinities 7#b7 ,,and ,,han ,,chung-,,le #hj ,,the ,,taoist ,,immortals 7#h7 #hc ,,the ,,dog ,,of ,,buddha ,,or ,,corean ,,lion #hd ,,emblems ,,in ,,birds1 ,,pheasants #hg ,,white ,,porcelain1 ,,kwan-,,yin #aea ,,sang ,,de ,b,,uf1 ,,self-,,colour #aeg ,,claire ,,de ,,lune ,,crackle1 ,,self-,,colour #afc ,,tiger ,,spotted ,,or ,,splashed ,,glaze #afg ,,peach ,,blow1 ,,with ,,white ,,and ,,celadon #aga ,,crackle ,,vases1 ,c41 ,,mounted ,,in ,,ormolu #agh ,,blue ,,and ,,white ,,beakers2 ,,dishes ,,and ,,covers #ahf ,,blue ,,and ,,white ,,vase2 ,,water ,,ewer ,,and ,,cover #ahi ,,blue ,,and ,,white ,,vases1 ,,with ,,lange-,,lysen #aij ,,blue ,,and ,,white ,,ginger ,,jar1 ,,or ,,oviform ,,vase #aic ,,blue ,,and ,,red ,,under-,,glaze1 ,,conical ,,vase #aid ,,red ,,under-,,glaze1 ,,enamels ,,over-,,glaze1 ,,cylindrical ,,vase #aig ,,reticulated ,,incense ,,burner #bjg ,,reticulated ,,vase #bjh ,,black ,,family1 ,,famille ,,noire1 ,,teapots #bah ,,black ,,family1 ,,bowl #bba ,,black ,,family1 ,,vases1 ,,tapering ,,square #bbb ,,black ,,family1 ,,vases1 ,,pear-,,shaped #bbe ,,black ,,family1 ,,vases1 ,,two #bbf ,,green ,,family1 ,,famille ,,verte1 ,,vase1 ,,oviform #bcj ,,green ,,family1 ,,lantern1 ,,egg-,,shell #bcc ,,green ,,family1 ,,vases 7#c71 ,,square-,,shaped #bcd ,,green ,,family1 ,,vase1 ,,beaker-,,shaped #bcg ,,green ,,family1 ,,hexagonal1 ,,arrow-,,stand #bch ,,green ,,family1 ,,vase1 ,,gourd-,,shaped #bda ,,powdered-,,blue1 ,,with ,,famille ,,verte1 ,,and ,,blue #bdf ,,decoration ,,powdered-,,blue1 ,,with ,,famille ,,verte1 ,,decoration1 ,,plates #bdi ,,mazarine-,,blue1 ,,with ,,famille ,,rose1 ,,decoration1 ,,vases #bej ,,green ,,and ,,yellow ,,family1 ,,famille ,,jaune1 ,,vase1 #bed ,,square-,,shaped ,,green ,,and ,,yellow ,,family1 ,,famille ,,jaune1 ,,jardini,,re #beg ,,coral ,,red1 ,,rouge ,,de ,,fer1 ,,vase1 ,,cylindrical #bfa ,,coral ,,red1 ,,vase1 ,,cylindrical #bfb ,,rose ,,family1 ,,famille ,,rose1 ,,ruby-,,back ,,plates1 ,c4 #bff ,,egg-,,shell1 ,,rose ,,verte1 ,,vase #bfi ,,apple-,,green ,,ground1 ,,ming ,,biscuit1 ,,teapots #bgc ,,apple-,,green ,,ground1 ,,lang-,,yao1 ,,vases #bgd ,,delicate ,,green ,,ground1 ,,vase1 ,,gourd-,,shaped #bgg ,,delicate ,,green ,,ground1 ,,vases1 ,,kea-,,king #bgh ,,aubergine ,,ground1 ,,vases1 ,,flat-,,shaped #bha ,,mandarin ,,china1 ,,vases1 ,,conical1 ,,egg-,,shell #bhb ,,the ,,immortals3 ,,han ,,chung-,,le2 ,,leu ,,tung-,,pin #cdj ,,le ,,tee-,,kwae2 ,,tsaou ,,kwo-,,kiu #cda ,,lan ,,tsae-,,ho2 ,,chang ,,ko-,,laou #cdb ,,han ,,seang-,,tsze2 ,,ho ,,seen-,,koo #cdc ,,five ,,claws2 ,,ho-,,ho ,,bird #ced ,,dog ,,of ,f2 ,,the ,,kylin #cee ,,bibliography ,,and ,,glossary ,,bibliography ,the chief books referred to in this volume are3-- ,,franks1 ,sir ,a4 ,w4 ,bethnal ,green ,collection4 ,catalogue of ,original ,pottery and ,porcelain4 ,,gulland1 ,w4 ,g4 ,chinese ,porcelain4 #b vols4 ,with ,illustrations4 ,the small ,guide to the ,muse ,guimet4 ,paris4 ,,glossary ,base4 ,the solid support or bottom of any vessel either simple or ornamentally shaped4 ,beaker4 ,the ,chinese beaker is a trumpet-shaped vase1 having neither handle nor spout nor beak4 ,biscuit4 ,porcelain unglazed1 having no gloss4 ,body4 ,the part of a vase which corresponds with the body in the human figure4 ,the shape may be simple1 or two or more forms combined4 ,bottle4 ,a vase with spheroidal body1 long neck and narrow mouth4 ,the gourd-shaped ,oriental bottle may be double1 having three bodies diminishing from the bottom upwards4 ,burnt-in4 ,a term used to distinguish the painted from the enamelled porcelain1 the first being burnt in with the glaze1 the second having the colours laid over the glaze4 ,celadon4 ,the soft green colour upon pieces of old ,oriental4 ,see further in the section dealing with colours mixed with the glaze and burnt in at the first firing4 ,european glaze is nearly always transparent and colourless4 ,china or ,porcelain ,paste is translucid1 in pottery it is opaque4 ,colours4 ,five colours3--green1 yellow1 aubergine1 blue1 and red4 ,three colours3--green1 a curious shade2 yellow1 varying from pale to bright2 aubergine1 also varying in tone4 ,egg-shell ,china first appeared in the ,yung-lo period1 and later it was as thin as bamboo paper4 ,under the ,lung-king and ,wan-leih emperors pure white porcelain of this kind was called egg-shell4 ,in many pieces the paste is so thin as to appear to be only two layers of glaze4 ,enamel4 ,mixed with a glassy composition were certain transparent or opaque colours which were used in over the glaze decoration4 ,in pottery they are used in the glaze4 ,fen-ting4 ,soft paste1 or more correctly1 soft glaze porcelain4 ,figures1 ,figurines1 ,magots1 ,statuettes1 are single1 grouped1 or attached as ornaments to a piece2 such as the eight immortals1 etc4 ,forms4 ,these are diversified4 ,cylindrical1 globular or spheroidal1 egg-shaped or ovoid2 apple-shaped or pomiform1 pear-shaped or pyriform2 cubical1 hexagonal1 etc4 ,glaze4 ,the composition used for coating porcelain or pottery4 ,it literally means covering with glass or any vitrifiable substance having similar properties4 ,grand ,feu4 ,the kiln at its greatest heat in which the clays were acted upon so as to produce porcelain or pottery4 ,the decoration was often fixed in the petit feu1 or muffle kiln4 ,the hard firing1 when less than the maximum heat was required1 was done in the demi-grand feu4 ,graviata4 ,this name is given to patterns traced or cut on the porcelain or on the enamel4 ,hundred ,antiques4 ,a form of decoration1 consisting of utensils1 symbols1 vases1 c41 called po-ku4 ,kaolin4 ,porcelain or china clay1 derived from the decomposition of granite rocks4 ,kiln4 ,grand feu first baking1 temperature about #dgag ,fahrenheit4 ,demi-grand feu for fixing colours which could bear intense heat which were applied before glazing4 ,more delicate enamel colours were applied for firing in the petit feu or muffle kiln4 ,mandarin4 ,a term applied to ,chinese porcelain decorated with a certain class of figure subjects4 ,mice ,china has ornament1 in high relief1 of the branches1 leaves1 and fruit of the vine1 with squirrels or foxes1 so-called mice1 also in relief4 ,it is ,mandarin eighteenth century as a rule4 ,moulds4 ,these are used for figures and for the various ornaments which are fixed upon the piece4 ,naga4 ,this word translated means ,dragon1 which is dealt with under that name4 ,neck4 ,in the bottle1 flagon1 and flask1 the neck is of different length and form4 ,the throat may be narrow or wide1 inclining inwards or outwards1 or even perpendicular4 ,ornaments4 ,these are very varied4 ,they may be in relief1 reticulated1 impressed1 engraved in the paste2 or they may be arabesque1 grotesque2 or they may be lines in angles1 lozenges1 zigzags1 ribbons1 and paintings of every kind4 ,paste4 ,the body of which porcelain or pottery vessels is made4 ,hard paste cannot be scratched or filed and resists the action of great heat4 ,soft paste is easily scratched and is melted by intense heat4 ,pekin ,ware is graviata of the ,taou-kwang period4 ,it was never made in ,pekin1 but the name is still used4 ,petuntze4 ,pulverised china rock forming a white paste 7pe-tun7 made into bricks 7petuntze74 ,it melts in the heat of a porcelain furnace into a milky glass4 ,pin-points are tiny holes found on the bottom of early ,chinese porcelain4 ,porcelain4 ,a compound of kaolin and petuntze4 ,the kaolin is not fusible1 the petuntze vitrifies and envelopes the kaolin1 producing a smooth compact body which is translucent4 ,pottery4 ,this is formed of a mixture of clays4 ,ordinary potter's-clay is used for common earthenware1 and a blue clay1 of a greyish colour1 is much used in making flint-ware4 ,saucer4 ,the old ,chinese form of the plate is always saucer-shaped4 ,the flattening of the rim produced the dish and plate4 ,raising the sides gave the bowl1 basin1 and cup4 ,by adding a handle we have the tea-cup4 ,seggar4 ,this is the protective vessel or case in which the pieces of porcelain or pottery are burnt in the kiln4 ,slip4 ,the liquid clay which is applied to the piece1 under or over the glaze1 either by pouring or painting4 ,stoneware4 ,hard pottery which forms the link between porcelain and earthenware4 ,in ,chinese products stoneware is used with self-colours applied in the glaze4 ,vases4 ,all vessels used for drinking cups and goblets1 for ointments or perfumes1 for holding1 carrying1 or pouring wine1 oil1 or water2 and similar or varied forms used solely for ornament4 ,willow ,pattern4 ,a popular decoration of ,nankin blue services4 ,there are several varieties1 but all have the weeping willow4 ,yao-pien4 ,the ,chinese name for splashed1 shot silk1 or variegated glazes4 ,i ,,section ,i ,,introductory ,,chats ,,on ,,oriental ,,china ,,chapter ,i ,,introductory ,this book does not pretend to do more than to indicate to the collector the lines on which collections could or should be made1 for ,chats on old ,oriental ,china scarcely imply a scientific treatise4 ,incidentally one point will lead on to another1 but with always this object in view1 to send the collector to the museums to train his eye as well as his understanding and to bring him in touch with all that makes for beauty in ,oriental porcelain1 a porcelain teaming with mythology1 having decorations saturated with that mythology1 full of emblems of all that concerns the best and highest life of the ,chinese1 pointing1 we may say1 to a religion which1 although feebly understood in ,europe1 has been for centuries a real moving factor in the national life of the ,oriental peoples4 ,hence1 when we find the earliest ,european copies framed on ,chinese mythology1 and birds and flowers and beasts all unknown to the ,occidental mind figuring upon vases at ,dresden1 at ,chelsea1 or at ,svres we are struck with the incongruity of the association4 ,all ,european factories1 at the first1 strove to imitate that porcelain which had been in existence in ,china long before history in ,europe had begun its accurate chronology4 ,there are collectors of the ,european productions who revel in the delights of fine ,dresden groups1 of marvellous ,chelsea or ,worcester vases1 of ,bristol figures and the other magnificent productions of the ,european factories in earthenware and porcelain1 but we may safely say that the collector who takes up the study of ,oriental porcelain relegates all these ,european productions into oblivion1 and has only one desire1 to secure the best possible specimens from the land of far ,cathay4 ,the collection of ,oriental porcelain is not easy1 especially with regard to the finer productions4 ,the old figures1 vases and dishes made hundreds of years ago1 decorated with taste and skill beyond all comparison1 these can be purchased only by the few4 ,but there are many genuine old pieces still unrecognised1 but valuable1 each telling its own story1 and that story one that can be learnt4 ,we said that there were dangers to the collector1 and this is true2 for centuries the ,chinese and ,japanese have reproduced with minute accuracy the early productions--the ,ming and the ,kang-he--and the ,european factories have1 in these later times1 poured out upon the market many marvellous forgeries which would deceive1 possibly1 the very expert4 ,the ,german imitations are passable1 but those produced in ,france1 especially in ,paris1 are so excellent that it would be well for buyers to judge of them1 by daylight only--in fact1 in buying any fine porcelain this rule should be adhered to4 ,remember this1 there is no forgery existing which would deceive an expert worthy of the name1 as there is1 without exception1 always a failure in some point1 either in the colouring1 glazing1 paste1 or drawing1 which betrays the copy to a thorough student of ,chinese porcelain4 ,the best imitations are those made in ,hungary about forty to fifty years ago2 the ,german copies by comparison are very inferior and weak4 ,never buy by artificial light1 for colours seen by candle-light do not look the same by day4 ,marks on porcelain should always be ignored1 except when the piece bearing the said mark is beyond doubt2 it is an added interest to have a mark of the proper period4 ,not alone are patterns forged1 but marks are forged2 hence when pattern and mark both agree with the old example1 something more is required than a mere superficial knowledge of pattern and mark--that is1 the paste or body has to be known1 and more1 the eye has to be trained so as to distinguish the special character of the piece--in fact1 it is the tout ensemble which to the finest judges is the surest guide4 ,they cannot tell why they know1 but by a look they do know4 ,it may be that the atmospheric influences extending over long years has softened and modified the colours and taken from them their boldness1 so that when paste and glaze and colour all please the trained eye the purchase may be made in safety4 ,and here we should advise our readers rather to buy from a respectable dealer than at auction sales4 ,in the excitement of auction sales higher prices may be paid than would be prudent1 or1 indeed1 it may be that the quality of the specimen bid for is not exactly that which the buyer requires1 and the difficulty of changing it is accentuated when the purchaser buys at an auction4 ,in fact1 to a beginner with money to spend1 no advice can be better than that he should put himself in the hands of a respectable dealer1 informing him of his wants1 telling him the price he is prepared to pay1 and leaving him to deal squarely and fairly4 ,not only is there danger of the marks being forged and the pattern copied1 but really old pieces of ,oriental porcelain are often redecorated1 so that upon an old piece is found the most elaborate decoration4 ,this to the collector is most puzzling4 ,he sees the porcelain is rare1 and1 as we have said1 really old1 and that the pattern and colour of the decoration is what he has been accustomed to either at ,exhibitions1 such as those in the ,national ,museums1 or in illustrations as given in the best books1 yet the specimen is not right and it can be tested4 ,the enamel decoration on a re-decorated piece produces a different effect from that upon an old piece4 ,in the latter the enamel colours do not stand out like modern oil painting1 but they lie flat and agree in general character and tone with the porcelain itself4 ,sometimes1 in these re-decorated pieces1 traces of the old decorations1 covered up under the modern enamel decorations1 may be found4 ,amongst other hints to the collector of old ,oriental porcelain must be one with regard to cracked and mended porcelain4 ,by this we mean not alone those pieces which are built up as far as some particular part is concerned1 and which can be tested by striking the various parts with a coin1 when the difference between the ring of the original part and the dull sound from the composition used in mending may be easily detected4 ,further1 the sense of smell may be brought into play4 ,generally1 the composition used in mending old porcelain in this way smells of oil or turpentine4 ,the third test may be applied by means of a magnifying-glass which will at once reveal the difference between the smooth original glaze and the varnish glaze added to cover the mend4 ,but this is not all4 ,some mending is done at the factories1 where a piece of porcelain of the same tone and colour1 with the same decoration1 is built and fixed on to the sound piece in such a way as to leave no trace that can be detected by sound1 sight1 or smell4 ,in this case it really matters very little1 as the character of the old porcelain is so well preserved that the piece may be regarded as being perfect4 ,a very simple test for detecting a repair in porcelain is to pass the point of a pin1 not too heavily1 over the suspected part1 when if the original has been at all interfered with1 scratches and marks of the pin will be easily seen4 ,,ii ,,hard ,,paste ,,chapter ,,ii ,,hard ,,paste ,nearly the whole of ,oriental porcelain is hard paste4 ,by this we mean it cannot be cut with a file4 ,both paste and glaze are hard1 and although some people speak of soft-paste ,oriental porcelain our observation teaches us that it is so rare that it may be neglected by the ordinary collector1 who1 if he should accidentally find a piece1 will remember that this soft paste is of a very white colour with an opaque look1 and for painting under the glaze seemed to have the disadvantage that the colours were more liable to run than on the ordinary description1 which is just like what has been found on early ,english soft-paste porcelain1 where the colours are liable to run upon the paste4 ,in the ,chinese soft paste better effect was produced by the hatching and stippling style of decoration which was adopted in later times and superseded the broad washes adopted in the ,kang-he period4 ,porcelain in ,china was usually formed of two materials1 of which one--,pe-tun-tze--resembles our ,china stone4 ,it is a white fusible material1 a mixture of felspar and quartz1 obtained from pounded rock and formed into cakes or bricks1 hence its ,chinese name4 ,the other material is named ,kaolin1 or ,china clay4 ,it is infusible1 and is derived from the decomposed felspar of granite4 ,this is also formed into cakes4 ,when these two materials1 ,china rock and ,china clay1 have been thoroughly ground1 cleansed1 sifted and refined into an impalpable powder1 they are kneaded together in varying proportions to form a clay ready for the potter4 ,the wet clay is turned on the potter's wheel or table1 then is passed through the hands of various workmen who add handles and other decorations made in moulds1 who smooth the surface and so work upon it that the next process--the drying process--is preparatory to the under-glaze decoration4 ,in this semi-soft state the foot remains a solid mass4 ,any decorations in blue or red or other colours which can be applied under the glaze are then used for painting the under-glaze decoration4 ,the glaze is next applied in various ways by dipping1 by blowing on with a tube1 by sprinkling1 and so on4 ,when these processes have been completed it only remains for the potter to fashion the foot upon the wheel and to inscribe any mark which may be adopted4 ,these being then coated with glaze1 the piece is ready for the furnace4 ,porcelain placed in the kiln to be fired has to be protected in strong clay vessels called seggars1 which admit the heat but protect it from injury4 ,every piece is placed in the kiln according to the temperature which is necessary for its complete firing4 ,some pieces would be placed at the top of the kiln1 other pieces at the tip-top of the kiln1 very much in accordance with the practice in our ,english potteries at the present time4 ,the furnace when full is entirely bricked up and the whole contents of the kiln are kept at a great heat1 usually for a night and a day1 after which the kiln is allowed to cool off1 and in due time the porcelain is removed4 ,in speaking of white porcelain1 or porcelain decorated under the glaze1 the process is now complete1 but if enamel colours are used further burnings in a kiln take place4 ,after the enamel decoration has been applied over the glaze--and the painters who use the enamel colours may take long weeks or months in decorating a single piece--and until the whole is finished1 the piece is fired again and again in a kiln at a much lower temperature1 the process being quite similar to the previous one1 although the heat is much less4 ,colours which are applied with the glaze1 as we shall see later--self-colours1 such as the ,celadons--pass only through the first process and need no second firing4 ,in ,chinese porcelain it is well to note that no distinction is made between pottery and porcelain2 the ,european distinction is that whereas pottery is opaque1 porcelain is translucent4 ,it is often difficult to say when heavy ,celadon colours are applied to pieces of ,oriental manufacture whether the body is porcelain or pottery4 ,the pieces decorated with heavy ,celadon colours are very often on a porcellaneous stone ware1 which is generally accepted as marking the evolution period between pottery and the hard porcelain4 ,there are many examples of fine pottery--stone ware--dating from the ,ming period which are unmistakable4 ,,iii ,,religion ,,and ,,mythology ,,chapter ,,iii ,,religion ,,and ,,mythology ,we have noted previously that the decoration of ,oriental porcelain is largely bound up in mythology1 nay1 more1 it is largely connected with religion4 ,the religions of ,china must therefore receive some attention from those who would really understand the beauty of the decorations used by the ,chinese4 ,china possesses three principal religions1 of which two are national--,confucianism and ,taoism--one imported from ,india--,buddhism4 ,although ,confucianism may be said to be the official religion of the ,court1 of the functionaries1 and of the learned1 it is not a religion in the sense which we attach to the word4 ,confucius was the reformer of the ancient national religion1 which was really fetishism4 ,it is a code of practical morality based upon the duties and obligations of mankind1 and respect for both ancestors and antiquity4 ,idols such as images of gods and spirits are put on one side4 ,confucius recognised implicitly the existence of a ,god creator of the world--,chang-ti1 the ,emperor ,supreme1 or ,thien1 the ,heaven2 the ,emperor alone as ,son of ,heaven was1 as it were1 the priest1 acting in the name of all his people1 addressing to the ,creator of the world prayers and thanksgivings1 at the winter and summer solstices and at the spring equinox4 ,not alone does the ,god of ,heaven partake of these ceremonies in the ,imperial worship1 but the goddesses of the earth1 and the various genii of the waters1 of the mountains1 and stars1 and the ,imperial ancestors4 ,no images are made of these1 and they are only represented on the altars by tablets on which are their names4 ,confucianism orders respect and veneration for ancestors1 who ought to be cherished and treated as if they were living1 so that the ancestral worship was an incessant witness of gratitude and thanks1 which has become the only real religion of the followers of ,confucius in ,china4 ,confucius was born in #eea ,b4,c4 ,after his death the gratitude of the sovereigns and the admiration of the peoples gave him a rank almost divine4 ,every city built temples to him1 not as a god whom they worshipped1 but as a man whom they venerated as a benefactor1 and as the master respected by the nation as a great saint in civil life4 ,there are not to be found many images or pictures on ,oriental porcelain of ,confucius or his followers1 for the reason stated that ,confucius simply settled a system of morality4 ,,taoism4 ,taoism differs from the doctrines of ,confucius in that it is a gross religion made of superstitious local beliefs in fetishes and demons curiously amalgamated with the higher metaphysical doctrines of the philosopher ,lao-tseu1 who was born #fjd ,b4,c4 ,he included nearly all of the old ,chinese religions1 which ,confucius had reformed by taking away its superstitions4 ,this he did in order to fight more advantageously against the reforms of ,confucius4 ,in reality1 this religion agrees with others2 we may say that all the doctrines of all the religions make a great difference between the beliefs of the common people and those of philosophers and of learned men1 for in the higher sense the doctrines of ,lao-tseu and his eminent disciples were able to be maintained without danger of comparison against those of ,confucius or the most illustrious thinkers of ancient ,india4 ,taoism in its popular form recognised a supreme ,god creator of the world1 similarly named to the ,god recognised by ,confucianism1 ,thien1 ,heaven1 or ,tien-kong1 ,god of ,heaven1 but above him he places a ,trinity called the ,three ,pures1 really the ,three ,pure ,ones1 of whom ,lao-tseu was one1 representing the spirit of knowledge or of wisdom4 ,below this ,trinity is found a multitude of gods1 genii1 demons1 spirits of ,heaven1 of the earth1 of the sea1 of the waters1 of the mountains1 of the rivers1 of the provinces1 of the cities1 of the villages1 c41 all designated under the collective name of ,chens1 spirits4 ,for the most part these are ancient heroes1 literary men or philosophers deified2 hence the gods1 such as the eight immortals1 are often found as images1 or used as decorations1 upon vases and other pieces of ,oriental porcelain4 ,we give two figures as illustrations4 ,,buddhism4 ,the earliest history of ,buddha is an account of his death written in the ,pali language1 four centuries ,b4,c4 ,neither this1 nor any of the other histories ranging through the ages to our own times is an authentic story of his life and work--it is simply a legend more or less embellished4 ,the mythology is as follows3 ,gautama1 named ,siddhrtha1 the highly gifted son of a ,thkur1 or noble of the ,rajput tribe1 quitted his father's house in order to meditate upon the evil in the world--upon its origin and its extirpation4 ,he went to ask the advice of two ,brahmins who were renowned for their piety1 but they were unable to satisfy his yearnings for a higher life4 ,he rested1 it is true1 faithful to their doctrines--the fundamental truths which they taught--transmigration of souls with a final emancipation1 but he saw that their asceticism led only to the enfeebling of the higher powers of the mind1 so he decided to find some place where he might find peace in meditation4 ,after a long period spent in reflection1 he decided to quit his refuge and preach his faith4 ,he found in ,benares1 in the ,woods of the ,gazelles1 his first disciples1 and accompanied by them he journeyed through ,western ,bengal1 during forty-five years1 honoured by princes1 loved by the people1 in whose language he preached1 till he died of old age probably about #dgg ,b4,c4 ,you will note1 later1 the mille cerfs decoration of ,chinese porcelain made in remembrance of this beginning of ,buddhism4 ,illustration3 ,,chinese ,,pottery1 ,,enamelled ,,in ,,colours4 ,pa-yueh-kouang1 ,goddess of the ,moon4 ,tien-kong1 ,god of the ,sun4 ,buddha taught four truths4 ,first1 of evil4 ,birth1 sickness1 and death produce pain1 so does the separation from those we love and the desire to secure what we cannot obtain4 ,these joined to the knowledge of existence are the causes of evil4 ,second1 of the origin of evil4 ,the influence of the outside world--suggestion from outside--leads to covetousness and all that sensuality brings4 ,third1 of the end of evil4 ,this is only accomplished by the complete suppression of ardent desires--self-abnegation4 ,fourth1 of the method of suppression4 ,abstention from humiliating and unprofitable self-indulgence in any form on the one side1 and the renunciation of any belief in torture which is ruinous and vain as a means of spiritual growth4 ,every being is subject to evil1 nature in each is essentially the same4 ,gods1 demons1 men1 and animals are only different degrees of existence4 ,humanity is the best condition1 for only man can attain salvation1 he only can obtain deliverance4 ,regeneration operates only after death and is regulated by the actions done during life4 ,the process is secret1 and only step by step1 higher and higher1 does knowledge of truth lead onwards through the path of salvation to the place eternal--the ,nirvana4 ,only in this blessed abode does the soul rest free from the obligation of being born again1 of suffering without cessation the miseries of life4 ,buddhism flourished in ,india during many centuries1 especially in the third century ,b4,c41 when in the reign of king ,aoka1 it became missionary1 but about #aajj ,a4,d4 it was banished from that country and spread through ,eastern ,asia1 where it has at the present time more than four hundred millions of believers4 ,in ,china there are eighteen principal sects of this religion1 so that it is not surprising that the ,chinese ,buddhists should commemorate upon their porcelain gods1 goddesses1 and religious ceremonies of various types1 especially as it adopted local superstitions and legends1 and lent pomp and clat to the worship of the dead4 ,its pliancy and activity are still marvellous4 ,,iv ,,porcelain ,,classed ,,chapter ,,iv ,a ,,sketch ,,showing ,,porcelain ,,classed ,,according ,,to ,,the ,,order ,,of ,,the ,,discovery ,,of ,,colours ,,and ,,glazes ,our first task will be to classify the porcelain according to the order of its discovery1 and in this relation we shall be largely guided by form and colour1 which in the oldest pieces is naturally less diversified than in the later4 ,perhaps the oldest pottery is that improperly called boccaro1 owing to its resemblance to the pottery which1 in ,portugal1 bore this name1 and as we shall see presently the ,portuguese were the first to visit the land of far ,cathay4 ,the colours on boccaro ware are very varied--and some imitate bronze4 ,many coloured enamels cover other pieces with a dense glaze which completely hides the shape or body4 ,these pieces are usually moulded1 but examples have been found where the decoration has been cut with a tool in the paste when wet4 ,other specimens have been carved in the paste after it had been dried in the sun4 ,the second class in order of age would be white porcelain made of kaolins from different districts1 which gave different tints to the white1 and unequal densities to the ware1 some being heavy and some light4 ,possibly the light ware of this period gave rise to the idea of soft paste4 ,the white itself varies in tint from a fine creamy glaze1 which is very beautiful1 called blanc de chine4 ,then there is a bluish white called white of snow1 and a plain white called white of flour4 ,the creamy white is valued very highly by the ,chinese themselves1 and ,franks mentions an instance where a ,hong ,kong merchant1 after making many magnificent presents to an ,english gentleman1 gave him as an object of great value a white cup of this kind enclosed in a case lined with silk4 ,this blanc de chine was highly esteemed in the seventeenth and eighteenth centuries1 especially in ,france and ,spain4 ,it is interesting to notice that this kind of white ware was imitated by the early makers of ,european porcelain at ,st4 ,cloud and ,chelsea1 and many of these specimens of white hard paste have been ascribed to ,plymouth1 which1 with ,bristol1 was the only factory to make hard paste in ,england4 ,the ,chelsea imitation of an ,oriental teapot with raised flowers is the one which has the noted mark of the raised anchor on a tablet4 ,with regard to colour applied under the glaze1 blue was the first to be so employed4 ,cobalt had a facility for cohering with the body itself1 therefore it was utilised for decoration before the glaze was applied4 ,sometimes the transparent white glaze was replaced by a blue tinted glaze4 ,in that case1 the blue decoration1 applied under the glaze by painting on the body of the ware itself1 could be easily seen through the blue glaze4 ,red1 derived from copper1#a was applied under the glaze1 sometimes alone1 sometimes with blue1 forming the decoration of two colours under the glaze4 ,with these colours used under the glaze1 as with the blue alone1 the blue tinted glaze was frequently substituted for the transparent glaze4 ,this red was the red derived from copper4 ,at about the same period the reds1 derived from iron and gold1 were applied as enamel colours upon the glaze at a lower temperature than that used in the main kiln4 ,the second kiln was called a muffle kiln4 ,the glaze and the enamel colours were both melted by the heat in the muffle kiln1 but the body was not affected4 ,direct heat was not required1 but the melting process was sufficient to unite the glaze itself and the enamel colours so firmly that in some cases the coloured enamel might be taken for the glaze4 ,generally1 however1 these enamel colours project far enough from the covering glaze as to be easily felt by the finger4 ,footnote #a3 ,this copper-red is very brilliant1 and has an iridescent effect when examined by reflected light4 ,next followed the use of gold applied to decorations on the black--famille noire--and green families or on other enamels4 ,amongst the most beautiful of these enamels was the green1 which was applied upon the glaze by the fire of the muffle furnace4 ,this colour was derived from copper1 and is called vert de cuivre4 ,it soon held a high place in the scheme of decoration of vases1 plates1 and dishes1 as well as figures of the highest quality1 and is recognised as a distinct family1 la famille verte4 ,but whilst the reds and the greens were enamelled on the glaze1 blue was still employed for decoration under the glaze4 ,these familles are separately dealt with and illustrated4 ,in order of the discovery of the colours next comes violet from manganese1 and the yellows from cadmium and iron1 creating a new series1 which is termed the yellow family1 la famille jaune4 ,all these yellows were enamel colours1 but they were not often used alone4 ,sometimes there is a combination of two groups1 as green and yellow or green and red4 ,these have been classified as jaune verte and rose verte4 ,we simply refer to these names in case any of our readers should come across them in the descriptive catalogue or in books dealing with ,oriental porcelain4 ,perhaps the most beautiful of all the enamel colours applied to ,oriental porcelain is the rose1 a red derived from gold4 ,bearing in mind that we are roughly tracing the age of the colours1 that is1 the period of their application1 this rose red would bring us to the ,yung-ching and ,keen-lung periods4 ,enriched as the ,chinese potters were by this superb tint1 they simply revelled in dominating their productions with it4 ,it is classified as the rose family1 la famille rose4 ,to these periods belong the beautiful class of pink back plates1 to which further reference will be made later4 ,onward from this time1 the trading relations between ,europe and ,china becoming more and more intimate1 foreign influences began to make themselves felt in the ,chinese potteries2 in fact1 the ,europeans demanded and paid for ,european shapes and ,european designs1 so that ,european subjects were reproduced with more or less fidelity1 and armorial porcelain1 on which the arms or crests of ,european families were painted in enamel on vases1 table services1 and decorative pieces of various kinds4 ,at this period1 too1 we find evidences of the influence of the ,christian missionaries in ,china1 as shown by the religious subjects enamelled or painted on plates1 such subjects1 for instance1 as ,the ,crucifixion and other scenes of biblical history4 ,we have stated that the decoration was modified to meet the wants of the ,european market1 and we note also that the various shapes were also modified to suit that market4 ,the ,chinese used saucer-shaped dishes1 but these were largely replaced1 for exportation only1 by dishes and plates with rims1 so that we finally reach the last class1 the porcelain called ,east ,india ,company china1 decorated with subjects not armorial1 nor scriptural1 but ,european4 ,the ,chinese themselves were faithful copyists1 imitating exactly the pattern from which they had to work4 ,we shall deal with this subject more fully in a later chapter4 ,v ,,fabulous ,,animals ,,and ,,two ,,goddesses ,,chapter ,v ,,the ,,chief ,,of ,,the ,,fabulous ,,animals ,,and ,,two ,,goddesses ,we have dealt shortly with the religions of ,china1 and it is necessary to note in this connection how the emblems of the various religions became embodied as part of the decoration of porcelain2 in fact1 figures of the gods and goddesses were made associated with the symbols which seemed to indicate their work1 and these comprised the dragon1 the kylin1 the lion1 and the ,fung-,hwang1 ,fwang-,hwang1 ,fong-,hoang or ,ho-,ho ,bird4 ,n4,b4--,variously spelt4 ,,the ,,dragon4 ,the dragon is a familiar object on ,chinese porcelain1 and being the ,imperial arms it typifies all that is powerful and indeed terrible4 ,especially sacred is the dragon of heaven--lung2 but li1 the dragon of the sea1 and kiau1 the dragon of mountains and marshes1 are also worshipped and feared4 ,the dragons are either scaly1 winged1 horned1 hornless1 or rolled up before rising to the sky in spring1 or plunging into the water in autumn4 ,the ,imperial dragon is armed with five claws on each of its four members1 and is used as an emblem by the ,emperor's family1 and by princes of the highest two ranks4 ,the four-clawed dragon is used by princes of the third or fourth class4 ,mandarins and princes of the fifth rank have1 as an emblem1 the four-clawed serpent4 ,the three-clawed dragon--the ,imperial dragon of ,japan--is1 in ,china1 the one commonly used for decoration4 ,the sacred pearl1 adorned with the ,yang and the ,yin1 representing the male and female elements in nature1 always appears to be attracting the dragon4 ,illustration3 ,,the ,,dragon4 ,,the ,,unicorn1 ,,kylin1 ,,or ,,kilin4 ,the kylin1 or k'i-lin1 was an animal symbolising longevity and good government4 ,it is often found upon porcelain as a part of the decoration4 ,its form is more like a deer than anything else1 though it has the hoofs of a horse and the tail of an ox4 ,its head is like that of the dragon1 and the body may or may not be covered with scales4 ,in its mouth a bundle of scrolls or some symbol may often be found4 ,other monsters1 notably the ,corean lion1 also called the ,dog of ,buddha or the ,dog of ,f1 are called kylins1 but the true kylin is as described above4 ,though hideous in aspect1 it shows the kindest disposition1 and is so gentle that it would not step upon a worm4 ,illustration3 ,,the ,,true ,,kylin4 ,,the ,,corean ,,lion4 ,this animal1 often miscalled kylin1 is the habitual defender of ,buddhist altars and temples1 hence its name1 the ,dog of ,buddha or the ,dog of ,f4 ,its appearance is almost always menacing with its sharp1 powerful teeth and claws4 ,in reality it is a sort of lion transformed4 ,it has a bushy1 often a bristling1 mane and a tufted tail4 ,it is found painted on vases1 or modelled in relief on the top of the covers for vases4 ,when found as a figure the lion is usually playing with a ball1 the lioness with a cub4 ,he is one of four animals representing power and energy4 ,the others are the elephant1 leopard1 and tiger4 ,illustration3 ,,corean ,,lion ,,or ,,dog ,,of ,f4 ,,the ,,fung-,,hwang1 ,,or ,,ph,,nix ,,or ,,ho-,,ho ,,bird4 ,this bird1 pre-eminent for elegance and benevolence1 seems to have been a kind of pheasant1 or some say a bird of paradise4 ,it would neither injure living insects nor growing herbs1 but lived in the highest regions of the air1 and only descended to earth as the harbinger of good tidings--happy events to individuals1 prosperous reigns to emperors4 ,on ,chinese porcelain either one or two birds are used with a decoration of rocks1 trees1 and flowers1 and in such decorations it is known as the ,fong-,hoang1 or ,ho-,ho bird4 ,it is frequently represented carrying a scroll4 ,in the illustration this scroll has fillets around it4 ,illustration3 ,,the ,,ph,,nix4 ,amongst the goddesses were two who were especially esteemed4 ,si-,wang-,mu1 the goddess of the ,kuen-lung mountains1 was a being of the female sex1 the head of troups of genii who held from time to time intercourse with favourite disciples amongst the emperors4 ,she is usually represented as riding upon the ,ho-,ho amongst the clouds with her attendants1 or she rests by the borders of the ,lake of ,gems1 where grows the peach-tree of the genii1 whose fruit confers the gift of immortality which ,si-,wang-,mu bestows upon those favourite beings who for self-abnegation and devotion to the needs of others have deserved to be admitted into her presence4 ,from this ,lake of ,gems1 too1 she sent out winged birds with azure blue feathers who served as her attendants and messengers4 ,perhaps even more popular than ,si-,wang-,mu was ,kwan-,yin1 to whom full reference will be made later4 ,both ,si-,wang-,mu and ,kwan-,yin are found as decorations upon ,oriental porcelain and also as figures1 some of the finest of which1 shown in our illustrations1 date from the ,ming period4 ,the eight ,immortals will also be spoken of later4 ,these are found in sets of figures or in a group of eight or nine4 ,in the group of nine1 ,lao-tseu1 the founder of ,taoism1 is the ninth figure4 ,illustration3 ,,kwan-,,yin4 ,,ming4 ,this example is very rare1 inasmuch as the two attendants form a part of the actual figure1 and this1 if not unique1 is exceptionally rare4 ,the robe in this instance is decorated with the #ajj ,shows or ,cheous 7emblems of longevity7 in black on an apple-green ground2 the cape has a small floral design in black on aubergine with green border2 the head-dress is of brilliant green with lotus flowers in aubergine1 yellow1 blue1 and black2 the head1 neck1 and hands in biscuit4 ,the small figure on the knee is in a yellow robe1 relieved with a small design in black2 the attendant on the right of the figure has an aubergine robe with a collar in blue2 the head-dress and peach which she carries in her hand are in black2 the attendant on the left has garments with a small black design on a green ground2 the upper portion of the body is in biscuit1 except the hair1 which is fashioned in a knob at the back and is enamelled black4 ,the pedestal has in the centre panel a reserve containing a sacred carp arising from the waves2 this is enamelled in black1 yellow1 aubergine1 and green1 on a white ground1 and is surrounded with a margin of blue4 ,the front side panels have ,joo-e-heads1 from which ribbons are depending1 in green1 black1 and yellow1 on white ground4 ,the two back panels have chrysanthemums and leaves in aubergine1 green1 and black1 on a white ground4 ,illustration3 ,,another ,,kwan-,,yin4 ,,ming4 ,so many references are made to the goddess ,kwan-,yin1 and she is represented in such a number of statuettes1 that no collection of ,chinese porcelain would be complete without her4 ,sometimes she is seated1 at others she is standing4 ,often she is found in white of various tints1 but the finest specimens are painted with coloured enamels4 ,here we have a most beautiful and valuable example in enamel colours of a seated figure of ,kwan-,yin4 ,the robe is of pale green relieved with a formal floral design in aubergine1 yellow1 and black4 ,the neck is adorned with a necklet of beads in yellow enamel4 ,the head-dress is of rich apple-green decorated with a swastika in yellow and with ,cheou characters in black4 ,there are also medallions1 each containing a hawthorn leaf in green on an aubergine and black ground4 ,the hair is of black enamel2 face1 neck1 hands1 and sceptre in biscuit4 ,the figure is supported on an oblong pedestal1 which is surmounted by an upturned lotus flower2 the leaves of this are in pale green and aubergine4 ,the front is represented as a sunk panel1 on which is a very early diaper design in yellow1 green1 aubergine1 and black4 ,the four corners are incised4 ,the sides of the pedestal are decorated with branches of hawthorn blossoms in green1 black1 and aubergine1 on a white ground1 whilst on the back is a river scene with junk1 rock1 trees1 c41 in yellow1 green1 and black1 unglazed on a white ground4 ,ming period4 ,illustration3 ,,kwan-,,yin4 ,the third illustration of this goddess--the queen of heaven--shows her again in connection with the lotus1 the emblem of purity1 also the symbol of creative power4 ,the fish1 too1 is often associated with her and with the gods4 ,there was a noted carp which lived at the bottom of ,buddha's lotus pond1 but generally the carp is an emblem of longevity1 and figures of fish are amongst the charms which frighten away bad demons4 ,the flowers which rise from behind the nimbus or halo round the head of the goddess is the magnolia1 the emblem of sweetness and beauty1 which1 like the prunus1 shows its full blossom before the leaves appear4 ,the illustration is the model of a shrine1 the back representing a rock in rich aubergine2 this is relieved with bamboo plants in green4 ,in the centre1 on an upturned lotus flower1 is a seated figure of ,kwan-,yin in robes of green and yellow2 the other portions of her body in biscuit1 as are also the leaves of the lotus flower2 under these is a giant leaf supporting the whole2 on either side of the ,kwan-,yin are two male attendants1 the one standing on a lotus flower1 the other on a leaf2 these figures are in biscuit relieved with green enamel4 ,under the figure of the goddess is a carp in yellow enamel rising from the waves1 which are in green1 and immediately in front is a sacred vessel in green enamel on an aubergine base4 ,illustration3 ,,si-,,wang-,,mu4 ,this fabulous being of the female sex1 dwelling at the head of the genii1 is often represented in the decoration of ,chinese porcelain1 attended by two or four young girls1 either floating in the clouds or riding on a fong-hoang1 or phnix4 ,the illustration gives an important figure of ,si-,wang-,mu4 ,the flowing robes are decorated with the #ajj ,cheous in black1 and panels of flowers in rouge de fer1 yellow1 and bright green4 ,the whole of the background is of brilliant green enamel1 the reserves having a pencilled design in black on a pale blue ground4 ,the vest has white hawthorn blossoms on black and green4 ,the under-garment1 which reaches to the feet1 has a formal floral design in green and rouge de fer on a brilliant yellow ground4 ,the lining of the sleeves is also in brilliant yellow4 ,around the shoulders1 and reaching to the ground on either side1 are lotus stems in rich aubergine4 ,the hair is enamelled black1 with yellow and aubergine ornaments4 ,the face1 hands1 and feet are in a rich white glaze4 ,the base fashioned to represent waves in black and white on pale green2 on one side of this is a lotus bud1 and on the other a large leaf4 ,in the centre of the back of the figure is one of the ,buddhistic emblems in green and black on a white ground4 ,the figure is covered throughout with large ,crackle4 ,illustration3 ,,buddhist ,,divinity4 ,od-dpag-med1 ,amitbha or ,amida4 ,amida in the attitude of bearing witness and holding the ptra or bowl to receive alms4 ,the position of the hands designates the functions which are being carried on by ,buddha or by his followers at any given time4 ,these gestures are each illustrative of some idea1 and are classified under the name mudrs4 ,for instance1 the hands placed over one another or reposing wrapped up in the lap indicate meditation2 the right hand raised1 left hand extended downwards1 both with palms outwards1 imply teaching and charity2 the same with the index fingers only extended is a sign of the possession of the world2 right hand extended and palm outward signifies charity2 fingers clasped with tips together is the world-wide expression of adoration or of prayer for mercy2 right palm on the leg of sitting ,buddha with left palm held upwards and outwards is the position for bearing witness2 the right hand raised palm outwards with fingers extended is the attitude of blessing2 the right hand clasping the index of the left is the habitual attitude of the ,buddha supreme and eternal2 the head resting on the right palm turned upward signifies meditation on the means of saving mankind4 ,other magical or mystical positions are3 ,palms upwards1 tips of the thumbs and fingers of each hand touching each other1 indicating teaching and direction2 right hand extended downwards palm outwards1 left hand closed1 signifying perfection of conduct2 right hand elevated and left closed1 as in the last attitude1 showing love to others in active charity4 ,the study of the mudrs is quite interesting though unfamiliar4 ,illustration3 ,,the ,,god ,,of ,,the ,,learned4 ,amongst the figures of the gods1 in a country where literature is the sole passport to success1 where examinations on the knowledge of that literature lasted for days1 and where the results of the examinations meant so much1 it would be quite natural that a high place should be given to the god of literature4 ,here we have a magnificent specimen1 possibly worth about #d1jjj4 ,it is a figure1 of extraordinary size1 of ,wan ,chong 7,god of ,literature74 ,the robe1 of exceptionally brilliant green enamel1 is decorated with clouds in aubergine1 white1 yellow1 and black2 the centre having a large panel containing a flying stork and clouds in rouge de fer1 yellow1 green1 and aubergine1 on a white ground1 the whole of this surrounded by a narrow margin of aubergine and black4 ,above this panel1 and going round the waist1 is a girdle in high relief2 this is decorated with small hawthorn blossoms of rouge de fer1 raised from a ground of rich aubergine2 the borders of the garment contain hawthorn blossoms in aubergine1 yellow1 blue1 and black1 on a deep green ground4 ,the exposed hand1 which is movable1 is of white biscuit1 whilst the face is glazed in white1 and the head-dress and feet are of brilliant black enamel4 ,attention may be called to the sublime expression and modelling of the features in this figure1 which can without doubt rank as one of the finest and most important pieces of the period4 ,illustration3 ,,the ,,taoist ,,divinities4 ,the first of these divinities is ,la-tse1 the founder of ,taoism4 ,he is usually represented holding a book whilst seated on a buffalo4 ,he lived to a great age in a hermitage situated on a mountain side1 when one day a buffalo1 ready harnessed1 came where he was1 and when he had mounted it he was carried away to the west4 ,chang-,ti1 the god of heaven1 is represented seated upon a horse and holding a tablet4 ,hou ,tou1 goddess of the earth1 appears in the dress of an empress4 ,the gods of the stars have various names1 but they may be found as images1 and we give some of them4 ,sou ,sing1 god of the ,pole ,star and of the ,north1 is usually seated on a stool2 before him lies a tortoise enveloped in the coils of a serpent4 ,ko ,sing1 the god of the ,great ,bear1 carries the writing pencil1 or brush1 and an ingot of silver1 symbol of the fortune which is secured by knowledge4 ,he also carries a bushel measure4 ,nan ,kiun ,lao1 or ,ch1 is the incarnation of ,la-tse and the god of the ,southern ,cross4 ,he holds a sceptre and rides upon a mule4 ,amongst the very old statuettes may be found some that are very ancient1 dating from the ,sung dynasty 7#ifj-abgi74 ,these are of violet and blue ,celadon4 ,fou ,hi1 the first ,emperor of ,china1 is a specimen of these figures in the ,muse ,guimet at ,paris4 ,to him is ascribed the invention of agriculture and writing4 ,chen ,noung1 the inventor of medicine2 ,f1 ,l1 and ,ch1 the three gods of happiness1 and many others4 ,the illustration is an exceptionally fine and rare figure of ,kouan-ti1 the god of war1 seated on a horse4 ,the armour is in green with yellow edgings1 belt1 c42 the under-garments in aubergine1 and black boots4 ,the head-dress is green4 ,the horse aubergine and black4 ,all the trappings1 including saddle and saddle-cloth1 in green and aubergine4 ,period1 ,ming4 ,illustration3 ,,wen-,,tchang4 ,,chief ,,of ,,the ,,five ,,gods ,,of ,,letters4 ,a figure of the god of ,wisdom2 the robe decorated with clouds in aubergine1 green1 and white1 on a brilliant yellow ground2 the cape on the shoulders has a gold tracery design on deep rouge de fer1 whilst at the back the ornamentation is carried out in formal flowers in green and aubergine on a white ground2 on either side of the robe are two sacred dragons1 finely drawn and enamelled in green1 aubergine1 and blue2 the under-garment1 which reaches to the feet1 is decorated with flying storks in black and white1 and peaches in rouge de fer and green1 on a plain apple-green ground1 and the border has a light pencilled design on deep green4 ,above the folded arms is part of another garment1 decorated in the centre with a cheou in gold on a pink ground2 the remainder of this has small yellow flowers on stippled green2 the left hand1 which is hidden under the folds of the garment1 contains a ,joo-e in gold2 the head is of white glazed porcelain1 the crown in biscuit1 whilst the hair1 eyebrows1 whiskers1 beard1 and moustache are in brilliant black enamel4 ,the third eye1 which is seen in the centre of the forehead1 is supposed to represent the faculty possessed by this deity of seeing more than any other person or god1 for with the aid of this third eye he was able to see not only what took place externally1 but to read into the innermost depths of a man's soul1 as well as the past1 present1 and future4 ,the figure is supported on a rectangular stand1 the front of which is decorated with a bold diaper design in aubergine1 yellow1 and black1 on a pale green ground1 whilst in the corners are ,joo-e heads in yellow1 green1 and aubergine4 ,the panels at the sides have in each a large flower in yellow and aubergine1 with green lotus leaves on a white ground2 in the back panel of the upper portion of this pedestal is a large drawing of a running dragon1 which has a yellow head1 aubergine tail and mane1 and a green and black body2 the four remaining panels have flowers and leaves in green1 aubergine1 and yellow1 on a biscuit ground4 ,ming period4 ,possibly another form of ,wan ,chong4 ,illustration3 ,,another ,,taoist ,,god4 ,a figure of ,piu-hwo carrying his fly-whisk1 with which he was supposed to have the power to revive the dead4 ,he is represented in a flowing robe of a brilliant brownish-black enamel4 ,the head1 fly-whisk1 hand1 feet1 and base in unglazed biscuit2 the features and expression remarkably well portrayed4 ,the ,taoist divinities are the chief objects of attention amongst ,chinese figure-makers1 who in beautiful bronze and no less beautiful porcelain commemorated the traditions of past ages4 ,kwan-,yin1 ,amitbha1 or ,amida1 and some others are ,buddhists both in ,china and ,japan1 but the great ,taoist divinities1 headed by ,la-,tse1 the founder of ,taoism1 seem to be specially honoured by the potters4 ,the deities of heaven and earth1 the sidereal gods of the constellations1 the secondary divinities1 such as ,f1 ,l1 and ,ch1 the three gods of happiness1 and the gods of fortune and letters are all to be found in porcelain4 ,the eight immortals belong to the inferior rank of ,chens or ,esprits4 ,they are described in a special chapter elsewhere1 still1 we must remark that in blue and coloured decoration on vases1 dishes1 c41 they are constantly met with1 so that it is well to be familiar with their appearance and with their symbols4 ,han ,chung-le1 the president of the pchens1 and ,tsaou ,kwo-kiu carry fly-whisks beside their proper symbols1 and so do the others occasionally4 ,there still remain the divinities of the earth1 of whom ,si-,wang-,mu was the chief4 ,the gods of the seasons1 the cities1 the mountains1 and the sea1 all had their functions duly recognised4 ,one word of advice is here necessary4 ,the old ,ming figures are valuable1 and forgeries are numerous4 ,so are the early ,kang-he figures such as this4 ,illustration3 ,,the ,,immortals4 ,these ,pa ,sien are eight in number4 ,they attained immortality in various ways1 but the eating of the peach1 which is carried as an emblem by ,han ,chung-le1 the god of longevity1 and whose fruit confers the gift of immortality1 seems to have been indispensable4 ,the illustrations show three figures of two of these gods bearing their emblems4 ,on the right is a figure of ,han ,seang-tsze4 ,this personage was a nephew of the great philosopher1 ,han-,yu1 who lived in the first century4 ,the robe is of rich green enamel relieved with medallions1 each of which contains a fabulous animal in aubergine1 yellow1 and white1 on very pale green ground2 the collar is of aubergine with black tracery design2 the under-garment1 the skirt of which reaches to the feet1 is of yellow with a small design in black4 ,in his right hand he carries his flute 7,tieh72 this1 as well as the hand and head1 in biscuit4 ,another figure of the same god in quite a different style of decoration4 ,note the flute emblem4 ,it belongs to the same set as the next4 ,in the centre is a figure of ,chang ,ko-laou1 who is supposed to have lived in the seventh century4 ,his robe is of aubergine1 decorated with flowers and flying birds in pale blue1 yellow1 white1 and black2 the undergarment1 which reaches to the feet1 is stippled green ground1 with a formal design in black4 ,the head-dress is a brilliant black enamel1 as are also the bamboo tubes and rod which he carries in his right hand2 the latter and the face are in biscuit1 and the beard is aubergine4 ,all of these are ,ming4 ,illustration3 ,,buddhist ,,divinities ,,and ,,han ,,chung-,,le4 ,images in porcelain of ,buddhist divinities are exceedingly rare4 ,gautama ,buddha may be found in pictures surrounded by sixteen ,arhats and four guardians of the world4 ,these ,arhats are five hundred in number1 and the sixteen occupy a rank superior to the others1 under the name of ,sthaviras1 or the seniors4 ,unfortunately1 the details of their lives are little known4 ,in ,mr4 ,salting's ,collection there are a number of ,arhats1 which should be seen4 ,a pair of seated figures of ,buddhistic deities4 ,the robe of one has an aubergine skirt1 and the other bright green2 the body is ornamented with sacred jewels in biscuit1 as are the head1 hands1 and feet2 one has the ,buddhistic crown and coronet in green and yellow1 whilst the other has only a crown4 ,supported on pedestals fashioned as tree trunks1 on which there is a vase in aubergine and a bird in green and white4 ,in the centre of each panel of the base1 which is of bright green enamel1 are ,kylin heads1 yellow in one instance and aubergine in the other4 ,these are early ,ming4 ,in the middle is a figure of ,han ,chung-le1 the first and greatest of the ,taoist immortals1 who is supposed to have found the ,elixir of ,life1 and lived to attain the great age of #abg years4 ,the robe is of brilliant green enamel1 decorated with flying storks and clouds in aubergine1 green1 yellow1 white1 and black2 the head and hands are in biscuit1 the flowing beard is in black1 as is also the fan with which he revived the souls of the dead4 ,ming of a later type4 ,illustration3 ,,the ,,taoist ,,immortals4 ,a large arbour or shrine in brilliant green and yellow enamels4 ,in the various sections are the figures of the eight immortals1 wearing green1 yellow1 and aubergine robes2 on the right-hand upper portion is a small figure of a dove in biscuit4 ,at the base1 rising from the waves1 is a carp1 and also a frog4 ,although the ,chinese potters had at their command an endless list of gods1 goddesses1 saints1 and devils in their mythology1 they appear to have loved to draw and to model the eight immortals1 ,kwan-,yin1 ,si-,wang-,mu1 and other ,taoist divinities1 to the exclusion of all except a few ,buddhist gods4 ,this seems to be due to their intense desire for a long life as the highest good4 ,constant use is found for the character ,show1 which is written in a hundred different ways1 as shown in the robes of ,kwan-,yin and ,si-,wang-,mu in the illustrations of those goddesses4 ,such pieces as those given here are rare1 although these divinities and the eight immortals are very often depicted on pieces in blue and white1 and on many specimens in coloured enamels4 ,it is curious to notice how1 when they are in the heavens1 they are carried upon the clouds2 when upon earth ,han ,chung-le and ,han ,seang-tse ride upon a fan2 ,tsaou ,kwo-kiu on a log2 ,chang ,ko-laou stands on a frog2 ,lan ,tsae-ho on her basket1 and carries her symbol1 the lotus2 ,leu ,tung-pin stands on his sword2 ,ho ,seen-koo on a willow-branch1 and ,le ,tee-kwae sits on his gourd4 ,ming4 ,illustration3 ,,fabulous ,,animals4 ,,the ,,dog ,,of ,,buddha1 ,,the ,,dog ,,of ,f1 ,,or ,,the ,,corean ,,lion4 ,the fabulous animals and birds are few2 most of them are1 however1 met with so frequently on porcelain that it is necessary to be quite familiar with these fantastic creatures in order to grasp the meaning of the ,chinese decoration4 ,the fong-hoang1 a singular and immortal bird1 is dealt with elsewhere4 ,the animals are four in number--the dragon1 the kylin1 the dog of ,f1 and the tortoise with a hairy tail4 ,the last was an emblem of longevity1 and is usually an attendant on the god of longevity4 ,another power was its ability to assume various transformations1 and still a third was its enormous strength4 ,we shall only emphasise here the differences between the kylin and the dog of ,f1 to which the name kylin is so often erroneously applied4 ,the kylin resembles a stag in its body1 whilst the dog of ,f is much more like a lion2 in fact1 with its head1 face1 mane1 teeth1 and claws1 it does not require a vivid imagination to take it for a lion4 ,the lion and the unicorn may fairly indicate the dog of ,f and the kylin4 ,we show a pair of so-called kylins1 the one playing with a cub and the other holding a sacred ball2 the bodies of brilliant green enamel1 with decorations of aubergine1 yellow1 and black2 supported on square pedestals1 the fronts having a bold diaper design1 the sides decorated with butterflies and flowers in aubergine1 green1 yellow1 and black1 on a pale apple-green ground2 on the back of each pedestal are four sacred emblems in aubergine1 green1 and yellow1 on biscuit4 ,ming4 ,illustration3 ,,emblems ,,in ,,birds4 ,amongst the symbols used in decoration a bird on a perch is frequently found4 ,the meaning of the symbol depends upon the kind of bird4 ,the parrot--the speaking bird--warns women to be faithful to their husbands4 ,the stork and crane are emblems of longevity1 ducks and geese are types of conjugal affection1 and as such they are carried in wedding processions4 ,quails were valued because of their fierceness in fighting4 ,the magpie was a bird of good augury1 which is regarded as sacred by the present reigning family1 whilst the crow was a foreteller of evil4 ,the peacock is largely valued for the tail feathers1 which designate official rank4 ,a piece of coral and two feathers indicate the promotion of a mandarin three steps at a time1 a similar coral and four feathers means five steps at a time4 ,the pheasant is an emblem of beauty1 it is often used instead of the phnix or fong-hoang4 ,amongst the ,chinese1 gold and silver pheasants of extraordinary beauty give the motif for the rich decoration of pheasant plates1 and the varieties of the colours remind them of the duty of practising the various virtues4 ,here are a pair of pheasants1 the plumage in yellow1 black1 brown1 and green1 the bodies of pale apple-green4 ,each bird is seated upon a tall rock enamelled in rich olive green2 this is covered with flowering branches in high relief1 or decorated in varied colour enamels4 ,supported on ormolu bases1 ,louis ,,xvi4 period4 ,other birds1 such as eagles1 falcons1 and hawks1 may be found in figures or groups4 ,early ,kang-he4 ,,vi ,,early ,,history ,,of ,,porcelain ,,chapter ,,vi ,a ,,short ,,account ,,of ,,the ,,early ,,history ,,of ,,porcelain ,perhaps what we have said will inspire our readers with the desire to know something of the origin of the potter's art in ,china4 ,this cannot be definitely fixed4 ,it is lost in antiquity4 ,far back1 centuries before the ,christian era1 possibly when ,egyptian civilisation was at its height1 legendary history refers to the invention of pottery and1 indeed1 places the invention of pottery thousands of years ,b4,c4 ,we have no definite information as to what was made1 but we may fairly assume that in those remote times the vessels made were only course clay1 rude in form1 sun-dried or badly baked in an open fire4 ,then1 possibly1 the first efforts at glazing were produced and ornamented1 the surface was decorated by drawings with a stick in transverse scratches or concentric rings1 and simple bits of clay stuck on to the soft surface formed the first applied ornament1 gradually developing1 and ever far in advance of ,western barbarism4 ,the manufacture reaches the period where actual records were available during the ,wei dynasty1 #bbj ,a4,d41 when two potteries were recorded as making porcelain for ,imperial use4 ,the string of dynasties which follows have but slight interest for the collector4 ,the marks we give 7see ,marks7 range from the ,sung dynasty1 #ifj ,a4,d41 to the ,tsing dynasty1 which came into power in #afdd and continues to the present day4 ,though we read of porcelain blue as the sky1 shining as the looking-glass1 thin as paper1 giving a sound like a musical stone1 we could scarcely hope to find a specimen after the lapse of so many hundred years4 ,besides1 if we did1 the piece would be unique and even the experts would doubt its identity4 ,still1 the tiny fragments of this precious ware are recognised in ,china1 and are so valuable that the ,chinese have them mounted as personal ornaments4 ,the first of the dynasties shown in our list has a real claim for consideration1 that is1 the ,sung dynasty1 which lasted from #ifj to #abgi ,a4,d4 ,the ,emperor ,chin-tsung1 who reigned from #ied to #ajjg ,a4,d41 adopted as his title name1 or nien hao1 on coming to the throne1 ,king-te1 and he founded the royal manufactory at ,chang-nan-,chin1 henceforward known as ,king-te-chin4 ,this city remained for many centuries the greatest manufactory of ,chinese porcelain4 ,here1 then1 we have definite history of a city in the ,chinese provinces of ,kiang-si1 with a present population of #ejj1jjj1 in which porcelain has been manufactured for centuries1 and where the manufacturing is still carried on1 although1 through wars and insurrections1 the work has now and then been suspended for varying periods4 ,there were numerous other factories in thirteen other provinces1 notably in ,ho-nan1 which had no less than thirteen4 ,historical incidents occur which show that ,oriental porcelain was by slow degrees making its way ,westwards4 ,saladin 7#aacg to #aaic71 ,sultan of ,egypt and ,syria1 who defended ,acre for two years against the ,crusaders1 sent forty pieces of finest porcelain to ,nur-ed-din ,mahmud1 who recovered ,syria from the ,crusaders4 ,that celebrated ,venetian traveller and author1 ,marco ,polo1 writing in #abhj1 described a visit to a ,chinese factory1 and stated that the porcelain was exported all over the world4 ,the ,yuen dynasty 7#abgi-acfg7 saw the advent of ,roman ,catholic missionaries and ,florentine traders4 ,they came to ,pekin and ,hang-chow2 and far off ,cathay1 the land of mystery1 romance1 and poetry1 first made acquaintance with the ,western barbarians4 ,we read of porcelain of this period having been moulded1 modelled1 and painted with flowers4 ,the most noted potter1 ,pung1 was not famous for his own individual work of designing new forms or inventing new colours1 but for copying the older wares1 and we shall never have an opportunity of seeing his work1 which1 though beautiful1 was very thin and brittle4 ,,vii ,,the ,,ming ,,dynasty ,,chapter ,,vii ,,the ,,ming ,,dynasty 7#acfh-afdd7 ,,and ,,its ,,products ,the story of the overthrow of the ,mongol dynasty by a rebellion headed by a native named ,hung-woo1 the son of a labouring man1 introduces the great ,ming dynasty4 ,this man1 a former ,buddhist priest1 captured ,nankin in #acee1 and thirteen years later he took the title of ,emperor4 ,during this dynasty1 which lasted till #afdd1 the progress of the manufacture of porcelain was very marked2 indeed1 the ,chinese themselves are keen collectors of the ,ming products1 considering them to be the finest ever made4 ,they scarcely exist outside the treasures of the cabinets of princes or of the collections of mandarins4 ,whether this is due to the extreme devotion of the nation to past history and to their love of ancient relics more than their appreciation of what we consider beautiful1 the fact remains that1 in the early times1 ,ming porcelain was rarely exported1 so that we have very little to guide us in determining what is or is not porcelain of the ,ming period4 ,true1 there are the marks1 but the marks were copied just as much as the forms and decorations were4 ,the best periods of ,ming porcelain arranged in order of merit1 and not in order of date1 were ,suen-tih 7#adbf-adcf71 ,ching-hwa 7#adfe-adhh71 ,yung-lo 7#adjc-adbe71 ,kea-tsing 7#aebb-aefg74 ,ching-hwa is the first in order of reproduction2 his mark is most frequently copied4 ,at about the period of ,ching-hwa1 ,europeans were making efforts to reach the ,east by sea1 and in #adih ,vasco de ,gama sailed round the ,cape of ,good ,hope1 and thus made an opening1 by which eventually trade was carried on by sea to ,china4 ,the ,portuguese were the first to settle in ,china in #aeaf4 ,from their factory or settlement in ,macco1 or ,macao1 at the entrance to the ,canton river1 the first sea-borne pieces of ,oriental porcelain were sent to ,europe by way of the ,cape4 ,the conclusion1 therefore1 must be1 in view of these dates1 that the earliest pieces found in ,england and on the ,continent were carried overland1 by camels1 thousands of miles over mountains and through deserts1 till at last they reached their ,european owners4 ,the earliest porcelain found in ,england--that is1 a ,celadon bowl presented to ,new ,college1 ,oxford1 by ,archbishop ,warham1 and the bowls of ,oriental china given in #aejf by ,philip of ,austria to ,sir ,thomas ,trenchard--came by land4 ,the ,portuguese vessels were not content to sail only to ,china and to exchange its products for those of ,europe1 for in #aedb they appeared in ,japan4 ,fernam ,mendez ,pinto in his ,travels1 published in #aede1 states that he and his companions were cordially received by the ,prince of ,japan4 ,evidently1 then1 at the time when ,queen ,elizabeth was reigning in ,england the ,portuguese were pushing their trade in the ,east as the ,spaniards were in the ,west1 and1 as we have seen1 the ,portuguese1 amongst other commodities1 sent ,oriental porcelain home1 and brought ,european products back4 ,they brought the ,jesuits too4 ,christian teachers had been at work in ,china for long years before the ,jesuits came1 but the activity and knowledge of these gave them great influence amongst the reigning class practically from the close of the sixteenth to the beginning of the eighteenth century4 ,it is said that they had much to do with the evolution of the beautiful enamel colours of the next dynasty1 the ,tsing1 though the evidence of this is of the slightest4 ,on the contrary1 the development appears to have had purely a native origin2 an unusual step1 it is true1 to be taken by a nation which seemed all along the line to be reproducing earlier forms and earlier decoration4 ,from the period when the vases of the ,yung-lo period were in demand1 painted as they were with lions rolling a ball1 with birds or with dark blue or red flowers1 we find progress being continually made4 ,suen-tih1 whose reign is the most celebrated for the production of ,ming porcelain1 produced very fine examples1 with flowers in pale blue1 having red fish moulded as handles4 ,then comes the fine colour paintings of ,ching-hwa1 through which we reach the perfection of the ,kang-he in the ,tsing dynasty4 ,it is remarkable that only a few ,ming specimens seem to have been identified with enamel colour decoration1 though in recent1 indeed1 quite late times1 authorities are ascribing many pieces with green and yellow enamel set in black outline to ,ming1 rather than to ,kang-he4 ,white1 green1 and crackle pieces are often mentioned in the historical records4 ,we read that ,lord ,treasurer ,burleigh1 ,william ,cecil1 ,secretary of ,state for nearly forty years to ,queen ,elizabeth1 offered as a ,new ,year's gift1 in #aehh1 to his royal mistress one porringer of white porselyn garnished with gold1 and another gift of a similar kind was made to the ,queen by ,mr4 ,robert ,cecil1 a cup of grene pursselyne4 ,later1 we read that amongst the effects of ,lady ,dorothy ,shirley were purslin stuffe1 ,chinese stuffe1 two dozen of purslin dishes4 ,it will be noted that it was only with the advent of ,shakespeare and the ,authorised ,version of the ,bible that our ,english spelling took anything like uniformity4 ,the last note regarding ,lady ,shirley's possessions was made in #afbj4 ,in the time which had elapsed between these records much had occurred in the ,orient4 ,the ,dutch1 in #aeie1 sent out their first expedition to the ,east ,indies1 and ,queen ,elizabeth1 not to be outdone1 despatched three ,english ships to ,china in #aeif4 ,three years later the ,east ,india ,company was founded1 a company which at first could not trade in ,india or ,china owing to the fierce opposition of the ,portuguese and ,dutch4 ,they therefore made their headquarters at ,gombron in the ,persian ,gulf4 ,the china ware was brought overland or by coasting vessels to ,gombron1 which gave the early name ,gombron ware to porcelain which was universally used before the adoption of the name china4 ,during the ,ming dynasty the practice of placing marks upon the porcelain was first adopted1 though the rule seems to have been to mark only one piece in a set1 yet the method of marking porcelain was far from being universal or methodical4 ,in acquiring ,ming porcelain the buyer must be especially careful4 ,for many centuries the old forms were copied1 and in counterfeiting the porcelain and decoration it was quite easy to imitate the mark4 ,here1 then1 we must once more advise the collector to rely upon sight and touch4 ,we have stated that it is the inspiration of the educated eye regarding the tout ensemble which was largely to be trusted4 ,on the other hand it would not be well to dispense with the necessity for actually handling the piece with the view to detecting differences between the old and the new work4 ,in dealing with fine pieces there is one advantage3 they are submitted to expert after expert1 whose opinions may vary1 but truth is great and will prevail4 ,the end of the ,ming dynasty was rapidly approaching4 ,the ,tartars1 with shaven head and pigtail1 were as the storm clouds which had been collecting for some time1 and at length they burst over the ,empire4 ,the space of time between the years #afaf and #afdd1 when the struggle for supremacy between the ,ming and ,tsing dynasties was at its height1 leaves the identification of porcelain made during that period a matter of considerable difficulty4 ,in a national struggle1 art manufactures are the first to suffer1 so that it is quite probable that only a small output of porcelain took place during those troublous years4 ,in revising the ,ming period note should be made that ,hung-woo preferred black1 blue1 and white ornaments2 and that gold used as the decoration for a dark-blue ground was first employed4 ,in ,yung-lo's time intense patches of colour were used1 and there was a development with regard to the reds2 a dark red was widely adopted4 ,the paintings of flowers and of birds and beasts1 mainly used figuratively as emblems1 became far more delicate4 ,the ,ching-hwa potters seem to have adopted a delicacy and a mastery over the art of porcelain decoration scarcely ever met with in history4 ,it is true that the supply of blue failed1 the cobalt was of an inferior quality1 but the coloured painting reached high perfection4 ,the marks and designs of the ,ching-hwa period furnished unexampled opportunities for copying1 for although the later ,kang-he showed1 without doubt1 the finest blue and white with regard to colour that was ever made1 the pattern generally adopted can be distinctly traced to ,ching-hwa4 ,kea-tsing was noted for the use of enamel colours of a beautiful depth and quality4 ,about this time pure white cups were made imitating white jade1 but the quality of the porcelain is inferior to many of the other periods because one of the sources of supply of porcelain earth failed4 ,,viii ,,the ,,tsing ,,dynasty ,,chapter ,,viii ,,the ,,tsing ,,dynasty4 ,,kang-,,he ,,period 7#affa-agbb7 ,bearing in mind the struggle between the ,mings and the ,tartars1 which lasted1 as we have seen1 from #afaf to #afdd1 we may take ,shun-che 7#afdd-affa7 as the first real ,tsing ,emperor4 ,properly1 the title of the dynasty1 which has existed to our own times1 would be the ,manchu1 ,manchoo1 or ,tae-tsing or ,ta ,tsing dynasty1 which is the twenty-second ,imperial dynasty4 ,the most distinguished ,emperor in connection with the manufacture of porcelain was the second1 named ,kang-he1 who had a long and peaceful reign from #affa to #agbb2 in fact1 he is the only ,emperor who reigned for a complete ,chinese cycle of sixty years1 and we shall find amongst our marks that the sixty-first year is distinguished by a cycle mark and not by the nien-hao1 or name mark4 ,note ,fig4 #a in the marks4 ,under ,kang-he's guidance the porcelain manufacture received an immense impetus4 ,many improvements were adopted and new colours introduced1 especially the enamel colours4 ,amongst the noted potters living long before his reign were two whose names have come down to us1 although identification of their work is impossible4 ,the famous ,pung1 as before noted1 was an excellent potter1 but he was only copyist of old forms4 ,chow was a later potter who1 near the end of the ,ming dynasty1 also excelled in imitating ancient vases4 ,the work of these two old potters were copied at first by potters of the ,kang-he period4 ,franks says3 ,it is probably to this reign that we must refer most of the old specimens of ,chinese porcelain that are to be seen in collections1 even when they bear earlier dates4 ,what generally were the qualifications and characteristics of the productions of ,king-te-chin in this reign8 ,our illustrations1 which should be read carefully1 will give guidance to the careful student regarding the ,chinese porcelain that was then produced4 ,there seems to have been little doubt that the three-coloured pieces1 decorated with yellow1 green1 and aubergine1 were direct copies of the ,ming products4 ,aubergine is a puzzling word and requires explanation4 ,it is a transparent enamel resembling the egg plant in the variation and gradation of its colours1 from grey to purple or having various shades up to a rich brown4 ,it will be found in the trees1 stems1 and branches1 forming a principal part of the scheme of colour decoration4 ,the black family--famille noire--is of the same period4 ,the black may be composed of other colours1 but it is usually coated with a transparent green enamel4 ,notice that there is a dull black1 a mirror black1 and this black covered with green enamel4 ,kang-he black will receive due attention in the illustrations4 ,it is rare and very valuable4 ,perhaps the finest porcelain produced during the ,kang-he period was the green family1 sometimes used with blue under the glaze4 ,wan-leih1 the ,ming ,emperor1 is sometimes credited with introducing this green enamel4 ,this1 however1 seems very improbable1 for twice in his reign the ,japanese invaded ,korea1 and the ,tartars were always in rebellion4 ,on the whole the balance of evidence points to the green family as being a genuine product of the ,kang-he period4 ,another product of the same period was the green enamel used with blue enamel over the glaze1 so that it is well to note that the fine greens which are classified as famille verte are usually ascribed to this period4 ,the blue and white of the ,kang-he period has been noted before4 ,the most lovely quality of this decoration must be always referred to this period4 ,whether we consider the cobalt blue as a colour1 as in the celebrated ginger jar with prunus flowers sold at ,christie's for #e1ijj guineas1 or such pieces as we show in our illustration from ,mr4 ,duveen's collection1 worth #b1jjj each1 from #agbj right down to our own times this ware has been copied and ever recopied1 but there is something in the blue used for decoration1 something1 too1 in the quality of the white porcelain itself1 and again something in the glaze1 an intense brilliancy4 ,these furnish a combination which has never been rivalled4 ,the ,kang-he period was noted for a very rare biscuit ,celadon1 in which the surface of the panels in relief is unglazed1 though the remainder of the decoration is blue under the glaze4 ,another fine quality of porcelain was that with archaic decoration having conventional flowers and bands in black and green4 ,the marks of the ,kang-he period vary4 ,in the earlier part of his reign the double blue circle and the ,kang-he nien-hao are frequent1 but collectors must note that many specimens of this period have no date mark at all4 ,if the two blue rings are used there are no letters inside4 ,the reason of this is rather curious4 ,in #afgg the superintendent of the works gave an order to the factories at ,king-te-chin1 in which he forbade the inscription of the ,emperor's name or the characters which gave the history of their sacred great men4 ,this order was given because it was thought that if the porcelain was broken it would be reflecting upon the honour of the ,emperor or of these sanctified persons who were represented not alone by inscriptions1 but by paintings used in the decoration4 ,however1 this law did not remain in force for a very long period4 ,when a piece is found with empty rings or with the symbol marks of the fungus leaf1 c41 it can be assigned to a few years later than #afgg4 ,the importation to ,europe had reached considerable dimensions before this4 ,we read that in #affd nearly #ej1jjj pieces of rare ,japanese china were imported into ,holland and about #ag1jjj more of various kinds from ,batavia by the ,dutch ,east ,india ,company4 ,in this connection the rivalry between the ,dutch and the ,portuguese must be noted1 because it affected the ,oriental trade in porcelain very considerably4 ,stirred up by the ,dutch1 the ,japanese1 in #afdj1 excited by their fears of the ultimate designs of the ,portuguese and the ,spaniards1 who had later appeared upon the scene1 banished them in favour of the ,dutch4 ,some thousands of ,christian converts were massacred1 and the ,dutch were fully established at ,nagasaki1 where they laid the foundation of that progress towards ,western civilisation to which the world1 and especially ,japan1 owes so much4 ,,ix ,,the ,,yung-,,ching ,,period ,,chapter ,,ix ,,the ,,yung-,,ching ,,period 7#agbc-agcf7 ,the ,yung-,ching period 7#agbc-agcf71 though only thirteen short years1 was peculiarly noteworthy1 because the ,emperor himself took a personal interest in the ,imperial factories at ,king-te-chin1 and also in the head of the establishment1 ,hien-,hsi-yao1 who1 in #agbg1 was entrusted with the management4 ,in porcelain much depends upon the potting1 and in the actual potting the products of ,yung-,ching were far superior to any that had before appeared4 ,the drawing1 too1 was in every way better1 the colours1 though not so brilliant1 showed such care and taste in blending that even the fine famille verte suffers by comparison4 ,as a rule1 the decoration was so applied that the porcelain could be admired--that is1 the whole surface was not covered by the ornamentation4 ,in some of the smaller pieces the result of this plan is beyond all praise4 ,only one product suffered4 ,the blue was far inferior to that of ,kang-he4 ,we have already praised the quality of the cobalt applied as decoration to vases1 ginger jars1 c41 of the ,kang-he period4 ,as if to balance this default the rose colour from gold was discovered1 which gave birth to the rose family1 famille rose4 ,other products which had their beginnings in this reign are worthy of notice4 ,first there was a black decorated with colour1 mainly with arabesques or curl work4 ,the porcelain was of fine quality and the scheme of colour so subdued as to be entirely pleasing to the eye1 the black being relieved by pattern in faint green and further decorated in white1 pale yellow1 and aubergine of such an admirable character that one wonders why ,yung-ching porcelain is not more appreciated4 ,still the rose decoration begun so successfully in this period1 under the succeeding ,emperor1 received such attention as placed it in the front rank of ,oriental porcelain ,in fact1 we may say more4 ,collectors of the rose family care nothing for ,ming with its greens and yellows1 nothing for ,kang-he with its famille verte and black1 but they esteem and value above all the famille rose1 the ,yung-ching chef d'uvre1 which we shall deal with later when we come to ,keen-lung4 ,the pieces of the ,yung-ching period1 decorated with blue under the glaze with enamel in colour over the glaze1 exhibited the same distinctive features which typical china of this period showed--that is1 excellent potting and a skilful blending of the under-glaze blue with the enamel colours over the glaze4 ,there is this noteworthy distinction1 too1 the decoration on the backs of bowls and dishes is almost equal to that on the front4 ,this is a helpful hint1 to which careful note should be given4 ,perhaps one of the most puzzling and at the same time interesting forms of decoration was the blue used in conjunction with peach bloom4 ,these specimens were ornamented with combinations of three lines either long or bissected1 called the ,pa-kwa1 the single mark forming a trigram essentially male if the long lines were in the ascendant1 and female when the half lines were most numerous4 ,the later marks or symbolical devices will deal more fully with the ,pa-kwa4 ,peach-bloom was undoubtedly first introduced in the reign of ,kang-he1 and the really valuable and fine examples belong to this period only4 ,it is altogether a misleading term to those who are not experts1 who expect to find the delicate pink of the peach blossom or flower4 ,peach bloom is nothing of this kind4 ,imagine a dark reddish brown of unusual but beautiful tone pierced through its surface in flecks of dark green and spots of pink such as the flower would be when the first touch of spring coaxed it from the dark-coloured sepal with flecks of green and a touch of pink4 ,it is the colour of the bud when the peach begins to bloom1 not the pink of the peach blossom so prettily tinted with yellow4 ,peach bloom and clair de lune are the two very finest self-colours which take precedence even of sang de buf4 ,we shall have occasion to occur to this again in the chapter on self-colours4 ,the next class is black with coral red under the glaze2 in fact1 two colours are found under the glaze in the ,yung-ching period1 blue and red4 ,the red is of a brilliant tone1 not so striking as the red from gold1 but still very lovely in its combination with blue4 ,sometimes these two are used together with added enamel colours1 but frequently in under-glaze decoration that favourite ornament1 the five-clawed dragon in pursuit of the crystal ball or pearl1 may be found4 ,the circular device ball or pearl showing the ,yang and the ,yin1 signs for the male and the female elements in nature1 were at this period raised on the surface1 and in over-glaze enamels both the waves and the clouds were tinted with various shades of green and purple and aubergine edged with black4 ,we have already referred to the rose family1 in which the enamel decoration was most carefully and artistically carried out in all its detail4 ,the preponderating influence was a brilliant rose colour accompanied by green1 yellow1 and blue1 all in enamel colours1 which were not less striking because still subordinate to the beautiful pink4 ,when waves were used in the decoration they were of a charming sea-green ,celadon enamel4 ,the blue painted under the glaze has already been referred to as being inferior in quality1 in colour and brilliance to the products of ,kang-he4 ,in fact1 we must repeat that no blue and white was ever equal to the ,kang-he ginger jars and vases decorated with the prunus pattern1 usually called the hawthorn1 with the lip unglazed on the outside and partly glazed on the inside4 ,present day potters produce blue and white ginger jars1 but the blue of ,kang-he is unapproachable1 the paste is exquisite1 and the glaze is incomparable4 ,the ,yung-ching potters did well in blue and white1 and the blues1 though less brilliant1 were very bright and pleasing4 ,the distinctive feature of the period is that the borders of the vases were incised after the manner of the ,ming blue and white1 a pattern which appears at no other periods4 ,let us try to explain this4 ,about an inch from the top of the vases there is an incised pattern1 a pattern cut in double incised lines1 altogether forming a band about half an inch wide4 ,a similar incised band is found round the base4 ,yung-ching blue1 and white often has a decoration of rocks1 waves and curious conventional ground in blue of a carefully painted peach-tree springing from the rocks1 painted blossoms of a rich red tone with reddish or yellowish brown spots distributed over the white as if to emphasise the form of the decoration4 ,the contrast between the delicacy of the detail is striking when compared with the broad treatment of the ,kang-he period4 ,on the one hand there is fine stipple work4 ,this is ,yung-ching4 ,on the other hand there is a broad1 bold wash of colour4 ,this is ,kang-he4 ,one of the most effective forms of decoration is what is widely known as powder or powdered blue1 in which the cobalt was sprayed through gauze or dabbed either upon the whole surface1 or upon all of the surface except that which by mechanical means was reserved4 ,students of ,oriental china will often come across the expression painted in reserves or compartments4 ,by this is meant that the scheme of decoration of the whole surface has been so far modified that certain panels have been left in white for further decoration4 ,hence we get reserves of various shapes with varying decorations--powder blue vases with reserves decorated in blue2 powder blue vases with reserves decorated in famille verte1 and so on4 ,the apparently granulated surface of the powder blue is due to the colour having been blown through the fine gauze or dabbed on the whole portion that was not reserved4 ,celadon was brought to great perfection in this reign4 ,not only the various tints of green usually known by that name1 and not only the brilliant white ,celadon glaze with raised decoration in which a ,celadon green is effectively employed1 but various glazes in which the colour1 being applied in the glaze1 was included in the same term ,celadon4 ,the decoration1 often floral1 was noted for its subdued tones of pink1 mauve1 red1 and orange4 ,vases of the ,ming dynasty1 especially the ,suen-tih and ,ching-hwa periods1 were copied and recopied in every detail4 ,beautiful bowls were largely made with ,celadon or coral grounds1 with figures or other ornaments in coloured enamel2 sometimes reserves or compartments in white had special treatment of figure decoration4 ,other specimens imitated jade or agate or cornelian or some other stone4 ,the well-known pale green ,celadon is the only one known to the trade by the name ,celadon4 ,red or blue ,celadons would be classed under self-colours4 ,we have noted the green family1 famille verte1 of ,kang-he4 ,the ,yung-ching products of the same class differ from it in the quality of the colours used4 ,the green enamel itself was much thinner and not so brilliant2 it often had a blue shade1 but it too was applied as an enamel in conjunction with the under-glaze blue decoration4 ,instead of the reds from copper the reds from iron were effectively used4 ,a colouring like the red of rusty iron was used in several shades1 ranging from an orange red to a bright orange1 or even to a salmon pink4 ,other colours in soft tones were used1 but a chief point to remember is that whilst the design was usually drawn in blue under the glaze1 all the enamel colours were applied over the glaze1 so that a blue tinge is conspicuous1 and it is a help to identification4 ,a reference was made earlier to the rose family4 ,this was a red from gold1 and perhaps its highest development is seen in the brilliant ruby-back plates of the ,yung-ching and ,keen-lung periods4 ,this colour had its origin in ,yung-ching's short reign1 and the shades of it vary from pink to purple4 ,as enamel1 the rose colour is most wonderfully applied to flowers1 drapery1 c41 and really it is far more decorative than the green1 the powder blue1 or indeed any other colour4 ,it has their artistic merit1 and the additional one of being a soft and most attractive tint1 if green represents the leaves1 rose pictures the flowers2 and perhaps the most lovely combination is rose verte1 where both of these are used in harmony4 ,x ,,the ,,keen-,,lung ,,period ,,chapter ,x ,,the ,,keen-,,lung ,,period 7#agcf-agie7 ,during the first seven years of the reign of this ,emperor there was but little variation in the character of the porcelain manufacture at ,king-te-chin4 ,in #agdc1 however1 a new director was appointed to the works--,thang-ing--who continued the high quality of the manufacture of the two previous reigns1 and brought the rose family to the most perfect state4 ,indeed1 though the ,european influence exerted by the ,jesuits may possibly have been more powerful than before1 yet no ,european china quite reaches the glowing brilliance of these ,chinese vases and dishes4 ,imitation is the sincerest form of flattery1 and ,chelsea tried to copy the rose colour1 the result being the fine claret colour of the ,chelsea china4 ,svres came nearest with the ,rose du ,barri1 but1 after all1 the lover of old ,oriental porcelain devotes all his energies to the acquisition of specimens made and decorated in the old times1 imitations perhaps of very early ,chinese products1 but perfectly ,chinese in instinct and impression4 ,it is difficult1 if not impossible1 to separate ,keen-lung china from ,yung-ching in unmarked pieces before the full developement of the rose famille1 but the reign of ,keen-lung was so much longer comparatively1 and during the period the porcelain manufacture was so active1 that it will be safe to ascribe the fine specimens of this rose family to it as well as to ,yung-ching1 when the invention of the rose enamel took place4 ,in the last reign we considered1 but only shortly1 this famille rose4 ,the exquisite delicacy of these specimens lies in the combination of an elaborate1 but refined1 style of decoration in which the painting was most artistic1 with the graceful shapes of the pieces themselves4 ,there are other types1 bolder in colour1 broader in execution1 and1 it may be1 equally beautiful4 ,take1 for example1 a vase2 its body would be covered with large sprays of flowers in rose1 yellow1 and other enamels1 but the rose predominates and gives an effect which is very rich and striking4 ,chrysanthemums1 peonies1 irises or flags1 anemones1 pumpkin vines with flowers and fruit--all these were in common use with birds and butterflies1 fishes and insects no less finely coloured1 and1 as it were1 thrown up into relief by the use of black with that transparent green enamel which we have before described1 and here and there a black spot is applied for the same purpose of enhancing the value of the coloured enamels4 ,the porcelain body of the ,keen-lung period is very fine and white1 many of the specimens having a style of painting peculiar to the ,chinese artists of this period4 ,flowers such as those we have mentioned--the chrysanthemum1 peony1 and rose--seem to be ribbed1 as if when the enamel was not quite dry a tool was used for the purpose of breaking up the enamel and in this way getting finer effects from reflected light4 ,the porcelain itself sometimes assumed a wavy appearance1 such as would be left by the potter's fingers when the piece was turned on the wheel4 ,a similar wavy appearance is found on characteristic pieces on ,bristol hard paste porcelain when turned upon the wheel4 ,amongst the rarest decoration of this class of porcelain in this period is what is called mille fleurs4 ,in this class the whole surface is covered with a thousand flowers in variety painted exquisitely in enamel colours of every conceivable hue4 ,yet though the colours are so varied there is nothing but the most pleasing and harmonious effect4 ,pale lilac1 reds and yellows1 alternate with delicate shades of greys and blues4 ,when the panels are left in reserves1 a figure decoration is freely applied to them1 and the figures depicted represent the spirits of the flowers4 ,on the bases1 which are covered with pale sea-green enamel1 are found the square seal marks of the ,emperor ,keen-lung4 ,it is scarcely possible to have the privilege of seeing such perfect work of ,ceramic art1 but the collection of the late ,mr4 ,w4 ,g4 ,gulland1 of ,brunswick ,terrace1 ,hove1 was especially rich in mille fleurs pieces4 ,the class allied to this1 but probably later in date1 is mille cerfs--that is1 a decoration consisting of numberless deer ranging in a forest4 ,the colour is not nearly as brilliant as in the mille fleurs class1 though the same wavy porcelain is to be noted4 ,the green1 bluish in tone1 like the greens of the ,yung-ching period1 are harmonised with browns2 in fact1 the aubergines merge into sepia or brown4 ,the hills are green and brown with some hilltops in blue enamel4 ,the birds are painted quite thinly in rather dull reds4 ,this glaze could be fairly described as late famille verte4 ,in this period the ,celadons show considerable advance4 ,celadons were produced late in the ,ming and early ,kang-he periods1 and cover a range of tints which are difficult to describe1 as we have seen in the case of peach bloom and clair de lune4 ,the sang de buf is also difficult to describe1 so that a pilgrimage should be made to any ,museum which has a genuine specimen4 ,for instance1 in the ,british ,museum1 ,oriental ,section1 in the centre of a large cabinet1 there is a small bottle-shaped vase which is a real sang de buf1 a glaze of a brilliant colour shaded towards a deeper claret and the base shading away into a pale yellow1 pink towards the lip1 which retains the soft1 natural tone of the body or paste4 ,then just below the neck the sang de buf seems to glow with the intensity of the ruby1 just before it falls from the shoulder of the piece towards the base4 ,other colours of this period are known as pigeon's blood and chicken's blood1 crimson1 crushed strawberry1 and so on4 ,to nearly all of these colours the remarks which apply to the shading of the sang de buf can be noticed upon the specimens themselves4 ,here the glaze starts at the top of the vase or vessel2 there is a yellowish tinge1 and the colour has several gradations until it ends at the base4 ,these reds originated in the late ,ming period1 reached high excellence under ,kang-he1 and continued through ,yung-ching's reign1 and under ,keen-lung maintained their high perfection4 ,the ,keen-lung red ,celadon has a somewhat blue shade when the light is reflected at an angle4 ,it is well to remember that all those colours which are called ,celadon1 or self-coloured1 have the tints mixed in the glaze4 ,besides the reds1 there are blues of many shades1 violets1 mauves1 c4--in fact1 any colour that could be applied in the glaze was used as the sole decoration of fine porcelain4 ,it is true that in many of the fine vases the body is moulded with flowers or dragons or other patterns1 yet the glaze was a whole glaze and therefore ,celadon4 ,notwithstanding this1 the ,celadon surface was itself frequently decorated by designs in enamel colours outlined in black4 ,as we have before shown1 it is easy to know whether a piece is decorated with ,celadon or with enamel1 because all enamel colours stand out from the glazed surface to which it is applied1 and by passing the fingers over the decoration the enamel can be felt4 ,this brings us to certain facts that must be remembered4 ,enamels1 like ,celadons1 may be of any colour4 ,they are always burnt in so as to amalgamate with the cover glaze1 even if that cover glaze be itself coloured and therefore ,celadon4 ,also there are but a few colours which can be applied before glazing1 that is1 upon the paste or body directly4 ,we have seen that blue and red were so applied4 ,this brings us to the other development4 ,the ,keen-lung class of blue and red under the glaze was derived from that discovered in the ,yung-ching period4 ,its application was developed with surprising skill by the finest workmen1 so that the application of copper red under the glaze1 in combination with blue1 gave splendid opportunities for these artists to display their pre-eminent skill for freehand drawing in applying designs upon the biscuit porcelain before the glazing took place4 ,if1 for example1 you pass your hand over a piece decorated under the glaze1 you will find a surface perfectly smooth1 the colour has sunk into the paste4 ,the next note is worth remembering1 because it may be applied as a practical test to distinguish between the old and the modern blue under the glaze4 ,this test of modern blue is to be found with the finest strokes1 whereas in the old work each stroke is perfectly smooth or uniform in its outline1 never laboured1 never hatched1 but simple strokes which plainly follow the ,american plan of never taking three strokes when one stroke will do4 ,most of the modern work reveals a tiny blue dot at the pull-off of the fine hair brush or pencil4 ,the drawing and writing of the ,chinese was always done by means of a pencil held perfectly upright by the fingers1 so that by examination of the pencil marks it is quite easy to see whether the blue lines have inequality1 especially at the point where the brush is removed1 and our readers may detect forgeries of the old marks as well as the old drawings by noticing this blue dot at the end of the stroke4 ,it is never found upon an old piece4 ,the coral red family1 which belongs peculiarly to this period1 is extremely pleasing1 and a very fine result is secured when used with blue under the glaze1 leaving the design outlined in red1 so that the red1 white1 and blue harmonise perfectly4 ,but the coral red was also used under the glaze as a ground colour4 ,then it was thickly powdered with white chrysanthemum leaves and flowers1 and it had white reserves often decorated with sprays of conventional white lotus1 chrysanthemums1 and magnolia4 ,the ,chinese varied the colours in their decoration with wonderful effect4 ,blue under the glaze was1 as we have seen1 associated with reds under the glaze1 but it was quite effective with enamels over the glaze1 and we may take this as the next class of the period4 ,the design1 or any part of it1 was applied to the paste1 then the piece was glazed and fired so that on coming from the kiln it was simply a white porcelain piece having blue1 or red and blue1 decoration under the glaze4 ,then enamel colours were used to complete the design1 such as green enamels with the blue designs showing through them and thin dull reds under the glaze1 as before noted1 whilst the rest of the piece was coated with decoration in yellow1 blue1 or even white enamel colours4 ,perhaps the most--and here adjectives fail3 charming1 lovely1 famous are words which arise in the mind--ruby1 pink1 rose eggshell plates really should be seen rather than described4 ,these all belong to the famille rose4 ,but eggshell was not confined to this family4 ,dated specimens seem to indicate that the two earlier reigns had seen the origin and progress of this beautiful ruby porcelain1 but there is no doubt that many of the finest of the marked pieces belonged to the ,keen-lung period1 though ,yung-ching produced excellent specimens4 ,let us give a few examples from the sale-rooms4 ,but first we could wish that all who will read this chapter could betake themselves to the ,victoria and ,albert ,museum1 to the ,british ,museum1 to ,duveen's or ,gorer's in ,bond ,street1 and see for themselves what ,chinese eggshell plates really are4 ,the ,salting ,collection in the ,museum at ,south ,kensington has very fine specimens1 and the ,british ,museum has similar specimens in two flat cases1 which1 unfortunately1 do not allow the full value of the ruby back to be appreciated4 ,at ,duveen's there are two cases filled with the loveliest specimens ranged before a looking-glass1 which enables the visitor to see both the design on the front of the plate and the lovely colour at the back4 ,it is surprising1 and yet not astonishing from the point of view of the collector who will have the best1 to notice the prices which have been paid for these plates1 which are quite small1 ranging from #g in4 to #h in4 diameter4 ,a few examples will help in enabling us to estimate their value4 ,one eggshell plate1 enamelled with chrysanthemums and a sparrow1 and with sprays of peonies round the border1 on pink diaper-pattern ground1 #h in4 in diameter1 sold at the sale of ,louis ,huth's ,collection for #aje4 ,the other prices realised at the same sale are no less striking4 ,saucer dishes1 pair1 eggshell1 with ruby backs1 enamelled with branches of chrysanthemums and peonies on a white ground1 #h in4 in diameter1 sold for #hj1 but a better pair1 enamelled with cocks and peonies in the centre on white ground1 with pale green trellis border1 #g in4 in diameter1 realised #djj4 ,one saucer dish1 enamelled with a pheasant1 quail and peonies in the centre1 and a pale green marble border with pink prunus blossom1 and three panels containing flowers1 #h in4 in diameter1 brought #ace4 ,the first and last of these were not pink-backed1 but they were certainly beautiful4 ,other eggshell plates at the same sale with ruby backs1 which we will describe shortly1 even at the risk of appearing monotonous1 were3 one enamelled with ladies and children in the centre1 diaper border1 with three panels of flowers1 #h in4 in diameter1 which realised #aej2 another1 enamelled with quails and chrysanthemums in the centre1 with pink and green diaper borders and three panels of flowers1 #aee2 another1 enamelled with a lady and two children by a table1 in a leaf-shaped panel1 on gold ground1 with border of various coloured diapers1 #h in4 in diameter1 #bjj4 ,two saucer dishes1 enamelled with peonies and persimmon fruit in the centre1 and shaped border of diaper ground1 the border on green ground1 with pale pink trellis edge1 #g in4 in diameter1 #caj4 ,a similar pair1 but enamelled with ladies and children and vases in the centre1 on a white ground1 with pale green trellis pattern border1 and three panels of black1 #g in4 in diameter1 fetched the same price1 #caj4 ,the gem of the whole collection was a plate1 finely enamelled with a group of ladies and children1 vases and utensils in the centre1 with seven borders of various diapers and small panel of flowers1 #h in4 in diameter1 #bhj4 ,the plate with the seven borders is the most famous of these eggshell ruby-back plates4 ,the centre panel or reserve is leaf-shaped1 having in enamel colours1 very delicately painted1 a lady seated with two boys2 near her is a table on which are books2 vases behind her and two vases on her left4 ,this panel is surrounded by six diaper borders of various widths1 of which the two chief are a deep ruby1 interrupted by four reserves in blue enamel1 and the other a pale lilac with four reserves enclosing flowers4 ,between reserves are four dragons in white4 ,the diaper around the leaf is the seventh border4 ,there are other diaper patterns in the five and four border plates which have in the leaf-shaped central panel a decoration which is very similar4 ,some1 however1 of these eggshell plates have no diaper work1 the sole decoration consisting of two cocks1 beautifully enamelled1 near rocks and foliage4 ,indeed1 these birds are often found in plates with borders4 ,similar eggshell plates may have landscapes or flowers as the central decoration with or without diaper borders4 ,the name ruby back is given to these plates because the whole of the back1 excepting the centre inside the rim1 is enamel with a beautiful ruby tint4 ,indeed1 we may say that these plates are amongst the very finest creations of the ,yung-ching and ,keen-lung periods4 ,to the eggshell china belong the delicate ,mandarin vases which1 probably1 were made for exportation4 ,,xi ,,mandarin ,,porcelain ,,chapter ,,xi ,,mandarin ,,porcelain--,,keen-,,lung ,,period 7#agcf-agie7 ,,and ,,later ,a mandarin is a ,chinese official1 either civil or military1 but the word itself is not ,chinese4 ,it is a name given indiscriminately by foreigners to designate any ,chinese official of whatever rank4 ,the recognised official grades of mandarins are nine1 each distinguished by its dress4 ,the so-called button on the hat--the mandarin button--is conspicuous4 ,it is really a very valuable jewel1 and1 like the rest of the dress1 is worn under precise regulations4 ,it will be interesting to notice how the mandarin's rank is shown by the dress4 ,the coats were always embroidered with gold and were of coloured silk4 ,in the first order1 the button on the hat was a bead and above that an oblong button of transparent ruby red--transparent red4 ,the coat was violet1 with a square plaque on the breast and back decorated1 in the civil class with a pelican1 in the military class with a kylin1 whilst the belt was ornamented with four agate stones set in rubies4 ,in the second class1 the button was a red coral button resting on the ruby bead--red opaque4 ,the coat had embroidered plaques decorated with a hen for the civil class1 and a lion for the military class4 ,the belt was ornamented with four embroidered plaques with rubies4 ,the third class had a sapphire button--blue transparent4 ,the coat had embroidered plaques decorated with peacock's plumes1 each feather having only one eye4 ,the symbolical peacock represented the civil class1 and the panther the military class4 ,the belt was ornamented with four plaques of worked gold4 ,in the fourth class an azure-coloured button of lapis lazuli--blue opaque--rested upon a small sapphire bead4 ,the coat had embroidered plaques decorated with the crane for the civil1 and the tiger for the military mandarins4 ,the belt was ornamented with four plaques and a silver button4 ,the fifth class had a rock crystal button--white transparent--resting on the small sapphire bead2 the embroidered plaques were decorated with the white pheasant for the civil1 and the bear as the symbolical emblems4 ,the belt was similar to the last class4 ,the sixth class had a button of white polished opalescent shell--white opaque--with a blue feather4 ,on the embroidered plaques of the coat were the emblems of a stork for the civil1 and a little tiger for the military divisions4 ,four tortoise-shell plaques and a silver button ornamented the belt4 ,the seventh class had a button of plain gold--yellow brilliant--on a crystal bead4 ,the embroidered coat had a partridge for the decoration of the civil division1 and a rhinoceros for the military4 ,the belt was ornamented with four round silver plaques4 ,the eighth class had two buttons1 one upon the other1 of worked gold--yellow opaque4 ,the embroidered plaque of the coat bore the quail as the symbol of the civil division1 and the stork as the symbol of the military division4 ,the belt had four ram's head plaques and a silver button4 ,the ninth or last class had the second button of worked silver--blank opaque4 ,the embroidered coat showed the sparrow as the emblem of the civil mandarins1 and the sea-horse as the emblem of the military4 ,four black horn plaques and a silver button decorated the belt4 ,it will be seen that ,chinese porcelain decorated with figures such as these dressed in their robes received the name of ,mandarin china4 ,the actual word comes from the ,portuguese ,mandar1 to command4 ,much could be said upon the subject of ,chinese dress1 as applied to porcelain in decoration1 but it is only necessary to contrast the style of the ,ming and the ,tartar dresses4 ,the ,ming long1 flowing robes are held up with sashes1 and the hair1 turned up over the head1 is either covered with a soft head-dress or with the ,court ceremonial head-dress4 ,the ,mandarin dress of the ,tartar shows the robe principally1 but there are besides the pantaloons and the high boots with thick soles4 ,the hair is dressed in pigtail fashion1 for from their earliest youth the ,chinese children are shaved4 ,the boys are shaved all over the head except at the top1 and in the case of girls two tufts are left1 one over each ear4 ,these facts1 while furnishing no actual clue to the age of ,mandarin china1 showed that at least it could not have been manufactured before the ,tartars came into power in #afdd4 ,probably the date of its manufacture is later4 ,we can understand that these ,tartars1 who had enforced their own dress upon the conquered people1 but who had at the same time adopted their religion1 would continue copying the holy persons such as the eight immortals1 the genii1 c41 in the same dresses which had been in use for hundreds of years4 ,more than this1 there seems to be a strong element of truth in the statement that the ,mandarin decoration was due to the desire of the ,european traders to carry home porcelain which should illustrate the people1 and the style and the colour of their clothes4 ,if this is so1 then the ,yung-ching period would be the first in which ,mandarin china was produced4 ,at any rate we do know that most of it was made in ,keen-lung's reign1 and that the potters of the later ,emperors1 to our own times1 have been manufacturing large quantities for commercial purposes4 ,in ,mandarin china the figures vary in boldness and in general character1 but the colouring is of one class--pinks1 reds1 yellows1 blues1 and greens1 so distinct in tone as to receive the name of ,mandarin colours4 ,the decoration of this kind of china includes boys and men at games1 such as kite-flying2 warriors fighting1 marching1 or resting2 men and children in masks2 figures walking1 riding on horses or on vehicles2 lantern shows with scores of people1 besides many other designs4 ,this ,mandarin decoration is associated with great varieties in the ground colours and patterns4 ,such are the swastika ground1 the red ground1 the blue ground mottled over the glaze1 and the scroll ground4 ,there are also many diaper patterns and a variety of borders of flowers1 butterflies1 dragons1 sometimes in low relief1 whilst often examples are met with in which the vases are recessed so as to furnish a flat surface in which the decorative painting of figures1 flowers1 and birds lies flat in a shaped compartment or reserve1 which may be joo-e-shaped1 leaf-shaped1 kakemono-shaped1 or makemono-shaped4 ,in studying the vases given as illustrations these varieties of shaped panels should be noted1 as they are constantly used in catalogue descriptions of the decoration4 ,amongst the most beautiful vases of this period are the conical-shaped eggshell vases with short necks1 covered with the most delicate scroll work in gilt1 having large reserves decorated with ,mandarin figures painted with the utmost delicacy1 and the small reserves with rose and other flowers most carefully drawn4 ,the question has been raised as to whether transfer printing as a mechanical process was ever applied to ,oriental porcelain4 ,in ,england1 ,dr4 ,wall1 of ,worcester1 is said to have invented transfer printing as early as #agea1 and ,sadler and ,green1 of ,liverpool1 lay claim to the honour of its discovery at about the same time1 whilst on the ,continent a similar honour is claimed for the factory at ,marieberg in #agfj4 ,there is no proof that any blue and white ,oriental china1 except during the most recent times1 was ever decorated on a transfer-printed ground4 ,all of the blue and white ,nankin and ,canton ware was painted by hand under the glaze4 ,when we consider the immense amount of labour necessary to keep up the supply of porcelain to ,europe1 and also to the ,united ,states early in the nineteenth century1 it is astonishing that no process work showing transfer printing can be discovered1 although the invention must have spread to ,china before #agif when ,keen-lung died4 ,we shall treat of blanc de chine later1 when we discuss the colours of ,oriental china1 but it must be remembered that most of the ,chinese ware of this type was made during this period4 ,such were the statuettes of ,kwan-,yin and many other gods and goddesses4 ,this cream-white porcelain may date from any period even before ,kang-he4 ,the earliest specimens are distinguished by being transparent1 although thick1 and by the creamy smoothness of their glaze4 ,some authors1 however1 ascribe the origin of this ware to the ,keen-lung period4 ,,xii ,,kea-,,king1 ,,taou-,,kwang1 ,,and ,,the ,,later ,,emperors ,,chapter ,,xii ,,kea-,,king1 ,,taou-,,kwang1 ,,and ,,the ,,later ,,emperors ,,kea-,,king 7#agif-ahba74 ,when any country is disturbed by internal divisions or by external invasion1 the inhabitants pay less and less devotion to art4 ,the reign of this king was certainly disturbed4 ,the people suffered from misrule1 and though the traditions of the ,chinese potters did still keep up1 in a measure1 the high standard of the previous reign1 the neglect of the governing bodies1 of the ,emperor and ,court1 took away much of their devotion to the development of the porcelain so conspicuous in ,keen-lung's reign4 ,the porcelain1 however1 remained good in the quality of its paste1 and now and then it reached excellence with regard to the decoration1 which became characterised by conventional designs4 ,coloured enamels and gold were largely used for ornamentation1 the turquoise blue1 famille rose1 and a good blue-green were conspicuous4 ,mandarin china still continued to be made1 though the modelling was comparatively clumsy and the paste thick1 still1 however1 having the wavy surface always noticeable in ,mandarin china1 which was1 as we have said1 largely made for the ,european market4 ,the influence of ,western art made itself felt in the decoration4 ,many scenes were painted with ,european subjects1 especially in the small reserves or vignettes4 ,some of the finest forms1 too1 of the early ,svres and early ,wedgwood and ,adams' styles were copied and decorated with festoons of raised husks with a landscape in a medallion4 ,this wavy porcelain seems to be specially connected with a comparatively thick blue enamel and a style of decoration usually called ,lowestoft4 ,of course it is not ,lowestoft4 ,lowestoft was a soft paste porcelain imitating early ,bow and ,worcester4 ,the porcelain of the ,keen-lung period1 then1 might be named the porcelain of commerce4 ,european forms of pieces not used by the ,chinese themselves are often found4 ,the process seemed to have been something like this4 ,the ,east ,india ,company1 all the captains and officers of the ,east ,india ,company's ships1 when visiting ,china took with them orders for services to be decorated with crests or armorial bearings1 with ,english landscapes1 or with sporting or religious subjects4 ,blue and white was made in vast quantities owing to the demand from ,europe4 ,it needs but one sentence of description4 ,it was poor4 ,about this time the ,chinese potters copied the ,japanese4 ,imari ware1 with its flowers in conventional forms1 various ,celadons in blue1 lilac1 grey-white on good fine porcelain1 are traced to this reign4 ,perhaps it was most celebrated for the reproductions of the porcelain of earlier periods in which both pattern and mark were constantly recopied4 ,,taou-,,kwang 7#ahba-ahea74 ,in this period there was a special development of the enamelled rice bowl1 although beautiful vases so decorated with enamel as to cover the whole surface are not uncommon4 ,the use of two shades of green produces a very pleasing and comparatively new effect4 ,unfortunately1 the ,chinese potteries1 as in the previous reign1 seemed to have devoted much of their time to reproductions4 ,the rice bowls were often decorated in graviata1 graffito1 or sgraffito patterns1 in which the enamel was scratched with a point into a variety of twists and turns1 forming beautiful variations from the ordinary plain enamel surface4 ,this surface was also painted with flowers and figures4 ,the process seems to have been first adopted by ,keen-lung1 and many pieces have the ,keen-lung mark4 ,in a set of four very fine examples which came under our notice three had the ,keen-lung mark1 and the fourth that of ,taou-kwang4 ,in all probability the majority of them were made in the later reign and the earlier mark was copied4 ,the copying during this reign included all the older forms from the ,kang-he period1 and it excelled in reproducing the famille verte and the famille rose4 ,perhaps the ,yung-ching green enamel received the most special attention1 for the outline of the design is often found first painted in blue under the glaze1 so that the blue shows through the transparent surface enamels and gives a bluish tint to the decoration generally1 which was quite the effect produced by a similar decoration in ,yung-ching's reign4 ,to the same class of rice bowls belong the pierced porcelains with patterns filled with glaze4 ,here the rice pattern is cut through the paste while the paste was soft4 ,then as usual the blue decoration was applied painted on by hand1 and certain parts received a coating of white enamel before the whole was carefully glazed4 ,the skilful glazing is shown by the evenness with which the pattern1 in glaze1 matches the general surface of the piece itself4 ,the rice or star pattern is the most common of all these pierced porcelains4 ,some specimens have1 however1 a diaper pattern1 and more rarely a dragon design with flowers and leaves1 so cut that portions only are filled with glaze1 which gives a very unusual and striking effect4 ,these pierced specimens are not supposed to be earlier than the eighteenth century1 and of course they may be very much later4 ,,heen-,,fung 7#ahea-ahfb74 ,very little porcelain was made during this reign1 owing to the ,tai-ping rebellion1 during which ,king-te-chin was destroyed4 ,the first ,chinese war with ,england took place in #ahfj4 ,the rebellion ended in the next reign4 ,,tung-,,che 7#ahfb-ahge74 ,with peace after the wars the manufacture of porcelain was resumed4 ,generally1 the best pieces were copied from the antique1 though a pale turquoise ground with decoration of flowers and butterflies was made for exportation4 ,sepia drawings showed some distinction1 but there was no new departure of importance4 ,this period is modern1 and these later ,emperors are only mentioned in order to bring the history up to date1 and to call attention to the marks both on ordinary and seal character4 ,,kwang-,,shiu 7#ahge- 74 ,in the present reign much more importance has been given to the improvement of porcelain1 which is largely made for export1 high prices being obtained for imitations which are sold as antiques4 ,the largest customer is the ,united ,states of ,america4 ,the intense conservatism of the ,chinese has been largely broken down by the influence of outside pressure4 ,the almighty dollar holds the field4 ,yet1 if it is still true that for ways that are dark and tricks that are vain1 the heathen ,chinee is peculiar1 he holds no monopoly of such qualities4 ,western civilisation runs him close4 ,on the other hand1 the honour of a ,chinese in trade is generally of a high standard1 and the people have a natural instinct for artistic decoration1 which has come to them as the legacy of ages past4 ,and with this power they have1 too1 an unlimited supply of the very finest kaolin4 ,let us hope that happier times will bring back the glories of the past4 ,,xiii ,,chinese ,,white ,,porcelain ,,chapter ,,xiii ,,chinese ,,white ,,porcelain ,m4 ,gasnault1 the friend and pupil of ,m4 ,jacquemart1 has put on record the results of their united work in the ,museum at ,limoges4 ,the collector is able to see how he has tried to reconcile and combine the elements of a complete history of ,oriental china1 how he has collected specimens of all the manufactures1 even the smallest1 how ,oriental porcelain holds the first place in the collection1 being represented by most remarkable specimens of industry which in the ,celestial ,empire to-day is on the decline1 after having had a brilliant career through so many ages1 that it seemed as if nothing could have led to its failure4 ,if the ,chinese have not yet returned to that state where they have forgotten entirely the art of making porcelain1 at least they have lost the secret of those admirable productions--the forms so pure1 the glazes so marvellous1 the enamels so sparkling1 the decoration so diversified1 and the paintings so exquisite--which remained with us as monuments of an age when there must have been such art in the ,ceramic world as has never been seen since4 ,it will be advantageous to say something about the collections at ,limoges and the lessons we may learn from them4 ,the first place in the collection is given to the white china known throughout the world as blanc de chine4 ,this kind of porcelain was highly esteemed in ,france1 and the ,oriental artists and potters from a material which seemed to offer but little resource proceeded to work wonders4 ,by the side of the small sacrificial cups destined for religious uses with the glassy glaze and a tone which recalls that of wax or ivory1 in the form of the horn of the rhinoceros or of the flowers of the lotus1 which was the plant pre-eminently sacred1 one is able to admire examples perfect in execution of which the texture is so thin and fine that it seems dangerous even to touch them4 ,the greater part is decorated with ornaments in white or in white slip1 which by a few simple strokes1 or by a delicate tracery1 almost inconceivably beautifies the limited surface4 ,garlands and detached bouquets of flowers have been engraved upon the wet or the dry clay so finely--indeed1 so exquisitely1 that they cannot be seen unless held up to the light4 ,here the sacred dragon winds round the cup as if he wished to defend it from profane hands1 and a ,buddhist god only appears when a coloured liquid is poured into the cup1 which then shows up the lines1 before invisible1 engraved in the paste4 ,again1 we find little bottles decorated with dragons and symbolical dogs of ,f or ,buddha cut deeply into the paste with a patience and an art unequalled in the productions of the ,western ,hemisphere4 ,the statuettes of the gods and goddesses are also made in this white porcelain1 amongst whom is one to whom we have before referred1 ,kwan-,yin1 a mysterious being1 the personification of mercy and goodness1 who protects the sailors and saves them from shipwreck1 who takes pity on those who suffer in hell and intercedes for them4 ,she also gives children to those who are sterile4 ,kwan-,yin has many attributes and emblems4 ,sometimes she has a diadem on her head ornamented with images of ,buddha1 or she rests seated on a throne of lotus in memory of the miraculous bridge which the gods constructed to enable her to cross the sea4 ,the god of riches is often found as a white statuette1 so is ,poutai1 the god of contentment1 with a broad smile and round1 uncovered stomach2 ,cheou1 or ,chow1 the god of longevity1 with an enormous bald head4 ,other figures of emperors and empresses are all of the same type1 with the accompanying ,ho-,ho birds4 ,illustration3 ,,kwan-,,yin4 ,,white ,,porcelain4 ,amongst the finest white porcelain is one kind having a hard and compact paste which lends itself easily to the mould1 but is not suitable to the turning wheel4 ,nearly all the pieces of this ware are moulded into figures1 incense burners1 c41 and on looking into the interior the roughness and unevenness of the paste can be easily seen1 even the marks left by the fingers of the workmen are quite plain1 whilst the bottom always preserves the imprint of the canvas on which these pieces are placed after having been moulded4 ,then there is a white biscuit class1 very rare1 often having two walls or divisions1 of which the outer one only is biscuit1 reticulated or pierced with a fine network or trellis of various patterns1 through which the interior wall can be seen4 ,amongst the trellis many ,chinese characters are to be found1 such as the emblem of longevity1 the mark called ,cheou1 ,chow1 or ,show4 ,we shall have more to say of reticulated porcelain later on1 but here we may mention that the reticulation on the outer wall is often elaborate1 and the cover glazes give a variety of colours equal to that found upon ordinary china4 ,the whole white porcelain family1 whether we consider the beautiful creamy ivory ware1 or the dead white1 or the blue tinged white1 is rarely marked1 and when a mark is used generally it is a seal character moulded or cut in the paste4 ,a very rare form of decoration is met with in white1 but only occasionally4 ,the surface is covered with minute white points like the points shown in shagreen1 only it is not green1 but white4 ,such china has been termed chair de poule1 or chicken skin4 ,it may be noticed that these points are not enamelled1 either because they were applied upon the glaze or because the enamel ran off them in the firing4 ,,xiv ,,single ,,or ,,self-,,colour ,,glazes ,,chapter ,,xiv ,,single ,,or ,,self-,,colour ,,glazes ,following the white in order is the remarkable series of single colour glazes of various hues1 beginning with the sea-green or ,celadon1 which is a pale green1 or even a greyish green2 and the yellow1 especially the ,imperial yellow1 which is reserved for the ,emperors of the ,tsing dynasty2 camellia-green like the leaves of that plant1 painted in proper colours2 light brown1 a bright colour with quite a metallic lustre1 was known as feuille morte1 or dead leaf colour4 ,so copper-reds give various self-colours such as haricot1 various flambs1 and through a long range it reaches eventually a pure black4 ,then there are the blues1 covering a range no less varied and interesting4 ,turquoise-blue1 a tint which can only be obtained by applying it upon the biscuit china which has already passed through the kiln2 the other blues1 fouett1 souffl1 tremp1 are brushed on1 blown on1 or dipped according to the method used in applying the colour glaze4 ,another way of applying the glaze was by its being powdered on through a fine gauze or dabbed on by means of a wet swab dipped in the colour which was to be used as the single colour glaze4 ,illustration3 ,,sang ,,de ,b,,uf4 ,,self-,,colour4 ,a tall sang de buf fungus-growth1 wonderfully true to nature4 ,yung ,ching period4 ,this example bears on the base the mark of ,ching-hwa 7#adfe-adhh74 ,round the base and under the feet it is lacquered4 ,the fungus1 which grows at the root of trees1 when dried1 was so durable that it became the symbol of longevity and immortality4 ,hence large specimens are preserved in the temples1 and it is both painted and modelled with figures of the immortals4 ,it may also be found in the mouth of the deer1 another emblem of longevity4 ,the example given is in the finest sang de buf with all the characteristics of that lovely ,celadon colour4 ,this brilliant red was a ,kang-he discovery4 ,it is included in the ,lang-yao class1 being so called after ,lang ,ting-tso1 superintendent of ,king-te-chin4 ,the special point to which attention should be given is the lacquered pattern round the base1 which is inlaid with pearl shells1 in the style known as ,lac burgaut4 ,in ,chinese porcelain this process is uncommon1 but in ,japanese porcelain and pottery cloisonn enamel is frequent1 applied either with or without the metal cloisons4 ,lacquer1 too1 may be frequently found as a coating--black with flowers in gold and silver2 black with ,ho-,ho birds and flowers2 a rich red2 brown2 green2 gold1 c4 ,nearly all of these pieces are comparatively modern ,japanese ware1 being made largely at ,kioto1 ,seto1 ,yashima1 ,yamato1 and other factories in ,japan4 ,to this class1 which includes porcelain in combination with other substances1 must be ascribed those delicate ,japanese1 egg-shell1 covered cups and saucers1 painted with flowers in colours1 and having an outside covering of the finest basket-work4 ,these are made chiefly at ,yamato4 ,illustration ,the purples as glazes are no less rich in variations1 and in these tints the ,chinese have never been rivalled4 ,these self-colour pieces are decorated with symbolical figures or sacred animals1 whilst flowers and inscriptions from the sacred books are found as a decoration in gold1 which unfortunately lies upon the glaze and is more or less easily removed by hard wear4 ,again1 similar designs are engraved in the paste1 or modelled in relief and painted with such colours as are able to resist the temperature of the furnace4 ,many pieces have spaces reserved in white for further decoration1 and sometimes the decoration is executed in white slip on the paste itself after its first firing has brought it to the biscuit state4 ,these lovely single colour glazes are certainly amongst the finest ,oriental specimens of porcelain which are worthy of the collector's attention2 their softness1 their brilliancy1 their range of colour alike entitle them to a high place in any scheme of decorative treatment either in the home or on the collector's shelves4 ,we call them china or porcelain vases1 c41 and in that we are only following the ,chinese usage1 though the colour glaze is often so thick as to hide the material or body of the paste altogether4 ,the thickness prevents any transmission of light2 they have an opaque more or less coarse clay white or red body1 and amongst our ,english products would be classified as stoneware4 ,but the colour is the thing1 and here we shall repeat ourselves a little1 because it is necessary to really understand not alone what the colours are1 but generally the order of their invention4 ,the oldest colour was1 as we have said1 ,celadon1 or sea-green1 which reached a high state of perfection about #aejj4 ,no doubt there are many ,celadon pieces of great antiquity still awaiting identification4 ,it was in the ,seuen-tih period of the ,ming dynasty that this ,celadon became a famous product4 ,the porcelain is very thick1 and to this thickness it owes its preservation4 ,like the ,english ironstone china1 it stands hard wear4 ,all the ,persians and the ,turks value ,celadon not for its intrinsic beauty1 but because they thought it to be infallible as a test for poison in their food4 ,the yellow glaze is the colour adopted by the present ,tsing dynasty as the ,imperial colour4 ,fine specimens covered with yellow may then be regarded as having been destined principally for the use of the ,emperors1 but it does not follow that the use of this colour was proscribed in the decoration1 either as a yellow or as a partial tint4 ,blue was one of the highly esteemed colours as well as one of the earliest4 ,we have dealt with blue as an under-glaze decoration4 ,it was not alone used for decorative purposes in drawings of figures1 birds1 animals1 foliage1 and landscape1 but it was used in various forms as a body colour either on the biscuit itself1 before glazing1 for with the glaze as a self-colour1 as a ,celadon1 in fact--that is1 the blue was applied in the glaze or in the enamel4 ,we read that in #ied ,a4,d4 the ,emperor ,chin-,tsung ordered some vases to be made which should be blue as the sky after rain when seen between the clouds1 and it is said that his celebrated porcelain was of this blue1 fine like a looking-glass1 thin as paper1 and giving a sound like a musical stone1 the only defect being that the feet of the pieces were of a coarse yellow clay4 ,alas for the romantic story6 ,the most recent catalogue of the ,muse ,guimet at ,paris1 drawn up by the national experts with the assistance of such ,chinese experts as were available1 states that the story is all a mistake4 ,the word which was translated blue should have been translated green1 which brings us back again to ,celadon4 ,during the ,sung dynasty 7#ifj-abgi ,a4,d47 it appears that a fine red was discovered from which porcelain was made resembling chiselled red jade4 ,this may be the celebrated sang de buf1 which is red1 but1 as we have seen1 red with qualifications4 ,the purple or lilac glaze before referred to seems to have been made quite as early as the ,sung dynasty1 but with this1 as with all the other glazes1 colour alone is no indication of age4 ,about the year #afjj there lived that famous potter called ,chow1 whose fame was obtained by his excellence in skilfully imitating ancient vases4 ,all the records that have come to us show very clearly that from the earliest times the potters were in the habit of copying the works of their predecessors4 ,so well was this continually done that they were able to impose upon the best experts of their own country4 ,the brown glazes1 according to ,pre d',entrecolles in a letter dated #agab1 were at that time quite recent inventions1 and he applied the same remarks to the coffee-colour glazes4 ,the black glaze has been noted4 ,it has several varieties--the dull black itself1 the dull black glazed over with green so as to make a bright black giving a green tinge only at the edges1 and the ,tsing black1 which is an uncommon brilliant black familiarly known as mirror black4 ,illustration3 ,,claire ,,de ,,lune ,,self ,,colour4 ,,crackle ,,porcelain4 ,another production of the ,chinese which has never been successfully produced in ,europe is this crackled or crackle ware4 ,they were very proficient in producing regulated crackles1 large1 small1 or medium1 and that which was no doubt at first accidental became one of the most important and successful means of decoration4 ,some pieces1 indeed1 are really marvellous1 showing successive bands of crackle ornament1 coloured decoration1 self-colour1 and white1 others have a double network--double rseau--with the crackle coloured simultaneously in two tones4 ,historically this ware is of great antiquity1 being noted during the ,sung dynasty 7#ifj-abgj74 ,as a rule1 the clay employed is very coarse1 of a buff or a pale red colour merging into white4 ,it comes under the designation of porcelain because the ,chinese do not differentiate between that which is opaque and translucent4 ,the illustration1 unfortunately1 does not show the colour1 the beautiful claire de lune1 which is so rare and so indescribable4 ,the specimen of sang de buf given under ,self-colours is1 like this1 a fungus of the genus ,agaricus1 the emblem of longevity1 because it was practically indestructible4 ,it was also emblematical of fertility4 ,emerson wrote1 ,nobody cares for planting the poor fungus2 so ,nature shakes down from the gills of one poor agaric countless spores4 ,the fungus is used as a mark1 as decoration1 and1 as we have shown1 in vase form4 ,probably its shape and symbolism gave rise to the ,joo-e sceptre and to the wide adoption of the ,joo-e-head form in ornament4 ,note that red-coloured crackle glazes are rarely found1 and that apple-green1 turquoise-blue1 and clair de lune are the most desirable colours in crackle4 ,feen-lung4 ,illustration ,there are many other self-colours or single glazes to which fanciful names are given4 ,we have referred to clair de lune and the peach bloom4 ,it is very doubtful whether there is any real value in the names themselves1 so we advise our readers to examine specimens in the ,museums1 when such colours as liver colour1 pigeon's blood1 crushed strawberry1 c41 will be found to be purely arbitrary4 ,perhaps the widest term applied to these variegated self-colours with a single glaze is splashed or shot silk4 ,these various mottled or splashed glazes are named by the ,chinese ,yao-pien1 by the ,french flamm or flamb4 ,they have curious yet very beautiful veinings like flames of a fire1 hence the name given to them by the ,french4 ,one colour runs into the other in the most capricious and yet in the most charming manner4 ,the first results were no doubt accidental1 but soon experience gave certainty to the master mind of the potter1 who was able to define and measure the combination of the various metallic oxides which would give him exactly the colouration he desired4 ,the glaze of these pieces was usually applied upon the dried vessel by dipping or brushing or powdering1 or1 as some say1 by blowing on with a tube4 ,or1 again1 it may have been a combination of these processes4 ,the potter now had the means of producing an endless variety of splashing by the proper application of the prepared glazes3 of violet and blue2 of turquoise passing into green2 of sea-green1 brown1 and blue2 of maroon1 green1 and white2 of1 in fact1 any colours within the range of his knowledge4 ,he only had to be sure of the furnace4 ,he had to know how his metallic oxides would combine under the action of heat4 ,the glaze upon vessels having intricate designs in relief was applied only after the potter was sure that the pot in its biscuit state was suitable and correct in form4 ,with most ornaments the danger of damage was thus considerably reduced4 ,when the biscuit was withdrawn from the kiln the coloured glaze could be easily applied before the second firing took place4 ,we have noticed that a much lower temperature was needed in the second firing and that the heat of a muffle-kiln would suffice4 ,as in the case of the single glazes1 a number of fanciful names have been applied to the ware1 such as tiger-skin1 iron rust1 c4 ,illustration3 ,,celadon ,,glazes4 ,,single ,,colours ,,and ,,splashed4 ,the coloured glazes in the pieces of one colour which we have described are called self or whole colour1 and they were applied directly on the dry paste or body so that the whole was fired at one time4 ,the great heat required for this process caused variations in the tints1 which were partly due to the running of the glaze itself4 ,where the glaze lay thickest1 the colour would be deepest4 ,practice led to perfection1 so that the ,chinese potters acquired skill in using the colour with precision and1 further1 they were able to extend the range of their operations by using several colours on one piece4 ,greens of many hues1 blues in various shades1 all kinds of reds and yellows1 purples and browns gave to this class great variety and brilliancy4 ,it must be borne in mind that these coloured glazes were also applied to biscuit porcelain1 that is1 to white porcelain1 without any glaze1 which had been fired in the kiln for the purpose of fixing the shape4 ,in this division the paste is generally much thinner than in ordinary pieces of ,celadon1 and much more elaboration was given to engraved and embossed patterns and to reticulated or pierced work4 ,moreover1 it1 was easy to leave some parts of the design in untouched biscuit4 ,our illustration shows a set of three splashed ,vases 7two flat-shaped and one hexagonal7 painted with enamels of green1 yellow1 and aubergine1 in blotches on a white ground4 ,the handles1 which are monsters1 are in apple-green4 ,this style of decoration is known as tiger-spotted or splashed4 ,kang-he period4 ,the process of decoration by blowing is said to produce a curious colouring4 ,take1 for instance1 red blown on blue4 ,pieces so decorated appear to be covered with a soft violet glaze1 but on examination it will be found that the opaque blue is sown all over with minute red rings formed as a network resembling the finest lace4 ,by the use of a simple magnifying-glass these rings can be easily traced4 ,it seems difficult to produce such a marvellous decoration1 and yet it is quite simple4 ,the colour blown on that is the red1 which is driven with force sufficient to form minute bubbles1 which burst by the heat of the kiln1 and by their bursting form little rings varying from the size of a pin's head to that of a pea4 ,it will be well to give just a little time to a summary of the colours which are used on ,oriental porcelain of all kinds1 first in the under-glaze blue and red1 second in the single colour glazes1 including all those which are known by the terms splashed1 variegated1 transmuted1 or flamm or flamb4 ,preserving the same order set out in the colour enamels which are used in over-glaze decorations1 we find that the blacks1 as before stated1 were three in number--a common dull black1 a mirror or metallic black1 and the first of these covered by a thin transparent green glaze1 so as to make a shining black4 ,the dull black was produced from manganese which had some impurities in it1 whilst the mirror black was made of manganese having cobalt in it mixed with white glaze and an earth containing iron4 ,the various greens1 such as the dark green or gros vert1 sea-green or ,celadon1 apple-green1 emerald-green1 pea-green1 cucumber1 and snake-skin were all derived from iron1 copper1 and a little cobalt4 ,illustration3 ,,peach-,,bloom1 ,,or ,,peach-,,blow4 ,the under-glaze reds belonging to the ,celadon class differ from the under-glaze painted reds4 ,the ,celadon colours are applied in and with the glaze1 and the other class is1 like under-glaze blue1 painted on the biscuit china and then glazed4 ,the range of ,celadon reds is very great1 from ,peach-blow1 commonly termed ,peach-bloom1 to sang de buf4 ,about sixteen of these beautiful shades are within this range4 ,peach-blow is used as a self-colour glaze1 covering the whole of the piece1 but1 like all other colours1 it is employed also with other coloured glazes in the decoration of porcelain--white or ,celadon4 ,dr4 ,bushell describes peach-blow as a pale red1 becoming pink in some parts2 in others1 mottled with russet spots displayed upon a background of light green ,celadon tint4 ,this and many other colours were invented by ,ts'ang ,yeng-hsan1 the director of the ,imperial works towards the end of ,kang-he's reign4 ,around the feet of many fine vases of the ,yung-,ching period there are waves in this darkish red1 with occasional flecks of green4 ,in these cases the body of the vases is white4 ,examples occur where peach-blow is used as a ,celadon colour in pieces decorated with blue under the glaze4 ,on the left is a ,vase with large bulging body and short expanding neck of a clear white glaze1 on which are blossoms painted in peach-bloom1 with leaves and branches in blue4 ,kang-he period 7#affa-agbb74 ,height with stand1 #aj in4 ,a circular shaped ,vase with tapering neck1 expanding mouth1 and a bulbous body4 ,this is decorated with pomegranate fruits in peach-bloom2 the leaves and stalks in rich blue2 the whole on a ,celadon ground4 ,kang-he4 ,the many shades of blue-dark blue and that peculiar tint known as mazarine1 powder-blue1 sapphire-blue1 sky-blue1 turquoise-blue1 peacock-blue1 clair de lune1 and kingfisher-blue--were all secured from cobalt and copper mixed in various proportions4 ,in dealing with the important red family we have to distinguish between the reds derived from copper and those derived from iron and from gold4 ,the range of tints is very extensive4 ,those derived from copper give the more or less fanciful names of sang-de-buf1 sang de poulet1 sang de pigeon1 crimson1 crushed strawberry1 maroon1 liver colour1 and that curious tint known as peach bloom or peach blow4 ,the reds secured from iron are vermillion1 the well-known coral and the tomato tints4 ,from gold1 those beautiful shades of colour to which we have referred as being crowning triumphs of the ,yung-ching and ,keen-lung periods were procured4 ,these1 known as ruby1 rose1 and pink1 were really covering a large range of colours from a very faint pink to a red purple4 ,the yellows have a no less extended range4 ,at the head of the list we find ,imperial yellow1 then citron or lemon-yellow1 eel-skin yellow1 straw1 canary1 mustard1 orange1 and sulphur-yellow4 ,thus we see the yellows vary from a faint tinge of that colour to a strong shade which seems to include a little red4 ,all these yellows were derived from antimony1 and the variation was largely secured by the addition of iron4 ,the next class1 the brown colour1 was derived from iron or from clay in which iron in various proportions was present4 ,these browns include various shades such as bronze1 chestnut1 chamois1 chocolate1 coffee1 caf-au-lait1 dead leaf--morte feuille--old gold4 ,the colours on ,english china for the purposes of contrast are given next4 ,they were derived from oxides of various metals in various proportions4 ,the blacks are secured from cobalt1 nickel1 manganese1 iron1 and chromium4 ,the greens are variously derived2 the yellow-green and the emerald-green are secured from chromium and sodium2 the blue-green or celest from chromium1 cobalt1 silicon1 and zinc2 whilst other greens are derived from copper and chromium4 ,blues come from cobalt and silicon1 except the mat blue1 which was procured from cobalt1 lime1 and zinc4 ,the reds were made from gold and iron1 which secured many shades of those colours4 ,the blacks were derived from chromium1 iron1 and manganese4 ,another class of ,european colours--the purples--came from cobalt1 chromium1 tin1 and calcium4 ,,xv ,,chinese ,,crackle ,,chapter ,,xv ,,chinese ,,crackle ,the crackle porcelain is a distinct class1 though it will be found that many of the pieces having a single glaze are also crackled4 ,they are covered with a clay or enamel which having been burnt in the kiln is taken out and subjected to the action of a current of cold air1 or they are dipped in cold water1 so that by unequal contraction cracks are formed with a regularity which1 although in the first place accidental1 became1 in the skilful hands of the ,chinese1 science4 ,small crackles like the herring's roe1 and large crackles like the ice cracks1 could be produced by the potter as he chose4 ,the cracks were filled with ,indian ink1 red or black1 which made them stand out clearly4 ,by further burning1 possibly at a lower temperature1 the entire surface seems to be covered with a clear glaze quite transparent1 which to the touch offers no unequalities of surface4 ,these wonderful potters have so far pushed this unique form of decoration1 never successfully imitated in ,europe1 that it became one of the most important and striking means of decoration4 ,some of their work in this direction is marvellous and shows successive bands of enamel or glaze1 crackled1 self-colour and white all in one piece4 ,other pieces show a crackled network of two tints4 ,some of our ,english potters are making good attempts to imitate the fine old ,chinese famille verte1 and surely for crackled porcelain there is still inspiration to be drawn from the ,east4 ,the glaze was of white or coloured2 the body was somewhat coarse in paste1 resembling red or white stoneware4 ,history takes us back to the ,sung dynasty1 when this kind of ware was first known1 and the accidental discovery was converted into an exact method of working4 ,a pretty form of crackle resembles the scales of a trout1 and is by the ,french called truit4 ,all the colours that were employed as single glazes in that class seem to have been similarly employed as crackle glazes1 with the possible exception of red1 which did not lend itself to this process2 all the ,celadon shades and the blues1 including turquoise-blue4 ,the most celebrated crackle is that known as apple-green crackle4 ,this ware has1 in addition to the beautiful effect of the crackling1 a lovely soft tint of green1 which was applied as the glaze4 ,illustration3 ,,vases ,,mounted ,,in ,,ormolu4 ,,jones ,,collection1 ,,victoria ,,and ,,albert ,,museum4 ,,two ,,crackle ,,vases ,,and ,,one ,,in ,,coloured ,,enamels4 ,,xvi ,,blue ,,under ,,the ,,glaze ,,chapter ,,xvi ,,blue ,,under ,,the ,,glaze4 ,,nankin ,,blue ,many collectors are immensely attracted by what is known as the old blue and white4 ,it is such a widely distributed product1 extending over a long series of reigns4 ,we noted before that it reached its highest excellence in the ,kang-he period4 ,it was at first reserved for the ,court1 for ,emperors and high dignitaries1 but since ,kang-he's reign blue and white may be said to belong to all dates1 and the blue and white ginger jars of the present time which may be bought for one or two guineas show how the demand has been a constant one throughout the whole of the time4 ,at a very early period after the ,dutch had imported this blue and white from ,china their potters set about imitating it and produced the fine old blue and white delft which is now valuable1 but there is no specimen of delft which reaches anything like the price of the old ,chinese blue and white from which it was copied4 ,the honorific inscriptions1 the sacred emblems1 the immortals and their attendants were quite meaningless to the mind of the ,dutch potter1 just as they were to the ,italian1 who was also an ,oriental copyist4 ,to the ,oriental the decoration of each piece meant something1 something it may be of their history or of their religion4 ,high thoughts were set out as inscriptions1 and inspirations were given by the story on the vase or dish1 which when represented on a ,european copy became only a scheme of decoration1 or at its best a germ from which an original scheme of native work might have its birth4 ,so the ,dutch1 though they at first made delft ware in servile imitation of ,chinese patterns1 soon saw their way to utilise purely ,dutch designs and with these to produce work as fine as that which they had made under the inspiration of the ,chinese model4 ,at ,king-te-chin1 the classical home of porcelain1 a city with #c1jjj kilns1 the best of the blue and white was made2 and although there is a large class called ,nankin blue which must not be neglected1 the latter1 in decoration1 is immensely inferior to the products of the ,imperial factories4 ,it is quite certain that there were many other factories besides those at ,king-te-chin which produced porcelain1 but history leaves few records of them1 so that it would be quite fair to include ,nankin blue as a product of ,king-te-chin perhaps decorated at ,nankin4 ,it is quite interesting to note how at first this blue and white1 now so valued1 was not esteemed by ,europeans with the exception of the ,dutch4 ,much of it was redecorated on the glaze and the pattern burnt in so as to hide the decoration4 ,illustration3 ,,blue ,,and ,,white4 7a7 ,a pair of tall blue and white trumpet-shaped ,beakers4 ,under the neck are four shield-shaped panels connected with an arabesque design2 below this is a broad band ornamented with conventional flowers running round the body4 ,towards the feet are the stiff leaves of the sweet-flag running down to the base4 ,the whole done in a liquid1 translucent blue on a most beautiful white ground4 ,kang-he period4 ,the sweet-flag is often used for the decoration of porcelain vases1 c41 and because its leaves are long and slender and come to a point the ,chinese use them to represent swords1 which1 indeed1 they resemble in general shape4 ,on the morning of the first day of the fifth month every family nails up a few leaves of this plant on each side of the doors and windows of the house1 so that when the evil spirits come near1 they see the leaves1 which they mistake for swords1 and are thus frightened off4 ,the superstitions of the people as well as their religion are put under obligation to furnish designs for the potter1 in which the same idea is represented in a permanent form4 ,in fact1 only when we are fully cognisant of ,chinese mythology shall we fully appreciate the wonderful stories set out in their porcelain4 ,when will the ,chinese connoisseur place before us his stores of knowledge8 7b7 ,a pair of ,butter ,dishes and ,covers in fine quality blue and white4 ,the dishes and lids have the four seasons design1 which are separated with a trellis-work diaper pattern4 ,note the difference between the two diaper patterns4 ,the handles are coming from the mouth of a monster4 ,kang-he period4 ,illustration3 ,,blue ,,and ,,white4 7a7 ,a fine quality blue and white ,beaker vase with expanding neck and bulging body4 ,the neck is ornamented with blue bands and flowers2 the body divided into four panels and filled in alternately with domestic utensils1 flowers1 and foliage4 ,kang-he4 7b7 ,a blue and white ,water-ewer and ,cover1 of fine quality and elegant shape1 decorated with ,lange-,lysen1 domestic utensils1 and landscapes4 ,seal mark1 ,ching-,hwa4 ,kang-he period4 ,blue was employed for under-glaze decoration amongst the ,chinese from time immemorial1 though scarcely a specimen earlier than the ,ming period can be identified with certainty1 owing to the copying and recopying that has been continually practised by the ,chinese4 ,true1 we often see the ,ming marks1 say of ,ching-hwa or ,kea-tsing1 but probably the best of them are of ,kang-he origin4 ,even if the pieces are really old they will be often found re-decorated with modern colours4 ,perhaps amongst the blue and white of the ,ming period1 those pieces decorated with the soft but rich ,mohammedan blue1 as it is called1 are the best4 ,yet1 though the colour is never flat or dead1 there are certain qualities missing which are quite charming in the later ,kang-he4 ,the gradation and modulation of the blue1 indeed1 even the quality of the blue itself1 are all better in the later pieces4 ,whether1 again1 the fine ,kang-he blue was made early or late in the period1 lasting from #affb-agbb1 is a further matter of doubt4 ,our readers will remember that in #afgg and for some years after no date marks were allowed to be inscribed1 so that only patient study and careful observation will enable any one to place the old blue and white4 ,illustration3 ,,blue ,,and ,,white4 ,these specimens of blue and white ,vases answer the tests which are applied to the best porcelain decorated with different designs of flowers1 trees1 birds1 c41 in blue1 painted under the glaze4 ,what are the tests8 ,first1 the material forming the paste or body must be so fine as to give a perfect surface4 ,the surface must be a brilliant white when covered by the glaze4 ,the drawing and painting should reveal the best qualities of cobalt blue4 ,the shape of the piece must leave nothing to be required4 ,now1 it is well known that blue and white was1 and is1 the most common of all ,oriental porcelain1 and modern work is good1 so that it becomes quite easy to make mistakes2 in fact1 it would not be too much to say that old blue and white is most difficult to judge4 ,though the glaze is so much a part of the paste that it lasts practically for ever1 yet it does get slightly dulled2 the extreme brilliancy of the new pieces contrasts with the softer and more beautiful old porcelain4 ,the glaze should not be too thick1 for the fine1 even quality of the paste is just as much an element as the glaze in giving the old lustre4 ,the blue decoration under the glaze shows a perfect command of outline as well as colour4 ,there is no soaking in of the colour1 but the outline is applied by the brush with absolute equality4 ,the two specimen vases show ,lange-,lysen or ,long ,elizas and flowers in fluted lotus-shaped medallions covering the whole surface1 except under the lip and neck1 where there are two bands of triangle-work diaper pattern4 ,the mounts are in ,french ormolu1 ,louis ,,xvi4 ,kang-he period4 ,illustration3 ,,blue ,,and ,,white4 ,,ginger ,,jars4 ,there are several varieties of prunus 7so-called hawthorn7 blossom in the well-known blue and white ginger jars4 ,the one given in the illustration has the pattern known as the ascending stem hawthorn4 ,then there is a descending stem1 and a third pattern showing the head or centre of the blooms arranged in groups4 ,this is blob hawthorn1 and may consist of three small blooms around a central larger one1 forming1 roughly1 a triangular group2 or four blooms again around a central one1 forming a cross-shaped group4 ,this pattern is also known as spray hawthorn4 ,the ground is a brilliant cobalt1 in which the colour is laid on very much as if it had been rubbed on by the thumb1 or still more1 as if the colour1 when wet1 had been so rubbed4 ,afterwards a network of blue lines was added on the blue ground4 ,the suggestion is that the blob pattern imitates the fallen prunus blossoms resting upon the crackled ice in the early spring4 ,our illustration shows a ,ginger ,jar with dome cover4 ,the body decorated with large and small sprays of white prunus1 rising from the base and falling from the shoulder4 ,very brilliant crackled ice ground of deep cobalt2 a narrow band of white encircling the mouth1 with a line of blue within1 the space between decorated with a formal ornament4 ,the lid with similar decoration to that on the jar1 the top encircled with a ring of white4 ,height1 #aj in4 ,period ,kang-he4 ,value1 about #b1jjj4 ,record price1 #e1ijj guineas4 ,illustration3 ,,blue ,,and ,,other ,,colours1 ,,under-,,glaze4 ,the finest quality of blue and red painted under the glaze were made during the ,tsing dynasty1 though during the ,ching-hwa period 7#adfe-adhh7 of the ,ming dynasty many good pieces having this decoration must have been manufactured1 as the mark of that reign is frequently found in reproductions4 ,even ,kang-he and ,yung-ching copies have the ,ching-hwa mark4 ,the illustration--a conical ,vase with short neck--shows the four-claw dragons of the sky4 ,these are drawn in blue1 as far as the head and body are concerned2 the scales are in a soft red4 ,the curious forms meant to indicate clouds are in blue1 whilst the fireballs are in red4 ,variations occur where the nebul are in red1 or even the whole under-glaze may be covered with a bright coral-coloured ground1 with the decoration in blue4 ,when this is so the pieces are classified as coral-red4 ,again1 amongst the various shades of red and brown under the glaze some are found in peach-coloured red4 ,these form a class of peach ware4 ,notice the care with which the scales on the dragons are drawn1 and even from the photograph the white seems wonderfully pure4 ,yung-ching period4 ,the dragon decoration sometimes represents the li or dragon of the sea swimming in the water or rising from the waves4 ,it was from such a dragon that ,fuh-hi 7#bheb-bgch ,b4,c47 learnt and developed the eight diagrams or symbols called the ,pa-kwa1 which see under ,symbols4 ,the ,pa-kwa is used for decoration1 usually as a raised design1 seldom as a mark4 ,the dragon is never used as a mark4 ,illustration3 ,,red ,,under ,,the ,,glaze4 ,this magnificent1 tall1 cylindrical ,vase is an example of red--rouge de fer--under the glaze1 with enamel colours in exquisite harmony applied over the glaze4 ,the merest glance will reveal how artistically the decorator applied his design to the surface at his disposal4 ,each branch1 each leaf1 has its value in the scheme of ornamentation4 ,the surface is well covered1 but there is no overcrowding4 ,the ,vase is of exquisite proportions1 decorated on pure white glaze with a bold design of ,ho-,ho birds1 the plumage of rouge de fer1 green1 yellow1 and aubergine2 one bird is partly hidden by rocks drawn in various greens1 aubergine1 and blue1 whilst springing from the back are large flowering branches of the peony flowers and blossoms4 ,the drawing throughout is of the highest merit4 ,the flowers and boughs are shown in yellow1 blue1 aubergine1 creamy white1 and black4 ,underneath the rocks and on the left of the large bird is a large peony in rouge de fer and foliage in various greens1 whilst on the right are two other flowers1 one of rouge de fer and the other of fine stippled yellow with an aubergine centre4 ,the rest of the vase is decorated with a bold design of flowering peach-bloom branches and other large flowers in deep rouge de fer1 aubergine1 green1 and yellow2 the neck1 which is divided from the body of the vase by a narrow black band1 contains peonies and other flowers decorated in colours similar to the remainder of the vase4 ,period1 ,kang-he4 ,,xvii ,,clobber ,,ware1 ,,or ,,redecorated ,,porcelain ,,chapter ,,xvii ,,clobber ,,ware1 ,,or ,,redecorated ,,porcelain ,many lovely specimens of blue and white with the ,kang-he marks1 with the double rings or with the leaf symbol inside the double rings under the glaze1 genuine specimens of old ,kang-he1 have been irretrievably spoilt by being plastered over with thick enamels of red1 green1 blue1 c4 ,the old ,english word clobber means a paste to conceal cracks in shoes1 and the pity of the clobber decoration was that the enamels1 having been burnt in1 are to all intents and purposes irremovable4 ,before me1 as ,i write1 is a ,kang-he vase with a leaf symbol within the double circle1 showing a real old ,kang-he blue and white production1 but unfortunately the clobberer has plastered coloured enamel over the blue decoration1 now faintly visible1 and only where a transparent green or pink glaze has been applied2 the rest is absolutely hidden by opaque glazes of rose and yellow1 white1 lilac1 and blue1 until the character of the ,oriental piece has been entirely destroyed4 ,the number of pieces so spoiled seemed to indicate that there was a demand for clobber ware1 or that1 as we noted1 blue and white was not popular1 or that it was imported for redecoration in the absence of white ware which could be used for the same purpose4 ,chinese porcelain in its white state was freely imported into ,europe and decorated in the factories of ,holland1 ,france1 ,germany1 and ,italy1 as well as in this country4 ,every one who collects china is familiar with the so-called ,lowestoft decoration1 not a thousandth part of which ever saw ,lowestoft2 in fact1 that researches which have been made at ,lowestoft indicate that the manufacture was soft paste resembling early ,bow and ,worcester4 ,of course1 some white ,oriental china may have been decorated there1 though no traces of broken hard paste seem to have been found in the excavations4 ,it may be that ,bow1 ,chelsea1 and ,worcester did decorate white ,oriental china1 but the information we have on this point is singularly weak and inconclusive4 ,the clobber decoration is not alone in enamel colours or gold1 but even lacquer is used for the same purpose4 ,it is needless to say that the change is never to the advantage of the piece1 and often the under-glaze blue may be seen peeping1 as it were1 reproachfully from beneath the overlying transparent enamel4 ,another1 but similar name1 is sometimes applied to this style of decoration4 ,it is said that an enameller named ,globber--hence ,globber ware--redecorated white and blue porcelain with enamels at ,soho during the latter part of the eighteenth century4 ,,xviii ,,reticulated ,,porcelain ,,chapter ,,xviii ,,reticulated ,,porcelain ,the porcelain called reticules comes into the category of blue and white because some of it was decorated with blue under the glaze4 ,the pieces have double walls1 of which the outside one is pierced with a pattern1 often a network of exceeding fineness1 a lace-work in porcelain through which may be seen the exquisite blue design upon the internal wall4 ,it seems just as if the potter had two pieces made to fit at the top and bottom only4 ,on the foundation piece--the internal wall--he expended the art of decoration in blue4 ,on the other piece1 even more care must have been shown in cutting the clay into delicate tracery1 so minute as to be marvellous4 ,then the fitting of the two walls together was completed1 and finally the firing process took place4 ,such pieces are pre-eminent in curiosity1 in interest and in skill1 and their variations are wonderful4 ,some are only blue and white1 some are blue and white with reserves in biscuit4 ,all had the outside wall pierced with a pattern4 ,we are giving as illustrations two magnificent pieces of reticulated porcelain1 but these are coloured with enamel colours4 ,illustration3 ,,reticulated ,,incense ,,burner4 ,of ,very ,fine ,quality4 ,specially interesting and exceedingly valuable1 this vase deserves careful study4 ,it is a pity that it cannot be given in all the beauty of its colouring4 ,at the top is a large panel containing the figure of a man offering the ,fruit of ,life to one of the immortals1 at whose side is a deer2 the remainder of this has rocks1 foliage1 a tree1 and clouds1 richly enamelled in green1 aubergine1 blue1 and rouge de fer2 the whole surrounded by a border of formal design in rouge de fer4 ,the remainder contains sixteen panels4 ,each of the top eight contains a figure of the eight immortals with their various insignia2 the robes of the figures are enamelled in rouge de fer1 aubergine1 blue1 black1 yellow1 and various greens2 whilst the lower portion has figures of boys playing various games1 similarly enamelled4 ,dividing each panel is a broad band containing formal flowers and leaves in blue1 green1 and black1 on bright yellow1 whilst at the top of the base and bottom of the cover are aubergine bands with black tracery design and formal flowers in rouge de fer1 blue1 and yellow4 ,the whole of the reticulated work is of brilliant yellow enamel4 ,at the base is a broad plain black band1 above which is a design of ,joo-e-heads in apple-green4 ,,note4--,this example is believed to be the largest specimen of reticulated work of the ,ming period known to exist1 and is equally remarkable for the high quality of its artistic work4 ,from the ,collection of ,g4 ,r4 ,davies1 ,esq4 ,illustration3 ,,vase4 ,,reticulated ,,porcelain4 ,a very rare and fine quality reticulated bulbous-shaped ,vase with short neck4 ,the body is decorated with figures1 trees1 c41 in a bold design4 ,the shoulder1 which is supported from the top by a band of blue1 is decorated with various flowers and leaves4 ,the base1 which is a conventional design1 is also supported from the centre by dark and light blue bands4 ,the whole vase is brilliantly enamelled in aubergine1 blue1 yellow1 c4 ,ming period4 ,this piece is a specimen of the coloured glazes on biscuit in which1 after the piercing of the pattern on the air-dried clay has been carried out1 it is fired in the kiln before being glazed4 ,in classification this would be in the ,celadon biscuit class4 ,the reticulation in this specimen1 though not so fine as in the other example which we have given1 is very wonderful4 ,how skilful the potter must have been to carve such an intricate pattern from a sun-dried vase6 ,how each stroke of the tool must have had careful attention1 so that1 whilst aiming at a lace-like effect1 the body of the vase should still be strong enough to bear the biscuit firing without breaking6 ,of course care had to be exercised in the painting1 which was rarely in monochrome2 generally1 yellow1 green1 blue1 maroon1 and aubergine were employed4 ,then the second firing took place4 ,in nearly all biscuit ,celadon the paste or body is thinner than in ordinary ,celadon1 because the pattern had to be cut into and through it4 ,to this class belongs the ,ming ,celadon1 having the figures and other ornament in relief4 ,,xix ,,decorated ,,with ,,coloured ,,enamels ,,chapter ,,xix ,,decorated ,,with ,,coloured ,,enamels ,the section of porcelain which deals with decoration in colours is a revelation of the ingenuity1 art1 and industry of the ,chinese potter4 ,the difference between the ,chinese productions and ,european china are striking2 in fact1 they cannot be compared4 ,with the ,chinese1 the porcelain manufacture was a matter of custom1 almost of religion4 ,the gift of a piece of porcelain marked every solemn ceremony--the new year1 the birthday1 the marriage never passed without the presentation of a cup or vase which bore an inscription or a symbol of good wishes1 or a character meaning either longevity or earthly happiness4 ,indeed1 the visitor to the ,chinese home could see not only cups and vases1 but teapots1 dishes1 and plates with varied decoration and brilliant colouring1 each telling its own story4 ,sometimes the teapots were made in the form of ,chinese characters4 ,on some pieces were the familiar scenes of the home life or of the public life which give us glimpses of the manners of a people1 still imperfectly known and less understood1 who for centuries opposed the strongest barriers to the curiosity of ,europeans4 ,on other pieces were depicted subjects drawn from the sacred legends or from the principal scenes of well-known wars4 ,then the birds and animals each with its meaning1 each a symbol6 ,the peach blossom1 the lotus1 the dragon of the ,emperors or of the princes appear side by side with the kylin1 the ,korean lion or dog of ,f1 the sacred ,ho-,ho birds1 or ,fong-,hoang1 c4 ,on the plates and dishes specimens of the ,oriental flowers were spread out in all the glory of vivid colour--peonies and chrysanthemums1 lotus and azalea1 with insects and butterflies no less gorgeous and certainly no less emblematical4 ,other specimens had for decoration rocks and trees with birds of rich plumage1 and fishes with scales of golden hue4 ,amongst these dazzling enamel colours four are most attractive and seem to dominate over all the others4 ,arranging them in families and placing them in order of age1 we should take the black family1 the green family1 the yellow family1 and the rose family4 ,these all show the brilliant tones of a perfected production1 and singularly enough they were1 with one exception1 ascribed to the ,tsing dynasty2 they began to be made in the ,kang-he period of that dynasty4 ,such was the generally received opinion4 ,further investigation has shown that1 with the exception of the famille rose1 most of these were made during the ,ming dynasty1 and attention is being drawn to this fact more and more as time reveals many undoubtedly fine pieces of the older dynasty4 ,it may be objected that these fine pieces are later ,chinese copies with the old dates1 and the objection has certainly some grounds1 but we must remember that the invention of translucid porcelain and its decoration was quite fabulous with regard to its antiquity1 and we must further bear in mind that the regulations of the social and political life of the ,chinese1 the organisation of the family1 which scarcely permitted the son to follow any other profession than that of his father1 perpetuated the trades of a calling or trade4 ,the routine practice1 if this expresses the idea better1 forbade all initiative in the mere worker4 ,inspiration creating new forms and colours depended upon the genius who presided over the ,imperial manufactories4 ,these and other causes brought this result1 that art and industry rested almost stationary1 reproducing the same types1 the same forms1 the same decoration1 which responded to the demands1 habits and customs of a people whose needs scarcely varied4 ,under these conditions1 which furnish food for reflection1 when we inquire1 ,is this old china or not8 we must note that the mere inspection of hard porcelain made of kaolin1 which is almost unalterable with time1 will never reveal to the most expert the date of its creation4 ,it is true that certain pieces bear an inscription indicating this or that date1 but the number of these is very limited1 for the use of date marks does not appear to have been adopted by the ,chinese before the end of the fifteenth century4 ,although it may be objected that these marked specimens are later ,chinese copies1 and that similarly decorated specimens have simply the old dates recopied1 it is quite possible that many of them which are thought to have been imitations may be really old4 ,it will be difficult even for the expert to be certain in his differentiation between fine old ,ming and ,kang-he4 ,coming in the same period as the three ,kang-he enamel colours are the two underground glaze grounds powder-blue and coral-red4 ,true powder-blue is ,kang-he1 but it has been copied1 and badly1 right on to our own times1 whilst in coral red--rouge de fer--the later ,keen-lung specimens can fairly be said to rival those of the earlier period4 ,it is doubtful whether this rivalry would apply to any other class of porcelain4 ,a4--,,the ,,black ,,family--,,famille ,,noir4 ,this magnificent production1 of which we give examples in our illustrations1 is usually ascribed to ,kang-he1 possibly it may be earlier4 ,its characteristic quality was a black ground covered with almost invisible green glaze4 ,the body of these pieces was decorated with flowers in yellow1 green1 and white1 and with butterflies4 ,a common form of decoration--if any can be called common in dealing with such a rare product--was that the panels were decorated with emblems of the seasons4 ,a tree of peony with green1 white1 and grey blossoms appears to us to be fantastic1 but the peony in ,china grew to the height of #ab ft4 ,the chrysanthemum with flowers of similar colours formed a second panel1 the guelder rose with green and white blossoms made the third1 whilst the fourth had the lotus flower with tall green and grey flowers growing at the foot of green rocks at the edge of a green lake4 ,the prunus blossom in white or pale green was often used for floral decoration1 and yellow finches with green wings1 white storks1 white butterflies and bees are often found4 ,so1 too1 is a green-faced dragon with a long brilliant green body in coils1 sporting itself in mid-air4 ,reference to our illustrations will bring out other forms of decoration treated at some length4 ,illustration3 ,,black ,,family--,,famille ,,noire4 ,this rare class1 which is well exemplified by the fine specimens in the ,salting ,collection in the ,museum at ,south ,kensington1 seems to have had the decoration applied in outline or in colour to white porcelain1 and then the black ground was filled in4 ,the black is thin and the tint is not intense4 ,the decoration may be left white1 or famille verte or famille rose1 c4 ,in these respects it differs from the modern ware1 in which the enamel is thick1 and the painting of the flowers and insects is far from being brilliant4 ,such pieces have no value4 ,the illustration shows a rare pair of hexagonal ,teapots1 divided into six pierced panels1 which are decorated with hawthorn blossom1 bamboo plant1 and the peach-tree1 on each side2 the ground of brilliant black enamel4 ,springing from the base are acantha leaves1 decorated in rouge de fer1 in high relief2 the base decorated with a light tracery design on apple-green2 the necks divided into six panels in apple-green1 bright green1 and yellow1 on which are ,joo-e-heads in aubergine on various shades of green4 ,the covers reticulated with design of hawthorn and branches2 the stems in aubergine on green and rouge de fer4 ,the handles are formed as dolphins2 the head of each is in aubergine1 the back in rouge de fer1 and the body in yellow4 ,the spouts are seen issuing from monster heads1 the latter in aubergine1 the former in brilliant yellow4 ,kang-he4 ,illustration3 ,,black ,,family--,,famille ,,noire4 ,a very artistic octagonal-shaped ,bowl1 divided into four panels1 on which are represented the flowers of the four seasons1 decorated in green1 white1 and aubergine1 on a brilliant black background4 ,dividing the panels are four sections of a diamond diaper design in green and yellow2 at the base of each of these is a ,joo-e-head in green and black4 ,surrounding the whole of the panels at the base is a light tracery design in black on yellow ground4 ,at the bottom of the interior is an octagonal panel1 decorated with rocks1 flowers1 and foliage in green1 aubergine1 and yellow1 on black ground4 ,inside the rim is decorated with four panels of diaper design in green and yellow1 in the centre of each of which there is a small reserve containing flowers in various colours on black ground1 the outer portion of each having an aubergine border4 ,dividing these four panels are four small reserves1 containing flowers in various colours on a seeded yellow ground4 ,supported on a carved wood stand4 ,in this piece the diaper decoration1 in green and yellow1 which distinguishes early ,ming and ,kang-he1 is again prominent4 ,these diapers are largely used in borders too4 ,many of them can be traced in our illustrations1 such as the key pattern1 the ,t1 the swastika1 ,joo-e-head1 trellis1 triangle1 herring-bone1 honeycomb1 ring1 diamond1 as here1 plain1 sometimes it is flowered2 lozenge1 coin1 scroll1 fish-roe1 octagons and squares1 net-work1 petal-work1 speckled-work to imitate fish-skin1 scale1 curl1 ,y-work4 ,they should be studied4 ,kang-he period4 ,illustration3 ,,black ,,family--,,famille ,,noire4 ,the pair of square-shaped tapering ,vases of brilliant black enamel4 ,three of the four seasons are shown1 in which are depicted the flowers of the seasons in green1 yellow1 white1 and aubergine4 ,on the shoulders there are flowers in similar colours1 whilst each neck is decorated with peonies in green1 yellow1 and aubergine1 all having the same brilliant black ground4 ,on the vase showing a single face there is the spring scene of peach-trees with flowers and birds4 ,the rocks are conventional in form1 whilst the branches and trunks of the trees in aubergine show the darker markings in sepia4 ,to the left of the other vase we find the summer flower1 the lotus1 in full bloom1 with storks wading in the water2 to the right the autumn flower1 the chrysanthemum1 bears a gorgeous display of bloom4 ,in the top left corner1 a butterfly--emblem of conjugal felicity--is flitting round the flowers4 ,the fourth season--the plum and early rose--is not shown4 ,the black glaze used here must not be confounded with that which was invented in the ,keen-lung period1 because the ,keen-lung glaze was applied in one process4 ,the ,kang-he black was a dull black glazed over with green4 ,the painting of the flowers1 c41 was first carried out in proper colours1 then the black was applied to block out the design1 and finally the thin but brilliant green was painted over the black4 ,variations in the colour scheme may be found4 ,some have the flowers1 c41 left in white upon the black ground4 ,others have similar drawing white with black ground1 only the green glaze was carried all over the piece1 so that whilst the ground remained black the decoration was all coloured green4 ,the examples are of the ,kang-he period4 ,illustration3 ,,black ,,family--,,famille ,,noire4 ,a pair of large-sized pear-shaped ,beaker ,vases4 ,this quality of old ,chinese porcelain is very rare and valuable4 ,the two vases are so shown as to exhibit the usual method adopted by the ,chinese in decorating two objects similar in shape4 ,the ,european style is to decorate the two objects making a pair in precisely the same way4 ,the ,orientals reversed the patterns so as to give a right and a left view of them4 ,in these vases the tree trunk and the floral pattern on the one vase takes an opposite direction in the other1 so that when they are placed side by side1 as in the illustration1 they make a balanced design4 ,these are most extraordinary examples of the rare famille noire porcelain1 and of their kind are undoubtedly the finest known specimens4 ,the background is of a brilliant black1 decorated with rocks in bright green1 and two birds in various brilliant colours4 ,coming from the back of the rock is a peony1 exquisitely drawn and brilliantly enamelled in yellow4 ,the flowers on the corresponding side to this are bright green with white stalks4 ,the reverse has peonies4 ,the base and the upper part is almost covered with white hawthorn in a brilliant vitreous white2 the neck decorated with sprays of flowers and hawthorn in white and brilliant coloured enamels4 ,a great feature of the body of the vase is the branches of trees on either side1 carried out in aubergine in the most perfect gradation of colour4 ,the designs are opposite in each vase1 and thus form a complete pair4 ,the vases are in perfect condition1 and of the ,kang-he period4 ,extreme height1 #bg inches2 height of stand1 #c inches4 ,value1 #aj1jjj4 ,illustration3 ,,black ,,family--,,famille ,,noire4 7a7 ,a small oviform bottle-shaped ,vase1 with expanding neck1 decorated with rocks1 prunus blossom1 and branches1 in various greens1 white1 aubergine1 and yellow1 on a brilliant black enamel ground4 7b7 ,an oviform beaker-shaped ,vase decorated with prunus blossom and branches1 similar to the above in colour4 ,birds in brilliant colours4 ,black ground4 ,neither ,m4 ,jacquemart nor ,franks nor ,gulland give very much information about this class of porcelain--black ground covered with an almost invisible green glaze4 ,as in the blue and white class1 there are found sprays or branches of white prunus with the ascending and the descending stem in what has been so long miscalled the hawthorn pattern4 ,the difference is1 of course1 one of ground colour4 ,the blue in the one is under the glaze1 and in the other the black is painted on the white china in its biscuit state when the other decoration has first been burnt in4 ,the process appears to be this4 ,first the white or coloured pattern is burnt in1 in the first firing in the kiln1 leaving the ground white4 ,to this the black ground is applied and again burnt in4 ,over this black ground the green wash is painted1 and at the same time coloured decoration added where necessary1 causing another visit to the kiln4 ,finally the whole is covered with a fine transparent glaze and receives its final firing4 ,it seems that unless a process similar to this were adopted the smoothness and beauty of the magnificent decoration could never be attained4 ,note in one illustration the ascending stem and in the other the stem is descending over the body and ascending in the neck4 ,both pieces are ,kang-he4 ,b4--,,the ,,green ,,family--,,famille ,,verte4 ,the green family in its finest form is undoubtedly a ,kang-he production1 but all of the decoration was not in green4 ,brilliant enamel colours were combined with gilding1 and flowers such as the white chrysanthemum1 the lotus1 the prunus are frequently found in conjunction with black speckled diapers and large panels decorated with various subjects with small reserves decorated with fishes1 crabs1 and prawns4 ,figure painting in the green family is not uncommon4 ,si-,wang-,mu on the borders of the ,lake of ,gems1 mounted warriors in a battle scene or simply marching1 and various other military subjects are not uncommon4 ,the ancient pine-tree and the peony are frequently met with1 but it is the green1 one of the most beautiful enamel colours ever used1 which constitutes the attraction in this famille verte class1 to which family belong many of the figures now known as ,ming figures1 such as the dog of ,f1 having a white body with yellow1 green and gold protuberances1 green head and green1 grey1 and red mane and tail4 ,the bases of such figures are usually in diamond or other diapers1 which may be further decorated with a single red peach blossom4 ,the earlier ,ming figures as a rule have the flesh1 face1 arms1 and hands unglazed4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,a rare and very beautiful oviform ,vase1 containing on the body two large panels1 one with a bird on the branch of a plum-tree1 the other with a peony on the branch of a tree under which is a large chrysanthemum and foliage4 ,on each side there are two other panels1 one circular1 the other leaf shape2 these contain as to the former1 insects1 and the latter1 cocks4 ,all the panels are surrounded with a narrow border of yellow1 black1 and aubergine2 the body of the vase richly enamelled with flowers and foliage in blue1 green1 and aubergine1 on a bright black ground4 ,at the base is a broad band of formal design in aubergine1 yellow1 and rouge de fer1 on apple-green4 ,at the bottom of the neck is a broad band with flowers in rouge de fer1 green1 blue1 and aubergine1 on a stippled black ground2 this is divided by four reserves containing carp and other fishes in rouge de fer1 green1 and black1 on white1 the borderings of green and yellow2 under this is a band of ,joo-e-heads in aubergine1 blue1 and green1 alternately1 depending from a narrow margin containing a formal design in rouge de fer and green on a black ground4 ,the neck has two leaf-shaped panels containing river scenes2 the remainder decorated in uniformity to the vase4 ,at the top of the neck is a key design in black on green2 depending from this a wave pattern border in aubergine1 black1 and green2 this is repeated at the base of the neck1 having under it a narrow band containing chrysanthemums and foliage in rouge de fer1 aubergine1 green1 and yellow on stippled green ground4 ,the whole of the panels in rich famille verte colours4 ,kang-he period4 ,,note4--,the connoisseur will at once detect in this vase qualities hardly ever met with in ,chinese porcelain4 ,the technique leaves nothing to be desired1 and the quality of the enamels and porcelain is of the very highest4 ,from the ,collection of ,g4 ,r4 ,davies1 ,esq4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,the long1 slim ladies' figures so often found in the decoration of very fine ,kang-,he blue and white represent what were known to the ,dutchmen as ,lange ,lijsen1 ,lange ,lysen1 or slender damsels4 ,this name is familiar in its ,english form of ,long ,elizas4 ,the older pieces gave these figures very large heads1 which later were drawn smaller4 ,the style of hairdressing is also different4 ,bearing in mind the fact that imitations continued right down through the dynasties1 drawing alone cannot be relied on as an indication of age4 ,our illustration is an egg-shell ,lantern1 one of a pair1 in the finest quality famille verte on white4 ,it shows a court lady and gentleman playing ,go1 seated upon a terrace4 ,at the table is also seated a nobleman of high rank1 five other female figures being attendants4 ,the remainder of the decoration is of trees with flowering branches1 clouds1 rocks1 c4 ,surrounding the neck is a diaper design in aubergine and black on a bright green ground1 this band being intersected with four small reserves containing flowers in green and yellow on a white ground2 the neck has trellis design in rouge de fer on a white ground1 relieved with four flowers in green and black2 the base is similarly treated1 and above this is a broad band of brilliant green enamel decorated with a pencilled ,grecian key design in black4 ,kang-he period4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,the illustration is a set of three ,vases of the highest quality famille verte1 square-shaped1 tapering towards the base1 decorated with enamel colours in which green predominates1 but with fine blues1 soft yellows1 and black4 ,the middle vase represents two views4 ,on the left is a mountain stream running through a deep gorge with rocks and mountain peaks rising in the middle and far distance4 ,in the foreground is one man riding and another walking across the bridge over the stream4 ,on the right is a similar background of mountains4 ,down the stream is a boatman steering his laden boat by the aid of a pole4 ,nearer is a house with a lady looking out at the door4 ,below is a man fishing4 ,on the left vase there are two scenes from everyday life4 ,one represents a man playing the ,kin1 or ,chinese lute2 below a man is talking to a boy2 a horse stands behind them4 ,the other shows two men playing go bang whilst a lady looks on2 near them1 on the other side of the hedge1 two men are conversing during a walk4 ,on the neck of the vase is a cheou or show character1 meaning longevity4 ,on the right vase1 left side1 is a house in the foreground with a mountain scene stretching away in the distance4 ,from the window of the house a ,taoist is speaking with ,leu ,tung-pin1 one of the eight immortals1 whose feet are on the clouds1 whilst his sword is as usual slung across his back4 ,on the other side1 high up amongst the hills1 are ,lange ,lyzen1 one of whom is dancing4 ,below are two dignitaries in conversation with a servant standing near4 ,in the foreground of both sides are trees in a landscape4 ,kang-he period4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,this example shows how faithfully the ,chinese could utilise the scenes of their daily life for illustration4 ,in this respect it is well worthy of careful study4 ,it belongs to the ,kang-he period4 ,a large beaker-shaped ,vase of the highest quality famille verte1 finely drawn1 and decorated with subjects illustrating the rice industry4 ,near the base is the figure of a man ploughing the rice field1 with a water buffalo1 in aubergine and yellow4 ,just above1 inside a building1 which is of aubergine and green1 is a man sorting the rice4 ,again1 above this1 on the left1 are two girls1 one in a yellow robe1 the other in blue1 preparing the twine necessary for laying out the field4 ,on the other side are children and women in green1 yellow1 and blue robes1 gathering the rice2 whilst underneath these are two men showing the process of weighing4 ,in the centre1 above this1 are three other figures1 one carrying the rice in a tray1 and the others showing the process of winnowing4 ,the remainder of the body of the vase has finely drawn trees with flowering branches thickly enamelled1 whilst at the top is a broad diaper-pattern band with yellow flowers on a green ground2 this band has at top and bottom a narrow margin of aubergine1 and is intersected with four small reserves containing utensils in green1 yellow1 aubergine1 and black1 on a white ground4 ,the neck is similarly enamelled1 and shows on one side men sowing the rice1 and on the other a lady is reclining1 whilst in front of her are two attendants4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,large hexagonal ,arrow ,stand4 ,although the ,chinese think very highly of a life free from worldly turmoil1 yet they were warriors too4 ,here we have a fine example of a porcelain arrow stand1 decorated with raised ornament1 with pierced ornament1 and with fine enamel colouring4 ,we note the peach branch--emblem of marriage and long life--to which magic virtues were attributed4 ,possibly this emblem indicated the reward of the warrior1 when his work as a soldier was finished4 ,the presence of the immortals1 again1 was the expression of the universal desire for long life which has always existed in ,china1 and the immortals1 who had eaten the peach--the fruit of immortality--represent this ever-to-be-coveted object4 ,referring to the illustration1 the arrow stand is decorated in high relief1 with peaches on branches in aubergine1 rouge de fer1 green1 and yellow1 on a white ground4 ,at the top is a broad band richly enamelled in famille verte colours with flowers and foliage on a stippled ground bordered with the key design in black on bright green4 ,separating a band of ,joo-e-heads1 enamelled in yellow1 blue1 green1 and black1 is a narrow margin in plain apple-green4 ,at the base are six reclining figures of immortals in famille verte colours1 whilst above these is a band similar to that at the top4 ,this is supported on a hexagonal base richly enamelled with flowers in famille verte colours4 ,period1 ,kang-he4 ,illustration3 ,,green ,,family--,,famille ,,verte4 ,the ,vase given as an illustration belongs to the famille verte class1 and deserves careful attention from the fact that it is useful to be able to read off the points in any given piece4 ,take the shape first4 ,it is a gourd-shaped bottle with spreading mouth4 ,on it are seen three circular panels1 called also reserves or compartments4 ,the bottom one1 as may be easily seen1 contains a basket of flowers with a ribbon on the top4 ,the one on the left is filled with utensils--a word used for this kind of decoration4 ,note the vases with flowers1 the books bound with a filet and the leaf symbol4 ,the other round panel shows a bird on a branch of the peony in flower4 ,butterflies1 c41 are also shown4 ,the groundwork of the two bulging bodies is a diaper pattern of the most elaborate curl-work1 through which runs a conventional pattern of stems1 leaves1 and flowers of the peony4 ,now begin at the spreading mouth and trace the diapers downwards4 ,the first pattern is the flowered honeycomb1 then a small rectangular diaper4 ,passing to the base of the first bulge1 we find a narrow ,joo-e-head band1 below that flowered octagons and squares1 then flowered triangle-work in another band4 ,still more flowered octagons and squares follow1 having next below a diaper of treble scale pattern4 ,last of all comes alternately a light and dark rectangular pattern4 ,it will be noted that the diapers are broken by small ,joo-e-head reserves painted with utensils1 flowers1 and views4 ,kang-he period4 ,decoration of the reserves in famille verte4 ,c4--,,the ,,powdered ,,blue1 ,,with ,,enamel ,,colours4 ,the powder or powdered blue family has been referred to already and the manner in which the blue is applied has been explained4 ,though this colour1 like the others1 had perhaps its rise1 and its greatest perfection1 in the ,kang-he period1 yet many specimens of extremely fine quality are ascribed to ,yung-ching and ,keen-lung4 ,there are1 however1 no specimens of true powder-blue that belong to any other than the ,kang-he period4 ,the art was evidently lost1 and when it was attempted1 in the reign of the ,emperor ,keen-lung1 the nearest approach was what is known as mazarine blue1 which is entirely different1 being much heavier in tone and not powdered1 and it is these pieces which have famille-rose decoration1 and this places beyond all doubt the period to which they belong4 ,where the powder-blue has reserves1 as is almost always the case1 they may be filled with decoration in blue under the glaze1 or with famille verte applied over the glaze4 ,or again1 and in the later periods of ,yung-ching and ,keen-lung1 the various shaped white reserves may have famille rose decoration4 ,similar flowers were used in decorating these pieces in reserves1 as we have mentioned before4 ,a general test of the older pieces is the presence of the joo-e head1 which either ornaments the rims in small panels or is the shape adopted for the large panels4 ,these are decorated with garden landscapes with figures1 and official emblems in various colours such as green1 yellow1 grey1 red1 and even other blue enamel colours4 ,other scenes represent the god of longevity presenting the red peach of long life to a child held by a person of rank4 ,generally1 however1 the subjects used have decorations varying comparatively little1 although the treatment of these subjects differs considerably in the colour scheme4 ,illustration3 ,,powder-,,blue ,,with ,,famille ,,verte ,,and ,,with ,,blue ,,and ,,white ,,decoration4 7a7 ,a powder-blue ,pot and ,cover4 ,the body has two large square-shaped panels decorated with flowers1 birds1 c41 in famille verte2 it also has two panels form of pomegranate fruit decorated in greens and red1 and two fan-shaped panels with flowers in black on a yellow ground4 ,the lid has two panels form of peach fruit in greens and red1 and two fan-shaped panels with flowers1 c41 in famille verte ,very unusual specimen4 ,kang-he4 ,a pair of powder-blue teapots relieved with panels decorated with flowers in famille verte4 ,the lids are surmounted with so-called kylins1 dogs of ,f1 or ,corean lions4 ,kang-he4 7b7 ,an elegant-shaped powder-blue ,vase1 relieved with various ,joo-e-head panels1 decorated with flowers1 c41 beautifully enamelled in famille verte1 with gold pencilling between panels4 ,mounted with a rim of ormolu4 ,kang-he4 ,a pair of powder-blue bottle-shaped ,vases with three ,joo-e-head-shaped panels on the body1 decorated with vases1 utensils1 c41 in blue and white1 and three leaf-shaped panels decorated with flowers1 butterflies1 c41 on the neck1 also in blue and white4 ,kang-he period4 ,the panels of vases1 c41 are often decorated with emblems of the seasons by means of flowers and landscapes4 ,thus1 spring may be shown by a mountain scene with the prunus or peach in bloom before its leaves appear1 or by another with two ladies under the willow4 ,spring flowers are the large white magnolia or the yulan with the peony4 ,the yulan magnolia is often confounded with the guelder-rose1 though the former1 like the peach1 blossoms before its leaves appear4 ,it is a magnolia1 one of eighty-five species4 ,summer is pictured by pines1 poplars1 reeds1 lotus1 hydrangea1 pinks1 and flags2 autumn by chrysanthemums1 birds1 butterflies1 russet leaves of the oak and its acorns1 by scenes of ladies gathering fruit1 and of swollen rivers and autumn tints generally4 ,winter is indicated by the prunus or plum1 by early roses or winter scenes4 ,illustration3 ,,powder-,,blue ,,with ,,famille ,,verte ,,decoration4 ,a pair of very fine quality1 large size1 powder-blue ,plates with ,joo-e-shaped panels in the centre1 and eight small panels or reserves round the border4 ,it will be noticed that the patterns of the decoration on the two plates is not the same4 ,the central panel on the left has a fine landscape with figures in conversation4 ,the smaller panels are alternately decorated with a small landscape1 and with flowers4 ,the gilt pattern1 too1 so often used with powder-blue1 and so quickly lost1 is clearly shown on the blue ground1 giving a further decoration of flowers not alone in compartments1 but also over all the blue surface4 ,the other plate has the central panel decorated with a landscape and some striking cloud forms4 ,the small panels are all decorated with flowers4 ,there are only traces of the formal golden chrysanthemum pattern1 which1 besides1 is again different to that on the other plate4 ,both have a mountainous coast scene in the distance with a pagoda and trees4 ,both1 too1 in middle distance a house and a weeping willow4 ,besides this class of powder-blue with green family decoration1 it is also very effective1 though not so brilliant1 with blue under-glaze landscapes1 figures1 and flowers in similar panels to those we have described-that is1 the ,joo-e-head panel4 ,special attention should be paid to the variation of the ,joo-e outline4 ,the ,joo-e-head itself is given amongst the symbolical marks4 ,the catalogue description is sometimes like this1 ,joo-e head-shaped reserves1 or again ,joo-e-head-shaped ,y diaper4 ,kang-he period4 ,illustration3 ,,mazarine ,,blue4 ,a pair of mazarine blue ,jars and ,covers1 having two leaf-shaped panels4 ,these are from a set of five1 three vases and two beakers4 ,these are finely decorated with storks and other birds and flowers in famille rose enamel4 ,various small panels as on the covers are similarly decorated with flowers4 ,the covers themselves are surmounted by dogs of ,f or ,corean lions4 ,these are ascribed to ,keen-lung1 and may be taken as an attempt to copy ,kang-he powder-blue4 ,they are covered with a rich blue enamel named mazarine1 after the cardinal of that name4 ,this is opaque and generally darker in colour than the powder-blue4 ,one is applied as a colour enamel--that is mazarine2 the other is colour powdered or dabbed on--that is powder-blue4 ,the mazarine blue comes really under the ,celadon class as a self colour4 ,the leaf-shaped panels or reserves are in white surrounded by a faint dull red outline of the leaf4 ,the blue enamel is not alone used with famille rose decoration as in the illustration1 but it is also combined with famille verte either with or without red scroll-work as a ground diaper4 ,the vases made in pairs have usually a right and a left--that is1 the pattern is reversed4 ,here we have an example of the contrary1 the two specimens are identical4 ,the leaf-panel runs down from the top to the point at the bottom on the right in both1 and birds1 flowers1 and trees are as nearly alike as possibly could be expected4 ,,note4--,the decoration in blue enamel colour was an addition of the early part of the ,tsing dynasty2 no ,ming specimen has been identified having the blue over the glaze4 ,d4--,,green ,,and ,,yellow ,,family--,,famille ,,jaune4 ,an elegant combination is found in this early product1 where the two prominent colours are green and yellow4 ,sometimes the body may have a black ground covered with almost invisible green glaze1 but the main decoration is green1 aubergine1 and yellow1 although other colours such as red1 especially red triangle work1 is frequently found4 ,these pieces probably originated in the ,ming period1 but were recopied later4 ,they have reserves such as those mentioned before1 decorated with ,buddhist emblems or with subjects such as a prince and princess of the ,imperial house walking in a garden with two ,ho-,ho birds1 and a landscape where ladies are conversing and men are in attendance4 ,amongst the symbols are to be found the official one of the branch of coral with the peacock's feathers4 ,the diapers are very varied and the joo-e-head decoration is frequently found4 ,the frontispiece gives a good idea of this form of decoration1 and its description should be noted4 ,in speaking of the rare examples1 yellow-ground1 as well as black and green1 could be ranked quite in the first order2 in fact1 they are almost the rarest kind4 ,specimens of these families were made at the end of the ,ming period1 and it is a very moot point to-day whether the fine examples1 which we know1 belong to the end of the ,ming or the beginning of the ,kang-he4 ,illustration3 ,,green ,,and ,,yellow ,,family--,,famille ,,jaune4 ,a tall square taper-shape ,vase1 decorated with a bold design of lotus flowers1 foliage1 and birds1 in various greens1 aubergine1 and black on brilliant yellow2 on the shoulders in each corner is a ,joo-e-head design in aubergine and green2 the edgings in white biscuit with black borderings4 ,this is a very interesting decoration4 ,the surface of the water is represented by the numerous short horizontal lines4 ,in the water1 the lotus1 the sweet-flag1 and other water-loving plants are growing1 just as if the artist had made his drawing from the banks of an actual pond in the open air4 ,besides being beautiful1 the lotus is the sacred flower of ,buddha4 ,its large tulip-like flowers may be white or tinted pink1 blue or yellow1 and they hang over broad leaves1 in shape like the nasturtium leaf4 ,it does not lie upon the water like the water-lily1 but stands up from it upon a strong stem4 ,the drawing shows bud1 flower1 and seed-pod4 ,it is the last which is usually carried as an emblem by the goddess1 ,ho ,seen-koo1 though it may be a bud or a full-blown flower4 ,the lotus belongs to the water-lily family1 and the sacred lotus was anciently used in religious rites in ,egypt and ,assyria1 whilst the ,greeks dedicated it to the nymphs4 ,its constant use as an emblem seems to come from its wheel-like form4 ,like the ,chakra1 or ,wheel of the ,law1 it typifies the doctrine of perpetual cycles of existence4 ,in fact1 the spokes of the ,chakra are often lotus-shaped4 ,kang-he period4 ,illustration3 ,,green ,,and ,,yellow ,,family--,,famille ,,jaune4 ,an oval-shaped ,jardinire1 decorated with a diaper design in brilliant green and yellow enamels4 ,the body is divided into four quatrefoil-shaped panels containing altar utensils and vases1 which are most artistically drawn and enamelled in various greens1 yellows1 aubergine1 and black1 on a white ground4 ,the diaper pattern which forms the groundwork is the diamond design1 but the double lines cutting the diamond are so arranged to form the swastika4 ,the swastika--the ten thousand things--is sometimes found as a mark upon blue and white or painted ,chinese porcelain of fine quality4 ,it may occur alone1 or with a border of two oblongs like a seal shape1 or four swastikas may be found in a similar border4 ,in the front of the quatrefoil-shaped panel on the vases is another symbol1 one of the hundred ,cheous or ,shows1 the emblem of longevity4 ,the curious instrument lying behind the vases is the lute wrapped in its cover4 ,this stringed instrument consists of a board four feet long eighteen inches wide1 convex above and flat below1 where two holes open into hollows4 ,there are seven strings4 ,it is very ancient and constitutes an emblem of harmony4 ,as ,confucius writes3 ,happy union with wife and children is like the music of lutes and harps4 ,the other instrument represents a guitar1 which was made in many forms1 from the bamboo stick thrust into a cylinder of the same material1 having only two strings1 to the pipa1 having four strings1 like those of the violin4 ,kang-he4 ,e4--,,coral ,,red ,,ground4 ,if there is another class which deserves mention it is that having a coral red ground thickly powdered it may be with white chrysanthemum leaves and flowers1 decorated with joo-e-head ornaments or ornamented with deep rose1 grey and white1 yellow and white1 pale blue and white1 prunus blossom powdered upon a golden iced diaper1 the emblem of the coming spring4 ,this coral red ground--rouge de fer--differs from all the others in this class because it is an under-glaze decoration4 ,it is essentially a ,kang-he production1 although some very fine specimens have the ,keen-lung mark4 ,the reader has no doubt noticed the rivalry between these periods1 and the values of coral red specimens are more affected by quality than perhaps by age4 ,illustration3 ,,coral ,,red ,,ground--,,rouge ,,de ,,fer4 ,the piece of coral was an emblem of the official class1 and this coral-red ground is1 as its name implies1 an imitation of this4 ,it is an under-glaze ground1 in which the colour was derived from iron4 ,over-glaze enamels were used for decoration with fine effect1 such as the greens1 the yellows1 and the reds from gold4 ,blue over the glaze dates from ,kang-,he1 and it is early4 ,our illustration shows a very fine cylindrical ,jar1 with receding neck and spreading lid with knob4 ,the body decorated with formal scroll and leaf pattern1 with a double band of conventional white lotus4 ,the shoulder and base decorated with a broad band of ,joo-e-shaped reserves1 bordered alternately with narrow bands of blue and grey edged with green2 the smaller space between edged with a paler green4 ,red reserves1 so formed1 decorated with conventional chrysanthemums with brilliant green leaves4 ,on the shoulder above1 four circular1 green-edged1 white medallions1 and four oval1 green-edged1 red spaces ornamented with chrysanthemum flowers4 ,at the base a narrow band of green and red diamond rice diaper on a white ground4 ,the neck decorated with two shaped oval red medallions1 edged with grey on a speckled green ground powdered with red chrysanthemum4 ,the reserve decorated with coiled white fire dragons 7mang7 among white fire-forms on a coral-red ground4 ,above and below this decoration1 narrow bands of scroll and flower diaper patterns4 ,lid with a slightly decorated white knob1 ornamented with similar pattern to that on the shoulder of the vase4 ,height1 #ba in4 ,period1 ,kang-he4 ,illustration3 ,,coral ,,red ,,ground--,,rouge ,,de ,,fer4 ,the dragon is the ,emperor's emblem1 as the phnix or ,fong-,hoang is that of the ,empress4 ,we find the lung or long dragon of the sky1 the li dragon of the sea1 and the kiau dragon of the marshes4 ,there are scaly dragons1 and others winged1 horned1 hornless1 and rolled4 ,the four highest ranks of princes are permitted to use the five-clawed dragon1 but the fifth rank of the princes and the mandarins use a dragon or serpent with four claws4 ,this1 treated conventionally1 is the well-known mang which is shown in the body and necks of the vase used as an illustration4 ,the expressions1 dragon's seat1 dragon's bed1 dragon's face1 dragon's head1 c41 are easily understood when emperor is substituted for dragon4 ,a tall1 rouleau-shaped ,vase1 containing six circular panels with formal floral design in rouge de fer1 blue1 and white1 on apple-green2 the body of the vase with dragons and formal flowers in yellow1 blue1 green1 white1 and aubergine1 on deep rouge de fer4 ,at the base is a narrow band of diaper design with black lines on green ground2 this contains four small reserves with a flower and foliage in rouge de fer and green on a white ground1 the bordering of yellow and blue4 ,the band separating the neck has a running dragon and clouds in blue2 yellow1 rouge de fer1 and white1 on apple-green2 whilst the neck is treated uniformly with the body of the vase1 excepting that at the top there is a narrow band of diaper pattern in aubergine1 green1 and black1 with four small reserves containing fruit and foliage in rouge de fer and green on white ground4 ,period1 ,kang-he4 ,f4--,,the ,,rose ,,family--,,famille ,,rose4 ,we noted that the rose enamel was used in decoration by ,yung-ching4 ,the same rose decoration was continued by ,keen-lung1 which had an especial form of decoration consisting of the rose and white peony with the prunus--the so-called hawthorn4 ,frequently1 too1 there is a swastika trellis4 ,we have dealt somewhat fully with the ruby-back plates as a branch of the rose family4 ,this ruby and peach blossom rose ground was applied to vases with very telling effect4 ,as1 in the black family1 the ground was a black covered with an almost invisible green glaze1 so in this family we get a peach blossom rose ground often powdered with pale blue1 yellow1 grey and white chrysanthemum blossoms4 ,the reserves are often fan-shaped1 and the decoration in these reserves consists of the usual subjects or emblems in brilliant enamel colours4 ,similar flowers to those noted before as the emblems of the seasons are frequently found4 ,these include pale rose and blue and white peony1 pale rose and white rose1 peach blossom1 chrysanthemums1 the oleander with single rose and white prunus blossom4 ,these rose pieces are extremely elegant and very rare4 ,they date from the ,yung-ching period1 in which they reached their highest perfection1 under ,keen-lung the standard of excellence was nearly as high4 ,illustration3 ,,rose ,,family--,,famille ,,rose4 ,egg-,shell ,porcelain4 ,ruby-,back ,plates4 ,the central ,plate has the rim decorated with the noted octagon and square diaper pattern so often found on egg-shell pieces1 and used on every piece shown in the photograph4 ,this pattern is often intercepted by reserves4 ,the plate has three leaf-shaped reserves decorated with white peony1 ruby peach1 and yellow persimmon4 ,there are three other reserves having formal golden flowers with green leaves4 ,the whole centre of the plate represents a domestic scene where a lady of high rank1 seated1 is giving instructions to two children4 ,in the background are vases and a table on which is a plant4 ,the back of the rim is ruby coloured4 ,diameter1 #h inches4 ,period1 ,keen-lung4 ,the two other plates are also ruby-backed4 ,they have on the rim three ,joo-e-head reserves containing fruit and flowers in brilliant colours4 ,the central decoration consists of vases of flowers in enamels of the finest quality4 ,the octagon and square diaper pattern is blue on the inner rim and pink on the broad band forming the outer rim4 ,the cups and saucers are no less beautiful4 ,the border is relieved with reserves1 and the inner rim of octagon and square diaper surrounds a hexagonal central reserve of ,joo-e-head design4 ,in this reserve there are baskets of flowers and bouquets in brilliant colours enamelled on a white ground4 ,this group shows many of the peculiarities of the rose family decoration with regard to diaper pattern1 shape of the reserves1 and the general character of the ornament4 ,illustration3 ,,egg-,,shell ,,porcelain4 ,an oviform egg-shell ,vase1 beautifully painted1 with ladies in the landscape carrying vases4 ,the whole in rich enamel colours4 ,yung-ching period4 ,height1 #ai in4 without stand4 ,this is one of the largest known examples of egg-shell porcelain4 ,this vase is painted in the most elaborate and beautiful style1 which was brought to great perfection under ,keen-lung4 ,some collectors are inclined to attribute such egg-shell with delicate pencillings to the ,yung-ching era1 though specimens which have been found with marks have been ,keen-lung1 and as time passes on ,yung-ching will secure more and more support4 ,the lady carrying the vase is looking to her companion4 ,between them is an animal1 either a deer or a kylin4 ,the vase contains a branch of coral and two peacock's feathers1 indicating a mandarin who has risen three steps at a time1 as the coral and four feathers indicate a rise of five steps4 ,the paintings of the figures and the vegetation are most minutely executed1 and the rich enamels are delicately shaded with verte1 rose1 and other tints1 showing tree-stems and rocks in their natural colours4 ,as in all classes1 some specimens are better than others1 but this piece is one of unsurpassed excellence4 ,to this egg-shell class belong the ruby-back plates1 which are amongst the most desirable specimens of ,chinese art4 ,the same delicate handling in painting and colouring distinguishes them all4 ,figures are enamelled in pale green1 pink1 yellow1 c42 trees with green foliage have their trunks and branches with sepia on a pale lavender ground1 whilst the cloud forms1 slightly defined1 fade away into the distance4 ,g4--,,other ,,enamel ,,colours4 ,the decorations of the green family are rather severe in character4 ,they might be termed ,chinese classical1 because they are so largely influenced by religion4 ,the same remarks apply to the black family4 ,the rose family1 on the contrary1 with its lovely borders and varied designs1 generally represents familiar ,chinese subjects and scenes from social life4 ,the enamel colours which follow are amongst the rarest and most beautiful products of ,china1 taking rank with those pieces which are never dear1 though the prices at which they are sold may be astonishing4 ,illustration3 ,,apple-,,green ,,ground4 ,the coloured glazes are very numerous1 but the apple-green ground is rare and consequently very much valued4 ,besides the painting1 these pieces1 having coloured grounds1 are further decorated by ornament raised in relief1 or pierced1 when the paste is soft1 with reticulations4 ,the ,chinese made puzzle cups with a small figure of a man inside1 which would hold a liquid till it reached his shoulder1 when the whole of the contents were syphoned out through a hole in the bottom of the cup4 ,they also made puzzle vases or jugs1 having a raised hollow coil round the neck1 which1 through the handle1 was connected with the interior of the vessel4 ,the old ,english puzzle jug had a similar device1 in which the difficulty was to drink the contents without spilling them4 ,here is a ,puzzle ,teapot or ,wine-pot in the form of a peach1 the ,fruit of ,life2 the groundwork of pale apple-green decorated with flowers in yellow1 aubergine1 green1 and black4 ,in the centre on either side is a large white panel containing in the one a gentleman of rank with an attendant bringing him tea2 this is decorated in various greens1 yellow1 and aubergine4 ,on the other side is a house towards which is coming a flying stork2 this is enamelled in similar colours1 and both panels are surrounded by a cloud design in yellow1 green1 aubergine1 and black4 ,the base1 spout1 and handle have black patches on aubergine ground2 while both the latter are held to the body by branches of leaves which are in high relief and enamelled in brilliant green4 ,ming biscuit1 so-called4 ,illustration3 ,,apple-,,green ,,ground4 ,,lang-,,yao4 ,an unusual form of decoration is shown in this illustration4 ,in ,china the carp and perch are often found in the decoration of small reserves4 ,indeed1 the immortals are often drawn standing upon a fish1 and modelled as figures standing on fishes1 crabs1 or crawfish4 ,the effects of fish culture as carried on by the ,chinese is very marked in the case of the carp1 which are often seen with monster-like projecting eyes and tufted or lobed tails4 ,they are kept in garden ponds or in large jars in which are placed rocks covered with moss and water-plants1 which furnish the decoration in the illustration4 ,the wonderful drawing of the fish in all sorts of positions is to be noted4 ,so1 too1 is the marvellous arrangement of the water-plants1 which fall gracefully into the scheme of decoration4 ,all is still in the deep water1 but on the shoulders are the water-lilies1 and above them are the waves seemingly agitated by the rough wind4 ,to recapitulate and to give the colours we specially call attention to this fine pair of square taper-shaped vases which are in all probability unique as a pair1 decorated with fishes and aquatic plants in aubergine1 green1 yellow1 black1 and white1 on a pale apple-green ground2 the edges and borderings of yellow enamel4 ,at the shoulders over each corner is a water-lily with foliage in green1 yellow1 and black2 the necks decorated with horses in yellow and aubergine1 going through waves of green and white enamel2 the upper portion of pale apple-green4 ,called ,lang-yao to indicate that it was discovered by ,lang ,ting-tso1 superintendent of the ,imperial works at ,king-te-chin4 ,this piece is ,kang-he4 ,illustration3 ,,delicate ,,green ,,ground4 ,a double gourd-shaped ,vase1 of noble proportions1 one of a pair1 decorated with an imposing ,vandyke design1 containing peonies and a formal floral design in rich yellow and black enamels on a pale green ground4 ,each section is surrounded by a broad band of rouge de fer containing formal flowers in white4 ,the top of the lower portion of the vase has a broad band of diaper design containing formal flowers on various colour grounds2 this band is divided with four reserves1 each containing a formal design in green and rouge de fer on bright yellow ground4 ,the waist of the vase has a half-section diaper design in green and rouge de fer4 ,around the neck is a deep band of a bold trellis design in rouge de fer1 blue1 yellow1 and black4 ,they are supported on finely chased ormolu bases of ,louis ,,xvi4 period2 the mounts for the lips en suite4 ,period1 ,kang-he4 ,here1 again1 we note diaper designs4 ,on the top of the neck is a honey-comb diaper cut with sectors of a circle forming a geometrical flower pattern1 which is further decorated by white and coloured formal flowers with six petals4 ,the top of the lower portion has the honey-comb and square pattern decorated with geometrical flowers1 whilst the lower part of the upper section has the honey-comb diaper with lines radiating from the centre so as to give a formal flower design4 ,fine pieces of old ,chinese porcelain are often found mounted in ,french ormolu4 ,the examples from the ,jones ,collection1 ,victoria and ,albert ,museum1 are fine pieces of old ,crackle porcelain with finely chased ormolu mounts4 ,illustration3 ,,delicate ,,green ,,ground4 ,a pair of ,imperial hedge-sparrow egg tint and white ,vases with a very beautiful clear glaze4 ,the white is a series of scrolls and flowers1 and geometrical designs over the whole of the body and neck4 ,marked on base ,kea-king4 ,period1 #agif-ahba4 ,in these two vases may be seen some of the most delicate and beautiful work of the later period4 ,in paste1 colour1 and decoration they are exquisite4 ,the green class includes apple-green1 camellia-green1 ,celadon1 pea-green1 sea-green1 and turquoise-green4 ,the delicate green1 indicated by the term hedge-sparrow egg tint1 is just a shade different from all of the others1 and the application of the white enamel decoration over the green is most artistic and delicate4 ,the conventional design is based upon a flower and its leaves1 though the ,joo-e-head and swastika are easily seen1 the former below the central flower1 and two swastikas1 one on each side4 ,at the top of the neck below the lip is a diaper of ,joo-e-heads4 ,the bottom of the neck has a ,greek key pattern1 so has the bottom rim4 ,on the shoulder is a border of ,joo-e-heads and conventional bats4 ,the swastika is a mystical sign1 with which is associated a hidden meaning of a religious kind4 ,it is regarded as the emblem of the heart of ,buddha--that is1 his inner true teaching4 ,it has also a further signification3 it indicates ten thousand years4 ,the bat and the ,joo-e-head are treated in the section on ,symbols1 but we may say that the bat is an emblem of felicity1 and the ,joo-e of amity and goodwill4 ,illustration3 ,,aubergine ,,enamel ,,ground4 ,a very remarkable pair of aubergine flat-shaped ,vases with lion-head ring handles2 the decoration is a spray of chrysanthemums in blue1 green1 and white1 on the one side2 and a spray of hawthorn in white1 aubergine1 green1 and blue1 on the reverse1 in brilliant enamels in sunk relief4 ,supported on carved wood stands4 ,extreme height1 including stand1 #ab inches4 ,ming4 ,aubergine is a very difficult colour to describe4 ,it is the colour of the fruit of the egg-plant1 from which the name is derived4 ,it has a remarkable range of tints1 but the predominant one is purple1 on the one side it becomes almost sepia and on the other almost orange4 ,it is rarely used as a ground colour as it is in this case1 but it is a delightful thin wash applied when thick enamels cannot be used1 and it is so transparent that a darker colour can be seen through it4 ,hence its frequent use in the trunks of trees and in branches of flowers where the markings of the bark may be made visible4 ,again1 it is frequently employed in painting the roofs of houses where a wide wash gives a bold and highly decorative effect1 the purple shade being transparent allows the black1 in which the design is sketched1 to show through4 ,in the example given not alone is the ground of aubergine1 but other shades of the same colour are used in the decoration1 which has this unusual feature1 it is not raised1 but depressed or sunk in4 ,illustration3 ,,mandarin ,,china4 ,painted in colours over the glaze1 with gilt scroll-work4 ,this pair of conical egg-shell ,vases with short necks is #ah in4 high4 ,there is no mark4 ,m4 ,jacquemart divides the ,mandarin class into seven sections1 which he distinguishes by the decoration3-- 7#a7 ,pieces having painted in compartments with ,indian ink backgrounds and gold borders4 7#b7 ,where the spaces between the reserves or compartments are covered with gilt scroll-work diaper or pattern as in the illustration4 7#c7 ,with black borders and key pattern in gilt1 usually having iron-red grounds4 7#d7 ,with variegated grounds1 designs in iron-red and black1 pink and other colour filagree-work4 7#e7 ,with spaces between the reserves covered with round dots or points resembling shagreen either green or white4 ,when the dots and ground are white the ,chinese name it chicken's flesh4 7#f7 ,with indented wreaths or flowers traced in the paste and decoration in under-glaze blue and over-glaze enamelled medallions4 7#g7 ,in camaieu or in a single colour under or over the glaze1 usually mandarin1 blue and white4 ,the egg-shell ,mandarin is the best of this class4 ,generally the porcelain is rather thick than thin4 ,often it has the wavy surface which shows that it has been cast and moulded4 ,then1 too1 the decoration is usually painted1 not enamelled4 ,this process changes the tone of the colouring4 ,the rose tints derived from gold become purplish2 lilac1 water-green1 bright iron-red1 and a curious rust-colour called chamois are common4 ,stippling and hatching are applied to the flesh and to the folds of the draperies4 ,often the ground-work with its dotted surface is covered with turquoise-green or turquoise-blue4 ,the paintings on the reserves of the examples given will show the miniature-like character of the decoration4 ,the examples given are ,keen-lung4 ,,xx ,,porcelain ,,of ,,the ,,east ,,india ,,company ,,chapter ,,xx ,,porcelain ,,of ,,the ,,east ,,india ,,company ,after having passed in review the different products of purely ,chinese taste in which the shapes1 the style of decoration1 and the painting were all local and national1 we will examine another class of porcelain holding for us considerable interest1 because it includes a whole series of pieces made in vast quantities for the ,european market4 ,it is usually known under the name of the porcelain of the ,east ,india ,companies4 ,by what aberration of taste or by what commercial necessity had the representatives of the famous ,east ,india ,companies--,english and ,dutch--sought to impose new models upon ,chinese potters8 ,here was a people with the highest technical skill in potting1 endowed with a sense of decoration equally pure and developed1 set to imitate examples which were considerably outside the sphere of their proper work4 ,it was the fashion during the eighteenth century for noble families and their imitators to possess a service of porcelain made in ,china or ,japan1 the decoration of which consisted of coats of arms or crests4 ,other reproductions of the period included copies of engravings by men who threw away treasures of patience and ability without understanding what they had to execute4 ,they simply imitated1 and therefore never produced real artistic work except when1 as sometimes happened1 they painted grotesque figures instead of the persons whom they were supposed to copy on their porcelain4 ,still1 apart from this criticism1 there are many interesting pieces amongst these copies4 ,england1 ,france1 and ,holland were all eager for such ,chinese specimens4 ,even the figures such as ,the ,dutch ,skipper and the ,chinese ,lady were exceedingly interesting if somewhat uncommon4 ,then there is a set of five small statuettes representing ,louis ,,xiv4 7#afdc-agae7 and four members of his family4 ,the ,chinese artist had probably only an engraving to guide him1 from which he had to produce a portrait figure of a great monarch4 ,in his ignorance he translates the ,marshal's baton into the sacred rle of the ,buddhist divinities4 ,grotesque as these figures are1 they are none the less remarkable because of the richness of the costumes1 though the ugly little heads and the general wide-awake air seem somewhat ridiculous4 ,the ,dauphin1 for instance1 with his mouth wide open1 has certainly an uncommon manner1 yet one feels a pleasure that these five little good-tempered men were able to stand upon their legs1 even if it was with difficulty4 ,such statuettes are rare4 ,by far the greater part of the ,east ,india porcelain is decorated with coats of arms1 crests1 figure subjects1 or monograms surrounded by roses4 ,on the plates and dishes were reproduced ,the fables of ,la ,fontaine1 which are found side by side with scenes from the ,old and ,new ,testament1 such as the ,nativity and the ,crucifixion4 ,then there are decorations taken from mythology1 allegories1 celebrated personages1 ftes galantes1 c4 ,though sometimes failing in colour1 the great majority of the decoration being drawn in ,indian or ,chinese ink with very indifferent hatchings for the shading1 these plates and dishes show the carefulness of the ,chinese decorator4 ,even in unfamiliar surroundings1 the figures may be1 and are1 deplorable1 and how they suffer by contrast with the borders and the ornaments which surround them1 which have all the perfect taste1 admirable composition1 and brilliant execution which distinguish the native work6 ,the ,east ,india ,companies brought to ,europe much porcelain in white1 which was meant to be decorated notably at ,venice1 ,delft1 and perhaps at ,chelsea4 ,such decoration had then nothing ,oriental about it4 ,this explains why some specimens with ,chelsea decoration have a hard paste4 ,the decoration only is ,chelsea1 quite typical of that factory1 but the form and body are ,oriental4 ,another method of ornamenting ,chinese porcelain was practised at the end of the eighteenth century1 mainly in ,holland1 which consisted in the removal of the glaze in parts1 as in engraving upon glass1 so as to design elegant arabesques and garlands in which the white of the china or body itself appeared through the thickness of the colour glaze1 the white being tinted more or less according to the depth of the cutting4 ,,xxi ,,imitations ,,of ,,oriental ,,porcelain ,,chapter ,,xxi ,,imitations ,,of ,,oriental ,,porcelain ,chinese potters imitated ,chinese potters and their productions for hundreds of years1 but it has remained for later times to produce such imitations in hard paste as to be almost beyond detection1 except by the expert4 ,closely studied1 however1 there are certain differences--a peculiarity of the tint of the paste1 a loss of brilliance in the colour--which reveal the ,european origin4 ,m4 ,sampson1 of ,paris1 has been responsible for deceiving more beginners than perhaps any other maker by his wonderful imitations of ,oriental enamel porcelain4 ,in our own early ,english factories we often met with imitations of ,chinese porcelain with regard to decoration4 ,for instance1 the early blue and white ,worcester1 the red and blue under the glaze ,worcester1 and many other patterns were direct imitations from the ,chinese2 in fact1 the square mark used upon ,worcester china was only a copy of a mandarin's seal1 and other ,oriental characters are to be found as marks upon ,worcester china1 such as the disguised numerals1 which1 more recently1 have been ascribed to ,caughley4 ,of course1 the soft paste of ,worcester makes the imitation very easy to detect4 ,the ,dresden factory1 which brought ,chinese style into prominence in ,europe1 in its oldest specimens1 produced a hard paste with purely ,oriental decoration1 and copied even the intricate borders and medallions in ,chinese style4 ,under the patronage of ,augustus ,rex1 otherwise ,augustus the ,strong1 ,elector of ,saxony1 ,dresden china became celebrated4 ,coming again to later times1 we find that at ,herend1 in ,hungary1 a manufacturer named ,fischer1 at about #ahci1 made a special feature of the imitation of ,oriental porcelain1 and his finest specimens are most deceptive4 ,it is a great shame that pieces from this factory are so frequently used fraudulently by unscrupulous dealers4 ,again1 at ,talavera1 near ,toledo1 in the later eighteenth century1 perfect imitations of ,oriental china were made1 which1 even as imitations1 are valued everywhere for the beauty of the glaze and brilliance of the colour4 ,it is the slavish attention and too faithfully carrying out the detail that reveals the forgery to the expert4 ,on this point one might almost say that the very skilful forgery of a five pound ,bank of ,england note would deceive an expert1 but there is always some apparently trivial point and detail1 either omitted or added1 which makes the forgery clear to those who really know4 ,although various marks were copied in the seventeenth and eighteenth centuries from porcelain belonging to earlier periods1 it was not done with the idea of forgery or deception1 but as a mark of reverence and appreciation of former masters4 ,the mark most copied was in the reign of ,yung-ching1 when the ,ching-hwa mark was often introduced into self-colour pieces4 ,it may further interest students to learn that many examples of the old porcelain1 which are broken and yet put together without any of the portions being lost1 are the result of the duty which was levied in the beginning of the eighteenth century on porcelain imported into ,england4 ,perfect specimens were liable to heavy charges1 damaged ones came in free1 and as at that time the values were in all probability what is paid to-day for a good modern plate or vase1 or even less1 pieces wanted for decoration were broken without any compunction1 the pieces saved1 and afterwards stuck together4 ,such examples are well worth acquiring1 and the fact of the damage reduces the price1 but so long as there are no portions missing1 or the original beauty of the decoration impaired1 the collector will be well advised not to pass such articles by on account of the break as there are many very fine examples which were thus ruthlessly treated4 ,,xxii ,,symbolical ,,designs ,,chapter ,,xxii ,,symbolical ,,designs ,a4--,,emblems ,,in ,,animals4 ,we have already remarked how the ,chinese employed ornament to their works in porcelain1 not alone to please the eye1 but to elevate the mind at the same time4 ,it is evident that the realisation of these two aims must have been dependent not alone upon the highest technical skill1 but upon the religious knowledge either possessed by the artist or handed down in traditional form from generation to generation4 ,hence the character of their work was determined and imbued by religious influences4 ,in every age pottery has been a vehicle for the display of art1 and the wonderful productions of the ,east embody in symbolised form the highest aspirations of religions with which we are but imperfectly acquainted4 ,the deer 7,chinese luh1 ,japanese roku7 is also an emblem of longevity4 ,a white stag frequently accompanies the god of longevity4 ,it sometimes carries in its mouth another emblem1 the fungus4 ,a deer1 however1 is also used as a symbol of official emolument or prosperity1 having the same sound as the word for the latter 7luh74 ,it is probably for this reason that we find a fawn accompanying the ,japanese god of talent1 ,toshitoku4 ,the fox 7,chinese hu1 ,japanese kitsu-ne7 is considered1 especially in ,japan1 as a very mysterious animal4 ,there are several wonderful legends concerning it in ,mitford's ,tales of ,old ,japan4 ,it is said to attain the same age as the hare1 when it is admitted to the heavens and becomes the celestial fox4 ,it controls the official seals of high officials4 ,the hare 7,chinese tu1 ,japanese usagi7 is sacred to the moon1 where the ,taoists believe it to live1 pounding the drugs that form the elixir of life4 ,it is stated to live one thousand years1 and to become white when it has reached the first five hundred years4 ,the hare1 often miscalled a rabbit1 occurs on porcelain1 both as a decoration and as a mark4 ,the stork 7,chinese ho1 ,japanese tsuru7 is one of the commonest emblems of longevity4 ,it is said to reach a fabulous age1 and when six hundred years old to drink1 but no longer eat2 after two thousand years to turn black4 ,it occurs as a mark4 ,the tortoise 7,chinese kwei1 ,japanese ki or kame7 was also a supernatural animal1 and its shell was used in divination4 ,the tortoise with a hairy tail is depicted in ,japan as an attendant on the god of old age1 and is used as an emblem of longevity4 ,a ,chinese phrase1 ,kwei-ho-tung-chun1 signifies ,may your days be as long as the tortoise and stork4 ,b4--,,emblems ,,in ,,trees4 ,among plants are three trees1 which1 though not all1 strictly speaking1 emblems of longevity1 are closely connected with it2 these are the pine-tree1 bamboo1 and plum4 ,these three trees are termed by the ,japanese in combination ,sho-chiku-bai4 ,the ,chinese say the pine1 bamboo1 and plum are like three friends1 because they keep green in cold weather4 ,the bamboo 7,chinese chuh1 ,japanese take7 is another emblem1 owing probably to its durability4 ,its elegant form causes it frequently to be depicted on works of art1 both in ,china and ,japan4 ,the gourd 7,chinese hu-lu1 ,japanese hiotan or fuku be7 is also an emblem of longevity1 especially in ,japan1 owing perhaps to its durability when dried4 ,the peach 7,chinese tao1 ,japanese momo7 is a symbol of marriage1 but also of longevity4 ,great virtues were attributed to the peach1 especially that which grew near the palace of ,si-,wang-,mu1 ,queen of the ,genii1 on which the fruit ripened but once in three thousand years4 ,it is represented with a bat as a mark4 ,the pine-tree 7,chinese sung1 ,japanese matsu7 is a very common emblem1 and to be found on many specimens4 ,its sap was said to turn into amber when the tree was one thousand years old4 ,the plum-tree or prunus 7,chinese mei1 ,japanese mume71 though not properly an emblem of longevity1 is indirectly connected with it1 as the philosopher1 ,lao ,tsze1 the founder of the ,taoist sect1 is said to have been born under a plum-tree4 ,it forms the decoration of the porcelain erroneously termed may flower or hawthorn pattern4 ,c4--,,emblems ,,in ,,flowers4 ,artemesia4--,the artemesia was used by the ,chinese with the sweet flag to allay pain and to drive away demons4 ,azalea4--,the azalea1 without having any special symbolical signification1 was eminently useful for decorative purposes1 because1 as a common flower on the hills of the north-east provinces1 it gave brightness to a scene of surpassing beauty in the central flowery land4 ,camellia4--,the camellia bears the same name as the tea plant1 and the term cha is used to denote any infusion1 just as the word tea is with us1 as when we speak of beef-tea1 camomile-tea1 and so on4 ,chrysanthemum4--,chrysanthemums1 like the asters1 were reared for their beauty4 ,they are1 perhaps1 the commonest form of flower decoration on ,oriental china1 and we cannot be surprised at this when we consider the variety and the richness of the colour of this beautiful plant4 ,it was an emblem of mid-autumn--more than that1 it was a symbol of pleasurable enjoyment--hence its presence on a piece of porcelain given as a token of esteem1 also a wish that all should be well with the recipient4 ,cockscomb4--,the cockscomb was very much admired by the ,chinese1 and was not alone used as a decoration for porcelain1 but for many of those interesting pictures on glass which portray birds and flowers1 and which1 though painted in a similar way to the early paintings on glass known to ,western nations1 exceeded them by the brilliancy of their colours and by their exact resemblance to nature4 ,convolvulus4--,the convolvulus was painted around the edges of tanks and pools1 not alone for decoration1 but because the leaves of some varieties made a very succulent green food4 ,flag1 or ,iris4--,the flag1 or iris1 known as the sweet flag1 was placed at the doors of houses to prevent all manner of evil from entering1 but it had a material use as a medicine much used for its spicy warmth4 ,fungus4--,the fungus when dried was very durable4 ,it grew at the roots of trees1 and many imitations of it in gilt wood1 or even dried specimens of the fungus itself1 were frequently used as decoration in the temples4 ,in pictures of ,lao-tsze and the ,immortals it is used as a symbol of longevity or immortality1 hence it is found carried in the mouth of the white stag1 which is also an emblem of immortality4 ,occasionally it is used as a mark on the bases of specimens of old ,kang-he blue1 in which case it often has lines around its base to represent the grass through which it grows4 ,jasmine4--,the jasmine1 a sweet-smelling white flower1 is largely grown for its scent1 but still more as a favourite flower amongst the ,chinese women for personal ornament1 its twigs and clusters or blossoms being wound in the hair1 and it was planted in the pots in the houses4 ,lotus1 or ,nelumbium4--,the lotus1 or nelumbium1 was a sacred flower representing the creative power in the ,buddhist religion4 ,representations of it frequently occurred not alone in connection with ,buddhism1 but also with ,taoism4 ,kwan-,yin is often shown seated upon the lotus4 ,ho ,seen-koo has the lotus as her emblem2 and1 generally1 whether considered with regard to its utility or to its beauty the sacred lotus was placed by the ,chinese at the head of the cultivated flowers4 ,it has a very close resemblance to our ,english water lily1 having the stock inserted near the centre of the leaf4 ,both seeds and root are articles of food1 and1 when cultivated for that purpose rather than for ornament1 covers large areas of lakes and marshes4 ,narcissus4--,the narcissus is an emblem of good luck for the coming year4 ,just as with us in ,england the narcissus is a harbinger of spring1 so in the new year at ,canton the budding flowers of the narcissus1 almond1 plum1 peach1 and bellflower1 all are emblematic1 all express a wish for coming prosperity4 ,magnolia4--,the magnolia has immense flowers and has been selected as the emblem of sweetness and beauty4 ,the name in ,chinese means secretly smiling1 and to the ,chinese it suggests the lovely smile of a sweet maiden4 ,where in designs on porcelain beautiful women are drawn this flower usually accompanies them4 ,china furnishes several species of this lovely flowering plant4 ,its medicinal use is secured from the bark employed as a febrifuge4 ,myrtle4--,the myrtle grows as a wild plant with lovely rose-coloured flowers1 one species of it produces clusters of berries1 which are eaten as fruit4 ,oleander4--,this flower is prized because of its beauty and fragrance4 ,the tender rose pink lends itself easily to schemes of porcelain decoration4 ,members of the same group1 less attractive1 but still pretty1 are the yellow milk-weed and the red periwinkle4 ,olive4--,the olive is noted for the fragrance of the clusters of minute flowers of white and yellow4 ,this plant flowers through a great part of the year4 ,a branch of sweet-smelling olive was a reward of literary merit4 ,it was also symbolical of studious pursuits1 and of sweetness generally4 ,peach4--,the peach blossoms were placed in doorways at the ,new ,year as the peach charm4 ,a branch of the tree1 covered with blossoms1 was supposed to prevent the entry of evil demons into the home4 ,peony4--,next to the chrysanthemum the peony was effective in the decoration of ,chinese porcelain4 ,it was a tree in that land1 valued for its fine and variegated flowers4 ,it was emblematical of good fortune1 but if the plant did not supply beautiful flowers and green leaves1 if the leaves fell off and its flowers suddenly faded1 such a change foreshadowed poverty or some overwhelming disaster4 ,it was also an emblem of love and affection1 and therefore eminently appropriate for use on presentation pieces of porcelain4 ,poppy4--,the poppy was not alone grown for the production of opium1 but for its beautiful flowers4 ,rose4--,this flower was as great a favourite with the ,chinese as with all other nations4 ,many species and varieties were natives of this country4 ,like the jasmine1 it was used by the women for personal adornment4 ,tobacco4--,this plant was grown almost everywhere in ,china1 but its strength varied according to soil and climate4 ,in the north it was of a pale colour1 while further south it is said to owe its reddish colour to being steeped in a solution of opium4 ,,xxiii ,,date ,,marks ,,on ,,oriental ,,porcelain ,,chapter ,,xxiii ,,date ,,marks ,,on ,,oriental ,,porcelain ,there was no regular method employed in either ,china or ,japan for indicating either the time or place at which the porcelain was made4 ,neither was there any mark by which the workman or artist could be identified4 ,where marks are used they indicate the period in a dynasty2 still it must be constantly borne in mind that the old marks were continually copied in reproductions of a later period made by the ,chinese themselves1 and other reproductions produced with much fidelity in ,paris and elsewhere4 ,so that the collector has to be very careful1 especially in buying fine specimens4 ,there seems to be scarcely nothing worth copying that has not received full attention at the hands of the forger4 ,of course1 when these copies are simply offered as reproductions of old pieces1 the purchaser1 even if he pays a large price1 has not much to complain of1 but the trouble arises when they are foisted on the public as genuine4 ,the work is so cleverly done1 the imitation is so accurate that only the specialist is able to detect the fraud4 ,the texture of the porcelain is closely imitated1 and every care is taken to reproduce the scratches and even the dirt4 ,more than that1 old pieces that have been damaged are restored so as to appear perfectly genuine throughout1 whilst real old pieces1 that were originally plain1 have been enamelled with the finest famille verte or famille rose decoration so as to deceive all but the most skilful expert4 ,such a case occurred within the author's own experience4 ,an old dish1 early ,keen-lung1 was so decorated with the finest rose decoration1 and only the most careful examination revealed the fact that both decoration and glaze had been applied in comparatively recent times--in fact1 within a very few years4 ,the owner was indignant when he was informed of this4 ,however1 he afterwards came back with the information that he had sold the dish for #bj1 but he forgot that if the dish had been really old it would have been worth not #bj but #abj6 ,too much dependence1 therefore1 must not be placed upon the marks or upon the decoration2 it is upon the education of the eye1 the tout ensemble1 really upon the merits of the specimens themselves1 that dealers and collectors must rely4 ,no training is as good as the handling of fine old pieces1 in which the grain of the porcelain1 the colours of both the porcelain and the decoration can be studied1 and the knowledge thus gained becomes the experience which is1 above everything else1 the necessary equipment to any one who collects old china4 ,the ,chinese write in characters1 each represents a word1 and the commencement is made from the top of the right-hand side4 ,the columns are read downwards1 but when the characters are in a line they are read from right to left4 ,the marks may be in the seal characters1 in plain characters as employed in books1 or in grass-text as used for rapid writing2 but all are read in the same way1 though the last are very difficult to read4 ,as there are many variations in ,english handwriting1 so the ,chinese characters will be found to vary1 yet the word would be the same4 ,it is in the forgeries that we noted the most slavish attention to accuracy and the most infinite pains taken to reproduce the old marks given in the books4 ,the marks themselves are either painted on the bases1 usually in blue1 though on some late pieces it is found in red1 or they may be engraved or embossed4 ,the ,chinese have no centuries for measuring time1 they use instead a cycle of sixty years1 and the precise date as indicated by the cycle is so seldom used on porcelain that it may be disregarded1 as only four or five examples of the cyclical dates have ever been found4 ,the marks on porcelain indicate only the reign of the emperor1 who when he comes to the throne adopts two words as his title or ,nien-hao4 ,before the coming of the ,ming dynasty1 in #acfh1 these titles were changed in order to commemorate any striking event1 but since then only one ,emperor1 who lost his throne in #adej and regained it after seven years1 has changed his ,nien-hao1 and only one ,emperor1 ,kang-he1 reigned a whole sixty years1 and a cyclical date may have been used when the thirty-eighth year of the sixty-eighth cycle recurred4 ,see ,mark #a in date marks4 ,the ,nien-hao was the honorific designation of the ,emperor2 ,taou-kwang 7#ahba-ahea7 was reason's lustre1 and ,kwang-hsiu 7#ahge7 means inherited lustre4 ,following the seal marks1 which are read in the same way1 note that the list gives a number of marks having six characters4 ,reading these it will be noted that the one in the top right hand and the next one below it1 marked 7#a7 and 7#b71 are always the same for the same dynasty--,ta ,ming or ,ta ,tsing show the great ,ming or great ,tsing dynasty4 ,the bottom sign of the first column 7#c7 and the top sign of the second column 7#d7 give the ,emperor's title or ,nien-hao1 whilst the two remaining signify in descending order year or period 7#e71 made 7#f74 ,in six-mark characters1 arranged in two lines1 the reading is similar1 as marked by the figures 7#a71 7#b71 c4 ,in four-mark character the signs for the dynasty--that is1 ,ta ,ming or ,ta ,tsing--are left out1 and the first two marks show the period4 ,as before remarked1 the forgeries and imitations have been so numerous that the date marks cannot be accepted as proof of age4 ,the old blue porcelain--,nankin ware so called--was marked with six characters until #afgg1 as mentioned elsewhere4 ,after that we have the double circle in blue1 either empty or having a symbol in the middle4 ,the ,ming productions have not yet received due recognition with regard to their beauty of shape and decoration1 but the two periods which are most represented by the marks are ,seuen-,tih 7#adbf-adcf7 and ,ching-hwa 7#adfe-adhh74 ,in the ,british ,museum are two ,celadon bowls with the ,seuen-tih mark1 with deep mouldings2 to these is affixed on the label probably ,kang-he4 ,then1 again1 immense quantities of china appear to have been brought to ,europe during the seventeenth and eighteenth centuries1 much of which was marked ,ching-hwa4 ,whether during the eighteenth century such porcelain could be collected in ,china for cargo purposes is a matter of doubt4 ,if not1 this is an illustration of the fact that from an early period the ,chinese copied old forms1 decoration1 and marks4 ,,honorific ,,marks4 ,the word tang often occurs in inscribed marks1 which seem to indicate a place of origin4 ,in the list given it is marked ,tang or ,hall ,marks4 ,these marks are found on pieces differing considerably in character1 age1 and quality4 ,the general opinion is that the ,hall named is the title of the residence of the ,tao-tai1 or superintendent of the porcelain works belonging to the ,emperor4 ,other inscribed marks simply set out praises of the porcelain itself1 stating that it is a gem among precious vessels of rare jade1 a gem rare as jade1 an elegant rarity1 fine vase for the rich and honourable1 and so on4 ,some pieces are found with a seal character embodying a wish1 as happiness1 prosperity1 longevity1 and harmonious prosperity4 ,see the list of specimen ,hall ,marks1 c41 and two others1 last on the bottom line1 praising the porcelain4 ,illustration3 ,,fig4 #a4 ,a4,d4 #agba4 ,,fig4 #b4 ,,yuen-,,fung4 #ajgh-ajhf4 ,,fig4 #c4 ,,hung-,,woo4 #acfh-acii4 ,,fig4 #d4 ,,yung-,,lo4 #adjc-adbe4 ,,fig4 #e4 ,,seuen-,,tih4 #adbf-adcf4 ,,fig4 #f4 ,,ching-,,hwa4 #adfe-adhh4 ,,fig4 #g4 ,,ching-,,hwa4 #adfe-adhh4 ,,fig4 #h4 ,,hung-,,che4 #adhh-aejf4 ,,fig4 #i4 ,,ching-,,tih4 #aejf-aebb4 ,,fig4 #aj4 ,,kea-,,tsing4 #aebb-aefg4 ,,fig4 #aa4 ,,lung-,,king4 #aefg-aegc4 ,,fig4 #ab4 ,,wan-,,leih4 #aegc-afbj4 ,illustration3 ,,fig4 #ac4 ,,shun-,,che4 #afdd-affa4 ,,fig4 #ad4 ,,kang-,,he4 #affa-agbb4 ,,fig4 #ae4 ,,yung-,,ching4 #agbc-agcf4 ,,fig4 #af4 ,,keen-,,lung4 #agcf-agie4 ,,fig4 #ag4 ,,kea-,,king4 #agif-ahba4 ,,fig4 #ah4 ,,taou-,,kwang4 #ahba-ahea4 ,,fig4 #ai4 ,,heen-,,fung4 #ahea-ahfb4 ,,fig4 #bj4 ,,tung-,,che4 #ahfb-ahge4 ,,fig4 #ba4 ,,kwang-,,shiu4 #ahge4 ,,fig4 #bb4 ,,king-,,te4 #ajjd-ajjg4 ,,fig4 #bc4 ,,yung-,,lo4 #adjc-adbe4 ,illustration3 ,,fig4 #bd4 ,,seuen-,,tih4 #adbf-adcf4 ,,fig4 #be4 ,,yung-,,ching4 #agbc-agcf4 ,,fig4 #bf4 ,,keen-,,lung4 #agcf-agie4 ,,fig4 #bg4 ,,keen-,,lung4 #agcf-agie4 ,,fig4 #bh4 ,,kea-,,king4 #agif-ahba4 ,,fig4 #bi4 ,,taou-,,kwang4 #ahba-ahea4 ,,fig4 #cj4 ,,heen-,,fung4 #ahea-ahfb4 ,,fig4 #ca4 ,,tung-,,che4 #ahfb-ahge4 ,,marks4 ,illustration3 ,,ming ,,date ,,marks4 ,fig #a ,hung-woo1 #acfh-acii4 ,fig4 #b ,yung-lo1 #adjc-adbe4 ,fig4#c ,seuen-tih1 #adbf-adcf4 ,fig4#d ,ching-hwa1 #adfe-adhh4 ,fig4#e ,hung-che1 #adhh-aejf4 ,fig4#f ,ching-tih1 #aejf-aebb4 ,fig4#g ,kea-tsing1 #aebb-aefg4 ,fig4 #h ,lung-king1 #aefg-aegc4 ,fig4 #i ,wan-leih1 #aegc-afbj4 ,illustration3 ,,tsing ,,date ,,marks4 ,fig4 #a ,shun-che1 #afdd-affa4 ,fig4 #b ,kang-he1 #affa-agbb4 ,fig4 #c ,yung-ching1 #agbc-agcf4 ,fig4 #d ,keen-lung1 #agcf-agie4 ,fig4 #e ,kea-king1 #agif-ahba4 ,fig4 #f ,taou-kwang1 #ahba-ahea4 ,fig4 #g ,heen-fung1 #ahea-ahfa4 ,fig4 #h ,tung-che1 #ahfb-ahge4 ,fig4 #i ,kwang-shiu1 #ahge4 ,illustration3 ,,date ,,marks4 ,fig4 #a ,shun-che1 #afdd-affb4 ,fig4 #b ,kang-he1 #affa-agbb4 ,fig4 #c ,yung-ching1 #agbc-agcf4 ,fig4#d ,keen-lung1 #agcf-agie4 ,fig4 #e ,kea-king1 #agif-ahba4 ,fig4#f ,taou-kwang1 #ahba-ahea4 ,fig4 #g ,heen-fung1 #ahea-ahfb4 ,fig4 #h ,tung-che1 #ahfb-ahge4 ,fig4 #i ,kwang-shiu1 #ahge4 ---------------------------------------- -------------------- ,made at the ,the ,luh-i ,antique made at ,tseu-shun ,hall1 or waving the ,shun-tih1 or of beautiful jade4 bamboo ,hall4 cultivation of vertue ,hall4 ---------------------------------------- -------------------- ,made at the ,made at the ,made at the ,shun-tih1 or ,tsai-jun or ,i-yew1 or cultivation ,hall4 brilliant advantage ,hall4 colours ,hall4 ---------------------------------------- -------------------- ,made at the ,made at the ,made at the ,ta-shu1 or ,ki-yuh1 or ,lin-yuh1 or great tree ,hall4 rare jade ,hall4 abundant jade ,hall4 ---------------------------------------- -------------------- ,imitations of ,a gem among ,a gem among antiques made at precious vessels1 precious vessels1 the ,king-lien of rare jade4 of rare stone4 ,hall4 ---------------------------------------- -------------------- ,,xxiv ,,symbolical ,,marks ,,and ,,ornaments ,,chapter ,,xxiv ,,symbolical ,,marks ,,and ,,ornaments ,every picture tells its story is true when applied to ,oriental decoration where history and mythology furnish many of the designs1 and almost every flower and colour has its own meaning4 ,on the porcelain many of these devices are used either as marks or ornaments2 sometimes they have ribbons or fillets entwined around them1 and they vary considerably in style and shape4 ,those given are from ,sir ,a4 ,w4 ,franks's book1 ,the ,catalogue of the ,franks' ,collection of ,oriental ,porcelain and ,pottery1 exhibited at the ,bethnal ,green ,museum4 ,the symbols set out are found on blue and white porcelain as well as on pieces of famille verte1 powdered blue1 and old specimens decorated with coloured enamels generally of a very good quality4 ,a4 ,no4 #a4 ,the pearl1 which as an ornament is frequently represented in the air with dragons4 ,no4 #b4 ,the conch shell1 a well-known ,buddhist emblem which signifies a prosperous journey4 ,no4 #c4 ,a musical instrument4 ,according to ,mr4 ,gulland1 who searched ,mr4 ,salting's ,collection at the ,museum1 ,south ,kensington1 #ah pieces1 mostly blue and white1 have this mark4 ,nos4 #d1 #e1 #f4 ,three of the varieties of a lozenge shape2 sometimes it has the swastika in the centre4 ,nos4 #g1 #h1 #i4 ,various fish symbols4 ,sometimes a pair of fishes is found in a vase form1 but this ,buddhist symbol is an emblem of domestic happiness4 ,no4 #aj4 ,a group comprising a pencil1 cake of ink1 and sceptre of longevity1 the whole expressing the wish1 ,may things be fixed as you wish4 ,no4 #aa4 ,the hare1 an emblem of longevity4 ,the hare is connected by legend with the moon1 and the mark is found on pieces coloured black and yellow1 and on blue and white of good quality4 ,no4 #ab4 ,a pair of rhinoceros horns used as a mark and in other forms as a symbol4 ,mr4 ,gulland's examination gave a rather striking result4 ,about #ifj pieces are in the ,salting ,collection1 perhaps the finest of its kind in the world4 ,of these #acj pieces had date marks1 #eb being on coloured pieces and #gh on blue and white4 ,the other marks1 mostly symbol marks1 were found on #afi pieces1 of which #gg were coloured and #ib blue and white4 ,this gives a total of #bii marked pieces4 ,nos4 #ac1 #ad1 #ae1 #af4 ,varieties of leaves4 ,sometimes the leaves are filleted4 ,in the ,salting ,collection #de pieces had the leaf mark1 which is chiefly found on blue and white4 ,nos4 #ag1 #ah4 ,the lotus flower1 without fillets1 the specimens in the same collection were coloured4 ,nos4 #ai1 #bj1 #ba1 #bb4 ,varieties of the ,che plant mostly found on blue and white1 a kind of fungus used as an emblem of longevity and occasionally found in vase form1 of natural shape1 in self-colour1 such as sang-de-buf4 ,no4 #bc4 ,the peach and conventional bat4 ,the peach signifies longevity1 and the bat happiness4 ,the two together embody the wish for ,a two-fold perpetuation of happiness and long life4 ,no4 #bd4 ,four-leaved flower1 on blue and white4 ,no4 #be4 ,flower with eight or sixteen leaves4 ,no4 #bf4 ,five-leaved flower1 on blue and white4 ,a six-leaved flower is also found on blue and white4 ,no4 #bg4 ,joo-e-head4 ,there is no form so universal for decorative purposes as the ,joo-e1 here given as a mark on blue and white4 ,panels and borders have modifications of this form in endless variety4 ,the fungus as emblem of longevity was adopted in this form as the head of the sceptre of longevity1 and the ,joo-e has remained a classical pattern4 ,no4 #bh4 ,five circles with fillets1 found on old coloured specimens4 ,no4 #bi4 ,a knot 7chang7 said to signify longevity1 found on blue and white4 ,no4 #cj4 ,an insect1 found on blue and white4 ,no4 #ca4 ,stork or heron without a tail4 ,note the ,dresden engraved number below4 ,nos4 #cb1 #cc1 #cd1 #ce4 ,varieties of incense burners 7tings71 found on blue and white4 ,several other marks are to be found1 notably on porcelain of good quality4 ,b4 ,,the ,,ordinary ,,symbols4 ,these symbols are sometimes1 as we have seen1 used as marks4 ,but they are also used in decoration1 being coloured in enamel colours and often placed in shaped reserves4 ,the number eight seems to have an attraction for the ,chinese4 ,here we have what are termed the eight precious things1 and1 later1 the ,buddhist emblems1 the eight lucky emblems1 are given4 ,it is not necessary to do more than name these ordinary symbols3-- ,no4 #a4 ,a pearl4 ,no4 #b4 ,a coin1 symbol of riches1 often forms a border to plates and dishes4 ,no4 #c4 ,lozenge with open frame4 ,two lozenges with overlapping ends are used to express the dual symbol4 ,no4 #d4 ,a mirror4 ,no4 #e4 ,a sounding-plate used as a bell4 ,no4 #f4 ,books placed close together1 probably another dual symbol4 ,no4 #g4 ,rhinoceros horns--conventional form4 ,no4 #h4 ,a leaf4 ,some or all of these objects may frequently be seen carried in processions or on pictures of such processions4 ,c4 ,,the ,,buddhist ,,symbols4 ,here1 again1 we have some forms which have been dealt with as marks4 ,no4 #a4 ,a bell4 ,in place of this1 the wheel of the law is frequently used4 ,no4 #b4 ,the conch shell1 the chank shell of the ,buddhists4 ,no4 #c4 ,a state umbrella4 ,no4 #d4 ,a canopy4 ,no4 #e4 ,the lotus flower again4 ,no4 #f4 ,a vase with cover4 ,no4 #g4 ,two fishes4 ,connubial felicity4 ,no4 #h4 ,a knot said to represent the intestines and to be an emblem of longevity4 ,,other ,,symbols4 ,a silver ingot1 a cake of ink or a branch of coral may be found as emblems of riches1 scholarship1 or power1 but there remain three devices which deserve a few words4 ,the first is the ,pa-kwa1 consisting of eight diagrams of entire and broken lines4 ,the entire lines represent the male1 strong or celestial element in nature2 and the broken ones the female weak1 terrestrial element4 ,an entire system of ,chinese philosophy is built upon this combination1 and not only so1 but they furnish a clue to the secrets of nature and of being4 ,the trigrams are often represented upon specimens of porcelain1 especially on raised decorations1 with or without a central circular device1 the ,yang and the ,yin1 another representation of the male and female elements in nature4 ,the second device is the bat4 ,the word in ,chinese has exactly the same sound as the word meaning happiness1 so that the bat has come to be regarded as a symbol of happiness4 ,the figure of a bat is sometimes used alone2 chiefly1 however1 we find four or five bats surrounding the seal character for longevity4 ,this is the third of the devices4 ,the character for longevity 7show in ,chinese7 is regarded as very auspicious1 and it is written in no less than a hundred different ways4 ,when used with the five bats surrounding it1 the five great blessings are symbolised--longevity1 riches1 peacefulness1 love of virtue1 and a happy death4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,,xxv ,,the ,,immortals1 ,,or ,,chens ,,chapter ,,xxv ,,the ,,immortals1 ,,or ,,chens ,the ,pa ,sien1 or eight ,immortals1 were followers of the ,taoist religion founded by ,lao ,tsze1 who lived about the time of ,confucius4 ,they seemed to be noted for a combination of pure ,taoism1 which taught contempt for riches and worldly power1 and advocated complete subjugation of all bodily passions1 and such practice of magic and alchemy as gave them the power they affected to despise4 ,these eight lived at various times and attained immortality through the mysterious elixir of immortality4 #a4 ,han ,chung-le1 who lived in the ,chow dynasty 7,b4,c4 #aabb-bdi71 is represented as a fat man1 either with bare stomach or fully clothed4 ,his emblem is a fan with which he revives the spirits of the dead4 #b4 ,leu ,tung-pin 7about ,a4,d4 #gee74 ,he learnt the mysteries from ,han ,chung-le whilst wandering in the mountain gorges4 ,tempted ten times1 he overcame the temptations1 and with a sword1 which is his emblem1 he slew evil monsters and rid the earth of them for more than four hundred years4 #c4 ,le ,tee-kwae 7period unknown7 was a scholar of ,han ,chung-le in the celestial regions which he visited in spirit1 leaving his body under charge of a disciple on the earth below4 ,on returning from one visit1 he found his body was gone1 and the only way in which he could continue his existence was by taking refuge in the body of a lame beggar1 whose crutch and gourd are his symbols4 #d4 ,tsaou ,kwo-kiu 7circa ,a4,d4 #iii7 is generally represented with a court head-dress1 being connected by birth with the ,emperor4 ,his symbol is a pair of flappers or castanets1 which he carries in one hand4 #e4 ,lan ,tsae-ho is rather a myth of myths1 for neither the sex nor period is given4 ,the figure is represented bearing a flower-basket or wine-pot1 either of which is the emblem4 #f4 ,chang ,ko-laou 7close of seventh to middle of eighth centuries7 was a great magician1 whose white mule carried him immense distances1 and when not in use was folded up and put away4 ,his symbol is a bamboo tube drum1 carried on either arm1 with two rods1 the ends of which are usually projecting from the upper opening of the drum in which they are placed4 #g4 ,han ,seang-tsze 7about the same period as the last7 was a pupil of ,leu ,tung-pin4 ,his symbol is a flute carried in either hand1 usually end upwards4 ,the story says that his master carried him to the famous peach-tree of the genii from which he fell4 #h4 ,ho ,seen-koo 7,a4,d4 #fij-gje7 was an example of filial piety4 ,the legend tells how vast were the distances she travelled to get dainty bamboo shoots for her sick mother1 how she conquered the desire for mortal food1 sustaining herself with the powder of mother-of-pearl1 and how finally she disappeared with the promise of coming back again4 ,this she did1 on occasion when a good genius was necessary1 appearing in the clouds and bringing blessings4 ,hers is the flower symbol--the lotus4 ,here1 before me1 are two vases on each of which is depicted a feast of the immortals in the celestial regions4 ,under the spreading pine-tree1 emblem of longevity1 sits ,han ,chung-le1 listening to the music of the flute4 ,around him are the others with wine-cups set on a rock table4 ,lan ,tsae-ho is bearing the wine-pot1 whilst in the clouds1 over the pine-tree1 the gracious ,ho ,seen-koo gazes down upon the scene4 ,not only in decoration1 on vases1 and other pieces1 are these gods depicted either singly1 in pairs1 or all in one group1 but also in single figures and as a group of figures4 ,sometimes eight1 and sometimes nine are found in one group1 the ninth being ,lao ,tsze himself1 the founder of ,taoism4 ,many of these figures1 as in the illustrations1 are very beautiful in colour1 and so entirely quaint and curious in modelling1 often with faces and hands1 in white biscuit1 and so rare4 ,old ,ming figures1 early ,celadon figures1 later enamelled figures1 in sets of eight1 standing or sitting1 are often worth a knight's ransom4 ,,xxvi ,,the ,,dresden ,,collection ,,chapter ,,xxvi ,,the ,,dresden ,,collection ,the ,dresden ,collection of porcelain is probably the most ancient in ,europe as far as the ,oriental portion is concerned4 ,according to its learned ,director1 ,dr4 ,theodore ,graesse1 it was chiefly brought together by ,augustus the ,strong1 ,king of ,poland and ,elector of ,saxony1 between the years #afid-agje4 ,these specimens were afterwards made use of to decorate the ,dutch1 or1 as it was subsequently called1 the ,japanese1 ,palace4 ,after being for many years stored away in the vaults of the ,palace1 they have now been set out in the ,johanneum ,palace1 where they are well seen4 ,in order1 it is said1 to prevent the courtiers from making away with the royal property1 every specimen in the old collection was marked with numbers1 accompanied by various signs1 engraved through the glaze on the lathe1 and therefore indelible4 ,to avoid high numbers and to facilitate classification1 a particular sign was used for each kind of porcelain4 ,these marks must have been put on at an early date1 as they are only to be found on the more ancient specimens of ,meissen porcelain in the collection at ,dresden4 ,the classes and marks were as follows3-- ,japanese porcelain1 distinguished by the addition of a cross to the number4 ,green ,chinese porcelain 7that is1 principally painted in green enamel71 marked by an ,i4 ,white ,chinese porcelain1 marked with a triangle4 ,red ,chinese porcelain 7that is1 principally decorated in red71 marked with an arrow4 ,blue and white ,indian porcelain 7chiefly ,chinese blue and white71 including crackle1 marked with a zig-zag line4 ,see symbolical mark #ca4 ,old ,indian porcelain1 marked with a parallelogram4 ,indian and ,saxon black porcelain1 marked with a ,p4 ,the cross mark is of value as showing the opinion entertained in ,europe at so early a time as to what was ,japanese1 but must of course be accepted with some reserve4 ,it may be added that nearly all the ,japanese specimens are what we know as ,old ,japan1 made in ,imari for exportation4 ,the triangle is useful to help us in distinguishing white ,oriental from early ,dresden1 ,fulham1 or ,plymouth porcelain1 which were close copies of the first4 ,the most curious specimens are those marked with a parallelogram1 and are called ,old ,indian4 ,many of these appear to be ,oriental porcelain1 originally white1 and decorated in ,europe1 probably in ,holland4 ,the same style of painting is to be found on five vases bearing the arms and initials of ,augustus the ,strong1 said to have been ordered for the ,king by the ,dutch in #agjc1 but probably executed in ,holland4 ,these vases seem to be ,chinese porcelain with ornaments in very low relief1 over which the arms have been painted1 together with a decoration in the ,japanese style4 ,,xxvii ,,section ,,ii ,,japanese ,,porcelain ,,and ,,pottery ,,section ,,ii ,,chapter ,,xxvii ,a ,,short ,,sketch ,,and ,,marks ,,of ,,japanese ,,porcelain ,,and ,,pottery ,although we do not possess any complete documentary evidence on ,ceramics in ,japan1 and although much of what we do know has been obtained by ,englishmen in that country1 there is no doubt that this art had its origin in remote antiquity1 and that the ,japanese seem always to have possessed in a high degree a very vivid sentiment of decoration1 happily combined with an extraordinary facility of execution4 ,the making of porcelain only dates from the beginning of the sixteenth century1 when ,shonsui1 returning from ,china1 where he had learned the secrets of the trade1 constructed several furnaces in localities where he found the necessary materials4 ,he settled at ,arita1 in ,hizen1 the nearest port to which is ,imari1 a name familiar to all collectors as a common name for all ,japanese porcelain4 ,but this old ,imari is always white with designs painted in blue under the glaze4 ,a hundred years after an ,imari potter learnt1 under the direction of a ,chinese established at ,nagasaki1 the art of painting and decorating in various colours the porcelain which he sold to ,chinese merchants4 ,they in their turn exported it to ,europe through the ,east ,india ,company1 so that considerable quantities arrived in ,england1 where it is found to-day in a large number of families which have preserved the tastes of their forefathers4 ,arita or ,imari were names indifferently applied to this porcelain4 ,amongst the other numerous works where pottery and porcelain were made the following list comprises the chief3 ,awata1 ,banko or ,imbe1 ,kaga or ,kutani1 with beautiful red and gold decoration2 ,kioto1 ,kishu1 ,nabeshima1 ,satsuma1 ,soma1 ,sanda1 ,sto 7in the province of ,owari1 to-day one of the largest centres of production71 and ,tokio4 ,japanese porcelain is distinguished from ,chinese by a closer imitation from nature in the flowers and birds1 and1 above all1 by much more correct design1 more chaste and elegant in the representation of the human figure4 ,the marks are often impressed or stamped in a circle1 oblong or oval1 and frequently1 too1 ,chinese marks are imitated4 ,it will be useful to indicate some characteristics of the chief of the factories mentioned above4 ,,imari1 ,,arita1 ,,or ,,hizen ,,porcelain4 ,the oldest ,imari has been referred to before4 ,the period of the seventeenth century is noted for decoration with enamels over the glaze4 ,the paste or body was fine and pure1 the glaze milk-white1 soft1 yet not wanting in brilliancy1 forming a ground harmonising with the severely simple decoration4 ,the enamel colours were few1 but clear and rich in tone1 chiefly a dull red1 a grass-green1 and a lilac-blue4 ,the decorative subjects were1 most commonly1 floral medallions2 but the dragon1 ,phnix1 bamboo plum 7prunus flower71 birds fluttering over a sheaf of corn1 and various diaper patterns were constantly used4 ,the designs1 sparsely scattered over the surface1 give each as wide a margin as possible4 ,the ,imari ware1 old ,japan ware exported in the eighteenth and nineteenth centuries1 was a distinct type1 made to please ,european taste4 ,the decoration is usually violet1 red1 and gold added to a plain white glaze or to the blue and white4 ,,hirado ,,blue ,,and ,,white ,,porcelain4 ,this is said to mark the highest degree of perfection and beauty ever attained4 ,the paste is fine1 pure1 and white1 free from the dark gritty particles found nearly always in ,imari ware4 ,the blue--the only colour employed1 with rare exceptions--is exquisitely soft and clear and seems to float in the milk-white1 velvet-like glaze4 ,the designs are of many subjects1 etched with wonderful skill4 ,only within the last few years in ,europe did the passion for blue and white induce ,japanese owners to sell1 and the supply was soon exhausted4 ,it is well to note that modern imitations are not pure white1 but greenish1 and they are less perfectly potted4 ,it was from ,hirado porcelain that ,bow and ,plymouth modelled their pieces with raised shells and seaweed1 and ,dresden1 too1 copied the figures1 birds1 and flowers in relief4 ,hirado was a private kiln where the workmen were forbidden to sell without permission4 ,,nabeshima ,,ware4 ,the feudal chief of ,hizen at his private kilns produced blue and white porcelain of fine paste and colour1 and generally with a characteristic combination of red4 ,the potters did not1 as a rule1 use marks1 but they copied ,chinese marks on pieces which were reproductions of ,chinese patterns4 ,like ,hirado1 ,nabeshima had no occasion to mark as though the porcelain was intended for sale4 ,illustration3 ,fig4 #a4--,,the ,,five ,,claws4 ,illustration3 ,fig4 #b4--;,,ho-,,ho ,,bird4 ,the designs and symbolical marks copied from ,china have the same meaning to the ,japanese4 ,the dragon is often found as a design1 in various colours and in gold4 ,the place of dragons in ,buddhism explains their frequent appearance--indeed1 they are the masters of the world4 ,if they are offended they punish men with plague1 pestilence1 and famine4 ,hence they must be propitiated4 ,illustration3 ,fig4 #c4--;,,dog ,,of ,f4 ,illustration3 ,fig4 #d4--,,the ,,kylin4 ,fig4 #a shows the five claws of the best kind of dragon-decorated ,oriental1 said to be made for ,imperial use4 ,fig4 #b is the ,fong-,hoang1 sometimes called the ,ho-,ho bird4 ,this was the symbol of the sovereigns of ,china before the five-clawed dragon4 ,drawings of this bird vary very much2 when represented in the air the feet are thrown back4 ,fig4 #c is the dog of ,f1 or ,buddha1 often called the ,korean lion1 still more often1 and wrongly1 the kylin4 ,the one is the lion transformed1 and ,fig4 #d1 the kylin1 is more like the unicorn4 ,its head resembles that of a dragon4 ,often its body is covered with scales1 and its hoofs are cloven4 ,,xxviii ,,satsuma ,,pottery1 c4 ,,chapter ,,xxviii ,,satsuma ,,pottery ,whilst in porcelain ,japan copied ,chinese patterns1 in pottery native talent had full scope for its original and personal character1 so ably shown both in shape and decoration4 ,amongst all the pottery ,satsuma takes the first place2 indeed1 no collection is complete unless it has a specimen1 although fine pieces are very rare4 ,much of what is called old ,satsuma has been produced at ,kyoto and ,yokohama for export1 and has very little in common with the ware so highly prized by collectors in ,japan4 ,showy1 brilliant1 and decorative reproductions are met with frequently1 but neither in paste or painting are they comparable4 ,real old ,satsuma1 at first sight1 looks like ivory1 and the designs display infinite care1 the colours being low in tone1 whilst the gold is pencilled with such a multitude of minute lines as to be truly wonderful4 ,the glazes are often enamelled2 yellow and black1 both remarkable1 but exceedingly rare1 are monochromes2 so1 too1 is olive-green1 which is seldom used alone1 but in conjunction with a dark yellow or dark brown4 ,various articles1 such as tea jars1 teapots1 and incense boxes1 have usually these glazes4 ,another glaze1 called ,flambes1 or ,flammes1 is like shot-silk1 e4g41 red jasper and violet1 and violet and blue4 ,the colouration1 no doubt at first accidental1 was later obtained by the combination of metals with the oxygen in the air and during the firing1 so that the results were defined and certain4 ,the old potters confined their decorations to diapers1 floral subjects1 landscapes1 and the ,chinese subjects--the ,ho-,ho birds1 the mythical lion1 the dragon1 and the kylin4 ,two kinds of pottery were made at ,satsuma1 and the self-glazes1 either monochrome or flambe1 are1 for the most part1 applied to the red1 and not to the white kind4 ,in other words1 the paste or body of the piece is red1 and by comparing a few specimens the difference between that and the white can soon be determined4 ,when the potter cuts the turned piece from the clay on the wheel he uses a string2 and in ,satsuma ware the string-mark can be detected on the bottom of the piece4 ,again1 the ,satsuma potter turned the throwing-wheel with the left foot1 but other potters used the right2 hence the spiral in the paste is from left to right in ,satsuma1 from right to left in other factories4 ,pure white faence1 cleverly moulded and reticulated1 was a celebrated and favourite product of the ancient potters4 ,spurious ,satsuma is one of the most common and disfiguring features of both public and private collections4 ,,kyoto ,,pottery4 ,much of the later pottery from ,kyoto was made in imitation of ,satsuma4 ,at the ,paris ,exhibition of #ahgh1 such imitations of pieces decorated in relief had a great success4 ,but ,kyoto has one name which stamps the seventeenth century productions as marking the adoption of the representative ,japan style4 ,there was ,ninsei1 who shook himself free from the influence of ,china and ,korea1 and1 having acquired the secrets of decoration with enamels1 he set to work to practice and impart them in the various factories at ,kyoto where he worked4 ,he introduced a crackle1 which of itself is a test between old and modern ware4 ,the glaze was of a light buff or cream colour1 and the crackle was nearly circular and very fine1 and is best described as fish-roe crackle4 ,the paste of his pieces varied from hard1 close brick-red clay to a fine-textured yellowish grey4 ,the coloured glazes--blue1 green1 red1 black1 and gold--were also introduced by him to the ,kyoto kilns4 ,the black glaze was run over a grass-green one1 so as to give brilliancy of effect1 whilst panels of cream crackle on the surface were painted in diaper patterns or with floral designs in gold1 silver1 or coloured enamels4 ,another glaze1 since imitated successfully1 was a pearl white with a kind of pink blush spreading through it4 ,as a rule ,ninsei marked his pieces2 the mark is given4 ,two or three hundred dollars are readily paid in ,japan for a small bowl of the best type1 so genuine specimens are exceedingly rare in ,europe4 ,it is well to reiterate two tests which may be easily applied to ,ninsei pieces--the paste is hard and brick-red or yellowish grey in colour1 and the crackles are equal and circular in shape4 ,,awata ,,ware4 ,here1 too1 ,satsuma ware has in recent years been largely imitated4 ,at the ,amsterdam ,exhibition a fine collection was on view4 ,but ,awata had kilns as early as the beginning of the seventeenth century1 and a clever workman1 ,kinkzan1 about a century later1 did much to bring back the reputation lost after ,ninsei's influence had passed away4 ,the glaze under his treatment was creamy and lustrous4 ,the enamels1 which harmonised so well with the glaze1 were grass-green1 ultramarine1 and red4 ,gold was almost invariably used in decoration4 ,silver1 purple1 and yellow are most uncommon4 ,it must be borne in mind that the majority of the ,awata pieces were unmarked4 ,generally1 three rules are equally valuable in judging the age of all ,kyoto wares1 including ,awata and other places close by4 ,first1 the paste of the old pieces is close-grained and hard2 second1 the glaze has a lustre1 which may be due to atmospheric influence long continued2 third1 the enamel colours are carefully painted1 and are very bright and clear4 ,marks3-- 7#a7 ,the chrysanthemum1 arms or crest of the ,mikado4 7#b7 ,the kiri1 said to be stamped on articles for royal use exclusively4 7#c77d77e7 ,satsuma marks4 7#f7 ,the marshmallow1 crest of ,tokougava ,satsuma ware4 7#g7 ,ninsei's name2 stamped with sunk letters1 ,kyoto4 7#h7 ,shimizu1 a maker's name1 in a long oval4 ,kyoto4 7#i7 ,taizan1 a potter of ,kyoto4 7#aj77aa7 ,used at ,kyoto by ,yeiraku4 7#ab7 ,awata ware1 also used in a small size4 7#ac7 ,awata1 mark of another factory4 7#ad7 ,on pottery made in imitation of ,satsuma4 7#ae7 ,awata4 ,kinkzan's mark stamped4 7#af7 ,seal character1 ,prosperity4 7#ag7 ,seal character1 ,gold4 7#ah7 ,seal character1 ,felicity4 7#ai7 ,shigen1 a maker's name1 probably ,kyoto4 7#bj7 ,seal character1 ,happiness4 7#ba7 ,seal character1 ,precious4 7#bb7 ,inscribed mark1 ,an eternal spring of riches and honours4 7,a7 ,crest of ,shimadzou1 ,prince of ,satsuma4 7,b7 ,crest of ,ikeda1 ,prince of ,bizen4 ,other blasons of ,japanese princes4 ,the sale prices of ,old ,japanese will1 for a little1 vary the subject under consideration4 ,the demand is great1 the supply limited2 so prices will rise higher yet4 ,old ,imari dish1 painted with vase of flowers1 having shaped panels on dark blue and gold ground1 #g #gs4 ,set of three octagonal vases--old ,imari--similar decoration1 with festoons and tassels on the shoulders1 #cf #es4 ,a pair octagonal vases--old ,imari--similar decoration1 #fe #bs4 ,another dish1 old ,imari1 vase of flowers in centre1 ,ho-,ho birds round the border1 with flowers4 ,colours3 red1 blue1 and gold4 #ab #abs4 ,from the ,hayashi ,collection4--,hirado cat1 life-size1 couching4 #bj #hs4 7,,note4--,hirado1 ,hirato1 or ,harito are used indifferently47 ,at the same sale4--,two ,arita porcelain cups1 #e2 two scent or incense burners1 #d #ds4 ,other sales4--,bowl1 in ,ninsei pottery1 #bf2 scent burner1 ,satsuma1 #bh #afs42 vase1 ,bizen ware1 #bf2 blue1 red1 and gold ground1 probably ,imari1 #aj2 another vase1 decorated with ,ho-,ho birds1 same colours as the last1 ,htel ,drouot1 ,paris1 #ajj2 bottles1 pair of old ,imari1 fluted and painted in red1 blue1 and gold1 #bg #fs42 vases and covers1 pair1 old ,hizen1 decorated with birds1 flowers1 wheels1 and scrolls in rich colours and gold1 #ce #ads4 ,it must be remembered that the finest ,japanese1 copied from ,chinese models1 is sold frequently as ,chinese4 ,illustration3 ,,nab,,shima1 ,,prince ,,of ,,hizen4 ,illustration3 ,,hossokawa1 ,,prince ,,of ,,higo4 ,illustration3 ,,matsou-,,oura1 ,,prince ,,of ,,hirado4 ,illustration3 ,,malda1 ,,prince ,,of ,,kaga4 ,illustration3 ,,mo,,ri1 ,,prince ,,of ,,nagato4 ,,xxix ,,bizen ,,or ,,imbe1 c4 ,,chapter ,,xxix ,,bizen ,,or ,,imbe ,the chief objects made at ,bizen were vases1 incense-burners1 and numerous figures of animals and persons4 ,amongst the last are found a number of mythical divinities illustrating the two religions of ,japan1 ,shintoism and ,buddhism1 especially the latter4 ,before me1 as ,i write1 is a good specimen of old ,bizen4 ,it is the figure of ,hotei1 the god of ,contentment4 ,brown glazed ware with a paste of fine1 hard red clay4 ,he is standing on a wind-bag with his dress open to his waist1 and his laugh is typical of the wonderful facial expression often to be found in ,oriental figures4 ,the pottery of ,bizen was made at a very early date1 but the early specimens were of a coarse1 gritty red paste with no glaze1 and only common articles were made4 ,then1 in the sixteenth century1 more attention was paid to the preparation of the clay1 and ,chinese copies were imitated4 ,the most valued pieces of this old ,bizen are those stamped with a new moon or a cherry blossom4 ,a century later a white-brown paste1 fine and nearly as hard as porcelain1 was used largely for figures4 ,this was followed by the use of the red clay4 ,it is interesting to notice the glaze applied to this kind of ,bizen4 ,the figure of ,hotei illustrates this unique bronzing1 as it were4 ,the colour and metallic lustre are so good that the figure has often been mistaken for bronze4 ,choice specimens are to be found with salt glazes1 brown1 grey1 and white1 and of these the last is rarest4 ,one other peculiarity of all ,bizen is that the glaze is absorbed into the paste2 this is said to be due to continued firing4 ,when struck the pieces ring very clearly1 whilst the modern production has a dead1 dull sound4 ,the ,bizen pottery of our own time is degenerate4 ,the monstrosities to be found in curiosity shops are neither artistic nor interesting4 ,,kutani ,,porcelain ,,and ,,pottery4 ,kutani1 in the province of ,kaga1 produced pottery of dark clay with a light chocolate glaze about the middle of the seventeenth century4 ,later1 one of the potters1 who was sent to ,hizen for the purpose1 brought back information which led to great improvement4 ,at the end of that century1 and early in the next1 two wares were produced4 ,one is marked by a deep green glaze1 which formed an effective and striking decoration1 but other glazes were also used on these other wares1 notably deep purple1 yellow1 and a soft blue4 ,the other class was an imitation of ,hizen ware1 with the difference that blue under the glaze was not associated with enamel colours over the glaze4 ,in addition to the colours mentioned a beautiful red was introduced and gold was added4 ,the artistic designs were purely ,japanese bits of nature-painting1 tiny landscapes1 birds on plum branches1 and other simple but striking subjects of this kind4 ,the contrast to the ,imari ware1 with its bold masses of blossoms and colours1 is as great as it is with modern ,kutani4 ,the latter often has peacocks1 groups of brilliant peonies and chrysanthemums1 brightly dressed women and wonderful old men1 cocks upon barrels1 and other well-known subjects4 ,the only figures on old ,kutani are children playing4 ,the paste is of a bad colour1 a kind of dirty white4 ,it passes from stoneware to porcelain1 according to the nature of the clay1 much of which was imported1 and which was sometimes mixed with the clay found at ,kutani4 ,the other makers of porcelain frequently sent their pieces in a white state to be decorated here1 and this was done especially from ,arita4 ,from this it will be seen that the ,kutani mark appears on porcelain varying in composition4 ,thus there are stoneware and excellent porcelain4 ,some of it will bear comparison with the best ,hizen egg-shell4 ,what tests should be applied to find out whether the specimen submitted is old ,kutani or not8 ,one has been given--it is this3 blue under the glaze is not employed in conjunction with enamel decoration4 ,then there is the tone of the blue4 ,reference has been made to the rich blue of ,imari1 the exquisite soft and clear blue of ,hirado1 but the ,kutani blue is1 like the paste often is1 inferior in quality4 ,the glaze1 however1 has a wax-like surface which is distinctive4 ,in the coloured specimens the severe nature of the decoration and the beauty and lustre of the enamels are characteristic features4 ,but ,kutani copied ,chinese originals in the best style1 so that if such specimens were bought in ,china they would pass for good examples of the best period4 ,but in ,japan1 as in ,china1 porcelain is made of two earths1 one fusible1 the other infusible1 and owing to the difference in the matter of firing1 most ,japanese porcelain has spur-marks or small projections on the bottom1 produced by the supports used in the process of firing4 ,otherwise1 the same means are employed in making and decorating porcelain in both countries4 ,,kenzan ,,ware4 ,ninsei and ,kinkozan have been mentioned as celebrated potters1 ,kenzan and ,yeiraku must be added to them4 ,kenzan at first imitated the ,ninsei ware of ,kyoto1 but1 being himself an artist and a brother of the celebrated painter ,ogato ,korin1 he soon developed an original and genuine ,japanese style in which striking results were produced with a seeming absence of laboured detail4 ,the simplicity of a branch of prunus blossoms1 a few nodding reeds or grasses1 a little group of birds amidst the foliage1 the distant hill seen through the midst1 suited the space available for decoration4 ,he used black1 brown1 green1 blue1 and purple in plain colours1 and enamels as well as gold4 ,his early work was done on ,awata pottery1 but his style is unmistakable1 and he marked all his pieces with his name ,kenzan4 ,other specimens of his bold outline sketches are found on a coarse ware with a gritty paste4 ,at a later period he went to ,iriya1 in ,tokio1 but owing to unsatisfactory materials for the making of pottery nothing very great was accomplished4 ,his productions are exceedingly rare and proportionately valuable4 ,his family still have a kiln near ,kyoto1 and his son and grandson imitated his style1 including the mark1 with some success4 ,,yeiraku ,,ware4 ,there is an ancient pottery at ,kyoto1 founded by a family named ,sozen and later ,yeiraku1 a title bestowed upon them by the ,prince of ,k or ,kishu4 ,the present potter is of the same name and he still makes earthenware and porcelain4 ,it was about #afjj when ,yeiraku--then ,zengoro-,hozen--began to make unglazed tea urns as his ancestors had done4 ,as a recreation he tried experiments with pastes and glazes1 which attracted considerable attention1 and secured for him an invitation from the ,prince of ,kishu to come to his province4 ,here ,yeiraku ware was made1 so called from the stamp it bears4 ,zengoro made glazes his special study1 and produced rich combinations of turquoise1 blue1 purple1 and yellow1 but more than these was his successful coral-red glaze1 made in imitation of the old ,chinese vivid red of the ,yung-lo period4 ,this last achievement gained for him the gift of a golden stamp1 ,yeiraku1 and the name which the family has borne for so many years4 ,yeiraku's skill was often tested by orders to copy all sorts of ,chinese1 ,korean1 and even ,dutch pieces1 which he did so well that the original and its imitation could not be distinguished4 ,yeiraku was wealthy now1 and could have gone into easy retirement4 ,yet such was his love of his art that he worked on4 ,he had produced the purple1 yellow1 turquoise1 green1 and the blue and white1 also the coral red and enamelled porcelains of ,china1 but he tried fruitlessly to get the tin glaze of ,delft and the various glazes of lakes of the ,chinese4 ,the illustrations given of the goddess ,kuwanon1 in ,chinese ,kouanyin or ,kwan ,yin1 show one of the most interesting of the ,buddhist deities4 ,she was reincarnated at least thirty-three times1 as a man1 a woman1 a demon1 and so on1 for the greatest good of humanity4 ,still1 it is in the feminine form that her figure is most frequently found in ,japanese porcelain and pottery1 as well as in ,chinese4 ,her hair is in the style of ,louis ,,xiv41 she wears a necklace bearing an ornament in the form of a cross1 and1 being the giver of children1 she is holding a little child1 whilst ,loung-nou and ,hoang-tchen-sai1 her two servants1 stand at her right and left4 ,perhaps the rarest of these figures is in the cream-white porcelain of ,nankin4 ,a figure of this goddess was recently sold for #de4 ,,xxx ,,kishu ,,porcelain ,,and ,,pottery1 c4 ,,chapter ,,xxx ,,kishu ,,porcelain ,,and ,,pottery1 ,,etc4 ,both porcelain and pottery were made at ,wakayama1 and are known as ,kishu ware4 ,the ornamentation consisted of formal patterns in low relief1 the intervening spaces being filled with coloured glazes1 chiefly blue1 deep purple1 and yellow1 though green and white were not unfrequently used4 ,perhaps the most common was a ground of purple1 with the scroll-work in relief and some parts of it covered with turquoise-blue4 ,some very fine pieces had a rich green glaze marbled with purple with medallions in other colours4 ,these glazes are amongst the finest produced in ,japan4 ,the paste varied from porcelain to stoneware1 and1 like many factories1 was sometimes white1 sometimes a red grey4 ,it was fine in texture1 and hard4 ,yeiraku's work was largely done in this private kiln1 and many of the pieces bear his stamp4 ,it is said that he made from five to ten specimens of any object he undertook to produce1 that the best was chosen and the rest destroyed4 ,,banko ,,pottery4 ,as early as #afhj a factory was established at a village near ,tokio1 and produced articles which resembled some of the ,kutani wares1 but towards the end of the eighteenth century a rich amateur1 ,gozayemon1 who had previously acquired a great reputation as a copyist1 was induced by the then ,shogun to leave ,is and to continue his work in ,tokio1 where his productions became the fashion1 partly because of their merits1 partly owing to the difficulty experienced in securing them4 ,he now adopted the purely ,japanese style1 and combined with it the beauty of the ,chinese glazes in different colours1 and it was when he ceased to be an imitator and became an originator that he became an artist4 ,he imitated every kind of ware1 from coarse ,korean pottery and the brilliant colours of ,china to the severe styles of ,ninsei and ,kenzam4 ,his pieces were generally marked4 ,he also made many imitations of ,dutch delft4 ,after his death1 the son of a dealer of ,is1 into whose hands the formula of ,gozayemon had fallen1 assumed the name of ,banko1 after having bought the stamp from his grandson4 ,he made a peculiar kind of stoneware1 unglazed1 in which the mould1 made up of several sections1 was placed inside the clay to be modelled4 ,hence1 on the outside1 the lines of the skin of the hand are shown1 and the designs are as sharp1 if not sharper1 inside as outside the pottery1 which from this method of working had to be very thin4 ,he also decorated pieces with storks1 dragons1 c41 in relief and other pieces1 with clever designs in coloured slips on a green or deep brown ground4 ,this ,is ,banko ware is nearly always stamped4 ,,soma ,,ware4 ,this is a most peculiar ware1 which consisted chiefly of small teacups or bowls1 having a rough indented surface on the outside1 but remarkably smooth to the lips1 with a horse in relief or painted1 sometimes tied to a stake4 ,the name of the ware and the badge were derived from the ,prince of the territory4 ,the ceremony of tea-drinking amongst the ,japanese was almost a cult4 ,the rites were followed under the direction of a ,tchadjin1 or master of the ceremonies1 and1 amongst other usages1 the shape and decoration of the cups varied with the season4 ,some were made by hand instead of by the aid of a wheel1 and most of the factories tried to satisfy the native connoisseur4 ,,sanda ,,ware4 ,in #afij a kiln was erected by the ,prince of the province of ,setsu to imitate ,chinese ,celadon4 ,at first pottery was made1 but towards the end of the eighteenth century porcelain methods were brought from ,arita with such successful results that the excellent sea-green ,celadon of ,sanda attained great celebrity1 in some degree owing to the considerable quantity of it which was made4 ,in colour ,sanda ,celadon is bright green1 less warm than that of ,china and less delicate than the ,nabeshima ware4 ,,sheba ,,ware4 ,the eggshell porcelain of ,japan is not ancient1 but near ,tokio a factory produces saki cups which are exceedingly pretty1 being elegant in shape and decoration and having a thin delicate paste4 ,sometimes they are covered outside with basket-work1 very finely woven4 ,,notes ,,on ,,other ,,wares4 ,at ,seto1 in ,owari province1 both porcelain and pottery were made2 the former was an importation from ,arita1 which has now become so important that porcelain in ,japan is known as ,seto-mono or ,seto ware4 ,here1 too1 was made a kind of stoneware much esteemed by the tea clubs4 ,at ,inuyama1 also in ,owari1 imitations of ,chinese porcelain were made1 and called ,agaye4 ,many kilns are still at work here4 ,at ,karatsu1 in ,hizen1 was an ancient factory1 now closed1 which had a great reputation for the manufacture of the utensils required by the tea clubs4 ,at ,nagano-mura1 a pottery produced ware with a streaky glaze1 but not painted4 ,close by1 ,iga made a singularly rough ware4 ,at ,sobara-mura1 ,takatori ware1 chiefly vases to hold incense1 of a rich brown glazed stoneware1 was manufactured4 ,many makers in various kilns made the bowls for drinking tea1 which was the finest green tea1 ground to powder1 frothed up with a brush1 and passed in a bowl from hand to hand4 ,raku ware1 so called from the inscribed mark ,raku 7happiness71 consisted chiefly of tea-bowls4 ,nothing need be said of the modern ,japanese potters4 ,the greater part of the modern imports is too bad for words1 and none need be wasted on it4 ,yet1 amidst much that is thoroughly bad1 there are still some master potters in ,kyoto1 ,tokio1 ,yokohama1 ,seyfou1 and elsewhere1 whose work is well worth buying4 ,it will be well to remember that old ,japanese has two classes1 one with a white1 semi-transparent paste with very simple designs--a plum-tree and two quails1 the tortoise with the hairy tail1 the phnix1 a few storks1 or more rarely a ,japanese lady in full dress4 ,the colours used were red1 a pale but bright blue1 an apple-green1 and an unusual lilac often with the butterfly mark4 ,dresden1 ,chelsea1 ,st4 ,cloud1 and other works imitated this class4 ,the second class1 also imitated in ,europe1 as at ,derby1 for example1 had the chrysanthemum and peony decoration2 the ornaments are in compartments or panels1 enclosing mythical animals4 ,specimens before me are decorated with a deep blue and gold4 ,the other colours chiefly used are a deep red and a bright black and green4 ,the kiri or kiku flower1 with seventeen blossoms and three leaves1 is frequently used4 ,it is the ,imperial badge4 ,the covers of the vases and jars have figures in ,japanese dress or ,korean lions on the top4 ,most of the beautifully decorated specimens were made for export1 the ,japanese value the rough1 artistic1 but characteristic work4 ,,marks4 ,illustration3 ,,marks 7#a7 ,kutani1 or ,kaga1 often with other marks4 ,this is the ,prince's mark4 7#b-e7 ,kutani ware2 red1 blue1 and gold4 7#f-g7 ,kutani porcelain1 usually very fine4 7#h7 ,made at ,kutani in ,great ,japan4 7#i7 ,ohi ,ware ,kaga4 7#aj7 ,ohi ware1 ,kaga4 7#aa7 ,happiness1 ,kaga4 ,the open window mark4 7#ab-ac7 ,kenzan1 inscribed marks4 7#ad7 ,kenzan1 stamped1 letters sunk4 7#ae7 ,kenzan painted in brown4 7#af-ah7 ,yeiraku4 ,the ,nagano-mura is an offshoot in ,awaji1 same mark4 7#ai7 ,made by ,yeiraku in ,great ,japan4 7#bj-ba7 ,kishu4 ,both marks stamped in the paste4 7#bb7 ,banko4 ,two stamped marks4 ,on thin teapots1 greyish brown ware4 7#bc7 ,banko4 ,two stamped marks4 7#bd7 ,nishina1 a family name4 ,illustration3 ,,marks 7#be1 #bf1 #bg7 ,soma4 ,stamped in oblong or oval panel1 the oval being the older4 ,on the outside of some pieces with these marks the crest of the ,prince of ,soma 7,a7 is found with a prancing horse tied between two stakes4 ,,marks ,,in ,,the ,,form ,,of ,,symbols4 ,this is a common form of marking ,chinese porcelain and ,chinese symbolical ornaments1 and were often copied4 ,the five examples given 7,b to ,f7 are frequently found on ,japanese porcelain3 7,b7 ,a swastika1 ,buddhist symbol1 also a family crest4 7,c7 ,a flower with five leaves1 in red4 7,d and ,e7 ,two varieties of a plant4 7,f7 ,a leaf1 in blue outlined in gold4 ,,xxxi ,,section ,,iii ,,sale ,,prices ,,of ,,the ,,louis ,,huth ,,collection ,,section ,,iii ,,chapter ,,xxxi ,,sale ,,prices ,,of ,,the ,,louis ,,huth ,,collection 7,published by kind permission of the ,editor of ,the ,connoisseur47 ,,old ,,nankin ,,porcelain4 s4 d4 ,vase and cover1 oviform1 painted with ladies in a garden1 #aa in4 high #fc #j #j ,bottles1 pair1 with long necks1 painted with dragons and flames1 #aj in4 high #hh #d #j ,bottles1 pair1 with oviform bodies and long slender necks1 entirely painted with formal flowers and arabesque foliage1 and with dark blue bands round the shoulders1 containing scrolls and blossom reserved in white1 #g in4 high #bfb #aj #j ,vase and cover1 tall oviform1 painted with ladies and boys in a garden1 #aa in4 high #ef #ad #j ,canisters and covers1 set of three diamond-shaped1 painted with audiences1 groups of warriors1 and an execution scene1 #ab in4 high #eb #aj #j ,sprinklers1 pair1 with a band of mirror-shaped dark-blue panels round the centre1 and vandyke borders1 containing formal flowers and foliage reserved in white1 the necks delicately pencilled with a marbled design1 #g in4 high #afe #j #j ,vases and covers1 set of three oviform1 and two cylindrical beakers and covers1 entirely painted with tiger-lily ornament and conventional blossoms1 #e1 #f1 and #g in4 high #cdf #aj #j ,vases1 pair1 cylindrical1 painted with bands of formal arabesque foliage1 and with alternate blue bands1 with dragons and scrolls reserved in white1 #aa in4 high #bbj #aj #j ,vases1 pair1 cylindrical1 powdered-blue1 painted with fishermen1 ,sages1 flowers1 c41 in upright and circular panels1 #aj in4 high #aej #j #j ,beaker1 painted with branches of flowering prunus1 the background pencilled with blue1 #ah in4 high #adj #j #j ,vases and covers1 pair1 oviform1 painted with peonies1 cherry-trees1 sparrows and rocks1 in shaped panels divided by trellis-pattern bands1 #af in4 high #bbj #j #j ,vases and covers1 set of three oviform1 and a pair of beakers1 painted with audiences1 plantain and vases of flowers1 #af in4 and #ah in4 high #a1eej #j #j ,vase and cover1 oviform prunus-pattern1 of the highest quality1 finely painted with branches of flowering prunus on marbled-blue ground1 #aj in4 high #f1aie #j #j ,bottles1 pair1 pear-shaped1 with blue panels containing flowers and leafage reserved in white1 the necks pencilled with marbled pattern in blue1 #g in4 high #ge #ab #j ,ewer1 with pencilled marbled groundwork and dark-blue heart-shaped panels1 containing scrolls reserved in white1 #f in4 high4 #ef #ad #j ,bottles1 pair1 with long necks1 painted with pendant lanterns and kors1 palm-leaves on the necks1 #i in4 high #eb #aj #j ,vases and covers1 pair1 two-handled1 painted with fans and utensils in mirror-shaped panels and sprays of flowers1 #aa in4 high #fe #b #j ,dishes1 pair1 with blue ground1 decorated with seeding peonies and foliage reserved in white1 and painted with flower-branches round the well1 #ah in4 diameter #ed #ab #j ,bottle1 with compressed body and nearly cylindrical neck1 painted with seeding peonies and foliage1 and palm-leaves round the neck1 #ah in4 high #bid #j #j ,bowls and covers1 pair1 cylindrical1 with marbled-blue ground and prunus-blossom in white1 painted with flowering plants and birds in mirror and fan-shaped panels1 #g in4 high #bca #j #j ,vase and cover1 oviform1 painted with panels of prunus-branches and birds on a trellis groundwork1 and with lambrequin-shaped panels round the shoulder and foot1 containing formal flowers reserved in white on blue ground1 #bd in4 high #acf #aj #j ,vase and cover1 oviform1 painted with rocky landscapes and baskets of flowers1 and with lambrequin-shaped panels round the shoulders and foot1 with scroll foliage reserved in white on blue ground1 the cover surmounted by a small figure of a kylin1 #bc in4 high #gh #ae #j ,bottles1 pair1 powdered-blue1 painted with vases of flowers and utensils in mirror-shaped panels1 #aa in4 high #bda #aj #j ,vases and covers1 pair1 powdered-blue1 painted with river scenes1 flowering plants and utensils in variously shaped panels1 #ai in4 high #gef #j #j ,bottles1 pair1 powdered-blue1 with bulbous necks1 painted with river scenes1 flowers and utensils in variously shaped panels1 #ah in4 high #dbj #j #j ,jars and covers1 pair1 mandarin1 painted with bands of arabesques and alternate blue bands decorated with dragons1 flames1 and leafage reserved in white1 #db in4 high #a1idb #aj #j ,cisterns1 pair1 circular1 entirely painted with formal flowers and foliage1 and with a band of beaded ornament round the top1 #bg in4 diameter #baj #j #j ,bowl1 painted with groups of various flowers1 locusts and other insects1 #e in4 diameter2 and a bowl1 with flowers1 insects and reptiles1 #e in4 diameter #hi #e #j ,bowl and cover1 small cylindrical1 painted with mirror-shaped panels of flowers on marbled-blue ground1 with prunus-blossom reserved in white1 #e in4 high #ha #ah #j ,vase1 cylindrical1 painted with arabesque foliage1 and with a blue band round the centre decorated with dragons reserved in white1 #aa in4 high #hf #b #j ,another vase1 nearly similar1 #aj in4 high #ij #f #j ,bottles1 pair1 pear-shaped1 painted with pendant lanterns and other ornament1 and with branches of flowers round the necks1 #aa in4 high #ed #ab #j ,bowls and covers1 pair1 cylindrical powdered-blue1 painted with river scenes1 flowers and utensils in circular medallions1 #f in4 high #aii #aj #j ,jardinires1 pair1 with prunus-blossom reserved in white on marbled-blue ground1 mounted with ,louis ,,xvi4 ormolu handles chased with foliage and shells1 and gadrooned borders1 #h in4 diameter #ij #f #j ,bottle1 with long neck1 painted with kylins playing with balls1 and a dragon on the neck1 #ah in4 high #ej #h #j ,vase1 painted with an audience and figures on a terrace1 #ba in4 high #eb #aj #j ,vase1 painted with a procession in a rocky landscape1 #af in4 high #fc #j #j ,vases and covers1 set of three1 painted with landscapes1 cranes1 deer and other animals in panels with key-pattern borders1 #ai in41 #bj in41 and #bj in4 high #ed #ab #j ,dishes1 pair1 large1 painted with flowering plants in the centre in petal panels on trellis-pattern ground1 the border composed of arabesque foliage1 among which are figures of peacocks and baskets of fruit in four panels1 #ba in4 diameter #aae #aj #j ,pair of ditto1 similar #aae #aj #j ,cistern1 octagonal1 painted with medallions of arabesque foliage1 characters in the centre1 and a band of palm-leaves round the shoulder1 #be in4 diameter #eb #aj #j ,bottle1 double gourd-shaped1 painted with gourds and foliage1 and a band of key-pattern round the centre1 #bf in4 high #aae #aj #j ,cisterns1 pair1 circular1 painted with river scenes in the interior1 chrysanthemums and lotus outside1 #be in4 diameter1 on walnut-wood stands #dd #b #j ,,chinese ,,enamelled ,,porcelain4 ,tea service1 with ruby ground1 pencilled with flowers in grisaille in shaped panels1 consisting of tea-pot1 cover and stand1 a cream-jug and cover1 two cups and saucers1 and two small saucer-dishes #bdj #j #j ,vase1 square-shaped1 enamelled with quails and flowering trees on white ground1 the handles coral-colour and gold1 #aj in4 high #acf #j #j ,bottles1 pair1 pear-shaped1 with bulbous necks1 with spiral pink and white bands1 and enamelled with figures and branches of flowers in colours1 #aj in4 high #eh #af #j ,stand1 oblong1 enamelled with dragons with the ,sacred ,jewel1 in green1 mauve and yellow1 #aa in4 wide #eb #aj #j ,bowl1 ruby-coloured1 enamelled with a kakmono and branches of flowering prunus1 #g in4 high #ajj #j #j ,vases1 pair1 famille verte fluted1 formed as bamboo canes1 enamelled with small sprays of flowers and grasses on green and yellow ground1 on octagonal open stands1 enamelled green1 #h in4 high #cbj #j #j ,vase1 oviform1 with bright green ground1 enamelled with dragons and formal flowers in mauve1 with arabesque foliage reserved in white1 and with unglazed kylins'-mask handles1 #ab in4 high #djj #j #j ,bottle1 powdered-blue1 of triple gourd-shape1 enamelled with peonies1 other flowers and grasses1 in famille verte1 in mirror and fan-shaped panels1 #aj in4 high #ceg #j #j ,beakers1 pair1 with bulbous centres2 the necks are finely enamelled with a bright green ground1 upon which is formally arranged a design of flowers and foliage1 enamelled mauve1 the centre part similarly decorated1 but with conventional flowers in green on yellow ground1 and with a band of green vandyke panels below2 the lower half of the beakers is powdered-blue1 #aj in4 high #b1gjj #j #j ,vase and cover1 oviform1 of somewhat similar design to the preceding1 the lower part powdered-blue1 and the upper portion and the cover enamelled with formal flowers and foliage in green on yellow ground1 #ab in4 high ,bottles1 pair1 triple gourd-shaped1 the lower part decorated with medallions of masks1 utensils and emblems1 on a floral groundwork1 in black and gold1 the centre part pencilled with kylins and flames1 in rouge-de-fer and gold1 on white ground1 the necks powdered-blue1 with ,ho-,ho birds in gold1 #ba in4 high #dhj #j #j ,bottles1 pair1 small gourd-shaped1 with engraved yellow ground1 enamelled with sprays of flowers in colours1 #g in4 high #aae #aj #j ,vase1 inverted pear-shaped1 with engraved yellow ground1 enamelled with branches of flowers1 #aj in4 high #ff #c #j ,vases1 pair1 oviform egg-shell1 enamelled with houses by a river1 a bridge1 and figures in a summer-house1 and with gilt necks and feet1 #aj in4 high #cjd #aj #j ,vases1 set1 three oviform1 the groundwork encrusted with branches of flowers1 and with upright panels enamelled with ,sages and other figures in landscapes1 #g in4 and #h in4 high #ahi #j #j ,figures of parrots1 pair1 enamelled turquoise and dark blue1 and mounted on ,louis ,,xv4 ormolu scroll plinths1 #i in4 high #bbj #aj #j ,part of a tea-service1 with pale yellow and black trellis-ground decorated with plume ornament in mauve1 consisting of cream-jug and cover1 canister and cover1 two stands1 and four cups and saucers #aca #e #j ,bowls and covers1 set1 three1 enamelled with chrysanthemums1 branches of begonia1 and sparrows1 and with pink diaper-pattern border1 #f in4 diameter #aje #j #j ,tea-service1 lotus-pattern1 consisting of tea-pot1 milk-jug1 canister1 bowl and covers1 and four cups and three saucers2 and two small plates1 enamelled in pink and green1 and with branch handles #id #aj #j ,basin1 with brown and pink exterior1 pencilled with tiger-lilies and other flowers in gold1 the interior enamelled with a magician1 #d in4 diameter #ed #ab #j ,basin1 with apple-green ground1 pencilled with flowers and grasses in gold1 #d in4 diameter #gi #af #j ,ewer and cover1 powdered-blue oviform1 enamelled with a stream1 lotus plants and prunus-tree1 with birds in famille verte in shaped panels1 the ground pencilled with gold1 #h in4 high #cgh #j #j ,dishes1 pair1 powdered-blue1 enamelled with kylins1 ,ho-,ho birds and utensils in famille verte1 in mirror-shaped panels1 #af in4 diameter #cgh #j #j ,vase1 famille verte1 of nearly cylindrical form1 with crimson ground1 finely enamelled with branches of seeding peonies1 arabesque foliage and dragons1 and with pale green and yellow lambrequin-shaped panels round the borders containing formal flowers1 mounted with ormolu rim and plinth1 with ,sphinx supports1 #ba in4 high #fjj #j #j ,lantern1 oviform egg-shell1 with finely stippled green ground1 enamelled with an audience and ladies on a terrace1 in famille verte in two oblong panels on a groundwork of flowers and butterflies #daj #j #j ,bowl1 enamelled with cranes in black and white and waves in green on yellow ground1 #aj in4 diameter2 and a dish1 with cranes in black and white on pale yellow ground1 #aa in4 diameter #gi #af #j ,basins and stands1 pair1 small1 enamelled with peonies1 and with pink exteriors #ga #h #j ,bowls and covers1 pair1 basket-pattern1 with panels of pierced honey-comb pattern1 enamelled with chrysanthemums #ahi #j #j ,dish1 circular1 open-work border enamelled with vases and utensils on coloured diaper ground1 #i in4 diameter #bgc #j #j ,plates1 pair1 octagonal1 enamelled with ladies and children by a stream1 in brown border with green trellis edge1 #g in diameter #gh #ae #j ,bowl1 with branches of flowers in the interior1 and medallions of flowers outside on an incised green and white ground1 #aj in4 diameter #eh #af #j ,jar1 cylindrical1 with pale green ground1 decorated with flying cranes in black and white1 #g in4 high #bfj #j #j ,vase1 oviform egg-shell1 enamelled with ladies in a landscape1 carrying vases1 #ai in4 high #ii #ae #j ,vase1 oviform1 with marbled-green ground1 enamelled with peonies1 a tree1 and birds1 #ai in4 high #aje #j #j ,dishes1 pair1 large1 in the ,imari taste1 enamelled with vases of flowers and a fence in the centre1 and with scroll-shaped panels of flowers and birds on the border on blue ground with chrysanthemums in red and gold1 #ba in4 diameter #agc #e #j ,vase1 cylindrical1 with pencilled blue scale-pattern ground1 enamelled with lotos1 begonias1 and other flowers in panels1 in famille verte1 #aj in4 high #hi #e #j ,dish1 egg-shell1 enamelled with a peacock and peonies in the centre1 four panels of pink diaper ornament on the border on blue ground1 #g in4 diameter #ajj #j #j ,saucer-dish1 with ruby back enamelled with a kakmono and flowers in the centre and with pale blue marbled border with blossom in white1 #h in4 diameter #aae #aj #j ,plates1 pair1 octagonal1 enamelled with flower-sprays in the centre and with ruby panels on the border on blue ground1 enamelled with peonies1 #g in4 diameter #acf #aj #j ,bowls1 pair1 small white1 with pierced trellis-pattern sides1 decorated with small medallions of figures modelled in high relief and gilt1 #c in4 high #fj #j #j ,box and cover1 famille verte square1 enamelled with a crane and emblems1 on green and yellow trellis-pattern groundwork1 #d in4 square #gj #j #j ,cup1 famille verte1 octagonal1 on foot1 enamelled with chrysanthemums1 iris1 and other flowers1 and insects in compartments1 #d in4 high #ed #ab #j ,bowl1 with dark green wave-pattern ground1 decorated inside and out with horses1 waves1 shells1 and blossom reserved in white and partly enamelled mauve1 #h in4 diameter #cej #j #j ,bowl1 with apple-green ground1 decorated with a flowering prunus-tree reserved in white1 heightened with mauve enamel1 #g in4 diameter #cgj #j #j ,saucer-dish1 black ground1 enamelled with chrysanthemums1 rocks1 and flowering prunus-tree1 #g in4 diam4 #ade #j #j ,milk-jug and cover1 curiously enamelled with trumpeters1 in colours on black enamelled ground #dj #j #j ,cups and saucers1 pair of egg-shell1 similar #ee #j #j ,basin1 similar1 #e in4 diameter #ej #j #j ,cups and saucers1 pair1 with black ground1 enamelled with prunus and panels of flowers1 in green1 mauve and buff1 the interiors decorated with sprays of flowers in red1 blue1 and green #abj #ae #j ,jug and cover1 barrel-shaped1 with green enamelled ground1 entirely decorated with formal flowers and leafage reserved in white1 mounted with old ,english silver borders and billet1 #g in4 high #cgj #j #j ,vase1 with yellow ground1 enamelled with a pheasant1 peony1 and rocks in green and mauve1 and with palm-leaves round the neck1 #aj in4 high #ijj #j #j ,bottles1 pair1 with spherical bodies and long cylindrical necks1 entirely enamelled with formal flowers and foliage in famille verte1 #h in4 high #dej #j #j ,vases1 pair1 oviform coral-coloured1 entirely decorated with formal flowers and arabesque foliage reserved in white1 #g in4 high #aaj #j #j ,bottle1 gourd-shaped1 of nearly similar design1 #ab in4 high #cjj #j #j ,vase1 oviform egg-shell1 enamelled with a lady seated at a table1 and with vases at the side1 #h in4 high #ahj #j #j ,another1 enamelled with ,sages and other figures in a mountainous landscape1 #h in4 high #gj #j #j ,vases1 pair1 egg-shell1 with turquoise ground1 enamelled with coast scenes and figures in the ,european taste1 #h in4 high #eb #aj #j ,bottle1 pear-shaped1 with black ground1 entirely decorated with formal flowers and small scroll foliage reserved in white1 #af in4 high #fea #j #j ,cistern1 oval1 enamelled with festoons of flowers in the ,european taste1 and panels of figures in the interior1 the outside enamelled with pink and green chequer-pattern1 mounted on ,louis ,,xvi4 ormolu plinth1 with gadroon and riband border1 #ah in4 wide #efg #j #j ,bottle1 of triple-gourd shape1 enamelled with bright green ground1 decorated with formal flowers and arabesque foliage reserved in white1 #aa in4 high #fjj #j #j ,lanterns1 pair1 egg-shell1 of oviform shape1 finely enamelled with an audience and figures on a terrace1 #h in4 high #a1bjj #j #j ,bowls and covers1 pair1 enamelled with vases of flowers1 utensils and emblems in colours1 mounted with ,louis ,,xvi4 ormolu borders chased with rosettes and ribands1 lions'-mask and ring handles1 and lions'-claw stands of the same1 the covers surmounted by cone ornaments1 #ae in4 high #ccf #j #j ,,index ,a ,amida1 #fi ,animals1 emblems in1 #ea1 #bii ,animals1 fabulous1 #ea ,apple-green1 #agi1 #bgb ,arita ware1 #ceb ,armorial china1 #dh ,artemesia1 #cja ,aubergine1 #ajf1 #bhj ,awata ware1 #cfa ,azalea1 #cjb ,b ,bamboo1 #cja ,bamboo drum1 an emblem1 #cda ,banko ware1 #cgg ,base1 #ag ,bat1 #cbg1 #cbi ,beaker1 #ag ,biscuit1 #ag1 #bji ,bizen ware1 #cfg ,black-mirror1 #ajf1 #afi ,black under green1 #ajf1 #baf ,blanc de chine1 #df1 #acg1 #aej ,blue1 #ajg1 #aad1 #afj1 #afi1 #ahc1 #bea ,blue and red1 #abe1 #aid ,blue and white1 #ajg1 #aad1 #acg1 #ahc ,blue1 mazarine1 #bea ,blue1 powdered1 #aae1 #bae1 #bdc ,body or paste1 #ag ,borders1 #bbj ,bottle1 #ag ,brown glaze1 #afa1 #agc ,buddha1 #ci ,buddhism1 #ci ,buddhist divinities1 #fh1 #ha ,burnt-in1 #ag ,c ,caf-au-lait1 #agc ,carp1 #bge ,celadon1 #ag1 #cc1 #ih1 #ajg1 #aae1 #abd1 #aei1 #aff ,chair de poule1 #aeb ,chakra1 #bee ,cheou or ,chow1 #fa1 #hb1 #aea1 #cbi ,chinese characters1 plain1 text and seal1 #caj1 #cad ,ching-hwa1 #ih1 #aja ,christians in ,china1 #ic1 #ih ,chrysanthemum1 #cjb ,clair-de-lune1 #aac1 #abc1 #afb ,clobbered ware1 #bja ,coffee-colour glaze1 #afa ,colours1 glazes1 c41 #ah1 #aee1 #afi1 #bac ,colours1 order of discovery1 #de ,colours1 three1 five1 #ah ,conch shell1 #cbe ,confucianism1 #cg1 #bef ,copper-red1 vert de cuivre1 #df ,coral red ground1 #aac1 #abf1 #bei ,corean lion1 #ee1 #he ,crackle1 #afc1 #agg ,d ,date marks1 #cji1 #cad ,date marks1 how to read1 #caa ,deer1 #abc1 #bii ,deer1 mille cerfs1 #abc ,diapers1 #abi ,dog of ,f1 ,corean lion1 #ee1 #he1 #aej1 #cee ,double circle or rings1 #ajh ,dragons1 #ec1 #bfc1 #cee ,dresden ,collection1 #cdg ,dynasties1 early1 #ia1 #ig1 #aje ,dynasty1 ,ming1 #ie ,dynasty1 ,tsing1 #ajc ,e ,east ,india ,company1 #bhg ,egg-shell1 #ah1 #abg1 #bcb1 #bfg1 #bfh ,eight immortals1 #gh1 #hb1 #cci ,elizabeth1 ,queen1 #ajj ,emblematic designs1 #bii1 #cbe ,emblematic gestures1 #fi ,emblems in animals1 #bii ,emblems in birds1 #hf ,emblems in flowers1 #cjj ,emblems in trees1 #cja ,enamel1 #ah1 #cc ,enamels1 coloured1 #ada1 #adc1 #bac1 #bga ,f ,familles 7,families7-- ,jaune--,yellow1 #dg1 #beb ,noire--,black1 #dg1 #ajf1 #afi1 #baf ,rose--,rose1 #dh1 #aaa1 #abb1 #abg1 #adc1 #bdc1 #bfd ,verte--,green1 #dg1 #ajf1 #aaf1 #adc1 #bbh ,feuille morte1 #aee1 #agc ,fong ,hoang1 #ef1 #cee ,fox1 #cjj ,fenting1 soft paste1 #ah1 #ca ,figures1 #ah ,fir or pine1 #cja ,fish1 #cbf ,five-colour1 #ah1 #gh1 ,flamb1 #aee1 #afe1 #afi ,flute-emblem1 #cda ,forgeries1 #bd1 #abf1 #caa ,forms1 #ah ,fungus1 #cjc1 #cbf ,g ,gasnault1 ,m41 #adi ,ginger jar1 oviform vase1 #aic ,glaze1 #ah1 #cb ,glazes1 self-colour1 #cc1 #aec ,glazes1 simple1 #aec ,glazes1 variegated1 #aee ,globber1 #bjb ,gold1 reds from1 #aaf1 #bfd ,gombron ware1 #ajj ,gourd1 #cja ,grand feu1 #ah ,graviata1 #ah1 #adc ,green1 delicate1 #bgf ,green family--,famille verte1 #dg1 #ajf1 #aaf1 #adc1 #bbh ,green1 ,ming1 #bgb ,h ,hard paste1 #bi ,hare1 #cjj1 #cbf ,hawthorn pattern1 #add1 #aib1 #bbg1 #cja ,heen-fung1 #add ,hirado ware1 #cec ,history of porcelain1 #hi ,hizen ware1 #ceb ,ho-,ho bird1 #ef1 #ced ,honorific marks1 #cab ,hundred antiques1 #ah ,hung-woo1 #ig1 #ajj ,huth ,collection1 sale prices1 #che ,i ,imari ware1 #adb1 #ceb ,imbe ware1 #cfi ,imitations of ,oriental porcelain1 #bic ,immortals1 #gh1 #hb1 #cci ,iron-red1 rouge de fer1 #aaf1 #aif1 #bae ,j ,jacquemart1 ,m41 #adi ,jade1 #ajb1 #afa ,japanese marks1 #cfb1 #cfe1 #cha-chc ,japanese porcelain and pottery1 #cea ,jesuits in ,china1 #ih ,joo-e-head decoration1 #fa1 #acf1 #bdj1 #bdg ,joo-e-head1 symbol1 #cbg ,k ,kang-he1 #ajc1 #ahc1 #bad ,kaolin1 #ah1 #cb ,kea-king1 #aci ,kea-tsing1 #ajb ,keen-lung1 #aai1 #bfd ,kenzan ware1 #cgb ,kiau1 dragon1 #bfc ,kiln1 #ah1 #cb1 #dg ,king-te-chin1 #ib1 #aba1 #add1 #ahd ,kishu ware1 #cge ,korea1 lion of1 #ee1 #he ,kouan-ti1 #gc ,kutani ware1 #cgj ,kwang-shiu1 #add ,kwan-,yin1 #eh1 #fa1 #fb1 #fe1 #aej1 #cgc ,kylin1 #ed1 #he1 #cee ,kyoto ware1 #cfj ,l ,lange-,lysen1 #aij1 #bcb ,lang-yao1 #aef1 #bge ,lao-tseu1 #ci1 #eh1 #gc1 #gg1 #cja1 #cci ,leaf mark1 #cbf ,li1 dragon1 #aie1 #bfc ,long ,elizas1 #aia1 #bcb ,longevity1 god of1 #aea ,lotus1 #bee1 #cjc1 #cbf ,lowestoft1 #bjb ,lung1 dragon1 #bfc ,m ,magnolia1 #cjd ,mandarin1 #ah1 #abi1 #acc1 #bhc ,mandarin china1 #acf1 #bhc ,marks-- ,date1 #cad ,grass1 #caj ,hall1 #cba ,how to read1 #caa1 #cag-cai ,seal1 #caj1 #cae1 #cai ,text1 #caj ,mazarine blue1 #afi1 #bdc1 #bea ,mice china1 #ah ,mille cerfs1 #da1 #abc ,mille fleurs1 #abc ,ming1 #fa1 #ie1 #bad1 #bgc1 #cab ,mirror black1 #ajf1 #afa1 #afi ,morte feuille1 #aee1 #agc ,moulds1 #ah ,mudrs1 hand gestures1 #fi ,mythical deities1 #fa1 #gh1 #hb1 #ccg ,n ,nabeshima ware1 #cec ,naga1 #ah ,nankin blue1 #ahc1 #cab ,neck1 #ai ,nien-hao1 #ib1 #aje1 #ajg1 #caa ,o ,ornaments1 #ai ,overglaze enamels1 #ah1 #cc1 #adc1 #bac1 #bga ,oviform1 #bca ,oxides1 #afe ,p ,pa-,kwa1 #aab1 #aie1 #cbi ,pa-sien or ,pa-chen1 #gh1 #hb1 #cci ,paste or ,body1 #ai ,peach1 #cja1 #cjd1 #cbg ,peach bloom or peach blow1 #aab1 #agj ,peach-tree1 #cja ,pearl1 #cbe ,pekin ware1 #ai ,peony1 #cje ,pe-tun-tze1 #ai1 #ca ,pheasant1 #hf ,phnix1 #ef ,pierced or reticulated porcelain1 #aeb1 #bje1 #bjg ,pierced patterns1 #adc1 #bji ,pin points1 #ai ,piu-hwo1 ,taoist god1 #gg ,poutai1 #aea ,powder or powdered blue1 #aae1 #aee1 #bae1 #bdc1 #bdf1 #bdi ,prunus blossom1 #aib1 #bbg1 #cja ,q ,queen ,elizabeth1 #ajj ,queen of heaven1 ,si-,wang-,mu1 #eg1 #ff ,r ,rabbit1 #cjj ,red1 #dh1 #afa1 #agc ,red1 underglaze with blue1 #abf1 #aid ,religion and ,mythology1 #ce ,reserves or compartments1 #aae1 #bbj ,reticulated porcelain1 #aeb1 #bje1 #bjg ,rice bowls1 #adb ,rose1 #aaf1 #bfd ,rose family--,famille rose1 #dh1 #aaa1 #aaf1 #abb1 #bfd ,rouge de fer1 iron red1 #aaf1 #aif1 #bae1 #bca1 #bei1 #bfa ,ruby-backed plates1 #aaf1 #abg1 #bfg ,ruby-backed plates1 sale prices1 #abg ,s ,sale ,prices--,huth ,collection1 #chg ,japanese1 #cfd ,sanda ,ware1 #cgi ,sang de buf1 #aac1 #abd1 #aef ,satsuma ware1 #ceg ,seal1 #caj1 #caf1 #cai ,seven borders1 #abi ,sheba ware1 #cgi ,shell1 conch1 #cbe ,show1 or ,cheou1 #fa1 #hb1 #aea1 #cbi ,single or self-colour glazes1 #aec1 #afa ,si-,wang-,mu1 #eg1 #ff1 #cja ,slip1 #ai ,soft paste1 ,fenting1 #ah1 #ca ,soma ware1 #cgh ,splashed1 tiger1 #aff ,statuettes1 #ah1 #cdc ,stork1 #cjj1 #cbg ,suen-tih1 #ig1 #ii1 #aei ,sung dynasty1 #ib1 #afa1 #agi ,swastika1 #acf1 #bef1 #bgi1 #cbf ,symbolical marks1 #cbe1 #chd ,symbols or emblems1 #bii1 #cbe1 #cbg ,t ,taoism1 #ch ,taoist immortals1 #gf1 #gh1 #hb1 #cci ,taou-kwang1 #adb ,tests1 #aia1 #cga ,three-colour1 #ah1 #ajf ,tiger splashed1 #afg ,tortoise1 #cjj ,transfer printing1 #acg ,truit1 #agi ,tsing dynasty1 #ajc ,tung-che1 #add ,u ,under-glaze blue1 #ajg1 #aad1 #ahc ,under-glaze red1 #abf ,unicorn1 or kylin1 #ed1 #he ,v ,vases1 #ai ,vitreous enamels1 #ah ,w ,wan ,chong1 #gj ,wan leih1 #ah1 #ajf ,warham1 ,archbishop1 #ih ,wen-tchang1 ,god of ,wisdom1 #gd ,white1 #de1 #adg ,willow pattern1 #ai ,y ,yang and ,yin1 #aac1 #cbi ,yao-pien1 #ai1 #afe ,yeiraku ware1 #cgb ,yellow ,family--,famille jaune1 #dg1 #beb ,yellow glaze1 #afj1 #agc ,yulan1 #bdg ,yung-ching1 #aji ,yung-lo1 #ah1 #ih1 #aja ,,unwin ,,brothers1 ,,limited1 ,,the ,,gresham ,,press1 ,,woking ,,and ,,london 99 99 99 99 99 ,transcriber's ,notes #a4 ,characters in small caps have been replaced by all caps4 #b4 ,in this file1 underscores have been used to represent italic text and equal signs for bold text4 #c4 ,illustration ,table page number #gi_/ig has been corrected1 incorrect in book4 #d4 ,where the description of an image precedes the image1 it has been moved to ,,after the image1 so as to avoid confusion4